[PDF] Taijichuan Documentation Project (v0.1)

1 Taijichuan Documentation Project (v0.) Compiled by Gregory Pfister Copyright Gregory F. Pfister 002 Contents Acknowled...

Taijichuan Documentation Project (v0.1)

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Taijichuan Documentation Project (v0.1)

Contents Acknowledgement ........................................................................................................................................ 6 Forward ......................................................................................................................................................... 7 Introduction .................................................................................................................................................. 9 Why Do Tai Chi Chuan? ........................................................................................................................... 10 What Do You Call It? ............................................................................................................................... 11 The Meaning of the Words “Tai Chi Chuan” ........................................................................................... 13 The Rest of This Book .............................................................................................................................. 16 About That Melon ................................................................................................................................... 17 Universals .................................................................................................................................................... 19 Connection: The Parable of the Hand ..................................................................................................... 19 Common Terms and Concepts ................................................................................................................ 21 Stances ................................................................................................................................................ 21 The Medium Stance ............................................................................................................................ 21 The Bottom of the Feet ....................................................................................................................... 22 The Small and Large Stances ............................................................................................................... 23 Bow Stance.......................................................................................................................................... 23 Cat Stance ........................................................................................................................................... 24 Body Parts: The Dantien and the Quas ............................................................................................... 24 Shoes or no shoes? ............................................................................................................................. 25 The Rules of Breathing ........................................................................................................................ 25 Biomechanics .......................................................................................................................................... 26 Relaxation and Sinking ........................................................................................................................ 26 Getting into the Basic Stance .............................................................................................................. 26 Shoulder Position ................................................................................................................................ 27 Elements of Relaxation ....................................................................................................................... 28 Elements of Sinking ............................................................................................................................. 28 Speed of Relaxation ............................................................................................................................ 28 Turning ................................................................................................................................................ 29 Pulling Into the Foot............................................................................................................................ 30 Push Up Through Back, Pull Down With Front ................................................................................... 30 Meta-Topics ............................................................................................................................................ 30 2

Those Who Can, Do; Those Who Can’t, Teach Better ........................................................................ 30 Concerning Practice ............................................................................................................................ 31 Other Topics ............................................................................................................................................ 34 Balance ................................................................................................................................................ 34 The Seven Bows .................................................................................................................................. 38 Suspend the Head, the Real Story....................................................................................................... 39 Suspend the Head, the Other Real Story ............................................................................................ 39 Avoid Momentum ............................................................................................................................... 40 The Leg and Hip Arch .......................................................................................................................... 41 Visualization ........................................................................................................................................ 41 Sink Your Chi and Mind to Your Dantien ................................................................................................ 42 Ten Principles .......................................................................................................................................... 43 One Through Six .................................................................................................................................. 43 Seven: Unity of the Upper and Lower Body........................................................................................ 43 Eight: Unity of the Internal and the External ...................................................................................... 43 Other Things to be Expanded On ............................................................................................................ 44 Sequence Preliminaries............................................................................................................................... 47 Names and Their Meanings .................................................................................................................... 47 Move Notation ........................................................................................................................................ 47 Directions (Orientation) .......................................................................................................................... 50 Chi Gong ...................................................................................................................................................... 51 Basic Yang Chi Gong ................................................................................................................................ 52 Neigong ............................................................................................................................................... 52 Taiwanese Set ..................................................................................................................................... 55 Eight Silk Brocades .............................................................................................................................. 58 Five Elements ...................................................................................................................................... 62 Advanced Yang Chi Gong ........................................................................................................................ 66 “Chen-Style” Silk Reeling..................................................................................................................... 66 Wu-Style Spiraling ............................................................................................................................... 66 Wuji (Wu Chi) ...................................................................................................................................... 66 Teacup ................................................................................................................................................. 68 Grass Blowing In The Wind ................................................................................................................. 69 Opening and Closing ........................................................................................................................... 69 Spinal Flexing ...................................................................................................................................... 70 3

Wu-Style Twisting ............................................................................................................................... 70 Swimming Dragon ............................................................................................................................... 71 Chen Style Chi Gong (Silk Reeling) .......................................................................................................... 71 Stake Standing..................................................................................................................................... 72 Dantien Rotations ............................................................................................................................... 73 Silk Reeling .......................................................................................................................................... 74 Chen (Qingzhou) Joint Opening Warm-ups ........................................................................................ 76 Ball Exercises ....................................................................................................................................... 78 Other Yang .............................................................................................................................................. 87 Iqan (Standing Meditation) ................................................................................................................. 88 Shoulder Wringers .............................................................................................................................. 88 Drawing the Bow................................................................................................................................. 89 Nine Ghosts Draw Their Sabers .......................................................................................................... 90 Tossing the Chi Ball ............................................................................................................................. 90 Empty-Hand Forms ..................................................................................................................................... 92 Yang Short Form...................................................................................................................................... 92 Taiwanese Eight Energies Form ............................................................................................................ 111 Chen (Qingzhou) Eight Energies ............................................................................................................ 116 Yang Long Form..................................................................................................................................... 119 Wu 16-Move Form ................................................................................................................................ 128 Weapon Forms .......................................................................................................................................... 137 Staff Form.............................................................................................................................................. 137 Five Style Tai Chi Chuan Fan Form ........................................................................................................ 159 Sword (Jian) Form ................................................................................................................................. 175 Saber / Dao / Broadsword Form ........................................................................................................... 191 Partner Exercises....................................................................................................................................... 205 Following (One-Handed) ....................................................................................................................... 205 Following-Leading (Two-Handed) ......................................................................................................... 206 Following with Movement .................................................................................................................... 206 Blind Following ...................................................................................................................................... 206 Static Pulling and Pushing ..................................................................................................................... 207 Move Resistance ................................................................................................................................... 207 Drop the Arm ........................................................................................................................................ 208 Push Hands – Emptiness (Ji).................................................................................................................. 208 4

Push Hands – Ward Off (Peng).............................................................................................................. 209 Push Hands – Standard Starting Sequence ........................................................................................... 209 Health References ..................................................................................................................................... 211 Formatting Junkyard – Heading 1, = Chapter ........................................................................................... 213 Heading 2 = Section .............................................................................................................................. 213 Heading 3 = Subsection ..................................................................................................................... 214 This should be another Heading 3 .................................................................................................... 214 List Styles............................................................................................................................................... 214 Move Naming Styles ............................................................................................................................. 215 Chen Qinzhou on the Tai Chi Sphere ........................................................................................................ 216 Notes on Master Chen Youze Seminar ..................................................................................................... 219 Bibliography .............................................................................................................................................. 221

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Acknowledgement

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Nearly all of the Taijichuan forms and Chi Gong movements documented here were taught to me by Kade Green at his school, North Austin T’ai Chi.

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As I have said several times before: I’ve had a number of Taijichuan teachers, and there is no question in my mind that Kade is the best teacher of this art I’ve encountered. I consider myself very fortunate to have been his student for several years.

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Of course, the things that are wrong in here – and there’s no question that there are some; nobody achieves perfection in this art or in its description – are my responsibility, not Kade’s. In fact, I’m certain there are things said here with which Kade does not fully agree.

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Forward

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I began writing this out of frustration. That changed. I’ll describe the frustration first, and then describe what the project morphed into.

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After studying Tai Chi Chuan for several years, with a number of different teachers, I found myself having repeated incidents that went roughly like this:

“I see you’re doing X. That’s good,” says the instructor.

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X is usually something that has been mentioned many times, by more than one teacher, as a wonderful thing one may hope to eventually do after years of experience and dedicated study. It is an advanced body function seems flatly impossible to someone just starting out. Example: getting your weight sinking down so low it seems like it’s in your feet.

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“Thanks,” I say, and then I have a thought: X seems like a pretty subtle thing for anybody to see so definitively.

“Say, how can you tell I’m doing it?”

“Oh, you’re bending your whatzits.”

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“You mean, whenever you bend your whatzit, you’re doing X? To X, all you have to do is bend your whatzit?”

“That’s right.”

“OK,” I say out loud, respectfully.

Inside, I’m saying “Why the *#%& didn’t somebody tell me that seven years ago?!?!”

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It is in fact dang obvious how to bend your whatzit, or whatever it was that was mentioned. It’s very simple, in fact. I could have been bending my whatzit for years. But nobody ever told me to bend my whatzit. Instead, I endured literally years of random trial and error, and finally figured out how to do X, usually not realizing that I was, in fact, bending my whatzit.

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This was a tremendous waste of time and energy – and such things, hanging students out to figure it out themselves, pervade the study of Tai Chi Chuan.

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So I decided I had to write down all those simple things, a collection that adds up to doing all the key biophysical elements involved in Tai Chi Chuan: How you move your body. There aren’t all that many, as it turns out.

Hopefully this will save others a whole lot of time.

Beyond that, the morphing:

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Over the last eleven years, and counting, I’ve accumulated a large amount of information about Tai Chi Chuan. One of the things I’ve learned is that there is no standardization whatsoever. If you go to a different teacher, even one teaching the same style you have been studying, you will learn a new form. It may be similar, but if it is it will usually be just different enough to mess you up.

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As a result, should I move, or leave my current teacher for any other reason, I’ll be working on things different from what I’ve learned to this point. Other than very basic principles, and those usually expressed in different terms, I won’t be doing the same thing. So I will begin losing what I’ve learned so far unless I practice it regularly. That just won’t happen with enough frequency to retain it all in my mind. Hence, I decided to write them all down as an attempt to avoid losing what I have so far.

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The vast majority of the words in this document ended up being that documentation: Detailed descriptions of moves of a large number of Chi Gong exercises and Taiji forms. I have left in a randomly acquired collection of thoughts about Taijichuan. They aren’t organized well enough. I started out fairly organized, but organization got lost in the need to simply dump a huge amount of stuff in here, particularly the chapter on Universals. Maybe someday I’ll really organize it and publish for real it in some form.

I hope this will be useful to others, but I really have no idea whether it will.

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However, in addition to the future purpose I hope it will serve for me, it has already provided me with a real benefit: The effort involved in writing all this stuff down has cemented it far better and more quickly in my own mind.

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Another reason for writing all this down is – who knows – I may end up teaching it. I know that I’m going to move at some point, and there’s clearly no guarantee I’ll find someone convenient to keep learning from. Even if I do, keeping all the prior stuff truly alive in me will effectively require that I teach it.

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I originally planned only three chapters. Hah. It’s now up to ten or so, and some of them became rather large.

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In addition, this document is an experiment in using Word 2007 for a large enough project to actually require me to learn it fairly well. I doubt I’ll be using the drawing tools enough to get diagrams under control, but hopefully I’ll get tables of contents, figures, cross-references, and maybe even an index under my belt. We’ll see.

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Occasionally you will come across words in pointy brackets, . Those are notes to myself about things that should be expanded on, or changed, or lists of things I should say something about, or whatever. This isn’t at all finished, not even as a data dump.

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Finally, a warning: READ THE “SEQUENCE PRELIMINARIES” CHAPTER BEFORE READING THE CHI GONG AND FORM DESCRIPTIONS. It explains the notation I’ve used in the Chi Gong and Form descriptions. If you don’t, you will likely be mislead. It’s not a long chapter. Just read it. OK? 8

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Introduction

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Imagine you are back in the seventeenth century, in China, out in the countryside, far from the sophistication of the cities. Specifically, you’re in a village in north-central China the name of which literally translates as “Chen’s Ditch.”

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You make your living in the trade for which the village is traditionally known: You are a mercenary. So were your father and your grandfather, and your sons will be, too. An illiterate warrior for hire, you support your family and bring money back to your village by working as a guard, a soldier, or other job of professional warriors. It's steady work. In fact, it’s been steady work for generations. There were 899 wars in China between 1000 and 1911 (1)1. It's just how you earn your living, day in, day out.

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So you are probably not inclined to obsess over whether your astral pyramid alignment is making your karmic aura have a bad hair day when it’s time for your Kirlian photograph, or, for that matter, whether your pre-birth Chi is circulating appropriately.

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You are, however, likely to be acutely sensitive to issues like “How do I come back in one piece, with my pay?” and “How do I keep doing so, for my entire working life?”

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Tai Chi Chuan was, historically, created and initially developed under those circ*mstances. The first verifiable written record of it is Chen Wanting’s “Song of the Canons of Boxing,” written in the midseventeenth century while he developed it in Chen Village (2), home of just such a hereditary clan of mercenaries. Of course, oral traditions and legends indicate a more rarified heritage.

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According to the more popular legends, the roots of Tai Chi Chuan trace back to the Taoist monk Zhang Shanfeng of Wudang Mountain, in the twelfth or possibly the fifteenth century, or even the twelfth through fifteenth centuries. Zhang Shanfeng is said to have conceived of Tai Chi Chuan after watching a snake sinuously avoid the hard stabbing attacks of a bird. Legend also indicates that Zhang Shanfeng developed an immortality pill and lived two hundred years (3), hence the century-spanning date range. Immortality pills and elixirs were a favorite obsession of great legendary Taoists.

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If you’ve had the typical Western glancing exposure to Tai Chi Chuan (…and may be wondering why I spell it that inconsistently? Explained later) you are probably thinking: Wait a minute. This is a martial art? Like Karate, Kung Fu, Bruce Lee, brick-breaking, high-kicking, yelling, and colored belts worn on uniforms? These languid movements done by many for health and stress relief are a martial art?

See the bibliography for details of all sources. 9

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Well, yes.

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Consider: The aims of army training and hereditary mercenary training have some fundamental differences.

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An army – and that includes a collection of monks who need to defend their monasteries – must place a high priority on how long it takes to make recruits useful. In other words: Quick, get to a point where you won’t die right away. They also live in a world dominated by military rankings, so rankings are a natural part of their techniques – thus, colored belts and uniforms. Of course, what’s taught must be effective, too, but in that, there’s little difference between armies training conscripts and hereditary mercenaries.

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On the other hand, if I and my ancestors for a while back are all mercenaries, as will be my sons and their sons, how fast my son can learn it not the key issue. He’ll start at a young age, and just needs to be ready by the time he’s old enough to start earning a living. So there’s roughly ten years or so of learning and practice available, day in and day out, the way children go to school in current Western society. This is not to say that the practice will not be intense; it usually was. But it is rather important that it not damage his body. The aim is for the long haul: A lifetime profession of combat.

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Why Do Tai Chi Chuan?

Tai Chi, done right, just feels good.

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You feel like you are not doing anything at all: there no effort involved; you aren’t straining anything. You feel almost like you are floating, yet at the same time you feel firmly rooted into the ground, as solid and stable as a brick wall. There is a feeling of satisfaction and completion arising from your whole body as every part connects together to form each motion.

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This is not like a “runner’s high.” That is real (5), but it’s apparently the result of exercise to near exhaustion. There isn’t any exhaustion involved in this; you can feel it from the time you start as a feeling that your whole body simply likes to do this stuff, while you are doing it.

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Tai Chi is not something you’ll do because you must. You won’t do it because it’s some kind of medicine that will make you feel better tomorrow, or next month. You’ll do it because you want to do it, now. Your body will be saying to you “Hey, why don’t we do that again?”

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And you can keep on doing it: It doesn’t wear out your body. Many masters of Tai Chi are octogenarians. Think about that. Basically, they’re professional athletes, practicing since they were children. When was the last time you saw a senior citizen in the starting line-up of a pro football team? How many aerobics instructors last past their mid-30s? Without double hip replacements? 10

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You don’t have to be a perfect physical specimen to do it well enough that it feels good, either. I’ve seen overweight people, people with asthma, people with knee and hip replacements, people seriously out of shape, and many others learn it well. Obviously, there are major physical defects that can get in the way; but they’re fewer than you might think. For example, wheelchair-bound people can still do it – perhaps only from the waist up, more or less, but that can still cover a fair amount. Your sex is irrelevant; men and women tend to exhibit different types of typical errors while learning, but can do Tai Chi equally well.

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Finally, while you can do Tai Chi for a lifetime, you don’t need to spend a lifetime learning it well enough that your body will tell you it feels good doing it. That can take only a month or two. That isn’t the reputation of this art; people are commonly said to need decades to learn it. There are cultural and historical reasons for that perception; Tai Chi has been the subject of vast amounts of misunderstanding in the West, and probably in the Orient, too. There are also, though, issues of intention: Yes, Tai Chi is a martial art (more on this later), and no, you won’t be slinging people across the room after a couple of months. You’ll probably enjoy your first lesson, of course, but in a month or two your body will have started a serious conversation with you about how good it feels, causing you to want to do it, learning it more deeply over time, for the rest of your life.

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Americans, or anyone else. They were interested in having a way to represent the sounds of Chinese2 using a western alphabet, period. Given the politics of the era, they naturally tended to use the phonetics of Russian for western characters, rather than those of English, which I would guess has something to do with there apparently being six or eight letters and letter combinations corresponding to sounds in the spectrum connecting “ch,” “sh,” “zh” and “j”. So there’s Taiji, with the “chi” sound rendered as “ji,” but I’ve seen “Chi” standing by itself rendered as “Qi,” and “Suzhou” (an ancient canal town) is pronounced “Soojoe.”

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But where the sounds came from really doesn’t matter. Pinyin works. It correctly represents the sounds of Chinese.

That is, it correctly represents them if you know the rules for pronouncing it.

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The problem is that unless you have specifically studied Pinyin, you do not know those rules. They correspond to no other language in the world. As a result, and I think particularly if you are used to reading English, if you haven’t studied Pinyin you will be mislead. Some examples: Nobody who is trained to read English, Spanish, or other Roman-influenced languages will pronounce “q” close to the sound of “ch,” or pronounce “zh” close to the sound of “j,” or realize “Taijiquan” is actually an attempt to represent exactly the same sound sequence that “Tai Chi Chuan” attempts to represent.

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So I’ll be using the spelling “Tai Chi” rather than “Taiji,” just like the menus of Chinese restaurants still feature Peking Duck rather than Beijing Duck, and for much the same reasons.

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That leaves another question: Independent of how you spell it, what is the name? For that, I have a short story.

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Suppose you are in China, talking to a group of twenty-something native Chinese, and you ask them, tentatively because you feel shy about doing something steeped in their culture, about Tai Chi. What happened to me in that situation, right after dinner at the Hot Pot King in Shanghai, was that I got blank stares.

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They looked at each other, quizzically, as if thinking “Tie what? Is that some English word I don’t know?” They had absolutely no idea what I was talking about.

I had a flash, and said “Tai Chi Chuan.” Instant response.

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“Oh, taichichuan!” “Oh, yeah, taichichuan!” “All I remember is the melon!” “Yeah, the melon, me too!” followed by general laughter. Then: “You’ve studied it for how many years?” with looks on their faces that seemed a mixture of surprise, like I’d sprouted some weird body part, and, perhaps, respect. Well, maybe I imagined that last part. Or maybe it had to do with my having just paid for dinner. Or their being friends of my son.

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Anyway, it seems that every 20-something Chinese, and probably all younger and many older, took Tai Chi Chuan classes in school. The classes were about one hour a week, and the first moves taught had a 2

Specifically, Mandarin Chinese. Wade-Giles primarily targeted Cantonese, pointing to yet another layer of complexity that I’ll ignore here. 12

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standard mnemonic: “Pick up the melon, cut it up, one half for you, one half for me.” This was universally standardized. From huge Eastern mega-cities like Shanghai to small villages, and probably even to Uighur oases along the ancient Silk Road in far Western Xinjiang, everybody learned about that melon. They don’t remember a whole lot other than that, but that melon really stuck.

I take away two lessons from this.

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Lesson one: I, along with probably everyone reading this, have no reason to feel shy about studying or talking about Tai Chi Chuan, even in China. Yes, virtually everyone in China has studied it, but the average level of expertise in the general population is roughly the level of my expertise in dodge ball: zero.

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Lesson two: Saying “Tai Chi” is like saying “Hey, how about a game of basket?” when you mean “basketball.” It makes no sense to most Chinese. The term is “Tai Chi Chuan,” pronounced as one word: taichichuan. Or, closer, “taijichwan.” (Pinyin spelling: Taijiquan.”)

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So, taking into account both orthographic variations and actual usage in China, I call it “Tai Chi Chuan” in this book.

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Another term we’ll meet is variously rendered as Chi Gong, Chi Kung and Qigong, I’ll use Chi Gong. This really is unsanitary, since the Wade-Giles “Chi Gong” is correct, but in Wade-Giles it’s “Tai C’hi” and in this case that apostrophe makes a difference, and the two are pronounced slightly differently,3 and more. See below.

The Meaning of the Words “Tai Chi Chuan”

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Now that we’ve discussed how to spell “Tai Chi Chuan,” what does that phrase actually mean? Let’s start by discussing each syllable separately, simplest first.

Chuan means fist, or boxing, and so indicates a martial art. So far, so good.

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Tai means big, large, great, huge, extreme, ultimate. For example, tai fun is typhoon, where “fun” means wind: the big boss of winds. That’s fairly straightforward, too.

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Then there’s Chi. Except it’s not, really. It’s “C’hi,” pinyin “ji.” This is a major difference, one important enough that I have, since finding out about it, almost turned around and changed the whole book to use the term Taijiquan instead of Tai Chi Chuan, and as this is written generally am just plain inconsistent.

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Chi as in Chi Gong, well, entire books are devoted to the concept, and disputing its characteristics is a favorite topic of Chinese philosophy. The word can literally mean air or breath; for example, the common term in China for weather is tian chi, literally sky breath or sky air. Chi is usually translated as spiritual energy or life force. But everything is supposed to have Chi, even rocks, which are pretty lifeless, at least to Westerners not of a New Age persuasion. The stuff is everywhere; it’s one of the primary constituents of the universe. 3

In Pinyin, they’re Taijichuan and Qigong. As one might hope, the sounds are differentiated in Pinyin, demonstrating that Pinyin really works. That is, it works if you know that you should pronounce “qi” as “ji.” On the other hand, maybe they are the same in Cantonese. 13

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But that’s all really beside the point, since that Chi is not what appears in the name Tai Chi Chuan. What that Chi or C’hi or Ji means seems to be “extreme point” or “pole” (as in “North Pole”). This of itself doesn’t seem to make a whole lot of sense. Tai Chi is “Great Extremes Boxing”? That translation is in fact a relatively common one, but I’m now convinced that this just indicates what happens when you take word elements too literally. “Tai Chi” is actually one word (Taiji).

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So what happens when we glue “Tai” and “C’hi” together? It would seem that whatever C’hi (Ji) is, “Tai Chi” would indicate a whole lot of it, or a really big one. I’ve seen it translated as “Grand Ultimate,” something that always makes me think “Grand Ultimate What?”

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But thinking that a combination means the literal sum of the parts is not always correct. Consider: Does the English word “holiday” mean a day that is holy? Back in the eighth century, that is actually what “holiday” meant; but the meaning has drifted from that for a whole range of reasons. The Chinese have had at least three times as long to work on “Tai Chi.”

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In this case, the combined syllables Tai+Chi, or Taiji, is actually a technical term in Taoist philosophy.

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Tai Chi in that meaning is related to Westerners often call a YingYang diagram, shown at the bottom of Figure 1. It’s intended to illustrate that everything is composed of a mixture of opposites: light and dark, heavy and light, male and female, etc. It is also an illustration of the ideal case of that mixture, precisely balanced. The contrasting embedded dots indicate that, even in this ideal case, each opposing element contains the seed of its opposite.

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However, the opposite of this balanced Ying and Yang is not total imbalance with all Yang or all Yin; if you go too far one way, you turn into or are defeated by the other. Rather, the opposite of this separation Wu Chi (Wuji), literally no Chi (um, no Ji. Dangit.) Wuji indicates nothingness, great emptiness or unformed, roiling chaos. I’ve attempted to indicate that with the grey blob at the top of Figure 1.

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I’ve seen the term Tai Chi refer to the ideal state of evenly-balanced Ying-Yang separation, and the “Ying Yang” symbol called the Tai Chi Tu (Taijidu). However, there’s at least one other point of view on this. Taiji can be considered neither Wuji nor Ying and Yang. Rather, it is the force or motivation that creates the separation of undifferentiated Wuji into Ying and Yang. This is based on (6), page 53, which grounds its position rather firmly in one of the Tai Chi classic writings. So Taiji actually appears nowhere in Figure 1. It’s not either of the two end states, and it’s not the transition between them; it’s what causes that transition.

Figure 1: The Wuji to Ying-Yang transition, ending with the Tai Chi Tu, commonly known in the west as the Ying-Yang Symbol.

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By the way, notice that those twentysomething Chinese didn’t pick up on “Tai Chi” – or if they did, they couldn’t imagine that was what I meant. It’s not likely to be a common after-dinner conversation topic unless you’re dining at a philosopher’s club. It was as if I’d suddenly asked them about Stoicism.

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So, after all of this, what does this have to do with “Tai Chi Chuan,” all three syllables together? Well, the same people who translate “Tai Chi” as “Grand Ultimate” have a simple answer: Grand Ultimate Fist. Sounds good, inflates the ego, what more could you want?

Before answering this directly, here’s a short aside that, I promise you, will be relevant.

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The late, great comedian George Carlin, of “Seven Dirty Words” fame, had a routine about the Ten Commandments. In it, he begins by asking why there are exactly ten of them. It’ a good question. Why should there be exactly that number of core, basic moral precepts? He notes that we have ten fingers and ten toes, and count in units of ten, so ten is a really nice number, one that’s easy for most people to remember, one that sticks in one’s mind. That, he concludes, is why there are exactly ten Commandments: ten is a really easy number to remember. Putting it more directly, as Carlin does: It’s marketing.

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Keep that in mind, and throw in the fact that this martial art first acquired the name Tai Chi Chuan in the mid-to-late nineteenth century (4). That period just happened to be when Taoist concepts were having a revival in literary and scholarly circles. Such litterati were, of course, the only ones who could write; China was (and is) a grammartocracy. So the literati get to pick the names that appear in the written record and are reliably passed around without, or at least with less, variation. Among that crew, Taoism was cool. So they picked a cool name. Putting it another way:

It’s marketing.

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But it’s marketing to the literati of mid-eighteenth-century China, so it isn’t exactly something that sticks in our minds as easily as, say, “Head On! Apply directly to the forehead!”

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OK, now I’m in deep trouble. Huge numbers of Tai Chi masters and students are massing to beat the {deleted} out of me for daring to suggest that Tai Chi Chuan isn’t deeply imbued with, and derived from, Taoist teachings. How can I say this when enormous numbers of words have been spent explaining how Taoist concepts of Tai Chi, or Ying and Yang, illuminate or underlie Tai Chi Chuan?

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To be sure, the situation isn’t that simple. One cannot imagine that, being immersed in Taoism, practitioners of Tai Chi Chuan would not seek to imbue their practice of the art with Taoist concepts and practices. At the same time, however, it’s appropriate to consider that to the extent that one considers Taoism a general philosophy applicable to anything, its concepts can be used to explain even that which wasn’t originally created from Taoist roots.

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So if you want to explain and illuminate your practice of Tai Chi Chuan using Taoist principles, I certainly won’t stand in the way. But I personally am not going to consider it the original source; I choose to think of Taoism as a way of explaining that must compete with other ways of explaining, where others may be superior in some instances. What other ways? Physics, anatomy, and physiology, for starters.

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Or you can use Taoism, but don’t leave out the historical fact that the term “Tai Chi Chuan” (Taijiquan) does not appear in the recognized classics of Tai Chi, written prior to the mid-eighteenth century. 15

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That implies another question: What was it called before it was called Tai Chi Chuan? Apparently, it was known as “Thirteen Postures Boxing” or “Long Boxing.” The Long Boxing name appears to come simply from the fact that some of the original training forms were long sequences of moves, as opposed to short technique-oriented practices. “Thirteen Postures” brings more Chinese cultural references into the mix. It’s derived from the classics spending a lot of time talking about eight energies, and five directions; or eight gates and five directions, or eight entrances and five steps.

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The Rest of This Book

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The next chapter covers topics that apply generally, everywhere; they are universals. This is followed by a chapter explaining the notation used in the rest. Then we go into Chi Gong moves and chapter after chapter of forms.

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Reading and practicing in that order is a frustrating and very ineffective way to try to learn Tai Chi Chuan.

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In the first place, a teacher is necessary because it’s very difficult to verbally communicate these postures and motions (and probably any postures and motions). The problem is not only that creating verbal descriptions is difficult, although of course it is. However, it’s also the case that the words that one person will understand won’t make sense to another. Different people simply need different descriptions.

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A teacher can provide those multiple descriptions, and a good teacher has a sizable inventory of descriptions that have worked with different students, accumulated over time. More importantly, however, he (or she) can bypass the verbal. While you’re doing something he can walk up to you, look at you, and tell you where to move the foot or hip or whatever is in the wrong place. Or, if no amount of telling you works – you don’t or can’t understand it, something that happens all the time – he can always push the offending body part into the right place. A DVD can’t push your elbow down. It also can’t feel when you have unconsciously tensed some muscle that should be relaxed.

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Learning something from a book and DVD is possible, but in my experience it only works after you are already much more than a beginner and so are able to understand what you are seeing. So, if you

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already know several Chi Gong and at least one form, you could, with a lot of work, use that technique to learn a weapon form, for example.

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Note, however, that many practitioners still use 15th century Chinese IP protection techniques when writing and making DVDs: They deliberately perform their forms incorrectly and leave things out of written materials, because they would really prefer to teach students in person. To learn from those sources, you must already know enough to detect the deliberate obfuscation.

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What I consider a more appropriate sequence for learning Tai Chi Chuan is this: Initially learn approximations to the Chi Gong and Forms; just become familiar with the overall sequence of the most obvious, large aspects of the moves and postures. Become familiar with that. Then gradually refine what you’re doing, incorporating more and more of the universal principles and getting your positioning more and more precise.

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This project uses, instead, an order more appropriate to a reference manual. That is really all it’s intended to be, right now.

About That Melon

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Just in case you’re curious, yes, one of those folks did demonstrate the “melon moves” informally, while they were all laughing about it. It was done quickly and off-handedly, but here’s what I remember:

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Take the melon: This corresponded well to what seems to be the standard commencement or opening move of various forms. Both arms are raised in front of you, in a way often described to me as having a balloon under your arms, while raising up your body slightly; and both arms are then lowered, while sinking slightly. (See the description of Commencement in the Yang Short Form.) Melons have been around a tad longer than balloons, so this makes a great deal of sense as a traditional way to describe that move.

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Cut it up: The motion consisted of bringing the hands up to face level, palms vertical, right hand above the left; and slicing down as if doing a two-handed karate chop, clearly cutting through an imaginary melon floating in the air at chest level. This move has no direct correspondence to any move I know, but definitely has the feel of a Tai Chi Chuan move.

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One half for you: Keeping the hands one over the other, turn the right so that both palms face right while raising both hands so that they’re at chest level. Twist right, pushing right with the hands – pushing one half of the melon to the right. Again, this has no correspondence to any move I know, but clearly a Tai Chi Chuan move.

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One half for me: Similarly, there is no correspondence. Move hands back to center, this time palms facing left, and twist to the left pushing the melon left. Again no correspondence, but clearly a Tai Chi Chuan move.

I suspect the latter three moves are part of the officially standardized 24-move set, which I don’t know.

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Of course, a group of reasonably hip, modern twenty-somethings scarcely represents the whole population of China. Well, actually, that’s a rather vacuous statement; it’s likely that no one set of 17

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characteristics could ever represent the whole population of China. A saying I heard: “If you’re one in a million, there are 1,300 of you in China.”

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In this case, though, I’m thinking of the fact that the country is afflicted with generation gaps the size of the Grand Canyon, to say nothing of gaps between inhabitants of mega-cities and villages.

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There are a large number of people who do practice Tai Chi regularly, even daily; you can see them every morning in parks, streets, and plazas. I’ve seen some doing a form whose start corresponds to the first few moves of the Yang Short and Long Forms included here. Every morning on a visit to Shanghai, I saw a collection of about ten middle-aged women, in white uniforms indicating they were probably clerks or maintenance workers, gather in an open area in front of a large, very fancy mall. This was a mall built in white marble, chrome and glass, and consisted of six stories of high-end designer stores and snooty sales people. Right there, the women did fan forms using long-fringed red fans, both a single-fan and a double-fan form. In addition, some of them did a saber (dao) form.

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But in the same streets, parks, and plazas, they also do ballroom dancing (for some reason, Salsa is particularly popular right now) and other activities. Many older folks also do it, partly because longevity is a broad concern as well as an ancient one. But they also do it because keeping your state-supplied medical care requires that you do some form of exercise. At least partly for those reasons, parks are typically equipped with various kinds of exercise equipment, and all the ones I saw were in nearly constant use.

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Nevertheless, there is no reason to feel shy among Chinese about one’s study of this discipline in the West.

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Universals

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This chapter lists things that are common across all the others: Stances, common terms, and, in my mind most importantly, the biomechanical techniques that I’ve discovered are key to doing this stuff right.

There are five things you to learn in order to do Tai Chi correctly:

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1. 2. 3. 4. 5.

Stand Balance Turn Step Connect

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The most important, the ultimate goal, is the last: Connect. Connecting your entire body together, so all your muscles from your feet to your hands work at the same time to perform a motion, is the holy grail of Tai Chi. It is reachable. While it is something you can and should practice on its own, the other four are things you need to learn in order to accomplish that connection.

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This is not all there is to Tai Chi Chuan, by any means. In particular, it leaves out all the elements directly related to push hands (Tai Chi Chuan sparring) or combat, such as sticking and following, energies expressed in various directions and forms (such as Peng, Lu, Ji, and An), explosive release (fa-jing), and others. However, the above are the basics, the content without which all the others are hollow and ineffective. While there’s a little about the other elements, nearly everything in this book only concerns those basics.

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mysterious concept: You hear the words, and you may understand what they mean, but at best it’s on an intellectual, theoretical level. So, here’s a physical parable that may help get across what we’re aiming at here.

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Put your palms together in front of your upper chest, fingers pointing up, in a traditional Christian prayer position or Buddhist wai. Press your palms together, fairly hard. That press isn’t for any particular purpose, just to get you into the idea of pressing.

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Keeping your palms vertical, slide your right hand down, vertically, until its three middle fingertips just touch the base of your left palm. Now try to press your right palm with your left fingertips.

Doesn’t work very well, does it?

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You have to strain to keep your right hand vertical, and you can’t exert much force at all without bending your hand back at the wrist. Your hand muscles are straining, too. It just doesn’t feel very good at all.

Now curve your right palm and fingers into an arc. Press again.

Ah, that’s much better. Force is transmitted from your arm very nicely to your fingertips, isn’t it?

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In fact, you can actually relax the muscles in your hand and wrist while pushing much harder than you were before.

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That’s the idea of connection – and alignment, which is what allows connection. In Tai Chi Chuan, you want to do what you just did with your hand, but do it with your entire body. You want to transmit the massive force everyone carries in the legs up through your body and out your arms and hands. As the saying goes, Tai Chi Chuan is the art of kicking with your hands.

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Like all sayings, though, that one is at least incomplete. In the first place, when you really get the whole connection thing down, you’re not just kicking with your hands. That would imply you’re only using your leg muscles. Rather, you use all the muscles from your feet on up through your legs, your hips, your abdomen, your chest, shoulders, arms, and hands, all at once, coordinating together. That’s connection, and why it’s called connection.

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It’s why you’ll be learning a rather peculiar way of aligning your body when standing; it’s a whole-body equivalent of cupping your palm and fingers. Were you hand straight, you couldn’t use the power of your hand and finger muscles. Similar analogies are there to techniques discussed below concerning turning, stepping, and balancing.

There are a few misconceptions this description may produce, however.

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First: Don’t get the idea that because all those muscles are working at the same time, they’re tensing up. Remember the bit about relaxing your finger and hand muscles? You can really only make this work when the muscles are relaxed. Not limp; some muscle tone is needed. But not tense. The Chinese term for this muscular state is sung. There’s no equivalent single English word I know of that has the same connotations of both non-tension and non-limpness.

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Second: This probably all gives the impression that Tai Chi Chuan is all about generating power. Power is certainly part of it, but notice that the power is not generated by lifting weights, or repeatedly kicking and punching, or other techniques to build muscle mass. There’s nothing wrong with building up additional muscle mass; Tai Chi Chuan will certainly condition your legs, for example. But its primary way 20

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of generating force is by learning techniques to align your skeletal-musculature system and coordinate yourself – in other words, to learn ways of using all you have to your best advantage. That’s useful in everyday life: lifting objects, pushing a vacuum cleaner, doing yard work – Tai Chi Chuan’s body mechanics are applicable in all those, and to many other situations. There is a sense in which it’s all technique, and never force; this is a major reason why, when practicing and doing it well, you do not feel like you are exerting yourself at all.

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There are so many thoughts this leads into: How this illustrates that Tai Chi Chuan is a way of learning to use your body in a new, more efficient manner; that the softness of force generation is a major enabler of the combat technique of reading your opponent’s balance and intent by touch (Tai Chi Chuan is a very up-close-and-personal way of combat); that the movements of Tai Chi Chuan’s forms are, among other things, an exercise in learning how to make this connection in a wide varieties and postures; and so on.

But enough of this for now. Off to some details.

Common Terms and Concepts

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These are things that are often referred to in the chapters below. I will add others as I come across the need when writing descriptions of the moves.

Stances

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A set of descriptions of stances is just about the most boring thing imaginable, but describing them once, here, saves lots of repetitious words later, and lets you find them when their names appear later.

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The small, medium, and large stances, along with the bow and cat stances, are all the formal stances that are used in Yang style. Many moves involve positions that don’t fit those patterns, though; the stances might really be considered starting points – although actually, I suspect that it’s really the other way around: First come the techniques, the art itself; then the form, and push hands, and Chi Gong, and whatever. Someone trying to organize things to make them rational to learn then thinks to himself “Hey, most of the time you have your feet and weight in the following few positions!” and those positions become “the stances.”

The Medium Stance

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The medium stance is very specifically defined. Place your feet parallel, pointing straight forward, directly below your hip joints. “Directly below” means that a line drawn straight back from your second toe (the one next to your large toe) is right underneath your corresponding hip joint.

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Your knees are slightly bent, moving forward along that line described above. How far they are bent depends on how athletic and/or masoch*stic you feel at the moment; sinking down more deeply is more work.

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Keeping your feet parallel may well seem hard and unnatural; it may strain and twist your legs and knees. To relieve this, open your quas slightly, spreading your legs out slightly at the hip. This will remove lots of pressure from the rest of your legs. (Try this: Clench your tush. Your legs will be twisted so your feet point outward. The opposite – relax your tush, and your feet straighten out.) 21

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Very important: In all stances, keep your knees on that line drawn back from the second toe. Letting knees “cave in” towards the center of your body is a common error that can cause damage to your knee joints. The reason Yang style keeps the feet pointing forwards is that this makes it easier to keep your knees lined up in the relatively narrow stances used by Yang style. The reason Chen style points the toes somewhat outward is that this makes it easier to keep your knees lined up in the much wider stances Chen style uses. So style or no style, keep the knees lined up with the feet.

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I always had tremendous trouble keeping my knees from caving in to the center when I was studying Chen style, with its outwards-pointing feet. Keeping my feet straight forward in Yang eliminated that problem almost completely.

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There is a more to how you hold the rest of your body in this and other stances, or indeed in all of Tai Chi Chuan. Later.

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A fair number of people, including myself, have a continuing issue with positioning the right foot. Dang thing always wants to angle out to the right. I have two words which seem to explain that: gas pedal. It is common when driving to have your heel closer to the brake pedal than the accelerator, and to turn your leg, from the hip, to rotate the ball of your foot onto the gas pedal. This is natural, since the gas pedal requires far less pressure to operate. Unfortunately, after doing this for many years your muscles will have stretched to make the right leg turned out a neutral position without muscle stress. A suggestion: Start consciously putting your heel directly below the gas pedal, rotating your leg to the brake instead. This will feel awkward at first, but should help correct the problem over time. I hope. I’m still working on it. You should, obviously, work to keep your right foot facing forward by turning the leg at the hip joint. For a while this will make you feel pigeon-toed, but that will pass.

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Another technique that seems to help bring your legs in line when walking is to consciously pick up and swing your legs forward using the muscles up in your quas, getting your lower abdominal muscles into the leg act. Try it.

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An aside: The medium stance discussed here is nearly the same as the Yoga Mountain Pose, or Tadasana. The Tai Chi use, however, is slightly deeper and generally more intense than Tadasana. There are some elements that Yoga and Tai Chi, particularly Chi Gong, have in common. I’ve had Yoga instructors show me poses that correspond directly to several of the Eight Silk Brocades Chi Gong set, for example, including Upholding Heaven and Drawing the Bow. As the saying goes: Many rivers lead to the same ocean. (This also may indicate that Eight Silk Brocades originated from or borrowed from the Buddhist tradition out of India.)

The Bottom of the Feet

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In the medium stance, and in many others, your weight is evenly distributed to both feet: There is the same amount of weight in each foot.

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In addition, your weight should be evenly distributed within each foot. One way to think about distributing weight within each foot is to pretend there are four points at the bottom of your foot: One is at the ball of the foot, one at the pad behind your smallest toe, and two on either side of your heel. You want equal weight on each of those four points.

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Another way to think about weight distribution within the foot is that your weight is centered in the middle of your foot, but that middle is actually not pressing on the ground; instead, your weight is 22

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evenly distributed around the outside of your foot. If that sounds mysterious, think of taking an empty water glass, turning it upside down on a table so the base faces up, and pressing down from above onto the center of the base. The force on the glass is centered in the middle, but only the edges are pressing on the table.

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Of course, unlike a glass, which has an edge all around, you do not press your feet’s arches against the ground. It’s more like a glass sliced in half vertically, or with a vertical pie-like wedge cut out of it. But the idea still stands.

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These same principles of weight distribution between and within the feet are used widely. Small and large stances use it. The Cat and Bow stances do not have the weight distribution even, but still distribute within the feet the same way.

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Concentrate on supporting yourself along the outer edge, the ball of the foot, both sides of the heel; not the arch. This also helps keep your knees in alignment, keeping weight off of them. Pushing down on the arch collapses the foot in, and puts strain on the knees.

The Small and Large Stances

The small and large stances, in contrast to the medium stance, cover a variety of actual foot positions.

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A small stance is actually any stance like the medium one but with feet closer together than the medium stance, even by the smallest amount. Similarly, a large stance has the feet any amount, even the smallest, further apart than the medium stance.

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While that’s the strict definition, in their usual use small and large stances are noticeably different from medium. What I’ve usually seen and done is move one foot about the width of a foot – inward, to a small stance, or outward, to a large stance. So in the small stance, the feet do not touch; they’re roughly an inch or so apart. Similarly, with a large stance, your feet are not seriously far apart. Wider large stances can, however, be used, and are appropriate if your intention is to get more exercise by wearing out your legs more.

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The usual size of all of these are considerably narrower than stances I’ve used in Chen style, or stances I’ve seen many demos. Demos of Wudang mountain monks, for example, use extraordinarily wide stances; their thighs look almost horizontal. On the other hand, Wu style uses much narrower stances.

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The small, medium, and large stances are officially Horse Stances, in that they look a little like you’re sitting a horse. In what I’ve been of Yang, people seldom use the term “horse stance,” however; Chen uses it all the time.

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Note that also unlike other styles, the feet are not angled outward; they are always straight ahead, even in the wide stance (which isn’t that wide). This is related to knee position, as discussed earlier.

Bow Stance

To get into a right bow stance:

Start in a medium stance.

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a) Pivot your left foot on its heel a small angle counterclockwise. Moving it 20-30 degrees is OK, up to 45 degrees is OK, more than 45 degrees is too much. b) Move your right foot straight forward until your right heel is as far forward as the tip of your left foot. c) Position your weight entirely in the front foot. The rear foot should make firm contact with the ground, but not have weight on it; it should be prepared equally to brace against pressure from the front, or swing forward in a forward step. The left bow stance is the same, reflected left to right.

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Why this is called a “Bow” stance: Think of the “bow” part of a bow and arrow, strung and drawn with an arrow ready to let fly. Now imagine shoving the bow, still in that position, vertically into the ground, so deep the grip is just at the surface. Your forward leg is the wood of that half-buried bow, and your rear leg is the string.

Cat Stance

To get into a right cat stance:

Begin in a small stance.

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a) Pivot your left foot exactly as in a right bow stance. Repeating what that means: Pivot your left foot on its heel a small angle counterclockwise. Moving it 20-30 degrees is OK, up to 45 degrees is OK, more than 45 degrees is too much. b) Move your right foot out the same distance as a bow stance. c) Position all, 100%, of your weight in your left foot. d) Raise your right heel until your right toe is just touching the ground The left cat stance is the same, reflected left to right.

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Why this is called a cat stance I have no idea. It doesn’t look particularly catlike to me. But that name for this stance is broadly used in Tai Chi Chuan, Karate, Kung Fu, etc.

Body Parts: The Dantien and the Quas

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That we all have these body parts will be news to most Westerners. We don’t divide the body up this way.

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The dantien is approximately the lower abdomen. It is centered at a point three finger-widths below the navel: Put your right hand on your abdomen with the tip of your index finger on your navel, and the tip of your ring finger is lying on the center of your dantien. However, it is not on the surface; it lies inside your abdomen. Also, that is the center; the entire dantien is a round ball extending from the bottom of your abdomen to partway up to your sternum; and left-right to the sides of your body.

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The dantien is what directs power: Power is rooted in your feet, is developed in your legs, directed by your dantien, and expressed in your hands and arms.

quas

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Shoes or no shoes?

It’s up to you.

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I’ve had instructors who said they “have no pity for anybody who doesn’t wear shoes,” and I’ve seen masters demonstrating and teaching wearing athletic shoes (sneakers). Cheap ones. This probably arises from practice in places like Chen village, where it’s is often done outdoors, in dirt-floored practice areas where the surface has been ground to a fine powder by generations of students.

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I’ve had other instructors who said they prefer doing it barefoot because that allows them to better feel their connection to the ground. I would guess that probably comes from indoor practice, in the city and particularly in the United States. This seems to be more associated with styles developed after Chen, like Yang, Wu, etc.

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So, at least in this case, do whatever curls your toes. (Figuratively. Don’t curl your toes.) I wear shoes, myself, because I have a funky thing in the bottom of my foot that hurts when I walk barefoot on hard surfaces. One word of caution: Avoid athletic shoes that have very padded soles. Balancing on one foot with those is like trying to stand on one foot on a pillow.

The Rules of Breathing

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According to the particular Yang tradition I was taught, there are five rules of breathing. They are listed below in order of priority: The first is most important, and the last is less important than the four preceding it.

The first rule is: Breathe. Never hold your breath for any reason.

The second rule is: Breath in a natural, relaxed manner. Do not force your breath.

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The third rule is: Be aware of your breathing. Be aware of the path your breath takes through your body, penetrating all the way through your body.

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The fourth role is: Diaphragm breathing. Breathe by lowering your diaphragm, not by puffing out your chest. Let your breath sink deep in your abdomen, expanding your abdomen and your kidneys, lowering your diaphragm. Move a hand to your back and feel your kidneys expand and contract with your breath.

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The fifth rule is: Time your movement to your breath. Begin each movement with your breath, continue it through your breath and end it with your breath. It’s not important how your breath matches your actions, just that it does match them.

Here are additional details and discussion of reasons behind those rules:

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Breathe. If you hold your breath, you are necessarily tightening muscles in your torso and cannot fully relax. Without relaxation, none of this art works well.

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Breathe in a natural, relaxed manner. Your body will breathe perfectly well on its own, using its autonomic systems; attempts to help that system consciously are misguided. Furthermore, if you’re concentrating on breathing, you have that much less concentration to apply to other things, and there are plenty of other things to consider – like whether an opponent is about to punch you in the nose. So, just let it happen. 25

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Be aware of your breathing. While not forcing it in any way (second rule), simply be aware of what’s happening. Otherwise you can’t do the remaining two rules.

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Diaphragm breathing. You will get more air into your lungs by lowering your diaphragm than by puffing out your chest. However, your chest does expand even in diaphragm breathing; trying to keep it from expanding will, again, tighten up your muscles and lose relaxation. There is an apparent contradiction between consciously doing this and while simultaneously following the second rule and just letting your breathing happen. At this time, the only way I see around this contradiction is to practice diaphragm breathing enough that it is what you do without thinking about it.

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Time your movement to your breath. Do not do the opposite, attempting to modify your breathing to match the speed of your movement: The natural timing of your breath is the timing control, not how you want to do the movement. Your breath moves your body. If you think this is inconsistent with selfdefense, consider that your breath will be, if you just leave it alone, regulated by your intention without your explicitly controlling it at all. And besides, in a self-defense situation you have more to worry about than regulating your breath.

Biomechanics

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As far as I’m concerned, this section is the point. Realizing I wanted to write these down is what started me writing this whole thing.

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I believe there are a few key elements that together form the core physical aspects of Tai Chi Chuan. I don’t know about the “spiritual” or philosophical side, but then again I don’t think I have ever had competent instruction or teaching in that side.

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This chapter summarizes those rather few items. It’s effectively my version of a list of “Tai Chi Chuan principles.”

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I’m listing them in more-or-less the order in which I figured them out, and it was, somewhat annoyingly, necessary to figure them out. Why some teacher couldn’t have just told me, I don’t know. There is nothing magic or mystical to them. Each did have an “Aha!” moment when I finally made it work – which was generally when I finally did something someone had been telling me to do, without any bloody guidance as to how to actually do it. So here I’m going to write down that guidance.

Relaxation and Sinking

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Unfortunately, the most complicated one comes first. Involves the stance. What you’re sinking is your weight. “Weight” here would traditionally be called “chi” There is no physical thing corresponding to chi, but it feels like there is. In this case, it seems like your weight.

Getting into the Basic Stance

Hearing this was another one of those “Grrr, why didn’t somebody tell me this six years ago?” moments.

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b) Lean directly forward from your quas (hip joints). This doesn’t have to be a huge lean, but it should be enough to produce a definite fold at your quas. Let that lean stretch out your lower spine, so it straightens somewhat. Do not, however, curve your upper back and spine forward; keep that straight, and keep your shoulders out to the side, not hunched forward. c) Now move your knees forward, in a line directly over your feet, of course, bending at the ankles. Do not lose that kink in your quas, or straighten your lower back. As you do that, keeping the angle of your quas should result in you tucking your hips forward; that is correct.

That is it. You now have your lower body in the correct position.

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I cannot tell you how many thousands of words and corrections have been spent in classes I’ve been to to achieve that result: Lower back straightened a bit, hips tucked under your body, knees bent.

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If your thighs start letting you know they’re being stressed, then you’re doing it right. The strain they’re taking up used to be in your lower back, which is now working less than usual – which is good.

Then we have to deal with the upper body. Basically, relax it; that’s the subject of the next section.

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Here’s an additional thought about the hip and lower back position described above: It strikes me as being a continuation, or extension, of evolution from a quadrupedal to a bipedal stance.

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Quadrupeds don’t have the double spinal curve that humans do. When a quadruped lifts its front end up, it will bend its spine backwards as well as rotating its hip up somewhat. This bend looks to me like that lower-back spinal bend everybody has. Clearly, retaining some of that reduces the amount of hip modification needed to reach an upright stance. The standard stance’s effect is to tilt the hips forward further, eliminating the need for some of that bend. So effectively this position makes us “more evolved” to an upright stance. Taken literally, that last statement is of course nonsense; we’re obviously not changing our genetic makeup by attaining this position.

Shoulder Position

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I’ve had trouble getting my shoulders straight out where they should be. Many of us do after a lifetime of working at tables or keyboards with our hands in front of our bodies. Here’s a technique for finding out where they should be. It’s very simple.

Put your hands on your hips.

Your shoulders are in the right position.

Just lower your hands straight down to go into the normal empty (wuji) stance.

That’s really all there is to it. Here is some likely unnecessary detail

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

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Notice how, with your arms down, you really can keep your shoulders in that position without tensing your deltoids (muscles at your shoulder blades), pecs, or shoulder muscles.



When you put your hands on your hips, do it in the usual way: The web between your thumb and index finger is touching your body, thumbs forward, palms angled down and back. Make sure your elbows point straight out from the sides of your body.

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This will, at least initially, feel much too far back; it certainly did for me. Keeping your shoulders there when moving your arms will be challenging. (I am, at this point, not sure keeping them there is 100% necessary all the time. It seems really hard to even rotate your upper arms forward and up.)

Elements of Relaxation

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Your shoulders should be straight out to the sides. That will feel to most people nowadays like they’re slightly back. We’ve all spent too much time hunched over computers or desks. (See previous topic.)

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Relax your butt muscles. For me, that’s key to relaxing down my legs, thighs and calves, and thus sinking my “chi” to my feet. Something that works for me is to rotate my legs slightly outward at the hips – not really rotating the legs, just thinking them into that position. That this works is surprisingly reasonable when you try the opposite: Tense up your butt muscles. What do your legs naturally do? Rotate outwards, that’s what. So, rotate your legs inwards. It works.

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Muscles come in pairs, and you cannot relax one without also relaxing its paired opposite. For example, you can’t relax your biceps without relaxing your triceps. Interesting pairs:

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  

Elements of Sinking

Bending your knees gets weight to your thighs.

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Bending your ankles gets your weight down to your feet. I know, you can’t bend your knees without bending your ankles. Trust me. If you focus on your ankles, rather than your knees, your weight goes lower and your calves start taking up some of the work otherwise done only by your thighs. Really.

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Cupping / bending your feet gets weight below the ground. It really feels that way. Work on it long enough and often enough, and you will feel it, too.

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I have found that that relaxing my glutes is key to relaxing my thighs, which in turn ends up sinking the relaxation down to the lower legs. Then relaxing those lowers it to the feet.

Speed of Relaxation

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You will likely end up taking a long time to get into a relaxed, sunken state when first attempting it, going through a sequence of, for example, making sure your ankles are bent, starting at your head and relaxing your shoulders, then your chest, then abdomen & back, then butt, and so on.

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But the entire point is to maintain this position while doing the form or doing push hands. To do that, it is important to learn to quickly get into a relaxed, sunken state. A way to train this is to stop or slow down at every point in the form, relax, and sink. Doing this makes the form take a long time. It’s also exhausting.

Chest muscles (pectorals) and the muscles under your shoulder blades. Stomach and lower back. Butt muscles (a.k.a. “glutes,” from gluteal muscles) and shoulders. Up and down pairings exists, too.

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Turning

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“Turn into your leg” is something I’ve been told about a thousand times. OK, that’s how it feels when you do it right. That’s what I finally found out, anyway, after making it through four separate stages.

Twisting the Lower Waist

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Meaning, turning your torso starting at the hips, without moving your pelvis. My immediate reaction was “Yeah, sure. That’s impossible.” I finally got it to work about five years and two teachers later.

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First get this working with lowest part of abdomen, right down at the hips. This is an action most of us have never done.

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I got it to work by using a wide stance, and actively pushing out with the leg opposite the direction I was turning. That way you contract the side you’re moving into, but, importantly, stretch out the opposite side.

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I think the need for that side to stretch is the key missing ingredient for most of us. Until it stretches out, you can’t very well turn into the opposite side.

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Actively pushing out like that is also a way to get spiraling going down that leg, too. Yes, you spiral into the turn with the leg you move towards, and out of the turn with the opposite leg. So turning left, you spiral counterclockwise within the left leg, and clockwise with the right leg.

Twisting the Upper Waist (Torso)

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After getting the lower abdomen loosened up, next work on the middle abdomen from the lower through the waist to just below the rib cage. That has to twist also.

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Important: It’s easy to confuse this upper torso twist with twisting your shoulders. Your shoulders do move, but only as a consequence of twisting your torso. They should stay straight forward relative to your rib cage; there aren’t any significant muscles twisting them, so leave them out of it.

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An indication that you are working your shoulders too much is that you raise your shoulders up and back. Instead concentrate on keeping them low, going down into the direction of the turn.

Twisting Within the Leg

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This became clear to me from practicing Wu-style silk reeling. Twist hard down into the leg, then, keeping the same position, loosen the muscles in your legs loose

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Balance: By both twisting the waist and twisting within the leg simultaneously, presto, you now can balance on one foot more solidly than you ever have before. There’s more discussion of this later.

Adding the Hip Turn

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Combine the leg twisting with the waist twisting, and pivot at the qua, and turn your upper body (shoulder to waist). That’s the complete turn.

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That is how to “wind up” for doing something, as in twisting in to twist out powerfully when doing, for example, White Crane Spreads its Wings.

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Pulling Into the Foot

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Normally you walk forward by pushing off the rear leg, swinging the front leg forward, and catching yourself; it’s actually a controlled fall. It’s hard to do this if you want to move into a foot and balance there, since you have to hit the right amount to push very precisely; you’ll tend to overshoot or undershoot. This is also why it’s hard to walk on ice in the usual way. There’s a way to do this that is much easier and more stable.

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Pretend there’s something stuck to the bottom of your right shoe, and you want to scrape it off. So stand on your left leg, stick your right foot out a bit, and scrape your right foot on the ground. Scrape harder. No, harder than that. It’s really stuck on there. Put more and more weight into the scraping.

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Gradually, reach the point where you push so hard, your foot doesn’t move; instead, you pull your body forward.

That’s how to pull into the foot.

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Now try doing it side to side: Go into a wide horse stance. Scrape to the side, pulling yourself right, then left. The sideways move is how I originally got the idea. Particularly when combined with the twisting above, helps you balance into one foot very well.

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After you get the idea, this can be done even for a very short distance. It appears to be what’s really meant by the phrase “move from the feet.”

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This kind of motion is a great way to walk on slippery surfaces. When faced with an icy patch in a parking lot or sidewalk, try using this to get across. You’ll find that it works amazingly well.

Push Up Through Back, Pull Down With Front

Figured this our from the “Opening and Closing” Chi Gong.

Also works when weight is entirely or primarily on one leg, as in, for example, a cat stance.

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Important: Doing this in combination with pulling from the foot gives tremendous connection and smoothness. Pulling forward in “Push,” for example, you should connect the leg pull with opening your body by using the back muscles. When pulling back into a back foot, connect with your stomach muscles compressing your body.

Meta-Topics

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These are a collection of topics that aren’t about Tai Chi Chuan directly, but do bear on the learning of Tai Chi Chuan, and probably the learning of many other things, also.

Those Who Can, Do; Those Who Can’t, Teach Better

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Some people are muscle geniuses: They immediately realize, or naturally figure out over time without much instruction, what the correct, most efficient motion is of their bodies to accomplish some task. This was something I originally heard from the coach of the swimming team at M.I.T., who showed us 30

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pictures taken with underwater cameras of world-class swimmers, pointing out how they moved their arms and legs to get the most motion with the least effort.

Muscle geniuses usually make lousy teachers of physical activities.

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The problem is that they usually do not know, because they never needed to find out, any intermediate steps to learning how to do something. If articulate, they can often give good descriptions of what the intended motion or state feels like when it is done correctly. But that’s all they think is necessary, since it’s all they ever needed: Given a description of the final state, they figured out – at a genius level – how to get themselves into that state. They almost never can explain how they managed to do that, and even if they can, they usually will not, since, after all, those stages they went through were wrong. Why would anybody want to hear about the wrong thing?

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Of course, if you’re a muscle genius, that’s all you need: A hint about roughly what to do, and an indication of what it feels like when you do it right. Want to keep your balance on one foot? Sink into your foot. (Whatever that means!) In all movement, lower your weight into your feet. (How?)

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The most frustrating thing for me in such circ*mstances – and in case you haven’t figured it out, I am not a muscle genius; I do, however train fairly well – is the “you weren’t ready to hear it” statement. After months of random experimentation on a move or sequence, I finally do manage to get the right thing in place, and make some comment about how it feels. This is often then met with a nod, and the statement “Yes, that’s what I said lots of times before.” “Eh? I don’t remember that.” “I said it lots of times. You just weren’t ready to hear it.”

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Right, I “wasn’t ready to hear it,” like somebody isn’t ready to hear about the thermodynamics of friction when they’re trying to strike a match.

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Someone who has to work to learn something, and work hard, may not be the best practitioner of the art. That’s muscle genius territory. But a “slow learner” who has persevered may be far better equipped to explain to others how to get going on the path to some success.

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So, does this mean you should avoid teachers who do Tai Chi Chuan well? Well, no, since you do want someone who knows what it’s about. However, doing it well is no guarantee that they have the faintest idea how to tell anybody else how to do it. If you are frustrated, move on – even if the person is revered as a wonderful practitioner of Tai Chi Chuan, particularly if you hear the identical description repeated to you multiple times, when it’s not helping. You may be able to learn something from complete experts after you become fairly expert yourself, but sticking around may just burn you out on something that can be a very rewarding activity.

Concerning Practice

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Obviously, the way to become better at doing Tai Chi Chuan is to practice. In fact, massive practice, at least daily, for years, is advocated for those who really want to do it well. (Benefits of course will accrue without that much work.)

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But how, exactly, do you become better with practice? Does it just happen automatically, after hours of mind-numbing repetition? Or is there something you have to do, that the muscle geniuses don’t bother mentioning because they just do it, without thinking about it?

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Clearly, I think it’s the latter, and it appears to be more complicated than it seems because there are actually a number of different things that can be the goal or intent of practice. The ones I’ve come up with are: basic memorization; muscle memory; physical conditioning; and experimentation. There may be others. Experimentation, in particular, is one that seems to be completely unconscious in musclegenius types of people, and is crucial to improving. I’ll expand on each of these below.

Memorization

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Basic memorization is the first goal everyone has when initially learning a new position, move, or sequence of moves. You’re practicing just to commit to long-term memory where to put your feet, hands, arms, and other body parts to do something you’ve never done before. It’s the usual “remember these four words” declarative memory also involved in memorizing most things.

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Here’s a hint that really seems to help the basic memorization process: Following a lesson, practice again twice. The first time, do it about twenty minutes after the class or as close to that timing as you can manage. The second time, do it just before going to bed that night. There is documented research indicating that neurochemicals involved in fixing long-term memory peak about twenty minutes after first learning something new and putting it in short-term memory. Also, it really works to review before sleep; otherwise, what you learned will just completely fade out. Why that works I don’t know, but I can vouch for the fact that it does. Neither of those practices need be long or arduous. Simply doing it once, running through the sequence or adopting the position quickly and even sloppily is enough to begin cementing into your long-term memory the intended sequence or position you just learned.

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If you can’t run practice physically, moving your body around, doing so mentally seems to work nearly as well. Just go through the sequence in your mind, visualizing yourself doing it. This is particularly useful at the 20-minute mark, since who knows where you’ll be at that point. Breaking out into “Grasp the Swallow’s Tail” on a crowded bus is usually not going to win you any friends. Just run through it a couple of times in your mind; that seems to help fix it in long-term memory.

Muscle Memory

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You don’t need all that much practice to achieve basic memorization of individual positions of moves. The two tiny sessions mentioned above may be all that’s needed, if what you learned isn’t very complex. Achieving muscle memory, however, does require repeated physical practice.

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Muscle memory is difficult to describe because it is nonverbal. It is a stage of memorization that is beyond or deeper than standard rote memorization. When you’ve managed to get something into muscle memory, your body itself just seems to know what it is that you should do; the actions are automatic, without needing conscious thought to guide them. For example, think of brushing your teeth. You don’t consciously guide your hand in strokes, you just do a “brush your teeth” action without subparts, or at least with rather few of them. The actions of your mouth and vocal chords while speaking are another example: At one early point in your life, those actions had to be learned as individual separate items; in all normal adults, they are muscle memory, automatic. While this does feel like it is in your muscles, it really resides in a lower level of your mind, such as the limbic system. Achieving muscle memory really is automatic; if you repeat movements often enough, and the movements will eventually seem to become embedded in your muscles.

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Muscle memory is both a necessity and a danger in Tai Chi Chuan. On the one hand, you must achieve it or you will be overwhelmed when trying to do any whole form or even Chi Gong exercise. Its automatic 32

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nature is what really gets used if Tai Chi Chuan is actually used in self-defense; nobody ever consciously thinks “Oh, he’s doing a punch to my face with his weight committed, so I can roll it to the left and bend his arm backwards.” Things happen too fast. You must just react, relying on having trained your body to act in certain patterns by muscle memory.

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On the other hand, you should avoid going too far with this, letting your motions become solely automatic, without thought, while practicing. Doing so can make it very difficult to change and improve them. By way of comparison: It is extremely difficult for adults to eliminate accents in their speech precisely because the actions causing the accent have become muscle memory, and aren’t available to conscious manipulation. Similarly, it can be hard to overcome errors in your Tai Chi Chuan, or learn to do it better by some measure, if you habitually perform the motions just using muscle memory.

Physical Conditioning

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Physical conditioning is another obvious common goal of practice. If muscles need strengthening in order to do particular moves, or ligaments stretched to achieve the range of motion needed, simple repetition will do the job.

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Of course, one must be careful not to overdo this, or you can injure yourself. A description I have heard of a correct way to do it is to treat your limits not as a barrier to be broken through or something to be surpassed, or forcibly extended, but rather as something that you approach, working up work close to them without actually reaching them. If you approach, but not exceed, your limits of stretching or strength regularly, over and over again, you’ll find that you gradually, gently, extend those limits without pain.

Experimentation

Can anything mentioned previously actually end up causing you to do an action better?

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In some senses, the answer is yes. Getting the elements of an action memorized, committing it to muscle memory so it becomes smoother, and conditioning your body so you can do it are all “better” in the sense that you have learned to do it in the first place. That’s clearly “better,” in the sense that doing it at all is better than not doing it.

OK, so now you’re doing it. Does it stop there? How do you progress further?

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Or suppose you actually, despite practice, aren’t really doing it well. Lots of us are often in that state, for many of the moves and postures of Tai Chi. They aren’t necessarily simple to learn in the first place. How do you break out of the rut and get it right?

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One answer is to get help from a good teacher. By a good teacher I mean someone who goes beyond parroting the standard instructions – “twist into your leg,” or “sink into your leg,” or the like – and actually is willing to carefully look at you, see what you are doing, understand your own unique way of doing it wrong, and make individualized specific comments that correct what you are doing. I had the good fortune to find one of them, myself, and it helped my Tai Chi Chuan immensely.

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But truly good teachers like that are far from common, far fewer than people who are skilled in doing Tai Chi Chuan themselves.

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So what do you do? My answer is: Experiment. As you repeat a form or exercise, try doing it a little differently each time, and pay close attention to what the result is. Does it make you more relaxed? 33

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That’s good. Does it put you off-balance? Bad. Does it feel more balanced? Good. And so on. Pick out the good ones, and keep them.

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The types of of variations to try is to a large extent up to you. Simply trying things at random is not necessarily a terrible thing to do, but picking likely good ones “at random” is pretty much the province of muscle geniuses; I’m convinced that’s how they actually get it right in the first place, from the verbal hints and demonstrations provided.

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A way to get some implicit guidance is to read up on Tai Chi Chuan and pick out things that seem interesting. For example, read a description of a principle or general characteristic in one of the “classics,” try to imagine what the author could really have meant by the words on the page, taking account of Chinglish and multiple inter-dialect translations, and try doing what you figured out. For example, suppose you come across the statement (I’m only partly making this up) “You should feel like a dragon emerging from the water.” Chinese dragons are snake-like water creatures (they bring rain, at the orders of the Jade Emperor), so think of yourself smoothly moving within a viscous fluid (water). Of course, principles like “keep the head suspended as if held up by a string” are things you can directly apply with relatively little interpretation.

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Some of these will work, and others not. The important thing is to try them. I’ve found that people who are notoriously creative, and considered “smart,” are ones who are able to drop barriers to thinking outlandish things initially, but later are totally vicious about testing to see which ones really work.

Other Topics

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This section is about various random things, partly biomechanics, partly not, that have occurred to me or been told to me.

Balance

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Balance, in the broadest sense, is a big element in Tai Chi Chuan: full vs. empty, hard vs. soft, being rooted in one’s feet, Yin vs. Yang. Balance is also a significant element in the narrower sense of physical balance on one, or even two, feet. Most of the Yang forms are spent on one foot. Also, it’s rather telling that aim of Tai Chi Chuan sparring, called push hands, is to unbalance your opponent; when he or she has lost balance, the other person has won. Granted, in higher levels of push hands the opponent may be unbalanced all the way across the room. Nevertheless, the aim is to wrest away the balance of the other. So one would expect that there would be many techniques for balancing on one (or both) feet that are always taught by all teachers, the way almost everybody teaches some form of body alignment and standing meditation.

Hah.

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Almost every Tai Chi Chuan teacher I’ve encountered, along with Yoga teachers and general physical trainers, ends up saying “OK, let’s do some balance exercises” and tells you to stand on one foot.

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Excuse me for pointing out the obvious, but if I could stand on one foot in the first place, I wouldn’t need to do the blooming exercise.

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Usually you’re also supposed to wave the other leg around in some fashion while you’re doing this. This does not help. Moreover, the waving is sometimes supposed to be the point. In one class, the instructor told everyone to stand on one foot and pivot the other out to the side, opening the hip joint. Everybody started falling over left and right. He was taken aback, saying “This wasn’t supposed to be a balance exercise, it was supposed to be a hip flexibility exercise.” My diagnosis: Another motor genius.

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Apparently, what is supposed to happen, although I’ve never heard this stated explicitly, is that by practice – partly the physical conditioning aspect, but mostly experimentation – you are just supposed to figure out yourself how to stand on one leg. Hey, they did it.

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Oh, I almost forgot: “Sink into the leg.” Just about every instructor in every style of Tai Chi says that. It’s repeated so widely that I’m willing to believe it sprang from the lips of Zhang Shanfeng himself.

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Well, I’ve sunk into the leg until I’m blue in the face, and all it did was make me wobble lower. This is another one of those “when you do it right, that’s what it feels like” statements.

Oh, and once I was told “stop wobbling so much.” Like I was wobbling on purpose.

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Notwithstanding this consistent lack of help from the majority of people who teach Tai Chi Chuan (and Yoga, and Pilates, and so on), I’ve collected some techniques that do appear to help. They’ve helped me, anyway. Somewhat. I’m still no total wonder at standing on one leg. Sometimes I’m better than other times (see below).

First, however, we need to start with some bad news.

The Bad News

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I have yet to see a skinny person with decent muscle tone who couldn’t balance well on one foot. I have met a skinny person with very weak legs, who couldn’t balance; in fact, she couldn’t even stand up for 10 minutes without getting tired. But skinny plus muscle tone seems to equal balance. Furthermore, If the person is both small and skinny, what I’ve observed is he or she seemingly able to balance on one leg for hours on end, stable as the proverbial rock, while waving the other leg about in the breeze with wild abandon. After all, think of preteen gymnast girls doing flips on a single balance bar.

OK, I’m jealous. I’m not that tall, but skinny eluded me over 50 years ago.

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The net I conclude from this is that innate ability to balance on one foot is highly dependent on one’s power-to-weight ratio. You simply have to condition your leg muscles, which is a euphemism for beat the heck out of them. The bigger and heavier you are, the more conditioning you’ll need.

That said, here are some techniques that appear to help.

Technique: Wear Appropriate Shoes and Socks

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As mentioned earlier, if you are wearing shoes that are highly padded on the bottom, you’re making life notably more difficult for yourself.

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Shoes with a lot of side-to-side support, like many running shoes, can help, at least a little. That support is actually more useful as a warning system, since you can feel your foot leaning into it, and hence know immediately that you should correct it. Without that support, it’s easy to miss the first signs and go too far to correct.

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Such support often comes with heavily contoured sole surfaces. That can be bad if it interferes with you relaxing your whole foot flat on the ground. Some even come with ridges in the middle of the outside edge. That may help if all you ever do is run in them, but it interferes with standing. It is probably one reason why you are not supposed to walk or even stand very much when wearing high-end dedicated running shoes.

Also, even if you have shoes with appropriate properties, fat socks will do you in, too. Padding.

Technique: Stand on a Hard Surface

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Standing on a thick rug with lots of padding is at least as bad as wearing heavily padded shoes. Practice on a hard floor, like wood or tile.

Technique: Use Your Whole Foot

Be sure you are pressing into the ground with the ball, the heel, and the outside edge of your foot.

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If you rock back on your heel, in particular, you’re toast. Your heel is round. You’re trying to balance on a ball. Over you go.

Technique: Get Entirely On the Supporting Leg and Foot

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This really is obvious in retrospect: If your weight is not entirely, and I mean completely, 100%, in the supporting leg, you are not going to be able to lift the other one off the floor.

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The emphasis here, however, is on moving all the weight over before you start to lift a leg. Somehow, not doing this seems to be a common mistake.

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In particular, getting that last tenth of an ounce off the rising foot often seems hard; it seems to stick to the floor. When that happens, you are not starting completely in the supporting foot. This puts you at a big disadvantage, since you’re going to get the rest of the way by pushing off the foot you’re picking up. The likelihood is essentially zero that you will push exactly the right amount to land in balance. Even if you do, what stops you in the balance position? Nothing. So you don’t stop there. You must immediately stop yourself, using one leg. That is hard. So, work on getting to the point where the foot to lift is completely free, and doesn’t feel like it’s sticking to the ground. Some of the techniques below will help with that.

Getting all the way over is helped by the “lean your whole torso” technique below.

Technique: Legs Close Together

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It’s a lot easier to lift a leg when you start with that leg close to the other one. This is obvious, at least in retrospect; you have to compensate a whole lot less if you move a weight closer to your center of mass. If you’re having huge troubles keeping balanced when you are not told to do this, cheat: Slide the leg in towards the other one, and then bring it up.

Technique: Keep Your Knee from Collapsing In

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Concentrate on not collapsing your knee in even a very small amount. At first it will seem like you are keeping your knee bowed out, but you aren’t. It’s just straight. This also gets you off of your arch, making your feet less prone to becoming pronate (arch collapse to the ground), which in turn bends your ankles; none of that helps. 36

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This is closely related to the leg and hip arch discussion elsewhere. Keeping the arch in your hips is a good countermeasure if you tend to collapse your knee in – even though it sounds odd to say you are making an arch with your hips when standing on one leg.

Technique: Turn Into the Leg

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“Into the leg” meaning: If you’re balancing on the left leg, turn left; on the right leg, turn right. Particularly use the turn of your lower abdomen (#1 in how to turn), with the associated shoulder turn. Hip turn is good, too. As you get better, you can just turn internally, without moving your hips or your shoulders.

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Try to create a spiral of activated (not tightened) muscle from your foot up your torso all the way to your head. After a while it can feel like a column of flesh that supports you solidly.

Technique: Lift From the Hip, Not the Foot, Knee, or Leg

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Most balance practice involves lifting one leg while standing on the other. Don’t lift by pulling up your foot, or your knee, or your leg. Lift from your hip. This is particularly useful when, for one reason or another, you can’t get your legs close, but even when they’re close, this is the right thing to do.

Technique: Lower the Supporting Hip

This is the contrapositive of the prior technique.

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Lower the hip joint of the supporting leg. If you let the let the other hip drop down, your supporting hip will “bow out” to the side on which you are standing, shifting your supporting hip out, beyond the outer edge of your supporting foot. When you try to do this, look in a mirror or have somebody look at the angle of your hips. If you don’t, you’re almost guaranteed to have the supporting hip lower than the other.

This will initially feel like you’re tilting way too far, again. But you won’t be.

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Here’s another way to think of this: Contract the muscles along the side of your body opposite the weight-bearing leg. This lifts the opposite hip (like all of these), but also helps ensure that you don’t tilt your shoulders – which is something you otherwise might do, and is another no-no.

This might just be what was meant by all those people who told me to “sink into your leg.”

Technique: Lean Your Whole Torso

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When you lift the off-side of your hip and lower the weight-bearing side, you’re tilting your hips towards the weight-bearing side. Keep your torso perpendicular to your hip when you do that. The net result will be a slight lean towards the weight-bearing side, from the hip joint. Since your torso weighs a lot, this will take the weight off the other side and balance you easily. Don’t bend your back when you do this; just tilt your straight torso.

This is either a really key part of all this, or one of the most recent things I’ve learned.

Technique: Get Your Hip Joint Over Your Foot

Get to know your hip joint – in particular, where, exactly, it is.

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I have found that it really helps to move the hip joint on which I’m balancing so that it is exactly straight above the center of the foot I’m balancing on. This particularly seems the case with front-to-back positioning. Doing so seems to make for a much more stable platform.

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However, others believe it better to have the hip joint a little behind that, with a forward tilt to your torso, so the center of your body is instead directly over the balancing foot. I’m at this point not sure which is the better technique, but at the moment I personally get better results by making sure that hip joint is in position; usually that involves moving it more forward than I would otherwise place it.

Technique: Realize Your Ability Will Vary

Finally, don’t expect to always be uniformly good at balancing every time you try it.

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The ability to balance is something that varies from day to day, and even from hour to hour. Sometimes you’ll feel like a flagpole, and other days like a cooked noodle stood on end. There are several reasons for this. Some are external factors, like variations in your footgear, the surface on which you’re standing, and whether there are distractions. There are muscular factors, like how stiff you happen to be; early morning is bad for me, for example.

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There are also, importantly and invisibly, factors related to your inner ear, the organ that, among other things, lets you know what angle your head is at. That can be affected by whether you have a cold, various medications (including but not limited to decongestants), whether the barometric pressure has recently changed, etc.

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So, if you happen to have a bad balance day, don’t sweat it. Cut yourself some slack. Don’t expect smooth progress, each day slightly better than the last; that just won’t happen. It’ll be a bumpy road, but you can learn to do it better.

The Seven Bows

Not just five, seven. They are, with the muscle groups opening and closing them:

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

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Other “bows” can also be found in the hands and the feet. They don’t count, though, since that would make more than seven. Moving your left index finger is bow #349. Right index finger is #350.

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Knowing and explicitly activating the muscle groups helps particularly to relax the opposing muscle groups, so you are not working against yourself.

   

Two arms – holding elbows down, palms down – biceps and top of forearm pull closed, triceps & bottom of forearm pull open. Two legs – push up is with calf (back of lower let) and front of thigh; pull down is back of thigh & shin. Note reversal in lower leg, caused by ankle hinge being a ways into the foot, not at the end of the heel. Spine (torso) – be sure to do the whole spine, including lower back, not just the upper back. Shoulders – across the back, the shoulder blades, not the arm sockets. Chest muscles pull them flat, release to open up again. “The Whole Body” – This refers to the arms, legs, spine, etc., moving as one. My reaction is that this is clearly added so that there would be seven, which is considered a very good (auspicious) number.

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Alternately going in and out using one set of muscles to go in, then switching to the other to go out, produces an internal circular feeling. This is cool. It really produces an internal circular feeling that makes your actions seem intensely, internally, circular, like Tai Chi Chuan is supposed to be.

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Not cool is that somebody named the full-body version of that the Microcosmic Cycle. Doo doo doo doo… (Twilight Zone music).

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And there is a Macrocosmic cycle. Queue the music again, crescendo. This is when your Chi extends outside your body to interact with others. This can be aggressive, as in taking an opponent’s Chi, absorbing it, and using it to attack in response. It can also be collaborative, as in doing the form with a group all in effortless sync. Another example: Doing Chi Gong with someone who is ill to help bring up their energy level. (Why doesn’t it sink yours?) A student colleague of mine claimed that happened to her; a Chi Gong lady associated with a hospital came to her room and worked with her at one point after surgery, and increased her energy to the point that she could get well.

Suspend the Head, the Real Story

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The real issue is not raising up the “swirl point” at the back of the head. That’s a beginner initial explanation. It’s approximately right, and serves to get the back of the head in line with the spine.

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The real point to raise is the “ni wa”, the junction of the head bones forward of the “swirl point,” the soft spot in the skull of babies where the skull bones are not yet fused (the anterior fontanel). The real idea is to vertically align that point with the center of the dantien, which is in the middle of the lower gut.

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Raising the “swirl point” and lining it up with the spine gets the niha-dantien line approximately right, and is more comprehensible at the start.

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That’s the point according to some aspects of traditional Chinese medicine and/or Taoist practice, anyway.

Suspend the Head, the Other Real Story

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Generations upon generations of Taijichuan and Chi Gong students, going back decades and probably centuries, have been told to stand as if the top of their head is suspended on a string reaching up to the heavens, attached to that “swirl point.” Then the teacher wanders around the room and tucks in everybody’s chin.

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I have always had a really hard time remembering to do this when doing anything other than just standing meditation. I kind of understood why this should be a good thing to do, but it didn’t connect with anything else. It was just a random additional thing to do, so I always forgot it.

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No longer. I finally felt what the real point of it is. It’s only mildly connected with your head. The real issue is the position of your neck vertebrae, which are, of course, the upper part of your spine.

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It’s the same issue as the parable of the palm, discussed earlier. When you raise the back of your head, and tilt it slightly forward, the normal forward bend of your neck – like the normal forward bend of your lower back – is straightened slightly. It’s flexed outward, the way you flex your lower back outward. 39

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For me, this creates the feeling that there is a spear going straight up the back of my neck up to the inside of back and top of my head. I say “spear” rather than something like “rod” or “pole” because it feels like it is actively thrusting upwards, holding up my head.

When I mention this to others, the reaction is “Yes” “sure” “of course” that’s what it feels like.

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So, why the {censored} doesn’t anybody say so? That is, directly say that what you really want to do is flex your neck out, the way you flex your lower back, and for the same reason? This is not an “aha!” moment, it’s an AAARRRGGGHHH! moment. Years spent figuring this out…

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Particularly when coupled with the slight straightening of your lower back, this completes the “alignment” of your spine, from your pelvis to the top of your head. It’s a powerful feeling. Because of that, it’s much simpler to remember to do this when you are practicing various movements – it connects in with everything else you are doing, as an integrated whole.

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I’ve also been told that this corresponds to the Du Mai, or Du Channel, of acupuncture, a major channel of Chi flow that starts at the anus, goes up the back to the top of the head, and curves down to the palate. There’s also the Ren Mai, or Ren Channel, that goes down the front of the body from lower jaw to anus. Opening and closing is said to activate those channels. Whether this all has any significant relevance, I have no idea.

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It was suggested to me that the reason “suspend the head” is common rather than “flex the neck” is to keep students from tensing up their neck muscles. Well, maybe. I’m as yet unconvinced.

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There’s a way to get your neck into the right position that is essentially the same as the “bend over, stretching your back; then sink your hips” technique for opening your lower back. Let your head flop forwards until your chin is way down, as close to touching your chest as possible. Notice the stretch at the back of your neck. Now raise your head again, moving from lower down your neck, right between your shoulders, keeping that stretch in place. There you are. You’ll notice your chin is tucked in.

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Important: When doing this, there is a great tendency to stretch and tense the muscles at the top of your chest, muscles that fan out from below your chin out across the top of your pecs. This is true whether you use the “flop your head forward” technique or the more usual one of raising the head and tucking in your chin. Aside from the muscles being tense, which is clearly bad, this also raises your chest, which is also bad. It takes work and concentration to avoid that.

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To paraphrase a formula often read in commentary on the Tai Chi Classics: This is the real meaning of “sink the chest and raise the back.”

Surprise – it’s the same real meaning as “suspend the head.”

Avoid Momentum

This is really important.

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When pulling into a foot, or twisting your body, or using your waist to move around, it’s key that this is not done to get momentum behind a strike or a throw or other move. The use of momentum like that is characteristic of external martial arts, not Tai Chi Chuan.

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Rather, the body movement is intended to position your body so that an internal chain of muscular tension – or a flow of Chi, or a spiraling, if you prefer – powers the action. That chain simultaneously connects from your hands, through arms, through torso, hips, legs, to feet.

This is one key reason why Tai Chi Chuan is practiced slowly. No momentum, please.

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You really have to watch out for this when using weapons, since the weight of the weapon will tend to pull you around, using momentum. That is one reason why weapon practice should be started only after you have the idea of how force can be generated internally.

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I didn’t understand this for the longest time. Instead, it appeared to me that much of Tai Chi Chuan was actually moving like a whip. I even had this nice analogy and visualization: The feet and legs were like the handle of the whip, the waist and torso thicker parts, and the arms the thinner parts, and the hands the tip that breaks the sound barrier when cracking the whip. That’s neat, but wrong.

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What’s wrong about it is that it implies a sequence as the whip strikes: First the base moves, then the wave gradually picks up speed as it heads out, with the base still. That is just wrong. Everything is moving together, so when your hands move, your legs, hips, and torso are moving at the same time.

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(And why did no teacher anywhere ever explain this to me? Sure, they chant “When one thing moves, everything moves.” Every one of them has said that to me. But they also said my whip analogy was correct. When I finally figured it out, and asked, I was of course told “Sure, that’s right.”)

The Leg and Hip Arch

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This is another angle on sinking your weight and getting your lower legs and feet into the act of holding you up.

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Think of there being an arch running from your feet, up on leg, across your hips, and down the other leg to your other foot. Aspects of making the arch: Keep your knees straight over your feet, hence not collapsing inward (even feeling outward a little, but they aren’t). Loosen your hips, releasing your glutes, to let the tops of your hips go outward. Sink your lowest torso in – rather than poking it out.

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For the most part, it should feel like you’re trying to stand (and move) like a bowlegged cowboy. (Talk about traditional Chinese imagery.) Just be sure you don’t roll on your feet too far to the outside; the ball and heel of each foot should still have complete contact with the ground.

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This sounds not very exciting. But doing the form while concentrating on this has several good effects: It tends to sink your weight lower. When you pull forward or back in bow stances, shifting your weight, it tends to make you keep your hips square to the direction of travel. Also, surprisingly, it helps balancing on one leg, since it tends to make you lift from your hip, not from your foot.

Visualization

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As you do the moves in the form, visualize doing them right. Try to do so just a tiny bit ahead of actually performing them. This is actually more easily done with moves you are just learning: You think about one part, then do it; then think about the next, then do it; and so on. That’s actually the natural way to learn it. Doing this on moves you have learned, meaning they’ve become part of muscle memory, is a lot

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harder, particularly if you try to visualize just a little before doing it. Doing so also puts into high relief the difference between the virtualization and the actuality.

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Generally, always try to visualize or concentrate on, or visualize some particular thing as you do the form. Here are some that I’ve used or heard that others have used:

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   

Any one of various principles, such as keeping your head suspended; or weight in the center of the feet; or opening and closing; or waist twisting; or whatever. Applications – imagine an opponent (uigher) you are working against. Or that you are doing the form embedded in lime green jell-o, hence against continuous light pressure in all directions. Similarly, imagine doing it moving through an entire huge box of Styrofoam peanuts. Or imagine doing it in a dark tunnel with diagrams of the moves appearing in dim lights on the walls.

Sink Your Chi and Mind to Your Dantien

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I have no idea where to put this one in this sequence – heck, the sequence really became a random dumping ground of notes – but it is incredibly important.

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The idea is to get the focus of your movement into the lower region of your torso, specifically your dantien: a point 1.3 inches below your navel and halfway between your navel and your spine.

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Physically there’s nothing special at that point – just some nondescript anonymous coils of lower intestine. However, focusing on that point causes you to use your abdominal muscles, all around your lower torso, in a powerful and flexible manner.

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Now, what’s this about “sinking your chi”? How do you do that? Unfortunately, that’s another one of those things that instructors repeat over and over again, and students try to do without really understanding what they are doing, eventually by random trial-and-error and/or physical genius stumbling on something that seems to work. So here’s what I stumbled upon:

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I think of a ball, a little smaller than a baseball, inside my torso. It’s a physical feeling, really, probably corresponding to some combination of muscle tensions. Initially I place it at about my diaphragm, but back towards the spine. Then I move the ball down my back nearly all the way to my groin, then circle up the center of my body to roughly the dantien point. My whole abdomen moves a little, pulling in and then out, as I do this. (Rotating it down that way also helps me flex my lower back out and cant my hips forwards.)

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Now, with that ball in place, I use it as the focal point from which I move my entire body when doing the form or any Chi Gong. I think of it as a kind of handle, or place I am grabbing, with which I’m making the rest of my body move. It’s naturally the place through which force from my legs passes up and moves the rest of my body.

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OK, that’s sinking your chi. What about your mind? For me, that just comes along for the ride. I’m thinking about that position, so I guess my mind is there, too.

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I make no claim that this is the right way, or even a right way, to do this. As I indicated, I stumbled on it when trying to figure out what the heck “sink your chi” might mean. 42

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Ten Principles

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Yang Cheng-fu has written ten principles of Yang-style Tai Chi Chuan. Having ten is, of course, a serious departure from Chinese tradition (eight would have been much more traditional). These can be found in numerous places on the Internet, but the best translation I’ve found is in a book that’s now out of print: Tai Chi Touchstones: Yang Family Secret Transmissions, by Douglas Wile. As usual with traditional Chinese writing, these need serious interpretation to turn Chinese cultural references into things that are comprehensible to westerners.

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Here is some discussion of those principles, primarily documenting a number of things taught by my teacher Kade Green.

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Note: This section is seriously incomplete. In fact, I’m starting it primarily to remind myself what was said about one particular principle, number Eight. Later I found something already written about number Seven. Then I recalled the words for some of the others, but not much discussion.

One Through Six

One: Suspend the Head

Two: Raise the Back and Sink the Chest

Three: Relax the Waist.

Four: Distinguish Full and Empty

Five: Sink the Shoulders and the Elbows

Six: Use the Mind and not Force

Seven: Unity of the Upper and Lower Body

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This principle talks about power coming from the feet, directed by the waist, expressed in the arms. There are two explanatory / translational points that come up: First, in the text it refers to the spirit of the eyes; this means attention; all it means is you should pay attention. Second, it refers to a “circuit” of chi from the feet to the hands. This is not a closed circuit, like a racecourse or an electrical circuit; it just refers to a continuous, unbroken path.

Eight: Unity of the Internal and the External

I have also seen this translated as “Unity of the Mind and the Body.”

Here’s a story:

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An experiment was run with three basketball teams. One practiced as usual, one did not practice but strongly visualized going through a practice, and a third did neither. The one that practiced got better, as you would expect. The one that did nothing got worse, also as expected. The one that visualized got

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better. Some improvement might be expected, but the surprising thing was how much better. They improved almost as much as the ones that practiced.4

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The explanation is that strong visualization of an action activates some of the motor neurons that would be involved in performing the action, without, obviously, actually sending signals to the muscles involved. When you think about doing something, you are creating neural signals to actually do it.

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Suppose, now that you are doing one thing, but thinking about another. What happens? You’re creating mixed signals in your body, sabotaging doing the thing you want to be doing. If you want to do Tai Chi moves as well as possible, you have to clear your mind of everything else – what you’re doing for dinner, that so-and-so at work, your love life, and so on. Otherwise those signals are going to corrupt the signals you send to your muscles to do the moves.

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This also applies within the moves themselves. If you think too much ahead, thinking of moves you have not yet done, you will speed up without realizing it; your body will try to catch up with your mind.

Another, related, story:

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This one has to do with two soccer teams. After a game, one was shown film and gets intense training about everything they did wrong. The other, the same, but about everything they did right. Given the discussion so far, the result is obvious: The team showed what they did wrong went out and did those wrong things again. The other team did the things they got right, and got better.

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Similarly, if you focus on what you do wrong, thinking “Don’t do that!” like “Don’t look down!” or “Don’t tense up!” you’re less likely to be successful. Think instead about what you should do right, like “Keep your head up” or “Let your shoulders (arms, hips) relax.” That way you will focus on what you’re doing now, not some mistake you made before, which sill both guide you to do the right thing and keep your focus on the present.

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In addition, there’s another related point. If you think “Don’t do X,” that doesn’t say at all what you should do instead. Eliminating one possibility leaves a whole universe of others open to you, and most of them will be wrong. Concentrating on a positive injunction, “Do Y,” aims you in the right direction.

Other Things to be Expanded On

Sink your weight, all the way down. Being solidly in your feet is important.

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Relax your muscles. Loosen up shoulders. Arms. Chest. Stomach. Back. Buttocks. Legs – even though they’re working hard. See “momentum.”

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“Relaxed” as used in Tai Chi Chuan does not mean limp. The Chinese term is “sung,” which implies softness but not limpness. There is still tonus in the muscles; otherwise, you would fall over. You are not, however, ever tense.

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Pulling into a foot and pivoting on the same hip use different muscles. The two sets do connect at the hip, but they’re different; one goes down, the other up. Moves are often taught with those two motions 4

I presume all three teams were already in good physical shape, and didn’t need any physical conditioning. Otherwise the visualizers would have been at more of a disadvantage. Or possibly all three did general physical conditioning that was not specifically tied to basketball. 44

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in sequence: Pull into the foot, then pivot. In all cases I’m aware of, that is a teaching technique only, just forced by language being a sequential thing. Once the sequence has been mastered, the pull and the pivot should be done simultaneously, using the two sets of muscles at the same time, connecting to each other at the hip. (Actually, as you start producing internal spiraling, the muscles do not appear to be completely disjoint. But it works to start out as if they are.)

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One effect of doing Tai Chi Chuan is to enhance your proprioception – your consciousness of where the parts of your body are at any given time. One fellow student said that prior to starting lessons, she had no feel for where anything was below her neck.

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Advanced: Whenever the directions say a sequence like: (a) Stick your leg out; (b) Pull into the foot, pivoting right on the left hip (as in Ward Off to the Right). What you really should do is: As you put your leg out, simultaneously start pivoting on the hip to the right. This facilitates getting a spiral from the balance foot through your body while doing the move.

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Three times. That’s a magic number. It’s in the third or later repetition of something that you actually begin learning. That’s true whether you’re doing the form; or a section of the form, repeated; or a Chi Gong exercise; or whatever. The first time, you’re just warming up, getting your body used to doing it again. The second time, you’re doing it fairly well. The third time, you are making progress: You’re correcting things and doing it better.

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Don’t count repetitions. Don’t have a target, end, final point that you’re trying to reach. Just do it, feeling like you’re past the beginning, nowhere near the end, just moving along. This will help reduce tension and relax you more. This applies to repetitions of the form, repetitions of a particular move, repetitions of a Chi Gong, anything.

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If your mind wanders to something else while doing the form, just let it. “Wanders” includes thinking “I just did that move wrong.” Don’t try to repress it, to not think of it. It’s the mind’s function to think, so it’s going to think about things, and there’s no way you can stop having things bubble up to the surface. Instead just let the thoughts flow by, or incorporate them into your visualization, or eat them (absorb them). Another way of considering this: Let your mind think; that’s what the mind does. Just (mentally) stand back and watch it doing do.

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After you’ve learned a move well, try to do it as a unified whole, in two senses: First, don’t think of each section as “move my hands here, and my feet there, and my torso that way.” Instead, make all those things happen at once. Second, make the succession of such things – their sequence – itself be a single thing. This holistic or gestalt feeling is not simple to do. Neither one of them, in fact. The descriptions in this document necessarily break things up into many, separate elements, since language is sequential and somehow all the things you have to do have to be expressed. But while that’s a way to hear or read and learn all of the things to do, it’s not what, eventually, you should actually do.

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DVDs or tapes of teachers doing forms or demonstrating aspects of Tai Chi Chuan may appear to be a useful tool. While that is true to some extent, take them with a grain of salt, particularly if they’re formal tapes of native Chinese, deliberately done for sale. They will deliberately do things wrong. Yes, deliberately. This is a culturally ingrained form of protecting their knowledge from theft – copyright protection, or intellectual property protection, if you will. Until you have shown your dedication by working as a student long enough, you simply won’t be shown the real stuff. It may also be necessary for you to pay a sufficient amount, although beware: Some will willingly take lots of money from people they don’t consider worthy and have no intention of really teaching well. In the past, to show you were 45

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sincere about becoming a student, you might have to spend about a month doing nothing but deep stances before being shown anything else (I’ve no idea if that’s still done). Compared with that, what right to the real knowledge do you have as a random stranger buying a videotape? Nothing. You clearly are not worth showing the real deal. Highly informal videos are less likely to be deliberately wrong. Of course, this book tells the truth, the whole truth, and nothing but the truth. Do you believe that?

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Sayings with similar intents: In Tai Chi Chuan, your whole body is a fist. Tai Chi Chuan is the art of learning to kick with your hands. You’ve heard sayings like “Arnold Schwartznegger has biceps as big as your thighs!” The proper response is: “So what, my thighs are as big as Arnie’s biceps.”

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Your shoulders should be back far enough that your wrists naturally land opposite your hip joints. Initially, this will feel like they are too far back, particularly if you have spent a lot of time in front of a computer or doing other work with your hands in front of your body; that has stretched your muscles to where a hunched-over posture feels more “natural.”

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The principle “drop the chest and raise the back” does not mean hunch your shoulders forward. It does mean that letting your chest sink should naturally cause your upper back, around the shoulder blades, to expand. When you do deep abdominal breathing in the correct position, you should feel your upper chest expand, including further expansion of your upper back.

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The principle of using your mind, not your body, is really referring to using technique as opposed to raw force. “Mind” should have been translated as “technique.”

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Here’s a random point about practicing slowly. Tai Chi isn’t the only physical activity where this is useful. Ryan Lochte, the Olympic swimmer, spends part of his practice slowing things way down. “The only way to really work on technique is to swim very slowly and really think about every little thing that you’re doing,” he said. “How your body is positioned, what your hips are doing, the positioning of your shoulders and hands and feet.” (7). This is, of course, identical to the purpose of going slowly in Tai Chi.

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Here’s an interesting demo / practice / thing: Have someone stand with their arms at their sides, palms forward just above waist level and – important – elbows back behind their waist. Push on their palms. Not much strength there. Now, move their arms forward so their elbows are in front of their body, forearms angling up. They will be able to exert an enormously larger amount of force, and they won’t even feel like they’re working at all. That, of course, is the point. In fact, the effort is so low they may not even believe they’re doing it. They’ll have to be told it by multiple people, and likely be the pusher of someone else, to before accepting that there really is that much difference. This goes under the category of “tricks you can play to prove that there’s actually something to all this stuff.”

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Sequence Preliminaries

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Sorry for all the preliminaries, but before beginning the descriptions of Chi Gong and Tai Chi Chuan Forms, there are still a few items to cover.

Names and Their Meanings

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A word of caution about the names of moves: Don't always take the name of every move with utmost seriousness. Sometimes a name will make perfect sense, and even be stunningly evocative of the actions carried out. Other times it seems to be from another planet. Sometimes it will be worth your contemplation and analysis, which may or may not correspond to its making sense, and other times not. Never forget that you may be staring at an example of Chinglish, the unintelligible English words that abound in simplistic attempts to translate Chinese. They're particularly common in menus, bringing us things like “the temple explodes the chicken cube” (kung-pao chicken). On top of the Chinglish effect, you may be hearing the result mistranslations between Chinese dialects. The Chinese spoken in villages one hour’s travel from Shanghai, for example, can be almost unintelligible to someone who has learned the Mandarin Chinese spoken in Shanghai and Beijing. That the written form of the language is independent of dialects – symbols represent meanings, not words – does not particularly help when most people are illiterate, as has been the case for most of the history of Tai Chi Chuan (or China) (or Europe, for that matter).

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This may be true no matter how traditional and revered the move and its name are. For example, I believe translation issues are what created the name of the signature Tai Chi Chuan move, Single Whip. A move of that name exists in all five styles I’m at least somewhat familiar with. The characters for it (單鞭 dān biān) certainly mean single (單) and whip (鞭) (8). But I know of no good explanation of what it could possibly mean, or how the name of the move relates to any style’s version of the move.

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At least some of the names of moves in the Sword Form and the Ball Chi Gong are exceptions to this; they’re literary and/or cultural references. I’ve by no means tracked all of those down, however.

Move Notation

In all the chapters following, I’ll use this notation in the descriptions of the moves:

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1. The name of a move in a form or a Chi Gong sequence a) This is the first move element: the first thing you do. If there is foot movement, I’ll always put it here. Well, almost always. I tend to put the most important thing here, which is usually the feet and how you move your weight on them.  Aha, but that’s not the only “first” thing. At the same time you’re doing that first move element, do this, too. For example, if you move both your feet and your arms at the same time, foot movement will be in the first line, and arm movement in the second. If occasion arises (unlikely) I'll call such a sub-bullet like this a move sub-element.  Oh, by the way, you also do this at the same time you do the two above, since there are three things to do at once on a regular basis.  Or even a fourth thing. It happens. Not too often, though. Except in the dang saber form.  Don’t forget, all of these things, including the one that happens to be listed first, are done at the same time.  Oh, and I’ll occasionally make a comment about something, like the intent of this element, as one of these bullet thingies, too. b) When you’ve finished all the things above, start doing this.  But do it while you do this, of course. Sometimes there will be just two things at the same time. Other times, there will be only one.

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2. Here’s the name of the next move a) With the first thing to do in that move,  while you’re doing this at the same time. b) ... … and so on.

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When there is really just one move, as is the case with some of the Chi Gong, I'll dispense with the name and go immediately to the move elements and sub-elements.

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Figure 2 is an example of what I mean by all of this notation. It illustrates how the parts of a single move element are done simultaneously. You start at “start,” then do all three of those boxed elements at the same time. Then the element ends, and you go on to the next one.

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Unfortunately, while they are clear, diagrams like that are impractical. Among other issues, they take Figure 2: Example of Parts of a Move Element up too much space, particularly if you were to put fully descriptive sentences in the boxes. So I show the same thing in text like this:

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a) pull into…  pivot on…  raise…

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By the way, this happens to be a pattern referred to in parallel computing as “fork-join,” since you follow all the paths of a “fork in the road” simultaneously, and finish when they all join together again. 48

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That’s all well and good, but fork-join clearly can’t represent all possible ways of doing things at the same time within a sequence. For example, there are a few cases that actually look like Figure 3.

Figure 3: An Action Spanning Two Elements

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That is: You’re supposed to do one bunch of things at the same time (the top set of three horizontal boxes); then you do another bunch at the same time (the lower set of three horizontal boxes); but: There’s something you must also do (“sink your…”) that starts with the first bunch and doesn’t end when that bunch ends. It keeps going, ending only when the second bunch ends. (Or when a third bunch ends, or a forth.)

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A text-list notation could be invented to cover such cases, but it would add otherwise unnecessary complexity everywhere else. So when situations like Figure 3 occur I’ll just describe what’s going on in the words of the text description.

As I indicated above, though, situations like Figure 3 don’t happen often.

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I think it’s interesting that I haven’t found any patterns of motion sequences other than the ones illustrated in Figure 2 and Figure 3 above.

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Note: As this is written, I’ve not yet converted everything to that notation. In fact, I made it up only when I started doing the Saber form, since that form is replete with moves that have many subelements. I've mostly converted the Sword (Jian) form. Others aren't yet completely updated.

Also by the way, I created this notation for two reasons:

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First, I simply got very tired of writing, again and again, “at the same time,” pat your head, “and while you're doing that,” rub your stomach, “while all that is going on” twiddle your fingers, etc. It gets boring to continuously search for synonyms for “simultaneously,” to say nothing of wordy.

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Second, and probably more important, the several individual things you had to do got completely lost within the paragraphs as they lengthened to include all the things you do at once. Having them pulled out as individual list elements is a lot clearer.

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Directions (Orientation)

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The descriptions indicate directions by using compass points: North, South, Northeast, etc. North is always the direction you are facing when you begin the form or exercise; its relationship with geographical North is irrelevant.

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What’s there now is, however, not consistent. Sometimes clock notation is used: North is 12:00, East is 3:00, and so on, all relative to a clock you’re standing on with noon straight ahead when you start. I switched from that because clocks don’t have nicely-specified directions at 45-degree angles, and those are often used: saying “Northeast” is a lot clearer than saying “2:30.” You’ll find the clock notation here and there, however.

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At some point I may make a massive change to abbreviations, using N, SW, etc., rather than spelling out the words “North,” “Southwest,” etc.

So, what you see will depend on what version you’re reading, but it should be comprehensible.

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Chi Gong

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The simplest way for a Westerner to think of Chi Gong is that it’s Chinese calisthenics. Except that you don’t jump around; you move slowly. Or Chinese Yoga. Except that you don’t stretch intensely.

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Chi Gong in general is a system of motion and breathing for exercise and health that is as complex as Tai Chi Chuan, probably more widespread, and certainly older. It is an aspect of traditional Chinese medicine, and as such is infused with many traditional Chinese beliefs. Its health claims are controversial in the West, particularly the claims of the more extreme forms; they can shade into areas such as spirit possession. You won’t find any of those here. A form of Chi Gong is practiced by the Falun Gong sect, which was in the news in 2006-7 due to the Chinese government’s opposition to them. The Falun Gong claim their Chi Gong leads to the ability to levitate, among other things. You also won’t find levitation Chi Gong here. You also won’t find “healing sounds,” a much more common form which I’ve seen practiced at one or another World Tai Chi and Chi Gong Day. There’s yet another form called Iron Shirt Chi Gong in which participants hit each other, break concrete blocks on (not with) their heads5, and so on; it is considered an external martial art, as opposed to an internal one.

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There’s little disagreement that Chi Gong is a good way to increase range of motion, joint flexibility, and strength, so a short session is an appropriate, culturally compatible warm-up for Tai Chi Chuan practice. The collection described here, in particular, uses many of the body alignments, stances, and motions that Tai Chi Chuan uses. Having a fair collection of these exercises available also avoids the boredom of endless repetitions of jumping jacks or the like, and many of the principles involved are identical to those of Tai Chi Chuan. This is probably not a coincidence.

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Most of the Chi Gong described below comes from, and is related to, Yang style Tai Chi Chuan; I learned it from Kade Green. Others described here are related to Chen style, which I learned from Rick Adkins.

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By the way, I’m sure some of the exercises described below are not Chi Gong, or at least not anything anybody seriously into Chi Gong would consider Chi Gong. That’s particularly true of the Chen style ball exercises that appear later in this chapter. On the other hand, the Eight Silk Brocades and Neigong sets are fully legitimate Chi Gong to Chi Gong practitioners.

I saw this demonstrated on a TV show. A guy lay down on his side, putting the side of his head on a large, solid concrete block. Another person put a second such block on the other side of his head, and balanced it in place. Then a third guy broke the one on top with a sledge hammer. How do you find out you can do something like that? 51

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Basic Yang Chi Gong

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The Chi Gong I've put in this section are fairly long, multi-move exercises that cover multiple techniques. They are effectively very short Chi Gong forms.

Neigong

The name means “inner work” or “interior work” or possibly “inner expertise.”

Move Names

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Embrace the Horse Ride the Wild Horse Playing Pipa (right and left) Compass Double Dragons Emerge from the Sea Rhinoceros Gazes at the Moon Ride the Tiger Phoenix Spreads Its Wings Hit the Tiger Owl Turns Head

Move Descriptions

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1. Embrace the Horse This is the usual full-height standing meditation with arms forming a circle in front. Use this arm position to practice loosening the shoulders. Hand position will vary by teacher. I find it appropriate to have my hands fairly wide apart, with my palms straight out from my shoulders. Others want the fingertips almost touching. Keep your elbows down, as usual.

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2. Ride the Wild Horse Start in a medium stance. a) Raise your arms up above your shoulders (see below for longer descriptions). b) Keeping your arms up, sink your entire body down, bending at ankles, knees, and hips – not back – until your hips are as low as you can do comfortably can go. c) Rise up again, using ankles, knees and hips, the opposite of the sinking motion.

Repeat the above sequence once, for a total of two repetitions.

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Then repeat, but change the stance: Do it with your feet in a narrow stance, and then in a wide stance, doing two repetitions in each stance.

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About lifting your arms for this move, or, for that matter, any other move: Don’t pull your arms up next to your ears, compressing your shoulder muscles into the sides of your neck. Instead, rotate your arms up to the sides using your shoulders until just barely below shoulder height. Then raise them further by sinking your shoulder blades, pulling down with the muscles of your back. Never bring your arms up so far that your shoulders are touching (or next to) your ears; the highest point you should ever go is to make your arms vertical over your shoulders. Bringing them up to where you press your ears actually tends to lever the arm out of the shoulder socket; if done with vigor, it can dislocate your shoulder. 52

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3. Playing Pipa This is identical to the final position of Playing Pipa in the Yang Short Form, done to the left and to the right, but have your quas open, not shut. I don’t know why. See that form’s description for how to do them.

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4. Compass Start in a wide stance. a) Raise your arms to vertical (see Ride the Wild Horse). b) Lean back by extending your knees out over your feet, bending at the ankles and knees. You should be able to keep your back fairly straight front-to-back when doing this. It’s just like doing the Limbo (dance). c) Rotate your body forward slightly and down to the right, keeping your arms up in a plane with your ears. Sink into the right foot slightly so that you can stretch out your left side. The intent is to flex your spine to the right. Pause in this position a few moments to get it right and flex your spine. (When proficient, however, you just continue without pause.) d) Continue rotating down and forward until you are bending straight forward. First bend your waist (quas) as far as possible, then flex your spine downwards. e) Rotate your body up and to the left, ending up doing the opposite of element c) above. f) Rotate further up and left, then back, until you are in the starting position.

Now do the whole thing again, then repeat twice in the opposite direction.

Be sure to bend your spine when doing these.

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Keep your arms up next to your head at all times, particularly including bending over. Your arms should not angle down towards the ground; they should stay out at the same angle with the ground that your head is at. Super-flexible people can ultimately do this and go far enough down that their hands touch the ground. That’s not me.

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When doing the backwards bend, (a) look straight up; (b) do bend your back backwards, but start with the upper spine. Bend the lower back backwards only towards the end; try to keep the forward “opening” as long as possible. Also, don’t push your hips up; your buttocks should be loose.

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Note: Compass was eliminated from the set by Kade Green when he moved this collection from “advanced” to “basic” classes. It’s by far the most physically taxing element of this set.

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5. Double Dragons Emerge from the Sea a) Assume a medium-width right bow stance, rear-weighted. Make sure your hips are perfectly square, perpendicular to the direction you’re facing. b) Keeping your right foot flat on the ground, pull back with your right hip until your right leg is almost entirely straight, to the point where you are stretching the leg. c) Lean forward, keeping your shoulders square to the front.  Place the palm of your right hand on the front surface of your right leg, as far down your shin towards your foot as you are able. Do not put pressure on your leg; just rest your hand there.  Place your left hand on the inside of your left leg; again, no pressure.  This should increase the stretch on your right leg. You should aim to feel the stretch through all your leg muscles, not just the back of your leg. The stretch should also be in the muscles inside your leg, near the bone. d) Staying leaned over, bring your hands together in front of your chest, palms together. 53

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e) Pull forward into your front leg.  Gradually straighten up as you pull your weight forward.  Spread your hands until they are palms forward, and raise them until they are the height of your upper chest. f) Pull back into your rear leg and lean down again, bringing your hands to your chest again, palms together. g) Repeat the pull forward with hands coming up. h) Repeat the entire sequence on the other side, mirrored left-to-right, in a left bow stance.

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6. Rhinoceros Gazes at the Moon a) Begin in a moderately wide stance.  Cross your wrists in front of your upper chest, right arm on the outside. b) Pulling into your right foot, turn as far as comfortable to the right.  Bend forward as you turn, but not far; only about 30 degrees.  Drop your left hand, turning your forearm so your palm is up and inch or two below your navel.  Swing your right arm down and to the right, extending it out from your shoulder. Do not go so far it is behind your shoulder; it should remain at a slight angle forward relative to your shoulders.  Turn your head to the right so you are looking over your right shoulder.  At this point your right arm, due to the body twist and lean forward, should be pointing up and to the right – pointing “at the moon,” and you’re gazing over it. c) Turn back to the left (pulling into the left foot) and straighten up until you are centered again.  Swing your right arm down and bring your left arm up so your wrists are again crossed, but this time with the left arm on the outside. d) Repeat the turn and arm extension mirrored left-to-right. e) Repeat both directions several times.

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7. Ride the Tiger a) Turn to face left (West), and put your hands on your hips. b) Step to the right (North), far out, pointing your right foot to the right. Angle your left foot so it is pointing Northwest. c) Inch your right foot out further, as far as you can stretch comfortably while keeping both feet flat on the floor. (So don’t even try to go down completely into a split.) d) Turn your hips to the right slightly. Try to find the point at which your hips are lowest. e) Stretch your wrists downward. f) Hold that position for a bit, around 10-20 seconds, stretching your legs. Try to position yourself so you are stretching all sides of your leg, not just the bottom. g) Get up by leaning into the right foot and pushing off. h) Repeat facing the other way.

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8. a) b) c) d)

Phoenix Spreads Its Wings Begin in a slightly wide stance, arms at your sides, palms facing forward. Raise your arms out from your sides so your hands are at about waist level. Sink down, and as you do so swing your arms forward and up circularly at your side, in a small circle, As you reach the top of the arm swing, begin rising up as you swing your arms circularly down towards the front. e) Repeat this, gradually increasing the size of the circles.  The motion is just like that used when jumping a rope. 54

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

Use the contraction of your body down to power your arms up, and the expansion up to swing your arms down.  As you get used to the motion, do it slightly faster.  If you are doing this correctly, it will strongly exercise your legs. f) After doing this for a while (20-30 seconds), gradually reduce the size of the circles and the up/down motion until your arms are still again. g) Repeat, this time making the circles in the opposite direction.

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9. Hit the Tiger a) Stand in a narrow stance, hands at your sides. b) Put your weight in your left leg, and pivot your right foot on its heel 45 degrees to the right (Northeast). c) Step out to the Northeast with your right leg, a distance far enough to be a deep bow stance.  Cross your wrists in front of your chest, right hand out, palms towards your chest, making fists with both hands. d) Pull your weight into your right foot.  Turn your hips to face Northeast.  Move your torso Northeast no further than needed to make a right angle with your right knee over your right foot. e) Keeping your hips aimed Northeast, turn your body left inside your hips (beginning the turn inside your dantien).  Turn your head to face over your left shoulder.  Swing your right hand down, out to your right, then up, circularly, ending with your fist in front of your forehead, palm out.  Drop your left hand down so it is punching to the right, just below your navel. f) Sink down into your right foot as far as comfortable. g) Hold that position for 10-20 seconds. h) Pushing off from the right foot and swinging your arms back out, return to the starting position. i) Repeat, mirrored left-to-right.

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10. Owl Turns Head a) Begin in a medium stance.  Place your hands on your hips, and stretch your wrists down.  Be sure to relax your shoulders down (this should be a redundant direction, but…). b) Looking straight ahead, to as distant a point as you can see, turn your head left, then right, and repeat.  Move slowly and steadily.  Pivot your head about a line going directly down your neck to your spine.  One hint that may help: Imagine you are pivoting your head around a spot that becomes smaller and smaller, starting the size of a quarter, then a dime, then the point of a pin.

Taiwanese Set

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This is otherwise known as “Taiwanese Push Hands Chi Gong.” Kade learned it from somebody from Taiwan, and has just called it that ever since. They’re rather more specific to Tai Chi Chuan technique than others. Apparently, at least some Taiwanese are very direct in their approach to Tai Chi Chuan, 55

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since they also have a form that is extremely straightforward. They’re also generally considered warmups.

Move Names

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1. 2. 3. 4. 5. 6. 7. 8. 9.

Waist Twist (Arms Left and Right) Shifting Weight Arm Swing (Front and Back) Circling Both Arms Standing on Front Foot Up Down (with arm swing out to the side) Breathing (Raising and Lowering) Loosening Arms and Spine Arch Back Full Body Stretch

Move Descriptions

There is lots of twisting and turning in this set.

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1. Waist Twist (Arms Left and Right) a) Begin in a medium stance, with your arms down at your sides. b) Twist repeatedly left and right, fairly rapidly; about one second to twist from one side to the other. This should be a full Keep your shoulders, arms, and upper body loose, so that arms are flung left and right around body. Make this a full body twist, each way: Weight should switch to right foot, then the left; legs, waist and hips should twist. You should get enough movement that as you turn right your left arm will come up in front of you, hitting your stomach, while your left arm is flung behind, hitting your lower back. The opposite will, of course, happen when you twist in the other direction. Do not drive this movement by moving your arms or shoulders. Your arm motion should be a result, not a cause, of your twisting your body.

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2. Shifting Weight Front and Back Begin in a right-foot-forward bow stance, making sure heels are at least shoulder-width apart.

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a) Shift balance to front foot, then to back foot. Go completely into each foot before starting to shift back to the other. Repeat 10 or so times. b) Shift balance to rear foot. Put your right foot on its heel, very lightly touching ground. Rotate your right leg from the hip, pivoting on the heel, left & right. Repeat 10 or so times. c) Move right foot back and forth, going from touching heel at front to touching toe when even with left foot. Make toe & heel touches as light as possible. d) Put right foot down in bow stance and shift balance back and forth again several times. Repeat the whole thing left/right mirrored, starting in a left-foot-forward bow stance.

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3. Arm Swing (Front and Back) Begin in a medium stance.

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Twist repeatedly right and left from your waist, using the twist to drive a rotation of your arms forward and back: As you twist left, left arm goes forward and right arm goes back, and vice versa. The arm swinging front should at most reach a point just below your shoulder. On the downswing of front arm, slap your leg on your thigh. Attempt to use as little shoulder and arm effort as possible; keep your arms 56

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limp. Your arms should look like they are going left and right, but are really going straight out from your shoulders; the left/right movement is from the body twist.

Repeat 10 or more times.

Except for the arm motion front and back, this is exactly the same movement as the first exercise.

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4. Circling on the Front Foot This is somewhat similar to the “Compass” movement of the Eight Brocades, but done on one foot at a time and without bending down.

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Begin in a bow stance, right foot forward, balance in the front foot, with your arms in front of you, palms down.

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Leading with right arm, circle both arms to right, all the way to the back, so you are looking upwards, and continuing around to the left, finally ending back in the front. When going back, lean back, but keep your weight in your right foot; bend the knee forward, and the ankle, to keep your balance. Your lower back should not bend backwards. Your arms should not pass a plane through shoulders and head.

Repeat several times.

Repeat left/right reversed, starting in bow stance left foot forward, weight/balance in front foot.

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5. Up Down (with arm swing out to the side) Hold arms out to side of body. Swing them both down simultaneously to center and up again, crossing in front of body. Drive this motion by bobbing down and up using legs / pelvis. Do not move legs too much; knees should move only an inch or two up and down.

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6. Breathing (Raising and Lowering) Put both arms horizontally out in front of body, straight out from shoulders. Elbows should be slightly flexed and pointed down, palms up.

a. Lower arms slowly, while sinking down a small amount (inch or two), while breathing out.

b. Rotate arms so palms are down.

c. Inhale while raising arms and body slowly back to original position.

Gradually increase amount of time spent doing down and up, deepening breaths.

Finish with arms out in front again, in starting position.

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7. Loosening Arms and Spine From the ending position of the breathing exercise, move hands together, palms out, right palm in front of left, left hand clasping right hand, elbows flexed.

Rotate arms down so palms are parallel to the floor.

Straighten up with legs, raising pelvis up, keeping palms down and as low as possible.

Raise your back up, pivoting at the hips and base of the spine. Keep back straight, parallel to the floor.

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Release palms from each other. Let arms hang straight down, but keep shoulders from rounding down; they should be straight across. 57

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Note on shoulder position: Stand straight up with shoulders straight out, not hunched forward. Your shoulders should maintain that same position when bent forward. This is not “natural”; gravity will pull your shoulders down when you bend forward. It will seem like you are pulling your shoulders hard to get them into the right position.

Wiggle fingers, loosening the joints, for 10-30 seconds.

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Move arms up and down in counter-rotating circles, using the shoulder joints. Do for 10-30 seconds, then switch direction of rotation, do another 10-30 seconds.

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Swing torso left and right, arching the spine left and right. Do not move the hips. When going right, it may feel like your right hip is actually moving forward, and vice versa. Repeat swinging back and forth 10-30 seconds.

Stop swinging, return to center, let arms dangle.

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8. Arch Back From ending position of Loosening Arms, clasp hands so palms down again.

Lower hips, and arch spine forward.

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Straighten up “one vertebra at a time,” starting at your hips, while straightening your legs. Continue past straight up until you’re bending back slightly, looking straight up, balancing by bending your ankles to pivot your knees forward. While straightening up, swing your arms forward and up as far as possible; at the top, release your hands from each other, and position them palms upward, behind (above) your head. Try to feel weight going down through your body, so you are pressing the ground with your feet as much as possible.

Straighten forward, swinging arms out and down to the side.

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9. Full Body Stretch Swing arms to the side and up as far as possible, but keeping arms in front of body, not straight up; and without raising shoulders.

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Stretch all your muscles, each one the same amount, from your toes to your fingertips. (Toes and feet stretch forward, not up.)

Swing arms out and to the side, down and around to the front until wrists cross.

Eight Silk Brocades

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“Eight Silk Brocades” is a famous Chi Gong set, named to indicate that they each of the eight is a glorious treasure. Since they are famously known as wonderful, there are, naturally, a great many versions. There are whole books listing various kinds of Eight Silk Brocades. But sometimes, there are twelve, not eight. Or else there are fourteen. Or else the name is completely wrong, the result of a bad mistranslation, and it should be (get ready for this) “Pull and Break Tendons,” which I’m told sounds a lot like “Eight Silk Brocades” in Mandarin Chinese. (I’d guess the tendon thing has some cultural connotation I’m not aware of.) Other sources give it the Chinese name Baduanjin (八段锦气功), which more or less translates to eight silken movements or eight brocades.

Anyway, here is one set. 58

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Move Names 1. 2. 3. 4. 5. 6. 7. 8.

Supporting the Heavens Shooting the Bow Looking Back Separating Heaven and Earth Swallow Skimming the Lake Punching to Ward Off Illness Strengthening the Root Opening the Gate of Life

Move Descriptions

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Except as noted below, do all of these as if you were raising a large weight or pressing down against resistance. In all descriptions, turning right or left means, eventually, the complete turn discussed in the previous chapter. Until you get there, use the earlier turns in that sequence.

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“Repeat” below means do the move five to 10 times depending on how energetic you want to be that day.

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1. Supporting Heaven Start with your arms in an oval shape in front of your body, palms facing inward towards your abdomen, at a height that’s about even with your navel. a) Raise your arms in front of your body to over your head, as high as possible without lifting your shoulders or completely straightening your arms. While doing this, gradually turn your arms so that your palms end up facing up. There should be a definite curve outwards as you go up, synchronized with turning your hands over from palm up at the bottom to palm forward at the top. You should brace your body (open the back) as if raising a large weight, and should slightly use your legs as if raising a large weight. b) Swing your arms down and to the side, palms out, continuing around below your waist and together again in front of your body until your hands come together in the original position. Compress your body (back, legs, hips) on the way down, as if pressing down a heavy weight. Repeat.

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2. Shoot the Bow This is moving your arms in a motion vaguely like opening up a bow and arrow. a) Raise your arms in front of chest, crossing the wrists, palms inward, with right hand in front. Palms open, hands relaxed. Leave left hand flat. Fold in two rightmost fingers of right hand and extend thumb, so index & middle finger stick out and thumb is at roughly right angle to fingers. b) Separate hands towards either side:  Left hand moves just a little to left, stays in front of left pectoral; elbow goes out horizontally. (It is as if it is the hand pulling on the string of a bow).  Right hand rotates palm out, flat to right, index and middle fingers pointing straight up, ring and pinky folded down, thumb extended out straight to the left, making an “L” shape with the index & middle fingers. Your elbow should be straight down, not co*cked to right. (It is as if this hand were the one holding the grip on the bow, except for the fingers pointing thing.)  Turn your head towards the extended hand and sight on angle between thumb and fingers with one eye; it doesn’t matter which. 59

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This should stretch tendons in outstretched (right) arm. You should keep the upper back slightly arched, and extend the arms enough to feel you are spreading out the muscles across the upper back.

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c) Hold for a little while (around 30 seconds). d) Release letting arms arc down to in front of the lower abdomen. Raise arms again, with left hand in front; repeat with arms reversed, and sight with the other eye.

Repeat a few times.

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When sighting with one eye, it is fine to close the other if you can’t concentrate your sight through one eye without closing the other. Ultimately, apparently, you should be able to do it with both eyes open. I’m not there yet.

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3. Looking Back a) Raise arms in front of body, as if embracing a large tube, with your palms inward, and your fingertips nearly touching. Your elbows should be slightly bent downwards. b) Rotate to right as far as you can, pulling your weight into your right foot. Do not turn your arms relative to your body.  Turn head to right, looking back over right shoulder.  Rotate forearms so that palms are out. c) Return to center, rotating forearms so that palms are in again. Repeat to left.

Repeat entire sequence several times.

This is also supposed to eliminate stress from things done in the past.

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4. Separating Heaven and Earth a) Lower your left hand to below your navel, palm up, while raising right hand to top of rib cage, palm down. Your palms should be facing each other, about 4 inches each other, slightly out from your body. Feel as if pressing something between palms. b) Maintaining pressing feeling move hands towards one another, so just before touching are just above navel. c) When your hands are about to touch, keep moving but rotate left forearm outwards, around right hand, turning it so you end up palm down above right hand. d) Continue moving your right hand up and your left hand down  Pivot your right forearm gradually so palm is up, keeping the left palm pointing down  Try to feel like you are pushing hard to separate something with your hands.  End with right palm as high as possible (but palm up parallel to ground), and left hand as far down as possible (palm down parallel to ground) without tilting your shoulders.  The movement of your hands should be straight up the center of your body (not arcing out as in Supporting the Heavens) e) Reverse palms so they are facing each other. f) Move your hands towards one another as if squeezing something between them.  Let your upper arm sink down elbow first  Just as when going up, you should go straight down the center of your body. g) As palms get closer, repeat as left/right reflection. Repeat entire thing several times. 60

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5. Swallow Skimming the Lake a) Hands at sides, above waist, palms up, hands open, and elbows behind body. b) Turn left, pulling into your right foot.  Extend right arm out horizontally straight in front of body. It will look like you are turning your arm left, but that should all be body motion. c) With arm extended, pull back into your left foot until centered. d) Continue turning turn back to center; continue moving right arm until it’s out to the left. e) Raise right arm up to a little below shoulder height  Arc your spine to the left, and lower your right hip, stretching out the right side of your body.  Note, this will make it look as though you are stretching your right arm up over your head, but you aren’t. Your arm is moving only because your back is arching. f) Turn to left. g) Extend right arm out in front and down, elbow first, while turning back to center, and bring right arm back to starting position. Repeat, reversed left-to-right.

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6. Punch to Ward off Illness a) Start with hands positioned at the sides as in the start of “Swallow,” palms up, but form both hands in a fist-like position (an “improper fist”): curl thumbs down to lie flat against palm, then fold fingers over thumb, pressing thumb against palm. b) Slowly punch with right fist straight out from your right shoulder (not to center),  Do the waist twist thing to right (slightly; mainly internally).  Turn forearm so palm ends up facing down when extended. c) At the full extent of punch, turn hand over to palm up, twisting forearm, while at the same time unwinding the fist: First the fingers, each one in sequence, index finger first; then the thumb. End up stretching the hand out completely. d) Keeping the arm extended, reform the fist, winding the fingers in: Start with thumb, then the fingers, sequentially, starting with the pinky.  Twist the forearm back to a position where the palm is facing down. e) Retract the right fist while simultaneously punching out with left (and unwinding body twist). When body is straight ahead, palms should be facing each other. Repeat hand twist with left hand, then keep repeating a few times.

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7. Strengthening the Root a) Start with your hands in front of your dantien. b) Sweep your hands and arms out to the sides and down, then up and stretch them up above your head. c) Bring hands down in front of body while bending at waist and knees. End with hands on top of thighs, palms down, fingers towards center, supporting upper body. d) Turn upper body to right, without bending backbone – turn should be from the very bottom of the spinal column. e) Turn back to center, then to left; repeat right, left, right, left a few times. f) Bring arms to center, then down, then straighten up while sweeping arms out to sides and up to stretch again. Repeat going down and swinging right left.

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8. Opening the Gates of Life

(In Chinese tradition, the “Gates of Life” are the kidneys. So this is supposed to be good for the kidneys.)

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a) Sweep arms up to left and right until stretch out above the head. b) Keeping arms extended forward, bend forward, bending only at lowest point of spine; do not bend back. Go as far as possible. c) Now bend back to go lower, but start bend at lowest vertebrae, and progress to higher on back. Initially this should feel like your back is arching up, not going down. d) Continue down until arms are at lower legs, as far as can go, palms against outside of legs. e) Rise back up, slowly, “one vertebrae at a time,” starting with the lowest one; while doing this, slide arms along outer part of legs until you are standing straight up. From there, continue moving hands up the side of the body, pointing the fingers down, until the wrist is up just in front of the underarm. While doing this, bend the back backwards and look up, bending the head backwards, ending up looking straight up. That final position is also known as “making chicken wings.” f) Slide hands along body down until touching kidneys (on back). End up palms in on kidneys. g) “Shake, rattle, and roll” (gack): Rub hands on kidneys while vigorously jouncing body on heels (don’t let heels leave ground, though). Should feel vibration through whole body. Keep jouncing for around 10 seconds.

Sweep arms down, and out, and repeat.

Five Elements

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This set is named from and based on, or suggested by, the five Korean elements. Those are a bit different from the five Chinese elements, which are wood, fire, earth, metal and water. The first five moves are the elements, and the last three based on notions of combining them.

Move Names

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1. 2. 3. 4. 5. 6. 7. 8.

Water Air Mountain Tree Fire Scooping Gathering Sun and Close

Move Descriptions

1. Water

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To reach the starting position, begin in the medium stance. Raise both arms straight out in front of you, palms down. By lowering your elbows, bring your hands closer to your body until your arms are about halfway to your chest from their starting position; at the same time, lower your hands slightly, so your wrists are at about the height of the center of your chest muscles.

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a) Pull your hands in a few inches further, doing so by bending all your joints. Bend your ankles, knees, and hips (quas), as well as your elbows, while simultaneously arching your spine slightly. Let your hands bend down as you do that, as if you were pulling something in. b) Rotate your hands up so that your palms face forward, and push out until they’re a few inches further out than the starting position. Do the push by opening up all your joints, the opposite of the pull. c) Rotate your hands down and pull in as in (a) until you reach the starting position, and repeat.

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Repeat for several minutes. Vary the angle between your arms, from narrow to the point where your hands are touching to almost, but not quite, straight out sideways from your shoulders.

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While doing this, think of waves gently coming in and out at a beach (whence “water”). Think of the whole wave, from its bottom to its top, all moving in unison. The waves reaching the beach are your hands; your feet are down deep in the water. Try to feel like the motion is starting all the way down in your feet.

2. Air

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Begin in a medium stance, arms in just about the same starting position as Water, but hands rotated so your palms are facing each other.

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a) Turn to the right into your right leg, moving your weight into that leg. At the same time, very slightly move your arms to the right while letting your fingertips trail behind in a flowing manner. Nearly all of the motion of your arms should come from turning your body, not from moving your arms in the shoulder joints. b) From the fully turned position at the right, turn to the left, just like you turned to the right above. c) Repeat, turning again to the right.

Repeat for several minutes.

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While doing this, think of your hands as leaves lightly being blown right and left by the wind (whence “air”). Be sure to keep your shoulders and arms very soft. The only arm movement relative to your body should come from their looseness.

3. Mountain

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Begin in a medium stance with your hands crossed at the wrist in front of your chest, close to your breastbone, palms down.

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a) Raise your arms and hands up in front of your body, gradually uncrossing your wrists, until your hands are just above your forehead with the backs facing up. Think of this as going to the peak of the mountain. Your elbows should point directly out to either side. Be sure your shoulders stay down, and expand your shoulders out to the side as much as possible. When doing this shouldersdown expansion you will probably not initially be able to rotate your arms completely up to above your head; just go to your limit, which will gradually increase. Do not bend your back backwards to get your hands higher. b) Lower your arms, rotating your shoulders, while simultaneously sinking your body down, lowering your hips by bending your ankles, knees and hip joints and very, very slightly arching your spine. Go down as low as you can comfortably sink. Keep your elbows down, and your palms outwards.

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c) As you reach the bottom, continue rotating your arms together until your hands reach each other and cross at the wrists. Your palms should rotate from palm out, while going down, to palms forward at the very bottom. Think of this as digging the ore or metal out of the roots of the mountain. d) Raise your body up, bringing your hands straight up in front of you and keeping your wrists crossed, until you pass through the starting position and are repeating step (a). Keep your back very nearly straight upright, gradually expanding a little bit. Repeat about as many times as you did the air and water exercises.

This should be a lot of work for your legs, with all of its raising and lowering of your whole body.

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The image for this one is, first, raising your hands up to the top of the mountain; then delving down into its roots, picking up boulders and ore, and lifting it up all the way to the top of the mountain.

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4. Tree Begin in a medium stance with your arms down, hands together in front of your navel. a) Rotate your hands and arms down and to either side until your palms face out from your body, and your elbows are pointing down. Your hands should rotate through a point where your palms are facing down. b) Rotate your arms out and up until your palms are above your shoulders. Your palms should face straight up. Through this, keep your elbows pointing down (at the start) moving to pointing out at the top of the move. Without completely straightening your arms, expand your body out to the sides like a tree growing up to the sun. As you start the rotation, you should sink down slightly so you have some small amount to rise while raising your arms. c) Rotate your arms until your elbows point forward and your palms face each other. Keep your arms shoulder-width apart. d) Keeping your hands shoulder-width apart, sink your arms down in front of your body. Sink your body just slightly at first, and then rise up as your hands go down the rest of the way. Think of your hands as tracing down the sides of the trunk of a tree. e) Continue lowering your hands until they are just below your sternum, rising up slightly. Now your tree is growing up again, supported by the roots that just went in. f) This brings your hands down to the starting position, so repeat from (a). Repeat again about as many times as you did the mountain exercise.

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This is a growing tree: Expanding out and up, then bringing the energy of the sky down the trunk into your roots to feel more expansion and growth out to the sides and up.

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5. Fire Begin in the position you are in after step (a) in Water: medium stance, arms in front, elbows bent down, hands angling down. a) Expand forward as you do in step (b) of Water, but when doing so tighten all the muscles of your body. Make the tightening proceed out in a wave that starts in your abdomen and moves out until it has covered your entire body. Remain at the tightest point for no more than a few seconds. b) Release and come in as in Water. Repeat 5-10 times.

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Think of the tension, the fire, starting in your lower abdomen (dantien) and moving out from there into your torso, legs, arms, and head. 64

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If, when tightening up, you begin vibrating or shaking, release some of the tension; you have gone too far for now. Vibrating indicates muscles not exactly matching in force. You should, however, tighten as much as possible up to that point.

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As you are doing this, it is unlikely that you’ll get every muscle evenly tightened. On each repetition, try to think of a muscle group you haven’t tightened. Back? Fingers? Face? Calves? Butt?

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An important part of this is the release. You can’t release muscles you don’t know about. Tightening muscles helps you find them so you can release them. Be particularly careful to release the muscles of your abdomen.

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6. Scooping Begin in a medium stance, arms pulled up a bit so that hands are a little forward of the hips, palms up. a) Sink down while simultaneously pushing your hands down and out, as if scooping them under something. Go as deep as comfortable, lowering your arms as low as comfortable. b) Rise up while using your legs and body to lift your arms and hands, as if you were picking up a very heavy weight. Continue until you are standing a bit higher than a standard medium stance, at which point your hands should be just in front of your solar plexus. c) Pull your hands back into the starting position, as if pulling whatever you lifted up into your Dantien. Repeat 5-10 times.

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This is picking up all the heavy elements – water, mountain, tree (wood) – and incorporating them into yourself. Think of lifting a pail of water, a bounder, a large log.

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7. Gathering Begin in a stance just like the beginning of Scooping. a) Turn to the right into your right leg, moving your weight into that leg. At the same time, open your arms out in an embracing motion, keeping your palms facing straight up. b) From the completely turned-right position, turn towards the left into your left leg, moving your weight towards that leg. As you do so, bring your arms together and in towards your Dantien, keeping your palms up, so that you reach the starting position when facing straight forward. c) Like (a), but twisting in the opposite direction. d) Like (b), but twisting in the opposite direction. Repeat from (a). Again, 5-10 repetitions.

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This is to be done very gently, as if you are carefully carrying a feather in each of your upraised palms and do not want to have it blow off.

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The idea is that you are sweeping all the light elements – air and fire – and incorporating them into yourself.

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8. Sun and Close a) From a medium stance, sweep your arms out and up as in Tree. b) As you reach the top, palms up, spread your thumb from your index finger and touch the index fingers and thumbs of both hands together, making a triangle. At the same time, tilt your head back to look up through that triangle; this will curve your back backwards slightly. Hold that position for a couple of seconds. c) Sweep your arms down to the side. As you do so, shift weight to your left foot, so you can pick up your right foot and put it down in a narrow stance; then move your weight back so it’s evenly distributed just as your hands come down vertically to your sides. 65

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As you look through the triangle, imagine the energy of the sun coming down through the triangle into your body, combining, and combining with, all the elements “to make man” – or, more politically correct, to make ourselves.

Advanced Yang Chi Gong

These are single-move exercises, each focused on one single specific technique or characteristic.

“Chen-Style” Silk Reeling

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There are many silk reeling exercises. This is one I learned in a Yang-style class; it does not correspond to any I did in Chen-style classes.

Begin standing in a wide stance.

Place both hands against your lower abdomen just below the belly button (on the dantien).

Rotate your

Wu-Style Spiraling

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Twist leg. Twist bottom of torso. Twist middle of torso. Do not twist shoulders relative to chest. Initially do not turn on hips (quas) so the other twists are emphasized.

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Must turn far enough that weight is completely off opposite leg. Test this by lifting foot. This will require you to sink the twisted-into hip – meaning: tilt your hips to the outside. Or it will feel like you’re tilting outside. Actually, you won’t really be tilting; just being straight. In most cases people balance by pushing their hips out and tilting the other way.

Scoop up with the arm movement.

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This is actually an exercise teaching Wu-style cloud hands. It can be done as that by shifting weight completely into the left foot and bringing the right foot in; then doing the right side into the right leg in a narrow stance, swinging left leg out to the left. It can similarly be done in the other direction, too.

Wuji (Wu Chi)

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As I write this, my son has recently returned from spending two years in Shanghai. While there, he did such things as eating drunken shrimp (drop live shrimp in liquor; wait until they mostly stop moving much; fish one out with your hand; eat) (but not the head), visiting Tibet (Yak butter tea) and far Western China, and so on. When I do Wuji, he says “Dad, stop creeping me out.” Done reasonably well, this can look rather strange.

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The name refers to the same Wu Chi or Wuji (in Pinyin) mentioned in the earlier discussion of “Tai Chi” and its opposite / antonym. The term “Wuji” is also used in other styles, or by other teachers, to refer to the basic standing posture discussed earlier as a medium stance, with your hands just hanging down next to your body. That has nothing to do with this

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Begin standing in a medium stance. As you become more familiar with the exercise, you may want to change to a wide stance as an aid to getting more extended motion.

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a) Place your hands in front of your body, inner wrists touching, palms facing one another but separated, fingers pointing slightly to the left and right. The point where your wrists touch should be centered in front of your body.  Drop your hands down slightly, about the width of your hands.  Keeping your wrists touching, slide your left hand up and your right down relative to each other, so the bottom of your left wrist touches the top of your right wrist.  Turn your hands so they are facing palm inward towards your body, with your left hand pointing straight left and your right hand pointing straight right. b) Drop your hands down even further, sufficient to do the positioning below comfortably; this is likely about even with your navel.  Keeping your wrists touching, slide your hands around so the backs of your wrists are now touching. Doing this implies that your palms now face outward: right palm faces right, left palm faces left.  Do not touch the backs of your hands together in this position; the hands should point outward slightly, effectively the opposite of the palms-facing position of the start. c) Raise your hands to the same level they were in the second element, (b).  Keeping your wrists touching, slide your right hand up and your left down relative to your each other, so the bottom of your right wrist touches the top of your left wrist.  Turn your hands so they are facing palm inward towards your body, with your left hand pointing straight left and your right hand pointing straight right. This is the same position as the second element, but the hand position is reversed top-to-bottom.

d) Keeping your wrists touching, return to the starting position; then repeat.

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This should be practiced until you move very smoothly from one position to the other, in a continuous motion. Gradually reduce how far to the right and left your fingers point in elements (b) and (d) until they point out at roughly a 45 degree angle out from your body, or somewhat less. Going a full 90 degrees, as described above, is only for initially learning the sequence.

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You will notice as you do this smoothly that the tips of your fingers are moving in a figure 8. Actually, each hand is moving in a figure 8 in the opposite direction.

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Do not twist your shoulders about when doing this; the motion should come from your arms only. The elbows will go from pointing down in (a) and (e) to rising slightly in (b) and (d).

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When you have the motion quite smooth, begin separating your wrists, keeping roughly the same distance between them throughout the motion.

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Once you have all the above moving smoothly, turn from the lower body left and right while doing it, gradually reaching a point where the waist movement is driving the motion, and then the waist is directing force arising from the legs (and the ground).

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Also practice this with the rotation going in the other direction: In step (b), instead of putting the left hand on top, put the right hand on top; and similarly reverse position in step (d).

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What good is this? Obviously, you are improving your wrist and arm flexibility by doing it. And it looks really cool. It is also a set of motions that are key to applying wrist locks (chin-na) to others. That is a whole sub-discipline of Tai Chi Chuan that isn't covered here. 67

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Teacup

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There used to be many exercises based on balancing teacups in the hands, or on the head, or on other body parts , while doing miscellaneous movements. Of course, the movements are to be done without dropping the teacup(s) or spilling any tea that may be in them. Now this art primarily survives in the (apparently required) part of every Wushu show that I call the twisto-bendo rubber girl, who uses some kind of flaming item (candles, oil lamps) rather than teacups. This is one such exercise; it promotes waist and spine flexibility.

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The reward for completing the exercise without spilling any tea was, allegedly, to be allowed to drink the tea.

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I'll refer to the object held a teacup. In practice any cup-like object can be used, preferably one that is not too likely to break when dropped, since you will drop it. I've used a plastic disposable cup. Very light objects, like such cup, are harder to use than heavier objects since they fall over more readily. Putting something in them as a little weight makes it easier. One student brought in a bunch of those restaurant-provided packets of jelly or jam to put in our cups to make it easier; that worked quite well.

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The cup should be held on the flat of the palm, centered side-to-side, with the edge of the cup just at the crease at the base of the fingers. Holding it back further towards the wrist gives you less control. Holding it further forward, onto the first joint of the fingers, lets you cheat too much by cupping the base in your hand.

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a) Begin in a medium or slightly wide horse stance, with your left hand in front of your Dantien and your right hand hanging at your right side, hand horizontal, fingers pointing forward. Your left hand remains in that position throughout this exercise. b) Turn strongly to the left, pivoting on the left hip, and pulling your weight into the left foot.  Bring your hand forward slightly, turning your fingers to point slightly left. (They should point roughly parallel to a line between your feet, but that is only a “slight” turn because your body has also turned left.) c) Turn strongly to the right, ending up pivoted on the right hip, weight pulled into the right foot.  Bring your right hand back, twisting it to the left, so your fingers point directly backward. Note: Because of the body twist, this is not a major twist of the right arm. d) Turn strongly to the left, ending up pivoted on the left hip, weight pulled into the left foot.  Keep your left arm in roughly the same position relative to your shoulder as it was at the end of the prior turn. That will result in it appearing, to spectators, to point right at a very strong angle. e) Lean back strongly until you are facing the ceiling, bending your knees forward (using your ankles) to keep balance, as if you were doing the limbo. As you do this, you will be forced to center your weight, but do so gradually.  Bring your right arm up, so your right hand passes in front of the left side of your body, and then the left side of your face, until your hand is slightly behind your head. Note::  Your hand is not really behind your head ― relative to your body. Because you have leaned back that much, it is actually just above your forehead.  So your arm is really just coming up in front of your body. It is not undergoing some kind of major twist. If you are twisting anything in a major way, your are doing it wrong.  The teacup should reach the point where it is centered on your body at the same time that your weight is centered on your feet. f) Lean forward to a normal stance 68

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 

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That is the basic exercise. If you manage to get it right, it turns out that you are effectively dong a giant Wuji exercise that spans from your waist to above your head, with the leaning back and forward thrown in.

Here are some variations:

Turn strongly to the right, ending up pivoted on the right hip, weight pulled into the right foot. Lower your right hand down along the right side of your body until it is hanging down, fingers pointed forward. Note again that your right arm should not undergo any strong twisting. g) You are now in the starting position except for being right-weighted. Continue again smoothly to do step b, and repeat the whole exercise a number of times.

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

Do it to the opposite side, with the teacup in the left hand. Duh. At least this should also be done in any practice.

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

Do it in the reverse direction. Instead of starting off leaning forward and bringing the cup forward and under your armpit, start leaning right and then back, bringing it over your head. It helps to start with the fingers pointed in towards the hip.

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

After you have the reverse direction under control, do it two-handed, with cups in both hands. This works when you do it reverse with the right hand while doing it forward with your left hand.

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Of course, that two-handed version can be done in its reverse direction, too.

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

Finally, you can do it with two hands while both go in the same direction. That’s “same direction” as in “both do the forward rather than the reverse direction.” In space, they’ll be moving opposite each other. This variation loses a lot of the side-to-side waist twisting, since you can’t twist in both directions at the same time; instead, you just lean back.

Grass Blowing In The Wind

Begin in a narrow stance, hands at your sides.

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Imagine you are a blade of grass in a field, with the wind blowing you back and forth – left, right, forward, back, combinations of all of those. Move like that, as randomly as you can. Bend your entire body, starting at your feet. Let your arms just swing with it. Do not move your feet. You do not have to keep your weight evenly distributed to both feet. Start with small movements, and work up to larger ones.

Only real thing to watch out for: Keep your feet equally weighted around their edges, at all four points.

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This is more difficult than it sounds, especially if you keep a narrow stance, so you don’t have much leverage to the rest of your body. I’ve found it interesting and useful to mimic the body motions used in other Chi Gong while doing this; two I’ve used include Compass or Wu-style Spiraling.

Opening and Closing

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This is from Wu style, in which this kind of expansion and contraction is a major element. This is almost identical externally to Water in the Five Elements; the only visible difference is that it is done with the 69

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hands kept horizontal; think of there being a large barrel in front of you, lying on its side; you have your palms resting on the top of that barrel, rolling it back and forth.

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The intent here is to work on expanding and contracting in your joints – not from the joints hinging, but from them actually extending a short distance in and out. For example, you should think of your hands extending out from your arms by expanding the wrist joints.

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Opinion: I am not convinced that joints flex this way, ever. Every time I see it demonstrated, I see movement of the whole arm that explains it without the joint expanding. However, it is entirely possible that you can feel as though joints are expanding, and that there is merit in feeling expansion deep inside your joints. If nothing else, it is worthwhile to work specifically on flexing all your joints simultaneously – hands, arms, spine, legs, feet. Flex six of the seven bows. (You miss the one across the upper back.)

Spinal Flexing

The intent of this is to increase your spinal flexibility, and increase your awareness of your spine.

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a) Stand in a medium stance, arms at your sides, in a relaxed stance. b) Try to slowly rock your head, rotating it around in a circular motion, just on the top of your topmost vertebra. Do not move any other vertebra in your spine. Do this for roughly 15-30 seconds. c) Now move to the top vertebra itself. Rock it circularly against the next vertebra. Try to move just that vertebra, none above and none below. (This implies your head will rock, too.) d) Then go to the next vertebra, rocking it just by itself, moving neither the vertebrae above nor those below. e) Keep going all the way down your spine, through each of the seven cervical vertebrae (ending at the shoulders), then the thoracic vertebrae, to the end of where the rib cage is attached, down through the five lumbar vertebrae ending at the base of your spine. When you reach the bottom one, you will be rocking your whole body in that circular fashion. Then go back up, and then do it again rocking in the opposite circular direction.

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It is far from easy to isolate each vertebra; you probably won’t do so initially. It can be done, but it takes a good amount of practice.

Wu-Style Twisting

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Go into a medium stance. Move your left foot straight back until your left foot is a couple of inches behind your right heel; Keep your left (rear) foot completely parallel to your right (front) foot. Sink your weight into your front foot. (This is a Wu-style right bow stance, front weighted. The rear foot is parallel to the front foot to allow turning more equally to the right and the left.)

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Keeping weight in your front foot, begin twisting your torso left and right. Start with your left hand at your side, and your right hand palm up at your dantien (just below your navel). Work to keep the twisting at your waist, and somewhat in your hips. Drive it from your dantien. (I’ve found it useful to also drive it from your front leg, twisting internally in the leg.)

As you loosen up, allow your hands to swing, extending the twist up your torso to your shoulders.

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Keeping your feet in the same position, sink into your rear (left) foot, deeply enough that your left foot comes up at the toe, resting lightly on its heel.

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Now twist again, like you did last… sorry, wrong song. Twist like you did on the front foot, but on the rear foot. Let your right foot pivot on its heel left and right with the twist.

Do that again.

Now reverse the stance, so your left foot is forward and the right back, and repeat.

Yes, your thighs are talking to you.

Swimming Dragon

This is an exercise in spinal and arm flexibility.

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a) Begin in a medium stance.  Bring your palms together in front of your chest, fingers pointing up, in a traditional Chrustian prayer or Buddhist wai position.  Keep your elbows down. b) Undulate up.  Raise your hands up to head height, wiggling (really, “undulating” is the best word) from one side to the other, back and forth, in a sinuous motion like an eel swimming. Or a long Chinese dragon swimming. They are water creatures, you know. No fire. They bring rain.  Actually, it just looks like you’re moving your hands. You really wave / wiggle / undulate your entire body from side to side, trying to imitate said eel / dragon, and your hands follow the motion of your body. c) Turn down and undulate down.  Continuing to wiggle, keeping your palms together, bring your arms down.  As you the start down, gradually rotate your hands forward until your fingertips are pointing down.  Continue going down until your hands reach about knee height. This will involve bending your knees and spine while undulating at the same time. d) Turn up and undulate up again  Continuing to wiggle, and still keeping your palms together, raise your arms up again.  As you start up, rotate your hands forward until your fingertips are pointing up again.  Continue up until your hands are head height again. e) Repeat going up and down and up. Many times. At least that’s how I remember it. Doing it for 10-15 minutes counts as “many.”

Chen Style Chi Gong (Silk Reeling)

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I learned these Chi Gong from my first Chen-style teacher. I have found some Chen stylists who tend to refer to many of these as “silk reeling,” but while there are hundreds of silk reeling exercise, most of the ones listed here aren’t strictly silk reeling as I originally learned it.

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Stake Standing

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Stake Standing, or “pile-stance,” or Zhan Zhuang6 is an extreme version of Embrace the Horse (otherwise known as “Tree Hugging”). It is intended to increase rooting skills, and is said to do so very quickly: 5 to 7 days of practice is said to be enough to make a significant difference. It requires what is described as “a certain athleticism.” I consider that description excessively delicate.

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a) Stand in a slightly wide stance, aligned, head suspended and spine elongated, ankles and knees bent, etc., with arms hanging down at the sides. b) Raise your right arm in front of the body, palm facing left, angled up slightly with the tip of the middle finger about 8 inches from the tip of your nose. c) Raise the left arm behind the body, in a hook hand (Chen terminology) or Crane’s Beak (Yang terminology), fingers pointing upwards, behind your spine at the small of your back, opposite your navel. Your fingers should point straight up along your spine. d) Sink down, straight into your feet. Be careful to maintain body alignment while you are doing this. Go down deep enough that your thighs begin quivering slightly. Do not let your hips sink lower than your knees. e) Stay in that position for two minutes.

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If you find yourself able to do it for longer than two minutes, you’re not low enough. It should take concentration and willpower to make the full two minutes.

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If your thighs do not burn like crazy, you are doing this wrong. Chen Qingzhou, who may be the originator of this exercise (9), was once asked by a student asked when your legs stopped hurting. He replied, “I don’t know. If it stops, I’ll let you know.” Chen Qingzhou began training at an early age, and was at least 50 at the time.

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There are stories of people coached to do it lower or longer than their usual comfort zone who could not raise themselves back up; they needed someone to help lift them.

Don’t do that.

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Rough though it may be, this is unquestionably the most time-efficient Tai Chi exercise you can do. When I was doing it daily, those two minutes a day definitely made a difference in my ability to climb and descend stairs, become strongly rooted, etc. It just takes two minutes, and it takes no space; I was doing it in hotel bathrooms – bathrooms in Europe, barely big enough to turn around in.

Stake Standing was the initial warm up exercise for the style of Chen that I initially learned.

From that position, before leaving the stance, do Dantien Rotations (described below). Do at least three to each side. g) Then rise up and put your arms down.

“Zhan Zhuang” is a Pinyin spelling. It is pronounced “Jan Jwang.” Approximately. The “Js” are kind of soft, according to my limited knowledge of Pinyin. I’ve never heard that name pronounced; I was not told it when I learned it. 72

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Dantien Rotations

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The purpose of this exercise is to make your Dantien area more flexible and strong. It is also a way to do Chi storage; more about that at the end of this section.

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The description that follows is deliberately broken down into separate steps; see below for how you really want to do it, ultimately.

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a) Begin in a slightly-wider than medium stance, aligned as usual. b) Place your right palm on your abdomen, on your Dantien, with your index finger (which should be horizontal, pointing left) about two inches below your navel. Place your left palm on top of your right hand. That’s if you are male. If you are female, place your left hand touching your stomach and your right hand on top of it. (It’s a Yin/Yang thing.) Press your hands into your abdomen lightly; not hard, but firmly enough to make solid contact. c) Sink down slightly. This should not be as far down as in Stake Standing, but should be enough to feel some effort from your thighs. d) Without moving your pelvis – this is important – twist your abdomen to the left, so you move your navel left. (See the earlier discussion of this in a prior chapter.)  Slide your hands horizontally, rubbing slightly, to the left on your abdomen. Your right palm should end up an inch or so left of your navel. e) Rise up slightly (maintaining alignment).  Slide your hands up vertically, rubbing slightly, until they are a couple of inches higher than your navel but still on the left side of your abdomen.  Roll your Dantien (abdominal muscles) up, following your hands. f) Again without moving your hip bones, twist your abdomen to the right, going as far right as you did left before, moving your navel right.  Slide your hands right, above the navel, rubbing slightly, to the right side of your abdomen. End up in a position symmetric to where they started, but on the right. g) Sink down to the original height you started at.  Slide your hands down vertically, rubbing slightly, until the top of your palms are about two inches below the height of your navel.  Roll your Dantien down, following your hands. h) Twist to the left again, sliding and rubbing lightly across your abdomen, as in element d).

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Repeat d) through h) nine times. Then stop in the starting position and repeat nine more times, rotating in the opposite direction.

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As indicated earlier, the description above is not how you ultimately want to do it. The reason is that the description is “squared off” into straight lines: Left, right, up, down. As you get comfortable with going up and down while moving your Dantien synchronized with that movement, round off the motion so you are moving first in a rounded rectangle, and then in a circle. However, be sure you still maintain the full extent of the motion, both left-to-right and top-to-bottom.

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Dantien rotations are usually done after one has done some fairly significant exercise. The theory is that work disperses your Chi throughout your body, and Dantien rotations bring it back into the Dantien where it is safely stored. Therefore, they’re done at the conclusion of a whole training session, and also at the conclusion of particularly strenuous parts of a training session, such as the ball exercises described later or the Stake Standing discussed above. 73

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When done after Stake Standing, an interesting variation is used (this may depend on your definition of “interesting”). At the conclusion of stake standing, do not immediately rise up. Instead, bring your hands down to the starting position for Dantien rotations, keeping yourself in the deep stance you used in Stake Standing. Now do Dantien rotations from that position, going back down to that depth on each rotation. This is obviously itself a fairly strenuous undertaking.

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If you do this diligently, as well as the Tai Chi Ball exercises discussed later, you will eventually feel as if a small ball, about the size of your fist, is moving around inside your abdomen, synchronized with your movement: As you go down, it goes down; left, it goes left; etc. Its position is under where your hands are in the exercise above. As you learn to use your Dantien to drive the movements when doing a form, you’ll feel it then, too. I’m not quite sure what good it does to feel that ball, other than to convince you that something is actually going on down there. Over time, the circles it describes are said to get smaller and smaller, and hence your gathering and release of energy gets faster and faster, until finally rather than circling the energy jets out of a point. (I’m not there yet.)

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A personal aside: When I was first told this, nobody ever said how big the ball was. I spent a very long time thinking that it was the size of my entire Dantien, and trying to feel the whole thing roll around. I actually first felt is really distinctly when practicing what was supposed o be Wu-style expansion and contraction, but instead concentrating on making my whole torso arc forward, using my stomach muscles, and straighten out, using my upper back muscles. The ball moved very distinctly and solidly from my crotch straight up to my sternum and back again.

Silk Reeling

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Silk Reeling exercises come by that name because they are to be done smoothly and continuously, the way one must pull the silk off the cocoon of a silkworm: If you pull too hard, the strand breaks; if you slow down too much, the silk gets hung up and breaks when you try to get going again. Light, smooth, continuous motions are required to un-reel the longest, and hence most valuable, strand of silk.

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These exercises are representative set of what I was originally taught as Silk Reeling in Chen style. As mentioned, there are hundreds of them; people make them up on the spur of the moment. After describing a few, that will be clear.

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I’ve made up the names used below; I’ve never heard anything like “official” names attached to individual silk reeling exercises.

Standing One-Hand Side-to-Side

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a) Begin in a wide stance (horse stance) – wide by Chen standards, meaning past shoulder-width.  Place your weight in your right foot.  Right arm extended to the right, palm forward, hand at shoulder height.  Left arm at your Dantien, palm up; it just stays there throughout the exercise. b) Pull your weight into your left foot, slowly, pivoting to the left on the left hip.  Dip your right hand down, leading with the fingers, and bring it across your body. Cross your Dantien at the lowest point, and continue curving up until your hand is level with your shoulder. Twist and untwist your hand so it is palm up when crossing your centerline, and palm facing back at the end of the motion. c) Pull your weight into your right foot, slowly, pivoting to the right on the right hip. 74

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

Repeat several times, for example, nine times. Then swap hands, start on the other side, and repeat.

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A mnemonic for how to move your hands is to act like you are scooping up paint when moving your right hand from right to left, and then painting it on a wall when going left to right.

Standing Both Hands Side-to-Side

Pull your right arm across your body all the way back to the starting position. Twist the lower arm so that the palm gradually turns from facing back to facing front. Keep hand mostly flat facing forward, and move in a straight line, as if moving the hand along a wall.

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a) Begin in the same position as the prior exercise, except that the left hand is extended to the right, below the right hand at a height level with the diaphragm, palm facing right. b) Pull your weight into your left foot, slowly, pivoting to the left on the left hip.  Dip your right hand down and across as in the prior exercise.  Move your left hand parallel to your right, leading with the fingers, twisting so palm is down at the lowest point (center of body) and palm is back at the end of the motion. c) Pull your weight into your right foot, slowly, pivoting to the right on the right hip.  Move both hands to the right, painting the wall across in front of you with both of them, until you reach the starting position. Repeat several times, for example, nine times. Then swap hands, start on the other side, and repeat.

Standing Both Hands Side-to-Side, Swapping

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Like the prior exercise, but on each side, swap hands top-to-bottom and the extremes, so the right hand is going across higher when moving to the left, and the left hand is going across higher when going to the right.

Moving Both Hands Side-to-Side, Swapping

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Like the prior exercise, but when you reach the far left, while swapping hands top-to-bottom, pull all your weight to the left and bring your right foot in close to your left. Move left-to right with feet close, still switching weight to the right foot. While swapping hands on the right, move the right foot out to the left into a wide horse stance again, and repeat.

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Continue until you run out of room to the left, then do one hand swap the just switches weight back to the left foot with feet still close, and start doing it moving your right foot out to the right, moving to the right.

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When moving to the left, this is essentially identical to Chen-style Cloud Hands move from the Chen oldstyle long form.

I could continue describing other variations, but I think at this point the overall pattern is clear.

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It’s also possible to do front-to-back silk reeling. That is done from a bow stance, and usually includes a strong twist back into the rear foot. Variations include using both hands at shoulder height, as if throwing an opponent back; or both hands low, as if pulling a rope back, and then throwing a large ball forward.

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Chen (Qingzhou) Joint Opening Warm-ups

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These are the standard warm-ups used in Chen Qingzhou’s version of Chen style. I first learned them when I first studied that style in about 1998, and encountered them again in 2008 at a seminar by Chen Youze (see appendix). They are less true Chi Gong than warm-ups before you do that style’s versions of Chi Gong. Their purpose is to open up your joints, warm them up, and get fluid circulating in them. They start at the feet and move up to the neck, and are always done in the order shown below.

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Warning: Avoid these exercises if you have issues with the joints involved. For example, if you have a knee replacement for heaven’s sake do not go anywhere near the knee joint warm-up; it probably violates every rule you got from your doctor about knee motion. If you have spinal disk problems in your neck, don’t even think about the neck warm-up. And so on.

I believe these are the only activities documented in this book that require such a warning.

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1. Feet a) Begin in a very narrow stance, feet touching, arms hanging down at your sides (narrow wu ji stance). b) Quickly rise up on the balls of your feet as high as you can.  Hold this position for 5-10 seconds.  Remember, the intent is to loosen up the joints of your feet, so bend your toes and ankles as much as you can, going as high as possible. (But obviously don’t do a ballet on-point thing on the ends of your toes.)  Raise your arms up in front of your body, palms down, hands extended, arms angled up somewhat steeper than at a 45 degree angle up; your hands should be higher than your head, but in front of you. c) Violently slam down on your heels. You should feel it all the way up your body.  Quickly pull your arms down and back, ending with your hands on either side of your waist and your elbows pointing back. Turn your arms over and form your hands into fists at the same time, ending palm up next to your waist. d) Repeat that raising and lowering, with arm motion, at least nine times.

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2. Ankles a) Stand on your left foot.  Lift up your right foot at the heel, keeping the big toe on the floor.  Position your right foot so your feet are about shoulder-width apart, right toe slightly in front of your left. b) Circle your right heel counterclockwise: In towards your left leg, back, out to the right, forward as far as you can.  Do the circling vigorously, making as big a circle as you can, flexing your ankle in a circle as far as you can go.  Also do the circling quickly; each circle should take less than a second.  Keep the front tip of your foot on the floor. As you circle around far, your big toe may come off the floor; maintain floor contact with your other toes and sometimes the front of the ball of the foot.  Circle at least nine times. c) Now do the same thing circling clockwise with your right foot. d) Switch to standing on your right foot, and do the same circling with your left ankle, in both directions. 76

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3. Knees a) Bring your feet close together, touching again. b) Bend over, flexing your knees, until you can place your palms on your kneecaps.  Point your elbows out to the sides, making your hands nearly (not quite) horizontal. (This will bend you over somewhat further.) Your fingers should curl around the inner sides of your knees, so the backs of the fingers touch.  Press your kneecaps firmly.  Touch your knees together. In fact, touch your entire legs together along their whole length. c) Circle your knees counterclockwise: Out to the right, forward, around to the left, all the way back until your legs are straight, out to the right again, repeat.  Do this circling vigorously and quickly.  Circle as widely as you can. Your rear end should be bobbing up and down like mad.  Keep your palms on your knees at all times. Use your hands to push your knees around in the circle. Your palms also provide additional warmth to your knees during this, helping them to warm up faster.  Keep your knees touching each other at all times.  Do at least nine circles. d) Do the same thing circling clockwise.

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4. Waist a) Stand with your hands on your hips, feet about shoulder width apart. b) Circle your entire torso counterclockwise: Forward, to the left, back, to the right, forward again, etc.  Arch your entire spine when you do this, in all directions: Forward, left, back, right.  Do the circling vigorously and quickly.  Do at least nine circles. c) Do the same thing circling clockwise.

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5. Shoulders a) Stand with your arms hanging straight down at your sides, feet about shoulder width apart. b) Rotate your shoulders, going up, then back, then down, then forwards, then up.  Yup, vigorously and quickly again.  Concentrate on only moving your shoulders: Don’t hunch your entire chest inwards when you go forward, don’t squeeze your shoulder blades together hard when you go back, don’t pull your shoulders up to your ears when going up.  Yup, at least nine times again. Nine is a magic number; see the Ball exercises below for a discussion of that. c) Do the same thing again, rotating in the opposite direction.

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6. Elbows (Arms) a) Stand with your feet about shoulder width apart, arms hanging down, slightly forward and angling out from your body at about 45-degree angles. b) Vigorously whip both arms down and out, repeatedly.  The motion is the one you would make if you were trying to fling some noxious goo off your arms.  Be sure to flex your wrists, palms, and fingers, not just your elbows. c) Repeat at least nine times.

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7. Wrists a) Stand with your feet about shoulder width apart, arms hanging down, slightly forward and angling out from your body at about 45-degree angles, palms open and fingers outstretched (but not completely straight). b) Rotate your hands at your wrists.  Use vigorous rotation, flexing your wrists around as far as you can.  Rotate the right wrist counterclockwise and the left wrist clockwise.  Do at least nine rotations. c) Repeat, rotating in the opposite directions.

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8. a) b) c)

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Note: You will probably hear crackling sounds coming from your neck as you do the neck releaser. Two points about that: (a) This is completely normal, and nothing to worry about; it comes from calcium deposits on your neck bones, rubbing against each other. (b) Even though they sound really loud, don’t be embarrassed – nobody else can hear them. You’re hearing them only by bone conduction from your spine to your skull. Outside your body, they’re virtually inaudible; anyone else would need a stethoscope to hear them distinctly. Really! I’m guessing here, but I suspect you would hear similar crackling sounds on all of these exercises, from each of the joints being worked; they’re just too far from your skull for the bone conduction to work well.

Ball Exercises

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This is the complete set of Chen Style Tai Chi Chuan Ball exercises as recreated by Chen Qingzhou. In the chaos of the Cultural Revolution, all information about this system of Chi Gong was lost. Chen Qingzhou revived it for the use of his school, basing that re-creation on his understanding of Tai Chi Chuan and his memories of his father doing exercises with a heavy sphere. They were taught to me originally by Rick Adams, my first Tai Chi Chuan teacher, and also by Chen Qingzhou himself when he visited Austin in 2001 and gave a weekend seminar.

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I’ll first provide some information on the ball itself, then some general comments, and then list the moves of the exercises.

The Tai Chi Chuan Ball (Sphere)

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The Tai Chi Chuan Ball, or Sphere (Taiji Qiu) that is used in this exercise by serious practitioners is metal, about 1.5 times the diameter of a basketball, and weighs about 14 kilograms, which comes out to

d) e) f) g) h)

Neck Stand with your hands on your hips, feet about shoulder width apart. Drop your chin to your chest. Slowly – yes, this one is done slowly – roll your head to the left, trying to touch your left shoulder with your left ear. Slowly roll your head back until you are looking at the ceiling, chin pointing straight up. Slowly roll your head to the right, trying to touch your right shoulder with your right ear. Roll your head down and forward until your chin is at your chest again. Repeat this head roll (you guessed it) nine times. Now, do it nine times in the other direction.

Figure 4: Tai Chi Chuan Sphere at Chen Qinzhou Seminar

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30.1 lbs. There are such balls available in China that also have chimes inside which ring when the ball is rotated. This is cool, or cheesy, or creepy, depending on your predilections.

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Beginning men should use a ball weighing 10-15 lbs.; beginning women, somewhat lighter. You want a ball heavy enough that moving it – e.g., hold it in both hands and swing back and forth – requires effort. If you don’t have to work to move the ball, you cannot do these exercises correctly. In Figure 4, the goldcolored ball towards the left is a “real” ball, purchased in China. The others indicate just how wide a variety actually gets used. The gray-haired bloke in the foreground on the right, in white, is Chen Qingzhou. The person with the real ball, also in white on the left, is Rick Adkins, my first teacher.

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A basketball partly filled with sand is sometimes used initially, or a heavy medicine ball. A used bowling ball is a good cheap alternative. One student found a rather good metal ball of the right diameter being sold as an ornament placed on top of columns in fancy walled fences. It wasn’t heavy enough, though; he had to pour in sand through a hole that it came with; I don’t know how he closed the hole. Someone else filled a basketball with water. That worked (except for basketball’s friction, see below), but he gave up on it because it was dangerous: it was very heavy, and bounced very enthusiastically.

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I at first used a small basketball with some sand in it (pop out the valve, patiently pour in sand, duct tape the hole shut). This is cheap, and can be used, but is far from ideal. In the first place, it’s too small. More importantly, the ball has to slide on your body in some of the exercises, and a basketball’s rough rubber surface makes that difficult. I also tried a leather-covered medicine ball. This was a good diameter, and a slick enough surface, but at only 9-10 lbs. was too light. Heavier ones are available, but seem to be rather expensive; I saw big ones on web sites for upwards of $50 (in 2001). Heavy ones I’ve seen since are too big.

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As this is written I use a 16-lb. used bowling ball that I got at a bowling alley pro shop. It’s better than the other alternatives I tried, since it’s both slick and heavy enough. It’s smaller than ideal, and ultimately too light, but it’s the most common choice. If you go the used-bowling-ball route, note that you can usually get a discount because you don’t need (or want!) it to have finger-holes drilled in it, and drilling is usually included in the price. Pro shop owners think this is really strange, to the point where I had to keep reminding the guy I talked to (he couldn’t fathom it), but they will sell it that way. Another alternative I’ve heard of is Good Will shops. Those are likely to be less expensive than pro shops, but they’re unlikely to have the finger-holes filled in.

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Having enough weight is important. I’ve found that it’s hard to do the mechanics of these moves correctly (in particular: using your back and waist muscles, not your arms) if the ball is too light. An adequately heavy ball, meaning one that takes some effort to move around, forces you to hike the ball close to your body and lever it around with your back and body muscles – which is precisely the intention (although the levering is best done more subtly than that would imply).

General Information

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The point of these exercises is to strengthen and loosen your Dantien, to facilitate having power emanate from it – a key element of Chen style; Yang style refers to the waist (Dantien) as directing force, not sourcing it, but Yang practitioners can still benefit quite a bit from these exercises.

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After doing them regularly for long enough, and with a heavy enough ball, you should start feeling like there is a ball inside your lower abdomen that moves corresponding to the external ball that you are moving around: When the external one moves up, the internal one moves up; when you swing the 79

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external ball out, it rotates out; etc. For me, this feels like a small ball moving around in my abdomen. It varies size, but is often the size of two fists. (I was confused for a while, thinking it should occupy my whole lower abdomen; that isn’t the case.)

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This really does work; as implied, I started feeling it myself after practice. It is not a subtle feeling; when it happens, it is quite obvious. Don’t try to force it, or even to specifically move your abdomen (Dantien). I initially felt it when concentrating on rising by straightening out my torso, using my back muscles. Just be prepared to feel it when it happens, so you can recreate whatever intention caused it.

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Initially, however, what many people are feel is that they’re exercising the muscles of their lower back. There’s nothing wrong with that. On the other hand, if your upper body, arms, or shoulders, or especially your wrists become really tired and aching, you are doing the exercises wrong. Naturally, this is rather likely at first. Try to keep your shoulders and arms relaxed, as unlikely as that may seem when you’re moving a significant weight around.

Here are some general principles, mostly safety advice, which apply throughout:

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

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The directions below say to do each exercise, on each side, nine times. That is a specific instruction from Chen Qingzhou: When practicing, you should do nine to the left, and nine to the right; but when demonstrating, do only three. Why those numbers? Therein lies a tale.

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When Chen Qingzhou said that, I asked, through an interpreter, “Why nine?” The answer was “Because nine on the right and nine on the left make a total of eighteen.”

That was it. He stood there and smiled as if no further explanation was needed.

So, I asked “Why eighteen?”

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The answer was a shrug, a grin, and a statement that translated as “I don’t know. Eighteen is a good number.”



Never lift the ball from a low position using your back like a crane. See the detailed discussion of this in the move “Addressing the Ball” below. This is really the usual “lift with your legs, not your back” general safety advice for manipulating any heavy object, such as the ball. Never, ever, try to move or manipulate the ball with your fingers. Your fingers should rest lightly on the ball, and not transmit force. Your palms, forearms, hips, and other body areas transmit force to the ball; never your fingers. If you have a ball that’s heavy enough to do the moves right, pushing it around with your fingers is nearly impossible anyway. This is also general safety advice for manipulating heavy objects like the ball. Avoid using your arm strength to move the ball, except in a few cases that should be obvious in the detailed descriptions below. In many moves, in fact, your arms are in tension: the ball’s weight is trying to extend your arms. This is not really safety advice, although I suppose you could mess up some muscles if you don’t do it. If you don’t do it you’ll just get very tired arms, and miss the primary point of the exercises. Always end your practice with the last move (“Dantien Rotations”), even when you’re just learning the moves and can’t yet do them all. This final move and the prolog should both be included in the first lesson, along with the plain “Dantien Rotations” move if it’s not been learned previously. Chen Qingzhou considers this to be safety and/or health advice; see the description of the epilogue that appears later.

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I later asked around on some online forums, where I was told that eighteen is indeed considered a “good” number in Chinese culture, because (in one or another dialect) it rhymes with “make a lot of money.”

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My net of all that is the number for practice is arbitrary. If you want to follow Chinese culture, do nine and nine. If you want to follow conventional Western culture, do ten and ten. If you’re into computer culture, do eight and eight, or, if you’re hard core, 16 and 16.

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Actually, I believe Chen Qingzhou’s real point in bringing this up was the other number: Three. That’s deliberately a small number, for two reasons. First, there’s no point in wearing yourself out in a demonstration, and there is some point in not wearing yourself out at the start, so you can do the later parts better. Second, and probably more important, there’s no point in doing it often enough in a demonstration that you’re giving away the technique to whoever may be randomly watching. This is traditional Chinese copyright and intellectual property protection: Don’t tell anyone who is not dedicated to you. I have a videotape of Chen Qingzhou demonstrating this exercise, and indeed, he does everything only three times.

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One final note: I never was originally given names for most of the moves, so I made some up. However, recently some web research uncovered an article written by Chen Qingzhou about these exercises (reproduced at the end of this document), which included a link to a list of names. I’ve put those names below, along with the more descriptive but far less interesting names I made up, the latter in brackets (like this: [ ] ). The Dantien rotations before and after weren’t part of Chen Qingzhou’s list; I’ve included them because they were always present every time I was shown these exercises.

Chen Qingzhou’s list has exactly eighteen moves. Fancy that.

The move names and their descriptions follow.

Move Name List

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.

Prologue: Dantien Rotations Draw up the Sphere [Addressing the Ball] Na Zha Explores the Sea (Left) [Dantien Rotations Left] Na Zha Explores the Sea (Right) [Dantien Rotations Right] Cover Moon (Left) [Swing Left] Cover Moon (Right) [Swing Right] Tyrant Raises Censer [Chest Roll and Lift] Wei Tuo Offers the Rod [Dantien Thrust] Lion Rolls Ball [Lion Comes Out of Its Cave (Right Side)] Lure the Spider into the Cave [Toss Right to Left] Support a Thousand Pounds (Left) [Stand on Right Foot, Low] Pearl Returns to Its Nest [Stand on Left Foot, High] Wei Tuo Offers the Rod [Dantien Thrust] Lion Rolls Ball [Lion Comes Out of Its Cave (Left Side)] Lure the Spider into the Cave [Toss Left to Right] Support a Thousand Pounds (Right) [Stand on Left Foot, Low] Pearl Returns to Its Nest [Stand on Right foot, High] Fiery Spider Tempts the Dragon [Pop Up] Closing [Epilogue] 81

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20. Dantien Rotations

Move Descriptions

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1. Prologue; Dantien Rotations Place the ball on the floor between your legs.

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Preferably do that placement by rolling the ball into position with your feet, not lifting it up and carrying it over. Usually you should carry the ball around in a sack of some kind. Tip the sack over, slide the ball out, and roll it into position.

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If you must carry the ball into position, please see the instructions in “Addressing the Ball” below about lifting the ball: squat down, keeping your back straight, and lower the ball using your legs, as if it were a very large weight.

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In fact, you should always treat the ball as if it were a very large weight. By the end of the exercises, it will seem like that anyway.

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Once the ball is where you are going to do the exercises, stand up, leaving it on the floor. Move a little back from the ball (maybe 6”) and do Dantien rotations: 9 to one side, then 9 to the other. This is to start getting your Dantien area loosened up.

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2. Draw up the Sphere [Addressing the Ball] Move back to the ball, positioning yourself so it is midway between your feet, a little to the front. The edge of the ball closest to you should be roughly centered on a line between the middles of your feet. Your feel should be shoulder-width apart.

Raise the ball with this sequence:

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  

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The idea is to completely avoid using your back as a crane to lift the ball from the floor; doing that is a good route to back injury.

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Do whatever you can to get your legs, knees, hips, and ankles loosened to the point where you can squat down low enough to get your hands under the ball. Leg and foot position is not a priority; splayedout legs, with feet pointing out to the side, are fine. The only priority is how low to the ground you can get your hands. I’ve personally found that the major limitation on this is “letting go” – relaxing your leg muscles enough that they “let” you squat down far enough.

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When you finish standing up, you should hold the ball so that its midpoint is in front of the center of your Dantien, meaning about three finger-widths directly below your navel.

3. Na Zha Explores the Sea (Left) [Dantien Rotations Left]

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I’m afraid you will have to read the entire description of move before trying it. It’s one of the hardest moves in the set to explain verbally.

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Rotate the ball in front of your body just like doing Dantien rotations, to the left, and up, and right, and down. Do nine rotations with the ball, increasing the diameter of the rotations, gradually coming up to

squat down as low as you can go put both hands underneath the ball, leaning forward as little as possible stand up by straightening out your legs, letting the ball just come along for the ride, hanging from your arms

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the top of the chest. It’s not necessary to be terribly precise about making each rotation just slightly bigger than the one before, but don’t do them all (or most) at the top and the bottom. “The top of the chest” here means that the center of the ball should be about even with the bottom edge of your pectoral muscles.

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In this and all other exercises, do not use your hands to power the ball. They should primarily guide it, feeling primarily like they are just hanging there. The power should come from your legs, up your back, to your shoulders and upper arms. Under no circ*mstances use your fingers for any ball manipulation; you should only manipulate the ball with the palm.

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The ball should be touching and rolling against your abdomen and chest when doing this; not a really light touch, but not a hard press, either. It should rotate against your body in a natural way, rotating up as you bring the ball up, and down on the way down.

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As the ball rolls up your abdomen, roll it up the arm that’s lifting the ball, rolling it from palm to wrist to forearm and down forearm, so you’re gradually getting a shorter and shorter lever arm from the ball to your shoulders. The higher you lift the ball, the further up your arm you go. With initial low rotations, just reach barely past your wrist; at the top of the largest rotation, the ball is all the way down your forearm cradled against your bicep. As you rotate left and up, your left arm should be doing this.

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In the meantime, your right arm (the one not lifting) should be rotating around the front of the ball, similarly moving from palm to wrist to forearm at the top of the circle, passing the front so that at the top your forearm is on top of the ball and your palm is hanging down on the left.

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At the top of a large rotation, the result of doing both those motions is this, assuming rotation up on the left side:

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 

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Now, move the right arm down on the ball to the right, while the left arm rotates the ball into the right forearm/bicep cradle.

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Then left arm rotates in front and down while right arm lowers the ball, following a motion that’s the opposite of going up on the other side: the ball goes from bicep to forearm to wrist to palm of the right arm. End up with the ball in the palms in the same position as you started.

Now do more repetitions, making a total of nine.

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All the power for doing this should come from opening and closing your entire body, compressing your legs and torso as you go down and expanding as you come up. The left and right elements should come from your waist, as in a normal waist twist.

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In case you were wondering: Na Zha (哪吒) is a trickster god of Chinese mythology whose story of conquering the dragons of the sea is widely known in China. The story goes that he was born as a formless lump of flesh. This made his father so mad he split the lump with his sword. Out jumped Na Zha with a fully-formed adult body, but the mind of a child: a “superchild.” In one well-known adventure, he conquered an evil dragon

Your left arm is in front of your body, palm up, with the ball cradled between forearm and bicep; Your right arm is in front of body, palm down, with your forearm resting on top of the ball and your palm hanging down on the left side of the ball.

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king who was causing a drought (dragons are water creatures in Chinese folklore). A picture of a representation of him appears on the right.

4. Na Zha Explores the Sea (Right) [Dantien Rotations Right]

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Like the prior move, but reverse everything: Rotate up on the right side of your body, and down on the left.

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5. Cover Moon (Left) [Swing Left] Move your weight to your right foot and extend your left foot out to the side to widen your stance into a wide horse stance. Note, your weight remains on your left side.

Set the ball at your right qua, both palms holding it up, just hanging down.

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Shift your weight strongly to the left, simultaneously rotating ball across the front of your abdomen to the left, gaining speed, ending by thrusting the ball out past your body on left side. Move your weight and the ball simultaneously, so that, e.g., when your weight is centered between your feet, the ball is at the center of your body.

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Slow the ball in its outward motion past your hip by swinging it slightly forward; the motion, however, is initially primarily to the left. Continue the forward curve into an arc to the right, holding the ball out from the body. Maximum distance from your body should be roughly when ball is straight in front of body. You should bring it out far enough that your arms are almost straight. Do not lean forward when doing this. Simultaneous with circling back to right, shift your weight back to right. Continue the curve until the ball rests on your right qua again.

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Exhale strongly when thrusting the ball out, on the outbound half of the circle; inhale on the inbound half. You will find that this happens naturally.

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Repeat nine times. After the ninth, continue shifting your weight to right, stopping with the ball on right qua in preparation for doing it in the opposite direction (the next move).

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The power in this comes from pulling into the right leg, and twisting your waist to the right; that is what should swing the ball across.

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6. Cover Moon (Right) [Swing Right] Like #5, but left-right mirror image.

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7. Tyrant Raises Censer [Chest Roll and Lift] Narrow your stance to shoulder width, and move the ball to in front of your Dantien again, centering it on your body.

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Raise the ball to the top of your chest. Roll the ball down the center of your chest, rotating it against your chest backwards — meaning the top of the ball rotates inwards towards your chest.

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Sink down in your stance while rotating ball down, primarily by bending your knees and ankles. The ball should rotate 3 times by the time it reaches the Dantien point.

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When the ball reaches the Dantien, move both hands underneath it. Then swing it straight out in front of you about 6”. Now hitch both hands under the ball so your wrists are facing one another.

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Lift the ball up in front of body, simultaneously extending your elbows and your knees (elbows and knees in harmony). Raise it high; the bottom of ball should reach the height of your forehead. However, 84

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your elbows and knees should not completely straighten (as usual). Pause with the ball held up there for a bit, around 4-6 seconds.

Lower the ball straight down to the top of your chest – the starting position.

Repeat until you’ve done this 9 times.

Finish by rotating ball down to waist level.

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8. Wei Tuo Offers the Rod [Dantien Thrust] Bring ball to the center of your upper chest.

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Rotate the ball down to the Dantien, backwards as in #7, while sinking down in your stance by bending your knees (but not as low as #7). Exhale using low, diaphragm breathing while doing this.

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When the ball reaches your Dantien, use your abdomen (only) to fa-jing it straight out, catching it with your hands. Your arms and hands should not push the ball; they should catch it.

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After catching the ball, raise it ball back up to the top of your chest by redirecting its outward momentum upward in a circular path, aided by using your back (shoulder blades flat to back).

Repeat 9 times.

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Another aside, in case you were wondering again: Wei Tuo (韋馱) is a celestial guardian deity, the general of thirty-two heavenly generals. Antique and/or flea markets in China are lousy with statues of him. He’s always depicted in the armor of a Chinese general, usually leaning on a Vajra staff, which in addition to being a potent weapon (an indestructible combination mace, spear, and sword), also symbolizes the male principle. You figure it out. From my admittedly limited experience, I wouldn’t put this interpretation past Chen Qingzhou; he has a robust sense of humor.

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Wei Tuo 9. Lion Rolls Ball [Lion Comes Out of Its Cave (Right Side)] Rotate your right foot out (toe out), so it’s at a 45-degree angle to the direction you’re facing. Step forward with the left foot. Keep feet shoulder-width apart.

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Put weight on your right foot, while still facing forward, meaning your pelvis should be facing forward. Place ball against right side of the Dantien area, over the right qua. Press it into your abdomen firmly; it should sink in a bit, not just sit on the surface.

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Inhale. Fa-jing with your Dantien, while simultaneously extending the right leg, thrusting the ball straight out. The thrust should come from your Dantien, the leg push, and the waist turn, not at all from pushing with your arms. Rather, your arms and hands should catch the ball as it is flung out; at its furthest extension, your palms should face you, with the ball between you and your palms, caught as it flies outward.

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After catching the ball, retrieve it in a circular motion over your left leg, swooping down below the top level of the leg, up and over the leg, and back to starting position pressing into Dantien area.

Weight shift right with the ball, then left with exhale as you fling it out again.

Make big weight shifts, and big waist turns. 85

Figure 6 A Typical statue of

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This is one of the only moves for which I was given a name. In this particular case, I happen to prefer the one I heard.

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10. Lure the Spider into the Cave [Toss Right to Left] Weight back on right foot; bring left foot back so feet are just a bit more than hip-width apart – effectively a horse stance, angled 45 degrees off center, but torso turned a bit to the back (right).

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Lift ball on your right side, cradling it in your right arm, next to your body, on right side of your lower chest. The ball should be touching your right bicep and forearm. Place your left arm on top of ball, forearm touching top and hand hanging down, lightly, just stabilizing it.

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Move the ball in an arc up and across front of chest, then down to right, ending with ball in same position as above but on left side. Do so by levering with right upper arm, using your lower torso and back muscles, turning to left (towards front) as you do so you end up in same relative body position, too.

Then do the same movement back towards the other side, ending up in starting position.

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However, the movement forward should be much more forceful, moving the ball higher than the movement back. Exhale forcefully when going forward. It’s as if you’re actively thrusting the ball forward (left), and just retrieving it back (right).

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11. Support a Thousand Pounds (Left) [Stand on Right Foot, Low] Place ball in front of your Dantien, cradled evenly in both palms. Rotate it to the right, so it’s entirely on the right hand and left hand just rests on top of it, as you raise your left knee. Raise your knee high, until it’s just above your waist. It helps to sink down into the stance, onto your right foot. Hold this position for about 9 seconds (a slow count to 9).

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As you raise your knee up, co*ck it a little to the right in front of you. This is for groin protection, but also makes it easier to balance as part of spiraling down into your right leg.

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12. Pearl Returns to Its Nest [Stand on Left Foot, High] Move the ball up and left until it’s over your left shoulder, with your left arm more-or-less straight up, under it, palm up. Your right hand should rest lightly on the side of the ball, steadying it. There should be space (an inch or two) between your head and the ball. The ball’s weight should go directly down through your left hip to the ground. Raise your right knee to above your waist. Hold this position for about 9 seconds (a slow count to 9).

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co*ck your knee to cover your groin and try to spiral down your leg into your body, as in the previous one-leg stance.

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As you get used to doing this and the prior one, you will find that it is actually easier to balance with the ball than without it, since you’ll naturally use the ball itself to help your balance.

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13. Wei Tuo Offers the Rod [Dantien Thrust] Repeat the prior move of the same name.

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14. Lion Rolls Ball [Lion Comes Out of Its Cave (Left Side)] Like the prior move of the same name, but on the opposite side.

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15. Lure the Spider into the Cave [Toss Left to Right] Like the prior move of the same name, but on the opposite side. 86

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16. Support a Thousand Pounds (Right) [Stand on Left Foot, Low] Like the prior move of the same name, but on the opposite side.

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17. Pearl Returns to Its Nest [Stand on Right foot, High] Like the prior move of the same name, but on the opposite side.

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18. Fiery Spider Tempts the Dragon [Pop Up] Sink down slightly in your stance by bending your knees. Hold the ball out in front of your body, elbows bent, palms under the ball, cradling it, bottom of ball just about at waist level. Toss the ball straight up without raising your hands above the middle of your chest, roughly your solar plexus. Ideally, your hands should move very little. Use your Dantien and back for force, not your arms. Catch the ball and sink in one motion. Repeat 9 times.

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Done right, the ball will pop up out of your hands. Go for the pop, not for height; ultimately you’ll be popping it up well over your head.

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Obviously, it’s recommended that you do this move in a room with a high ceiling and a floor that’s not likely to be damaged when you miss a catch and drop the ball.

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19. Closing [Epilogue] Lower the ball down to the ground in front of your body, between your feet, to the place from which you originally picked it up. Once again, be careful to do so by squatting; bending over is a good way to injure your back.

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Hold the squat for a bit while leaning forward over the ball, hands draped in front of it, to stretch out your back and your legs. It’s a good back stretch, but if you’re having trouble squatting (as I did initially) you won’t feel any back stretch until you get your legs stretched out enough to be out of the way.

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20. Dantien Rotations Stand up, and do 9 left and 9 right Dantien rotations again.

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According to the theory espoused by Chen Qingzhou, the purpose of this final set of Dantien rotations is chi storage. In the course of these exercises, your chi has spread out throughout your body; doing this set of rotations gathers it and stores it in your Dantien. This is done because the Dantien is the only safe place to store chi.

Congratulations. You’re finished.

Other Yang

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These are Chi Gong I learned in a Tai Chi class given by a student of a different teacher of Yang style. His emphases were different from those seen elsewhere in here, and his Yang open-hand form was also different; in general, it seems to incorporating more motions than documented here. For all I know, it may be more “standard.” It was still Chen Man Ching “short” form, however, and from videos I’ve seen, the version I’ve documented here is closer to what CMC actually performed.

It may be worthwhile to pull these all together into a set some day.

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Iqan (Standing Meditation)

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These are various different hand and arm positions to use in standing meditation. Rather than being focused on leg and body position, these are intended to help you release your shoulder muscles. The idea is to hold them long enough that you wear out your neck and shoulders, hence you have to use other muscles to hold up your arms. Typical Chinese method. Also typical army method, but they accomplish it a lot faster by handing you a 15-pound rifle to hold in front of your body.

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I made up all the names below. The name “iqan” is the name of the whole set, which I’m transliterating phonetically; it was pronounced “ee chwan.” It probably has something meaning “eight” in it, since (surprise) there are eight positions.

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In all of these, the elbows are held out to the side slightly, causing the arms to be rounded outwards. This is, of course, against various tenets of Kade’s style, as it is not optimal alignment for arm and shoulder strength. I suspect it is supposed to be a Chi flow thing.

The various arm positions are (these may not be in the right order):

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1. Arms high, at shoulder height, with palms up, rotated slightly to the center as if holding up a bowl 2. Arms high, at shoulder height, but rotate hands in to palms down, as if they were resting on a ball 3. Arms low so hands are at waist height, palms rotated up and to center, as if holding a large ball 4. Arms low again, palms tilted towards the center, facing inwards towards the dantien 5. Arms low, palms tilted as if holding a ball down 6. Arms low, palms vertical, facing inwards 7. Arms low and to the side, going straight forward from the elbow, palms down as if resting your hands on a table 8. Arms low, palms flat and inwards, fingers pointing down and center as if “stabbing into a sack of mung beans.” (Go ahead, look it up.)

Shoulder Wringers

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These are supposed to be good for releasing tension from your shoulders. Others report that they work well for them. Yes, they twist your shoulder muscles a lot. I feel no difference. Here they are for reference.

Wringing Forwards

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a) Begin in a left bow stance, weight forward, with your arms straight out from your shoulders, palms up. b) Pull into your rear (right) foot.  Pivot to face to the right  Spread your arms out so they go straight out sideways from your shoulders  Twist your arms first to palms are facing out (left palm facing left, right facing right), and then so your palms are facing each other. Do the face out quickly, and the other twist slowly through the move. c) Twist to face front. 88

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

Repeat. This can also be done in a right bow stance, and probably should be.

Wringing Backwards

Bring your arms down and behind you, then bring them up to put your hands up under your armpits, palms up, with your elbows pointing back. The higher and closer to your armpits you can get your hands, the better. d) Pull forward into your front (left) foot.  Push your arms straight forward until you reach the starting position.

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a) Begin in a left bow stance, weight forward, leaning slightly forward from the waist, with your arms out behind you, palms up. The higher you can get your arms, the better, but don’t bend over to get your arms higher. b) Pull into your rear (right) foot.  Pivot to face to the right.  Spread your arms out so they go straight out from your shoulders, pointing right  Twist your arms so the palms are vertical, facing right. c) Twist to face front.  Bring your hands in under your armpits, palm up, fingers pointing back. The higher and closer to your armpits you can get your hands, the better. d) Pull forward into your front (left) foot, and lean forward slightly.  Thrust your arms straight out behind you, palms up, until you reach the starting position.

Repeat. This can also be done in a right bow stance, and probably should be.

Drawing the Bow

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This is very different from the Chi Gong of the same name described previously in Eight Silk Brocades. I don’t think I like it as much.

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a) Begin in a “wide” stance – feet straight forward, shoulder-width apart, arms down. b) Shift weight to the left foot  Turn to face right. c) Step out into your right foot, as far to the right as comfortable, heel first, shifting your weight into your right foot. Right foot points right.  Raise your right arm so it is horizontal, pointing straight right; with the body turn, that means it is straight forward from your body. Raise your hand so the palm is facing right. Your index finger points up, your thumb points left, the other fingers wrap down on your palm.  Raise your left hand so it is horizontal, pointing straight right, also straight forward from your body, next to the right hand. Palm should be facing right, fingers pointing straight out to the right. d) Shift back into your left foot.  Pivot your body to face front.  Keep your head turned to face right.  Pull your left hand back as if drawing a bow. e) Completely pull into your left foot.  Pick up your right foot and put it down in the starting position f) Center your weight in both feet.  Raise both hands up just above your head over your shoulders, top-of-head height, palms down. 89

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g) Press both hands down in front of your body to your Dantien.

Repeat to the left side, then repeat the pair for a while.

Nine Ghosts Draw Their Sabers

I’m documenting this primarily because it has a neat name.

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a) Begin in a medium stance. Put your left hand behind your back, palm out, and bring it as high up as you can on your back. Reach your right hand up and then down behind your head. b) Twist your body to the left, inhaling, until you are facing Northwest. c) Return your body to the center, facing North, exhaling. d) Repeat the twist and return for a total of three repetitions. e) Switch hands, and repeat three times again, this time twisting to the right.

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In class, we then go through the above a second time, and then stop. I suspect someone’s missing a point, since a third overall repetition would get the number nine involved.

Tossing the Chi Ball

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This has two variations. I’ve seen it used by two different teachers (both at the health club) so either it’s common, or they are talking. I have no clue why you face the directions given, but that’s what we always were told to do.

Toss the Ball Underhand

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a) Begin in a left bow stance with feet pointing West, weight on the rear foot, torso and head facing North. Arms should be roughly at your sides, hands palm up in front of your groin as if you were holding a large ball. b) Rock back (towards the East), swinging your arms further East, and probably twisting to the right slightly (this was not emphasized, but then little detail was emphasized in any of these classes). Also rock your left (forward) foot up on its heel. c) Rotating your left foot back down until it is flat on the ground, strongly rock forward, bringing your weight into the left foot.  Swing your arms to the left, low, as if strongly thrusting an invisible ball low to the West.  End leaning forward, extending your arms out to the West, palms facing you, as if you are catching the ball.  Somewhere in there you twist left, too. d) Rock back into your right foot.  Twist your torso right until it is facing North.  Swing your arms up, palms down (oops, dropped the ball) until they are centered on your right shoulder. e) Press straight down with your arms, strongly, until they are in the starting position except for being palms down. f) Turn your palms over and begin again.

For some reason this is never done in a right bow stance.

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Toss the Ball Overhead

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a) Begin in a left bow stance with your feet pointing Northeast, weight on the rear foot, torso and head facing Southeast. Arms should be roughly at your sides, hands palm up in front of your groin as if you were holding a large ball. b) Raise your hands as if raising a ball up in front of your body, ending with the ball just above your head.  Twist slightly to the right (I think; see above). c) Pull into your left foot.  Twist left to face Northeast  Push the “ball” forward in front of you  End leaning forward, arms outstretched, palms inwards as if catching the ball d) Pull back into your back foot  Bring your hands down and in front of your torso, to the starting position. e) Repeat.

That’s it.

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Empty-Hand Forms

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Here’s a collection of the empty-hand forms I know, and at least the names of the moves. Describing all the moves is going to take a while. Practicing each is best preceded by warming up using the Chi Gong of the previous chapter.

Yang Short Form

All the names are below. Some day I’ll write descriptions.

Interesting fact I just found out, from the Wikipedia article on Pushing Hands:

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

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I always wondered where if ever the Peng Lu Ji An stuff would come up. Turns out it’s built into the Yang Short Form, in four moves near the start.

Move List

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

  

P'eng (掤, py péng) - An upward circular movement, forward or backward, yielding or offsetting usually with the arms to disrupt the opponent's center of gravity, often translated as "Ward Off." Lü (履, lǜ) - A sideways, circular yielding movement, often translated as "Roll Back." Chi (擠, jǐ) - A pressing or squeezing offset in a direction away from the body, usually done with the back of the hand or outside edge of the forearm. Chi is often translated as "Press." An (按, àn) - To offset with the hand, usually a slight lift up with the fingers then a push down with the palm, which can appear as a strike if done quickly. Often translated as "Push."

Commencement Grasp the Bird’s Tail Ward off to Right Pull back and Press Push Single Whip Lift Hands Shoulder Strike White Crane Spreads Wings Left Brush Knee and Push Playing Pipa Left Brush Knee and Push Deflect Down, Intercept and Punch 92

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14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50.

Withdraw and Push Cross-Hands Embrace Tiger and Return to Mountain Pull Back, Press and Push Diagonal Single Whip Look at Fist Under the Elbow Repulse the Monkeys (3 Steps) Slant Fly Wave Hands like Clouds (3 steps) Single Whip (oddly) Snake Creeps Down Golden Rooster Stands on Left Leg Golden Rooster Stands on Right Leg Separate with Right Foot Separate with Left Foot Turn around and Right Heel Kick Left Brush Knee and Push Right Brush Knee and Push Punch to Groin Ward Off Right Pull Back, Press and Push Single Whip First Corner Second Corner Third and Fourth Corner Grasp the Birds Tail Ward off to the Right, Pull Back, Press and Push Single Whip Snake Creeps Down Step up to Seven Stars Step back and Ride the Tiger to the Mountain Turn around and Sweep the Lotus Shoot Tiger with Bow Deflect Down, Intercept and Punch Withdraw and Push Cross-Hands Close

Move Descriptions

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1. Commencement a) Begin in a narrow stance. Compose yourself; think about what you want to practice or emphasize in this form. b) Sink down slightly (this picks height for rest of form) c) Pull into your right foot.  Turn slightly to the left. As you get better, this can be entirely an internal turn. d) Sweep left foot in an arc to the back, placing it to be in medium stance (feet hip width apart). 93

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e) Center your weight between your feet.  Turn back to facing North. f) Sweep both arms together up in front, leading with wrists; palms down, hands relaxed, elbows down.  Expand body upwards. g) Sweep both down together, again leading with wrists; palms tilted up a bit more than horizontal, hands relaxed, elbows down.  Compress body until arms near the bottom, then expand slightly to normal height. h) Finish with hands low at sides (below waist level), palms facing rear (South).

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2. Grasp the Swallow’s Tail a) Pull into your left foot. b) Pivot left on your left foot to face Northeast.  Pivot your right foot on its heel to face East, opening left qua.  Move right hand up to palm down in front of center of chest (about 2-3 inches from chest), curved down  Move left hand to palm up directly below right hand, low, just at Dantien. (Whether left hand is palm up or down is a personal style issue.) c) Pull into your right foot, moving your body to be over that foot.  Pivot right on your right hip to face east. d) Lift left foot, move in towards right leg, then out and back to the left, pointing North. Touch heel first (almost always). Important – step widely enough back (to the West) that when you shift into this foot you will be in a medium-width bow stance. e) Pull into your left foot  Pivot left to face North  Pivot your right foot on the heel to the left to point Northeast.  Bring left hand up in front of body, curved, as if around the body of a dance partner, palm in.  Circle right hand down, brushing its finger tips right near left palm as the two pass each other, ending up right palm down at right side of body, as if petting a large dog.

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3. Ward off to Right a) Turn left slightly; think of right shoulder as going into left foot (to get weight more in left).  Rotate left palm down  Stab right hand around to the right to in front of Dantien, palm up. Hands should end up in a position as if you were holding a large ball. b) Look right over right shoulder (slightly). Keep your head suspended (top of head high), and pivot on an axis right above your spine; otherwise you’ll go off-balance. c) Lift right foot, move in towards left leg, step out to the right and back. (Heel touches first.) Keep your left heel South of your right heel. Move out to the East first, and then sweep to the South. Make sure have moved right far enough that when pivot left heel in next part when turning right, heels are shoulder-width apart. d) Pull into your right foot,  Pivot on your left hip, then right, to face East.  Rotate right arm up and right to a horizontal arc in front of body, slightly below shoulder level, palm towards body  Rotate left arm down slightly, palm out, below and just behind right arm, fingers pointing at midforearm. 94

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Rotate left heel to the right so it is pointing Northeast.

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4. Pull back and Press This and the next move are usually spoken of as one move: Pull Back, Press, and Push. a) Pivot on the right hip to the right.  Rotate right arm clockwise up and to the right  move left hand to near right elbow, palm up, while b) Pull back into the rear leg.  Pivot left to face North  Swing both arms down to the left, waist level, left palm initially facing right arm, while turning to the left; then swing arms up to just below shoulder height, right arm to outside, palm in. c) Place left palm against right forearm. Position can be anywhere from wrist to just inside elbow; it depends on the application. Do not go lower than the wrist; hand is not correct. d) Pull into your right (front) leg.  Pivot right to face East  Bracing right arm with left, move right arm out slightly. e) Separate arms, continuing to move them out, until both are parallel straight out in front of body. End with palms down.

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5. Push a) Pull straight back into your rear leg, into a rear-weighted bow stance.  Compress your body.  Pull both arms back in parallel, ending with both still outstretched, in front of body. Slight separation and return OK during this movement. (pull)  Keep hips level through this whole move. b) Pull straight forward into your front leg, into a front-weighted bow stance.  Expand your body.  Push forward with both arms in parallel, pivoting at wrist so you are pushing with both palms. (push)

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6. Single Whip a) Pull straight back into your rear (left) leg, into a rear-weighted bow stance.  Keep arms out in front of body. b) Pivot on left hip, still keeping arms out, to face North.  Turn right foot on its heel to the left as far as possible, best to Northwest. Yes, you are pigeon-toed. c) Pull into right leg, and sink into it. d) Turn to the right, “winding up” into your left leg and torso.  Lower left arm to just below the navel, palm up  Move right hand to solar plexus area, making a “beak” with the fingers (hook hand) fingers pointing down; right elbow is out to the right. e) Turn to left (unwinding)  Extend right arm, still making a beak, up and to the north, to shoulder height, as if striking with it under someone’s chin  pivoting left foot on its toe until it is facing West. f) Lift right foot, arc out and to the left, place down heel first, far enough left of right foot to ultimately make a bow stance. g) Pull into the left foot  Extend left arm to the West, palm out. 95

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In the process of doing this, you do a 180 degree turn.

Extend right arm to the North, just barely to the left of left shoulder, beak down. Pivot right foot on heel to end up at a 45 degree angle from direction of left foot, in a bow stance.

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7. Lift Hands (Playing Pipa, Right) a) Pull into your rear (right) foot  Rotate your left foot, pivoting on the heel, a little bit to the right (slightly less than 45 degrees). [Left foot movement is for knee safety in the rest of move.]  Bring your arms together in front of your upper chest (about 6” away from chest), palms down, arms rounded. b) Pull into your front (left) foot.  Pivot slightly to the left, twisting at the waist.  Lower your hands down to waist level in front of your body, palms down, as if pressing something down to the left of your foot. Press down behind your left foot, twisting left. c) Release your right heel, raising it until just toe is touching, no weight on it. d) Pivot on your left hip to the right 90 degrees, to face North.  Raise your arms, rotating your palms to face each other, and press outward with both arms, elbows down, arms rounded, at about shoulder height; this is somewhat like doing “ward off” to the left and right simultaneously. End with arms pointing about 45 degrees out on either side of the center of your body. Use the opening of your hip joint to power the opening of your arms. e) Lower your left arm, bringing it in until it points north, palm left, elbow at the height of the bottom of your rib cage.  Bring your right arm down and in until it is pointing it at your left elbow, palm to the right.  Raise right foot off its toe, and put it down on the heel very lightly. (Note, this is simultaneous with the arm movement. Some say heel should touch down exactly when hands reach their final position; that’s nice, but mainly for show.

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8. Shoulder Strike a) Pivot left on your left hip until you are facing West.  Lower both arms so your hands point down, palms inwards, slightly in front of your body on either side of your left leg. b) Lift right foot, move in to near left ankle. c) Step back out, heel first, placing your foot down pointing North, directly lined up with your left heel.  Move your right arm so it’s just to left of right thigh  Bring left hand up in front of your chest, palm to your right, just to left of right shoulder.  Turn your head to face North.  [Weight is on left foot in all the above.] d) Pull into your right foot  Move your body horizontally to the right. This is as if striking with entire right side of body.

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This is also called the “hidden move,” since it is often not taught as a separate move; it’s just considered part of White Crane, which follows. It can be found in other moves too, not taught explicitly.

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9. White Crane Spreads Its Wings a) Pivot to the right on your right hip until you are facing North. Do not also twist at the waist; just use hip motion. 96

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Use the pivot to swing your left foot directly to the Northeast; put it down on the ball of the foot (preparing for a cat stance).  Bring your left hand up to your navel, palm up.  Bring your right hand down to your navel, just inside your left hand, palm up.  The two arm moves are half the hand movement; it continues in the next element. b) Pivot left, still on your right hip, until you are facing Northeast.  Raise right arm up, fingers first in front of body, to slightly over head, palm up, arm curved to right, wrist straight  Sweep left hand to the left, palm down, just left of left hip.

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10. Left Brush Knee and Push a) Pivot just slightly left, as a small wind-up.  Lower right arm, elbow first, until hand is waist high, palm down, in front of body.  Raise left arm until hand is about forehead height. b) Pivot slightly right. Sink slightly into right foot while doing this.  Sweep left arm down, to right, up to right, elbow bent  Swing right arm down to right so that it’s roughly pointing an inch or so in towards body from right elbow, and an inch or so from left arm. c) Sweep left foot to the left so it is pointing straight West, far enough left of right foot for a medium bow stance. d) Pull into the left leg, pivoting on the left leg to face directly West. (Keep hips level.)  Use the pivot to pull your left arm around your body, across your left leg, stopping next to your left hip with your palm down.  Use the pivot to press forward with your right hand, palm forward, shoulder height.  Note that the pivot should drive both arms equally.

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11. Playing Pipa a) Pulling completely into the front (left) foot, raise right foot and bring it forward, placing it down behind the left pointing Northwest.  Extend right arm forward a bit (also helps get weight fully onto left foot). b) Pull into the right foot, balancing there completely.  Raise your arms, rotating your palms to face each other, and press outward with both arms, elbows down, arms rounded, at about shoulder height; this is somewhat like doing “ward off” to the left and right simultaneously. End with arms pointing about 45 degrees out on either side of the center of your body.  Raise arms up and press out, at about a 45 degree angle from the center of your body, to about shoulder height. Elbows down. c) Raise left foot and place it down on its heel. Right and left heels should be shoulder width apart.  Lower left arm by elbow and move to center until it is pointing straight forward, angled down then up, palm right at about shoulder level.  Bring right arm across to left so fingers are pointing at left elbow, a few inches away, and palm is inward.

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A Pipa is a traditional Chinese string instrument similar to a lute. The final arm position in this move is roughly that of holding the Pipa’s neck for fingering in the left hand, while plucking the strings with the right hand. The earlier move with a similar but reversed hand position is called Lift Hands, not something like Playing Pipa Left, because in traditional Chinese culture that’s just not how you play the Pipa. 97

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12. Left Brush Knee and Push a) Turn slightly left as a small wind-up. b) Continue as in prior Left Brush Knee, swinging arms up to right with a right pivot and twist, and then left across body and right forward with a left pivot and twist  Pivot right foot on toe to right when pivoting right into a bow stance, then bring right foot in to right and out to left into a bow stance.

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13. Deflect Down, Intercept and Punch a) Pull back into right foot.  Pull back with right arm, closing it into a fist (as if grabbing someone and pulling straight back). b) Pivot left on right hip to face hips to the Southwest.  Lift left foot onto its heel and pivot it left, pushed by that pivot.  Begin bringing right arm down to the left, as if pulling someone down to the left.  Extend left hand slightly, straight out from left hip. c) Pull forward into left foot, bringing weight entirely into that foot.  Continue bringing right arm down, and bringing left arm out just a little more. d) Entirely in left foot, pivot left and twist left strongly to face South or Southeast.  Use pivot to pull arms further down to the left, right hand in a fist and left hand open, palm to right.  Use pivot to swing your right leg forward and to the right, to where right foot points Northwest. A line through the right foot to the back should hit the left toe, forming an L shape. e) Pull into right foot.  As you pull in, pivot and twist strongly all the way to the right, ending up facing North.  Pull right arm around body slightly to the right, turning hand so palm is up, maintaining the fist. The twist makes it look like you are pulling the fist behind you, but it stays no further right than your right hip.  Press left palm around to the right, as if pushing something that way. Hand should end in front of right hand, West of your body, palm facing North.  Use the pivot to swing your left foot forward, putting it down in position to form a medium-width left bow stance. f) Pull into left foot, and move forward into a front-weighted left bow stance.  Pivot to the left to face West.  Use the pivot and pull to drive your right fist forward in a punch, twisting it just 90 degrees so palm faces left. Punch no further than necessary to bring your forearm a little past vertical.  Turn left hand palm back, and just leave it in the same position in space as your body moves around it. Right hand should pass under left wrist, going forward enough that left hand almost reaches right upper arm.

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14. Withdraw and Push a) Twist slightly left  Extend right arm forward slightly and to the left  Move left hand to the left, around right arm, and back below it, wrist touching bottom of right arm. b) Pull back into rear (right) foot  Pivot to the right to face Northwest  Pull right arm back, “scraping” it along left wrist as if pushing someone’s hand off your arm c) Pivot back left to face West, centering yourself between your feet  Separate your arms to shoulder width, palms forward, ready for a push  Compress your body 98

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d) Pull into your front (left) foot  Extend arms forward in a push  Expand body as you push

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There’s an alternative to the last two elements: Instead of pivoting to face East and then pushing, pull into the front foot and pivot left, separating arms and pushing all as one move. Either can be used; it depends on the application. This alternate is move of a block left, as opposed to a straight push.

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15. Cross Hands a) Pull back into your rear (right) foot.  Pull straight back with your arms. b) Pivot right on your right hip and twist your waist, winding up into your right leg, until you face North. Due to left foot position, your hips still face Northwest.  Pivot your left foot on its heel until it is facing North.  Spread your arms to either side, pushing out with palms, to Northwest and Northeast. c) Pull into your left foot. d) Pivot right on your left hip to move your hips to face North.  Use that pivot to push your right foot back, sliding it flat on the floor, in a circle until it is even with your left foot and pointing North.  Swing both arms down to roughly next to your body, just in front of it, palms facing each other; this is half a swing that gets completed in the next movement.  Compress your body down. e) Expand your body up.  Swing both arms together, palms inward and then down, crossing at the wrist in front of your navel and pushing the wrist-crossing up the top of your chest. Put your right wrist in front of your left.

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This ends the first section of the form, since it is the same move used at its end. To stop here, which is convenient in lower-level classes, lower your hands to your sides, pull into your right foot and turn slightly right, then swing left foot to the back and in next to your right in a narrow stance, face forward (North) and stand up to normal height – all of which is exactly the closing move.

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16. Embrace Tiger and Return to Mountain a) Pull into your left foot.  Lift your right foot and place it next to your left (narrow stance).  Drop both hands and push down in front of your body, placing left hand over right. (Necessary to smoothly do the next arm motion.)  Sink down slightly, compressing your body. b) Move your right foot straight back, to a point where there’s about one foot-length between your left heel and your right toe. Going straight back – directly South – is important. Your heel should touch down first.  Eventually this movement should overlap the hand drop & sink. c) Pivot your right foot on its heel until it points Southeast. You can’t do this without turning your hip to the right, so do so. However, counter-twist your waist while doing so to keep your shoulders facing North as much as possible; this is a very strong wind-up.  Raise left hand to shoulder height, palm to the right, in front of left shoulder.  Circle your right hand back, out, and down, to slightly behind your right leg. d) Pull into your right leg.  Twist to the left to face Southeast. 99

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17. Pull Back, Press and Push a) Turn to the right (from waist), raising right arm and moving left arm over under elbow, as in initial position of this move. b) Continue as in original version, but facing 45 degrees left (to the Southeast).

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18. Diagonal Single Whip Same as the prior Single Whip, with its 180 degree turn, but start facing Southeast and finish facing Northwest.

Pivot your left foot left on the heel to form a bow stance. Push forward with your right arm, high, and your left arm, low.

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19. Look at Fist Under the Elbow a) Pull completely into rear (right) foot, so weight is completely off your front (left) foot.  Lift left toe, without otherwise moving your left foot (don’t bring it in).  Leave arms extended in Single Whip position. b) Pivot your body on your right hip, turning to face East.  Raise left heel just enough to let it move left with your body, so it points East, just heel touching.  Begin moving your arms, slightly, to the position described in the next element. c) Pull into your left foot, moving your body over your left foot.  Pivot on your left hip and twist at the waist to face South.  Use the pivot and twist to swing your right foot forward and right, pointing Northwest, into a position where it forms an L shape with your left foot as in Deflect Down, Intercept and Punch. d) Pull into your right foot, while twisting a bit further left to face south-south-east.  Leaving your right arm out at full extension, extend your hand, palm down.  Bring your left arm out to your left (to the East), palm down, and begin curve it down to waist level, palm up, pointing West, just left of your lower abdomen. e) Pivot to the right and twist to the right to face West.  Use the pivot and twist to swing your left foot forward to the west, placing it down just short of a bow stance (medium width), and only touching the ground with the heel.  Stab forward with your left hand, fingers extended and palm down. Angle the stab up slightly, ending partly extended, left elbow at the height of the bottom of your rib cage.  Pull back with your right hand, forming a fist (as if grabbing and pulling in), bringing the fist back until it ends up under your left elbow. (Hence, the name. No idea where the “Look” came from.)

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20. Repulse the Monkeys (3 Steps) a) Rotate your left foot on its heel straight down to the West until it is flat on the ground.  Pivot to the right so your torso faces just short of North, but keep your head facing West.  Center your weight between your feet.  Reach out slightly further with your left arm, keeping it pointing West, and turn it palm down.  Swing your right arm down to the right until it’s palm up near your right hip. b) Pull into your right foot.  Pivot to face West.  Swing your right hand “back” (but not past your body) and up until it is palm forward, about level with your right ear, just outside your right shoulder. c) Step straight back with your left foot, placing it down pointing Southwest. “Straight back” means just that; maintain a hip-width distance between your feet. d) Pulling into your left foot, gradually transfer your weight from right to left foot. 100

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21. Slant Fly a) Turn to the right slightly (45 degrees), then back to center. (This powers the simultaneous arm movements out and back.)  Swing your right arm out to the right, then down and in, ending with palm at your crotch and your arm almost straight.  Swing your left arm up and out to the left, then in and elbow down across your body, ending up with palm down and hand at right shoulder, elbow down and close to your body. b) Pull your left foot in until it is next to and parallel to your right foot.  Compress your body c) Step straight back with your right foot. d) Pivot your right foot on its heel around to the right. Turn that foot far, opening your left hip as well as your right to get far enough. Leaning forward with weight completely in your left foot helps this a lot. You can, and should, bend both knees (almost like frog kick) to do this. The goal is to end up with that foot pointing Northeast.  Keep your upper body (not shoulders) twisted to left. Once you have grokked the above, apply it to every 135-degree turn in the form; that includes Embrace Tiger and Return to Mountain (earlier), Fair Maiden (later), etc.  Eventually, instead of moving your right foot in towards your left and then back, you should sweep your foot out a bit to your right as a foot sweep (this makes it harder to keep balance). e) Pull into your right foot, turning right, but move straight out as if doing a Shoulder Strike.  Bring your right arm up and right, keeping it rather straight, until it is straight forward of your right shoulder, palm up.  Bring your left arm down and left, ending palm down forward of your left hip.  (The arm movement is almost like a reversed Grasp the Bird’s Tail.) f) Pivot on the right hip until you are facing North – to – Northeast.  Keep both arms in the same position they ended the prior element, turning them both around with your body.

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22. Wave Hands like Clouds (3 Steps) a) Pull completely into your right foot. b) Bring your left foot forward until it is parallel to the right, into a medium horse stance.  Pivot slightly right until you are facing straight North.  Bring your right hand in until it is a few inches forward of your right shoulder, rotating it to palm forward, fingers pointing up and to the right, with your elbow pointing down and slightly right.  Sweep your left hand around at hip level until it is below your right hand, at your right hip.

Press forward with your right hand, and pull back with your left. Your hands should be at just about the same point when your weight transfer is half-and-half.  Pivot your right foot left to point West. Initially you will be doing so with weight on it. e) Step straight back with your right foot. See comment above about “straight.”  Reach out very slightly with your right arm, keeping it pointing West, and turn it palm down.  Swing your left arm down to the left, palm up as it passes your left hip, then “back” (but not past your body) and up until it is palm forward, about level with your left ear, just outside your left shoulder. f) Do the same pull/push, gradual transfer, etc., as before, but mirrored left-to-right.  In preparation for the next move, on this last iteration don’t angle your left foot to the left as much as other iterations; keep it almost (not quite) facing West.

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c) Turn and twist slightly right, sinking down and compressing slightly.  Reverse the position of your hands, pushing down with the right to hip level, and up with your left. Right hand should pass the left on the right. Left hand rotates to face out at the end of the movement, with its forearm parallel to the floor, elbow to the left. d) Pull into your left leg, twisting left.  Sweep your left arm across to the left as if smearing paint across a wall in front of you. Lower your elbow in the second half of the movement, so your right hand ends with fingers pointing up and to the left, a couple of inches to the left of your left shoulder. This is less motion than appears, since it is amplified by the waist twist.  Stab your right hand horizontally to the left until it is at your left hip, still palm up. e) Pulling completely into your left leg, rise up slightly on it.  Bring your right foot in, setting it down right next to your left foot in a very small stance.  Reverse hand positions again, ending with right hand up, forearm parallel to floor in front of body, palm out; left hand down at left hip, palm up. f) Pull into your right leg (still in narrow stance) and twist right.  Sweep your right arm across to the left, again like smearing paint, ending as last such movement with the other arm.  Stab left arm horizontally to the left, still palm up. g) Lift your left foot and move it to the left (West), placing it down in position for a medium stance.  Twist and pivot to the right.  Switch arms, ending up as you were in after step (c) above. h) Repeat steps (d), (e), (f), (g), then (d) again. This does three complete sweeps to the left.

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23. Single Whip a) Step forward with your right foot into a bow stance. b) Pull into your right foot, facing North, into a forward-weighted bow stance. However, do not pivot your left foot; keep it pointing straight North.  Press down with your left hand, ending palm down outside your left hip.  Swing your right hand up and out from your body, extending it straight out from your right shoulder, palm down; a base application: Reaching out to grasp something. c) Pivot and twist left.  Form a hook hand/Crane’s beak with your right hand, and pull it inward to your chest, powering it with the body twist.  Sweep your left hand around at hip level in a palm-up strike, ending centered at your Dantien.  Note: Do not lift your left heel during this. d) Pivot and twist to the left until you are facing West.  Raise your left heel at the start of the pivot, and as it finishes step out to the left into bow stance position.  Extend your right hand out to the right, shoulder height, as in other instances of Single Whip.  Raise your left hand to shoulder height, palm out. e) Pull into your left foot, into a front-weighted bow stance, pivoting your right foot as usual at the end of the weight shift.  Press forward with your right hand into normal finishing position for Single Whip.

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As you become more fluid with this move, the pivot/twist and the pull forward become merged into one action, happening simultaneously with both arm extensions. 102

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24. Snake Creeps Down a) Sink down into left foot, letting right foot come up off the heel onto the toe. While doing this, point left hand down with fingers together, thumb a little out, as if hooking something (not hook hand) and sink left hand straight down.  Keep the right hand hanging out to the right with a hook hand. b) Step straight back with left foot, as in the usual 135-degree turn. c) Pull into the right foot.  Turn to the right.  Swing left arm clockwise up in a block, ending up palm facing inward and fingers pointing up.  Keep that hook hand hanging out there. d) Go down again on right foot, sinking as in the first element, with left hand pushing down as in first element.  Keep that hook hand hanging out there. e) Turn left, pivoting on the right leg, until your hips are facing Northeast.  Swing the left hand down to the left, until parallel with left leg.  Still keep that hook hand hanging out there. f) Pull forward into the left foot.  Turn hips to face directly West.  Raise left hand so it’s pointing forward at about shoulder height, palm facing right, but angled down a little bit (substantially less than 45 degrees).  Drop right hand down until the right arm is parallel to the body, still in hook hand but with palm facing back.

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25. Golden Rooster Stands on Left Leg a) Pull fully into your left foot.  Swing your right leg forward and up, raising your knee until your upper leg is parallel to the floor or higher, foot hanging down.  Lower your left hand down the front of your body and to the left, until it is palm down just outside your left hip.  Swing your right hand forward and then up in front of your body until your palm is just above your forehead, palm facing forward.  As your hands move in opposite directions, they should pass each other in front of your body at about navel height, left hand in front of right. (Doing right in front of left is also OK, but a different application.)  Leg and hands should reach their final positions simultaneously.  You should also rise up on your left leg slightly throughout this motion.

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26. Golden Rooster Stands on Right Leg a) Step down and back with your right foot. b) Raise your left leg up like the right leg in the prior move.  Switch hand positions, so left arm is up and right is down. Hands should pass in front of your body at navel height, right hand in front of left. (Or the opposite, as above.)

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27. Separate with Right Foot a) Bring your left foot down and forward, pointing it Southwest. b) Pull into your left foot, sinking and compressing down.  Twist and pivot left, strongly, to face at least South. 103

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28. Separate with Left Foot a) Lower left foot, placing it down pointing Northwest, a few inches from left foot. b) Pull into your left foot, sinking and compressing down. c) Continue as in Separate with Right Foot, but reflected left/right, ending by lifting left leg pointing Southwest.

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29. Turn around and Left Heel Kick a) Keeping your balance in your right foot, lower your left leg and bring it back behind you, to the Southeast of your right heel, with just the toe of the left foot touching the ground.  Pivot and twist to the right so you are facing North.  Lower your hands, as if pushing something down, ending with left palm on back of right hand. b) Undoing the right twist, spin on the heel of your right foot until you are facing South.  Your hands stay in front of your body, ending up just below waist level, facing South.  Your left foot stays on its toe. c) Raise your left knee as high as you can.  Raise your hands synchronized with your knee lift, crossing at the wrist; see note below concerning hand and wrist position. When raised, right hand should be on the outside. d) Kick to the Southeast with your left foot (not South), extending your heel (heel kick).  Spread your hands apart, right hand sweeping right (block) and left hand pushing straight out Southeast, delivering a blow straight in line with your left foot. Right hand should be just fractionally ahead of left, blocking / sweeping the area.  Your whole body should pivot into the direction of the kick. That direction is at a right angle to the planted (right) foot. e) Bring your left foot back in until knee is up again, and return your hands to their position before the kick.

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When raising your hands, you should not bring them completely up into a butterfly-like position as in Cross Hands. Instead raise the wrists, letting the hands slant down, so the wrists are the highest point; then sweep out with the hands as indicated above. The difference is that the outside of the lower arm stays aiming forward throughout; the arm does not twist to do the block. Either this or the Cross Hands position can be used here and in the Separate Foot moves, but the form standard is to use the Cross Hands position for Separate Foot, and this wrists-up position for Heel Kick.

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30. Left Brush Knee and Push a) With your left foot still in the air, pivot slightly to the left, roughly until you face somewhat South of Southeast.

Use the twist and pivot to push your arms down and to the left, positioning your hands as if grasping someone and throwing them down left. Arms stop below waist level. c) Twist and pivot back to the right, to face Northwest.  Slide left foot in towards right foot, just touching with the toe, foot pointing to the Northwest.  Swing arms horizontally right, pushed by body twist, bringing them gradually up to the height of the top of your chest. Bring your left arm around in front of right until wrists cross in front of body. d) Rise up slightly on your left foot.  Raise your right leg, toe pointed straight out, Northwest.  Spread arms out, left hand circularly to the left, slightly first (blocking/clearing); then right arm straight out parallel to leg. e) Stay with right leg up for a few seconds.

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31. Right Brush Knee and Push a) Pull back into your right foot.  Lift the front of your left foot, rocking it back on your heel, and pivot it left so it points Northeast. b) Plant your left foot down pointing Northeast. c) Pull into your left foot.  Pivot strongly to the left on your left foot, until you face North.  As your hips turn, use the pivot to swing your right leg forward, planting your right foot in position for a right bow stance.  Switch your hands, rotating your right hand down until it’s in front of your waist (palm down), while your left arm is down your left side, elbow next to your body, palm facing forward at about upperchest height. d) Pull into your right foot into a bow stance.  Turn your body to the right, pivoting on your left and then your right hip, until you face East in a bow stance.  Use the pivot to power a sweep with your right hand and a palm-strike forward with your left (brush knee push).

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32. Punch to Groin a) Pull back into your left foot.  Lift the front of your right foot, rocking it back on your heel, and pivot it left so it points Southeast. b) Plant your left foot down pointing Southeast. c) Pull into your right foot.  Pivot strongly to the right on your right foot, until you face South.  As your hips turn, use the pivot to swing your left leg forward, planting your left foot in position for a left bow stance. Be careful not to stretch too far forward; a slightly shallow stance makes the next move easier to do. (Because of the next subelement, there’s a tendency to do a deeper than normal step forward.)  Compress your body as you pivot, and sink down, leaning forward and (more than leaning) bending your legs, until your waist is at about your normal groin level.  Switch your hands as in the prior move, but reversed left-to-right. However, instead of preparing for a palm strike with your right hand, form your right hand into a fist, palm to the left, at waist level. d) Pull into your left foot into a bow stance.  Turn your body to the left, pivoting on your right and then your left hip, until you face East in a bow stance.

When initially learning this move, or if your legs aren’t strong enough yet, bring your left leg down until your toe touches the ground before doing this. b) Step out with your left foot into position for a bow stance facing West.  Lower your right arm so it is down your right side, elbow next to your body, palm facing forward at about upper-chest height.  Lower your left arm in front of your body until your forearm is parallel to the ground in front of your waist, and your right hand is palm down on your right side. c) Pull into your left foot into a bow stance, pivoting your right foot in as you pull in.  Pivot your body the rest of the way to face left.  As you pivot, sweep your left arm around to the left (brush knee), and palm-strike forward with your right hand (push), as in prior Brush Knee Push moves.

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e) Use the pivot to power a sweep around the front with your left hand, and punch forward with your right. Do not stretch the punch forward; just straighten out your right arm slightly, primarily powering it with your waist.  Note, you should still be down low.

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There is a variation on Punch to Groin called Punch Down. (It’s also still called Punch to Groin). In this variation, the move is done at normal height, but the final punch is done down at a 45-degree angle, and is accompanied by leaning slightly forward so your fist reaches groin height.

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33. Ward Off to the Right, Pull Back, Press and Push a) Pull into your rear (right) foot.  Rise up to normal height.  Raise both hands in front of you, palms down, as if doing the end of Commencement.  Lift the front of your left foot, rocking it back on your heel, and pivot it left so it points Northeast. b) Pull into your left foot, pivoting left so you are facing North, and using the pivot to swing your right leg around to a bow stance position.  Swing your right arm down in front of your body, forearm at waist level, palm up.  Bring your right arm in across your chest but a bit out, palm down, as in the end of Grasp the Bird’s Tail.  You are now, except for the foot position, in the starting position of Ward Off to the Right. c) Continue with the rest of Ward Off to the Right, and then do Pull Back, Press, and Push as done in the moves of the same name appearing earlier in the form.

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34. Single Whip Repeat the move of the same name appearing earlier in the form.

35. Fair Lady Works the Shuttles: First Corner

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This move appears in other styles, in one format or another, as “Fair Lady Works the Shuttles.” This is apparently a reference to its reaching in four different directions, like a woman working four looms, successively sliding shuttles on each loom. Apparently, somebody decided that average folks in the West didn’t understand that, or at least one teacher didn’t, so the name is now often given as “Four Corners.” Bleah.

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It’s really one rather long move, but is presented here as three parts. The first section, below, is the entry into the move and the first corner. Then the second corner follows, followed by the third and fourth, which are repeats but in different directions.

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a) Pull into your rear (right) foot.  Keep arms extended in Single Whip position. b) Turn right, pivoting on your right hip, until you are facing North.  Keep arms extended.  Turn left hand so palm faces right, and sweep it right during this turn as a block.  Pivot your left foot on its heel, ending up pointing it North. c) Pull into your front (left) foot.  Keep arms extended.  Turn hands so both palms are facing out. d) Turn left, pivoting on your left hip, until you are facing West.  Sweep both hands left with the turn, as if grasping someone’s arm and swinging it left. 106

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36. Fair Lady Works the Shuttles: Second Corner a) Pull into your back (left) leg.  Lower your left arm down, elbow first, until your elbow is at waist level; keep your hand up at shoulder height, palm out.  Lower your right arm down and to the left until your left hand’s fingers touch your left elbow when it finishes moving, forming an “L” with your lower arms. b) Turn to the right, pivoting on your right hip, as far as you are able; facing Southeast is good.  Pivot your right foot on its heel as far as possible, becoming very pigeon-toed. Ideally you should turn it all the way to face South, but initially that isn’t necessary.  Keep your arms in the “L” position, but lower the left arm so that at the conclusion of the pivot your left forearm is horizontal. c) Pull into your left leg.  Continue turning your body, now pivoting on the left hip, until you are facing South.  Let the movement pull your right foot in next to your left foot; your right foot should point directly South.  Lower your arms down and to the right, sliding your left arm on your right wrist, until your arms form another “L” shape at your right hip, with your left arm pointing forward and your right fingertips touching the outside of the base of your left palm.  If you didn’t manage to twist your left foot all the way to point South, adjust it now so it is parallel to your right foot pointing South.

You should now be rather well twisted into the left leg. e) Turn right, pivoting on your left hip, until you are facing East.  Pivot your right foot on the heel, turning it as far to the right as you can.  Fold your left arm in so your forearm is parallel to your chest, and the palm, still pointing out, is in front of your right breast.  Let your right arm fold in as you turn, palm out, in front of the left arm. Right arm should just barely touch the left arm. f) Pull into your right foot.  Twist further to the right, pivoting on the right hip, until you face Southeast, and compress your body down.  As your hips turn right, let them drag your left foot in next to your right.  Lower your arms, rotating them so you palms first face down and then towards yourself, then up. As you reach waist level, drop your right elbow further, next to your body, moving your hands into an “L” shape, palms up, next to your body on the right side. Your palms should be up, and your right fingertips should touch the outside of the base of your left palm. g) Step out with your left foot to the Northeast, positioning your foot so you can end up in a Northeast-facing bow stance without moving your right heel. This will involve making sure you step to the left of your right foot, not straight Northeast. h) Pull into your left foot, turning your body left, into a left bow stance facing Northeast.  As you reach the final bow stance, pivot your right foot on its heel in the usual manner.  Rotate your left arm up in a block, ending with the bottom of your hand just above your eyes.  Bring your right arm forward in a palm strike forward, ending at the height of your solar plexus.  This part of the move is a very good place to practice spiraling from your feet out to your hands as you unwind from the compressed position at the start.

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d) Step back straight North with your right foot. Do not move your foot to the right (West); just slide it straight back parallel to the right foot. Also, do not step back too far. Having your right toe just past your left heel is fine. This will result in your having the right width between your feet in the upcoming bow stance. (This is not obvious. Try it.) e) Pivot your right foot on its heel so it points Northwest, or as far to the right as you are able. f) Pull into your right foot, pivoting your body right so you end up in a right bow stance. Ideally you will be facing Northwest, but whatever direction your right foot points in is the direction you should face. Do not turn farther than your right foot turned; knee danger.  At the end of pull, the pivot your left foot on the heel in the usual manner into a bow stance.  Rotate your right arm up in a block, ending with the bottom of your hand just above your eyes. (This is just like the first corner, but on the other side.)  Bring your left arm forward in a palm strike forward, ending at the height of your solar plexus. (This is just like the first corner, but on the other side.)  This part is another strong spiraling move.

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37. Fair Lady Works the Shuttles: Third and Fourth Corners a) Pull back into your rear (left) foot.  Lower your arms into an “L” shape as in the beginning of the Second Corner, but with arms reversed. b) Lift your left foot and pivot your body right to face North, sweeping your foot around until it points North.  Keep your arms in the “L” shape. c) Plant your right foot, heel first (of course), and pull into it.  Pull your left foot forward, next to your right foot.  Lower your arms so your hands are at your right hip in an “L” position, palms up, as in the Second Corner but on the other side of your body. d) Step back to the left with your left foot, positioning your foot in preparation for a Southwest-facing bow stance, as you moved your foot the end of Second Corner. e) Pull into your left foot into a bow stance, pivoting your body to face Southwest and turning your right foot in as usual.  Raise your arms in a block and palm strike as in the First Corner. f) Repeat the moves of the Second Corner, making a 135-degree turn to end up facing Southeast; this is the Fourth Corner.

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38. Grasp the Birds Tail a) Pivot your left foot on its heel until it is facing North. b) Pull into your left foot, and while doing so do Grasp the Birds Tail as described earlier, ending up facing North.

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39. Ward off to the Right, Pull Back, Press and Push Repeat the moves of the same names appearing earlier in the form.

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40. Single Whip Repeat the move of the same name appearing earlier in the form.

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41. Snake Creeps Down Repeat the move of the same name appearing earlier in the form.

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42. Step up to Seven Stars a) Pull fully into your left foot.  Bring both hands forward and up, crossing your wrists slightly below your chin, with your right wrist at the front, forming fists with both hands with palms towards your body.  Bring your right foot forward until it is in a cat stance position forward, toe touching, no weight on it.  Do this in a way that swings your body up and forward smoothly. This is mainly a hip motion; you should still be leaning forward slightly at the end.

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43. Step back and Ride the Tiger to the Mountain a) Move your right foot back into a bow stance (right foot angled to the right, roughly Northwest). b) Pulling back into your right foot, swing your body down and back. (Ideally, swing and move your right foot back simultaneously.)  Lower your hands, keeping wrists touching and crossed, moving them slightly to the left until they are at waist level in front of your left hip.  Open your hands, and turn them over as they sink down, until your left palm faces down and your right palm faces up. (So, you actually turn only your left hand.) c) Twist your body to the right, pivoting on your right hip.  Use that twist to power moving your left arm up and to the right, to shoulder height.  Leave your left hand palm down near your left hip.  Pivot your left foot on the ball to the right (moving the heel out to the left). d) Twist your body back to face West, and further until you face Southwest.  Use that twist to power moving your left arm down and to the left, to just in front of your left hip.  At the end of the twist, as you pass West, raise your left hand up to shoulder height, six inches or so in front of your shoulder, palm forward; and turn your right hand over so it is palm down. This is actually a windup for the next move, done as part of the end of this one.

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44. Turn around and Sweep the Lotus a) Lift your right heel slightly. b) Spin to the right on the ball of your right foot.  Should be able to go all the way around by pushing / swinging / something your dantien. Since you can’t, doing it in several steps is recommended. Two on a good day, three on not. Or more if you want to.  Spin until you face Southwest: 270 degrees not a 360 degree complete spin all the way around.  As you spin around, point your left foot in the direction of motion; effectively, your left foot stays tangent to the circle you are making. c) As you stop, pull weight into your left foot (the one that was moving).  Also as you stop, bring your left hand down so your left palm is on top of the back of your right hand. Both hands end up just in front of your left hip. d) Lift your hands to shoulder height, extended, straight out from shoulders. e) Twist to the right, keeping hips facing Southeast. Move your hands right with your body (don’t just swing your arms right).  Sweep right foot left and front to a point just in front on left foot. Keep the foot flat on the ground while doing this. f) Lift right knee up so thigh is parallel to the floor, knee pointing Southeast. g) Extend right leg as straight and high as you are able (low to the ground is fine at first). h) Sweep right leg to the right as far as you are able; to Northeast is fine. 109

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The section from lifting your right knee up through the sweep ultimately, if you work at it hard enough, becomes one move: a crescent kick to the right.

Twist body to the left synchronized with the leg sweep Keep your arms out at shoulder height. The waist twist will make it seem like you are sweeping you arms around; you are, but they stay in front of your body. If you manage to get your right let high enough, slap your thigh with your hands as they cross. (This is emphasized in some schools, as is speed of the sweep, rather than control.) Pull your right foot in so your lower leg is pointing down; your thigh should remain parallel to the floor.

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A key to this move is keeping your hips from co*cking up. Keep the left hip down when doing the spin, and the right hip down when doing the sweep. Lifting the right hip (co*cking up) doing the spin will tip you over to the left, causing you to lose your balance. Similarly, letting the left hip up when spinning loses your balance during the spin.

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45. Shoot the Tiger with the Bow a) Staying balanced in your left leg, extend your right leg to the right, and put your foot down, heel first, foot pointing North. You should place your foot behind (to the East) of your left heel, so that it is in position to be the front foot of a horse stance facing North.  Keeping yourself facing Southwest, lower your arms to waist level, keeping them shoulder-width apart.  Form both hands into fists, palms down. b) Pull into your right foot.  Pivot your hips to the right until you face North, with your hips facing North.  Keep your hands at waist level, turning them with your body. Maintain the fists. c) Keep your hips facing North (this is key to this move).  Twist left at the waist as far as you can, but no farther than facing Southwest, turning your entire upper body so your shoulders face and head face that direction.  Curve your right arm up and to the left, leading with the fist, until it is horizontal, just above your eyes, palm out, a couple of inches out from your forehead.  Curve your left arm to the left, keeping it waist level, and keeping your lower arm horizontal, fist upright (palm out / to the right). Bend your wrist back (right) at the start, and straighten it out at the end of the movement.

Notes about this move:

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46. Deflect Down, Intercept and Punch Repeat the move of the same name appearing earlier in the form.

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The strong waist twist left is key to this move. A demonstration: Hold your left arm in the ending position, but turn your hips instead of twisting your waist. Have someone push on that fist. Now do it with the waist twist. The amount of force needed to move you will be dramatically larger when your waist is twisted. When practicing this move multiple times, you may feel your waist getting knotted up from the waist twist. (Well, not “may.” “Will.”) To counteract this, when you pull into your right foot, instead of stopping when your shoulders are facing North, do a waist twist to the right, too.

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47. Withdraw and Push Repeat the move of the same name appearing earlier in the form.

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48. Cross-Hands Repeat the move of the same name appearing earlier in the form.

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49. Close a) Sink down, compressing your body slightly.  Turn very slightly to the right, pulling your weight into your right foot. (This is the opposite of the slight turn at the Beginning move of the form.)  Separate your hands, sweeping then out and down until they are about waist level (this will continue in the next element). b) Lift your left foot, and move it in next to your right in a narrow stance.  Continue moving your hands down until you reach your waist. c) Turn back slightly to face forward, and expand your body to a normal Tai Chi Chuan alignment posture. d) Wait a second or two, just to settle yourself. e) You’re done.

Taiwanese Eight Energies Form

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Kade demonstrated this short form at a school event one year (the annual Tai Chi-athon). It’s based on the first few moves of the Yang Short Form, plus four more that together make up the eight “energies” taught in the “Secrets” book, and commonly discussed. These eight energies are eight of the thirteen postures that originally formed the basis and the name of Taijiquan.

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While it appears to have a large number of moves, this form actually consists of four repetitions of each of four of the techniques, arranged in a pattern that mimics the layout of the Eight Trigrams of the I Ching (also called the Ba Gua or Pa Kua).

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Since it contains few different moves and a lot of repetition, this form was thought to be one that beginners could pick up easily. Unfortunately, the transitions between sets of four moves are complex, especially the second set of four.

Move List

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Commencement Ward off to Right (East) Pull Back, Press, and Push (East) Ward off to Left (West) Pull Back, Press, and Push (West) Ward off to Right (North) Pull Back, Press, and push (North) Ward off to Left (South) Pull Back, Press, and Push (South) Pull Down (Northwest) Split (Northwest) Elbow Strike (Northwest) 111

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13. 14. 15. 16. 17. 18. 19. 20.

Shoulder Strike (Northwest) Pull Down (Southeast) Split, Elbow Strike, Shoulder Strike (Southeast) Pull Down (Northeast) Split, Elbow Strike, Shoulder Strike (Northeast) Pull Down (Southwest) Split, Elbow Strike, Shoulder Strike (Southwest) Close

Move Descriptions

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1. Commencement This is identical to the move of the same name in the Yang Short Form.

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2. Ward Off to the Right (East) a) Pull into your right foot and pivot on your right hip to face East.  Pivot your left foot on the heel right, to point Northeast.  Swing your left hand up to near your left shoulder, but in front of it, palm right, using the pivot to push your left hand to the right  Leave your right hand down near your right hip. b) Pull into your left foot, pivoting on your left hip to the left until you face North.  Stab left with your right hand at waist level, palm up, until it is left of your navel.  Leave your left hand up in the same spatial position while your body turns left, wrapping your left arm around your body, at the height of your upper chest, a few inches out from your chest.  Turn your left palm down.  You should end up with arms parallel. c) Step out to the right with your right foot into a bow stance position facing East. d) Pull into your right foot, bringing your right arm up and your left down behind it, going into normal Yang Ward Off to the Right.

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3. Pull Back, Press, and Push (East) These are identical to the moves of the same names in the Yang Short Form.

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4. Ward Off to the Left (West) a) Begin this move identically to the start of Yang Short Form Single Whip: Pull back, turn left, turn right. On turning right, move arms like Single Whip, but do not form a hook hand with the right hand; just keep its palm down. Also do not move right hand to the center of your chest; leave it across your chest. b) Step out to the West with your left foot as in Single Whip. c) Pull into your left foot.  Bring your right arm up and out slightly, into the Yang Short Form Ward Off position, mirror image.  Bring your left arm down behind your left, into the Yang Short Form Ward Off position, mirror image.

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5. Pull Back, Press, and Push (West) These are identical to the moves of the same names in the Yang Short Form, except that they are all is mirror-image left to right, and done in a left bow stance.

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6. Ward Off to the Right (North) a) Pull back into the rear (right) foot. b) Pivot on your right hip to the right to face North.  Pivot your left foot on the heel to face Northwest.  Swing your right arm down, palm up, bringing your hand to waist level left of your navel.  Swing your left arm to the right across your body at upper-chest level, palm down. c) Step out to the right with your right foot into a bow stance position facing North. d) Pull into your right foot, bringing your right arm up and your left down behind it, going into normal Yang Ward Off to the Right.

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7. Pull Back, Press, and Push (North) These are identical to the moves of the same names in the Yang Short Form.

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8. Ward Off to the Left (South) This is identical to Ward Off to the Left (West) above, including the 180-degree turn to face the opposite direction, ending up facing South.

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9. Pull Back, Press, and Push (South) This is identical to Pull Back, Press, and Push (South) above, but facing South, of course.

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Note: In all the rest of the moves, a very narrow bow stance is used: Your heels should be in line, on diagonal lines.

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10. Pull Down (Northwest) a) Pull back into your right foot.  Lower your right hand, palm down, to waist level across your body, left of your navel.  Pull your left hand in to about 6 inches forward of your left shoulder, palm to the right. b) Pivot right on your right hip to face Northeast.  Pivot your left foot on its heel to the right to point Northeast.  Use the body pivot to swing your right hand horizontally to the right (little movement of the hand relative to the body).  Swing your right hand to the right and down, as in Yang Brush Knee. c) Pull into your left foot. d) Raise your right foot and put it down pointing North.  Bring your left arm out slightly, and your right arm up, into the arm position of Yang Playing Pipa but centered in the middle of your body. (Left arm is furthest out, right is at left elbow.) e) Pull into your right foot. f) Raise your left foot and put it down touching the heel, pointing Northeast.  Circle your hands, right up and forward, left down and back, going through a complete circle to their original positions.

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11. Split (Northwest) a) Pivot your left foot to the left to point West. b) Put your left foot down flat, and pull forward into it.  Pivot to the left to face West or Southwest.  Turn your left arm to face the palm straight out.  Stab upward with your right arm, putting palm in, further out than your left arm. (The application is grasping both sides of an opponent’s arm, right arm on the farther side.) c) Step forward with your right foot, pointing it Northwest placing it in position for a right bow stance. 113

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d) Pull forward into your right foot.  Pivot right on your right hip until your face Northeast.  Your arms are strongly powered around to the right by your body with the pull forward and pivot.

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12. Elbow Strike (Northwest) a) Pull back into your left foot. b) Pivot your right foot on its heel to the right until it points North.  Lower both arms down nearly to your sides, palm in. c) Pull into your right foot.  Pivot on your right hip until you are facing East to Southeast.  Bring both arms up across your body, bending at the elbows. Left arm has palm in, right has palm out. Arms are touching, left arm on the inside. d) Bring your left foot forward, planting it facing Northwest, in position for a left bow stance. e) Pull forward into your left foot.  Pivot left on your left hip so your body faces Northeast.  Sweep out and right with your right hand, palm out, ending palm down at your right side.  Strike to the Northeast with your left elbow.  The strike is powered again by the pull forward and pivot.

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13. Shoulder Strike (Northwest) a) Pull back into your right foot. b) Pivot your left foot on its heel to the left until it points West.  Lower your right arm down across your body until your right hand reaches your crotch, palm to your left.  Raise your left arm up across your body until it is in front of your right shoulder, palm to the right. c) Pull into your left foot.  Pivot on your left hip slightly, until your are facing South of Southwest at most. d) Bring your right foot forward, planting it to face Northeast, in position for a right bow stance. e) Pull forward into your right foot.  Pivot right on your right hip until you are facing Southwest.  Strike forward with the right side of your body.  The pull and pivot again powers the strike.

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14. Pull Down (Southeast) a) Pull back into your left foot  Raise your right hand to just out from your shoulder, palm left  Drop your left hand to your right hip, palm down b) Pivot left on your left hip to face South  Pivot your right foot on its heel strongly to the left, to point South  Let the pivot of your body push your right hand around  Sweep your left hand left as in a brush knee, down to beside your left leg. c) Pull back into your right leg. d) Lift your left leg and plant it pointing South.  Circle your right arm out into a Lift Hands (Playing Pipa) position, but centered in the middle of your body.  Bring your left arm up to near your left elbow (again as in Lift Hands). e) Pull into your left leg. 114

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

Pivot further left on your right leg to face Southeast f) Lift your right leg and place it down just touching your heel, pointing Southeast  Circle your hands, right (outer) hand down and in, left (inner) up and out, in a full circle, ending in their starting positions. Note: Except for the 180-degree turn beginning this move, it is just like the prior Pull Down, but reversed right-to-left.

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15. Split, Elbow Strike, Shoulder Strike (Southeast) These are just like the prior moves of those names, but done reversed right-to-left, and aimed Southeast. (That means it starts Split by pivoting right, and ends in a Shoulder Strike with your body facing West-Northwest.)

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16. Pull Down (Northeast) This one is different. It begins with the end of a strike with the left shoulder, weight on the left foot. a) Pull back into your right foot.  Bring your arms up into a Playing Pipa position, but centered along the midline of your body, left arm furthest out. b) Pivot your left foot to the left, on its heel, as far as possible, ideally to point Northeast. c) Pull into your left foot.  Pivot left on your left hip to face Northeast.  Use that pivot to lift your right foot, and put it down to the Northeast, pointing East. d) Pull into your right foot. e) Lift your left foot and lower it to touch just the heel pointing Northeast.  Circle your arms as usual in a Pull Down.

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17. Split, Elbow Strike, Shoulder Strike (Northeast) These are just like the prior moves of those names, done to the same side as the originals, but aimed Southeast.

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18. Pull Down (Southwest) This is identical to Pull Down (Southeast), but in the opposite direction.

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19. Split, Elbow Strike, Shoulder Strike (Southwest) These are identical to the Southeast versions of these moves, but aimed Southeast.

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20. Close a) Pull into your right (rear) foot. b) Pivot right on your right hip.  Pivot your left foot on its heel as far right as possible; no further than pointing North, but you probably can’t pivot it that far.  Raise your right arm to horizontal across your upper chest, palm down.  Swing your left arm down and up to the right, until it is also horizontal, just outside your right arm. c) Pull into your left foot. d) Swing your right foot back, heel first, in an arc until it is pointing North, so your heels are in an EastWest line hip width apart.  Pivot on your left hip until you are facing North.  Swing both arms simultaneously up and out to the side. e) Center your weight in both feet.  If necessary, pivot your left foot further to point north. 115

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 

Sink down slightly. Lower your arms to the side, Swing your arms up together in front of your chest, continuing in the Yang Cross Hands and Closing moves.

Chen (Qingzhou) Eight Energies

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This version of eight energies training was taught at a workshop in Austin, TX, by Master Chen Youze, 20th generation Master of Chen style, son of Master Chen Qingzhou and lineage-holder-designate of Chen Qingzhou’s particular version of that style. These “eight energies” are the same ones as those referred to in the prior Yang style form, but their interpretation is clearly very different; they are much more athletic and martial, particularly the second group of four. Also, during the workshop they were never referred to by English names (Ward Off, etc.), only by the Chinese words: Peng, Lu, Ji, An; Tsai, Lie, Zhou, Kao.7

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This was taught as two short forms or exercises, and so is documented that way here. The move names are just Peng, Lu, etc., so I’ve omitted the list of move names because there’s no point to it.

Move Descriptions – Peng, Lu, Ji, An

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1. Commencement a) Begin facing North in a narrow stance. b) Sink down deeply on your right foot, and extend your left out into a low, wide horse stance facing North, weight on your right foot, arms simply down by your sides.

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2. Peng a) Pull into your left foot (since you’re low, this will be a major torso movement; stay upright).  Pivot left until you are facing Northwest.  Swing your arms up to point West at just below shoulder level, both palms facing up. (Because of the strong twist West they’ll be almost straight forward out of your shoulders.) b) Pull into your right foot (major movement again)  Twist right until you are facing Northeast.  Use that twist to power your arms right, keeping palms up, going as far right as your wrists will let you. The motion is as if you are throwing someone to the right.

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3. Lu a) Drop your elbows, so your hands can be naturally palms-up. b) Pull into your left leg, twisting right and sinking further, so you end up facing almost directly East and down into almost a sitting position.  Pull your hands down until they’re just in front of your Dantien, still palms-up.

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4. Ji a) Pivot your body and your left foot to the left, turning on your left heel, until you are facing West and your left foot is pointing Southwest. (This is not trivial, of course. A key is to shift your weight even further West until it is right on top of your left heel.)  Raise your left arm, draping it to the right around your body in front of your lower chest. 7

This is hardly surprising in context, since Chen Youze spoke no English. 116

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b) Swing your right leg West, bringing your knee up to waist level.  In sync with your leg movement, swing your right arm West and then up until it is across your body at chest height, palm in, several inches in front of your body.  Drop your left elbow down and place your left palm against your right wrist. c) Extend your right leg as far West as you can, putting it down heel first. d) Twist on your left hip further to the left, so you are facing South.  Pivot on your heels so both feet are facing South. e) Pull into your right leg.  Pivot right until you are facing slightly North of West.  Extend your left arm out somewhat, using the pivot to push out to the West.

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5. An a) Pull into your left leg.  Pivot left until you are facing South.  Swing your arms left, slightly down and then up, until your fingers point at each other in front of your chest just below your chin and your palms are facing down. b) Sink down strongly into your left leg, as low as you can go, but keeping your back straight.  Push down strongly with both hands until they are at crotch level.

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6. Peng a) Pulling into your right foot and twisting right, swing your arms down and up to the right into the starting position of the initial Peng, but reversed left-to-right. b) Continue as in Peng above, but reversed left-to-right

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Repeat Lu, Ji, An above, reversed left-to-right; then do the entire set of four again on the original side; and so on. Continue repeating until you run out of room. Then turn back and do it some more until you are exhausted and/or bored.

Move Descriptions –Tsai, Lie, Zhou, Kao

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2. Tsai (Cai) a) Pull into your left leg, pivoting your left foot left on its heel as far as possible.  Raise your left arm to be across the front of the top of your chest, palm down, left hand near your right shoulder.  Keep your right arm down next to the side of your body. b) Swing your right leg around to the West, into a very wide horse stance.  Pivot on your left hip, but not all the way to face South. Hips remain facing Southwest.  Twist your torso to the right, so you are facing West-south-west  Raise your right hand up to just above your right shoulder  Lower your left hand to below your waist at the left side of your body, palm out c) Do this element with strong fa-jing.  Pull into your right leg.  Pivot your hips to face South.  Twist your torso so your shoulders are square to the South. 117

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 

Pull up with your left hand to shoulder level, closing your hand to a fist, as it grabbing something and pulling it up. Push down with your right hand, palm down, to waist level.

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3. Lie a) Pull into your left leg.  Pivot right on your left hip, ending facing West.  Reach your left hand out to the West (right) at shoulder height, palm up.  Bring your right hand in to the middle of your chest, palm facing left. b) Do this element with strong fa-jing.  Twist your hips to the left to face South.  Pull your right hand back and down, ending at waist level on your left, palm out.  Thrust your right hand out to the right (West), palm out, at shoulder height.

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4. Zhou a) Pivot left on your left hip slightly to face Southeast. (Keep weight in your left leg.)  Swing your right arm down, then up in front of your body, palm in, so your right fingertips are near your left armpit.  Bring your left arm up outside your right arm, palm facing right (West). b) Do this element with strong fa-jing.  Pull into your right foot.  Pivot right to face South.  Thrust right with your right elbow  Push out and down to the left with your left arm, ending with your palm out at waist level.

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5. Kao a) Twist to the right slightly.  Raise your left hand to where it is vertical, as high as your forehead, palm out, fingers up, to the right of your face.  Bring your right hand in so it is in front of the right side of your chest, palm left, fingers up. b) Do this element with strong fa-jing.  Pull into your left foot.  Twist to the right until you are facing East.  Let your right arm open up to the left slightly, keeping it at the same height. (It is not fully striking.)  Use your body twist to strike West a very short distance with your right hand.  Nearly all of the force of this should be concentrated in your body. Keep your body vertical, and strike mainly with the body – hip to shoulder – not with the arms, and definitely not with the left arm.

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6. Tsai (Cai) a) Drop your left arm down so it is hanging vertically next to the left side of your body.  Extend your right arm across the front of the top of your chest, palm down, left hand near your right shoulder. b) Continue as in the original Tsai, but reversed left-to-right.

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Repeat Lie, Zhou, Kao above, reversed left-to-right; then do the entire set of four again on the original side; and so on. Continue repeating until you run out of room. Then turn back and do it some more until you are exhausted and/or bored. 118

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Yang Long Form

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I started learning this on 1/13/2007, and finished learning the last new move on 3/10/07. Two months to learn over 100 moves? Even though I certainly can’t say I perfected them, whatever “perfection” might mean, that sounds impressive.

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Well, I didn’t do Tai Chi Chuan 24 hours a day. The reason for the speed was that this form is very repetitious. While the it has over 100 moves, compared with Short Form’s 50 or so (including some repetitions), the Long Form has only eight moves that are not in the Short Form, namely: 1) Fan With Back; 2) Turn Around and Back Fist; 3) Hit the Tiger; 4) Box Ears; 5) Turn Around and Right Heel Kick; 6) White Snake Sticks Out Tongue; and 7) Cross Palms. Three others aren’t explicitly in the Short Form by name, but are embedded within Short Form moves: Needle in Sea Bottom is in Snake Creeps Down; Pat the High Horse is a variation on White Crane Spreads Wings; and dang, I forgot the third. In addition, there are a number of new entrances into Short Form moves, as documented below. Taken together, however, this hardly accounts for more than a doubling of length.

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This is in striking contrast to the Chen Long Form, which, while not quite as long, has considerable variety throughout its length. When I asked about this, I was given the following explanation:

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The person who standardized this form, Yang Chengfu (also known as Yang Zhaoqing), originally wasn’t particularly enamored of Tai Chi Chuan, even though, or perhaps because, he was the son of the Yang lineage holder, Yang Chienhou (and grandson of the founder of Yang style, Yang Luchan). So Yang Chenfu left home and stayed away until after his father had died. He ultimately did decide Tai Chi Chuan was good for his health, and returned home. There he became the standard-bearer for no reason other than that he was the son of Yang Chienhou. However, thanks to his departure and long absence, he was largely self-taught. Also, while a famously excellent Tai Chi Chuan practitioner, he was not primarily interested in its martial aspects. He also seems to have in common with Western health experts the attitude that repetition is wonderful. I suspect that many moves with additional martial applications got lost in this process.

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This was the one and only Yang form, however, and the form taught while Yang style became the most popular, or at least the most widely practiced of all styles by a wide margin. This is probably due in large part to Yang Chengfu being the first person to teach Tai Chi Chuan to the public.

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It wasn’t until the later that Cheng Man Ching, originally a student of Yang Chengfu, developed and standardized the Short Form discussed earlier. Chang Man Ching ended up teaching in New York, reaching there via Taiwan. I just wonder why he didn’t work Turn Around and Back Fist into it; almost everything else of consequence is there.

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There are, however, significant differences between the style of movement used in Cheng Man Ching’s form and style used in the form taught by Yang Chengfu. I’ve seen people in Shanghai as they began doing the Long Form in Yang Chengfu’s style. While they’re clearly doing the same moves, they do them in a noticeably different style; much larger motions are used. The descriptions below do not adhere to that style; they are like the Short Form described earlier. As a result, I actually think what’s described below is effectively a Cheng Man Ching version of Yang Chengfu’s Long Form.

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By the way, the Yang family in China doesn’t recognize Cheng Man Ching’s Yang style as a valid Yang style. 119

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Move List

Many moves are identical to Short Form, as noted in the list below.

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1. through 12. Identical to Short Form – up to and including the Left Brush Knee and Push (#12) that follows Playing Pipa (#11). 13. Right Brush Knee and Push 14. Left Brush Knee and Push 15. Playing Pipa 16. Left Brush Knee and Push 17. through 21: identical to Short Form from Deflect Down Intercept and Punch up to and including Slant Fly (#21). 22. Lift Hands (variation) (Playing Pipa, Right) 23. to 25: identical to Short form Shoulder Strike, White Crane Spreads Wings, Left Brush Knee and Push. 26. Look for the Needle at the Sea Bottom 27. Fan with Back 28. Turn Around and Back Fist 29. Deflect Down Intercept and Punch (variation) 30. Ward Off to the Right (variation) 31. to 34: Short Form Pull Back, Press, Push, Single Whip 35. Cloud Hands (variation at start) (3x) 36. Single Whip (same variation as in Short Form) 37. Pat the High Horse 38. Separate with Right Foot (new entrance) 39. through 42: identical to Short Form Separate with Left Foot, Turn Around and Left Heel Kick, Left Brush Knee and Push, Right Brush Knee and Push. 43. Punch Down 44. Turn Around and Back Fist 45. Deflect Down Intercept and Punch 46. Right Heel Kick 47. Hit the Tiger to the Left 48. Hit the Tiger to the Right 49. Right Heel Kick 50. Box Ears 51. Left Heel Kick 52. Turn Around and Right Heel Kick 53. Deflect Down Intercept and Punch 54. through 60: identical to Short Form Withdraw and Push, Cross-Hands, Embrace Tiger and Return to Mountain, Pull Back, Press, and Push, Diagonal Single Whip. 61. Part the Wild Horse’s Mane (3x) 62. Grasp the Sparrow’s Tail, with entrance like Short Form entrance after Fair Lady. Moves from here up to #85, White Snake Sticks Out Tongue, are the same as the Short Form or earlier Long Form moves of the same name. They’re repeated in line here in order to keep the sequence straight most easily. 63. Ward off to the Right, 64. Pull Back, 120

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65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86.

Press Push Single Whip Fair Lady Works the Shuttles (1) Fair Lady Works the Shuttles (2) Fair Lady Works the Shuttles (3) Fair Lady Works the Shuttles (4) Grasp the Sparrow’s Tail Ward off to the Right Pull Back, Press Push Single Whip Cloud Hands Single Whip Snake Creeps Down Golden Rooster Stands on One Leg Right Golden Rooster Stands on One Leg Left Repulse Monkey (3x), Slant Fly Lift Hands (variation) (Playing Pipa, Right) to 88: identical to Short form Shoulder Strike, White Crane Spreads Wings, Left Brush Knee and Push. 89. Look for the Needle at the Sea Bottom 90. Fan with Back 91. White Snake Sticks Out Tongue 92. Deflect Down Intercept and Punch (variation as above) 93. Ward Off to the Right (variation as above) 94. to 97: Pull Back, Press, Push, Single Whip 98. Cloud Hands (variation at start as above) (3x) 99. Single Whip (variation as in Short Form) 100. Pat the High Horse 101. Crossing Palms 102. Turn Around and Cross-Form Kick. 103. Punch to Groin (new entry) 104. to 108: Ward Off to the Right, Pull Back, Press, Push, Single Whip 109. to 117: identical to Short Form sequence to the end – Snake Creeps Down, Step up to Seven Stars, Step back and Ride the Tiger to the Mountain, Turn around and Sweep the Lotus, Shoot Tiger with Bow, Deflect Down Intercept and Punch, Withdraw and Push, Cross-Hands, Close.

Structured Move Sequence

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This description groups moves into the connected sub-sequences that are really how anybody learning this must think of it.

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Abbreviations used below: SF: Short Form; LF: Long Form; DDIP: Deflect Down, Intercept & Punch; SW = Single Whip. KS: denotes the kicking section. Key moves are bold.

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6. Start doing SF. Just before DDIP, insert Brush Knee left, then right, then Playing Pipa & Brush Knee right. Then DDIP as before, and continue SF through Repulse Monkeys. 7. Slant Fly, Lift Hands, Shoulder Strike, White Crane, Brush Knee left. Needle at Sea Bottom, Fan with Back, Back Fist, DDIP. Then as SF after Punch to Groin: Ward Off, Pull Down, etc., to SW. 8. Using entrance like Fair Lady start, do Cloud Hands through its SW. 9. KS: Pat the High Horse, then SF separate feet through Punch Down (instead of Punch to Groin). 10. KS: Back Fist, DDIP. Right Heel Kick and Hit the Tigers. 11. KS: Right Heel Kick and Box Ears. Left Heel Kick, Turn Around and Right Heel Kick, DDIP. 12. SF sequence from DDIP, ending with Diagonal Single Whip. 13. Part the Wild Horse’s Mane 3X; SF Fair Lady entrance to Swallow’s Tail, Ward Off, etc., to SW. 14. SF Fair Lady through Swallow’s Tail, Ward Off, etc., to SW. 15. Cloud Hands through SW, as in LF #3. 16. Snake Creeps Down, Golden Roosters. Repulse Monkeys; then LF #2 & #3 above but with White Snake Sticks Out Tongue for Back Fist, to SW. 17. High Pat; Crossing Palms, Turn Around & Cross-Form Kick. Punch to Groin, then SF to SW. 18. SF to the end: Snake Creeps Down, Seven Stars, through Sweep the Lotus, Tiger, etc.

Move Descriptions

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These are descriptions of those moves unique to the Long Form. Any moves with Short Form names are the same as the move of that name in the Short Form, so they are not described here.

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Unfortunately, idiot style characteristics of MS Word8 make it impossible for me to put the correct move number on each name. So instead I’m numbering each one “1” and putting the correct number in parentheses at the end of the name in parentheses, like this: “(13)” indicates this is really move 13.

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1. Right Brush Knee and Push (13) This begins after having just finished Left Brush Knee and Push. Its start and pivot is identical to Short Form’s Punch to Groin, but instead of a punch, a brush knee push motion is done.

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a) Pull weight into rear (left) foot, moving your body to center over that foot. b) Turn slightly right (clockwise), pivoting on the left hip joint, using that body pivot to turn your left foot counterclockwise until it is slightly angled left. The slight angle can be as little as 20-30 degrees, and in no case should it be more than 45 degrees. c) Pull weight back into the now-angled front (right) foot; as that’s done, pivot right (clockwise) on the right hip joint, causing your left foot to come up and step (swing) forward, in position for a left bow stance. At the same time, switch hand position from the prior brush knee push position so the right hand is up and the left hand under the right elbow, palm down. d) Pull into the front (left) foot, pivoting left to a full front-weighted bow stance. At the same time, swing the right arm down, past the front of the left knee (brush knee), to stop at the side of the left thigh with palm down. While doing this, push forward with the right hand, ending with it outstretched in front.

Open Office Write let me do it correctly. But almost nobody can use that file format, despite its being the officially standard XML-based format for documents. 122

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1. Look for the Needle in the Sea Bottom (26) This starts from the end of a Left Brush Knee and Push. It is essentially the same as the move of the same name in the fan form – making this probably a first for the fan form, a move that actually matches the named move in the style (Yang) specified.

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a) Pull weight fully into front (left) foot and lift back foot, placing it down behind but closer to the rear of the front foot, in preparation to going into cat stance (next). b) Pull weight into the back (right) foot, moving into a cat stance by just lifting front foot heel off the ground. At the same time, drop the right hand down into a crane’s beak, moving the rest of the right arm very little; and swing the left arm up and over to the right arm, so the fingers are resting on the right wrist and the hand almost flat, arched slightly. Do not press on the right arm with the left; the intent is just to “complete the circle” of the shoulders. Go down as far as feasible keeping all the weight in the right foot. Keep hips facing forward during this. c) Sink straight down on your right foot, keeping weight off the left foot, and sink the right arm’s crane’s beak down slightly. Focus down towards the ground, as if you were picking something up off the floor. Keep hips facing forward during this. (Application is pulling someone’s hand down.)

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1. Fan with Back (27) a) Rise up to normal height, keeping all weight in the right foot, keeping hips square to the front. At the same time, cross hands at the wrist, right hand in front and left hand in back, moving arms so that their position is symmetric in front of the upper chest. b) Step out with the left foot to the position of a left bow stance, still keeping weight to the back. c) Pull weight into the front foot, to a front-weighted bow stance, keeping hips square to the front throughout this part of the move (actually, through the whole move). At the same time, spread hands out (“fan”) to slightly past, or just at, shoulder width, and twist at the waist strongly (“with back”) to turn your upper body clockwise, so you are facing on an angle to the right.

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1. Turn Around and Back Fist (28) a) Pull into back foot, twisting to the right (clockwise) into the right leg (or just maintaining the twist present at the end of the last move), allowing left leg to pivot on heel to the right, so you end up pigeon-toed (somewhat like a reverse-direction single whip). Don’t move hands and arms. b) Plant left (front) foot and shift weight into it, twisting into it to the left (counterclockwise). At the same time, swing right hand to the right (clockwise), down, and over to under the left elbow, rotating to end up palm down, and forming a fist. Left hand just stays there. c) Twist to the right (clockwise), while stepping out with the right foot well to the right of the left heel, keeping weight in left (rear) foot. At the same time, strike forward in the direction of the right foot with the right fist by pivoting arm clockwise – a backfist strike. Note, weight stays in the back foot throughout this segment. d) Pull weight into right foot, turning right slightly into a bow stance. At the same time, pull right fist back to side of body at the right, palm up, keeping fist; and push forward with left arm, as in the push of a Left Brush Knee and Push.

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1. Deflect Down Intercept and Punch (variation) (29) a) Moving weight entirely into right foot, raise right fist up roughly even with the left hand. b) Step with the left foot, first forward next to the right foot, and then out and to the left, placing foot down roughly where it was (hip-width out, and angled left (20-30 degrees)); this is an adjustment step that can be made in various directions as required. 123

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c) Pull your weight into your left foot, dropping both hands down to waist level. After weight is in the left foot, pivot left (counterclockwise) on the left qua. Proceed as in normal Deflect Down Intercept and Punch. This variation is the one commonly used in this form; the pair Turn Around and Back Fist followed by Deflect Down Intercept and Punch (TBF+DDIP) is used in a number of places.

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1. a) b) c)

Ward Off to the Right (variation) (30) Pull back into rear (right) foot; do not move arms. Pivot on right hip (qua) to the left (counterclockwise), rotating left foot out to a medium angle. Pull forward into the right foot. At the same time moving left arm to in front of top of chest, palm down; and right arm to across the waist, palm up – the standard “holding a ball” position of the start of Ward Off to the Right. The arm movement described in (c) should actually start at (a), and be continuous (a) – (c).

Continue as in normal Ward Off to the right.

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1. Cloud Hands (variation) (3 times) (35) This follows a single whip that leaves you facing left.

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a) Pull back into the rear foot. b) Turn to the right (clockwise) on the right hip (qua), pivoting the left foot on the heel to the right. At the same time, rotate the left hand so the palm faces right. The body rotation will make it appear that you are pushing / slapping to the left with the left hand, as well as pulling to the right with the hook hand. This is exactly the motion done at the start of Short Form First Corner. c) Pull weight into the left foot. d) Lift right foot, and sweep it behind the left a bit and forward to to put it down close to and parallel to the left foot, turning the hips to the left. At the same time, move the left arm out, to the left, and up to the right; while the right hand scoops down to the waist, palm up. This is the same position you end up in when pulling the right foot in when doing Short Form Cloud Hands. e) Continue doing Cloud Hands, starting by pulling weight into right foot and twisting right, switching hands top to bottom while sweeping left foot back and out to the right. Do the usual three repetitions of Cloud Hands counting the one immediately above as the first.

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1. Single Whip (variation) (36) As in Short Form; listed here just to keep move numbering right.

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1. Pat the High Horse (37) Pull weight into rear foot, moving front foot back into cat stance position. At the same time, sweep right hand down to in front of the groin, and left hand in to chest, then move right up and left down as in White Crane Spreads Wings – except: rather than a block up close to the body, right arm moves forward and out as a strike.

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1. Separate with Right Foot (new entrance) (38) a) Put right foot down slightly forward, and pull weight into it, twisting left. At the same time, swing arms down so they are shoulder-width apart, hip level, on either side of the hips. b) Twist right, moving hands together and crossing at wrist, left hand in front. Continue Short Form Separate with Right Foot.

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1. Punch Down (43) Like Short Form Punch to Groin, but do not sink down; instead punch down at an angle to groin level. Right hand sweeps over and down to left, palm facing the ground, then sweeps horizontally to left, still palm down.

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1. Right Heel Kick (different entry) (46) This follows a DDIP, so left foot is forward and weight is forward. a) Pull into back (right) foot; then pivot on right hip to face left 45 degrees, pivoting left foot on its heel until it points Southeast. b) Pull forward into the left foot, facing South, bringing right foot in near left foot. Through those prior actions, sweep arms down so hands are in front of dantien, crossed at the wrist, left hand in front. c) Raise right knee and heel kick to Southwest, spreading hands, as in the Short Form.

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1. Hit the Tiger to the Left (47) This is not quite the same as the move of the same name in the Neigong Chi Gong. a) Put right foot down close to left foot, pointing right foot South, and pull weight into it. Simultaneously bring arms together (not swinging down) in front of chest, making fists with both hands; arms from the elbow down should be vertical in front of chest, parallel, back of hands facing out. b) Step out to the left with the left foot, into a left bow stance, so you are now facing another 45 degrees to the left (Southwest). c) Shift weight into front (left) foot. At the same time, bring arms down, keeping fists. d) Shift weight strongly into front (left) foot, hips straight ahead, into a forward-weighted Bow stance, facing Southwest. While doing this, continue swinging left arm down and to the front and around, ending up in front of forehead, with back of hand towards forehead – punching high (forehead level) and low (waist level) at the same time. Left (high) hand is a roundhouse punch left to right; right (low) hand is a roundhouse punch right to left.

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48. Hit the Tiger to the Right a) Step forward with right foot, planting it lightly right next to left foot. At the same time, bring both arms in front of chest as in the start of Hit the Tiger to the Left. b) Step back with left foot, pivoting on left hip out to a 135 degree angle, so it is facing Northwest. c) Pull weight into right foot, pivoting left foot on its heel, into a right bow stance. Begin swinging arms down. d) Pull strongly into the right (front) foot, hips straight ahead, and punch as in Hit the Tiger to the Left, but with hands reversed.

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49. Right Heel Kick a) Pivot the left foot counterclockwise to point Southeast. b) Pull weight into the left leg, pivoting to face in the direction of the left foot. At the same time, drop hands to in front of dantien crossed at the wrists, left hand to the front. c) Continue as in regular Right Heel Kick, ending with leg outstretched, pointing Southwest.

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50. Box Ears a) Lift left heel slightly and swing right leg down and back swiftly to power a clockwise 90 degree spin of left foot, so the left foot is pointing Northwest, and your body faces Northeast. Keep arms up

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during spin, but bring them somewhat closer to your body. (Keep right hip low, and left knee bent, to do spin right.) b) Bring arms up so hands are at shoulder height and out from body so elbows are roughly at a right angle. Face palms inward. (Combine this with the spin after practice.) c) Pull down towards the side of the body with both hands, keeping fists, while raising right knee. d) Step straight forward with right foot into right bow stance position, facing Northeast. e) Pull forward into right foot while bringing both fists out and around as punching into both ears at the same time. Height should be about ear height. This ear boxing is like the roundhouse punches of Punch the Tiger, but at the same height.

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1. Left Heel Kick (51) a) Pull weight back into rear foot; while doing so, drop hands down into low heel kick start position, and, importantly, pivot the right heel 90 degrees to the right, so it is facing Southeast. b) Pull into right foot, keeping body facing East, and bringing left foot in next to right foot. c) Kick to the Northeast.

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1. Turn Around and Right Heel Kick (52) a) Pull left foot in and around to the left, pivoting on ball of the right foot, turning clockwise far enough to plant left foot south of right foot. Left foot should end up pointing South. Bring hands down to usual heel kick low position. b) Shift weight to left foot, and do right heel kick to Southwest.

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1. Deflect Down Intercept and Punch (53) a) Bring right foot back and down to floor next to left foot. While doing that, swing right arm down clockwise, to near left elbow (keep left arm up), forming a fist. b) Step out with right foot to NW – normal step out to right for DDIP. While moving the foot out, circle the right fist up and around. Continue as in an everyday DDIP. A key to this different entry is that the right foot and right fist operate in parallel: As the foot comes in, the fist goes down; as the foot goes out, the hand goes up and around.

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1. Part the Wild Horse’s Mane (3x) (61) This follows a Diagonal Single Whip.

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a) Move weight completely into the front (left) foot, and bring back (right) foot in next to the other foot. While doing this, bring right hand down in front of groin, and left arm across chest, with left hand palm down at right shoulder. b) Move right foot straight back and slightly right, planting right heel. Keep weight in left foot, and lean forward slightly to counterbalance movement of the right leg. c) Pivot right on left hip, simultaneously pivoting right leg right on the right heel, ultimately placing right foot turned nearly 180 degrees right. This should end up facing South East. While doing this, counter-twist at the waist so that body stays facing the original direction as much as possible; this is a major waist twist wind-up. d) Pull into right foot, turning body to the right, as in Short Form Shoulder Strike. While doing this, swing right hand diagonally up and to the right, while swinging left hand down to the left in a Brush Knee-like movement. This is just like Slant Fly in the Short Form. Pivot left foot right (clockwise) at end of this move.

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e) Bring left foot in parallel to right foot. At the same time, bring arms down to the same position reached in the first move element above, but reversed: left hand in front of groin, right arm in front of chest. f) Step out with left foot to the North East. g) Pull into left foot, shoulder-striking and spreading arms as in step c. h) Bring right foot in parallel to left, and pull arms back in to the position of step a (right hand in front of groin, left arm across chest). i) Step out with right foot to the South East. j) Pull into right foot, shoulder-striking and spreading arms as in step c. There are essentially three repetitions of the basic move above. That is the standard number for the form, but pairs can be added, and sometimes are.

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2. White Snake Sticks Out Tongue (91) This is identical to Turn Around and Back Fist, except that just after finishing the backfist strike, open your right hand to point the fingers forward; and leave the hand open when pulling that arm back at the end of the next sequent element, ending palm up by the waist.

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3. Crossing Palms (101) This begins from a Pat the High Horse: Left cat stance, right hand up, left hand down, torqued to the left.

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a) Step forward with left foot into a left bow stance position, keeping weight in rear foot. b) Pull into left foot.  While doing that, strike forward and up with left hand as a “spear hand,” and simultaneously swing right hand down under left elbow, palm up. As the hands move, the right open hand passes under the left open hand (both palm up), hence “crossing palms.”

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4. Turn Around and Cross-Form Kick (102) a) Pull weight back into rear (right) foot. While doing so, turn left arm right (clockwise), raising right forearm but otherwise not moving it, ending with forearms parallel, right forearm in front, right palm out, about mid-chest height. b) Pivot your body to the right on the right hip, while pivoting left foot right on its heel turning both 90 degrees right. While doing this, turn the left (inner) forearm to face the palm outwards. c) Pull weight into the left foot, and swing the right foot around to the back and forward, ending up next to the left foot. At the same time swing the right forearm clockwise 180 degrees so it ends up horizontal, fingers pointing right. The arm swing is in part to counterbalance the foot movement. d) Kick forward/left with right foot and sweep to the right, ending up with leg pointing to the right. Swing arms out over legs and left to counterbalance. e) Bring foot in so it is pointing down.

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1. Punch to Groin (new entry) (103) a) Step down to the right and back, turning right, so your right foot is in position to be in a right bow stance, if you were to pivot your left foot appropriately. b) Pull into the right foot while pivoting right; bring weight completely into the right foot and twist right allowing the left foot to swing forward into position for a left bow stance. At the same time, swing right elbow down to the right, forming a fist with the right hand, palm up, ending up with forearm parallel to the ground. Also swing down to the right with the left arm initially palm first, ending up with left hand a few inches in front of right fist, palm back. While doing all that, sink hips down and lean forward. 127

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c) Pull weight into the left foot while twisting left. Simultaneously punch forward (short punch) with the right hand, parallel to the ground, while sweeping left arm to the left, sweeping out the area with the edge of the left hand. End up with left and right forearms parallel, right fist and left hand extended equally, left palm to the left.

Wu 16-Move Form

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Wu style is, externally, the most compact, linear and simple-looking of all the styles I’ve so far had a chance to study enough to have an opinion on. It is much more concentrated on internal movement and relationships. Everything is expanding or contracting, with emphasis on the joints. Sinews rather than muscles are relied on, with a lot of spiraling. The Chi Gong for opening and closing, and Wu-style spiraling, all contain important Wu principles.

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An analogy: Wu is Taiji brandy: distilled essence. Following that booze theme, Chen style is whisky (strong), Yang is wine (smooth), and from the four pages I’ve read, Sun style is Everclear. Dang guy spent four pages describing exactly how to do a move that externally consisted in moving your hands forward at waist level about six inches.

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One significant external difference between Wu, and either Yang or Chen, is in the bow stance. In its heel position it is similar to Yang: Left-to-right they are hip-width apart; front to back the front heel is just forward of the right toe. However, the rear foot is not angled out. Both feet are parallel. The explanation for this is that keeping the feet parallel makes it equally easy to turn left and right; with the back foot opened out, turning towards that foot is enhanced, while turning the other way is reduced. To me it seems less stable than Yang or Chen bow stance, but I’m not as comfortable with Wu yet as I am with them.

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Another general difference is that, in Wu, you always shift weight completely before exerting force. In Yang and Chen, that happens occasionally, but not always; there are times when you shift while twisting and/or exerting force, all at the same time. That doesn’t happen in Wu.

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Here are the movements of the short Wu form I learned. There is a longer one of 60 plus moves; unfortunately, my move came before I had time to learn that. This is based on the teaching of .

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Yes, I know, it’s more than 16 moves. It’s still called a 16-move form. All the forms are really “just one move.”

Move List

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Commencement Ward Off With the Left Hand Ward Off with the Right Hand Pull Back Press Push Single Whip Lift Hands White Crane Spreads Its Wings Brush Knee Push Right 128

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11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21.

Play Pipa Brush Knee Push Right Brush Knee Push Left Brush Knee Push Right Needle at Sea Bottom Fan With Back Turn around and Back Fist Deflect Down, Intercept, and Punch Withdraw and Push Cross Hands Close

Move Descriptions

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1. Commencement a) Begin standing in a medium horse stance: Facing North, feet shoulder width apart, feet parallel, arms hanging down at your sides, palms towards your body. b) Contract your body down, compressing your entire body.  Raise both hands in parallel, rotating them so palms are facing down. Raise them straight up, heels of the hands just in front of your chest, until your palms reach the bottom of your pecs. Your elbows should point down.  Alternate: Instead of raising your hands straight up, you can alternatively swing them slightly out from your body in an arc terminating in the same place. Which you do depends on the application. c) Expand up.  Extend your hands directly forward, hands flat and palms down, until just short of straightening your arms completely. d) Contract again.  Pull your hands back in to the position just below your pecs, keeping them flat and palm-down. e) Expand up again.  Push your hands straight down at your sides, keeping your palms facing down, until your arms are almost completely straight.

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2. Ward Off with the Left Hand a) Contract down slightly.  Pull your weight completely into your right leg. b) Contract further.  Lift your left foot, and place the heel down about one foot-length forward, keeping the toes up off the floor.  Circle both arms out and up and in to the center of your body, ending with both a few inches out from the center of your chest, bottom of your pecs. Left hand is in front, facing forward, while right hand is straight, fingers touching the inner wrist of your left hand. c) Expand up.  Use the expansion to power a forward press forward with your hands, keeping the left hand in front. It should end with arms still slightly bent.  Keep your left foot touching only on its heel.  Slight variation: When you bring your left hand up, position it with its palm facing right. Then turn it to face forward as you press forward. (This version catches a spiral.) 129

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3. Ward Off with the Right hand a) With your weight still in your right leg, pivot your left foot on its heel to the right, placing it down pointing straight East.  Keeping your right hand pointed forward and slightly left, slide the fingertips down your left wrist, and then push your hand forward until your wrists are crossed. b) Pull into your left leg, c) Pivot to the right on your left hip until you are facing East, while compressing down.  Pull your left hand back over your right wrist, keeping the hand flat and pointed right-ish, until your left fingertips are touching your right inner wrist and the right hand is forward. d) Expand up.  Use the expansion to power a forward press forward with your hands, keeping the right hand in front. It should end with arms still slightly bent.  (Same slight variation as the prior move.)

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4. Pull Back a) Pivot on your left hip to the right to face Southeast.  While pivoting, gradually bend your right wrist, lowering your palm so that it is parallel to the floor when the pivot completes. b) Pivot on your left hip to the left until you face North.  Contract your body.  Lower your right hand, keeping your palm parallel to the floor. You are pushing/striking with the left edge of your hand. Keep your right hand centered left-right on your torso. Lower until the palm is close to your body.  Keep your left fingers in contact with your right wrist.  (Your right foot is still touching with just its heel.)

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5. Press a) Pivot to the right on your left hip until you face East.  Rotate your right hand until its palm is facing your body, and drape your hand across the middle of your body so your right palm is right in front of your solar plexus, a couple of inches out from your body.  Keep touching your right wrist with your left fingertips, and rotate your left hand so that its palm faces out away from your body. Your two palms are facing each other. Your two palms can be touching, or the left palm can be slightly below the right. b) Rotate your right foot down on the heel until it is flat on the floor. c) Pull into your right leg until all your weight is on it. d) Expand your body up.  Push you left hand forward and out, twisting it to palm up.  Keep your left fingers in contact with your right wrist.

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6. Push a) Pivot right on your right hip until you are facing Southeast.  Rotate your right hand counterclockwise and raise your fingertips until your palm ends up pointing out. b) Pull back into your left foot, until all your weight is in your left foot.  Bring your right hand back towards your chest, following a path the curves to the right slightly. c) Pivot your right foot on its heel until it is pointing Northeast (and you are pigeon-toed). 130

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

The pulling back of your right hand actually continues through this, until it is palm out in front of the center of your chest, just below your shoulders.  Begin compressing your body. d) Pull forward into your right foot, turning left to face Northeast.  Complete compressing your body. e) Expand your body.  Press forward with your right hand, straight out from the center of your chest.  (Yes, your left fingers are still touching your right wrist.)

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7. Single Whip a) Drop your right hand down at the wrist, forming a Crane’s Beak. b) Pivot to the right on your right hip slightly.  Swing your right hand to the right until it is at a 45 degree angle to your chest. That should have it pointing straight East.  Your left fingers leave your right wrist at this point, but the arm stays to the right, palm down. c) (Your weight is completely in your right foot at this point.)  Pivot left on your right hip, until your body is facing North.  Swing your left leg out to the left, planting it with the heel on an east-west line to the right heel, foot pointing Northwest.  Swing your right arm out to the left, ending up pointing a little slightly South of Southwest, palm facing slightly down from forward. d) As you put your left foot down, sink down, compressing your body, and center your weight between your legs.  As you compress, pull your arms down by the elbows slightly. e) Expand your body, extending both arms out. They should be angled in at a slight Northward angle from your body.

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8. Lift Hands a) Pull into your left foot, and pivot left on your left hip strongly, turning so far your right shoulder dips down significantly.  Raise your left hand, palm up, next to the top of your head  Push down with your right hand, low, down near your knee  Pivot your right leg left on its toe to face West. b) Straighten up, facing Northwest.  Raise your right leg and put it down facing north, just touching on the heel.  Lower your left hand until it is in front of your chest, palm racing right.  Raise your right hand until it is shoulder height, straight out from your shoulder, pointing Northwest, elbow down.

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9. White Crane Spreads Its Wings a) Put your right foot down.  Pivot left slightly on your left hip so you are facing West.  Drop your right hand down to your crotch, palm left. b) Pull forward into your right foot, keeping your torso upright, hitting with your entire right side of your body. c) Pivot right on your right hip until you are facing North.  Use the pivot to bring your right foot forward into a medium stance, facing North. 131

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d) Distribute your weight evenly on both feet and compress your body slightly. e) Bring your left hand down, and your right hand up in front of your body, right hand rising to forehead height with arm angled down; and left hand palm down near crotch.  (This is done just like the move Separating Heaven and Earth in the Eight Silk Brocades Chi Gong described earlier.) f) Pivot right to face Northeast, and bring all your weight into your right foot (do not move left foot). g) Compressing your body strongly, sink down low, almost to a squat.  Lower your right hand, curving outwards slightly in its path, until it is at the level of your knees, fingers pointing down.  Lower your left hand until it is parallel to your right hand. Hands should be shoulder-width apart. h) Pull into your left foot, pivoting left until you face Northwest and your weight is greatly in your left foot.  Remain sunken.  Bring your hands slightly across your body to the left, still low. i) Rise to normal height, expanding your body, still facing Northwest.  Raise both hands together, slightly on the left. j) Shift weight to right again, bringing both hands across your body at forehead height, palms forward. k) Pivot to face Northeast.  Lower your left hand to waist height, palm down.  Lower your right hand to shoulder height, just in front of your right shoulder.

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10. Brush Knee Push Right a) Turn your left foot on its heel to point West  Pivot on your right hip to face West b) Pull into your left foot, and sink down (compress).  Pivot your right foot on its toe to face West  Bring your left hand around in front of your body across your left leg, palm down, ending just in front of your left hip  Twist your right hand so its fingers are pointing West, and palm is to the left (South). It is still in front of your right shoulder. c) Expand up from your left foot  Press your right hand forward until it is straight out (elbow bent) from your right shoulder, corkscrewing your right hand to end up palm forward (palm facing West).

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11. Playing Pipa a) Pull back into your right foot  As weight comes off your left foot, move it towards you slightly and raise the toe so it is just touching on the heel.  Bring your right hand down in a curving path in front of your body, then up until it is centered, close to your chest, palm facing left (South).  Bring your left hand up and forward in a curve, ending just below shoulder height, palm right, a pronounced bend in your elbow.

12. Brush Knee Push Right

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The only difference between this and the prior Brush Knee Push Right is the entry (fingers pointing at each other) and, additionally, you do not have to do the pivot of your right foot to face West, since it’s already pointing that way. 132

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a) Twist to the right until facing northwest  Bring your left hand down until it is at qua level, palm down, fingertips even with the middle of your right leg  Bring your right hand down until it is pointing at the left hand, palm up  Bend / sink enough that your hands can be in the positions described with elbows curved out. b) Rise up on your right leg  Bring your right hand up in front of your right shoulder, palm forward.  Keep your left hand down, palm down. c) Pull into your left foot, and sink down (compress).  Bring your left hand around in front of your body across your left leg, palm down, ending just in front of your left hip  Twist your right hand so its fingers are pointing West, and palm is to the left (South). It is still in front of your right shoulder. d) Expand up from your left foot  Press your right hand forward until it is straight out (elbow bent) from your right shoulder, corkscrewing your right hand to end up palm forward (palm facing West).

13. Brush Knee Push Left

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This is just like the prior Brush Knee Push Right, starting by bending over and pointing fingertips at each other, except that:

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 

14. Brush Knee Push Right

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This is exactly like the immediately prior Brush Knee Push Left, except mirrored left-to-right. (So unlike the others, it includes stepping forwards as your hand comes up.)

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15. Needle At Sea Bottom a) Pull back into your right (rear) foot.  Slide your left foot back a little and raise it on its toe (going into a cat stance).  Arc your right arm down and in to your chest, facing that hand’s palm to the left.  Arc your left hand up and forward, ending out from shoulder with elbow significantly bent.  The position you end up in is like Playing Pipa, but in a cat stance. b) Spear your right hand straight up in front of your face until the heel of the hand is above your forehead. Twist the arm so the palm faces you.  Bring your left arm to the right across your body, palm in, blocking forward. c) Pivot to the right until your torso faces North. d) Sink down on your right foot, a lot.  Pivot left to face West.  Curve your right hand down, fingers first, close to your body, in front of your left leg, angling forward just enough to miss your leg. Go as low as you can go.  Lower your left arm slightly and move it to touch your right arm with your fingers just above the elbow (up or down a bit doesn’t matter).

It is mirrored left-to-right (obviously). As you initially rise on your left foot and raise your left hand to your shoulder, use that rise to swing your right foot forward into a right bow stance.

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16. Fan With Back a) Expand up on your right foot.  Extend your right arm out to horizontal straight out from your shoulder.  (Keep your left arm touching your right.) b) Step out with your left foot. c) Pull into your left foot, completely.  Stab forward with your right hand. (Keep left arm touching.) d) Pivot your right foot on the ball to the right, until it faces North or a little past that towards Northeast. e) Pull into your right foot.  Pivot on your right hip to turn your torso to face North.  Pull across with your right arm until it is North of your right shoulder. Twist your arm to be palm outwards at the end.  Press forward (North) with your left hand.  The overall effect is one of pulling an opponent’s arm forward (right hand) while pushing their elbow or shoulder forward with the left hand.

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17. Turn Around and Back Fist a) Pivot to the right on your right hip.  Pivot your left foot right on its heel as far as possible. Ideally it should go all the way around to point East. (I’m not ideal; compensation below.)  Keep your arms out where they ended the prior move. b) Pull into your left foot.  Pivot to the left, turning to face Northwest.  Arc your right arm down and bring it up across the front of your body on the left, very close to your body, making a fist and leading with the back of your hand.  Arc your left arm up and down to the right, across the front of your body, outside your right arm. c) Pivot slightly right to face North.  Pull into your right foot.  Bring your right hand up and out to the West, straight out from your shoulder, punching down in a backfist.  Bring your left hand up and to the left, in front of your left shoulder.  Sink down into your right foot, compressing. d) Expand up from your right foot.  Pivot right on your right foot to face East.  Push East with your right hand, palm out.

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18. Deflect Down, Intercept, and Punch a) Pull back into your rear (left) foot  Bring your left hand back and down to in front of your left hip. b) Pivot right strongly on your left hip until you are facing South  Raise your left hand to the height of your pecs and let the pivot push it to the right.  Turn your arm so palm is vertical at the end, facing South.  Note, don’t pivot further than needed to have your palm face South c) Pull into your front (left) foot and compress d) Expand up  Pivot on your left hip to face East 134

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   

Extend your left arm, letting the pivot make a punch Twist left arm left slightly so that if your fist were open (which it is not) your palm would be vertical, facing North Leave your right hand in roughly the same position Right arm should end touching the left hand, with left palm touching the inner (North) side of your right arm just inward of your right elbow.

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19. Withdraw and Push a) Turn your right arm over and open your fist so its palm is up  Turn your left arm over to palm up and slide it under your right arm b) Extend your left arm under your right and forward to full extension (elbow bent) so arms are crossed c) Uncross arms, moving both simultaneously, ending with them both straight out from your shoulders, palms up  Drop your arms down slightly, not quite to solar plexus height d) Pull back into your rear (right) foot  Compress and sink into your rear foot, arcing your body slightly to the rear (West)  Use the sink & compress to raise both arms, as if you were lifting someone with your arms e) Compress down and forward, pulling into your left foot  Use the forward motion to swing your right foot forward, switching stance to the other side  Lower your arms to waist height, twist arms so palms are down f) Pull into your right (front) foot, staying compressed g) Expand up on your right foot  Raise your arms up and forward in an arc h) Compress down into your right foot  Lower your arms down, arcing in towards your body, to about solar plexus height i) Expand up from your right foot  Push forward with both hands, palms forward

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20. Cross Hands a) Pivot your left foot on its heel to point North b) Pull into your left foot  Pivot left on your left hip to face North  Lower your arms to your sides (just forward of shoulders), extending them out from your body in arcs to your right and left, gradually turning palms to face inwards; end with arms just forward of hips c) Bring your right foot forward to go into a medium stance facing North, feet parallel and below hip joints.  Expand your body up as you do this (opposite of Yang) d) Compress down  Raise your arms in front of your body, palms in towards you, crossing your arms, ending with wrists crossed in front of your throat

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21. Close a) Expand up  Extend your arms straight in front of you, palms down (as in Commencement) b) Compress down 135

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

Bring your arms back, palms down, lowering your elbows (as in Commencement again) c) Expand up  Lower your arms straight down in front of your body, palms down d) Bring your arms to your sides, straight down from your shoulders, palms in.

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Weapon Forms

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This chapter describes weapons forms I’ve learned. There are many more weapon forms than emptyhand forms, for a very straightforward reason: There are more types of weapons than there are types of hands.

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OK, that’s glib. But it is true that there are many different types of weapons, with different characteristics, and those different characteristics demand different techniques. You don’t want to use a staff, for example, the same way you use a sword, or a fan. So even within a single style of Tai Chi Chuan, there tend to be several weapons forms.

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Many of these have specialized warm-up routines or practice drills using the weapons. These usually substitute for Chi Gong warm-ups used before the empty hand forms, but in most cases they are not strictly Chi Gong since they have no origin in the theory of that art, except, of course, insofar as most movements discussed here have origins in Tai Chi Chuan or Chi Gong.

Staff Form

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I’ve heard this form informally referred to as “stick form,” a sobriquet that lead to a proposed tee shirt for women with the slogan “Chicks with Sticks,” as a companion to an actual tee shirt with the slogan “Women with Weapons.” However, despite the “stick form” name I’ve never heard anybody call the staff itself a “stick.” It’s always a “staff.”

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Of all the forms documented here, this one is my personal favorite. Why I have this reaction, well, I can think of a few rationalizations, but they are rationalizations. It’s an instinctive reaction; I just like it. The rationalizations:

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

The resistance provided by the weight of the staff is, for me, just enough to promote internal generation of force. You have to be careful to remember to do this, however; with staff and indeed with all weapons there is a strong tendency to forget all about your empty hand technique and start using your arms. This is probably the main reason I like this form; it just makes doing the form feel good. Unlike other weapons, it uses both sides of the body: both hands, both arms, etc. Sword, saber, and fan preferentially beat up your right arm. It’s possible that spear forms use both hands, too, but I don’t know any spear forms so I can’t say. Be sure to remember this double-sided quality when practicing this form. It’s very easy to preferentially use the forward hand, something that both overworks that hand and produces far less power. In many, many cases your forward hand should function as a pivot, with the rear hand generating the power. A prime example of this is the move 137

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

Up Strike; pushing down with the back (left) hand and using the right as a pivot moves the staff much more quickly, with far more power. Over and Under the Waves has this quality, too. In its use of both hands, opposite, the whole form is good practice in using the energy of split (Tsai); see the Chen eight energies form. It’s the most practical weapon form. In the unlikely event that you have a need to whack someone with something, a big stick is somewhat more likely to be available than, for example, a three-foot sword. And you are more likely to have a stick available that will actually do something, as opposed to the almost completely useless wooden swords used in form practice (called “beaters” in the Western sword tradition, at least among sword snobs).

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Most of the moves of this form, and some moves of the Chi Gong, had no names as first taught to me. The few names that were attached had been made up by students in another school. Towards the end of my learning this form, an “official” list of move names was made up for the form itself; I’ve used those below. But don’t take the names as serious objects for study. Some are clearly whimsical, like Snake Chases Its Foot.

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A reason for this is that the origins of this form are obscure. It was discovered on an old Beta tape that was found in a neglected corner of a grocery store in southern Arkansas owned by the parents of one of Kade Green’s students. There wasn’t anything on the box or the tape to indicate its origins, and no narrative, just this elderly white-haired Chinese man in a white outfit doing the form to some oriental music. The tape has since been lost, and nobody has a player for it any more, anyway. The second half in particular seems to use some movements related to Hun Gar (or Hungar, or Hun Ga, or Hunga), a “hard” Shaolin-related style based in southern China. Internet sources of Hun Gar demonstrations don’t show anything like it, however, and it seems rather circular for a Hun Gar form.

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I’ve heard people it said that the move Turn Around and Stab seems like a termination. That was the termination of the (obviously) truncated version taught at a school where Kade Green used to work. I personally don’t feel like that move is a termination, probably because I never did learn that section of the form as a closed unit.

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A word of warning: Having a stick in your hands (or any other weapon) instantly produces a tendency to muscle it around with your arms, as if you were swinging a baseball bat. This happens to everybody. You’ll instantly forget all your hard-won principles of Tai Chi Chuan movement. You will have to be aware of that tendency, and work to instead power the movements with your entire body. Also, for some reason, there is a very strong tendency, once you learn the sequence, to do it faster and faster. That’s obviously an urge to resist, too.

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A final comment about this form in general: This staff form has almost nothing in common with the staff form demonstrations you can see in abundance on UTube, replete with spinning and whacking the floor with the length of the staff. In that sense, it is more “Tai Chi” in nature. Or else it’s less Wu Shu.

The Staff

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The staff for this form used in class should reach from your armpit to the floor; it is not bad to be an inch or so shorter. The diameter should be just small enough to reach all the way around with thumb and forefinger when the staff is nestled in the web of the thumb. The surface finish should be smooth and allow your hands to slide on it without much resistance; many of the moves require this. Avoid non-slip waxes and finishes. (I found that difficult. They’re all non-slip these days, it seems.) 138

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The material depends on how much you want to exercise yourself doing it. Many people use a pine closet pole. Others, particularly women, use broomstick or mop handle; their smaller diameters are more easily gripped by smaller hands. Those are rather light, but can work. Most people put a coat of varnish or light wax on it, after sanding to be sure the surface is smooth.

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I used a long hardwood dowel, sanding it down and applying several coats of varnish; it was substantially heavier than the pine. The total cost was about $7, most of which was for the varnish, which turned out to be annoyingly non-slip. Someone else had a friend who did woodworking as a hobby and made him a staff. It was dark, narrow, had metal tips and a light wood inset to mark the center of balance. It looks good, but I suspect it didn’t have the mass I like. I haven’t looked at “bo” staves or other Japanese implements.

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I’ve also practiced this form with a pine closet-pole staff about a foot longer than armpit length. Despite its lesser density, the additional length increases the angular momentum, making it very satisfying to use. Almost all the moves are appropriate to a longer staff like that; the Bashes are the possible exception, and those can be dealt with. A traditional long staff goes to at least the top of one’s head. A staff that long might be usable for most of this form. However, that length would probably pose a problem in an indoor class due to the space you would need to wield it.

Gripping the Staff

There are two basic ways to grip the staff: with an opposed grip, or a parallel grip.

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Opposed grip: The hands grip the staff in opposite directions: One hand has knuckles up, the other knuckles down. The thumb of one hand faces the pinky of the other. There are two variations: In a right opposed grip, the right hand has knuckles down when the staff is hanging in front of you parallel to the floor. The left opposed grip is the opposite: the left hand’s knuckles are down, and the right hand’s knuckles are up. Opposed grips are almost always used.

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Parallel grip: Both hands grip the staff with knuckles pointing the same way; the thumb side of the hands is facing one another. If the staff is held in front of your body, parallel to the floor, the knuckles are pointing up (or forward). This form has no use for the variation that would have the knuckles pointing down. However, if you were to do it knuckles down and raise the staff above your head, parallel to the floor, this would be the usual position for holding a bar when doing pull-ups. Neither parallel grip is used much; the only use is in the staff-related Chi Gong described below. I’m describing it for completeness and so it can be referred to simply in the Chi Gong descriptions.

Grip the staff firmly, so it does not slip in your hands, but avoid a tight “death grip.”

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Always position the staff in your hand so that you will be pressing on it using the base of your palm. This provides a path for your force directly from the end of your forearm.

Staff Chi Gong (Warm-ups)

These Chi Gong using the staff serve as a warm-up and provide practice doing basic movements.

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1. Twist the Waist Stand in a wide stance, with proper alignment, feet about shoulder width apart. Hold staff in a parallel grip, parallel to the floor, over the center of your head ; your knuckles face back, due to holding the staff high. Place your hands shoulder-width apart on the staff. Arms should be extended up, just short of fully extended. Face forward, not up. Now, here’s the least intuitive thing: point your elbows forward. The 139

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natural tendency of most people is to point the elbows out to the sides, but in that position there is very little power available in the arms. (Try it.) Also, it lines your wrists up with your arms rather than having them at an angle.

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Twist your body clockwise and counterclockwise, back and forth. Twist from the waist, not from the ankles or knees. Do not move your arms at all relative to your torso; your whole upper body should drive the staff.

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2. Compass This is the same as the Chi Gong of the same name done without the staff. Adding the staff adds some work due to the weight held far out. Obviously, a heavier staff makes a bigger difference.

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Begin in the same starting position as Twist the Waist., which is to say just like Compass but with the staff held directly over the top of your head. Be sure to keep it there.

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a) Bend to the right, keeping your hips almost completely level. The staff should stay above your head, and as you bend it should point up towards to ceiling. (Keep elbows in front.) Go as far as you can; the idea is to flex your spine. b) Bend forward and down, aiming your head down towards your right foot. Bend first from the hip joints; then curve your back down. Keep the staff straight “up” from your torso (actually down); do not hang your arms down. As far down as you can bend your body is as far as the staff should go. c) Tip your hips very slightly down to gain some leverage and avoid straining your back; then lift your body by the hips and turn straight forward, stretching out with your back flat, parallel to the ground. The staff should still stay “above” your head (relative to your head). d) Bend forward and down to your left foot, just like step (b) but to the other foot. e) Tipping your hips again to gain a little leverage, lift again by the hips while turning up and to the left. Turn your torso, passing through the position ending step (a), but bending to the left, and continue turning and arcing back. Bend forward at the ankles to keep your balance. Keep the staff above (behind) your head, and look up. f) Pull forward and arc right until you are the position at the end of (a). g) Arc left, back up, to the starting position. Repeat (a) through (g) reversed, so you begin by arcing left.

Then repeat everything above once more, both to the right and to the left.

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3. Switching Hands From the stopping position of Compass, with the staff over your head, lower the staff in front of your body until it is about even in height with your solar plexus.

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Switch to a right opposed grip. In other words, flip over your right hand. (There’s more about such switching below, in step (c).)

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a) Twist your body into your left foot.  Pull back on the staff with your left hand, and press across to the left with your right palm, swinging the staff horizontally. This will require you to let the staff slip through your right hand – which is the idea. Do not deliberately pull your right hand closer to your left hand; instead, let the staff naturally move forward. Keep your palm lightly pushing the staff, not your fingers.  Stop when the staff is pointing directly forward.

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Note: When I say “press” and “pull,” that exaggerates how much effort you should put into your arms; this is Tai Chi Chuan, not Wushu or weight lifting. Your arms should be light and loose, with your body providing the force. b) Twist back into your right foot, going back only far enough to face forward.  Swing the staff back to the starting position, sliding your right hand back into its original position. In this return, unlike the strike above, it is OK to deliberately pull your hands apart. c) Switch hands. Do this by holding with the left hand, and switching the right hand to hold with knuckles up; then hold with the right hand, while switching the left hand. That is always the order in which to switch hands: The hand with knuckles holds the staff; it is by far the stronger grip because the outer side is pressing against the outer side of the palm. Try it the other way; the difference is very obvious. d) Do the same as step (a), reversed side-to side: Twist your body into your right foot, etc. e) Step (b) reversed. f) Switch hands again, reversed so you end up in the starting position. Repeat the whole combination, striking left and right repeatedly in a smooth continuous fashion.

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4. Backhand Front-spin Strikes* When initially learning this, begin in the same position as the start of Switching Hands. Later you will naturally skip to the end of (b), and start there.

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a) Spin the staff in front of your body counterclockwise, vertically around a point in its middle, 180 degrees, crossing your arms right over left. When you you finish  Your left hand won’t be able to maintain a full grip; only the thumb and forefinger will hold the staff; that is correct.  Your left hand will be twisted around so that the palm is facing outward; that is also correct. b) Twist into the right foot.  Use the body turn to power the right hand pushing the staff to the right, while the left hand comes in fairly tightly to the front of your body until the hand is under your right arm, about midway down your rib cage.  At the end, just the thumb and forefinger of your left hand should be near the staff, and they should be loose; the staff presses into the webbing between them.  This whole move is as if you are doing a backslap with your right hand, pushing the staff. c) Pull back into the left foot, centering your body and reversing the motion of the staff, ending with arms crossed as at the end of step (a). d) Spin the staff back to the starting position, clockwise. e) Switch hands, as in step (c) of Switching Hands. f) Spin the staff clockwise, vertically around a point in its middle, 180 degrees, crossing your arms left over right, as in step (a), but reversed left-to-right. g) Do steps (b)-(e) reversed left-to-right – and note that this involves initially spinning the staff in the opposite direction. h) Repeat. The above sequence breaks things down to a nearly subatomic level. As you get comfortable with the sequence, you should merge steps (d), (e), and (f) so you do a full 360 degree turn of the staff, smoothly switching hands while the staff is turning, connecting smoothly to the strike to the side. Then pull the staff back; spin, switch, and strike to the other side; and so on. This is actually a whole lot easier than it sounds. 141

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Again, as I noted in step (a) of Switch Hands: Use your body, not your arms. The body twist should power the strikes. The spin should be powered by an internal rotation of your dantien, once you get that kind of motion going.

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5. Backhand Side-spin Strikes* This is just like Backhand Front-spin Strikes, but instead of returning the staff to the front of your body and spinning there, spin it on the side, where it is at the end of the strike. The back end of the staff, under your arm, goes down; and the top goes up and back. Turning your body a bit further to the outside will power the spin at the side of your body.

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This ends up in a position that lets you power the staff all the way across your body, using the force of a full-width body twist and weight shift.

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6. Twirling This is an awful lot like twirling a baton – a large baton, twirled with both hands.

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a) Hold the staff horizontally in your right hand, knuckles up, placing your hand so your index finger is an inch or two to the right of its center. Rotate the staff clockwise and move your arm to the right so your arm is straight out from your right shoulder, elbow bent. b) Raise the staff up a few inches, rotate it counterclockwise while bringing your hand down, so the left tip goes down vertically in front of you. c) Stop your hand about even with the center of your chest. As part of stopping, twist the staff so it is rotating counterclockwise in a vertical plane immediately in front of your chest. d) Reach your left hand under your right wrist, palm up, so your palm is just to the right of your right hand. e) As the staff reaches horizontal, your left thumb should be right next to your right thumb. f) Lay the staff down into your left palm. Grasp with your left hand, and let go with your right. g) Continue turning the staff counterclockwise with your left hand. h) Reach your right hand over your left wrist, palm down, so your palm is just to the left of your left hand. i) As the staff reaches horizontal, your pinkies should be next to each other. j) Grab the staff with your right hand as it comes up to horizontal, let go with the left, and continue rotating it counterclockwise. k) Reach under your right with your left again, let the staff fall into your left palm, and repeat like that.

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Probably the hardest part of this is dropping the staff into your left palm; that feels awkward at first. Eventually it gets easier.

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After getting used to doing the above, unlike a baton twirler concentrate on doing it as slowly as you can, maintaining control at all times.

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Also, you want to twirl clockwise, too. That’s simply reversing everything above, starting with the staff in the left hand. Clockwise is harder for most people; this may have to do with handedness.

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Twirling is actually not used in the form as taught to me, but it was a Chi Going exercise. Since incorporating it into the close was half-suggested, I’ve described that in the form move descriptions.

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7. Twirling Side to Side a) Start in the right hand as usual, bringing the staff to the front of your body, but when reversing the direction of the turn, twist your body so you are doing it facing to the left. 142

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b) Do several twirls there. c) In a phase where it’s in your left hand, instead of grasping with your right, when the staff reaches vertical bring it up and down as if initiating a turn with your left hand – which you do, bringing it down with a body twist that has you facing right. d) Do several twirls there, and then do a similar swap to the other side using your right hand. Repeat.

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The staff reversal of direction in this exercise is something you can really feel your dantien twisting and powering to make happen.

8. Row the boat

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See the description in the move Block up and Row the Boat below. Do that, but with your weight staying in the front foot. Also, keep repeating it, moving the staff smoothly in a circular fashion, rowing back with the right side while striking forward with the left; and then the opposite. Repeat with sides reversed and stance reversed. This is a good exercise with which to practice waist twisting: Keep your hips mostly stationary, using only the waist, particularly below the navel, to power the movement.

Move List

Here is the list of moves:

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28.

Beginning Jump around and Push down Block up and Row the Boat Swoop under the Waves Dive Over the Waves Row the Boat and Block up Helicopter Dancing with Dragons Row the Boat and Stab Turn around and Strike Dancing with Dragons Row the Boat and Stab Turn around and Strike Circle Strike Single Whip Bash Right Bash Left Circle Block and Bash Right Circle Block and Bash Left Turn Around and Stab Cat, Cat, RAT Ankle and Head Turn and Chase the Foot Block Back and Pool Shot Circle to Cat, Cat, RAT Ankle and Head Turn and Chase the Foot Stab back and turn 143

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29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62.

Block up and Circle down Ankle and Head Turn and Chase the Foot Stab back and Turn Block up and Circle Down Side step and Spiraling Stab Snake Block up and Circle down Step Out and Cross Strike Step Forward and Block up Circle down and Stamp the Foot Circling Step Strike Turn and Up Strike Jumping Left heel Kick Up Strike Turn to Smash the Foot Up Strike Cross Strike Up Strike Snake Chases its Foot Spin and Strike to Right Turn and Up Strike Jumping Left heel Kick Up Strike Turn to Smash the Foot Up Strike Cross Strike Up Strike Snake Chases its Foot Back Snake Block Turn and Snake sinks down Port Staff Stab the Foot to Upper Cut Port Staff to Shooting Staff Close

Move Descriptions

Each of those moves is described below.

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1. Beginning a) Begin in a narrow stance.  Hold the staff in the left hand, vertical, behind your left shoulder, nearly touching the floor near your left heel. Your left palm should be facing back, and your hand should be roughly in the middle of the staff. b) Pull into your right foot, turning strongly right, ending up facing nearly fully right.  Keeping the staff vertical, move it across your body until it is in front of your right shoulder. 144

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

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2. Jump Around and Push Down a) Pull your right foot back from the heel kick.  Sink slightly into the left leg.  Pull the top of the staff straight back sufficiently that the right tip goes over your right shoulder. b) Spring up slightly off the ground, jumping with your left leg.  Start bringing the right foot down. However, both feet should be in the air at the same time, since the intent of this is to simulate jumping over a sweep aimed at your feet.  As you jump, turn yourself left (see landing position below).  Start swinging the staff down. c) Land facing South.  Feet end up in a medium (horse) stance.  Staff should end up horizontal, at waist height.  It is all right to have the left foot land slightly before the right foot.

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3. Block up and Row the Boat a) Pull into your left foot.  Raise the staff until it is just below shoulder height, keeping it horizontal.  Turn to face Southeast.

Let the staff slide down in your hand, raising your hand, so you end up holding it much nearer to the end that is high.  Bring your right hand up to the front of your chest. Your hand should be open, with fingers pointing up, palm to the left, and thumb at center of your breastbone. c) Step forward and left with the left foot, into position for a bow stance facing Northwest.  Keep both arms in the same position. d) Pull into the left foot, into a bow stance.  Twist your body left to face Northwest.  Use that twist and pull to swing the staff up, then forward and down. e) As the far end of the staff reaches head level, “pop” it, snapping it back. f) Pull fully into the left foot, bringing the right foot even with the left foot.  As the staff comes back, lower the left hand to the left, so the staff comes back a position that’s diagonally across the chest, lower left to upper right.  Bring the right hand up to the staff as it reaches that position, grasping the staff palm forward. (This ends up in a right opposed grip.) g) Heel kick forward with the right leg.  Pump forward slightly with both hands, as a forward block.  (Do not end this by putting your right foot back on the ground. It should stay up, knee high, in preparation for the next move.) There is a variation on this move using both hands to strike with the staff. It’s more appropriate when using a longer staff. In that variation:  When turning left, slip the staff quite far through the left hand, so your hand ends up quite near the end of the staff. Also, instead of putting the right hand at the chest, grasp the staff with it as it rotates over near the right shoulder.  When pulling forward into the left foot and striking, use both hands, sliding the right hand down the staff to near the left hand.  When pulling the staff back, slide the right hand out to the middle of the staff.

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b) Bamboo step to the Southeast, meaning: Raise your right foot slightly; push off with your back foot (the only case where you do this), effectively jumping forward just slightly into your right foot; as the right foot lands, pull into the right foot; then finally pull your left foot forward into a medium stance position, weight evenly distributed into both feet.  As you finish the bamboo step, push forward and slightly up with the staff, keeping it horizontal, as a block. c) Step back with the left foot into a left bow stance. (This begins the “Row the Boat” part.) d) Twist to the right, using that motion to pull the right side of the staff down and next to your right knee, doing a block to the right side…  while pushing the left side of the staff forward, striking forward and down  and raising the left foot (thus simultaneously blocking and dodging a strike to the right ankle).  (This should be a circular motion somewhat like rowing a canoe.) e) Twist your body back to the front, using that twist to continue the circular motion of the staff, bringing the right side up and forward, while the left side goes down and to the back.  Lower the right foot into a right horse stance. f) Finish with the staff at approximately a 45 degree angle, with its right side at about head height.

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4. Swoop under the Waves a) Pull back into the left foot.  Lift your right toe. b) Turn your right leg to the right, from the hip, pivoting the right foot on its heel, as far to the right as you are able. Ideally, the right foot should end up pointing North. c) Reverse your grip on the staff: Holding with the left hand, turn the right hand over; then holding with the right hand, turn the left hand over. d) Pull into the right leg.  Use that pull to swing your left leg around to the left and forward, planting it pointing North, so you end up in a horse stance facing North.  Try to not turn your body when you do this – or, equivalently, turn your body to the left as much as possible, winding up for the strike to follow.  Rotate the staff, raising the right side and lowering the left, until it is vertical in front of your chest. e) Twist your body around to face North, pivoting on your right hip.  Use that twist to power a strike with the staff that rotates the left side up, using the left hand as a pivot (it moves very little) while pushing down with the right hand.  Finish with the staff horizontal at about waist level. f) Repeat the above reversed left-to-right: Pull back into the right foot, pivot and pull into the left, swing right foot around, switch grip opposite, pivot staff on right hand.  You should finish in a horse stance facing south, with the staff at about waist level.

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5. Dive Over the Waves This is the same as the prior move, except that the staff strikes down rather than up. So when doing the first iteration, rather than rotating the right side up, you rotate the left side up and the right side down. In addition, when striking down, pivot on the back hand – the right hand – moving the left hand in an arc to strike down.

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With both “Waves” moves, it takes quite a bit of practice to coordinate the footwork with the body motion to drive these by internal (body and leg) force. In other words, it’s hard to get your arm strength 146

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out of them. From that standpoint, these are the most difficult moves of the form – or, equivalently, the least obviously Tai Chi Chuan.

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6. Row the Boat and Block up a) From the horse stance facing south, turn to the Southwest and adjust your stance slightly so that you are in a right bow stance, back-weighted. b) Do the “row the boat” motion described above, twisting to the right to drive pulling the right side of the staff down and back while the left side circles up and forward; then twisting to the left to continue and complete the circle. c) Bamboo step to the Southeast with a block up, as in the prior description of Block Up and Row the Boat.

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7. Helicopter a) Pull your weight into the right foot. b) Turn left, pivoting on the right hip.  Pivot your left leg left at the hip, pivoting the left foot on its heel, as far around as you are able, ideally ending up pointing North.  Lower the staff to low-chest level as you turn (can be lowered as far as the waist).  While lowering it, slide your left hand to the far left side of the staff; then slide your right hand closer to the left, leaving at most a couple of inches between the two hands. c) Pull into your left foot, turning your body further to the left, pivoting on the left hip.  Sink into your left foot.  Use the hip pivot to swing your right leg around your body; do not plant it yet.  Swing the staff (from its end) around to the left, meaning counterclockwise as viewed from above. Gradually raising the staff; at the end of this element it should reach about your neck or chin level and be pointing North. d) Hop up, thrusting up with your left leg and raising your right knee, landing on the right foot. Both feet should be off the floor at the same time; this is again jumping over somebody sweeping a staff at your ankles.  Use the prior turn to help you turn left even further while you are off the ground.  Continue swinging the staff left, making a full circle, raising it further so it is above your head as it circles back. As you go past the top of your head, begin lowering the staff while swinging it.  As you land on your right leg, the staff should be coming around on the right, pointing roughly North-north-east. e) As you finish landing on your right foot, step forward with the left into a horse stance, and pull your weight into the left foot.  Continue swinging the staff around to the left so it ends up pointing straight East, with your hands level with your upper waist, staff angled up so its end is roughly head level.

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8. Dancing with Dragons a) Pull strongly forward into your left leg.  Turn to the left, pivoting on your left hip, and pivoting your left foot on the ball of the foot. End up facing Southeast.  Use that turn and pivot to pull your right leg around and up, lifting your knee until your thigh is parallel to the ground.  Swing the staff to the left (CCW) and up, until it is pointing vertically up with its base just forward of your shoulder. 147

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b) Sink down lower on your left foot. c) Step out with your right foot to the East. Make it a long step; that’s why you sank down above – to be able to reach out further. d) Pull into the right foot, twisting your body to the right to face Southeast. Since you are in a low stance, this should involve moving to the right foot quite a distance.  Strike down and to the right, aiming at ankle height. The staff should end up pointing Southeast, in line with your right foot, on the right side of your body.

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(The name of this move came from a student in another school. She apparently doesn’t know “Swimming with Dragons” would be more congruent with Chinese dragons. Or maybe “Raining with Dragons.”)

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9. Row the Boat and Stab a) Pull back into your left foot.  Slide your hands more towards the center of the staff.  Do the “row the boat” sequence above, raising the right foot and lowering it, circling down to the right and forward to the left, then the opposite, except:  When you reach the end, instead of having the staff across your body from lower left to upper right, slide your right hand down towards your left and point the staff straight out from just below your navel, slanting up at about a 30 degree angle. Compress your body as you do this. b) Pull into your right (front) foot.  Pull your left foot forward into a medium-to-small stance next to your right foot.  Expand your body.  Use the pulling forward and expansion to drive a stab straight out with the staff.

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10. Turn around and Strike a) Step back and to the left with your left foot, so it is facing straight East, and a bit behind your right heel. b) Pull into your left foot.  Turn left, pivoting on your left hip, until facing East.  Pivot your right foot on the heel, so you end up in an East-facing left bow stance (this also determines how far behind your foot you step in the previous subelement).  As you start turning left, slide your right hand up the staff about a foot from your left hand (which should be near the end).  Swing the staff horizontally until it is facing East, in line with your left shoulder, left hand at waist level. (This is identical to the final position of Helicopter, but facing East, not West.)

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11. Dancing with Dragons Exactly like the prior move of the same name, but facing the opposite direction.

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12. Row the Boat and Stab Exactly like the prior move of the same name, but facing the opposite direction.

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13. Turn around and Strike Exactly like the prior move of the same name, but facing the opposite direction. You should now be facing straight West, in a bow stance, staff pointing West in line with your left shoulder.

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14. Circle Strike a) Pull into your back (right) foot. 148

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15. Single Whip a) Turn your left leg from the hip to the left, pivoting the foot on the heel, until it is facing Southeast.  Swing the staff up and to the right, then down in front of you at about knee level, changing right grip so you are pushing the staff with your right palm. b) Pull into your left foot.  Turn left, pivoting on your left hip, until you face East (180 degree turn).  Use the turn and pivot to power the staff around to the left, ending with the tip at head height, staff straight out from left shoulder.

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16. Bash Right a) Release your left hand from the staff. b) Pull into your rear (right) foot.  Swing the staff with your right hand up and back over your right shoulder  Bring your left hand in to your chest, open, palm facing left, thumb against your breastbone. c) Bamboo step forward into your left foot  Swing the staff down and forward, stopping at about head height, and whipping it back up.

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17. Bash Left a) Step back with your right foot. b) Pull back into your right foot.  Swing the staff (with your right hand only) up and back over your left shoulder  (Leave your left hand at your breastbone.) c) Bamboo step forward into your left foot  Swing the staff down and forward, swinging through about head height. (With the next move it continues down.)

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18. Circle Block and Bash Right a) Step back with your right foot. b) Pull back into your right foot.  Circle the staff down to the right, past your body, and up behind you. c) Bamboo step forward into your left foot  Swing the staff down and forward, swinging through about head height

Lift left foot and pivot on the heel to the right (as in stepping forward from one bow stance to the other, which is what you are doing; this move is somewhat like linked brush knee push moves.)  Swing the staff to the right, up, and over your head to the left (clockwise turn as viewed from above). b) Plant left foot at a 45 degree angle left, and pull into it.  Pivot on left hip to the left  Use the pivot and pull to swing your right foot forward into a right bow stance.  Continue swinging the staff behind you, clockwise, powering it from the body pivot and twist. c) Plant your right foot and pull into it.  Pivot right on your right hip until you are facing straight West  Swing staff across in front of you, in a backhand strike, left arm to the left of the staff, powered by the body twist.  Staff ends up pointing West on right side of body, slanted up, end of staff at head height.

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19. Circle Block and Bash Left a) Step back with your right foot. b) Pull back into your right foot.  Circle the staff down to the left, past your body, and up behind you on the left. c) Bamboo step forward into your left foot  Swing the staff down and forward, stopping at about head height.

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20. Turn Around and Stab a) Step back with your right foot, planting the heel and pivoting the right leg to the right at the hip. Pivot as far as you are able. b) Pull into your right foot, pivoting strongly on your right hip. Lift your right heel slightly and spin to the right on the ball of your right foot until you are facing North.  Use the spin to pull your left leg around until it reaches a narrow stance next to your right foot.  Keeping the staff in your right hand, swing it with you, bottom end leading, around with your body until it faces north, dropping it so the bottom is directly in front of your body, just below the navel.  Let your left hand extend out to balance you during the spin. c) As you finish the spin,  compress your body slightly and sink slightly  bring your left hand in to the center of your body and grasp the end of the staff d) Expand your body forward  Stab forward and up, to head height, with the staff.

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21. Cat, Cat, RAT a) Pull your weight into your right foot b) Step slightly forward with your left foot, into a left cat stance.  Swing the staff down to the right, behind your back, and forward straight over your head, halting with your hands again in front of your navel and the staff pointing up at an angle, the end of the staff at head height. Note: In this and subsequent forward swings, the staff should be brought back to line up with your spine, and when bringing it over your head should be quite close to your head, not quite grazing the top of your head. Also, the swing down should coincide with your front foot reaching the cat stance position, and you should drive the staff down with a torso compression. c) Pull your weight into your left foot. d) Step slightly forward with your right foot, into a right cat stance.  Swing the staff as in the previous sub-element: Down to the right, behind your back, over your head and down. e) Pull your weight into your right foot. f) Step slightly forward with your left foot, into a left cat stance. g) Swing the staff as in the previous sub-elements, but this time do not stop at head height. Swing it all the way down until it strikes the floor. Compress and sink significantly to reach this point.

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(Cat, Cat, RAT move was originally named “Cat, Cat, Whack the Rat” in class. That has a better rhythm, but I guess whacking was deemed too informal.)

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22. Ankle and Head a) Rise up, uncompressing yourself, into a normal cat stance.  Swing the staff up, b) Twist your torso to the left about 45 degrees (Northeast)  Swing the staff around to the right, and start down, powered by the torso 150

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c) Twist your torso to the left until you are facing Northwest (remain in the cat stance; the twisting is all in your right hip and torso).  Swing the staff down and to the left, ending at a point to the Northeast about ankle height. d) Twist back to the right  Swing the staff up and to the right, in a circular motion (but keeping it in front of your body, not over your head) e) Step to the Northwest with your left foot, into a bow stance position.  Continue circling to the right with the staff as you do this, ending with the staff at the right at about head height. f) Pull into your left foot, pivoting left on your left hip.  Swing the staff straight across at head height, ending with it out from your left shoulder.

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23. Turn and Chase the Foot a) Pull into the rear (right) foot.  Twist to the right, pivoting on the right hip, to face North.  Bring your left foot in next to your right foot.  Pull the staff to the right and down, then arc up to above head height as you do the next element. b) Pull into your left foot, and move your right to a North-facing right cat stance. c) Compress your body down, and strike directly in front of you, low enough to hit the floor. d) Sink down further, and step forward as far as you can with your right foot.  Uncompress your body slightly (only come up about half-way) and raise the staff to about head height (your current head’s height); the staff should also pulse forward as you do this, from your body motion. e) Pull forward into your right foot.  Compress your body, reach forward, and strike the ground further out than the original strike in this move.

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24. Block Back and Pool Shot a) Pivot your left foot left. b) Pull into the left foot.  Pivot your right foot left, into a South-facing left bow stance.  Twist your body to the left, facing West. c) Push the staff up and back with both hands, ending with the staff in a block upwards, parallel to your shoulders, level with the top of your head, very slightly higher in the back than in the front. d) Drop the left side of the staff down, aiming the end of the staff down at about a 45-degree angle. e) Slide the staff through your left hand, stabbing down, moving your right hand with it.

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25. Circle to Cat, Cat, RAT a) Swing the staff down and to the left, then behind your back and over your head as in Cat, Cat RAT (but with the staff swinging down on the left side). b) Pull into your left foot into a right cat stance, and strike down in front with a front compression, as in Cat, Cat, RAT. c) Continue as in Cat, Cat, RAT, but swinging down to the left instead of the right.

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26. Ankle and Head Identical to the prior move of the same name, but facing Southeast.

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27. Turn and Chase the Foot Identical to the prior move of the same name, but facing South.

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28. Stab back and turn a) Pull further forward into your front (right) foot (unless you’re completely there already, which in theory you should be, but …) b) Pivot right on your right foot, on the ball of the foot (yes, the foot with weight in it) and your right hip, to face East.  Use the hip turn to swing your left foot forward and around, to an East-facing horse stance.  Compress your torso and sink in your legs slightly.  Pivot the staff right, so it is parallel to your waist and facing to your right (South). Both hands should end up at waist level, below your shoulders. Slide your right hand down the staff to reach this position, so your left is still near the end of the staff, causing it to project out to the right (South).  This turn should effectively feel like you are turning around the point on the staff where you will put your right hand – pivoting the staff around that point.  At the end of this turn, you should already be braced as if someone is impaling themselves on your staff from behind. c) Thrust the staff to the right (South) slightly.

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Variation: At the end of the turn, when you have staff pointing North, drop the back end down to the ground, bracing it against the inside of your left foot. The staff should point up at a 30 to 45 degree angle. Then continue directly into the next move instead of thrusting. This makes most sense with a slightly longer staff, bracing it to spear into an onrushing opponent.

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29. Block up and Circle down a) Expand your body to push the staff up with both hands, ending with the staff in a block upwards, parallel to your shoulders, level with the top of your head, very slightly higher in the back than in the front. b) Compress your body slightly.  Bring the staff down to waist level again. Do so using a slight circular motion primarily in your left hand, moving it first away from your body and then in while moving down. Your right hand should primarily serve as a pivot point.

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30. Ankle and Head a) Pull forward into your right foot, pivoting right on your right hip to face north, using the pivot to bring the left foot forward into a left cat stance.  Turn the staff to the right with your body movement, and slide your right hand back on the staff slightly. b) Continue as in the prior move of the same name from the point where you enter the cat stance.

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31. Turn and Chase the Foot Identical to the prior move of the same name, ending facing North.

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32. Stab back and Turn Identical to the prior move of the same name, ending facing South.

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33. Block up and Circle Down Identical to the prior move of the same name.

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34. Side step and Spiraling Stab a) Pull into your right foot, and pivot just slightly to the right on your right hip (no more than half of 45 degrees).  Use the pivot to step forward (East) with your left foot, keeping the foot pointing East.  Push your left hand down slightly, pivoting the staff on your right hand, which remains next to your right hip. Combined with the natural forward movement of your left hand with your left hip, this will produce a circular motion up and right with the staff. b) Pull into your left foot, and pivot back to face East on your left hip.  Use the pivot to swing your right foot East, planting it pointing East, moving into a horse stance again.  Pull your left hand out and up, pivoting the staff on your right hand, until you complete a circle with the right tip.  As you reach the horse stance, compress your body, bending your legs slightly and curving your spine down. c) Release the compression, using that to stab right (South) with the staff.

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35. Snake Block up and Circle down a) Pull into your right foot, moving your body straight South (no pivot) over your right foot; keep your body facing East.  Turn your head to look over your right shoulder to the South.  Lift your left foot and move it behind your right foot, touching the ground with your toes and/or the ball of your foot lightly, for balance only.  Raise the staff up to the usual block position, just over your head and sloping slightly down to the South. b) Lower your right foot and pull into it. c) Sweep your right foot around to the right, going into position for a back-weighted bow stance. Be sure to move your foot right (West) far enough that your eventual bow stance is not too narrow.  Do not pivot right; stay facing as much left (East) as possible. d) Circle down as in the corresponding part of Block Up and Circle Down.

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36. Step Out and Cross Strike a) Lift your left foot and position it further to the right, into a wider bow stance. b) Pivot to the right on your left hip to face South. Keep your weight in your left foot.  With your right hand, pull the staff back somewhat.  With your left hand, use the pivot to drive the staff around to the right. Your left hand should follow a path much like a roundhouse punch to the right, as if you were punching with the staff.  Your left hand should slide down the staff towards your right somewhat, so you do not overextend your arm to the South.

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37. Step Forward and Block up a) Pull forward into your right foot, using that to swing your left leg forward into a left bow stance position.  Bringing your right arm back and left forward, pulse up to a block facing South.

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38. Circle down and Stamp the Foot a) Pull completely into your left (front) foot, and use that to pull your right (back) foot forward, next to your left. b) With your weight still in your left foot, turn left, pivoting on your left leg, to face East. 153

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39. Circling Step Strike The staff and arm motion in this move is identical to that in Circle Strike. You’ll be bringing the staff up, behind you, over your head, and around to the right, ending in a backhand strike. The difference between this and Circle Strike is that here you do that while doing a 180 degree turn continuing into an additional 135 degree turn with your body; in Circle Strike you just do a step forward twisting right then left.

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a) Pivot your right foot to the right on its heel, as far as you can. Pointing South is good; further is better, but don’t go further than Southwest.  Begin raising the staff up and turning it to the right (South). b) Pull into your right foot, pivoting on your right hip to face South.  Continue raising the staff (it will go over your head). c) Use the pull and pivot to swing your left foot forward and around, next to your right foot, and pull into it. Turn your right foot as you plant it so that it is facing Southwest.  At this point, the staff should be at shoulder level or higher. d) Put your right foot straight back, and then pivot it on its heel so it is pointing Northeast (this is the start of the 135-degree turn that is part of Fair Lacy/Four Corners and other places in the Yang Short Form).  At this point, the staff should be over your head. e) Pull into your right foot, pivoting your body vigorously to the right, ending facing Northeast.  Pivot your left foot on the heel to the right.  Use that pull to power a backhand strike with the staff to the right and down, terminating at shin level with the staff pointing Northeast. Left hand should end up at your right side, as in the Chi Gong for backhand strike.

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40. Turn and Up Strike a) Pivot your left foot to the left on its heel until it is facing West.  Raise the staff up and to the right and down in a circular motion.  Use the staff rise to switch your hand position so you are doing a forward rather than a backhand strike. b) Pull forward into your left foot, pivoting the right heel to the left, into a left Bow stance.  Swing the staff down then forward and up with the right hand, ending with the staff tip at about shoulder level.

Circle the right tip of the staff to the left, then circling down to the right and up in a plane running East-West, blocking your right leg. c) When you reach a point where the staff is vertical, stab down to the floor next to your right foot and slightly South of it.  At the vertical point, your right hand should have its palm facing North.  Slide the staff through your left hand, which should be roughly near your waist. d) Pull into your right foot.  Pivoting on your right hip, swing your left leg to the left, out (North) a bit and to the West, so you end up with your body facing North, your left foot facing north, in a medium stance but with your right foot facing East.  Bring the staff vertically around your body to the East, and then strike down to the right, ending with the staff horizontal. e) As you strike down, pull your weight into your left (rear) leg.

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Pull your left hand, holding the butt of the staff, around your body to the left side, rather like doing a brush knee (of Yang style forms).

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41. Jumping Left Heel Kick a) Pull forward into your left foot, sinking down slightly.  Bringing your right leg forward and up, raising your knee until your thigh is parallel to the ground.  Rotate the front of the staff down and the back end up, moving it to the right, so it ends up vertical in front of your right shoulder. b) Jump up using your left leg. (It helps to focus on jumping up, rather than forward.) c) In the air, kick forward (heel kick) with your left foot  Pull your right leg down simultaneously with the kick, in a scissoring motion. (This counterbalances the kick up and out of your right foot; without it you cannot stay in the air for the kick.) When initially learning this move, the jump up can be omitted; just lift your right leg, then put it down and do a left heel kick. Actually, the base description above is a kind of half-way point that might not work. You really have to raise your right knee while jumping up to make the jump-kick work. That implies you rotate the staff down and right at the same time, too. d) Land on your right leg (obviously, your weight will be in it).

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42. Up Strike a) Quickly step forward with your left leg (you probably won’t have any choice about the “quickly” part), pulling into it.  Swing the lower part of the staff up and forward, and the top down and back, striking up.  End with the forward part of the staff about head height, and the back end just below hip level on the left.

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43. Turn to Smash the Foot a) Pivot your left foot to the left on its heel, until it is pointing Northeast. b) Pull into your left foot, pivoting to the right on your left hip (weight is still in the left foot) until you face Northeast in a right Bow Stance.  Swing the staff down to the right, then up around your body to the right and over your head, as in Cat, Cat RAT. c) Sink down into your right foot.  Compress your body forward.  Use the above to pull the staff straight over your head and down until it hits the ground.

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44. Up Strike This is called Up Strike, but it’s really Turn and Up Strike, done like the earlier move of that name. You turn left and strike upwards, ending facing West.

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45. Cross Strike a) Pull into your rear (right) foot. b) Pivot right, turning on your right hip, so your torso is facing Northwest-to-North.  Pull the staff back with your right hand, and use the pivot to push your left hand around to the right, driving the staff as if in a roundhouse punch. Slide your left hand slightly to the right on the staff, down the staff towards your body, as you do this.

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46. Up Strike Identical to the prior move of the same name but not “quickly.” Slide your left hand back to the left on the staff as you do this. As you bring the staff up, merge its motion to the right to start the next move: This is really done as if it’s the first part of the next move.

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47. Snake Chases Its Foot a) Pivot slightly left on the front foot, using that to swing your right leg forward and slightly left, landing with the right foot pointing Northeast.  Begin circling the staff up and to the right. b) Pull into the right foot, turning slightly right. c) Use that pull to swing your left leg forward and behind the right foot, going into a cross-leg (snake) stance. d) Sink your body as far as comfortable, turning to face Northeast.  Circle the staff clockwise, around an axis pointing North, across the front of your body, as you sink. Trace out a cone while doing this, with the apex of the cone in front of your left hand; the left hand should be doing a rotation counterclockwise as part of this. Do two or three full circles while sinking, and narrow the cone as you circle, ending with the staff horizontal, pointing North. e) Rise up again to normal height, pulling into your right foot, pivoting on your right hip to face North.  Bring your left foot around in front of your right (pulled by the pivot), and place it foot pointing Northeast in a bow stance position.  “Uncircle” the staff as you so this, tracing out a cone, circling counterclockwise. Do at least two or three full circles while rising. Gradually increase the size of the circle, until the last upswing on the right side swings the staff all the way up and right until it is behind your back, with your arms over your head. f) Pull forward into your right foot.  Compress your body forward.  Strike over your head and straight down, hitting the floor (pointing straight North). g) Pull further forward, “pulsing” the staff up and forward. h) Strike down again, further North, as in the prior Chasing the Foot moves.

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48. Spin and Strike to Right a) Pivot slightly to the left. This is a slight wind up for the coming spin; ultimately you should work to eliminate it.  Use the pivot to swing the staff slightly left. Obviously, if the pivot goes away, so does this. b) Driving the motion with your Dantien, spin right (clockwise) 180 degrees on the ball of your left foot, ending facing South.  Swing your right foot around to the right, ending by placing it in a bow stance rear position.  Use the spin to power a swing of the staff that goes up, over your head, and ends up with a backstrike to the right. This is just like the overhead backstrike in Circle Strike.

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49. Turn and Up Strike Identical to the prior move of the same name, but facing the opposite direction.

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50. Jumping Left heel Kick Identical to the prior move of the same name, but facing the opposite direction.

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51. Up Strike Identical to the prior move of the same name, but facing the opposite direction. 156

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52. Turn to Smash the Foot Identical to the prior move of the same name, but facing the opposite direction.

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53. Up Strike Identical to the prior move of the same name, but facing the opposite direction.

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54. Cross Strike Identical to the prior move of the same name, but facing the opposite direction.

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55. Up Strike Identical to the prior move of the same name, but facing the opposite direction.

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56. Snake Chases its Foot Identical to the prior move of the same name, but facing the opposite direction.

57. Back Snake Block

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Note: This move and the next, Turn and Snake Sinks Down, are best done combined into one move without a pause at the end of the block, since the block / strike sequence of these two does not appear to strike anywhere near the direction from which the block defends. The combination is called Snake Strikes Back (as opposed, I suppose, to the Empire).

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a) Pivot left on your right foot until you turn 90 degrees to face West.  Rise up to a normal height.  Pull your left leg back behind your right into a snake stance. Bring the toe of your left foot a few inches South of your right heel; this is important for the start of the next move. Bringing it far enough may require the “normal” height mentioned above to be slightly lower than normal.  Raise the staff up to the usual forehead-high front-slanting upward block position.

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58. Turn and Snake sinks down a) Sinking back into your right foot (the one behind, to the South, in the snake stance), lower its heel and pivot on your right heel and the ball of your left foot to face West with both feet pointing West. If you have put your right foot far enough back, you will be in a medium stance.  Use that turn to strike down with the staff, stopping at about waist level. b) Pull forward into your right foot, bringing your left foot forward and behind the right into a snake stance and sinking down, circling the staff as in the sinking part of Snake Chases Its Foot.

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59. Port Staff a) Rise on your right foot, “un-circling” the staff as in the unwinding part of Snake Chases Its Foot. b) Broaden the un-circling into a Row the Boat – like move, circling the staff to the right of your body, down blocking next to your right ankle, then up to your right. c) Pull back into your left (rear) foot.  Continue circling the staff, bringing the left side around the front of your body and down, and then up in front of you, ending in a vertical position with your left hand palm out, about the height of your upper chest. The bottom of the staff should be roughly at your ankle. d) Raise your right knee, lifting your foot off the ground so your thigh is horizontal. Begin raising it just after your left hand clears the staff out of the way of your right leg. The name we gave this move comes from the infantry drill position “Port Arms” (also called “Present Arms”) (10) in which a soldier holds his rifle vertical in front of his body, butt end down, left hand palm out towards the top. The ending position of this move is essentially the same with the staff. 157

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60. Stab the Foot to Upper Cut a) Pivot left on your left hip until you are facing West (or at least Northwest) and sink down slightly.  Lower your right foot to a cat stance.  Use the slinking to stab straight down, hitting the ground, to the left of your left foot. (This is the “stab the foot” part.) b) Pivot to the right on your left hip until you face North.  Swing the staff down to the left (left hand going back and down), and right hand up, all the way around, driving the left end forward and up in (roughly) an upper cut, while the right hand pushes down on the right side of your body. The staff should end up with the left end chin height.

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61. Port Staff to Shooting Staff a) Pull back further into your left foot again.  Raise your right knee up so your thigh is horizontal.  Circle the staff, left hand down to the right side of your body and right hand up; then right down and left up into Port Staff position again.  As you circle the staff, twist/pivot slightly left and right with your body on your left hip to drive the staff movement. b) Step forward until you are in a left-weighted bow stance. c) Pivot left until you are facing just shy of West.  Sink down and compress your body.  Circle the staff down to the left, left hand going back and down, until the staff is horizontal at waist level. Slide your left hand out on the staff while doing this so it is at the staff’s end, heel of the palm reaching to the staff’s tip. d) Pull forward into your right foot, pivoting on your right hip to face North.  Expand your body.  Use the expansion to stab straight forward with the staff at waist height.  Let the staff slide through your right hand as it stabs forward.  Bring the left hand forward and to the right until it meets the right hand in front of your waist.

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62. Close a) Pull back into your left (rear) leg.  Bring your right leg back into a narrow stance.  Pivot left slightly.  Use that pivot to pull the staff back with your left hand, letting it slide through your right hand, until your right hand reaches the middle of the staff.  Move your right hand over to the left side of your body, so the staff passes to the left. b) Grasp the staff with your right hand. c) Rotate the staff clockwise (back end up and forwards) around your right hand, sliding your left hand forward until it reaches your right hand. Rotate the staff until what was the back end of the staff is pointing straight down and the staff is vertical, behind your left arm.  Let your right hand drop to the right side of your body.

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Or, if you want to be more flamboyant, instead of just rotating the staff to point to the floor, do a side to side twirl:

c) Pivot to the right.

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

When your left hand reaches the middle of the staff, use the pivot to drive raising the staff up with your left hand, and down to the right, diving it into a twirl on the right, as in the Chi Gong Twirling Side to Side. d) Do just a single twirl on the right. When the staff first hits your right hand, pivot left again and drive the staff up and down to the left. e) Twirl on the left, just one time around, until the staff hits your left hand. f) Continue the twirl motion down until the staff is vertical with the top behind your left shoulder.  Pivot back to face North.  Drop your right hand down next to your right side.

Five Style Tai Chi Chuan Fan Form

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This form contains moves that are said to be from five different styles of Tai Chi Chuan: Chen, Yang, Wu, Sun and Hao. The style from which the move comes is indicated in the move’s title below. For the Chen and Yang cases, it’s my opinion that saying these moves “come from” that style is a bit of an overstatement; the moves do not resemble the moves of the corresponding name in the variations of those styles I am aware of. “Inspired by” might be more accurate. Then again, style variations are broad enough that somewhere, someone may be teach and practice variations corresponding to what appears here.

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Kade apparently learned this form by buying a DVD of someone doing it and studying it closely. (This is not easy.)

The Fan

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The fan used for this form is not your average child’s toy or socialite’s flirting accessory; one of those would be destroyed in about three moves. A serious fighting fan has metal ribs about six inches long and weighs a pound or more. Less serious practice fans, which are easier to bang (see below), are of similar size but with plastic or bamboo ribs. Real weapon fans’ rib tips were sharp, with blade edges extending an inch or more down from the tips. Weapon fans were allegedly used as secret weapons; they weren’t noticed because the nobility always carried large fans in hot weather (and it definitely gets very hot even as far north as Beijing). I’m told that they were often used by female secret guards. I’ve found appropriate fans online, in oriental-oddity stores in malls, and in souvenir shops in the Old Town in Shanghai.

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In addition to the material of the ribs, fans used can also be had with, or without, cloth extending a couple of inches beyond the ribs, kind of flopping about. See below about advantages or disadvantages of this.

Banging the Fan

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Probably the key feature of this form is its repeated use of fa-jing (explosive release of force) to open the fan so suddenly it sounds like a shot. Informally this is known as banging the fan, because the noise sounds like a “bang.”9

I… don’t want to work, I just want to bang on the fan all day… 159

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This cannot be done well by flipping your wrist; it’s impossible to generate enough force that way, particularly with a heavy metal fan. It must be done with a true fa-jing that starts at your feet, is powered by your legs, directed by the waist, and finally expressed in your hand. When doing this, you start (obviously) with the fan closed, with the hinge at the heel of your hand and the blades resting on the outside of your middle finger, thumb lightly on top. As you open it, you have to slide your index finger over the opening blades, ultimately grasping the topmost blade while the others open out to the left.

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The above assumes you’re holding the fan in your right hand, and have a right-handed fan that, held as described above, opens to the left with the bottom blade swinging out. There are left-handed fans that open the opposite way. They’re a bit hard to find.

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The fan gives you a nice audible indication of how well you’re expressing the fa-jing: The better you do, the shorter the time to open the fan. An extended “ripping” sound is what you’ll hear at first. As you get better, you will eventually end up with a very short “bang” as the fan seems to open instantaneously. The shorter it gets, the better you’re doing.

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What with all the banging, this form is very loud, and can be annoying to others when you practice it. It scares the daylights out of my dog; she hides under the bed. Plastic or bamboo fans are slightly quieter, as are plastics ones, but still loud. The “ripping” sound when you don’t get it right is loud, too, but… My daughter, visiting home from college, hadn’t ever seen me do this when I was learning it, so I decided to surprise her with the banging. I went through the first two moves while she was watching TV, and saw her start, and then go over to talk to my wife. Laughter. She heard the ripping sound, and thought I had let out the most enormous fart…

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Floppy fans, with material extending out beyond the tines, have a big advantage here: They are much quieter. They smooth out the bang. That gives you rather less feedback on whether you’re doing it right, and doesn’t feel as good when it’s right. They’re also gay as hell.

Warm-ups

To warm up, bang the fan in various directions in various stances:

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   

Move List

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1. 2. 3. 4. 5. 6. 7. 8. 9.

Fan horizontal, palm up, tines facing left, in left and right bow stances. Fan vertical, palm up, tines up, in right cat stance, eventually changing to left cat stance. Fan held high over right shoulder, tines left, in horse stance. Fan horizontal, palm down, tines to right, opening out to the right, in a left cat stance, then with side heel kick right.

Commencement (Chen) Blue Dragon Emerges from Water (Chen) Single Whip (Chen) High Pat on the Horse’s Back (Chen) Part Wild Horse’s Mane (Wu) Grasping the Bird’s Tail (Yang) Golden Rooster Stands on One Leg (Hao) Lean with Back Twisted (Chen) Turn Body and Pull Back (Yang) 160

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10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26.

Single Whip (sun) Wave Hands like Clouds (sun) Step Backward and Ride Tiger (Wu) Turn Body and Sweep Double Lotus (Yang) Bend the Bow to Shoot the Tiger (Wu) Turn Body and Snake Creeps Down (Yang) Look for the Needle at the Sea Bottom (Yang) Push Palm Up with One Leg (Yang) Look for the Needle as the Sea Bottom (Hao) White Snake Puts Out Its Tongue (Yang) Part Wild Horse’s Mane (Chen) Leopard and Tiger Push Mountain (Hao) Kick Sideways with the Right Foot (Chen) Turn Flower Out from the Sea Bottom (Chen) Punch Toward the Ground (Chen) White Crane Spreads its Wings (Yang) Close (Wu)

Move Descriptions

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The moves of the form are described below. In the descriptions, I’ve separated the first move into two sequences since my experience with Chen style says that one move is actually at least two, if not three.

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1. Commencement (Chen) a) Assume a narrow stance; “narrow” meaning narrow stance as in Yang: feet parallel, centered at points closer together than the hip joints. Your arms should hang down at your sides. Hold the fan in your right hand, across your palm as normal, pointing down. b) Pull into your right foot and turn slightly right. c) Lift your left knee up, in front of your body, and swing it out and to the left in an arc to a wide stance. d) Pull to the left to equal-weighted, body centered between the feet. e) Raise and lower your arms, as in Yang commencement, but with a very slight clockwise circle: Up to the left, across, down to the right. It should be slight enough that someone not knowing you are doing it may not notice it. (The motion is driven in your Dantien, of course.) As you raise your right arm, the fan stays in line with it, pointing out.

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Starting the second part of this form’s Commencement, which I consider to be “Arhat Pounds Mortar (Chen),” the second or third (depends on the count) move in the Chen old long form.

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a) Raise your arms again with same slight circular motion, up to the left, but stop when hands reach the top. b) Weight to left foot c) Pivot right on left hip  Turn right foot on its heel to point right  Keep your arms up, and let the pivot drape them to the left of your body; your right arm should stay just in front of your chest. Both palms should face East. d) Pull your weight into right foot  Push forward slightly with both hands to the East, as if you were pushing someone in that direction 161

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e) Bring your left foot up next to your right. f) Step out left (North) with your left leg into a wide bow stance. g) Pull into your left foot  Push left (North) with both hands, keeping them still up at upper-chest level  As the weight goes into your left foot, pivot your right foot right, on its heel, to point Southeast. h) Pull into your right foot  Pivot on your right hip to face Southeast  Compress your body down  Pull both hands across your body until they are facing South – to – Southwest, with the fan pointing to your right (to the back). This should be executed as if you were grabbing someone’s arm and throwing them back and down.  Pivot your left foot to the right, on its heel, until it is pointing Southeast, too. i) Pivot your left foot to the left, on its heel, until it is pointing North. j) Pull into your left foot.  Pivot left as you pull, until you face straight North.  Bring your left arm up across your chest, palm out (facing North), a few inches in front of your chest.  Keep your right arm down behind you next to your right leg, fan pointing towards your right foot (kind of “hiding” your arm and fan).  The arm moves should be a kind of draping of your arms around your body as you pivot. k) Swing your right leg all the way forward in front of you, knee up high  Swing your right hand down and forward, paralleling the motion of your right leg, to waist level, fan pointing forward.  Turn your left hand until your palm is facing your body, keeping your arm curved in front of you l) Sink down slightly into your left leg  Lower your right foot into a cat stance, with the toes just touching the floor  Pull your left hand in and down in an arc to near the inside of your right elbow  Bang the fan open vertically, with blades pointing up, outer blades aligned North-South.

The final action of the left hand is as if you are pulling someone down into the (sharp) fan blades.

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2. Blue Dragon Emerges from Water (Chen) a) Close the fan forward. b) Step out with your right foot, into position for a wide horse stance.  Cross wrists in front of your chest, right hand in front, fan pointing out to the left. c) Pull to the right into an equal-weighted horse stance.  Spread arms apart, uncrossing wrists, arcing down and out until arms are parallel to your thighs. d) Pull into left leg, pivoting on the left hip into a rear-weighted right bow stance.  Bring right arm to the right of your body, so hand is at right hip and fan is pointing forward.  Bring left arm forward and to the left slightly, warding off, palm in. e) Fa-jing forward into a front-weighted right bow stance  Extend the right arm, stabbing forward and down with the fan.  Pull left arm back to the right of the body, to a point where the left wrist is at the left hip. f) Pull back into a rear-weighted right bow stance.  Bring right and left arms into the same position as before, but left hand further to the right, palm up. g) Fa-jing forward again, but doing a bamboo step, pulling left foot forward into a cat stance.  Stab fan forward and slightly up, coming just slightly above left palm. h) Bang open the fan horizontally, opening it to the left. 162

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3. Single Whip (Chen) a) Sink into your right leg and step out to the left into a very wide horse stance, raising your knee.  Pivot slightly right on your right hip.  Keep your weight and body over your right leg until you put your left foot down and start the next sub-element.  Keep the fan open, tines horizontal. b) Pull into your left leg, moving your body over to above your left leg, and pivoting left on your left hip to face Northwest.  Leave the fan in the same position it was, extending your right arm to do so.  Keeping your left arm horizontal and at navel height, move it left as you pivot so your palm traces a path in front of your stomach. Move just far enough to put your elbow below your shoulder.  Turn your left hand over so at the end of this sub-element it is palm up. c) Reverse the prior motion, turning to the right and ending up with your left palm down, under the fan, which has not moved. d) Pull left again, as in the prior moves. Move weight strongly to the left foot.  Arc your left hand up and to the right, raising the fan as you do so its tines are pointing up and it is oriented east-west. Your hand should pass in front of your chin, palm out (North). Continue the arc until your arm is mostly extended and your left palm is to the east.  After the left hand moves the fan vertical, gradually raise it until the bottom edge is shoulder height.

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4. High Pat on the Horse’s Back (Chen) a) Pivot left on your left hip.  Leave your right hand back (East) over your right foot.  Close the fan down to the back.  Pivot your right foot to the left until it is pointing Northwest. b) Pull into your right (rear) foot.  Lower your left hand to waist level, palm down. c) Pivot right on your right hip until facing North.  Leave your right hand where it was.  Let your left arm pivot with your body. d) Pivot left on your right hip until facing West.  Pull your left foot back in into a cat stance.  Bring your left hand around your body as if in a brush-knee block, ending waist high at your left, palm down.  Swing your right hand around and forward, banging open the fan in front of your navel, horizontally, to the left, with the bottom tines pointing east-west. e) Pivot right on the right hip slightly, until facing Northwest  Keeping the fan open, sweep it down to the right so the tines point down, and then up so it is over your right shoulder, tines pointing up.  Extend your left hand forward (West) to shoulder height. f) Pivot left on your right hip until facing West.  Push your right hand forward, stabbing forward slowly with the bottom tines of the fan, keeping it vertical, tines up, effectively sliding the fan forward.  Bring your right hand down to the left, again into position as if completing brush knee, palm down  Slide your left foot back until the ball of the foot is left of, but slightly behind your right foot. Do not put weight on that foot. Keep the heel off the floor. 163

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5. Part Wild Horse’s Mane (Wu) a) Putting your left heel on the floor, pull into your left foot and pivot to face South. This should end up being a very short bow stance, rear-weighted, with your feet parallel.  Raise your left hand until it is at the top of your chest, palm down.  Sweep the fan down to the left, under your left hand, until it is horizontal, waist level, tines facing South, near your left hip. b) Pull into your right foot.  Pivot right slightly.  Raise your left hand on a steep diagonal up to beyond your right shoulder like Yang Long Form Part the Wild Horse’s Mane, or Short Form Slant Fly, but steeper. Keep the fan horizontal, tines to the South or Southwest.  Lower your right hand on a diagonal, passing your left hand, to your left hip. c) Twisting internally slightly to the left, close the fan to the left, so it is pointing East. d) Step forward with your left foot into a similarly very short bow stance, rear-weighted. e) Pivot right on your right hip until facing North. Do a strong pivot; you should wind up internally very much.  Drape your right hand across the top of your chest, fan still closed and pointing parallel to your chest.  Stab / rotate your left hand around your lower torso to the right, until it is just past your navel, palm up. f) Pull into your left foot, and pivot to the left on your left hip until facing Northeast.  Bring your left hand up to the left on a diagonal, again like Slant Fly, but mirror image.  Bring your right hand down to the right to your right hip, letting the fan trail the motion. The fan should pass just over the left hand. g) Pivot slightly further left.  Bring your left hand down to our left hip, palm down h) Twist your body to the left, to face West.  Swing the fan around from the left to the front of your body, and bang it open horizontally in front of your navel, palm up, opening the tines to point South.  Bring your left hand up and across your body, palm to the bottom of your right upper arm, bracing your right as it stops. i) You are now in almost the same position you were before doing the Slant Fly move twisting right; repeat it, twist all the way around to the right, and Slant Fly twisting left again. Then band the fan open once again in front of your navel.

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6. Grasping the Bird’s Tail (Yang) a) Pull into your rear (right) leg and pivot to the right 45 degrees.  Leaving the fan open, swing it down to the left, letting the tines drop down to point down with palm facing North and fan mostly past your body to the right.  Rotate your left arm so the palm faces inward, going into a rounded Ward Off position. b) Pull forward into your left leg, pivoting to the left to face West.  Lower your left arm to just above your navel.  Keeping the fan still open, bring it up and forward, twisting it so your hand is palm down and the fan horizontal. Stab forward over your left hand. c) Pull back into your rear (right) leg. Keep facing West. 164

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

Bring both hands back as in the pulling-back start of Yang Short Form Push. Separate your hands slightly while doing this, so they are almost body-width apart.  Keep the fan horizontal, tines pointing West. d) Pull straight forward into your left leg.  Thrust forward with both arms, moving them towards the center of your body. Put the left hand’s fingers touching the back of the right hand to complete the circle of your upper body (not to push the hand). 7. Golden Rooster Stands on One Leg (Hao) The first half of this move is really a version of Snake Creeps Down, done with an aggressive forwardmoving low step. a) Pivot your right foot to the right, until it points Northeast.  Keeping the fan open, twist it counterclockwise until it is vertical in front of you with the base about face height.  Leave your right hand on the back of your left. b) Pull into your right (rear) foot and pivot right on your right hip to face North.  As the weight comes off your left foot, pivot it right on its toe, moving your left heel to the west.  Keeping the fan open and vertical, pass it in front of your body as you pivot, hiding your face and upper chest.  Separate your hands slightly, so your left hand is behind the fan, palm facing North. c) Sink down deeply into your right leg, pivoting to face Northeast, facing straight over your right foot. Lower your hips as far as you can, as in Snake Creeps Down.  Pivot your left foot on the toe further as far as you can, up to the point where your left foot is facing directly East.  Drop your right hand down, turning it forward at the wrist until the fingers point down vertically. Go down as low as you are able.  Keeping it open, turn the fan counterclockwise and drop your hand until the fan is to the right of your right leg, tines vertical, palm facing back. d) Pivot to the left on your right hip until you are facing approximately Northwest. Stay as low as possible.  Turn your left foot counterclockwise on its heel until it is facing West. Note: This heel turn, preceded by the toe turn earlier, has the effect of moving your left foot forward two foot-lengths. This is the forward, aggressive version of Snake Creeps Down. It is also why you do not, at the start, pick up the right foot and stretch it back; doing that in addition to this footwork would leave you far too wide.  Swing your right hand around to the left until it is parallel to your left leg, palm up.  Keeping the fan open, twist it counterclockwise (as viewed from the top) until it is still behind your right hip, but now your palm is facing out. e) Pull forward into your left foot.  Pivot your right foot on its heel to point Northwest.  Stab circularly out and upwards with your left hand.  Leave your right hand with the fan out behind your right hip. f) Pull your right foot forward into a right cat stance (do touch the toe down, unlike Snake Creeps Down). Rise up on your left foot to normal height while doing this.  Swing your left hand, with open fan, forward and up to upper-chest height, palm facing back towards your body.  Lower your right hand, palm down, to your waist. 165

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g) Lift your right knee until your right thigh is parallel to the floor.  Push the fan upwards until your upper arm is parallel to the floor, in synchronization with your right leg’s motion.  Push your left hand down and back to palm down position at your left hip.  Twist the fan 180 degrees left (clockwise, thumb goes left) so your palm ends up facing out.  Pause in this position for 3-4 seconds.

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8. Lean with Back Twisted (Chen) Most of this move is very like Teacup Chi Gong; the fan is held parallel to the floor, with your palm up, like the teacup is held. Unlike Teacup, however, this move is done in combination with a 270 degree turn – three-quarters of a full circle around; you start facing East, and end facing North. (The versions of Chen Lean with Back that I learned do not have any Teacup twisting involved.) a) Bring your right leg down, slightly forward, just touching its heel.  Lower the fan forward to a horizontal position, waist height, palm up.  Keep your left hand palm up in front of your navel. b) Pivot your right foot on the heel to the left as far as you can. Really crank it around; the further you go, the easier later parts are. (You are now very pigeon-toed.) c) Pull into your right foot, and pivot to the left to face East. Be sure to pull, and not push; if you push with your leg twisted like that, you will feel it in your knee.  Turn the fan to the left, counterclockwise, keeping it parallel to the floor. Bring the tines in towards your waist, until your fingers are pointing South (when you are facing East). Bend forward to keep the fan from hitting your stomach. d) Slide your left foot back, moving it parallel to your right foot, and touch the heel down behind you. Touching the heel down is facilitated by your forward lean. e) Pull into your left foot.  Pivot left and twist your upper body left to face past South to Southeast.  Bring your right arm forward, to the front of the left side of your abdomen. Don’t twist your arm more; turning left does nearly all the motion of the fan. Your hand stays palm up parallel to the floor.  Keep your left hand at your navel, palm up. f) Lean left, up and backward, over your left foot, keeping weight in your left foot. Lean far back, letting your knees go forward, as in Compass, or Teacup Chi Gong, or doing the Limbo.  Let this body motion naturally pull the fan up, still horizontal and palm up, until it is at the level of your forehead. As in teacup, do not let your elbow go above your head; keep it to the right side.  Left hand stays put.  Pivot your right foot on its heel to the left, until it points North. You should be pigeon-toed again. g) Pull to the right into your right foot, while still leaning back, swinging your upper body to the right.  Bring the fan past your head and out to the right, just below shoulder height, keeping your palm up and the fan horizontal.  Raise your left foot and step out to the West, turning your foot to point Northwest.  Your left hand rises to the front, palm out, and then extends to the left, turning to put palm forward. h) Pull into your left foot.  Bring your body forward, out of the leaning-back posture, until it is facing slightly West of North.  Swing your right arm with the fan horizontally to the left. Close the fan as it moves to the left. End by smacking the closed fan into your outstretched left hand.  Pivot your right foot on the heel to point Northeast. 166

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i) j)

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9. Turn Body and Pull Back (Yang) a) Pivot your left foot left, to point Northwest.  Begin bringing your right arm out to the right and down, and your left hand up and to the left. b) Pull into your left foot, pivoting and turning to face Northwest.  Point your left hand out to the left, palm forward.  Swing your right arm to the right, palm forward, and close the fan while doing this.  Pivot your right foot on its heel to face North, into a bow stance. c) Pull into your right foot, pivoting on your right hip to face North – to – Northeast.  This will pull your hands to the right. d) Pivot your left foot left, to face Southwest.  Flip your hands over so they are pointing in the opposite direction, still palms out. e) Pull into your left foot, and pivot strongly into the left hip, swinging your hips around to the left. This will raise your right foot.  Use that swing to pull your right foot forward until it is West of your left foot, turning your body around to face South.  Keep your hands and arms where they were, in front of your body, pointing opposite the direction of the turn. f) Plant your right heel and pivot it left to point Southeast. g) Pull into your right foot, continuing to pivot right (but now on the right hip), and letting your arms still trail.  Pivot your left foot on its heel to point East. h) Pull into your left foot, continuing to pivot, using it to swing your hips around and through them bring your right foot forward to point East. Arms trailing. i) Plant your right foot facing East. j) Pull into your right foot. Pivot your left foot to the left, into a forward-weighted bow stance.  Bring both arms forward. k) Pull back into your left foot.  Pull your left arm back to the side of your left hip, palm up, fingers curled back into a fist (the image is grabbing something and pulling it back).  Bang open the fan horizontally, in front of your navel, to the left (having grabbed it, slash the fan into it).

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10. Single Whip (sun) a) Keeping your weight in your left foot, pivot left on your left hip.

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Pivot your right foot on the heel to point Northwest. Pull into your right foot, pivoting and twisting your torso to face Northeast. (One of my Chen versions of Lean with Back says instead of just twisting, lean forward, down, and up to the right. I keep trying to include that here when I do it, but it’s not as natural as I think it should be. Another Chen version just twists right, so who knows.) Swing your left hand down in front of you and up to the right, over your head, and bang open the fan vertically in front of your right ear, tines far enough to the right that they are past your face. Bring your left forward and down, driven by the twist right, forming a fist and punching down in front of your crotch. (This isn’t actually a punch, it’s a block formed by twisting your torso right and bringing your upper arm around to the front; the punch has little force behind it.) Pivot your left foot right, to point Northeast.

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11. Wave Hands like Clouds (Sun) a) Pull slightly into your right foot, so you are in an evenly-weighted horse stance.  Rotate fan down to the right until tines point downward, palm forward, hand just outside right leg.  Keep left hand up and to the right. Rotate hand palm forward. b) Pull into your left foot, and pivot slightly left.  Move right hand across to the left, rotating fan left (counterclockwise) so leading edge goes between legs and it is aligned North-South, and then out so fan still points down, next to left leg, and left hand is palm forward.  Leave left hand up there. c) Rotate the fan up to the left, palm forward, until your hand is at upper chest level. d) Pull into your right leg to center your weight between your feet, pivoting right to face North.  Pull the fan to the right, keeping it vertical, in front of your face and past that, until your hand is just to the right of right shoulder. e) Pull weight completely into the right leg and pivot left to face Northeast.  Pull your left foot in next to your right.  Bring your left hand down and scoop it across your abdomen, fingers leading, palm up, until it is just below your navel. f) Pull your weight into your left foot and pivot left to face Northwest.  Rotate fan down as before, but instead of edge going between legs, point it back on the left of your left leg. g) Rotate fan up to the left, keeping palm outward, and across to the right, keeping hand at upperchest level, ending just outside shoulder, palm forward.  Rotate right hand up to the right, and across to the left, behind the fan, palm outward, ending just outside the left shoulder, palm forward. The net effect of both hands is that they spread apart in front of you.

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Keeping the fan open, bring your right hand up and to the right, in front of your chest; the fan will point at your right underarm. As you turn, let your left hand move forward to below your navel. Pivot further left slightly, then right to face East. Bring your right hand out and down, closing the fan to the left, and then down and up to the right, pointing up at about a 45 degree angle. As the right hand comes up to the right, left hand lays on its back. Push both hands down to the right, left over right, until the fan is horizontal. Lean forward slightly. Pivot on your left hip to the left, to face North. Note, your left foot has not moved. Bring both hands circularly up to the left (most of the turn to the left is from body motion) and in front of your shoulders. Right hand should have the fan pointing up. Left palm is facing right. Bang the fan down, tines to the left, so it hides the left hand. At some point above, your right foot, which has no weight in it the entire time, moves so its heel is directly East of your left foot, heels in line. Since it has no weight in it, this can be done at several places; the last two elements are probably the most convenient. Keeping weight on the left foot, pivot left on its heel to make the foot point Northeast. Pull the fan horizontally to the right until the edge of the tines are even with your shoulder. Stretch your left hand out horizontally, rotating your arm so your palm first faces North (away from you) and then West. Only move it out about six inches from your shoulder.

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Step your right foot out to the right, into a wide stance. h) Repeat above three elements once more, pulling into the right, moving the left foot in, then stepping out to the right, ending in a horse stance with arms spread and the fan open.  By the way, the fan is open through this entire move.

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12. Step Backward and Ride Tiger (Wu) a) Close the fan to the right, so it is held shoulder height, pointing right. b) Pull into your right foot.  Bring your left foot in next to your right. c) Pull into your left foot and sink down slightly.  Fold both hands together, rotating them upwards, until your wrists close in front of the top of your chest. d) Pivot to the right on your left hip until you are facing East.  Raise your right foot slightly and use the pivot to swing it to the right. e) Step forward with your right foot, pulling into a shallow bow stance, pivoting your left foot to the right. f) Pull all weight into your right foot.  Swing your left leg forward, raising the knee until your upper leg is parallel to the floor.  Swing your left arm down and up to the right to shoulder height, putting your hand into a crane’s beak, fingers pointing down.  Swing your right arm down and forward, pointing the fan forward at waist level.  While doing the above, rise up slightly on your right leg. g) Sink down on your right leg. Use this sinking to power the other things going on.  Heel kick forward with the left leg.  Bang the fan, opening it vertically, towards yourself.

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13. Turn Body and Sweep Double Lotus (Yang) a) Put your right foot down and pivot it strongly right on its heel strongly, to point at least South, if not Southwest.  Close the fan forward. b) Pull into your right foot and pivot right on your right hip to face South, leaving your left foot behind you.  Let your left arm “lag back,” draping across the front of your chest to the left, fan pointing back.  Bring your right hand down and in front of your torso, palm down, wrist in front of your navel, crossing your left arm. c) Pivot further to the right on your left hip until you face East.  Swing your left arm around to the right until it is pointing North.  Because your left arm moved with your torso, your arms are now parallel.  Your right leg will naturally come forward as you pivot, near to your left. d) Swing your right leg forward, out, and horizontally extended, around to the right in a Sweep the Lotus “kick.”  Swing your left arm right, opposing your leg. If you can, slap your right leg as it goes past. Note: Despite this being called Sweep Double Lotus, you only swing the left arm across, not both arms.  Your left arm will end up extended to the left; your right arm is still extended to the right with the fan pointing East.  Your leg is still up in the air to the right. Obviously you go to the next element quickly. 169

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e) Swing your right leg down and back to the Northeast; keep it fairly wide to the right, away from your left leg.  Pivot your left foot on the heel (with weight on it) to point North. f) Lower your right foot to the ground, pointing it Northwest, ending up in a forward-weighted bow stance facing West.  As you lower your leg, bring both arms together in front of you. Left arm bangs the fan open to the left, horizontally, tines left and base pointing East. Your left arm comes over to lay your palm on your right lower bicep.

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14. Bend the Bow to Shoot the Tiger (Wu) a) Pivot your right foot to the right until it faces North. b) Pull back into your right leg.  Pivot to the right, strongly, until your hips are facing North, the same direction as your right foot.  Swing your arms down and up, pivoting with your torso so they go in front of you. The fan should swing tines down then up to the left.  Pivot your left foot on its heel to face Northwest. c) Twist your torso left, keeping your hips facing North.  Bring both arms around to the left in a circular motion, forming a fist with the left hand, and pointing the times of the fan in the direction you are punching. Right hand should be upper-chest level, elbow above the hand. Left elbow points down. (This is the standard Yang Short Form Shoot the Tiger with the Bow posture, but with the fan tines instead of a right fist.)

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15. Turn Body and Snake Creeps Down (Yang) a) Pivot your left foot left as far as you can.  Close the fan downwards b) Pull into your left foot.  Use the pull to spin left, spinning on the ball of your left foot until you face North, swinging your left foot around your right to the left.  Bring your right hand up and back (relative to your body) until it is to the right of your right shoulder.  Bring your left hand up to its right until it is laying on the back of your right hand.  You do this hand motion all during the spin, so you end up with the fan pointing up to the Northeast, left hand on the back of the right. c) As you finish the spin, pull your weight into your right foot. d) Sink down into your right foot, keeping the fan up.  Step out to the left with your left foot, pointing the foot East. e) Pivot on your right hip to face West (hips facing Northwest), is in usual Snake Creeps Down.  Sweep your right hand down until it is parallel to your left leg, palm down.  Leave the fan pointing down on your right. f) Pull forward into your left leg and pivot left so your hips are facing West.  Stab forward and upward with your right hand, to shoulder height.  Leave the fan down behind you, tines parallel to your right leg.

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16. Look for the Needle at the Sea Bottom (Yang) a) Pull your right leg forward, setting it just forward of your right foot, slightly to its right.  Begin swinging the fan down and forward. b) Pull your weight into your right leg. 170

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17. Push Palm Up with One Leg (Yang) a) Rise up on your right leg (keeping your left leg forward, in a cat stance).  Pivot slightly to the right.  Swing your right hand straight up, circling to the right.  Put your left arm out forward. b) Sink down slightly on your right leg.  Swing your right arm down to the right. c) Rise up slightly on your right leg again.  Pivot back left to face West.  Swing your left arm up in front of you. d) Sink again on your right leg, slightly.  Bang open the fan vertically in front of you, tines up, edge pointing West.  Circle your left arm up, then down to place your palm on the upper part of your right forearm. e) Raise your left hand up and to the left, so it is palm down at shoulder height, just to the right of your left shoulder.  Twist the fan right, so your right hand is palm up without otherwise moving it. f) Lower your left hand forward, to waist level.  Swing the fan out to the right and down, then turn it over while bringing it up to shoulder height and then down – ending in the position where you started, but palm up. g) Lift your left knee until your thigh is parallel to the floor.  Turn your left hand over, so it is palm up, and raise is in parallel to your knee motion.

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18. Look for the Needle as the Sea Bottom (Hao) a) Put your left foot down on its heel, pivot it to the left, and close the fan and spin around as in the start of Turn Body and Snake Creeps Down above. b) Sink down low on your right leg and extend your left leg as in the next part of Turn Body and Snake Creeps Down above, but this time also  lower your right hand, with the left palm on its back, to waist level, and extend both arms

Rise up slightly. Pull your left leg forward into a left cat stance. Swing the fan forward and up, until it is horizontal, pointing straight out at waist level. Leave your left hand up at shoulder height (where it was at the end of the prior move). c) Sink down slightly  Bang the fan open vertically, tines up, edge pointing West.  Bring your right hand down to the right, landing your palm on the upper part of your right forearm. d) Sink down slightly on your right leg.  Pivot right slightly.  Close the fan forward, and begin swinging it down, to the right, and up to shoulder height, tines first, ending with tines pointing down.  Raise your left arm and extend it to the East, palm down. e) Sink down into your left leg, very deeply.  Pivot left to face East.  Bring the fan down from the right, tines pointing down, until it is as low as you can go, nearly touching the floor.  Put your right hand on the back of your left hand near the wrist, right palm down.  You should sink down strongly, letting your entire weight push you down.

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19. White Snake Puts Out Its Tongue (Yang) a) Pivot left on your left hip to face Northwest.  Raise your left hand so it is palm up, extended slightly, just below shoulder height, at a 45 degree angle up, aimed toward the West.  Close the fan up, and swing your right hand down and forward and to the left, palm up, sliding the back of your right hand through your left palm until the fan is in your left palm. Leave the fanthere while you… b) Sink down and step out to the right into a wide horse stance. c) Pivot right to face North.  Rise up slightly.  Swing the fan down and out to the right, ending pointing straight South. d) Sink slightly.  Bang open the fan, tines up, edge pointing East.  Turn left hand palm out. e) Pull into your right leg, moving right.  Drop the fan forward, so it is horizontal, tines facing North. f) Pull your left leg right, placing your foot in front of and to the right of your right leg, crossing your legs at the ankles or slightly above.  Bring your hands together and past each other so your wrists cross in front of your chest. The fan ends up tines to the West or Southwest. g) Pull into your left foot.  Sink down low, bending forward towards the Northeast. Ideally you should be completely balanced in your left foot. (However, you should not go so far as to lift your right foot.)  Spread your arms, stabbing horizontally to the right with the fan, stretching it out with the tines pointing to the Northeast.

lean forward (to the Northeast). c) Pull into your left leg, staying in a low stance.  Pivot to the left to face East.  Sweep your left hand around at waist level in a Brush Knee block, ending at waist level, palm down.  Swing your right hand forward and bang open the fan, tines left, horizontally, in front of your waist. d) Pivot left, twisting your body to face Southwest.  Use the pivot to pull your right leg forward until it is right behind your left foot; position it pointing North.  Leave the fan open, horizontal, and your left hand palm down at your waist, just turning them with your body during the pivot. e) Pull into your right leg.  Use the pull to pivot your body so you are facing North.  Rise up to normal height.  Swing your right hand up to shoulder height, palm forward, then down to about mid-chest level, palm down.  Swing your left hand around to the right, closing the fan, across your body, and up until it is above your right shoulder, height at the top of your head. f) Pull into your left leg.  Use the pull to push your left hand down, palm down.  Use the pull to bang open the fan, tines to the left, edge pointing straight up.

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Spread your left arm out to the left for balance.

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20. Part Wild Horse’s Mane (Chen) a) Rise up on your left foot, pivoting to face Northeast.  Bring your right leg forward, placing it down in position for a right cat stance.  Turn over the fan so your palm is down. Keep the fan open, tines pointing Northeast, waist level.  Bring your left hand forward so it is palm up at the side of your left hip. b) Pull into your right foot.  Raise your left leg forward until your thigh is parallel to the floor.  With your left hand, stab upward to shoulder height, synchronized with lifting your thigh. c) Put your left heel down, and pivot your foot right on the heel so your foot points East.  Lower your left hand to waist level, forward of your body, synchronizing the movement with your left leg’s movement. d) Pull into your left foot.  Pivot to the right to face Southeast.  Swing your right foot forward, placing it down in position for a right cat stance.  Rotate both hands clockwise, synchronized, 180 degrees, so left hand is palm down and right hand, with the fan open, is palm up. e) Raise your right knee so your thigh is parallel to the floor  Stab upward with the fan to shoulder (throat) height, synchronized with the motion of your right leg.

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21. Leopard and Tiger Push Mountain (Hao) a) Pull back into your rear (left) foot  Close the fan forward b) Pivot your right foot on its heel to the left  Begin lowering the tines of the fan towards the floor and bringing your right arm towards your chest c) Pull into your right foot, move your left foot around to point West, pull into it and keep turning left until you face West  Circle the fan, tines pointing straight down, in front of your chest, counterclockwise, as if stirring a deep pot of soup. Stir twice as you’re turning, and then d) Step back with your right foot into a front-weighted left bow stance  “stir” the fan up and over your right arm, twisting your wrist, and bang it open to the left  Bring your left hand up until you put your palm on your lower right upper arm, bracing your right arm.

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22. Kick Sideways with the Right Foot (Chen) a) Sink down slightly into your left (forward) foot, leaning down slightly.  Turn your right foot on its heel to point North.  Twist the fan to vertical, and lower it, letting it drop closed (not a hard close). b) Pull into your right foot, pivoting to face north, moving right to be centered on your right foot  Swing your right hand down and up to the right until it is extended at shoulder height, fan pointing East, palm up  Extend your left arm to the West at shoulder height, palm up. c) Pull your left leg in next to your right into a narrow stance  Swing both hands down and up in front of your chest, crossing your wrists in front of your upper chest, right hand at the front, palm out 173

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d) Sink into your left foot slightly, and raise your right leg, at least high enough that your thigh is parallel to the ground and preferably higher e) Leaning to the left, kick out straight to the right  Swing your left hand out, extending it to the left, synchronized with the kick  Swing your right hand out to the right, and bang the fan out horizontally and to the back, ending with the edge pointing East (and your right hand turned to the left to accomplish this).

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23. Turn Flower Out from the Sea Bottom (Chen) a) Remaining balanced on your left leg, bring your right leg back in, keeping your knee up, thigh parallel to the floor.  Rotate your right arm up, closing the fan, until the fan is pointing straight up just to the right of your head.  Rotate your left arm down until it is at the center of your Dantien, palm facing East. b) Rotate your left hand up to the left of your body, then across to your forehead, and straight down the middle of your body, palm to the right until the bottom of its sweep, to its original position. Then (in a continuous motion) sweep it back up and out to the left again, stopping in front of your forehead in a fist, palm out.  In synchronization with your left hand, rotate your right hand, with folded fan, out to the right and down to the center of your Dantien, up in front of your body with blades pointed down, next to your left hand so they pass next to each other in the middle of your body, and up to its original position. Then (in a continuous motion) sweep it out and down to the right again, stopping with your arm straight down on the right, tines pointing to the ground.  At the end of the arm motions above, look down towards the fan.  (You are still balanced on your left leg.) (A friend of mine calls this “the Shiva move.”)

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24. Punch Toward the Ground (Chen) a) Pivot on your left hip to face East (yes, you are still balanced). b) Sink down slightly and step out with your right leg. c) Pull into your right leg (finally!), then step out with your left, pull in, then out with your right again. Do extreme waist twists back and forth while you’re doing this. Circle your arms around like a windmill in time to the waist twist. End up with the right arm coming down and the left coming up. d) Pull into your right leg, moving to center near to that leg.  Waist twist to the right to face East-North-East, keeping your hips almost entirely facing North.  Punch down with your left hand to just in front of your groin, powering your upper arm to the right with the twist. (This isn’t a strong punch; it’s actually a block with the upper left arm.)  Finish swinging your right arm up to over head height, and bang the fan open downwards. Due to the twist, it will be pointing approximately Southwest.

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25. White Crane Spreads its Wings (Yang) a) Pull into your left leg.  Pivot left to face Northwest.  Swing your left arm left to your left hip, palm down.  Swing your right arm slightly left, closing the fan tines up, keeping it at head level. b) Pull back into your right leg.  Twist right to face North, keeping your hips facing Northwest.  Pull your left leg in to a cat stance facing Northwest.  Continue swinging your left arm, out to the left and up to shoulder height. 174

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Continue swinging your right arm, down in front of your body, to the right, and up over your right shoulder. c) Twist left to face Northwest.  Swing your right hand down in front of your body and to the left, ending next to your left hip palm down.  Bang open the fan vertically, tines facing left. 26. Close (Wu) a) Step forward and slightly left with your left foot, pointing it North, and pull into that foot. b) Step forward with your right foot into a medium stance facing North. c) Twist to the left slightly.  Use the twist to close the fan to the left, and continue swinging the fan left and down. d) Turn to the center.  Compress your body down slightly.  Swing the fan to the center and down, below your navel, tines pointing slightly down (45 degrees down).  Place your left hand on the back of your right, and use it as if pressing down with it. e) Separate your hands to shoulder width, still down. f) Raise your arms to shoulder height, exactly as in commencement, with the fan pointing out from your arm. g) Lower your arms, again like commencement, fan the same.  Sink down slightly. h) Pull into your right foot, turn slightly right, swing your left foot back and right to end up in a narrow stance next to your right. i) Rise up to normal height with your arms at your sides.

Sword (Jian) Form

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This is a form for the straight sword, or jian10, as opposed to the saber.

Grasping the Sword

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The hilt of the sword should lie diagonally across the palm, form just inside the base of the index finger to the bottom-right fleshy part of the palm. Lay the wider side of the hilt there, so your palm is parallel to the blade. Then wrap your fingers around the hilt, with your thumb overlapping partly

The Sword Hand

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Through much of this form, the left hand is held in a position called the “sword hand”: The pointer and middle fingers are extended straight out, and the ring and little fingers are folded down towards the palm, with the thumb crossed over the palm to rest across the tips of the ring and little fingers. In the first few moves, when the sword is in the left hand, the right hand is in this position, too.

Korean, “gum.” “Do” in Korean is “dao” in Chinese, or knife in English, referring to a saber or similar weapon; dao alone just means a blade with a single edge. 175

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Generally, in this position, the extended fingers are kept roughly parallel to the sword, pointing in the direction of the tip or the opposite direction. Much of the purpose is to “complete the circle,” so the entire torso, both sides of the body, provide force to move the sword.

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Why are only the pointer and middle finger extended in the sword hand? The function it provides would work just as well, possibly even better, if the hand were held flat with all four fingers forward. I don’t know for sure, but I would deduce the following:

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The jian was, as noted above, a weapon of the aristocracy. A well-known traditional affectation of the Chinese aristocracy was to grow the nail on one’s pinky (outermost, smallest finger) very long, meaning at least an inch or more long; it is easy to find illustrations or even photographs where it is four or more inches long. This was an outward sign that they did not do manual labor. It’s certain that any member of the aristocracy would sport such a nail (or nails), and certainly would not engage in any activity that would damage it. Folding the pinky in would protect that nail. The ring finger comes along for the ride, just because it’s difficult to fold in only the pinky.

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That affectation, by the way, is still a working part of Chinese culture. A tour guide I had when visiting Beijing had a two-inch pinky fingernail. He told us he, and his brother (a taxi driver), were the first generation of their family to leave the country for the city. He was clearly proud of having accomplished that, proud of no longer working in the fields, and wore his fingernail as a sign that he had left the peasant life.

Concerning the Move Names

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As befits its association with the aristocracy, the names of the moves of this form are flowery and complex, in some cases longer than the moves they name. They’re also extremely interesting. Who wouldn’t be fascinated by “Divinity Points the Way,” “Three Rings Around the Moon,” “Major Literary Star,” and so on?

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There’s more going on than simple flowery language, however. Here’s what I learned about one move name.

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Something like a year before starting to learn this form, I made a trip to China, where I purchased a couple of paper cuts. I had them framed, and they hung on the wall in my bedroom. One of them showed water, in which there was a Chinese gate. Around the gate a dragon was coiled, and a fish was jumping over the top of the gate. After it had been there for about 18 months, I made a connection: One of the Sword Form moves is called “Fish Leaps over the Dragon Gate.”

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Hmmm. The paper cut wasn’t purchased at a martial arts store. I got it at a gift shop in the Jade Buddha Temple in Shanghai. This made me think that, perhaps, the name wasn’t merely made up to sound nice. Rather, there might be some cultural or literary reference involved, and, indeed, a quick bit of web research turned up this story: (11) (12) (13)

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Carp are known in China as tough, hardy fish, and are a symbol of perseverance because they fight their way up the Yellow River. In particular, there’s a famous seasonal waterfall – the Hukou (pot-mouth) Waterfalls – near a precipitous drop in elevation on the border between Shanxi province, near Shaanxi province. The area is known as Dragon’s Gate, and there is a Dragon’s Gate Mountain nearby.

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Legend has it, perhaps inspired by the mist and clouds from the waterfalls, that a carp making it all the way up the Dragon’s Gate was rewarded for its perseverance by the Gods: they turned it into a Dragon. 176

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Depending on the version of the legend, sometimes the carp does it alone, and sometimes it alone makes it out of a group of 360. This is the origin of there being two types of Chinese dragons, one born of other dragons and the other, dragon-faced and fish-bodied, transformed from a carp by the Gods.

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The prolonged exertion of the carp achieving this, floundering about, jumping up the cataract, and eventually achieving the higher elevation, became a metaphor for a literary scholar who eventually achieved success after a long struggle. A scholar who had passed the great triennial literary examinations was known as a “Carp who had leaped over the Dragon Gate,” or said to have “passed the Dragon Gate,” and often given a plate or vase decorated with an image of a fish-dragon.

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If you were aware of that story, and had a move to name that involved leaping forward and stabbing upward, well, “Fish Leaps over the Dragon’s Gate” would be natural. It would be like naming a pose involving putting your right arm inside your shirt the “Napoleon Pose.” Everybody would understand the reference, and probably chuckle a little when first hearing it.

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What gives me fits is the suspicion that the move names aren’t just flowery. Every one of them is a literary and legendary reference as complex as this one.

Warm-ups (Chi Gong)

These are various things made up by Kade.

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1. 2. 3. 4. 5.

Spine Flexing. Major Literary Star Minor Literary Star on Left Foot Point Following Figure Eights Edge Figure Eights

Move List

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.

Beginning Divinity Points the Way Three Rings Around the Moon Major Literary Star Swallow Beats the Water (3x) Block & Sweep (2x) Minor Literary Star Bee Enters the Cave Alert Cat Catches the Mouse Dragonfly Swats the Water Swallow Returns to Its Nest Phoenix Spreads both Wings Whirling Counterclockwise into Minor Literary Star Whirling Clockwise, Waiting for Fish Dividing the Grass Looking for Snakes (3x) Embrace the Moon Bird Returns to Forest Black Dragon Wags Its Tail (start of Black Dragon and Company) Wind Rolls the Lotus Leaf 177

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20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48.

Lion Shakes its Head, Tiger Hugs its Head Wild Horse Leaps the Stream Turn Body to Hold the Horse Compass [Points the Way] Weaving the Tassel in the Wind (3x) Push the Boat with the Current Shooting Star Chases the Moon Running Horse goes Wild Rolling Up the Screen Wheel Spins Left Wheel Spins Right Bird Holds Mountain in its feet, Roc spreads Wing Scooping the Moon from the Sea Bottom, Embrace the Moon Searching the Sea, Rhinoceros Gazes at the Moon Shooting Flying Goose, Dragon Stretches his Claws Phoenix Spreads Wings Cross Fence with Left Leg Cross Fence with Right Leg Shooting Flying Goose White Ape Offers Fruit Falling Flowers 2x Fair Lady at the Shuttle White Tiger wags Its Tail Fish Leaps over Dragon Gate Black Dragon coils around Column Divinity Points the Way Winds shifts the Falling Flower Hold Tablet before Bosom Embracing Sword, Return to Starting Position

Move Descriptions

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In practice, this form often starts at move number 2. The first move “presents the sword” to whoever is watching, and then “hides” it behind the body.

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1. Beginning Start in a narrow stance, arms hanging down next to your body. The sword is held point up, crosspiece cradled in left hand with two fingers down next to the hilt. The sword blade rests against the front of the left shoulder.

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a) Move right foot straight back a little more than the length of your foot. b) Pull weight into left foot and step back. While doing this, lean sword forward just a little bit in front of the body and swing it clockwise until it is point down, then back behind your arm until it rests against the back of your left shoulder. c) Bring right foot back next to left foot into a narrow stance, weight evenly distributed between feet.

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2. Divinity Points the Way d) Make a sword hand with the right hand. e) Pull weight into right foot, turning slightly to the right. At the same time, simultaneously raise left hand with sword forward, up, and right, so it is horizontal across the front of the chest, hilt pointing right. Also bring sword hand forward and left to point left in front of waist, parallel to sword. f) Lift left foot and step left and back, pointing foot West. g) (This is much like a left brush knee and push, brushing down with sword and pushing with sword hand.) Pull into left foot, pivoting body on right left hip and pivoting right foot on heel to form a left bow stance. Simultaneously bring sword down and to the left, ending parallel to ground at waist height pointing back. Bring sword hand forward and up, pointing forward at shoulder height.

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3. a) b) c) d)

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Three Rings Around the Moon Pull weight back into rear (right) foot. Pivot left on right hip, turning left foot left on heel. Pull forward into left foot. Pivoting body left on left hip, using that pivot to swing right leg forward to position it for what will be a right bow stance. Simultaneously bring sword hilt up so sword is parallel to chest and left wrist is in front of body, while bringing left sword hand up to rest bottom of palm against the top of the left hand and hilt. e) Pull into right foot. f) Pivot body right on right hip, using that motion to swing sword hilt and right hand forward in a strike to the right. Important common sequence: In the descriptions that follow, I’ll call the body turning and weight shifting sequence above pull back pivot turn right. It, and the equivalent left-turning move (pull back pivot turn left) appear in other Yang style forms, but are used extensively in this sword form. The arms do different things depending on the use. In the Yang Short Form, for example, it is used to do alternating left/right brush knee push moves. In the sequence above, it’s accompanied by swinging the arms up to join the hands and strike with the hilt. In other places it’s used to do other things, such as... g. Pull back pivot turn left. At the start swing arms down next to body; sword goes down back and vertical, hanging in left hand. Then swing arms up again, joining with sword hand over hilt, and when turning left use sword hand to brace hilt when striking left.

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4. Major Literary Star The “Star” referred to is a star in the Big Dipper.

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a) Pulling all weight into front (right) foot, pick up left (rear) foot and place it next to the front foot. (If you point it straight forward, it makes the rest of this move require major hip flexibility, but ends up much more stable when holding on one foot below. Putting it down angled right makes it easier to move, but harder to stand.) b) Pull weight into rear foot and pivot body on the right hip to the right 180 degrees. While doing this, bring sword to front of body, right hand around to the bottom of the hilt, and grasp the sword in a proper grip with the right hand. c) Swing sword to the right and down until it grazes the ground, then up and high over your head until it points forward and slightly down; it should go low enough that the image is that you are picking up some clothing off the ground. Swing sword hand slightly down and back and forward again,

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ending pointing forward; synchronize this with the movement of the sword. Keep body twisted as far to the right as you can manage, best facing North. d) Lift left knee, leaving foot hanging down, and look forward. Hold this position for a while, at least a slow count to five. The purported intent of this position is to be intimidating to someone you are looking across at.

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5. Swallow Beats the Water (3x) a) Step forward and to the right with left foot, in position to end up in a bow stance. While doing this, swing sword back up behind you and down, paralleling the motion (arcing up and back). b) Pull into the front foot, pivoting right foot into a bow stance, and pivoting body on left hip to the front. While doing this, use body pivot to drive sword down and slice up and to the left, ending pointing with right hand at about lower-chest level, sword on a 45 degree angle pointing up, aimed South East. As sword comes forward, bring sword hand to right arm, touching pulse at wrist; it should begin touching when sword is low and stay connected from then forward. c) Do a pull back pivot turn right. On the pivot left, use pivot to drive swing sword up, back and down to the back. On pivot right, use pivot to drive sword up and forward to the right. End with sword pointing up again, wrist at same point, same angle but to the right (NE). Disconnect sword hand when swinging up and back, reconnect to pulse point on the way forward. d) Do a pull back pivot turn left. Do same sword motions as in prior sub-move, but left/right reversed.

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6. Block & Sweep (2x) Like Swallow Beats the Water, but instead of swinging sword back, down, and up, swing it instead horizontally left and right. Initial swing begins with an upswing, then bringing it horizontally; the upswing is the block.

Only do twice; as a result, the final turn is to the right.

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7. Minor Literary Star a) Do pull back pivot turn left, but at the end pull all weight into the right foot and raise the left leg completely, ending with left thigh parallel to the ground, pointed West. b) While doing the pull back part, swing sword vertically back and down. c) Pull completely into right foot and raise your left leg until your thigh is parallel to the ground, pointing Southwest. Continue swinging sword up and forward, keeping sword hand at wrist, ending up with right hand about head high and sword pointing not down, but 45 degrees off down, in front of body. Pause a few seconds in this position (on one foot).

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8. Bee Enters the Cave a) Pivot left on your right hip, turning to face Southeast, and lower your left leg into a cat stance.  Stab downward to a point just right of your left foot, blade parallel to the ground, grasping sword in both hands.

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9. Alert Cat Catches the Mouse a) Step forward with your left foot, just touching its heel to the ground; no weight on it yet. b) Pull into your left foot, and swing your right leg forward, kicking forward with a completely straight leg. At the same time, wave the sword up, synchronized with your leg, until the tip is roughly forehead height. c) Swing your right leg down again, placing it just slightly forward of your left foot, and pull into the right foot. While doing this, wave the sword down again so tip is about ankle height, and and bend your spine slightly (overall body compression). 180

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d) Jump up using just your right leg, powering it by expanding your body, and land on your left leg; do not jump far forward. As your left leg comes down, swing your right leg forward and pull into it, ending up in a right bow stance. If you jump too far forward, this bow stance will end up too deep. Power the jump up by expanding your body; contract again when coming down. Wave the sword up when jumping up, and down as you land, with compression. e) After landing, expand your body to power a stab pointing down in front of you, just far enough out that the tip is a small amount above the ground (you’re stabbing that mouse). It can be a challenge to correctly coordinate the sword waving, stepping, and expansion / contraction can be challenging. Here is an exercise that will help:

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1. Stand in a front-weighted right bow stance, holding the sword straight in front of you in the stabbing two-handed grip used above. Compress slightly and let the sword sag down as you do so. 2. Step forward with the left foot. Expand your body and wave the sword up as your left leg comes up. Compress your body and wave the sword down as your left leg comes down in front of you and you move your weight into it. 3. Do the same again, sides switched, from where you step down. 4. Repeat, walking forward, expanding and contracting and waving the sword with the expansion and contraction.

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The other key to this is not jumping forward too far. To avoid that, concentrate on coming fully into your right foot, compressing, and using that to try to jump straight up. You won’t go straight up; you’ll go forward somewhat; but you will tend to go more up than forward, which is the idea.

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10. Dragonfly Swats the Water a) Stay stable in a right bow stance.  Move sword to the right, and grip with right hand again, left hand in sword hand at the right wrist. b) Remaining in a right bow stance, twist on the right hip to face right, then back around to the front.  Use that twist to drive the sword down and around to the back, then and down again making a circle close to your body on the right; stop parallel to the ground, at waist level.  Twist sword appropriately while swinging it around, so the leading edge cuts down at the end. The name of this move has provoked discussion. Who ever heard of a dragonfly swatting the water? I’ve seen it elsewhere called “Dragonfly Lands on the Water,” which makes more sense. Someone else mentioned that they’ve seen dragonflies, in a pond in her back yard, engaged in, ahem, reproductive activity; when doing this, their tail ends repeatedly curl down to touch the water, and straighten up. That could be called “swatting” if you want to stretch a point, and if that was what was being referred to, which itself is a fairly dubious proposition. Well, it seemed interesting and funny in class.

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11. Swallow Returns to Its Nest a) Step forward with the left foot, just touching the heel down.  Keep sword at waist level, parallel to the ground, where it was at the end of the prior move. b) Pivot the left foot to the left, on the heel.  Move left sword hand to the right side of the body, pointing forward at waist level. c) Pull forward into the left foot, pivoting on the left hip to the left, rolling from the heel to the toe of the left foot, starting to spin on the ball of the left foot.  Swing the right leg forward and around to the left as part of the spin.  Sword and left (sword) hand follow body motion, keeping close to body d) Spin completely around until you face the original direction (Southeast). 181

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

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12. Phoenix Spreads Both Wings This is very similar to Yang Short Form Slant Fly.

Spin sword and sword hand, close to your body. e) As you reach the end of the spin, step back with the right foot, reaching a front-weighted left bow stance.  Stab straight forward with the sword, straight out from the right shoulder.  Stab straight forward with the sword hand, straight out from the left shoulder.

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a) Pulling forward completely into the left leg, bring right foot forward next to left foot.  Compress down slightly.  Swing sword down to the left, bringing right arm on a diagonal down across body. Front edge of the sword should be to the left.  Swing left (sword) hand in and to the right, until it crosses the chest and nearly reaches the right shoulder. b) Step straight back with right foot, heel touching first. c) Pivot right foot strongly to the right. Turn your body as little as possible consistent with pivoting very far right, up to a full 180 degrees. d) Pull into the right foot, pivoting on the left, then the right hip, until body is turned to face West.  Swing sword diagonally up and to the right, leading with the back edge. End with a slight wrist “flip” to the right. This, and moves that are basically the same, is the only move in the form that leads with the back edge.  Swing sword hand out to the left, pointing left, as a counterbalance.

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13. Whirling Counterclockwise into Minor Literary Star a) Pull into the left leg, pivoting slightly left on the left hip so you are facing South-south-west.  Swing sword up to the left, in front of your body, higher than your head, down to the left, on the way to a complete circle.  As sword reaches horizontal pointing left, move left (sword) hand to right wrist.  Pull right leg in towards left leg. b) Step Northwest with the right leg into a bow stance, and begin pulling into the right leg.  Continue swinging the sword in a counterclockwise circle, down and to the right, turning the sword to slice up with the leading edge. c) Pull strongly into the right foot, pulling left leg in and up, until left thigh is parallel to the ground.  Swing sword up until wrist is above head level, and sword is pointing down at about a 45 degree angle, aimed slightly forward. Sword hand is still on wrist. d) Pause in this position for a few seconds.

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14. Whirling Clockwise, Waiting for Fish a) Lower left foot, placing it down facing South, shoulder-width behind right foot.  Stab the sword down and to the left in an arc. Keep sword hand at right wrist. b) Pull weight into left foot, and pull right foot next to left foot (effectively a sideways bamboo step).  Pivot on left hip to face South.  Stab and swing sword clockwise around its center of mass until it is waist level, pointing right. Edge of sword should be vertical. Pause in that position for a few seconds, waiting. For the fish. Or for someone to run into the sword.

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15. Dividing the Grass Looking for Snakes (3x) a) Pivot slightly left on left hip.  Swing sword counterclockwise up and down to the left. b) Step out to the right with the right foot, pointing it NorthWest. c) Pull into right foot, pivoting to the right.  Use that movement to swing sword down and to the right. Continue like Swallow Beats the Water or but instead of swinging sword back, down, and up, instead keep the tip down near the ground. Counting the move above, do the three times, so last swing is to the right, and weight is in your right foot.

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16. Embrace the Moon a) Pivot the left foot to the Southeast. b) Pull back with the left foot, pivoting on the left hip to face Southeast, and pull the right foot in next to the left, as if a sideways bamboo step.  Use pull to slice sword around to center of body, pointing down at an angle steeper than 45 degrees.  As sword reaches center of body, grasp with left hand also.

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17. Bird Returns to Forest a) Step straight forward with right foot. b) Pull completely into the right foot, balancing into it and stretching forward.  Raise left foot until thigh parallel to the ground. Alternate: Extend left leg out in back, counterbalancing.  Stab down, then up in an arc, stretching forward, ending pointing up at a 45 degree angle.

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18. Black Dragon Wags Its Tail This and the next three moves, through Tiger Hugs its Head, are done as a continuous motion. Since this is often too fast for the names to be said, the group of moves is together called Black Dragon and Company.

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a) Place left foot down slightly behind right foot.  Begin slicing down in front of you to the right, twisting the sword so leading edge leads. b) Pull back into left foot.  Continue slicing down and back with the sword. c) Place right foot down behind left foot and to the right, in a bow stance position.  Pivot right on left hip to face West. d) Pull into right foot.  Finish slicing down, and begin slicing up in a counterclockwise circle. e) Pull back into front foot.  Pivot left on left hip to face Southeast.  Continue slicing in a counterclockwise circle, up from behind and back down in front, until sword is horizontal. Do not stop at this point; this move merges into the next one.

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19. Wind Rolls the Lotus Leaf a) Turn the right foot to the right as far as comfortable. b) Pull into the right foot.  Pivot on the right hip, turning right.  Lift the right heel and spin to the right, swinging your hip around to face West. 183

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20. Lion Shakes its Head a) Slice up and to the right, leading edge up.  Raise sword hand to the left, counterbalancing.

Keep the sword at waist level. Keep the sword hand at the right wrist. c) End with sword horizontal, at waist level, weight still in the right foot, left foot in a cat stance.

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21. Tiger Hugs its Head a) Slice out, down and slightly forward, in a clockwise circle, ending up pointing just forward of your left foot with the blade horizontal.  Swing left (sword) hand down and slightly forward, counterclockwise, mirroring the motion of the right arm, and grasp the sword grip when the two come together.

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22. Wild Horse Leaps the Stream This exactly like Alert Cat Catches the Mouse, with two exceptions:

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1. When you start, you’ve already done the first step, bringing the sword down in front of you and taking a two-handed grip. So you begin with the step that kicks the right leg up. 2. At the end, stab horizontally (not down to the ground).

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23. Turn Body to Hold the Horse a) Pull back into your left foot, pulling the sword back towards your body at the dantien. b) Pivot left (counterclockwise) on your left qua, turning your right leg to the left as you do so. While doing this, keep the sword extended horizontally, so it sweeps around in front of you. Turn as far as you can. This is reminiscent of Single Whip, but with the sword out in front of you at waist level rather than both arms. c) Plant your right foot and shift weight into it, like Single Whip again, but then unlike Single Whip… d) Continue turning left pivoting on the right qua until you are facing the direction opposite the start (9:00). Use the body pivot to swing your right leg so it ends up facing that direction, too. e) Pull weight into the left foot, and bring your right foot in close to and parallel to the left foot. The sword should be facing absolute left (9:00). Note: The above is a description of the move on its own, without the following Compass. When smoothing the form out and linking the moves, instead of doing element e), do not bring the legs together. Instead end part d) by bringing the right foot forward directly into the bamboo step starting Compass.

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24. Compass [Points the Way] a) Do a bamboo step forward, starting with your right foot. As you step with your right, lower and compress your body, pulling sword (in two-handed grip) in towards your dantien. b) As you pull into your right foot, bringing your left foot forward, straighten your body to stab forward at waist level. That’s the compass point. c) End the stab by centering your weight on both feet.

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25. Weaving the Tassel in the Wind (3x) a) Pull weight into left foot, turning to the right on the left hip joint, and step out on a angle to the right with the right foot. At the same time, swing the sword up and to the right. b) Pull into right foot, then turning on the right qua and swinging the sword more to the right, turning until left foot is pulled to the front. 184

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c) Pull into left foot, etc., continuing with footwork and weight changes like Swallows, but with sword out and up at an angle – kind of “dividing the trees for birds” (or tree-dwelling snakes). Arm should be high enough that hand is at mid-face level. d) Do three times, starting the count when you swing to the left (initial swing to right doesn’t count), so the last swing is to the left (counterclockwise).

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26. Push the Boat with the Current a) Pull weight into the front (left) foot, lift rear (right) foot and set it down with heel in line with front foot, angled to the right. b) As soon as right foot is planted, pull weight into it, twisting to the right. At the same time, sweep sword down to the right, parallel to the ground, right edge cutting down, sword hand following on left wrist, ending with sword parallel to the ground and in front of thighs. c) Weight on right foot, lift left foot and place it down pointing to 10:30, turning hips to the right. Heels should almost line up, roughly as in Short Form Shoulder Strike. At the same time, rotate the sword out in front of body, keeping it parallel to the ground, until knuckle edge is pointing up and sword is about at forehead level. Swing sword hand forward, pointing parallel to sword, as in Major Literary Star. (But note: Unlike Major Literary Star, sword did not swing behind body; sword is only forehead-high; and sword is parallel to the ground or slightly pointing up, to a star, not pointing down.)

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27. Shooting Star Chases the Moon a) Pull weight into front (left) foot, moving entire body with that move, stabbing at eye level with sword (and sword hand). The body motion is that of Shoulder Strike in the Short Form, and the final body position is that of Shoulder Strike, too.

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28. Running Horse goes Wild a) Pull weight back into rear (right) foot, keeping arms and sword in the same position they were in at the end of Shooting Star. b) Pivot to the right (clockwise) on the right hip until you are facing East.  Pivot the left foot clockwise on its heel, heading to a pigeon-toed position as in Single Whip.  Keep sword up, letting tip sag down slightly  Swing left arm up until sword hand fingers touch right wrist, fingers parallel to sword but pointing opposite to the tip. When finishing this part, sword should be in front of forehead and pointing North. c) Pull weight into left foot, and pull right foot in next to left foot, with no weight on it – effectively a very shallow cat stance.  Swing arms down, to front of body, until the sword points down towards the floor about a foot in front of your feet. (This is a modification after watching a video of Chen Man Ching doing this form; previously, the arms separated and swung down until they hung sides, sword just missing the right foot as it moved back.) d) Bring right foot forward, and do a bamboo step into it.  Swing sword forward and upwards, bringing sword hand in until fingers touch back of ball of thumb, pointing parallel to sword. Sword should end up pointing down at a angle, more horizontal than a 45-degree angle. The application is to slice upwards into the thigh or the crotch.

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29. Rolling up the Screen a) Step back with left foot, planting it pointing 45 degrees left. 185

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b) Pull into left foot, pivoting on left hip. Swing sword up in an arc counterclockwise to the left and down, first turning it over so front edge is leading. c) Pull back into right foot, which should point straight East, pivoting on right hip to the right. Swing sword down and up over head. d) Continuing to turn left, bring left foot up in front of body, off ground, knee high and foot hanging. Bring sword up over head, sword arm pointing forward, and left arm pointing forward. End up in same position as Major Literary Star, and hold there for a while. This is effectively Major Literary Star again, with a different entry; it swings the sword up from the front rather than down from the back.

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30. Wheel Spins Left a) Step back to the left. b) Pull weight into left foot. Turn left. Swing sword down in a circle to the left, slicing down. c) Continue circle with sword, turning it around so the front edge is slicing up. d) Pull weight into right foot, turning right and using turn to bring left foot forward; weight stays in right foot. Sword keeps circling up over head, then slicing down, ending with a compression forward while left foot is in front (no weight).

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31. Wheel Spins Right a) Keep wright in right foot. Swing sword down in a circle to the right, slicing down (like Spins Left to the other side). b) Continue circle with the sword, turning it around so front edge is slicing up. c) Like last move in Spins Left, but on the opposite side, ending up compressing into right foot with left foot forward.

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32. Bird Holds Mountain in its feet, Roc Spreads Wings a) Pull weight into left foot, and do Phoenix Spreads Wings. The first part – pull down and cross body with right arm – is the “holds mountain” part. One difference: At the end, stop before “flicking” the wrist further open; keep it in to prepare to go back in the other direction and down at the start of the next move. Note: This should be a 135 degree turn to the left -- not completely 180 degrees from where you started; you should end up parallel to a line going Southwest. That makes the following moves go back on a line to the Northeast.

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33. Scooping the Moon from the Sea Bottom, Embrace the Moon Searching the Sea, Rhinoceros Gazes at the Moon a) Turn sword to scoop down in front of body, leading with the point, turning blade so the flat is parallel to the ground. b) Pull weight into left foot, continuing stab forward and down to the front. Left sword hand toucnes wrist. (This ends Scooping.) c) Raise right knee, compressing. While doing this, switch to two-handed grip and pull sword in toward the dantien. (This ends Embrace.) d) Stamp down into right foot, raising left foot by the knee. Switch to right hand sword grip while stabbing down and forward. Swing left hand down up and out to the right to counterbalance. Note again: You should end this move facing Northeast.

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34. Shooting the Flying Goose, Dragon Stretches his Claws a) Step back to left with left foot, 135 degrees left, so you are aiming Northwest. 186

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b) Pull into left foot. While doing this, circle sword, hilt first, circling right, about head height (strike side of opponent’s head with pommel), until pommel is in front of body. As weight comes off right foot, pivot on heel to left. c) Pull back into right foot into back-weighted bow stance, compressing. Bring sword down and in, slicing down, but not swinging tip down; end with it pointing up at about a 45 degree angle. (This ends Shooting.) d) Pull forward into left foot, swinging right foot forward into a bow stance but keeping weight back. At the same time, stab forward and up, keeping one-hand grip with sword hand at wrist. My class decided that a better name for this and the next move together is “Goosing the Dragon.”

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35. Phoenix Spreads Both Wings Step back with right foot, and do move as previously described. Sword should end up pointing East.

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36. Cross Fence with Left Leg This is identical to one iteration of block and sweep, except for the entrance – which has no block, so it’s just a sweep. a) Do pull back pivot turn left. While doing that, turn sword over (turning it counterclockwise) so that leading edge points back, and swing sword horizontally; then swing horizontally forward as in block and sweep. The step forward with the left leg is the “cross fence.”

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37. Cross Fence with Right Leg a) Do pull back pivot turn right, swinging sword horizontally as in block and sweep. The step forward with the right leg is the “cross fence.”

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38. Shooting the Flying Goose Despite the number of words below, this is a very simple, short move. a) Twist further to the right, ending up facing Southeast. While doing that, turn sword so its edges are vertical. Maintain left sword hand on right wrist. b) Step forward with the left foot into a narrow stance – a bamboo step, in effect, ending up with weight even on both feet. At the same time, swing sword and arm straight down until sword is pointing at the ground next to your right leg; and extend left arm (as far as it’s ever extended), pointing sword hand directly forward from shoulder.

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39. White Ape Offers Fruit This is another very short, simple move. a) Pull weight into right foot, then step forward diagonally the left foot to the left. b) Pull weight into the left foot, and then step forward with the right foot into a narrow stance (effectively a bamboo step again), facing East. While doing that, swing sword diagonally up to directly in front of your body, pointing straight ahead, initially twisting sword so it is leading with the front edge and ends up horizontal. Meet the left hand in the usual two-handed grip.

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40. Falling Flowers (2X) This is somewhat like the backward-stepping Repulse Monkeys of the Yang Short Form. a) Lower the sword to just above the waist, turning it over so the opposite flat is on top.  Change the right hand to a sword hand, and place it at the right wrist. b) Pull weight into the left leg, pivoting left 45 degrees to face Northeast. Feet remain in a narrow stance.  Use that body movement to slice left horizontally with the sword, keeping it in the same position relative to your body. 187

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c) Step backward with the right foot, touching toe first. As usual with back steps, be careful not to step too far; you should not stretch or move back with putting the heel down.  Turn the sword over again, so the opposite flat is on top. This flips the sword over is as if you were dumping something off the sword to the outside. d) Pull back into the right foot, pivoting right as you do so, ending up facing Southeast.  Use that body movement to slice right horizontally with the sword, keeping it in the same position relative to your body. e) Step backward with the left foot, touching toe first, just as you stepped back with the right.  Turn the sword over again, so the opposite flat is on top, dumping out the falling flowers you caught f) .Pull back into the left foot, pivoting left as you do so, ending up facing Southwest.  Use that body movement to slice left horizontally with the sword, keeping it in the same position relative to your body. Note that you do not turn the sword over again at the end of this move.

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41. Fair Lady at the Shuttle a) Step out with the left foot into position for a bow stance facing Northeast. b) Pull forward into the left foot, into a front-weighted bow stance.  Twist your body on the left leg to face Northeast. (You should do this anyway, but in this move in particular it is what drives the movement of both arms, in a major spiral like one of the strikes of Fair Lady in the Yang Short Form.)  Stab out and forward, ending pointing forward at just lower than shoulder level.  As you stab, twist the sword around its long axis so it ends up flat to the ground, but turned over 180 degrees.  Gradually separate the sword hand from your right wrist, ending up pointing straight out parallel to the sword.

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42. White Tiger wags Its Tail a) Sink down into your left foot, compressing significantly, as in the start of Phoenix Spreads Wings.  Bring right foot forward next to left foot, without putting any weight into it.  Slice sword diagonally down to the left across your body, pointing it downwards and forward of your left foot (as in Phoenix).  Bring left hand across chest to near right shoulder (as in etc.). b) Step back with right foot, turning it clockwise very far, and setting the heel down to the left of (outside) your left heel. The intent is to make a 180-degree turn into a left bow stance when you turn into it.  Twist the sword so you are prepared to swing down and back with it leading with the back edge. c) Pull into right foot.  Turn body to the right fully, so your shoulders are square facing in the opposite direction (unlike Phoenix).  Slice with the sword circularly, leading with the back edge. Go down to the right and up into the direction you end up facing. End with your right hand rather high, about forehead or eye height, with the sword slightly angled down and, as a result, your wrist a bit higher than the blade.  Slide your left hand down along your arm as you are doing this, starting from the shoulder (end of first element). This will tend to pull your body around as needed by the first subelement above. End up with your right hand behind your right thumb: The bottom of your left palm, just left of the thumb pad, should rest against the base of your right thumb. 188

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d) Pivot the sword in a plane straight in front of you, pushing forward with both left hands, and ending with the sword vertical. (Class reaction was that this should be called “bopping the dwarf”; it’s that kind of motion.) Fairly clearly, this is a block.

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43. Fish Leaps over Dragon Gate a) Pivot your left foot on the heel so it point straight East. b) Pull into the left foot, turning to face East, pivoting on the left hip.  Slice in an arc down and to the left, then (continued in next element). c) Pull completely into the left foot, swinging your right leg out in front of you, sword blade horizontal, grasping the sword in both hands. Continue exactly like Alert Cat Catches the Mouse, but at the end angle the stab up, high enough that the sword tip ends at head level.

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44. Black Dragon coils around Column a) Pull weight into back (left) foot, pulling right foot back near it as weight shifts.  Pivot to face North.  Swing sword up, back, and down to West. Sword hand stays on the right wrist. b) Step forward with right foot, thn forward with left foot, then pull right foot up next to left (bamboo step).  Swing sword down and forward, ending up with it vertical pointing down in front of you (forward of right shoulder.) Sword hand stays at wrist. c) Step back with right foot, placing foot down so it points Southeast. d) Pull weight into right foot.  Bring left foot back into cat stance position, facing Southeast.  Bring right hand back and up until it is just in front of forehead, palm out, just like position ending the Short Form White Crane Spreads Its Wings.  Keep sword hand on right wrist, so it follows the left hand up; left upper arm should be very close to, even touching, the side of your chest.  Leave sword hanging down nearly vertical, and bring it in so that the flat of the blade rests against the outer side of your upper left arm.  Your body should be turned so that the flat of the sword faces Southeast.  Turn the head to face East, past the left side of the sword. This ends up in a block braced by the left arm into the body, so force against the blade can be redirected down into the grounded right foot. This can be tested by assuming the final posture and having an opponent partner press on the flat of the sword above the point where it touches the left arm (In my opinion, this is the most elegant move in the form.)

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45. Divinity Points the Way Note: As far as I can tell, this move has nothing in common with the move of the same name that is near the start of this form. a) Step out with your left foot, pointing it Northeast. b) Pull into your left foot.  As weight comes off your right foot, bring it forward, placing it flat on the ground pointing straight East.  Stab down to the East, twisting the sword so the leading edge is to the South, ending at a 45 degree angle aimed slightly forward of the right foot. 189

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Keep sword hand at the right wrist.

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46. Winds shifts the Falling Flower a) Turn to face the North, pivoting left strongly on the left hip. This is a windup for the spin to follow.  Swing the sword circularly up to the left, and down until it's approximately at a 45 degree angle pointing West. This is a partial move that continues in the next element.  Keep sword hand at the right wrist. b) Pull forward into your right foot, lifting the right heel slightly and twisting right to initiate a rightturning spin on your right foot, swinging your left foot around with your hips.  Swing sword circularly down then horizontally up in front of your body. Spread your arms apart. The sword should go up until it is not quite horizontal, with the edge pointing up over your shoulder. c) Continue the spin until you are facing North, bringing your left foot forward (no weight in it yet).  Swing sword out and down and then pointing front, blade horizontal, hilt just below your sternum.  Swing left hand out and down in parallel with right hand, and grasp sword with it in front of body in the usual two-handed grip.

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47. Hold Tablet before Bosom a) Pull forward into your left foot.  Sink and compress slightly  Pull sword hilt very slightly in towards your chest. b) Step forward and pull into your right foot, then bring your left foot forward next to right foot, in a bamboo step.  Expand your body.  Use the expansion and forward step to power a forward stab.

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48. Embracing Sword Return to Starting Position a) Slightly lower your left hand down towards your left hip.  With your right hand, pivot the sword up and back, moving down towards the left hand; this is more a lowering of the hilt than an active pivoting up of the sword.  Place sword into the left hand, pointing up and slightly back, parallel to the left arm and low enough in the left hand that your fingers can come forward and hook the back side of the hilt. b) Continue swinging your left hand down until it is hanging vertically down and the sword is leaning against your left shoulder.  Swing your right hand down and right until your right arm is hanging straight down on the right side of your body. c) Bring left hand forward an inch or so, angling sword out just enough to clear your body. d) Rotate your left hand up and to the left, rotating the sword down and to the right in front of your body, until the sword is pointing vertically down. e) Step back with your right foot, pull into it, and follow with your right foot, into a narrow stance.  Push down back with your left hand, rotating the sword point-first down and back until it is pointing up behind you against your left shoulder.

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Saber / Dao / Broadsword Form

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Sabers are single-edge curved swords. Unlike the straight sword (jian), of which there really is only one kind, aside from hilt variations, there are several distinctly-shaped types of one-handed Chinese sabers:11

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There are also two-handed sabers, including one that's much longer and another that's fairly short, but is an exaggerated, really wide Ox Tail style: Lots of mass, driven by both hands.

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I purchased a wooden Liu Ye Dao for practice, since I didn’t like the Wu Shu performance implications of the Niu Wei Dao. This is purely personal preference; Wu Shu is of course a valid art, and performance has long been part of the martial arts tradition. I’ve also purchased a metal Nui Wei Dao – nothing really fancy, just a practical stainless-steel blade – purely for its flashiness in demonstrations.

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One final note about saber anatomy: Most sabers have material – metal or wood – cut away from their trailing back edge near the tip. This looks like a sharpened edge on the trailing side, but it is not. It is called a false edge. It exists only to reduce the weight of the sword, without reducing its strength, and furthermore reduce weight out where that weight would have more leverage, making the sword faster to swing by reducing its angular momentum. It bugs me when people keep referring to it as sharp. Either it isn’t sharp, or you have a blatantly incompetent swordsmith. Similarly, the grooves one may see along the side of a Dao or Jian blade serves the same type of purpose: weight reduction without reducing strength. Such a groove is properly called a fuller. It When used, there are often several parallel fullers. It is not a “blood groove,” and has nothing to do with letting blood drain out of a wound so you can withdraw a sword more easily. That’s a figment of someone’s excessively lurid imagination. And it wouldn’t work, anyway.

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Goose Quill Saber (Yan Mao Dao): This blade maintains the same width throughout, curving up at the tip with a false edge. This is an early form of saber. The optimum point for cutting a target is just at the start of the curve. Willow Leaf Saber (Liu Ye Dao): The blade that curves up gently its entire length, maintaining the same width until the tip, where there is a slight taper and a false edge. (“False edge” refers to the back of the blade being angled in, rather than blunt. It is not sharp, and not meant to be an edge; it is a way of lightening and moving the balance point of a blade by removing material at a point where it will not weaken the sword.) The continuous curve produces a much longer optimum cutting point. This style was standard Chinese army officer issue in the 19th century. It looks somewhat like a Western pirate cutlass, except that it lacks a basket hilt, and is longer than the usual cutlass; cutlasses are optimized to avoid hitting the woodwork when used in close quarters. Ox Tail Saber (Niu Wei Dao): This is often called a "Kung Fu Broadsword". The blade has a pronounced curve, widening towards the end then tapering to a point at the tip. This style was commonly used during the Boxer Rebellion. The greater width towards the tip makes it particularly tip-heavy, giving it a lot of momentum and thus making it easier to deliver strong blows.. Wu Shu artists favor a version of this sword made of metal so thin it makes a twanging sound on a strong forward thrust.

The descriptions of the Dao types borrows from the information on Raven Studios' web site (15). That is where I purchased my saber. 191

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The word “dao” in the names above is normally translated as “knife.” There is apparently no verbal distinction in Mandarin between “knife” and “saber.” The move names below were originally in characters, and in the translation, the word “knife” is traditionally used. I’ve used “sword.” That the Chinese don’t verbally differentiate between a knife and a sword doesn’t mean we have to do likewise.

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In general, the saber is said to have the connotation of being a weapon of the “common people.” The jian, in contrast, is considered a weapon of the aristocracy. This must be taken with a grain of salt, however. The two-handed saber certainly fits the “common people” designation, and likely the Ox Tail style in general. However, any visitor to the Ming Dynasty tombs outside of Beijing will see a display case holding the emperor’s sword, which is a Willow Leaf saber.

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Emperor’s sabers aside, it is true that the saber form tends towards flashy power moves; it is replete with broad, sweeping strokes with the Dao circling around your back. Also, the move names lack the literary and cultural connotations of the Jian form names; compare “Lift Sword” to “Carp Jumps Over the Dragon Gate.” Nevertheless, the saber clearly can be as sophisticated in its use of Tai Chi Chuan principles as any other form; your sophistication in your own alignment and internal force is, of course, the issue.

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The moves in which the Dao is swung behind the back may appear to be merely part of that flash. They do have practical purposes, however. I was taught was that moving the sword behind your back like that was a defense against a strike to the back. I personally doubt that; if those moves were blocks, I would expect that you would stop partway through, somehow bracing against a blow. That never happens. It seems to be to be an awkward position from which to exert blocking force, too; banging the trailing edge of the blade into your back? Better than being sliced, I guess, but still.

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I suspect that one real reason is that they are a way to strike close to your body. When the sword is swung from behind your back over your left shoulder, it cuts much closer than it would at arms' length. I was thinking of a cutlass, whose short length is designed for use in close quarters on a ship, when this came to mind. But when I mentioned it to Kade Green, he pointed a far more likely case: A shoulder-toshoulder formation on a battlefield, with people on your side to your right and left. The seemingly useless flash of around-the-back, over-the-shoulder strikes would then have the great virtue of being somewhat less likely to slice your own buddies.

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So let the aristocrats fight one-on-one, alone on a large field, where distant strikes win the day by delicately nicking an artery. These techniques are for close-in team fighting.

Chi Gong

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These are various things made up by Kade. They repeat moves in the form, or warm-ups in sword, so I won’t give descriptions.

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1. 2. 3. 4.

Spine Flexing (like Jian) Edge Figure Eights (like Jian) Fair Lady (repeated Fair Lady Works the Shuttles of this form, done to both sides) Slice and Dice (repeat this form's Lift Sword & Slice Down Sword stepping forward multiple times, then do it stepping back; repeat the pair) 5. Heisman – a name given to the final position of Turn Around Hidden Sword, which is reminiscent of the pose struck in the Heisman trophy of college football. This is balance practice. 6. Peter Pan – a name given to the final position of Center Lift. This is balance practice. 192

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Move List

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Here is the list of moves. The ones marked with an asterisk (*) were labeled “Tom took out” in the handwritten list of move names I was given; see the move descriptions.

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37.

Beginning Step Forward to Seven Stars Left Turn to Seven Stars White Crane Spreads Its Wings Turn Around Hidden Sword Slanting Push Sword Left Lift Right Lift Straight Forward Push Sword Fair Lady Works the Shuttles Center Lift Middle Pull Step Forward Slanting Push Sword Turn Around Over The Head Hidden Sword Left Slice Up Right Slice Down Step Forward Straight Push Sword Turn Around Over the Head Hidden Sword Lift Sword Slice Down Sword Lift Sword Double Kick Jump Step Hit the Tiger Form Over the Head Sword Single Heel Kick Slanting Over the Head Hidden Sword Step Forward Push Sword Turn Around Over the Head Sword Push Boat with the Current Swing Around Hidden Sword Step Forward Lift Sword Slice Down Sword Lift Sword * Jumping Step Hit Sword Use Strength to Axe Mountain Embrace Sword, Stab and Kick * Flip Over, Change Step and Kick Conclusion

Move Descriptions

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1. Beginning a) Begin in a narrow stance. Hold the saber in the left hand, pointing up, leaning its back side against the crook of your left arm. Your left hand should hold the hilt, palm forwards, with the guard 193

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hanging against the top edge of the palm. Positioning the guard there may result in your holding the handle quite low, even over the butt. b) Pull down into your left foot (without moving your feet), bringing all weight into your left foot.  Sink your body down slightly.  Raise both arms in front of you until your hands are level with your lower chest, spread slightly less wide than your shoulder joints. Your elbows should be slightly pointing out to the side.  Rotate your forearms until your palms face towards your body.

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2. Step Forward to Seven Stars a) Begin circling your arms out and down (as in Yang Short Form move of the same name), continuing through the next few elements, as noted below. b) Slightly after beginning with your arms, bring your right foot straight forward, placing it down to the right of your left foot, its heel just past the toe of the other foot. c) Pull forward into your right foot, being careful to get your weight centered on that foot.  Sink down somewhat, several inches, into your right foot.  Continue circling your arms around, out and down, keeping sword cradled along inside of left forearm, turning edge slightly back so flat is against lower part of left bicep. d) Raise left leg in a straight-leg “separate feet” kick. (Leg not completely straight, of course.)  Circle your arms up in front of your chest, crossing at the wrist at upper chest height, ending with right hand in front of left hand. This arm position is that of the short form Step Up to Seven Stars, but no fists; your hands are flat, palm facing in.  Rise up to normal height as you make the kick.

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3. a) b) c)

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4. White Crane Spreads Its Wings a) Lower right foot and plant it down behind and to the right. b) Pull weight into the right foot, and twist body strongly to the right, ending up facing right (forward).  Pull left foot in towards right foot.  Bring hands down to waist level, right wrist going under the left (and the sword hilt) and around it, until it’s closer to the body than the left hand. c) Twist strongly to the left, until facing straight left (West).  Raise right hand in front of body to the White Crane ending position.  Swing left arm out from body about 6 inches and around to left, as if blocking a punch with the sword-reinforced forearm; end up “straight” down on the left side of the body, with sword end resting against outside of your left shoulder. (“Straight” meaning as straight as anything is in Tai Chi Chuan.)

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5. Turn Around Hidden Sword a) Spin right on ball of right foot, swinging left foot around behind; twisting at hip, turn left foot in.  Swing left hand with sword hilt up and towards center of body,

Left Turn to Seven Stars Pivot on right hip 90 degrees left, spinning on your right toe to face West. Touch left foot down, not too far forward; keep weight in right foot. Bring weight to ball of right foot and twist to the left, so right foot is now also pointing to the left, and hips and body are similarly facing left. d) Step forward with left foot, while swinging arms out and down as in prior move. e) Pull forward into left foot, doing the same motion as in the prior move but ending standing on the left foot, lift-kicking with right foot. Arm motion is the same as the prior move.

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6. Slanting Push Sword a) Keeping the sword low, still on one foot, move it to the left to point West, then a little further to go slightly right and around until the edge points up. Lead with the edge throughout, including the turn down and around. b) Raise the sword, edge up, out and up until it Is nearly vertical; at the end, twist it left so edge is pointing West, and back is towards your face. Hand should be at a level of your upper chest.  Sink down slightly on the left foot  Step out with right foot, placing it down pointing Northwest.  Bring left hand in so its palm is touching the back of the sword near the hilt. Place bottom of palm against sword, making sure your thumb is above (to the right of) the back of the sword. c) Turn left slightly.  Swing sword down to the right, edge pointing left (down) until it is pointing down at a 45 degree angle.  Slide palm down the sword to just before the false edge. d) Pull into the right foot, turning to the right and pivoting your left foot to the right into a bow stance facing Northwest.  Push the sword forward at a 45 degree angle point down to the left, right arm straight out from right shoulder. Push primarily with the left hand.

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7. Left Lift This and the start of the next move are similar to the Sword (Jian) Form’s Swallow Beats the Water. a) Pivot to the right on the right hip, keeping weight in your right foot.  Use that right pivot to pull your left foot forward, planting it down in position for a left bow stance facing West.  Extend your left hand to point west.  Turn the sword to face edge up, and swing it up to the right and back down; going down, edge faces down. b) Pull into your left foot, turning to face West, into a left bow stance.  Continue swinging the sword down and then slice up to the West until sword is horizontal.

Bring right hand up to grasp hilt. You grasp the sword with the right hand when turned completely to face the opposite of the starting position, hence “hidden.” b) Shift weight to left foot, continuing to spin but now on ball of left foot, until a complete 360 degree turn is done, ending up in a cat stance with weight on left foot.  Swing the sword around and down, ending up pointing down in front of right foot,  Swing left hand out to the left to counterbalance.  The first two motions of this move should end up with your retreating backwards, toward the East. c) Balancing on left foot, twist on left hip to the right until facing Northwest.  Turn sword so over so its edge faces up, and swing sword circularly up to the right (counterclockwise); also bring left hand in to center of chest, palm facing out. d) Twist back to left on left hip, ending up facing Southwest; use that motion to raise right knee up high, until thigh parallel to the ground.  Push right hand out straight from shoulder (not completely straight-arm, of course), palm out,  Swing sword forward, around, and back down until it is in front of the left leg. Making a wide open-mouthed screaming face at the end is optional. It feels appropriate, however; this looks like the stance of a Balinese Hindu warrior-god statue. Or the Heisman trophy.

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As you bring the sword up, bring your left hand in to meet your right arm with your left palm and fingers; slide the palm up your forearm to near the wrist at the full extension of the stroke up.

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8. Right Lift a) Pull back into your rear (right) foot, into a rear-weighted bow stance.  Swing the sword up to the left.  Pivot to the left, and as your weight goes to the rear, pivot your left foot to the left to point Southwest. b) Pull into your left foot.  Pivot left on your left hip, to face South.  Use the pivot to pull your right foot forward, into a right bow stance position.  Continue swinging the sword around and down to the left, maintaining contact with your left hand to your right wrist. c) Pull forward into your right foot.  Pivot on your right hip to face West, into a front-weighted right bow stance.  Pull the sword up to the right, hilt leading; this is an uppercut with the sword hilt. Right arm should end up straight out from right shoulder, with sword down at a 45 degree angle left, blade facing West.  Use your left hand on your right wrist to add power pushing the sword up to its final position.

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The final swing upward can also be an upward slice with the blade, not a hilt blow, but I find that to be weak with an unnatural position of the right wrist.

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9. Straight Forward Push Sword a) Bring right foot forward until it is next to the left foot; this is approximately a bamboo step.  Swing sword up around to the right and slice straight down to the West, just to the right of the right leg.  Left palm stays at right wrist, adding power to the down stroke. b) Step back with left leg into a bow stance (again). Keep sword down, left palm against right wrist. c) Pull into the left leg, pivoting on the left hip to face directly South, placing all weight in left leg and bringing right leg back so right foot is next to left foot, pointing south.  Twist the sword so its edge is up, and swing it up, back, and down to roughly horizontal. Keep left hand at right wrist. d) Turning right leg at the hip, turn the right foot out to the right, pointing Northwest.  Slide left hand down on sword, placing palm on the back edge as in Slanting Push Sword. e) Pull into the right foot, pivoting on the right hip to swing the left leg forward (as in pull back pivot turn left). When doing this, do not swing the left foot too far outward; you want to step straight into a left bow stance.  Begin swinging the sword down and forward, pushing with the left hand, as in Slanting Push Sword. f) Pull into the left foot into a forward-weighted left bow stance.  Complete the sword swing down and forward. End with sword in the same position as Slanting Push Sword, but facing directly West, and in a left bow stance, not a right bow stance.

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10. Fair Lady Works the Shuttles Nobody can figure out why this name is used for this move. a) Pull weight completely into left foot, sinking down, and stretch your right foot out behind you into a horse stance – meaning, your heels should be in a straight line East-to-West, moving heel straight 196

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back (like usual 135 degree turn). The stance should be deep; the deeper the better. This is very much like the opening of Snake Creeps Down in the Yang Short Form. b) Pull weight across into the right foot, pivoting that foot right to point Northeast; at the end, pivot left foot on heel towards the right.  Sweep sword across and down to point Northeast, in line with right foot. This should be a low sweep. The overall concept is that you are ducking down and swinging underneath an attack.  Spread left arm out to the left to maintain balance. c) Pivot your left foot left to point it Northwest.  Pull your weight back into left foot, twisting left to face Northwest; at the end, pivot right foot on heel towards the North.  Swing arm up and left, over your head, sword vertical pointing down. Bring sword very close to back while doing this, very nearly scraping the back of the sword across your back from left shoulder blade to right.  Move left hand to chest, hand pointing up (getting it out of the way). d) Pivot your right foot right to point it Northeast.  Pull weight back into right foot; again, at the end, pivot left foot on heel towards the right.  Sweep sword around the front of your body and down to the left, ending again pointing Northeast, in line with the right foot.  Sweep left arm out to the left to maintain balance.

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11. Center Lift a) Pull weight completely into right foot, leaving left arm out to left to maintain balance. Face Northeast. (Northeast is where your right foot should be pointing. If your right foot is pointing somewhere else, face whatever direction it is pointing (and fix it, point it northeast, in your next practice of this move). If you have to pivot your foot to support yourself in the direction you're facing, you're facing the wrong way.)  Turn slightly further right, using this to turn the sword circularly, edge to the left, then down, then up; at the end, bend your wrist so the sword point is slanting up a bit.  When learning this, for balance, also bring left leg in next to the right one; ultimately the left leg does not pause on its way to the position described in the next step. b) Balancing in the right foot, rise up on it, raising the left leg up until thigh is parallel to the ground.  Stab upward with the sword (still with edge pointing up / back towards you), pointing the sword up at a 45 degree angle away from your body. Sword should be cenetered on your body, coming up in the middle of your chest; this is why it’s called “center” lift.  Spread right arm out to the left for balance.

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12. Middle Pull a) Step back and behind with left heel, straight back in line with right foot (which is pointing Northeast).  Turn the sword (which is still almost vertical) back to a “normal” position with its edge aimed outwards/downwards. b) Pull weight into left foot, pivoting foot to point West; at the end, pivot right foot on heel to point Northwest, ending up facing West in a bow stance.  Pivot body on left hip to face directly west, going into front-weighted bow stance.  Move left arm out so hand is just below waist level, palm down, pointing roughly West (centered on body when end up in horse stance). 197

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13. Step Forward Slanting Push Sword Exactly like Straight Forward Push Sword, but instead of making the final steps heading straight West, instead head Northwest.

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14. Turn Around Over The Head Hidden Sword a) Pull back into rear foot, and pivot left foot on heel to right, ending up pointing East. (This is like the beginning of Single Whip, but in the other direction).  Raise sword up and over left shoulder to behind back, edge pointint out.  Pull left hand in to front of chest, palm flat, fingers pointing up. b) Pull weight into front foot, pivoting body on left hip to face East.  Bringing right arm over head, sweep sword around to the right, cutting horizontally right to left at waist level. As you reach the center, turn sword over so back edge is leading. Continue around, wrapping right arm around body, until you stab backwards under your left shoulder. c) Slide right foot in to cat stance, keeping weight on left foot.  Sweep sword around to right, cutting horizontally, ending slightly to the right of West (ESE).  Spread left hand out from chest to the right, palm out. d) Move right foot out into position for a right bow stance.  Swing sword up to the left, over left shoulder.  Pull left hand in to front of chest, palm flat, fingers pointing up. e) Pull forward into the right leg, into a front-weighted right bow stance.  Slice down from over left shoulder to the right, ending up with sword parallel to the ground and just outside right leg, about knee height.  Push left arm out perpendicular to shoulder, palm facing forward, as in Brush Knee Push.

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15. Left Slice Up a) Pull into left (rear) foot  Raise right foot, keeping heel on ground, and pivot it slightly to the right.

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Swing sword down and up towards the West, until the bottom of the hilt hits the left hand. Leave the sword hanging down at a 45-degree angle. Pull weight into rear (right) foot. Push down with your left hand on the hilt, snapping the sword up to nearly horizontal. The motion of your body will pull the sword back. Keep the edge up. (This is a strike up between the legs.) Twist the sword clockwise so the edge is pointing left. Move left hand back slightly, placing fingers on top of right wrist. Pivot left on right hip, using this pivot to slice left horizontally with the sword. End up facing South. Use pivot on right hip to also pivot left foot on heel, turning it to the left. Pull forward into left foot. (Stay facing SW.) Use that pulling forward to swing the right foot forward into position for a bow stance. (Stay facing Southwest.) Turn the sword counterclockwise 180 degrees, so edge points forward. As soon as the sword is turned sufficiently, slide the right hand out onto the sword, placing the palm on the blunt edge, shoulder-width out from right hand on hilt. Pull into the right foot into a front-weighted bow stance. Pivot to the right into a West-facing bow stance. Push sword forward with both hands, keeping it completely horizontal, level with lower edge of sternum.

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16. Right Slice Down a) Pull back into rear foot.  Retaining a two-handed grip, use that pull to rotate the sword up and to the back, hands going over your head, until the sword is almost horizontal pointing backwards. Do not twist the sword to slice; “lead” with the flat of the blade. Towards the end of that motion, rotate the blade slightly to your left (hilt rotates to the left), making a small circular windup for the next motion. b) Pull weight fully into the front foot.  Use that pull to begin slicing to the left, slightly downwards. At the end of the pull the sword should be pointed forwards. Retain the two-handed grip. c) Move your rear (right) foot out and back to the right, roughly the same position as if beginning the Slant Fly move of the Short Form. d) Pivot right foot out to the right, again as in Slant Fly. The movement of the sword described as part of the next element (e) should actually overlap with the prior to elements. e) Pull into the right foot, pivoting your body to the right (as in Slant Fly).  Use this movement and pull to slice down diagonally to the right, ending up pointing the sword a bit to the left of your right foot, at a point a foot or so in front of your right foot.  As you start the sword slice, remove the left hand from the sword and place it at the center of your chest. As you end the sword slice, extend the left hand out and down to the left (as in Slant Fly), to balance.

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17. Step Forward Straight Push Sword Repeat of Straight Forward Push Sword, but heading East instead of West.

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18. Turn Around Over the Head Hidden Sword Almost exactly like the prior move of the same name. Like that move, it is mostly done facing 135 degrees to the right of the starting direction, i.e., Southwest. However, the final right foot move into a horse stance pivots more to the right, so you end up facing directly West.

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19. Lift Sword a) Step forward with left foot into a left cat stance, pivoting on right hip.  Lower your hand slightly, pivoting the sword up slightly.

Pivot on left hip to face Southeast. Twisting sword counterclockwise so edge is up, slice upwards, raising right hand up to nearly the top of your head, sword pointing up at a slight angle (20 degrees or so).  Keeping left arm extended, raise it to the same level as the right hand, pointing East. b) Pull into right foot, lowering it to the ground.  Leaving the sword in place (high), use the pull to pivot right on your right hip, turning to face nearly South.  Use the pull to swing left foot forward to NE, into position for a NE-facing left bow stance. c) Pull into left foot, into a NE-facing front-weighted bow stance.  At end of motion pivot right foot on heel into correct bow stance position.  Twist sword clockwise so edge faces right, and slice around left to point NE.  Bring right hand around to the left so it grasps left hand on sword hilt. The sword should remain quite high during the final slice to the left. Hands remain near top of head, and sword slants up at a moderate angle (

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References