Tai Chi / Taijiquan

Tai Chi: What moving from the dantien actually means

/ Tai Chi Notebook / 4 Comments
white ferris wheel under cloudy sky

“Stand like a perfectly balanced scale 
move like a turning wheel.” Photo by Paweu0142 L. on Pexels.com

Uber-malcontent Oliver Gerets, is back in my comments section, this time complaining that my “statements are still oversimplified and misleading.” Which I think probably just means that he hasn’t bothered to read much of my blog before, as everything I said in the post he’s referring to on whole-body movement is pretty well explained in previous posts, if you want to look for it.

His issue is that I said the following were the 3 movement principles of Tai Chi, without further explanation:

1) moving from the dantien

2) power up from the ground (jin) – rooted in the feet, expressed by the fingers.

3) coiling and spiraling actions from the dantien out to the extremities and back.

He’s right – I did exactly that and moved on because I didn’t want to get sidetracked on them and get onto the main point I was discussing.  You see, I’ve gone over those points before, but we might as well use this as a springboard to discuss these ideas again and un-simplify everything. Just like Al Pacino in the Godfather – just when I thought I’d got out, but he pulled me right back in.

Let’s deal with Oliver’s first complaint.

“1. There is no generally accepted definition what the dantien is amongst Taijiquan practitioners. Not even in Chen style. “Moving from the dantien” is a hollow phrase with very little practical meaning.”

I don’t know what he means with the “not even in Chen style” comment, so let’s ignore that.

I’d agree that there are no accepted definitions of anything amongst Taijiquan practitioners of what the dantien is, but there are no accepted definitions of anything amongst the practitioners. They’re a strange bunch of people ranging from weekend dabblers to full-on fanatics who have very differing views on everything under the sun, but the people at the top of the family trees tend to disagree much less. They all know what they mean.

I also think most Tai Chi people do know what the dantien is. For clarity, let me add my own definition:

The dantien I’m referring to is simply the lower abdomen area of the body. It encompasses the front, sides and back of the body. It’s a general area, rather than a specific point. When I’m talking about “moving from the dantien” I’m talking about movement originating in this area of the body. You could call this area the waist, if you like, so long as you understand that it’s not a line, like a waistline is. 

out of order text on persons belly

I’ve got no idea why she’s written “out of order”, but there’s a photo of the dantien area for you. Photo by Kat Jayne on Pexels.com

I’m not sure what more explanation I can give of that – it’s fairly simple.

The how of the matter is not so simple. Anybody can move that area of their body without any connection to the rest of their body – the limbs and head, for example. Dancers do it all the time. What’s hard is making it connect to everything else.

In Tai Chi you need a tangible connection between the dantien area and the extremities so that once you move the dantien area, the extremities are also moved as a consequence. This connection is formed by what the Chinese called the muscle/tendon channels in antiquity. These then formed the basis of the meridian system over time.

Mammals usually have muscle/tendon channels on the front and back of the body.  Yin channels on the front and yang channels on the back. They consist of muscle, tendon, ligaments, fascia and skin and can be affected by abdominal breathing (which is also centered on the dantien area).

If you can hold the body in a neutral position (the classic Zhan Zhuang posture “hold the ball” is good for this) then you can keep an equal tension on the front and back muscle-tendon channels. You can then use your breath to create a small pull on these channels when you breathe in and out. The connection starts off as very weak, but grows stronger over time.

So, Zhan Zhuang, Tao Yin and Qigong exercises strengthen this connection over time. Eventually, the connections get strong enough that you can affect the movement of the limbs with small changes in the dantien area, like rotating it left and right, or up and down, all in coordination with the breathing.

tiger stretching over brown trunk during daytime

A Tiger showing a stretch along the yin channels on the belly and a corresponding contraction on the yang channels along the back. Photo by Flickr on Pexels.com

In Taijiquan, (which deals with humans standing upright, not tigers), the dantien, legs and feet must form a connection and drive the power of the rest of the body:

From the Tai Chi classics:

“The feet, legs, and waist should act together
as an integrated whole,
so that while advancing or withdrawing
one can grasp the opportunity of favorable timing
and advantageous position.”

“The principle of adjusting the legs and waist
applies for moving in all directions;
upward or downward,
advancing or withdrawing,
left or right.”

Movement originating in the dantien, therefore, becomes a real, physical phenomina, rather than an abstract idea.

This is what I mean, Oliver.

The best exercise I’ve seen to help you develop this skill is a single-arm wave from Chen style silk reeling. In my original post I linked to a video showing the basic single arm wave. I’ll link to it again here.

In future posts I’ll address Oliver’s next 2 complaints.

 

 

Is there really only one style of Tai Chi?

/ Tai Chi Notebook / 5 Comments

Time to address some more comments generated by my Whole body movement post. Oliver Gerets writes:

“The body can move/coordinate in an almost unlimited number of ways. These kind of oversimplified comparisons are useless and misleading. There is no general/right way of “whole body movement” in Taijiquan. Every school/lineage is at least slightly different. “

This is an interesting point. Are all the different styles of Tai Chi actually different martial art styles, or are they all one? The generally accepted wisdom on the matter (Chinese government-backed) is that (in theory) there is only one style of Tai Chi. But when you get on the ground, in amongst the weeds, then it’s really hard to see how somebody doing Sun style Tai Chi is doing the same thing as somebody doing Chen style, and how either of them are doing the same thing as somebody doing Yang style. Sure, if you follow the sequence of their long forms, they follow roughly the same order, but the stances are all different and the type of body movement looks different. They might have had the same starting point, but over the years, they seem to have diverged significantly.

Or have they? Let’s return again to the three principles I listed as the essence of Tai Chi whole body movement in my last post.

1) moving from the dantien
2) power up from the ground (jin) – rooted in the feet, expressed by the fingers.
3) coiling and spiraling actions from the dantien out to the extremities and back.

You can argue that these 3 things are happening in all Tai Chi styles. 

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Sun style.

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Yang style

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Chen style

 

But, the hard truth is that number 1 is not always observed in most practitioners, and number 3, is most often dropped entirely in the styles that don’t start with a letter C in their name.

Is that a bad thing? It’s point 2 that is the most important. Point 2 can be done without point 1 and 3 and you still have a functional martial art. Point 2 is also the thing I see that ties together all the “internal” arts in the most obvious way – Bagua, XingYi and Tai Chi Chuan.

We only have so many hours to train a week. I think you could make an argument that if you want to get anywhere in Tai Chi, then you’re better off spending most of your time working on point 2 anyway.

If you add in points 1 and 3 then you get even better movement. It’s a different type of movement. I think it’s worth investing time in learning points 1 and 3 as well, but make no mistake – it’s a significant investment of time. A good place to start is a simple single arm-waving silk reeling exercise:

Oliver’s final point is:

“There is no sense in moving like a cheetah, only if you want to run in a similar way. Which is not useful as a human being.”

It’s peculiar that he’s written this in a Facebook group (Ancestral Movement) which seems to enjoy looking at the way animals move and what we can learn from them. As mammals, our bodies really aren’t that different. Generally, we all have a spine, 4 limbs and a head.

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I’m not suggesting that we should pretend to be a horse or a cheetah, but the principles of movement in mammals are shared amongst all species. Even us.

Here’s a review of an Ancestral Movement seminar, if you want to find out more about it.

Tai Chi: One part moves, all parts move

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Photo by Snapwire on Pexels.com

I’ve been thinking of the way to describe what ‘whole body movement’ means in Tai Chi. The problem is describing a specific feeling, or body movement using words, which leaves the meaning open to interpretation and misunderstanding.

In Yang Cheng-Fu’s Ten Important Points, No. 7 says:

“7.) Coordinate the upper and lower parts of the body. The T’ai Chi Ch’uan Classics say “the motion should be rooted in the feet, released through the legs, controlled by the waist and manifested through the fingers.” Everything acts simultaneously. When the hand, waist and foot move together, the eyes follow. If one part doesn’t follow, the whole body is disordered.”

This is an expanded version of the more condensed and often heard phrase: “One part moves, all parts move”. But it’s also misleading.

If you take the line “Everything acts simultaneously” at its literal meaning you don’t have Tai Chi movement. You have robot dancing.

Now don’t get me wrong. I like robot dancing as much as the next Peter Crouch fan, but it’s not Tai Chi. When you see a performer doing the robot dance she often swivels the waist sideways, or dips the hip with the arm locked to the body. With the dip the whole torso and arms all move downwards together, simultaneously. Something like this:

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It’s fairly obvious that this is not what is meant by Yang Cheng Fu when he says to move the body parts simultaneously, and yet I do see people falling into this trap quite often. They obviously had no intention to set out moving like a robot, but when the brain gets the idea that the body must move as a unit, the resultant expression can often end up far from the mark.

Instead, the way the body moves in Tai Chi should be more like ripples emanating from a stone dropped in a lake. The central point is the dantien. The waves begin there and ripple out to the extremities (feet, head and hands).

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When you move, the dantien moves first, and the rest of the body follows in a coordinated action, almost as if dragged by the dantien. It is loose, connected, relaxed and powerful, rather than stiff, jerky and ’empty’.

The parts of the body don’t all move together at exactly the same time, otherwise you’ll end up like a robot. Instead, you want to be more like the way an animal moves. Animals demonstrate some of the best, most graceful, full-body, co-ordinated movement you’ll ever see.

The Cheetah is the classic one that’s used to illustrate open and close in the body, but also the directed head position. Just look at how the head helps with the coordination when running here:

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While we run with a torso held in the vertical plane and the Cheetah runs with the torso in the horizontal plane, the head position remains key.

Point 1 of Yang Cheng-Fu’s 10 Important Points is:

1.) Head is held upright to let the shen rise to the top. Don’t use li, or the neck will be stiff and the chi and blood cannot flow through. It is necessary to have a natural and lively feeling. If the spirit cannot reach the headtop, it cannot raise.

In the Cheetah, the engine is the dantien area. The torso does big opening and closing movements as it sprints and the head points the way, keeping the spine flexible, but extended.

Be less robot, be more Cheetah.

Tai Chi’s Rollback: A deep dive

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photo of night sky

Photo by faaiq ackmerd on Pexels.com

Split, like Rollback, is one of Tai Chi’s 8 energies. It’s also one of the most commonly found of the 8 energies in the Tai Chi form. Almost every technique you see in Tai Chi Chuan (Taijiquan) uses Split energy to a greater or lesser degree.

I’ve seen Split described as spiral energy, a takedown or a breaking force. But all of those things miss the point – they describe its effects, not what it really is.

Split is really the energy of two things moving in opposite directions. If you move two things in a circle in opposite directions you create a spiral. When you do applications on somebody with spiral actions the result is usually a takedown. And you can’t break any joint without directing force in two different directions. For example, if you kick somebody’s leg it’s unlikely to break unless that leg is locked against something that doesn’t move, like say, the ground.

This brings us on to how Split is applied in Tai Chi Chuan.

In Tai Chi you want your hands to be clearly differentiated from each other. One hand needs to be active, the other passive. One empty, and the other solid. One Yin, one Yang. If you don’t do this then you enter a state known as being double weighted. As it says in the classics:

Sinking to one side allows movement to flow;
being double-weighted is sluggish.

Anyone who has spent years of practice and still cannot neutralize,
and is always controlled by his opponent,
has not apprehended the fault of double-weightedness.

To avoid the fault of double-weightedness, which hand is the yin one and which is the yang one must change continually and ceaselessly as you go through the movements of the Tai Chi form. Tai Chi Chuan should always be in a state of change, just like the Tai Chi symbol itself is.

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Image by Pixabay.

 

If it’s not in a state of change then it’s stuck. Calling something double-weighted is another way of saying that it’s stuck.

Split is usually applied along with another of the 8 energies. One example I wanted to look at today is Rollback. Rollback, or Lu energy, is the most yin of all Tai Chi’s 8 energies. It’s almost the absence of energy. When being confronted with active Yang energy, Lu is the energy of retreating or yielding. Its movement is usually inwards.

The technique called Rollback in the Tai Chi form gets its name from Lu energy, but also mixes in a bit of Split energy.

If you look at this picture of Yang Cheng Fu doing Rollback you can see the differentiation in his hands.

ycf_roll_back

This left hand is withdrawing and pulling, but his right hand is pressing downwards.

In the action of Rollback your left-hand starts off as the active one with a guiding pull on the attacker’s wrist, but the right one then takes over as the active hand with a strong pressing down action onto the attacker’s elbow area.

I found a really old video of me doing rollback in push hands, so you can see what I mean:

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At the start of the motion my left hand is the active one, then the right hand takes over with the pressing down movement.

Throughout the whole Tai Chi form, you should be aware of this interplay of energy between not just the palms but the other parts of the body too. If you can notice it in the palms, with one hand being the active one and the other the passive one, and then exchanging positions, you can start to notice it in the feet, the legs and so on.

Once you can do this over the whole body then you can distinguish yin and yang throughout your form and you will no longer be at the risk of exhibiting double weighting.

 

 

Shen, Xin, cats and the Tai Chi classics

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brown tabby cat

Photo by Immortal shots on Pexels.com

In this post I’m continuing with my current theme of the mind and Tai Chi Chuan.

Animals don’t “think” like we do most of the time. I bet you could argue that the species known for problem-solving like crows, chimpanzees, dolphins and dogs do their fair share of thinking, but in my previous post I was describing a state where you are doing Tai Chi without thinking. Just being.

You can see it in their eyes. Just look at that cat above. Cats are great examples of this, because they are around us often they’re easy to observe, but if you can observe animals in the wild you’ll see that they are in this state most, if not all, of the time.

There are various references to cats in the Tai Chi classics.

“The Form is like that of a falcon about to seize a rabbit,
and the shen is like that of a cat about to catch a rat.”

Shen, we can loosely translate as spirit, but if you just substituted the words “inner state” there instead I think it would better equate to what the author was trying to convey, but he or she did did say Shen for a reason, as we shall see.

The word “Spirit” in English is tied up with all sorts of (organised) religious connotations which get in the ways and are not helpful.

A better understanding of what is meant by Shen would perhaps be, ‘underlying spirit of nature’. The part of you that is connected to this underlying spirit of nature is known as the Xin in Chinese. If it’s aligned with nature your Xin can produce your Yi (intention), which in turn can produce the physical movement (Qi) which in turn produces action (Li) all working in harmony with nature. You and your environment are one, working and acting together.

There are various versions of this ‘working in harmony with nature’ sequence written about in old Chinese writings – the Xin harmonises with the Yi, the Yi harmonies with the Qi and the Qi harmonises with Li being the most common and also forming the 3 internal harmonies of the famous Lie He, the 6 harmonies with are written about in all sorts of Chinese martial arts.

My Xing Yi teacher, Damon Smith did a whole podcast episode about the word “spirit” and what it means in Asian traditions connected to shamanism, which I find helpful in understanding. I would listen to the whole thing, but around the 8-minute mark he talks about this sequence and how Shamans use it to act in harmony with nature in their own lives or when practicing shamanism:

 

Cats and the Tai Chi classics

To me, the section of the classics that says “The Form is like that of a falcon about to seize a rabbit, and the shen is like that of a cat about to catch a rat”, alludes to the idea that on the outside the victory in combat may look overwhelming and great – like that of the falcon seizing a rabbit triumphantly, but on the inside, you need to be quiet and calm and in harmony with nature – the exact qualities you can see in a cat patiently stalking a rat.

Of course, the flacon is like that on the inside when catching a rabbit, but it’s not easy to see on the outside. Human-loving cats, however, are easier to observe.

A cat crops up somewhere else in the Tai Chi classics too:

“Walk like a cat.”

That doesn’t mean get down on all fours, it means to adopt the same mental qualities as mentioned earlier to your stepping. Don’t just rush in blindly or recklessly: be calm, patient and at one with your environment.

Remember, as it says in the classics:

“All movement is motivated by Yi and not by external form”.

But perhaps Bruce Lee said it best in Enter the Dragon:

“Don’t think! Feel!”

 

 

The upsidedown world of Tai Chi

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man performing handstand

Photo by Yogendra Singh on Pexels.com

I’d like to give a quick shout out to Cook Ding’s Kitchen who reposted one of my blog posts “Don’t Try“, which gave me the chance to read it again. It was about using less effort and not forcing things. Difficult words to live up to.

This started me thinking about one of the things that can help in using less effort in Tai Chi. A good trick is to turn our normal perspective on the human body upside down. We normally think of doing things with our arms and hands and don’t think much about the legs at all. In Tai Chi we want to reverse that.

If we watch a boxing match, for example, we tend to look at what’s going on with the hands a lot, since that’s where all the action is, and generally miss the subtle changes of the legs.

low angle photo of two men fighting in boxing ring

Photo by Sides Imagery on Pexels.com

Tai Chi is boxing with the legs: You use your legs like arms, and your arms like legs. When you’re doing the Tai Chi form, stop using your arms to ‘do’ things and put all your focus into using your legs to do it. It’s a bit like walking on your hands: your arms and legs swap their normal functions over.

When doing the form or applications, your toes grip the ground, your weight moves fully forward or backward on the feet (no wishy-washy stances floating about in the middle ground, please), you are sunk and slightly low in your stance so you can get fully into your legs. In contrast, the upper body should be empty. Relax. Let the arms go where they need to go, but don’t move them there deliberately. Let your legs, directed by your middle, do the work. Think them into position with a directed focus (yi).

The Press posture is a good example of what I’m talking about:

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Yang Cheng Fu – Press

You put your inside hand on the outside arm wrist and push towards the opponent in a linear direction. Because you’re forming a particular shape with your hands in Press, it’s tempting to do this move with your arms cut off from the body. Instead, the power needs to come from the ground via the legs. Drop down and release from the dantien area to the ground and let the power of the ground rise up to the hands. Done right, you’re hitting the opponent with the force of the planet (jin), not just the force of your body.

As it says in the classics:

“The jin should be
rooted in the feet,
generated from the legs,
controlled by the waist, and
manifested through the fingers.”

and

“The whole body should be threaded together
through every joint
without the slightest break.”

and

“All movements are motivated by yi,
not external form.”

 

 

 

 

Staying rounded in Taijiquan

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My Xing Yi teacher invented the word “chalicity” as an English equivalent of the Mongol phrase “Bak Tam Stay Saub”, which means (very roughly) “a bit like a capacious container”. So, chalicity means, “a bit like a chalice.”

A chalice, or a cup, is a rounded structure designed to contain a fluid with no leaks, and has parallels for both the mental aspect and physical aspect of a posture in the internal arts.

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Photo by Jametlene Reskp on Unsplash

In the context of his shamanism practice, chalicity is more about the mental parallel – the space inside the cup reflecting the space inside a mind that is empty of thought.

However, in the context of Taijiquan and martial arts, you can think of ‘chalice-like’ as the physical structure of the body creating the space necessary to contain “Peng” energy, that is, the ground force used in internal arts expressed through a rounded structure.

Think of Peng energy as being the fluid inside the cup and your body as being the structure of the cup. Or you can think of it as the air inside a rubber ball. If you keep your body rounded, it holds the Peng energy nicely. If you don’t, it leaks out.

The posture requirements of Taijiquan

All the posture requirements of Taijiquan create a rounded structure for the body. Here are some:

1. Head suspended from above

2. Elbows drooped.

3. Chest sheltered / back lifted

4. Shoulders rounded.

5. Chi sunk to the dantien.

6. Kua rounded

7. Knees bent.

These requirements create the structure for your ‘chalice’ within which you can hold the Peng force.

These days all internal martial arts make use of Zhan Zhuang, “standing like a tree” standing postures, which the practitioner is required to hold for extended periods, work the same way. They all maintain this same Peng shape, with gently rounded limbs and upright spines.

adult and cub tiger on snowfield near bare trees

Photo by Pixabay on Pexels.com

Xing Yi Quan uses the San Ti Shi standing posture which has 6 requirements, two of which are bear shoulders and tiger embrace. Together these two requirements mean your torso and arms take up the same chalice-like posture. You maintain the Peng shape. It’s all the same idea.

Maintaining structure while moving.

Structure isn’t something that’s meant to be achieved only in a static posture. Part of what you’re training when you perform a Tai Chi form, for example, is the ability to keep this Peng shape as you move.

If you keep the requirements you can maintain Peng. If you break the requirements then your Peng force will leak out of your body, just as water would leak from a cup with a hole in.

So, if you start to drop your head or stiffen the neck, for example, or straighten your legs or raise your elbows, you lose the natural power of the body working together all powered from the ground, and you have to start muscling it to compensate in your techniques.

So, to work in internal arts, all the techniques need to be expressed within the framework of this structure, and some techniques in martial arts just aren’t suited to maintaining this Peng structure.

Take for example, a side kick.

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Photo by Jason Briscoe on Unsplash

There’s nothing wrong with a side kick, but you physically can’t keep the body ‘rounded’ while performing a side kick to the opponent’s chest because of the angle you need to open your hip to. Just look at the photo.

I think that’s one reason why you don’t often see the a side kick in most Tai Chi forms or in fact in Xing Yi or Bagua. The kicks you do see in the internal arts tend to not take the hip out of alignment with the rest of the body.

Does that mean you can never do a side kick again? Of course not, but generally, you need to keep your rounded structure at all times when practicing internal arts, that way you keep your Peng energy rounded and the true power of the internal martial arts can be expressed.

Tai Chi is open and close happening simultaneously

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Wu Jienquan not lean

Wu Jianquan

Tai Chi is opening and closing happening simultaneously.

That’s one of the secrets of Tai Chi, right there. Unfortunately, as with much of the truths about Tai Chi Chuan, the statement doesn’t make any sense unless you already know what it means.

As an art, much of Tai Chi is self secret like this. In one way that’s frustrating, but in another way it’s freeing because it means teachers don’t have to hold things back. The secrets reveal themselves over time.

Look at the Tai Chi Classics, for example. They’re a collection of pithy martial arts sayings that hide deeper meanings. “5 ounces of force deflects a thousand pounds“, “Walk like a cat.“, “Store up the jin like drawing a bow.”, etc.

Many of the sayings in these documents don’t mean anything to people reading them who don’t already understand them. So, there’s no risk in losing ‘the secrets of the art’ by publishing them, which is perhaps one reason why the Tai Chi classics are in wide circulation, while other martial styles keep their writings secret, held only within families.

Perceiving opening and closing

When you’re doing your form, can you perceive movements that are obvious opening movements, and movements that are obviously closing movements?

It’s good if you can. If you can’t then think about this – roll back (lu) is clearly a closing movement, and ward off (Peng) is obviously and opening movement. Look for the same actions in the other movements. On the opening movements, the body expands outwards. On the closing movements the body contracts inwards.

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Yang Cheng Fu – Roll back

But that’s not the end of the story.

If you’re perceiving the form like this – a series of opening and closing movements that happen one after the other, then you’re not quite on the right track.

The key is that the opening and closing are both happening all the time simultaneously. So, as one part of the body is closing whilst another part is opening.

Look at the yin yang symbol. If you follow it around in a circle with your eye you can see that as one aspect grows stronger, the other aspect diminishes, but is also being born again and growing. It goes on in an endless cycle.

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It’s these cycles you need to pay attention to in the form. It should feel like this cycle of opening and closing movements is going on with one movement giving birth to the next, rather than perceiving them two separate movements where one starts, then stops, then the other starts and stops. The movement is continuous. It goes out, it comes back, it goes out again.

Silk reeling circles

Let’s break this down into something more tangible.

A while ago I made a video course on the basic single handed silk reeling exercise. This exercise is great because it gives you a chance to work on opening and closing in a relatively simple movement.

Out of the whole course, part 1 is probably the most relevant video to explain what I mean:

Here’s what I’m doing in the video: I’m looking for a slight stretch across the front of my body and a slight stretch across the back of my body (the yin/yang aspects). As the arm goes out the front of the body gradually becomes more taught until there’s enough tension there that I can use it to pull the arm back in. As the arm comes back in, the back of the body becomes slightly more taught until there’s enough tension there to use it to expand the arm outwards. This is all integrated with reverse breathing which powers everything from the Dan Tien area. It’s a very stretchy, rubber band-like practice.

You can start with big, crude circles, but work down to smaller more subtle circles.

But ultimately you’re looking for the feeling of the cycle of yin and yang, opening and closing going on in the body.

It’s this feeling that you need to take into the Tai Chi form where opening and closing happening simultaneously through a myriad of different movements.

Tai Chi should be heavy, like a stone

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Move your hips! Photo by: Samuel Castro

One of the most frequent things you hear in BJJ is “move your hips“.

Brazilian teachers tend to say “escape your hips“. Which is an odd-sounding translation of presumably something that sounds better in Portuguese. In American and English it usually gets turned into “hip escape“, as in, “do a hip escape here“, “it’s not working because you need to hip escape more“.

 

We hip escape up and down the gym as a warm up (also known as “shrimping”) because it’s a fundamental movement you need to have in your tool box that you can pull out without having to think about it.

But why? What is it? Simply put: It’s designed to create more space between you and your opponent on the ground.

You can use hip escapes for escaping bad positions like side control and mount. But it also has benefits for attacks too. Basically a good rule of thumb is that if what you’re doing isn’t working try doing a hip escape and doing it again. The change of angle and leverage will probably fix it.

Now we know what a hip escape is, let’s get to the point of all this.

When we say “move your hips” that’s not the part of the body that you need to move from. If you just moved from your hips you’d never go anywhere.  You’d just spasm on the floor like a dying fly having its last buzz. What you actually need to do is push with your toes and feet on the ground so that your hips move.

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Your hips moving is the result of the action, not the action itself.

Which brings me onto Tai Chi Chuan and the dantien (the lower abdomen area of the body).

All wise and knowledgeable Internet-enabled Tai Chi practitioners know that we need to “move from the dantien” in Tai Chi Chuan. (This is the supposed secret to Tai Chi that you get told by your wise master only after you have paid the required tuition fees for a number of years. 🙂 )

 

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Cheng Man Ching, Single Whip posture.

But again, where does the action originate? I would say that, just as in JiuJitsu, you don’t actually “move from the dantien” by originating action there. Your dantien moves, but it’s your foot that provides the impetus. Your foot pushing against the ground is where the ‘power’ comes from in Tai Chi Chuan.

(A side note here for the Order of Advanced Tai Chi Wizards of the Internet: When you get this concept of the power from the ground you will find that you can actually originate the movement in the dantien as a kind of dropping force that is then rebounded from the ground, so it’s less of a push with the legs. File this under “advanced” if it makes no sense right now and come back to it later).

What Tai Chi Chuan specialises in is transmitting this power to the extremities without interfering with it as much as is humanly possible. We know that in Tai Chi we need to be relaxed (song), which seems like the last thing you’d want to be if you have to hit something hard, but there is a method in the madness.

In Tai Chi Chuan you are trying to transfer that power – the ground reaction force – from your foot all the way to your fingers as smoothly as possible and directing it with the dantien. This is called ‘threading a pearl through the 9 crooked gates‘ in the Tai Chi classics. The gates here are the joints of the body. All the breaks in connection between your foot and fingers are the points where power leaks out. Usually we cover these things up by using muscular strength to get by – you can spend years fooling yourself with this, and it’s a very hard habit to stop.

basecheng

Points of interest, where we generally mess this up, are the lower back (keep it open) and the shoulders (stop using them as a power source). The whole body should be Song.

‘Relaxed’ doesn’t mean light and floaty. It means heavy and rooted like a stone.

 

The concept of ‘flow’ in martial arts

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Tai Chi is infused with the concept of flow, but what does that actually mean? What does ‘flow’ mean in this context?

We are used to seeing Tai Chi practitioners in parks performing graceful, flowing movements. In fact, that’s what we expect to see whenever somebody mentions “Tai Chi”, but as usual, it’s what’s underneath the water that matters, not what we see on the surface.

The Tai Chi classics state:

“Chang Ch’uan [Long Boxing] is like a great river
rolling on unceasingly.”

This points to the continuous nature of Tai Chi boxing. Techniques don’t really start and stop, they all merge into one continuous movement.

Sun Lu Tang 2014-12-11 15-54-12

Sun Lu Tang, Tai Chi.

 

Acquiring this skill in the Tai Chi form is actually quite difficult. For a start, people tend to speed up or slow down during a form performance. They speed up on the bits they like and slow down on the bits they find hard.

Another common fault is posturing – pausing serenely in postures that are being held, if only for a moment. It’s equal and opposite infraction is too much merging – movements get mushed into each other without one finishing properly before the other begins.

I’d say it takes a good few months of continual practice, focusing on just continuity, to iron these faults out of a Tai Chi form

The deeper lesson in continuous movement is that you are constantly recycling the ‘energy’ in the form. When you break a movement, or stop, you are not keeping everything flowing, and you lose the power of momentum. They fall flat.

This links back to the idea of Yin and Yang being in constant flux, with change as the only constant. These ideas are as old as the hills, but find their expression most often in Taoist thought.

In a recent TED talk Adrien Stoloff looks at what Wuwei (The Taoist concept of non-action, and flow) mean.

Adrien discusses flow and wuwei, and how recent research in cognitive neuroscience suggests what may be happening in the brain when we experience flow or wuwei. Adrien Stoloff is a doctoral candidate in Asian Religious Traditions. He is interested in Chinese religious beliefs and practices from the late Warring States period to the Early Han Dynasty (approximately 5th-2nd centuries BCE). Specifically, Adrien’s research focuses on the Classical Daoist phenomenon of wuwei. Translated as “effortless action,” wuwei is a state of being in which one acts effortlessly yet efficiently in a given situation. His dissertation project uses an approach informed by tools in the field of religious studies – textual and historical analysis – as well as by the fields of philosophy and cognitive science:

 

The dance/fight game

If there’s one martial art that really emphasises the concept of ‘flow’ then it’s Capoeira. The Brazilian dance/fight martial art where two participants enact a kind of spontaneous, improvised martial dance set to music.

Clearly your connection to the other person in Capoeira transcends the physical connection we find in Tai Chi push hands, and it has to be in place or you end up with a foot to the face. That’s Tai Chi’s Ting Jing (Listening energy) on steroids.

Even as an outsider to Capoeira, I can tell when the practitioners are connected to each other, and when they’re not. When the focus is more on athletic ability and directed inwards the two practitioners don’t seem to melt together into one dance – they retain their separate selves. The type of Capoeira I like to watch is where the two practitioners become one – responding and reacting in real time to each other.

And of course, with the rhythm of the music and a focus on connecting there’s all the potential for it to cross over into ‘spirit dance’, where you connect to the wider environment.

I looked for some beginner capoeira videos recently and found these which I thought presented some basic moves that I could copy. I had a go at this video below this morning and I was surprised by how difficult (but also fun) even these ‘basic’ moves are.

I mean, I can do it badly. Anybody can do it badly. But trying to do it with the smoothness and flow that the practitioner demonstrates above is a different matter.

If you wanted to get more ‘flow’ in your movement, I think this could be a good place to start.