The split happening inside modern tai chi — and why the World Taijiquan Championships are suddenly huge

Competitive tai chi is growing fast around the world — but not everyone in the traditional community is happy about what that means

There’s a version of tai chi that most people think they know. It happens slowly in parks. It’s mostly associated with retirees, stress reduction, gentle movement, and the occasional vague mention of “energy”. In the Western imagination, tai chi often exists somewhere between meditation, physiotherapy and soft exercise.

But another version of tai chi has also been growing in parallel. One involving national teams, international judges, choreographed routines, competition scoring systems, and athletes performing explosive movements in brightly lit arenas. And it’s getting big.

The recent World Taijiquan Championships in Bulgaria drew competitors from more than 40 countries, with hundreds of athletes taking part in solo forms, weapon routines although I didn’t see any evidence of push hands events, or anything approaching sparring. For many outsiders, the sheer scale of the competition may come as a surprise. But for people inside the martial arts world, it highlights something that’s been developing for years: tai chi is splitting into several very different cultures.

Take a look:

One culture sees tai chi primarily as an internal martial art rooted in body mechanics, structure, pressure, balance and cultivated force. Another treats it as a performance discipline, one judged visually, packaged for audiences, and optimised for competition. Another sees it as the aforementioned health version done by older people in parks as a kind of meditatve exercise.

That tension between these different versions of taijiquan has existed for a long time, but events like the World Taijiquan Championships make it impossible to ignore.

When tai chi becomes a spectator sport

Competitive tai chi performance changes things. The moment movements are judged publicly, practitioners begin optimising for what judges and audiences can easily see. Stances become lower. Movements become larger. Expressions become sharper and more theatrical. Routines drift toward athletic spectacle.

That doesn’t automatically make them bad, but you’ll notice that the event also seemed to incorporate dance troupes, cheerleaders and gymnasts.

The fact is, competitive athletes are phenomenally skilled. The flexibility, balance, coordination and body control required at elite level are extraordinary. Some modern taiji competitors move with a degree of precision that most traditional practitioners could only dream of.

But critics argue that something important can get lost in the process.

Traditional tai chi training often focuses on subtle internal qualities that don’t necessarily look impressive from the outside: relaxation under pressure, whole-body connection, efficient force transfer, breath regulation, sensitivity, and structural integrity. Those things are difficult to score visually. A judge can easily reward height, speed and extension. It’s much harder to reward sung — the relaxed but connected quality that many internal stylists consider central to the art.

This is where the divide starts because it leads to the question, “is this still tai chi?” And then to the almost inevitable, “what is tai chi anyway?”

The gymnastics problem

The problem isn’t unique to tai chi. Almost every martial art changes when competition becomes the dominant measuring stick. Brazilian jiu-jitsu drifted toward increasingly sport-specific positions once tournaments became central to the culture. Judo changed dramatically after leg grabs were restricted. Olympic taekwondo evolved into something many traditional practitioners barely recognize.

The tai chi world is fractured, but for some this can be positive. Competitive formats bring structure, international exposure, younger athletes and a clearer pathway for progression. Without competition, tai chi risks becoming culturally invisible outside wellness circles.

But others worry the art slowly transforms into a kind of martial gymnastics — technically difficult, visually impressive, but increasingly detached from the body method and martial function that originally gave the movements meaning.

The tai chi world is made even more complicated by the fact that as well as the wushu performers, and the traditionalists, there’s another group — the martial artists who want to use tai chi as a real martial art.

You might imagine they’d be naturally aligned with the traditionalists, however, in my experience the traditionalists hate any attempt to put on gloves and ‘prove tai chi works’ and refer to it as ‘just kickboxing’. 

The irony is that all three, or even four, sides often genuinely love tai chi. They just value different things.

The global expansion of tai chi

What the World Taijiquan Championships really demonstrate is that tai chi is no longer a niche cultural practice confined to China or small traditional schools.

Competitors are emerging from Europe, South America, Southeast Asia, the Middle East and the United States. Universities teach it. Health systems study it. Sports organizations organize around it. Younger athletes are entering through competition pathways rather than traditional lineage structures.

That changes the art whether people want it to or not.

World Tai Chi Day is 10.00am on Saturday.

It’s World Tai Chi Day this Saturday. So what’s it all about?

World Tai Chi & Qigong Day is held each year in over 80 nations on “the last Saturday of April” each year. April 25th, 2026 … at 10 am local time all over the world. It begins with mass Tai Chi, Chi Kung, and Mind Body events in the earliest time zones of New Zealand, and then spreads at the world turns, 10 am local time worldwide, ending with final events in Hawaii (USA).

To be honest, a lot of the websites I’ve found about it seem outdated and unloved. It doesn’t really feel like there’s much of an organisation behind it these days, however, you might like to practice at 10.00am on Saturday. There could be an event in your local area, so have a search.

Photo by Alexander Schimmeck on Unsplash

Here’s what’s really going on with those tai chi scams, and it’s not what you thought

Remember those hilarious ‘get a 6-pack with tai chi’ adverts?

Do you remember those tai chi scam adverts that I wrote about a while ago? For a moment in time they were everywhere, usually with a well-muscled older Asian man telling you how you can get a six pack from some tai chi walking.

The whole thing was obviously created in AI and an obvious scam… but it was so obviously fake that it made no sense. However, thanks to Paul Bowman for finding this video which explains what was really going on.

What if tai chi posture is about class, not biomechanics?

The debate over leaning vs upright posture may have less to do with force and more to do with identity

Sun Lu Tang performing tai chi


Does your tai chi style lean forward or stay upright? The debate over which is “correct” has been raging for decades now. Well, maybe “raging” isn’t quite the right word for a group of tai chi practitioners, but at the very least there’s been some polite disagreement.

The usual way of looking at this issue is biomechanical. Which structure delivers force—jin—more efficiently? Which alignment is stronger, more stable, more effective?

But what if we’ve been looking at this the wrong way?

What if the difference isn’t really about efficiency at all, but about who the posture was for?

I’ve just been watching a lecture by Sander L. Gilman called Stand up Straight! Cultural Perspectives on Posture, and it adds an angle to this debate that feels like it’s been missing.

Gilman’s core idea is simple, but powerful: the body isn’t just biological—it’s cultural. The way we stand, move, and hold ourselves isn’t neutral. It’s shaped by what society thinks is healthy, respectable, or even fully human.

Historically, posture has been loaded with meaning. Standing upright has been associated with discipline, control, and refinement. Slouching, or anything that deviates from that ideal, has often been framed as a lack of those qualities.

Crucially, those ideas have often been tied to class.

In one example Gilman highlights, early 20th-century medical writing didn’t just describe posture, it judged it. Working-class bodies and rural populations were sometimes compared unfavorably to “primitive” forms, while upright posture was framed as something closer to a civilized ideal. (source).

Strip that down, and you get a striking idea: “respectability” is something performed through the body. Posture becomes part of that performance.

So what happens if we apply that lens to tai chi?

Most histories trace tai chi back to Chen Village in Henan province, but its spread through Beijing brought it into very different social contexts. Some styles developed in courtly or intellectual circles, others among martial artists, soldiers, and working practitioners. And when you look at the postures, a pattern starts to emerge.

Styles associated with more scholarly or “refined” figures, like Wu (Hao) style or Sun style, developed by the famously intellectual Sun Lutang, tend to emphasise a more upright frame.

By contrast, versions of Yang style and Wu style, shaped by professional martial artists and military figures, often include a noticeable forward lean.

Of course, these systems evolved over time and weren’t defined purely by class. But the contrast is hard to ignore.

Even Cheng Man-Ch’ing, often described as a scholar and artist as much as a martial artist, modified what he learned from Yang Chengfu into a distinctly upright form. His idea of the “five excellences” — calligraphy, painting, poetry, tai chi, and medicine — paints a clear picture of the kind of cultivated identity he was expressing.

Seen through Gilman’s lens, this looks like a cultural divergence, rather than one based on pure technique.

Maybe upright posture isn’t just about alignment. It’s about signaling control, refinement, and education. And maybe the forward-leaning versions reflect a different set of priorities: function, application, and practicality over presentation.

The latest issue of Tai Chi and Internal Arts is out!

Magazines are still a thing in the digital age


I haven to admit, I wasn’t aware that Tai Chi magazines still existed, but it turns out that they do! In fact, there’s one called ‘Tai Chi and internal arts’, which is up to issue 76.

I can’t work out how you buy a physical copy, or where it is sold, but it’s made by the Tai Chi Union for Great Britain, and it looks like you can read it for free online.

If you are a regular listener to my podcast you might recognize the cover star – that’s Tina Faulkner Elders who I interviewed back in episode 33:

And inside you’ll find an article about Chen style Cannon fist by Nabil Ranné who I interviewed in issue 30:

New Tai Chi Notebook podcast – How to Break Jiu-Jitsu with Chris Paines

In this episode of the Tai Chi Notebook Podcast I’m joined by Chris Paines, a BJJ black belt from Staffordshire in the UK.

Chris gained a level of fame in the BJJ world for a seminar he taught at a BJJ Globetrotters camp called “How to Defend Everything”, which was wildly successful, especially when that seminar went on YouTube. It got over 100,000 views.

Chris has gone on to develop a system for teaching Jiu-Jitsu that he calls Elements and which can be found on the BJJ Fanatics website under the name ‘Strategic Guard Passing and Pinning’.

You can also subscribe to Chris’ Patreon which is called In Theory BJJ. I’ve known Chris for a few years now and rolled with him and attended his seminars a number of times and I’ve always found his ideas original, innovative and inspiring.

In Theory BJJ

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RIP Chuck Norris

Chuck Norris died today. He was 86 and a week ago he was still sparring to celebrate his birthday:

When I was asked to name my favourite Check Norris film I could only think of the Bruce Lee classic Way of the Dragon, which features the legendary fight between Bruce and Chuck in the Colosseum.

Filmed 54 years ago, and it’s still one of the best fight scenes ever choreographed:

The fact that I couldn’t name another film he’d been in makes me think I knew Chuck as less as a film star and more as an Internet meme, related to his legendary toughness.

I guess he can now get that rematch with Bruce he’s been waiting for. Rest easy.

We’re always told that the gi is dying — so why is everyone still training in it?

We’ve confused the professional version of jiu-jitsu with the version most people actually practice

Photo by Nathan Dumlao on Unsplash

Every year, a BJJ celeb sounds off about how the gi* is dying and no-gi is the future. And yet, the death of the gi never actually happens — and I don’t think it ever will.

While the pro scene screams “no-gi future,” the average BJJ practitioner is still tying their belt every night. Here’s why.

If you only watch professional BJJ, you’d be forgiven for thinking the gi is already dead. But it’s a mistake to confuse what we watch with what we actually do.

Take my own academy as an example: we run roughly twice as many gi classes as no-gi. That’s driven by demand, not coach preference. Not every gym is the same, but I don’t think this is unusual — at least not in the UK.

Last year I went to Camp Eryri, a BJJ training weekend in North Wales. There were workshops in both gi and no-gi, but when it came to open rolling, most people chose to train in the gi. The majority of workshops leaned that way too.

Sure, no-gi dominates pro events, streaming, and social media clips. But the gi still dominates hobbyist practice, traditional gyms, and the belt progression culture that keeps people coming back. So why is that?

Why no-gi looks like the future

You often hear that the gi is boring to watch, but I don’t think that holds up. When a gi match appears on a Polaris card, it’s often one of the most engaging fights of the night.

And no-gi isn’t immune to the same problems. Matches can devolve into long stretches of unproductive stand-up, followed by a last-minute scramble or leg lock exchange that feels more like a coin flip than a conclusion.

Let’s be honest: no-gi dominates the pro scene partly because it looks better—more athletic, more modern, more like MMA. Tight rashguards, visible physiques, more tattoos, faster scrambles—it’s easier to sell and easier to package.

With fewer grips, it’s also theoretically easier for casual viewers to understand. There are also supposed to be fewer opportunities to stall—again, in theory. In practice, anyone who’s watched recent ADCC trials knows that stalling is alive and well in no-gi too.

No-gi also benefits from crossover appeal. Wrestlers and MMA fighters can step in more easily, and if BJJ ever pushes for Olympic recognition, the argument tends to favor no-gi.

But the gi isn’t going anywhere.

Belts still matter in BJJ, and people value the sense of progression that comes with them. It’s addictive. It gives structure. It connects you to the history of the art.

Then there’s the technical depth. The gi adds layers—grips, controls, positions—that appeal to the more analytical side of training.

And perhaps most importantly, the gi is still the default language of BJJ worldwide.

Photo by ben frost on Unsplash

I understand why some people prefer no-gi. The gi can be tough on your fingers. It can be frustrating when someone neutralizes your athleticism using your own clothing. And yes, there’s a lot of laundry.

But I don’t mind the laundry. I like having a few clean layers between me and my opponent. It feels more hygienic, and less like I’m stepping into a low-level germ warfare experiment every time I train.

In competition, both styles can be boring. The real issue isn’t the uniform — it’s the rule set.

No-gi will probably continue to dominate the professional scene. The gi will continue to dominate everyday training. And that’s fine.

We haven’t stopped training in the gi—we’ve just stopped paying attention to it.

(* If you’re new to BJJ: the gi is the traditional uniform, similar to judo, while no-gi typically involves a rash guard and shorts.)

Jiu-Jitsu Lou podcast

I was interviewed by the great Lou Temlett for the Jiu-Jitsu Lou Podcast recently.

It’s a bit annoying that there is clearly something wrong with my microphone, but it is what it is. (At least the video version below has subtitles!)

I manged to talk about my BJJ book, what tai chi and Chinese martial arts can bring to Brazilian Jiu-Jitsu training and some thoughts on different ways of learning and training.

The Tai Chi salute looks polite — its real meaning is much deeper

Behind the gesture is a code about power, respect, and control

I always finish my Tai Chi class, which takes place in the UK and is taught by me, a British person with no connection to Chinese culture outside of martial arts, with a small Chinese-style salute.

Often called the “sun and moon” salute, it’s a traditional greeting in Chinese martial arts circles. It’s the same one you see Bruce Lee do to his student at the start of Enter the Dragon. But like most things in Chinese martial arts, it has both an obvious meaning and a hidden one. Of course, you don’t need to know the hidden meaning to use it.

In Chinese, the salute is called bàoquán lǐ, which roughly translates as “fist-wrapping rite.” Your right hand forms a fist — the “sun” — and your left hand presses flat against it — the “moon.” You stand straight, feet together. It’s accompanied by a short, respectful nod of the head rather than a deep formal bow, while maintaining eye contact.

Sometimes the fingers are folded instead. This seems to be a softer, less formal greeting (and it’s the one I usually use). This variation is often called gōngshǒu lǐ (“cupped hands greeting”) and is traditionally gendered — the closed fist is the right fist for men and the left fist for women.

It’s worth noting that this is far from the only hand position used for greeting across China’s long history, particularly within religious traditions.

Why do it?

The bàoquán lǐ isn’t a tradition added to Chinese martial arts — it’s a remnant of a moral code that existed before they were formally named.

At a basic level, the fist represents martial skill or strength, while the palm represents civility, restraint, and wisdom. The palm covering the fist symbolizes martial power governed by virtue or, put simply: I can fight, but I choose respect and control.

When I do it at the end of class, it’s quick and almost reflexive, sometimes even a little embarrassed. I don’t expect my students to do it back. It’s a brief gesture with a clear purpose: it marks the end of the session and acts as a quiet “thank you” for the work they’ve just done.

When I do it to my kung fu teacher, it carries a different weight. My teacher (who is not Chinese) still greets his own teacher (who was Chinese) with this salute every time they meet, and that tradition was passed on to me. I still greet my teacher this way whenever I see him. Even though it isn’t part of my culture, the meaning is clear when I do it.

In that sense, I suppose I’ve passed on a “light” version of the tradition to my own students by using the salute at the end of class. Even if they don’t return it, it’s something they now recognize. The tradition has softened over time, we don’t use it to greet each other, and honestly, I think it would feel strange if we did.

I’d describe my teacher’s period of training with his teacher as serious, and my own training as semi-serious by comparison. People in modern Tai Chi classes aren’t devoting their lives to this with the all-or-nothing commitment that might have been expected in 1860s China. For most people, it’s a hobby. A social activity. Ideally, people leave class feeling better than when they arrived, or at least like they’ve worked hard and learned something.

Hidden meanings

As with most things in a culture that has existed continuously for thousands of years, meanings tend to come in layers.

The sun and moon are obvious representations of yin and yang, shown here as equal forces held in harmony, suggesting balance rather than dominance.

There’s also a practical dimension. A level of formality in martial arts is useful. What we’re engaging in is potentially dangerous, and maintaining respectful ritual helps reinforce that fact.

(Incidentally, that’s one reason I don’t mind bowing in Brazilian Jiu-Jitsu training too. We routinely put our training partners in potentially life-changing situations, and a moment of ritual respect is a good reminder that what we’re doing carries real consequences.)

One of my favorite hidden interpretations, though, comes from Chinese history, specifically the Ming–Qing dynasty transition.

The Ming were the last ethnically Han Chinese ruling dynasty. The Qing were Manchu invaders from the north, and they were deeply unpopular with large parts of the population. Resistance movements emerged almost immediately.

The slogan “Overthrow the Qing, restore the Ming” (反清復明, Fǎn Qīng fù Míng) became a rallying cry for secret societies and rebel groups from the fall of the Ming in 1644 well into the early 20th century.

The bàoquán lǐ salute was reportedly adopted by some of these movements as a covert signal of allegiance. The closed fist was said to represent the character for sun (日), while the open palm represented moon (月). Together, these two characters form (Míng), meaning “bright” or “to illuminate,” and also the name of the fallen dynasty.

Which means that, technically speaking, every time I’ve used this greeting, I’ve been quietly expressing support for the overthrow of the Qing dynasty.

But no, my Tai Chi class isn’t secretly plotting the restoration of a long-collapsed Chinese dynasty. But I do like the idea that a small, slightly awkward gesture at the end of a community hall class carries echoes of philosophy, rebellion, and restraint. Even if most of the time, it’s really just a polite way of saying: thanks for showing up — see you next week.

Source: an article I once found on bàoquán lǐ.