It is quite a difficult task to convey in words or images feelings and subtle
movement. This must by its nature, be a very personal account of how one feels
when moving through the various postures. My teacher said to me" Tai Chi
Chuan is not a technical exercise". "You must feel your form and be
aware of each of the movements as you pass through them". Over the years
this has meant a great deal to me. It is a prerequisite to feeling the form
that you relax and drop all extraneous thoughts and tensions. Let them fall
on the floor. In time the form will change, as will the perception and feeling
of the form. This the natural way of Tai Chi Chuan.
The system that I teach has both square and circular hand forms. The square
is used to build a foundation in Tai Chi Chuan. Teaching the structure of the
postures, alignment, the styles of the system, some stamina due to the way the
postures are held slightly longer and of course the form sequence. The square
form is quite specific in its execution. The circular form is somewhat less
specific. It is fluid and very smooth and continuous, and requires greater co-ordination.
As everything in this form moves as a unit, it is very much about feeling your
way through it. A beginner will feel very different compared to someone who
is a little farther down the road. However, as you make progress you will become
acutely aware of how you move. The refinement of Tai Chi Chuan is something
that is continuous. I think that too much emphasis on the technical isn't a
good idea. I feel that it can inhibit the naturalness, that is an essential
part of Tai Chi Chuan. I believe that it is only through experience and practice
that the real understanding of the technical and internal aspects can be gained.
Of course, the form should look right. If it doesn't look right then it probably
isn't. If you were to take a photograph at any time during the form it should
look balanced, comfortable and settled. With the body having a connected appearance.
The external and internal should naturally combine. This does not only mean
movement naturally combining with the breath, but also the inner feeling and
structure of the postures, which gives a sense of unity.
Everyone that practices goes through various stages of experiencing different
levels of awareness. The constant practice under a good teacher is very important
to bring a student through these levels. The form will change over the years,
but the changes should come from a developing art and not from misunderstandings
or mistakes that are all too easy to incorporate into a system.
This is where the teacher must be constantly aware. There will always be differences
due to various physical types, we are all different. However, this argument
I feel, can only go so far. If the form is radically different or is wilfully
changed, then there must be a question as to why this is. Although we all develop
in our different ways great care has to be taken to stay true to the essence
of the art.
As I said earlier we must be aware where the movement comes from. This awareness
will also change with experience. Relaxation, smooth movement, alignment, correct
hand and foot positions and feeling the body as a unit are what is encouraged
from the beginning. Although at this early stage the form is generally hand
led. Later as the student progresses, the more essential aspects of the art
should start to become more apparent. That is, the refinements of co-ordination,
the path from the ground, up through the legs, directed by the waist, up the
back, over the shoulders and expressed in the hands. Note that the hands are
the last to be mentioned. That is because the hands express what has already
happened in the body. Like the end of a whip. Likewise with kicks the full force
of a kick has the whole co-ordinated body behind it. You must use the spine/waist
axis. The waist has more variety than just turning left and right. The whole
of the Tantien area should be very active and spherical in its use. This adds
greater mobility and strength while uniting the body.
Letting go is an important aspect of practice. Letting go so that the mind and
body are calm, with the mind reflective and continuous. Going through the form
as naturally as is possible allowing the muscles to relax and do their function
naturally will also enhance "feeling" your way through the form. The
lighter the form the more sensitive the body will become. The head is kept in
a central position with the chin slightly tucked so that there is not tension
in the neck. This will encourage the suspended headtop posture. To encourage
this further it is also useful to go "through" the postures. This
means sinking and lowering your centre of gravity and allowing everything to
relax downwards. The stronger the root the more natural the" head suspended
by a thread" will feel. As much as you listen to your partner during pushing
hands you must listen to yourself while doing the form. There is A and B in
each posture. It isn't enough to get from A to B, there is a way to get from
one to the other. Likewise A can be the beginning of the form and B the end
and it is important to have the correct continuity throughout.
Hopefully we should eventually go beyond the external performance and become
less self-conscious so that all we are doing is Tai Chi Chuan, simply that.
I hesitate to use the word spiritual, but Tai Chi Chuan has that dimension.
It is purely training through a martial art, as much as a Zen Buddhist trains
through meditation. It is the same mind.
As you will have gathered this article is not about the technical points of
Tai Chi Chuan. It is essentially about ways of helping to get in touch with
the body's feeling as it passes through the various transitions of the form.
Tai Chi Chuan should be done with our hearts and souls until we feel it into
our bones.
IAN CAMERON.