A lot of people prattle on about their Tai Chi fighting skills, how so and so beat such and such, how this person or that person is the real deal.
They have taken their art to the Street. Would that be Oxford Street perhaps? Plenty of combat to be had on a busy shopping day as hordes of people descend on the space you occupy.
John Kells told me - never underestimate a desperate man with nothing to lose.
Back to my practise !
Wednesday, 30 November 2011
Sunday, 27 November 2011
Rush, Rush, Rush
Sometimes we feel as if there is not enough time to do our tai chi. So we end up rushing through our form.
This is not good for our energy. It is better to practise quality rather than quantity, although I've done my fair share of the latter.
At the beginning of your form,stand quietly, letting everything settle and sink. Let thoughts come and go. You are formless, empty. This is the void. When ready, we move, creating the ten thousand things ( code for lots of things/large numbers ) as we generate postures/shapes. At the end of the form, again stand quietly as before. Don't rush off, thinking that's it, I've done my tai chi.
Sometimes you can just stand in the beginning posture as a standing meditation. It is often overlooked in the rush to do the form. For me, the beginning and the end of the form are really important.
I'll leave you to play with that.
This is not good for our energy. It is better to practise quality rather than quantity, although I've done my fair share of the latter.
At the beginning of your form,stand quietly, letting everything settle and sink. Let thoughts come and go. You are formless, empty. This is the void. When ready, we move, creating the ten thousand things ( code for lots of things/large numbers ) as we generate postures/shapes. At the end of the form, again stand quietly as before. Don't rush off, thinking that's it, I've done my tai chi.
Sometimes you can just stand in the beginning posture as a standing meditation. It is often overlooked in the rush to do the form. For me, the beginning and the end of the form are really important.
I'll leave you to play with that.
Thursday, 24 November 2011
Dancing Inspiration
We can draw inspiration from many sources. It can be from your teacher, friends, films, books, philosophy, biographies, nature and endless other sources.
Many years ago my father bought me a german copy of Chungliang Al Huang's classic book, Embrace Tiger, Return to Mountain. This book is more about living and being in accord with principles of Tai Chi than the Martial Art. His books have recently been reissued by the Singing Dragon imprint.
In 1991 I had the opportunity to do a 2 day workshop with him in London. It was a great weekend. The course participants learned some movement patterns and partnerwork to give form to principles. There was also a lot of movement to music. It was a world away from what I had learned about Tai Chi.
There was an important lesson for me. I was stuck in my feet. My Tai chi was nothing more than some dull, clod like movement, lacking in life and spirit. It gave me a new purpose in my own training.
Outwardly there may not be much to see, but inside I am dancing to the energy.
Are you?
Many years ago my father bought me a german copy of Chungliang Al Huang's classic book, Embrace Tiger, Return to Mountain. This book is more about living and being in accord with principles of Tai Chi than the Martial Art. His books have recently been reissued by the Singing Dragon imprint.
In 1991 I had the opportunity to do a 2 day workshop with him in London. It was a great weekend. The course participants learned some movement patterns and partnerwork to give form to principles. There was also a lot of movement to music. It was a world away from what I had learned about Tai Chi.
There was an important lesson for me. I was stuck in my feet. My Tai chi was nothing more than some dull, clod like movement, lacking in life and spirit. It gave me a new purpose in my own training.
Outwardly there may not be much to see, but inside I am dancing to the energy.
Are you?
Tuesday, 22 November 2011
Swimming in Air
I believe the phrase " Swimming in Air " to describe T'ai Chi is attrubted to Ch'eng Man Ch'ing.
When I first heard it, I though little of it. I could understand it intellectually but my attention was elsewhere. Probably the exquisite pain in the legs as I tried to remain single weighted and sunk.
But a few years ago I had a different insight. When my eyes are open, I can see where I begin physically as I can see my skin. Close your eyes and that boundary is no longer so clear.
Instead of looking at "me" filling up space and swimming against the imagined resistance of air, it's the other way around. I can be defined by the space around me that creates my shapes and supports/nourishes me.
So when I practise, I focus on the space around me. Suddenly I am "swimming in air". I am released to connect.
When I first heard it, I though little of it. I could understand it intellectually but my attention was elsewhere. Probably the exquisite pain in the legs as I tried to remain single weighted and sunk.
But a few years ago I had a different insight. When my eyes are open, I can see where I begin physically as I can see my skin. Close your eyes and that boundary is no longer so clear.
Instead of looking at "me" filling up space and swimming against the imagined resistance of air, it's the other way around. I can be defined by the space around me that creates my shapes and supports/nourishes me.
So when I practise, I focus on the space around me. Suddenly I am "swimming in air". I am released to connect.
Sunday, 20 November 2011
The Matter of the Toes
When stepping in our t'ai chi we usually place the heel down and then carefully shift the weight/
I've just watched a Yang stylist on Youtube do exactly this. Very clear and very precise. Great stuff!
This was the approach taken when I was learning the short form. When it came to the long form, though, John Kells introduced another element.
As we took a step, we pointed our toes. Not in a deliberate toe/heel manner. Rather it was more like a glide, with the toes pointing and leading, then the heel being placed down.
This meant that you had to endure another second of agony on the supporting leg. It also made it clear where your weight was and that you didn't just dump it into the front foot.
Try it and see what difference it makes.
I've just watched a Yang stylist on Youtube do exactly this. Very clear and very precise. Great stuff!
This was the approach taken when I was learning the short form. When it came to the long form, though, John Kells introduced another element.
As we took a step, we pointed our toes. Not in a deliberate toe/heel manner. Rather it was more like a glide, with the toes pointing and leading, then the heel being placed down.
This meant that you had to endure another second of agony on the supporting leg. It also made it clear where your weight was and that you didn't just dump it into the front foot.
Try it and see what difference it makes.
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