January 1986

Assuming that you have learned the basic movements, enjoy practising, and your form is correct ... there is still a great deal more of value in Tai Ji to be dug out. After all, it is a system of movement developed by many minds over several centuries. And this is why you should not think of teaching it yet: because for a long time you will be very one-sided.

The first major theme to realise is that the movement of the limbs (arms and legs) is geared primarily towards its effect on the muscles of the torso, the muscles within the ‘Tai Ji Square’. At the core of this effect is the continuous ‘open’and ‘closed’ cycle of movements. You may say ‘why then such an elaborate form? Why not just repeat a basic open/closed simple exercise?’ And the answer is: the importance of a wide range of muscular movements and postures. In our ordinary life of walking, running, eating, sitting at desks, the range of movements is very limited. So Tai Ji offers us the chance to bring our muscles to life, especially in the case of the muscles of the torso. By thoroughly exercising these we stimulate the breathing and the blood flow and have beneficial effects on all the major organs (intestines, heart, etc). In our life there are three main aspects, the head, the heart and the lower dan tian, and Tai Ji aims to keep them all in a healthy state: by exercising the body, stimulating qi, relaxing the mind and calming the heart.

Under this general heading of the effects of the limbs on the muscles of the torso and the general movement of open/closed Miss Li mentioned three particular aspects of technique to keep an eye on. Use these pointers to check up on your own Tai Ji, trying to absorb them and master them one at a time, maybe working on one each week.

1. Stretch in Full:
‘Stretch’, that is, move as if you were pulling silk, as if your hands were always connected by silk, by something both fine and strong. This requires both strength and smoothness/continuity.
‘In full’, means until there is no other place to go, assuming the torso remains upright and in the correct position.
In moving, you should also be aware not so much of the muscles of the arms as of the muscles of the chest and back.
Also Miss Li emphasised that the Chinese phrase about the silk cocoon should be ‘silk cocoon chin’ i.e. muscles, not ‘silk cocoon qi’ i.e. breath. The latter is usually interpreted to mean intense concentration and almost no breath, whereas the former prescribes the technique of arm movement.

2. Open and Close the Limbs:
The arms sometimes both near the body, sometimes both away from the body, sometimes alternating one and then the other as in Brush Knees.
And the legs too, or rather the arch between the legs. This has to ‘close’ to allow movement and then open again when the new form is reached.

3. Move the Arms from the Shoulders:
Sometimes the arms are bending at the elbows and changing shape, but very often (more and more as you practise more) the arms will actually be quite still and will moved completely from the shoulder.
This gives a sort of corkscrew motion to the hands; moving round between palm up and palm down positions.