TAI CHI NOTES 1
Practise Diligently and Intelligently
NB: - Any mistakes or misinterpretations of what was trying to be taught to me are due to me! Basically I have left the notes as I wrote them at the time, there is a lot of repetition but generally a progression (sometimes, mainly due to me, a regression!). No doubt I've missed a lot too. Please refer to the Download section for documents and video that are not riddled with my interpretations.
Song=Relaxed/Soft/Release (pronounced Soo-ng), GMH=Grandmaster Huang, Mr F=Master Foong, HYZZ=Hun Yuan Zhan Zhuang (Song up/down exercise), SSWF=Song Shen Wu Fa (GMH's 5 Song exercises), HCC=Ho Ching Chi (stretching/expanding), PH=Push Hands.-
I started Tai Chi in July 2002. I have had Chronic Fatigue Syndrome (C.F.S/M.E) since 1989, and my mate Lewis was doing Tai Chi in Auckland and recommended that I try it. About a year more passed before I felt I was ready to do any physical exercise, even a moderate one (as I thought at the time) like Tai Chi. So I signed up for a 10 week course at the Sydney School of Tai Chi. I didn't know much about Tai Chi, I knew there were connections to Taoist philosophy, but generally thought it was a gentle exercise. After an hour I walked out of the first class with my head spinning and my legs screaming. That continued for the 10 weeks and beyond. I was struggling physically and mentally, and I don't know why I persisted. I think I was drawn to the contradictions in Tai Chi and the fact that here was something that encompassed the physical, mental and possibly the spiritual. It seemed that here was a way to re-train the mind by using the body. As an old Chinese saying goes 'You can't expect the Chief of Police to capture the criminals when the Chief of Police is leading the criminals'; the mind certainly has a way of tricking oneself that all is well, so stop fiddling with the programming!
Sydney 2002 - 2008
Rob Chambers is an excellent teacher, and he concentrates on the physics of Tai Chi. He wasn't interested in delving into the mystical side of Tai Chi, at least with me, which suited me fine. Getting the basics, such as correct body structure and movement from the waist, are hard enough without being distracted by intangible concepts of Chi and Jing. He was very strict about getting the tailbone tucked in and the knees moving correctly, which has put me in good stead with my current training. It seemed from what Rob and books were saying, that without the correct body structure then it was impossible to have the correct movement in Tai Chi. My posture was terrible; hunched shoulders, drooped head and arched spine. Added to this was 13 years of CFS which had basically tightened my muscles to the point that I had continual muscle pains. There was no way my perineum (tailbone) would loosen up and tuck in nicely without me forcing it. Although Tai Chi is about not forcing, 40+ years of bad posture wasn't going to disappear just because my mind said it should! I decided I should first get the tailbone in generally the right position, and then work on releasing the tension. I don't know if doing this was right or not, but so far it seems to have worked for me. It took 5 years before I started to get a shift!
I am hopeless at remembering things, and struggled to remember the 37 form. To the point that besides the 2 classes a week, I did one-on-one lessons once a week with Rob. Even so, it took me 15 months to learn the form, Rob admitted a couple of years later that he was worried that I would never learn it! After I learned the form, I joined the 'advanced' class learning push-hands and other forms; which was not good news for my lousy memory! The first 3 years was difficult. Sometimes I would turn up for class and get so frustrated that there was no point continuing, so I would leave. On a weekend Sabre Form workshop I got so frustrated that I hurled the wooden sabre into a eucalyptus tree! Even if I was feeling terrible I would always turn up for class, sometimes Tai Chi would increase my energy and sometimes it would flatten me. I had to turn up for class as I couldn't find the motivation to practise by myself. After 3 years of Tai Chi, it was still difficult but I had let go of the frustrations (mostly!) with my health and learning, and resigned myself to the long haul. I enjoyed the push-hands as I didn't have to concentrate too much, as I had to with the form. Of course I 'pushed' too hard and resisted, but I could let my mind go and found it energizing.
Tenom, Sabah Malaysia 28th February - 10th March 2006
Late in 2005 Nick Mann and I decided we would catch up in Malaysia and do the rounds of a few of the Huang Schools. Rob suggested that it would be better to concentrate on one school. He had been to Singapore in 2002 for the Huang Tai Chi get-together, and suggested we visit Mr Foong Choon Sang in Tenom, Sabah as Mr F had the reputation for working on 'Song' (pronounced s-oong). Rob contacted Tenom, so at least they were expecting us.
I arrived in Kota Kinabalu (KK) a day before Nick. I knew there was a Huang school in KK but hadn't been able to find an address. I had found a photo of the building on the web, so I went up to a taxi stand with the photo and eventually one of the drivers recognised it and took me to the school in Likas. I watched a few classes and chatted to a few people. The next day Nick and I went back, and we were treated royally by the Chief Instructor Mr Huang Lee Sing (no relation to Grandmaster Huang [GMH]), Mr Wong Shin Fah and several other instructors.
A bus the next day to Beaufort and then the small gauge train along the Padas River saw us in Tenom in the afternoon. We had been trying in vain to ring our contact Peter Kok. We eventually got hold of him, he was in KK. Obviously Peter passed the word that we were in Tenom because at about 7pm, having just finished dinner in an open air restaurant, 3 guys approached. It was Mr Foong, Kuku and Lim (a Malay/Australian). They took us to the Association building and Mr F explained some basics to us. Fortunately Lim was an excellent translator, as Mr F's English was rudimentary, and our Chinese was nonexistent. At one stage I was told to grab Mr F's hand, our fingers were interlaced and the translation I thought I got was to tighten my grip as hard as I could. So I did. I was seated in a chair at a table and Mr F was opposite me. Next thing I know I was thrown out of the chair and sliding down the wall behind me. It happened in a split second and there was no way Mr F could have used his body to throw me as he was leaning over the table. I was unhurt, slightly shocked but mostly surprised at how he did that. To this day I am bewildered about it, he has never shown me anything like that since. Of course his explanation was seemingly simple; Song. We moved into the association building the next day and spent the following 10 days getting up at 5.30am and bed around Midnight. To this day both Nick and I are blown away at the way they treated us and took so much time out of their busy lives to look after us, and try to help nurture our understanding of Grandmaster Huang's Tai Chi. I have a huge debt of gratitude to them, and hope that one day I will be able to do the same to help repay that debt.
Mr. Foong repeatedly says that there are other people that do Tai Chi better than him and the Tenom school. All he tries to do is to pass on GMH's method as faithfully as possible. Mr. F will often finish explaining something by saying that it is not his words but what Grandmaster Huang (GMH) said. GMH apparently only said 4 English words.
Timing (when to move)
Automatic (natural movement)
Spring (body is alive not limp, hard or dead)
Handbrake (let it off, stop holding yourself)
Mr. F stresses that there is no wrong or right method, whether it's in Tai Chi or other martial arts. GMH was teaching a method that worked for him, so if someone from another discipline came he would teach them his method and they could choose to understand or not. If they chose not to understand, then what were they doing there. Mr F says anyone is welcome to come to Tenom to study. If they go away and don't believe, they are still welcome if they are interested in learning something about GMH's method. GMH stressed that there is no secret, he openly taught what he knew and practised. If there was a secret shortcut then wouldn't his own wife and son also be good at Tai Chi? But they weren't, even after showing people the exercise for Song and spending hours or days with them, people would almost always ask for the secret. Mr. F has experienced this himself. The secret is Song (sinking/relaxing/softness) with Yi (intention) and a lot of practise. Diligently practise to the best of your ability and you will get better. As you understand something, your teacher will point out problems and you start over again but this time knowing what you have practised from before. So that if your Tai Chi is 1% good, you start again and with diligence you will have 2%. Back to the start again and then eventually 3%, etc. You may guess where you are going wrong and what your teacher will say but you will probably only guess 10%, after a time 20% and then 30% until maybe 90%. GMH would look at someone doing the opening move and would gauge their Tai Chi ability by that. If there was 5% Song in the opening move then the rest of their form, other forms, push hands etc would only have 5%. Therefore the big secret is to practise Song in the initial move (heels close together, feet 90°, Song/sink down, Song up)- Hun Yuan Zhan Zhuang. It is that simple. Practise releasing head, shoulders, elbows, etc. It is not dead but alive; Song.
Hun Yuan Zhan Zhuang (HYZZ): Heels close together, feet are soft and weight in centre of soles, eyes straight ahead, knees slightly bent, finger tips (and thumb) lightly touching side of thighs, tailbone tucked in, chin in, head hanging from thread, Song down; lightly releasing head, neck, shoulders, elbows go out as body goes down creating space between arms and body (don't slide hands down leg), knees going forward and slightly to the side (don't splay knees out), of course keeping back straight and head hanging properly. Song down while breathing out until you reach the end (usually just before you go out of alignment). A brief stop and then Song up (a paradigm shift in my thinking is needed to understand this!); release from feet up until back into start position. If you sway slightly, that's okay, as it means you are starting to loosen up. Don't hold arm into armpit, create a slight space to give room for shoulders to drop free of the trunk. Chest flat. You can also lightly tap parts of your body to 'cultivate' or relax them (like patting a pet!). Don't use force to make alignments but Song or release them into position. Always Song. Initially you Song step by step (e.g. head then face, then neck etc). Eventually you go through the cycle faster, until it is one movement. Mr Foong said that even after a lifetime of practise it may not be exactly one movement.
PRACTISE, PRACTISE, PRACTISE until Song becomes 'automatic'. Whatever level you are at with Song, bring it into other areas of your Tai Chi. Also practise Song in the 6 distinct steps in each of the opening and closing. Bring Song into the 5 loosening exercises (SSWF). Be diligent and practise. At first it will feel like you are getting nowhere with it but the method has been proven; have faith and trust what you have been/are being taught.
HYZZ detail. Heels together, knees not locked and slightly inwards (not over toes or on outside of toes). Arms slightly bent and middle finger lightly touching side of thighs. Pelvis aligned, back straight. Head suspended, tongue lightly touching front of palate. Release face muscles, chin in. Release neck muscles, release shoulder muscles. Chest flat (not concave or convex) i.e. shoulders slightly back and down. Release arms and fingers (light touch). Song muscles in shoulder blades, back, abdomen, hips. Song creates the movement down. As go down Song/loosen/release muscles in legs, ankles and feet. Not just releasing joints but muscles too. Fingers stay at same point on thigh, so arms bend at elbows and wrist to keep shoulders Song. Knees bend and go slightly out. Keep hips Song so that your back is straight and don't lean forwards or backwards. Don't move muscles to make adjustments, use Song. When you reach the end point; stop. Then start going up, not pressing from feet but releasing (Song) upwards. Remember, muscles are all relaxed, as you go up arms come back towards body. Very lightly tap areas to help release. When Song down, stop before Song up but 'keep the Yi (intention) running'. Go down and up smoothly, don't stop and start. If initially you have to physically move (instead of moving with Song) particularly going up, it doesn't matter. Work on getting it to happen and eventually it will be 'automatic'. Mr F made the analogy; going down is like a rubber band that is stretched being released, going up is like a compressed sponge that is released.
Practise Song when you are sitting, watching TV, driving, waiting at line in the supermarket, walking. Don't slouch or be tense, as this will counteract any Song exercise. Don't overtrain if you are tired or injured, particularly with the forms.
Hips - learn to sit on them. Don't force into alignment but fold the hip joints to keep body erect. This will also help to loosen leg muscles.
The basic standing positions:
Horse stance - feet parallel on outside of foot (not the inside, basically toes pointing slightly in), knees bent, body erect and Song, the knees are slightly inside of the feet so that if you hold a pole from the tip of the toes to the nose, the knees would also be inline (A-frame).
The Forward stance - take a long stance, back foot is 45°, hips parallel to front, front foot slightly pointing in, Song down and up to move body (fold hips) so that front knee stays over the toes. Back knee not over the toes or too far in. if you need to bend, sink lower so that centre stays between feet.
Learn forms and exercises and go as low as possible - without losing posture (ie bum not sticking out). This will help open up joints. Best not to set goals, just concentrate on Song and practise diligently, and you will get better.
Mr F said about training under GMH; he would show you something and you remember the best you can, train/practise and next time you saw him he would have to correct you as you would have veered off the method. So you would go off at a tangent and he would pull you back to the same point that you were learning last time you saw him, he'd teach you again and a little more would stick and you'd move slightly ahead from last time, but eventually you'd veer off course again. He drew:
That is why Mr F wrote everything down that GMH said, so that he could practice something, read the notes every few days or so and remind himself of things he 'd forgotten or of things he was doing incorrectly. Even so, you are bound to veer off!
For a beginner, they first have to learn looseness and get the hips and hands connected. After you have acquired looseness then work on Song and then Yi. Learn the moves slowly and break them down into separate sections. Once you are comfortable with the moves, start to co-ordinate (Mr F stresses co-ordinate, not join) until it becomes one movement and you can then speed it up. Then, fast or slow, it is the same movement. Yi makes sure that there is no variations in the repetition of the movement (e.g., hand not coming up in different position for the same move). The movement is Song and Yi, not swing or force. All movement is Song, as soon as any force is introduced (whether to push or retreat) then the other person can sense it.
The first thing to work on is the hips - Song and get a sense of folding the hips. The second thing to work on is shoulders - Song, so can rotate.
Mr F said that other schools may be better at Tai Chi, but if you want to learn what GMH taught, then Mr F teaches to the best of what he has learnt. When he talks about Tai Chi it is not his words but GMH's.
Hands/Arms do not move independently - the waist moves using Song then the arms, no force or separate movement in arms.
To be soft/relaxed is of no use, you must have Yi (intention) with Song.
Say Sink or Song elongated (Sooooooooong) to get the sound through the body, so as to remind you to let go through the whole body.
A beginner uses fast movements and swing to help get looseness first. Once loose you can slow down and concentrate on Song, going from being external to internal.
Song down - like a rubber band being released, or like sand in top of hour glass falling , or like cloth being pulled through a hole.
Song up - like a sponge being released, or like sand in the bottom of hour glass piling up, or like water being poured into a cup - the force of a water goes down but water level goes up.
Make your stances lower without losing Song or posture.
OPENING & CLOSING MOVEMENTS
[see Downloads - HYZZ Commands (Open and Close Legs) for latest commands]
OPENING:- knees slightly in, do HYZZ. Heels close together (not touching), feet 90°
1) Song down
2) Shift into right leg, don't lean, Song and sit on right leg.
Left leg must be relaxed (knee will drop in)
3) Slide left foot out, foot straight
4) Sink into left leg, turn to the right
5) Right leg loose, turn waist - eventually foot will be brought into line
(parallel, on outside of foot)
6) Song down
1) Song down
2) Song turns left foot out (waist turns)
3) Left foot at 45° as waist turns 45°
4) Song into left leg, knee going forward (knee slightly in of toes)
Sitting on left leg, so right leg is loose
5) Turn right, Song and right foot comes in, heels close together, feet 90°
6) Song down (equally in both legs)
Five LOOSENING EXERCISES (Song Shen Wu Fa [SSWF])
Introduce Song and HYZZ into your practise of the 5 loosening exercises. A beginner must first work on getting looseness and general movements correct. Overtime make the movements finer.
2nd Exercise notes: on the first of the 4 arm movements when body goes up or down, body doesn't move on the first arm movement. For the last 3 arm movements the body is continually dropping or rising. Yi circles through body; exchange Yi to foot then to head then to other foot.
3rd Exercise notes: Arm movement same as first movement in form. Do HYZZ (but feet apart), fold into hip, power is opposing hand and foot (i.e. right foot, left hand. This is advanced). Physical centre stays and doesn't move from leg to leg, but Yi does move from centre. Use waist, don't twist spine. Body goes up hand comes up, body goes down as turn and arm follows (using Song). Turn causes hand to arc to centreline of body.
4th Exercise notes. Don't do if you have heart problems. First Song down, as you Song up body comes up and then arms start to rise (slightly behind body movement). Make sure head is hanging (don't hold at neck). Hands gently swing between legs forward and back 3 times (to count of 6). Then lightly swing arms to each side to count of 10, not turning the waist. Then lightly tap ground (don't bounce); first fingertips, then palms, then knuckles.
Tenom 12th - 30th November 2006
NOTES TO FOLLOW (when I find them!)
Tenom June 2007
Workshop and 7th International Huang TC Tournament
NOTES TO FOLLOW (also when I find them!)
Tenom - 23rd March - 2nd April 2008
- beginner's movements are broken, because trying to remember form. Afterwards, work on
continuous movement to make form one movement
- Song internally so that organs move by momentum of external movements
- before you do a movement, check posture and after movement, check posture again
- Before stepping, Song down then move foot, must be absolutely still
- Song down is not sinking
- Non-stop (continuous) movement from Yi
- Calmness, you've got Ting (stillness - centred mind and body) then can think very clear, then not afraid.
If afraid then you lose, no Song. Stand up and face the world with an open heart and with confidence
- Ching Sen - Spirit - Awareness
- Open shoulder when disconnecting, e.g. in Ward-off when turning back for Tang. Tang is momentum
of arms slightly lagging as waist starts going in other direction
After opening move, only turn left foot 10° when turning to the right , when finished turning then Song to raise hands to 'hold' a ball, not too close to body. Shift weight forward 50-50, Yi into right leg, Song to turn left, right hand dropping, left hand lifting to form tiger's mouth with right hand - left thumb being tongue. When turning left turn ball of left foot, step left foot heel 7.5cm in front of where toes were (don't step wide or narrow)
Brush knee to a step: roll back (make sure turn waist) as arm comes forward, wrist relaxed to ear. Relax elbow down so that arm slides down and slightly back (45° angle) (chest and shoulders Song) then HYZZ up (Ho Ching Chi) from back leg and arm then slides up slightly. Make sure you finish turn (relax left qua) before Ho Ching Chi. Also practise low stance. Turn waist which turns foot nearly 90°, move into that leg and as move last bit arms Song down and up into position, waist 45°, empty foot moves out (using Song). Do not turn waist when stepping, once foot is in place then turn waist and foot. Hands connected to body as turning, then let shoulder hang naturally as Song down so elbow is in line with back. As turn back don't Song shoulders too early. Weight 50-50, Yi into left leg, turn right, hands lift for Ward-Off, left hand 7.5cm away from right hand pointing at bottom of right wrist crease. Song down to turn right slightly then 'Ho Ching Chi - HYZZ up, continue to turn right and hands also go up (Song shoulders). Turn back to middle.
4th loosening exercise (SSWF4) : coming up, all Song. Don't move legs up, knees stay in same vertical position but use waist bending to move body up. Knees go forward, and Wei Li goes forward too. Song in all parts of the body. After opening hand 'like book', Song down, finger tips together, Ho Ching Chi (HYZZ up) hands 'push' out opening last 3 fingers, hands bent at wrist (like an 'L').
SSWF3: let arm drop naturally, don't turn or twist arm (keep elbows out), practise raising arms higher, open shoulders. As arm comes up the back of the shoulder stretches, as arm comes down open the joint between chest and arm. HYZZ in hip to move waist.
THINGS TO WORK ON
- Soften qua and sit on leg 100%
- Song shoulders (SSWF3 when dropping arms, Song shoulders down to get shoulder, elbow, wrist effect). In SSWF2 & SSWF3 don't let shoulder/arm turn in, let it drop naturally. (SONG BL**DY SHOULDERS!!!!). Open chest.
-practise open and close; turn hips, leave arms long and not too close to body.
- Ho Ching Chi (HYZZ up) in postures; Song down (tuck in Wei-Li), spiral motion in body, left leg is HYZZ up slightly & right qua is Song in; right leg does not move up and right knee does not move . Don't twist body. Hands move up from Song-ing shoulders. For beginners it's okay for right leg to slightly come up, but Song qua more so that eventually all movement is in qua. Fingers stretch at upper point of Ho Ching Chi, and then everything Song down.
- Wei Li (tailbone) in roll back, press and push; Song down to get movement instead of just moving back.
- CONTINUOUS MOVEMENT in form and push hands - ONE MOVEMENT
- Song Shoulders (part 2). work on SSWF3: arm goes up and Song elbow (so it bends) so that hand comes up to over shoulder height. Song shoulders first, then elbow, then wrist. Concentrate Yi/mind in shoulder not hand. A good way to practise is have someone holding their hands up (palm up) so that your finger tips lightly touch their palm for down movement. Concentrate on Song shoulders first, make sure that arms doesn't twist when coming down. Song shoulders more! Make sure elbows are not close to body when dropping arms back (hot bao in armpit). Don't throw body forward; Song to move!
-Song/loosen knees and ankles. If leg muscles tighten, take a higher stance and relax
- Make stance longer - to stretch open qua. Look in mirror to keep straight and level.
- must shift empty and full from foot to foot faster and more completely without strain or broken movement
- make sure have empty and full in legs
- sit lower in postures to open qua and stretch ligaments
- foot 45° (right) when turning to do diagonal
- final part of brush knee to a step; when Ho Ching Chi, Song down but body/head doesn't sink, it stretches; keep body alive, not slumping.
- when turning, weight is 50-50 but Yi is 90% in front leg; make this smoother and will improve speed
- separate empty and full
- practise and perfect empty
- Song shoulders, elbow, wrist so the extremities seem to become heavy
- you must use the hips 100% in the form if you are to succeed in push hands
- practise stepping; Dong Jing (Central Equlibrium), Ting (Stillness), one foot step, empty and full. Empty 100%, whole body Song
-must maintain some Song and steadiness (even when pushing hands). If have 100% when not moving, will only have 10% when moving. Must be diligent and patient. Practise fast/slow, high/low and get some level of Song in all manners at all times.
Roll Back Press and Push
On roll back - waist turns and hand rolls back, when waist stops, hand stops then Song body down, so that hand is at ear (or above) level - keep movement continuous.
Ward Off - Ho Ching Chi as turn right - left hand finger tips 7.5cm from right wrist (pointing at bottom of wrist). Keep turning right. As turn left - right arm; Tang shoulder, so shoulder is Song and arm is slightly left behind. Left arm turns at elbow, so that palm is face up when at left hip. Roll back is a quick Song movement - arm Song, wrist bent at ear, then Song down. Right arm is disconnected as turn back and left arm Song onto right arm as arms touch. Right arm turns out from elbow (from Song shoulder). Left arm turns in and light touch as body Song down and arms come into body (fah jing). Elbows are down, shoulders Song so that elbows drop and slight hump at wrists. Ho Ching Chi and arms rotate in (ie right wrist turns in, as Song shoulders). Body Song down and away from arms as hands open up (make sure Wei Li/tailbone tucked in), hands are above shoulders and don't move in or out - stay in same space, and Song onto back leg. Song forward and slightly down, shoulders Song, elbows drop and elbows close to body. Weight is 50-50. Hands are like resting on a basketball, about 12cm apart. Song down and then Ho Ching Chi (arms come slightly up). Song down to move down (arms come slightly up). Song down to move back (check tailbone is in) - arms straight about 90%, left knee comes forward as Song into left leg. Song down to bring arms and hands back. Song into left leg/waist to turn left, right foot pivots on heel about 90°, slight lag in shoulders/arms so that arms tend to lengthen. Song into right leg and turn waist 45°, left foot pivots on toes as Song down and away from hands, then slightly turn back to right as left foot pivots on heel, right hands stays up and in middle, left hand drops to front. Song down to turn left , left foot pivots on toes and Song left hip so waist turns, left arm swings up from elbow, right hand forms hook. Song into right leg, left toe come towards right heel, slightly turn (Song) waist left, do 'U' step (left toes swing behind and then to left before coming forward for step), Song down to slightly sink body to step. Song move to 50-50, then turn waist (right toes turn in), as turn the left hand rotates to palm outward, right hand fixed to same point. Song down, then Ho Ching Chi, left hand slides up and right hook goes out slightly. Make sure body and hands do opposite - if body moving back then hands stay in same space (slightly move forward?). In ward off as turn right Ho Ching Chi, then Song into left hip to turn left, right still moves right (slight lag). In press - hands come up high, move back, hands separate (turn at elbow not hands), keep elbows out, shoulders are forward, down and Song, as body comes forward forearms rotate in slightly so hands rest on basket ball. Ho Ching Chi (Song up) - arms 'swing' up from shoulders. Make movements smooth.
Opening Posture. 7 movements with arms
1. Song body down, then Ho Ching Chi
2. Hands come up (fingers trailing)
3. When hands about 70% up, Song body, shoulders and elbows down
4. Song wrists down so hands are level
5. Slide elbows and hands back until elbows level back of sides
6. Song elbows and wrists, upper arm doesn't move, forearm drops and wrists bend
as finger tips lag behind, forearm nearly level to side
7. Song wrists and elbows to bring hand level to sides.
- when touching, stick hand but Song in arm, shoulder, body
- be generous and give to them, and then get out of the way
- one movement only when touching and following.
Fixed push hands
- smooth movement, don't break flow of Yi
- be sensitive, follow the direction
- practise single shoulder push very large, to practise continuous Song
- fixed push hands: coming forward stay 50-50, stay upright, Song, knee/hip shoulder aligned
- soften feet, the arch should sink flat on floor
- take a lower stance (back knee sinks more)
- be more circular, smoother waist movements
- upper body mustn't cave in
- practise moving straight back (keeping centre between feet, not centre moving into back foot),
this helps open Qua
Free push hands
- first yield
- follow, don't move too much
- follow opponents movements only
- keep your Yi and absorb their Yi
- follow/withdraw/empty - Song
- Mr F told me not to do free push hands as I am too hard. Concentrate on getting Song into body
by doing HYZZ, SSWF1, short form and 8 fixed push hands. Only when I have Song in these
should I do free push hands.
- If you do free push hands, then lose otherwise you push too strong!