Book Review: Taijiquan: The Art of Nurturing, The Science of Power

In preparation for Yang Yang's Summer Taiji Camp, I decided to re-read his book, Taijiquan: The Art of Nurturing, The Science of Power. It is a good read for someone interested in the complete art of Taiji. By complete art, I mean not just bits and pieces, as is often the case, at least in the West. According to Yang, Taiji is a martial art, a healing art, a spiritual practice, and a physical regimen. Yang, a disciple of Grandmaster Feng Zhiqiang, finds it odd that there is even a discussion in America as to whether Taiji is a healing or a martial art. The practice of Taijiquan, if one follows a complete curriculum, leads to martial skill and good health concurrently. Attempting to separate the two leads to something that is not balanced, and not Taijiquan.

For Yang, Taiji has three integral components: Qigong; Taiji Form; Push Hands. Of course there is much to each of these individual categories, but they do form the basis of correct Taiji practice. In the Chen Hunyuan System, which Yang teaches, Qigong includes moving and static practices. Of these, the static practices are the most important in building gong, the foundation of Taiji. Static Qigong is basically sitting and standing Wuji meditation. Form of course varies depending on the school, or style one is practicing, but should be composed of the eight forces and five steps noted in the classics, and typical of all Taijiquan. The Taiji form is moving, choreographed Qigong, and it is key to combat applications. Finally, Yang covers push hands. For Yang, push hands is a training tool. It is a tool for learning to fight efficiently--among other things--but it is not fighting. Push hands is a very important partner exercise, and done correctly benefits each partner. Push hands was not intended to be a competitive venture. Yang does not broach this subject here, but the implication is clear.

For Yang, as with Grandmaster Feng, nurturing is primary in the art of Taijiquan. We begin by nurturing ourselves, through meditation and Qigong exercises, which builds gong and provides us with the foundation necessary to practice Taiji. In push hands practice we nurture ourselves and our training partners. There is much to this concept of nurture as an indispensable component of Taiji practice. To be able to function at our highest level, we must attend to our basic needs first. Everything else follows from there. Early in the book Yang quotes the classical Song of Real Meaning to make his point: "With your whole being, develop your life"(1). That kind of says it all.

Most important for Western readers, Yang demystifies Taijiquan and presents hard solid scientific evidence for what is and is not possible. Yang has a Phd. in Kinesiology, and wrote his dissertation on the practical benefits of Taiji practice. There is no magic or superpowers implicit here, no throwing anyone across the room with intention only, or some mysterious Qi power. This is the art we experience explained in a logical fashion that makes a lot of sense. He does not devote a lot of time to the martial application of Taijiquan, but he doesn't overlook it or disregard it either. All-in-all it is a balanced explication.

I realize this is a short summary of an excellent book. But better than reading my review, buy the book. I highly recommend it for any serious practitioner of Taijiquan, regardless of style. It presents a complete holistic view of this wonderful art in a sane no-nonsense manner.

(1) Taijiquan: The Art of Nurturing, The Science of Power. Yang Yang; 2005; Zhenwu Publications.

Reflections on the 2010 WTBA USA East Coast Workshop

I attended the 2010 WTBA Workshop in Salisbury, MD. May 8th and 9th. It was amazing, to say the least. I should note this was billed as the WTBA USA Workshop. I prefer to refer to it as the East Coast Workshop because Eli Montaigue will be presenting another workshop in Montana in September of this year.

The workshop was very well attended. There were several students and assorted martial artists from across the globe. In addition to WTBA founder, Erle Montaigue, his son and current head of the WTBA, Eli Montaigue was there; UK Chief Instructor, Nasser Butt; USA Chief Instructor, Al Krych; Canada Chief Instructor, Josephine Anderson; and Workshop host and Maryland WTBA Representative, Brian Alexander. I must say I have never been in the presence of so many talented martial artists at one time. There was no shortage of high caliber instruction and competent assistance.

This was my first workshop with Erle; in fact it was my first WTBA event ever, as there are no active WTBA groups in my immediate area--yet. My exposure to this system has been via books and videos to this point. Apparently the turnout was so great that this is now going to become an annual event. Needless to say I am already planning on next year's event.

The focus of this workshop was the Yang Lu'chan form, or Old Yang form, at the small frame level; The River, a Wudang Dim Mak Cornerstone Form; and Combat Push Hands. Although the majority of the information was new to me, the most challenging aspect was the small frame approach to the form. I learned the first third of this from via video, but not at this level. The movements of small frame are subtle and all but incomprehensible to the observer. We did not spend as much time with this as Erle had intended, or as I personally would have liked. But it was enough to pique my interest. I definitely see this as a future challenge, an addition to my ever-expanding list.

The Wudang Dim Mak Cornerstone forms are predecessors to Taiji and Bagua, but contain noticeable elements of each and lots of Fa Jin. As I have been practicing a Chen style for some time now, Fa Jin is not foreign to me, and not as challenging as it is to some contemporary Yang stylists. This, for me, is one of the more comfortable things about this system. Legend has it that Yang Lu'chan learned Taiji from the Chen family (or along with the Chen family, if you prefer that version). So it follows that his Taiji would be more similar to Chen style than the contemporary Yang versions that dominate the Taiji world. I have always found the contemporary Yang system to be awkward and lacking, thus my attraction to Chen. This system does not have that awkward feel--for many reasons. Although the Wudang forms predate Taiji, and are not a part of Yang-style Taiji, per se, they are a part of the WTBA curriculum. There are four forms, each representing a natural element. We learned The River or Water Form, complete. This is a good fighting form. I like it--a lot. We went over it enough that I retained all the basic moves in memory. Erle has added an overview/outline of the form to his website, which helps to clarify. I will have to work on this for some time to polish it and get it right, but it has definitely become a part of my regular practice.

The WTBA version of Combat Push Hands is also new to me, but not so totally foreign that I had trouble comprehending the intention. It is beyond a doubt a different approach to push hands than I am accustomed to, but the fundamentals are there. I have already shared this with my regular Taiji group and we are integrating it into our training routine. Push Hands is an important practice to me and this system gives me another level of approach. Compared to most common styles of Push Hands, WTBA Push Hands is more direct, faster, and closer to free fighting than most approaches. With the free-style Push Hands that I am accustomed to it is easy to enter and transition to grappling. This is a noticeable trait in Chen Village Push Hands. With the WTBA system, any such attempt at entering should be cut off with a strike. Of course that limits the strategies, but makes those available all the more potent. Again, I am impressed. This system will not supersede my other training methods, but it will be a potent addition.

In summary, I have found a new training regiment. Since injuring my leg in Aikido a few months back, I have not been doing any cross-training. I decided after that accident to focus my training on Taiji. Now I have found an acceptable cross-training system. I will be integrating the WTBA system into my existing--primarily Chen Hunyuan--system. Hopefully I will be able to get together with some of the other workshop attendees for training before next year's event. In any case, I have much new material with which to work, and new challenges to address. My Taiji world has expanded.

Taiji and Grappling

Where does Grappling fit in with today's Taiji?

I was going to explore the question, 'Is there a place for grappling in Taiji?' But before I could write the first word I was reminded of all the places where grappling is found throughout Taiji. A breakdown of the Chen forms reveals numerous throws and locks. And a recently televised Chen Taijiquan tournament, shows the reliance on grappling in sport applications. In fact, the concept of zou found in the Taiji Classics, is translated as "overcoming the strong and the hard by the gentle and soft way"(1), which is the same as Ju in Japanese, as in The Gentle Way: Judo, or The Gentle Art: Jujitsu. So there is indeed much of grappling in Taiji.

This shouldn't come as a surprise. Taijiquan is a complete martial art. It has kicks, punches, Dim Mak, grappling, chokes, Chin Na. It was devised as a method of self defense for life and death situations. We often see explications of punches, kicks and armbars taken out of the form. But we rarely--at least in the West--see much instruction or discussion of the grappling side of Taijiquan. Some highly noted exceptions are Erle Montaigue, who addresses grappling, as well as any other conceivable martial application in his teachings; and Tim Cartmell, who integrates Brazilian Jiu Jitsu with his Tai Chi curriculum.

I want to emphasize that I am exploring the relationship between grappling and Taiji. There is a lot I don't know. As always, I welcome comments and insight into this subject. Because I have studied Japanese grappling arts and Taiji, I have an interest in the relationship between the two, historically and practically. I believe there is much martial benefit to be gained from grappling in a controlled and rule-based situation, as one would find in a dojo. Besides being a good aerobic workout, it teaches one how to move, relax, breathe, and anticipate the actions and reactions of one's partner. If done correctly it is a good way to spar using full energy in a relatively safe manner. However, if we keep within the boundaries of Taiji, I can see how it is easy to transition from disciplined movement to all-out wrestling, which at some point is no longer Taiji.

It is my understanding that the creators of Taijiquan preferred to not go to the ground. It is of course preferable to send one's attacker there, just be sure and not join him. There is much wisdom in that. To that end, I think Taiji throws and Chin Na should be drilled so that practitioners know how and when to use them effectively. In a life-threatening situation Dim Mak is generally in order. But there are times when control techniques are appropriate. And there is always the very real possibility that anyone could be attacked and find themselves on the ground with their attacker. Again, knowledge of Dim Mak is valuable in life threatening situations, but for the occasional drunk or unruly brother-in-law, knowing a little groundwork could be valuable.

I guess in the final analysis it all boils down to what the individual Taiji player wishes to do. As I have noted before, there are numerous variations of this art. Looking at it historically and realistically, we should give grappling some deep consideration. Not only because it is part of the overall curriculum, but because it is practical for any and all martial artists.

(1) Jou, Tsung Hwa. The Dao of Taijiquan: Way to Rejuvenation. pp178.

Acceptable Ambiguity and Controlled Folly

At the core of existence is chaos. The things we see and know in our lives appear to be solid, they appear to be the way we perceive them to be. But a closer examination, at the quantum level, reveals what appears to be a chaotic situation. At the quantum level things are not at all as solid and as rational as we think they are. Even though we don't live at the quantum level, we can't deny what science has discovered. And we should assume there is even more yet to our world than we apparently know. A close examination of the writings of Eastern mystics and seers reveals an intrinsic understanding of many of these principles, and indeed some of what rational Western minds have written off in the past, are now understandable in light of quantum science. Ultimately we can surmise the world is not the way it appears. After spending a certain amount of time practicing mindfulness and considering existence from a different perspective, a certain amount of acceptable ambiguity sets in. Things just no longer make sense in the traditional way, via rational science or popular religion. We get to a point where things can't be rationalized and explicated verbally. The world doesn't totally make sense, and that is totally acceptable. At this point we see the interconnectedness and relative unimportance of everything. We also find that discussing it with those who don't understand is useless, and with those who do unnecessary. And we see the folly in the world around us.

In A Separate Reality, Don Juan tries to explain this to Carlos, who of course insists on understanding things verbally. When I first read this book over thirty years ago I was fascinated with almost everything about it, but could understand very little of it in concrete terms. I suspended understanding so I could move on. Of course I still have to do that with much of subject matter, because I am not a Yaqui Brujo. I have not experienced all of the things Don Juan is trying to teach Castaneda, so I can't really understand it all. However, I have grown in my own weird way over the last thirty years, so a lot of what is covered in Castaneda's writings is understandable to me. Perhaps not in the way Don Juan intended, but through my own universalist perspective it resonates. It most definitely means more to me now than it did thirty years ago. Through my practices I have come to understand consciousness, energy, the Universe, and the interconnectedness of everything in a much different way than I did before. Most of these understandings did not come through analytical thought, or rhetorical explication alone. Reason and rhetoric played a part, but the clincher, the real understanding part has come through doing--or not doing; through experience, whether that experience be sitting meditation or exchanging energy with a martial arts partner. I know I've had the experiences, I know they taught me, I know what they taught me, but I can never explain so that another gets it the same way I did. The only way to learn at that level is through experience.

Don Juan also introduces the concept of controlled folly in A Separate Reality. As this acceptable ambiguity sets in, we realize that things have changed for us. We can't go on living the way we have before. Our minds may struggle with the tension between the new understanding and the old comfort, but our bodies know. We can no longer be content pretending things matter that we know in our hearts do not. Chief among the things that don't matter is convincing others. We can reach a place of live and let live. But we still live in the world. We may act on unimportant things anyway. We may need to go through the motions of social life to move along and live our lives in a strategic manner. We do this through controlled folly. We know it's ultimately folly, but it serves our larger purpose. The thing that does matter is living an intentional life, in a purposeful and strategic manner.

I write. That is what I do. Granted, it may be controlled folly but it is ultimately a part of my strategic life because I learn through my writing just as I learn through my Taiji form. The more I learn the more I progress. Ultimately I am only progressing to my death, but the knowledge of my death, in a bow of respect to Don Juan, is what tempers my life. Knowing that death is just over my left shoulder stalking me always, is the impetus for impeccability, my reason for following the way of the warrior. And that is why it matters, even though it doesn't.

Exploring Qigong V: Walking Qigong

Walking Qigong is a very potent form for healing, and is one of the first Qigong methods I learned. Walking Qigong is fairly easy to do. It is good physical exercise, good moving meditation, and good inner alchemy induction. Like most things Qigong, there is no one way to do it. There are endless variations and approaches. But the reason this is a common situation in Qigong is that the combination of movement and mindful intention is the biggest part of the process. Granted there are specific forms and routines that excite and stimulate different meridians, and that address different physiological functions. But, in general, we are working with a peaceful present mind, a moving body, and a healing intention. So the best way to approach Walking Qigong is to do it. Of course one needs to attend to the Three Intentful Corrections, and practice slow and intentionally. But there is no need for arguing over minute details or the number of angels on the head of a pin.

The most famous method of Walking Qigong is Guo Lin Qigong, which was developed in the 1970's for healing cancer. This is a specific form and instruction is recommended for doing this form as intended. However, general Walking Qigong focuses on slow intentful walking. One should practice breathing in time with one's steps, so that one inhales on a right step (for example), and exhales on a left. At the same time the practitioner can move the arms in a rhythmic manner, keeping time with the steps and breathing. For example one can raise the left arm as the right foot steps, and make a big vertical circle as the step is completed. Then as the left foot begins to move forward, the right hand should be in motion to do the same thing on that side in time with the stepping and breathing. A possible variation would be to move both hands gently to the side on which the foot is stepping forward, as in the video above.

Walking Qigong, while a healing form, is a walking meditation. The practitioner should focus on the breath, relax, and perhaps incorporate a mantra or an affirmation. The result for the practitioner is a sense of peaceful wholeness. If one does the research, countless examples of healing and cancer recovery are linked to Qigong. It is possible that this one simple exercise contains the secret to health and longevity. I know I am a believer. It is and has been a part of my routine, and will continue to be.

Will the Real Taiji Players Please Stand?

How many Taiji Players does it take to screw in a light bulb? One hundred. One to screw in the bulb and ninety nine to say, "that's not how we do it."

Let me get to my thesis right off the bat, with due respect and regards to my friends, associates, teachers, and mentors: There is no objective, real, true Taiji, to the exclusion of others.

Through the miracle that is the internet, we all have the opportunity to learn, teach, debate, and share knowledge. And overall I think that is great. However, through forums, and Facebook groups, and blogs, etc... we have all engaged in the "that's not how we do it" verbal exercise. I am as guilty as anyone. And I think that's OK, to a degree. We each need our own objective definition for our own version of Taiji. But like most things in this world, Taiji is subjective. That's what makes it such an interesting and appealing art. However, I think that once we step off into this idea that 'what I'm doing is real, and what you're doing is crap' we ultimately limit ourselves and a do a great disservice to Taijiquan.

Taijiquan is a potent, deadly, devastating Martial Art. At the same time it is a great choreographed from of Qigong, with unbelievable healing powers. It is a mindfulness practice as potent as sitting meditation. It is good overall exercise. It is a beautiful aesthetic art. And there are numerous other definitions that I'm not bringing to mind right now. For some of us, it is all of these things. For some it is only a few, or only one. That's OK. That's great. But if it is only one or a couple of these things for one, that doesn't nullify the other categories for other players.

There are some martial Taiji players whose art is as deadly and effective as any martial art on the face of the planet. At the same time, there are senior citizens doing simple, slow forms in the public parks and nursing homes of world who are proactively addressing their health and adding precious years to their lives. There are competition players, yes even MMA competitors, who add to their art through the practice of Taiji. At the same time there are spiritual-minded people who count Taiji as another meditation practice, another vehicle to Nirvana, or whatever their spiritual goal. The list goes on. And they are all Taiji players, and any and all of their Taiji is as real as any of the others.

I do think that there really are some practices that may be called Taiji that really aren't. But this is because they do not follow established Taiji principles and practices that follow across all forms styles and applications. The Classics are fairly clear on what constitutes Taijiquan. I don't want to go down that path in this entry. Suffice it to say for this post, if we are following the teachings of the Classics and the major schools it is Taiji. Yang Yang, whose system is my primary, has developed an eight movement form for senior citizens and new students based on the Chen Hunyuan System. It is a very simplified form and is extremely different than the original Chen forms. However, it is based on the thirteen movements: the eight forces (peng/lu/ji/an/lie/zhou/kao), and the five directions (advance, retreat, left, right, and central equilibrium). It is probably fair to say that most who learn and practice this art will never get to the point of doing San Shou, Double Push Hands, or Fajin. They may never use their Taiji as self defense, or even think about self defense at all. But that doesn't mean they aren't doing Taiji. At the same time, there are young Chen players whose advanced Push Hands is as potent as any Jujitsu, and whose sparring skills as skillful as any Karateka. But that doesn't mean they aren't doing Taiji either. It's just not the same Taiji as the folks at the nursing home, or in the park, or wherever.

As I said, I am as guilty of categorization and apparent exclusion as anyone. And for that I apologize to any who got the impression that I am coming from this point of view. I am not. I am just as happy playing hard push hands/sticky hands, San Shou, or grappling as I am doing the Yang short form and Zhan Zhuang in the park. For me Taijiquan is a martial art, a healing art, a vehicle for mindfulness, a tool for learning about myself, complete exercise, practical Taoism, self defense, etc... There are folks who practice in ways that I don't and use Taiji for things that I don't and may never. But I don't think their Taiji is any more or less real than mine. It's all Taiji and its all good.

My Interview on Meditation How

Benjamin Dean, who has one of the neatest blogs on Zen Poetry at short-zen-poems.com, also has a blog on Meditation instruction. He just interviewed me for a series he is doing on different meditators and meditation styles. While I enjoyed the interview and am glad to contribute, I have to admit the conversation ended up drifting into unexpected areas. Such is the power of communication and vocalized thought.

Here is a link to the interview. Enjoy.