Forum for Traditional

Our Book in Indonesian

2011-08-08T13:27:00.000-07:00

After the English and German edition our Book is now also published in Indonesian. Please have a look here.

Pushhands with Ma Jiangbao

2011-03-29T10:37:00.001-07:00

Pushhands with Ma Jiangbao

2011-03-28T09:15:00.000-07:00

Docu about Wu Tai Chi Chuan

2011-02-28T23:34:00.000-08:00

Also please click here.

Article about Ma Jiangbao at in-kungfu.com

2011-02-16T11:46:00.000-08:00

Wu Style Tai Chi ranks in the five top traditional Tai Chi styles, which also include Yang, Chen, Sun and a different Wu Style. Wu Style Tai Chi’s main features are agility and gentleness, with gentleness splendidly presented in the practice of pushing hands. Wu Style Tai Chi evolved from Yang Style and Chen Style Tai Chi and was founded by Wu Jianquan.

Ma Jiangbao is a third generation master of Wu Style Tai Chi and the grandson of Wu Jianquan. He began practicing Tai Chi from his father Ma Yueliang, the president of the Jian Quan Tai Chi Club, at the age of eight and taught apprentices from 19 years old. In 1986, Ma Jiangbao and his father went to Germany to teach and spread Wu Style Tai Chi, with Ma Jiangbao focusing on practical teaching and his father guiding them by theory. At that time, they founded the Sino-Germany Friendship Association in southern Germany. Ma Jiangbao continued to coach Tai Chi in Europe, including Holland and Denmark among other countries, in the years after his father came back to China due to illness.

Click here for full article.

On learning the five basic foot positions

2011-02-10T04:34:00.000-08:00

By Lan Tian

From the club magazine, No. 6, p. 7 of Jianquan Taijiquan Association Shanghai from 15.08.1982

At this years’ second Annual Meeting of the Society [1982] Ma Yueliang explained in his introductory lecture the five basic foot positions: pingxingbu, xubu, dingzibu, gongbu and mabu. These five are characteristic positions of the feet in Wu style Taijiquan When learning and practicing Taijiquan one must take care of body postures and understand the changes between yin and yang, full and empty..

At the beginning when learning Taijiquan, often most attention lies on the movements of the arms and hands, and the foot positions can be a little neglected. If pingxingbu is not really parallel (pingxing), the distance between the feet varies, or both legs open like a "v", then this type of foot position leads, for example, in "Step Back and Repulse Monkey (daonianhou)” to non parallel steps and thus the body will be not straight and be without balance.

If gongbu has no bow (gong) and xubu no emptiness (xu), then in the body postures of “Brush Knee (louxiaobu)" or "Scout on Horse Back (gaotanma)" full and empty are not separated and double weighting (shuangzhong) occurs. Or when one turns 45, 90 or 180 degrees, the pivotal point is not on both toes, you also turn on the heel until you reach pingxingbu or xubu. Otherwise the center of gravity is not stable, light and agile. Or, if for example, in "Single Whip (danbian)" or "Fan through the Back (shantongbei)" the foot position is not mabu, then the legs will not be strengthened and the qi not be lowered effectively.

In summary, one can say that if you do not have accurate position of the feet, it is impossible to develop the principals of "Relax Shoulders and Let the Elbows Hang", "Straight Back", "Let the Qi Sink into the Dantian", "The Coccyx is Upright and the Spirit (shen) Reaches to the Apex" and "The Whole Body is Light and Mobile (ling), Erect Head and Empty Neck". Thus you will not develop good Taijiquan.

Learning from experience: Stillness (jing) and movement (dong)

2011-02-02T13:38:00.000-08:00

From Wang Pinzheng

From the club magazine No. 5, p. 8 of Jianquan Taijiquan Association Shanghai from 05.15.1982

Taijiquan is a form of movement in which stillness and movement co-exist. In movement there is stillness. In stillness there is movement. Taijiquan prevents and fights diseases, strengthens the body and with continuous training you can defend yourself against a stronger attacker.

As for the stillness: It refers to the stillness of the life force. When practicing Taijiquan, efforts are made to get a calm heart/mind (xin) and a still spirit (shen). The movements unfold naturally (ziran) and are smooth and graceful, like moving clouds and flowing water. In this way, you can convert the never ending stress of work into a state of stillness. The reduction of stress immediately reduces some tiredness and weakness, which can be eliminated in the long term. Taijiquan helps weariness and leaves one feeling refreshed and relaxed. This is an application of stillness.

Furthermore, if you attain stillness, you are immediately relieved of confused thoughts. Many diseases are originating in "the exhaustion of the internal organs and seven emotions (neishang qiqing)" and interfere with the life force or increase depressive and aggressive states of mind. Through the practice of Taijiquan you can reach natural stillness and relaxation. Nervous symptoms decrease and you are not so easily annoyed. This is what is explained in the Inner Classic: "The life force is protected insight, thus diseases are prevented."

Although Pushhands is a method of martial arts practice for two partners, it is also based on the idea of stillness and softness. It is not: "He who attacks first is an advantage", but "Meet the offensive with stillness (yi jing dai dong)" and "Overcome hardness with softness (yi rou ke gang)”. If you practice Pushhands, you do not touch the other person heavily. You use just enough strength that you can control the other one. If you attained this great skill, you understand the other quickly and he will be beaten for sure. Whilst practicing Pushhands you have to make sure that you are very still and not be anxious. The hands are light and the qi sinks. Wrists, elbows, shoulders and other joints must be relaxed and open. Above empty and below full, thus you can change softly.

Your own stillness, lightness, relaxation and softness enable you to distinguish the full and empty of the opponent with a touch. Thus it is possible to act according to the circumstances and to strike back in an appropriate way. When the heart/mind is not calm, you are not focused and the hand movements are faulty. Once the heart/mind is still, you can follow the movement of the other, without losing contact or go against it. The other uses force - I use the advantage of the soft change. The other does not use force - I also use no force. Imagination (yi) comes first and not the use of force. In the Song of Striking Hands (Dashouge) it is stated: "If the other does not move, I do not move. If the other moves imperceptibly, I move first."

Ma Yueliang and Ma Jiangbao Pushhands

2011-01-28T12:20:00.001-08:00

Old clip of Ma Jiangbao

2011-01-28T12:06:00.001-08:00

Clip with pictures of Wu Jianquan

2010-11-09T10:06:00.000-08:00

Ma Yueliang - Fast Form

2010-10-26T11:48:00.000-07:00

Wu Yinghua - Slow Form

2010-10-24T11:06:00.001-07:00

Ma Jiangbao Pushhands

2010-10-21T12:48:00.000-07:00

Demo of Wu Tai Chi Huddersfield England

2010-10-21T11:58:00.000-07:00

Tai Chi and Fibromyalgia

2010-10-13T00:07:00.000-07:00

A Randomized Trial of Tai Chi for Fibromyalgia

Background
Previous research has suggested that tai chi offers a therapeutic benefit in patients with fibromyalgia.

Methods
We conducted a single-blind, randomized trial of classic Yang-style tai chi as compared with a control intervention consisting of wellness education and stretching for the treatment of fibromyalgia (defined by American College of Rheumatology 1990 criteria). Sessions lasted 60 minutes each and took place twice a week for 12 weeks for each of the study groups.

Read more here: The New England Journal of Medicine

The 13 Basic Movements

2010-10-04T23:41:00.000-07:00

(one can find this article as a pdf with pictures here)

Usually, the beginner first learns the slow form of Taijiquan. Anyone who at this stage is interested in the classic texts of Taijiquan will find time and time again the notion of the 13 basic movements. So what are these 13 basic movements? In Chinese they are called shisanshi.

Shisan is the number 13 and the second shi means basic movement. In a direct translation shi is given as “posture”, “position”, “gesture” or, as in Sunzi, “strategic advantage”. When talking about Taijiquan it is best to use the word “movement” to express the dynamic character of shi. The 13 basic movements are subdivided into eight hand techniques (bamen,literally: eight gates) and five steps (wubu). The eight hand techniques are allocated to the compass points respectively to the eight trigrams. The five steps are allocated to the five phases (wuxing). The eight directions are in China traditionally the four sides North, South, East and West and the four corners, NE, SE, SW, NW. Together, these make up the 13 basic movements of Taijiquan.

They are explained in the “Explanation of the method of Taijiquan (Taiji fashuo)” in text 1:

The eight hand techniques and the five steps (Bamen wubu)

Direction Eight Gates
peng South kan
lü West li
ji East dui
an North zhen
cai Northwest xun
lie Southeast qian
zhou Northeast kun
kao Southwest gen

“The compass points and the eight hand techniques demonstrate the law of the cyclic change between yin and yang, which changes eternally. In brief, one has to learn the four sides and the four corners. Peng, lü, ji and an are the hand techniques of the four sides. Cai, lie, zhou and kao are the four hand techniques of the four corners. Combining the hand techniques of the four sides and the four corners we achieve the allocation of the gates to the trigrams.

The differentiation between five steps (wubu) is based on the idea of the five phases (wuxing) and supports the eight directions. The five phases are: jinbu (to advance)/fire, tuibu (to retreat)/water; (to look left)/wood, youpan (to look right)/metal; zhongding (central equilibrium), the centre of the directions/earth. Advancing and retreating are the steps of water and fire and to look left and right are the steps of metal and wood. The central equilibrium of the earth is the central point of the axis. The eight trigrams are hidden in the body, and the feet step the five phases. The eight hand techniques and five steps make 13. This is how the 13 basic movements are created naturally and are called the eight gates and the five steps.“ (Wu, p. 16).

The 13 movements are the basis of Taijiquan. By combining the hand techniques with the different steps, one can achieve a large variety of movements. The execution of the 13 movements is discussed in the “Explanation of the method of Taijiquan (Taiji fashuo)” in text 2:

The method of application of the eight hand techniques and five steps
(Bamen wubu yonggongfa)

“The eight trigrams and the five phases are part of man’s natural endowment. First one has to understand the meaning of the notion of conscious movement (zhijue yundong). Once one has understood it, one has mastered the understanding of jin-power (dongjin). Following the understanding of jin-power (dongjin) one can achieve enlightenment (shenming). So at the beginning of one’s studies one has to achieve knowledge about the conscious movement (zhijue yundong), which although it is part of our natural endowment, is difficult to grasp.” (Wu, pp. 16)

The meaning and function of the 13 basic movements is again explained in the “Song of the 13 basic movements (Shisanshi gejue) ” (see this issue, p. 7). Because of the importance of the 13 basic movements for Taijiquan, the next issues of Taijiquan-Lilun, beginning with this one, will present in detail first the eight hand movements and then the five steps. We will begin in this issue with the hand technique called lü:

In Issue 1 lü was used as an example to demonstrate the difficulty of translating technical Taijiquan vocabulary. It was shown that no direct translation exists, but that there are only explanations of the quality of lü. This is why it is so important to engage with these explanations. Ma Jiangbao says that lü is the hand technique which needs to be learned first. It is the first, because it is meant to introduce the student to one of the essential abilities of Taijiquan:

In using lü the power of the other is diverted and neutralised. Chinese texts often use for an explanation of lü the words yin or yindao, which means “to lead” or “to guide”. This is how it is for example used in the “Secret song of the eight methods (Bafa mijue) ”, where one finds about lü:

“How to explain the meaning of lü?
To lead the other (yindao)
and let him come forward.
Following the other’s incoming force.
Light and subtle, without losing
contact or resisting.
The power ebbs out naturally (ziran)
into the emptiness.
Throw or attack follows naturally (ziran).
Maintain your own centre.
This can not be exploited by the other.”
(Wu, p. 102)

Ma Yueliang explains:
“Lü is an overt power (mingjin). If the other attacks, this is the moment to familiarise oneself through peng with his direction. Then, one leads him on – without even noticing – to continue the advance. Thus one can divert the attack to the right or to the left. The power and speed of the diverting depends on the power and speed of the attack. One waits until the other’s power is waning (shishi), which is when one lets go and starts the counter-attack. Mechanically, lü works like an axis, going either to the right or the left.”
(Ma, Xu, S. 10)

Ma Jiangbao points to the explanation of lü also in the “Song of striking hands (Dashouge)” (see Issue 1), where it says: “Divert (yin) the attack (jin) into emptiness (luokong)”. In doing so he concentrates on the quality of a good lü, which should give the attacker the feeling of falling into an abyss.

Ma Hailong comments on lü: “Lü is the diverting (yin) power. It has a circular effect, follows the power of motion and retains control. If doing lü,one has to keep one’s centre.”
(Wu, Ma, p. 169)

Lü is therefore a technique that leads the attacking power into a circle, so that it misses one’s body and head into emptiness. It is important to note that the diverting is based on a minimum of power and one’s centre is not in danger. If one can achieve this, one can also realise the principle of lightness (qing) and one can easily deflect the power of a thousand pounds with the use of four ounces.

· Ma, Yueliang, Xu, Wen, Wushi Taijiquan Tuishou, Xianggang
Shanghai Shuju Chuban, Hongkong, 1986.
· Wu, Gongzhao, Wujia Taijiquan, Xianggang Jianquan Taijiquanshi
Chubanxiaozu, Hongkong, 1981.
· Wu, Yinghua, Ma, Yueliang, Wushi Taijijian, Renmin Tiyu
Chubanshe, Peking, 2001.

New Spanish Wu Tai Chi Blog

2010-08-19T08:29:00.000-07:00

The Wu Tai Chi Blog of Javier Martinez Belmontes - please click here.

Basic Solo Pushhands

2010-08-13T01:19:00.000-07:00

Basic Solo Pushhands with Javier Martinez

Summercamp 2010

2010-08-02T23:47:00.000-07:00

Summercamp mit Martin Bachem, Michel Peeters and Ma Jiangbao

Before (xian) and after (hou)

2010-07-28T01:04:00.000-07:00

From the Wu Tai Chi Journal (please click here)

Before (xian) and after (hou)
By Wang Pinzheng

When a calligrapher is writing, his imagination (yi) resides first in his brush. When a painter starts painting a picture, he already has a clear image of it in his mind. This is because they first think about what to do. This is related to the demand in Taijiquan to ’Lead the qi with the heart/mind (xin). Move the body with qi.’ and ’Imagination (yi) and qi as the rulers – bones and flesh as the servants’ In Taijiquan also one emphasises before and after: ’The ruler gives orders to the subject.’ This short sentence means that imagination and qi control the movements.

In the book Wu style Taichichuan the first movement is called ’Preparation (yubeishi)’. This movement completely embodies the meaning of ’Imagination and qi control the movement’. When performing the preparation you should pay attention to three aspects:

1) The body is upright. Erect head and empty neck (xuling dingjin). Expand the chest downward and lift the upper back (huilin dingjin). The arms hang down naturally (ziran) and the feet are parallel and shoulder width apart. The knees are very slightly bent. In this posture the upper part of the body is relaxed (empty like the heart/mind) and the lower part of the body is strong (full). This is a ’harmonious body’.

2) The mouth is lightly closed. You breathe deeply through the nose. Let the air sink slowly to the dantian (near the navel). After breathing in, you slowly breathe out through the nose. When the chest is expanded downward, the diaphragm can move freely.Thus it creates the movement of breathing in and out. This is ’harmonious breathing’.

3) Both eyes are calm and do not wander around. You free yourself of confused thoughts. The visual focus is kept inside. Other thoughts are dropped. This is a ’harmonious heart/mind’.

After breathing in and out 3-5 times, you reach relaxation (song) without stagnation in the whole body. The breathing is soft and without any interruption. The heart/mind is calm and empty of thoughts. The mind makes the arms stretch out very slowly to a horizontal position and continue by falling back to their original position.The movement of preparation is the beginning of the form. You go on immediately. While you are moving with the outside of your body during the exercise, you are full (shi) inside using your imagination. The breathing is calm. Hard and soft mutually complement each other. The heart/mind is calm, the qi is harmonious and you don´t think about anything. Qi and blood circulate and the whole body is connected. This is what the Classic of Taijiquan (Taijiquan jing) describes as ’it flows continuously like a long river and the sea’. (see Lilun 2)

When you have finished the form, you realize that your mind is clear and the qi refreshed. As mentioned before, if you don´t pay attention to the preparation you will not reach the harmony of the heart/mind. You will practise hastily and it will be difficult to reach a state of relaxation and calmness. The principle ’Lead the qi with the heart/mind. 'Move the body with qi' must be followed as our Taijiquan ancestors followed it in their training: Essence, qi and mind are concentrated. The dantian is filled with qi, fingers and palms are full of warmth in every movement. This is a sensation like completing an electrical circuit. „When the imagination comes, the qi comes as well and then comes the muscular power (li).“: in this way ability (gongfu) is created.

Obviously, the essential aspects of before and after are also of importance to pushhands. In double hand pushhands you have to control the opponent by using imagination: ’If he does not move, I do not move. If he moves imperceptibly, I move first.’ With the vital force (jingshen) it is possible to adapt to the attack of the opponent. When he advances one yard, I admit one yard, not 0.9 or 1.1 yards. This simply means not to resist and not to lose contact. The opponent advances, I retreat. The other one is hard, I am soft. This has to fit exactly and requires the ability to ’know one’s opponent’. To obtain this ability, the imagination has to precede the movement. You reach it step by step by practice. When practising Taijiquan you usually work with the image ’Even when one´s own jin-power breaks off, the imagination continues to exist.’ Every movement of the hands, every step is a defence, neutralizing or sending out jin-power (fajin).
This is an example of using imagination in every movement of your practice. It becomes a habit and the ability in pushhands grows with it.

A strategist who wants to achieve a victory has to ’make plans in the headquarters’ before the battle. Before practising Taijiquan you have to eliminate `the hundred illnesses` and strengthen the body. Afterwards you should use imagination, not muscular power, to control the movements. Then it is easy to reach the qi of early heaven and the goal of longevity.

Visit in Rotterdam

2010-07-01T02:40:00.000-07:00

Taijiquan as Part of China’s Martial Arts

2010-05-21T15:03:00.001-07:00

From the magazin Taijiquan-Lilun Topic 2
(to order click here)

Almost every book about taijiquan includes a chapter on its history – albeit limited to some masters of taijiquan and their schools. This magazine, Lilun, uses a different approach. The goal is to understand Taijiquan as an aspect of Chinese martial art. To this end, we correlate what we know of the history of Taijiquan with what we know of the history of Chinese martial arts.

Before setting out on this route, however, it is useful to consider the Chinese term for ‘martial art’. This takes us back to the period from 770 to 221 BC. The earliest references to martial arts are to be found in the written testimonies of the time. They speak in terms of jiji (techniques of attack with the hands), xiangbo (tests), shouzhan (hand fighting), juedi (wrestling) and wuyi (the art of war). The last of these would become, by the rise of the Chinese Republic in 1911, the standard term for martial arts. From 1911 on, the term of zhongguo wushu (Chinese martial arts) or in its shortened form, guoshu (art of the country) was introduced. Today, the term wushu (martial arts) is the one generally in use. This contraction is of a later date, as Parchwitz explains: “The designation of wushu, ‘art of combat’ or ‘martial art’, was only generally decided upon in the city of Xi´an in 1985, at the international conference of Organised Wushu Associations. This paved the way for the intensified promotion of wushu as one of China’s indigenous sports on an international level. Three years later, the Olympic Committee for Asia (OCA) voted that wushu be officially accepted as a new regular competition category at the Eleventh Asian Games.” (Parchwitz, p. 22). Thus the term wushu acquired a dual meaning, referring both to ‘martial arts’ in general and to a specific kind of ‘competitive sport’ in particular. Confusion can easily arise.

Thus, Chinese martial arts have a long tradition. Yet, for all this consciousness of tradition and China’s scientific and technological superiority over the West until about 1800, there was as good as no independent innovation in the martial arts after their beginnings in pre-Christian times. “For the traditional martial arts this was significant from various points of view. The links thus remained between traditional combative arts and traditional arms. Even when modern, imported firearms became an established part of the army’s arsenal, the traditional weapons continued to form part of the armament of the people. Modern weapons were not obtainable. And as, through the past century, traditional combat techniques as a means of defending property and life became superfluous in any case, the pronounced awareness of tradition saw to it that the martial arts in China did not dwindle into oblivion.” (Filipiak, p. 231)

It is from that awareness of tradition that culturally specific Chinese characteristics were able to develop so strongly. Thus, alongside martial practice in the narrower sense, there are numerous theoretical concepts which are influenced to a crucial extent by Chinese philosophy. From the Qing Dynasty on (1644 – 1911 AD), such concepts were increasingly set out in writing. In Taijiquan in particular, there are a great many texts dating from this period. Fundamental terms such as the ‘highest supreme’ taiji, the spirit shen, the heart/consciousness xin, qi, yin-yang, bagua or the eight trigrams and the five elements wuxing become central (cf. Taijiquan-Lilun 1 and 2).

Throughout its long history, Chinese martial arts continued to oscillate between the two extremes of individual self-defence and the military skills of battle. The two trends are technically quite distinct. In war, larger, armoured forces faced each other, so that the use of distance arms was a priority. Hand weapons, such as there were, would be heavy and long. For individual self-defence the preference was, at best, for light armour and weapons of close range. Thus, such situations might elicit greater use of the bare hand or foot. Although the realms of self-defence and of military martial arts differed, it may be assumed that there was always a lively interchange between them. The many Taijiquan masters who taught Taijiquan both in the army and self-defence or the use of bodyguards (see Taijiquan-Lilun 3) are a good case in point.

Taijiquan is not the invention of any one individual. Its ancient roots developed out of Chinese martial arts. In the evolution of Taijiquan, various traditional currents merged and a new art was shaped on the base of the old knowledge. Development did not stop there, however. Through exchange and comparison with the martial arts of other schools and in relation to developments in society, Taijiquan was adapted by its masters to the circumstances of the times. Ultimately, this led to the decisive transformation of the twentieth century, in which the movements of Taijiquan were slowed down and the combative aspect finally put in the background.

The author is aware that the limited space of this magazine makes it almost impossible to supply a complete or comprehensive survey of the history of Taijiquan. Many controversial questions have had be passed by. But the aim here was never to answer all these questions, but rather to make an attempt to shift the reader’s perspective. Taijiquan is not an art that appeared out of a vacuum; it is part of Chinese martial arts and their history. A historical perspective that takes this into account should hopefully provide the reader with new avenues of thoughts on her/his beloved craft.

Free Taijiquan-Lilun Journal

2010-01-28T02:14:00.000-08:00

To download the full Taijiquan-Lilun Journal 3 please click here.

Enjoy reading.

Martin

They are ready for Tai Chi Chuan

2010-01-27T02:33:00.001-08:00

Ancedote about Ma Jiangbao

2010-01-21T06:27:00.000-08:00

When I took my teacher's exam in 2002 Ma Jiangbao asked another candidate:

"What do you have to do so that qi can flow?"

The candidate had no answer so Ma Jiangbao gave it:

"Good gongbu, good xubu".

I for one will keep practising...

Arno Matthias

Ma Hailong Clip

2010-01-14T11:45:00.001-08:00

Interview with Ma Hailong

2010-01-14T09:01:00.000-08:00

From the Newsletter of the International Tai Chi Chuan Symposium on Health, Education and Cultural Exchange, page 4-7

DB: For how many years did your family have to practice underground?
MH: From 1948, the Shanghai Wu Style Association was closed until 1978.

DB: During those 30 years were people still practicing Wu style?
MH: Because Wu style Taijiquan had a very good foundation in the Shanghai area even though our Association was closed, many people still practiced.

DB: So when the Association re-opened in 1978, this must have been a very happy day for your father and mother. From that point the rest of the world began to learn about your father Ma Yueliang and he began to travel.
MH: My father went to Europe with my mother and began to teach internationally.

DB: So now the Shanghai Association is going strong?
MH: From my point of view, I feel we could be stronger. One of the difficulties in Shanghai is that not very many young people are joining our practice. Most of ourmembers are middle-aged and older. If we don’t have young people studying this is a problem. I am putting more energy into developing younger people and drawing them into our practice.

Read More

Combative Aspects of Taijiquan

2010-01-13T12:12:00.000-08:00

by Ma Yueliang Translated by Ted W. Knecht, from neigong.net

Using softness to defeat hardness

Hardness and softness are two types of energies within Taijiquan. One type carries with it a character of resistance and no matter if it is large or small it is called hard energy. The other type follows the incoming attack with no resistance and is called soft energy. Taijiquan nimbly uses both softness and hardness and changes according to the circumstance. This is an important attribute in the fighting principles of Taijiquan. When hardness resists hardness, the one with the greatest strength will win. There is no method of being agile with hardness against hardness. When using strength like two rams hitting head to head, this is called dead energy.

When this type of dead energy encounters the live energy it most often will be controlled and lead into emptiness. This is called softness defeating hardness in the terminology of Taijiquan. The application of using softness to defeat hardness is to use softness to move or dissolve the hard energy of the opponent into emptiness during an attack. If the opponent uses force to attack and I also use force to attack who ever has more strength or speed will win. Taijiquan emphasizes using soft dissolving actions in order to stop the vigorous charge of the attack. However, if one only knows how to defense by retreat and cannot advance for a counter attack, then this does not conform to the principles of hardness and softness mutually working together and softness defeating hardness.

Read More

Small Thought

2010-01-11T12:40:00.000-08:00

The theory of Taijiquan is important for me, because with its help I can make predictions. I can check if the prediction is right or wrong with my teacher Ma Jiangbao, my Tai Chi friends or through practice. Therefore a theory is much more than a description of a movement or techniques. It is a tool to guide me.

Now I read the following about the word 'theory':

"The word 'theory' comes from the greek verb theorein, what mean 'to look at' or 'to see possibilities."

Isn't this wonderful.

All the best

Martin

Small Enlightment

2010-01-08T03:52:00.000-08:00

Today I read a sentence (of Daoist context):

"We are not looking for stability, we look for balance."

Is this not a perfect formulation of what we are looking for.

All the best

Martin

Tai Chi in the Arctic

2010-01-06T00:13:00.000-08:00

Doing the form in arctic lapland - minus 15c - Brrrrrrrrr

All the best

Dan McGiff

To Talk about Perseverance

2009-12-31T05:34:00.000-08:00

Xu Wen (Dr. Zee)

Issue 20, p. 7 of the Journal of the Jianquan Taijiquan Association Shanghai

Perseverance has the meaning of stamina. The five-point motto of Ma Yueliang finishes with perseverance. It says that while practising Taijiquan one has to have a long the four points of stillness, lightness, slowness and conscientiousness also perseverance. Only then Taijiquan can develop its effects.

Taijiquan is not a panacea, which works right away. Taijiquan follows the "laws of the nature", does search for "being conscious" and the endowed inborn root of the movements. The basic ability of the conscious movement is inborn, but "being close to each other by our inner nature, we separate from each other by our habits". Because of this one loses the inborn. So in physical exercises one does not develop one's original capabilities to the full extent, as it would have been possible, or worse, one develops unfavourable variances. When practising Taijiquan one goes through subjective efforts, but it is a process that changes the objective world and where one looks for the lost endowed inborn.

This process is long-term and life long. Though the Taijiquan movements should become part of daily life, at best a kind of key idea, which you are looking for in all movements, whether walking, standing, sitting or lying down. However, if you
"diligently work one day, but there are ten days of rest" you are not following the five-point motto of Ma Yueliang. This also means that you do not prevent diseases or strengthen the body. The goal of Taijiquan, the long life and the eternal spring, will be a question.

It is unusual for young people to begin to learn Taijiquan. They often find not much joy in this kind of movement or even think they are boring. So at the start one should make an individual plan for each one. It is essential to fix the time frame and the amount of stuff to learn. This must be done consciously. But one must also decide with the whole heart to improve. It's like in calligraphy:

"Only after a hundred days of practice with the characters it shows effect."

When you practised Taijiquan three months, you can see the first effects. One can e.g. feel fine, the appetite is good, the limbs are healthy, and after a long time, chronic diseases can improve or the outbreak of them can be prevented. If one gets the taste for it, it increases the confidence and the resolution to practice Taijiquan.

The conditions of individual students are not the same. This must also have an influence to the character and the level of training. The old teachers demanded that one should do the form a ten thousand times in about three years. This shows that if you do the form just once a day, it is only enough to keep it. For today's people, it is certainly very difficult to do the form ten times a day. It would be best to do the form twice a day, because the first time is just to warm up. This is important, because you can't reach stillness by just pushing a button. Only at the second time you can achieve "The heart/mind (xin) leads qi. The qi moves the body.", because now the mind got still. Body and spirit are in harmony, what even increases the result.

As in the phrase: "Relax and stillness as the reaction", you will feel very comfortable now. Even if you want to stop, you can't do it and you feel like a third time. On the other hand, if you are to much distracted by the daily live and it is just hard to concentrate and you have to force yourself to do Taijiquan you should stop the training for a while or take a rest after the first irregularities.

Taijiquan can be divided into two major parts. One part is called the "exercise of the foundation (ti)" or the "exercise of the cultural (wen)." The exercise of the cultural is the high ability (gongfu) of the knowledge of oneself and the practice of the conscious, original abilities. The doing of the form is the practice of the cultural. One must also practice to let the qi flow, even if "the qi flows throughout the body without hindrance" is not easy and it needs two or three years of practice. The second part is the Push Hands.

Push Hands is the "exercise of the application (yong)", also called the "exercise of the martial (wu)". It is the high skill of how to deal with somebody else. You have to reach the level of the understanding jin-power (dongjin), which is not easy and only succeeded after a long time. Only if you have done an extensive training for a long time, you can find step by step depth through practice. But if you go this way, you will find success. But, no matter whether exercising the foundation or the
application, if you want go this way, in any case perseverance is the most important point.

Clip Slow Form

2009-12-30T12:10:00.000-08:00

Here comes the Slow Form first part by Andreas Strauch/Germany

Twenty Years of Wu Tai Chi Chuan in Düsseldorf - The Beginnings

2009-12-14T00:00:00.000-08:00

From Juergen Graf (from the year 2006 - Jürgen is the on the picture left)

The title of my article is not completely correct. Actually, there was Wu Tai Chi Chuan being taught before that time in Düsseldorf. Since 1978 Hin Chung (Tommy Got) taught Wu Tai Chi Chuan in Düsseldorf. In 1985 the German Chinese Club for Culture Exchange (DCK) was founded this was the venue for training. The main people involved in the DCK were Siegfried Jahnke and Tommy Got with his Chinese culture shop Mingfan.

In 1986 the DCK invited Ma Yueliang and Ma Jiangbao to teach Tai Chi Chuan in Düsseldorf. The first course was for the students of Tommy Got and experienced students of other kinds of styles. After a short time Ma Yueliang went home and Ma Jiangbao continued teaching. The first course for beginners was offered in the autumn of 1986. Besides Tai Chi other martial arts such as Tanglang Kungfu were taught. Another pillar of the DCK was lectures and seminars of Chinese philosophy. Beautiful Chinese New Year celebrations remained in everyone's memory. Here Ma Jiangbao demonstrated for the first time his singing ability and all woman hearts flew to him.

Unfortunately at that time, club members were interested in only the martial arts or in the philosophy. I remember a weekend seminar with Ma Jiangbao for the philosophy people. Mr. Ma taught Part 4 of the long form with the patience of an angel. Unfortunately the untrained philosophers gave up early because of muscular pain. At the first public course already mentioned I meet Martin Boedicker. Teaching was at first very Chinese. Because Mr. Ma was not able to speak our language, everything was done by copying him. There was very little said. But soon teaching and communication improved. On one hand, Mr. Ma learned German, and on the other hand Martin Boedicker introduced teatime into the training. During this time Ma Jiangbao also began to divide the individual movements of the form into parts and to explain them in detail.

After three years of teaching in Düsseldorf Ma Jiangbao moved to Holland. Bart Saris took over the teaching in Düsseldorf, but soon concentrated on teaching in Venlo completely. Some Düsseldorf students went there - fortunately also Martin Boedicker, who later created the group at the university. I stayed with a group of students at the DCK, which was now taught by Holger Grosch. After the DCK had to give up its rooms, the group moved several times. Later I met Martin Boedicker again and he invited me to train at the university. Since then I am apart from Ma Jiangbao also a student of his.

Great Picture Of Wu Yinghua and Ma Yueliang

2009-12-13T00:03:00.000-08:00

Wu Yinghua Clip

2009-12-13T00:02:00.000-08:00

Please click here.

Pushhands Fun in Shanghai

2009-12-11T23:39:00.000-08:00

More Pictures please click here.

Training Tips from Martin Boedicker

2009-12-11T00:56:00.000-08:00

In Pushhands double hand rotation 1 the following is very important: One stands in gongbu and the arms are folded together. The next step is to stretch out one arm. It is most important that one is still in gongbu. If this is done wrongly made in xubu, then even a slight touch from the opponent will cause you to fall.

Pushhands with Fei Guoqing

2009-12-11T00:51:00.000-08:00

Martial Arts during the Qing Dynasty

2009-12-10T01:27:00.000-08:00

Here comes a piece of a text from the Lilun Topic Magazin 2 "Taijiquan in the History of Martial Arts" (more info and international orders click here):

The roots of Taijiquan and the developments of Chen Wangting fall within the Ming Period (1368 – 1644 AD). That the art of Taijiquan should have begun its branching into the five family styles under the Qing dynasty (1644 – 1911 AD) reflects the general development of the Chinese martial arts in that period, which was marked by an even greater diversification into different schools and styles than under the Ming dynasty. Thus, sixtytwo systems of combat alone are listed in a single book, the Qingbaileichao – and they do not include such well-known styles as Taijiquan, Bajiquan, Baguaquan or Xingyiquan. The majority of styles in this period are linked to individuals or families, and not widely disseminated. Filipiak explains:

“An essential condition for the development of individual local combat styles was the patriarchal family system. The great store traditionally placed in the family, its setting itself strictly apart from other clans and its autochthonous way of life preserved the art of combat over generations. Outsiders were not privy to this knowledge“. (Filipiak, p. 98)

Full text click here.

Classic

2009-12-09T13:05:00.000-08:00

Secret Song of the Eight Methods (Bafa mijue) about lü:

How to explain the meaning of lü?
To lead the other (yindao)
and let him come forward.
Following the other’s incoming force.
Light and subtle, without losing
contact or resisting.
The power ebbs out naturally (ziran)
into the emptiness.
Throw or attack follows naturally (ziran).
Maintain your own centre.
This can not be exploited by the other.

Translated by Freya and Martin Boedicker

A Conversation with the Great Ma Yueliang

2009-12-08T22:59:00.000-08:00

Interview by Inside kung-Fu magazine.

Master Ma. What year did you begin studying with Master Wu Chien-chuan?

When I was 20 years old. I knew him when I was younger but I didn't formally begin studying with him until the age of 20.

What do you remember most about Wu's teaching?

He never changed the Form. I teach the origional syle of Wu Chien-chuan. It's not unusual for it to be changed, like in America or Hong Kong, because it is like handwriting. Everyone has a different style. I believe you can change the Form only if you are very skilled. I studied forms for 10 years with no changes; exactly like Wu. After studying for 10 years I came to Shanghai and began to assist Master Wu. Still his Form did not change.

Read the full text.

On the Marionette Theatre

2009-12-08T14:55:00.000-08:00

An Inspiring text

I was astounded to see the bear standing upright on his hind legs, his back against the post to which he was chained, his right paw raised ready for battle. He looked me straight in the eye. This was his fighting posture. I wasn't sure if I was dreaming, seeing such an opponent. They urged me to attack. "See if you can hit him!" they shouted. As I had now recovered somewhat from my astonishment I fell on him with my rapier. The bear made a slight movement with his paw and parried my thrust. I feinted, to deceive him. The bear did not move. I attacked again, this time with all the skill I could muster. I know I would certainly have thrust my way through to a human breast, but the bear made a slight movement with his paw and parried my thrust. By now I was almost in the same state as the elder brother had been: the bear's utter seriousness robbed me of my composure.

read the full text

Ma Yueliang 13 Spear

2009-12-08T12:58:00.000-08:00

The Difference between Theory and Philosophy

2009-12-08T01:15:00.000-08:00

With publishing The Philosophy of Tai Chi Chuan I discussed the topic ‘Philosophy’ with a lot of people. I found out, that for many people the difference between ‚philosophy‘ and ‚theory‘ is not 100 % clear. Thus here a try for a definition:

Theory: A theory, in the scientific sense of the word, is an analytic structure designed to explain observations and makes one able to give a prognosis

Philosophy: Philosophy (literally: love of wisdom) is the study of general and fundamental problems concerning matters such as human existence, knowledge, values, reason, mind and so on.

Thus one can say, that theory explains, how Tai Chi Chuan works and philosophy explains why one should do Tai Chi Chuan.

Talking about Wu Style Taijiquan

2009-12-07T04:50:00.000-08:00

An excerpt from the Club Magazine No. 17 of the Jian Quan Taijiquan Association Shanghai, 31.3.1986

Chinese martial arts look back on a long tradition. There are many different schools and styles. Taijiquan is divided into five styles: Yang, Wu, Chen, Wu (Hao) and Sun. A hundred flowers blossom and contend in their beauty. One day I asked my teacher Ma Yueliang for advice: „Master Ma, what is Wu Style Taijiquan?“

Master Ma Yueliang answered: „The Wu Style of Taijiquan was founded by the grandfather of my wife. His son Wu Jianquan continued it. Passed on from generation to generation it developed a calm, light and soft character and became a unique style.“ While saying this words he automatically started to perform martial arts movements and said: „Look at these movements. Like flowing water. Like a willow at the shore of a lake. Sublime like a wonderful flowing poem. No wonder that for some practitioners Taijiquan is a movement full of poetry.“

Fast Form Avi

2009-12-05T06:50:00.000-08:00

Regular Seminars in Belgium

2009-12-05T02:50:00.001-08:00

After the success of the first seminar with Martin Bachem in Belgium, this becomes a regular event every two month:

Info about these seminars

Anecdote

2009-12-05T00:19:00.001-08:00

Once I was training in a park my slow form. A mother with her little daughter came. The kid was seeing me and shouting excited at her mother:

"Mama, Mama, Have a look - a clown."

Oh dear - thx.

Martin

A Chronological History of the Martial Arts and Combative Sports

2009-12-04T04:58:00.000-08:00

A very interesting link.

Please enjoy

Kronos

The purpose of this chronology is to introduce the history and development of the world's martial arts and combative sports. Rather than a completed proprietary work, it is very much a work-in-progress and reader input is solicited.

Wu Tai Chi Winter in Poland

2009-12-02T10:34:00.001-08:00

Clip Spear with Fei Guoqing

2009-11-28T07:36:00.001-08:00

The mutual creation of yin and yang completes foundation (ti) and application (yong)

2009-11-27T08:48:00.000-08:00

From Zhou Huasong
From the Club Journal of the Jianquan Taijiquan Association Shanghai
Translated by Freya and Martin Boedicker

The Martial arts are divided into internal and external styles. Taijiquan belongs to the internal styles. If one learns Taijiquan, one may not separate from its roots. Primarily this means that one may not turn away from the actual goal: It is an internal martial art. It calls itself also martial art of the internal exercise, where it is important to practice qi. This qi is however not the one that can be found in outside nature, but it is the consciousness, which flows activated by the movements of the martial art through the nervous system. Look for stillness in the movements. In the movement find stillness. The whole body follows the movements of the consciousness in accordance with the physical laws of the cosmos. Implemented by the five internal organs [heart, liver, spleen, lung and kidneys] and the six hollow organs [stomach, gallbladder, sanjiao, bladder, large intestine and small intestine].

If the consciousness fills all functional activities of the body, then this lets the whole body become a unit. The blood circulation and the nervous system move like the stars - an eternal cycle. If something moves, there is nothing that does not move. If there is something still, there is nothing that is not still. In the whole body there is the mutual creation of yin and yang. If one actually follows that goal and the principles of Taijiquan, converts them into practice and proceeds step by step, then one will arrive from practicing the foundation (ti) to the practicing of the application (yong).

For the method of the foundation one finds explanations mainly in the texts The Taijiquan Classic and The Taijiquan Treatise. For the exercise of the application in Mental Elucidation of the Thirteen Basic Movements, the Song of the Thirteen Basic Movements and the Song of the Striking Hands. The method of our Taijiquan is obtained by the words and the example of the old masters. But one can completely naturally experience the correctness of the theory of the Classic and the Treatise on his own by industrious learning, intensive deepening and untiring practice.

To the practicing of the foundation: In the Taijiquan Classic it is stated: "Taiji is born out of wuji. It is the origin of movement and stillness and the mother of yin and yang." This says clearly that Taijiquan is a martial art, that emphasise the mutual transformation of yin and yang, as well as stillness and movement. One tries to strike the other one not by the use of raw strength on the outside, but by the movement qi in the body inside.

If one practices the form, it is, like already described, the process of outside movements of the martial art, but special value becomes on the effect qi, whether inside or outside. One cannot only pay attention simply to the outside form. First of all it must be, like it is said the Treatise: "It is exerted through the legs, controlled by the waist (yao) and expressed by the hands and the fingers. From the feet to the legs and then the waist - it is always completely and unbroken. In advancing forward and retreating backward, one can gain the opportunity and the strategic advantage (shi). If you not gain the opportunity and the strategic advantage, your body will be unorganised and confused. This mistake must certainly be sought in the waist or the legs. Up or down, forward or backward, left or right, it is generally like that. This is all connected to the intwntion (yi) and not to something external.”

To the practicing of the application: Taijiquan is a martial art and the ability of fighting is an inseparable component. The expression of this ability lies in the thirteen basic movements: peng, lü, ji, an, cai, lie, zhou, kao, to advance, to retreat, to look left, to look right, stability. The stability, which is called also central equilibrium (zhongding), is of highest importance. The other twelve basic movements need all central equilibrium. After that follows the demand of the change of empty (xu) and full (shi), as well as yin and yang. In the Song of the Thirteen Basic Movements it is stated:

"The thirteen basic movements - none of them should be treated lightly. It is known: the source (the thirteen basic movements) is the waist (yao). You must pay attention to the interchange between empty and full. The qi flows through the body without hindrance. In stillness one encounters movement, in movement one encounters stillness. According with one’s opponent the transformation seems to be miraculous. Keep each movement in your heart/consciousness (xin) and consider its purpose. It will come - even though one will not notices - through time and ceaseless practice (gongfu)."

This shows clearly the way of fighting in Taijiquan and how one can reach it by hard training of the thirteen basic movements.

Whether one practices the foundation or the application, from the beginning to the end Taijiquan is based in summary on the large principle of the mutual creation of yin and yang, empty and full, as well as stillness and movement. If we learn Taijiquan, we should also not separate from the following principle: "You may ask, what are the criteria of foundation and application? Intention (yi) and qi as the rulers - bones and flesh as a the servants. Become aware of the ultimate purpose. To prolong life. To extend the years. Eternal spring."

The ancestors gave us the following teachings: "It is to be wished that the heroes of this world use it to prolong their lives and not only for martial arts." In the martial art Taijiquan the techniques and the internal strength (de) must be considered in the same way. That means that Taijiquan is simply the noble idea of the ideal of harmony.

Wu Tai Chi Chuan Book

2009-11-26T01:39:00.001-08:00

Classical Northern Wu Style Tai Ji Quan: The Fighting Art of the Manchurian Palace Guard.

This is a fine book of Tina Zhang provifing the reader with history, principles, the form and application, sword form and theory. Well done. Thx.

Blue Snake Books
ISBN 978-1-58349-154-6

Wu Tai Chi Pushhands

2009-11-23T06:45:00.000-08:00

Pushhands with Qian Caoqun, a very good student of Ma Yueliang.
I remember his Pushhands - it was really great.

Taijiquan Lilun

2009-11-18T07:15:00.000-08:00

Taijiquan Lilun is the Journal for the Theory of Wu Tai Chi Chuan. International buyers can order here: Please click here.

And here an article from Magazin 2. Please click here: The 13 basic movements of Taijiquan

New Seminar in Belgium

2009-11-18T06:15:00.000-08:00

Info for a new seminar in Belgium with Martin Bachem: Please click here.

My Journey to Wu Tai Chi Chuan

2009-11-17T09:28:00.000-08:00

Markus Feichtenbeiner, Berlin

I started martial arts at the age of 13 years. At that time a Taekwondo school had opened in Schwanstetten (a small village in the south of Nuremberg) and I persuaded my father accompany me there. I enjoyed the intensive training, but after some time (about 5 years) we tried a one hour training course in Tai Chi Chuan. I thought that the slow movements were complimentary to the hard training of Taekwondo (and meanwhile also Jiu Jitsu). Thus I started looking for a teacher. I visited a class that offered a 10 week course in the Peking - form; I was disappointed and thought that Tai Chi was probably not for me.

However Tai Chi Chuan came back into my life, when I was studying physiotherapy and saw an advertisement for an intensive course of weekends in Regensburg. The course would begin with an introduction seminar with Ma Jiangbao. So when the day came I attended amongst 30 other people and was full of expectations to see what Tai Chi Chuan is and what we will learn during a one-year intensive training course. We trained for four hours, covering "the double whip" preparation exercise and the beginning of the slow form up to "single whip". Again and again our movements were corrected. After which we were exhausted but full of expectation of what will come next, but there came nothing more. We asked a lot of questions, but we were shown no more form, let alone such a thing as "Pushing Hands".

But something about it fascinated me. And with this feeling I decided for go for the course accepting the driving of 100km back and forth. Only five fellow students began with me and unfortunately after 7 months, none were remaining and so the course stopped. But I had already learned a little bit and could pass it on to my first "pupils" - my mother and my father.

Unfortunately at that time it was not possible for me to teach regularly. Then I was "appointment" to the Artistic-School in Berlin. I had the luck to be taken in even though I was 26 years old. In the beginning my Tai Chi Chuan had to be reduced at the first times at the school. I could hardly move after the first months of instruction. I was full muscular pain. But then it worked and I was looking for a teacher. Unfortunately I couldn't find one in Berlin. Well however finally the rescue came. Through the homepage www.wu-taichi.de I made contact with Martin Boedicker. So I had my first weekend training in Düsseldorf. That was it. So it was that I went as often as possible to the weekends in Düsseldorf in order to learn more.

Since Martin has encouraged me (thanks for it, Martin) to look for students, there is now a small group which trains regularly once the week for the last 2 years. Last year we had our first seminar with Martin in Berlin, in co-operation with Michael Busch. It was a great success and will be repeated (the date is already fixed: 21./22.10.06). Since a half year we train in a Taekondo and a Kung Fu school, where also our seminar took place. The director of the school came to have a look. Martin along with myself gave a spontaneous demonstration - and I flew beautifully through the air. After five weeks the director came and said to me - and I saw a shining in his eyes - that he would had never thought that someone would convince him of the fact that Tai Chi is really a martial art. I am really very glad for the contact to Düsseldorf and am very grateful for what I learn there. I want to thank Ma Jiangbao, Martin and Freya, and last but not least all the many Düsseldorfers, who help me so enthusiastically on the seminars.

Pushhands Fun

2009-11-17T07:23:00.000-08:00

Short Form in Shanghai

2009-11-11T23:48:00.001-08:00

Fast and Slow Form

2009-11-10T13:40:00.001-08:00

Classic: The body, the waist and the crown of the head

2009-11-10T13:39:00.000-08:00

From the Explanation of the Method of Taiji (Taiji fashuo), text 8

The body, the waist and the crown of the head, how can you not pay attention to them?
If one of it is lacking, you waste your gongfu (your time and hard work).
The waist and the crown of the head can be studied a lifetime.
If the body follows my wishes, I can extend and relax.
If you give up this truth, what can you finally reach?
After ten years you will still be confused.

Translated by Freya and Martin Boedicker

A Closer Look on the Classics

2009-11-05T02:37:00.001-08:00

By Freya and Martin Boedicker

The Classics of Tai Chi Chuan offer deep knowledge. But as a westerner it is often hard to get the full picture by reading a translation. It is always worth the time to explore a more detailed explanation. We want to show this at one example:

Here is a sentence from the Song of Striking Hands (Dashouge):

yinjin luokong hejichu

Here a popular translation: "Lead into the emptiness and then discharge."

It is a short sentence and for those who practice Pushhands, quite clear. But we still think one can get more out of the original text.
First we want to look at the Chinese word yin.

Yin has the meaning of ‘to lead‘, or ‘to guide‘. Thus the general rule to answer an attack in Tai Chi Chuan is the following:

First, lead the incoming strength into emptiness, and then strike back.

But how can one attain this on a high level? Maybe the second meaning of the character yin can help us.

The second meaning of yin is ‘to temp’ or ‘to lure’ and is a jin-power on its own. In Chen Gong’s book The Theory of the Jin-Power it is stated: “If the other one moves, I tempt him to move on a course which I select for him”.

This means for me, that the guidance of an opponent can be done in a way that I tempt him to do movements he does not want to do. E.g. I provoke him to attack at a certain point, thus I know where he attacks and I can let his strength fall into the emptiness. By tempting the opponent I can get very early control of the situation. Acting early makes actions effortless and natural. This is in the end the great ideal of Chinese philosophy, especially found in Laozi.

Lead into the emptiness: In Chinese one finds one more word: yinjin (we had before: leading/guiding) - luokong (which has in addition the word luo).

Luo means ‘falling’ and kong means ‘space’ or ‘emptiness’.

Luo means ‘falling’, but often the feeling of the word luo is very passive like in luoye - the leaves are falling. They are not dropped, but they fall on their own.

So yinjin luokong is not just ‘Lead into the emptiness’, but:

I am leading/tempting the opponent in such a way, that he falls on his own or by his own action/aggression into the emptiness.

So the full translation could be:

I am leading/tempting the opponent in such a way, that he falls on his own/or by his own action/aggression into the emptiness, then I strike back.

Isn't this great - no wonder they called the art Tai Chi Chuan, the martial art of the supreme ultimate.

Training Tip by Martin Boedicker

2009-10-30T01:24:00.000-07:00

Assumptions – When things are not as they first seem

Try this little test:

A man dressed completely in black is sitting at a bar in a country pub. He is drinking one whiskey after another. After three hours, the man in black leaves the pub and walks drunkenly down a small country road. There no lights, and there is no moon. A car without headlights approaches. The driver notices the man, however, and is able to brake in time to avoid an accident. How could the driver see the man in black? – The incident happened during the afternoon, in daylight.

Normally, Tai Chi Chuan is taught to adult people. These people often have experience with other sports or even styles of Tai Chi Chuan. This can help, but it can also create problems. While learning Wu Tai Chi Chuan, people can make false assumptions. Often things (like movements, applications and so on) are compared to the other sport before they are fully understood. This can easily lead to misjudgements. The student should be patient and start the art of Wu Tai Chi Chuan at the beginning. If one reaches a certain level in Wu Tai Chi Chuan, the original knowledge can then be of great help.

Ma Yueliang and Wu Yinghua

2009-10-26T05:03:00.001-07:00

Pushhands Fun

2009-10-26T04:49:00.001-07:00

Wu Yinghua Partner Sword

2009-10-24T13:50:00.000-07:00

Clips Jürgen Meyer/Germany

2009-10-24T12:43:00.000-07:00

Here some Clips of Jürgen Meyer/Völklingen Germany:

Click here

Wu Yinghua Long Form

2009-10-24T12:16:00.000-07:00

Book: The Importance of Livivng

2009-10-20T15:06:00.000-07:00

Lin Yutang: The Importance of Living

Lin Yutang explains 1930 the Chinese Thinking to the Westerners.
An absolut must for everybody.

I love the subtitle: The Noble Art of Leaving Things Undone

And here one can read it online: The Importance of Living

Pushhands Fun

2009-10-18T07:57:00.001-07:00

The Breathing is Natural

2009-10-17T02:26:00.001-07:00

Wu Jianquan: "While eating or drinking nobody thinks about the breathing. I also never heard, that somebody got harmed by eating or drinking. Let us suggest, that while eating and drinking you also have to think when you have to breath in and out and how to use the qi. Then it would be unavoidable become harmed. That is the easiest way to explain it."

Ma Jianglin Pushhands

2009-10-16T06:06:00.000-07:00

Ma Jianglin, the younger brother of Ma Jiangbao, doing Pushhands in Shanghai.

Heidi's Slow Form

2009-10-15T06:42:00.001-07:00

Heidi Elseven from Regensburg/Germany doing slow form.

Cook Dings Kitchen

2009-10-12T23:52:00.001-07:00

Cook Dings Kitchen is the great blog of Rick Matz, a student of Dr. Stephen Hwa in Detroit, Michigan in the US.

Neigong.net

2009-10-12T08:48:00.000-07:00

Just found an interesting homepage: neigong.net

Neigong.net’s vision is to engage people around the world in the internal exercises of neigong to find happiness, peace and enlightenment.

Subcategories are e.g. Aikido, Taijiquan, Baguazhuang, Daitu-ryu ...

Enjoy browsing

Wu Tai Chi Valencia/Spain

2009-10-12T07:21:00.000-07:00

Here comes a clip of Francisco Jiminez:

Pushhands Fun

2009-10-11T03:51:00.001-07:00

Question and Answer with Ma Jiangbao

2009-10-11T00:10:00.000-07:00

Question: At what speed should one practice the weapon forms and the fast form as a beginner?

Ma Jiangbao: This question is very important. The weapon forms and the fast form have a special rhythm. It applies: Hard and soft support each other. Fast and slow are in harmony (see also Taijiquan Lilun 1, P. 17). It is very important to practice these aspects right from the beginning. One does make the movements a little bit slower as a beginner, but the rhythm must remain. There exists no case where these forms are practiced slowly and evenly as the slow form.

Shi Meilin Clip

2009-10-10T03:53:00.000-07:00

Here a clip of Shi Meilin doing Wu-Style second sword form mixed with Wushu.

Shi Meilin is all China 6 times national champion, trainer of the Shanghai Shaolin martial arts team. She has trained under Ma Yueh Liang and Wu Ying Hua (Wu style Taiji), becoming their adopted daughter. Other teachers she has trained with are Li Zun Si, Chi Chin Shan, Lu Zheng Du, etc. Today she lives in New Zealand.

Pushhands Fun

2009-10-08T01:47:00.001-07:00

Collection of Classics

2009-10-07T00:55:00.000-07:00

Here one can find a extensive collection of the Tai Chi Classics.

Wu Tai Chi Belgium

2009-10-06T03:42:00.000-07:00

Here one can find information about our group in Belgium.

About Real Swords and Sabres

2009-10-05T05:42:00.001-07:00

Here one can find a lot of info about real swords and sabres: Sword Forum International

Wu Tai Chi Chuan Yahoo Group

2009-10-04T10:46:00.000-07:00

Here one can find the Wu Tai Chi Chuan Yahoo Group of Alvin for the different branches of Wu Tai Chi Chuan. I hope more people join.

Pushhands Sommer Seminar

2009-10-03T11:43:00.001-07:00

The Forum held this year again the Summer Pushhands Seminar in Willich. 72 students from 11 different countries came and had great fun.

Because it is so wonderful, here the clip of last year again:

Training Tips with Martin Boedicker

2009-10-03T00:04:00.000-07:00

I am often asked, what are the application of the movements of the form. Then I show an example, which comes into my mind. This helps sometimes to understand the movement. But it is that way, that one movement has endless applications and to orientate your movement at one application is not good. Zhuangzi states:

"Man's life is limited. Knowledge is unlimited. To pursue what is limited with what is unlimited is a perilous thing." (from the book "The Philosophy of Tai Chi Chuan").

In Taijiquan it is the same. But how can you then get access to the applications. The way is pushhands. Here one learns the basic principles of the application through a huge system of techniques. Once you understood pushhand, the application of form movements develop intiutivly. The partner does a movement, one follows und understands (dongjin) suddenly: This was a form movement.

This is the high ideal of Taijiquan: One develops the ability of natural movements.

Taijiquan – Intelligence in Motion

2009-10-02T11:49:00.000-07:00

By Arno Matthias

Students of Taijiquan begin by learning the Slow Form. Although made up of a sequence of martial arts movements, Ma Jiangbao insists that one should not think about the applications while running the Form (we do pushhands to learn applications). On the other hand, since all the movements have been tried and tested in combat over hundreds of years, they have been shaped by the laws of physics and physiology.

During training one can experience some of these universal laws and become conscious of them and carry these insights over into everyday life. A few examples are discussed in this article.

Little extras
As we all know, doing more than is necessary is the most common mistake when practising the Form. For example, after completion of Yu Bei Shi (’Preparation’, the first movement of the Form) students often not only hold their hands horizontally, but raise their shoulders or pull their elbows back or to the side. When only a turn of the waist is called for, students also move their arms (Shuang Bian = ‘Double whip’, the first of the preliminary exercises, Lan Que Wei = ‘Outline the sparrow’s tail’, etc.). At home and at work (e.g. when using a computer) we frown, raise our shoulders, grit our teeth and so forth. All of this is extra work that is not only unnecessary but can even be harmful.

Too much of a good thing
Standing really low, in Xu Bu (‘Empty step’) for example, is good, but not so low that the knees are no longer parallel. In some positions we have to make a fist - but not clench it. In some movements (e.g. Shuang Bian, Bai He Liang Chi = ‘The white crane spreads its wings’ ) we have to turn the waist – but not to the point of twisting the knees. While driving a car we will sometimes catch ourselves pushing the brakes really hard – although the car is no longer moving, or clenching the steering wheel far more than necessary. More abstract examples of the same idea are over-protective parents, or the extra lump of sugar that spoils the tea. During sparring (push hands) the partner will immediately take advantage of this mistake, for ”vis consili expers mole ruit sua“ (Horace: usually translated as “Force without wisdom falls of its own weight.”)

Showing respect for gravity
How easily do we forget that gravity is pulling at us every second of our lives and always in the same direction (down). To avoid damage to bones, muscles and nerves we should at all times keep our centre of gravity within our “bearing area” (if one is standing, this is the area between the feet). Every single movement or position of the Form could serve as an example, but it is especially important to hold the head right. The head is supported at a point behind its own centre of gravity, which is bad enough as it is, and it is therefore essential never to stick out the chin out or tilt the head back even slightly!
Respect for gravity can and should of course be extended to all the immutable laws that govern us. A lot of grief is generated by fighting the unwinnable fight, by hoping, wishing, condemning, regretting.
William Faulkner defined intelligence as ”the ability to accept environment“. The same idea was expressed by Cicero: "Legum servi sumus, ut liberi esse possimus" (“We have to be slaves of the laws so that we can be free”) and also by Mr. Scott from Star Trek: “You cannae change the laws of physics.”

Optimal alignment of the bone structure
Quite often not falling over (i.e. balancing your own weight) is not your only task. When gardening, trying to open a heavy door, or lifting heavy things or doing other work we should always make use of the hardness of our bones. When you do Lou Xi Ao Bu (‘Brush knee’), Dao Nian Hou (‘Step back and repulse monkey’) and other movements correctly, you extend your body between the floor (back foot) and the imaginary opponent (front hand) so that all the involved joints are perfectly aligned. This enables you to make use of all the muscles along the way (especially the knee extensors: the powerful muscles that stretch the leg) and to channel their power towards the point of impact. Carry loads as close as possible to your body. If you bend down to pick something up, bend one knee and rest your weight on it. A good model for this principle is a folding rule: if you wanted to push someone with it, all its joints had to be in line. Dan Bian (‘Single whip’) is only one example that, in the Form, hands and feet are connected at all times. In the position at the end of Ti Shou Shang Shi (‘Raise the hand and step up’, just before Bai He Liang Chi) there is only one correct position for the upper hand. You can find the right place by having a partner push heavily down on your hand: the smallest deviation up or down, left or right, back or forth will result in a collapse of the posture’s structure. If you feel that you are standing under the pressure with your whole body (and not just your feeble arm or torso muscles) you have found it.

Finish together
Only forces that are active at the same time, add up. If you want to push someone but do it by first stretching the back leg, then turning the body, then stretching the arm, only this last force (of the weak triceps) will reach the opponent and have an effect. A collaboration and hence addition of forces can only be obtained with the correct timing: hands start, the torso joins in, the legs join in and, most important, they finish together. In the Form no part of the body moves in isolation, there are only whole-body movements, or, since the movements are planned and supervised by the mind, whole-person movements.
In realistic self-defence, where the attacker has chosen me as a victim because he is stronger, all my single forces may be too weak: my muscles alone, my voice alone, my stamina, courage, technique, wit, knowledge, willpower alone will not save me; only if I can ‘ignite’ them all at the same time (to achieve this, I use the power of my imagination) can I scare him away.

Do the right thing
In Japan the term ma-ai, meaning harmonious or “right” distance, is very important in all social affairs. In Karate it denotes the distance between the two sparring partners/opponents. The first turn to the right (between Tai Ji Qi Shi = ‘Tai chi beginning form’ and Lan Que Wei) as well as the first 90º turn to the left (Lou Xi Ao Bu) teaches us to extend the front arm not by moving the hand away from the shoulder but vice versa. No matter how strong or unbudging my counterpart is, I can always adjust ma-ai by moving myself.
An example from Aikido self-defence: The attacker grabs my wrists from behind. I take a step back until my arms are at my sides. My opponent, even if he is much stronger than me, cannot prevent this, whereas I wouldn’t be able to pull him nearer to me. Now I can lean my body-weight on his hands (not only respecting gravity, but using it) by going down on my knees (keep your arms straight!) and he has to let go. Another example from Ju Jutsu self-defence: The attacker, standing in front of me, grabs my arm with both hands. I leave the grip as it is, walk around it and apply an elbow or head lock or any other counterattack.
More generally, one could say that you should not limit yourself to reacting to the actions of others but that you can and should do the right thing. This idea was made famous by Gandhi, who fought for the freedom of India, never against the British occupation (he called it ”satyagraha“ – the power of truth). It is very important to understand this distinction.

Keep on keeping on
Taijiquan is beneficial only when you do it, not just when you know how to do it. Many students, being typical Europeans, come to class wishing “to learn Taijiquan". Fortunately, the slow form has the wisdom to be so complicated and full of detail that one lifetime is not enough to ”learn it“. If there was a wonder pill that could make you know every movement of every form of every style, you would gain nothing – you would still have to get up and do it. The term Gong Fu (formerly known as Kung Fu), which translates as “work and time”, is often used to express the same idea Virgil wrote down more than 2000 years ago: “labor vincit omnia improbus” – effort overcomes every difficulty.

Silent Nobility

2009-10-02T00:49:00.000-07:00

Hi All,

some read my interview. I would like to add something. Here is a writing I thought you might appreciate: 'Silent Nobility' by philosopher Prof. Pascal Mercier :

"It is a mistake to believe that the decisive moments of a life when its direction changes forever must be marked by sentimental loud and shrill dramatics, manifested by violent inner surges. This is a sentimental fairy tale invented by drunken journalists, flashbulb happy film-makers and readers of the tabloids.

In truth the dramatic moments of a life-determining experience are often unbelievably low-key. It has so little in common with the bang, the flash or the volcanic eruption that, at the moment it happens, the experience is often not even noticed.

When it unfolds it's revolutionary effect and ensures that a life is revealed in a brand new light with a brand new melody, it does that silently and in this wonderful silence resides its special nobility."

In a way it also reminded me of our motto 'You change, I change', but silently (the 25% effort rule for the deep stabilisers).

Hope you enjoyed

Cheers
André

Is this the Future of Tai Chi Chuan?

2009-10-01T13:57:00.000-07:00

Interview with Freya and Martin Boedicker

2009-10-01T13:36:00.000-07:00

Here comes an interview which is done by the publisher of our book "The Philosophy of Tai Chi Chuan":

Interview

The Special of Taijiquan

2009-09-30T23:31:00.000-07:00

From Ma Yueliang and Chen Zhenming

From the book "The Taijiquan of the Wu Jianquan (1934)"

In explaining Taijiquan there are different opinions.

Some say: "Taijiquan is both a method and theory of self cultivation, and an exercise with which one finds stillness in movements. This is known as following the combining of yin and yang which corresponds again to taiji. Taijiquan means to follow a method and theory of boxing which always gathering internally and externally shows no form, like the inseparable yin yang of the taiji."

Others say: "Taijiquan has this name, because each movement orients itself in circles and resembles the taiji diagram. Therefore it is called Taiji." Both explanations are well-founded. Particularly the last explanation is completely sufficient. The movements of Taijiquan differ from the complete hardness of Shaolinquan, because their heart are emptiness (xu), stillness (jing) and naturalness (ziran) and in Taijiquan one wins by softness (rou). The following presents an analysis of these qualities.

1) Being empty (xu)

The emptiness of Taijiquan does not have the meaning of nullity, but of "insubstantial". The emptiness forms the mental. The mental forms the human spirit (shen). The spirit is the ruler of the body and is fulfilled of qi. Naturalness (ziran) in the motion leads to lightness and skilfulness.

2) Being still (jing)

In the exercise of Shaolinquan, one must be extreme in the use of great strength. That is not suited to most people. One will again and again be out of breath and at the end one will be completely exhausted. Taijiquan is not like that. With its three aspects of the body, the heart/consciousness (xin) and the intent (yi) it tries to find power in stillness. The more slowly the better. The breath is long and the qi sinks to the dantian. This is an expression of the stillness of the body. When practicing everything must be connected. Whether applied to the eyes, hands, waist or feet, this has to be true from head to foot. No parts should be seperate. This is the expression of the stillness of the heart/consciousness (xin). Use the intent (yi) and not external strength. If there is a movement, also the intent (yi) is immediately there. That is the expression of the stillness of the intent (yi).

3) Being natural (ziran)

The movements of Taijiquan are simply completely natural, like the jin-power reaches up to the top of the head, enlarge the chest downward and lift the upper back, relax the waist and drop the buttocks, sink the shoulders and ´drop the elbows. These are all physical aspects. They correspond to our natural behaviour.

4) Being soft (rou)

When practicing Taijiquan it is most important to avoid the use of strength. It is of fundamental importance that the whole body is relaxed. The qi and the blood are connected. Natural practicing leads in the long term to internal jin-power. The internal jin-power is very soft. If one meets the opponent, one answers with resistance by following flexibly the strength of the opponent. Thus one finds in softness the character of hardness. In the classical texts it is stated: "Highest softness leads to highest hardness."

Instructor Michel Peeters/Netherlands

2009-09-30T09:20:00.001-07:00

Ma Jiangbao Spear form

2009-09-30T01:19:00.001-07:00

Wu Yinghua

2009-09-30T01:15:00.001-07:00

From the biography of Wu Yinghua
(Translation of Freya and Martin Boedicker)

I was born in 1907 in Peking of Manchurian descent. My grandfather Wu Quanyou and my father Wu Jianquan were well-known Taijiquan masters in my country. This was at the end of the Qing dynasty and they founded Wu-style Taijiquan, one of the important schools of Taijiquan in China.

At the age of 9 I began to learn Taijiquan with my father. Under his strict tutelage I made swift progress. Because there were always more than 20 people practising at my father’s home, my familiarity with Taijiquan was extremely good. Many of my father’s students could not reach my level. So my father said: "A woman does not always have to follow the man." From then on, he took even more care over my Taijiquan training.

I can still remember, whether in the heat or in the cold, every morning at six o'clock we threw ourselves into training. The North of China has a cold climate and some days are really bitter-cold. As one says in the martial arts: "In the summer one trains in the hottest and in the winter in the coldest times." At that time, the training of martial arts was unusually hard.

While I spent many years as a Taijiquan teacher, I was also running a house and family.
I have five sons and three daughters. They all work at their posts for the State and make their contributions to the people. My maxim to other people is: Be generous and sincere. I try to follow this maxim, especially where it concerns children.

My third son, Ma Jiangbao, was studying as a medical student, but due to an illness he had to stop his studies. As a result of his following my martial art teaching, his health recovered quickly. He developed in the slow form, sabre, spear and sword forms. Among my sons and daughters he is the one who continues the teaching of Taijiquan at the highest level. My requirements of him were really very high. All postures which were not exactly precise were corrected again and again until they were perfect.

New Teachers

2009-09-29T03:05:00.000-07:00

On Saturday, the 26.9.2009 the Forum for Traditional Wu Tai Chi Chuan and Ma Jiangbao held examinations. Here a group picture of our new teachers.

Congratulations

Instructor Martin Bachem/Germany

2009-09-28T07:16:00.001-07:00

My experience with Wu Tai Chi Chuan in contact with other martial arts

2009-09-26T00:57:00.000-07:00

From Heidi Elseven Regensburg/Germany

Actually the martial arts aspect of Taijiquan was not my first concern in teaching. I wanted to leave it to the boys. But then came more and more students from other martial arts to my classes. At the beginning it made me a little bit nervous, when high belts (including Dans) came for me to be taught at the University. I thought that probably can not really work. I had studied for a long time Shotokan Karate at the University and recognized quickly the Karatekas due to the nature of their movements. They usually learn very quickly and in general can also move very well. Especially fascinating for me is their ability to jump.

Even during my own karate training, I wondered, however, that even the black belts were standing with a tensed and bend chest in Kiba Dachi, the Mabu of karate. I was also surprised that the joints of the hands and feet were making cracking noises during punches and kicks. Some of my karate friends have joint damage, which they think are coming from the karate training. I also wondered about the short time for the explanation and correction of the postures in comparison to the Taijiquan training.

When I teach, I adjust to the group which I am teaching. In groups with many martial artists, I try to teach in connection to the martial aspects. It is easy for me with karate students, because I have a solid background on the practice and theory of Karate. The other way around also Funakoshi, the founder of Shotokan Karate-, studied the classics of Chinese philosophy, which is as a part of training to become a karate master. Thus I told the student of my own experience at the karate training, taking care to express my enthusiasm for karate. I began to explain what I think are the students faults in the training of their martial art. These are, as already noted above, the misalignment and excess stress on the joints. And this is not only for Karatekas, also for Judokas and Jujitsu students. The common mistake often lies in a strong tension on the chest and not sufficiently sinking of the coccyx, often a tension in the diaphragm or in the whole abdominal cavity. Thus the spine can not align correctly, as well as breathing and the centre, according to the Eastern philosophy also the energy, are not sinking to the lower dantian (Japanese hara). Due to tense muscles the breathing may not deepen. Because the centre of gravity is too high, the legs and feet are weak.

In the forward position (Gong Bu or Zenkutsu Dachi) the axis of the rear leg to the apex of the head is not infrequently broken, causing pressure on the lumbar spine. With a broken axis, it is difficult to withstand external pressures, because the force does not go through the leg into the foot and into the ground. The structure is easy to break, where the opponent is tensed or his structure is already weak or broken. To demonstrate this very simple game is useful. The partners are standing in Gong Bu or Zenkutsu Dachi opposite to each other and try to get the other out of the balance. One with a tensed chest is easy to get out of balance. The centre is too high; he lacks strength in the legs. The bad structure in the lumbar spine is easy to break. If, however, mind and body are still and relaxed, the focus and the breathing (the eastern philosophy to energy) in the bottom Dantian (Hara), the spine remains straight. This stays even if the body is tilted. The axis runs in a line from the rear leg to the apex of the head. With such a structure the power of the opponent runs through the body into the rear leg. Such a structure is not to move. It is stable, without the use of the slightest force. While the other is acting and sending his strength through my body, I can look relaxed where I have to push the opponent to unbalance him. That is big fun for me!

Let's transfer what we know from the theory and have used in practice to the slow form of Taijiquan. This requires only the first movements of the 1st Part till up to Dan Bian, because this already contains all the basic postures. In practice, students of other martial arts, who have much tension in the chest, have difficulties to stand on their legs when the chest and abdominal muscles are relaxed. This is because with the relaxation of the muscles and sinking of the centre the legs have to support that what is not any longer carried by the muscles of the upper body. Another difficulty is the forward-oriented position of both feet. Here one sees misalignment of the joints. The hip or knee or both tilts from the natural direction of the joint (which is obviously very damaging for the joints), the leg often has no connection to the hips or to the rest of the body. The body has no stable structure.

Yes, that's how a lesson for my martial students looks like. A lesson like this is fascinating the students of other martial arts. They are also quite surprised that no one ever told them these things before. And they really love the slow and precise movements. Other key points in my martial arts lessons are:sinking the elbow and turning of the waist, the movement of the joints, the opening and closing of the joints, applications and more. That's for today - that you got an impression of my teaching.

Meanwhile I do also Bojutsu. About karate:I share thoughts with the principles of the Shorin Ryu. Both following Oshiro Toshishiro, who is known in America as a great martial arts expert. For me, this man is in karate, what Ma Jiang Bao is in Taijiquan.

Ma Jiangbao Pushhands

2009-09-25T07:18:00.000-07:00

Clip of Ma Jiangbao doing Pushhands at the meeting of the Stichting Taijiquan Netherlands.

Wu Tai Chi Den Helder

2009-09-24T13:31:00.001-07:00

One of the Schools of Ma Jiangbao in Holland:

Richard Zwaart

Homepage with clips and pictures.

Enjoy