Tag Archives: sinking

Heavy Arms

Each of your arms weighs about 8-10lbs (roughly 3.5-4.5Kg).
That’s heavy… though we don’t really notice it because either the arms are hanging down beside you, or, if we do come to lift them, we use so many extra and unnecessary muscles to do the job (known as ‘recruiting’ in the Alexander Technique) that their weight is spread across the shoulders and neck.

Where’s the qi?
The result of this is that the qi is held in the upper body which means that
     • our balance compromised,
     • our breathing tends to be higher,
     • our ability to relax is diminished,
     • the flexibility of our necks and is reduced,
     • we’re more inclined to get headaches,
     • the rotational potential of our waist becomes less,
     • the range of movement in both shoulders and arms is massively impacted.

It’s all about the shoulders really.
The idea is to lift up your arms, forwards or sideways, and attempt to experience the weight of your arms. What this actually means is that, in order to get that feeling, you can only use the essential muscles. This will also mean that you will need to disengage the shoulders from the task; they aren’t necessary.

Weighing a fish.
The muscles that you use to do this should feel as though they are weighing a fish with one of those spring-loaded hanging scales (I guess that could be your hand luggage also, but the fish is a bit more interesting!).  You have to give the arms to gravity, letting go of the muscles so that they gently stretch. If you’re not used to this, it can make them ache as they undo, but it doesn’t last.

Now just do it for the rest of your life!
That’s how to use your arms in tai chi and qigong, but the concept should also be applied to every activity, whether cooking, reading a book, or driving your car, etc., in fact every time you start to raise your arms from the vertical hanging position.

Details of Tai chi and Qigong classes with James Drewe here.

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Making a Connection in Taiji & Qigong – Sinking Qi

When you first begin tai chi and qigong, you spend most of your time trying to remember the positions of arms and legs in the various postures, and then which posture follows the previous one.
Gradually you begin to know a repertoire of postures, one following another; in other words – the tai chi ‘form’, or a qigong ‘set’ of exercises.

yang-cheng-fuAt first this ends up as though you are physically reproducing a series of photographs; you move the body into the position of one photo, then another, until you’ve got to the end.
You’ve now learnt the shape of the form – the equivalent of a musician learning which note follows which, but without any great fluency, interpretation, or subtlety.

Then there’s all that talk about ‘flow’… ‘flowing’ from one position to another. How do you do it?  How do you smoothly transition between one movement and another?
This could be referred to as the ‘connection’.

Connecting the moves.
Connection is relaxation and continuation.  It is understanding what the energy of a movement is doing and how to convert it into something new.

In fact, we are continuously using this skill in many varied situations.

  • If friends are upset, we listen to them so as to help them convert their discomfort and see them through the problem.
  • If you’re driving your car around a 90 degree bend, you ease off on the corner in order to make the transition.
  • If you want to jump on a bus that’s passing you, you run alongside the bus before jumping on, rather than grabbing the handrail as it passes.

What takes place in all instances is a ‘listening’ to the first action in order to change it into the second action.  By doing so, you blend one action into another.

In taiji and qigong …
stance-bowstance-emptystance-bow

Let’s say you are starting in a left or right Bow stance (one leg ahead of the other, with the weight on the front leg – graphic 1, above); you are going to sit back on to your back leg (graphic 2), and then go forwards again into the same Bow stance that you started in (graphic 3).  You can ignore the hand positions.
Having sat back (graphic 2), the energy which has been going backwards needs to reverse, but without going directly forwards along the same ‘line’ that you sat back on.  If you do this, there will, in effect, be a ‘break’ in the movement, i.e. at the exact point where you finish sitting back prior to going forward again.  Trying to do that is like reaching your 90 degree bend in the road and attempting to do an abrupt right angle turn, i.e. missing out the curve of the bend.  The car would roll over.

  • As you start to sit backwards, the back knee gradually bends.  Be stance-bow-with-arrowaware that the direction of ‘flow’ is backwards (in this case), and that movement mustn’t stop – although it might change direction.  You are gradually tilting your pelvis (draw in your abdomen).
  • As you get near to the end of sitting back, think of relaxing the leg you’ve sat back on; you are actually relaxing the hip joint, but it’s easier to think of relaxing the leg.  (This is the right leg in graphic 2). Your pelvis is continuously tilting and ‘tucking under’.stance-empty-with-arrow
  • Soften your shoulders, elbows, (and hips) so that the ‘backwards’ energy/movement drops.
  • Make sure that you are breathing either in or out, it doesn’t matter which.  When you hold your breath the body can only partially relax; apart from anything else, the muscles don’t get the oxygen they need to stay elastic.
  • As you begin to reach the maximum amount that your bent rear knee can comfortably support you, your pelvis has tilted to its full amount.  Then begin to move forwards again.

What is now happening is that the body/centre is no longer moving backwards and forwards along the same horizontal line, it is now creating a circle.

Stepping. Don’t Just Stick Your Foot Out. 

How to step.
It’s a much more conscious process than walking:baby-stepping

  • Feet together
  • Bend knees slightly
  • Bending even more, start to extend a foot
  • Bending even more, place the foot (generally the heel, if moving forwards; the toes, if moving backwards; toes or heel, if stepping sideways).

The main point is that you keep dropping in order to step, and what most people do is to drop, then stop dropping, and then stick the foot out (forwards, backwards, sideways).

Why keep dropping?
This is easiest to understand if you have someone else to help you.
Assuming that you’re about to try to step forwards, you need someone to push gently against your chest (or if fold your arms across your chest, your partner can push your arms).curved-arrow
If you try to move directly into him/her, it’s just a case of the strongest person ‘winning’ – it’s yang against yang.
However, if you start to drop the body, the person pushing you suddenly finds that his push is no longer going in his intended direction; instead of pushing forwards, he is also starting to push downwards, which will help you to root yourself.

Solo Tai Chi form.
Because no one is pushing you when you do a solo form, it’s easy to get lazy and ignore the above. But it is essential that you do exactly the same, imagining that someone were there, trying to move you against your intention.

If, as normally happens in a tai chi movement, you are also rotating the body, this becomes even more difficult for someone who is attempting to push you, as the body now begins to move on several planes simultaneously.  Not only is the body dropping on the vertical, it is also rotating either clockwise or anticlockwise; and if the body is also retreating/advancing as well, it is very hard for your partner to get to grips with where you are and to find your centre in order to push you successfully.

Why do I need to step properly, as I never work with a partner?
You don’t.  But it depends on whether or not you want to experience your body working as a whole – unified.
When everything works together, movement becomes very easy; it feels as though you are ‘moving like clockwork’.  The expression is appropriate because, when one part of you stops moving whilst everything else continues to move, your body is behaving like an analogue clock inside which one cog goes on strike, and yet you expect the other cogs to carry on normally!

So keep on sinking as you step.

Tai chi and qigong classes with James Drewe at http://www.taiji.co.uk/classes. 

Using Qi to produce Movement.

You breathe (hopefully).  Maybe you breathe efficiently, maybe you don’t, but in order to live you obviously need both an ‘in’ and an ‘out’ breath; you must have both.  One breath cannot exist without the other.
You feel the end of an in-breath, and you convert it seamlessly to an out-breath.
But when moving, many people don’t do so in the way that they breathe; they often move as though they’re continuously breathing either out or in.
Breathing is yin and yang. It’s expansion and contraction. It’s tension and relaxation.  It’s the opposites that make our lives function efficiently.  It’s creative.  It’s one of our main connections to the planet and reflects everything that happens on the planet.

Exercise 1a:  Jumping.
1. Bend your knees and then STOP.
2. Without bending your knees any further, not even a millimetre lower, jump in the air.

Impossible?

Exercise 1b:  Jumping.
Now do exactly the same as (1) above, but this time when you do (2) you can allow the knees to bend further in order to leap off the ground.

What did your body do?
During that last small knee bend, prior to jumping, a number of things might have taken place:
1. You dropped a little lower, and then the second before your feet detached from the ground, you might have done an extra tiny knee bend.
2. You probably relaxed your body more.
3. You might also have taken an in-breath.
4. Your shoulders sunk.
5. You probably relaxed your neck.

In fact, this happened:

The ball is you.
And that’s exactly how your body should feel inside when you drop to jump off the floor.  The ball is the internal aspect of you; it’s what it should feel like inside.
Your body is elastic, it can contract/expand, compress/release, it’s flexible, and your nervous system has an infinite capacity for experiencing these aspects.
You are experiencing gravity, and, just before you leap in the air, if only one muscle holds on, you are no longer fully experiencing it, and the body has lost its pliability.
1Ball 22Ball 33Ball 4

This (slightly worrying!) video shows Sumo wrestlers grounding themselves.  Watch what happens to the bodies they ground themselves:

Now watch closely when this high jump video gets to any of the following places:
0:12-0:13, 1:02, 1:18, 1:33, and a good one at 1:55.
The body compresses just before the jump (look at the shoulders), and then see how the body expands – just like the ball did, where the top of the ball extends upwards as it left the ground:

Timing.
The jump exercise above (Exercise 1b) is a matter of ‘timing’.
You experience gravity like the Sumo wrestler, who doesn’t want to become ungrounded, but you ‘catch’ the sensation and make use of it like the high jumper, who does want to become ungrounded.
4Ball 55Ball 66Ball 7

APPLYING IT in TAIJI & QIGONG.

Exercise 2:  Without a step.
A tai chi and qigong move such as the one at the beginning of many tai chi forms is useful to feel the first part of the bouncy ball effect, i.e. when you sit down having just raised the hands.
All you have to do is to experience you body as though it actually is the sinking ball.  In other words, as you bend your knees, every cell of your body should feel as the ball might feel when it hits the ground – if it were sentient, that is; i.e.

  • Empty every cell – not just in your legs, but throughout the entire body.  Feel gravity.
  • Soften your entire body, everything becoming pliable.
  • Stop holding on.
  • Feel the weight of your body.   You can’t feel if you’re holding on.

Exercise 3:  With a step.
The basics are:-

  • Feet together.
  • Bend both knees.
  • Keeping all the weight on one foot, place only the heel of the other foot slightly ahead.

This is the same concept as the first exercise.  It is important that you remember that slight ‘extra’ sinking of the body that you did in the micro-second before leaping off the floor.  This is the moment for the step.  To put it another way, the sinking feel includes the extension of the heel (with no weight on it), and you shouldn’t move the foot ahead until you’ve felt the sinking.
Therefore, the heel moving outwards is the end of the compression of the body; the final moment of the ball spreading over the floor; the conclusion of the sinking.

And finally…
Ball 5After the compression comes the release.

Once again, this is a ‘feeling’ in the body; it’s an internal release, initially in the neck, but then through the spine and passing down through the body.  It’s this release that frees the body for movement.

This is NOT to say that you are going to do taiji and qigong as though you’re on a Pogo stick, bouncing up and down like the ball does.
To repeat what I said above, “The ball is the internal aspect of you; it’s what it should feel like inside.”

2-Person Exercises in Taiji (2) – Maintaining Your Integrity

Continuing … from the previous blog

What’s the point of 2-person work?

  • We are taught that tai chi should be comfortable and relaxed, but when we do tai chi alone, our preconceptions of what it feels like to be ‘comfortable’ and ‘relaxed’ are largely dependent upon habit… our preconditioning.


Comfortable

This is a tricky one.  Most people don’t know when they are uncomfortable because their usual state of Being isn’t particularly relaxed.  We get used to breathing high up in the chest, we become accustomed to stress, we no longer notice bad posture, general fatigue seems par for the course, and we get used to a stiff neck or aching back.

In other words, if we misuse a part of us for long enough, we stop registering the discomfort as such, and it becomes the norm.
We’ve numbed it.

So ‘comfort’ becomes a relative issue… “It feels fine; its not hurting as much as it did before.”  The more discomfort we endure, the narrower our parameters of comfort become.

James & M.Wang (2)Relaxed
One of the functions of ‘testing’ postures with a partner (who is gently going to test your structure by pushing or pulling you – a kind of static Pushing Hands), is to see whether or not your body is working effectively and efficiently.
Therefore, if someone pushes you and you find it very difficult to relax and hold your posture, you know that something’s wrong – it’s not a matter of strength… it’s structure.
When you are not relaxed, you are holding a muscle (or muscles) in position. This is a form of stagnation which affects other muscles in the body; in effect, that part of the body is dead, or at the most, it’s functionality is severely compromised.
Because the held muscle lacks pliability, anyone pushing you is therefore pushing directly on that muscle (you are effectively ‘giving them a handle’); the person pushing you might not be able to feel any of the other muscles which are ‘liquid’, but he/she can feel the one that is tense.
This is not to say that you go completely soft and ‘soggy’, but you attempt to relax the muscles equally so that they support each other – there is a ‘muscular interconnection’ throughout the body so that when someone pushes you, he/she is not pushing one muscle, but is pushing every muscle in your body.  This is known as Peng – every muscle is equally supported by every other muscle.

But in solo tai chi, although you can sense the connection inside you, you have no way of actually experiencing it because to do so requires a force outside yourself.
You are therefore left with your old habits; there’s nothing to point them out to you (this would be like looking at yourself with your own eyes, or chewing your own teeth), and nothing to help you remove them.

To put it another way, we need the relative world in order to learn about ourselves.

… Continued in “2-Person Exercises in Taiji – Maintaining Your Integrity (3)”.

Turning & stepping 90 degrees in taiji & qigong

From a standing position:
1) Suck in your abdominal muscles, (thereby connecting the upper thigh to the torso).
2) When you can, draw the abdomen in further, allow the legs to bend slightly, but bear in mind that the bending of the legs merely allows you to suck the abdomen in even further, so 24move-360don’t stop sucking in.
3) Shift your weight on to one foot.
4) Simultaneously do the following: a) sink further, b) suck in further, whilst c) starting to turn the hip to the side, therefore releasing one foot from the floor.  Note that there is NO hurry to place the heel of the stepping foot, or even extend it. 24move-362
5) Sink, suck, and step (with the heel)!

Notes:

  • Note that, when you suck in your abdominal muscles, the pelvis rotates, causing your backside to tuck under, i.e. the tip of the spine will appear to tuck further between the legs.
  • Whichever leg you have the weight on during the step, make sure that the knee stays pointing at the toes; don’t let it collapse inwards (medially).
  • Make sure that the small of the back has relaxed and ‘opened’, which means that the ‘S’ bend has straightened out.  (If you have sucked the abdominal muscles in enough, your bottom will have tucked right under, and the lower back will feel flat (no ‘S’).
  • If you have done the above, and engaged the core muscles correctly, you will feel stable.

James Drewe teaches in London & Kent.  Details of classes can be found at http://www.taiji.co.uk.

Sinking to Move (2) – Connecting the Upper Body

Sinking to Move (1) was about sinking the qi from the waist downwards. Sinking to Move (2) is about connecting the upper body to the lower body.
DSCF9001
How NOT to sink a weight

If you sink only from the waist downwards, but leave the shoulders and torso tense, this is like throwing a stone into a pond with a balloon attached, and wondering why the stone doesn’t sink.

Two examples from the Yang 24-Step Form of using the limbs to help sinking

1) Play the Lute.  When you move from the 3rd Brush Knee & Twist Step into Play the Lute, the left palm plays an important role in helping the qi to sink in the upper body. When the rear foot (the right foot) is about to come off the floor for the half-step forwards, push the heel of the left palm downwards (the left shoulder also relaxing and dropping).
As the right toes start to lift from the floor, transfer the press in the left hand from the heel of the palm, via the metacarpophalangeal joints (the joints where the palm meets the fingers), to the tips of the fingers… in other words the fingers will end up pointing at the floor.  There is a continuous sensation of pushing downwards, but with increasing softness as the energy reaches the tips of the fingers – as though the energy is dissipating.
This connects the upper body to the lower.

2) Repulse Monkey. At the moment of 172 Taiji Parkreleasing the front foot from the floor (in order to step backwards), feel the elbow of the forward arm (which is rotating downwards) connect (metaphorically) to the opposite knee.  This is a brief connection because, after that, the left elbow works with the left hip.
So, for example, if you start from Play the Lute (Strum the Pippa), you open the arms to the right, and the left elbow will (again, metaphorically) connect to the the right knee as you lift your left foot from the floor in order to step backwards.
If you do this, all of a sudden, your elbow start to work with the hips.

Using the upper body to create free movement
If you are attempting to sink the qi to create ‘free’ movement (i.e. movement that is unrestricted and uncompromised by other parts of the body), the upper body needs to join in with the sinking.
The problems are almost always caused by the shoulders being ‘held up’.  When this happens, the upper limbs can no longer function effectively.  Once the shoulders have stopped ‘holding on,’ the qi is no longer held in the upper body when you need it to sink; the balloon bursts and the stone can drop to the bottom of the pond.
Then the sense of cross-body connection can function (e.g.) from right elbow to left knee, or from right shoulder to left hip, etc.