Tai Chi Chuan  Online Playshop  Lesson Page
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Open a new browser window by clicking HERE
to take a look at great old photos of Li Li Da's 
Teacher, Master Wu Kung Yi,
performing the Wu style of T'ai Chi Ch'uan!

LESSON 3:
                          BRUSH KNEE TWIST STEP (right)
                          WARD OFF
                          BRUSH KNEE TWIST STEP (right)

please read the following text information while the images load on the page

click>>>LESSON 1<<<here
click>>>PREVIOUS LESSON - 2<<<here
click>>>NEXT LESSON - 4<<<here

Letters in (  )* stand for the eight directions=N, S, E, W, NW, NE, SW, SE.
Numbers in (  )* correlate to the frame number in main lesson image below,
as much as possible...(some frames are 'in between' described movements,
in which case either I will try to redo the image, or you will need to exercise
your imagination even more than is necessary to learn any movement art from
'text and images' alone in the first place.)
Formula in brackets [W= ] denote weightedness, which is the amount of body
weight shifted to either side (L=left, R=right, even=doubleweightedness);
example: [W=70R] means 'put 70% of your weight on your right side.' The range
here will be approximate, ideally based on an individuals personal needs, abilities and experience.   
*
You may choose to read through the text the first time disregarding these
parentheticals...it's easier!!
We OPENED  the set (Lesson 1) facing North (N); as you view images on your monitor for the current postures (below), imagine that you are again facing North as you begin the first Brush knee twist step and as you end this lesson with the second Brush knee twist step, you are facing West.

                          Brush knee twist step (right)
                          Ward off
                          Brush knee twist step (right)

Brush knee twist step  (right)    
(
1 through 17)     

     At the conclusion of white crane preening wings (1), you face North with knees slightly bent; arms up at shoulder level, your elbows point out to your sides, with your palms facing away, as if holding a small globe.  Brush knee twist step begins as you pull your elbows slowly toward one another, drawing your hands slightly apart (2,3) until both your lower arms (the elbow joints to the hands) are parallel to one another and perpendicular to the floor, and your upper arms (the elbows to the shoulders) are parallel to one another and parallel to the floor (4).  As your arms straighten, your palms turn slowly to face each other, the elbows bending each arm at almost a 90 angle. [W= even]
     Bend your knees slightly (5) as you bow slightly forward at the waist and slowly begin to shift your weight to your right leg (6) [W= 60R].  Begin rotating your upper torso to the left as you continue shifting your weight [W= 70R] to
the right side, and begin to lower your left hand, with your left palm facing in. [W= 80R]
     At the same time, lift your left toe only (7), and pivot on the left heel (8) until your left foot is pointing
West, with the toe up. (9) [W= 90R]  (Your feet now form at almost a full right angle; right foot flat, left toe up and your left hand has dropped halfway down in its descent.  Remember to keep your behind tucked in.)    
     As your upper torso finishes rotating left 90, and your left hand continues its descent (10), your right palm (still facing
West) pushes to your left (W) at shoulder level; this occurs as your center starts (11) shifting your weight [W= 80R] back to the left side.  As you push to the left [W=70R],
your body (from the
tan tien, or center) dips very, very
slightly down and back up in an arc [W= 60R], and you lower your left toe down (11-14) [W= even].
     As the right palm, fingers up, pushes the imaginary opponent at the shoulder level (12-17), your left hand drops to a few inches in front of and above (14) [W= 70L] your left knee (hence the first part of the name for this posture,
brush knee), with the left palm facing in toward the knee, while the right foot (with weight mostly on the heel, pivoting) twists (hence the second part of the name for this posture, twist step) to the NW corner, forming an acute angle with the left foot of about 30-45 (be comfortable) as the momentum forward (West) concludes. (17) [W= 80L]
     At that point, the left hand rests just outside of the left leg, palm facing backward, fingers down; the right palm faces away (
West) in a "push" at about shoulder height, fingers to the ceiling; both elbows are slightly bent, and your left knee-cap is aligned directly above (but, in no case further out
than) your left toe.
   
Ward off    
(18 through 28)
   
     Next, slowly raise your left foot (18-21) onto its heel only again, forcing your weight (and you!) back (
East) onto your right foot [W= 70L], while moving your left hand upward slowly to a position near your right hand. (18-23)  The left hand rises in an arcing motion from your left side to slightly above where the right hand, which simply rotates the palm from West to South, is waiting.  Both your hands rotate inward so that as they near each other, the palms are facing. As the left hand meets near (and just above) the right (24), the right fingertips graze the bottom of the left palm, with all of your fingers pointing to the ceiling. [W= even] 
     Then rotate your waist 45 [W= 60R], back toward your right (24-28), carrying [W= 70R] both upper and lower torso
as one until [W= 80R] you point to the (NW) corner (28); your hands retain their same position as you rotate as one.  
At the end of the
Ward off posture, your energy is wound up quite like a baseball pitchers, who 'winds' (wards) (18-28) before the 'pitch' (push) (29-35).

Brush knee twist step  (right)    (29 through 35)

     Reverse direction again, and as you move forward to the left (
West), your left toe falls again to the floor, your weight shifts again to your left side, and you again "push" your invisible opponent.  The following is basically a repeat of the above description for brush knee twist step:
     As your left hand begins its descent (29), your right palm (facing West) pushes to your left at shoulder level (West); this occurs as your center starts (30) shifting your weight [W= 80R] back to the left side.  As you push to the left
[W= 70R], your body (from the
tan tien, or center) dips very, very slightly down and back up in an arc [W= 60R], and you lower your left toe down (30-33) [W= even].
     As the right palm pushes the imaginary opponent at the shoulder level (30-35), your left hand drops to a few inches in front of and above (33) [W= 70L] your left knee, with 
your palm facing in toward the knee, while the right foot (with weight mostly on heel, pivoting) twists to the
NW corner, forming an acute angle with the left foot of about 30-45 (be comfortable) as the momentum forward (West) concludes. (35) [W= 80L]
    At that point, the left hand rests just outside of the left leg, palm facing backward, fingers down; the right palm faces away (
West) in a "push" at about shoulder height, fingers to the ceiling; both elbows are slightly bent, and your left knee-cap is aligned directly above (but, in no case further out than) your left toe.

         ~   ~   ~   ~   ~

(Remember to keep your knees and elbows at least slightly bent and your pelvis tucked in throughout the set.)

(If at all possible, it is suggested that someone read the text to you - or record it on a tape and play it back - while you slowly practice the form...and slowly is the best way to practice.)


notes:

  Arms at this point resemble the referees signal for a touchdown in American football, though with elbows bent more. 
_
go back_

  So slightly, in fact, as to be undetectable to the naked 
eye! ...oops. 
_
go back_

  This return to
weightedness on the opposite side allows the upper and lower torso to again move as one in the same direction (W). _go back_
              
                        The links back to the above footnote numbers
will only return you to
                                       the
very first use of that number in the above text,
                   not to the subsequent references on this page to the same footnote number.


do not over-do     do not under-do

click>>>LESSON 1<<<here
click>>>PREVIOUS LESSON - 2<<<here
click>>>NEXT LESSON - 4<<<here

  List  of moves

FUNDAMENTALS OF
T'AI CHI CH'UAN
breathing
moving as one
being grounded
tan tien (center of balance)
ding jin (common axis)
continuity
single weightedness
double weightedness
yin/yang duality
bent knees and elbows
fist space/separates
moving on a curve
moving slowly

as time permits i will explain these
concepts and expand the list of
fundamentals


May I suggest the best way to see these images in the days after the lesson page has changed is to 'right click' on those images you want NOW and click
'save image as', then save it to some hard drive (the loads are
BIG!)
You can also freely copy/paste/amend the text. (But do not sell, please)

~ ~ special thanks ~ ~
to
Michael W and Shar'n
for making free cyberspace available for MORE Playshop lessons at
www.caliban.net
NOW all of the Playshop lessons should ALWAYS be available online
~ ~ ~

If the pictures stop animating on your page, hit reload (refresh)
(I've even had to "clear memory cache" first if I interrupted initial page loading)

    
   follow my movement on your monitor
   you will be performing a Right Hand Set...
(t'ai chi is practiced from both sides)
 when YOU practice t'ai chi, move slowly
 (and hopefully less jerkily than this animation)


  Diagonal view of  Brush knee twist step
          

click>>>LESSON 1<<<here
click>>>PREVIOUS LESSON - 2<<<here
click>>>NEXT LESSON - 4<<<here

~   ~   ~   ~   ~

notes:
I made the T'ai Chi graphic images using a reverse image option so that I could
video the Left Hand Set, then when it is viewed here on your monitor, it appears as a mirror image of a Right Hand Set, which you can emulate by following my movements.  Most T'ai Chi students only learn the Right Hand Set, and it is a good way to start.  One can practice the opposite side movements (Left Hand) by practicing the reverse of the image(s) above.  I am fortunate that the students who instructed me at my t'ai chi beginning practiced both sides of the set daily.  By learning the left and right versions (identical, just reversed) of t'ai chi, I believe one may gain even more.


~   ~   ~   ~   ~

more notes:

Please let me know what you like here and what really bugs you here, too
TO EMAIL HERE PLEASE MANUALLY CHANGE 'AT' TO '@'

Is there some aspect of the movement not made clear by the images (or the text, for that matter)??  Please tell me, and if I cannot clarify it with words I will try to make a new image to illustrate a way out of that confusion.


~   ~   ~   ~   ~

still more notes:

It is better by far to experience learning Tai Chi of any kind in a group setting, primarily for two reasons.  First, it's more fun! and nothing is better for learning than sharing ideas and practice with individuals who share the same interests.  By having many artisans practice together, this allows for an excellent source of useful feedback.  More than critically watching the moves as others do them, this also affords an opportunity that is unparalleled: by standing in the center surrounded by more advanced students, with every movement in every direction, the novice has a rotating view of the form.  This allows the newer student to follow all the others, even as the plane of movement tangents onto a new direction.  Turn left, a senior student is in front to follow from; turn right, another teacher is in view;
spin around 180 and, yep, you guessed it.

Though learning Tai Chi from pictures, and (sometimes even worse) from text, is not the best method to use...it is what I can offer.  Some people have little or no access to teachers or classes in their area; some have little or no money for them even if they did exist; some folk are shy and some may be to dis-eased to go to a class; it is for all these people (the ones online, at least) and of course for the martial arts intellectuals (you know who you are) that I make this meager presentation.

TAI CHI CLASSES
For anyone in or near (or just visiting) the San Francisco Bay Area, please accept our invitation to join us in our VIRTUAL REALITY PLAYSHOP
(real people), any Saturday morning from 8:45 a.m. to 9:45 a.m.
at 1819 10th Street, in Berkeley.
(The set usually begins @ 9:10 a.m. Saturday
Just take the outside stairs on the south side of Finnish Hall to the top to get in--or take the disabled folks elevator inside--if you need it)

 ~   ~   ~   ~   ~

 finally! feedback
finally, your notes:

    Scott, I HAVE FEEDBACK FOR YOU
    and/or
I wanna get email when the lesson page changes :)

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~   ~   ~   ~   ~

Only you yourself will know if you have stretched
your chi 'enough', 'too much', or even 'not enough'.  What we desire to achieve with T'ai Chi is balance: to get there, moderation, not excess, is required.

~   ~   ~   ~   ~

Keep in mind while upon this new journey that we do it for our health, for our joy, for our spiritual reawakening...not to suffer more, but to complete ourselves
as beings, and rejoice of the universe.

~   ~   ~   ~   ~

With gratitude to Li Lida      (1922-1982)


SPECIAL THANKS
to Ruth, David, Lydia, Michael G, Shar'n, Harold, Eileen, Robert,
and all of the other people who have helped me learn T'ai Chi...


injoy
heartLove!


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~ FOR EASY RETURN

this webpage was originally created at
9:09 P.M. P.S.T., on Tuesday, July 14, 1998
          
nothing new here in this part of the Universe since
November 27, 2006 at 4:55 P.M.


last updated on Monday, July 19, 2010 at 9:03 P.M. P.S.T.

  COPYWRONG 1997-2010  swrichie    ALL RIGHTS REVERSED

copywrong 1998-2010 by swrichie for hand use creations 

ALL RIGHTS REVERSED

                   
~   ~   ~   ~   ~
we share some common strand in this universe...we as one