Tai Chi Chuan  Online Playshop  Lesson Page
WELCOME

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 4:
                          STEP FORWARD (right)
                          BRUSH KNEE TWIST STEP (left)
                          STEP FORWARD (left)
                          BRUSH KNEE TWIST STEP (right)

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

click>>>LESSON 1<<<here
click>>>LESSON 2<<<here
click>>>PREVIOUS LESSON - 3<<<here
click>>>NEXT LESSON - 5<<<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 now facing West as you begin lesson 4, which includes the third Brush knee twist step of the set, the first one from the left side. As you end this lesson with the fourth Brush knee twist step (from the right side, as were the first two from the previous lesson) you are still facing West.

                             Step forward (right)
                             Brush knee twist step (left)
                             Step forward (left)
                             Brush knee twist step (right)

Step forward (right)

(1 through 7)
    
   
  At the conclusion of lesson 3 and the second
brush knee twist step (right), you are still facing West.  Your left hand rests just outside of the left leg, palm facing backward, fingers down; the right palm faces away (West) in a "push", fingers to the ceiling; both elbows are slightly bent, and your left kneecap is aligned directly above (but, in no case further out than) your left toe.(1) [W= 80L]
     Begin
step forward by lifting up your left heel slightly, turning on the ball of the left foot, and pointing your left toe (2), and your entire upper body, to the corner (SW).  Rest your left heel down again.  [Now your left foot points SW, forming a right angle to your right foot still pointing NW.] Next shift your weight forward completely onto your left knee (which unbends slightly as you step forward) as you lift your right foot, heel first (3), then toe (4), and lift your right leg up and move it forward [W= 100L], stepping through  (5,6); then, plant your right heel (7) at a comfortable distance ahead of you, with your knee slightly bent. [W= 90L] Throughout this step forward, your arms and hands retain the same position, simply moving as one along with your motion.

Brush knee twist step (left)     
(8 through 15)

     [Similar to the previous
brush knee twist steps, but on the opposite side from lesson 3.]  Brush knee twist step (left) begins as you turn your upper torso slowly to your left as you raise your left arm slightly, and rotate your left forearm up at its elbow, to shoulder level, turning your left palm from facing back (East) to facing forward (West) as you do so. (8) At the same time that you raise your left hand up, your right palm turns to face in, moving toward you and your rising left arm, as your two hands near, palms facing each other, forming as if to hold an imagined globe again. (9) [W= 90L]
     Next, your right hand begins to descend in an arcing motion, as your left palm pushes to your right at shoulder level (
West); this occurs as your center starts (10) shifting your weight [W= 80L] back to the right side.  As you push
to the right [W= 70L], your body (from the
tan tien, or center) dips very, very slightly down and back up in an arc [W= 60L], and you lower your right toe down. (11-13) [W= even]

     As the left palm pushes the imaginary opponent at the shoulder level (10-15), your right hand drops to a few inches in front of and above your right knee, with your palm facing in toward the knee (13) [W= 70R].  As the momentum forward (West) concludes, the left foot (with its weight mostly on the heel, pivoting) twists slightly forward to the corner, forming an acute angle with the right foot of about 30 (be comfortable.) (15) [W= 80R]
     At that point, the right hand rests just outside of the right leg, palm facing backward, fingers down; the left palm faces away (
West) in a "push", fingers to the ceiling; both elbows are slightly bent, and your right kneecap is aligned directly above (but in no case further out than) your right toe.

Step forward (left)    (16 through 22)

      
[This is identical to the first one above, on the reverse side.]  Begin
step forward by lifting up your right heel slightly, turning on the ball of the right foot, and pointing your right toe, and your entire upper body, to the corner (NW).  Rest your right heel down again. (16) [Now your right foot points NW, forming a right angle to your left foot still pointing SW.]  Next shift your weight forward completely onto your right knee (which unbends slightly as you step forward) as you lift your left foot, heel first (18), then toe (19), and lift your left leg up and move it forward [W= 100R], stepping through (19,20); then, plant your left heel (21) at a comfortable distance ahead of you, with your knee slightly bent. [W= 90R]  Throughout this step forward, your arms and hands retain the same position, simply moving as one along with your motion.

Brush knee twist step (right)    (23 through 26)

     [Again, the same
brush knee twist step, opposite to that above.  Reverse direction again, and as you move forward to the left (West) 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 (left), just reversed.]
     Brush knee twist step (right) begins as you turn your upper torso slowly to your right as you raise your right arm slightly, and rotate your right forearm up at its elbow, to shoulder level, turning your right palm from facing back (East) to facing forward (West) as you do so. (22)   At the same time that you raise your right hand up, your left palm turns to face in, moving toward you and your rising right arm, as your two hands near, forming as if to hold an imagined globe again. [W= 90R]
     Next, your left hand begins to descend (22) in an arcing motion, as your right palm pushes to your left at shoulder level (
West); this occurs as your center starts shifting your weight [W= 80R] back to the left side.  As you push to the left (West) [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 (22-25) [W= even].  As the right palm pushes the imaginary opponent at the shoulder level (23-26), your left hand drops to a few inches in front of and above (25)[W= 70L] your left knee, with your palm facing in toward the knee.  As the momentum forward (West) concludes, the right foot (with its weight mostly on the heel, pivoting) twists slightly forward to the corner, forming an acute angle with the left foot of about 30 (be comfortable.) (26)[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", fingers to the ceiling; both elbows are slightly bent, and your left kneecap is aligned directly above (but in no case further out than) your left toe.
     
Notice that this lesson ends with you in the same position as when you started it, frame #26 and frame #1 being similar.
   
         ~   ~   ~   ~   ~

(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:

  So slightly, in fact, as to be undetectable to the naked eye!
_
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>>>LESSON 2<<<here
 click>>>PREVIOUS LESSON - 3<<<here
 click>>>NEXT LESSON - 5<<<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)

In order to fit the sequence for this lesson into one image, I had to stop the camera
after frame #15, move myself, then start it again to capture images #16 through 26.  
This was necessary because of the small space I am working in here and results in
a very slightly noticeable shift between frame #15 and frame #16.  


   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)

Another angle of this lesson
as viewed from the West   


click>>>LESSON 1<<<here
click>>>LESSON 2<<<here
 click>>>PREVIOUS LESSON - 3<<<here
 click>>>NEXT LESSON - 5<<<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!


BOOKMARK THIS PAGE
~FOR EASY RETURN
                                
this webpage was originally created at
 9:19 P.M. P.S.T., on Tuesday, July 14, 1998
          
nothing new here in this part of the Universe since
November 27, 2006 at 5:00 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