Observing Tai Chi Chuan on the youtube this AM, and it was quite interesting. Young chinese lady presented a modern Tai Chi New Age version, and my mind began to analyze the intricate movements, the rights and wrongs. Of course, one could make the case that there is no right and wrong, there is only interpretation.
But, in this ancient Art of Tai Chi Chuan, should there be interpretation? The young lady flowed like a skyrocket in molasses, giving off chi energy, wielding chi power, and was as gorgeous as a constellation in the early evening. But...function should define the art, am I not correct?
The classical Tai Chi was low, powerful, thrusting poppings of power that would slay a phoenix or three. Her modern Tai Chi Chi was low and graceful, and there were circles in her motions, but the arms were not set in the unbendable sphere. They were bendable and amazing to perceive...and useless in a fight.
Standing on one leg and presenting the Open Kick posture...but borrowing from Shaolin, or perhaps even Taekwondo for the stretch and the flair and the indelible impression on the mind. But a leg defense done that way can easily be perceived, and easily handled...and to the detriment of the kicker. Shouldn't the foot be quick and easy, not like a ballet, in and out and vanquishing the opponent on subtle levels?
Still, the young lady pulsed and writhed, and one could see the energy rippling up the torso and out the arms. But--I am beginning to dislike that word 'but'--the energy was held in, not brought forth as would be necessary to achieve combat usefulness. A form done within the self, without translating to the outer, is a form that holds in the spirit, no matter how pleasing it may be to the crowd.
The onlookers, of course, loved how the young lady moved; she captured the eye with her graceful motions. But what does a crowd really understand of the finesse of the inner art? Is this not just a titallation, a playing to the politics of the now and the group mind and the base desire?
I think of the real power available to the practitioner, should they restrict themselves to function, and eschew the clap of hand and intake of breath. I think of the power that ripples unseen, which is what good Tai Chi Chuan should be...invisible to the eye and pleasing to the Gods. Not the masses nor even the muse, not the gold and the glory, but the inner reality of the soul in emptiness, an emptiness that is manipulated beyond the ken of man.
That is the human spirit: an expanding of an Awareness that is beyond the physical senses...and shouldn't that be the thrust of the art of Tai Chi? Shouldn't the true power be built up in the spaces of the spirit, and used only to increase the quality of life in this temporary universe? Shouldn't, when we study our Tai Chi, play to the Gods first, ourselves next, and the people last?
But, in this ancient Art of Tai Chi Chuan, should there be interpretation? The young lady flowed like a skyrocket in molasses, giving off chi energy, wielding chi power, and was as gorgeous as a constellation in the early evening. But...function should define the art, am I not correct?
The classical Tai Chi was low, powerful, thrusting poppings of power that would slay a phoenix or three. Her modern Tai Chi Chi was low and graceful, and there were circles in her motions, but the arms were not set in the unbendable sphere. They were bendable and amazing to perceive...and useless in a fight.
Standing on one leg and presenting the Open Kick posture...but borrowing from Shaolin, or perhaps even Taekwondo for the stretch and the flair and the indelible impression on the mind. But a leg defense done that way can easily be perceived, and easily handled...and to the detriment of the kicker. Shouldn't the foot be quick and easy, not like a ballet, in and out and vanquishing the opponent on subtle levels?
Still, the young lady pulsed and writhed, and one could see the energy rippling up the torso and out the arms. But--I am beginning to dislike that word 'but'--the energy was held in, not brought forth as would be necessary to achieve combat usefulness. A form done within the self, without translating to the outer, is a form that holds in the spirit, no matter how pleasing it may be to the crowd.
The onlookers, of course, loved how the young lady moved; she captured the eye with her graceful motions. But what does a crowd really understand of the finesse of the inner art? Is this not just a titallation, a playing to the politics of the now and the group mind and the base desire?
I think of the real power available to the practitioner, should they restrict themselves to function, and eschew the clap of hand and intake of breath. I think of the power that ripples unseen, which is what good Tai Chi Chuan should be...invisible to the eye and pleasing to the Gods. Not the masses nor even the muse, not the gold and the glory, but the inner reality of the soul in emptiness, an emptiness that is manipulated beyond the ken of man.
That is the human spirit: an expanding of an Awareness that is beyond the physical senses...and shouldn't that be the thrust of the art of Tai Chi? Shouldn't the true power be built up in the spaces of the spirit, and used only to increase the quality of life in this temporary universe? Shouldn't, when we study our Tai Chi, play to the Gods first, ourselves next, and the people last?
Source...