A common problem facing us today, is the maze of different versions of Taiji on offer within a given style. The favoured explanation for this phenomenon is usually that "each teacher is different". Take Yang style for example, with no photographs, videotapes, or movies, in existence of the first and second generation Yang family. The third generation though, is a different story, and as photographs do exist of Yang Cheng Fu, the 3rd generation successor, does it not make sense to emulate the Yang Style forerunners as much as possible when we practice Yang Style Taiji?

A lot of people practice Yang Style Taiji, yet do not look at all like Yang Style when practised for maximum energy flow. When our practice is imbued with intent, right from the opening chi flows which then moves the body. Working in this order is paramount if we want to achieve an accurate representation of what is going on inside a person's body and energy.

The 10 Essences - core Taiji guidelines or principles, a legacy from the Yang Family - are a clue to what will lead us to the deeper energy we seek. From the outset, the first essence, 'lifting the head to raise the spirit', addresses directly what we should do and how we should look.

These photographs illustrate the 'opening move', 'left wardoff', and 'grasping birds tail' in Traditional Yang Style Taiji. Set 1 photos, shows the opening move (raising the hands) with the first example showing Chi fully extended (photo A). Extending the Chi thus, the hands will stretch naturally but not tight. It is common for practitioners to keep the hands loose with just the arms raised (photo B). As a result, energy is not fully extended, and Chi will not completely come out.

In the second set of photos, 'opening move' part two (lowering the hands); the elbows pull back but energy in the hands remains extended (photo A). Common practice here keeps the fingers limp, while pulling the hands all the way back to the chest before pressing down (photo B). If you execute the frame this way, you will be unable to press any opponent's energy down. Rather, pull your elbows, maintain extended fingers and press the wrist, all executed simultaneously in a curve motion.

In the third set of photos 'step forward into left ward-off'', sinking shoulder and elbow (2nd essence) need to exist naturally as the body rotates. When stepping forward, the torso will face the position at a natural angle. The back of the front hand should have round curved ward-off energy, with the intent of neutralising the opponent's press energy (photo A). Common practice in this move involves raising the back-hand and arm so high, that sinking shoulder and elbow no longer exists (photo B).

All movements involve co-operation of the arms, legs, torso, and intent, co-ordinated into one continuous expansion or contraction. If any one part of the body does not function or follow up, the movement or the intent for this technique will not work as soon as the opponent makes contact.

In the fourth set of photos (completing 'left ward-off'), when we finish this frame the body should be round with sinking shoulders and elbows and embody the 3rd essence, 'loosen the chest and round the back'. Loosening the elbow slightly causes the arms to become naturally curved while the chest becomes soft. As a result, breathing is deeper with Chi sinking down to the Dantien causing your legs to feel heavier and rooting feelings exist. (Photo A). If we extend our ward-off too straight in the left arm, the chest will not be soft to allow Chi to sink down to the Dantien, and with no root in the legs, the frame will become top heavy (photo B).

In the fifth set of photos ('right ward-off'), the application is a joint lock, with the right arm rounded and extended while the left hand is pressed slightly over the right arm locking the opponent's left arm at the wrist and elbow. The whole body requires the support of your legs particularly the back leg, which should be pushed straight to ensure energy goes from the legs through the back and into both arms. Also your left leg pushes backward creating a solid feeling of rooting as you lock in the opponent (photo A). This frame is often practised with neither arm fully extended, coupled with collapsing the back leg, causing the whole structure to rely on the front leg for support (photo B), resulting in you being easily pulled by the opponent.


 

The seventh set of photos shows the beginning of 'squeeze'. Once you have executed roll back your arms should be placed quickly in front of the body in the shortest distance possible, with your torso facing forward to utilise the energy from the back leg, in order for squeeze energy to work properly (photo A). It is common to see the left arm circle down then rise very high next to the shoulder before moving forward with the body still facing sideways (photo B). This action will allow the opponent to escape from the previous technique (roll back). You will not be able to 'squeeze' the opponent because they've already broken free! Also if the hand nearest the waist is still facing sideways, you will 'squeeze' using only your upper body, without any connection with the legs however.

The eighth set of photos shows the completion of 'squeeze', with the arms positioned approximately shoulder high, both elbows lower than the wrists and shoulders, plus the support of the back leg going into the hands which are extended naturally (photo A). Many people practice 'squeeze', with their right hand (the ward-off hand) curving inward, or with the left fingers holding the right hand down. Also, if the right hand curves inward the energy becomes rounded in a backward direction (photo B), and squeezing with the hands closed will not allow you to fully extend your energy into the opponent. Your fingers need to extend for energy to come out, and this will afford the other person less chance to rotate their waist and counter.

The ninth set of photos shows 'press', which has similar requirements to 'squeeze', with the fingers naturally extended, elbows lower than the wrists and shoulders, plus the wrists positioned about shoulder height. The body is in a straight line from the back to the legs, which are supporting the upper body (photo A). Commonly in Yang style, people do not fully execute the complete energy. The hands are often bent with collapsed fingers, plus the back leg is not used to push forward enough. Overall, 'press' is never fully executed, and the energy is incomplete (photo B). If you tried to push something in this way, the object or person would hardly move. Keeping the back knee bent, your body would be in an upright position with the lower body energy stuck at the lower back, thus causing a separation in upper and lower body energy.

Currently there are five different styles of Taiji, all based on the same principles, which cannot be changed. Disregarding what style is practised; the footwork for example has basically the same requirements originating from the same rules or principles. We cannot change the human body to fit something that just feels good or looks good. In Taiji, how you use your eyes, the way you look, the way your neck holds up your head, your shoulders, elbows, chest, fingers, how you loosen your Kua, your legs and footwork are not changed. If we want to learn Taiji, (no matter which style), and experience all the energy refinement that Taiji promises, our body has to execute the frame according to the principles.

You may be thinking, "...Oh, but I learned it this way". These comments are not intended as a damper on any teacher or method. Rather, the purpose is to provide an insight to help deepen your understanding. Though every teacher has their own level of skill and understanding plus their unique approach to teaching, understanding should be aligned to the original principle or essence. Divergence from the core principles and the philosophy amounts to a breaking away from the original idea. It is important to know this, no matter how you teach.

These are just suggestions and anyone practising Yang Style Taiji can compare the photographs used here to those of Yang Cheng Fu. As the practitioner you are the one who has to make the decision for yourself.