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Instructor’s Manual for TaijiFit Flow
TAIJIFIT™ AND TAIJIFIT FLOW™ ARE REGISTERED TRADEMARKS OF TAIJIFIT LLC
TAIJIFIT INSTRUCTOR MANUAL
TaijiFit
TAIJIFIT FLOW
™
Flow
“Bootcamp for the Soul”
Objective
The primary objective of the TaijiFit workout is to educe, develop and improve a state of Flow
in your students and clients. Using special Taiji (Tai Chi) moves as the “content” of the workout,
TaijiFit instructors will learn how to cue for Flow, how to recognize when Flow has been
achieved, and how to keep Flow going by using transitions effectively. This course will cover
those skills.
Introduction
Welcome to the TaijiFit Instructor training primary course, known as TaijiFit Flow. We live in a
very exciting time in the history of the Fitness Industry. For the past two decades, we have
witnessed the explosion in popularity of the mind/body fitness genre. It began with the
emergence of yoga, followed by the Pilates method and has recently culminated in the popularity
of latin dance-based workouts like Zumba (dancing is probably the original mind/body exercise).
Recently the public’s attention has turned to a new form of mind/body exercise. New...
but very old. Taiji (T’ai Chi) is an ancient Chinese martial art and personal health practice that is
so popular that it is practiced daily by more than 150 million people around the world. Here in the
United States, experts estimate that roughly 2 million people are practicing various forms of Taiji
and Qigong.
There have been challenges to teaching Taiji in the West. It’s not well known or
understood - and the movements are done very differently than more familiar workouts. Students
often get frustrated or bored, and often drop out before they start to see the benefits that Taiji has
to offer. This training course is designed to solve those problems - to teach you how to be an
effective instructor, and help you ultimately share this fabulous art with your students.
Throughout this manual, you may see references to “Taiji for Exercise.” This is a
deliberate translation of a particular Chinese phrase: “TaijiCao” (pronounced tie-jee-tsow). Most
people in the West have only heard of just “T’ai Chi” or “T’ai Chi Ch’uan” - which actually refers to
a traditional, deep and many-layered practice, that involves martial arts, medical therapy, and
personal development. It is a beautiful and unique art - but its complexity may be one of the
barriers to making Taiji popular. Yet nearly all Taiji classes and all other Taiji instructor training
programs are based on T’ai Chi Ch’uan.
Taijicao, however, is another way to experience Taiji - a way that is more accessible and
for many a more appropriate introduction. The TaijiFit Instructor training program is the first
time that this approach has been made available to fitness professionals in the West. Taijicao
focuses on the physical calisthenic aspect of Taiji - hence the name we’ve come up with for the
classes that you’ll be teaching: TaijiFit (meaning “T’ai Chi for Exercise”).
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Using Taiji for Exercise - Flow as a Component of Fitness
According to the ACSM there are five recognized “components of fitness:” muscular strength,
muscular endurance, cardiovascular endurance, flexibility and body composition. These five
components are now standard in the methodology of fitness, and we use them to both assess an
individual’s level of fitness and to design programs to address “weaknesses” in their overall fitness
profile.
We believe there is a sixth component of fitness: Flow. Flow is a measurable quality that
impacts every other component of fitness and affects the performance, appearance and
functionality of any individual. Flow is a characteristic that binds all the other components of
fitness together, so that with increased Flow there is a synergistic effect of all the aspects of
fitness. Individuals with a high degree of Flow achieve a heightened sense of wholeness and wellbeing in their lives, and find that their fitness goals are more easily achieved and are more
permanent.
Most of the common conventional fitness modalities are designed to ignore Flow. They
do this because one of the fundamental principles of modern fitness is the Specific Adaptation to
Imposed Demand (S.A.I.D.) principle. While this principle can lead to definite efficiency in
training for fitness goals, it also actually works against the quality of Flow by isolating body parts,
muscle functions, neurological responses and/or system functions (e.g. cardiovascular system v
muscular system).
Other modalities - particularly modern mind/body exercises - are more designed to
develop and improve Flow. Workouts like Pilates or Nia are good examples. However, we can
learn a valuable lesson by observing that it’s quite common for individual instructors to lead these
workouts in a way that makes them more conventional and less mind/body - in other words, that
still misses training flow.
In summary, Flow is a component of fitness that is critical for whole person synergy,
improved experience of well-being, fitness performance, appearance and function. Flow training
should be a part of every fitness program. The ideal model for Flow training is TaijiFit™.
Definition of Flow
Flow is a “quality” of free movement (as opposed to obstruction). In the context of fitness, we
further qualify it as movement that is continuous, harmonious, and synergistic. Flow is a
“connecting” quality; for example when movement generated in one body part or muscle group
can cascade through multiple body parts and muscle groups so that the end result is a graceful,
seamless and coordinated motion then you have Flow. Dancers and rhythmic gymnasts are great
examples of what Flow can look like. This kind of motion is a well-known characteristic of
classical Taijiquan.
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Characteristics of Flow
Flow is a phenomenon well known in both physics and psychology. A notable thinker in the
theory of flow in movement therapy was Rudolf Laban (1879-1958). Laban conceived of flow as
an element of human movement (which he called “effort”) along with weight (similar to intensity),
space and time.) Here is an excerpt from an article by Keith Lyons, Professor of Sport Studies at
the University of Canberra:
“In his discussion of skill as the appropriate use of movement, Laban notes that:
Skill is acquired through the gradual refinement of the feel of the movement, and any
training has indeed to promote this feel, which in its essence, is the awakening of the
sense for the proportions of motion factors. (1947, page 4)
Laban believed that “the awakening of the understanding of the rules of the
proportionality between motion factors” was the key to learning. This awakening is
“intimately connected with the capacity for control” (1947, page 8).
Flow
Laban argues strongly that the capacity for control “increases with the awareness of the
degrees of control representing the finer shades between the contrasts of fluent flow and
bound flow in movement” (1947, page 8).
Movements performed with a high degree of bound flow reveal the readiness of the
moving person to stop at any moment in order to readjust the effort if it proves to be
wrong, or engenders success.
In movements done with fluent flow, the utmost lack of control or abandon becomes
visible, in which the possibility to stop is considered to be unessential. (1947, page 8)
Laban developed a notation system to visualise the relationship of exertion and control in
effort. He did this to overcome the absence of a terminology to verbalise the relations
between exertion and control. Cecily Dell points out that this method “for systematic
description of qualitative change in movement is a major product” of Laban’s work (1970,
page 5).
Dell argues that “all movement requires tensing of muscles, and it is the relationship
among the muscles tensed, rather than the presence of tension in the body, which
determines the quality of the flow” (1970, page 14). She adds that “There are no good or
bad movement qualities as such; there are appropriate and inappropriate uses of the
qualities” (1970, page 15).
I think she makes a vital point in the context of this blog post:
Although the flow factor is sometimes viewed as the same “kind” of event on the same
level with the factors of weight, space and time, it is more often seen in a different light
from other Effort factors. Changes in the quality of flow seem to be the most frequent
kind of changes in movement of all the Effort factors. They seem, in fact, to provide a kind
of substrate in movement, out of which changes in qualities of weight, time and space can
“crystallize”, as highlights among the continuing flow changes. (1970, page 15)
In her discussion of flow as continuous change, Dell draws upon the work of Judith
Kestenberg. Kestenberg identified three attributes of flow:
• Intensity (high, low, neutral)
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• Change (fluctuating, even)
• Duration (abrupt, gradual)”
I want to draw your attention to the way that Laban distinguishes two categories of flow - bound flow and
fluent flow. Bound flow may be a moment of motionlessness, but it is a moment during which the
energies of the body are still moving, just under control - and typically the body is motionless in
preparation for a release of movement to come. There is a curious echo of this idea found in the Taiji
Classics: “When moving, be continuous like a great river; when being still be as still as a mountain.”
The Physics of Flow
In the field of engineering there is also concept of fluid dynamics, which describes the properties
of flow for both liquids and solids (think sand through the hourglass). According to fluid
dynamics, there are basically three types of flow: 1) Laminar flow, 2) Turbulent flow and 3)
Transitional flow.
In Laminar flow (of liquid substances) there are layers of molecules all flowing together in the
same direction, though not all at the same speed. For the most part, laminar flow is seen as
relatively calm, consistent and connected - close to our definition of Flow.
In Turbulent flow, on the other hand, the molecules become more disorganized and begin to
swirl with the formation of eddy currents. We would see this as chaotic or disjointed movement,
as body parts or functions try to move around obstacles or blockages. Turbulent flow is by
definition unpredictable.
Finally, Transitional flow is a stage of flow that is moving either from laminar to turbulent or vice
versa. In liquids flowing in a tube or a stream, the center of the stream would be turbulent and
unpredictable while the edges would be laminar and consistent.
Consider this observation: the typical reaction to stress is for a person’s movements to become
less coordinated, more erratic and inefficient. In other words, their Flow becomes turbulent. In
this moment, the TaijiFit™ instructor has an opportunity to move the student into transitional
flow - moving toward a laminar quality. The simplest and most immediate cue to use is to focus
on the breath - EXHALE deeply usually does the trick!
The Psychology of Flow
Probably the most well-known psychological theories of flow have come from the work of Mihaly
Czickszentmihaly, former head of the Dept. of Psychology at University of Chicago. According
to Czickszentmihaly, in order to achieve a flow state, a balance must be struck between the
challenge of the task and the skill of the performer. If the task is too easy or too difficult, flow
cannot occur. Both skill level and challenge level must be matched and high; if skill and challenge
are low and matched, then apathy results.
I am personally not convinced that what Czickszentmihaly has delineated are actually
inherent principles or characteristics of flow. Instead I believe he has found a way to accurately
described the internal experience - and perhaps a description of process - of “being in the zone”
which may not actually be the same thing as being in a flow state. One reason I say this is that we
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can observe in Taiji that people can achieve a relatively high level of flow with a relatively low
level of skill.
How to Use the Principles of Flow
Since the objective of a TaijiFit workout is to educe, maintain or restore Flow, then it is useful
for the TaijiFit instructor to be able to assess where and why flow is missing, and what can be
done to create it.
In the TaijiFit Strength course, you will be introduced to the Six Taiji principles of Synergy and
Flow. For now, the instructor is watching for a shift from turbulent to laminar-type movement in
their students. Another way of saying this is that the instructor is watching for indications that
their students have entered a state in which there is an appropriate balance of muscle tension and
release that creates graceful motion and continuous motion as the body transitions from one
place in space to another.
In simple terms - you’ll know it when you see it. There will come a moment in your class when
suddenly all of the bodies will seem to be moving as one. The rhythm will be the same, the sound
of the breath will be consistent and even the facial expressions will appear to relax and mellow.
This is a Flow moment.
You will achieve this Flow moment with your students by using the 5-part Qi-cueing method. It’s
designed to engage and coordinate the body, mind and breath in order to slip into the flow state.
In addition, you also have at your disposal the use of music and ambient environment (as we’ll
discuss later).
Cueing for Flow
In order to facilitate educing, maintaing or restoring Flow, TaijiFit uses a 5-part cueing method
known as “Qi-cueing.”
Cueing for Flow The Qi-cueing technique is designed to introduce a student to the motion and
get them into a rhythm - a Flow - without really having to know too much about the move
beforehand. With each repetition, you’ll use the following cues to give them just enough
information and imagery to guide them into the Flow experience. Once you see that they have
found that rhythm, then you can proceed to the next movement. Qi-cueing consists of five parts:
1. Name of the Movement
2. Mechanical Description
3. Sensual Cueing **
4. Breathing
5. Safety and Common Error
Non-verbal Cueing The experienced TaijiFit instructor also makes good use of non-verbal
cueing. There are a variety of situations in which non-verbal cueing may be more appropriate or
more effective. You can also use this type of cueing to break up a class and keep the participants
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from getting bored, complacent or unconscious. One prime opportunity to use non-verbal cueing
is with your advanced students.
1. Pointing
2. Finger Counting
3. Directional Cues
4. Pantomime
5. Sign Language
6. Sound Effects
Observation & Assessment
What is Flow?
Flow is the essential characteristic of Taiji (Tai Chi), and the primary focus of every TaijiFit
workout. Of course, in the Fusion workouts, there will be additional elements - in the Wood &
Water Workout, for example, the instructor also needs to watch for Release (but more on this
later).
Let’s start by reviewing again our basic definitions of Flow. First - Flow is movement. If a thing
(like your body, or your Qi, or your thoughts) can be assessed to be in motion, then it has Flow. If
that thing has lost its ability to be in motion, then it has NO Flow.
Secondly - we’re not embracing just ANY kind of movement and calling it Flow. In fact we are
further defining it as movement that is continuous (without breaks), harmonious (smooth and
pleasant) and synergistic (bringing together as much of the body - and body/mind - as possible to
create that movement).
How do you assess Flow?
A big part of the job of the TaijiFit Instructor is to observe the group, watching for signs that
they are individually and collectively getting into a Flow state. Once there, we are also using all
our senses to observe whether Flow begins to slip away - and if it does then to do what is
necessary to bring it back. To start with, here is a list of things to observe to help in assessing
Flow.
1. Pace
2. Synchronization
3. Breathing
4. Body Language
Advanced assessment of Flow involves an understanding of the Principles of Synergy. Since
Flow is what you get when Synergy is present, we want to look for signs of synergy in the body.
In every movement, we want to see as much of the body - muscles, joints, sinews, nervous system
- engaged as possible. We can observe whether or not the participants move freely in “3 planes
and 3 levels.”
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Additional Teaching Methods
The TaijiFit program is effective in large part because it utilizes modern teaching methods,
exercise science and cutting edge technology to introduce Western students to an ancient system
of health and fitness. The first challenge in preparing new Taiji teachers is to help them learn the
techniques properly in a short amount of time. Of course, most professional fitness instructors
have an advantage because they already have a sense of body control and a vocabulary of
movement. The second challenge is to enable new Taiji instructors to know how to lead a class,
cue Taiji movements effectively and make corrections and modifications. But a third - and
perhaps most critical - challenge is making a Taiji class compelling inside a typical fitness
environment. In this training, you will learn how to use music, variations in class formatting and
props to make Taiji feel fun, exciting, challenging, hip and “sexy” to the students who come to
class.
Leading v. Teaching
One of the first and most important distinctions you need to understand is that as a TaijiFit
instructor you are not trying to “teach” anything in your class. No student is expected to learn
anything. Your job as a TaijiFit instructor is simply to lead the people in your class in such a way
that they get into a flow state, both individually and collectively.
For one thing, Taijiquan is much too deep and complex, and learning it requires too much time
and commitment for it to be successful and appropriate for a modern Western fitness
environment. Our gyms and fitness clubs are just not set up for that - and that is one reason why
bringing taiji into clubs has so far not been successful. The goal of these classes has been to have
the participants learn taijiquan. Our class objectives are much simpler and more achievable: to
follow the class leader and start feeling the flow.
To help you become an effective leader, we’ve devised the “5-part Cueing System” for the TaijiFit
instructor. This simple cueing technique will help you know a) what to say as you lead your
students through the TaijiFit moves, and b) how to interpret and adjust when Flow does not
happen. Each part of the cueing method hones in on a particular aspect of the way the mind/body
processes information, and uses that to guide your students into a state of Flow.
History of TaijiFit
The TaijiFit Flow format was originally developed in the early 1990’s as a way of hosting a free
introductory class for tourists on Waikiki beach in Hawaii. At that time it was known as Flow
Motion™. The concept was that we knew most of the participants would come only once, would
likely not have any Taiji background, and would only be with us for 30 minutes. How could we
give them a taste of the Taiji experience without forcing them to follow complicated traditional
choreography? What we came up with was a format that eliminated or minimized the footwork,
repeated every movement over and over until the instructor could see that the class had all moved
into a flow state together, and threw out any predetermined sequences. That left us with
primarily upper body motions that anyone could follow. We created the 5-step cueing method,
and core of standard essential Taiji and Qigong moves that an instructor could mix and match in
any way they felt like.
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The class was immediately popular, and not only with our Waikiki tourists. Even my
intermediate and advanced students discovered that they really enjoyed the Flow Motion™ class,
and could use the workout as a portable practice system when they had limited time or limited
space. We also realized that the Flow Motion™ format was perfect for both older adult classes
and Fitness Center classes, and solved many of the perennial problems of both environments.
The TaijiFit Flow format is part of the basic TaijiFit Instructor training program. You will learn
17 essential movements that represent some of the most basic and common TaijiQuan and
Qigong techniques in the Taiji repertoire. These moves can all be combined in almost any
sequence, and each move can be repeated as many times as the instructor desires.
History and Philosophy of TaijiQuan
Learning and understanding the origins and evolution of Taiji is essential for anyone who wishes
to teach it. The history of Taiji explains why the postures are formed in a certain way (and not in
others), and why the motion is executed in a certain way (and not in others). Every Taiji teacher even TaijiFit™ instructors - will someday be asked questions like, “Where does Taiji come from?”
“How is Taiji a martial art?” “Why are the moves done so slowly?” and “Is Taiji a religion?” In this
seminar you will learn how to answer those questions. You will learn about the history of the
physical techniques, the philosophy woven into the exercises, and the basic theory of Qi that
comes from traditional Chinese medicine.
Where does TaijiQuan come from?
Taiji and Taijiquan originated in China several centuries ago. Some of the direct influences that
led to our modern taijiquan are more than 2000 years old. For example, archaeologists have
found tomb paintings from the Later Han Dynasty (approx. 300 BC) depicting people in various
Qigong poses.
Most historians trace the beginning of modern taijiquan to the Chen Village in China’s Henan
province sometime in the early 1600s. The leader of the Chen family was a man named Chen
Wan-ting, a general in the Ming army and a provincial governor. According to the Chen family,
Chen Wan-ting was a great lover of martial arts, and spent his retirement developing a new form
of kung-fu. He combined both fast and slow movements, and emphasized using soft energy to
overcome hard. In addition, Chen established developing one’s internal life energy, or qi, as a
primary part of the training.
There are five major schools of T'ai Chi. These schools or "styles" are the Chen style, the Yang
style, the Sun style and two Wu styles. The styles are named for the Chinese families in which
the particular type of T'ai Chi was developed and practiced. The patriarch of each style
developed his T'ai Chi based upon a particular martial or philosophical principle which he felt
was most important. Each style, therefore, is uniquely different from the others and can be
recognized by its unique characteristics. For example, the Chen style is characterized by low,
powerful stances and flowing movements punctuated by explosive punches or kicks. One of the
Wu styles is martial in nature, and was originally based on the Yang style. The other Wu style,
however, is characterized by slow and gentle movements and body postures which are kept loose
and fairly close to the torso. This Wu style is often recommended for older beginning students.
Sun style is the youngest of the main Taijiquan schools, and is a deliberate combination of
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taijiquan, Xingyiquan, and Baguazhang - collectively known as the triangle of internal martial
arts. (Taiji is at the top.)
The Yang style is far and away the most popular, meaning that more people have learned Yang
style routines than routines from any other style. It is characterized by large, open and circular
movements. Stances never get too low nor too high; movements never move too fast, nor do
they slow down too much. Movements which are performed on one side of the body are often
balanced by a repetition on the opposite side. One of the most recognizable characteristics of
Yang style is the gentle, open circular motions which give this style a dance-like look.
Maintaining Authenticity in TaijiFit
The TaijiFit™ program is meant to build a bridge between traditional teaching and training
methods more suited to serious martial artists, and group exercise formats that typically focus on
high energy music and challenging aerobic choreography. One way we build that bridge is by
learning about the simplest and most fundamental elements of Taiji. These are the elements that
- if we make sure we infuse them into our teaching method - will ensure that TaijiFit will be both
contemporary and authentic. Of course, the next step is to build this authenticity into every
movement of our classes by consistently using the specially designed cueing method, targeted use
of terminology and precise body positioning.
Suggested Readings
Power, Freedom and Flow
Ross, David-Dorian. Available on Amazon.com or at daviddorianross.com.
The Harvard Medical School Guide to Tai Chi
Wayne, Peter Ph.D. Shambala Books Boston, MA.
Finally, a book from a well-respected source that explains what research has found out about the
health benefits of Tai Chi practice.
Links
www.daviddorianross.com
Your gateway to FREE online classes, updates about David-Dorian’s schedule, along with his
blog about life’s abundance and how to tap into it.
www.youtube.com/user/gowiththeflowshow
Watch full episodes of the Daily Flow Show, or check out the highlight clips.
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Basic Repertoire
The range of possible movements to use in this class is almost limitless. However, we start with
the Basic Repertoire of 17 movements taught in the TaijiFit Flow Instructor course. Basic
Functional Cues are in italics.
1. Sinking the Qi (STQ)
Basic Mechanics: Feet together, the arms toss out to the sides rising to shoulder height. They
wave on in and then push down the front of the body to the ground.
Sensual Cue (sample): Like the wings of a great bird, let your arms rise up and catch the wind and then press the wings down, lifting you higher into the air.
2. Open the Door (OTD)
Basic Mechanics: Stepping the feet apart a single pace, lift the arms up in front of the body then
lower them down as you squat slightly downward.
Sensual Cue (sample): Imagine wading out into the ocean up to your chest. A wave washes in
and your hands float upward. Then the wave washes out, the hands float down and the body
drifts downward as the feet settle into the sand.
3. Embrace the Moon (ETM)
Basic Mechanics: Round the arms in front of the chest, then separate the hands apart on a
straight line. Circle the arms to form a circle in front of the chest and squat down slightly. Rise up
and let the hands separate. Alternate the other hand on top of the circle and squat down. Repeat.
Sensual Cue (sample): First round the arms like you’re hugging a big tree. Then circle the arms
to grab the moon and hold it against your heart. Toss the moon up, and then catch it with the
other hand on top.
4. Close the Door (CTD)
Basic Mechanics: Squat down slightly and circle the hands down in front of the body, crossing
the wrists. Lift the hands up to chest level, separate, and circle them down to cross at the wrists
again.
Sensual Cue (sample): Dip your hands down into the basin of clear, cool water and lift them up
to splash the water on your face.
5. Part Horse’s Mane (PHM)
Basic Mechanics: Hold the arms in a circle shape in front of the chest. Step out into a lunge while
tossing out one hand.
Sensual Cue (sample): Step out with one foot and toss the frisbee into the sky.
6. Rooster Stands on One Leg (RSOL)
Basic Mechanics: Support all your weight on one foot, and lift the free knee up. At the same
time, lift the hand up - elbow above the knee.
Sensual Cue (sample): Feel how free and weightless you are on one whole side of your body.
Hold on - it’s about to float away.
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Basic Repertoire (cont.)
7. Grasp the Bird’s Tail (GBT)
Basic Mechanics: This is a four part movement. Step out into a lunge and hold one arm in front
in a semi-circle. Reach both hands forward and then pull down, shifting to the back foot. Toss
both hands out to the side, then wave one arm in. Shift forward and push. Shift to the back foot
and pull the hands back, shift to the front foot and push both hands forward.
Sensual Cue (sample): Step out and use the back of the hand to push aside the beaded curtain.
8. Wave Hands Like Clouds (WHLC)
Basic Mechanics: Alternately loop the hands in front of the face from corner to corner.
Sensual Cue (sample): Yun Shou - the Chinese name for this movement - means “Cloud Hands.”
Feel your hands as clouds: soft, cool and insubstantial.
9. Single Whip (SW)
Basic Mechanics: Form a hook with one hand, then step out into a lunge and loop the other
hands and arm to extend the arm out away from the hook.
Sensual Cue (sample): Let your hand pass across your body - opening and revealing your heart.
10. Snake Creeps Down (SCD)
Basic Mechanics: Holding the hook as in Single Whip, squat down on one side, and loop one
hand downward and outward - shifting the weight to the front leg to form a lunge.
Sensual Cue (sample): Melt your way into the ground. Breathe and let go.
11. Repulsing the Monkey (RM)
Basic Mechanics: Start out standing with feet side by side, arms and hands extended out in front
of you, palm over palm. Drop the bottom hand, and toss it out to the side. Wave it back in past
the cheek, and then push it forward (past the other hand).
Sensual Cue (sample): Don’t be shy as you shift from side to side.
12. Brush Knee & Push (BK&P)
Basic Mechanics: Supporting the weight on one foot, squat down slightly while pushing one
hand down in front of the torso and waving the other hand in towards the cheek. Step out into a
lunge and push with the hand that just “waved” in.
Sensual Cue (sample): As you melt down into the ground, brush the bread crumbs off your shirt.
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Basic Repertoire (cont.)
13. Play Pi’pa (PPP)
Basic Mechanics: Pick up one foot and lightly set it down onto the heel. Simultaneously toss
both hands out past the hips to circle around in front of the body - one hand floats above the foot,
the other above the knee. Repeat on opposite side.
Sensual Cue (sample): Let the breath do all the work. Breathe in and make a big circle outward.
Breathe out and let the circle shrink until you can hold it right in front of your face.
14. The Crane
Basic Mechanics: Support the weight on one foot. Lift the opposite knee as the hands and arms
lift out to the sides - shoulder height. Lower the foot and hands down again. Lift the opposite
knee again as the hands and arms lift slowly overhead. Repeat on other foot.
Sensual Cue (sample): With each flap of your wings, you rise higher and higher.
15. The Tiger
Basic Mechanics: Standing with feet apart, bring the the two hands into loose fists and drag
them along the front of the body from hips to shoulders. At the shoulders, open both fists and
push the palms overhead with fingers outspread. Look Up. Repeat, reversing direction - and look
down.
Sensual Cue (sample): Looking up through the Tiger’s Mouth you can see into the Heavens.
Looking down through the Tiger’s Mouth you can see into the center of the earth.
16. The Deer
Basic Mechanics: Sway from foot to foot, letting the hands/arms toss side to side. When ready,
form the “Deer’s antlers” with both hands and support the body weight all on one foot (same side
as hands). Step forward into a lunge, but pivot the foot and body outward as you shift forward.
The arms continue their tossing motion, finishing with one arm overhead, one pointed sideways
with the elbow tucked into the ribcage. Lean sideways and look at the rear heel. After unwinding
and coming back to a neutral position, repeat on the other side.
Sensual Cue (sample): The proud deer - stag or doe - shakes her antlers and turns her head.
17. The Bear
Basic Mechanics: Form both hands into loose fists, pull them into the abdomen and rub the belly
in a circular motion while swaying from foot to foot.
Sensual Cue (sample): Ahhh - a belly massage. Just the thing after a big bear dinner!
18. The Monkey
Basic Mechanics: Quickly grab and pinch the fingers together on both hands, then pull them up
into the shoulders while elevating onto the toes. Look side to side, then release all and push the
open palms down towards the floor. Look down. Repeat.
Sensual Cue (sample): The fearless monkey looks side to side and sees beyond the horizon where
others cannot see.
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Combinations
Using only the 17 core movements from the basic repertoire, these are the 5 Basic Combos:
1. Sinking the Qi Combo
Elements: STQ --> OTD --> ETM --> Push/Pull
Notes: Don’t be afraid to use this combination any place in the class - not just in the beginning.
Also, you can add something new to the combo every time (trade out Push/Pull for anything).
2. Wave Hands Like Clouds Combo
Elements: WHLC --> SUAK --> SW --> SCD
Notes: This is one of my favorite combinations because you can see how easily it gets people to
drop into Flow. It is also pretty easy to add/subtract elements. For example, you can add
Swimming Dragon, change to the Chen variations, or take out SUAK.
3. Part Horse’s Mane Combo
Elements: PPP --> PHM
Notes: This combo is versatile because you can use it to go side-to-side, to step into alternate
corners or to step progressively forward. To return to the starting position, use PPP. You can
also change this up by mixing in the Chen version of PHM.
4. Brush Knee Combo
Elements: RM --> BK&P
Notes: This combo also has the same versatility of Combo #3 above. Plus you get to pump the
legs A LOT.
5. Grasp Bird’s Tail Combo
Elements: GBT (left) --> GBT (right)
Notes: With GBT you can transition into almost any other combination. You can also add the
yoga Warrior series from our Fusion class.
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1. Sinking the Qi
Take a moment to check your alignment. Stand with your feet together,
hands relaxed by your sides - and the tip of the tongue touching the roof of
your mouth. The knees are slightly soft, the head-top rising up, and the
tailbone pointing down.
Four part functional breakdown:
1. Hand and Arms
Turn the hands palm up. Lift the arms out to the sides; at shoulder height the
elbows bend - press the hands down in front of the body. Inhale as the arms
float upwards, exhale as the hands press down. Repeat.
2. Head and Eyes
The head should remain in a neutral position at the top of the spine. The eyes
are also relaxed into a neutral look. They look ahead across the horizon in an
un-focused gaze.
3. Torso Position
In Sinking the Qi, the torso remains in neutral anatomical position - and in
constant “Three-point alignment” with the tailbone tucked under, the hips
slightly softened, and the headtop floating.
4. Foot Position (weight shift)
The feet are together in the starting position, with the weight evenly
distributed (50/50) over both feet. Note: Sinking the Qi is a motion that can
actually be done at any time during the workout; therefore it can also be done
with the feet apart.
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2. Opening the Door
This is the standard opening movement of most T’ai Chi routines - it’s
sometimes called, “the Commencement form.” It “opens the door” on the
routine.
Four-part Functional Breakdown
1.Hands and Arms
After stepping the feet apart (see below), let the hands flowed up in front of
the body. At about chest high, the hands stop rising, the elbows sink down the
hands float downwards, and the knees slightly bent.
The knees begin to straighten, the hands float up again in front of the body,
until they reach chest height. Repeat.
2.Head and Eyes
The head will maintain a neutral alignment at the top of the spine, just as in
Sinking the Qi. The eyes follow the movements of the hands as they float up
and down - however, be careful not to bend the neck or tuck the chin! Just use
the eyes.
3.Torso Position
The torso remains in neutral anatomical position - and in constant “Threepoint alignment” with the tailbone tucked under, the hips slightly softened,
and the headtop floating.
4.Foot Position (weight shift)
From a “T’ai Chi Position” with the feet together and the hands relaxed by
your sides, shift the weight into your right foot and step the left foot to the side just shoulder
width. Then re-center your weight evenly over both feet (50/50). The rest of the move is done in
this foot position and weight distribution. After the hands float up to shoulder level, allow the
knees to soften and bend slightly as the hands float down to the belly (see above).
3. Embracing the Moon
Embracing the Moon (ETM) is an important position for a couple of reasons.
First of all, this is the basic transitional posture for most of the moves in T’ai
Chi. As you get more familiar with the repertoire of moves, you’ll start to
recognize this position and its variations over and over.
In addition, Embracing the Moon is a transition you can use in the TaijiFit™
format to link any two moves together to create flow, to come from any
position back to central neutral alignment, or even to add length to the
workout by inserting ETM in between every other move!
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Four part functional breakdown:
1. Hands and Arms
Begin by holding the arms out in front of the body as if you're hugging a big
tree. Let the two hands float apart from each other, expanding the chest, then
relax the chest and circle the hands around so that the right hand is on top,
left-hand on the bottom, as if grasping a round ball. In this position, the top
arm should lie across chest and the bottom arm crosses the belly just above the
hips. You should find you have encircled your own torso.
Repeat, this time circling the hands around until the left hand is on top and the
right hand is on the bottom.
2. Head and Eyes
The head will maintain a neutral alignment at the top of the spine, just as in
Sinking the Qi and Opening the Door.
3. Torso Position
The torso remains in neutral anatomical position - and in constant “Threepoint alignment” with the tailbone tucked under, the hips slightly softened,
and the headtop floating.
4. Foot Position (weight shift)
Each time you Embrace the Moon (make the hold-the-ball shape), soften the
knees and sit down slightly. Rise up to separate the hands. Finish by rising up,
separating the hands and then just come back to a "hug-the-tree" position.
We'll actually use this as a transitional move for several Flows.
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4. Wave Hands Like Clouds
In this flow, the hands and arms float side to side, passing in front of the face
and midline as the waist turns from right to left and back again. Imagine the
hands as clouds, and the waist turn as the breeze that blows them across the
sky.
Four part functional breakdown:
1. Hands and Arms
Although it appears as though the hands and arms are “waving” from side to
side, in fact there is very little arm motion. For the most part, you create a
variation of the Embracing the Moon position with the top palm facing you.
The rest of the motion is done simply by turning the waist.
In each corner (remember, 45º from center), the hands will alternate the “top”
position, switching by letting the top hand float downward on the outside
(farther from the body), and the bottom hand floating upward on the inside
(closer to the body) and forming a new Wave Hands position.
2. Head and Eyes
The eyes are lightly focused on the leading hand - which in this move is
always the hand on top. The head, however, should stay aligned with the
spine. Each time the hands change position, the eyes will change focus to
watch the new leading hand.
3.Torso Position
As I pointed out above, the appearance that the hands wave across the face is
only an illusion. In face, the waist must turn to make this flow happen. The
movement starts with a little “wind-up” so that the body turns 45º from center,
and then turns all the way to a position 45º from cent on the other side - a total
rotation of just 90º (think of 10:00 and 2:00 on the clock face). Each corner is
the transition point where the hands will alternate positions.
The waist will always turn TOWARDS the top hand. For example, if the
right hand is on top, then the waist must turn toward the right.
4. Foot Position (weight shift)
Although in the complete version of Wave Hands Like Clouds one actually
takes a series of side step in one direction or the other, in TaijiFit™ we will
simply stay in one place and shift the weight from foot to foot.
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If, for example, you begin your flow with the left hand on top, then you will
also start out with the weight on the right foot. NOTE: The weigh shift
initiates the movement. Shift the weight to the left foot, then turn the waist,
“waving the hands” toward the left until you are at the 45º corner. Then
change the hand positions so that the right hand is now on top. Shift the
weight to the right foot and turn the waist to the right -etc.
5. Single Whip
This movement is a natural progression from Wave Hands, and in will
incorporate two Wave Hands circles in between each Whip.
Four part functional breakdown:
1. Hands and Arms
From the final position of Wave Hands Like Clouds – at the end of the turn
toward the right let the right palm turn outward, bend at the wrist, and bring
all the fingertips and thumb together to make a hook. Shift the weight back
into the left foot (see below) and turn the waist towards the left, letting the
left-hand sweep across the face and open out to the left, palm turning
outward.
Release the hook, and let the right hand draw a down-up arc by sweeping
down and across the waist level and up to the left side of the face.
Simultaneously, the left hand floats downward to put both hands in a Wave
Hands Like Clouds position.
Now, execute two Wave Hands Like Clouds maneuvers, ending with the
weight and the waist turned towards the left. At the end of the second Wave
Hands, let the left hand drift outward, bending the wrist, and bring all the
fingertips and thumb together to create a hook. Shift the weight back onto the
right foot, turn the waist towards the right, and let the right-hand float out
across the face and turn palm outward on the right side.
2. Head and Eyes
The eyes in this movement change focus several times. First, the eyes will
watch the hand that makes the hook. By the time the hook is formed, however,
the bottom hand has floated upward to face level and now the eyes shift to
follow this hand as it sweeps across the midline and “whips” into the corner.
After the Whip, the hands change to perform two Wave Hands circles, and
here the eyes will change to watch the top hand each time they change
position.
The head will stay neutral at the top of the spine, and will move together with
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the torso rotation - until the final few degrees, during which the head will turn just a little bit
more to align the chin with the hand.
3. Torso Position
Turn the waist towards the left, letting the left-hand sweep across the face. Notice that the
appearance that the hand is moving independently of the torso is largely an optical illusion - until
the final few degrees.
4. Foot Position (weight shift)
When the right hand hooks, shift the weight back into the left foot. As in Wave Hands, the
weight shift initiates the turn.
6. Parting the Horses Mane
By now you might have noticed that every movement has a unique and
descriptive name. They are meant to give you a clue and reminder about how
the movement is performed. Here the image is supposed to be of brushing,
combing or “parting” the mane of a horse. One hand brushes up and out, one
hand brushes down. Here’s another image that might be useful: imagine
tossing a frisbee.
Circle the hands around to embrace the moon with the right hand on top.
Now shift the weight to the left foot and extend the left hand out palm up.
Simultaneously, withdraw the right hand down to the hip.
Four part functional breakdown:
1. Hands and Arms
The starting position for this movement is the Embracing the Moon (holding
the ball) position, with the right hand on top. The ending position is a "tossing
the frisbee" position with the left hand and arm extended, palm up, and the
right hand and arm pushing down next to the right hip, palm down. The
motion from starting position to final position is a" diagonal separation," left
hand moving from hip to shoulder level.
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2. Head and Eyes
The eyes initially are looking toward the right hand. As the two hands and
arms go into motion, however, the head and eyes will track with left hand.
When you repeat on the right side, then the eyes will follow the right hand as
it tosses - Parting the Horse’s Mane.
3.Torso Position
The torso will rotate AS the hand is tossing. In fact, here’s a little secret: the
appearance that the “bottom” hand is making a big sweep to toss is a bit of an
optical illusion. Most of the transverse motion of the hands and arms is actually carried side to
side by the motion of the waist turn. NOTE: when you have completed on Part Horse’s Mane
motion on the left side, turn the torso slightly MORE to the left as a wind-up before Parting the
Horse’s Mane to the right. This extra rotation is when the hands move into a new Embrace the
Moon posture.
4. Foot Position (weight shift)
If we begin this flow from a neutral position with the weight centered, then
shift your weight onto the right foot as you form your first holding the ball
position with the right hand on top.
Wind up for the second move by turning the left palm over and scooping the
right hand under to form another Embracing the Moon. Shift the weight to
the right foot, turn the waist slightly towards the right, and extend the righthand out -withdrawing the left hand down to the hip.
Advanced version: take a step forward with the left foot to form a lunge.
Simultaneously, extend the left hand out and withdraw the right hand to the
hip.
Transition to the second step by stepping back with the left foot, turning a
left hand over and scooping under with the right-hand to form another
Embracing the Moon. By this time, the weight should be fully on the left
foot. Now step forward with the right foot to form a lunge position.
Simultaneously, extend the right hand out palm up -withdrawing the left
hand to the hip.
7. Repulsing the Monkey
The basic motion of Repulsing the Monkey is a circular sweep and push,
alternating from one arm to the other. It looks a bit like the crawl stroke, if
you were swimming on dry land. Each time you push, you should shift your
weight onto the foot that is the same side as the pushing hand, and turn the
waist to bring the shoulder and hand forward.
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Four part functional breakdown:
1. Hand and Arms
From a "hug the tree" position, flip both hands until they are palm over palm,
left hand on top, right hand on bottom. Now circle the right hand down, just
passed your hip, and upward until it is shoulder height reaching out to the
side. At shoulder height, fold the elbow in and push the palm past your chin
forward until it passes palm over palm over the left hand.
Now circle the left hand down past your hip and upward to the left side. At
shoulder height, fold in the elbow and push your hand past your chin forward
until it passes palm over palm over the right hand.
Note that at the end of each push, the extended hand is slightly flexed at the
wrist, palm facing outwards. However, it will supinate (turn palm up) just as
the other hand is folding in towards the face when the elbow bends.
2. Head and Eyes
The head and eyes follow each hand as it circles to the side, and then turns
back to look at the imaginary target in front. For example, as the right hand
circles down and then to the side, the eyes follow the right hand. When the
right elbow bends, the head and eyes turn to look forward (toward the
imaginary target) until the right hand finishes its push. Then the eyes pick up
the left hand and follow it as it circles to the left, etc.
3. Torso Position
As in Wave Hands (and many other movements) the waist turn is what
actually leads the arms into their loop, and then pushes the hand and arm
forward. The torso is actively rotating, first to the left as the right hand
pushes, and then to the right as the left hand pushes. As the arm circles to the
side, the waist rotates 45º from center. The elbow bends, which brings the
hand into a cocked or “chambered” position - then the waist turns back to
center and pushes the hand forward. As the new hands circles down and to
the opposite side, the waist turns 45º to the other side of neutral and so on.
4. Foot Position (weight shift)
Although the feet will maintain their position side by side and shoulder width
apart (in this version), the weight is actually shifting foot to foot.
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The weight will shift away from the circling hand (e.g. the weight will shift to
the left foot as the right hand circles to the side), and then the weight shifts
back to the foot on the same side as the pushing hand.
Although you are at first learning how to perform this movement while
basically standing in one place, in its advanced full version the footwork for
Repulse Monkey is a series of retreating backwards steps. The alternating
weight shift in this version mimics what would happen to the weight if you
were actually walking.
8. Brush Knee and Push
Brush Knee and Push (also called “Brush Knee in Twist Step”) combines the
arm circle and push from Repulse Monkey with block down (to protect the
torso) and a block low (to protect the knee or groin). In this version, we’ll
break it down with the feet side by side; and we’ll also break down a variation
in which we step into a lunge position.
Four part functional breakdown:
1. Hand and Arms
Basics of this move: you’ve got two arms that are doing different things at the
same time. Let’s separate them at first. Say you are starting on your right side.
Circle the right arm and hand around so that the right arm is extending out
from the shoulder, just like in Repulse Monkey. Drop the right elbow, folding
the right arm in and bringing the right palm near the cheek and chin. Push
the right palm forward in a push. Here’s what the left arm and hand are
doing: the left arm folds across the chest (fingers of left hand pointing to right
elbow). Then press the left hand down the length of the torso then around
the thigh and finally withdraw the left palm to the side of the left hip.
Once you have gotten the basics of what both hands are doing independently,
the next trick is to have both hands moving at the same time. For example, as
the right hand circles to the right, the left arm folds across the chest AT THE
SAME TIME. Then, as the right elbow bends, the left hand
SIMULTANEOUSLY pushes down to block in front of the chest. And as
the right hand and arm pushes forward, the left hand is brushing “around the
knee” and withdrawing beside the left hip ALL TOGETHER.
2. Head and Eyes
As with all the movements of Taiji, the eyes are following “the predominantly
moving hand” and then looking at the “target.” So how do you know what
that is? The rule of thumb is that the predominantly moving hand is the one
that is higher than the other, and/or more in front than the other. So as the
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right hand circles to the right side and rises up, the eyes follow the right hand
. At this point, as the right elbow bends, the head turns so that the eyes can
look ahead at the imaginary target in front of you. After the right hand
completes its push, the head and eyes will now turn to pick up and follow the
left hand as it circles around to the left, and so on.
3. Torso Position
The waist in this movement turns right to middle to left to middle to right
and yada yada. Each turn is relatively small, however - only 45º. The rotation
of the torso here is actually the leading edge of all the movements. Like a golf or baseball swing,
the movement is initiated by the torso rotation.
4. Foot Position (weight shift)
As I mentioned above, in the more traditional version, this move is performed
by coordinating these moves while stepping into a lunge. The first variation
we are learning, however, is no step/no lunge, feet parallel shoulder width
apart. Therefore, in order to mimic the weight distribution change of
stepping and lunging, we shift the weight from foot to foot.
First, we shift the weight ONTO the foot under the circling arm. Then as
the elbow bends and the hand comes closer to the face, the weight shifts
AWAY FROM the foot under the pushing hand.
In the second variation we learn in this program, we actually step out into a
lunge and practice coordinating the eyes, hands and waist turn all together.
We’ll do all this on a single side, repeating the move several times before
stepping into the next lunge with the other foot forward. Here’s how we
coordinate all the upper body actions with the lower body: as the hands circle
to one side, shift the weight to the back foot. Stay on the back foot when the
elbow bends and the waist turns to the front, and then shift into the lunge
position as you push.
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9. Play the Pi' Pa
Play the Pi’Pa is a great way to introduce balance moves into the workout.
Although in the final position the front heel is touching the ground, in
actuality it’s just barely kissing the earth - in other words you are essentially
balancing on one foot. In addition, each time you change feet you do it so
slowly that for a moment you are balancing on one foot without any support.
Four part functional breakdown:
1.Hand and Arms
From a “hug the tree” position, circle both hands down past your hips and then around until both
hands are extended in front of you, left hand higher, right-hand lower. As you look at the photo
above, notice that the “upper hand” and the tapping heel are on the same side.
To switch to the other side, circle both hands down past your hips and then up and around until
both arms are extended in front of you – this time right-hand higher left-hand lower.
2. Head and Eyes
There is very little movement of the head and eyes in this movement. Simply
remember to watch the hand that is rising into the upper final position - then
gaze ahead to the “target” before looking at the next upper hand.
3.Torso Position
Here again the waist is turning side to side, but it’s a bit more subtle here.
Basically, each time you change sides, you’ll want the shoulder of the upper
hand to be slightly turned ahead.
4.Foot Position (weight shift)
Begin with the weight on the right foot. Step out with so left foot and touch just to heal down on
the floor toes pointing up. To transition to the next step, bring the left foot back and placed the
weight fully on the left foot. Now step out with the right foot touching just the heel down, toes
pointing up.
10. Grasp the Birds Tail:
Grasping the Bird’s Tail is one of the most important moves one learns in
Taiji. It’s a compound move - meaning it combines four small moves to make
one big move. The four basic moves are called Ward-off, Roll-bak, Press and
Push. From a "hug the tree" position (feet shoulder width apart), let the two
hands float apart from each other, expanding the chest then circle the hands
around so that the right hand is on top, left-hand on the bottom, Embracing
the Moon and shift the weight to the right foot. Now you’re ready to do the
first move: Ward-off.
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Four part functional breakdown:
1. Hand and Arms
The first move comes as you step out with the left foot into a lunge or
modified lunge (see “footwork” below). Extend the left hand out palm facing
you, like a one-handed back-hand push (check out the picture above).
Simultaneously, withdraw the right hand down to the hip. (This is move #1:
Ward Off) Note that both elbows are bent to create a rounded shape of the
arms.
Turn the left palm down (fingers pointing forward) and drift the right hand
forward until the palm is under the left forearm. Sitting back on your rear leg,
draw an down-up arc with your hands by floating both hands downward as
you simultaneously turn your hips toward the right about 45º, and then
floating your hands back up to chest height.
This is a classic “tossing” motion, so perhaps imaging grabbing a ball from a
rack in front of you and then tossing it to the side. (This is move #2: Rollback.)
From the end of the tossing motion, bend the right elbow and bring the right
palm to the left wrist. What you’ll actually be doing here is creating another
Ward-off posture... with “extra strength.” Apply pressure forward with both
hands - like a strong push. (This is move #3: Press.)
After the Press, slide the right hand over the top of the left (crossing the
wrists) and then separate the two hands. Soften both elbows and bring both
hands in and down towards the belly. Think of this action as your “pulling”
motion. Finally, extend the arms forward and upward - an easy to recognize
push with both hands. (This is move #4 - Push.)
2.Head and Eyes
Follow the bouncing hands: Watch the left hand in Ward-off. Watch the
right hand in Roll-back. Follow the right hand as it folds in during the windup into Press, then watches the right hand. Keep your eyes open for both
hands on Push - and in every move also look forward toward the “target.”
3.Torso Position
With each of the four parts of this technique there is a specific rotation of the
torso:
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• As you step out into Ward-off, the torso rotate to the left until the hips
and waist are square to the forward position.
• When Rolling-back, the torso rotates to the right 90º. (As you’ll see
below, there is also a weight shift happening simultaneously.)
• The transition into Press involves rotating the torso left 90º until the
hips are square as they are in Ward-off. (But you are still on the back
foot - see below.)
• During Push the torso doesn’t really turn - it will move linearly
forward and back as the weight shifts.
4. Foot Position (weight shift)
The footwork in the variation we are learning for this course is to shift from
front foot to back foot in a single side lunge - then repeat in the lunge with the
opposite foot forward.
First step into a lunge position to create the first move, Ward-off. Then shift
to the back foot (turning the waist) for the next move, Roll-bak. Stay on the
back foot as you wind up for the third move, Press - and then shift forward
into the lunge to complete the Press technique. Finally, shift to the back foot
(and lift the front toe) as you withdraw in Push, and shift to the front foot as
you complete the Push technique.
To review: lunge; shift back (and turn); turn back then lunge; shift back (toe
up); and lunge. Repeat on the other side. Finis.
11. Snake Creeps Down
Snake Creeps Down is also called “Squatting Singe Whip” - because it looks
just like Single Whip, only in a squatting position! In order to do this move,
you’ll need to step out into a much wider step. Double shoulder width might
be just right for most! I like to link this move to Single Whip. It makes a great
combo: Wave Hands to Single Whip to Snake Creeps Down.
Four Part Functional Breakdown
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1. Hand and Arms
From the end of the Single Whip position (to the left), sweep the Whip hand
(as opposed to the hook hand) in a reverse arc back over the chest. Press the
left hand down in front of the chest and then extend it forward through a “low
level” to the original Whip position.
2.Head and Eyes
The head and eyes follow the “Snake hand.”
3.Torso Position
The torso stays upright and neutral as much as possible. Keep the back
straight without bending forward as you sit into the “grass.”
4.Foot Position (weight shift)
From the final position of Single Whip (with the right hand hooking and
the left hand palm out), do your transition as if you were going to perform
another Single Whip. This time as you make your hook with the left hand,
step in with the right foot and tap the toe on the ground next to the left
foot, forming a T-step. Open the hips to the left, and step out with the
right foot into a lunge (longer is better for this movement) as you make
Single Whip with the left palm out.
Now sit back over the rear leg and lower the hips as though you were
sitting in a chair. HOT TIP: Only sit as deep as you can and still keep the
right knee over the foot and your back straight without leaning forward.
11. Closing the Door
This is the final movement of most Taiji sequences - and we are also going to use it as the closing
movement in our TaijiFit workouts as well. The cool thing about this movement is that it can be
done after any movement - in other words, you can make an ending anywhere you like. Your
routines can be as long or as short as you like: 5 minutes or 50 minutes.
1. Hand and Arms
Let's assume that you are starting from the "hug the tree" posture. Circle both hands horizontally
and then downward in a scooping kind of motion. The hands will cross at the wrist. It does not
matter which hand is on the top or bottom, but I usually alternate the top hand just for variety
and mental exercise.
With the two wrists crossed and touching, float the hands up to chest level and repeat the
circular scooping motion. When you are ready to finish, pause the movement when the crossed
wrists float up in front of the chest. Simply twist the wrists until the hands are palm down, and
slowly drop the hands to your sides. 2. Head and Eyes
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The eyes follow the hands as they float upwards, and then relax and gaze through ahead as the
hands circle outward.
3. Torso Position
The torso remains in a neutral alignment, without any rotation or forward bending. 4. Foot Position (weight shift)
In this final movement, the weight will remain evenly shared over both feet. The knees will bend
and straighten with each circle. As the hands scoop down the knees will soften, crossing at the
wrists at the "bottom" of the bend. As the knees straighten, the hands will float upwards to chest
level.
12. The Tiger
The Tiger is the first of the five animals. The Tiger is the King of animals, and
is characterized by his supple spine and how he leaps after his prey. In this
exercise, note how you flex and extend the upper back and shoulders (to
increase flexibility and mobility of the spine) and extend your claws to the
earth and sky.
1. Hand and Arms
Start by making two loose fists, and drag them up your torso to the shoulders.
From here, extend the arms overhead, opening the chest and squeeze the
shoulder blades together. As you press out overhead, open
up the palms, flex the wrists and spread your fingers.
Draw your hands back into loose fists and (lightly) drag
them back down the front of your torso. At abdomen level, open the palms
again and press the hands down - opening the palms and spreading the
fingers as you did overhead. Repeat.
2. Head and Eyes
The eyes are following the hands during these movements.
There is no "target" to imagine and look at as there are in the
Taiji postures, but the eyes do gaze toward the sky and earth at the end
positions. Additionally, the neck will flex and extend as you look either to the
top or bottom (see below).
3. Torso Position
In this exercise there is no waist rotation (surprise)! Instead the upper back and
shoulders are extending and flexing, protracting and retracting. As you look up
and lift the arms overhead, the neck and upper spine will extend and the
shoulders should retract (adduct). This will create a slight arch - but be careful
not to over-extend. As you look down, the neck and upper spine will flex slightly
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and the shoulders will protract (abduct). This will create a slight rounding of
the upper back - but be careful not to "bend over."
4. Foot Position (weight shift)
The feet are stationary in this particular exercise, and the weight is evenly
placed over both feet.
14. The Deer
The deer is the second of the five animals. This creature is characterized by
how light on its feet it can be, and how it tosses its head and antlers from side
to side. Note that the hands will make a special shape with the palms and
fingers (see below).
1. Hand and Arms
To start off, the hands and arms make a big vertical loop - a long toss starting to the right and continuing overhead until the point to the left. At the
end of the loop, the left elbow is bent and tucked into the ribs; the right arm is rounded overhead.
When the loop begins, both hands are held in loose fists, but open into the
"Deer's Antlers." This shape is made by bending the middle and ring fingers
into the palm, and extending the index, pinkie and thumb.
As you withdraw from the first position (the first half of the exercise), reverse
the loop - circle both arms overhead from left to right, and draw the fingers
back into loose fists. As you pass the midline of the body, with the weight back
to neutral and the feet side by side (see below), start the next loop by circling
the hands to the left. This is a mirror of the first side, so at the end of the "toss"
the right elbow will be bent and tucked into the ribs on the right side, with the
left arm rounded overhead.
The last point to mention is that the antlers are actually trying to point to the
back hoof. Just think about that on each side.
2. Head and Eyes
The head and eyes turn more liberally during these 5 Animals exercises than
they do in the Taiji moves. Here in the Deer, turn the head to allow the eyes
to follow both hands as they loop to the right in the first part of the
movement. After you step out (see below), you'll initiate your torso twist by
turning the head and eventually looking over your shoulder. This is a relatively
vigorous stretch, because the intent is to see your rear heel.
Unwind from the end position of either side by first lifting the chin and head, which usually has
the effect of drawing the torso upright. You'll then be stepping the feet together (see below) and
at that point turn the head to allow the eyes to follow the hands as they loop to the opposite side.
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3. Torso Position
The torso is really twisting in this exercise. You should feel the stretch
throughout the spine and surrounding back muscles - particularly in the lats.
Spinal twists are a common theme in both Qigong and yoga exercises loosening the spine and wringing out "stuck" energy.
By the time the hands and arms have extended to the right side, you will be
putting the left heel down in front (see below). Turn the torso to the left and
simultaneously bend laterally to the left as well. The twist is completed with
the head and eyes looking as far to the left as possible - ideally looking at the rear (right) heel. It
should be evident, but here's a reminder: the twist is always toward the side of the forward foot.
To transition out of this twist, allow the head to lift and lead the torso to both unbend and
unwind. As the torso comes back to neutral position the feet will step together. Repeat on the
opposite side.
4. Foot Position (weight shift)
In the Deer exercise, you will alternate stepping one foot out in front in a small "twisted" lunge
position. This is the Deer lunging forward so that it can swing its antlers. As the hands and arms
loop to the right, the weight will shift into the right foot. This will allow the left foot to step
forward, landing heel first and pivoting to the left. The left pivot will coincide with the twist of
the torso, turn of the head and arms that loop overhead. Place the rest of the foot down and shift
the weight forward, bending the left knee. Now you will be in a short twisting lunge position.
To transition out of this side, shift the weight to the back foot again, allowing the left toes to raise
and pivot on the heel so that you can come back to a forward facing position. From this point it
should be easy to pick up the left foot and return to a side by side posture. Now shift the weight
onto the left foot as the hands and arms loop to the left. Step out with the right foot, and repeat
the sequence on the right side.
15. The Bear
Think of the Bear in the Disney Jungle Book - big and loose... and hungry.
This move looks like you're just rubbing your stomach. And you are...
1. Hand and Arms
Draw both hands into loose fists, and draw those two fists into the lower
abdomen just below the navel, thumbs together. Keeping the two fists
together pressed into the belly, draw a circle around the abdomen - left/up/
right/down... After you have made a complete circle, stop and reverse
direction. Circle, reverse, repeat. The hands and arms should stay very loose and relaxed. The elbows stay
heavy and the shoulders stay dropped. PAGE 31 OF 39
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2. Head and Eyes
The head and eyes stay fairly neutral in this exercise. The head should be kept in alignment with
the rest of the spine, but allowed to gently roll with the motion of the rest of the body - looking up
slightly at the "top" of the body circle, and looking down slightly at the"bottom" of the body
circle. (See below).
3. Torso Position
The torso is making a gentle ellipse, rocking and circling as the hands encircle
the belly. This gentle ellipse is what we call a "body circle," where the 4. Foot Position (weight shift)
The feet stay in the same place in this exercise. The weight will gently shift
from foot to foot as the whole body sways left to right and back again. The
knees are kept soft at all times, but there is no deep bending. The weight shift should slightly precede the direction of the body circle. In
other words, the weight shift into the left foot will "drag" the body into
circling to the left. Then shift the weight into the right foot, which will drag
the body into the right side half of the rest of the body circle.
16. The Monkey
The Monkey is known in Chinese culture as being "quick" and
funny - even sneaky! In this exercise you'll make a grabbing motion
that is quicker than your other 5 Animal movement.
1. Hand and Arms
The hand motion is supposed to represent a monkey snatching a
piece of fruit, so... From a position of the hands relaxed by your
sides, quickly draw all the fingertips and thumbs together, and
then draw your hands up the front of the body until both hands
are held just below your collar bone. The arms are held right
against the body, so at the top position the wrists will be bent and
the fingertips pointing down to the earth.
After a moment (see below) the hands release the “fruit,” spread
open the palms and push them down towards the earth. Repeat.
2. Head and Eyes
After the hands and shoulders have been drawn up, slowly turn the head all the to the left, as
though looking at something in the distance. Turn the head and eyes back to neutral, and then
follow the hands as the press down to the earth.
On the next repetition of this exercise, after the hands and shoulders have been drawn up, turn
the and look to the right. Alternate in this way for as many repetitions as you desire.
3. Torso Position
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4. Foot Position (weight shift)
17. The Crane
To mimic the flight of the bird, the Crane exercise uses a squatting motion
combined with a one-leg balance.
Four part functional breakdown:
1. Hand and Arms
Begin by Sinking the Qi three times. Then sink down (see below) round both
arms down in front of the body, fingertips lightly touching. There is a 2-part
combination on each side (left and right). In the first part, the arms rise out to
the side (like wings) just shoulder high, and then float back down and return to fingertips
touching. In the second part, the arms rise out to the side all the way overhead so that the backs
of the hands come together over the crown.
2. Head and Eyes
The head will stay neutral and the eyes will gaze straight ahead.
3. Torso Position
The torso will stay neutral and upright. Only squat down as far as you are
able without leaning forward. (see below)
4. Foot Position (weight shift)
The legs will flex and straighten twice - once for each part of the hand change. After that, the
weight will shift over to the opposite foot and repeat.
Begin with the weight on the right foot, left foot just tapping the ground in a
T-step. Flex the right knee and sink down into a squatting position (no weight
on the left foot). Now extend the right knee as the arms rise out to the sides and simultaneously flex the left hip and lift the left knee.
Lower the left foot back down the ground, and repeat the squat and rise
again.
After the second part of the hand motions, shift the weight onto the left foot,
right foot just tapping the ground. Repeat sequence.
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Appendix I
Choreography Planning Worksheets
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TaijiFit-to-Go Choreography Planner
Section / Song
Length
Movements
Direction
Cueing Notes
The Invitation
The Journey
Begins
The Great
Challenge
Coming Home
Total
Time: 15
min.
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Appendix
TaijiFit Fusion Choreography Planner
Section / Songs
Length
Movements
Direction
Cueing Notes
The Invitation
The Journey Begins
The Great
Challenge
Coming Home
Total
Time:
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TaijiFit Strength Choreography Planner
Section / Song
Length
Movements
Direction
B/S
Cueing Notes
The Invitation
The Journey
Begins
The Great
Challenge
Coming Home
Total Time:
* B/S = “Balls” or “Sticks”
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TaijiFit Flow Choreography Planner
Section / Songs
Length
Movements
Direction
Cueing Notes
The Invitation
The Journey Begins
The Great
Challenge
Coming Home
Total
Time:
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This is the end of the TaijiFit Flow Manual.
(Sept. 2014 version)
This manual and its contents is proprietary information of TaijiFit LLC and is
only for instructional purposes. Please do not reproduce this manual without the
express written permission of TaijiFit LLC.
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