Ever wonder why Taijiquan is generally practiced slowly? Below is an excerpt from a post that appeared at Slanted Flying, which examines that topic. The full post may be read here.
A common joke about t’ai chi is about a practitioner who is confronted by a bully to fight. The practitioner agrees to go outside and fight, but tells the bully, “it will have to be in slow motion!” The popular misconception about t’ai chi is that the practice is just a slow motion dance, and many people are surprised that it is also a highly skilled martial art. But what about this slow motion aspect?
Different speeds produce different effects for learning. At fast speeds one can appreciate the momentum of swinging and turning as well as experience the force of strikes, but it is too fast to attend to details and subtleties. Medium speed is perhaps a balance between learning momentum and balance, but still does not provide the detailed attention necessary for exploring nuances of movement.
When moving fast through forms, one set of muscles becomes active to initiate the movement and another stops the movement. Between initiation and stopping there are many other processes occurring, but we move so rapidly we seldom notice them. Slow movement enables us to pay closer attention to relaxing muscles that are not needed for the movement, aligning and sinking the body, relaxing abdominal breathing (we tend to hold it or breathe in the upper chest when concentrating), and linking and coordinating all parts of the body.
Learning t’ai chi is a complex motor process. Consider the principles of posture from the classics: Keep the head upright, hollow the chest, relax the waist, differentiate substantial and insubstantial, sink the shoulders and drop the elbows, coordinate upper and lower parts of the body, and so on. Each of these requires close attention and practice, let alone how they are all finally integrated into the flowing movements of t’ai chi. Slow and repetitive practice allows attending to each one and gradually integrating them into a fluid form.
A common joke about t’ai chi is about a practitioner who is confronted by a bully to fight. The practitioner agrees to go outside and fight, but tells the bully, “it will have to be in slow motion!” The popular misconception about t’ai chi is that the practice is just a slow motion dance, and many people are surprised that it is also a highly skilled martial art. But what about this slow motion aspect?
Different speeds produce different effects for learning. At fast speeds one can appreciate the momentum of swinging and turning as well as experience the force of strikes, but it is too fast to attend to details and subtleties. Medium speed is perhaps a balance between learning momentum and balance, but still does not provide the detailed attention necessary for exploring nuances of movement.
When moving fast through forms, one set of muscles becomes active to initiate the movement and another stops the movement. Between initiation and stopping there are many other processes occurring, but we move so rapidly we seldom notice them. Slow movement enables us to pay closer attention to relaxing muscles that are not needed for the movement, aligning and sinking the body, relaxing abdominal breathing (we tend to hold it or breathe in the upper chest when concentrating), and linking and coordinating all parts of the body.
Learning t’ai chi is a complex motor process. Consider the principles of posture from the classics: Keep the head upright, hollow the chest, relax the waist, differentiate substantial and insubstantial, sink the shoulders and drop the elbows, coordinate upper and lower parts of the body, and so on. Each of these requires close attention and practice, let alone how they are all finally integrated into the flowing movements of t’ai chi. Slow and repetitive practice allows attending to each one and gradually integrating them into a fluid form.
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