Singapore Tai Chi Chuan


The Lessons of Li Shiji

Li Shiji.

Until two nights ago I did not know who this is. Now I do.

Li Shiji is an opera teacher and performer who was featured on a CCTV program on Peking Opera. I happened across the program and it was enlightening. Here is a someone from an old tradition with a non-traditional, enlightened outlook that we should learn from so that we can improve our martial arts practice. Some things I walked away with from the program :-

1. Li described her training as a opera artist. The beginning skill was to walk with a piece of paper held between the knees. The knees were not supposed to separate. She could only walk in half steps. Does this sound familiar to Wing Chun and Tai Chi practitioners? It should because the knees held together reminds me of the requirements of the goat clamping stance of the Wing Chun style.

2. Li also spoke of the training to keep the neck straight by first placing a heavy book on top of the head. This was later replaced with a big bowl. Finally, as the skill increased the bowl was filled with water. Li said that at the stage of training with the bowl of water even a small wobble would cause the water to splash her face. Taken together with the info on walking with a piece of paper between the knees does not both these requirements remind one of the flavor of the Wu / Hao style?

3. Li addressed the problem of dwindling audiences particularly younger audiences. She talked about how she made changes to opera performances to attract younger audiences but her efforts were criticized by critics who labelled her avant-garde and seeming to praise her by calling her opera style New Cheng School.

However, it was hiding a dagger behind a smile because the critics were actually criticizing her and wanted to marginalize her. This reminds me of how Grandmaster Wei was marginalized because the principles that he presented to the world was too advanced to be understood by other more famous masters. To avoid behind questioned and conceal their ignorance they had to marginalize him, push him to one small corner where they hope he will be forgotten. And if this fails, to make baseless accusations. Yes, politics even in a different field of arts are still the same.

4. Li said that Premier Zhou Enlai told her that to be a good opera singer one needs a good teacher. The problem amongst many Tai Chi practitioners is that they equate good to famous but this is not true. A good teacher may not be a famous teacher nor a famous teacher a good one. So until and unless students recognize this they are basically condemning themselves to be mediocre practitioners.

5. Li talked about the song Spring Dream which was a simple but beautiful melody that she was to sing in a competition. To prepare for the competition her teacher Mr Cheng sang it to her again but this time the emotions of the song was very different from how he had taught it previously. Why was this so? Cheng explained that he modified the original tune by adapting ideas from the Xun school of singing.

Li explained that as an artist Cheng was seeking perfection. To do so Cheng did not impose boundaries on his own learning and hence he would learn from all schools. However, he did not blindly copy outside ideas either. Instead, he would carefully make these outside ideas his own so that outsiders could not tell that he had copied from outside and accuse him as a betrayer of his school. As Li said “so you should absorb the best things from others while maintaining your own identity”.

This is a surprising statement from a teacher of a traditional art. It is also strangely reminiscent of what Bruce Lee said. So whilst Bruce owned the soundbite, however, he was not the first with such an outlook. In fact, many traditional styles, or at least, the well known masters, do have this outlook. It is only their shortsighted descendants who want to put them on a pedestal, worship the master and happily lap up the knowledge given out without critically scrutinizing it.

6. To improve one should as Li said take the principle out, bring the principle over and use it. She said that Cheng showed her how to make subtle changes to the way of singing the tune. As an innovator Cheng didn’t believe in drawing lines across the sand. Casting prejudices aside he was opened to different ways of doing things. Tradition is good in so far as the knowledge that is passed down is sound.

However, many times the tradition and lineage is hollow. One can spend a long time learning and still get minimal returns, if at all. To be loyal is commendable. But to be blind to the obvious is plain stupid. One must recognize that which is good and hold on to it. That which is not should be discarded. That which is lacking one should seek to make up for it.

In a traditional art one must be prepared to put in the time. If the training is correct one will get something after a period of time training the art. It is no use rushing the learning because certain things just cannot be rushed. Ten years is a good gauge. If after ten years of training you have little to show for it then I am afraid you have wasted your time.

It is too easy to despair, to give up before even trying hard. It is also easy to fail to see the good points of an art especially if you have not done more than dip your toes in the water. Neither is it fruitful to have doubts straight off the bat. A teacher does not owe the student the information. Many times it has to be either paid for or earned. In today’s world where the internet has conditioned us to think that many things are free it is easy to fall into a trap of thinking that the free info we get is good. It may not be so and more often than not we fail to recognize the difference between good and bad.

In a number of arts if one really wants to learn the commitment must be there. No teacher wants to waste time with a student who just wants to spend little effort, offer no commitment, import the method into his own style before he even understands it much less master it and then call it his own. This is different from two masters exchanging knowledge because then the interaction is on a par level.

It is too easy to share nuggets of info with someone and they mistakenly think that after a short time training they will get it. More often than not this is an illusion. The nuggets of info can only get one so far. To truly learn one has to be taught formally whether it be in the form of organized drills or forms. Then after mastering the basic movements one still needs to be taught how to refine the movements to elevate the understanding and transfer the mastery to the ability to use the techniques. It is certainly not a short journey. With a talented and diligent student the learning process can be quickened somewhat because he is willing to listen and try things out instead of always thinking that he knows it already and insist on doing his own way which if it is correct in the first place would mean that he should already have mastered the art. That it is not, should indicate so to him except that when one is blind to one’s shortcomings or refuse to recognize it then one can only blame oneself for the failure to master the art.

So to successfully learn an art, one must put aside the ego and be prepared to learn, practice, research and open to different ways of doing things. This is what I took away from the documentary on Li Shiji.


Craftsmanship

On the news last night the story of an old curry puff seller was mentioned in Parliament as an example of skill arising from pursuing a craft. This was part of the debate on the de-emphasis on pursuing a university degree in favor of other paths to a career.

I saw in The Straits Times today that the story of Jiro Ono was also mentioned. This is the famous sushi master in Japan for whom the Michelin panel said that awarding them 3 stars was the very least.

What was left unsaid and unmentioned in Parliament is that the meal that the Michelin panel tasted was not prepared by Jiro himself but by his eldest son!

It is good to encourage students to take up a craft. However, learning a craft is like requiring two hands in order to clap. You may have students who want to learn but unless you find masters who are willing to teach then the sound of one hand clapping will be ……………. silence.

Given the typical Singaporean mentality of wanting to learn everything fast I wonder if encouraging craftsmanship is reaching for the stars. Even if the masters are willing to teach fast mastering a craft still requires a lot of practice time not to mention additional research, trial and error, and so on. So no matter how fast you want to go sometimes you just can’t go fast until you have put in the practice time.

Sometimes when I show students a movement I tell them that its really very easy to do. It is certainly not an impossible movement to master, more so since I can explain how to do it step-by-step. However, the student will almost, always never really get it. The reason is predominantly due to the fact that they do not listen and observe carefully each step in the process. They will inevitably try to do the movement faster and faster before they get the sequence in the correct order with the attendant timing without which they cannot express the nuances that are vital to the workings of the movement.

So the root cause of failure to learn is really very simple. The student must take the time to learn and then give himself the time to practice. He must then test the movement and be prepared to fail. Then he must go back and investigate where he went wrong. Then he must practice again and test yet again. Over and over until success.

Doing Tai Chi is not difficult…………over time once the foundation skills fall into place. If you want to succeed don’t keep thinking of the end like everybody else. Instead, focus on the means because the means by themselves can be an end. Add together all these ends and you will attain the final destination.

 

 

 


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Muscle Me 2

In the first post Muscle Me I didn’t mention anything on what muscling someone is like.

In the video below you can see an example of muscling someone looks like.

When you try to muscle someone you are trying to pit your strength directly against him. If he is weaker than you then no issue. However, if he is stronger then you have to use a lot more strength to move him. This is not efficient use of strength.

If you want to move someone easily you have to find a smarter way to do it. For a change in the video we are exploring how to use the 5-Points to unbalance and send our training partner off. 

In the video above, I am using the 2nd movement from our 13-movement form specifically GST(iii) to GST(vii) as shown on page 138, TaijiKinesis Vol 2. We are exploring a more physical application of the biomechanics explained and illustrated on page 151-152.

Learning fajing requires a lot of hands-on finetuning. As simple as the method used here it is still not as easy to grasp without a good foundation. You can push someone away from you using forward momentum but to literally shoot someone away like an arrow requires a better use of the body to leverage its strength and prime it to release force like a bow. An example is right at the end of the video below.

 


From Past to Present 2

In this clip we are practicing the use of Wild Horse Parts Mane. The point I wanted to make it that because of the arm’s angle its more difficult to inject forceful power into the technique.

What we didn’t practice here is the full technique itself as our focus was on the use of intention and relaxation to generate power. At 1:00 I used momentum to generate the power. Contrast this with the use of Peng and An force beginning 3:10 and how the use of intention added to the sharpness and forcefulness of the technique.


From Past to Present

Tai Chi Chuan is a living art.

What this means is that claiming a lineage is plain silly because until you can demonstrate the unique skill of your particular lineage having a rank or certificate means nothing.

In the clip below which I extracted from a longer clip you can see my Grandmaster Wei Shuren explain and demonstrate the power of Wild Horse Parts Mane.

Despite being in his lineage I could not explain how he did that much less do it. However, my teacher told me not to worry about the power and just focus on getting the basic principles correct. After many years of training I had an inkling how GM Wei issued the power but I could still not do it.

I didn’t worry too much about it and kept my teacher’s advice to heart and keep doing the basics again and again. And my teacher was correct. When the basics are correct the skill will come. The flavor of GM Wei’s power is its very sudden and can cause the demo partner to jump and land in a squat. At the end of the clip is my poor rendition of this skill which depends on understanding and applying the force of Peng and Jing within the same movement.


Sword & Body 3

In this final clip on the use of Tai Chi straight sword and its correlation to empty hand techniques, we examine the idea of how the training of the straight sword can enhance the power of our empty hand techniques.

At the beginning of the clip I asked my student to apply sudden and forceful power on me. However, his power is not forceful enough. At 0:18 I demonstrate how the straight sword movement in the clip in the previous Sword & Body 2 post can be used to enhance the forcefulness of my palm strike.

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