Description of the Movements*
1. Preparation. Stand facing north (the starting direction is arbitrarily defined to be north) with heels together, feet angled out comfortably, and arms hanging at the sides (Fig. 1). Lower your body by shifting your weight 100% onto your right foot. At the same time, your body sinks and turns to the right, your arms become alive and slightly bent at the elbows, and your hands rotate so that both palms face the rear. As you sink and turn to the right and your left foot empties, its heel automatically lifts slightly, and that foot rotates clockwise about its ball as a result of the turning of your body. Next, continue the outward motion of the left foot, and step sideways so that the heel moves directly west a distance of one shoulder width. When the left foot touches the ground, the center line of that foot should lie on a north-south line (Fig. 2). Next, shift 100% of your weight to the left foot, and turn the body back to the left (facing the starting direction), pivoting the right foot inward on the heel until its center line also lies on a north-south line. Next, shift the weight 50% onto the right foot, and at the same time, come up to standing with the knees straight but not locked. The palms of the hands face the rear, the elbows are slightly bent, and the thumbs are at the centers of the sides of the thighs. Both feet should be parallel, pointing north, and a shoulder width apart. Both heels should lie on an east-west line (Fig. 3).
Comment. It is very important (a) that the left foot start its turning and outward motion as a result of the turning of the body, (b) that you step without any discontinuity in the movement of your left foot, and (c) that the stepping foot blend with the ground continuously and without any premature commitment of weight.
2. Beginning. Keeping the knees straight but loose, lift both arms until the tops of the wrists are at shoulder level. The hands, elbows, and shoulders droop. The elbows are slightly bent. When the wrists reach shoulder level, they stop (Fig. 4). Next, the hands continue to rotate upward until they are parallel to the floor, with the middle finger of each hand pointing forward (Fig. 5). Next, the elbows bend and lower, so that the wrists move toward the body and slightly downward until the elbows are slightly behind the back, and the tops of the wrists are at armpit level. While the wrists are moving inward, they flex, so that the hands remain parallel to the floor, and the middle fingers continue to point directly forward (Fig. 6). Next, the wrists lower and flex, so that the fingers now point slightly upward. When the wrists reach their lowest position, with elbows slightly bent (Fig. 7), the hands then rotate downward until the wrists are in their centered positions. The palm of each hand faces rearward with the thumb midway between the front and back of the thigh (Fig. 8).
3. Ward off with Left Hand. Shift the weight 100% onto the left foot. Then turn the body 45% to the right. At the same time, the right foot pivots on its heel to point eastward, and the hands move to a position of holding a large ball in front of the center of the chest with the right hand above, the left hand below, and both palms facing each other (Fig. 9). Then shift the weight 100% onto the right foot. While you are shifting the weight, the left heel rises slightly off the ground in preparation for a step. Next, turn your body slightly to the left, and bring your left knee directly forward toward the starting direction. Then step northward with the left foot by letting the lower leg swing forward, pivoting at the knee (Fig. 10). Next, the weight shifts 70% onto the left foot, so that the knee reaches a vertical line through the tip of the middle toe of the left foot (Fig. 11). Next, turn the body to face north, simultaneously pivoting the right foot on its heel to point northeastward. At the same time, the left hand circles to a position in front of the center of the chest, palm facing inward, and the right hand moves vertically down, ending up with the palm facing the rear near the right thigh (Fig. 12).
Comments: One of the most common errors made by beginners is that of losing the width of the stance during stepping. It is essential that the left knee point northward while stepping. If that knee caves inward, the step will also be inward, at the expense of the width of the stance.
4. Ward off with Right Hand. Shift the weight 100% onto the left foot, turning the body slightly to the right. At the same time, the right foot pivots to the right on its ball, and the hands move to a position of holding a large ball in front of the center of the chest, with the left hand above, the right hand below, and both palms facing each other (Fig. 13). Next, step eastward with the right foot, possibly making a correction to provide a shoulder width. Next, shift the weight 70% onto the right foot, so that the right knee reaches a vertical line through the tip of the middle toe of the right foot (Fig. 14). Next, turn the body to face east, simultaneously pivoting the left foot on its heel to the northeast. At the same time, the right hand rises to a position in front of the center of the chest, palm facing inward. The left hand does not move with respect to the body, thus ending up in front of the center of the chest with the palm facing downward and the fingers pointing toward the palm of the right hand (Fig. 15).
Comments. The ch’i travels through the left forearm, out of the hollow of the left hand, into the hollow of the right hand, and down the right forearm.
5. Roll Back. Turn the body to the southeast, keeping the weight 70% on the right foot. The right knee does not move during the turning, and the hands do not move appreciably with respect to the body (Fig. 16). Next, without turning left, shift the weight 100% onto the left foot. At the same time, the right hand rises to the height of the mouth, the left hand lowers and rotates to a palm-up position under the right elbow (Fig. 17). Then the body turns to the north (Fig. 18).
6. Press. Continuing, the left hand circles downward toward the left thigh, and then upward to the height of the shoulder (Fig. 19). Next, shift the weight 70% onto the right foot, and then turn the body to the right to face east. The hands end up touching each other as follows: The right hand is in front of the center of the chest, with the palm facing slightly upward. The heel of the left hand nestles in the center of the right hand, and the thumb heel of the right hand nestles in the center of the left hand. The thumb of the right hand, and the little finger of the left hand form the letter “V” (Fig. 20).
Comments: The nestling of the heels and hollows of the hands resembles the interlacing of the yin and yang shapes of the T’ai-Chi symbol.
7. Push. Shift the weight back 100% onto the left foot, letting the hands naturally separate, so that the palms are facing forward and slightly downward (Fig. 21). Next shift forward into a 70-30 position, the hands moving with the body (Fig. 22).
Comments: A good image is that of pushing a heavy object, such as an upright piano. If the arms alone are used, the person pushing will be moved backward, whereas if the body is used the push will be more successful.
8. Single Whip. Shift the weight 100% onto the left foot, simultaneously lowering both hands to mid chest and in front of the body (Fig. 23). Next, rotate the body 90 degrees to the left. At the same time, pivot the right foot on its heel to point northward. The hands move horizontally with the body, with one hand on each side of the medial plane (Fig. 24). Next, shift the weight 100% onto the right foot. At the same time, the left hand lowers to a position in front of the pubic region, the right hand circles counterclockwise in a horizontal plane close to the center of the chest, forming a bird’s beak (all the fingers touch the thumb, and the hand hangs from the wrist, which is at shoulder level) (Fig. 25). Next, turn the body to the northeast, keeping the weight 100% on the right foot. Next, still keeping the weight 100% on the right foot, turn the body to the northwest while pivoting on the ball of the left foot. At the same time, the bird’s beak moves outward from the body and the left hand rises to armpit level (Fig. 26). Next, the left foot steps into what will become a 70-30 stance facing west. Then shift the weight 70% onto the left foot. At the same time, the left hand moves to a position in front of the face, palm inward and fingers upward. Next, while turning the body to face west, the left hand turns outward and the right foot pivots inward on the heel. The left hand ends up in front of the left shoulder (Fig. 27).
Comments: The two most common errors are moving the hands on their own and shifting the weight to the right during the initial turning to the left.
9. Lift Hands. Shift the weight 100% onto the left foot. At the same time, the body turns to the right and the bird’s beak opens. Then, the hands come together as the body turns to the left until it points northwest. At the same time, the right foot moves to a position with the heel touching the floor on the north-south line of the heel of the left foot. The head and hands point north. The left hand is opposite the right elbow, and the fingertips of the right hand are at neck level (Fig. 28).
Comments: This is the first posture with 100% of the weight on one foot.
10. Strike with Shoulder. Keeping the weight 100% on the left foot, lower the left hand to a position just outside the left thigh and lower the right hand to a position in front of the pubic area. At the same time, the arch of the right foot is brought next to the heel of the left foot (Fig. 29). Next, the right foot steps forward and slightly to the right in order to achieve a stable width. Next, the left hand circles to a position near the right elbow, fingers pointing forward. The direction of the head and right forearm is north. The body faces northwest but the head faces northward (Fig. 30).
Comments: This is a 70-30 posture.
11. White Crane Spreads Wings. Shift the weight 100% onto the right foot. At the same time, the body turns slightly to the left, the right hand rises and rotates to a palm-out position near the right temple, the left hand lowers to a palm-slightly-out position just outside the left thigh, and the ball of the left foot moves to a position touching an east-west line passing through the heel of the right foot. The head faces west, and the body faces northwest (Fig. 31).
Comments: Professor Cheng emphasized that all the body parts arrive at their final positions simultaneously.
12. Brush Knee, Left. The right hand lowers in a circular movement in the medial plane and simultaneously turns palm up just outside the right thigh. Next, keeping the weight 100% on the right foot, turn the body to the right, pivoting on the ball of the left foot. At the same time, the left hand circles, palm down, upward and to the right (Fig. 32). Next, turn slightly to the left, keeping the weight 100% on the right leg. At the same time the right hand rises to the level of the mouth and the left hand lowers to a level just below the navel (Fig. 33). This initial turning of the body to the left initiates a step into a 70-30 position with the left foot. Next, shift the weight 70% onto the left foot, and turn the body to face west. At the same time, the right hand moves forward past the mouth to a position in front of the right shoulder, the left hand circles laterally to a position to the left of the left thigh, and the right foot pivots on its heel until it points northwest (Fig. 34).
13. Hands Playing the P’i P’a. Without rising upward, shift the weight 100% onto the left foot, lifting the right foot slightly off the ground (Fig. 35). Next, step back onto the right foot. As the weight shifts 100% onto the right foot, the left hand circles clockwise and away from the body to chin level. At the same time, the right hand lowers to a position near the left elbow, and the left foot moves to a position with the heel touching the floor on an east-west line passing through the heel of the right foot. The body faces northwest, and the hands and head point west (Fig. 36).
Comments: This posture is essentially the opposite side of “Raise Hands.” The p’i p’a is a fretted four-string instrument resembling a lute.
14. Brush Knee, Left. This posture is the same as (12), except that the initial turning involves a pivot on the heel of the left foot (Figs. 32 through 34).
15. Step Forward, Deflect Downward, and Punch. Shift the weight 100% onto the right foot, and, at the same time, turn the body to the southwest and pivot the left foot on its heel until it points southwest. At the same time, the hands lower slightly (Fig. 37). Next, shift the weight 100% onto the left foot, simultaneously lowering the right hand near the left thigh. A “hollow” fist is formed with the right hand just as it reaches its lowest position (Fig. 38). Next, the body turns to the right, initiating a short semicircular “crescent” step to the northwest with the right foot. As the weight shifts 100% onto the right foot, the body turns to the northwest. At the same time, (a) the right fist circles upward to the level of the chin and down outside the right thigh, with the knuckles downward; and (b) the left hand rises, turning palm out as it passes near the left ear, and then it extends forward, rotating so that the palm faces north. Next, the left foot steps forward into what will become a 70-30 stance in the westerly direction (Fig. 39). Then, shift the weight 70% onto the left foot. At the same time, the right fist rises to waist level. Then, the body turns to face west, simultaneously extending the fist outward and rotating it into a vertical position. At the same time, the left hand moves slightly inward to a position above and to the left of the right forearm (Fig. 40).
16. Withdraw and Push. Turn the body to the southwest, keeping the weight 70% on the left foot. The left knee does not move during the turning. At the same time, the fist extends and crosses the center line of the body, while the left hand crosses the center of the body to come palm up under the right triceps (Fig. 41). Next, shift the weight 100% onto the right foot, and turn the body to the right. During the turning and shifting of the body, the right elbow makes a counter clockwise circle around the left palm in a horizontal plane. As the elbows move rearward, the hands come in front of the chest, palms facing inward (Fig. 42). Next, the body shifts forward until 70% of the weight is on the left foot and then turns to face west. At the same time, the hands rotate until the palms face forward (Fig. 43).
17. Cross Hands. Shift the weight 100% onto the right foot, and turn to face north. At the same time, the hands move with the body and also slightly upward. The left foot pivots on the heel and turns with the body to point north (Fig. 44). Next, shift the weight 100% onto the left foot, simultaneously bringing the hands outward and downward in a large circle in vertical plane in the east-west direction. At the same time, the right foot pivots inward on its ball until it points north. If the previous 70-30 stance was correct, the feet should be a shoulder width apart, with the right foot slightly ahead of the left foot (Fig. 45). When the hands reach the bottom of the circle, bring the right foot to the same feet-parallel stance as the “Beginning” posture. Next, shift the weight 50% onto the right foot, simultaneously raising the hands to a crossed position in front of the center of the chest. The left hand is on top. The palms face inward, and the wrist joints nestle one into the other (Fig. 46).
Temporarily end the form by coming up to standing, simultaneously lowering the hands as they naturally separate. The hands face the rear, thumbs at mid-thigh (Fig. 47).
Comments: Professor Cheng regarded the learning of the movements up to this point as a “substantial beginning.” He said that this first section contained most of the basic types of movements contained in the entire form.
*From Robert Chuckrow, The Tai Chi Book, YMAA
Publication Center, PO Box 480, Wolfeboro, NH 03894, 1998, p. 178–189.