Tai Chi Illlustrated

TAI CHI
illustrated
Master Pixiang Qiu

Weimo Zhu
Human Kinetics
Library of Congress Cataloging-in-Publication Data
Qiu, Pixiang.
Tai chi illustrated / Master Pixiang Qiu and Weimo Zhu.
p. cm.
Includes bibliographical references.
1. Tai chi. I. Zhu, Weimo, 1955- II. Title.
GV504.Q58 2012
613.7'148--dc23
2012025530
ISBN-10: 1-4504-0160-0 (print)
ISBN-13: 978-1-4504-0160-9 (print)
Copyright 2013 by Pixiang Qiu and Weimo Zhu
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E5291
To our wives, Guilin Xu and Enyi Cai,
and our families for their love and support always
Contents
Preface vi
Acknowledgments vii
part I Tai Chi Basics
chapter 1 Art and Practice of Tai Chi . . . . . . . . . . . . 3
chapter 2 Basic Posture . . . . . . . . . . . . . . . . . . . . . . . 17
chapter 3 Basic Foot Movements . . . . . . . . . . . . . . 29
chapter 4 Basic Hand Forms and Movement . . . 43
chapter 5 Basic Stances . . . . . . . . . . . . . . . . . . . . . . . 65
part II Tai Chi Forms
chapter 6 Forms for Cardiovascular Health . . . 81
chapter 7 Forms for Stress Relief and

Low-Back Health . . . . . . . . . . . . . . . . . . . 101
iv
chapter 8 Forms for Balance . . . . . . . . . . . . . . . . . 123
chapter 9 Forms for Coordination . . . . . . . . . . . . 139
part III Tai Chi Routines
chapter 10 Six-Form Routine . . . . . . . . . . . . . . . . . . 155
chapter 11 Twelve-Form Routine . . . . . . . . . . . . . . 173
chapter 12 Basic Push Hands Routine . . . . . . . . . 203
References 229
Resources 230
About the Authors 231
v
Preface
Tai chi, a Chinese mindbody exercise, was developed as a form of martial arts in
China around the 12th century AD. It is an exercise based on the Chinese Tao phil-
osophy of yinyang balance, the only such exercise in the world. In fact, all its move-
ments and applications reflect Tao philosophy. Over time, people began to use tai chi
mainly for health purposes; now millions of people worldwide practice it regularly. Tai
chi practitioners move their bodies in a slow, relaxed, and graceful manner through
a series. Tai chi has been proven to have beneficial effects with respect to balance,
fall prevention, and nonvertebral fractures, as well as many chronic diseases. In the
1990s, the Western research community started to examine the effectiveness of tai chi
interventions using scientific research methods and standardized outcome measures.
Tai chi is quickly becoming one of the most popular mindbody exercises in the West.
In Tai Chi Illustrated, key stances, foot patterns, and single forms are depicted with
the use of more than 15 color illustrations so that beginners can learn tai chi easily. By
combining forms, two routines (one with six forms and another with twelve forms) are
presented and illustrated. Finally, basics and key movements of push hands, in which
two people practice tai chi movements in a manner similar to its origins in martial
arts, are introduced and illustrated.
Tai Chi Illustrated is organized into five parts. Part I includes five chapters. Chap-
ter 1 provides a comprehensive introduction to tai chi, including its history, unique
movement features, relationships with the philosophy of Chinese Tao and Chinese
medicine, various styles and schools of tai chi, and known health benefits. Chapter 2
covers basic posture, chapter 3 presents basic foot movements, chapter 4 covers basic
hand forms and movement, and chapter 5 describes basic stances. Part II consists of
four chapters. Chapter 6 introduces three forms for cardiovascular health, chapter 7
introduces three forms for stress relief and low-back health, chapter 8 introduces two
forms for balance, and chapter 9 introduces two forms for coordination. Part III consists
of the three remaining chapters. Chapter 10 introduces a six-form routine, chapter 11
introduces a twelve-form routine, and chapter 12 presents several push hands routines.
The primary audience for this book is anyone interested in mindbody exercises,
such as tai chi and yoga. It is especially aimed at beginning to intermediate tai chi
practitioners but should also be useful to people interested in exploring holistic health
activities, including physical educators, personal trainers, and physical therapists,
along with those seeking alternative and complementary treatments for chronic health
conditions such as heart disease and depression.
Read the book, learn tai chi, improve your health, and enjoy life!
vi
Acknowledgments
No book can be put together without the support of many, and this is especially
true for Tai Chi Illustrated. We want to acknowledge and thank Heidi Krahling
and Dong (Steve) Zhu for their many hours of careful and skillful proofreading.
We thank models Dong (Steve) Zhu, Elena Boiarskaia, and Sara Khosravi Nasr for
their hard work. Thank you to Leta Alverri Burch for her input on early chapter
drafts and to Wei Wang and Wei-Guo Ma for their assistance during the initial
development of the book draft. We also want to thank the Human Kinetics staff
for their assistance in developing and producing this book, especially Tom Heine
and Jason Muzinic for their initial support and guidance in development, Laura
Floch for her diligent work as the development editor, Neil Bernstein for his excel-
lent photos, and Doug Fink for his videography. We extend our gratitude to the
Shanghai University of Sports, especially the Wu Shu and Humanities Colleges
and the University of Illinois at Urbana-Champaign for their support. Finally, we
both thank our families for their unwavering love and support.
vii
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part I
Tai Chi Basics
Chapter 1, which provides a comprehensive introduction to tai chi, includes

the history of tai chi, its unique features, and its relationship with Chinese Tao
philosophy and traditional Chinese medicine. Various styles and schools of
tai chi, as well as known health benefits, are also introduced. Chapters 2 to
5 detail basic tai chi movements. Chapter 2 introduces basic postures of tai
chi, chapter 3 teaches basic foot movements, chapter 4 covers basic hand
forms and movements, and chapter 5 introduces basic stances of tai chi.
1
chapter 1
Art and Practice

of Tai Chi
Tai chi, or more correctly tai chi quan (or tai ji quan using the Chinese
spelling system), is a Chinese mindbody exercise that is rapidly becoming
popular in the United States. Derived from Chi-
nese martial arts and Tao philosophy, tai chi is
a unique Chinese mindbody exercise that has \INSERT Photo
E5291_0979P_1136,
centuries of history. Some practitioners refer to CO1, ID: 439223,
it as moving meditation. Mindbody exercise here\
is typically defined as a physical exer-
cise executed with a profoundly inward
focus. Although there is an assortment
of mindbody exercises, tai chi is the
only one that itself is a philosophy.
More important, it is a recognized
part of Chinese medicine and has
been proven to provide many health
benefits. It requires no equipment and
little space, and it can be practiced
anytime, anywhere, and by anyone,
including older adults and people
with chronic diseases.
Because of its rich cultural
history, philosophical foundation,
and accessibility to almost
everyone, tai chi is becoming
one of the most popular
forms of exercise not only in
China but around the world.
3
TAI CHI illustrated
People in more than 150 countries practice tai chi. It is estimated that more than 2.5
billion people practice tai chi regularly, making it the most popular Chinese mind
body exercise. In some countries, such as Japan, tai chi is already as popular as it is
in China, and many practitioners in those countries have reached high skill levels.
Tai chi has become an important vehicle for introducing and promoting Chinese
culture around the world. In 2006, Tai chi was selected to be part of the first group
in Chinas national intangible cultural heritage (ICH), a system for protecting cultural
identities and therefore the cultural diversity of humankind. The Chinese government
applied to the United Nations Educational, Scientific and Cultural Organization
(UNESCO) for tai chi to be part of UNESCO's ICH in 2009.
What Is Tai Chi Quan?

Tai chi quan (pronounced tai-chi-chwon) is a form of Chinese boxing based on tai
chi philosophy. Quan means fist in Chinese. In martial arts, it refers to various
forms of boxing, and each form has its own offensive and defensive fighting style
that involves varying dynamic and static elements, from moving back and forth to a
combination of firm and soft moves. Quan can be considered a martial art performed
without equipment, or more simply Chinese boxing. Because the movement in tai
chi quan is similar to a moving riverlong, relaxed, and continuoustai chi quan
is also known as a long, soft, continuous form of Chinese boxing.
Before beginning tai chi quan, one stands still and the body enters into a state
of wuji (e.g., body weight is balanced between both legs). As soon as the practice
starts, the body enters into tai chi, that is, a constant exchange of yin and yang, with
body weight being constantly moved from the firm (yang) leg to the empty (yin)
leg. The tai chi principle is also applied to fighting using tai chi quan. When an
opponents hit (yang) is coming, a tai chi master never directly fights back because
yang to yang is not balanced and he would likely get hurt even if he were stronger
than his opponent. Rather, a tai chi master always tries to use his opponents own
strength to cause the opponent to lose balance.
It is believed that the Chen style, the oldest style of tai chi quan, was created by
Master Chen (Chen, Wangting), a retired general at the end of the Ming Dynasty
(1368-1644). He spent his retirement living a tranquil life in the country. During the
farming season, he was busy working on his farm, but he practiced boxing during the
off-season. His boxing practice was initially for health purposes in order to regulate
the yinyang of the body and help the circulation of Qi and blood. (Qi or chi refers
to vital energy in Chinese medicine and will be explained in more detail later in
this chapter.) Meanwhile, he was also teaching his children and grandchildren how
to use boxing as exercise and how to keep a balanced diet. Through his exercise
and diet practice, he believed that one could live a peaceful, healthy, and harmoni-
ous life. The development of tai chi, that is, the modification of a martial art from
4
Art and Practice of Tai Chi
use on the battlefield to an exercise for well-being, reflected the generals desire to
return to nature and to live a life that reflected harmony between man and nature.
The Chen style of tai chi quan is full of tai chi principles (i.e., yinyang contrasts
and interconnections). For example, the mind should be at peace while the body is
actively moving during tai chi practice, there is a constant change between firmness
and looseness in the continual transfer of weight from one leg to the other and the
opening and closing of the arms while coordinating movements with inhaling and
exhaling, and the end of a movement flows smoothly into the beginning of another
movement. Recognizing the movements unique connection with tai chi philosophy,
Master Wang (Wang, Zongyue), a well-known martial arts master at the beginning of
the Qing Dynasty (1644-1912) who also was well versed in philosophy, studied tai chi
and provided an excellent summary of tai chi quan in his book Tai Chi Quan Theory
(translated also as the Tai Chi Treatise), which remains popular today. From then on,
tai chi quan or simply tai chi became the official name of this exercise form. Because
many movements in tai chi are based on tai chi philosophy, many people believe that
practicing tai chi regularly will help them achieve balance or harmony with nature.
Characteristics of Tai Chi Movements
Tai chi is an exercise with four distinct movement characteristics:
1. Movements are soft and continuous. Movements mimic a slow-moving river.

2. Movements are calm and quiet. While doing tai chi, you pursue a sense or being
of calmness. Again, similar to a slow-moving river, often you do not feel the move-
ment but rather the calmness. This sensation is especially true in your mind. The
Chinese believe that if you relax your mind, your qi will become calm and quiet.
Even while moving, every piece of the movement is felt as if you were staticthe
movement begins smoothly and slowly progresses through a succession of thou-
sands of static poses.
3. Movements are relaxed. The principle of being relaxed applies to all movements.
To relax, you must relax the whole body and move in a natural way. Do not use
any extraneous strength or energy. Again, you must have a relaxed mind to have
a relaxed body. Mental peace is important because it is often associated with your
outlook and attitude toward life.
4. Movements are circular. The movements in tai chi are rarely straightforward or
angular, and this is especially true for the arm movements. Instead, tai chi move-
ments follow paths of circles or curves. Tai chi masters often say that all tai chi
movements can be summarized by circles, which fits perfectly within the general
concept of tai chi philosophy, as well learn later in this bookthe movements
create patterns of repeated circles.
5
TAI CHI illustrated
Tai Chi and Traditional

Chinese Medicine Theories
Traditional Chinese medicine (TCM) is well known for many of its practices, such
as herbs and acupuncture, and many of its theories, including yinyang, five ele-
ments, qi or vital energy, and blood, meridians, and internal organs as a system. The
foundation of TCM is aligned with tai chi theory. People are considered as a whole
and their balance (yin and yang) are key elements in TCM diagnosis and treatment.
In addition, TCM believes that heath is directly related to ones qi level (the higher,
the better) and circulation along the meridian system (the more qi movement, the
better). Although there are still many unanswered questions concerning the meridian
system, it has been proven to have a relationship with health. Fostering qi, promoting
qi and blood circulation, and dredging the meridians have always been the focus
of TCM treatments.
Tai chi breathing routines and many of its movements are associated with TCM.
For example, transferring weight from one leg to another during tai chi practice is
directly related to the change from yang to yin and vice versa. In line with Exercise
is medicine, a slogan of the American College of Sports Medicine (ACSM), one
may say that Tai chi is Chinese medicine.
Yin and Yang

Tai chi (see figure 1.1 for the Chinese characters) is a concept in Chinese philosophy
that has had a great influence on Chinese culture. Its name abounds with meaning.
It is believed that the earliest appearance of tai chi was in the I Ching, or Book of
Changes, a well-known Chinese philosophy book written in the third century BC.
The tai chi characters in Chinese represent the Tao philosophy, or Taoism, which
believes that, although the world is full of contrasts or conflicts, it can reach harmony
by balancing those contrasts or conflicts.
According to the Tao, the contrasts or conflicts in nature can be best summarized
using the yin and yang concepts. The direct meanings of yin and yang in Chinese
are the bright side and the dark side of an object. Note that the concepts of bright
and dark do not have the Western cultural
connotation of good and bad in Tao phil-
osophy. The Tao philosophy uses yin and
yang to represent a wide range of opposite
properties in the universe: cold and hot,
slow and fast, still and moving, masculine
and feminine, lower and upper, and so on.
In general, the characteristics of stillness,
Figure 1.1 Chinese characters for tai chi. descent, darkness, erosion, slowness, and
E5449/Qui/fig. 1.1/439224/TimB/R1
6
organic diseases pertain to yin, and in contrast,

movement, ascent, brightness, growth, energy, and According to medical science,
functional diseases pertain to yang. Yin and yang diseases can be classified into
two general groups: organic and
are opposites yet complementary; they do not exist functional. Organic diseases
independently of each other but rather are able to are those in which an actual
change, or morph, into each other. For example, day destruction of bodily tissue has
(yang) turns into night (yin) and winter (yin) turns occurred (e.g., blood diseases,
into spring (yang). The internal forces or rules of cancer, tuberculosis), whereas
nature lead to the harmony of yin and yang and are functional diseases are caused
by temporary disturbances of
the Tao, or way. In the Book of Changes, tai chi or function and there is no actual
Tao is the integration of yin and yang, the contrary loss or structural alteration of
forces interconnected and interdependent in nature. tissue (e.g., arthritis, balance
In TCM, health is represented as a balance of yin disorder, dementia).
and yang, although the balance of yin and yang in a
healthy body is not always perfect. Under normal circumstances, the yin and yang
balance in the body is in a state of constant change based on both the external and
internal environment. For example, while exercising, a person's body is more ener-
gized and has greater yang, and once exercising stops and a quiet, peaceful state
is entered, yin dominates. Illness is caused by an imbalance of yin and yang in the
body. The treatment of illness in TCM therefore is the process of rebalancing yin
and yang in the body. This is done through the use of acupuncture, herbal remedies,
exercise, diet, and lifestyle changes (e.g., smoking cessation). As balance is restored
in the body, so is health restored. Balance in TCM includes balance in both physical
and mental health.
The character tai in Chinese derives from the character dai, meaning big. To
represent something that is much larger than just being big, the ancient Chinese
added a stroke inside the dai character to create the tai character. Thus, tai refers to
the largest or most supreme (see figure 1.2 for a comparison of the characters). The
character chi, as shown in figure 1.3, originally referred to the highest section, or
peak, of a roof. Placing both of these Chinese characters together into tai chi (see
figure 1.1) synergizes their meanings into a new meaning that refers to the universe
or something that is immense.
Figure 1.2 Chinese characters for tai and dai. Figure 1.3 Chinese character for chi.
E5449/Qui/fig. 1.2a/439225/TimB/R1
E5449/Qui/fig. 1.2b/439226/TimB/R1 E5449/Qui/fig. 1.3/439227/TimB/R1
7
TAI CHI illustrated
It is believed that Tuan Chen (872-989 AD),

a Taoist during the end of the Five Dynasties
and Ten Kingdoms period (907-960 AD) and
at the beginning of the Northern Song Dynasty
(960-1127 AD), created the earliest wuji dia-
gram, which is simply a circle (see figure 1.4).
The circle represents the original status of the
universe in which everything was static. Later,
Dunyi Zhou (1017-1073 AD), a philosopher
during the Northern Song Dynasty, published
a short, well-known article called Tai Chi
Diagram, in which the tai chi concept was
further described and extended. Basically, the
Figure 1.4 Wuji diagram. ancient Chinese believed that the universe was
E5449/Qui/fig. 1.4/439228/TimB/R1 originally a static entity without yin or yang.
Later, the yang element came into existence
through some mysterious and dynamic move-
ment of qi, or vital energy. The end or extreme
of the yang dynamic movement is stillness,
which produced yin. Life and the world were
then created as a result of the movement and
exchange of yin and yang.
Wuji does not include the yin and yang con-
cept, yet tai chi can be considered a special form
of wuji, one that includes the balancing of yin
and yang. Zhous descriptions of tai chi can be
better represented by the yin and yang diagram
(see figure 1.5). In the diagram, yin and yang
Figure 1.5 Yin and yang diagram. are symbolized by a circle consisting of two
E5449/Qui/fig. 1.5/439229/TimB/R1 semicircular teardrops, a white one representing
yang (sun, male, fire, and so on) and a black one representing yin (moon, female,
water, and so on). The black spot inside the white teardrop and the white spot inside
the black teardrop symbolize that yin and yang are not absolutes; they change or
morph into each other (e.g., the end of day begins night). In its entirety, this symbol
of yin and yang also represents the balance and change of tai chi within the universe,
nature, and even society. Tai chi therefore reflects the mechanism of the universe.
Qi and the Meridians

Qi (pronounced chi) in Chinese medicine is considered to be vital energy, or life
force. Although its existence has not been completely confirmed by modern science,
it is generally believed that qi circulates along the bodys meridians, whose existence
8
has been confirmed by modern biophysics (Chen, 2004). A meridian, according to

TCM, is a path through which the life energy known as qi is believed to flow. There
are 20 meridians in the body, including 12 regular channels or meridians and 8 extraor-
dinary channels or meridians. The 12
regular meridians each correspond to Kidney Urinary Bladder
an internal organ, nourishing the organ Liver Gall Bladder
Heart Small Intestine
and extending to an extremity (see
Spleen Stomach
figure 1.6). There are 649 acupuncture Lungs Large Intestine
points on the meridians. Meridians are Pericardium Triple Heater
also divided into yin and yang groups.
For example, the yin meridians of the
arm are Lung, Heart, and Pericardium
meridians, and the yang meridians of
the arm are the Large Intestine, Small
Intestine, and Triple Heater.
The smooth circulation of qi within
the meridians helps maintain health. Qi
and the meridians can benefit from tai
chi practice because tai chi emphasizes
relaxation of the mind during practice,
which in turn aids the circulation of
qi. In addition, it is believed that the
relaxed manner of tai chi movements
improves the ability of the meridians
to nourish organs and tissues. Finally,
tai chi movement, such as waist rota-
tion and limb flexion and extension,
could function as a kind of self-mas-
sage, which should stimulate qi and
strengthen the physiological function
of tissues and organs.
Figure 1.6 Twelve regular meridians in the body.

E5029/Qiu/F1.6/439230/alw/pulled-r1
Although there is still a long way to go to understand how meridians work, more and more
scientific evidence is being accumulated to support its existence and role in maintaining
health. As an example, there is growing interest in acupuncture, which is based on the merid-
ians. It is believed that medical effectiveness, cost effectiveness, and credibility provided
by clinical trials and physiological research are the key reasons for the growing interest in
acupuncture (Stux & Hammerschlag, 2001).
9
TAI CHI illustrated
Five Elements Theory

The back-and-forth footwork of tai chi is believed to connect with the Five Elements
theory, which posits wood, fire, earth, metal, and water as the basic elements of the
material world. The theory of Five Elements is an
ancient philosophical concept used to explain the
The ancient Chinese philosopher
Laozi declared, Nature is the law, composition and phenomena of the physical uni-
thousands of years ago, and this verse. In TCM, the theory is used to interpret the
remains a key concept in Eastern relationship between the physiology and pathology
culture. As mentioned earlier, tai chi of the human body and the natural environment.
is the martial art whose development For example, when a persons heart, an element
was influenced the most by tradi-
of fire, has a problem, the cause could originate
tional Chinese philosophy. There
is a saying about this particular from the kidneys, an element of water, since water
aspect of tai chi: Every part of the restrains fire. As in yinyang theory, the five
human body is tai chi; the contrast elements are interdependent and are constantly
and harmony of the dynamic and moving and changing (see figure 1.7).
static movements of the body is a
reflection of tai chi. One should relax
while practicing tai chi by breathing
naturally and performing movements
FIRE
according to the feedback ones
body provides. When practicing tai
chi outside in nature (e.g., beside
a lake, in a forest, on grass) and in
the fresh air, there is likely a feeling WOOD EARTH
that nature is the law and a focus on
the connection between ones mind
and soul with nature; thus, it is easy
to relieve stress and enjoy the relax-
ation and flow between body and
mind. In return, one should achieve
better health and a peaceful mind. WATER METAL
In fact, tai chi theory and practice
open up a new way of thinking that
promotes practitioners balance with
nature so that they may live a more Figure 1.7 Five Elements relationship diagram.
harmonious and ecological life.
E5029/Qiu/F1.7/439231/alw/pulled-r1
Tai Chi Styles and Schools

China is a huge country, and travel during ancient times was inconvenient. As a
result, each region formed its own distinct culture. Because of limited interaction
among people of various regions, family heritages, legacies, and traditions feature
10
strongly in the long history of Chinese culture. In all of these areas, regions, and
families, many styles and schools of various professions and skills were formed.
The great variety of Chinese cuisines is a perfect example of the cultural diversity
across China. The same is also true for tai chi styles or schools. Named after fami-
lies, the most popular tai chi styles are Chen, Yang, Wu (Z-Q), Sun, and Wu (Y-H)
(Although the spelling of Wu is the same, they are two different Chinese characters,
so to distinguish between them in English, the initials of their first names were
added.) These styles are briefly described next.
Chen
The Chen style is the oldest type of tai chi. Created by the retired general Chen
(Chen, Wangting; 1600-1680), Chen style is known for its combination of both soft
and firm, as well as quick and slow, movements. Occasionally, explosive strength
and a strong foot and leg pushing are used. It is a style that maintains many boxing
features used in fighting on battlefields.
Yang
Created by Master Yang (Yang, Luchan; 1799-1872), Yang style is known for its
standardized format, slow and relaxed movements, and soft and continuous style.
Because it is easy to learn and the movements are beautiful to observe, it is the most
popular style of tai chi, and it is the one taught in this book.
Wu (Z-Q)
Wu (Z-Q) style is modified from the Yang style and features a small range of quick yet
relaxed movements. The upper body is slightly inclined forward during practice. The
key master who developed this style was Master Wu (Wu, Zhen-Quan; 1870-1942).
Sun
Sun style was developed by combining the skills and methods of other Chinese
martial arts, specifically Xingyiquan and Baguazhang, into tai chi. As a result, its
footwork moves much faster and it contains more frequent back-and-forth move-
ments. In addition, its transitions are often combined with openclose movements
(i.e., transferring body weight from one leg to the other while the arms are open).
The key master who developed this style was Master Sun (Sun, Lutang; 1860-
1933).
Wu (Y-H)
The Wu (Y-H) style is known for its slow and relatively small range of movements,
lesser bending of the knee, and limited reach of hands and arms. The person respon-
sible for this Wu style was Master Wu (Wu, Yu-Hsiang; 1812-1880).
Later, to meet the needs of the general public, many more variations of tai chi
were developed. For example, to help the general public learn tai chi, the Chinese
11
TAI CHI illustrated
government developed and promoted a 24-form simplified tai chi in the 1950s;
later, routines with 48 and 88 forms of tai chi, based mainly on the Yang style,
were offered. Because of the rich history of tai chi, many tai chi styles, includ-
ing several subvarieties within styles, and forms are practiced both in China and
around the world. Special forms of tai chi have also been developed specifically
for a population or an aesthetic purpose, such as in the case of wheelchair tai chi
and tai chi fan, which involves holding a fan during tai chi practice. There even
are tai chi routines that exist purely for the purpose of competition.
Tai Chi and Health

The industrial and information revolutions changed the world. Although they
brought many advances to civilization, they also brought many social problems,
including competition and its related stress and increased isolation among people.
Their negative effects on health and well-being are significant and well documented.
Fortunately, tai chi can be used to buffer these negative effects. For example, tai
chi can help young people achieve relaxation and bring their bodies and minds into
balance, and for older adults who practice together, as many do every morning in
China, tai chi serves as a social network, a place and time to make new friends
and provide social support.
Tai chi is part of TCM, and its significant impact on health has been well
documented. Although tai chi was introduced to the United States in the 1970s,
an interest in its health benefits did not start until Dr. Steven L. Wolf and his team
published their balance study in 1996 (Wolf, Barnhart, Kutner, McNeely, Coogler,
& Xu, 1996). Their subjects were 162 women and 38 men with an average age of
76.2 who were free of debilitating conditions such as crippling arthritis, Parkinson's
disease, and stroke. The researchers divided the subjects into three groups: One
group performed a simplified 10-form version of tai chi, one group received bio-
feedback-based training in balance on a movable platform, and one group received
education about falls but no physical training. The tai chi and biofeedback groups
were given 15 weeks of training, and researchers kept track of the participants
reported falls for four months.
After the intervention, the tai chi subjects reduced their falling risk by an aver-
age of 47.5 percent compared with the other groups. Since the publication of that
study, interest in tai chi and its health benefits has continued to grow. Hundreds of
studies have now been published and interest has extended to many other health
areas, such as the impact of tai chi on physical function, quality of life, and cardio-
vascular diseases. In addition, many tai chi books have been published, including
some with a research focus (e.g., Hong, 2008).
According to a recent review (Zhu et al., 2010) of 25 reviews, which included
hundreds of studies from around the world, tai chi has been demonstrated to be
12
a useful exercise for a variety of chronic diseases and conditions, including Par-
kinsons disease, osteoarthritis, rheumatoid arthritis, high blood pressure, cancer,
cardiovascular disease, diabetes, a propensity toward falling, and so on. In addition,
tai chi practice has been shown to be beneficial to overall health, balance and con-
trol, bone mineral density, psychological and mental status, and aerobic capacity.
A few highlights are summarized here.
Overall Health
Tai chi has the potential to improve many of the physiological and psychological
aspects of chronic conditions, and it is also a safe and effective intervention for
promoting balance, cardiorespiratory fitness, and flexibility in older adults. Tai chi
has been shown to be effective as an aerobic exercise in reducing blood pressure,
reducing the risk of falls, and increasing function in older adults.
Balance and Control
Moderate evidence supports using tai chi to improve balance and postural stabil-
ity, indicating that it is a reasonable intervention for clinical use. It has also been
found that tai chi improves balance in older adults, although it was not shown to
be effective at reducing the rate of falls in older populations. Studies have shown
that health outcomes associated with postural control could benefit from tai chi
practice.
Although not all studies supported tai chi in fall prevention for older adults,
a number of studies found tai chi to be effective in reducing the fear of falling,
meaning that interventions aimed at improving older adults self-efficacy regarding
falls could use tai chi. Meanwhile, tai chi was found to be useful for preventing
falls in relatively young, prefrail older adults. In addition, although more rigorous
studies are needed to make any assertions about the use of tai chi for Parkinson's
patients, there is favorable evidence in support of using tai chi to help people with
Parkinson's disease.
Osteoarthritis
There is promising evidence in support of using tai chi to reduce pain associated with
osteoarthritis, and there are even larger effect sizes in pain reduction from tai chi
compared with other popular interventions, such as nonsteroidal anti-inflammatory
drugs (NSAIDs). Also, the review found that tai chi may be beneficial for improv-
ing the balance and physical function of people with osteoarthritis.
Rheumatoid Arthritis
Tai chi improved ankle plantar flexion in people with rheumatoid arthritis, but most
other measures, such as activities of daily living and swollen joints, showed no
improvements after tai chi interventions. None of the studies indicated any harm-
ful effects of tai chi practice, and the review reported that adherence rates in the
tai chi interventions were higher than in the controls, indicating that subjects may
13
TAI CHI illustrated
enjoy participating in tai chi over other exercises. Some studies also found that tai
chi interventions could improve the pain, fatigue, mood, depression, vitality, and
disability index of people with rheumatoid arthritis.
Bone Mineral Density
Tai chi has been found to be a promising intervention for maintaining bone mineral
density in postmenopausal women. No significant adverse effects of practicing tai
chi were reported, and research also indicates that tai chi may improve other risk
factors associated with low bone mineral density. Additionally, it was found that
tai chi interventions did increase bone mineral density in postmenopausal women
compared with a no-treatment control group.
Psychological Health
Tai chi has been found to increase well-being and self-efficacy as well as improve
overall mood. Tai chi was also a safer choice of exercise for those who were decon-
ditioned or had exercise intolerance.
Blood Pressure
Many studies have reported that a tai chi intervention could lead to lower blood
pressure. In all the studies, tai chi was shown to be safe and had no adverse effects.
Cancer
Tai chi has been useful as a complement to traditional cancer treatment. Tai chi
helped improve the self-esteem and health-related quality of life, function in activities
of daily life, and shoulder range of motion of cancer survivors. In addition, tai chi
has been shown to increase the immune response as well as psychological function
of cancer survivors.
Cardiovascular Disease
Most studies for this population reported improvement with tai chi interventions,
such as lower blood pressure and greater exercise capacity. In addition, no adverse
effects were reported. These studies concluded that tai chi may be a beneficial
adjunctive therapy for patients with cardiovascular disease.
Aerobic Capacity
Tai chi is an effective exercise to improve aerobic capacity. Statistically significant
and large effect sizes (ES = 1.33) were noted in the cross-section studies, meaning
that subjects experienced significant aerobic improvements from practicing tai chi.
On the other hand, small effect sizes were found within the experimental studies
(ES = 0.38). Studies comparing sedentary people with tai chi participants also noted
larger effects when tai chi was practiced for at least a year. It has been concluded
that tai chi could be used as an alternative form of aerobic exercise, and further
inquiry is recommended in this area.
14
Practice Tips for Learning Tai Chi
Compared with most exercises, tai chi requires no equipment and little space, and it
can be done at anytime. The following tips may be helpful for tai chi beginners.
Am I ready?
If you are planning to start an exercise program or become much more physically active
than you are now, it is a good idea for you to answer the following seven questions from
the Physical Activity Readiness Questionnaire (PAR-Q):
1. Has your doctor ever said that you have a heart condition and that you should
only do physical activity recommended by a doctor?
2. Do you feel pain in your chest when you do physical activity?
3. In the past month, have you had chest pain when you were not doing physical
activity?
4. Do you lose your balance because of dizziness or do you ever lose consciousness?
5. Do you have a bone or joint problem (for example, back, knee, or hip) that could
be made worse by a change in your physical activity?
6. Is your doctor currently prescribing drugs (for example, water pills) for your blood
pressure or heart condition?
7. Do you know any of other reason why you should not do physical activity?
If you answered Yes to any of these questions, you should talk with your doctor
before starting a physical activity program or becoming much more physically active.
Source: Physical Activity Readiness Questionnaire (PAR-Q) 2002. Used with permission from the Canadian Society for
Exercise Physiology www.csep.ca.
What do I wear to practice tai chi?

There are no specific requirements other than wearing clothing that is loose and
comfortable. There are also no specific requirements for shoes; any exercise shoes or
comfortable shoes with low heels are fine.
When should I practice tai chi?
The best time of the day to practice is in the morning for easier adherence since there
is less chance of interruption of practice time first thing in the morning. Other times are
also fine, but you should wait at least 30 minutes after eating a heavy meal.
How often and for how long should I practice tai chi?
To get the best results, 30 to 60 minutes is the best length for practice, but any time is
better than no time. Just 5 to 10 minutes of practice (especially the stances) here and
there will also be beneficial. Ideally, you should practice every day. Try to practice tai
chi at least three times a week.
(continued)
15
TAI CHI illustrated
(continued)
Where should I practice tai chi?

Outside in nature in the fresh air is best, but practice anywhere you can, such as in
your office when taking a break.
Can I combine tai chi with other exercises?

Tai chi can integrate with other exercises easily. If you already have a regular exercise
routine, you can link it with your tai chi practice. For example, you can practice tai chi
as part of your cool-down after running.
In this chapter, you learned what tai chi is, including its historical roots, relation-
ship with Chinese Tao philosophy and traditional Chinese medicine theories, its
movement characteristics, and different styles and schools. More important, you
learned the health benefits of practicing tai chi. This book, through a step-by-step
approach and illustrations, is designed to help you learn tai chi in an easy and enjoy-
able way. In chapter 2, you will learn some basic postures; then some basic foot
movements in chapter 3; basic hand forms and movements in chapter 4, and basic
stances in chapter 5. Then, in chapters 6-9, you will learn some of the most popular
tai chi forms: forms for cardiovascular health (chapter 6), forms for stress manage-
ment and lower back health (chapter 7), forms for balance (chapter 8), and forms
for coordination (chapter 9). In chapters 10 and 11, you will learn routines with the
above forms connected together. You will learn a simple 6-form routine in chapter
10 and a slightly more difficult 12-form routine in chapter 11. Finally, in chapter 12,
you will learn push hands, practicing tai chi with another person.
Learn and enjoy tai chi!
16
chapter 2
Basic Posture
Remembering how the hands, elbows, arms, feet, legs, and torso move
simultaneously is one of the major challenges when starting tai chi. Rather
than rushing into learning tai chi forms and routines and getting confused
and frustrated, you will start by learning some basic tai chi movements. In
this chapter, you will learn how to maintain correct postures and move the
upper body correctly. In chapter 3, you will then move on to the basic tai
chi movements of the legs and feet, and finally,
you will start learning the basic movements of
the arms and hands in chapter 4.
Tai chi differs from many Western exercises
in that its movements are performed in
a natural and relaxed manner. To learn
tai chi quickly and accurately, an
understanding of the principles of tai
chi postures is essential. This chapter
introduces the major components of
tai chi postures from head to knee.
After describing and illustrating the key
elements of each posture and its related
principles, common mistakes in these
postures are described and illustrated.
Errors are a part of learning, and recog-
nizing them early and not allowing them to
become habit is important when learning
new motor skills, particularly when
learning on your own. We therefore have
provided some common mistakes and
how to correct them. It is a good idea
to practice in front of a mirror when
learning tai chi so that you can have
visual feedback.
17
TAI CHI illustrated
Additionally, through hundreds of years of teaching, learning, and practice, Chinese

tai chi masters have summarized key technical essentials of major tai chi postures
and movements into tai chi sayings. We will present these corresponding sayings
in Tai Chi Saying sections throughout the chapters. Make sure you pay attention to
the key points mentioned in these sayings.
Head
During tai chi practice, the head should remain straight and upright with the neck
straight, and the head should not incline in any direction. This position should be
held in a natural, straight manner rather than in an exaggerated, extended position.
The eyes look naturally forward in tai chi positions and head movement is coor-
dinated with hand movements. See figure 2.1a for an illustration of head position
from a front view and figure 2.1b for this position from a side view.
Breathe naturally
through your nose.
Hold your chin down naturally.
Close your mouth Keep your head and
gently with the body in a straight line
tongue relaxed. with your center of
gravity.
a b
Figure 2.1 Correct head position: (a) front view and (b) side view.
Common mistakes of the head position are inclining the head to the front or back
too much (see figure 2.2, a and b) and tilting it to the left or right (see figure 2.2c).
To correct the head when it is inclined back too far, return the head to an upright
position with the chin held down. In contrast, if the head is inclined forward too much,
return the head to an upright position by lifting the chin. If the head is tilted to the
left or right, correct it by returning the head to the center. One easy way to avoid
mistakes with the head position is to experience various head positions in front of
a mirror and try to remember how it feels when the head is in the upright position.
Getting feedback from other practitioners may also be helpful.
18
Basic Posture
C T C T C T
R RE R RE R RE
CO CO CO
IN IN IN
a b c
Figure 2.2 Incorrect head positions: (a) forward, (b) back, and (c) to the side.
Tai Chi Saying: Xu Ling Ding Jing

Meaning: Most Chinese sayings consist of four characters. In
this saying, xu means empty or lightly, ling means to lead, ding
means top, and jing means strength. Together, this saying means
to imagine a string is holding your head up. In other words, you
should have the feeling that there is a string coming from the top
of your head that is slightly pulling so as to keep your head up and
straight. This is one of the fundamental technical aspects of tai chi
practice: The head is to be held upright, but not on a stiff neck. In
addition, head movement is to be coordinated with the movements
of other parts of the body.
Shoulders and Elbows

Shoulders should remain even with each other and should be naturally down or
relaxed (see figure 2.3a). Relaxed shoulder joints and muscles are the key to
keeping the shoulders in a low, naturally relaxed position. The elbows should also
be held in a low, natural, and relaxed manner (see figure 2.3b). There should be
a distance of about one to one and half fists between your elbow and your body
so that your elbows can move comfortably (recall that tai chi evolved from boxing,
19
TAI CHI illustrated
and elbows that are raised too high could expose your ribs for your opponent to
attack). Relaxed shoulders are a must for relaxed elbows. Also, a relaxed mind is
important because people tend to shrug or tighten their shoulders when nervous
or agitated.
Do not shrug Keep a comfortable

or tighten your distance between your
shoulders. Keep your shoulders elbow and body; your
even with each other elbows should not be
and relaxed. too far out.
Keep your elbows

naturally down.
a b
Figure 2.3 Correct (a) shoulder and (b) elbow position.
Common mistakes of the shoulder position include holding the shoulders too tightly
(see figure 2.4a) and not keeping them even (see figure 2.4b). When the shoulders
are held too tightly, they are up close to the ears. To correct this, relax the shoulder
joints and surrounding muscles. It is helpful to shrug or tighten the shoulders and
then relax them several times to learn and remember how relaxed shoulders feel.
When the shoulders are uneven, relax the front and back muscles of the shoulders.
Practice in front of a mirror several times to make sure the shoulders are even. A
common mistake with the elbow position is holding them too tightly to the body (see
figure 2.5a) or holding them too high (see figure 2.5b). To correct these mistakes,
relax the shoulders and elbows.
Tai Chi Saying: Che Jian Zhui Zhou

Meaning: Chen means down, jian means shoulder, zhui means
dropping, and zhou means elbow. Together, this means to sink
the shoulders and drop the elbows with a relaxed mind. Relaxed
shoulders are crucial.
20
C T C T
R RE R RE
CO CO
IN IN
a b
Figure 2.4 Incorrect shoulder position: (a) too tight and (b) uneven.
C T C T
R RE R RE
CO CO
IN IN
a b
Figure 2.5 Incorrect elbow position: (a) too tight and (b) too high.
21
TAI CHI illustrated
Chest and Back

During tai chi practice, you should keep your chest comfortably relaxed by holding
it naturally concaved. However, this does not mean it should be sunken; rather,
there should simply be a slight dip. The upper back should be relaxed, natural,
and slightly convex but not hunched (see figure 2.6).
Keep your head and neck upright

relative to the ground.
Relax your shoulders and

move them slightly forward
so that your chest dips in.
Relax your back.
Figure 2.6 Correct chest and back position.
Common mistakes concerning the upper body include holding the chest too rigidly
forward (see figure 2.7a) and making it too concave so as to have a rounded back
(see figure 2.7b). When the chest is too far forward and rigid, the whole body is
too tight and the shoulders are not relaxed. Correct these mistakes by relaxing the
upper body, including the chest, shoulders, and back, and relaxing the shoulders
forward to let your chest come in a bit. When the chest is sunken in too much, the
chest muscles are too relaxed. Correct this mistake by moving the shoulders back
a little, tightening the chest muscles a little, and keeping the head, chest, and whole
body in the same line as your center of gravity.
22
Basic Posture
C T C T
R RE R RE
CO CO
IN IN
a b
Figure 2.7 Incorrect upper-body position: (a) rigid, forward chest and (b) con-
cave chest with a rounded back.
Tai Chi Saying: Han Xong Ba Bei

Meaning: Han means contain or hold, xong means chest, ba
means pull up, and bei means back. Together, this means to arc
your chest, round your back, and keep your upper body relaxed.
Appropriately relaxing the chest and back is critical.
Waist and Hips

The waist should be relaxed, natural, steady, and upright (see figure 2.8). Keep
the muscles around the waist relaxed and loose for movement, and do not hold
your abdomen in too tightly or straight. Except for a few movements, your lumbar
spine should be straight. Your hips should also be relaxed and natural yet upright
in relation to the ground so that they are in line with your head and upper body (do
not tuck or extend the hips). This might take some shifting from how you naturally
hold them at rest.
23
TAI CHI illustrated
Keep your hips, head, and

upper body in the same line
of your center of gravity.
Keep your upper body
upright relative to the
Keep your waist ground and relaxed.
relaxed and upright.
a b
Figure 2.8 Correct waist and hip position: (a) front and (b) side.
Common mistakes concerning the waist and hips include holding the waist in too
tightly (see figure 2.9a) and extending the hips backward (see figure 2.9b). When
the waist is held in too tightly, the chest is positioned too far forward and the back
muscles are too tight. Correct these mistakes by relaxing your back and upper-body
muscles and keeping your hips, upper body, and head along the same vertical line.
When the hips are extended too far back, the hips, upper body, and head are not
positioned along the same vertical line and the upper body tilts forward too much.
Correct these mistakes by keeping the upper body upright and the hips forward
along the same vertical line of your head, upper body, and waist (in the middle of
your center of gravity).
Tai Chi Saying: Shong Yao Jian Ten

Meaning: Shong means relax, yao means waist, jian means
restrain, and ten means hip. Together, this means you should
have a relaxed waist and hips that are aligned with the rest of the
body.
24
Basic Posture
C T C T
R RE R RE
CO CO
IN IN
a b
Figure 2.9 Incorrect waist and hip position: (a) waist held in too tight and
(b) hips extended back.
Abdomen Inhale and exhale

deeply with the
The lower part of belly (see figure
corresponding natural
2.10) is called the Dan Tian, and it is breathing movements of
where the Chinese believe qi is stored. the abdomen.
Relax your
During tai chi practice, you should
upper body.
breathe from the abdomen, which Relax your
means breathing using the diaphragm abdomen.
(the diaphragm moves up during
exhalation and down during inhala-
tion) instead of expanding the chest.
Breathe in and out deeply and relax
the abdominal area, letting it move
naturally as you inhale and exhale. As
a result of this type of breathing, qi will
move into the Dan Tian and the lower
belly should feel solid and energized.
To obtain this feeling, it is necessary Figure 2.10
to maintain the previously described Correct abdominal
chest and waist positions. position.
25
TAI CHI illustrated
Pelvis, Thighs, and Knees

The posture and movement of the hip,
pelvis, and upper leg is important in tai
chi. The Chinese call the front area of the
pelvis the dang and the area between
the thighs the kua. While doing tai chi
movements, the hip joints and muscles
should be relaxed, and the thighs should
be open, ensuring a space between the
thighs and knees. The knees are aligned
toward the front and are bent slightly to Relax your
ensure that there is a space between the pelvis.
thighs and knees (see figure 2.11).
Keep your knees

Bend your
toward the front.
knees slightly.
Figure 2.11
Correct pelvis, thigh,
and knee position.
The most common mistake concerning the

pelvis, thighs, and knees is not having enough
space between the thighs (see figure 2.12).
When there is not enough space between the
C T thighs, the legs are too close to each other and
RE
the knees are not pointing toward the front.
OR Correct these mistakes by standing with your

legs separated, bending the knees slightly, and
C
IN
keeping the knees pointing forward.
Figure 2.12 Incorrect pelvis, thigh, and knee position:

There is not enough space between the thighs and the
knees are not forward.
26
Basic Posture
Tai Chi Saying: Yuan Dang Song Kua

Meaning: Yuan means round or circle, dang refers to the front
area of the pelvis, song means relax, and kua refers to the area
between the thighs. Together, this means you should round the
lower abdomen and relax the pelvis.
Short breaths (i.e., inhaling and exhaling too quickly) is a common problem. Hold-
ing your body too tightly, including both the upper body and abdomen, is another
common problem. The best way to avoid these mistakes is to relax your upper body
and abdomen and breathe in and out slowly and deeply. When breathing in, imagine
the air in your breath going directly to the Dan Tian.
Tai Chi Saying: Chi Chen Dantian

Meaning: Chi means vital energy, chen means sink, and Dan
Tian refers to the lower belly, where chi is believed to be stored.
Together, this means to focus the mind on the lower belly (Dan
Tian).
A journey of a thousand miles starts with a single step. You have taken the first
and a very important first step in learning tai chi in this chapter. After learning basic
postures, you are now ready to learn other basic tai chi movements. Keep going
since the more tai chi you learn, the more enjoyable it will be.
27
chapter 3
Basic Foot
Movements
As introduced in chapter 1, tai chi is the only exercise and
the only martial art whose movements are, in themselves, a
philosophy. The yin and yang belief that lies at the heart of
the tai chi philosophy and movements is often represented
by the balance of empty and firm movements. This is espe-
cially true for leg movements in tai chi. When one leg is firm,
meaning it is supporting the body, the other leg should be
empty, meaning it has just a small percentage of body
weight on it. Pay attention to the firmempty
principle while learning tai chi and make
sure you are always aware of which leg
is firm and which leg is empty. Mean-
while, as you move and switch your
body weight from one leg to the other,
the firmempty relationship constantly
changes (i.e., when you are moving one
leg from firm to empty, the other leg is
moving from empty to firm). In most tai
chi movements, these changes should
be gradual. Tai chi leg movements can
be classified as either step patterns,
which are static, or footwork, which is
kinetic. In tai chi forms or routines, the leg movements
are a combination of both step patterns and footwork,
which are described next.
29
Step Patterns
Major step patterns in tai chi are the bow step, empty step, and single-leg step. In
this chapter, we will learn these steps one-by-one. After familiarizing yourself with
these steps and arm movements, which will be learned in the next chapter, learning
the basic forms in chapters 6-9 will become easier.
Bow Step
As the name implies, in this step pattern you stand as if you were an archery bow,
with one leg in front and the other in back. The front knee is bent 45 degrees
between the back of the thigh and calf, and the back leg is held straight at about
45 degrees from the body (see figure 3.1). The front foot is planted straight ahead
and the back foot is at a 45-degree angle from the body. Keep about 60 percent of
your body weight on the front leg and 40 percent on the back leg, and make sure
your feet are not on the same line in order to create a stable base.
Bend your front

knee at a
45-degree Keep your back leg straight
angle. with the toes turned outward.
Space between feet

is parallel.
Keep both feet firmly
a on the ground. b
Figure 3.1 Correct bow step position: (a) side view and (b) front view.
Common mistakes of the bow step include standing with the legs too close
together from front to back (see figure 3.2a) or to the side in either direction (see
figure 3.2b), bending the front knee too far forward over the front toes (see figure
3.2c), placing all weight on the front leg (see figure 3.2d), and pointing the back
foot straight to the front with no angle (see figure 3.2e). Correct these mistakes by
practicing with legs only first, following a straight line on the floor to make sure your
legs do not cross the line, alternating legs and steps forward, and practicing bow
steps with a different leg in front each time.
30
C T C T C T
R RE R RE R RE
CO CO CO
IN IN IN
a b c
C T C T
R RE R RE
CO CO
IN IN
d e
Figure 3.2 Incorrect bow step positions: (a) legs too close together front to back,
(b) legs too close together laterally, (c) front knee bent too much, (d) all weight on the
front leg, and (e) back foot pointing straight to the front.
31
Empty Step
Stand with one leg empty in this step pattern by moving your body weight to one
leg, with the knee bent slightly and foot turned outward. Specifically, this means
you stand with the back leg firm with the knee bent, carrying 90 to 95 percent of
your body weight on that leg. The back foot is turned out about 45 degrees. The
front leg is empty and a half step to the front, only touching the ground with the
heel or toes of the foot (see figure 3.3).
Slightly bend the knee

of the front leg.
Touch the heel or toe of the Bend the knee of

front leg to the ground. the back leg.
b Turn the foot of the back

leg outward about
45 degrees.
Figure 3.3 Correct empty step position: (a) side view and (b) front view.
Common mistakes of the empty step include having body weight almost evenly
distributed between both legs (see figure 3.4a), keeping the legs too close together
to the front and back (see figure 3.4b) or to the side in either direction (see figure
3.4c), and placing too much of the front foot on the ground (see figure 3.4d). Cor-
rect the mistakes by clearly shifting the body weight onto the back leg; making sure
the front foot only touches the ground with the heel or toe; practicing by standing
with one leg in front and the other in back with your body weight evenly distributed
between both legs; shifting your body weight slowly onto the back leg while main-
taining good balance and then shifting back to sharing body weight between both
legs, repeating several times to practice weight transfer; and practicing empty steps
with a different leg in front each time.
32
C T C T
R RE R RE
CO CO
IN IN
a b
C T C T
R RE R RE
CO CO
IN IN
c d
Figure 3.4 Incorrect empty step positions: (a) weight distributed evenly, (b) legs
too close together front to back, (c) legs too close together laterally, and (d) too
much of the front foot touching the ground.
33
Single-Leg Step
For this step pattern, stand on one leg, with the other leg bent and held high in
front of your body (see figure 3.5). To do this, shift weight slowly onto one leg and
stand wholly on this leg (you can hold onto a chair to practice in the beginning).
Bend the other leg and hold it up in front of the body at about a 90-degree angle
between the upper body and thigh, with the foot pointed naturally down toward
the ground. The upper body should be straight and balanced.

upright and balanced.
Keep your free foot relaxed

and pointed naturally
toward to the ground.
Slowly stand on one leg with

the foot pointing forward.
Figure 3.5 Correct single-leg step position.
Common mistakes of the single-leg step include raising the free leg too quickly,
not pointing the standing foot toward the front but rather turning it to either side
(see figure 3.6a), leaning the upper body to the front too much (see figure 3.6b),
and losing your balance. Correct the mistakes by shifting your body weight to the
standing leg slowly; taking the free foot off the ground slowly, just 1 or 2 inches (3-5
cm) initially from the ground to feel the balance; raising the free leg gradually when
feeling in control and stable; holding for 1 to 2 minutes after the lifted thigh reaches a
90-degree angle to the upper body, with the foot pointing naturally toward the ground;
returning the free leg to the ground slowly; moving the free leg up and down several
more times; and switching to the initial free leg as the standing leg and repeating
the previous steps several times.
34
C T C T
R RE R RE
CO CO
IN IN
Figure 3.6 Incorrect
single-leg step positions:
(a) standing foot not pointing
toward the front and
(b) upper body leaning
forward too much. a b
Footwork
Major footwork movements include forward, backward, side step, and follow-up.
They were named based on the way the legs move.
Forward Footwork
The key principle of this movement is moving back before moving forward. You
should shift your body weight from one leg to the other, moving it back and forth
in a controlled manner. In this footwork, you move the non-weight-bearing leg one
step to the front, touch the heel on the ground, and then set the full foot down.
Shift weight gradually onto the non-weight-bearing leg.
To perform the forward footwork, start in the bow step, standing with the left leg
in front and the right leg in back (see step 1); move your body weight back onto
your right leg and point your left toes up (see step 2); pivot your left foot out about
30 degrees, place your foot flat on the ground, and shift your body weight gradually
onto your left leg (see step 3) while moving the right leg slightly up and bringing it
forward so as to place your right foot alongside the arch of the left foot, with only
the toes of the right foot touching the ground (see step 4); take a half step forward
with the right leg, but place only the heel of your right foot on the ground (see step
5); and shift your body weight slowly onto your right leg while your right foot lowers
until it is flat on the ground (about 70 percent of your body weight is on the right leg
and 30 percent on the left; see step 6). Repeat these steps several times, alternating
between your left and right legs.
(continued)
35
Forward Footwork (continued)
1 Start from a left bow step with the distance of a full step between the feet; in
addition, there should be about 4 inches (10 cm) horizontal distance between the
left and right legs. Turn the right foot (back leg) out about 45 degrees and bend
the knee of the back leg. Shift most of your body weight onto the right (back)
leg and slightly bend the knee of the left (front) leg. Touch your left foot to the
ground. Point your right (back) foot out at an angle of about 45 degrees.
2 Move your body weight back onto your right (back) leg and bend your right
knee. Raise your left toes with your left heel still touching the ground.
3 Turn your left foot out about 30 degrees and place it flat on the ground. Shift
your body weight gradually onto your left foot and leg. Bend your left knee.
1 2 3
36
4 Keep your left knee bent and body weight on your left leg. Raise your right leg
slightly and bring it forward. Place your right foot alongside the arch of your left
foot, with the right toes touching the ground.
5 Take a half step forward with your right leg and touch your right heel to the
ground. Your body weight is still on your left leg.
6 Touch the entire right foot to the ground and move most of your body weight
(70 percent) slowly onto your right leg. Complete the movement by ending in a
right bow step.
7 Repeat the previous steps by alternating right and left legs.
4 5 6
Common mistakes of the forward footwork include distributing body weight

evenly throughout the movement, touching the ground using the whole foot
instead of the heel first, and moving too quickly and not controlling for balance.
Correct these mistakes by clearly transferring body weight from one leg to the
other, touching the ground with your heel first, and having a stable base before
transferring body weight.
37
Backward Footwork
This movement has several similarities with the forward footwork, including moving
body weight onto one leg first, moving the non-weight-bearing leg, and then trans-
ferring weight to the non-weight-bearing leg. The key difference from the forward
movement is that in the backward movement, you touch your non-weight-bearing
toes (rather than your heel) on the ground first and then transfer the weight to the
heel. Moving backward is a characteristic of tai chi.
To perform the backward footwork, start with your legs separated in a natural,
comfortable way (see step 1); move your body weight to the right leg and then bend
and lift your left leg alongside the right leg (see step 2); extend your left leg back,
touching the ground with the toes first (see step 3); allow the left foot to flatten onto
the ground as you move your body weight onto the left leg and move the right leg
back alongside the left leg, with your right toes touching the ground (see steps 4
and 5); now, repeat steps 3 and 4 by moving the right leg back. For practice, repeat
steps 2 through 5 several times and end the movement in the initial standing posi-
tion from step 1.
1 Stand naturally with your legs separated and body weight divided equally
between both legs.
1 2 3
38
2 Shift your body weight to your right leg and raise your left heel, with your left
toes touching the ground. Keep your upper body upright along the same line as
the lower body.
3 Raise your left leg slightly and move it backward a half step. Touch the
ground with your left toes. Keep your upper body upright.
4 Touch the entire left foot to the ground. Move your body weight
simultaneously and slowly to your left leg. Move your right foot toward the arch of
your left foot. Keep your upper body upright.
5 Complete the transfer of body weight to your left leg. Touch your right toes
near (i.e., width of about two wrists) the arch of your left foot. Keep your upper
body upright.
Common mistakes of the backward footwork include distributing body weight

evenly throughout the movement, touching the ground with the whole foot instead of
the toes first, and moving too quickly without having good balance control. Correct
these mistakes by transferring body weight from one leg to the other, touching the
ground with the toes first, and having a stable base before transferring body weight.
4 5
39
Side Step
The side step has many similarities with the backward movement, including moving
the weight to one leg, touching the toes of the non-weight-bearing foot to the
ground first, and transferring the weight gradually onto the non-weight-bearing leg,
keeping the upper body upright during the movement. The key difference from the
backward movement is that the leg movements
in the side step are side to side.
To perform the side-step footwork, start with
your legs separated in a natural and comfort-
able way (see step 1); move your body weight
onto your right leg, raise the left leg slightly,
take a small side step outward, and lightly
touch the toes of your foot to the ground
(see step 2); place your left foot fully on
the ground and then slowly shift your body
weight onto your left leg (see step 3); raise
your right leg when your body weight has
shifted entirely onto your left leg; and set
your right foot down about 4 inches (10
cm) away from and parallel to your
left foot (see step 4). Repeat steps
1 through 4 several times.
1 2 1 Stand naturally with your

legs separated and body
weight evenly distributed
between both legs.
2 Move body weight onto

your right leg and bend your
right knee. Move your left leg
a half step out to the left. Keep
your upper body upright.
3 Transfer body weight to

your left leg and bend your left
knee. Keep your upper body
upright.
4 Bring your right foot

toward your left foot and stop
about 4 inches (10 cm) from
the left foot. Transfer body
weight back onto your right
3 4 leg.
40
Common mistakes of the side step include distributing body weight evenly through-
out the movement, touching the ground using the whole foot instead of the toes
first, and moving too quickly without good balance control. Correct these mistakes
by clearly transferring body weight from one leg to the other, touching the ground
with the toes first, and having a stable base before transferring body weight. Start
with a small side step with just a slight bend in the knee of the weight-bearing leg,
and gradually increase the size of the step.
Follow-Up Footwork
The name follow-up comes from the moving pattern of the back, trailing leg in
walking. In normal walking, the back leg usually passes the front leg when taking
a full step, but when performing the follow-up step, the back leg moves forward
less than a half step, stopping behind the front leg.
To perform the follow-up footwork, start with your left leg in front and right leg in
back, with most of your body weight on your right leg (see step 1); move your body
weight forward onto your left leg (see step 2); move your right leg a half step forward
(see step 3); and place your right foot slightly behind your left foot (see step 4). Return
to the starting position and repeat steps 1 through 4 several times. Then, repeat the
same movement several times with your right leg in front and your left leg in back.
1 Start the same as in the bow step but with more body weight on your back leg
and keeping your legs separated and both feet firmly on the ground. Bend your
front knee 45 degrees. Your back leg should stay straight with the foot pointing
outward. Keep about 40 percent of your body weight on your front leg and 60
percent on your back leg. There should be a distance of about one fist along the
line running between the feet.
2 Slowly transfer most

of your body weight to
your left leg and bend
your left knee slightly
more, but not too much.
Raise your right heel, with
only the toes touching the
ground. Keep your upper
body upright.
1 2
(continued)
41
Follow-Up Footwork (continued)
3 Move your body weight

completely onto your left leg
and move your right foot a half
step forward. Lightly touch
your right toes to the ground.
Keep your upper body upright.
4 Put your entire right foot

on the ground and transfer
most of your body weight
(about 70 percent) back onto
right leg. Keep your upper
body upright.
3 4
Common mistakes of the follow-up footwork include distributing your body weight
almost evenly between the legs during movement; positioning the legs too close
together front and back or laterally; moving without a clear transfer of weight; moving
too quickly, without good balance control; and not keeping the upper body upright.
Correct the mistakes by shifting your body weight from one leg to another when
starting to move, transferring your body weight slowly with a stable base, and always
holding upper body upright.
You have now learned some key foot movements of tai chi. One of the key prin-
ciples in tai chi footwork is Light up and light down, which means you should
raise and lower your legs and feet slowly and lightly during tai chi movements.
This is one of the reasons why tai chi footwork is sometimes called cat stepsthe
movement is light, soundless, controlled, stable, and fast when needed, just like a
cat. Keeping clear weight transfers and always holding your upper body upright are
other important principles. Start practicing your cat steps now!
42
chapter 4
Basic Hand
Forms
and Movement
Because tai chi is rooted in the Chinese mar-
tial art of boxing, understanding boxing hand
forms and movement patterns will help you
in learning tai chi. In this chapter, three key tai
chi hand forms are introduced, and then eight
major hand movement patterns and some
exercises are introduced and illustrated. After
familiarizing yourself with these exercises,
you should be able to easily apply them
to the tai chi forms starting in chapter 6
onward.
43
Hand Forms
The three major hand positions in tai chi are the fist, palm, and hook. As mentioned,
hands in tai chi were used originally for various combat purposes; for example, the
hook was used to hit an enemys temple when the enemy was attacking from behind.
When practiced for fitness, these forms help exercise the hand muscles and improve
fine motor skills and function of the hands.
Fist Do not clench

The fist is formed by bending the fingers. Keep the fist
straight.
all the fingers naturally into
the palm of the hand with the
thumb resting at the third joint
of the index finger (see figure
4.1). Do not clench the fingers Bend fingers
closed or together too firmly, naturally.
and make sure the center of
Figure 4.1 Correct fist hand form.
the palm is empty (i.e., there
is space in the middle of your
fist). Keep the fist straight with
no angle from your wrist.
C T
RE
Common mistakes of the
fist form are holding the fingers
too tightly together (see figure
OR
4.2a), putting the thumb inside
NC
I
the fist (see figure 4.2b), and a
bending the wrist too much
(see figure 4.2c). Correct these
mistakes by bending the fin-
gers and holding them together
C T
slightly, always keeping the
thumb outside the fist and
R RE
resting on the index finger, and
CO
keeping the fist and forearm on
the same line. b IN
C T
R RE
CO
Figure 4.2 Incorrect fist hand
forms: (a) fingers held too tightly IN
together, (b) thumb inside the fist,
and (c) angled wrist. c
44
Palm Separate
Bend your fingertips
your fingers
The palm is formed by bending the hand in a relaxed naturally.
manner.
upward and holding all the fingers out in
a natural, relaxed manner without them
touching each other (see figure 4.3). The
palm is vertical to the ground when used
as a pushing palm (when the palm faces
outward and moves away from the body);
otherwise, it is perfectly fine to hold the
palm facing outward and bent only slightly
upward as long as it is in a natural position
with the wrist and arm.
Common mistakes of the palm form
are bending the fingers too much (see
figure 4.4a), holding them too rigidly (see
figure 4.4b), and pointing the fingertips out
instead of in the upward vertical position for
pushing hands (see figure 4.4c). Correct
these mistakes by curving and relaxing Figure 4.3 Correct palm hand form.
the upper joints of the fingers naturally and
holding them in place softly; keep about 90
degrees between the hand and forearm
when doing a pushing hand.
C T C T C T
R RE R RE R RE
CO CO CO
IN IN IN
a b c
Figure 4.4 Incorrect palm hand forms: (a) fingers bent too much, (b) fingers held too
rigid, and (c) fingertips pointed outward.
45
Hook
Keep your wrist and fingers
The hook is formed by touching all the fin- relaxed and loose.
gertips and thumb together, with the wrist
in a downward flexed position (see figure
4.5). Do not hold the fingers together too
tightly; let them come together in a natu-
ral, relaxed manner.
Bend your wrist about

45 degrees down
toward the ground.
Bunch your fingertips

and thumb together.
Figure 4.5 Correct hook hand form.
Common mistakes of the hook form are ECT

bending the wrist more than 45 degrees
R R
(see figure 4.6a), holding the wrist joint too
CO
rigidly (see figure 4.6b), and having the
fingers too close to each other (see figure IN
4.6c). Correct these mistakes by bending
the fingers naturally to keep a space inside a
the hand so that your fingers form a small
C T
RE
cage and allowing your wrist joint to bend
R
naturally.
CO
IN
b
C T
R RE
CO
Figure 4.6 Incorrect hook hand forms: (a)
wrist bent more than 45 degrees, (b) wrist held
IN
too rigidly, and (c) fingers too close to each other. c
46
Hand Movement
Most tai chi hand movements are circular or curved; rarely does tai chi movement
follow a straight line. The circular movement can be further divided into horizon-
tal and vertical circles. The pattern of the hand movements can be a full circle, a
half circle, an ellipse, or simply a curve. The movement of the two hands can be
the opposite of each other, in the same direction, or in sequence with each other.
Eight common hand movements are introduced in this section. You should be
able to apply these movements to the tai chi forms that you will learn starting in
chapter 6.
Vertical Circular Movement

In this movement, your hands make a full circle in front of your body. Movement
path is summarized in figure 4.7. (Note: The solid line represents the right hand
and arm, and the dotted line represents the left hand and arm. It is not a mirror
representation; think of yourself as being behind the illustration.)
Figure 4.7 Movement path for Vertical Circular Movement.
(continued)
E5291/Qui/fig. 4.7/439311/TimB/R2-alw
47
Vertical Circular Movement (continued)
1 Stand at ease with the upper body held upright. Hold your hands open with
fingers bent naturally. Cross your hands in front of your chest, with the left hand
on the inside and both palms facing your chest. Relax your shoulders and breathe
naturally.
2 Turn your left hand down and right hand up as the left hand moves upward
and the right hand moves downward, ending in a holding-ball position with the
left hand on top, right hand on the bottom, and palms facing each other. Keep
your upper body upright. Relax your shoulders.
1 2
3 4
48
3 Move your arms and hands in opposite directions, with the left hand moving
in a downward arc and the right hand moving in an upward arc counterclockwise,
both simultaneously making a little over a half circle; end with the palms facing
each other and your right hand on the top of the holding-ball position. Keep your
upper body upright and relax your shoulders.
4 Moving back along the arc of the circular path performed previously, both
arms and hands move clockwise in opposite directions, with the right hand
moving downward and left hand moving upward simultaneously, stopping with
palms facing each other in the holding-ball position with the left hand back at the
top. Keep your upper body upright and relax your shoulders.
5 Repeat steps 2 and 3 several times.
Common mistakes of the Vertical Circular Movement are moving the arms and
hands along an up-and-down straight line rather than an arc and not keeping the
shoulders relaxed. Correct these mistakes by making sure your arm movement is
curved, bending the arms throughout as if you were holding a big ball at all times,
and keeping your upper body upright and your shoulders relaxed and down.
Inside Vertical Circular Movement in Sequence

In this movement, your hands move along two circles in front of your body, with
the left hand moving clockwise and the right hand moving counterclockwise. In
addition, as noted in the name of the movement, the left and right arms move in
sequential order. Movement path is shown in figure 4.9. (Remember, the solid line
represents the right hand and arm, and the dotted line represents the left hand
and arm. It is not a mirror representation; think of yourself as being behind the
illustration.)
Figure 4.9 Movement path for Inside Vertical Circular Movement in Sequence.
E5291/Qui/fig. 4.X/439316/TimB/R2-alw (continued)
49
Inside Vertical Circular Movement in Sequence
(continued)
1 Extend your arms in front of your

body in a relaxed, natural manner with
about 45 degrees between your arms
and body. Maintain about 5 inches (13
cm) of distance between your hands
and body. Keep your upper body
upright and relax your shoulders.
2 Move both arms along a full

circle starting from the outer edge
to the centerline of your body. The
left arm moves along its full circle in 1
a clockwise direction and the right
arm moves counterclockwise for its
full circle. To do this, start moving
one arm along its own circle. The
other arm starts once the first arm
has made a half circle and is along
the centerline of the body. The palm
faces up when the hand is moving up
and the palm faces the body when
the hand is moving down. Be sure to
keep about 5 inches (13 cm) between
your hands and body. Keep your
upper body upright and relax your
shoulders.
2a
2b 2c
50
2d
2e
3 Repeat the movements several times.
Common mistakes of this hand movement are having tight shoulders; moving
the arms or hands without making full, round circles; and moving the hands either
too close or too far from the front of the body. Correct these mistakes by relaxing
the shoulders, elbows, and wrists while moving; checking the paths of your hands
by practicing in front of a mirror; and keeping your hands moving on a plane that is
5 inches (13 cm) away and parallel to the front of your body.
51
Outside Vertical Circular Movement in Sequence
In this movement, your hands also move along two circles in front of your body, but
the right hand moves clockwise and the left hand moves counterclockwise. Again,
as noted in the name of the movement, the left and right arms move in sequential
order. Movement path is shown in figure 4.11. (The solid line represents the right
hand and arm, and the dotted line represents the left hand and arm. It is not a
mirror representation; think of yourself as being behind the illustration.)
Figure 4.11 Movement path for Outside Vertical Circular Movement in Sequence.
E5291/Qui/fig. 4.11/439319/TimB/R2-alw
1 Open your hands with fingers naturally

bent and cross the hands in front of your chest,
with the left hand on the inside and both palms
facing your chest. Stand at ease with the upper
body kept upright. Relax your shoulders and
breathe naturally.
52
2 Start moving your arm along its own circle, with one arm starting first and the
other starting its path when the first arm is on the outer edge of the circle. To do
this, the left hand and arm move upward while arcing away from the centerline of
your body; then they move downward and upward again to the centerline of your
body, making a full counterclockwise circle. The right hand and arm follow on
their own clockwise circle once the left hand and arm have made a half circle. The
palm faces up when the hand is moving up and it faces your body when the hand
is moving down. Be sure to keep about 5 inches (13 cm) between your hands and
body. Keep your upper body upright and relax your shoulders.
3 Repeat the movements several times.
2a 2b 2c
2d 2e 2f
(continued)
53
Outside Vertical Circular Movement in Sequence (continued)
Similar to the Inside Vertical Circular Movement in Sequence, common mistakes

of this hand movement are holding the shoulders, arms, and hands too tightly;
moving without making full, round circles; and moving the hands either too close or
too far from the body. Correct these mistakes by relaxing your shoulders, elbows,
and wrists while moving; checking the paths of your hands by practicing in front of
a mirror; and keeping your hands moving within a plane that is 5 inches (13 cm)
away and parallel to the front of your body.
Inside Vertical Circular Movement Together

In this movement, your hands once again move along two circles that are in front
of your body, with the left hand moving clockwise and the right hand moving
counterclockwise (i.e., moving from inside and down to outside and up). As noted
in the name of the movement, the left and right arms move simultaneously along
their opposite circular paths. Movement path is shown in figure 4.13. (The solid
line represents the right hand and arm, and the dotted line represents the left
hand and arm. It is not a mirror representation; think of yourself as being behind
the illustration.)
Figure 4.13
Movement path for Inside
Vertical Circular Movement Together.
1 Open your hands with fingers naturally bent

E5291/Qui/fig. 4.X/439322/TimB/R2-alw
and cross the hands in front of your chest, with the
left hand on the inside and both palms facing your
chest. Stand at ease with your upper body upright.
Relax your shoulders and breathe naturally.
54
2 Keeping your upper body upright
and shoulders relaxed, start moving
both arms simultaneously down and
then up along their own circular paths.
The palms face up when the hands
move up, and they face down when the
hands move down. Keep about 5 inches
(13 cm) of distance between your hands
and your body.
2a
2b 2c
3 With your upper body

upright and shoulders relaxed,
keep moving your arms up
along the circular paths, with
the centers of the circles at
about shoulder level. At the top
of the circles, face the palms
down. Keep about 5 inches (13
cm) of distance between your
hands and your body.
(continued)
55
Inside Vertical Circular Movement Together
(continued)
4 Stop the movement when your hands

return to the starting position in step 1. Be
sure that your hands are open with fingers
naturally bent. Relax your shoulders and
breathe naturally.
5 Repeat the movement several times.
Similar to the Inside Vertical Circular Movement in Sequence described earlier,

common mistakes of this hand movement are holding the shoulders, arms, and
hands too tightly; moving without making full, round circles; moving the hands either
too close or too far from the body; and holding the hands too high or too low when
moving along the circular paths. Correct these mistakes by relaxing your shoulders,
elbows, and wrists while moving; checking the paths of your hands by practicing in
front of a mirror; keeping your hands moving on a plane about 5 inches (13 cm) away
and parallel to your body; turning your palms as your arms and hands move (facing
up when moving up and facing down or facing your body when moving down); and
having the centers of the circles at shoulder level.
Outside Vertical Circular Movement Together

In this movement, your hands move along two circles that are in front of your body,
with the right hand moving clockwise and left hand moving counterclockwise (i.e.,
moving from inside and up to outside and down). Both left and right arms move
simultaneously along opposite
circular paths. Movement path is
shown in figure 4.15. (The solid line
represents the right hand and arm,
and the dotted line represents the
left hand and arm. It is not a mirror
representation; think of yourself as
being behind the illustration.)
Figure 4.15 Movement path for Outside Vertical Circular Movement Together.
E5291/Qui/fig. 4.X/439327/TimB/R2-alw
56
1 Open your hands with fingers naturally bent and cross the hands in front of
your chest, with the left hand on the inside and both palms facing your chest.
Stand at ease with your upper body upright. Relax your shoulders and breathe
naturally.
2 Keeping your upper body upright and shoulders relaxed, start moving both
arms up from the middle of your body and then down along their own circular
paths. The palms face up when the hands move up and the palms face down when
the hands move down. Keep about 5 inches (13 cm) of distance between your
hands and your body.
1 2a 2b
3 With your upper body upright and shoulders relaxed, keep moving your arms
down along the circular paths, with the centers of the circles at about shoulder
level. Face your palms down at the tops of the circles. Keep about 5 inches (13
cm) of distance between your hands and your body.
3a
3b
(continued)
57
Outside Vertical Circular Movement Together (continued)
4 Continue the movement along the circles and turn your palms up when your
hands are along the midline of your body. Stop the movement when your hands
return to the starting position in step 1. Be sure that the hands are open with
fingers naturally bent. Relax your shoulders and breathe naturally.
4a 4b
5 Repeat the movement several times.
Common mistakes of this hand movement are holding the shoulders, arms, and
hands too tightly; moving without making full, round circles; moving the hands either
too close or too far from the body; moving the hands too high or too low when moving
along the circles; and moving the arms and hands in sequence rather than together.
Correct these mistakes by relaxing your shoulders, elbows, and wrists while moving;
checking the paths of your hands by practicing in front of a mirror; keeping your
hands moving on a plane about 5 inches (13 cm) away and parallel to your body;
turning your palms as your arms and hands move (facing up when moving up and
facing down or facing your body when moving down); and making sure the centers
of the circles are at shoulder level.
58
Horizontal Ellipse Movement in Sequence
In this movement, your hands move along a horizontal ellipse in front of your body.
An ellipse is an oval that is symmetrical both horizontally and vertically. Both hands
move in the same direction but in sequence, with the right hand on the top first
moving clockwise and then the left hand moving clockwise, and then with the left
hand on the top first moving counterclockwise and then the right hand moving
counterclockwise. Movement path is shown in figure 4.17. (The solid line represents
the right hand and arm, and the dotted line represents the left hand and arm. It
is not a mirror representation; think of yourself as being behind the illustration.)
a b
Figure 4.17 4.17a/439334/TimB/R2

E5291/Qui/fig. Movement path for Horizontal Ellipse Movement
E5291/Qui/fig. in Sequence:
4.17b/439335/TimB/R2-alw
(a) clockwise and (b) counterclockwise.
1 Cross your hands and arms slightly in front of your chest with the right wrist
on top of the left wrist and both palms up.
2 Stand at ease with your upper body upright and shoulders relaxed. Move your
right hand back with the palm facing down and move your left hand forward with
the palm facing up.
1 2a 2b
(continued)
59
Horizontal Ellipse Movement in Sequence (continued)
3 Move your left hand

forward while your right hand
moves backward. Keep your
left palm facing up and right
palm facing down.
4 Keep both hands moving along their own ellipse. Start to move with your
right hand forward, palm facing down, and turn your left hand over so the palm is
facing the ground a bit at the front end of its ellipse; then gradually turn your left
palm up again when moving your left hand back toward your body.
4a 4b
5 Repeat the movement several times. After you learn the movement, start with
your left hand from the opposite direction, making horizontal counterclockwise
ellipses.
hands too tightly; moving without following the path of an ellipse; moving the hands
either too close or too far from the front of the body; and having the palms facing
the same direction. Correct these mistakes by relaxing your shoulders, elbows, and
wrists while moving and by practicing in front of a mirror to check that your hands
are moving along an elliptical path.
60
Vertical Ellipse Movement Together
In this movement, your hands move along a vertical ellipse in front of your body.
Both hands move together in the same direction: counterclockwise first (down from
right shoulder to left hip and then up) and then clockwise (down from left shoulder
to right hip). Movement path is shown in figure 4.19. (The solid line represents the
right hand and arm, and the dotted line represents the left hand and arm. It is not
a mirror representation; think of yourself as being behind the illustration.)
a b
Figure 4.19 Movement path for Vertical Ellipse Movement Together: (a) counter-
clockwise and (b) clockwise.
E5291/Qui/fig. 4.19a/439342/TimB/R2 E5291/Qui/fig. 4.19b/439341/TimB/R2-alw
1 Stand at ease with your upper body upright. With open hands and fingers nat-
urally bent, cross your hands in front of your chest, with the left hand on the inside
and both palms facing your chest. Relax your shoulders and breathe naturally.
2 With your shoulders relaxed, separate your hands and move the right hand to
the right and turn the palm down; at the same time, turn the left palm down. Both
hands are at the top of the vertical ellipse now. While doing this movement, turn
1 2
(continued)
61
Vertical Ellipse Movement Together (continued)
your head slightly to the right, with your eyes

and face following the movement of your hands. INSERT Photo
At the bottom of the vertical ellipse, both hands E5291_439345, Figure
move up. 4.20c, ID: 439345 or
3 With your upper body upright and shoulders

E5291_0979P_0109, here,
still to come
relaxed, keep your hands moving. Both palms
turn to face toward your body and your head and
eyes follow the movement of your hands. NOT ON SERVER
08/21/2012
4 With your upper body upright and shoulders
and elbows relaxed, keep moving both hands up
along their own ellipses, and turn both palms up
when the hands are moving up.
3
5 Repeat the movement by moving both hands down following the same
elliptical path. The right palm turns up naturally when right hand moves down;
turn the palm down after your front arm and upper arm reach about 90 degrees.
Keep your palms turned down as soon as your hands start to move down.
4 5
6 Repeat the movement several times. After you learn the movement, change it
to the opposite direction, making a clockwise vertical ellipse.
either too close to or too far from the front of the body; moving the hands too high or
low; and not following the hand movements with the head and eyes. Correct these
mistakes by relaxing your shoulders, elbows, and wrists while moving; checking the
paths of your hands by practicing in front of a mirror; keeping your hands moving
within the ellipse surface of about 5 inches (13 cm) in front of your body; and letting
your head and eyes follow the movement of your hands.
62
Back-and-Forth Vertical
Side Ellipse Movement
in Sequence
In this movement, your hand moves
along an ellipse on one side of your
body. Practice the other side after
repeating the movement on one side
several times. Movement path is
shown in figure 4.21. (The solid line
represents the right hand and arm,
and the dotted line represents the
left hand and arm. It is not a mirror
representation; think of yourself as
being behind the illustration.)
Figure 4.21 Movement path for Back-
and-Forth Vertical
E5291/Qui/fig. Side Ellipse Movement
4.21/439348/TimB/R3-kh
in Sequence.
1 Stand at ease with your upper body upright and shoulders relaxed. With your
hands open and fingers naturally bent, cross both hands in front of your body,
with the left hand on the inside. Breathe naturally.
2 Separate your hands by moving the left hand down along a side ellipse on
the left side of your body, palm facing up. Keep your right hand as the front hand,
remaining in starting position. Shoulders are relaxed.
1 2
(continued)
63
Back-and-Forth Vertical Side Ellipse Movement in Sequence (continued)
3 Raise your left hand with the fingertips up and palm facing out to the front.
Move your right hand down a little in front of your chest. Turn your body slightly
to the left. Shoulders are relaxed.
4 Keep moving the left hand up along the path of the ellipse and turn your body
back to facing the front. Relax your shoulders and elbows.
3 4
5 Repeat the movement several times. After you learn the movement for the left
hand and arm, practice the movement with the right hand and arm on the right
side of body.
too high or too low; and not following the hand movements with the upper body.
Correct these mistakes by relaxing your shoulders, elbows, and wrists while moving;
checking the paths of your hands by practicing in front of a mirror; and keeping your
hands moving along the ellipses plane and letting your upper body turn to follow
hand movements naturally.
By learning and practicing these hand positions and movements, you will become
familiar with core tai chi movements and related movement patterns. They are not
actually tai chi techniques, but you should start to enjoy the feeling you will likely
experience doing these tai chirelated movements. Building on these basic move-
ments, you will start to learn specific tai chi forms and corresponding moves starting
in chapter 6, and you will be able to integrate them naturally into the forms. Start
practicing and enjoying these movements!
64
chapter 5
Basic Stances
Zhan zhuan is a term used widely in all forms of Chinese martial arts and
mindbody exercises. Zhan means stand and zhuan means post.
Together, these two characters mean stand like a post, or simply, stance.
When practicing your stance, you stand with the required posture for
some time. Stance is often compared to the foundation of a building. You
need a strong and solid foundation to be able to construct a tall building.
It is so important that there is a well-known Chinese saying reflecting its
significance: Without practicing stance, one
learns nothing (from martial arts or mindbody
exercise) over time. According to Chinese
medicine, certain meridians are stimulated in
specific stances. As a result, qi or vital energy
related to these meridians is promoted. The
importance of stance is also supported in
modern exercise physiology research. Stud-
ies have shown that many muscle groups are
involved in stance practice. Because the load
comes from the weight of the body, the training
dose can be easily controlled and adjusted
(e.g., bending the knees more to increase the
intensity).
65
TAI CHI illustrated
Furthermore, because the muscles are isometrically trained, stance is effective

in increasing leg muscle mass and strength in a time-efficient manner. Stance is
also excellent for meditation. After some stance practice, you should feel a sense of
relaxation and peace in your mind, which is why the stance is often called standing
meditation in China. However, do not force yourself to meditate when you start stance
practice. Stance practice can be boring and hard work when you start, thus making
it hard to meditate at first. It is fine to let your mind wander as you practice. When
you practice at home, you are encouraged to listen to music. You will find yourself
able to meditate easily and naturally after several weeks of stance practice.
TIP When done correctly, regular stance practice can help improve your emo-
tional state and prevent certain health problems, such as headaches and
colds. Yet even with its benefits, you should not do stance practice when
you are sad, you are very sick, or you have just eaten a large meal or
consumed alcohol. In these situations, stance practice is not beneficial.
As it is in other martial arts and mindbody exercises, stance is an essential part of

tai chi training, and this chapter introduces a few common practice stances. Because
these stances were designed specifically for tai chi, they are sometimes called the
tai chi stances. By practicing stances regularly, especially when starting to learn tai
chi, you strengthen your legs, which will give you better control of your balance and
movement, thus making it easier to meditate. As a result, you will learn tai chi faster
and it will be more enjoyable. However, do not expect quick results. Usually it takes
two to three months before you start to feel the benefits of stance practice. Consis-
tency is crucial in stance practice. Some tai chi masters compare stance practice to
recharging a batteryafter recharging, a depleted battery becomes filled with new
energy and life. Stance practice will infuse your body with new energy, leading to
faster recovery, but this will take time to achieve.
TIP Control the intensity of the stance with appropriate knee bending; the more
bent the knees are, the higher the intensity. Start with slightly bent knees and
gradually increase the degree of bending. Hold your upper body upright,
because qi (life energy) may not flow well if your upper body is inclined too
far forward or backward.
Try to do stance practice 20 to 30 minutes every day even if you do not practice any
other tai chi forms or routines. Stance practice requires little space and can take place
almost anywhere, so reaching a daily goal of 20 to 30 minutes should not be difficult.
Try to integrate stance practice into your daily life, such as during breaks, while wait-
ing at the bus stop, and so on. In this way, practice becomes a way to energize yourself
during downtime rather than a burden on your time. Also, it may be helpful to do
stance practice with others. Good social support will make stance practice easier and
more fun. In addition, practicing together can significantly improve the efficiency of
your practice because of the qi field created by a group of people practicing together.
66
TIP Being able to relax during stance practice is difficult yet important. To
achieve this, your mind should be relaxed first. After overcoming the first
stages of muscle strength and endurance challenges, you should start
to learn how to relax. Using your imagination during practice could be
helpful, such as imagining warm water flowing slowly from your head to
your shoulders, arms, legs, and feet.
Wuji Stance
Recall that chapter 1 introduced the wuji diagram (see figure 1.4 on page 8) as
simply a circle. The circle represents the original state of the universe, in which
everything was static. The wuji stance somewhat reflects this static meaning.
During wuji stance practice, stand in a natural manner with legs shoulder-width
apart and knees slightly bent. Relax your mind and start to meditate. Breathe nat-
urally with the Dan Tian relaxed. As discussed earlier, the Dan Tian is located in
your front lower belly. Maintain the stance for 5 to 10 minutes. It is okay to adjust the
distance between your legs for comfort. To help relax and meditate, you can also
think through each part of your body based on the earlier description of the correct
tai chi postures and adjust your body accordingly.
1 Stand relaxed with your legs shoulder-width apart, keeping your body weight
equally divided between both legs (see figures for a side view and front view). Relax
your upper body, keeping it upright, and relax your shoulders. Hold your chin steady,
with your eyes looking forward. Breathe naturally with your Dan Tian area relaxed.
2 Bend your knees slightly, but keep your upper body upright in the same vertical
line.
1a 1b 2
(continued)
67
Wuji Stance (continued)
Common mistakes in the wuji stance include distributing body weight unevenly
onto the legs, bending the upper body forward or backward too much, having straight
knees, and not relaxing the body. Correct these mistakes by distributing body
weight equally between both legs, keeping your whole body upright but relaxed,
and breathing naturally.
Circle Stance
This stance is named for the shape that the arms hold, which is a circle. In this
stance, you stand with your legs apart and knees bent, and you form an open circle
with your arms in front of your body, with the palms facing each other or angled
slightly down toward the Dan Tian. Hold this stance for 3 to 5 minutes and repeat
it two to five times, with 5-minute breaks in between.
TIP Make sure your whole body feels as one. In circle stance, for example,
rather than feeling your arms and legs separately, you should feel as if
you were going to hug someone using your whole body.
1 Stand with your legs about shoulder-width apart and keep your body weight
divided equally between both legs. Your knees should be bent (slightly at first,
but increase the bend as your legs get stronger). Using your arms, form a circle
in front of your body. Relax your upper body, keeping it upright, and relax your
shoulders. Hold your chin steady, with your eyes looking forward. Breathe
naturally with the Dan Tian area relaxed.
2 Bend both knees, keeping the upper body upright in the same vertical line,
and relax your shoulders (see figures for a front and side view). Keep an angle
of about 45 degrees between your upper arms and upper body. Keep an angle of
about 5 to 10 degrees between the forearms and upper arms.
1 2a 2b
68
Common mistakes in the circle stance include standing with the legs too close to
each other, bending too little or too much, leaning the upper body forward or back-
ward too much, holding the arms too high or too low, and not relaxing the shoulders.
Correct these mistakes by separating your legs and distributing your body weight
equally between both legs; keeping your whole body upright but relaxed, especially
the shoulders; bending your knees at a comfortable angle initially; gradually increas-
ing the bend in your knees; and breathing naturally.
OpenClose Stance
This stance is named for the variation in how the arms are held (i.e., a combination
of opened and closed). During the practice, you start in the circle stance position
with legs apart, knees bent, and arms in front in a circle. Open your arms slowly
until they are at a 45-degree angle from the body, and then close your arms slowly,
ending with your hands joined in front of the Dan Tian. Breathe in when your arms
are opening and breathe out when they are closing. Breathe in a deep, slow, and
relaxed manner at the same speed throughout the opening and closing phases.
Repeat 8 to 12 times. The eyes can be slightly closed. Enjoy the relaxed feeling
this movement provides.
1 Stand with your legs about shoulder-width apart, body weight evenly
distributed between both legs, and knees bent. Form a circle using both arms
in front of your body, keeping an angle of about 45 degrees between your upper
arms and upper body and an angle of 5 to 10 degrees between the forearms and
upper arms. Relax your upper body, keeping it upright, and relax your shoulders.
Hold your chin steady, with eyes looking forward (eyes can be closed after
learning the movement). Breathe naturally.
2 Keep your body weight

evenly distributed between
both legs and bend your
knees. Open both arms,
with the upper arms
parallel to the ground
and at an angle of 45
degrees to the front
of your body. Breathe
in when your arms are
opening.
1 2
(continued)
69
Open-Close Stance (continued)
3 With both knees still bent, keep

the upper body upright and shoulders
relaxed. Return your arms to the
starting position, continuing to step
4. Breathe out when your arms are
closing.
4 With the knees still bent and

shoulders relaxed, move both arms
back and down toward the Dan Tian.
Stop with your left hand (if you are
male) or right hand (if you are female)
slightly touching the Dan Tian and the
palm of your right hand (males) or left
hand (females) touching the back of
your left hand (males) or right hand
(females). Breathe naturally and focus
your mind on the Dan Tian, where you
should feel warmth as your skill level
improves. 3 4
Common mistakes in the openclose stance include standing with the legs too
close to each other, bending the knees too little or too much, leaning the upper body
forward or backward too much, holding the arms too high or too low, not relaxing
the shoulders, straightening the knees when opening the arms, and not coordinat-
ing breathing with arm movements. Correct these mistakes by separating your legs
and distributing your body weight equally between both legs; keeping your whole
body upright but relaxed, especially the shoulders; bending your knees comfort-
ably and increasing the bend gradually; keeping the same degree of bending when
your arms open and close; and breathing in while your arms open and breathing
out while they close.
UpDown Stance
This stance is named for its variation in leg movements (i.e., a combination of
straight and bent legs). During the practice, you stand with legs shoulder-width
apart and raise both arms slowly to the same level as your shoulders. Squat down
slowly as your arms move down with the wrists slightly bent, and then return to
the original starting position. You breathe in when your arms move up and breathe
out when they move down. Breathe in a slow and relaxed manner. Repeat 8 to 12
times. Close your eyes slightly after becoming familiar with the stance and enjoy
the relaxed feeling the movement provides.
1 With your upper body upright, stand with both legs straight, about shoulder-
width apart, with body weight evenly distributed between both. Raise both arms in
front of your body to shoulder level. Breathe in when your arms move up.
70
2 Keeping your
upper body upright,
slowly bend your
knees while moving
your arms down (see
figures for a front
view and side view).
Breathe out when
your arms move
down. Hold the squat
position for 10 to
15 seconds (hold
longer as you get
stronger), and then
stand up, returning to
the starting position
shown in step 1.
1 2a 2b
Common mistakes in the updown stance include standing with the legs too close
to each other, leaning the upper body forward or backward too much, holding the
arms too high or too low, bending the knees, and not coordinating breathing with
arm movements. Correct these mistakes by separating your legs and distributing
your body weight evenly between both legs, keeping your whole body upright but
relaxed, coordinating your arm movements, bending your knees, and breathing.
LooseFirm Stance
This stance is named for the contrast of the exercise load on the arms and legs
(i.e., a combination of on and off loads on the arms and legs). Start by standing
with your legs naturally apart, knees slightly bent. Shift your body weight to your
left leg while you raise your body slightly (knees are still bent and arms are open
outward), and continue shifting your body weight onto your left leg while moving
your curved arms down and turning your body 45 degrees to the right. Finish
shifting your body weight onto your left leg with your arms held in front of your
body and your right heel touching the ground. Your left leg is firm while your right
leg is loose in this movement. Repeat steps 1 through 5 (listed next) by moving
your body weight back onto both legs first and then transferring your body weight
onto your right leg, remembering to end the stance with your arms in front of your
body while your body weight is on your right leg and your left heel is touching the
ground. Now your right leg is firm while your left leg is loose. Repeat the movement
(switching from left to right leg) three to four times. End your practice by turning
your body to the front, with your body weight evenly distributed between both legs.
Arms move down to return to the original standing position.
(continued)
71
Loose-Firm Stance (continued)
1 With the upper body upright, stand with your legs straight and about
shoulder-width apart, with body weight evenly distributed between both. Raise
both arms in front of your body to shoulder level. Breathe in when the arms move
up.
2 Keeping the upper body upright, slowly bend your knees and move your arms
down at the same time. Breathe out while you do this movement and breathe in
when you are in a squatting position.
3 With your upper body still upright, continue shifting your body weight onto
your left leg as you turn your body 45 degrees to the right. Move your curved
arms down.
1 2 3
4 For a loose right side, keep your upper body upright and start to shift your
body weight onto your left leg while your body rises slightly with the knees still
bent. Open your arms outward at the same time.
5 When the body weight is completely shifted, your arms held out in front of
your upper body. Raise your right toes and place your right heel on the ground to
form a right empty step (your left leg is firm while your right leg is loose when the
movement is completed). Raise your right hand in a curve to nose level, with the
palm facing left and your right elbow slightly bent. The left hand moves down and
back until it reaches the level of your right elbow, palm facing to the right.
6 For the left side, keeping the upper body upright and knees bent, start to
transfer body weight onto your right leg while you raise your body slightly. Open
your arms outward.
72
4 5 6
7 Keeping the upper body upright, continue shifting your body weight onto
your right leg as you turn your body 45 degrees to the left. Move your curved
arms downward.
8 When the body weight

is completely shifted, your
arms are held out in front of
your upper body. Raise your
left toes and touch your left
heel on the ground to form
a left empty step (your right
leg now is firm while your
left leg is loose when the
movement is completed).
Raise your left hand in a
curve to nose level, with
your palm facing to the right
and elbow slightly bent.
The right hand moves down
and back until it reaches
the level of your left elbow,
palm facing left.
7 8
(continued)
73
Loose-Firm Stance (continued)
9 To end the movement, start to transfer your body weight toward the front and
return your body weight equally to both legs. At the same time, move your arms to
the front.
10 Keeping your upper body upright and body weight evenly distributed
between both legs, straighten your legs, which are shoulder-width apart. Return
both arms to the front of your body at shoulder level.
11 Lower your arms to return to the starting position. Stand naturally and
relaxed.
9 10 11
Common mistakes in the loosefirm stance include not clearly transferring weight
between the legs, leaning the upper body forward or backward too much, not relax-
ing the shoulders, and not coordinating the turning body, bending knee, and moving
arms. Correct these mistakes by slowly but clearly transferring your body weight
during left and right stances, and make sure one leg is firm and the other one is
empty when completing the stance. Keep your upper body upright.
YinYang Stance
As introduced earlier, the yinyang concept is the foundation of tai chi movement.
This stance is named yinyang because the body weight shifts between the legs
from emptiness or looseness (yin) to firmness (yang). Start this stance with your
legs naturally apart and raise both arms slowly to shoulder level, similar to the
beginning of the updown stance. Arc your right arm downward while shifting
74
your body weight onto your left leg. End with your arms and hands positioned
as if holding a large ball in front of the left side of your body and with your body
weight fully on your left leg and your right toes touching the ground. Repeat steps
1 through 3 (listed next), but this time shift your body weight onto your right leg
and arc your left arm downward. End as if you were holding a large ball in front
of your right side, with your body weight fully on your right leg and your left toes
touching the ground. End the practice by returning your body weight equally onto
both legs. Bring your arms down to the starting standing position.
1 With the upper body upright and body weight evenly divided between both
legs, stand with your legs straight about shoulder-width apart. Raise both arms in
front of your body to shoulder level. Breathe in when moving your arms up.
2 For the left-leg stance, lift your right heel while keeping your toes on the
ground and rotate your foot out about 45 degrees while at the same time turning
your upper body slightly to the left, using your waist as the axis. Put your right
heel back down on the ground. Move your body weight onto the left leg at the
same time, move both arms down 3 to 4 inches (8-10 cm), and bend your elbows
so that there is about a 5-degree angle with your forearms instead of holding your
arms out straight; keep your left palm facing down. Arc your right arm downward
and then toward your left side at the same time as you turn the upper body.
3 Keeping your upper body upright, complete the transfer of body weight onto
your left leg and put your heel down. Move your right foot to the inner side of your
left foot, with the right toes slightly touching the ground. Stop moving your right
hand when it is under your left hand, palms facing each other (as if holding a ball
on the left side of your body).
1 2 3
(continued)
75
Yin-Yang Stance (continued)
4 For the right-leg stance, separate your legs by returning your right foot to its
original position, toes turning out about 45 degrees, while also turning your upper
body slightly to the right. Start to move your body weight onto your right leg.
Move your right arm back along its arc path to its original position.
5 Keep transferring your body weight onto your right leg while moving your
right arm up with the palm facing down. Move your left arm down, following the
same arc of the right arm. Lift the heel of your left foot off the ground.
6 Keeping your upper body upright, complete the transfer of body weight to
your right leg and move your left foot to the inside of the right foot, with your left
toes slightly touching the ground. Stop moving your left hand when it is under
your right hand, palms facing each other (as if holding a ball on the right side of
your body).
4 5 6
7 Repeat the left and right yinyang stance several times.
76
8 9
8 To end the movement, keep your upper body upright and start to return your
body to face the front while returning your weight evenly to both legs. Return both
arms out in front of your body at shoulder level.
9 Move both arms down, stand upright, and return to the starting position.
Common mistakes of the yinyang stance include not clearly transferring weight
between the legs, leaning the upper body forward or backward too much, not coor-
dinating the bending knees and moving arms, and not moving the arms in smooth
arcs. Correct these mistakes by slowly but clearly transferring body weight when
forming left and right stances, making sure one leg is firm and the other one is
empty when completing the stance on one side, keeping the upper body upright,
and moving your arms in smooth arcs.
After learning tai chi stances, you have learned all the basic movements of tai
chi and now have a solid foundation of tai chi. Starting with the next chapter, you
will learn tai chi forms and be able to experience and enjoy the flow of tai chi.
Meanwhile, keep practicing all basics learned since they will help improve your
forms and routines practice.
77
part II
Tai Chi Forms
Often people just starting to learn tai chi are expected to jump right into
the routines using as many as 108 forms. As a result, beginners are often
confused and discouraged by the complexity of the instructions along with
the skills required. The routines, in fact, consist of many single forms, which
can be learned much more easily individually. By learning these forms indi-
vidually, you as a beginner can memorize the movements quickly and start
to understand the principles of tai chi. More important, you will be able to
enjoy the related health benefits immediately.
In chapters 6 to 9, you will learn 14 popular forms used in tai chi. To help
you more readily enjoy the health benefits, we have organized the forms
according to their key functions or contributions to health: cardiovascular
health in chapter 6, stress management and low-back heath in chapter 7,
balance in chapter 8, and coordination in chapter 9. To help you as a begin-
ner learn and remember a form and its movement, Chinese tai chi masters
created names for each form. Some forms are named after animals; other
forms are named for the characteristics of the movements. For each form,
its name in Chinese spelling, including its Chinese characters, appears
along with its English translation and a short explanation. Then, in a step-
by-step manner, movements from starting position through transition to
closing position are presented. Some key callouts for each movement are
also provided with each illustration. After you learn movements individually,
all those movement illustrations are then presented together in sequence
to help you connect the movements together. Finally, some tips on best
practice for each form are included at the end of each form's description.
79
chapter 6
Forms for
Cardiovascular
Health
Cardiovascular disease is
a major cause of illness
and the leading cause
of death for both men
and women in the United
States. A sedentary lifestyle is
an important modifiable risk factor for
cardiovascular disease. Physical activity has been
proven to provide a number of cardiovascular bene-
fits, and a physically active lifestyle has been shown
to reduce cardiovascular disease risks by 35 to 55
percent. In this chapter, after a brief introduction of
the cardiovascular system and how it can benefit
from physical activity and tai chi, you will learn three
popular single forms that are beneficial for the cardio-
vascular system. Large arm movement is one of the
beneficial characteristics of these forms. In addition
to the positive effects on the arms themselves, these
movements also engage the upper-back muscles so
that they are actively used in this practice, resulting in
a positive impact on the cardiovascular system. More important, according
to TCM the three heart- and lung-related meridians are distributed in the
arms. The flow of qi along these meridians is helped by moving the arms
regularly, thus helping to improve cardiovascular health.
81
TAI CHI illustrated
The cardiovascular system consists of the heart and blood vessels (arteries,
veins, and capillaries). It transports oxygen to the muscles and organs and removes
waste products, including carbon dioxide. The arteries carry blood from the heart
to the body, and the veins carry blood back to the heart. Regular physical activity is
essential to keep the cardiovascular system functioning well. Unfortunately, many
Americans live a sedentary lifestyle, and as a result, one in three American adults
has some form of cardiovascular disease. Cardiovascular disease is the leading cause
of death in not only the United States but also the world. It can increase the risk of
heart attack, heart failure, sudden death, stroke, and cardiac rhythm problems, thus
resulting in decreased quality of life and life expectancy. Risk factors that can be
prevented or treated include high blood pressure, high cholesterol, excess weight,
physical inactivity, smoking, diabetes, excessive alcohol consumption, illegal drug
use, and stress.
Besides smoking, physical inactivity is perhaps the most important behavioral
risk factor because it is often the cause of other risk factors, including high blood
pressure, high cholesterol, excess weight, and diabetes. In addition, physical activ-
ity can help reduce stress. If you regularly participate in aerobic exercise such as
walking, swimming, running, or bicycling, you are improving your cardiovascular
system. Known benefits of regular aerobic exercise include improved lung and heart
strength, reduced blood levels of harmful LDL cholesterol, increased blood levels of
helpful HDL cholesterol, increased physical and mental stamina, and reduced risk
of chronic diseases such as heart disease, stroke, and type 2 diabetes. These positive
changes from exercise significantly reduce the risk of getting cardiovascular disease.
So, what about tai chi? Can doing tai chi help your cardiovascular system and
thus help prevent cardiovascular disease? The answer is yes! Tai chi has many
cardiovascular benefits. First, it is a light- to moderate-intensity aerobic exercise.
People with cardiovascular disease can practice hand movements, leg movements,
and stance separately so that exercise intensity can be controlled at a low to light
level. In contrast, a significant cardiorespiratory workout can be achieved by deeply
bending the knees throughout a full tai chi routine. Second, tai chi practice is safe
as a means of exercise therapy. No negative or adverse effects have been reported,
according to a review of tai chibased clinical trials. Third, tai chi brings a medita-
tive aspect to its practice, thus fostering stress reduction. Finally, it helps promote the
circulation of qi along the meridians that are directly responsible for cardiovascular
health, according to TCM theory.
Many cardiologists prescribe tai chi as an adjunct therapy for treatment of heart
problems or as preventative therapy. According to several systematic reviews pub-
lished in medical literature, tai chi has already been shown to be a safe and beneficial
therapy for some patients with cardiovascular disease. In this chapter, you will learn
three popular tai chi forms, all of which can benefit your cardiovascular system.
82
Forms for Cardiovascular Health
You can practice these forms independently or integrate them into other exercise
routines or programs, such as in your warm-up or cool-down. Practice tai chi to
make your heart healthier!
TIP A typical exercise routine should include a warm-up (3-5 minutes), exer-
cise (at least 20 minutes), and cool-down (5-10 minutes). Make sure you
do not stop movement suddenly. Stop movement only after your heart
rate slows down, you are breathing easily, and you can carry on a con-
versation without difficulty.
Level
Beginner
Benefits
Strengthens the upper body. Improves body awareness.
Strengthens the legs. Improves qi flow.
Improves the cardiovascular
system.
Contraindications
Falling with loss of balance
83
Parting Mustangs Mane
Ye Ma Fen Zong
The Chinese name of this form, Ye Ma Fen Zong, derives from its movements.
The movements are similar to those of a mustang's mane while running (i.e., one
arm raises while the other arm lowers, like an undulating horse's mane, as body
weight shifts from one leg to the other). According to TCM, six major meridians
pass through the arms and are activated during this form. As a result, qi flow along
these meridians is promoted. For better health benefits, consider focusing your
mind on the Dan Tian (the lower part of the belly) during practice.
TIP All movements are coordinated with each other (i.e., simultaneously shift
body weight slowly from one leg to the other and move the arms gradu-
ally).
1 For the starting position,

Breathe
Keep your head straight
and chin held low.
stand with your legs naturally
naturally.
shoulder-width apart and with
your feet parallel to each other. Keep your
Keep your upper body, head, shoulders relaxed.
and neck upright. Hold your chin
slightly down and relax your face
with a slight smile. Hang your
arms down along your sides
with your hands naturally resting
beside your thighs. Keep your
body weight equally distributed
between both legs. Clear your
mind and keep a peaceful mental
state throughout the whole form.
84
2 Raise your arms slowly in front
Breathe in while your
Hold your head high and
facing forward with the chin
of your body until they are level arms move up. slightly down.
with your shoulders. Your arms will
be parallel to each other, shoulder-
width apart, and your palms will be Do not bend
your wrists.
facing down. Keep your upper body,
head, and neck upright. Hold your
chin slightly down and relax your
face with a slight smile. Keep your
body weight distributed equally
between both legs.
Keep your
head straight. 2
Keep your
upper body
3 For Parting Mustangs Mane (Left),
straight. slowly squat while you move both arms
down simultaneously to the level of your
waist. Keep your upper body upright
while squatting. Note that Left or Right
refers to the front leg when a Parting
Do not squat so far Mustangs Mane movement is finished.
that your knees go Parting Mustangs Mane (Left), therefore,
past your toes.
means that the Parting Mustangs Mane
movement finishes with the left leg in
front.
3
Relax both
shoulders.
4 Move your body weight onto your

right leg. Raise your left leg slightly
and move it closer to your right foot,
with only your left toes touching the
ground; meanwhile, move your right
arm up and your left arm down, moving
them along a circle. End with both End with all body
hands in front of you as if you were weight on the
holding a large ball. right leg.
4
(continued)
85
Parting Mustang's Mane (continued)
5 Raise your left leg

and take a full step out
to the side, with your
left heel touching the
ground and your left End with your arms about
Keep your upper
toes pointing straight body facing the front. a fists distance apart.
out to the left. Raise
your left arm and cross
both arms in front of
your chest.
Keep your body weight

on the right leg.
5
6 To complete Parting
Mustangs Mane (Left), turn
your upper body to the left
and shift your body weight
gradually onto your left leg
while your right hand moves
Keep your
down and your left hand
shoulders relaxed.
moves slightly up. End the
move with your legs in a left Keep your upper
bow step (learned in chapter body straight.
3), right arm slightly in front
of your upper body and right
hand down alongside your
right hip, left palm open
toward your face. To maintain
stability, both heels should
End with about 70
be on parallel lines with about
percent of your body
a foot (30 cm) between them. weight on the left leg
Make sure there is about a and 30 percent on
foot (30 cm) between your the right.
feet when in a bow step, and 6
make sure your front foot is
perpendicular to the body.
7 For the transition into Parting Mustangs Mane (Right), shift your body weight
back onto the right leg, with your left heel touching the ground.
86
8 Turn your left foot inward 85 degrees to the right, then shift your body weight
back onto your left leg (see figure a). Turn your upper body also to the right and
raise your right foot slightly. Turn it to the right so that it is about perpendicular
to your upper body, and then move it back toward your left leg and end with your
right toes touching the ground. Turn your left hand over simultaneously so that
your left palm faces the ground and your right palm faces your left palm, as if
holding a large ball on the left side of your body (see figure b).
Keep your
shoulders relaxed.
Keep your body

straight. Move your arms slowly
as your body weight
shifts onto the left leg.
8a 8b
9 For completion of Parting Mustangs Mane (Right), take a full step with your
right leg to the right side, touching the ground with your heel first (see figure a).
Move your body weight gradually onto your right foot, move your right arm up
and left arm down, and end the movement with your right hand in front of your
body and your left hand alongside your left hip (see figure b). End with about 70
percent of your body weight on the right leg and 30 percent on the left.
Keep your shoulders relaxed.

End with your
arms about a fists
distance apart. Keep your upper body Keep your upper
facing forward. body straight.
Keep your body

weight on the right leg.
9a 9b
(continued)
87
Parting Mustang's Mane (continued)
10 Repeat steps 2 through 9 several times. Steps 2 through 6 are Ye Ma Fen

Zong (Left) and steps 7 through 9 are Ye Ma Fen Zong (Right).
11 To end the form, continue from step 9 and move your body weight back
equally onto your left leg; turn your upper body left 90 degrees so you are facing
forward; move your left arm up and turn your right one inward to end with both
arms at shoulder level, palms facing the ground (see figure a); turn your right foot
inward to be perpendicular with your upper body and bring it in a half step toward
your left leg; distribute your body weight equally onto your legs; unbend your
knees; and move your arms down to the relaxed hanging starting position (see
figure b). Breathe naturally, and breathe out when the arms move down.
Look straight
ahead.
Keep your head, neck, and
upper body straight.
Palms face down
when moving the
arms down.
End with your body

weight equally distributed
between both legs.
11a 11b
88
Brush Knee and Twist Step
Lou Qi You Bu
The name of this form comes from its key movement characteristics: moving one
hand in a circle in front of the knees while taking twist steps. The movement itself is
rooted in the martial arts background of tai chi. Imagine your opponent is attacking
you with his right leg or fist; you then protect yourself using your left hand. Rather
than directly fighting back using your left hand, you move your opponents leg or
fist to the side and then you bring back your left hand via a circular movement so
that your left hand will not be hurt. This move also exposes your opponents head
or chest. The completed movement to this point is called Lou Qii or Brush Knee.
You then fight back by moving your left leg a half step forward and moving your
right hand forward toward the area exposed by the first part of this movement. This
move ends in a left bow foot, which you learned in chapter 3. In Chinese martial
arts, when a stance has the opposite hand and leg in the front (left leg and right
hand in this example), it is known as a twist step. This is why the second move-
ment of this form is called Twist Step.
TIP Keep your shoulders relaxed and at the same level, and hold your upper
body tall and straight so that you can practice the form in a relaxed way.
1 For the starting position, stand Breathe

naturally.
Keep your head straight
and hold your chin low.
with your legs shoulder-width apart
and feet parallel to each other. Keep Keep your
your upper body, head, and neck shoulders relaxed.
upright. Hold your chin slightly down
and relax your face with a slight
smile. Hang your arms down along
your sides with your hands resting
naturally beside your thighs. Keep
your body weight equally distributed
between both legs. Clear your mind
and keep a peaceful mental state
throughout the whole form.
(continued)
89
Brush Knee and Twist Step (continued)
2 Raise your arms slowly

Breathe in while your
Keep your head held
in front of your body until high, facing forward, and
arms move up. chin held slightly down.
they are level with your
shoulders; your arms will Do not bend
be parallel to each other, your wrists.
shoulder-width apart, and
your palms will be facing
down. Keep your upper
body, head, and neck
upright. Hold your chin
slightly down and relax your
face with a slight smile. Keep
your body weight distributed
equally between both legs.
3 Slowly squat while you move both

Keep your head straight.
arms down simultaneously to waist

level. Keep your upper body upright
while squatting. Your body weight is Keep your upper
equally distributed on both legs. body straight.
Do not squat so far that your

knees go past your toes.
90
4 For the Brush Knee and Twist Step (Left), move your body weight onto your
right leg; turn your upper body 90 degrees to the right; turn your left hand up,
move your left arm up, and then turn your left hand down while turning your right
hand up and moving your right arm down then up (see figure a); and take a half
step back with your left leg, ending with your left toes touching the ground while
your eyes are looking at your right hand (see figure b).
Coordinate hand and arm

movement with the shifting
of your body weight.
Move your left arm
Move your right counterclockwise.
arm counter-
clockwise.
4a 4b
5 Take a full step to the left with your left leg, heel touching the ground first
then placing your whole foot down (see figure a); turn your upper body to the left
and push your right hand out straight at ear level (see figure b); move your left
hand over your left knee; and end the movement with your legs in a left bow step
(see figure c), with your right arm reaching straight out, palm facing out, and your
left hand facing the ground at waist level on your left side.
Eyes follow the movement of Eyes look

the right hand. forward.
Turn your upper

body to the front.
Bend your right
elbow slightly.
Move your left hand

to the left side and
then back.
Keep most
of your body
weight on your
right leg.
5a 5b 5c
Start to transfer partial
body weight to your left leg.
(continued)
91
Brush Knee and Twist Step (continued)
6 For the transition into the Brush Knee and Twist Step (Right), move your
body weight back onto your right leg with your left heel touching the ground (see
figure a), turn your left foot right about 45 degrees, turn your upper body about
180 degrees while transferring body weight back onto your left leg, and take a
half step toward your left leg with your right leg, with your right toe touching the
ground (see figure b). Meanwhile, move your right arm down along a clockwise
arc and your left arm over and moving up along a counterclockwise path.
Eyes follow Eyes look forward.

the left hand
movements.
Arms continue
clockwise and
Coordinate weight
counterclockwise
shifting, body
movements.
movements, and
arm movements in a
relaxed manner.
Move all body weight

onto your left leg.
6a 6b
7 The right leg takes a full step to the right, touching the heel to the ground first
(see figure a) and then placing the whole foot down; turn your upper body toward
the right and push your left hand out straight at ear level; move your right hand
over your right knee; and end the movement with your legs in a right bow step,
with your left arm reaching straight out, palm up and facing out, and your right
hand facing the ground at waist level on your right side (see figure b). In the bow
Move your right hand

along your right side
and then back.
Bend your left

Turn your upper
elbow slightly.
body to the front.
Start to transfer your body

weight to your right leg by
touching your right heel
to the ground first.
Stand in a
right bow step.
7a 7b
92
step, left and right hand movements are executed simultaneously. When doing the
bow step, the face, front foot, and pushed-out hand move in the same direction.
Make sure there is about the distance of a full step between the feet when in a
bow step.
8 Repeat steps 2 through 5 several times. Steps 2 through 3 are for Lou Qi You
Bu (Left) and steps 4 through 5 are for Lou Qi You Bu (Right).
9 To end the form, continue from step 6 and move your body weight back
equally onto your legs; turn your upper body left 90 degrees to face forward;
move your left arm up and turn your right arm inward to end with both arms at
shoulder level, palms facing the ground (see figure a); turn your right foot inward
to be perpendicular to your upper body and bring it in a half step toward your left
leg; distribute your body weight equally between both legs; unbend your knees;
and move your arms down to the relaxed hanging starting position (see figure b).
Breathe naturally, and breathe out when the arms move down.
Keep your head, neck,

and upper body straight.
Palms face
down when moving
the arms down.
End with your body

between both legs.
9a 9b
93
Reverse Reeling Forearm in Place
Dao Juan Gong
The name of this form reflects the movement of both the legs and the arms. Dao
in Chinese means moving back, Gong is arm, and Juan means curving.
Together, Juan Gong means curved arms. It is said that tai chi masters discov-
ered this movement from watching monkeys play fighting: One monkey moves
back or withdraws as a trick to entice the other monkey into moving forward. As
the advancing monkey feels that she is winning the play fight, she relaxes and
becomes comfortable, and that is when the retreating monkey fights back. There-
fore, another name for this form is Do Lian Hou (Drive Monkeys Away), referring
to fending monkeys off with one hand while at the same time enticing the monkeys
to come closer with the other hand.
The movements of this form are a combination of the backward footwork you
learned in chapter 3 and Back-and-Forth Vertical Side Ellipse Movement in Sequence
in chapter 4. To facilitate learning, however, you will learn this form while standing
in place, so instead of moving your legs backward, you will only need to shift your
body weight from one leg to another. In chapters 10 and 11, which integrate several
previously learned forms, you will learn the movements of the original form.
TIP Coordinate hand and arm movements with turning of the body. Arms
move along curved paths so that as one moves forward, the other moves
backward, which defines the retreating yet beckoning aspect of this form.
Breathe naturally.
1 For the starting position, stand Keep your

shoulders
Keep your head
straight and chin low.
with your legs shoulder-width
relaxed.
apart and your feet parallel to each
other. Keep your upper body, head,
and neck straight. Hold your chin
with a slight smile. Hang your arms
down along your sides with your
hands resting naturally beside your
thighs. Keep your body weight
equally distributed between both
legs. Clear your mind and keep a
peaceful mental state throughout
the whole form.
94
2 Raise your arms slowly in front
Keep your head held high, facing
forward, and chin held slightly down.
of your body until they are level with
Breathe in while your arms move up.
your shoulders; your arms will be
parallel to each other, shoulder-width
apart, and your palms will be facing
down. Keep your upper body, head, Do not bend your
wrists.
and neck straight. Hold your chin
slightly down and relax your face with
a slight smile. Keep your body weight
distributed equally between both
legs.
Keep your
head straight.
3 Squat down slowly while moving both arms

down simultaneously to the level of your waist.
Keep your upper body upright while squatting.
4 Turn both hands over so that your palms

Do not squat face up; draw your right hand back slowly
so far that your toward your waist (see figure a), then back up
knees go past
slightly over your right shoulder; at the same
your toes.
time, turn your upper body right 90 degrees,
shifting your body weight onto your right leg;
3 move your left leg a half step toward your right
leg, touching the ground with your left toes; and
look into your right palm with your eyes (see
figure b).

upright and shoulders
relaxed.
Move your
right hand along
an arc, down first
and then up.
Shift body weight
onto your right leg.
4a 4b
(continued)
95
Reverse Reeling Forearm in Place (continued)
5 Repeat step 3 for the left side by moving your right hand up (see figure a) and
then pushing it forward when your right hand is above your right ear. Meanwhile,
draw your left hand back, move it slowly down to your waist, and then bring it
back up slightly over your left shoulder; at the same time, turn your upper body
left 90 degrees and shift your body weight onto your left leg (see figure b). When
complete, your right toes should be touching the ground. Your eyes should look
into your left palm. Hands should be vertical at the end of the forward push, with all
fingers extended yet relaxed (see figure c).
Keep your upper

Move your left hand
body upright
along an arc, down
and shoulders
first and then up.
relaxed.
Shift your body

weight onto your
left leg.
5a 5b 5c
6 Start to move your left hand forward (see figure a) and push it forward as soon
as your left hand passes your ear (see figure b); meanwhile, move your right hand
back slowly to your waist. Return your right leg to the starting position (see figure c).
Keep your upper

body upright and
shoulders relaxed. Move your right
hand along an
arc, down first
and then up.
Shift your body

weight onto your
right leg.
6a 6b 6c
96
7 Both arms are stretched out forward at shoulder level (see figure a); move
them down into the starting position (see figure b).
Keep your head,

neck, and upper Palms face down
body straight. when your arms
are moving down.
End with your body

between both legs.
7a 7b
8 Repeat steps 1 through 6 several times.
97
Parting Mustangs Mane (page 84)
1 2 3 4 5
6 8a 8b 9a 9b
11a 11b
98
Brush Knee and Twist Step (page 89)
1 2 3 4a 4b
5a 5b 5c 6a 6b
7a 7b 9a 9b
99
Reverse Reeling Forearm in Place (page 94)
1 2 3 4a 4b
5a 5b 5c 6a 6b
6c 7a 7b
100
chapter 7
Forms for
Stress Relief
and Low-Back
Health
In this chapter, you will learn three popular tai chi
forms. This set of forms is characterized
by movements coordinating the hands,
arms, and legs with waist twisting and
weight shifting. These movements
actively involve the low back. More
important, many of these movements
are believed to stimulate the flow of qi
along the Liver meridian. TCM believes
that the liver is directly related to temperament and
stress level. By regularly promoting qi circulation
along the Liver meridian, your stress level should
be controllable.
101
TAI CHI illustrated
Due to our modern sedentary lifestyle, low-back pain has become one of the most
common medical complaints, affecting 70 to 85 percent of all people at some point
during their lives.Low-back pain is the fifth most common reason for all physician
visits in the United States, and approximately one-quarter of U.S. adults reported
experiencing low-back pain lasting at least one whole day in the past three months.
Low-back pain is also costly: In 2005, Americans spent $85.9 billion looking for
relief from back and neck pain through surgery, doctor's visits, X-rays, MRI scans,
and medications, up from $52.1 billion in 1997, according to a study by Martin et
al. published in the Journal of the American Medical Association (JAMA) in 2008.
That money hasn't helped reduce the number of sufferers, however; in 2005, 15 per-
cent of U.S. adults reported back problemsup from 12 percent in 1997. Low-back
pain can also limit physical activity, and it is the most frequent cause of activity
limitation in people under the age of 45.
Stress, another side effect of modern society, is the emotional and physical strain
caused by our response to pressure from the outside world. Common stress reac-
tions include tension, irritability, inability to concentrate, and a variety of physical
symptoms such as headaches and a rapid heartbeat. Life is full of stress, and it is
usually unavoidable. In fact, short bouts of low-level stress are normal and could be
good for health. You may have heard the phrase fight or flight before; it is a common
response to danger. When you are afraid that someone or something may physically
hurt you, your body naturally responds with a burst of energy so that you will be
better able to survive the dangerous situation (fight) or escape from it (flight). When
dealing with stress, the body reacts by releasing chemicals into the blood. These
chemicals provide more energy and strength, which can be a good thing if stress is
caused by physical danger.
However, if stress gets out of control, you may have too many of these chemicals
in your body, which can harm your health. Studies have found that long-term stress-
ful situations can produce a lasting, low-level stress that is hard on the body. The
nervous system senses continued stress and remains slightly activated, continuing to
pump out extra stress hormones over an extended time. This can wear out the body's
reserves, leaving a person feeling depleted or overwhelmed; weaken the immune
system; and cause other problems, which can be expressed in both mental symp-
toms (e.g., tension, irritability, excessive tiredness, trouble sleeping) and physical
symptoms (e.g., pounding heart, difficulty breathing, upset stomach, tight muscles
causing pain and trembling). According to studies, such as the stress surveys con-
ducted by American Psychological Association (2012), millions of Americans suffer
from stress each year, and three out of four adults said they experienced stress at
least twice a month. Some studies have reported that the number of people in the
United States reporting that stress affects their work has gone up more than four
times over the past two decades.
102
Forms for Stress Relief and Low-Back Health
Fortunately, studies have shown that regular physical activity can help reduce
low-back pain and stress. There is strong evidence that leisure-time physical activity
has a primary preventive effect on low-back pain. For those who suffer from low-
back pain, a number of recent studies show that a lack of core strength contributes
to pain and stiffness in the low back. Therefore, a possible long-term solution for
back pain lies in strengthening and stretching exercises for the abdominal muscles,
hips, and low back. Some pains or aches in your low back might be the result of
weak abdominal muscles. When you have weak abdominal muscles, you are more
likely to have poor posture and your back muscles are forced to take over, which
can strain them in a way that becomes uncomfortable or painful over time. You
can minimize back pain by doing exercises that make your abs stronger while also
training to increase the strength and flexibility of your low back, hips, and thighs.
Everyone's back pain is different, so it is a good idea to check with your health care
provider about what is best for you before starting a low-back exercise program.
Studies also have shown that there are some direct stress-relief benefits to exercise.
There are a number of reasons for this, according to a Mayo Clinic summary (Mayo
Clinic). First, exercise increases the production of the brain's feel-good neurotrans-
mitters, called endorphins. Although this production is often referred to as a run-
ner's high, any physical activity can produce this feeling. Second, exercise creates
meditation through motion. As you begin to shed your daily tensions through regular
movement and physical activity, you may find that this focus on a single task and
the resulting energy from it may help you be calm and clear in everything that you
do. Finally, regular exercise can increase self-confidence and lower the symptoms
associated with mild depression and anxiety. Exercise also can improve your sleep,
which is often disrupted by stress, depression, and anxiety. Regular exercise can
give you a sense of command over your body and your life.
What about tai chi, then? Because tai chi is a moderate exercise involving all
major muscle groups in the body, it provides the same positive effects as many other
exercises. Furthermore, tai chi is an exercise that pays a great deal of attention to
waist movements, making it a means to improve low-back health. In fact, one of
the forms introduced in this chapter, Deflect, Parry, and Punch, has been regularly
used in China to treat low-back pain. As a mindbody exercise, tai chi can gener-
ate a motion medication effect. As soon as you learn and start to do the forms and
routines, you will find yourself relaxing and enjoying the movement. There is also
a strong theoretical foundation for these mental health benefits. According to TCM,
the liver is directly related to the regulation of emotions. If a person gets angry or
mad regularly, it will likely hurt the liver. Any exercise that helps the qi flow along
the Liver meridian will likely help ones emotional well-being in dealing with stress.
All three forms introduced in this chapter promote the flow of qi along the Liver
meridian. Therefore, regular practice of these forms should help reduce stress.
Practice tai chi to make your low back healthier and reduce your stress!
103
Level
Beginner
Benefits
Strengthens the legs. Improves body awareness.
Strengthens the arms. Reduces stress.
Improves balance. Improves qi flow.
Contraindications
Roll Back and Press

Lu Ji Shi
This form is named for two key movements: rolling back and pressing. Both move-
ments stem from the martial arts origin of tai chi. They are based on the tai chi
principle that you never fight back directly when your opponent is hitting you, and
you do not simply avoid being hit since another hit likely will follow. Instead, you
try to use your opponents own strength against her and guide her into moving
in a direction that allows you to easily fight back. Lu is a movement specifically
designed for this purpose: You reach out to gauge the direction and strength of
your opponents attack and then guide it in a different direction. You may have
experienced pushing a big ball down into water; you have to push on the middle
of the ball, using all of your strength to push it into the water. If your strength is on
one side of the ball, the ball escapes from your push by rolling away to the other
side. Lu leads your opponent to one side of your body, either passing your side
so that you can use your elbow or hands to fight back or moving back so that you
can then fight back using ji, or pressing, which is the next movement in the form.
When pressing, make sure both of your hands hit the middle of your opponent
with your feet firmly planted so that your body weight becomes part of your fighting
force. Together with the force of your opponent moving back, you should be able to
fight back effectively and with power. Finally, shi simply means forms in Chinese.
TIP To perform Roll Back and Press correctly, the hands should move along
horizontal circles in a natural, coordinated manner; the top hand moves
along a larger circle while the lower one moves along a smaller circle.
Rolling back, which is similar to falling back slightly, moves along a curve;
the movement coordinates with the shifting of body weight.
104
1 For the starting position, stand with your legs shoulder-width apart and with
your feet parallel to each other. Keep your upper body, head, and neck straight.
Hold your chin slightly down and relax your face with a slight smile. Hang your
arms down along your sides with your hands resting naturally beside your thighs.
Keep your body weight equally distributed between both legs. Clear your mind
and keep a peaceful mental state throughout the whole form.
2 Raise your arms slowly in front of your body until they are level with your
shoulders; your arms will be parallel to each other, shoulder-width apart, and your
palms will be facing down. Keep your upper body, head, and neck straight. Hold
your chin slightly down and relax your face with a slight smile. Keep your body
weight distributed equally between both legs.
Keep your head held

Keep your head high, facing forward, and
Breathe in while chin held slightly down.
straight and chin
your arms move up.
held low.
Keep your shoulders Keep your shoulders
relaxed. relaxed and loose.
Do not bend
your wrists.
1 2
3 Slowly squat while you move both arms down simultaneously to waist level.
Keep your upper body upright while squatting. Your body weight is equally
distributed on both legs.
4 For the Roll Back and Press (Right), turn your left palm up, with your hand
parallel to the ground; circle both arms clockwise parallel to the ground in front
of you with your right arm on top; turn your upper body about 90 degrees to your
right; and shift your body weight onto your left leg as you turn.
(continued)
105
Roll Back and Press (continued)
Keep your head and

upper body straight.
The top hand (right)

moves along a large
circle while the lower
one (left) moves along
a smaller circle.
Do not squat so far

that your knees go
past your toes.
3 4
5 Keeping the majority of body weight on your left leg, move your hands so that
your right hand and arm are in front of your right shoulder and your left hand is in
front of your stomach.
6 For rolling back, roll both arms back while shifting your body weight entirely
onto your left leg; end with only the toes of your right foot touching the ground.
Do not
bend your wrists.
All body weight is on

the left leg at the end
of this step.
5 6
106
7 For the press part of the movement, take a half step to the right with the right
foot (see figure a), press both hands forward with palms facing each other, and
end in a bow step with your right leg in front and both feet firmly placed on the
ground. When your hands are pushed forward, they should synchronize with the
shifting of your body weight; stop pushing your hands out when the bow step is
complete (see figure b).
Hold your hands close Do not push your

together but not touching hands out too far.
each other.
7a 7b
8 For the transition into the Roll Back and Press (Left), move your body weight
onto your left leg; turn your right foot about 90 degrees to the front (see figure a);
start to move your body weight back onto your right leg; turn your body 180
Your eyes should

look in the direction
of your hands.
Shift your body weight

slowly while moving
your hands.
8a 8b 8c
(continued)
107
Roll Back and Press (continued)
degrees to the left; separate your hands; move them back, this time along a
counterclockwise circular path with the left hand on top, left palm facing the
ground, and right hand below, right palm facing up (see figures b and c); move
your left hand to stop in front of your left shoulder and your right hand in front
of your stomach; and roll both hands back along a clockwise path while shifting
your body weight completely onto your right leg, with only the toes of your left
foot touching the ground.
9 For the press, take a half step to the left with your left foot (see figure a), and
press both hands forward with palms facing each other (see figure b).
9a 9b
10 Repeat steps 3 through 8 several times, and when youre ready to complete
the movement, move on to step 11.
11 For the closing position, move your body weight back onto your right
leg, turn your upper body right 90 degrees to face forward, move both arms out
at shoulder level with palms facing down (see figure a), turn your left foot 90
degrees toward the front, distribute your body weight equally between both legs,
straighten your knees, and move your arms down, returning them to their starting
position (see figure b).
108
11a 11b
Grasp Sparrows Tail

Lan Que Wei
The name of this form is an attempt to explain the movement using a fanciful
example from real life. The movement itself, however, is closely associated with
the martial arts origin of tai chi. Imagine that an opponents attacking arm is a
sparrows tail and your hands are ropes. Through back-and-forth movements, you
are trying to grasp the tail by pulling it (i.e., your opponents arms) to control the
opponents body. Your legs do not make many changes during these movements;
rather, a variety of hand and arm movements are employed in this form. However,
when there is leg movement, make sure the hand movements coordinate with it
(for example, pulling back the hands at the same time you bend the knee into a
bow step).
TIP To keep your balance when performing Grasp Sparrows Tail, there
should be at least a foot (30 cm) between the parallel lines that the legs
are standing on. Fully complete one movement before moving into the
next one; distinguish movements clearly from each other, especially the
hands and arms.
(continued)
109
Grasp Sparrow's Tail (continued)
1 For the starting position, stand with your legs shoulder-width apart and your
feet parallel to each other. Keep your upper body, head, and neck straight. Hold
your chin slightly down and relax your face with a slight smile. Hang your arms
down along your sides with your hands resting naturally beside your thighs. Keep
your body weight equally distributed between both legs. Clear your mind and
keep a peaceful mental state throughout the whole form.
shoulders; your arms will be parallel to each other, shoulder-width apart, and your
palms will be facing down. Keep your upper body, head, and neck straight. Hold
your chin slightly down and relax your face with a slight smile. Keep your body
weight distributed equally between both legs.
Keep your head held

Breathe in high, facing forward, and
Keep your head while your arms chin held slightly down.
straight and chin low. move up.
Keep your shoulders
Keep your shoulders relaxed and loose.
relaxed.
Do not bend
your wrists.
1 2
3 Slowly squat while you move both arms down simultaneously to waist level.
Keep your upper body upright while squatting. Your body weight is equally
distributed on both legs.
4 For Grasp Sparrows Tail (Right), shift your weight almost entirely onto your
left leg while raising your right leg slightly with knee bent, and bring your leg in
close to your left leg, putting only your right toes on the ground. Meanwhile, move
your right hand down and your left hand up into the familiar holding-ball position
in front of the left side of your body.
110
Relax your shoulders.
Do not squat so far

that your knees go
past your toes.
Shift almost all your
Touch your right body weight onto your
toes on the ground left leg and slightly
to help balance. bend your left knee.
3 4
5 With your arms crossed in front of your body, take a full step to the right with
the right leg so that your heel touches the ground first (see figure a) and shift your
body weight gradually onto your right leg, ending in a right bow step. Meanwhile,
push your right arm up and forward along a curve and press your left hand down
(see figure b). This style of the move is called bing in tai chi.
When pushing your

right arm forward, the
forearm should be in
the front, parallel to
Keep your elbow your body.
bent so that the
forearm will not go
out too far. Keep your upper body
straight when pushing
forward.
Touch your right

heel on the ground
to balance your
body first.
5a 5b
(continued)
111
6 To pull back, turn both palms so that they are facing each other (see figure a)
and pull both hands back and down together to your left front side while shifting
your body weight back onto your left leg (see figure b).
Pull both
hands back.
Coordinate your hand
movements with your legs,
shifting your weight back when
pulling your hands back.
6a 6b
7 To press forward, turn your right palm toward yourself and your left palm
away (see figure a). With your palms touching, push your right hand forward using
your left hand while shifting your body weight onto your right leg, ending in a
right bow step (see figure b).
Hold your hands

together when moving
them forward, but do
not push too far.
7a 7b
112
8 To pull back, release both hands by pushing them forward with palms facing
the ground (see figure a); shift your body weight back onto your left leg and raise
your right toes, with only your right heel touching the ground, while pulling both
hands back into your body (see figure b).
Move your hands along

a curve, up first as
released and then
down as you pull back.
Move your body

weight back onto
your left leg and raise
your right toes, with
only your right heel
touching the ground.
8a 8b
9 To push forward, push both hands down (called an in tai chi), shift your body
weight onto your right leg (see figure a), and end in a right bow step with both
hands up, palms pushing outward (see figure b). When pushing forward using
your forearms, your strength should
be in your arms; when pushing
forward using your palms, the
strength should be in the bottom
of the palm. Make sure all pushing
movements follow curved paths.
Move your hands along

a circular curve, first
down and then up.
9a 9b
(continued)
113
10 For the transition, move your body

weight back to your left leg, turn your right
foot to the left about 90 degrees, and turn
your upper body and arms left to face the
front.
11 Repeat steps 3 through 9 for the other

side of your body for Grasp Sparrows Tail
(Left), starting from shifting your body weight
onto your right leg, touching your left toes to
the ground, and holding a ball, so to speak,
on the right side of your body.
10
12 For the closing position, move your body weight back onto your right
leg, turn your upper body right 90 degrees to face forward, move both arms out
at shoulder level with palms facing down (see figure a), turn your left foot 90
degrees toward the front, distribute your body weight equally between your legs,
straighten your knees, and move your arms down to return them to their starting
12a 12b
114
Deflect, Parry, and Punch
Ban Lan Chui
The name of this form comes directly from its original martial arts meaning. Ban
means deflecting, lan refers to parrying the opponents attack, and chui refers
to punching opponents. Note that their exact meanings and applications in tai
chi are slightly different from the ones in other martial arts applications. Instead
of deflecting and parrying using maximal strength, tai chi deflecting and parrying
movements always try to use the opponents strength against them and guide the
coming attack in a direction that allows you to fight back using minimal effort. A
well-known Chinese saying is, With the right skill, a light thing can move a heavy
thing, which derives from this principle of minimal effort.
TIP To perform the Deflect, Parry, and Punch form correctly, coordinate arm
movements with leg movements, especially when shifting body weight.
Changing from one lead side to the other should be conducted in a natural,
relaxed, and smooth manner. Keep movements soft and comfortable.
1 For the starting position, stand

with your legs shoulder-width apart
and your feet parallel to each other.
Keep your upper body, head, and
neck straight. Hold your chin slightly
down and relax your face with a slight
smile. Hang your arms down along Keep your head
straight and chin
your sides with your hands resting
held low.
naturally beside your thighs. Keep Keep your shoulders
your body weight equally distributed relaxed.
and keep a peaceful mental state
(continued)
115
Deflect, Parry, and Punch (continued)
2 Raise your arms slowly Keep your head held high,

facing forward, and chin
Breathe in
while your
in front of your body until
held slightly down. arms move
they are level with your up.
shoulders; your arms will
be parallel to each other, Do not bend
shoulder-width apart, and your wrists.
your palms will be facing
down. Keep your upper
body, head, and neck
straight. Hold your chin
slightly down and relax your
face with a slight smile.
Keep your body weight
distributed equally between
both legs.
Eyes follow the

right hand.
3 To perform Deflect, Parry,

and Punch (Right), shift your
body weight onto your left leg,
Right hand follows with your right toes touching the
the shifting of the ground; your right hand forms a
body weight.
fist and then moves clockwise
(down, left, and then up) while
your left hand moves up and to
the right.
4 Move your arms arcing out and forward while taking a full step forward with
your right leg, with right heel touching the ground first (see figure a); gradually
move your body weight onto your right leg and end in a right bow step (see figure
b); both hands follow the weight shift, ending with the right fist up and out and
left hand close to the right elbow; and your eyes watch your right fist throughout
the movement.
116
Coordinate hand movements with
the shifting of your body weight.
Both elbows should be

bent to keep your arms
close to your body.
Make a clear shift

of body weight
from the left leg
to the right.
4a 4b
5 To transition into Deflect, Parry, and Punch (Left), shift your body weight back
onto your left leg, turn your right foot about 45 degrees to the left, and then move
your body weight back onto your right leg so that now your left leg has only the
left toes touching the ground (see figure a). Meanwhile, release your right fist and
move both hands away from each other; your left hand becomes a fist and moves
along a vertical circle in front of body from left to right (counterclockwise). (See
figure b.)
Eyes start to watch the left

hand when it forms a fist.
Transition from right

to left side is relaxed
and smooth.
5a 5b
(continued)
117
Deflect, Parry, and Punch (continued)
6 To finish the movement, start by repeating step 3 but from the left side of your
body. Move your arms while your left leg takes a full step forward; touch your left
heel to the ground first (see figure a); gradually shift your body weight onto your
left leg, put down your whole left foot, and end in a left bow step (see figure b);
both hands follow the shift of body weight, ending with your left fist up and your
right hand close to your left elbow; and your eyes are on your left fist.
6a 6b
7 Repeat steps 3 through 6 for

both sides several times.
8 For the closing position, move

your body weight back onto your
right leg, turn your upper body
right 90 degrees to face forward,
move both arms out at shoulder
level with palms facing down
(see figure a), turn your left foot
90 degrees toward the front and
distribute your body weight equally
between both legs, straighten your
knees, and move your arms down,
returning them to their starting
8a 8b
118
Roll Back and Press (page 104)
1 2 3 4 5
6 7a 7b 8a 8b
8c 9a 9b 11a 11b
119
Grasp Sparrows Tail (page 109)
1 2 3 4 5a
5b 6a 6b 7a 7b
8a 8b 9a 9b
10 12a 12b
120
Deflect, Parry, and Punch (page 115)
1 2 3 4a 4b
5a 5b 6a 6b
8a 8b
121
chapter 8
Forms for
Balance
Interest in tai chi in the United States, as mentioned in chapter 1, arose
after the widespread reporting of a study on the significant impact of tai
chi on improving balance. Because of tai chi move-
ment characteristics such as shifting body weight
from one leg to another, any tai chi practice will help
improve your balance. Instead of simply repeating
the general balance-improvement movements
presented so far in this book, this chapter
introduces two forms that can help specifi-
cally improve balance.
Balance is the ability to maintain a pos-
ture without falling. When we are healthy
and younger, we are able to maintain bal-
ance because the brain is continually receiving
and processing signals from at least three major
sources: the eyes, the muscles and joints, and
the vestibular system (inner ear and brain). The
brain then determines how the body needs to be
positioned relative to the ground to maintain balance.
Over time, many adults decrease their exercise and
activity levels. This in turn diminishes their muscle
strength, coordination, and joint flexibility. The ves-
tibular, somatosensory, and visual systems decline
with age, leading to a decrease in balance (Schmitz,
2007), and therefore we see more falls in older adults.
123
TAI CHI illustrated
According to an article on the Centers for Disease Control website, approximately

one-third of adults over the age of 65 fall each year, and many of those individuals
fall more than once per year. Those are just the falls that are reported; actual falls
are higher. Although everyone falls, the consequences of an unintentional fall in
older adults tend to be more serious than in younger populations. For example, falls
in older adults may lead to loss of independence, illness, and early death. Falls are
the leading cause of both fatal and nonfatal injuries for people over the age of 65
and the number one reason older adults are admitted to nursing homes. Falls should
not be seen as only a problem for older adults, however; fall prevention should start
at earlier ages, such as 40 or 50.
Fortunately, falling risks can be significantly reduced by taking preventive mea-
sures, and regular exercise is one of the best measures. All exercise is helpful, but tai
chi has proven to be one of the most effective forms of exercise for fall prevention.
There are three possible reasons for this. First, during tai chi practice, body weight
is constantly shifting from one leg to the other. As a result, all systems related to
maintaining balance are constantly processing the ever-changing signals concern-
ing body position relative to the ground. Second, in contrast to the one-dimensional
movements commonly done in many other exercises (e.g., weightlifting), tai chi
involves movement in all directions. As a result, small muscle groups around the
joints are strengthened to a greater degree, which helps in maintaining and regaining
balance in all directions. Third, hand and arm movements during tai chi practice
are coordinated, which also helps maintain balance. Finally, bone health of older
adults should benefit from tai chi because the chance of a fall-related bone injury
(e.g., hip fractures) decreases along with the reduced risk of falling, because tai chi
is an excellent weight-bearing exercise, and because older adults may increase their
physical activity thanks to their reduced fear of falling, which has further positive
impact on their bone health.
As mentioned previously, in this chapter, you will learn two tai chi forms designed
specifically to improve balance. Start your practice by finding an open space of at
least 1 square yard or meter that has firm ground. Practice can be done anywhere,
inside or outside. It is okay to practice without shoes as long as the surface is safe for
bare or stocking feet. If you are experiencing a balance problem now, you can start
the practice by focusing on leg movement first while holding onto a chair in front
of you or bracing yourself by placing a hand on a wall. You can gradually increase
practice difficulty by lifting your legs higher and eventually closing your eyes. Apply
the tai chi movements you have learned into your daily life. For example, you can
perform Standing on One Leg while you are brushing your teeth and Kicking With
Feet while you watch TV. Practice tai chi and improve your balance!
124
Level
Beginner
Benefits
Strengthens the legs. Improves body awareness.
Strengthens the arms. Reduces stress.
Improves balance. Improves qi flow.
Contraindications
Standing on One Leg

Jin Ji Du Li
The Chinese name of this form, Jin Ji Du Li, derives from its posture. The direct
translation of the name is, A golden rooster stands on one foot. This is also a
well-known posture in Chinese martial arts. Six major meridians pass through the
legs, and it is believed that this form helps qi flow through these meridians. Its
also a good form for someone who wants quick resultsyou should be able to
feel the impact of this move in just a few seconds when you perform it with your
eyes closed.
1
Keep your head held
Stand with your legs straight, facing forward, and
shoulder-width apart and feet Keep your shoulders chin held slightly down.
parallel, with your body weight relaxed and loose.
divided evenly between both legs.
neck straight. Hold your chin
with a slight smile. Hang your
arms down along your sides
with your hands resting naturally
beside your thighs. Clear your
mind and keep a peaceful mental
state throughout the whole form.
Breathe naturally and focus on
your Dan Tian.
(continued)
125
Standing on One Leg (continued)
shoulders; your arms will be parallel to each other, shoulder-width apart, and
your palms will be facing down. Keep your upper body, head, and neck straight.
Hold your chin slightly down and relax your face with a slight smile. Keep your
body weight distributed equally between both legs. Breathe naturally, but breathe
in when your arms move up.
3 For Standing on One Leg (Left), shift your body weight gradually onto your
left leg. Slightly turn your upper body to the right, and lower your arms and hands
to waist level, keeping palms parallel to the ground. Your right hand should
be slightly in front of and above your right hip. Move your right hand, with the
palm still facing the ground, in a slow clockwise circle. Move your head slightly
downward so as to be able to watch the path your hand is making.
Keep your head held

high, facing forward, and
chin held slightly down.
Keep your shoulders
relaxed and loose.
Turn your right hand

to the left when
moving it down.
Control your balance
by moving weight onto
your left leg slowly.
2 3
4 Move all of your body weight onto your left leg and slowly raise your right
leg with your knee relaxed and bent. Raise your right hand at the same time
at a slightly quicker speed than you are raising your right leg. Keep your left
shoulder relaxed and slowly lower your left arm slightly, using this arm and hand
to help keep your balance. Keep your left leg slightly bent also to help keep your
balance. Practice this part with great caution since it is easy to lose your balance
when standing on only one leg. You can start doing this part of the form while
holding onto a chair in front of you or bracing yourself with your hand on a wall.
Raise your right leg just 1 or 2 inches (3-5 cm) at first so you can quickly put it
back down to regain your balance if needed. Repeat several times, gradually
raising your leg higher and holding it up longer each time. Start to include the
hand movements when you are comfortable and feel secure standing on one leg.
126
Eyes look forward through
the top of your right fingers.
Do not bend your left

wrist, and keep your
left palm facing the
Do not bend your wrist; ground.
both hands and arms
should be in smooth lines.
Point your toes

Relax your right ankle so so that your foot
that your right foot points and lower leg are
toward the ground naturally. in a straight line.
4 5
5 Continue raising your right leg until your right thigh is parallel to the ground.
Straighten your left leg so the knee is no longer bent. Keep raising your right
arm, with it being naturally bent, at the same time you are raising your right leg
until your fingertips are level with the tip of your nose. Move your left arm slightly
down until your left hand is slightly in front of and over your left hip. Stand on
only your left leg for up to 3 minutes (start with just a few seconds and increase
the length as you improve), and then try closing your eyes for as long possible to
increase the difficulty of the form.
6 To transition from left to right,

place your right foot back on the Keep your body, neck,
ground lightly. Set your toes down and head straight during
the transition.
first and then the rest of your
right foot. Redistribute your body
weight gradually onto your right
leg. Move your right arm down
slowly, with the palm of your right
hand facing the ground, moving
in sync with your leg as you lower
it and put your right foot on the
ground. Your eyes and head follow
the movements of your right hand.
Be aware of all the parts of your
body involved in this transition
Keep your weight on your
and move them in a cohesive, Touch your left leg until your right foot
smooth, coordinated manner. right toes to the is fully grounded.
ground first.
6
(continued)
127
Standing on One Leg (continued)
7 For Standing on One Leg (Right), shift your body weight gradually onto
your right leg. Slightly turn your upper body to the left. Your left hand should be
slightly in front of and above your left hip. Move your left hand, with palm facing
down and parallel to the ground, in a slow clockwise circle. Move your head
slightly downward so as to be able to watch the path that your left hand is making.
8 Move all of your body weight onto your right leg. Raise your left leg slowly
with your knee relaxed and bent. Raise your left hand at the same time at a
slightly faster speed than you are raising your left leg. Keep your right shoulder
relaxed and lower your right arms slightly and slowly. Use your right arm and
hand to help keep your balance. Keep your right leg slightly bent to also help
keep your balance. Practice this part with great caution since it is easy to lose
your balance when standing on only one leg. You can start doing this part of the
form while holding onto a chair in front of you or bracing yourself with your hand
on a wall. Raise your left leg just 1 or 2 inches (3-5 cm) at first so you can quickly
put it back down to regain your balance if needed. Raise your leg several times,
gradually raising it higher and holding it up longer each time. Start to include the
hand movements when you are comfortable and feel secure standing on one leg.
Do not bend your

wrists; both hands
and arms are in
smooth lines.
Turn your left hand to

the right when moving
it down.
Control your
balance by moving
weight onto your Relax your left ankle
right leg slowly. so that your left foot
points toward the
ground naturally.
7 8
9 Continue raising your left leg until your left thigh is parallel to the ground.
Straighten your right leg so the knee is no longer bent and keep it straight.
Continue raising your left arm, keeping it naturally bent, at the same time you are
raising your left leg until your fingertips are level with the tip of your nose. Move
your right arm slightly down until your right hand is slightly in front of and over
your right hip. Stand on only your right leg for up to 5 minutes (start for a few
seconds and increase the length as you improve), then try closing your eyes for
as long possible to increase the difficulty of the form.
128
Eyes look forward through the top of
your left fingers.
Do not bend your right wrist,

and keep your right palm
facing the ground.
Point your toes so that your foot and

lower leg are in a straight line.
10 Practice Standing on One Leg several times, alternating the standing leg.
Once you are ready to finish the movement, continue to step 11.
11 To close the form, place your left foot on the ground lightly, setting your
toes down first and then the rest of the foot. Transfer your body weight gradually
back onto your right leg, ending with your body weight equally distributed between
both legs. Reach both arms out in front of your body at shoulder height, with
palms facing the ground. Bring both hands and arms down alongside your body so
that you are once again in the starting position for this form. Breathe naturally, but
breathe out when you move your arms down. Hold the position for 1 to 2 minutes
as you enjoy the peacefulness that comes through practice of this form.
Palms face downward

when your arms are
moving down.
11
129
Kicking With Feet
Deng Jiao Li
The name of this form is Kicking With Feet; likely you can guess from the name
how this form evolved from third-century martial arts practices and still is often
used in modern martial arts. Nowadays, this form consists of movements that are
slow, smooth, and fluid. Although no longer an effective means of self-defense,
practicing this from every day will greatly improve your leg strength and balance,
which will help protect you from falls. In China, practitioners of Chinese medicine
often prescribe this exercise to patients who suffer from balance disorders or
occasional dizziness.
TIP To achieve the best effect, keep the weight-bearing leg straight and firm,
gripping the ground with your toes, and keep your upper body upright
and straight. Avoid swaying as much as possible.
1 Stand with your legs shoulder-width apart and feet slightly turned out. Keep
your upper body, head, and neck straight. Hold your chin slightly down and relax
your face with a slight smile. Hang your hands naturally alongside your thighs
with the palms facing inward. Keep your body weight balanced on both legs. Clear
your mind and keep a peaceful mental state throughout the whole form. Breathe
naturally and focus on your Dan Tian.
shoulders and both arms are parallel with palms facing the ground. Keep your
upper body, head, and neck straight. Hold your chin slightly down and relax your
Keep your head

straight and chin Keep your Keep your head straight
slightly down. shoulders relaxed and chin slightly down.
and loose.
1 2
130
face with a slight smile. Keep your body weight distributed equally on both legs.
Breathe naturally, but breathe in when your hands move up.
3 For Kicking With Feet (Right), bend both knees slowly until you have squatted
about 20 degrees. Be sure to keep your knees over your feet, but not past your
toes, as you bend them. Breathe out slowly while bending your knees. Move
both arms down and bend your elbows at the same time until your upper arms
are alongside your body and there is about a 110-degree angle between your
forearms and upper arms. Keep your neck, head, and upper body straight; keep
your shoulders relaxed and loose; and keep your body weight equally distributed
between both legs. Shift your body weight gradually onto your left leg. Slightly
turn your upper body to the right as you start a downward circular path to bring
your arms to the front of your body. Move your head slightly down so as to be able
to follow the movement of your right hand as it creates a circular path. Practice
steps 2 and 3 together several times to give yourself a good sense of control over
your balance at the beginning of this form.
4 Cross your hands parallel to the ground in front of you at your waist, with
both palms turned toward your body and your left hand on top. Start shifting your
body weight onto your left leg. Keep your neck, head, and upper body straight
and your shoulders relaxed and loose. Keep your knees bent. Look straight
ahead.
Keep your head and upper

body upright and straight
throughout the form.
Do not bend your

Keep your palms wrists too much.
facing the ground.
Bend your Keep the

knees slightly. space
between your
knees open.
3 4
5 Shift your body weight entirely onto your left leg. Move your right foot slightly
in toward your left leg and raise your right leg so that only your right toes touch
the ground. Raise both hands in front of your chest at the same time as you move
your right leg. Practice this movement several times to get a sense of security
when your weight is entirely on one leg.
(continued)
131
Kicking With Feet (continued)
Keep your left knee bent.

Move slowly when
shifting weight.
5
6 To kick right, keep
moving your hands and arms
up. Then separate them in
front of your face, with your
right hand moving forward,
palm facing out, and your left
hand moving to the left and
slightly back, palm facing
out. Move your left arm to Let your elbows
the back slightly to help you bend slightly.
remain balanced. Raise
your right knee straight up, At the apex of the kick, the
and at the same time kick knee of the standing leg
Bend your ankle up to and the knee of the kicking
your right foot out slowly strengthen the kick so leg are slightly bent.
while remaining in full that it is a heel-first kick.
control of your balance.
The kicking and moving
the arms out happen
simultaneously. Have
the front leg in the same 6
direction of the kicking leg.
TIP Since one leg is moving while the other is slightly bent, static, and balanc-
ing all of your body weight, this movement can be challenging. You can
hold onto a chair on your left side and just practice the kicking movement
itself at first. When you feel that you can control the kicking movement, start
your kicking practice without the chair. You can begin kicking by only rais-
ing your leg slightly and kicking the lower part of the leg out a little, gradu-
ally increasing how high you raise your leg and how much you kick out.
132
7 To transition into Kicking With Feet (Left), bring your right leg down and place
your right foot lightly on the ground, with your toes touching the ground first and
then the rest of the foot. Shift your body weight gradually back onto your right leg
until your body weight is equally distributed between both legs and move both
hands down in front of your waist. Breathe naturally.
Keep your head straight and chin

slightly down.
Transfer your weight gradually

back onto your right leg.
Touch your right toes to the

ground first.
7
8 For Kicking With Feet (Left), bend both

knees slowly until you have squatted about
20 degrees. Be sure to keep your knees
over your feet, but not past your toes, as
you bend them. Breathe out slowly while
bending your knees. Move both arms
downward and bend your elbows at the
same time until your upper arm is alongside
your body and there is about a 110-degree
angle between your forearms and upper
arms. Keep your neck, head, and upper
body straight; keep your shoulders relaxed
and loose; and keep your body weight
equally distributed between both legs. Shift
Bend your
your body weight gradually onto your right knees slightly.
leg. Slightly turn your upper body to the left
as you start a downward circular path to
bring your arms to the front of your body. 8
Move your head slightly down so as to be
able to follow the movement of your left
hand as it makes it circular path.
(continued)
133
Kicking With Feet (continued)
9 Cross your hands parallel to the ground at your waist, with both palms turned
toward your body and your right hand on the top. Start shifting body weight onto
your right leg. Keep your neck, head, and upper body straight and shoulders
relaxed and loose. Keep your knees bent. Look straight ahead.
10 Gradually shift your body weight entirely onto your right leg. Move your left
foot slightly in toward your right leg and raise your left leg so that only your left
toes touch the ground. Raise both hands in front of your chest at the same time
as you move your left leg. Practice this movement several times to get a sense of
security when your weight is entirely on one leg.
Keep your head and upper

body up and straight
throughout the movement.
Keep your shoulders
relaxed and loose.
Do not bend your

wrists too much.
Move slowly when
shifting weight.
Keep the space between Keep your right

your knees open. knee bent.
9 10
11 To kick left, keep moving your hands and arms upward. Then separate them
in front of your face, with your left hand moving forward, palm facing out, and
your right hand moving to the right and slightly back, palm facing out. Move your
right arm to the back slightly to help you remain balanced. Raise your left knee
straight up, and at the same time kick your left foot out slowly while in full control
of your balance. The kicking and moving the arms out happen simultaneously.
Have the front leg facing the same direction as the kicking leg. When kicking, do
not wholly straighten your kicking leg; your knee needs to be slightly bent even
at the apex of the kick. Since one leg is moving while the other is bearing all your
weight, this movement can be challenging. You can hold a chair on your right side
and just practice the kicking movement itself at first. When you feel that you can
control the movement, start your kicking practice without the chair. You can begin
kicking by only raising your leg slightly and kicking the lower part of the leg out
a little, gradually increasing how high you raise your leg and how much you kick
out.
134
Bend your ankle up to strengthen
the kick so that it is a heel-first kick.
Let your elbows bend slightly.
At the apex of the kick, the knee of the

standing leg and the knee of the kicking
leg are slightly bent.
11
12 To transition back to Kicking With Feet (Right), bring your left leg down
and place your left foot lightly on the ground, touching the ground with the toes
first and then the rest of the foot. Shift your body weight gradually back onto your
left leg until your body weight is equally distributed between both legs, and move
both hands down in front of your waist. Breathe naturally.
13 Repeat Kicking With Feet several times, alternating the kicking leg. Once
you are ready to finish the movement, continue to step 14.
14 To close the form, Keep your head

straight and chin
shift your body weight back Keep your
shoulders relaxed slightly down.
onto both legs equally.
and loose.
Move your arms up and
out to shoulder level, with
palms facing down and
parallel to the ground (see
figure a). Bring both arms
down alongside your body
and straighten your knees
so that you are back in the
starting position (see figure
b). Breathe naturally and
focus on your Dan Tian;
breathe out when your
hands move down.
14a 14b
135
Standing on One Leg (page 125)
1 2 3 4 5
6 7 8 9 11
136
Kicking With Feet (page 130)
1 2 3 4 5
6 7 8 9
10 11 14a 14b
137
chapter 9
Forms for
Coordination
Motor coordination ability, or simply coordina-
tion, is critical to daily life functions. Like
other functions, coordination declines
with age, and poor coordination can
significantly affect quality of life.
Fortunately, coordination can be
improved through practice, and tai
chi is an excellent exercise for improving
coordination. This chapter introduces two
tai chi forms that have been demonstrated to
improve coordination. Improve your coordina-
tion, and improve the quality of your life!
Coordination, or to use a more scientific term, neu-
romuscular coordination, is the ability to organize and
activate large and small muscles with the right amount of
force in the most efficient sequence. In real life, coordination
often refers to the ability to coordinate the eyes, hands, feet,
and body so that a particular movement can accomplish
a goal. Almost all daily life tasks, such as preparing food,
writing, driving, and working in the yard, require some sort
of coordination. When a physical task requires the integration
of vision and hand movement, the coordination is sometimes
called eyehand coordination.
139
TAI CHI illustrated
Similar to other aspects of the body, coordination is affected by aging. When

we are young, few of us even notice the existence of coordination. However, as we
get older and our coordination declines, we realize it is critical to our quality of
life. As an example, many older adults have difficulty turning dials on appliances,
using a paintbrush, or even performing simple cooking tasks. In the later years,
many older adults even have difficulty making telephone calls, opening jars, and
grasping, carrying, and placing objects around the house, which makes independent
living almost impossible.
Fortunately, coordination can be improved with practice. A number of studies
have shown that people can regain their coordination after systematic training. As
an example, a 1984 study found that many excellent 60-year-old typists can type as
fast as 20-year-old typists (Salthous, 1984). They do so by reading farther ahead in
the text than younger typists so that they can anticipate the movements to be made.
How can tai chi help improve coordination? Unlike the simple and straight move-
ments in other physical activities, such as throwing and kicking, tai chi movements
are acts of coordinationyou must consistently move your body weight from one leg
to another while your hands and other parts of the body coordinate simultaneously.
In this chapter, you will learn two tai chi forms designed specifically to improve
coordination. The original movements of these forms require a rather large space.
To help the beginner, the forms were modified so that you can practice in a space
of 1 square yard or meter. Again, practice can be done anywhere, inside or outside.
It is okay to practice while barefoot as long as the surface is safe for bare or stock-
ing feet. You can start practicing the foot patterns, and after you feel comfortable
with them, you can add the arm movements. Gradually, you will integrate all the
movements and start to enjoy the smooth coordination of various parts of your body.
Practice tai chi and enjoy your new and improved coordination!
Level
Beginner
Benefits
Strengthens the legs.
Strengthens the arms.
Improves coordination.
Improves body awareness.
Improves shoulder, neck, and head health.
Improves qi flow in hand meridians.
Contraindications
140
Vega Working at Shuttles
Yu Nu Quan Suo
The name of this form derives from its movement pattern. A shuttle is a weaving
tool designed to neatly hold the weft thread while weaving. The shuttle is passed
back and forth between the warp threads as they raise and lower, making a tunnel of
sorts that the shuttle passes through. The movements of this form, led by the arms,
are similar to someone weaving with two shuttles, moving gently and constantly in
a circle from left to right and then right to left. In addition, because of the martial
arts origin of tai chi, the form is also an offensive movewhile one arm blocks an
opponents arms or fists, the other arm strikes while moving your body forward.
TIP To perform Vega Working at Shuttles correctly, coordinate hand and leg
movements with weight shifting, but do not shift body weight until com-
plete balance is achieved. Also, keep some distance between the legs
to maintain better balance.
1 For the starting position, stand naturally with your legs shoulder-width
apart and your feet parallel to each other. Keep your upper body, head, and neck
upright and straight. Hold your chin slightly down and relax your face with a slight
smile. Hang your arms down along your sides with your hands resting naturally
beside your thighs. Keep your body weight equally distributed onto both legs.
Clear your mind and keep a peaceful mental state throughout the whole form.
shoulders; your arms will be parallel to each other, shoulder-width apart,
Keep your head straight Keep your head held high,

and your chin low. Breathe in while facing forward, and chin
your arms move up. held slightly down.
Keep your Do not bend

shoulders your wrists.
relaxed.
1 2
(continued)
141
Vega Working at Shuttles (continued)
and your palms will be facing down. Keep your upper body, head, and neck
straight. Hold your chin slightly down and relax your face with a slight smile.
Keep your body weight distributed equally between both legs.
3 To shuttle left, shift the body weight to your right leg gradually, ending with
your left toes touching the ground. Move your left hand down toward the front of
your right side and turn your left palm up while you move your right arm slightly
up to shoulder level. End the movement when you appear to be holding a large
ball in front of your right side.
Move your left hand down along an

arc and turn your palm slowly upward
while your hand is moving down.
Control your balance by moving weight

onto your right leg slowly.
4 To shuttle forward, move your left leg one step straight forward, with the heel
touching the ground first and keeping most of your body weight on your right leg;
move your left hand upward and right hand forward with palms facing out (see
figure a); and start to shift your body weight onto your left leg, gradually ending
with your entire left foot firmly on the ground. Meanwhile, keep moving your left
hand up and right hand forward (see figure b). Finish shifting your body weight
onto your left leg, ending in a left bow stance (your hands and the leg in bow
stance should point in the same direction) with your left hand just above your left
temple, palm turned obliquely up, and your right hand pushed forward in front
of the midline of your body; keep looking forward to maintain your stability and
balance; and make sure both heels are on parallel lines with about a foot (30 cm)
between the lines (see figure c).
142
Simultaneously move your
left hand up and right hand
down slightly and out.
Touch your left heel

to the ground first
with body weight still
on the right leg.
Eyes follow the movement of the right hand.
4a
Coordinate weight shifting with

moving your left hand up and
pushing your right hand forward
simultaneously.
4b
Your right elbow should

be slightly bent.
Do not bend your

left knee so much
that it goes past
the left toes.
4c
(continued)
143
Vega Working at Shuttles (continued)
5 To transition from left to right, shift your body weight gradually back onto
your right leg, raise your left toes with your left heel remaining on the ground,
swivel your left foot to the right about 90 degrees, and slowly return your left toes
to the ground. Meanwhile, move your left hand to the right with palm facing the
ground while your right hand moves down with palm facing up (see figure a). End
the transition by moving all of your body weight onto your left leg and raising your
right heel so that only the right toes are on the ground. You should look like you
are holding a ball in front of your left side (see figure b).

down along a curve.
Shift your body weight back

completely onto your left leg.
Slightly bend your left knee.
5a 5b
6 To shuttle right, move your right leg one step straight forward with your heel
touching the ground first, keeping most of your body weight on your left leg (see
figure a); move your right hand upward and your left hand forward, palm facing
out; and start to shift your body weight onto your right leg, gradually ending with
your entire right foot firmly on the ground. Meanwhile, keep moving your right
hand up and your left hand forward. Finish shifting your body weight onto your
right leg, ending in a right bow stance (your hands and the leg in bow stance
should point in the same direction) with your right hand just above your right
temple, palm turned obliquely up, and left hand pushed forward in front of the
midline of your body; keep looking forward to maintain your stability and balance;
and make sure both heels are on parallel lines with about a foot (30 cm) between
the lines (see figure b).
144
Eyes follow the movement
of the left hand.
Coordinate weight Your left elbow should

shifting while moving be slightly bent.
your right hand up and
pushing your left hand
forward simultaneously.
Do not bend
your right knee
so much that it is
over your left toes.
6a 6b
7 Repeat steps 3 through 6 several times. Once you are ready to finish the
movement, continue to step 8.
8 To close the form, turn your body toward the front and shift your body weight
equally onto both legs. Move your arms up and out to shoulder level, with your
palms facing down and parallel to the ground. Bring both arms down alongside
your body and straighten your knees as you lower your arms so that you are back
in the starting position.
145
Cloud Hands
Yun Sou
The name of this form also derives from its movement pattern. During this form,
your arms alternately rotate in front of your body, looking like clouds floating by.
As a result, the movement is called Waving Hands Like Cloud, or more simply,
Cloud Hands. The hand movement is the same as the movement you learned for
Outside Vertical Circular Movement in Sequence in chapter 4, in which your hands
also move along two circles in sequence in front of your body, with your right hand
moving clockwise and your left hand moving counterclockwise. In the original mar-
tial arts context, the movement is used to block an opponents continuous attack.
TIP Use your lumbar spine (low back) as the axis of your movement (i.e.,
your hand movement should follow your waist movement) and coordinate
your weight shifting with your hands. Keep your hands within a comfort-
able distance from the body, neither too close nor too far; they should
be at a distance where they can move comfortably along clockwise and
counterclockwise circles. (Note that the hand movements are the same as
Outside Vertical Circular Movement in Sequence on page 52 of chapter 4).
1 For the starting position, stand naturally with your legs shoulder-width
apart and your feet parallel to each other. Keep your upper body, head, and neck
upright and straight. Hold your chin slightly down and relax your face with a slight
smile. Hang your arms down along your sides with your hands resting naturally
beside your thighs. Keep your body weight equally distributed between both legs.
Clear your mind and keep a peaceful mental state throughout the whole form.
2 Raise your arms

Breathe in
while your
Keep your head
held high, facing
slowly in front of your Keep your head arms move forward, and chin
body until they are level straight and up. held slightly
chin low. down.
with your shoulders;
your arms will be Do not bend
parallel to each other, your wrists.
shoulder-width apart,
and your palms will be
facing down. Keep your
upper body, head, and
neck upright and
straight. Hold your
chin slightly down and
relax your face with a
slight smile. Keep your
body weight distributed
equally between both
1 2
legs.
146
3 To shift weight to the right leg, turn your body slightly to the left, moving
your right hand up and then down from right to left and then up along a clockwise
circle (see figure a); face your palm toward yourself and follow your right hand
with your eyes; shift your body weight onto your right leg in time with your
right hand movement (see figure b); and move your left hand down along a
counterclockwise circle (i.e., in an opposite direction) and follow the movement of
your right hand in sequence (see figure c).
Turn your upper

body slightly to
the right.
3a
Move your right hand first.

along a clockwise circle.
3b
Move
your right Turn your upper
hand up as body toward the
you shift body right side at the
weight onto same time.
your right leg.
3c
(continued)
147
Cloud Hands (continued)
4 To shift your weight to the left leg, keep moving your right hand down along
its clockwise circle; start to move your left hand up along a counterclockwise
circle; slightly raise your left foot (see figure a); slide your left foot out a half
step to the left side (see figure b); keep moving your left hand up along the circle
and start to move your body weight onto your left leg; face your left palm toward
yourself, following your left hand with your eyes (see figure c); shift your body
weight completely onto your left leg as your left hand moves up; turn your upper
body to the left; and move your right hand down along a clockwise circle, ready to
move up for the next circle.
Move your left

leg a half step
out to the left.
Keep your
weight on your
right leg.
4a
Start to move your weight

onto your left leg.
4b
Turn your upper body
slightly to the left.
Move your weight

completely onto
your left leg.
4c
148
5 Repeat steps 3 and 4 several times. Once you are ready to finish the
movement, continue to step 6.
6 To close the form, shift your body weight back onto both legs equally. Move
your arms up and out to shoulder level with palms facing down and parallel to the
ground (see figure a). Bring both arms down alongside your body and straighten
your knees so that you are back in the starting position (see figure b).
6a 6b
149
Vega Working at Shuttles (page 141)
1 2 3 4a 4b
4c 5a 5b
6a 6b 8
150
Cloud Hands (page146)
1 2 3a 3b 3c
4a 4b 4c
6a 6b
151
part III
Tai Chi Routines
Now that you have learned and practiced several tai chi forms, it is time
for you to learn actual tai chi routines. A tai chi routine usually consists of a
set of forms. A routine can contain as few as 6 forms (as in the routine you
will learn in chapter 10) or as many as 108 forms. A tai chi routine is often
developed by a specific tai chi school, which often has its own routines
developed through many years of practice or by a panel of experts for public
use. (The popular 24- and 48-form tai chi routines in China were developed
by a panel specifically for public use.) Regardless of whether they are
short or long, most tai chi routines include key movements and aspects of
meditation. With a routine, teaching and learning tai chi become more fun
and easier. In part III, three routines designed specifically for beginners are
introduced in chapters 10 (a six-form routine), 11 (a twelve-form routine),
and 12 (a push hands routine).
Practice and enjoy!
153
chapter 10
Six-Form
Routine
In this chapter, you will learn an introductory six-form
routine consisting of the following forms: Cloud Hands,
Single Whipping, Playing Lute, Brush Knee and Twist
Step, Parting Mustangs Mane, and Grasp Sparrows Tail.
You learned Cloud Hands in chapter 9, Brush Knee and
Twist Step and Parting Mustangs Mane in chapter 6, and
Grasp Sparrows Tail in chapter 7. You will now learn two
new forms, Single Whipping and Playing Lute, and integrate
them with the other four forms into a set routine. Note
that we purposely use the word integrate rather
than combine, emphasizing that a routine is not
simply a combination of individual tai chi forms.
Rather, these forms integrate together to achieve a
higher level of tai chi practice. Forms in this context
are like individual pearls, which are beautiful alone, but
when strung together as a necklace, they become
greatermore beautiful, meaningful, and valuable.
155
TIA CHI illustrated
Moving in a smooth, continuous manner at a consistent speed is the key to a

good tai chi routine. Although forms are still done one by one in a routine, their
individual existence should not stand out or be sensed by you. Rather, the forms
integrate into a new, continuous, whole movement in which the end of one form is
the beginning of the next. Smooth connections among forms, therefore, are critical
when performing a routine. There are several ways to achieve smooth movement:
Keep a constant, slow speed throughout, even during transitions from one form to
another; make sure to finish each form completely (beginners often rush to start
the next form instead of making a distinction between forms); and have a relaxed
mind while at the same time paying attention to your performance of the routine.
Because a tai chi routine is designed to be practiced independently (e.g., the start
of the routine acts as a warm-up and the closing as a cool-down), it can be practiced
without combining it with other exercises, although some quick stretches and a few
minutes of stance practice beforehand are helpful. A tai chi routine can also be
practiced with other exercises (e.g., as part of cooling down after walking or other
moderate- to high-intensity exercise).
Level
Beginner
Benefits
Strengthens the upper body.
Strengthens the legs.
Improves the cardiovascular system.
Helps with stress management and low-back health.
Improves coordination.
Improves body awareness.
Improves qi flow.
Contraindications
156
1 Stand naturally with your legs
together as you start this routine. Keep
your upper body, head, and neck upright
and straight (see figure a). Hold your
chin slightly down and relax your face
with a slight smile. Hang your arms
down along your sides with your hands
resting naturally beside your thighs.
Take a small step outward with your left
foot so that your feet are shoulder-width
apart and your feet parallel to each other
(see figure b). Keep your body weight
equally distributed between both legs.
Clear your mind and maintain a peaceful
mental state throughout the whole form.
1a 1b
2 Maintain the starting position

but raise your arms slowly in front of
your body until they are at shoulder
level. Your arms should be parallel,
held shoulder-width apart, and palms
should face down.
3 Slowly squat while simultaneously

moving both arms down to the level
of your waist. Keep your upper body
upright while squatting slightly, with
your knees going out toward your toes.
2 3
157
Cloud Hands
You learned the movement of Cloud Hands previously on page 146 of chapter 9.
Make sure your foot movement follows a side-step pattern.
4 To shift your weight to your right leg, turn your body slightly to the left; move
your right hand up and then down from right to left and then up along a clockwise
circle; face your right palm toward yourself, following your right hand with your
eyes; shift your body weight onto your right leg in time with your right hand
movement; and move your left hand down along a counterclockwise circle (i.e.,
the opposite direction of your right hand's movement) and follow the movement of
your right hand in sequence.
5 Keep moving your

right hand down along its
clockwise circle and start
to move your left hand up
along a counterclockwise
circle. Slightly raise your
left foot and slide your
left foot out a half step
to the left; most of your
body weight should still
be on your right leg.
6 To shift your
weight onto your left
leg, keep moving your
left hand up along the
counterclockwise circle 4 5
and start to move your
body weight onto your
left leg, facing your left
palm toward yourself and
following your left hand
with your eyes.
7 Shift your body

weight completely onto
your left leg as your left
hand is moving up, turn
your upper body toward
your left side, move your
right hand down along its
clockwise circle, move
your right leg a half step
toward your left leg, and
land your right foot lightly
beside your left foot.
6 7
158
Single Whipping
The name of this form derives from its movement: One hand moves in an arc
while the other is pushed forward in a movement similar to cracking a whip. The
form harkens back to its original martial arts purpose as a defensive and offensive
move. One hand pushes forward to block an opponents attack and start forward
momentum to fight back as the back hand makes an arc in order to fight or to be
in a ready position for fighting.
8 Turn your body to the

right; shift your body weight
gradually back onto your right
leg; keep moving your left hand
up; extend your right hand up and
move your right arm back into a
slightly cocked position, turning
your palm toward the ground; and
watch your right hand with your eyes.
9 Move your body weight

completely onto your right leg; raise
your left heel and get ready to move
your left leg; keep moving your left
hand up as you form a hook (hand
form learned in chapter 4) with your
right hand by bringing all the fingers 8 9
together, touching each other at a
single point with an empty space
inside your palm; bend your right
wrist; and end with your right
arm at shoulder level.
10 Start to turn your

body to the left; take a half
step to the left with your left foot,
with your left heel touching the
ground first; keep almost all of your
weight on your right leg; and keep
moving your left hand up as it
starts to pass your face.
11 To complete the Single

Whipping, shift your body weight
onto your left leg while bending
your left knee so as to be in a left 10 11
bow stance (about 70 percent of
your weight should be on your left leg and 30 percent on your right leg);
meanwhile, rotate your left palm slowly from facing you to facing away and push
it forward on your left side, ending with your fingertips at eye level.
(continued)
159
Single Whipping (continued)
Shifting your body weight onto your left leg and pushing your left hand and arm
forward should be coordinated with each other. At the end of the Single Whipping,
keep your right upper arm slightly below shoulder level and have about a
15-degree bend at the elbow, with your forearm being the higher part of your arm
at around shoulder level, and hold your left elbow directly above your left knee
with your left arm slightly bent. Look forward over your left hand.
Playing Lute
The lute was a popular stringed musical instrument in ancient China. Since the
movement of this form is similar to playing a lute, it was named accordingly.
12 Shift your body weight completely onto your left leg and start to move your
right foot a half step forward toward your left heel; pull your left hand down and
back slightly and move your right hand forward.
13 Land with your right foot behind your left heel, continuing to move your left
hand up and your right hand down. When moving your left hand up, the movement
should be leftward, upward, and forward following a circular path; when moving
your right hand down, the movement should be coordinated with the body weight
shifting back onto your right leg.
14 Shift body weight back onto your right leg, with your left toes lifting off the
ground and your knee slightly bent to make a left empty step, and turn your left
hand up while following a circular path at about nose level, with your left palm
facing right and your left elbow slightly bent. Meanwhile, move your right hand
to the inside of your left elbow with your palm facing left, and end the movement
when you are in a posture that looks similar to playing a lute. Look forward with
your eyes just over the top of your left fingertips.
12 13 14
160
You learned the movement of Brush Knee and Twist Step previously on page 89
of chapter 6.
15 Move your body weight onto your right

leg; turn your upper body 90 degrees to the
right; turn your right hand so that the palm is
facing up and move your right arm up; turn your
left hand so that the palm is facing down while
you are turning your right hand so that the palm
is facing up, and move your right arm down and
then up; take a half step back with your left leg,
ending with your left toes touching the ground;
and watch your right hand with your eyes.
16 Take a full step to the left with your left

leg, touching the ground with your left heel first
(see figure a) and then placing the whole foot
down (see figure b); turn your upper body to the
left and push your right hand straight out at ear
level; move your left hand over your left knee; and
end the movement with your legs in a left bow step
(make sure there are about 12 in. or 30 cm between the 15
feet when in a bow step), with your right arm reaching
straight out, palm facing out, and your left hand facing
the ground at waist level on the left side of your knee
(see figure c). While moving into the bow step, execute
the left and right hand movements simultaneously
and move your face, front foot, and pushed-out
hand in the same direction.
16a 16b 16c
161
Parting Mustangs Mane (Right)
You learned the movement of Parting Mustangs Mane (Right) previously on page
84 of chapter 6.
17 Move your body weight back onto your right leg; turn your left foot about 45
degrees to the left; turn your upper body to the right; move your right hand down
along a circle while you move your left hand up (see figure a); shift your body
weight gradually back onto your left leg; keep moving your right hand down along
the circle; raise your right foot almost completely off the ground to be ready to
move forward (see figure b); move your body weight completely onto your left leg,
move your right foot a half step forward, and stop at the instep of your left foot
with your right toes slightly touching the ground; and turn your left hand over so
that your left palm is facing the ground while you simultaneously turn your right
palm so that it is facing your left palm, as if you were holding a large ball on the
left side of your body (see figure c).
17a
17b
17c
162
18 To complete the form, take a full step with your right leg to the right,
with your heel touching the ground first (see figure a); move your body weight
gradually onto your right foot; move your right arm up and your left arm down;
and end the movement with your right hand in front of your body, with your palm
facing you, and your left hand alongside your left hip (see figure b).
18a
18b
163
Grasp Sparrows Tail
You learned the movement of Grasp Sparrows Tail previously on page 109 of
chapter 7.
19 Slightly move your body weight back onto your left leg; turn your right foot
45 degrees to the right while moving your right hand back and turning your palm
180 degrees to face the ground at the same time (see figure a); turn your left hand
up simultaneously so it faces your right hand; shift your weight forward almost
entirely onto your right leg while raising your left leg slightly with the knee bent
(see figure b); and then transfer all your weight onto your right leg as you bring
your left leg in close to your right leg, placing only your left toes on the ground.
Meanwhile, move your left hand up and right hand down into the familiar holding-
ball position in front of the right side of your body (see figure c).
19a
19b
19c
164
20 With your left leg, take a full step to the left, with the heel touching the
ground first (see figure a) and arms parallel to each other and the ground in front
of your body, and shift your body weight gradually onto your left leg, ending in a
left bow step. Meanwhile, push your left arm upward and forward along a curve
and press your right hand down, ending at waist level with the palm facing the
ground (see figure b).
20a 20b
21 Turn both palms so that they are facing each other (see figure a), and pull
both hands back and down together to your right front while shifting your body
weight back onto your right leg (see figures b and c).
21a
21b
21c
(continued)
165
22 Turn your left palm toward yourself and your right palm away from you.
With your palms touching, move your left hand forward by pushing it with your
right hand (see figures a and b) while shifting your body weight onto your left leg,
ending in a left bow step (see figure c).
22a 22b 22c
23 Release both hands

by pushing them forward,
with palms facing the ground
(see figure a). Shift your body
weight back onto your right
leg and raise your left toes
so that only your left heel is
on the ground while you pull
both hands back into your
body (see figure b).
23a 23b
166
24 Push both hands down, shift your body weight forward onto your left leg
(see figure a), and end in a left bow step with both hands out in front of you at just
below shoulder level with palms pushing out (see figure b).
24a 24b
Closing With Cross Hands

This is a closing form in which you first separate your arms while turning your body
back to the starting direction and then cross your hands in front of your chest,
forming an X. The ending position gives it its name.
25 Turn your body to the right while

moving your weight onto your right leg
and pivot on your left heel so that your
left toes move inward. Move your right
hand in an even arc from your left side
to your right side, passing in front of
your face and away from your left hand.
25
(continued)
167
Closing With Cross Hands (continued)
26 Bend both knees while moving

both hands down along an arc from
outside to inside.
26
27 Cross both hands in front of your abdomen, with your right hand on the
outside and both palms facing you (see figure a), and stand up gradually. Raise
your crossed hands to chest level and take a half side step with your left leg
toward your right leg (see figure b). Raising your body, taking a half side step, and
crossing your hands should occur simultaneously.
27a 27b
168
28 Stand up straight with your body weight distributed evenly between both
legs, and separate your hands in front of your chest, with both palms facing down
(see figure a). Move your arms down (see figure b), move your left leg a half step
toward your right leg so that both feet are together, and move your arms to the
relaxed, natural, hanging starting position (see figure c).
28a
28b
28c
According to the custom of Chinese martial arts, including tai chi, one should return
to the starting position when finishing a routine. To do that for the Six-Form Routine
you just finished, you can follow what is called the duplication or complementary
form of the routine. This form is the same as the one you just learned, but it is
executed in the opposite direction with the left and right sides switched (in other
words, they are a mirror image). When you finish practicing these forms, you should
be able to return to the starting position naturally. You can also simply repeat the
Six-Form Routine several times to get similar health benefits.
169
Six-Form Routine
1a 1b 2 3 4
5 6 7 8 9
10 11 12 13 14
15 16a 16b 16c 17a
170
17b 17c 18a 18b 19a
19b 19c 20a 20b 21a
21b 21c 22a 22b 22c
23a 23b 24a 24b 25
(continued)
171
Six-Form Routine
(continued)
26 27a 27b 28a
28b 28c
172
chapter 11
Twelve-Form
Routine
After learning the Six-Form Routine in chapter 10,
you have a basic understanding of what a routine is
and can start to enjoy the flow
of tai chi. Expanding from the
Six-Form Routine, you will now
learn the Twelve-Form Routine
in this chapter. The first part of
the Twelve-Form Routine is the
same as the Six-Form Routine, except that
Closing With Cross Hands moves to the end of the
entire routine. The rest of the forms in the second
part of this routine are also forms you are familiar
with because they are ones you learned in the
previous chapters, and one of the forms is actu-
ally from the Six-Form Routine but is performed
twiceGrasp Sparrows Tail.
173
TAI CHI illustrated
The 12 forms in this routine are as follows:

Cloud Hands Deflect, Parry, and Punch (Right)
Single Whipping Kicking With Feet (Left)
Playing Lute Standing on One Leg
Brush Knee and Twist Step Vega Working at Shuttles
Parting Mustangs Mane (Right) Grasp Sparrows Tail (Right)
Grasp Sparrows Tail (Left) Closing With Cross Hands
Pay attention to the transitions between forms and make sure one form flows
smoothly into the next. The keys to helping the flow of the routine that were described
in chapter 10 are also applicable here: Keep a constant, slow speed throughout the
routine, even during transitions from one form to another; make sure to finish each
form completely (beginners often rush, starting the next form instead of making a
distinction between forms); and have a relaxed mind while at the same time paying
attention to your performance of the routine. You should master the Six-Form Rou-
tine first, and then while learning the Twelve-Form Routine you can add new forms
gradually so as not to feel overwhelmed.
The best way to learn a routine is to follow an instructor. For self-learning, it is
perfectly all right to stop during the routine to check this book or the video clips
prepared for the book. Practice with a partner (or partners) where you take turns
reading the instructions aloud while doing the routine. Practice in front of a full-
length mirror if available. Relax while doing the routine; feel and enjoy the flow that
it generates. Practice every day if possible, or at least three times a week. Repeat the
routine two to three times each time you practice. Since most of the important tai
chi forms have been included, you can simply repeat the routine rather than doing
the opposite-side directions, or mirroring the forms, as was recommended for the
Six-Form Routine.
Level
Beginner
Benefits
Strengthens the upper body. Helps maintain low-back health.
Strengthens the legs. Improves coordination.
Improves the cardiovascular system. Improves body awareness.
Helps with stress management. Improves qi flow.
Contraindications
174
1 Stand naturally with your legs
together as you start this routine.
neck upright and straight. Hold your
chin slightly down and relax your
face with a slight smile. Hang your
arms down along your sides with
your hands resting naturally beside
your thighs (see figure a). Take a
small step outward with your left
foot so that your feet are shoulder-
width apart and your feet parallel
to each other (see figure b). Keep
your body weight equally distributed
and maintain a peaceful mental state
1a 1b
2 Maintain the starting position

but raise your arms slowly in front
of your body until they are level with
your shoulders; your arms will be
parallel, held shoulder-width apart,
and palms will be facing down.
3 Slowly squat while moving both

arms down simultaneously to waist
level. Keep your upper body upright
while squatting slightly, with your
knees bending in the direction of
your toes.
2 3
175
Cloud Hands
You learned the Cloud Hands form on page 146 of chapter 9. Make sure your foot
movement follows a side-step pattern.
4 To shift your weight onto your right leg, turn your body slightly to the left;
move your right hand up and then down from right to left, then up along a
clockwise circle, with your right palm facing yourself and your eyes following your
right hand; shift your body weight onto your right leg in time with your right hand
movement; and move your left hand down along a counterclockwise circle (i.e.,
the opposite direction of your right hand movement) and follow the movement of
the right hand in sequence.
5 Keep moving your right hand down along its clockwise circle and start to
move your left hand up along a counterclockwise circle, and slightly raise your
left foot and slide it out a half step to the left. Most of your body weight should
still be on your right leg after you complete the left half side step.
4 5
6 To shift your weight onto your left leg, keep moving your left hand up along
the counterclockwise circle and start to move your body weight onto your left leg,
with your left palm facing yourself and your eyes now following your left hand.
7 Shift your body weight completely onto your left leg as your left hand
moves up, turn your upper body to the left, move your right hand down along its
clockwise circle, move your right leg a half step toward your left leg, and land
your right foot lightly alongside your left foot.
176
6 7
Single Whipping
You learned the Single Whipping form previously on page 159 of chapter 10.
8 Turn your body to the right; shift your

body weight gradually back onto your right
leg; keep moving your left hand up; extend
your right hand up and move your arm back
into a slightly cocked position, turning your
right palm toward the ground; and watch
your right hand with your eyes.
(continued)
177
Single Whipping (continued)
9 Move your body weight completely

onto your right leg; raise your left heel
and get ready to move your left leg;
and keep moving your left hand up as
your right arm moves out. All fingers
of the right hand come together and
touch each other at a single point, with
an empty space inside your palm; bend
your right wrist so that your right hand
looks like a hook; and stop extending
your right arm at shoulder level.
10 Start to turn your body to the left;

take a half step using your left foot, with
your left heel touching the ground first;
keep almost all of your weight on your
right leg; and keep moving your left
hand up as it starts to pass your face. 9
11 To complete the Single Whipping, shift your body weight onto your left leg
while bending your left knee so that you are in a left bow stance (you should have
about 70 percent of your weight on your left leg and 30 percent on your right leg).
Meanwhile, rotate your left palm slowly from facing you to facing away and push
it forward on your left side, ending with your fingertips at eye level. Look straight
ahead past your left hand.
10 11
178
Playing Lute
You learned the Playing Lute form previously on page 160 of chapter 10.
12 Shift your body weight completely onto your left leg and start to move your
right foot a half step forward toward your left heel; pull your left hand down and
back slightly and move your right hand forward.
13 Land your right foot behind your left heel, and keep moving your left hand
up and right hand down.
14 Shift your body weight back onto your right leg, with your left toes lifting
up so that your left heel is still on the ground and your left knee slightly bent to
make an empty step; turn your left hand up following a circular path at about nose
level, with your left palm facing right and your left elbow slightly bent; meanwhile,
move your right hand to the inside of your left elbow, with the palm facing left,
and end the movement when you are in a posture that looks similar to playing a
lute.
12 13 14
179
You learned the Brush Knee and Twist Step form previously on page 89 of chapter 6.
15 Move your body weight onto your right

leg; turn your upper body 90 degrees to the
right; turn your right hand so that your palm
is facing up and move your right arm up; turn
your left hand so that your palm is facing down
while you are turning your right hand so that
the palm is facing up, and move your right arm
down and then up; take your left leg slightly
back, ending with your left toes touching the
ground; and watch your right hand with your
eyes.
16 Take a full step to the left with your left

leg, touching the ground first with your left
heel (see figure a) and then placing your whole
foot down (see figure b); turn your upper body
to the left and push your right hand straight
out at ear level; move your left hand over your
left knee; and end the movement with your legs
in a left bow step, with your right arm reaching
straight out, palm facing out, and your left 15
hand facing the ground at waist level on your
left side (see figure c).
16a 16b 16c
180
Parting Mustangs Mane (Right)
You learned the Parting Mustangs Mane (Right) form previously on page 84 of
chapter 6.
17 Move your body weight back onto your right leg; turn your left foot about 45
degrees to the left; turn your upper body to the right; move your right hand down
along a circle while you move your left hand up (see figure a); shift your body
weight gradually back onto your left leg; keep moving your right hand down along
the circle; and raise your right foot almost completely off the ground to be ready
to move forward (see figure b). Move your body weight completely onto your left
leg and move your right foot a half step forward, stopping at the instep of your left
foot with your right toes slightly touching the ground; and turn your left hand over
so that your left palm is facing the ground while you simultaneously turn your
right palm so that it is facing your left palm, as if you were holding a large ball on
the left side of your body (see figure c).
17a 17b 17c
(continued)
181
Parting Mustang's Mane (Right) (continued)
18 To complete the form, take a full step with your right leg to the right, with
your heel touching the ground first; move your body weight gradually onto your
right leg; move your right arm up and your left arm down (see figure a); and end
the movement with your right hand in front of your body, palm facing you, and
your left hand alongside your left hip (see figure b).
18a 18b
Grasp Sparrows Tail (Left)

You learned Grasp Sparrows Tail previously on page 109 of chapter 7.
19 Slightly move your body weight back onto your left leg; turn your right foot
out 45 degrees to the right while moving your right hand back and turning your
palm 180 degrees to face the ground at the same time; turn your left hand up
simultaneously so that your left palm is facing your right palm (see figure a); shift
your weight forward almost entirely onto your right leg while starting to raise your
left leg slightly with the knee bent; and then transfer all your weight onto your
right leg as you bring your left leg in close to your right leg and place only your
left toes on the ground. Keep both knees bent, but body weight remains on your
right leg only. Meanwhile, face your left hand up and right hand down into the
familiar ball-holding position in front of the right side of your body (see figures b
and c).
182
19a 19b 19c
20 With your left leg, take a full step to the left, with the heel touching the
ground first and arms parallel to each other and the ground in front of your body
(see figure a), and shift your body weight gradually onto your left leg, ending in
a left bow step. Meanwhile, push your left arm upward and forward along a curve
and press your right hand down, ending at waist level with the palm facing the
ground (see figure b).
20a 20b
(continued)
183
Grasp Sparrow's Tail (Left) (continued)
21 Turn both palms so that they are facing each other (see figure a), and pull
both hands back and down together to your right front while shifting your body
weight back onto your right leg (see figures b and c).
21a 21b 21c
22 Turn your left palm toward yourself and your right palm away from you.
With your palms touching, move your left hand forward by pushing it with your
right hand (see figures a and b) while shifting your body weight onto your left leg,
ending in a left bow step (see figure c).
22a 22b 22c
184
23 Release both hands by pushing them forward, with palms facing the
ground (see figure a). Shift your body weight back onto your right leg and raise
your left toes so that only your left heel is on the ground while you pull both
23a 23b
24 Push both hands down, shift your body weight forward onto your left leg
(see figure a), and end in a left bow step with both hands out in front of you at just
below shoulder level with palms pushing out (see figure b).
24a 24b
185
Deflect, Parry, and Punch (Right)
You learned the Deflect, Parry, and Punch form on page 115 of chapter 7.
25 Shift your body weight onto your right leg, turn your left foot about 45
degrees to the right, and turn your body and arms to the right at the same time.
26 Move your body weight back onto your left leg so that now your right leg
has only the right toes touching the ground. Meanwhile, make a fist with your
right hand and move it down along a vertical circle in front of body from right to
left (clockwise), and move your left hand slightly up, from left to right, to the front
of your chest.
27 Move your arms arcing out and forward while taking a full step forward
with your right leg, with the right heel touching the ground first; gradually move
your body weight onto your right leg and end in a right bow step; both hands
follow the weight shift, ending with your right fist up and out and your left hand
close to your right elbow; and your eyes watch your right fist throughout the
movement.
25
26
27
186
Kicking With Feet (Left)
You learned the Kicking With Feet form on page 130 of chapter 8.
28 Open your right fist while your left hand makes a counterclockwise
horizontal ellipse that moves across the top of your right arm. An ellipse, as
mentioned in chapter 8, is an unequal circle with one dimension longer than the
other.
29 Open both hands in front of your chest by moving your left hand to the left
and your right hand to the right; shift your body weight onto right leg at the same
time.
30 Move your body weight completely onto your right leg and take a half step
forward with your left foot, landing lightly by the instep of your right foot, with
your left toes touching the ground. Bend your right knee slowly until it is bent
about 20 degrees. Be sure to keep your knee over your foot, but not past your
toes, as you bend it. Cross your hands parallel to the ground in front of your waist
with both palms turned toward your body, your right hand on the top and closest
to you. Keep your neck, head, and upper body straight and your shoulders
relaxed and loose. Keep your knees bent. Look straight ahead.
28
29
30
(continued)
187
Kicking With Feet (Left) (continued)
31 Keep moving your hands and arms upward, separating them in front of
your face with your left hand moving forward, palm facing out, and your right
hand moving to the right and slightly back, palm facing out (your right arm
moves to the back slightly to help you keep your balance). To kick left, raise your
left knee straight up (see figure a) and at the same time kick your left foot out
slowly while maintaining your balance (see figure b). When kicking, do not fully
straighten your kicking leg; your knee needs to be slightly bent even at the apex
of your kick. Because one leg is moving while the other is bearing all your weight,
this movement can prove to be a challenge. You can reduce the difficulty by
lowering your kicking leg and make sure you are in control of your balance before
kicking.
31a 31b
188
Standing on One Leg
You learned the Standing on One Leg form on page 125 of chapter 8.
32 Return your left foot by

bending your left knee (see
figure a) and lightly landing
your left foot parallel to your
right foot (see figure b). At the
same time, push your left hand
down following a clockwise
curve and move your right hand
down slightly on the right side
of your body.
33 Shift your body weight

gradually onto your left leg and
foot. Slightly turn your upper
body to the right, lowering
your arms and hands to waist
level and keeping your palms
parallel to the ground. Your
right hand should be slightly
32a 32b
in front of and above your right
hip. Move your right hand, palm
still facing the ground, in a
slow clockwise circle. Tilt your
head slightly downward so you
can watch the path your hand
is making.
34 Move all of your body

weight onto your left leg. Raise
your right leg slowly with your
knee relaxed and bent. Raise
your right hand at the same
time at a slightly quicker
speed than you are raising
your right leg. Keep your left
shoulder relaxed and slowly
lower your left arm slightly.
Use your left arm and hand to
help you keep your balance.
Keeping your left leg slightly
bent also helps you keep your
balance. Practice this part with
33 34
great caution since it is easy
to lose your balance when
standing on only one leg.
189
Vega Working at Shuttles
You learned the Vega Working at Shuttles form on page 141 of chapter 9.
35 Land your right foot naturally a half step in front of your body, and turn
your body slightly to the right.
36 Shift your body weight onto your right leg, gradually ending with the toes
of the left foot touching the ground. Move your left hand down toward the front of
your right side, and turn your left palm up while you move your right arm slightly
up to shoulder level. End in a holding-ball position in front of your right side.
35 36
37 Move your left leg one step forward, touching the ground with your heel
first and keeping most of your body weight on your right leg; move your left hand
upward and your right hand forward with the palm facing out (see figure a); and
start to shift your body weight onto your left leg, gradually ending with your entire
left foot firmly on the ground. Meanwhile, keep moving your left hand up and your
right hand forward (see figure b). Finish shifting your body weight onto your left
leg, ending in a left bow stance with your left hand just above your left temple,
palm turned obliquely upward, and your right hand pushed forward in the front of
your midbody. Keep looking forward to maintain your stability and balance, and
make sure both heels are on parallel lines with about 12 inches (30 cm) between
the lines (see figure c).
190
37a 37b 37c
Grasp Sparrows Tail (Right)

You learned the movement of Grasp Sparrows Tail on page 182 earlier in this
chapter and also on page 109 of chapter 7.
38 Move your body weight back

onto your right leg and turn your
left foot slightly out to the left.
Meanwhile, start to move your right
hand down toward the front of your
body and move your left hand down
on the left side.
39 Shift your body weight almost

entirely onto your left leg while
raising your right leg slightly with
the knee bent, bring your right leg
in close to your left leg, and put
only your right toes on the ground.
Meanwhile, keep moving your left
hand down toward the front of your
body and turn your left palm down
while you move your right arm down
to shoulder level. End in the holding-
ball position in front of your left side. 38 39
(continued)
191
Grasp Sparrow's Tail (Right) (continued)
40 Take a full step to the right

with the right leg, touch your heel
to the ground first while your arms
are crossed in front of your body,
and shift your body weight gradually
onto your right leg, ending in a bow
step. Meanwhile, push your right arm
upward and forward along a curve
and press your left hand down.
40
41 Turn both palms so that they are facing each other (see figure a) and pull
both hands back and down together to your left front while shifting your body
weight back onto your left leg (see figure b).
41a 41b
192
42 Turn your right palm toward yourself and your left palm away. With your
palms touching, push your right hand forward using your left hand (see figure
a) while shifting your body weight onto your right leg, ending in a right bow step
(see figure b).
42a 42b
43 Release both hands by pushing them forward with your palms facing the
ground (see figure a). Shift your body weight back onto your left leg and raise
your right toes, with only your right heel touching the ground, while you pull both
43a 43b
(continued)
193
Grasp Sparrow's Tail (Right) (continued)
44 Push both hands down, shift your body weight onto your right leg (see
figure a), and end in a right bow step with both hands out, palms pushing outward
(see figure b).
44a 44b
Closing With Cross Hands

The ending position of this movement gives it its name. You learned Closing With
Cross Hands on page 167 of chapter 10 for the Six-Form Routine.
45 Turn your body to the left

while moving your weight onto
your left leg and pivoting your
right toes inward. Move your
left hand in an even arc from
your right side to your left side,
passing in front of your face and
away from your right hand.
45
194
46 Bend both knees while
moving both hands along an arc
down from outside to inside.
46
47 Cross both hands in front of your abdomen, with your right hand on the
outside (see figure a) and both palms facing you. Stand up gradually, raising your
crossed hands to chest level and taking a half side step with your left leg toward
your right leg at the same time (see figure b).
47a 47b
(continued)
195
Closing With Cross Hands (continued)
48 Stand up straight with your body weight distributed evenly between both
legs, and separate your hands in front of your chest, with both palms facing down
(see figure a). Move your arms down (see figure b), move the left leg a half step
toward your right leg so that both feet are together, and move your arms to the
relaxed, natural starting position (see figure c).
48a 48b 48c
196
Twelve-Form Routine
1a 1b 2 3 4
5 6 7 8 9
10 11 12 13
14 15 16a 16b 16c
(continued)
197
Twelve-Form Routine
(continued)
17a 17b 17c 18a
18b 19a 19b 19c
20a 20b 21a 21b
21c 22a 22b 22c
198
23a 23b 24a 24b
25 26 27 28
29 30 31a 31b 32a
32b 33 34 35 36
(continued)
199
Twelve-Form Routine
(continued)
37a 37b 37c 38
39 40 41a 41b
42a 42b 43a 43b
44a 44b 45 46
200
47a 47b 48a 48b 48c
201
chapter 12
Basic Push
Hands Routine
Push hands is an advanced way to practice tai chi. Rather than practicing tai
chi alone, as you did when learning the individual forms and routines in the
earlier chapters, you must practice push hands with a partner. Remember
that tai chi is rooted in martial arts, and push hands was originally required
in order to learn how to apply tai chi in combat situations. As with tai chi
forms and routines, most people learn and practice push hands for health
and fitness purposes. Through push hands practice, you will be better able
to understand the structure of tai chi movement techniques. More important,
push hands practice will help you feel and experience the characteristics of
tai chi strength: soft yet firm, an iron fist in a velvet glove. Finally, practicing
push hands is the only way to experience the constant
yinyang changes generated in
tai chi practice.
203
TAI CHI illustrated
A major requirement for push hands practice is that both partners stand stable as
they cross and touch each others forearms. During practice, partners arms remain
in contact while moving without losing contact or hitting each other. Meanwhile,
both partners constantly try to feel or locate each others center of gravity so as to
be able to move in a manner that could cause the other to lose his balance. In this
way, you can gain control or win by using a small amount of strength and using your
opponents own strength against her or getting her to lose her balance. To counter
this tactic, you can bend your knees more as you become stronger so that you have a
more stable base, which will make it harder for your opponent to move you around.
Integrate push hands practice with the forms and routines learned in earlier chap-
ters so that you gain a better understanding of the connections among them. The
shifting of weight you learned in forms and routines, for example, is an important
part of movement during push hands. Start with a partner at a similar skill level.
You may feel helpless if you start your push hands practice with a partner who is
more skilled than you; therefore, it is more fun to learn with a person at a similar
level. Take your time to learn and enjoy tai chi. To understand the principle and
beauty of push hands, you should practice each form step by step and learn to feel
the strength of your partner.
In this chapter, you will learn and practice six basic push hands forms. Start by
learning each form individually. After becoming familiar with them, you can start
to integrate them into a practice. Specifically, you can do the appropriate form based
on your opponents move. To make the descriptions of movement easier to follow,
well call the partners in the photos by the color they are wearing.
204
1 The partners (or opponents) stand facing each other about 4 to 5 feet (122-152
cm) apart.
2 The partners start by separating their legs. The white partner moves his right
leg and the black partner moves his left leg so that their legs are about shoulder-
width apart.
(continued)
205
(continued)
3 Both partners do the basic tai chi starting position and movement, raising the
arms first (see figure a) and then lowering them (see figure b).
3a
3b
206
4 Both partners take one step forward with their right legs, raising and
extending their right arms so that the backs of their right wrists touch each other.
207
Horizontal Circle Pushing
The name of this form derives from its movement pattern, in which the movement
of both partners hands forms a horizontal circle.
1 The white partner

starts to push forward
using his right hand (see
figure a) and shifts his
body weight onto his front
(right) leg at the same time
(see figure b). The white
partner needs to think
of the black partner as a
ball that must be hit in the
center in order to deliver
a hit that has full strength.
Rather than pushing
the white partner back
directly, which violates
the yinyang (black
partnerwhite partner)
balance principle in tai 1a
chi, the black partner tries
to guide the white partner
to the right or left side.
Maintaining the idea that
the black partner is a ball,
the black partner is trying
to reduce the strength of
the hit by having it hit off-
center so as to roll off the
ball (i.e., using his body,
the black partner guides
the white partner by
feeling the direction of the
white partners pushing
and moving his weight
onto his back leg).
1b
208
2 The black partner continues
moving his weight back onto
his back (left) leg and turns his
body slightly to the right. At the
same time, the black partner
grasps the right elbow of the
white partner with his left hand.
There are two reasons for this:
to prevent the white partner from
using his elbow to hit the black
partners head and to help pull
over the white partner using his
own strength. The latter is one
of the principles and beauties of
tai chi in combat: Always use an
opponents strength against him.
3 When the white partner

feels that he will not hit the
middle of the ball, so to speak,
and there is a risk of losing his
balance in continuing a forward
movement, he pulls back his
right arm and starts to move his
weight onto the back (left) leg.
The black partner, feeling the
white partner pulling back, then
starts to push forward so that
he can take full advantage of
the white partners strength.
(continued)
209
Horizontal Circle Pushing (continued)
4 As the white partner did in step 1, the black partner starts to simultaneously
push forward and move his weight onto his front (right) leg (see figure a);
meanwhile, the white partner tries to guide the black partners hit to the right side
of the ball (see figure b). The white partner now becomes a ball by moving his
weight onto his back (left) leg and grasping the black partners right elbow with
his left hand to avoid being elbowed in the head.
4a
4b
210
5 As in step 3, the black partner feels that he will not hit the middle of the ball
and there is a risk of losing his balance, so he starts to pull back by moving his
body weight onto his back (left) leg (see figures a and b). The white partner feels
the black partner pulling back and starts to move forward, as in step 3.
5a
5b
(continued)
211
Horizontal Circle Pushing (continued)
6 Steps 1 through 5 can be repeated for the whole practice, or another form of
push hands can be added to the practice. When a person hits (offense), he will try
to hit the opponent's middle, and when he defends, he will try to lead the coming
force to the side. When he finishes a hit and starts to pull back, his opponent
starts to deliver his hit. Thus, during this push hands form the offense (yang) and
defense (yin) continually repeat and continually switch which person is yang and
which person is yin. The movement of both persons hands forms a horizontal
circle during this practice (see figures a-f).
6a 6b
6c 6d
212
6e 6f
7 When finished, both partners move their right legs back to the front. Both
reach out their arms and then lower them in a relaxed manner to the starting
position.
213
Horizontal Circle Bing Push Hands
You learned the bing movement on page 111 of chapter 7. Pushing an arm forward
with the forearm in the front is called a bing in tai chi. In Horizontal Circle Bing
Push Hands, therefore, you push back and forth with your forearms. Specifically,
you form a circle using your arms in your front of your body, with your palms facing
yourself without turning your wrists.
1 The white and black

partners stand facing each
other 4 to 5 feet (122-152
cm) apart (see figure a).
They start by separating
their legs, the white partner
moving his right leg and the
black partner moving his
left leg. Both take one step
forward with their right legs,
extending and crossing their
right forearms so that the
backs of their wrists touch
(see figure b).
1a
1b
214
2 Imagining the white partner as a ball, the black partner starts to push his
right arm forward at the center of the white partner with a bing form as the black
partner shifts his body weight onto the front (right) leg. The white partner tries to
avoid the hit by guiding the black partners move by bending his front arm back
while moving his weight onto his back (left) leg (see figure a) and grasping the
black partners elbow with his left hand (see figure b).
2a
2b
(continued)
215
Horizontal Circle Bing Push Hands (continued)
3 When the black partner

feels that he will not hit the
center of the ball and there
is a risk of losing balance
in continuing forward
movement, he pulls back his
right arm as he starts to move
his weight onto his back (left)
leg. Feeling the black partner
pulling back, the white
partner starts to push forward
to take advantage of the black
partners movement back.
4 Similar to steps 2 and 3, the black partner avoids the white partners hit by
bending his arm, shifting his weight onto his back (left) leg, and grasping the
white partners right elbow using his left hand (see figure a). When he feels that
he will not hit the white partners center, the white partner pulls back, and at that
moment, the black partner fights back by pushing forward.
4a 4b
216
5 Steps 2 to 4 can be repeated for the entire practice.
6 When finished,
both partners move
their right legs
back to the starting
position. Both reach
out their arms (see
figure a) and then
lower them in a
relaxed manner to
the starting position
(see figure b).
6a
6b
217
Vertical Circle Push Hands With Grasping
The name of this form reflects the key features of this push hands. Vertical Circle
means the hands move in an up-and-down circle during the practice, while Grasp-
ing means that the partners grasp each others hand and elbow during the practice
to pull opponent toward one side and to avoid being elbowed.
1 The white and black partners stand facing each other about 4 to 5 feet (122-
152 cm) apart. They start by separating their legs, the white partner moving his
right leg and the black partner moving his left leg. Both take one step forward
with the right leg, extending and crossing their right forearms so that the backs of
their forearms touch.
218
2 The black partner starts to push his right hand forward toward the white
partner as he shifts his body weight onto his front (right) leg (see figure a). To
deflect the hit by the black partner, the white partner guides the black partners
striking movement to the right and up by turning his body to the right, shifting his
weight onto his back (left) leg and grasping the black partners elbow with his left
hand (see figure b).
2a 2b
(continued)
219
Vertical Circle Push Hands With Grasping (continued)
3 The white partner continues holding the black partners elbow tightly with his
left hand and makes an internal rotation with his right hand (see figure a) to grasp
the black partners right wrist (see figure b). The white partner then tries to pull
the black partner to the white partners right side and up so that the black partner
may lose his balance. The grasping of the black partners right hand by the white
partner is called cai in Chinese.
3a
3b
220
4 To maintain his balance, the black partner naturally pulls his hit back by pulling
his right arm down and back, and the white partner releases his grip on the black
partner and follows the black partners pull back to deliver his own hit (see figure
a). Subsequently, the white partner responds with the same moves that the black
partner did in step 2 and pushes forward toward the black partner (see figure b).
The arm and hand movements of steps 2 through 4 create a vertical circle between
the two partners, which is why vertical circle is used in the name of this form.
4a
4b
(continued)
221
Vertical Circle Push Hands With Grasping (continued)
5 Repeat steps 2 through 4 until the end of the practice.
6 When finished, both partners move their right legs back to the starting
position. Both reach out their arms and then lower them in a relaxed manner to
the starting position.
222
S-Shape Lu Push Hands
You learned the lu movement, in which you pull both hands back, on page 104 of
chapter 7. Now you will learn how to apply that movement with push hands.
1 The white and black partners

stand facing each other about 4
to 5 feet (122-152 cm) apart. They
separate their legs, the white
partner moving his right leg and
the black partner moving his left
leg. Both take one step forward
with their right legs, extending
and crossing their right forearms
so that the backs of their forearms
touch.
2 The white partner starts

to push his right arm forward
toward the right side of the black
partners waist by rotating his
right arm outward and shifting his
body weight onto his front (right)
leg at the same time. The black
partner tries to deflect the hit by
guiding the white partners hitting
right forearm using the back of his
right forearm.
(continued)
223
S-Shape Lu Push Hands (continued)
3 The black partner

grasps with his left hand
the white partners elbow
while moving his weight
onto his back (left) leg and
pulling the white partners
weight to the black partners
right side. To maintain his
balance, the white partner
pulls his right arm up and
back and starts to move
his weight onto his back
(left) leg. Feeling the white
partner pull back, the black
partner starts to push up
and forward to continue
taking advantage of the
white partners momentum. 3
4 As in steps 2 and 3,
the black partner does an
internal rotation of his right
arm and pushes forward and
down toward the waist of the
white partner. To deflect the
hit, the white partner guides
the black partners move by
using the back of his right
arm, grasping the white
partners right elbow with
his left hand while moving
his weight onto his back
(left) leg and pulling the
white partners weight to his
right side. This deflection
forces the black partner to
pull back then to maintain 4
his balance. The movements
between partners create an
S-shaped path that gives
this move its name.
224
5 Steps 2 through 4 can be repeated until the end of the practice.
6 When finished, both partners move their right legs back to the starting
position. Both reach out their arms and then lower them in a relaxed manner to
the starting position.
225
High Cut-Block Push Hands
The name of this push hands form reflects its characteristics. High means a push
will be performed at or above shoulder level. In tai chi, the movement of hitting your
opponents head using the outer edge of your palm is called xiao, which translates
to cut, and using your forearm to block the cut is called jia.
1 The white and black

partners stand facing each
other about 4 to 5 feet (122-
152 cm) apart. They start by
separating their legs, the
white partner moving his right
leg and the black partner
moving his left leg. Both take
one step forward with their
right legs, extending and
crossing their right forearms
so that the backs of their
forearms touch.
2 The black partner starts

to cut the white partners head
with his right hand by moving
it forward and up as he shifts
his body weight onto the front
(right) leg. To protect himself,
the white partner tries to
block the cut by raising and
rotating his right hand (with
palm facing himself) and by
turning his body to the right
while moving his weight onto
his back (left) leg.
226
3 Meanwhile, the white partner uses his left hand to grab and press the black
partners elbow, pulling him forward to the white partners right side so that the
black partner might lose his balance.
(continued)
227
High Cut-Block Push Hands (continued)
4 To maintain his balance, the black partner naturally pulls his cut back. The
white partner then releases his grasp on the black partners elbow and follows
the black partners pull back and cut back using his right hand (see figure a). In
return, the black partner tries to block the white partners cut by grasping the
white partners elbow with his left hand and pulling the white partner to the black
partners right side (see figure b).
4a 4b
5 Repeat steps 2 through 4 until the end of the practice.
6 When finished,
both partners move
their right legs
back to the starting
position. Both reach
out their arms and
then lower them in
a relaxed manner
to the starting
position.
228
References
American Psychological Association (2012). Stress in America: Our health at risk. Wash-
ington, DC: Author.
Centers for Disease Control and Prevention. Falls Among Older Adults. http://www.cdc.
gov/HomeandRecreationalSafety/Falls/adultfalls.html
Chen, K.W. (2004) An analytic review of studies measuring effects of external QI in China.
Altern Ther Health Med, 10(4), 38-50.
Hong, Y. (Ed.). (2008). Tai chi chuan: State of the art in international research. New
York: Karger.
Martin, Brook I.; Deyo, Richard A.; Mirza, Sohail K; Turner, Judith A.; Comstock, Bryan
A.; Hollingworth, William; Sullivan, Sean D. (2008). Expenditures and health status among
adults with back and neck problems. JAMA, 299(6), 656-664.
Mayo Clinic. Exercise and stress: Get moving to combat stress. http://www.mayoclinic.
com/health/exercise-and-stress/SR00036.
Salthous, T.A. (1984). Effects of age and skill in typing. Journal of Experimental Psychol-
ogy: General, 113(3), 345-371.
Schmitz, T. J. (2007). Examination of Sensory Function. In S. B. OSullivan & T.J. Schmitz.
Physical Rehabilitation (5th ed.). Philadelphia, PA: F. A. Davis Company, 121157.
Stux, G., & Hammerschlag, R. (2001). Clinical acupuncture: Scientific basis. New York:
Springer.
Wolf, S.L., Barnhart, H.X., Kutner, N.G., McNeely, E., Coogler, C., & Xu, T. (1996). Reduc-
ing frailty and falls in older persons: An investigation of t'ai chi and computerized balance
training. Journal of the American Geriatrics Society, 44(5), 599-600.
Zhu, W., Guan, S., & Yang, Y. (2010). Clinical implication of tai chi interventions: A review.
American Journal of Lifestyle Medicine, 4 (Sept./Oct.), 418-432.
229
Resources
Publications
Cheng, M. C. (1962). Tai Chi Chuan: A Method of Calisthenics for Health and Self
Defense. Taipei: Shih Chung Tai-chi Chuan Center.
A translation of a classic text about Tai Chi Chuan by a well-known Chinese tai chi master.
Li, D. (2004). Taijiquan. Beijing: Foreign Languages Press: Beijing.
A comprehensive introduction to tai chi by a modern tai chi master.
Websites
www.ncbi.nlm.nih.gov/pubmed/
The database maintained by the US National Library of Medicine at the National Institutes
of Health, comprised of more than 21 million citations for biomedical literature, including
many current tai chi and health studies.
nccam.nih.gov/health/taichi
The official tai chi information page of the US National Center for Complementary and
Alternative Medicine where you can find general information, research spotlights, ongoing
medical studies, and scientific literature on tai chi.
www.qigonginstitute.org/html/taichihealth.php
The Qigong Institute websites section on tai chi and health, providing a comprehensive
introduction to tai chi and health.
www.worldtaichiday.org/
The official site of World Tai Chi & Qigong Day, where you can find useful information
related to tai chi, including events, schools, tips and tutorials, research, and products.
230
About the Authors
Master Pixiang Qiu is director of the Chinese Wushu
(martial arts) Research Center of Shanghai University
of Sports. A veteran tai chi instructor, Qiu was named
a national master of traditional exercise by the Chinese
government. The International Wushu Federation also
elected him the first international referee in 1990, named
him as one of Chinas famous wushu professors in 1995,
and rated him as a Chinese wushu ninth duan, the highest
level in wushu, in 2003. He was the wushu chief judge for
the 11th, 12th, 13th, and 14th Asian Games and the chief
judge for the 2nd, 4th, and 7th World Wushu Champion-
ships. He was designated as an excellent national sports
referee and has been ranked as a national top 10 wushu
referee.
Professor Qiu has published multiple books in Chinese
on tai chi and wushu and has lectured worldwide. He gave the keynote address on tai
chi at the 2009 American Alliance for Health, Physical Education, Recreation and
Dance (AAHPERD) convention and, based on his tai chi teaching and contribution
to the promotion of culture exchange, was made an honorary citizen of the city of
Dallas in 2009.
Weimo Zhu, PhD, is an internationally known scholar in

physical activity and health research at the University of
Illinois at Urbana-Champaign, where he regularly teaches
mindbody exercise classes at both the university and
community levels. He has practiced Chinese mindbody
exercises, including tai chi and qigong, for more than 25
years and has been instrumental in introducing them in
the United States and around the world. He has given dem-
onstrations and lectures on Chinese mindbody exercises
in the United States, China, South Korea, and the Czech
Republic. He was awarded a NIH grant to study the effect
of long-term mindbody exercise on cancer survivors and
presented the research findings at the American College
of Sports Medicine (ACSM) annual meetings in 2009.
231
Youll find other outstanding mind, body, spirit resources at
www.HumanKinetics.com/yogaandpilates
In the U.S. call 1-800-747-4457
Australia 08 8372 0999 Canada 1-800-465-7301
Europe +44 (0) 113 255 5665 New Zealand 0800 222 062
HUMAN KINETICS
The Premier Publisher for Sports & Fitness
P.O. Box 5076 Champaign, IL 61825-5076 USA

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TAI CHI

Master Pixiang Qiu

part I Tai Chi Basics

chapter 1 Art and Practice of Tai Chi . . . . . . . . . . . . 3

chapter 2 Basic Posture . . . . . . . . . . . . . . . . . . . . . . . 17

chapter 3 Basic Foot Movements . . . . . . . . . . . . . . 29

chapter 4 Basic Hand Forms and Movement . . . 43

chapter 5 Basic Stances . . . . . . . . . . . . . . . . . . . . . . . 65

part II Tai Chi Forms

chapter 6 Forms for Cardiovascular Health . . . 81

chapter 7 Forms for Stress Relief and

chapter 9 Forms for Coordination . . . . . . . . . . . . 139

part III Tai Chi Routines

chapter 10 Six-Form Routine . . . . . . . . . . . . . . . . . . 155

chapter 11 Twelve-Form Routine . . . . . . . . . . . . . . 173

chapter 12 Basic Push Hands Routine . . . . . . . . . 203

Tai Chi Basics

Chapter 1, which provides a comprehensive introduction to tai chi, includes

Art and Practice

What Is Tai Chi Quan?

Characteristics of Tai Chi Movements

Tai chi is an exercise with four distinct movement characteristics:

1. Movements are soft and continuous. Movements mimic a slow-moving river.

Tai Chi and Traditional

Yin and Yang

organic diseases pertain to yin, and in contrast,

It is believed that Tuan Chen (872-989 AD),

Qi and the Meridians

has been confirmed by modern biophysics (Chen, 2004). A meridian, according to

Figure 1.6 Twelve regular meridians in the body.

Five Elements Theory

Tai Chi Styles and Schools

Tai Chi and Health

What do I wear to practice tai chi?

Where should I practice tai chi?

Can I combine tai chi with other exercises?

Additionally, through hundreds of years of teaching, learning, and practice, Chinese

Tai Chi Saying: Xu Ling Ding Jing

Shoulders and Elbows

Do not shrug Keep a comfortable

Keep your elbows

Figure 2.3 Correct (a) shoulder and (b) elbow position.

Tai Chi Saying: Che Jian Zhui Zhou

Chest and Back

Keep your head and neck upright

Relax your shoulders and

Relax your back.

Figure 2.6 Correct chest and back position.

Tai Chi Saying: Han Xong Ba Bei

Waist and Hips

Keep your hips, head, and

Tai Chi Saying: Shong Yao Jian Ten

Abdomen Inhale and exhale

Pelvis, Thighs, and Knees

Keep your knees

The most common mistake concerning the

C T thighs, the legs are too close to each other and

OR Correct these mistakes by standing with your

Figure 2.12 Incorrect pelvis, thigh, and knee position:

Tai Chi Saying: Yuan Dang Song Kua