The Yin and Yang of Taiji and Bonsai

 

Bonsai Informs Taijii as Taiji informs Bonsai.  Is it a coincidence that both arts come from the East and have been adopted in the West by ardent enthusiasts?

 I started Taiji as rehab from hip replacement surgery.  It also was a replacement for my lifetime connection to sports as a basketball and volleyball player.  After 25 years of diligent practice taiji has become much more than rehab; it is now my life endeavor and will be so forever. 

Bonsai was started on a whim with no intentions of it becoming important in my life.  It is still just a hobby but has become a passion that is very important to me on a daily basis. 

I didn’t look to find ways that taiji and bonsai overlapped, but I kept coming across things that I found to be very similar in both, so below I have thrown out some thoughts about how the two arts relate to each other.  I have taken some license to make connections that may not be valid, but it is a fun project and stimulates my thinking about both of the arts.

Looking at the 10 Principles of Taiji: the first four are related to alignment around a central equilibrium which allows for the free flow of Qi and result in being rooted to the ground and feeling supported throughout your frame.

1-4 Feel an uplifting energy from the head top as if it is lifting the head in suspension.

Release the chest and round the back.

Lower the shoulders and drop the elbows

Relax (sink) the waist which unlocks the knees.

The next three result in the graceful seemingly effortless circular movements that flow from one to another with no end point.

5-7 Continuous without interruption describes the free flow of energy that accompanies each movement.

Connect upper and lower body; when one part moves all parts move. 

Distinguish between empty and full or substantial and insubstantial; the end of one movement is connected seamlessly to the beginning of the next.

These three blend the mental with the physical

8-10 Use intent rather than force gives meaning to the movement.

Balance inner and outer energy recognizes the need for strength and resilience in the company of letting go, neutralizing or deflecting rather than resisting.

Find stillness within movement and movement within stillness speaks to the power of gathering energy in preparation for a full expression.

In Bonsai the above principles are realized in the artistic balance achieved through meticulous pruning of leaves, branches and roots.  Advanced bonsai artists seek to also perfect potting mix blends, soil enhancers and exotic fertilizer formulas with precise application schedules to promote the health and growth of their trees.  Pot size and color can disrupt this balance or enhance it. 

1-4 Alignment around a central equilibrium is achieved by an observable connection of the Apex to the power of the trunk, the nebari (base of the trunk with exposed roots) and the supporting roots.  The apex or “head” of the tree should be the first thing you see and it is important to have the apex lean towards the observer.  This relates to the suspended head top in tai chi.  The branches extend from the trunk at appropriate positions to the left, right and back that create a balanced view.

5-7 Bonsai artist speak of creating movement in the trunk and branches.  This is done with gentle curvature of branches and a lean of the trunk.

8-10 Creating an aesthetic appeal through a balance of forces acting on the tree.  There should be a sense of an intent which creates meaning for the bonsai artist as well as the observer.  This meaning may differ for the creator and the observer.  In taiji this meaning can also be very different for two practitioners with many possible martial applications for any one taiji form.

 

Learning Taiji may start with a few footwork and arm shape basics and then into  sequential forms followed by a lifetime of refinement.  Bonsai starts with trees in basic pots for development, shaping and trunk development before transferring to a bonsai pot followed by a lifetime of refinement.

Where, in taiji, we seek to achieve this balance before starting any further taiji movement.  In bonsai it is only achieve after years of attention to detail.

A taijii adage says “energy is rooted in the feet, developed in the legs, controlled by the waist and expressed outward through the arms, hands and fingers.”

In bonsai the roots bring the nutrients and water from the earth, sending it up through the trunk, out through the branches to the leaves.  “A tree is rooted in the earth, controlled by its trunk, reaching outward with its branches, spreading its leaves to embrace the sunlight,  with energy being created through photosynthesis and released through transpiration.”

A bonsai tree can expand in the thickness of the trunk, the ramification of its branches and the proliferation of leaves only to the extent that the root system supports such growth.  In taiji all movement must wait for the footwork to be rooted or energy will be dissipated before being able to be expressed. 

Another adage asks that the lower body (below the waist) be rooted like a tree so that the upper body can be light and flexible.  The waist turns to add spiral energy to the expression of force through the arms, hands and fingers.

It is said that there are no straight lines in taiji.  The flow of energy must be continuous without interruption.  A circle or circular path is the only way to avoid an endpoint or a stopping of the flow of Qi.

To achieve this balance the practice of song (pronounced soong) sinks the entire body while also expanding the entire body.  When applied appropriately to the lower body it gives stability or rooting to the earth, while also letting the upper body expand with outward energy that stays connected to the lower body by sinking or song.  This is a highly refined advanced taiji ability that takes a life time and then some.

Straight lines are avoided in bonsai.  Taper in the trunk and branches is preferred and movement in the trunk and branches is sought to suggest a direction or flow of the energy of the tree.  Branches extending straight up or down are often removed and  wiring used on branches to direct then in a curved line either upward or downward, forward or back.

Bonsai uses the same words of rooting to the ground.  As roots spread below the surface the trunks thickens, branches ramify and extend outward to express the energy of a vibrant healthy tree. 

Bonsai attempts to imitate nature with very small trees that appear to be very old and substantial.  The shallow bonsai dish adds to this image and also aids in restricting the size of the tree.  There are also quite large bonsai in large planters, but the objective is the same; control of the growth of the tree through multiple techniques and applications.

Taiji legend has it that taiji movements were created to imitate nature in the movement of animals such as the crane, the bear or the monkey and more. 

Thank you for your attention and patience with the above analogy between taiji and bonsai.  Poetic license was used to freely express the joy I find in these two beautiful arts and the points of similarity that occur to me.

TAI CHI AND TONUS

 

Tonus# is the level of contraction of the fascial system necessary to maintain stability of the skeletal structure against the force of gravity.  It exists even when lying down, still and relaxed as the internal organs and circulatory system and more, need to be free from skeletal pressure in order to operate effectively.  Fluctuations in tonus contribute to the pumping against gravity that is necessary for movement of blood in the vascular system.

 

What we refer to as free flowing Qi is relative to the homeostasis* of tonus maintained in the body.  Points of restriction caused by excessive tonus creates blockage of Qi.  Too little tonus can also be a cause of blockage due to insufficient support in and around an organ, or in general throughout system.  This can occur in many places: respiratory, fascial, circulatory systems and even in the lymphatic system or interstitial pathways.  Mental stress can be a cause, as well as the result of, an imbalance in the tonus that results in a blockage in the myofascial or  nervous systems.

 

Tai chi does not create Qi; it releases Qi by letting go of tension that blocks Qi. Qi or life force is always present either flowing freely or blocked but not created.   Looking at Qi as an energy system we can say that Qi is created during the production of ATP at the cellular level and that Qi moves throughout the extracellular matrix in the form of information.

 

The 8 brocades Qigong forms are particularly effective at targeting a source of blockage to fascilitate a release.  First awareness (Intent) is enhanced, then release is possible.  Any tai chi form can provide the opportunity to become aware and to initiate release of tension and blockage.  Advanced practitioners can, of course, get the benefit with any form practice.  The 8 borcades calls for many repetitions of the same form movements and is therefore a good practice for the release of Qi.

 

Vertical Shake (VS) is one example of a tonus rehab practice.  See previous post on date for detailed description of the Vertical Shake.  One of the purposes of the VS is the realignment of layers of fascial tissue.  Myofascial tissue plays a key role in the level of tonus, so optimal alignment is essential for homeostasis to exist.

 

#Tonus will be the topic of additional future posts

 

* homeostasis:   The tendency towards a relatively stable equilibrium between interdependent elements, especially as maintained by physiological processes.

 

 

 

 

With Every Breath, Life Flirts with Death

Note:  This following oversimplification of the cardiovascular system and the biochemistry of ATP production is adequate for this presentation.

What sounds a bit morbid is actually a beautiful statement of the wonders of life.  A full breath includes the inhalation of air which oxygenates the blood to be delivered to the cells.  Oxygen is the crucial element supplied to the cells in order for energy to be created (ATP) for mitochondria which is central to metabolism that supports the life of the cell and by extension the life of the organism.  The poisonous by-products of cellular life, which includes carbon dioxide are transferred to the circulatory system to be expelled from the lungs with each exhalation. Without the oxygen the cells die, cease to perform the functions within the organism with death to follow.  This is the result, as well, if the by-products are not eliminated.  And, of course, well before death occurs at the cellular level, without oxygen brain death comes within minutes. 

Inhalation is an inspiration which carries the promise of life as oxygen.  Inspiration is expansive as the expanding  lungs fill the chest cavity.

Tensegrity tells us that when one thing moves (expands) everything moves, therefore an inhalation results in the expansion of all of the processes and structures of the body, e.g. musculoskeletal system, circulatory, nervous, lymphatic as well as all connective tissue.   

Exhalation is an expiration, an expelling of the used and turgid air containing the by-products of the life of a cell, which while poisonous to the organism is used by the environment to allow for plants to exist.   It is also true that an inspiration cannot happen without an expiration just as an expiration cannot happen without an inspiration.  The yin/yang of a breath requires that within each inspiration exists an expiration and vice versa.

 

To expire can mean to die.  Is it also true that to be inspired can enhance life. This yin/yang relationship is the flirtation.  As the inspiration grows there is a sensation of fullness that will soon reach a maximum capacity.  No more oxygen can be inspired within that breath implying that life giving oxygen will soon diminish. The only path forward is for a release, but the expiration seen as a release does not contain any further oxygen.  

At the same time, the oxygen depleted air in the lungs is absorbing carbon dioxide to be expelled in the exhalation.  The contraction of the diaphragm begins the exhalation.  As the lungs empty the absence of oxygen triggers a release of the diaphragm which begins the next inhalation.  It is in these moments when change is needed to keep the life giving breath going that the life or death of the organism comes into question.  The flirtation with death is momentary but dramatic. 

The Ten Principles in Practice

 In yesterday's post I alluded to the Ten Principle of Taiji that guide my practice.  As a whole they are a "content" to be explored and experienced in ones practice without any expectation of reaching a time when you have mastered them and no longer need them.  It is also true that ones practice of tai chi chuan can be beneficial and progressive without ever thinking about or using the 10 Principles.  I do both, in that, I sometimes I will pick a principle to focus on to feel how it enhances my experience and other times I just feel the flow of the forms without any application of principles.

The Principles can be applied to ones daily practice individually to observe the affect, but in reality it is impossible to practice one principle without all 10 being present in your form.  For example, you may imbue your practice with the principle of "Continuous without Interruption" feeling the energy flow from the phase of gathering to expression and then to gathering again.  While observing this flow of energy you would also note that the "Upper and Lower Body are Combined and Connected.  You would also note the existence of a balance of "Empty and Full".  The four Body Alignment principles would need to be applied and ultimately the three Mind/Body principles would come into play.  Choose any other principle to start with and you can make the same case that all principles come into play.

I had the thought here to ask why Yin/Yang are not stated as a Principle.  The reason being that all principles, and their expression, contain both Yin and Yang.  In fact, during the Yin phase of a movement there is also an element of Yang. I will address this in full in a future post.

 

 

A metaphor for Movement Practice protocols as Containers

 

 

 

The Flytrap "Container" Metaphor

The Venus Flytrap is the Container that lures you in to taste the sweet fruits within.  Once inside the Flytrap shuts and there is no escape.  Therefore, you must hold on to the door with one hand and with a foot in the door to prevents the door from closing.  Once you have sampled the fruit you can pull yourself out and begin searching for another container.

The Container is the "Method" or "Technique" that you are exploring for personal development.  Examples of containers may be "The Feldenkrais Method", "The Alexander Technique", "The Trager Method", "Myofascial Integration", "CrossFit Training", "Martial Arts", "Yoga", "Spiritual Practice" and many, many more.  The contents of a Container are the gems of truth, knowledge or the practice that promises results of personal development such as fitness, enlightenment, happiness, health etc.  

Don't mistake the container for the contents.  Use the contents while they challenge you to become more aware then move on to a new container.  It may take a lifetime to experience all of the contents of a container, but you can  use contents from different containers at the same time.  You may discover a huge overlap of contents contained in most containers.  

How do you know when you need to move on from a content or a container?  When the task is easy and you are comfortable it is time to move on; retain what you learned and even revisit those contents for the joy they bring, but don't mistake comfort with fulfillment.

All containers are better than all other containers. The one true container is the one you are trapped in or so you tell yourself. 

 Tai chi is one such container that you can spend a lifetime practicing without exhausting the opportunities for deepening ones awareness and enhancing growth towards central equilibrium.  My practice stays true to the 10 principles as interpreted by Yang Family Style Tai Chi but does not stop me from exploring other movement modalities to enhance my self movement practice.

 

Vertical Shake is a movement practice that can enhance the alignment of the body in your chosen movement practice.

The motto of “Align, Release, Mobilize” comes close to encompassing the purpose of tai chi, but also could be used to describe other movement practices use to achieve the goals of tai chi. One way to state that goal is that tai chi allows one to move towards central equilibrium of body, mind and spirit.

Today’s post is a possible first step towards that goal. It describes a movement practice called “vertical shake” which can be seen on YouTube as presented by Ido Portal 

https://www.youtube.com/watch?v=H6lyGhAANR0&t=1348s 

 

Ido Portal’s progression from the set up through the execution of vertical shake is identical to the protocol that I use in teaching Yang Family Style tai chi chuan. The narrative below is an example of how the first four principles, relating to alignment, are presented in tai chi. You will see the similarity if you watch the Ido Portal video.

Vertical shake must begin with finding ones central equilibrium. Begin, standing with feet shoulder width apart with the base of the feet evenly rooted to the ground. Swing pendulum like in small circles feeling the weight change from toes, to the outer/inner edge of the feet and to the heels. Circle in both directions letting yourself slowly find your central equilibrium. Finish with side to side and forward and back pendulum like swings until you feel an aligned connection from head top to the soles of your feet.

This is your start position for vertical shake. The next phase is the release of tension which can be described as a sinking feeling. An understanding of tonus and how it supports the body will be the subject of a future post. For this narrative it needs to be understood that the desired release of tension is not a letting go of support, but rather a resilient maintenance of support without unnecessary tension.

Bring your attention to your knees. Release with a light bounce to off lock any tension in the knees. This is not a knee bend, but rather a release into a supportive but tension free position. Ido uses the idea of a touch to the back of a locked knee position which results in the off locking at the knee.

Bring your attention to your hips. Again, not bending at the waist, but releasing to an off lock tension free position. Coordinate the release of the knees with this release at the waist. As was done at the knee, a light touch to the inguinal creases at the hip can facilitate this off lock release. I use the outer edge of my palms for this touch.

Bring your attention to your sternum. Release the chest, feeling your torso drop onto the supported position of your hips and knees. And, again, use a light touch with the finger tips to the strenum to initiate this release

The combination of all three releases should bring the body into an aligned postion that feels both tension free as well as fully supportive of the bodies weight. A mental image of sinking into the floor may accompany this released position, but not one of limpness. I like to use the idea of a resilient energy maintaining support.

The release of the knees and hips can be felt in the lumbar spine as well as in the sacrum. The release at the chest is felt in the thoracic spine, the sternum, rib cage and shoulder girdle. There is still the cervical spine to deal with which will be added later.

In progression from the knees to the hips and the chest, with an inhale feel an expansiveness followed by a quick exhale to feel the release. It may take several repetition for each joint and then for all three at the same time. Ultimately come to a point where breathing is shallow and natural without mental awareness. You may be able to feel a vibration happening at all three joints. This may take some time before becoming natural.

The major supporting joints of the body are now aligned and released. We now need to add the shoulder to the release. On an inhale, raise the shoulders slightly, and then drop them on the exhale. Return to the vibrating sensation and be aware of how the shoulders are now moving along with your torso.

An added variation is to periodically raise the shoulder and drop them so that the hands shake or flop and your forearms bend slightly at the elbow, like a rag doll. Feel the affect of this on your shoulders and torso down through hips, knees and feet.

Now to deal with the cervical spine. The vertical shake of Ido Portal and the Alexander Technique bring into play the use of the vocal cords in releasing tension in the cervical spine and the connection of the spine to the skull at the occipital bone. Breathing in through the nose followed by the emanation of an Ahh sound on the exhale resulting in a release that can be felt in the throat. It also encourages the skull to settle on the occipital bone in a relaxed fashion. The jaw will drop slightly with the release of tension in temporomandibular joint that supports the jaw. Trying to mentally release these muscles is problematic, but the emanation of the “silent Ahh” seems to allow for the necessary release.

A tai chi acquaintance added something that seems to come into play here as well. Ken Go, President of the Australian Tai Chi Association, is a teacher with a high level of push hands experience and finesse. His ideal aligned position included the sensation of a raising sensation from the headtop (he likened it to a pinocchio like elongation) to a point well above the head. Imagine that your head and entire body is hanging from this elevated point. This sensation is accompanied by a release of facial muscles and the jaw, much like the Ahh practice does. So, I use both.

The vertical shake can now be started with a light bounce of the whole body. The rag doll metaphor may be appropriate to feel the body shake with each bounce. Initially a stronger inhale and exhale can get the movement going, but should subside to a shallow unconscious breathing as the shake reduces to a mere vibration. Doing the shake for just a couple of minutes to start is recommended. Ido Portal’s 24 minute shake is in line with the extreme athletes that undertake his movement training, but may not be advisable for most of us mere mortals.

 

Another movement system that uses the vertical shake concept is the Fascial Training system presented by Jack Thompson. He calls the movement pattern Fascia Hopping. Again, you hear the familiar tai chi principles of alignment being presented. Thompson’s version starts out the same as Ido Portal’s but he adds a number of movement options that take the concept in other directions. I don’t particularly like the way Thompson aligns the body with the palms turned forward, as this creates tension in the chest that is not desired in the objective of the Vertical shake. I prefer Portal’s version, but find it interesting that there are other movement systems that are in sync with the principles of tai chi; interesting, but not really surprising. See YouTube links below for samples of Jack Thompson’s system.

https://www.youtube.com/watch?v=I2errN-tJTo