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

 

 

 This post will venture into the subject of resistance training and how it contributes to the objective of strong stable alignment throughout desired movement patterns.  

 

Resistance Training-An adaptive process; moving towards alignment of body, mind and spirit.

Resistance Training creates a transition imbalance that requires an adaptation in the myofascial system and through tensegrity to all fascial systems and processes in order to sustain the body in alignment and without injury.

The following link presents one resistance training system that is consistent with the goals of taijiquan.

Drew Baye on High Intensity Training

All resistance training to failure results in adaptation. This includes badly aligned training and over-training, both of which can result in dysfunction and/or structural changes, especially over time. The objective is to train in alignment with a balance between work and rest. The most efficient training will produce the best results when combined with the necessary rest for adaptation to take place.

The development of lean muscle mass can have the desired result of an ideal or enhanced physique for a body builder or strength for a Power lifter. It also has a positive impact on mitochondria at the cellular level with enhanced metabolic efficiency which can be viewed as synonymous with health.

Movement Awareness may not be necessary for adaptation to take place, but enhanced awareness focus is essential for efficient resistance training to promote the greatest alignment within the training purpose.

Working towards optimal muscle fatigue for adaptation is called working to failure. The mental state that identifies when failure has been reached requires long practice over time to reach that critical point. Understanding the meaning of each resistance movement will enhance efficiency of results and reduce the likelihood of injury.

Drew Baye points out the importance of focusing on the objective of muscle fatigue rather than just completing a number of reps or sets. The slow cadence of H.I.T. allows one to maintain that focus, but it does require awareness throughout the exercise.

 

 

Tai Chi Practice as Kinesthetic Awareness

Much, if not all, of my study of psychosomatic reality, is an examination of Taijiquan as a practice of kinesthtic awareness as it contributes to ultimate fitness.  The following touches on a few aspects of taijiquan practice with comments from my review of literature.

My taiji practice has become very refined in that I spend as much time sensing what it is that I am feeling, as I spend on trying to perfect my form. The two objectives are actually just one, since putting my focus on how it feels is the best form practice. What I am doing less of is going through form sequences for the exercise of getting better by repetitive practice. A long term or perhaps I should call it, my life time goal, is to see what affect deep kinesthetic awareness has on my movement ability as I age.

Kinesthesis does decline with age as our connective tissue stiffens, dries out, loses collegen due to disuse, and possibly loses some proprioceptors necessary to maintain a high level of awareness of our place in space. Alexander Technique alludes to a “faulty sense of awareness” that we have about our body alignment or any sense of ourselves. This occurs as we become “used to” what feels normal and that becomes our default position.

Is it possible, with consistent high focus, to retain a greater level of kinesthesis with age which would result in greater mobility in alignment, which would maintain greater “kinesthetic fitness”. It is common for tai chi promoters to state that tai chi is good for maintaining memory in older adults. The presumption is that learning and remembering the long sequential forms is good memory practice which aids in the retention of their memory faculty. That is fine, but I like the view that “muscle memory” only exists as a psychosomatic sense of how it feels (Deane Juhan, “Job’s Body”) and that tai chi sequences practice is a kinesthetic practice.

Interjecting a mention of “Sprezzatura” as it relates to moving easily with gracefulness. Sprezzature is an Italian term meaning the ability to make something difficult look easy. It was first coined to describe the grace and elegance that court couriers exhibited in performing their tasks. It was used to describe the graceful elegance of ballet dancers.

It doesn’t matter how much sprezzatura is observable, it is the feeling of ease and grace that is important to kinesthetic fitness. Out of alignment feels out of alignment, but only if you pay attention to it. A faulty sense of awareness may allow you to feel aligned when you are not, because of default normal position. Ultimately pain and/or dysfunction will step in to keep you honest. A future post will detail the biomechanical and biophysiological aspects of this “normal” awareness as a default.

In my tai chi practice*, while I maintain my sequences forms for teaching purposes and pride in being able to do them, my daily tai chi is focused on single form or repetitive form practice such as cat walk flow patterns. I may move at the slowest pace possible while putting my focus on a single aspect of alignment, or foot placement, or timing of upper and lower body. Basically I am practicing the “10 Principles” one at at time (as if that is possible). My gaze# may shift from the feeling of weight transfer in my feet to the position of my arms (hands and fingers) at any one point in the form movement. I can feel disconnection from the principles in many of the form movements that cause me difficulty. My continued improvement, as I see and feel it, is tied to this kinesthetic awareness of “what feels right”.

*practice: the use of this word is a bit of a pet peeve as I would prefer to “do” tai chi rather than practice it. This may come from my lifetime association of practice as what you do to improve when you are not actually doing the activity. I spent far more hours in the gym with the teams I coached, practicing and perfecting, rather than just playing the sport of volleyball. My personal experience as a volleyball player was much the reverse as I learned to play by playing and had very little coaching. Good coaching did evolve to include much more game situation competition rather than isolated skill drills, but still lacked the true game atmosphere. While teaching tai chi is a great way to learn and perfect forms, it also gets in the way of truly feeling kinesthetically. I had a student tell me that my tai chi didn’t look as relaxed as what they saw in videos. Part of this is due to the fact that as I demonstrated or led sequence practice I tended to exaggerate positions to be sure they could be seen by students. This is not conducive to good tai chi kinesthesis. In my back deck practice I try to do forms with awareness of flow and just pay attention to the accompanying “feeling” of forms as they arise.

#gaze: Gaze as I use it in tai chi practice has an expansive definition. Clearly one looks in the directions of the gaze, but the gaze begins well before the movement and the gaze leads the movement to the end point. At its outset the gaze may be the “intent” referred to in the 10 Principles, in “Use Intent Rather Than Force”. This can be misunderstood as meaning to stay relaxed and don’t force it, but I see “Intent” as a sense of the end goal purpose and it is found in the kinesthetic sense of moving to a psychosomatically felt end point position.

Moving from “empty to full” is another pricnciple that describes the process of using “Intent” towards an end point. (I prefer from “substantial to insubstantial,” instead of empty to full, as at no point is one truly empty or full) (Thich Nhat Hanh said “if the cups is empty, what is it empty of”). The movement towards full is towards a full expression of the energy in gathering which may lead to a release, felt as insubstantial, as you move towards the next end point, gathering to substantial end point. In affect, I use gaze as the practice of inner kinesthetic awareness. There is a visualization or inner looking that relates gaze to the use of the eyes to see where you are going.

From a martial application perspective you do need to use your eyes to see your opponent, but, as practiced in push hands, it is the listening to feel your opponents energy that gives the feedback needed to react to and counter your opponents energy. As such, push hands is the practice of gaze and, in some views, the ultimate “practice” of tai chi. Can one than take this listening energy and imbue ones tai chi with it at all times, in a sense, listening to ones own kinesthesis.

Many of the points raised above will be revisited as I make more discoveries in our anatomy and physiogical systems.