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Don’t move what’s stuck — move anything else.
Your focus determines your reality? For me it certainly seems like if I think about a point of tension then all I’ll achieve is tension.
This was actually going to be a lead-in for a much longer post. I try to get around to my original thought when I have more time.
* one part moves all parts move
* keep your hands up at all times
* Relax and don’t use your shoulders
* All techniques work and are good given the circumstances
* when you are in trouble go back to your basic structure
* When you opponent is soft use force, when he uses force be soft
* Don’t rely on your techniques (limbs) and eyes, trust you mind and body.
* Don’t chase hands attack his body (structure).
* Stay in the present and put your opponent in the past
Steven
So, how do you fix that? How do you overcome the tension without creating a gap in your awareness?
I posted an explanation a couple of weeks ago but it was removed from the forum so I’ll try a different approach.
Let’s assume that you are using the very first toe-in movement of the SPC to block an in coming punch and it intersects with your upper arm. I guarantee that most of us will tense the shoulder. It will effectively lock even if you lock it for only a fraction of a second. If you try to unlock the shoulder, you will gap.
Instead, I’m suggesting you move anything else that isn’t stuck and more importantly all of your movements should be created so you have your awareness in minimally two places when you start. I’ll call these the this and the that. This arises and that becomes.
There are a bunch of ways to do this depending on what you are working on. The central channel is best. You can also start with the tan tien or simply turn from your center in any way you know how.
The real trick is that your mind has to be connected already. If you have to establish the connection, you’ll gap.
So, in the SPC you should have the lower hand connecting to the lower tan tien as well as to the upper hand. If you blocked and locked with the upper arm, you can move the lower hand or the tan tien to begin the next movement. In Bagua I like using the feet. In Hsing-i I like using the hands. Both hands are equally important, but you’ll have to spend time paying more attention to the lower hand because most of us are conditioned to pay attention to the overt movement (the that). You need to find how the small circle (this arises) creates the large (that becomes). When you find it, you’ll see how they are a matched pair in a creative dance.
As long as you stay with one out of the two, you shouldn’t gap and you should be able to flow into whatever comes next.
Hopefully this make sense. It is a really simple idea with myriad implications.
“Strike into the 7 stars – it is beneficial”
Actually he mean that you should strike into forearms, legs and etc.
Practice, practice, and practice …. mindfully.
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