Tag Archives: taichi

An Introduction to Wuji Quan

Wujiquan (Chinese (無極拳): Pinyin: Wujiquan; Wade-Giles: Wu Chi Chuan): ‘Ultimate Void Boxing’: Is a rare and Secret Ultimate Void Boxing Skill, and is said to be the Mother Art of Taijiquan; from Wuji comes Tai-ji. The Wujiquan System is composed of 36 ‘Characters’: 18 kinds of natural climatic phenomena, and 18 of Qi applications.

One of the rarest of traditional Shaolin Boxing systems, Wujiquan is also one of the purest of traditional Chinese soft-internal boxing systems(Neijia): being taught to very few in its entirety and only after years of rigorous training and testing for aptitude; it never became widely known, which meant that unlike the better known, Taijiquan, there was no opportunity for the system to undergo the experimentation and mixing with other systems and arts which during recent centuries led to the variety of styles which characterize Taijiquan.

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Wu Ji boxing comes from the “Yi Jing” or ”Book of Changes”. Taiji is born from the state of Wu Ji (complete nothingness, or complete harmony with the universe). Yin Yang, or a single continuous line running from one point across to another, is born from the state of Taiji (Taiji gives rise to Yin Yang). A single line stretching between 2 points gives rise to a surface area or square (Yin Yang gives rise to 4 directions or surface area). A surface area or square gives rise to 8 trigrams or a 3 dimensional cube (4 directions give rise to 8 trigrams or 8 directions).

“Wuji quan” is the martial applications and techniques handed down from Wu’s ancestors.

The Wuji quan curriculum

After students are trained in the elementary level of Wu Ji, two disciplines become the focus, one of which is called Hun Yuan and the other is called Ba Gua Zhang.

The training system incorporates: 

Wu Ji Health Exercise System.

Wu Ji Standing Postures

Wu Ji 12 single movement training

Wu Ji leg and root training

Hun Yuan Discipline ↙       ↓      ↘ Ba Gua Discipline

      Wu Ji’s 18 rules

Hun Yuan Palm (1)    Wu Ji internal strength secret  Ba Gua Palm’s Upper body work/ upper body energy

     ↓

Hun Yuan Palm (2)    Wu Ji medical knowledge skills   Ba Gua Palm’s Root and leg work/ root and leg energy

     ↓

Hun Yuan Palm (3)   Wu Ji Dim Mak or acupoint striking Ba Gua Palm’s 9 cross- pattern footwork

     ↓

Hun Yuan Palm (4)    Ba Gua Palm’s Spirit and energy training

Wu Ji’s methods of diet and nutrition

  ↘          ↓        ↙

      Soft silk palm technique

   Cloud hands palm

   Silk pulling palm technique

   Explosive palm technique

Wu Ji elementary level

The middle-aged and the elderly can also practice the Wu Ji’s Health Exercise System and Wu Ji’s 6 essential guiding principles.

Wu Ji’s five-animal boxing forms (Wu Qin Xi) including:

Head rotations, Crane drinking, Wolf observes all directions, Hen sleeps and Ape reflexes.

Wu Ji’s 32 body building boxing: in addition to the 5 aforementioned animal forms, it also includes: Opening the trunk energy and internal splitting energy.

Wu Ji Standing Postures (for juveniles)

Leg and root training and energy/power training (for juveniles)

Wu Ji intermediate levelwuji-becomes-taiji

According to one’s body condition, there are two disciplines. The Ba Gua discipline is for those who don’t have high blood pressure, and includes:

Upper body work/ upper body energy work

Root and leg work/ root and leg energy work, 9 cross-pattern footwork and Spirit and energy training (more information can be found in the form treatise).

The Hun Yuan discipline’s foundations are based on internal energy. The first set of Hun Yuan Palm, the second set, the third and the fourth can be found in the form treatise.

Internal applications and techniques

  1. Internal secrets: internal elementary training methods.
  2. Dim Mak or acupoint striking (please refer to the Form treatise).
  3. Medical knowledge skills:

Martial artists should be aware of proper diet and nutrition and watch what they eat and what their meals are composed of. Internal applications and techniques are practiced by both schools – Hun Yuan and Ba Gua.

  1. Wu Ji’s 18 rules are the main applications and techniques of Wu Ji’s internal skills. Internal skills can also improve the practitioners’ external skills.

In the beginning, people can work on their internal power by means of external exercises. When they get to a certain stage with their internal energy work, they should then focus on working on their internal skills and energy to improve their external skills.

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无极拳简介

无极拳来源于易经,(无极生太极,太极生两仪,两仪生四象,四象生八卦),它是吴家的祖传拳法。祖先吴岐仙所传,到我这辈已有6代。我爷爷不会拳法,是我太爷传给我父亲的。再往上推称吴岐仙是谁传的无法考证。

无极拳分为初级阶段拳法、中级阶段拳法和高级阶段拳法,还有共同学习的内路拳法。

无极拳的图解

无极拳初级练完后,可分为两大派,一派是浑混元派,另一派是八卦派。

无极健身拳

无极架子拳

无极十二单式

无极腿工

              混元派↙       ↓      ↘八卦派

                无极十八则

 

            混元掌(一)    无极内功秘诀  天门八卦掌

              

            混元掌(二)    无极医道术    地门八卦掌

               

            混元掌(三)    无极点穴术    九宫八卦掌

               

            混元掌(四)    无极武德学说  神门八卦掌

                           

                 无极善饮术

              ↘        ↓       ↙

               棉丝掌

云盘掌

丝旋掌

幻影掌

1      无极初级拳

1     中老年人可学习无极健身拳

1         无极健身六崇诀

2         无极小五禽戏:匀首、鹤饮、狼顾、雉睡、猿伸

3         无极三十二健身术:以上五种外、干疏、内搓等(见健身篇)。

2  无极架子拳  适合青少年

3  腿法、功法  适合青少年

2      无极中级拳

根据个人的身体情况,分为两大派系。走八卦派的,适合没有高血压的人。天门、地门、九宫、神门详见拳谱。

混元派是在内功基础上进行的。第一套混元掌,第二套、第三套、第四套详见拳谱。

3      内路拳法

1、内功秘诀:内功初级练法,内功层次划分,九言真经之一、之二、之三,最后为九阳真经。

2、点穴术(见拳谱)

3、医道术:摔打受伤的拿法、药法

4、善饮术:练功人吃什么、配餐等

内路拳法是两大派共同学习的。

5、无极十八则是无极内功拳术的主要拳法,用内带外。练拳人开始都以外功代内功。放拳练到一定阶段,内功大增,就要以内功代外功。

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“Internal” martial arts – cultivating “CHI”

Tianmeng Shaolin Kung Fu Academy
Tianmeng Shaolin Kung Fu Academy

by Duka Nadja current student of Tianmeng Shaolin Kung fu Academy

The term “internal,” is referring to a type of training that focuses on developing of the life energy called “Qi”. We come across the term life energy in every great and antient culture of the world: “Chi” (Chinese), “Prana” (Hindu). Nowadays researchers and scientist are able to prove the reality of the “Chi” existence, using special technical innovations. The real problem is a subtle nature of “Qi”, so that most people find it really difficult to feel how “Qi” flows inside their bodies and meridians. Our modern lifestyle, which puts an enormous pressure on the nervous system, causes “stiffens” of our feelings. So we can not feel higher vibrations of “Chi”. We miss the “unit with the nature” and natural flow of movements. So the “Tai Chi or Kung Fu retreat” in the natural environment of Tianmeng Shaolin Kung Fu Academy could be a great possibility to “come back to roots”. If the mind becomes less distracted and less stressed, it would allow the body to relax, giving you a possibility to feel deeply and completely. That’s why Tianmeng Shaolin Kung Fu Academy pays so much attention to internal martial arts practicing Qigong (life-energy cultivation practices). Qigong and Tai Chi are best ways of practicing for beginners and older people. It is important to develop the internal power before learning any fighting applications or Kung Fu forms. Additionally we offer Meditation to balance your emotions. A relaxed body works better and is less prone to injuries. So, integrating “internal” rounder and softer movements in the daily practicing routine of every “external” martial artists and athlete is a smart idea to achieve best results.  Bruce Lee describes “internal” martial arts as following.

“Moving, be like water. Still, be like a mirror. Respond like an echo.”

An interview with Marc Meyer the writer of Taichi: The Story of a Chinese Master in America

Last month I had the pleasure of interviewing Marc Meyer a writer, martial artists and musician about his latest book Taichi: The Story of a Chinese Master in America.

Marc’s novel tells the story of a man who leaves China in the early 1960’s to open a T’ai Chi school and reconnect with his Asian American family in Chinatown, New York City. The main character in the story was once the bodyguard of Mme Chiang Kai Shek. It’s bright red cover below spells out the words T’ai Chi Chuan in Chinese pictograms. And the novel is a must read for lovers of tai chi  and Asian American fiction alike. It was inspired by the legendary T’ai Chi grandmaster Cheng Man-Ching and his American students during the period of the 1960’s in New York City. It tells of a time, years before the advent of Bruce Lee movies, when the Kung Fu art of T’ai Chi Chuan was first introduced into the United States and was secretly practiced only in small enclaves of America’s Chinatowns.

Marc can you tell me little about your book? And some of the Characters in it?

Allow me to reiterate my book is a work of fiction.  As you are possibly aware, authenticity when it comes to T’ai Chi Chuan in and of itself is a murky business, due mainly to the fact that much of the teaching we have was passed down to us orally by it’s forebears. Very little about it was actually written down. Many of the forebears of T’ai Chi chuan were illiterate and its origins go back several thousand years. This makes the art form somewhat mysterious which is actually what I like about it. I’ve found Douglas Wyle’s books to be one of the more reliable sources of reference when it comes to the origins and practice of T’ai Chi Chuan, specifically Yang style which I practice and one that I draw upon recurrently in my book. Specifically on the subject of Yang style T’ai Chi which I’ve been practing and studying for the past 18 yrs. Let me stress that study and practice of T’ai Chi should occur simultaneously and continuously for the dedicated teacher.

In the book, a T’ai Chi master named Kuo Yun San leaves mainland China in the 1960’s for what he thinks is the last time. His goals are simple, he envisions opening a successful T’ai Chi school and strengthening the bonds between himself and his Asian American family in Chinatown with whom he has had little to no communication in years.  The results are surprising as Master Kuo finds himself trading one Cultural Revolution for another and his newfound friends and family members, thinking they were going to educate him into adopting an American lifestyle, find he has more to teach them.

From some of the details in your book its obvious you have a solid martial arts background. Can you tell me about your own martial arts experience? 

I came to T’ai Chi Chuan through the back door in a sense. A dining club my girlfriend and I belonged to offered lessons in T’ai Chi on the beach where I live in Naples Florida as one of the perks of its membership. Fortunately for me, though I didn’t know it then, both instructors who taught this class had been students of Bob Amaker, a resident of Florida who co-authored books with Cheng Man-Ching. Cheng Man-Ching was one of the main proponents of Yang style T’ai Chi Chuan in this country. I subsequently went on to receive what’s known as form correction from Lawrence Galante, a student himself of four T’ai Chi Chuan grandmasters, Paul Guo, Yu Chen Hsiang, TsunTsai Liang and Chen Man-Ching. I received final instruction from a first generation student of Professor Cheng as he was called, from Maggie Newman, one of his last living pupils in 2006, then in her mid eighties.

In your book you discuss the student teacher relationship. Can you tell us a bit more about where that inspiration came from?

It’s my firm belief that every teacher involved with T’ai Chi has something to contribute to the student’s education, although many times the approaches can be radically different and often make a student doubtful about the quality of instruction that he or she is receiving. If you are getting instruction from someone in Taichi you’re unsure about, my advice is to be patient and hang in there. Looking back you may find what they had to teach gave you useful insight even if you didn’t think so at the time. For example one of my teachers had a very holistic and somewhat esoteric approach but I learned much from him about some of the more mystical aspects of T’ai Chi I might not otherwise have been privvy to. Another was very “nuts and bolts” about his approach but taught me the kind of accuracy that is absolutely essential for the study and practice of the art. I actually recommend that if you intend to take up T’ai Chi as a practice, that you go out of your way to learn from different teachers because you can often come away with a rounder and more beneficial education from doing so. Remember if you take up the practice of T’ai Chi you’re in it for the long haul. It can take up to a year to learn just one single form properly and up to ten years to learn it as an applicable martial art. “It’s all about the journey” sounds cliched but in the case of T’ai Chi it’s absolutely true and ongoing. You’re constantly perfecting and polishing that stone every day week, month and year of your life, which for me has turned out to be a blessing and one of it’s most cherished aspects.

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The book mentions a number of important martial arts milestones. Can you share a few of the most important ones?

Another one of the more interesting perspectives of this fascinating, mystical and multi-faceted art is its tendency to tailor itself individually to the practitioner. For me it has offered something of use from a health standpoint at almost every age related juncture of my life since i began practicing it in my early forties. In my forties I struggled with the onset of tinnitus, a horrible and constant high pitched ringing in the ears. T’ai Chi helped to calm me down, calm my anxious feelings about it and sleep better. After I found I could sleep more easily, the problem didn’t seem to bother me so much during the day and has finally faded into the background to the point where I don’t even notice it anymore. Another more serious problem developed when I turned sixty called Neuropathy. Another constant painful nerve related chronic disease which had equilibrium problems as one of it’s symptoms. It has taken a full year but thanks in part to Taichi I have been able to manage my symptoms and get them under control. When the doctor later asked me if if I wanted to take a class in learning how to keep my balance to prevent myself from falling I was happy to tell her “I TEACH balance!”.T’ai Chi Chuan is literally the gift that keeps on giving.

Finally, what’s next for Marc Meyer?  Do you have other books in the pipeline?

I have at least three more novels in me that I have begun working on simultaneously. One is a memoir, one is about an elderly batchelor who finds his way toward the end of his life and one is a young adult novel about five very unusual preteens in the possesion of individual healing powers. Of course getting ideas is easy, setting them down in a readable form that will capture an audience’s interest is very hard.

You can find Marc’s book here by clicking the amazon link  to the left. Any purchase you make via the affiliate link we will put back into www.StudyMartialArts.Org in order to help more students connect with genuine Master of Martial Arts.

 

How an American Dancer Introduced Tai Chi to America

In 1954, at the Museum of Modern Art in New York City, a 51-year-old woman in loose, comfortable clothing moved through a series of movements. A crowd gathered amidst abstract paintings to watch her. With the grace of a dancer, she slowly raised and lowered her hands, shifted her weight from side to side, and bowed her head. Her face was calm and serene.

The woman’s name was Sophia Delza. She was a dancer of some renown in the world of modern dance. When she first performed solo at the Guild Theater in New York at age 27, the New York Times called it “a distinguished debut” that “revealed her as an artist of individuality and authority.”

Although the woman’s slow pace would have bored a concert hall audience, her practiced movements radiated power. She moved like a coiled spring, full of harnessed energy. To the MoMA audience in 1954, Delza’s demonstration was a novelty. Today, many Americans would instantly recognize that she was demonstrating tai chi, the Chinese martial art.

Americans often don’t think of tai chi, which is commonly practiced by senior citizens in public parks, as a martial art. Although many variations exist, tai chi fundamentally involves moving slowly and fluidly through postures with names like “The Snake Creeps Down” and “The Golden Cockerel Stands on One Leg.” Tai chi often looks more like slow yoga than judo or karate-two martial arts that involve kicking and grappling. For this reason, many people practice tai chi as a gentle exercise, without any interest in its martial component.

Photo by Jakub Haiun

Yet tai chi has been translated as “supreme ultimate fist” and “great extremes boxing.” As practitioners like Sophia Delza understood, tai chi’s slow pace represents control-not weakness. Mastering the movements allows devotees to develop strength, balance, and a unity between mind and action. This is useful for both longevity and self-defense-and tai chi training that involves sparring and weapons.

In the 1950s, Eastern martial arts, and particularly tai chi, were not well known. Sophia Delza’s 1954 performance at the Museum of Modern Art was likely the first public demonstration of tai chi in the United States. Delza had studied tai chi with a master of the Wu style while living in China. When she taught, demonstrated, and wrote about tai chi on her return to the United States, she was one of the first, if not the first, to do so extensively outside Chinese-American communities.

This makes Sophia Delza a pioneer of American tai chi. Although she never achieved the fame of martial arts legends like Bruce Lee, she is worth remembering. Like tai chi, she had a gentle side that hid a powerful will. Delza loved dance, wrote academically, and de-emphasized the martial applications of tai chi. She was also one tough lady: Although American women did not have the right to vote until Delza was 17-years-old, she engaged in radical politics that made her a federal person of interest, and burst through barriers to forge a career in dance and, ultimately, as a mother of American martial arts.

Well-Behaved Women Seldom Make History

Long before Peggy Olson broke the glass ceiling at the Sterling Cooper ad agency in Mad Men, Sophia Delza lived the mantra “well-behaved women seldom make history.”

Delza was born in Brooklyn in 1903, an environment likely to produce an artist, but not a martial artist. She majored in the sciences at Hunter College, a women’s college, but pursued dance due to the influence of her older sister Elizabeth, who became a professional dancer and Sophia’s first dance teacher.

When Sophia followed her sister’s footsteps, she had to compete for a limited number of professional dance opportunities. She took a variety of jobs in plays and films until she triumphed with her successful solo performance at the Guild Theater in New York. When she next performed a series of original compositions, a New York Times reviewer praised her “strong feeling for visual line” and “general good taste.” Delza also developed a performance style that mixed monologues and dance, studied composition in Paris, and traveled to Mexico to study folk dances.

Her career was remarkable in an era when less than a third of women worked. It is downright daring when you consider that her work was very political-and that she kept at it despite the risk of rabid anti-communist backlash.

Delza did not study folk dance in Mexico merely out of artistic interest. According to scholar Ellen Graff, Delza associated with a close community of artists who supported socialist and communist causes. Delza studied folk dance to make a proletariat argument for embracing traditional dances by describing them as “mass dances” that could unite communities. When civil war broke out in Spain in 1936-and became a cause celebre among artists and intellectuals-Delza created and performed works that criticized the fascism of General Franco and raised money for the leftist forces in Spain that opposed him. Later in her life, Delza donated time in her dance studio to radical dance groups.

Today communism and socialism are only associated with the failings of the Soviet Union, but in the 1920s and 1930s, they represented progressive politics. The American Communist Party organized marches of tens of thousands to advocate for the unemployed. Nearly every intellectual, including George Orwell and Ernest Hemingway, admired or supported socialism.

The 1920s was also the beginning of the Red Scare and apocalyptic fears over the spread of communism in America. Both Sophia and her sister Elizabeth were the subjects of reports for the House Un-American Activities Committee, which investigated “disloyalty” and “subversive activities” among American citizens and leftist groups. Sophia’s brother Leo Hurwitz (Sophia had adopted Delza as a stage name), an award-winning documentary filmmaker, also appeared in the reports and was blacklisted by the film industry in the 1950s due to his political views.

This opposition to radical politics does not seem to have stopped Sophia or her siblings. In an interview, Sophia’s nephew explained that Sophia and his father Leo “felt… that they really could change the world.” The Communist Party in America, he continued, “spanned progressive causes like the desire to fight Fascism as it was growing in Europe, the growth of unions, the desire to stop people from being evicted from their houses, and the movement for racial justice.”East Meets West

In 1948, at age 45, Sophia Delza was married and moved to Shanghai with her husband, Cook Glassgold. China was recovering from its occupation during World War II, and Glassgold had a diplomatic posting as Director of International Refugee and Relief Operations. During the couple’s four year stay, however, Delza did much more than appear on her husband’s arm at official functions.

Delza engaged in a vigorous cultural exchange. She taught modern dance, which was novel in China, and studied and learned Chinese dance and theater. Her zeal for exploration changed her life during a trip to Beijing, where she discovered tai chi. Delza later wrote about the dramatic scene she stumbled upon at dawn in T’ai Mizo Park:

Dozens of people, young and old, were each doing his exercise, each clearly centered on himself. No outside sound of voice or instrument directed the movement. The slow, continuous flow of form and the impeccably even tempo seemed to come not only from some mastey within each one but also from the intrinsic nature of the action itself.

Delza was fascinated. “Looking amazingly light and stable at the same time,” she recalled, “each person’s movements seemed effortless.”

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In context, it seems obvious that a modern dancer would be one of the first outsiders to appreciate tai chi. When Delza described her “first unforgettable impression” of the Chinese Theater in Peking, she wrote, “The colorful creatures moved so quickly that it seemed the stage itself were revolving.” Her recollection of the next scene marvels at the same slow, graceful aspects that struck her when she saw tai chi:

A simple, elegant figure, entering from the upstage right corner, quietly took a deliberate pose. He balanced himself on one leg, and extended the other in easy lightness, head high. Then replacing his leg in slow motion, he moved diagonally across the stage with the restraint and simplicity and… grace of a fairy-tale god.

At the Beijing park that morning, Delza quickly realized that “it was not dance [she] was seeing.” Yet she wanted to know more. She was introduced to Ma Yueh-liang, a famed teacher of tai chi in the Wu style, and his wife Wu Ying-hua, his co-instructor. She convinced the couple to teach her, and took up regular practice.

As Ben Judkins notes in a blog post about Sophia Delza, this put her in the unique situation of receiving several years of training “directly from one of the most talented martial artists of his generation.” She came to appreciate how, in her words, maintaining “a consistently slow tempo” in tai chi “is an indication, not only that the body has acquired strength and control, but also that the mind is in harmony with the action.”

When Delza and her husband returned to New York in 1951, she had trained for years with a foremost authority on Wu tai chi, and knew more about the practice and philosophy of tai chi than almost any American.

Bringing Tai Chi to Manhattan

In the 1950s, the practice of Eastern martial arts existed in the United States, but it was not widespread.

Hundreds of thousands of mainly Chinese immigrants passed through San Francisco’s Angel Island from 1910 to 1940, bringing with them martial arts like tai chi and judo. American soldiers stationed in Japan after the war returned to open dojos. Gene Lebell-who is now a mixed martial artist famous for teaching Chuck Norris and allegedly choking out Steven Seagal until he soiled himself-won an amateur National Judo Championship held in the United States in 1954.

But Americans like Lebell-who learned Eastern martial arts despite being outsiders to Asian communities-were rarities. Choy Hok Pang, a well-known, early teacher of tai chi in 1940s America, taught almost entirely Chinese students until the 1960s. It was not until Bruce Lee and Hong Kong “kung fu” films exploded in popularity in the 1970s that Americans widely adopted martial arts training. Some casual histories of tai chi simply write that it was introduced to the United States in the 1970s.

When Delza returned to New York from China in 1951, it was in this environment in which martial arts, and particularly tai chi, were known but relatively unfamiliar outside Asian communities.

The cover of Sophia Delza’s book, the first tai chi book published in English

Delza acted as a cultural emissary on her return, lecturing, writing, and teaching tai chi and Chinese theatre. Ultimately tai chi became her main focus.

The initial response was modest. One early student at the tai chi school Delza opened in New York regretfully recalled that her classes were poorly attended. When Delza performed tai chi at the Museum of Modern Art, it was the first demonstration of its kind, but also seems to have been a minor event. The demonstration does not turn up in the MoMA’s archived schedules from 1954, and one author credits Delza with giving the first public demonstration of tai chi in the United States two years later at the United Nations.

This did not deter Delza, who kept teaching and writing. In 1961, she published the first English language book about tai chi. As the popularity of tai chi and martial arts increased in the 1960s, partially thanks to her efforts, she appeared on television and her tai chi school thrived.

Her influence can be seen in a 1960 Popular Mechanics article about tai chi that is unmistakably a trend piece. The author-who breathlessly writes that “In Shanghai, where matches have been held, no Western boxer has yet beaten a boxer who trained on T’ai Chi to get balance and power”-makes Sophia Delza the focus of his article. He notes that her television appearances result in hundreds of inquiries from around the country, and that her students include “stage and screen stars.” Another article from 1963 relates that tai chi schools are overflowing with more students than teachers like Sophia Delza can handle.

If Bruce Lee-who more than anyone popularized martial arts in America through karate competitions and action films-was a Hollywood blockbuster or comic book, then Sophia Delza was an art film or New Yorker article. Delza taught from a studio in Carnegie Hall, which members of the Actor’s Guild could attend for free, and instructed celebrities and famous actors. In a move that foreshadowed Americans’ adoption of yoga purely as an exercise, Delza de-emphasized the martial aspects of tai chi in favor of its health and concentration benefits. Yet she always retained her academic bent, writing about the philosophy and history of tai chi in journals and books.

Sophia Delza’s role was to be one of the first advocates for tai chi, and to translate it for a non Chinese-American audience. At a time when articles marvelled at an exercise that did not involve barbells, medicine balls, or even sweat, Delza told her students that “We in the West are apt to overexert ourselves in exercise and sports, believing that a hard, tense movement indicates strength.” In tai chi, she continued, true strength, energy, and balance comes from exercise that does not strain the muscles or leave one winded.

Delza also lamented that “Too often I am asked no question other than whether this or that movement will make one thin.” She challenged her American students to appreciate other benefits of exercise, including the mental challenge of perfecting the tai chi postures.

Despite her academic inclinations, Sophia Delza is remembered as a teacher more than a scholar. Today, former students leave warm comments on blog posts about Delza that praise her instruction. One man who studied with Delza when she was in her eighties remembered her as “a tough lady” who taught tai chi “the same way a ballet master would teach.”

In 1996, Sophia Delza passed away. It had been almost 50 years since she first saw tai chi performed at dawn in T’ai Mizo Park, and she had spent over three decades as an instructor. When Delza published her first book in 1961, she had to explain every aspect of tai chi. The year she died, the State University of New York Press published her final book on tai chi. By then, it was almost impossible to imagine an America where people did not know about tai chi or martial arts. Few people know it, but that is Sophia Delza’s legacy.

A guest post from www.udemy.com – We’re the world’s online learning marketplace, where 8 million+ students are taking courses in everything from programming to yoga to photography–and much, much more. Each of our 32,000+ courses is taught by an expert instructor, and every course is available on-demand, so students can learn at their own pace, on their own time, and on any device.

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Taiji Fajin, Hermetics & Metaphysics

The following modest wooden house is where I stayed in Chiang Mai, Thailand when I trained with Sifu Rasmus. Sifu Rasmus teaches Taji Fajin, Hermetics and Metaphysics in this idilic setting nestled at the foot of a mountain and within ear shot of a buddhist retreat.
Leaving the cold and smog of Beijing behind I headed to Chiang Mai for 1 month of intensive training.Sifu Rasmus courses run from 1 to 12 weeks or longer depending on the content. His students tend to be instructors or masters who are looking to add greater depth to their knowledge or a more internal flavour to their art.
During the training period Sifu Rasmus would from time to time hold his class in the grounds of some of Chiang Mai’s most spectacular temples. In this visual blog I share three of my favorite. Below you will see a picture of an impressive nagga (Nāga, a group of serpent deities in Hindu and Buddhist mythology).

Wat Umong

A place were I began training the air element, metaphysics and meditation.

Wat Umong was built in 1927 by King Manglai of the LAN dynasty underneath the stupa above there are caves and shrines, and in the grounds you can find a garden of broken sculptures and a fasting bodhisvista. A place of tranquility where resident monks provide willing students a meditation retreat.
“Where talking trees have words of wisdom”
The hidden jungle temple of Wat Palad below has a special energy and was overall my favorite temple in Chiang Mai.
“The monastery at the sloping rock, visited by the God of the Earth”

3 transformations at Wat Chedi Luang.

“Please, come to the monk chat”
The ancient temple of Wat Chedi Luang in the centre of Chiang Mai’s walled city is one of the most important temples in Chiang Mai. It houses the ashes of the 14th century King Saen Muang Ma’s father. The big stupa is guarded on each of its four sides by two mythical serpent naga’s at the base and further up by rows of elephants. Peaceful in the evening the stupa vibrates with energy. Monks and nuns chant sutras and welcome conversation with travelers.

Climbing to the top of Wat Phra That Doi Suthep.

“Wat Phra That Doi Suthep’s Emerald Buddha overlooking Chiang Mai”
I visited this temple on the festival of Makhachkala Bucha. The festival honours the event when 1,250 of Buddha’s disciples congregated to hear an important sermon.Buddhists carry flowers, lightened candles and joss sticks while walking around the stupa three times on the day and night of the full moon in February.
Although this visual bog focuses on the temples I visited while training in Chiang Mai. It would be a miss of me not to say something of my training time with Sifu Rasmus. So I’ll keep it short and simply say that training with Sifu Rasmus was an excellent decision that helped demystify some of the secrets of Taichi fajin, as well as principles and themes explored in hermetics and metaphysics. Overall the course has been a great help for my own practice and I’d like to say a big personal thank you for Sifu Rasmus, guidance, welcome, coffee and of course friendship. Sifu Rasmus’s YouTube Channel – http://www.youtube.com/user/SifuMarkRasmus

A Guide to Teaching English Abroad & Studying Martial Arts

Do you have friends or classmates that have taught English in China, Japan, or Thailand and wondered to yourself, “How can I get paid to live in China,  Japan or Thailand and follow my passion for Studying Martial Arts?”  With millions and millions of people learning English in Asia, the demand for native English-speaking teachers is insatiable and virtually any native or fluent English speaker can gain employment teaching English abroad.  But like any great endeavor in life, moving to a foreign country to teach English and follow your martial arts path requires research, planning, initiative – plus a few tips from teaching abroad experts like those at StudyMartialArts.Org who have experience of combining English teaching with Martial Arts studies.  Take a peak at these 12 crucial tips and pointers for teaching English abroad to help you get started.

teach-english-in-china1. Know that virtually anybody can teach English abroad

With approximately 1 billion people learning English worldwide, the demand for native English-speaking teachers is insatiable and virtually any native or fluent English speaker can gain employment teaching English abroad. Remember this:

  • A background in education or professional teaching experience is not required to teach English abroad.
  • You do not need to speak a foreign language to teach English abroad.
  • Prior international travel experience is not a prerequisite to teach English abroad.
  • A college degree is not required to teach English abroad. But it certainly will help. As more and more people take the English teaching route to discover Asia the market is becoming increasingly flooded with job seekers. With this increase tighter controls are being applied. Visas require more often now those with experience and so a TEFL certificate is becoming more handy. Ultimately, the more qualified and well connected you are the better employment opportunities you will get. Because after all you are here for the most part to study kung fu so the last thing you need is to be stuck in a job that requires too much travel, too little work to make ends meet or too many hours.

Remember that hiring standards will certainly vary from country to country, so remember to consider what countries you are qualified to teach in.

2. Research your tail off

If you plan to move halfway around the world to teach English and Study Martial Arts, you owe it to yourself to research all aspects of your great international adventure to make it as rewarding and successful as possible. To start, focus on the martial aspect. Where is that Shifu you have dreamed of learning from?What styles are you interested in? Also check out this country chart which compares salaries, hiring requirements, interview procedures and visa information for teaching English abroad in more than 50 countries around the world. Also, check out our other articles for more information about teaching English abroad. When you’re ready to start diving into program options, be sure to read reviews and weigh all of the possibilities. Salary, livability, conditions, benefits, time commitments, and the potential for an incredible and positive experience will all play major factors in your decision.

05.brucelee3. Make sure to earn your TEFL certification

Even though you don’t need a degree or professional teaching experience, if you want to teach English abroad professionally, you need to take an accredited TEFL certification course, especially if you have no background in teaching English as a foreign language (our guide to TEFL helps lay this all out for you). An accredited TEFL certification course will provide you with the skills you need to competently run 4-6 classes a day, and will outline the best ESL teaching tools. TEFL certification will also provide you with a recognized qualification that most schools and language schools around the world seek when hiring new teachers. Remember, most schools around the world will not hire you off the street to teach English professionally simply because you are a native or fluent English speaker! One of the biggest difficulties that new teachers face is the challenge of creating fun, engaging, and plenty of activities for the ESL classroom. TEFL courses will give you insight on the types of games and lessons that are successful with different age groups. Get a head start by reading our tips for lesson planning or take notes of the 10 best games for ESL teachers.

4. Consider whether to go with an organized program or independently

Many TEFL training schools do provide job placement assistance and it’s definitely something to check for when researching your options, because quality assistance should insure that you don’t have to pay for a job placement. Many top programs provide it for free with the course tuition. Others may charge additional fees for placement or assistance. Teaching abroad through an organized program is a great option for first-time travelers to a new region, especially if the local language is one you’re less-than-absolutely-fluent-in. For most people looking to go abroad, there are enough jobs and plenty of resources in the way of free job boards, recruiters, and other resources, that there really should not be a need to pay hundreds or thousands of dollars for a placement. Also, programs that guarantee or receive payment for placements will limit you to job options offered by the program, which are a drop in the ocean of the thousands of job opportunities worldwide that you may be qualified for. If you are looking to teach English in Asia, Russia or the Middle East, you may consider working with recruiters that interview and hire English teachers from the U.S., Canada and elsewhere on behalf of schools in these countries. Typically you should not pay such recruiters for placement. Working with recruiters can make the process of interviewing and lining up a position abroad easier though as they can provide assistance and guidance with matters like setting up interviews and arranging documents for your visa. The key, as always, is to research and work with reputable, well-established recruiters. But be aware, most recruiters who do this will then get paid by the school you work for so their payment could be coming out from your potential monthly wage.

5. Remember: hiring and interview procedures vary from country to country

Be flexible and open to new experiences

Remember demand is high in Asia so schools hire all year-around, nevertheless elementary and high schools recruit primarily during the spring, summer and winter for positions beginning in Jan/Feb and September. Many Asian schools will hire new teachers directly from their home country, this is good for a number of reasons one being securing that all important visa and having the right papers from day one. This means that if you want the security of having a job waiting for you when you hop on a plane to your teaching destination, you should concentrate your efforts here.

6. Plan to break even

This means that even as a first-time English teacher teaching you can expect to earn enough to pay your bills – rent, food, daily transportation, etc. – and live comfortably, though modestly. This means that you’ll be able to travel and go out on the weekends and engage in other personal pursuits like taking language lessons and martial arts. However, this will often be very dependent on luck, your color and whether you are a native speaker. You shouldn’t expect, at least at first, to be making enough salary to put money in the bank at the end of every month. This can take time and it is often 6-12 months before you start earning back on your initial investment, the money you spent on settling in job, hunting and securing accommodation and finding with the right kung fu master.

640x450_thai_boxing7. If you want to make more money, this is possible but very dependent on your qualifications and experience

Most people don’t go into teaching for the money, but if you’re looking to make enough to save for extra travel it is possible with the right qualifications and connections. English teachers can typically make enough to save 30%-50% of their income after expenses, and often receive benefits like free airfare and housing. Monthly savings typically range from about $400 a month in a nation like Thailand up to $1000 or more in South Korea. However, be realistic. More and more these opportunities are limited to those with experience, the right papers and longer term commitment.

8. Consider using a Martial Arts School as a springboard

The growing number of martial arts schools in both China and Thailand offer a great opportunity for the savvy martial arts adventurer to use the schools as a base from which to explore teaching opportunities and of course training with other masters outside the international kung fu school system. To make the most out of these opportunities your current school location or planned schools location will be the key.

Rural schools in the depths of the Chinese, or Thai countryside will not be the most suitable if you’re limited to weekend for finding a school or another master. The good news is that StudyMartialArts.Org offers a great Free consultation service. They can easily help advise you both on potential schools, masters near by and that all important teaching job or employment contact.

9. Set a realistic timeline and plan ahead

Getting a job and moving half-way around the world to teach English or Study is not like choosing which parties you’re going to hit this weekend or selecting what you’re going to wear to the gym – it’s not a spur of the moment sort of deal. While hiring cycles and procedures vary worldwide, you should usually plan on taking 3-6 months from the point when you begin your TEFL certification and job search to actually getting on a plane and taking off to go abroad and begin your teaching job. In some cases, as when applying for government public school programs like JET in Japan. Remember the process of applying, interviewing and making travel arrangements may take 6-9 months or even longer.

10. Be prepared for start-up costs

Teaching English abroad may be the most cost-effective way to live and travel overseas for an extended period, but like most major undertakings in life, it requires a degree of financial planning. Major start-up costs typically include:

  • TEFL Certification: $1,000 – $2,500 for a fully accredited online or in-person class – trust me, it’s worth it.
  • Transportation to your destination country: typically $300-$1000 for North Americans traveling to other continents.
  • Support in your new country until you start getting paid: even if you have a job waiting for you when you arrive, you won’t typically get paid on your first day of work. These expenses can range from $500, if your housing is provided and your job is pre-arranged, to even higher while you interview for a position, wait for the right job, rent an apartment or find a conveniently placed master that you want to study with.

Although start-up costs for teaching English abroad in Asia are typically lower because in many cases you can line up your job in advance, and many schools, particularly in South Korea and China, cover airfare and housing costs. But more than often these are not paid until a trial period has been complete or certain part of your contract. In addition to this as your purpose is not just to teach but also to study kung fu extra complications and few choices may be available to you. This is why some managed programs with initial costs are worth considering.

11. Engage your friends and family

You will need their love and support, and in some cases, their advice and financial assistance. At the same time, don’t let their fear of losing you stop you from going abroad – Mom will just have to understand that you’re going to miss a Thanksgiving or two. The good news is that thanks to technology, it’s easier than ever to stay in touch from all corners of the globe. Email, Facebook and other social media make conversing and sharing photos a cinch, and with Skype, you can enjoy video calls with friends and family as often as you like, for free.

Guilin12. Be open-minded and flexible

If you won’t even consider teaching anywhere but places that are just like the home, you’re only cheating yourself. The fact is that you are unlikely to get a job just like at home. This should not stop you from experiencing the adventure of living and traveling abroad, whether it be in China, Thailand, Japan or anywhere else. Also, bear in mind that you are not limited to one destination – you can always teach in one country or region and then move on to another and as in any field, the more experience you gain, the more opportunities will come your way.


Essentially the only way that you can’t teach English abroad is if you don’t have the initiative to make it happen – so let’s go! That means researching your options, getting a TEFL certification and putting together a timeline. Be realistic and organized, but don’t hesitate to broaden your horizons and take chances either. Moving abroad is meant to be adventure, so embrace it! Inspired by – Go overseas.