Stages of Zhan zhuang

Zhan Zhuang (Standing Pole) occupies a very important position in traditional martial arts practice. What are we actually doing and how do we practise it?

Zhan Zhuang is a training method by which to know oneself. Invariably the human body become “deformed” (out of its natural form/structure) because of incorrect use throughout life. The average person has such a poor sense of their body that they cannot feel, let alone command and control the different parts. In particular, they cannot differentiate and separate flesh, tendons, and bones, so that when expressing energies, the flesh, tendons and bones tense up together forming a stiff mass. Zhan zhuang is a static practice through which to experience and understand your own body frame and structure, so as to improve the body's capability and functionality.

The first step of zhan zhuang is to learn to fangsong (relax and let go of tension). Through fangsong, allow the “deformed” body to return to its natural state: qi and blood calm, neck insubstantial and the jaw drawn in, chest empty and the abdomen filled, back rounded and the waist relaxed, the buttocks level and the hips seated so that the ability of the mind and consciousness to perceive the structure and sensations of the body is gradually improved.

Having learned how to fangsong and to improve the ability to understand and feel the different parts of your body, you are ready to express strength, as you are now able to tell whether you are using tendons and bones or using muscles to do so.

The second stage of zhan zhuang involves stretching the tendons and pulling the bones. Because the tendons, bones and flesh are now differentiated, during zhan zhuang the emphasis is on training the tendons and bones - the tendons are stretched to the correct tension, the bones are braced whilst the flesh is relaxed. If the first step is not complete, and you cannot distinguish tendons, bones and flesh, it is not possible to practise the second step.

Changing from slow to fast training...

At what point and under what condition is it appropriate for your practice to change from slow to fast?

There are two standard criteria:

1. The ability to maintain physical and energetic integrity....
When you speed up your actions either in a single posture or the whole form, you are ready only when the the body structure remains composed and intact and qi remains contained and not floating. If you are not able to do this, then it’s not time yet to add speed to your movements. You should slow down immediately and, following the guidelines of the criteria, gradually add speed as you improve.

2. The ability to express the appropriate energies.
Taijiquan is composed of different elements of the so-called “eight methods and five steps” or the “thirteen energies”. Any one of these elements should be expressed during movements. If a movement is done too quickly often the details are skipped over or lost and the intended energy is not expressed. Therefore, if you find it difficult to clearly express all the necessary energies, or competently change from one energy to another during fast practice, then you should continue to practise at a slower pace that allows you to do so.

These are the two criteria for the most appropriate time to incorporate speed into your movements. The power release of Taijiquan is realised by using this accelerated process. As well as its changeability and neutralisation skill. However this does not mean that all the movements of Taijiquan should be changed to fast movements. Instead, within the opening and closing, rotation and folding of Taijiquan, there must be an alternation of fast and slow.

Looseness in Taijiquan

“Song” (translates as loose, unimpeded, relaxed, devoid of tension) is the most important component of Taijiquan and cannot be spoken of enough.

“Song” in Taijiquan is achieved only when every part of the body has acquired the state, not in isolation but in uniform distribution. “Song” must be initiated from inside out - the mind first rid of tension in order to facilitate the physical body to relax.

“Song” is prone to two common misrepresentations: the first is being over...ly soft so that the body is weak and flaccid; the second is believing prematurely that a state of “song” has been achieved and the mind is no longer open to guide the body. The first instance is very common. In the search for “song” earnest players often overplay softness and become deficient and lacking in vigour and effectiveness. “Song” involves releasing and letting go and therefore opening and expanding. It is not contracting and shrinking. It is not a localised but an overall releasing. It is permeating rather than in-situ.

To reach the correct state of “song” it is equally important to overcome deficiencies as well as excesses.