YOGA TAICHI 91
Harmonious alliance of Yoga, Taichichuan, Qigong and Meditation
TUISHOU: Thrusting hands or sticky hands
Tui Shou allows us to understand the notion of fullness and emptiness (yang and yin) through touch. The fullness in Tui Shou is equivalent to a great density or concentration, the emptiness corresponds to a slackening or inattention. The training consists in adapting to the partner's touch: if it is full, one will react with emptiness and vice versa. In classical Chinese thought, the concept of emptiness and fullness is found in all the arts (painting, calligraphy, music). Tui Shou also allows us to feel the continuous flow of change that always takes place in reality, following the line of least resistance, like water.
Tui Shou expands our sensory field through elastic movements in all directions (up, down, front, back, circular). The body becomes sensitive and strong, allowing it to react easily. The study of Tui Shou allows to create the touch for all the techniques of defence and attack: parries, blocks, strikes. The practice of the explosive force makes it possible to study the transmission of force on the partner. Tui Shou also introduces the principles of imbalance. Tui Shou prepares you for free combat because it is a systematic training for the combat phase where you are in contact with your opponent.
The basic exercises are done by making contact with one hand, on the spot, studying the different directions of force. We push in front, pull, deflect, go up and down. Then we move on to the two-handed exercises, on the spot and in motion. First we study the elastic directions of force, then we learn about imbalances, pushing and pulling the partner. We start by adhering to the partner and then sticking to them as they move, connecting and following any changes in direction.
Tui Shou training "pushing yourself with your hands" is one aspect of Chinese martial arts such as Taiji Quan, Xing Yi Quan, Ba Gua Zhang, and Wing Chun. Tui shou is closely related to fundamental notions of Chinese culture. Let us see the specificities of the tui shou of Yi Quan:
1. Continuity through the spiral
2. The breaking of the spiral
3. Transformation and deflection of attacks
4. The transmission of power
5. Non-action for better action
1. Continuity through the spiral
The specificity of the tui shou of yi quan is the two-handed form. The opposite forearms of the partners touch each other, as close to the wrist as possible (see photo 1). The forearms rotate in a spiral pattern. Both hands point towards the partner. Both partners perform the same movement alternately. The alternation of above, below and around sensitises the forearm. This gesture is a symbol of Yin and Yang (perpetual change without rupture or domination). The winding is done with a touch that is neither too empty (soft) nor too full (contracted). The contact is adjusted to follow and feel the continuous unfolding of the gesture. The repetition of this gesture allows a unification of the sensations between the two partners. This training in harmony allows to feel and listen with the skin the transformations of density and spatial changes. This gesture is the prelude to the rupture (initiative of attacks). These spiral movements are systematically carried out while studying the tui shou, on the spot and while moving.
2. The breaking of the spiral
The breaking of the spiral occurs when one of the two partners wants to attack, push, or unbalance. The breaking phase is done while maintaining contact. The pushes of the hands allow to feel the changes of rhythm, density (full or empty), of will and to react in an adapted way. In Yi Quan the initiative of attack can be done with one hand, with two hands, the hands aiming generally at the centre of the body. The hand attack can be transformed into elbow and shoulder strikes. Learning to break the spiral is done in parallel with learning to transmit power and transform movements. To avoid being thrown off balance, the attack must be transformed and deflected by sticking and following.
3. Transformation and deflection
There are several ways to avoid imbalance or attack:
1. Cancellation
2. Deviation
3. Transformation
4. Absorption
1. Cancellation of the attacking initiative at its inception is the ideal (very difficult) reaction. This is done by changing the density of the contact or the direction of the gesture without breaking. The partner will follow or be stopped in his or her tracks.
2. We deviate when we feel too much in a given direction (which will create a vacuum). The deviation depends on the direction of the push. For example, on a strong one-handed push, you move the back foot while keeping contact with the arm and let the push go forward into the void (see photo). A good command of movement techniques facilitates the deflection of thrusts and attacks.
3. The transformation of a thrust is done through the elasticity of the body. We keep the contact during the push, we change the direction of the attack (by remaining stuck), the partner risks being unbalanced, he will be obliged to follow the change. The transformation applies to any type of push or attack.
4. Absorption of the thrust is done when the thrust has not been cancelled, deflected or transformed. Rooting is the basis of absorption. By rooting towards the ground, one rounds the "arc of the body" and absorbs the power by transmitting it to the ground. This absorption allows the bow to return to the opponent. In tui shou one reacts to the full and the empty. Fullness is synonymous with too much contraction, too much amplitude, too much willpower, etc. .... Emptiness is synonymous with too much softness, lack of presence, lack of rooting, lack of contact.
These techniques are previously studied alone through the "Shili" (trying force). The force is not a raw force but "a force that winds and continues like a silk thread that stretches".
4. Transmission of power
The transmission of power to the partner allows :
1. Unbalance
2. Striking
3. Destabilisation
The techniques of transmission of force are studied in yi quan through the techniques of "Fa-li" (the force which springs), in the other Chinese martial arts one also speaks about "Fa-jing". Before making the force spring forth, it must be accumulated (soujing) through the Zhang Zhuang and the Shili.
1. The fali to unbalance use the force of extension of the body. The unbalancing is done either pushing forward, pulling backward, or using the force of opposites (left/right, front/back). The force of the push must be like a spring (short, wide, explosive). The strength of the body as a whole is used (zheng ti).
2. The fa-li to strike use the force of percussion which penetrates a few centimetres. In tui shou only the body is touched, fa-li on the body destabilise the partner but do not disable the fight.
Fali to destabilize use a multitude of forces: rubbing, pressing, winding, twisting, shaking creates a vacuum that allows to link a technique to destabilize. The shaking force, for example, is a succession of fa-li as if shaking an olive tree. The fa-lis to destabilise are at the limit of imbalance and percussion.
All these forces are created by the sensation of the body's support in space and internal forces (extension, flexion, unification, opposition). The aim of tui shou is not to knock out the partner but to study the various transmissions of force in contact. The transmission of force is essential for the techniques of parries and attacks during the sanshou (free fight).
Tuishou are the practical application of the Chinese Taoist concept of non-action (wu wei). The spiral movement and the transformation in continuity allow its application. The spiral is a way to feel the right moment to act. The action is done without taking any risk, one rushes along like a flowing river, one follows the line with the greatest ease. There is no will to win or to dominate. Non-action implies listening and osmosis with the inner and the outer.
This notion is active. Acting-without-acting is a let-go / let-pass. To allow the action to take place on its own. The image of the snake or the dragon describes this notion of non-action well: "the supple body of the dragon has no fixed form, it undulates and bends in all directions, contracts to unfold, folds to advance; it embraces the clouds so well that, always carried by them, it moves forward without expending itself"
tuishou
A cultural form of Chinese combat
Tui shou is a form of training to acquire technical and theoretical principles linked to Chinese culture. This form of combat does not have the same goal as a Western-style combat. Tui shou is about feeling harmony, fluidity, elasticity, transformation, explosiveness, rootedness through contact and touch. Control and domination are achieved without using brute force.
The tui shou require a long apprenticeship on their own (zhan zhuang for rooting and unity, shi-li for transformation and continuity of forces, fa-li for bursting out forces, mocabu for displacement) before they can be applied in pairs.
The tui shou are a key to finding an ideal body state for combat and health. Continuous contact training promotes readiness in the close combat phase of sanshou (free combat).