Taiji Step: Understanding The 5 Methods And Their Meanings Nasser Butt

from Lift Hands Volume 23 September 2022 - The Multi-Award Winning Martial Arts Magazine

Whisper of the Lover Dr Gregory T. Lawton

Author’s Note: This article should be read in conjunction with the previously released articles appearing in Lift Hands Magazine listed below:

Moving with Awareness: The 13 Dynamics, The Cornerstones and their Significance — Lift Hands Volume 1 The Energies of Taijiquan Part 1 — Lift Hands Volume 13 The Energies of Taijiquan Part 2 — Lift Hands Volume 14 The Energies of Taijiquan Part 3 — Lift Hands Volume 15 The Energies of Taijiquan Part 4 — Lift Hands Volume 16 The Hand Patterns of Old Yang Style Taijiquan — Lift Hands Volume 19 Tracking Mode: Training Methods from the Erle Montaigue System — Lift Hands Volume 20 The Wudang Stepping Methods: The ‘Ingenuities’ Of Taijiquan — Lift Hands Volume 21 Understanding The Language of Taijiquan — Lift Hands Volume 22

This article is a brief expansion upon the original published works of my teacher Erle Montaigue on the subject [Tai Chi Step] circa 1998 and is based upon my notes, Q&As and personal video archives, taken during a series of workshops with him on the subject matter here in Leicester in 2009.

The Five Directions are an integral component making up The 13 Dynamics of Taijiquan. Before Taiji Long Boxing, there existed only The 13 Dynamics — the very foundations of Taijiquan! Whilst folk continue to argue over the various family styles and who invented what… the rule is simple — if whatever style you practice adheres to The 13 Dynamics, than it is Taiji regardless of what family name you give it! Having said that, it is not that simple either. Over the many years, we have clear evidence of the dilution of Taiji concepts as it transited from a ‘small’ martial clique towards the health masses, where movements were simplified or removed wholesale due to their difficulty. This is not conjecture — this is a verifiable fact1!

So, when I say above that, “… if whatever style you practice adheres to The 13 Dynamics, than it is Taiji regardless of what family name you give it” — this comes with a caveat… I refer to The 13 Dynamics as they were originally practiced! For example, we have verified records2 which confirm that many of the weighted turns [turning the foot on the weighted leg] were simplified for the common practitioner where they would ‘rock back’ and remove the weight off the leg, then change the direction of the foot and roll the weight back. The weighted turn was a means of understanding how to generate power through creating friction, a critical skill for the martial artist and one of the skillsets of The 5 Directions [Methods]. So, by altering it, those styles which no longer practice weighted turns cannot claim that they are adhering to the Dynamics! Of course, weighted turns are not the only changes or omissions, there are many more.

The 5 Directions [Steps] are a misnomer! There are NOT only 5 Directions! There are around 14 distinct steps which are divided into 5 categories or Methods — it is these Methods which are refereed to as the 5 Directions/

Steps [See Table above with categories and a few examples].

Further, most of these ‘steps’ are made up of at least two or more categories [Methods] and cannot truly be separated, just like the primary and secondary energies [Gates] of Taijiquan. The 14 Steps3 described here are simply those that can be identified as the ‘primary’ component of a specific Dynamic, which help us gain understanding of the source of power and movement.

Move Forward [Fire] Move Backward [Water] Look Right [Metal] Gaze Left [Wood] Central Equilibrium [Earth]

Break Step Backward Break Step Withdrawing Step Rolling Step Rising Step

Withdrawing Step Sinking Step

The methods described below are with reference to ‘postures’ from the Old Yang Style4 as opposed to the commonly practiced modified Long Boxing Form of Yang Cheng-fu! The nomenclature used is common to many of the Yang based styles, it is not unique to the Old Yang and can be found in other writings, however, as I have already stated above, since we already know that modifications, simplifications and omissions exist — it is for the practitioner to carry out an honest appraisal as to if they really are practicing as per the original Dynamic? In other words, are you doing what is being asked or described?

Also, when a ‘posture’ is given as an example, what really is being referenced is the transition or movement which brings us into that specific posture or into its finality. Of course, it should be obvious to the reader that the images used in this article as expressions of the Methods are static, in other words, the transition itself is not visible. The knees play a critical role in all the postures along with connectivity.

Finally, instead of using ‘turn right’ and ‘turn left,’ I have adhered to the traditional usage of ‘Look Right’ and ‘Gaze Left’. The reason for this is because the eyes play a critical role in our movement, intent and direction, as well as understanding and developing peripheral vision. Whilst many have turned these two phrases into some ‘esoteric’ mumbo jumbo, rest assured it is not!

1. Break Taiji Step [An Entering Forward Step]

The Break Taiji Step is one of the main stepping methods of Taijiquan. In fact, it is the most commonly used step consisting of the front foot being placed down on its heel, then as the body moves forward, the toes are placed down with the weight not going past the middle of the foot [See photos 1-4 below]. The thighs and knees are curved and collecting, with the rear thigh being less curved then the front. The rear foot controls the waist in yielding, we rely on it for both, power and evasiveness without moving backwards — in other words we never retreat, giving rise to the classic:

"To enter is to be born while to retreat is to die.”

Photo 4 Photo 3 Photo 2 Photo 1

We understand that in this stepping method it makes it easier to revolve, as the toes slightly break connection with the ground, the revolving is done upon the heel, and contracting and issuing force happen as the toes are placed upon the ground. An example of this dynamic is the ‘posture’ of Brush Knee & Obstinate-Twist Step.

Brush Knee & Obstinate-Twist Step was originally practiced as a weighted turn in order to develop martial power in the leg and is still practiced in this way in the Old Yang Style as opposed to rocking back in the modern styles [For a full description see Lift Hands Volume 6, June 2018 — Peasant Talk]. It is this revolving or twisting which allows us to deal with our opponent without having to move backwards by deflecting their attack, using circular motions and not meeting force with force [Photo 6] and epitomises the line from The Treatise of Wang T’sung-yeuh of Shanxi:

Stand like a level balance, Lively as a carriage wheel Depress one side and the other follows

Photo 5: Brush Knee Obstinate Twist Step [Front View] Photo 6: Brush Knee Obstinate Twist Step — Break Taiji Step [Front View] Photo 7: Brush Knee Obstinate Twist Step [Side View]

2. Backward Break Taiji Step [A Move Backward Step]

When we observe Natural Repulse Monkey [found in both Yang Cheng-fu’s Form and the Old Yang], we quickly realise that it is essentially the counterpart to Break Taiji Step called Backward Break Taiji Step! Natural Repulse Monkey is the only dynamic which uses this step where the toes settle first followed by the heel with the waist being controlled this time by the front leg [see photos 8 and 9]. This stepping should not be confused with the step back from the Tripping Monkey found in the Old Yang Style, which is totally different since the foot there lands flat.

Photo 8: Natural Repulse Monkey

Photo 9: Natural repulse Monkey end posture Photo 10: Inspecting Horse’s Mouth Turn

3. Rolling Taiji Step [A Gaze Left Step]

The Rolling Step along with the Break Step are the considered the foundation of Taijiquan’s stepping and footwork! In this method, the foot sticks to the ground when you turn it to follow what the body is doing, in accordance with what the opponent is doing. This helps create friction in order to gain energy. The weight is placed upon the heel and the foot is concave as it is rolled left or right [depending upon which foot is forward]. Moving in this manner allows the practitioner to do so without leaning forward [crashing] or backward [coming away]. Several postures use this method with examples being: 'Step Up, Parry & Punch’; 'Hit Tiger Left & Right' and the movement just after 'Inspect The Horse's Mouth' [Photo 10].

If a students finds it difficult to move when the weight is placed on the moving foot then, it is a sign that rolling step has not yet been mastered and connectivity and control of the knee have not been understood.

4. Rising Taiji Step [A Central Equilibrium Step]

This method uses the power of one leg in order to cause the body to rise in postures such as ‘Golden Cock Stands on One Leg,’ and ‘Pigeon Flies to Heaven’ [Photos 11 & 12]. It helps train and develop the upper thigh’s P’eng jing. The thigh must move in a circular manner, ie when lifting the right leg, the left leg must move clockwise in order to gain the necessary fa-jing for the strike and counterclockwise when doing the move

on the opposite leg!

Photo 11: Golden Cock Stands on One Leg Photo 12: Pigeon Flies To Heaven Photo 13: Needle at Sea Bottom

5. Sinking Taiji Step [A Central Equilibrium Step]

This method trains the lower thigh P’eng jing and is the opposite to the Rising Taiji Step. It is used when the leg is lifted up and then placed down while you are moving the body weight downward itself. The thigh makes a circular movement in opposite direction to the Rising Step. An example of this is ‘Needle at Sea Bottom’ — when performing this dynamic, the right thigh makes a counterclockwise circle whilst keeping the backbone vertical. You must sink straight down without any forward/backward motion.

6. Withdrawing Taiji Step [A Looking Left Step. It can also be called a Looking Right Step]

In this method the step moves from ‘inside to outside’. Again the thigh makes a circular movement [left or right depending upon the leg being used] to give power to the opposing palm. An example of this dynamic is ‘Ride the Tiger Back to the Mountain’ [Photo 14] — the right thigh makes a clockwise circle in order to give the left palm power, with the eyes first looking right and then gazing left.

Photo 15: Cross-stepping Wave Hands ‘Gathering’

Photo 18: Slant Flying Photo 16: Cross-stepping Wave Hands ‘Release’ Photo 17: Wild Horse Veers Its Mane

7. Gathering Taiji Step [A Gaze Left or Looking Right Step]

In this method the step is done from ‘outside to inside’. An example of this is the third variant of ‘Clouding Hands' [Wave Hands Like Clouds] from the Old Yang — the cross-step with fa-jing.

Both the hands and legs must exhibit Lu Jing. The feet must move both constantly and effortlessly. The ‘gathering’ component is when the whole body twists as one foot is placed behind the other. The right toe is placed first [Photo 15], followed by the heel and left palm striking downwards [Photo 16] as the qi is released [fa-jing]. As the body posts on the right foot [100%] the left foot must not break connection with the ground through the release of energy.

8. Curved Taiji Step [A Gaze Left or Looking Right Step]

‘Wild Horse Veers Its Mane’ [Photo 17] is an example of the Curved Taiji Step. It is called an ‘outside drawing of silk’ method as the leg attacks from the outside of the opponent’s body in a kind of sweeping manner to his legs as the hands also attack to produce the resultant arm break, attack to the power band, neck and a throw! This method can be used for both attack and defence and is often confused with Slant Taiji Step [Slant Flying] — they are not one and the same despite both being a variant of P’eng!

9. Slant Taiji Step [A Gaze Left or Looking Right Step]

This step is fundamental to all diagonal corner steps, but most important in ‘Diagonal [Slant] Flying’ [Photo 18]! The balance and timing must be perfect so that you can step forward or backward at any time without hesitation. The Slant Taiji Step is a critical component of Da Lu and can cost you dearly if you get this wrong in combat! It also contains the element of K’ao when performed correctly.

10. Horse Riding Taiji Step ]A Central Equilibrium Step]

Both ‘Single Whip’ and ‘Jade Maiden Threads The Shuttle’ [Fair Lady Works Shuttles] are examples of Horse Riding Step [Photos 19 & 20]. In this method the weight is sunk onto both legs with slightly more weight being placed on the front leg and with the rear leg sunk less than the front. Due to the controlling factor of the front or rear leg, it is said to have double P’eng Jing since the two legs are in constant push and pull mode. For those familiar with driving manual cars — it’s like having the car in ‘biting’ mode by controlling both the gas and clutch, ready to release!

Photo 19: Single Whip Photo 20: Jade Maiden Threads The Shuttle

Photo 21: Slant Flying Photo 22: Crane Reveals its Wings in a Brilliant Display

11. Fishing Taiji Step [A Central Equilibrium Step]

This method teaches how to ground energy straight down the centre as the step moves from left to right, as in the standard way of performing ‘Clouding Hands’ [Photo 21]. The feet move directly to either side. The steps are shoulder-width, double shoulder-width and the feet must be raised up flat and placed down flat [heel and toe together] using the core to do the lifting. The thighs must make circles — the left makes a counter-clockwise circle and the right makes a clockwise circle. The hips remain facing forward at all times, with the waist turning 45º as the eyes follow the hands. The steps must be in complete harmony with the crossing of the hands. This method can also be performed in a circle as opposed to a straight line, however, the rules remain the same!

12. Fairy Taiji Step [A Central Equilibrium Step]

In this step the point of the toe, when placed on the ground, is insubstantial. The upper body lifts slightly before sinking as the right thigh makes a counter-clockwise rotation. An example of this is ‘Crane Reveals its Wings in a Brilliant Display’ [White Crane Spreads Its Wings] [Photo 22], containing an horizontal Tsai and divided P’eng.

13. Turning the Body Over Taiji Step [A Gaze Left or Looking Right Step]

The spine is the critical factor in this step involving fa-jing and must be positioned to allow the body to revolve in order to strike, gaining power [by shaking violently — right, left, right or vice versa depending upon the direction] for a downward hammer to your opponent’s arm followed by a chopping hand strike to vital points. Again, the thighs are the control containing outward and inward drawing of silk so that the spine remains vertical to issue the power.

‘Turn Chop With Fist’ [Torso Flung Punch], [Photo 23] is one simple example of this type of step. In the Old Yang there are many postures that incorporate this revolving skill.

14. Push Taiji Step [Move/Enter Forward Step]

The term ‘Push’ here should not be taken as to mean literals pushing with your hands or something! In this method the rear foot follows the turning action of the front foot so that the body ends up turning 90º to the left or right. An example of this is the dynamic of ‘Apparent Close Up’ [Photo 24]. Here, the front foot [left] pushes the energy over to the right as the rear foot moves in accordance with what the front foot is doing. In this instance, the front foot is said to contain P’eng energy. The pushing is a necessity of the martial application — a devastating strike to the neck and the breaking of the neck and or limbs [arms] depending upon what the opponent is doing!

This concludes the 14 Stepping Methods.

Photo 23: Turn Chop With Fist

Conclusion

Whilst we have described the 14 Stepping Methods and divided them into the 5 Categories or Directions, as already mentioned at the beginning — it is imperative for the reader to understand that all of the stepping methods contain some measure of the other energies! For example, all the steps must contain Central Equilibrium and any Gaze Left or Looking Right Step will also contain a Moving Forward Step. What we have done here is to simply identify the fundamental energy or dynamic in the posture.

All the steps must have P’eng Jing at the point when the stride is released — without this the hand will not open and release. This is a common error. If your hand is not opening and releasing naturally, remaining closed and rigid then there is no P’eng Jing present at this point.

Further, these are not the only steps, there are others! However, the understanding to those comes from understanding the 14 Steps. Majority of these other methods have either been removed wholly from the modified forms or simplified beyond recognition due to the difficulty factors involved. These Steps, however, remain in the Old Yang and the Pauchui — including the associated training methods — Da Shou [Striking/ Joining/Push Hands] being the primary one — and weapons forms. Examples of these are the Leaping Step, Slap Step, T-Step, 8 Step, Reducing Step, Hook Step, Controlling Step, Thrusting Step, Divided Body Step, Blooming Step [also referred to as a Threading Step] and Pouncing Tiger Step to name but a few.

So why do we need to know and understand all this?

Firstly, several years ago [March 2015] I wrote an article entitled, ‘The Footwork of Taijiquan?’ — in which I had categorically stated:

Photo 24: Apparent Close Up

‘There is no footwork in Taijiquan or any other martial arts for that matter!’

Of course there will be many of those following my work who will now state that I have contradicted myself in the present article almost 8 years later!

Let me assure you, I haven’t!

I will begin with a quote from my teacher Erle Montaigue on the subject matter [circa 1998]:

‘The stepping method of Taijiquan means the natural manner of stepping. Once you understand about central equilibrium and lightness and heaviness, then your timing will be perfect. You will not use an incorrect stepping method for a certain type of attack. This is why we practice form, to learn about the stepping

methods and how to perform them effortlessly and without thinking about them. The body moves in accordance with what the attacker is doing to us, so

there is never a time when we will make an incorrect step. The stepping methods are there so that we can move quickly, releasing power as we move quickly, sinking as we lift and releasing as we gather.’

According to Yang Ban-hou:

What comes out of you during a fight should be natural, coming from such interactions as between the realms of ground and sky. When you no longer have a problem with letting go of yourself, there will never be hesitation as you go upward or downward, forward or back.

The body makes its steps according to the five elements, bracing in all

directions. The five elements are: advance (fire), retreat (water), step to the left (wood), step to the right (metal), and stay in the center (earth). Advancing and retreating are the steppings of water and fire, left and right are the steppings of metal and wood, and the central earth is the axis for all of them.

Embrace the eight trigrams as you step through the five elements…

I had concluded my own 2015 article with the following:

Footwork in Taijiquan, and in martial arts in general, is merely an explanation of the fact that if you move correctly from your centre then this is where the feet should end up!

This is why we practice forms. Whether they be slow, fast, solo or with a partner. Their function is simply to teach us how to reconnect with our natural programming and begin to move fluidly without thought or preconception.

In combat you do not have the luxury nor the time to think what step to take. A real attack can be over in a matter of a second or two. When attacked it is not I who move but, rather, my opponent who causes my movement through their own actions. I simply arrive where I need to be.

What we call footwork is merely an understanding of how and where the feet end up if we move correctly from our centre. By corrupting and simplifying forms we have taken away the very critical concepts which were meant to keep us in tune with our natural programming and here the modern ‘masters’ and charlatans who only trained briefly or lazily are to be blamed!

The original old forms of Taijiquan had weighted turns, leaps, sudden changes of direction and balance — without rigidity. Essentially, all the movements you performed as a child on a school playground or a park and just as the child’s natural programming was interfered with through modern ‘schooling’ methods and life, so dubious forms and overthought have undone the modern martial artist!

Once we have understood that, “The body makes its steps according to the five elements, bracing in all directions…” and that this allows the body to move, “… in accordance with what the attacker is doing to us…” so that, “When attacked it is not I who move but, rather, my opponent who causes my movement through their own actions. I simply arrive where I need to be…” — This is referred to as the ‘point of coordination’!

Now, “What comes out of you during a fight should be natural…” and you will, “…no longer have a problem with letting go of yourself, there will never be hesitation as you go upward or downward, forward or back.”

This then is understanding the source of power and the origin of movement!

This cannot be achieved “Without long application of effort…, ”5 and when understood — “… there is no footwork!” There is only natural movement.

Above: Screenshots from personal video taken during Erle’s workshop on ‘The 13 Dynamics,’ in Leicester in 2009. From left to right… Erle demonstrating K’ao and Arn with fa-jing. Copyright©Nasser Butt 2022. All rights reserved.

Notes and References:

1. Xu Long-Hou’s Taijiquan Shi, Taiji Boxing Power(Developing Power in Taiji Movement) Published in 1921.

Translated & Annotated by Bradford Tyrey, Bradford Tyrey, North China Publications, USA, 2006.

Translator’s Preface. 2. Fu Zhongwen. Mastering Yang Style Taijiquan (Yang Shih T’ai Chi Ch’uan)/Translated by Louis Swaim, 1999, published by North Atlantic Books. An Introduction to Yang Style Taijiquan, pp.45-46.

3. There are more than 14! 4. There are several strains of Shao-hou’s form existing and that he was very selective about what he taught and to whom. 5. The Treatise of Wang T’sung-yeuh of Shanxi, Great Pole Boxing: The Theory [Late 18th Century]

Butt, Nasser: Whose Line Is It Anyway; Published 2021/The Footwork in Taijiquan? Published March 2015 Montaigue, Erle: Tai Chi Step — The 5 Methods; Published 1998/The Old Yang Style Taijiquan; Published 2000 Yang Ban-hou: Explaining Taiji Principles [Taiji Fa Shuo] circa 1875 [Brennan Translation 2013]