yang zhenhe - tai ji quan

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    Interview with MasterYang Zhenhe onvarious aspects of Tai

    Ji Quan-practicing,led by David Sommer

    Master Yang, it is nice

    to be able to interviewyou today. I then beginalready directly with the

    first question: Can youplease briefly trace thedevelopment and

    influence of the Yang

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    style in Guang Fu?

    Yang Luchan wentseveral times afterChenjiagou and learned

    Tai Ji Quan of the Chenfamily. Back in Guangfuhe taught several

    students, including WuYuxiang, who foundedafter training stays in

    Zhaobao the Wu (Hao)style.Yang Luchan hadmany students, even at

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    the imperial court,

    where he taught fromtime to time. His sons,Yang Yang Jianhou

    Banhou and gave theart further turn. YangBanhou was, so it has

    been handed a tough,relentless teacher andtherefore had few

    students. His art wasfor this reason,practiced in a small

    circle, especially in

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    Guangfu.

    Yang Jianhou however,had many disciples,among them his sons

    shaohou Yang andYang Chengfu. YangChengfu changed the

    Yang style very strongby any remote elementsfast and jumps out of

    the mold and allowed topractice the movementsgreater. While

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    previously jumps and

    faster movements aswell as switchingbetween high and low

    positions wereformative for the longform, it has been

    simplified by YangChengfu and theelements described

    previously removed.The reasons for this aremany and today it can

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    only be speculated. At

    this time, the so-called.Boxer rebellions tookplace, which led to a

    poor image of martialarts. In addition, theYang style underwent a

    large spread, whichrequired a moreaccessible form. Some

    practitioners is claimedthat was a reason forthe simplification that

    the knowledge of the

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    "secrets" in the family

    should be kept and theform has therefore beenchanged for a lesson

    "outside". I do not thinkthis is actually verylikely because the

    "secrets" not found inindividual movements,but can only be

    experienced in itsentirety.

    This manifests itself in a

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    correct posture and

    body mechanics, whichare the basis of thedevelopment of

    gongfu.Obtain this be aconscientiouscorrection by the

    teacher, persistentpractice of shape,partner exercises,

    individual exercises andweapons forms.

    In the Tai Ji Quan

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    Guangfu the Yang

    family also "Taiji fromoutside the walls" andthe Tai Ji Quan of the

    Wu family is the "Taijicalled from within thewalls". This is because

    the Yang family livedoutside the city walls,while the wealthy Wu

    family has always livedwithin the city walls.Both styles are

    practiced in Guangfu

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    since its inception and

    have therefore beenhanded down in anunbroken tradition here.

    In Guangfu also lesswidespreadtransmission line of the

    Yang style of YangBanhou has beenpreserved, which is why

    in our style next to the85 form of YangChengfu the 108er long

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    form is practiced with

    fajin and jumps as wellas the long stick.

    Can you tell us

    something about yourteacher?

    Zhai Wenzhang, in histime the mainrepresentatives of Wu

    and Yang style inGuangfu Yongnian, hasdone under Mao

    military service and

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    then returned back to

    his hometown Guangfuand has taught thereuntil his death. He

    learned from Yang andYang ZhaopengZhaolin, the disciple of

    Yang Banhou werethemselves. When hecame back, I got to

    know him. I was stillvery young, but it soonbecame clear that he

    had incredible skill and

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    so I immediately

    wanted to become hisdisciple. I gave up themartial art that I

    practiced before anddevoted myself only theart of my new master.

    Since that time Ipracticed with himevery day and my

    classmates and studiedwith him until his deathin 1989. Some time

    after the death of my

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    Master, I was taught by

    Yang Zhenduo adoptedthe youngest son ofYang Chengfu.

    What is important inyour system at special?What is the most

    important thing appliesto practice it?

    The most important ispracticing the propershenfa. This is the term

    for the posture, body

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    mechanics and

    generally the way howto move. Therefore onemust start from scratch.

    From the clear, simplethe indeterminateresults. First practice

    the basics of square isround, from the greatrounds creates small

    circles from the big yinand yang arise mutuallycomplementary small

    yin and yang

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    movements. Then the

    Yi is practiced.

    Finally, the movementsare "informal". Without

    this development canbe no real Tai Ji Quanlearn. The student can

    not develop. If you seea master who makesparticularly good Taiji,

    then you should not tryto copy the movements,but try the same way to

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    go to even the master is

    gone. The what you seeis the result of theexercise path, not the

    beginning. The thingyou can see is not whatmakes Tai Ji Quan. It is

    the inner feeling whichmust evolve. It is alsoimportant to embark on

    a path of practice andnot to be, confused bythe many options that

    exist today. You must

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    enter a gate before you

    can continue and canintegrate other thingsmake sense in the

    existing first.It is often talked aboutthe connection between

    tuishou and taolu. Formany practitionersthere seems to be

    confusion about themeaning of both typesof exercise in Tai Ji

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    Quan. Can you explain

    this a bit?

    The geometry of theprinciples, proper

    posture, structure typeare to move taught.About practicing the

    form of these principlesare absorbed into thebody and can then

    Tuishou experienced inthe use with a partnerand deepened. This

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    deepened

    understanding hasimplications for thepractice of the form.

    You can begin toexplore and learn whateffect the principles of

    the learned myself. TaiJi Quan can develop inall facets Only this

    combination and mutualfeedback. Theimportant thing is

    always a close

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    relationship with the

    teachers to the studentsdraw the rightconclusions and can

    develop in the rightdirection.

    Without instructions

    quickly unintentionalmistakes may occur. Inthis context, the term

    "bu bu da jiao" can beseen. (Translation: donot hit, do not teach). It

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    is extremely important

    that the student canpractice with theteacher and feel

    Tuishou regularly to behow it feels pushed andhow generally feel the

    movements of theteacher.Just as helearns how it is "right"

    feel which way so it candevelop.

    What is the significance

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    of the long pole? Why it

    is practiced in yoursystem?

    The long cane is a

    traditional weapon inthe Yang style. InGuangfu this art has

    been passed downthrough the generationsand is therefore also

    practiced with us. Thelong stick helps thestudent to obtain

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    without a partner

    feedback. So youpractice with the longstick especially the full-

    body movement, fajin,and a stable structurethat is passed through

    the legs and pelvis. Ofcourse partnerexercises with the long

    stick.Are there other ways toimprove the gongfu?

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    gongfu means "skill,

    which was acquiredthrough hard work". Sothe way to gongfu must

    be through persistentpractice. In our systemthere is for the

    preliminary exerciseswith and withoutweapons, hand forms,

    weapon forms, partnerexercises and individualexercises. It is not

    necessary to master

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    everything in order to

    develop gongfu. It isonly important toexercise regularly

    according to theinstructions of a goodteacher and to question

    his own ability steadily.So for example it is noteffective when a

    student alwaysexercises the wholeform. Rather, the

    student should be

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    aware of where his own

    weaknesses and justpractice these points inorder to improve

    overall.

    But the most importantfor obtaining high skills

    is to practice the Yi.When you connect withYi with the opponent,

    then you can anticipatethe movements of theother. The saying "It

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    does not move, I do not

    move. He moves, I'malready there. "Refersto it. When I feel where

    my opponent wants tomove, then I can helpor stop moving. I am at

    an advantage.Therefore it is veryimportant to practice

    tingjin. Zhan lian niansui. Stick, stick,connect, follow the

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    basic prerequisite.

    What do teachers andmasters for the studentof Tai Ji Quan?

    The teacher makes astudent of his

    knowledge. It helps thestudents in thedevelopment and

    directs the developmentof the student byadjustments in the form

    and in the partner

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    exercises. As a result,

    the manner in which thestudent develops,embossed. That's what

    I've mentioned before.The teacher mustaccompany the student

    on the path he hasgone by you. Bypracticing the partner

    exercises with theteacher, the student canlearn how to feel the

    movements. He may

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    contain certain extent

    the different energiesthat exist in the Tai JiQuan feel, and so also

    perceive where thereare still shortcomings indevelopment at himself.

    At the same time, it isimportant to practicewith other students, as

    one usually feels whenpracticing with teachersor masters, that is

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    Chancenlos and much

    too far back in their owndevelopment. Their ownability to understand

    and deepen the learnedprinciples is onlypossible in the practice

    with other students at asimilar level. The formshould not be taught as

    a straitjacket. Theteacher can point out tothe students only to

    movements and

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    subtleties, which then

    has to implement forthe student. This is onlypossible through their

    own practice of form.That's also what makesTai Ji Quan into a living

    art. Each exercise "hisown" Tai Ji Quan, that ischaracterized by the

    style, the Master andTeacher. As a result, TaiJi Quan is evolving and

    each practitioner

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    practicing it the way it is

    right for his ownpresuppositions, hisown body and his

    character.