Beginner Tips: Learning the Forms
Forms, (taolu in Chinese) are the core curriculum of Tai Chi. Over hundreds of years, they have been taught orally and passed on from teacher to student, often evolving with each generation as each student develops and refines their own practice. Although the movements can be counted in different ways, the traditional forms comprise of 70+ movements, some of which repeat a number of times.
Over time, as the needs of society have changed, the forms have sometimes simplified or have been compressed into “short forms”, sometimes even “competition forms”. Generally, these forms always derive from the long forms.
For beginners, sometimes learning the forms is a struggle. Especially when the different lineages of Tai Chi are not understood, one may be confused upon seeing the long form being numbered or performed in different ways. For somebody seeking to really “get” Tai Chi, the prospect of learning so many forms can be daunting. For a lot of people, learning choreographies can present different challenges, especially when watching videos. Some people just would rather have single exercises rather than long, drawn out choreographies. I hope that this post addresses these concerns and gives people a doorway into learning a form!
I understand this topic may be a bit overwhelming. If it all sounds like too much, do what I did: pick a school or teacher, see if you like it, then go from there.
Immense variety, different media: stay out of the weeds
What are some ways to make sense of the variety? For me, at a basic level, it is helpful to know that there are five primary lineages of Tai Chi: Chen, Yang, Wu, Wu (Hao), and Sun. While all can trace their origins to Chen, Yang was an immensely influential lineage that shaped the formation of the remaining four. If one looks to the choreographies of these 4 styles, they are notably very similar to each other, and quite distinct in flavor relative to Chen (see below for video comparisons). But, small differences and nuances in movement patterns and methods may cause confusion. For this reason it is quite helpful to stick to just one of these 5 styles, so what you learn from teacher A doesn’t interfere with teacher B. Over a period of time, studying with different teachers may not be a huge issue, but the beginning of your practice it is helpful to stick to one. But, by all means, shop around if you can: visit different schools and see which one you like most.
After a while, or immediately, one may notice that there are substyles within a specific lineage… which can make things more complicated and confusing. It is often beyond the scope of many to try and learn the ins and outs of each sub-lineage, especially if they have little knowledge of Chinese culture, which includes different naming practices. For this reason, I would avoid trying to go down that rabbit hole right away, though having a basic sense of difference (sub-lineage AA looks like this, AB looks like that…) won’t hurt. Just don’t get caught up in it. If it’s too hard to decide, flip a coin and see where it takes you.
To simplify: If one is learning from an in-person teacher, it is a good idea to stick to one teacher for a while - if one has access to many teachers, find one you like the most. If one is learning online, a youtube channel or online course/membership with clear and extensive content is a good bet. In either case, the specific lineage is less important than a style which meets one’s needs, although in my opinion it is important that the source of knowledge be transparent and rooted in some lineage.
Above: Comparison between 3 styles: Yang, Wu, and Chen
Above: comparison between four styles: Yang and its derivatives, Wu, Wu/Hao, and Sun.
Which form to learn? Short forms or long forms?
The next obstacle may be that we see a huge variety of forms: forms with different numbers (the 83 movement form, the 72 movement form, the 74 movement form, the 36 movement form…), different weapons forms, “combat” forms, “health” forms, etc. Sometimes the different numbered forms, especially short forms, can be quite different from another… for example, in Chen style from the Chen Village, modern short forms such as the 19 and 18 forms are close in number, but very different in choreography. This is simply because their creators chose different movements from the long form to create these short forms, based on their own ideas.
When I first started Chen style, I learned the 18 form on Youtube, then eventually found the 19 form before starting the Chen Village’s basic long form, often called “Laojia Yilu”. I was a little confused by seeing the differences between the 18 and 19 form, and I was wondering which was more “traditional”… well, it took a while before I understood that neither were! I was only ever able to find one in-person class for the 19 form… which ended soon and gave way to the long form. There was no escaping it.
Looking back, I would say that both were decent intros into the longer form anyway. Then again, if one divides the forms into sections as teachers often do, they may find that the first one or two sections from the long form alone can act as short forms in themselves. Nobody is required to learn the entirety of a long form any way. In fact, it took me three years to learn the entirety of the form I currently practice; I spent about a whole year practicing the first three of seven sections. In the Chen style I now practice and teach, the first section (which comprises 5 movements) starts and end with very similar movements, so it can basically repeated infinitely, and within one’s practice space it would basically create a circle (or square). Adding the second section is more than enough for a complete shortened form.
So what to do? First, decide: short form or long form? The plusses to short forms are:
They’re short
They basically condense the long form, offering a “taster”
The movements are often simplified
The downsides are:
Their instruction isn’t always readily available
it can be confusing trying not to mix up totally different forms with the same general number of movements (e.g. 18 and 19).
If one wants to learn another form, they have to dig around for another short form or just go for the long form any way
The pluses to the long form are:
They offer a complete exercise routine
They do not have to be learned or practiced in their entirety (they can be cut into short forms easily)
They are easier to find instruction in (sometimes at varying levels of detail)
There aren’t as many within a given lineage (though sub-lineages may introduce variety)
The downsides are:
They take a long time to learn (in their entirety)
They take a long time to practice (in their entirety)
For me, the long forms are a no-brainer. In fact, although short-forms are certainly beginner-friendly, the vast majority of Tai Chi practitioners don’t practice them as often, let alone the same short form. One exception is the Yang-derived Cheng Man Ching 37 form, which is the primary form of the Cheng Man Ching curriculum. The Yang 24 Form, sometimes called the Beijing 24 form, is probably the most popular form in the world (for the most popular style in the world). But still not all schools are the same.
If you decide to go for a Chen short form… I say, good luck! Though if you’re generally interested in Chen Style, the 18 or 19 forms are a good start. Otherwise, I encourage you to learn the first one or two sections of Yilu, depending on how the sections are divided by the teacher. As they are divided by my teachers and myself, the first two sections are more than sufficient. The sub-lineage of Tai Chi that I practice doesn’t usually teach a proper “short form” although one does exist. Note that Erlu (“second form”) is quite different from Yilu and is for more advanced practitioners. While the Chen Village has four forms (Laojia- and Xinjia- Yilu/Erlu), we only have two, which correspond to what are called the “Xinjia” forms (that label is a topic for another time). In my beginner classes, I generally only teach the first section.
In general… don’t pressure yourself too much! There is absolutely no need to learn all forms. Second forms, so-called “combat” forms, weapons forms, fast forms… these are usually for more advanced practitioners. The key point of Tai Chi is its methods of movement. While some schools may teach multiple forms to progress along a particular path, that is a very rare exception to the rule.
Above: Comparing four students of Chen Zhaokui, the “grandmaster” of my lineage.
How to learn a choreography
Although the forms comprise the primary curriculum, we may say that Tai Chi is focused more on principles than forms. This is, in a way, true: as an art known for its benefits around relaxation, the way we practice it is quite important. But still, the choreography gives structure to our learning, and it allows us to practice the aforementioned principles in a variety of movement patterns.
Even the simpler-looking Yang style forms have considerable levels of detail. Hand position, foot position, weight shifts, transitions, directions, etc., can all make learning any form a bit challenging. Then, considerations of principles and/or body methods add another level of depth. But generally, a good rule of thumb for beginners is: keep it simple, relax, and focus on the basic elements of the pattern. Everyone’s different, and absolutely nobody gets it right the first time.
To me, the “basic elements of the pattern” mean: Can you divide the movement into chunks? What is the general shape of the arm movements? What are the weight shifts and where do the feet go? What is the starting position and end position?
For example, in Chen style’s first Buddha Warrior Attendant Pounds Mortar, I like to first divide it into three parts: the part (1) where our arms circle twice before (2) stepping out to the left, opening to the left and stepping forward with the right foot, and (3) the stomp. In this way, I am often able to teach the whole movement to beginners in a single class. Chunking, or breaking something large into smaller digestible chunks, is a mnemonic device that aids in memorization.
Then, you have the general arm movements; though dancers (so I have been told) prefer learning the weight shifts and stepping first, which is actually really good! In Buddha’s warrior attendant, from the perspective of the practitioner, first the arms make two clockwise circles. Then they press down to the right, open, and the right comes forward. Finally, they press down, the right fist raises and falls as we stomp. That’s the basic arm pattern, though some also like incorporating imagery (such as holding a ball, making circles), which in a way is also a form of chunking. The shifting and stepping pattern is fairly straightforward, though it’s not necessarily helpful to read for this article, so I will leave it out here.
As for the starting and ending positions, it’s simple: We start in a shoulder width stance, arms at the sides; we end in a shoulder-width stance, right fist in the left palm at the lower abdomen (people tend to like the end position a lot, so it’s easy to remember). In my opinion, chunking helps make this all much more easier to learn.
From there, just practice it. It’s especially helpful to practice it on your own, to the best of your ability, even if you get it wrong. In fact there’s an interesting phenomenon, where the brain better remembers what it practices on its own, rather than what it copies. One can follow the teacher, then practice on their own. If they do it right, and that’s recognized, and it triggers a reaction in the brain’s reward system that “encodes” the rehearsed pattern into memory. This happens each time the pattern is performed without an aid. Even if one little detail is wrong, it’s not too hard to correct if one practices fairly consistently, so there’s no need to worry or be too pre-occupied with getting it right. Personally, my approach is to practice a new movement until I’m able to get it “right enough” without an aid, and I don’t learn a new movement until I’m able to do this consistently. In-person classes often don’t have this luxury… so it’s a really good idea to practice on your own!
Chen Shiwu, grandson of Chen Zhaokui, gives a brief tutorial (in Chinese) of the first movement of Chen Style’s Yilu.
What about the principles?
Regarding principles, I think that having a generally relaxed attitude to learning can really help achieve a basic principle of tai chi, which is to relax the joints. But still, there are other principles to follow as well. Truthfully, these principles are all cultivated in the long term. Even the most advanced practitioners are still learning the “basic principles”.
Since the form provides the structure on which the principles can be glued, I think for beginners it’s a good idea to have a relaxed attitude to just learning the choreography, with a few basic rules in mind that, to me, have to do with basic balance and safety while also aiding in the choreography:
Keep the weight in the heels
Keep the knees stable, above the feet but not going further than the toes
Center the body, raising the head to create a stable center
Align the shoulders and hips, knees and elbows
Shift the weight in a backward arc
Breathe naturally
Keeping the weight in the heels helps the knees keep stable, both protecting our joints and fostering balance and stability. Centering the body only enhances this, while also facilitating the shoulder/hip and elbow/knee alignments; altogether, these help develop a consistent structure to the body, and a limitation for the range of motion so that our movements don’t go too far out of a healthy bounds. The shifting arc helps maintain this structure and joint stability. Breathing naturally is the cherry on top, and something thing that helps us to remember: relax! When we’re relaxed, what may feel like constricting rules for moving become no problem.
Since these can be a bit challenging to all follow, and everyone’s different, I think it is important to consider one’s body. If one has achy knees, I would prioritize the first two, along with the weight shift. Otherwise, they do not need to be approached in a linear manner. Sometimes, it really is just a matter of picking one, whichever one feels drawn to, and gradually incorporating the others. Over time, they all become connected and integrated. It’s a natural process. My classes also start with simple exercises to help “warm up” these principles (or jog our memory).
Chen Yu, son of Chen Zhaokui, runs through a simplified version of Yilu, in a gentle manner.
Simpler Exercises
A lot of people simply don’t have time for forms, or they need something they can practice in very short periods of time, or small spaces, or without too much mind-power. Sometimes it’s nice to wake up, or go to bed, with some simple movements, not choreographies.
In the great big world of Tai Chi are a vast variety of exercises like this. Some teachers have a variety of different sets of exercises: those for “inner cultivation” or “neigong”, “qigong”, those derived from the form, or those which explore single principles. If one has found a teacher or resource, it’s a good idea to see what they have to offer. Sometimes they include exercises like this in their classes already.
But otherwise, a simple search of “tai chi exercises” yields a number of exercises like this. Many of them are modern adaptations, although single movement exercises are quite traditional.
As for me, I teach some qigong exercises, hand-circling exercises, and some single-movement exercises derived from the form (which can be helpful bridges into learning the form). They are quite simple and can be practiced in different ways. I also like to sometimes warm up with much looser relaxation-oriented exercises, gradually “building the frame” through incorporation of different principles.
The "circling hands” exercises are probably the most popular Chen style single-movement exercise, popularized and systematized in the past 40 years or so and often called “silk reeling exercises" because they are intended to develop the spiraling “silk reeling force” inherent to Chen Tai Chi. Although the whole form is technically a “silk reeling exercise” (and this movement is derived from the form itself), these simple clockwise or counter-clockwise circles are a very simple exercise to learn, and potentially quite deep over time. Done with both hands, the exercise is often known as “cloud hands”.
Learning and practicing these sorts of exercises is not only beneficial for their physical benefits, but they also aid in learning the choreography by incorporating some basic patterns or logic of Chen style movements - in fact, some teachers describe all form movements as being different ways of expressing these circular movements.
Above: student of Chen Yu leads a group in a basic “circling hands” exercise.
Intention
In my own practice, I often encountered (within myself or others) the thought, “what is the application of this and that movement?” Sometimes I have heard the non-answer “don’t think too much about it” (perhaps a different way of saying “I don’t know”), other times I have seen or heard explanations that don’t make much sense or are difficult to understand. Overall, I think it’s quite helpful to know the “why” of a movement, and that it helps the learning process by making the movement potentially more expressive.
Sometimes I have shown students a little experiment, which I have written of previously: walk to a wall, place your hands on and push. Alternatively, go push a wall as if trying to topple it. Both actions are quite distinct; the first is very step-by-step and doesn’t necessarily communicate the intention right away, whereas the second does, and it generally results in a different way of approaching the wall - a way which is more natural, and more intuitive.
Learning choreographies is, to me, often involved with bridging choreography and intuition together, and for that reason it is helpful to know the “purpose” of a movement, or at least have an image in mind that makes the movement less of a complex pattern of movements, and more of a set of clear actions to express with the body. This makes the movement more full, and more enjoyable, in my opinion.
For example, I often break the “circling hands” exercise into four parts, based on where the hand is in the circle, and where the weight of the body rests. However, I also like using different cues such as “press”, “pull across,” “lift”, “drill”, etc., instead of “hand down", “hand up”, etc.
Nabil Ranne, student of Chen Yu, demonstrates the intricacies of the form and intention.
Conclusion
Learning a whole system can seem like a formidable task, but it doesn’t need to be. Learning to find an entry is the first step. From there, we can decide for ourselves just how far we need to go.
If you found this article helpful, great! Any questions, please feel free to contact me.
