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The 42 Forms Combined Taijiquan Routine (Part 2)
Longfei News Letters - Volume 4, Issue 1

Fundamental skills and techniques required for learning the 42 Forms Combined Taijiquan Routine

by Simon Watson

In Volume 3, Issue 3, we looked at the origins and structure of the 42 Combined Taijiquan. In this issue I would like to continue the analysis in greater detail and attempt to acquaint the enthusiast with some individual flavour and unique features to help with both comprehension and interpretation of the overall routine.

I would also like to take a brief review of the fundamental and basic skills and techniques as required in the different postures and forms and I hope this will be of value to both the enthusiastic practitioner who would like a clearer understanding on the creation of the routine and teachers who may be called to answer the many queries that arise when teaching.

Characteristics of the Five Major Schools of Taijiquan

It is important to remember that while all schools of Taiji share a common set of principles, each style also portrays its own unique characteristics and individuality.

So in order to perform the combined routine proficiently we must not only acquaint ourselves with the general principles and guidelines of the art, but the adept must acknowledge the differences in the execution of different styles. These include basic stances, footwork, techniques and recognising the difference in function.

Having a clear grasp of the different schools is a prerequisite to performance and is useful in improving our overall knowledge and comprehension of Taijiquan.

The Chen Style

The Chen style characteristics are uniquely different from most of its successors both in appearance and performance. It contains jumps, stamps, explosive bursts of strength, interweaving, graceful and forceful movements intersperced with many unpredictable twists and turns.

It contains within its forms both rapid and slow movements, the hard and soft changes are clearly visible and well defined by the practitioner.

The Yang Style

The Yang school was given the name "Da Jia" (Big Frame). Its main characteristic features include extended but natural postures, a slow and even motion, light, steady movements with circular flowing lines of performance. Postures shold remain erect and stable. The Yang style training is based on the writing and recorded instructions of Yang Cheng-Fu.

The Wu Style (Quan-You)

Wu style, known as "Zhong Jia" (Medium Frame), was developed in Beijing by Wu Quan-You of Manchurian extraction. It was later popularised by his son, Wu Jian-Quan. It developed from the Yang style but differs in style and in form. It is often referred to as Medium Frame.

It features a combination of big and small well knit and lithe movements with characteristics that are gentle, compact, unhurried with all movements performed at medium range and executed with circles and arcs. Wu stylists are urged to follow the requirements of five criteria: Emptiness, Lightness, Slowness, Correction and Consistency.

The Woo Style (Wu Yu-Xiang)

Woo style often referred to as "Xiao Jia" (Small Frame), characterised by compactness, simplicity, clarity, strict compliance to the required footwork, distinguishing between substantial and insubstantial. The two hands protect the respective halves of the body and do not infringe on the other half nor do the hands exceed the reach of the foot.

Special requirements emphasise the understanding of four components to each form: Start, Connect, Open and Close. The feature of Open-Close was to become one of the essentials, incorporated into the Sun Style of Taiji.

The Sun Style

Sun Style has several conspicuous characteristics. Its founder "Sun Lu-Tang" (1861-1932) was an outstanding exponent and highly regarded master of Bagua Zhang and Xingyiquan before he began to study Taijiquan. So it is understandable that when he created his Sun style his other boxing styles were to have a great influence. The Open and Close moves mentioned in Woo style are a prominent feature of this style and they are employed as intermediate gestures in the same fashion as the hold ball posture in the Yang style.

Open and close often appear immediately after turning, with the open and closing of the hands. Sun style employs stepping methods that are influenced by Bagua Zhang, Xingyiquans leg and waist skills and Taijiquan's body softness.

Another distinctive feature is the following step method. When advancing or retreating the other foot/leg follows, this tends to make the tempo and rhythm quite lively and brisk in contrast to other styles. This gave rise to naming the style Huobu Jia (Lively Paced Frame). Unlike other styles, Sun style also employs the use of the crossover step, this is illustrated in the form of Block, Parry and Punch.

This stepping with the lead foot at an angle illustrates clearly a characteristic drawn from Bagua Zhang. Other commentators have described the practical qualities of the style as employing, dexterous, nimble and brisk foot manoeuvre which allow for active and defensive tactics.

Fundamentals of the Techniques and Methods

The 42 Combined Routine was designed and choreographed to promote international competition. The Inernational Wushu Federation have collated a strict set of rules and regulations to this end.

They emphasise that this by no means cancels out or indeed infringes or impedes the principles and guidelines of the traditional/classical styles of Taijiquan.

Although the 42 boasts a fresh and distinctive flavour, every effort was made to preserve the traditional. Included within the retained format are the various skills and techniqus of: the upper and lower limbs, hands and feet, head, eyes and of course the trunk. The essential rules of competition require that each of the appropriate skills are executed with utmost precision and accuracy. This attention to detail can have a shortfall in all forms of activities including traditional Taijiquan.

Basic Essentials of the 42 Combined Competition Taijiquan Routine

  1. Hand Techniques (Shou Fa)

    1. Fist (Quan)

    2. Palm (Zhang)

    3. Hook (Gou)

  2. Upper limb and body techniques

    1. Ward Off (Peng)

    2. Roll Back (Lu)

    3. Press/Squeeze (Ji)

    4. Push (An)

    5. Parting (Fen)

    6. Embrace Palms/Hold Ball (Bao)

    7. Push Palm (Tui)

    8. Elbowing (Zhou)

    9. Clouding (Yun)

    10. Thrust Punch (Da Quan)

    11. Back Hand Punch (Pie Quan)

    12. Explosive Power (Fa Jing)

  3. Stances (Bu Xing)

    1. Bow Stance (Gong Bu)

    2. Side Bow Stance (Ce Gong Bu)

    3. Half Horse Stance (Ban Ma Bu)

    4. Empty Stance (Xu Bu)

    5. T-Stance (Ding Bu)

    6. One Leg Stance (Du Li Bu)

    7. Crouching Stance (Pu Bu)

    8. Resting Stance (Xie Bu)

  4. Footwork (Bu Fa)

    1. Forward Step (Shang Bu)

    2. Backward Step (Tui Bu)

    3. Half Step Retreat (Che Bu)

    4. Forward Cross Step (Gui Bu)

    5. Half Step Up (Gen Bu)

    6. Pivot/Turn, Step Up, With Following Step (Nian Jiao)

    7. Side Step (Ce Xing Bu)

  5. Leg Techniques (Bu Tui Fa)

    1. Heel Kick (Deng Jiao)

    2. Toe Kick (Fen Jiao)

    3. Patting Foot (Pai Jiao)

    4. Outside Crescent Kick (Bai Lian Jiao).

  6. Eye Movements (Yan Fa)
    There are three essential points concerning the eyes.

    1. In all progressive movements (forward, backward, to the angles) the eyes should follow the direction of the attacking (dominant hand).

    2. The eyes should show an expression of firmness and strength of character.

    3. The gaze should contain a quality of stillness and quietness.

  7. Posture and Body Movement (Shen Xing-Shen Fa).
    The feeling should be as if suspended from the crown centre (Baihui). The trunk should be at ease and relaxed at all times. All progressive moves should be guided by the centre of gravity (Dan Tien). The whole body should remain natural and alive.

To be continued...

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