Documente Academic
Documente Profesional
Documente Cultură
Instruction Manual
Bruce Frantzis
Contents
Acknowledgments
vi
Introduction
vii
Chapter 1:
Chapter 2:
Chapter 3:
Chapter 4:
Chapter 5:
Chapter 6:
Chapter 7:
Chapter 8:
Chapter 9:
21
43
55
73
105
127
141
155
167
Chapter 12: Dragon and Tiger Pierce Heaven and Earth: Movement 6
175
Chapter 13: Dragon Soars to Heaven and Brings Back the Pearl: Movement 7
Chapter 14: Dragon and Tiger Overview: Physical Principles
Appendix 1: The Frantzis Energy Arts System
Appendix 2: The Living Taoism Collection
11
213
217
205
187
Acknowledgments
I would like to express my sincere gratitude to Jiang Jia Hua, who taught me Dragon and Tiger
medical chi gung while I was studying in China.
Although many people contributed to this book, I would especially like to thank the following:
Diane Rapaport of Jerome Headlands Press for editing and production coordination; Bill Ryan,
Senior Energy Arts Instructor, for putting in countless hours to assist in the editing and organizing of
the illustrations during the many drafts of this book (Bill has developed a program for teaching
Dragon and Tiger chi gung called the Moving Tiger Energy Exercise Method' -visit
MovingTiger.com); Michael McKee for the detailed illustrations that accompany the instructions;
Youngja Kim, Meagan Miller and Damian Gordon for additional work on the illustrations;
Marisol Mayell and Alistair Shanks for modeling the movements of the illustrations; Abra
Brayman for her wonderful dragon and tiger yin-yang design; Lisa Petty, GiriVibe, Inc., for
design and production; and my wife, Caroline Frantzis, and Energy Arts Director, Heather Hale, for
copy editing.
vi
Introduction
Chi-internal life-force energy-is the foundation of acupucture and all Chinese medicine, as
well as the power behind the internal martial arts. Chi gung exercises are designed to build
and work with this energy, to help it flow smoothly rather than being blocked.
This instruction manual for Dragon and Tiger chi gung is available only through Energy Arts.
It contains detailed instructions and illustrations for correctly learning the physical components
and underlying principles of the seven movements of Dragon and Tiger, one of China's oldest
and most comprehensive medical chi gung exercises. Some important points to note:
Students that have already taken a class in Dragon and Tiger will find this manual
invaluable for helping them progress in their learning.
The first two movements are front-end loaded with movement and chi principles that
are common to all the Dragon and Tiger moves as well to other forms of chi gung, tai
chi and martial arts. These principles give you the necessary foundation for the other
five movements of Dragon and Tiger and make them easier to learn.
Energy Arts Certified Instructors can use this as a reference manual while teaching.
Visit EnergyArts.com for details of events with Bruce Frantzis and to find an Energy Arts
Certified Instructor near you who can teach Dragon and Tiger chi gung.
vii
Dragon and Tiger medical chi gung is a 1500-year old self-healing exercise that strengthens
the immune system, mitigates the effects of chronic illness and improves relaxation. Over
the centuries it has proven to be on extremely effective health maintenance program that has
withstood the test of time. This medical form of chi gung (also transliterated as qigong,
qi gong, ch'i kung or chi kung) is grounded in the ancient spiritual traditions of Buddhism
and Taoism.
Today, Dragon and Tiger is practiced by millions of people in China to maintain a
vigorous level of health, relaxation and vitality. It is also known for its powerful ability to
prevent and heal cancer and to mitigate the effects of radiation and chemotherapy.
I studied energetic healing systems for 11 years in Chino, during which time I also worked
as a chi gung tui no doctor. Dragon and Tiger was the most effective medical chi gung system
I found that was not only easy to learn but also provided all the main health benefits generally
associated with chi gung and many specific ones that will be discussed in these chapters.
Because Dragon and Tiger is a soft-impact exercise that is easy on the joints and knees,
almost anyone can do it, regardless of age, weight, body type or fitness level.
One of its great strengths is that even if the movements are done inaccurately or within
a small range of motion, it is still extremely effective.
Helps the body get rid of stagnant chi that cannot move freely. Stagnant chi can be
located anywhere there is a physical, emotional or psychic blockage of energy.
Increases the speed, strength and evenness of the circulation of chi, blood and
other fluids. This balances the body's energy.
Quickly raises the energy levels of the body to boost its natural healing capacities.
Learning Strategies
This instruction manual provides you with an effective method to accurately learn the movements
of Dragon and Tiger and continue to improve your practice. Just as Rome was not built in
a day, neither can any high-quality form of chi gung be quickly assimilated. Give yourself
the strength and patience of time to learn this valuable self-healing exercise.
This manual provides a systematic way to learn and practice the movements, one stage
at a time. Each instruction builds upon and amplifies the one before it so that you can integrate
it into what you have already learned.
Each chapter contains many micro-components, each of which should be learned in the
sequence presented. Understanding how the small details work will enable you to gain the
maximum benefit from the time and effort you spend practicing.
Take Breaks
At the end of many micro-components in this manual, you will be asked to "Take a Break"
to encourage you to stop and let your nervous system assimilate what you have studied before
going back to practicing that component again or moving on. It is especially important to
assimilate the material in each component before attempting to learn the next one.
The breaks between might include:
Using a few days to a week or more to practice and assimilate one micro-component
Taking a few days to a week or more before going to a new complete movement,
such as between Movements 2 and 3 or Movements 6 and 7.
What is important is to be patient and not be in a rush. If you give yourself the gift of
time to take breaks, your learning will be smoother and less frustrating. Even the most
talented and well-coordinated athletes have had challenges to overcome when learning
chi gung.
These breaks are those which I have seen to be the most effective for learning, both in
China, and in teaching this material for nearly thirty years in the West. The goal is to build
the necessary foundation that will make learning enjoyable and beneficial.
fastest time possible. In addition, you will be able to naturally return to your previous range
of motion more quickly without discomfort.
percent rule when you have pain, illness or injury (see p. 6). Back off practicing and be sure
to consult your healthcare provider if you begin experiencing either significant pain or pain
that does not go away quickly.
Healing Crisis
You might experience what doctors refer to as a "healing crisis." The term refers to that time
during healing when a patient's body temporarily feels worse before it feels better. For
example, when the body burns out infections, the patient often has a high fever. When the
fever breaks, the symptoms of the disease pass. The fever may cause the patient to feel terrible,
until the stored toxins or blocked energy are released. Afterwards the individual feels better
as the illness passes.
All these reactions are common to many natural forms of healing and are often a sign
that your body is cleansing itself. Many people have a healing crisis when they fast or switch
to a cleansing or vegetarian diet. The practice of Dragon and Tiger may often trigger such
effects; they are fairly normal reactions. What is important to remember is that these reactions
are temporary and usually pass when your body begins to rebalance itself.
If you begin to experience strong or uncomfortable sensations, immediately sit down, put
your hands on your belly and gently breathe with your belly to ground and center yourself.
Such sensations will usually pass within minutes. Then suspend or reduce your practice for
a while. Start again by following the 20 percent or 40 percent rule and very gently explore
your body's reactions to these practices. Remember that you are not alone in such experiences;
almost everyone that practices will experience some of these reactions at some time.
If the symptoms are intense, pull back your practice to 30 percent or 40 percent of what
you normally consider your normal practice and consult with your teacher.
Remember to drink plenty of water. Water helps accelerate the release of toxins. Taking
some Vitamin C also helps that process.
Make sure you rest after practicing.
Be sure to consult a healthcare professional immediately if you have any symptoms that
might be a sign of a medical or psychological problem.
STANDING POSTURE
AND LONGEVITY
BREATHING
Movement 1 Basics
All Taoist energy practices-chi gung, tai chi, ba gua, hsing-i and meditation-emphasize
fundamental physical, breathing and energetic principles as you perform their movements.
These principles systematically train your mind and body to relax and master the control of
chi. They empower your body to have maximum internal movement by taking into account
how each part of the body moves and needs to be aligned, not only your muscles but also
the deepest internal subsystems, such as internal organs, glands, bodily fluids, ligaments,
tendons and nerves.
Two fundamental principles are taught in this chapter: the standing posture and
1
Longevity Breathing, which are both derived from ancient Taoist techniques. These principles
are integral to learning Dragon and Tiger's first movement and are incorporated into many
of its other movements.
the author has developed his own method for teaching them, namely the LongeVity Breathing program. LongeVity
Breathing makes these practices accessible and easy to learn, particularly for Westerners. These methods may be quite
different from those that other instructors use to teach Taoist breathing.
11
12
Figure 2-1
10. Your neck and head should be lifted slightly and held straight.
As you practice this posture, sequentially focus on each alignment. Your primary consideration is that your stance must be comfortable and relaxed. At all times, remember the 70
percent rule. No alignment should be strained and stressed. Most people initially do not
conform to all the alignment requirements of the standing posture. For example, many find
it difficult to place their feet parallel. As you practice and incorporate these alignments into
1More detailed information on how to achieve these basic alignments is found in the author's book,
restore your fallen arches. These exercises are taught in the author's Energy Arts teacher training and certification
program for Opening the Energy Gates chi gung.
13
Dragon and Tiger's movements, your body will slowly relax and you will find it increasingly
easier to maintain them.
Your weight falls the most easily to your feet without needing your muscles to
compensate for the force of gravity.
Your thighs, hip and lower back muscles have to work the least to maintain
the position.
Your joints retain their stability with a minimum of physical tension and strain.
This width has been found to be within 70 percent of most people's physical capacity.
In this stance, your legs will feel comfortable and relaxed, and you will be able to maintain
your balance with minimum effort and tension.
14
15
16
becomes a comfortable habit, you can breathe in this manner 24 hours a day. Just as
massaging your muscles adds to their tone and overall functioning, so will belly breathing
benefit your internal organs. In terms of your health, massaging your internal organs is more
important than toning your visible muscles. Belly breathing increases the blood circulation
in the blood vessels that nourish your internal organs.
Ideally, inhale and exhale only through your nostrils. If medical reasons make this
impractical, inhale through your nose and exhale through your mouth. Inhale and exhale
through your mouth only as a last resort.
1. When you inhale, feel your breath come into your nose, down your throat and into your
lungs and belly. Let your belly muscles expand to move your belly forward (Figure 2-2).
With inhale,
belly expands
Figure 2-2
2. When you exhale, let your belly return to its original positions and relax (Figure 2-3).
With exhale,
belly relaxes
Figure 2-3
17
Do your best to completely relax your chest (Figure 2-4 A) and not use any strength to
puff it out when you breathe (Figure 2-4 B). You should have very little or no sense of air
going into your chest.
Correct: Front of
spine lifted,
chest relaxed
_ _ _ downwards
Incorrect: Back of
spine arched, chest
lifted upward and
_ _ _ expanded
A
Breath with the Belly, Not the Chest
Figure 2-4
3. First, practice by focusing on expanding and relaxing your lower belly. Your lower
belly extends from slightly above the top of your pubic hair to your navel. Breathe in
such a way that there is no movement of the lower belly below the top of your pubic
hair. Avoid straining or any feeling of pressure in your genitals.
4. When this is comfortable, turn your attention to moving the middle belly when you
breathe, which for most people is more difficult. The middle belly extends from your
navel to just before your diaphragm.
Placing your hands on the lower, middle and upper parts of your belly as you breathe
will give you clear feedback as to whether and how much your belly is moving.
5. Finally, concentrate on expanding and relaxing your upper belly-your diaphragm
and solar plexus- just underneath your lowest ribs. Try to have your diaphragm move
downward as you inhale and upward as you exhale. This will help push air into the
back and top of your lungs, parts that seldom get exercised.
Eventually, you will be able to move all three parts of your belly in unison.
18
3. Exhale Fully
Exhaling fully will get rid of the carbon dioxide in your cells and lungs and decrease its
buildup in your cells, which produces sluggishness and yawning, diminishes mental clarity
and increases stress.
Exhaling fully will also make it easier for you to breathe in sufficient oxygen and make
it easier for your cells to procure it.
You can do this in one of three ways.The first is by exhaling a little more than you inhale.
For example if you inhale for four seconds, you might take five seconds to exhale. This is
the method to use when practicing breathing without doing any movements. You will use
this method in Dragon and Tiger's movements 1, 3 and 4.
The second method is to do an extremely rapid exhale (one or two seconds very
forcibly). If you find yourself getting sluggish or yawning, you can do 3-10 forceful exhales
and wake yourself up. Rapid exhales are used in Movement 5 of Dragon and Tiger.
The third way is vary the speed of the exhale. For instance you might exhale 50 or 60
percent of your breath in the first two seconds and take four more seconds to exhale the
rest of your breath. Dragon and Tiger's movements 2, 6 and 7 use this method.
19
Holding your breath can cause emotional tension and jangle your nervous system. Breathe
smoothly and evenly, without stop-and-start breaks or jerkiness. Involuntarily holding the
breath both triggers and escalates stress.
1 You can learn Taoist breathing principles in more detail from the author's book,
20
five or 10 minutes and practice either standing, sitting or lying down. This mig~t be when
you first wake up in the morning or while you are having your first cup of coffee or tea.
Focusing on belly breathing is also a way to calm the mind before you go to sleep.
In any session, focus on one breathing principle at a time until it feels comfortable, for
example moving one part of your belly. Then integrate it with another breathing principle,
such as moving another part of your belly. Add, then combine the new principles one at a
time, integrating them with the last one you have become comfortable doing. At some point,
you will find that you have integrated all these separate principles into one seamless,
smooth and relaxed breath. 1
Later, add more practice times, perhaps during or after meals. Finally, put your focus on
your breathing while moving, such as when practicing Dragon and Tiger, walking or doing
chores. Eventually, you will learn to focus on your breathing during larger and larger parts
of the day and use it as a tool to become less stressed and more balanced.
Ancient Songs of the Tao, is a compilation of Taoist chants that create vibrations for changing the
energetic frequencies in human beings. It includes seven songs specifically meant to help you breathe into your belly
and internal organs.
DRAGON AND
TIGER MEET
MoveI11ent 1 COI11ponents
In the first movement of Dragon and Tiger, you will learn to use your hands to trace "energy
pathways" over acupuncture meridians that you are trying to activate. The pathways for
each movement of Dragon and Tiger are different. Each pathway was designed so that a
hand movement in the etheric body over the pathway will stimulate chi to flow through
acupuncture meridians beneath it and eventually through the deeper energy channels of
the body.
Chi flows in the direction that the hand moves. Your hands should stay over these pathways during the entire movement. The more precisely you learn to move your hands along the
specified energy pathways in the correct sequence, the more you will reap the full benefits of
Dragon and Tiger chi gung.
In this chapter, you will learn the separate components of Movement 1. learn each step
sequentially. Take as much time as you need to absorb and comfortably integrate the material
of each step. This will help you to develop confidence in your learning ability and make it
easier to learn the next step.
Chapter 4 will teach you how to combine these components and put the whole movement
together.
21
22
Upwards
You or your partner will pat your body as follows (Figure 3-1 A-B):
1. Begin on the inside of one of your ankles and continue upwards along the inside surface
of your calf, knee and thigh to the kwa Ihip joint} without touching your genitals.
2. Continue upward from the kwa along the front of the torso on a straight line to your
nipple and shoulder's nest Ifront of your shoulder}.
Downwards
3. From the shoulder's nest, pat downwards on a straight line from the nipple to the kwa
on the same side of the torso.
4. Continue patting as you cross over to the outside of your hip.
5. Continue to pat downwards along the outside of your thigh, knee and calf to the bottom
outside edge of your foot.
Your partner lor you yourselij should tap in this manner several times on both sides of
your body to help you to feel these energy pathways.
Shoulder's Nest
23
Shoulder's Nest
Left Side
Right Side
~A
Body Memory
Mind/body fusion methods are not normally a part of Western education. Our system trains
people to memorize and manipulate symbols and images, but rarely instructs people about
how to have a distinct and felt consciousness of their body (body memoryJ.l Most people
can, with closed eyes, visualize their body moving in space, but, unless trained, will be
unable to translate their internal images into accurately feeling where their hands and feet
are moving in relationship to their body. Tracing energy pathways, first by tapping them
and then by using your hands in space, will help you develop an accurate awareness of
how your your body is positioned or moving in space (proprioceptionJ, including the effects
of posture, movement and weight shifts, and help you more precisely perform the movements
of Dragon and Tiger chi gung.
1 Many
of the ancient traditions of the world practiced these mind/body fusions as part of their traditional educational
process. The tools these traditions used included, but were not limited to, martial arts, yoga and shamanic practices.
25
hand that is tracing the pathways must face your skin during this entire step.
26
Figure 3-3
27
5. At the kwa, move your palm around from your kwa to the side of your hip socket.
Your fingers now point downwards (Figure 3-3 J).
6. Move your left arm downwards and continue pointing your fingers downwards
along the outside of the thigh, knee and calf to the bottom outside edge of your
foot (Figure 3-3 K). As you do so, imagine you are pushing energy down the outside
of your leg.
Practice tracing the energy pathways on the left side of your body ten times or more. Try
to keep your hand six to eight inches away from your body at all times.
As you trace these energy pathways, imagine you are pushing energy downwards from
your shoulder's nest, down the left energy channel, to the outside of your legs and feet.
Continue to Trace the Energy Pathways with One Hand While Standing
Figure 3-3
28
arm
Figure 3-4
29
(Figures 3-4 G-/). Your palm and fingertips continue to face your torso.
5. At the kwa, move your hand around from your kwa to the side of your hip socket. Your
fingers now point downwards (Figure 3-4 J).
6. Move your right arm downwards and continue pointing your fingers downwards
along the outside of the thigh, knee and calf to the bottom outside edge of your foot
(Figure 3-4 K). As you do so, imagine you are pushing energy down the outside of
your right leg.
Practice tracing the energy pathways on the right side of your body ten times or more. Try
to keep your hand six to eight inches away from your body at all times.
As you trace these energy pathways, imagine you are pushing energy down the right
energy channel from your shoulder's nest to your kwa and then down the outside of your leg
and foot.
Continue to Trace the Energy Pathways with One Hand While Standing
Right Palm and Fingers Face Your Body
Figure 3-4
30
A
Upward Hand Movements-Arm, Elbow, Palm and Finger Positions
Figure 3-7
31
kwa, the tip of your left elbow should be facing fully sideways. This elbow position will
keep your armpit open and maintain the flow of energy from your spine to your arm.
3. From the kwa, gradually turn your palm to face upwards as you bring your arm up
the left energy channel through your nipple to the shoulder's nest (Figures 3-7 D-F).
Your fingertips should point directly across your torso toward the right.
As your palm, which finishes facing upwards, moves up from your kwa to your
shoulder's nest, make sure to the extent of your 70 percent capability that:
The center of your left palm traces and always remains over your left channel
Your elbow, upper arm and shoulder are relaxed and feel slightly heavy
4. In the final position of the upward hand movement, the palm of your hand faces
completely upwards as your elbow tip and fingers are on a straight line pointing
through the fingers directly sideways towards your right arm (Figure 3-7 Fl.
E
Upward Hand Movements-Arm, Elbow, Palm and Finger Positions
Figure 3-7
32
(Figure 3-7 H-J). Maintain the sideways position of your elbows and fingers and the
center of your palm position over your left energy channel. Feel as if you are gently
pushing your hand through water. Maintain this feeling in your hand at all times as
you move it up and down. Sometimes, the movements of chi gung and tai chi are
called "swimming on dry land" because practitioners strive to maintain this feeling.
7. At the kwa, curve your arm and palm, so the center of your palm faces your body as you
move your hand around from your kwa to the side of your hip socket (Figure 3-7 J-K).
8. Lower your palm as it faces the outside of your leg, as far as you comfortably can go
without locking your arm and without any strength or tension (Figure 3-7 L). As you do
so, progressively point your fingertips down your thigh, knee and calf until they point
toward the outside of your foot. As your hand lowers, imagine you are projecting
energy down the outside of your leg to your foot.
H
Downward Hand Movements-Arm, Elbow and Finger Positions
Figure 3-7
33
Repeat the upward and downward movements as much as you need to, until you feel
competent in the basic procedure without having to refer to the text. Your goal is to practice
until you can turn your palm, hand and fingers in the right directions at the proper positions
and trace the correct energy pathways in a smooth, relaxed manner.
K
Downward Hand Movements-Arm, Elbow and Finger Positions
Figure 3-7
34
Figure 3-8
Figure 3-8
36
Beginning position: the standing posture-face forward, feet flat on the floor, parallel to
each other, approximately shoulder's width apart, with your weight distributed evenly on
both feet.
1. Ideally, shift your body's entire weight to your left foot, keeping your left leg slightly
bent. Gently exert pressure through your left heel. This will cause energy to drop
down the left side of your body. As you do so, lift your right heel off the ground,
while keeping the ball of your foot on the ground (Figures 3-5 or 3-6). This will cause
energy to rise on the right side of your body.
Left hip
stays level,
does not tilt
Left hip
stays level,
does not tilt
Knee extends
forward
Knee extends
forward to 70%
Right foot.
Heel rises-ankle and
foot are fully flexed
Right foot.
Heel rises-ankle and
foot rise to 70%
Figure 3-5
Figure 3-6
37
Your left leg and foot must stay relaxed. Your hips must remain even and not tilted.
Remember the 70 percent rule and lift your heel only as high as you are able to
maintain a relaxed leg, stay comfortable and keep your balance.
Let your right knee go forward and allow your right toe, ankle, knee and hip joints
to move in a smooth, loose manner as the heel rises.
Ideally, your right leg becomes weightless. However, if you cannot comfortably
shift all the weight to your left foot while keeping your left hip and leg muscles
relaxed, only shift as much weight as is comfortable. Allow some weight to remain
on your right foot. As you practice, you will become increasingly comfortable in
shifting more and more of your weight to your left foot. At some point, you will be
able to make the 100 percent weight shift. The main point is not to force it.
2. Shift your weight from the left foot back to both feet until your weight is evenly distributed
on both feet. Do not force a 100 percent weight shift if it does not feel comfortable or
makes you feel unbalanced.
Shift your weight from center to the left and back again ten times. Try to feel the spring
in your feet as your heel gently presses down on the weighted foot and the heel rises up on
the unweighted foot.
Right hip
stays level,
does not tilt
Knee extends
forward to
70%
Knee extendsforward
Left foot.
Heel rises-ankle and
foot are fully flexed
Left foot.
Heel rises-ankle and
foot flex to 70%
Figure 3-7
Figure 3-8
38
Option 1 (Ideal)
As you put your left heel down, your right heel will simultaneously rise as you shift your
weight to your left foot. When you shift your weight back to the right foot, your left heel will
simultaneously rise as you put your right heel down. This will provide the smoothest and
most seamless weight shift. Both heels will be off the ground for only the briefest moment in
the middle of your weight shift.
Option 2
At first you may find that it is easier and more comfortable to put the heel of your foot down
before beginning to shift your weight back to that side. As you become comfortable doing
the weight shift smoothly from side to side, you will find it unneccesary to do this.
40
A
Left heel
begins to rise
E
-----i.~
Figure 3-9
F
Left heel
fully raised
41
2. Begin to shift your weight to your right foot and slightly raise your left heel. With your
left hand's fingertips, trace the energy pathways along the inside of your left leg from
foot to knee to kwa (Figure 3-9 C). At this point, your left heel will be raised halfway.
3. Finish shifting your weight onto your right leg and raise your left heel to its maximum
comfortable height as you gradually turn your left palm upward and bring it up to
your shoulder's nest (Figure 3-9 D-F).
4. After your left hand rotates to face palm down, it then moves down the left energy
pathway of your body. At the same time, begin lowering your left heel (Figure 3-9 G).
5. As your hand pushes down the energy pathway of your torso (Figure 3-9 H-I) your left
heel will continue to fall. When your hand reaches the kwa, your left heel will be half
way down (Figure 3-9 J). As your left hand turns from the kwa to face the outside of
your leg, your heel will continue to go down (Figure 3-9 K).
6. When your hand has finished tracing the energy pathway down the outside of your
foot, the left heel will be fully lowered (Figure 3-9 L).
Practice coordinating the timing of your left heel rising and falling with your left hand
rising and falling a minimum of 20 times.
H
Left heel
begins to fall
-----I.....
..
Trace the Energy Pathways with One Hand While Standing
Left Hand and Heel Fall
Figure 3-9
L
Left heel
fully lowered
42
Right
heel
A
Right heel
begins to rise
G
Right heel
begins to
fall
Right heel
fully raised
------i..~ -----....,..~
...
Figure 3-10
L
...
Right heel
fully lowered
PUTTING IT
ALL TOGETHER
Movement 1 Integration
In the previous two chapters, you learned the important components of Movement l-the
standing posture; fundamental principles of breathing from the belly, weight shifting with
heels rising and falling, tracing the energy pathways, and precise arm, elbow, palm and
finger positions.
Now you are ready to learn how to combine these separate components and put the
whole movement together. You will learn how to synchronize your weight shifts with your
arm movements and coordinate them with breathing so that your body functions as one
integrated whole. There is no need to be concerned about learning the movement perfectly.
Doing the movements in a "more or less" fashion is quite acceptable. Be gentle with yourself
and do not try to be perfect.
Overview
Your main goal will be to coordinate the following into one seamless, integrated and flowing
movement:
Moving your palms and fingers in prescribed patterns through your etheric body to
activate the accupuncture meridians
Raising and lowering your heels in coordination with your hand movements
Shifting all your weight from one leg to the other in coordination with your
hand movements
Inhaling and exhaling in coordination with your leg and hand movements.
43
44
8eg;nn;ng position: Stand comfortably, feet parallel, shoulder's width apart, with your
weight evenly distributed on both feet. Your arms rest comfortbly at your sides, palms facing
the outsides of legs and fingers pointing toward the floor. Maintain a little space within both
armpits and keep your elbows slightly bent (Figure 4-7 A).
Breathe comfortably using your belly (see Chapter
become very steady and relaxed. let your mind become calm and feel your breath move
in and out of your body. let your thoughts drop away and prepare to begin the movement.
1\El
Begin Movement 1
Figure 4-7
Hand and
heel begin
to rise
45
1. Rotate your left elbow, wrist and palm so that your fingers first point at the tips of your
toes and then at the inside of your left foot (Figure 4-1 8).
2. Begin to shift your weight to your right foot and begin to slightly raise your left heel.
With your left hand's fingertips, trace the energy pathways along the inside of your left
leg from foot to knee to kwa (Figure 4-1 C).
When your hand reaches the kwa, your heel will be raised halfway.
3. Finish shifting your weight onto your right leg, raising your left heel to its maximum
comfortable height as you gradually turn your left palm upward and bring it up to your
shoulder's nest (Figure 4-1 D-F).
You are now ready to begin coordinating the hands and feet on both sides. Ideally, as
one side of your body's hand and heel are moving downward, the other side's hand and
heel simultaneously are going upward. Your weight shift should be 100 percent onto the
side of your descending hand. As all your weight is shifting onto the side of your descending hand, the heel on the side of your ascending hand rises. There should be no perceivable stops or starts at the ends or beginnings of the weight shifts.
Left
~ heel
Figure 4-1
F
Left heel fully
raised; right
heel fully
lowered
46
At the
kwa, right
palm faces
upwards
Right hand
and heel
begin
to rise
Right leg
is 100%
weighted
Left hand
and heel
begin
to fall
G
Both heels are slightly off the
--------i.~ ground while your weight is
distributed evenly on both feet
Movement 1 Continues
Coordinate Hand and Foot Movements
Figure 4-1
47
3. Finish shifting your weight to both feet as your rising right hand, with palm up, passes
your falling left hand with its palm facing down, ideally at the level of your lower tantien
(Figure 4-1 J). Both heels will be briefly off the ground and your weight will be evenly distributed on both feet.
4. Shift your weight toward your left leg as you move your right hand up to your right
nipple, move your left hand down to your left kwa, drop your left heel further toward
the ground and further raise your right heel (Figure 4-1 K).
5. At the kwa, curve your arm and palm, so the center of your palm faces your body as
you move your hand around from your kwa to the side of your hip socket (Figure 4-1 L).
6. Finish shifting your weight 100 percent onto your left leg as you move your right hand
up to your shoulder's nest, move your left hand and fingers down the outside of your
leg to point at the outside of your foot, and finish dropping your left heel and raising
your right heel (Figure 4-1 M).
As you shift the weight from your right leg to your left leg, ideally your right and left
heels should rise and fall at the same respective speed.
Right hand
and heel
continue
to rise
l
l
Left hand
and heel
continue
to lower
i
K
Right heel
continues to rise
Left leg
is 100%
weighted
~.
Right heel
is fully raised
Movement 7 Continues
Coordinate Hand and Foot Movements
Figure 4-1
48
Pl.
off the ground and then your weight will be evenly distributed on both feet.
10. Shift your weight toward your right leg as you move your left hand up to your left
nipple, move your right hand down to your right kwa, drop your right heel further
toward the ground and further raise your left heel (Figure 4-1 Q).
Right palm
begins to
rotate
downward
At the
kwa, left
palm faces
upwards
Left hand
and heel
begin
to rise
Left hand
and heel
continue
to rise
Right hand
and heel
continue
to fall
Right heel
begins to
fall
N
Weight begins to gradually
shift from the right leg
to the left leg
- - - - - - i..~
..
Movement 1 Continues
Coordinate Hand and Foot Movements
Figure 4-1
49
11 . At the kwa, curve your right arm and palm, so the center of the palm faces your
body as you move your hand around from your kwa to the side of your right hip
socket while your left palm rises slightly higher (Figure 4-7 R).
12. Finish shifting your weight 100 percent onto your right leg as you move your left
hand up to your shoulder's nest, move your right hand and fingers down the outside
of your leg to point at the outside of your foot, and finish dropping your right heel
and raising your left heel (Figure 4-7 5).
Repeat instructions 1 through 12 in a continuous loop, with one hand and foot moving
up while the opposite hand and foot go down. There should be no sudden starts or stops
at the beginning or end of each weight shift or hand movement. During your weight shifts,
your right and left hands should rise and fall at the same respective speed.
If you lose your place, begin again at either position 4-10 F or 4-10 M. In these positions,
one hand and heel is fully raised and the other hand and heel are fully lowered.
l
l
Right hand
and heel
continue to
fall
Right leg
is 100%
weighted
Left heel
is fully
raised
1
t@
S
Movement 1 Continues
Coordinate Hand and Foot Movements
Figure 4-7
Take a Short Break
It is recommended that you take a break at this point in order to allow your
nervous system to absorb what you have just learned.
50
51
Left heel is
fully raised
ABC
D
E
Begin Movement 1 by roising your left hand ond heel.
Begin Movement - Begin to Inhale
Finish Inhale
Right
hand
J
K
Continue to Exhale
Finish Exhale
Q
The right hand and heel fall as the left hand and heel rise.
Do
Figure 4-2
Finish Inhale
52
53
Try not to hold your breath at any time; let it smoothly shift from inhale to exhale and
vice versa. For example, as your hand smoothly turns over near the front of your shoulder,
let your breath smoothly and steadily move from inhale to exhale. As your hand circles from
the outside of your foot to the inside, let your breath change smoothly from exhale to inhale.
Choose to coordinate your breath with the part of your body that you'd like to awaken.
For example, if your left leg or foot seems like the least responsive part of your body, then
breathe in concert with the movement of your left foot. If it is your right shoulder, then
breathe in concert with the movement of your right hand.
Pay special attention to using your hands to trace the correct energy pathways. If
you do so, then you will more fully reap the benefits of Dragon and Tiger chi gung.
Keep your hands six to eight inches away from your body and never allow your
hand to move closer than the width of your closed fist.
Remember the 70 percent rule and only raise your hand and heel as far as you
can without strain.
Putting a little pressure on the heel of the weighted foot will cause energy to drop
down your body. Putting a little pressure on the ball of the weighted foot will cause
energy to rise.
54
The raising of the hand and heel occur simultaneously. Keep the ratio of the movement of your hand and heel constant, so they begin and finish together and are
always at the same percentage of their respective ranges of movement.
As your hand rises, make sure the tops of your shoulders stay relaxed and down.
The breath should be relaxed and your transitions from inhale to exhale and vice
versa should be smooth and without gaps. You should not hold your breath at any
time during the movement.
When you perform Movement 1 correctly, you will feel as though there is a continuous
pulley-like motion between your right and left sides.
Congratulationsl You have learned the first of Dragon and Tiger's seven movements.
Practice this movement until you become very comfortable with it. Then move on to learn
the second movement.
SHIFT WEIGHT
WHILE TURNING
Movell1ent 2 Basics
Before attempting to learn Movement 2, you must learn how to properly shift weight
while turning the torso from the hip joint (kwa). This is necessary for physical balance,
coordination and, most importantly, the protection of the knee joints and the lower back.
Learning to do this will make it easier for you to learn Movement 2, arguably the most
difficult of all Dragon and Tiger's movements. Turning while shifting weight is also a major
component of Movement 7 and many other chi gung and other Taoist energy arts, especially
tai chi.
First you will learn the basic positions of weight shifting: turned left, center position and
turned right. Next, you will be taught five components for turning correctly that you will
integrate into these basic positions.
Basic Standing
Position
Figure 5-1
55
56
1. From the facing center position (Figure 5-2 A), shift your weight and turn your hips and
torso to the left (Figure 5-2 B).
When you do this, make sure you do the following
While turning, raise your right heel, but keep the ball of your right foot touching
the ground.
let your right foot pivot on its ball so that your right knee and toes turn to point in
the same direction as your torso and hips.
Initially let your unweighted right leg naturally follow the turning of your hips and
torso. Do not independently move or force the unweighted leg to pivot.
2. From the facing left position, gradually shift your weight and turn back to the facing
center position (Figure 5-2 C-D). When you do this, make sure you do the following
As you begin to turn your hips and torso back to the center, keep your weight
mostly on your left foot and begin to put your right heel down.
Gradually shift your weight toward the middle and turn your hips back to face
forward. As you do so, let your right foot pivot on its ball until your knees and toes
face forward and then put your right heel completely down.
When your feet are facing forward and parallel to each other, your weight should
be evenly distributed on both feet.
Turn torso
to left
Right foot
pivots back
to center
Right
foot
t
A
Figure 5-2
57
3. From the facing center position (Figure 5-2 E), turn your torso to the right. Gradually
shift all the weight of your torso onto your right foot, as you turn your torso and hips
to the right (Figure 5-2 F). When you do this, make sure you do the following
While turning, raise your left heel, but keep the ball of your left foot touching
the ground.
Let your left foot pivot on its ball so that your left knee and toes turn to point in the
same direction as your torso and hips.
Initially let your unweighted left leg naturally follow the turning of your hips and
torso. Do not independently move or force the unweighted leg to pivot.
4. From the facing right position, gradually shift your weight and turn back to the facing
center position (Figure 5-2 G-H). When you do this, make sure you do the following
As you begin to turn your hips and torso back to the center, keep your weight mostly
on your right foot and begin to put your left heel down.
Gradually shift your weight toward the middle and turn your hips back to face
forward. As you do so, let your left foot pivot on its ball until your knees and toes
face forward and then put your left heel completely down (Figure 5-2 H).
When your feet are facing forward and parallel to each other, your weight should
be evenly distributed on both feet.
Start return
Left foot
pivols back
Right
foot
Figure 5-2
58
feels comfortable and natural and you do not have to refer to the instructions. The most
important point to remember is to let your unweighted leg follow the turning of your hips. It
is very easy to get into the bad habit of independently moving or forcing the unweighted
let to pivot.
Turn right
Turn left
Right
foot
Figure 5-3
59
learning to turn correctly so that you do not damage your knees is one of most important
things you can learn. The knee joint is not meant to be a weight-bearing joint. The five
components of correct turning will enable the pressure of your body weight to pass through
and go around the knee joint into your muscles. They will keep the weight off the knee joint
so that it doesn't cause damage to your cartilage and tear the ligaments of the knee.
If you properly protect your knees when turning, you will mitigate or break any bad knee
habits you may already have and adopt safe ones. This will enable you to safely protect your
knees while performing other physical activities.
Once you learn these components, you will not only use them in Movements 2 and 7
of Dragon and Tiger but will be able to apply them to any other chi gung, tai chi, Taoist
energy arts programs and most sports. Knee injuries, particularly when turning, are
common in almost any movement activity and not easy to repair.
60
Learning Strategy
These components are essential to learn in the sequence presented and before you move
on to learning Movement 2 of Dragon and Tiger.
As you learn each component, integrate the component into the basic turning sequence
and practice turning left, center, right, center, left, etc. for four or five minutes. Practicing
these weight shifts continuously for that amount of time will help lock each component into
your body memory. If this amount of time is insufficient to have the component feel comfortable as you turn, take the time you need to do so. Sometimes taking a short break before
trying to once again integrate the component into the basic turning sequence will help lock
it into your nervous system.
After learning each component, take a break for five to 10 minutes.
61
Your muscles, ligaments, tendons and fascia-all of which are soft tissues-should
comfortably and safely twist when you move. The bones and cartilage of your knee
joint are not designed to be twisted and therefore should not twist when you move,
or the result can be painful knee damage.
If you feel pain inside your knee joint while exercising you may be risking knee
injury. Do not continue any movement that makes you feel pain inside the joint
itself. If you do feel pain, something, somewhere needs to be adjusted.
Preliminary Exercise
Working with a partner will help focus your attention on feeling the the kwa and keeping
the knee of your weighted foot balanced and stable as you turn. If you wear a bikini or
briefs and turn to the side, your kwa fold will be very visible in the groin area.
62
1. Stand with your feet parallel, approximately shoulder's width apart and your weight
evenly distributed on both feet (Figure 5-4 AJ. Your partner will place the edge of a hand
on the bottom of your left kwa crease, where your inner thigh connects to the hip. Your
partner will place the other hand on your knee to help keep it balanced and stable.
2. Turn to the left, and as you shift your weight to your left foot, your left kwa will begin
to fold. Your partner will rub the edge of that hand up the crease, stopping at the top
(crest) of the hipbone when you complete your turn (Figure 5-4 BJ.
3. Now, as your partner rubs the edge of that hand down from the crest of the hip bone
to the bottom of your left kwa crease, turn back to face the front (Figure 5-4 C). When
you return to center, the kwa will have stopped unfolding (Figure 5-4 DJ. Repeat these
folding and unfolding actions until you can feel the impetus for your turns coming
directly out of the movement of your left kwa. Your partner will keep the left weighted
knee stable as you do so.
4. Repeat the procedure on your right side.
,,7\
Left kwa
begins ta
unfold as
you turn
back to
center
Left knee
remains
stable
Right
foot
C
Learn to Turn by Folding the Kwa
Figure 5-4
63
Beginning (facing center) position: Basic standing posture-face forward, feet flat on
the floor, parallel and no wider than shoulder's width apart (Figure 5-1).
1. When you shift your weight and turn your hips to the right, maximize the crease on
the right side of your kwa to enable you to use its full range of motion and properly
protect your knees and back (Figure 5-5 A).
Turn to rightwhen your kwa
stops folding,
stop turning
Left knee
remains stable
Right knee
remains stable
Left foot is
weighted
Right foot is
weighted
B
Fold the Kwa as You Turn
Figure 5-5
If you turn your hips to the right but you do not fold the kwa, then you are not
swiveling your hip joint fully or properly. Your turning movement is incorrectly
coming from twisting your back, knee, ankle, chest, shoulders or all of the above.
Keep the weight evenly distributed on your weighted foot as you pivot on the ball
of your unweighted foot with your heel raised.
Only turn your hips as far as your kwa can fold comfortably. Remember the
70 percent rule.
64
2. When your kwa stops folding, stop turning. Turning too much will generate pressures
inside your body that can pull and strain your knees and lower spine. Such pressures
will block the flow of energy and inhibit the overall circulation of energy throughout
your body. They will also cause damage to, or inhibit the healing of injured hip, knee,
ankle or foot joints. Do not ride up on the outside or collapse on the inside edge of
the weighted foot.
3. Shift your weight back to center. Your kwa will unfold as you turn inward.
Repeat steps 1-3 five to ten times until your turning to the right and back feels comfortable
and relaxed.
4. Repeat steps 1 and 3 to turn to the left (Figure 5-5 B) at least five or ten times, or until it
feels comfortable and relaxed.
In order to turn, your body has to overcome a minimum of resistance from tight
muscles, ligaments, etc. This allows your pivot and turn to be smoother, more relaxed
and more fluid.
65
You will most efficiently use the natural strength of your hips to support both your
legs and lower back. Your ability to use this strength diminishes when your weight
falls between your legs in a wider stance or outside of your legs in a narrower
stance. In such stances, you tend to use the muscles of your lower back and legs
for support. As a result, you can easily strain all the muscles of your lower bodylower back, hips, legs and especially your knees. This in turn may strain your lower
spine and diminish the nerve flow to your lower body.
This is the ideal width for you to maintain physical balance in turning movements
where you alternate between a forward-facing stance and turning your hips and
torso to the side, as occurs in Dragon and Tiger Movements 2 and 7.
The width also ensures that when you turn your torso side-to-side, you will not
exceed your body's stretching capacity. Too wide a stance may result in overstretching your tightest muscles, for which the body compensates by contracting
other muscles in the pelvis and legs. This can put direct and potentially damaging
pressure inside of your knee instead of having the pressure generated by your turn
flow safely into the soft tissues that surround the knee joint.
Excessive width can also bind the body, add tension and stiffen the muscles
above and below the knee, further putting pressure into the joint itself, as well as
cause the spine to twist excessively, particularly at the lower back. This can lead
to chronic back problems. A telltale sign that you are doing this is when your
shoulders tense and begin to rise when you turn.
First, practice maintaining a constant shoulder's width stance as you turn for four or five
minutes to help lock it into your memory. Every minute or so check your stance.
When this component feels stable, then combine it with turning from the kwa. Make sure
you are comfortable doing this before learning the next component.
66
Incorrect:
Right knee
twisted out
Correct:
Right knee
is stable
Incorrect:
Right knee
collapsed
inwards
Figure 5-6
When you turn, try to consciously and properly align the bones and joints of your entire
weighted leg. Let any pressures on the leg move through and around the soft tissues, rather
than into the bones or cartilage. The soft tissues should turn and twist in synch with your
movements in a natural and relaxed manner. Your bones should move very little, if at all.
The knee is a fragile joint and is not meant to bear excessive weight. When your knee
is not in alignment with your supporting foot, the weight of your upper body goes directly
into the places where the ligaments of your knee hold the knee together. If, in any form of
physical activity, the ligaments of your knee are habitually exposed to such strain, they can
tear or become severely strained. Over time this can lead to their becoming overstretched,
often to such on extent that they can no longer stably hold the knee in place.
67
In martial arts, if you want to dislocate or break someone's knee, the standard technique
is to kick or, with your hands, twist the opponent's knee so the knee is radically displaced
outwardly or inwardly. You can achieve less dramatic, but similarly harmful results with your
own knee, by slowly, progressively over time, putting your knee in the same dangerous
positions when you stand or turn.
68
When you are turned to either side, the ideal position of the toes of your weighted foot is to be
pointing forward with those of your unweighted foot pointing toward the side (Figure 5-8 A).
If you properly turn your body into this position, you create maximum pressure in your
lower and middle internal organs and massage them at the same time. This increases fluid
flow through them and improves their functioning.
Initially, achieving this ideal position may compromise your comfort.
If you feel any weakness at all in your back or if you feel pressure going into either knee,
relieve this by letting your weighted foot turn from five to 45 degrees toward the side (Figure
5-8 B). Although this will reduce the beneficial pressure into your organs a little, it should
alleviate strain in your knees or hip or lower back and allow you to turn your hips further
toward the side.
If you still feel pain in your knees, increase the angle of your foot to more than 45 degrees
until the pain in your knee subsides (Figure 5-8 C).
Although doing so will significantly reduce the pressure that your turning generates into
your internal organs and reduces the benefit of the internal massage, it is far more important
to protect your knees and not force your body to maintain an uncomfortable or potentially
dangerous position. When you have practiced enough that your body and balance have
become stronger and your knee more comfortable, then return to the 45-degree turn-and
ultimately, bit by bit, to the zero degree turn.
The ball of
the unweighted
right foot
follows the turn
of the left kwa
'\~
I B ' \ Acceptable: 5 to 45
..
degree angle
Ideal: Straight ahead
A
Figure 5-8
69
The correct placement of your feet will help you turn and shift your weight without strain
and will alleviate cumulative damage to the knee and lower back.
2. The ball, outside edge and heel of your weighted foot must evenly touch the
ground, so that you do not ride up on the outside edge or collapse on the inside of
your foot.
If your foot does not evenly touch the floor, natural body alignments from your ankle upward
through your whole body will become distorted to compensate for not having a stable base.
As you put your weight on one foot, make sure you are not rolling your foot up on its
outside edge. This strains the places where your tendons and ligaments attach to the bones
of your foot, ankle, and knee and may also strain your lower back.
Your foot or knee should not collapse inward. The key to preventing this is to keep your
perineum open at all times (see Chapter 14, Principle 12). Most people with normal arches do not pay attention to how their weight moves through their feet; in Dragon and Tiger,
you should do so.
3. Let the unweighted knee, foot and toes move in synch with the hip turn.
While you are making the turn, pivot on the ball of your unweighted foot. As you turn, your
thigh, knee and toes should point in the same direction as your torso.
Commonly, there is some initial inertia to overcome to get your unweighted leg to turn.
Try to consciously relax and let the unweighted leg rotate and turn. Pay special attention to
the first moments when you move from feet evenly weighted to shifting your weight to the
side. If you relax and let your leg turn at this point, inertia is easily overcome. If you wait
until midpoint in the shift to let the turn occur, you may get preoccupied and stiffen your
unweighted leg so it does not rotate and follow your hips, thereby potentially straining your
knee joints or lower back.
4. Integrate this component into the basic turning sequence for four or five minutes.
When this feels comfortable, combine it with the other components that you learned: paying
attention to your leg and foot alignments, keeping your knee properly aligned, turning from
the kwa and maintaining a constant width between your feet. Make sure you are comfortable
doing this before learning the next component.
Take a Short Break
It is recommended that you take a break at this point in order to allow your
nervous system to absorb what you have just learned.
70
Shoulder's
nest
Shoulder's
nest --+....- - - .
Kwa
Ideally, when
you turn, top
and bottom
points turn the
same amount
and rectangle
is maintained
Kwa
Figure 5-9
Shoulder's
nest turned a
lot to left
Unhealthy
S-curve created in
torso and spine
Kwa points
turned a little
to left
Incorrect Four Points Alignment- Top Points Turned More than Bottom
Figure 5-10
71
This body alignment principle of the four points is very important in most Taoist
chi gung practices, tai chi and other internal martial arts. It provides several important
benefits and will
Ensure that you are turning from your kwa and not your shoulders, chest or belly
Form a box within your torso to hold your internal organs in stable, natural alignment
Cause a light nonforceful twisting pressure to arise from your hips that will massage
your internal organs
Prevent your spine from twisting into a misaligned S-curve (Figure 5-10).
Incorrectly turning from the chest or shoulders, without maintaining the same degree of
turn in the kwa, has several negative consequences
You can torque the inside of the knee joint causing potential damage
Your upper spine will twist into an S-curve and misalign your upper spinal vertebrae
(Figure 5-10)
Your middle spine will twist and misalign your middle spinal vertebrae.
If you leave your upper body still and only turn from your belly, your lower spine will
twist and misalign your lower vertebrae, a common cause of lower back pain.
Over time the habitual misaligning of vertebrae can result in neck or back pain and
visits to your healthcare practitioner.
To help yourself maintain this four-point alignment, as you turn exert very light pressures
simultaneously downward from your shoulders' nests and upwards from both sides of your
kwa. You should have a definite feeling that the up and down movements meet somewhere
in the middle of the left and right channels of your body.
Integrate this component into the basic turning sequence for four or five minutes to help
lock it into your memory.
Integration
Integrate all five components into the basic turning sequence. Turn for five more minutes.
Each minute or so, place your attention on one of the components to make sure the
integration is seamless. If any component needs more practice, go back and practice it
separately and then integrate it again into your turning movements.
Once you feel you have learned and integrated these components into your turning
72
movements and both your balance and movements are smooth, you are ready to go on to
the next chapter. However, if one or more of these components are still not smoothly integrated
into your turning sequences, it will be much more difficult for you to learn Movement 2. You
also risk locking in habits that can lead to damaging your knees and lower back. It is far
easier to learn fundamentals now than to go back to try to undo bad habits.
Do not let the knee of your weighted foot twist outwardly or collapse inwardly
as you turn.
Pivot on the ball of your unweighted foot with your heel raised.
Let the ball of your unweighted foot follow the turn of the kwa.
Remember the 70 percent rule: Only turn your waist and hips to 70 percent of their
full range of motion.
DRAGON LOOKS TO
THE HORIZON
Movement 2 Components
Dragon looks to the Horizon, Movement 2, contains a flicking motion that releases
stagnant energy out from your hands and feet. This helps the energy that remains to circulate
more strongly and smoothly. When done correctly, this movement works deeply into the soft
tissues of the neck, shoulder and arm to help them relax.
Of all Dragon and Tiger's movements, Movement 2 is the most difficult to learn. There
are several coordination challenges that have to be integrated in one seamless, relaxed and
flowing movement. These include
Turning your hips and torso as you shift weight, in a manner that protects your
knees, ankles and lower back (covered in the previous chapter).
Moving your arms in different directions from each other, at different speeds, as
you turn your torso and shift weight.
Maintaining your balance on your weighted leg during hand and foot flicks and
while lowering the foot that has flicked to the ground.
Coordinating your breathing with your hand, foot and turning movements.
A sudden release of energy combined with a timed exhale when you flick your
hand and foot.
73
74
75
A. Proceed along the inner side of the left arm to the elbow, wrist, center of the palm,
fingers and fingertips.
Shoulder's Nest
Solar Plexus
Lower Tantien
Perineum ----1-
Figure 6-1
76
Shoulder's Nest
Lower Tantien
Perineum
Figure 6-2
77
78
Left hand
rotates to
face inside
inside of
leg
~.
B
Hand and Palm Positions-Left Hand
Figure 6-3
79
3. Cross over from the top of your inner thigh to the perineum. Do not reach down to do
this; simply point your fingers at the pathways as you trace upward, maintaining your
hand six to eight inches away from your body. From the perineum, gradually turn your
palm to face upward (Figure 6-3 OJ.
4. Continue to trace the energy pathways up the centerline of the torso to approximately
heart height. Keep your palm turned upwards and in line with your torso's centerline
(Figure 6-3 E-FJ.
Do not let your left hand or wrist drift or cross over to the right or left side of your body
Keep your armpit open, elbow and fingers pointing directly sideways
Left
hand
rises up
centerline
Lefthand
reaches
~~rtheight
~
t
""
t
t
E
Hand and Palm Positions-Left Hand
Figure 6-3
Left elbow
points
sideways
80
(Figure 6-3 HJ until the center of your palm faces the middle of your upper arm. The
elbow and your upper arm muscles begin to rotate downwards (Figure 6-3 HJ.
7. Unfurl your arm sideways (Figure 6-3 I, J & KJ. Rotate your shoulder towards your back,
letting your elbow drop until it directly points to and is perpendicular to the ground.
Simultaneously unfurl, rotate and begin to extend the forearm sideways. As you do so,
Left hand
and fingers
) face the
I
upper arm
&\
Left elbow
begins to
rotate
downward
H
Hand and Palm Positions-Left Hand
Figure 6-3
81
gradually curl your fingers towards each other until all your fingers touch the thumb,
forming a "beak hand" and your fingers face toward the crease of your elbow (Figures
6-3 I,) & K). As you finish unfurling your arm, your wrist and fingertips will be pointing
downwards and perpendicular to the ground (Figure 6-3 L).
8. Continue to extend your forearm sideways with your beak hand until your arm is fully
pointed sideways (Figure 6-3 L). Under no circumstances should you fully straighten or
lock your shoulder, elbow, wrist or finger joints. Doing so will block the flow of chi.
l'
J
As left arm
unfurls, fingers
face the crease
of the elbow
At the end of
the arm's final
extension, the
elbow and
fingertips point
downward and
the elbow is
slightly bent
L
Hand and Palm Positions - Left Hand
Figure 6-3
82
9. Flick your fingers outward in a very relaxed manner so they point horizontally and are
parallel to the floor (Figure 6-3 M). The primary function of the hand flick is to release
stagnant energy out of the armpit, shoulder and arm.
M
Hand and Palm Positions-Left Hand
Figure 6-3
As you flick your fingers, keep your elbow comfortably bent and the elbow tip
pointed directly to the ground; do not straighten your arm or lock any joints in the
elbow, wrist or fingers. Open your armpit a tiny bit.
Flick in a relaxed, springy and nonforceful manner. This flick is similar to how you
would splash water with only your wrist and hand action rather than by exerting
arm strength. Relaxed speed, not strength, is your goal.
As you flick, try to have a sense of projecting energy out of your hand.
83
Left arm
begins
to softly fall
()
Fingers
point to
outside of
foot
Left hand
circles to
face inside
of foot
r;;j)
Figure 6-3
Take a Short Break
It is recommended that you take a break at this point in order to allow your
nervous system to absorb what you have just learned.
84
o
Right han
rotates to
face inside
inside of
leg
Right \
hand
begins
to rise
g\,.1
A
.~
~
B
Figure 6-4
~
~
85
3. Cross over from the top of your inner thigh to the perineum. Don't reach down to do
this; simply point your fingers at the pathways as you trace upward, maintaining your
hand six to eight inches away from your body. From the perineum, gradually turn your
palm to face upward (Figure 6-4 D).
4. Continue to trace the energy pathways up the centerline of the torso to approximately
heart height. Keep your palm turned upwards and in line with your torso's centerline
Keep your armpit open, elbow and fingers pointing directly sideways.
Do not let your right hand or wrist drift or cross over to the left or right side of
your body.
Right
hand
Right hand
reaches
heart heig/~
c::~\
--------tt
Right elbow
points
sideways
E
Hand and Palm Positions-Right Hand
Figure 6-4
86
6. Begin to gently c;url your fingers to point at your arm, as you drag your arm sideways
(Figure 6-4 H) until the center of your palm faces the middle of your upper arm. The
elbow and your upper arm muscles begin to rotate downwards (Figure 6-4 H).
7. Unfurl your arm sideways (Figure 6-4 I, J & K). Rotate your shoulder towards your back
letting your elbow drop until it directly points to and is perpendicular to the ground.
Simultaneously unfurl, rotate and begin to extend the forearm sideways, gradually
Right palm
turns to face
shoulder's nest
Right hand
and fingers
face the
upper arm
Right elbow
begins to
rotate
downwards
H
Hand and Palm Positions-Right Hand
Figure 6-4
87
begin to curl your fingers towards each other until all your fingers touch the thumb,
forming a "beak hand" with your fingers facing the crease of your elbow (Figures 6-4
I, J & K). As you finish unfurling your arm, your wrist and fingertips will be pointing
downwards and perpendicular to the ground (Figure 6-4 L).
8. Continue to extend your forearm sideways with your beak hand until your arm is fully
pointed sideways (Figure 6-4 L). Under no circumstances should you fully straighten or
lock your shoulder, elbow, wrist or finger joints. Doing so will block the flow of chi.
As right arm
unfurls, fingers
face the crease
of the elbow
At the end of
the arm's final
extension,
elbow and
fingertips point
downward and
the elbow is
slightly bent.
K
Hand and Palm Positions-Right Hand
Figure 6-4
88
9. Flick your fingers outward in a very relaxed manner so they point horizontally and are
parallel to the floor (Fjgure 6-4 M). The primary function of the hand flick is to release
stagnant energy out of the armpit, shoulder and arm.
As you flick your fingers, keep your elbow comfortably bent and the elbow tip
pointed directly to the ground; do not straighten your arm or lock any joints in the
elbow, wrist or fingers. Open your armpit a tiny bit.
Right
hand
flicks
M
Hand and Palm Positions-Right Hand
Figure 6-4
Flick in a relaxed, springy and nonforceful manner. This flick is similar to how you
would splash water with only your wrist and hand action rather than by exerting
arm strength. Relaxed speed, not strength, is your goal.
As you flick, try to have a sense of projecting energy out of your palm and fingers.
89
Pl.
Instructions 1-11 should be repeated at least ten times. Your goal is to become comfortable making this movement before trying to coordinate the movements of both hands.
Right arm
begins
to softly fall
\
\
Fingers
point to
outside
of foot
\
\
Right hand
circles to
face inside
of foot
\
N
Figure 6-4
Take a Short Break
It is recommended that you take a break at this point in order to allow your
nervous system to absorb what you have just learned.
90
such as "Row, Row, Row Your Boat," where one half of the group starts singing the melody
and the other half follows with the same melody several beats later. For this reason, you first
learn to coordinate the movement of the hands without turning and shifting weight.
This step also contains other micro-components, such as learning how to drop your hand
and arm down after you flick the hand.
Landmark Positions
Three landmark positions will help you learn to coordinate your right and left arm movements. They are: Foot and Shoulder's Nest position (Figure 6-5); Heart and Beak Hand position
(Figure 6-6); and Flick position (Figure 6-7). These are key positions that both hands will
simultaneously reach. When learning, pause briefly until both hands reach these landmark
positions before moving on. This will help lock in your body memory. At first, one hand may
want to go faster than the other. Do not be concerned. As you practice and become more
confident, both hands will begin to move together. Your goal is to have both hands continuously and fluidly moving between these positions with ease and precision. In time they will.
Many of us have become accustomed to multi-tasking and splitting out attention between
many activities. This means that we can also have a tendency to space out or daydream,
briefly losing our orientation. If this happens to you while you are trying to learn to coordinate
the right and left arms movements, you can use any of these landmark positions as a new
beginning point, and continue to practice without feeling frustrated, confused, guilty or
stressed out.
Ri9ht~
if!'
~
i~ft
~nd
hand
Palm faces
shoulder's nest
Figure 6-5
Figure 6-6
Flick Position
Figure 6-7
91
92
Left hand
faces inside
of leg
Left hand
begins
to rise
t
t
\W
Foot and
Shoulder's Nest
position
B
Transiting between Landmark Positions with Both Hands
Figure 6-8
93
3. At the perineum your left palm will rotate to face upwards. Your left arm continues to
rise up the center of your torso, elbow facing ~ideways. At the same time, your right
arm continues to trace the energy pathways on the inside of your arm by unfurling,
rotating and extending sideways, with your fingers facing the crease of your elbow. The
elbow is moving toward pointing directly downwards. Your fingers continue to curl
towards and touch each other (Figure 6-8 D).
4. Both hands now reach the Heart and Beak Hand position (Figure 6-8 E). Your left hand
has reached heart height on your torso. The left palm is facing upwards; and the left
elbow is pointing sideways. Your right arm is at the end of its sideways extension.
Your arm is bent and your fingers have formed a beak hand. Your right elbow and
beak fingers point downward.
5. When your right hand flicks, you have reached the Flick position (Figure 6-8 F). Your
left arm remains stationary, palm turned upwards.
Right
hand
unfurls
extension,
elbow and
fingertips point
downwards
Left hand
rises
Heart and
Beak Hand
position
E
Transiting between Landmark Positions with Both Hands
Figure 6-8
94
6. The right hand softly falls to finish at the outside of your right leg. At the same time,
the palm of your left hand turns to face the inside of your torso and drifts sideways from
the centerline to the shoulder's nest (Figures 6-8 G). You will now have arrived at the
Foot and Shoulder's Nest Position on the opposite side of your body (Figure 6-8 H).
7. Your right arm rotates to point to the inside of your right foot. The palm of your left
arm moves sideways and upwards and your elbow drops slightly. Your palm continues
to face your shoulder's nest (Figure 6-8 I).
8. Your right arm begins to rise as your fingers trace the energy pathways on the inside
of your leg. At the same time, curl the fingers of your left hand as the arm moves a bit
more sideways. The palm of your left hand will face the middle of your upper arm and
the elbow will begin to rotate downwards (Figure 6-8 I-J).
RighI ho,d
softly falls ~
~--.,
'-Z.~
Left palm
faces
shoulder's
Leftpalm
faces
shoulder's
nest
-1--\ ,,,I
Right hand
faces inside
of leg
H
Transiting between Landmark Positions with Both Hands
Figure 6-8
95
9. At the perineum your palm will rotate to face upwards. It continues to rise up the
center of your torso, elbow facing sideways, palm facing upwards. At the same time,
your left arm continues to trace the energy pathways on the inside of your arm by
unfurling, rotating and extending sideways, with your fingers facing the crease of your
elbow. The elbow is moving toward pointing directly downwards. Your fingers continue
to curl towards and touch each other (Figure. 6-8 K).
10. Both hands now reach the Heart and Beak Hand Position (Figure 6-8 L). Your left hand
has reached heart height on your torso. The right palm is facing upwards and the
right elbow is pointing sideways. Your left arm is at the end of its sideways extension.
Your arm is bent and your fingers have formed a beak hand. Your left elbow and
beak fingers point downwards.
Left hand
points to arm
Right
hand
begins
ta rise
lU!
~
~~~~t
:;nd
centerline
At the end of
the arm's
extension,
elbow and
fingertips point
downwards
l
\,1
Heart and
Beak Hand
position
K
Transiting between Landmark Positions with Both Hands
Figure 6-8
96
11. When your left hand flicks you have reached the Flick position (Figure 6-8M). Your
right arm remains stationary, palm turned upwards.
12. The left hand softly falls to finish at the outside of your right leg (Figure 6-8 N). At the
same time, your left palm turns to face your torso and drifts slightly sideways to your
shoulder's nest. You have again arrived at the Foot and Shoulder's Nest position on the
opposite side of your body (Figure 6-8 0).
Follow Instructions 1-12 until you are comfortable with the coordination of both hands.
Left hand
flicks
~,
Right palm
faces
~:~~/der's
Left hand
r~~
Right
palm
faces
upwards
The Flick
position
N
Transiting between Landmark Positions with Both Hands
Figure 6-8
97
If you get lost, start again at the Foot and Shoulder's Nest position.
Both hands move at the same relative speed when they go from the Foot and
Shoulder's Nest position to the Heart and Beak Hand position.
As your hand moves up the centerline of your body, do not let it drift or cross over
to the other side of the body.
If you get frustrated, take a break. Afterwards, take a few moments to review the
movements of each hand separately before you try to coordinate them again.
98
99
Never hold your breath anywhere in the cycle. The temptation to do so just before
you flick might challenge you.
The speed of the flick should mirror the quick exhale of most of your breath but in a
relaxed manner. Release more than half of your breath during the flick.
Ideally, the exhale should be released from the nose, not the mouth. Ideally, there
should be no sharp sound accompanying the release of your breath as you flick.
However, you may first want to do so loudly out of your mouth to program your
nervous system. When the release is effortless, then powerfully, smoothly and most
important of all, quietly exhale only through the nose.
Release the rest of your breath in a continuous, easy, relaxed stream. Time that
release so that you finish when your flicked arm has dropped and the fingers are
pointed to the outside of your foot.
100
Beginning position: Face forward, feet flat on the floor, parallel to each other and
approximately shoulder's width apart. Your weight should be distributed evenly on both feet
(Figure 6-9 A). Your arms should rest downwards along the sides of your legs.
1. Turn your torso to the left and flick the right leg.
a. Gradually shift all the weight of your torso onto your left foot, as you begin to
turn your torso and hips to the left (Figure 6-9 B).
While turning, raise your right heel while keeping the ball of your right foot
touching the ground.
Let your unweighted right leg pivot on its ball so that your right knee and toes
turn to point in the same direction as your torso and hips. Do not force the leg
to pivot.
b. At the finish of your turn, lift your unweighted right leg slightly off the ground and
extend it backwards as you flick and send energy out of your toes (Figure 6-9 C). The
flick should be loose and relaxed, following the guidelines suggested for flicking your
hand. Your right foot should be completely off the floor. As you flick, your right toes
briefly point backwards and downwards rather than parallel to the floor or upwards.
101
Right foot
lifts slightly
off ground
as you flick
Right heel
pivots out
with turn
t
A
Figure 6-9
102
While turning, raise your left heel, but keep the ball of your left foot touching
the ground (Figure 6-10 Bj.
Let your unweighted left leg pivot on its ball so that your left knee and toes turn
to point in the same direction as your torso and hips. Do not force the leg to
pivot when you turn your hips.
b. At the finish of your turn, lift your unweighted left foot slightly off the ground and
extend it backwards, toes pointing towards the ground as you flick and send energy
out of them (Figure 6-10 C). The flick should be loose and relaxed. Your left foot
should be completely off the floor. As you flick, your left toes briefly point backwards
and downwards rather than parallel to the floor and upwards.
4. Return to center position.
a. As you begin to turn your hips and torso back to the center, keep your weight mostlyon your right foot. Bend your weighted right leg slightly as you slowly lower the
toes and ball of your left foot to the ground (Figure 6-10 Dj. If your balance is
unsteady, it will take some time for you to learn to both precisely control the flick
and maintain your balance as you put your foot back down.
Foot lifts
slightly off
ground as
you flick
Figure 6-10
103
b. Gradually shift your weight toward the middle and turn your hips back to face forward.
As you do so, let your left foot pivot on its ball until your knees and toes face forward
and then finish putting your left heel down.
c. When your feet are facing forward and parallel to each other, your weight should
be evenly distributed on both feet as in Figure 6-10 A.
Slowly and carefully repeat Instructions
a relaxed manner.
The ideal height of the flick is the mid-calf of the other leg, but under no
circumstances should it be higher than your knee.
Raise your foot no higher than where you can easily maintain balance.
The toes and arch of your foot should point backwards and then downwards
toward the floor and not parallel to the floor or facing upward.
PUTTING IT ALL
TOGETHER
Movell1ent 2 Integration
In the two previous chapters, you learned how to turn your torso while protecting your knees
and the basic components of Movement 2. Now you will learn to put them together.
Step 1 teaches new landmark positions that will help you coordinate the movements of
the hands while turning your torso, shifting weight and flicking the hand and foot.
Step 2 teaches you how to smoothly transit between the landmark positions.
Step 3 teaches you how to make the transition between Movement 1 and Movement 2.
This could not be taught at the end of Movement 1 because it incorporates many elements
of Movement 2 which still needed to be learned.
Step 4 teaches you to integrate all the steps that you have learned into one relaxed and
coordinated movement.
106
The Foot and Shoulder's Nest position is the one you have already learned (Figure 7-7).
You will always return to this position just before turning your torso to the right or to the left.
The Heart and Beak Hand and Flick positions (Figures 7-2 & 7-3) differ from the one
learned in Step 4 of the previous chapter (p. 98) because your torso will be facing sideways
and not forward. For now do not worry about how you transit to these positions. Use the
instructions below to place your hands and feet in the landmark positions. Follow the 70
percent rule in doing so.
1. Begin with the Foot and Shoulder's Nest position (Figure 7-7 A), right arm up.
Your right hand is up at about shoulder's height, elbow pointed sideways and palm
facing your shoulder's nest.
2. Turn your torso to the right to put yourself in the Heart and Beak Hand position
Your left leg is turned at the same angle as your torso and left foot is ready to flick.
Your right arm is extended, elbow dropped, fingers in a beak hand. Your beak
Your left arm is at the centerline at about heart height with palm facing upward.
3. Flick the tigers of your right hand and left foot to place yourself into the Flick position
The fingers of your flicking hand point straight ahead, your palm faces downwards
at the ground and your flicking foot and toes point downwards.
The left hand continues to be on the centerline at about heart height with palm
facing upwards.
4. Turn your torso to face back to center to place yourself in the Foot and Shoulder's Nest
position, left arm up (Figure 7-7 B).
Raise left arm slightly to about shoulder height, palm facing towards shoulder's nest.
Right arm has dropped and palm faces towards the right leg. The right fingers face
downwards.
107
Palm of upper
hand faces
shoulder's nest
Weight is evenly
distributed on
both feet
Figure 7-7
~ ~~
Beakhand
ideally is on
the centerline
of the body
~
____---'
~Ii!
)C--
Palm is on
centerline of body
facing upwards
Right foot
is fully
weighted
Left foot
is fully
weighted
Figure 7-2
Toes point
to ground
A
Flick Position
Figure 7-3
Beak hand
ideally is on
the centerline
of the body
108
5. Turn your torso to the left and put your hands and feet in the Heart and Beak Hand
position (Figure 7-2 B).
Your right leg is turned at the same angle as your torso and left foot is ready to flick.
Your left arm is extended, elbow dropped, fingers in a beak hand. Your beak hand
is ideally on the centerline of your body at about shoulder height.
Your right arm is at the centerline at about heart height with palm facing upwards.
6. Flick the fingers of your left hand and flick your right foot to move into the Flick position
The fingers of your left hand have flicked and point straight ahead (palm facing
downwards at the ground).
The right hand continues to be on the centerline at about heart height with palm
facing upwards.
Repeat Instructions 1-6 until you are comfortable with these new landmark positions.
If you cannot turn your torso all the way to the side to achieve these ideal positions, then
you have two options. One is to turn your weighted foot outward as described in Chapter
5, p. 68, so that your body can turn to the ideal position. The other is to turn your torso less.
Then your beak hand will be positioned somewhat off your centerline.
The center of palm as it comes up the torso is directly on the body's centerline, not
your wrist, forearm or fingers.
Your beak hand will be positioned either on the centerline of your torso, or closer to
the right or left energy pathway depending on how far you turn to the right or left.
Take a Short Break
It is recommended that you take a break at this point in order to allow your
nervous system to absorb what you have just learned.
109
You might find that when turning from side to side and flicking, you remember your
foot and waist turning, but forget what the hands are doing or vice-versa.
You might find it difficult to keep the flicks of the hand and foot relatively constant and
balanced, so that one does not overly dominate and imbalance the other.
Your left palm should face the floor. Your right toes should point toward the floor
with your right foot no higher than the mid-calf of your left leg.
b. Exhale with a short explosive force and release more than half of your breath.
Left hand
flicks.
Immediately
exhale at
least half
your breath
Right palm
remains on
centerline as
it rises
Right foot
flicks
Figure 74
Figure 7-5
110
Pull your right hand across your chest until your right palm is midway between your
heart and shoulder's nest.
Left hand
softly falls
Palm of right
hand begins to
turn toward the
shoulder's nest
A
Transiting to Foot and Shoulder's Nest Position
Figure 7-6
111
i. Continue to pull your palm sideways until it faces your shoulder's nest.
j. Continue to pivot on your right foot until it faces forward and is parallel with your
left foot.
k. Put your heel down as you evenly shift your weight onto both feet.
You have reached the other Foot and Shoulder's Nest position and have finished exhaling.
The palm of your right hand faces your shoulder's nest (Figure 7-6 B).
Palm faces
shoulder's nest
B
Reaching Foot and Shoulder's Nest Position
Figure 7-6
112
i. While you turn, the left fingers trace the energy pathways up the inside of your left
leg to your perineum.
j. At the perineum, your left palm turns upwards and continues up your centerline.
Fingers point
towards
Right kwa
begins to
fold
Right
foot is
weighted
Figure 7-7
Left heel
begins to rise
and pivot
1 13
I. Your right arm continues to unfurl sideways, fingers tracing the energy pathways of
your upper arm. Your elbow rotates down and moves further away from your body
as you extend your wrist further sideways. Do not close your armpits or bring your
elbow nearer to your body.
m. When your right arm has reached its fullest extension, your elbow is slightly bent
and its tip points downwards.
n. All five fingers of your right hand touch each other in a beak hand. Ideally, your beak
hand is on your centerline, fingertips facing the ground.
Part a-Left Side (Figure 77 C& D)
o. Continue to pivot on the ball of your left foot, so your knee and toes point in the
same direction of your hips.
p. Bring your left palm, still facing upwards, up the centerline to your heart.
q. Keep your elbow completely horizontal in relation to your body and not collapsed
towards your body.
Your hands and feet are now in the Heart and Beak Hand position and you have finished
your inhale (Figure 7-7 DJ.
Left palm
rises on the
centerline
Right kwa
folds more
Fingers of the
beak hand point
downwards
Left palm
continues to rise
and stays on
centerline
Right kwa
is folded
to 70%
Left heel
begins to rise
and pivot
Heart and
Beak Hand
Position
Pivot
ends
Figure 7-7
114
Right and left fingers and palms become parallel to the floor, left toes point toward
the floor and your left foot is no higher than the mid-calf of your right leg.
Right kwa unfolds when you flick. This causes separation of the vertebrae in the
lower spine, which is helpful for people with lower back problems.
b. Exhale with a short explosive force and release more than half of your breath.
Right
hand flicks.
Immediately
exhale at least half
of your breath
Left palm
is on
centerline
Flick Position
Figure 7-8
1 15
d. Put your left toes down, pivot on the ball of your left foot towards the center.
e. Start rotating your left palm toward your shoulder's nest.
f.
Pull your left hand across your chest until your left palm is midway between your
heart and shoulder's nest.
g. Finish lowering your right arm until it is by your side and your fingers point to the
bottom outside of your right foot.
h. Your exhale should finish at the same time your right hand points to the bottom of
your foot.
Part B-Left Side (Figure 79 B)
I.
Continue to pull your palm sideways until it faces your shoulder's nest.
j. Continue to pivot on your left foot until it faces forward and is parallel with your
right foot.
k. Put your heel down as you shift your weight onto both feet evenly to face forward.
Palm of left
hand begins to
turn toward
shoulder's nest
B
Reaching Foot and Shoulder's Nest Position
Figure 7-9
116
i. While you turn, your right fingers trace the energy pathways up your leg to your
perineum.
j. At the perineum, your right palm turns upward and continues up your centerline.
Fingers point
towards
Right
hand
Right
foot is
weighted
Figure 7-10
1 17
I. Your left arm continues to unfurl sideways as your elbow rotates down and moves
further away from your body as you extend your wrist further sideways. Do not close
your armpits or bring your elbow nearer to your body.
m. When your right arm has reached its fullest extension, your elbow is slight bent and
its tip points downward.
n. All five fingers of your left hand touch each other in a beak hand. Ideally, your beak
hand is on your centerline, fingertips facing the ground.
Right hand
rises on the
centerline
Left kwa
folds more
Right palm
continues to
rise and
stays an
centerline
Left kwa
is folded
to 70%
Right heel
begins to rise
and pivot
Heart and
Beak Hand
Position
Figure 7-10
118
Ideally, each transit to a different landmark position should be practiced separately, until
you are comfortable about what each hand and foot should be doing when you turn.
Remember that in all the turning positions, the palm that rises stays on the centerline of the
body. Depending on how for you are comfortable turning the body, the beak hand will either
be on the centerline of your body or near the right or left energy channel.
For most, the coordination of both hands and feet while turning is a challange. Be patient
with yourself and do not try to rush going through these steps. Take as much time as you need
to learn them.
1 19
Your right arm will be at your side, with the fingertips facing downwards and pointing to the outside of your right foot
Your left hand is at the shoulder's nest with the palm facing up and the elbow
facing sideways.
Right
hand
A
Final Position of Movement 1
Figure 7-11
120
(Figure 7-11 C). This is the Foot and Shoulder's Nest position.
Gradually turn
your left palm
to face
shoulder's nest
Left palm
faces
shoulder's
nest
Right hand
rotates to
inside of
foot
Left foot is
weighted
c
Transition between Movements 1 & 2, Continued
Figure 7-11
121
At the perineum, your right palm turns upward and continues up the centerline of
your body.
Right hand
continues to
rise on
the centerline
Left kwa
starts folding
Right heel
begins to
rise and
pivot
Left foot is
weighted
E
Transition between Movements 1 & 2, Continued
Figure 7-11
122
I. Your left arm rotates until the elbow and fingertips point to the ground. Do not close
your armpits or bring your elbows nearer to your body.
m. When your arm has reached its fullest extension, your elbow is slightly bent and its tip
points downwards.
n. All five fingers touch each other in a beak hand. Ideally, when you reach the Heart
and Beak Hand position, your beak hand will be on your centerline.
Left hand
unfurls
Right hand
stays on
centerline
As you turn,
your right hand
rises up the
centerline of
your body
Left kwa
folds more
Left kwa is
folded to 70%
Right foot
pivots as you
turn your torso
Right foot
is ready
to flick
F
Transition between Movements 1 & 2, Continued
Figure 7-11
123
You have now completed the transition between Movement 1 and Movement 2 and are
in the Heart and Beak Hand Position. Your left hand and right foot are now ready to flick
(Figure 7-11 GJ. You are now ready to begin the sequence of Movement 2 (Step 4), as
shown on the next page.
124
A
Flick positionExhale strongly
B
Hand softly falls as you
turn back to center.
Continue to exhale
J
Flick positionExhale strongly
125
D
v
Left hand begins to
rise as you turn right
----------------------------------il.~
Finish Inhale
M
V
Integration of Movement 2
Figure 7-12
126
Maintain your hand six to eight inches away from your body at all times.
Do not let either hand drift or cross over to the opposite side of your body.
The flicking hand and foot should be loose and relaxed at all times.
After you flick with a hand, let that hand and arm drop softly and slowly.
In all positions where the body centerline is involved, the center of your palm Irather
than your wrist, fingers or forearm) is directly on the body's centerline as it comes up
the torso. Your beak hand will be positioned either on the centerline of your torso, or
closer to the right or left energy pathway depending on how for you turn your torso to
the right or left.
Clearly be in each of the landmark positions before moving to the next. They are
all equally important.
Remember the 70 percent rule and don't try to be perfect. Be gentle with yourself
as you learn.
Practice daily until you can do all of the components in Movement 2 without having to
read the text.
TIGER CROUCHES
Movell1ent 3 COll1ponents
The name of this movement is a metaphor for the manner in which tigers and other members
of the cat family crouch and wait in a relaxed and very aware fashion for their prey.
A key feature of Movement 3 (Tiger Crouches) and Movement 5 (Tiger Pounces) is the
repeated horizontal tracing of the great meridian (dai mail, which connects all the vertical
acupuncture lines in the body, transfers energy between them and activates the energies of
the lower tantien. A diagram showing the location of the great meridian and lower tantien
appears on page 130 in this chapter.
Overview
Movement 3 has five basic goals
Increase the speed and strength of the energy circulation in your legs
Fully open the energetic circulation from the kidneys to the legs. By revving up the
energy in the legs, Movement 3 sets the stage to open the energy in the upper
body, especially the heart, during Movement 4.
127
128
In
Five Positions
The first is for people who are in good health; the other four positions are for people who
have short- or long-term leg, hip or spinal injuries, have poor balance, are bedridden or
are wearing a leg cast.
Upright Position
Figure B-1
1. Standing upright provides the best overall benefit (Figure B-1). All your weight will be
on the forward leg, with the back leg stretched backward and resting on the ball of
the foot.
2. Standing with one foot supported on a stool or step (Figure B-2).
Figure B-2
129
3. Sitting on a chair.
4. Sitting on the floor, with legs outstretched (Figure 8-3). A variation of this posture for a
healthy person is to stand with one leg in the air and use a stretching bar for support.
Figure 8-3
5. Lying down on a bed, couch or floor, with or without one or both legs raised (Figure 8-4).
Figure 8-4
130
In this movement, two hands trace the energy pathways. One hand pats up the inside
of the leg; the other pats up the outside of the leg.
First, have a partner pat your body along the energy pathways as outlined in the
following instructions.
Second, pat your body yourself.
Third, trace the energy pathways in space by yourself. As you do so, remember to keep
your hands six to eight inches away from your body (Figure 8-5).
Front View
Side View
f#:;j~~--Great Meridian
{DaiMai}
Figure 8-5
Back View
131
Your partner should pat each of your legs 10 times. Next, you should do the same.
Finally, you should trace the same energy pathways without touching your body.
132
Center of hip
joint Kwa --!=~~--.
Center of
Knee --.:to
Right
foot is
weighted
Left
foot
Center of
Ankle .=.:--~.
Front view
Figure 8-6
To protect the knees, move the knee of your front leg slightly forward and back, until you
find a position where you can feel the center of your knee connecting through the center of
your ankle to the center of your foot. Find the position where your knee and foot feel as
stable as possible. A lack of stability often involuntarily causes the body to tense and block
133
the flow of chi. The back of your knee should feel connected to the back of your ankle. Your
weight should fall through the center of your foot and spread out evenly through its ball, heel
and outside edge. Do not move your kneecap when bending down. Do not collapse the knee
inwards or outwards (Figure 8-7 A & B). Do not bend the knee too for forward or back
'(
{J
Knee
collapsed
.,....,,.....-t--inwards
Knee
collapsed
outwards
\
Incorrectknee too
for forward ;~
____..-1
Incorrectknee too
for back
\/ j
:5
),
'I
B
Figure 8-7
The ideal position of the legs is for each kneecap, ball of the foot and heel to be
vertically aligned with the kwa and shoulder's nest. Your front and back legs should
be on parallel lines to each other (Figure 8-6 A). Your toes, kneecaps and torso
should all face directly forward.
Once you find a comfortable stance-and when you continue the movement-your
forward kneecap should not move forward, back or sideways. Sideways movement
is especially dangerous to the ligaments of the knee (Figure 8-7 A & B).
When you have made all these adjustments, you should feel stable, relaxed and
comfortable and be able to feel a natural bounce inside all of the joints your legs
and hips.
134
8eg;nn;ng Position: Take the forward stance with your left foot forward. Head and spine
are upright. (Figure 8-8 A)
1. Fold forward from your kwa.
Your torso should lean forward. This movement should come from a rolling action of your
torso and buttocks around your hip joints. Do not let your legs or hip joints move forwards,
backwards or down.
Maintain a straight spine and neck without turning your hips or any further bending
of either knee (Figure 8-8).
/_ \ "
r:-:ry
Left
foot
Figure 8-8
135
Do not bend your your spine and do not let your head fall forwards (Figure 8-9 A)
or pull it backwards (Figure 8-9 B).
Spine bends, not
kept straight
Forward Fold-Incorrect
Figure 8-9
Only fold as far as is comfortable for you. You do not want to feel the muscles of
your lower back or thighs restricting your movement or feel restrictions in other
places, such as your neck or calf muscles. As you practice, gently relax and stretch
any restricted areas and gradually, over time, fold lower and lower. Eventually, you
will be able to fold forward far enough that your arms can hang down low enough
so your hands can touch the floor (Figure 8-10).
Eventually, as your
body loosens, you
will be able to fold
forward so that
hands can touch
the floor
Forward Fold-Option A
Figure 8-10
If your stance causes your legs to wobble or your breath to become strained, then stand
up higher. Any bodily tension and excess strain will defeat the relaxation that can be
achieved by doing this movement.
136
Unfold upwards
from the kwa
Tailbone tilts
forward
A
Return to Upright Position-Correct
Figure 8-11
Raise your torso by rolling your hips in a seesaw action. Feel as if your rear
end and tailbone roll downwards a little as your torso rolls upward. The pivot
point of your seesaw is the center of your hip joints. Do not let your legs or hip
joints move forwards, backwards or down.
Try not to tighten your shoulders. Do not use them to lift your torso. It may take
practice for you to raise your torso by using only the muscles of your hips and
legs. Your chest, shoulders and arms should remain loose and relaxed.
b. Repeat folding from the kwa and returning to the upright position as many times as
is necessary to have the soft tissues of the kwa feel comfortable and relaxed.
3. Change Legs
a. Bring your feet parallel again. You can bring your feet parallel in one of two ways.
Choose whichever method is most comfortable for you as both are correct and will
help you achieve the goals of this movement. You can move your back foot forward
or you can shift your weight backwards and then bring your forward leg backwards.
b. Then either step forward with your right foot or put your left leg backwards. Either
way, your weight should be on your forward right leg and your left leg will be behind
you with its heel raised and the ball of the foot lightly pressing into the ground.
137
Thigh moves
downward
Front of knee
should not
move forward
or backward
Front of knee
should not
move forward
or backward
Knees bend
Knees bend
Figure 8-12
Figure 8-13
2. Return to the upright position. Keep your front lower leg and kneecap stable and
unmoving and use your legs, hips and kwa to push your back up into its original
vertical position (Figure 8-13).
Repeat this movement until you can squat and rise in a relaxed, smooth and comfortable
manner. Then change legs and practice squatting from the kwa on the other side.
If you feel strain in your knees, ankles or lower back, only go 50 percent of as low
as you can go.
lMore information about the kwa squat can be found in the author's book,
revised edition, pp. 163-165 and pp. 202-203.
138
Initiate the bend of the legs from the kwa, not the knees
Use your hip and leg muscles, not your shoulder or chest muscles to move your
weight up and down.
Folding from the Kwa by Using a Support for the Front Leg
Figure 8-14
The ideal height for the supporting object should be one that helps you to
Keep your supporting back foot and leg firmly anchored flat on the floor
8eginning Position: Stand with feet side by side, shoulder's width apart and parallel
to each other.
139
1. Shift your weight to your left (back) foot and place your right foot up on your support.
2. Fold forward in your kwa so that your torso leans forward in the manner described for
Option A. This movement should come from a rolling forward action around your hip
joints, not by bending your spine.
a. Maintain a straight back, without further bending of your knees or turning your hips
PUTTING
IT
ALL TOGETHER
Movement 3 Integration
You have learned various options for bending from the kwa and have chosen the one that
is most comfortable for you. Now you will learn to add the arm movements which, combined with the bending of the kwa, will activate the energy pathways that are important to
this movement. You do not have to bend as low as the woman in these illustrations to reap
the benefits of Movement 3. Over time, your body will loosen and you will be able to go
lower. At all times, remember the 70 percent rule and only bend as far as is comfortable.
141
142
As you begin to turn, fold your left arm at the elbow and bring your left hand,
with your palm facing your body, to your left flank, just below the armpit.
Move your right hand across your body to face your palm toward the right flank
of your body, just below the armpit (Figure 9-/ B-CJ.
2. Continue to trace your palms down your flanks until they reach the great meridian
Figure 9-/
143
3. Bring your hands forward along the dai mai until they almost meet but do not touch,
with palms facing the lower tantien, approximately six to eight inches away from your
skin (Figure 9-1 f).
4. Simultaneously, trace the great meridian (dai mail, palms facing your skin, back to the
mingmen and forward again, as you step into a forward stance so your right leg is
forward and your left leg is back with the heel raised (Figure 9-1 F-I).
If you are using a support, shift your weight onto your left foot and put your right
foot onto your support.
You are now ready to start Movement 3.
Left foot
is bock
Figure 9-1
144
Beginning Position: Place your hands in front of your tantien, as you did when you traced
the energy pathways. Your palms will face your tantien and your elbows will point down.
Your weight is on your right leg and your left leg is behind with the heel slightly raised
(Figure 9-2 A).
Downward Movement
1. From the tantien (Figure 9-2 A), move your hands sideways and downwards toward
your right leg and then split the hands apart, with your left palm facing the inside of
the thigh and your right palm facing the outside of your thigh (Figure 9-2 B).
Left heel
is slightly
raised
Right leg is " \
weighted
l;::.~
'- J
(~
B
Begin Downward Movement
Figure 9-2
145
2. Move your palms down both sides of your legs to trace the energy pathways down your
legs (Figure 9-2 C).
3. Move your hands down your calves to your heel and then forward to your toes using
either the kwa fold or the kwa squat (Figure 9-2 D &
fl.
pathways with your hands around your toes. If you cannot reach all the way down
to your foot with your hands, simply point your fingers, as in Option A, in the direction of your foot to trace the energy pathways. Make sure your upper body does not
touch your upper leg as you bend downwards.
Left
foot
Figure 9-2
146
Upward Movement
4. Straighten up from your kwa, as your palms retrace back up on both sides of your leg
from your ankles to the top of your thighs to your kwa and then sideways to the front
of your tantien (Figure 9-2 F-I).
Right
foot
G
Upward Movement
(?})
Right
foot
M
Trace Dai Mai Backwards and Forwards
Figure 9-2
Chapter
9:
Movement
Integration
147
6. To change legs, as you finish raising your body and arms, step either forward or
backwards to bring your feet side by side and parallel (Figure 9-3 A-D).
7. Move your left foot to the forward position and simultaneously trace your palms along
the great meridian to the mingmen and back to the lower tantien (Figure 9-3 E).
ffl
(},
\ t
\
Right
leg
Left
leg
Figure 9-3
8. Repeat Instructions 1-5 for the left leg. The sequence is shown below (Figure 9-4).
Movement
Figure 9-4
148
Right
foot
I Exhale _ _ _ _ _ _ _ _ _ _ _....
2.
M~_t wi~
3
Perform 10 times.
fl
~
,~
Exhale
-----------tl...
Inhale - - - - - - -
Inhale------
149
across to your kwa and down either side of your leg to your heel and toes.
2. Inhale even more slowly as you bring your hands back toward your ankle and up your
leg, your kwa, to your tantien, around the dai mai and back to your tantien.
3. When you change legs, exhale with the next downward movement.
4. Inhale as you change leg positions and circle the dai mai; exhale as you move your
hands down from your lower tantien to the newly positioned forward leg.
Left foat
is back
Inhale - - - - - - - - - - -....
Figure 9-5
150
Option B
If you find that Option A causes you to strain or hold your breath (Figure 9-6):
1. Exhale slowly as you move your hands from your tantien to your toes.
2. Inhale slowly as your hands trace back up to your tantien.
Right
foot
'Exhale ------t.~ Inhale _ _ _ _ __
~\\J1~
Q~i;~<"
;)~'/.~ ~ ~~(, ~ P~}\~\~
Ii
\'l;,"\ )
II
,
,~
JI
Exhale -----------~
... Inhale - - - - - - -
IJ
4. Movement 3 with left leg forward.
Perform 10 times.
<t,I,
U1
II
t'it1J.
')
Exhale
:J
[!i
IT
'@l
4@1'
>l\,VW
"\; '.)
~'!
(
\: )
Inhale - - - - - - -
151
Left foot
is back
---l.~
Exhale
---i.~
Inhale
Exhale
----l~
-----l.~
----i.~
Exhale
---i.~
Inhale - -...
Figure 9-6
152
Figure 9-7
153
2. Move your palms along the great meridian to your flanks (the sides of your torso) and
then move them upward (Figure 9-7 D-F). As your hands pass by the center of your
midriff, gradually begin to form both hands into beaks. The fingertips point to and
trace your flanks.
3. When your hands get near your armpits, begin to unfurl your arms, ideally directly to
the sides of your shoulders, as your fingers trace the energy pathways of your upper
arms as in Movement 2 (Figure 9-7 F & G).
4. As both arms extend, your shoulders, upper arms, elbows and wrists will rotate so
your elbows drop and point downwards and your beak fingers point directly to the
ground (Figure 9-7 H). At this point (as in Movement 2) the gradual closing of both
your beak hands finishes and your fingers touch each other in a relaxed fashion.
5. Extend both arms sideways without locking your elbows. Open your hands and face
both palms directly sideways (Figure 9-7 I). Your fingertips should be upwards, with
your arms directly to the sides of your body at about shoulder height. Do not force
your arms or hands into this position-go to 70 percent of your range of motion.
You have now completed the transition and are ready to begin Movement 4, Tiger
Separates Her Cubs.
Figure 9-7
10
TIGER SEPARATES
HER CUBS
Movem.ent 4
The name of this movement, "Tiger Separates Her Cubs," is a metaphor for the way in
which this large cat playfully separates her cubs, bringing peace to her heart and her family.
As you do this movement, chi transfers between the left and right sides of your upper body.
As this occurs, chi moves across the heart and the middle tantien, the center of consciousness,
bringing peace, compassion and balance into your heart.
Overview
The continuous side-ta-side motion of the arms and shoulder blades, together with turning
of your head, gently energizes your chi and frees up chi blockages in the important
acupuncture points and meridians that control the functions of the heart. This improves circulation and helps to heal the heart muscle and the pericardium, the fibrous membrane
surrounding the heart and attached portions of the main blood vessels. The movement
loosens up the whole upper body and increases the flexibility of the shoulder blades. This
improves blood flow to the area, which helps to reduce or eliminate neck and shoulder
pain. Your arms and hands gain greater strength and mobility. Your head is able to turn
more easily, so very important for older people, especially when driving.
155
156
Figure 10-1
157
Beginning position: At the end of the transition from Movement 3 to Movement 4: your
arms are extended out to the sides with your hands open and your palms facing sideways
(Figure 10-2). Your fingertips face upwards and your arms are directly to the sides of your
body at about shoulder height. Your elbows point downwards. Your weight is distributed
evenly on both feet.
Beginning Position
Figure 10-2
1. Move Right
Smoothly shift all your weight to the right leg. As you do so, the next motions should
happen simultaneously in a continuous flow. The weighted leg should be slightly bent.
Gradually let the heel of your left foot leave the ground, but keep the ball touching
the ground. Do not let your left hip rise; let your left knee move forward similar
158
Begin to retract your extended left hand to move toward your left shoulder to just past
your elbow crease. This is done by moving your left shoulder blade to the right. Your
armpit will be partially closed and your elbow will continue to point downwards.
As you complete the move to the right, open up your right armpit (Figure 10-3 B).
As you retract your left hand, form a beak hand with fingers pointing to the ground.
Initially let your right wrist slightly bend (Figure 10-3 A). As your beak arm and wrist
reaches their fully bent position, extend your right palm and slightly open your armpit.
Gently turn your head to the right, to the extent you can within your 70 percent range
of motion (Figure 10-3 B).
Do not turn your hips. Your torso continues to face forward and should not rotate.
You should keep the toes of your left foot pointing forward.
You have just completed moving to the right. One arm is extended; the other is retracted
and has a beak hand. Your head and eyes are looking at your right palm. This is counted
as one movement.
Left heel
begins
to rise
Begin to shift
weight to
right leg
B
Move Right
Figure 10-3
159
Figure 10-4
160
retracting arm with the beak hand moves towards the spine. At first the shoulder blades will
feel "Iocked Up" but will gradually loosen as you practice.
2.
Move Left
As you move to the left, you will smoothly shift your weight from being fully weighted on
the right to being fully weighted on the left leg. As you do so, the next motions should happen
simultaneously in a continuous flow (Figure 10-5 A-E). To move to the right again, simply
reverse the order of the movements (Figure 10-5 E-A).
Right
hand
Left heel
completely
dropped,
weight is
evenly on
both feet
Right heel
begins to rise
Begin
weight shift
to left foot
Left foot is
weighted
Right heel is
70% raised
Move Left
Figure 10-5
161
Gradually let the heel of your left foot sink to the ground. Do not let your left hip
drop. Your heel should finish sinking as you finish your weight shift. let your left leg
remain slightly bent (Figure 10-5 A-C).
Gradually let the heel of your right foot leave the ground, but keep the ball touching
the ground. Do not let your right hip rise; let your right knee move forward similar
to the way you raised your heel in Movement 1 Isee p. 36). When your weight is
in the middle, both heels will be slightly off the ground lor initially they may be on
the ground until your balance improves). As you finish your weight shift, only raise
your right heel as far as is comfortable (Figure 10-5 E).
Extend your left arm from the shoulder blade and armpit as you stretch open your
left beak hand and push your left palm outwards (Figure 10-5 C-E). Both elbows
point downward. As you do that, retract your extended right hand to move back
towards your right shoulder to just past your elbow crease. This is done by partially
closing your armpit as you bring your elbow slightly towards your ribs, keeping
your elbows pointing downwards (Figure 10-5 D-E).
As you move left, your shoulder blades should move in the direction of your extending
palm. let the movement of the shoulder blades help move your arms. Do your best
to keep your shoulder muscles relaxed.
As you retract your right hand, gradually form a beak hand with fingers pointing to
the ground. (Figure 10-5 D & E).
Gradually and steadily turn your head from facing right to facing left. When your
weight is in the middle, your head faces the front (Figure 10-5 C). When your weight
is fully shifted, your head faces directly toward your left side, within your 70 percent
range of motion (Figure 10-5 E). Allow your neck, shoulders, armpits and eyes to
move in unison.
Do not turn your hips. Your torso should continue to face forward and not rotate. You
should keep the toes of your right foot pointing forward.
You have just completed two movements, one to each side. Twenty movements comprise
one round of Movement 4.
Try and keep your movements relaxed. Only lift your arms as high as is comfortable.
Your shoulders should not rise.
162
I. Transition to Movement 4
and Repetition I
Inhale - - - - - - - - - - - - - - - - - -
2. Repetitions 2 and 3
Inhale -----------------'l.~
Movement 4
Integration and Practice
Figure 10-6
Exhale
163
First, inhale and make the transition between Movement 3 and Movement 4, finishing
with the palms of both your hands facing out as you exhale. Then inhale, shift your weight,
turn your head and move your arms to the right. Exhale as you finish. Count this as one
repetition (Figure 10-6).
You are now ready to shift left and begin the begin the second repetition. Twenty repetitions
is one round of practice. Each time you shift from left to right or right to left is one
repetition (Figure 10-6). If 20 rounds are too much for you at first, do fewer repetitions.
However, make sure that you do them in even numbers.
- - _ - - - - - - - - - - - . . . . ,..
~ Exhale
- - - - I..
~
Inhale
Inhale - - - - - - - - - - - - - - - - - - - . . .
- - - - I..
~
Exhale-----i..~
Exhale
164
Beginning Position: Your left palm is extended to the side and your right arm is retracted,
with your fingers pointing downward in a beak hand.
1. Leave your left arm extended, palm facing the side, fingers up and simultaneously
Inhale and smoothly shift your weight toward the opposite side, until your weight is
evenly distributed on both feet. Turn your head and face straight ahead.
Exhale and open your right beak hand and extend your retracted right arm and
palm sideways, until your arm and palm are extended completely to the side and
fingertips point up. Both palms are now open and face away from your body
Shift weight
evenly to
both feet
Finish final
repetition of
Movement 4
B
Transition from Movement 4 to Movement 5
Figure 10-7
165
At this point if your energy feels less than very strong, simply trace the great meridian
back to the spine and forward to the front of the tantien, as many times as you need until
your energy feels smooth and your mind is clear. End on an inhale with your beak fingers
at your flanks at the level of the great meridian.
4. Open your hands, point your fingers at your skin and continue downward to trace the
outside of your thighs and lower legs until your fingers point directly at the outsides of
your feet and exhale (Figure 10-7 F).
5. Move your hands to trace around your toes until they point at the inside of your feet as
you begin to inhale again.
You have now completed the transition and are ready to begin movement 5, Tiger Pounces.
D
4 to Movement 5
Figure 10-7
166
Keep in mind the movement's main goal is to increase blood circulation and
improve heart function. Shifting and sloshing your weight from side to side aids in
maximizing the blood circulation between the left and right sides of the body. It
also loosens the shoulder blades.
Make sure you shift your weight completely to each foot, even if you have to
temporarily use a higher stance. Remember the 70 percent rule and avoid
locking your knee joints.
11
TIGER POUNCES
Movement 5
The name of the move, "Tiger Pounces," is a metaphor for the way in which a tiger subdues
its prey or a kitten playfully jumps on a toy. Seemingly without effort, they gather their energy.
When they pounce, they suddenly release all their energy downwards, still remaining soft
and relaxed.
168
with the trauma, remember every word spoken and repeat thoughts you might have used or
wished you had said, over and over. The solution lies in getting the chi out of your head and
back into your body where it belongs. This is a specialty of Movement 5.
likewise, this move is equally useful if your body goes into shock following an accident
or a natural disaster, such as an earthquake or hurricane. During shock, the brain has more
energy than it can handle and shuts down causing hysteria or disorientation. In the West,
a common method for bringing people out of hysteria is to slap them to bring them to their
senses. However, this may cause a worsening of the problem because it can cause even
more energy to get stuck in the head, which can induce even more extreme paralysis.
In the chi practices of the East, a common method for bringing people out of hysteria is
to lift the person and bring them down hard on their heels, hit their heels or have them
stamp their feet. This causes chi energy to suddenly drop down the body and be released
so the brain and natural body functions can return to normal. Movement 5 does the same.
Overview
Your primary goal in this movement is to coordinate the dropping of your heels and the
downward flick of your fingers, so that your energy drops in a sudden, but relaxed manner.
This may seem counterintuitive to you, but with time and practice, the more relaxed your
movements are, the more power, spring and speed you will gain.
As your energy moves downward, stagnant energy is powerfully released from your
kidneys, boosting your immune system and increasing the ability for relaxed chi to rise and
become balanced throughout your body.
Optimal rise
at 70%
169
Figure 11-1
At the completion of the last transition, you are standing with your
feet parallel, shoulder's width apart, weight evenly distributed on both feet. Your fingers
point down at the insides of your feet.
Beginning position:
1. Very slowly lift your heels off the floor and press the balls of your feet strongly into the
ground. Putting physical pressure on the ball of the foot causes energy to rise in the
body. Do not raise your heels beyond 70 percent of your range of motion (Figure 11-1).
If you feel your foot vibrate or your foot or ankle tightens up, you have gone too far.
lift your heels in as relaxed a fashion as possible.
2. Suddenly drop your heels. The sudden pressure of the drop through the backs of your
heels will cause energy through your entire body and legs to move downward and
exit your feet. It is the suddenness and speed of the drop, not the power of your
stomp, that maximizes the clearing of stagnant energy from your legs.
When you drop, allow your body to find a position that is completely relaxed and
in which you feel all your joints have an internal bounce. Do not stiffen, lock or feel
energy getting stuck inside any of your joints. You should feel the shock wave from
your heels suddenly landing pass smoothly through your whole body, gently shaking
your system to dislodge stagnant energy from your kidneys through your waist, legs
and feet into the ground.
3. If you are weak, ill, injured or recovering from surgery, avoid counterproductive and
unnecessary shock to yourself by initially lifting your heels less than an inch off the
ground and only very gently drop them. Make sure you practice on a soft surface.
Repeat the foot drop movements until you can do them while keeping your body relaxed
and your legs springy. It is not recommended that you do this excercise on concrete.
170
As you flick, generate the feeling of releasing and throwing away energy from
your armpits as well as your hands. The energy movement originates in the
armpits and finishes by being expressed out through the fingers.
Tensing your fingers, or putting overt physical strength in the flick, will diminish its
benefits. Speed is important, not power.
Beak
hands
Hands rise
and begin
to form
beak hands
Figure 11-2
171
(Figure 11-3 B) to the level of the kwa and then continue up your centerline (as in
Movement 2) to your lower tantien, at which point your palms will face your lower
tantien (Figure 11-3 C).
b. Trace the great meridian to the mingmen as in Movement 3 (Figure 11-3 D, E & F) .
c. Trace the great meridian back to the lower tantien, gradually forming beak hands,
so that the fingers of each beak hand directly point to the lower tantien but do not
touch (Figure 11-3 G & H). At this point, your heels should be at their highest level.
2. Simultaneously, flick your fingers toward the ground and suddenly drop your heels
(Figure 11-3/). This action will naturally drop your chi energy down the outsides of
your legs. You are now ready to bring energy back up (Figure 11-3 J).
Repeat Instructions 1 and 2 in a continuous loop. Twenty flicks is one round of Movement 5.
Figure 11-3
172
Option B
If you cannot inhale for that length
173
Exhale
Transition from Movement 4. Perform once to make transition and then move to next sequence.
Figure 77-4
174
Try to rise on the balls of your feet in such a way that you do not stiffen your feet,
hips, legs or ankles.
Pressure on the ball of the foot causes chi to rise up your body.
If you need to, slowly move your weight from your heels to the balls of your feet
as you move your arms and only just before the flick actually raise your heels off
the ground.
12
This movement derives its meaning from the fact that the tiger is related to the earth and the
dragon to the sky or heaven. This movement powerfully releases energy in two directions:
towards heaven and earth. The release of this energy results from a continuous and powerful piercing stream, rather than a poking or flicking action.
When you release stagnant energy strongly, the remaining energies in your body can
then flow strongly and cleanly up and down your body.
Overview
You have three new goals for this movement
To learn how to form a "sword hand" as well as bend and straighten your sword
fingers
To simultaneously extend your sword fingers to heaven and earth with energy
and precision.
175
176
Beginning position: Right hand starts at the inside of your right foot.
1. Trace up the inside of the foot and leg to the kwa, nipple and shoulder's nest, as in
Movement 1 (Figure 12-1).
2. Continue from the shoulder's nest to the side of the neck and up the side of the head.
Pass through the center of the ear, to the bai hui (hui is pronounced like "way," with an
"h" in front of it-"hway" and is sometimes spelled "hwei") point at the exact center of
the crown of the head (Figure 12-2).
FRONT VIEW
SIDE VIEW
Figure 12-1
Chapter 12: Dragon and Tiger Pierce Heaven and Earth -Movement 6
177
The Chinese call the bai hui lithe meeting of a hundred channels. II This acupuncturepoint is
located at the intersection of two imaginary lines: a) from the tip of your nose over the top
of your head to the occiput, where the skull meets the back of the neck; and b) from the
center of one ear over the top of your head to the other.
Trace the Energy Pathways from the Shoulder's Nest to the Bai Hui Point
Figure 12-2
3. Point your fingers from the bai hui directly upwards towards a point several feet above
your head.
4. Retrace the same line downward from the bai hui through the ear back to the shoulder's
nest, down the to the kwa, to the outside of the hip and down the outside of the leg to
the outside of the foot.
5. lastly, the fingers circle around the toes to the inside of the foot and back up again.
Repeat Instructions 1-5 on the left side of the body with the other hand.
178
A
Forming the Sword Hand
Figure 12-3
To help loosen, stretch and soften stiff hand and wrist tendons, maintain the sword hand
position for a few minutes. Extend your awareness of feeling to your fingertips and make
circles both clockwise and counterclockwise with your wrist and sword fingers, bending them
on one half of the circle and extending them on the other half. Then open your armpit so you
feel as if the movement of your fingers originates from there and make circles again. You can
rotate both hands in the same direction simultaneously or in opposite directions.
Chapter 12: Dragon and Tiger Pierce Heaven and Earth -Movement 6
179
Figure 12-4
Both arms will simultaneously move at the same speed during the whole movement.
1. Form two sword hands by gradually bending ring and pinky fingers slightly to touch
your thumb. Also bend then use your index and middle fingertips to trace up the
inside of the legs to your lower tantien (Figure 12-4 B & C).
2. Keep your fingertips bent as you move them sideways along the great meridian so
your fingertips point to the right and left sides of your kwa (Figure 12-4 OJ.
You have now reached the beginning position of Movement 6.
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Beginning position: Relaxed and ever-so-slightly bent sword fingers point to the right and
left sides of your kwa. Your weight is evenly distributed on both feet. There is no weight shift
in this movement (Figure 12-5 A).
1. Begin by tracing the energy pathways from your tantien.
a. Down. Move your left sword fingers sideward to point at your left hip socket
Left
side
Right
side
Figure 12-5
Chapter 12: Dragon and Tiger Pierce Heaven and Earth -Movement 6
181
2. Trace the energy pathways with your fingertips up to the bai hui and down your left
knee (Figure 72-5 C & Dj.
a. Down. With your left fingertips pointing downwards, trace down the outside of
your left leg to your left knee.
b. Up. With your right fingertips pointing up, trace upwards to your right shoulder's
nest, side of your neck, ear and side of your head and finish pointing right fingertips up at your bai hui point.
3. Trace the energy pathways to the outside of the left foot and turn your right fingers
upward (Figure 72-5 Ej.
a. Down. Left fingers continue to trace down to the outside of your left foot.
b. Up. Rotate your right forearm, wrist, and hand and extend your arm upwards
slightly so that your fingertips point vertically directly above the bai hui point.
4. Now, simultaneously and very quickly, use your sword fingers to extend your chi and
pierce both heaven and earth (Figure 72-5 Fj.
Straighten your arms and legs slightly and extend your fingers about an inch in each direction.
Your extended left fingers should point directly at the ground (the earth), and your extended
right fingers should point straight to the sky directly above your bai hui point.
t
Right
hand
pierces
heaven
E
Coordinating the Hand Movements
Right Hand Up, Left Hand Down
Figure 72-5
182
Right
hand
c
Coordinating the Hand Movements
Left Hand Up, Right Hand Down
Figure 12-6
183
7. Trace the energy pathway to your left nipple and right kwa (Figure 12-6 F).
a. Up. left fingers from left kwa to left nipple.
b. Down. Right fingers from right nipple to right kwa.
8. With the tips of your fingers, trace energy pathways to bai hui and right knee
H
Coordinating the Hand Movements
Left Hand Up, Right Hand Down
Figure 12-6
184
Option B
If you find you cannot inhale this long without holding your breath or inappropriately speeding
up your movements, use this option. Track your breathing with the hand that moves down.
1. Inhale as the hand returns to point downward at your bai hui.
2. Exhale as the hand moves down to your shoulder's nest or nipple.
3. Inhale as the hand moves down to the kwa and then points to the bottom of
your foot.
4. Exhale without strain as your sword fingers pierce heaven and earth.
Chapter 12: Dragon and Tiger Pierce Heaven and Earth - Movement 6
185
Do once and
count as repetition
2, then move to
the next sequence
Inhale - - - - - - - - - - - - - - - - - - - - - - - - - . . . . Exhale ~
Do once and
count as repetition
3, then move to
the previous
sequence. Do
twenty repetitions.
Figure 72-7
186
It may take a while before you have the shoulder blade flexibility to be able to point
to and then extend your fingers vertically above your bai hui point. Until that time
move your arm and fingers upwards as far as you can comfortably without straining
your shoulders or inducing tension. Then from this position, point your fingertips as
well as you can toward your bai hui point and then vertically upwards.
As you pierce and extend your sword fingers, your arms and legs extend slightly
while continuing to remain slightly bent. Do not lock your elbow or knee joints.
Have some bend and bounce in both your elbows and knees. When your knees
bend and bounce, your hips should go up and down about an inch or so, but no
more. Otherwise, you may strain your knees or lower back.
Breathe and move in a relaxed, steady manner. Try not to hold your breath or
stiffen your hands, legs or arms.
13
DRAGON SOARS TO
HEAVEN AND BRINGS
BACK THE PEARL
Movel11ent 7
The name for Movement 7 derives from a dragon metaphorically flying to the end of the
universe and returning with the pearl, a symbol of the elixir of immortality.
Your eyes, mind and attention will be focused on making piercing movements with your
upper and lower hands and your back foot. As you do so, you willi simultaneously project
your energy toward the stars and the end of the universe (heaven) and deep into the core
of the earth. You will then gather these energies (chi) from above and below and pull them
into your lower tantien. As the energies of heaven and earth stream into and mix in your
lower tantien they form a "mystic pearl" that awakens your lower tantien.
Overview
Movement 7 ties together all the major energic circulations in your body that the previous six
movements of Dragon and Tiger have stimulated and boosted. As your hands move in opposite directions diagonally across the body, they cause all the up and down, right and left,
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188
forward and backward, and crossovers of energy flows from both sides of the body to unite
and circulate through your lower tantien and out through your hands and feet. This in and
out movement continuously clears stagnant energy and draws in clean energy from heaven
and earth into your tantien.
The continual turning of your torso in coordination with your hand movements and the
piercing motions of your hand and back foot will help you attain greater physical balance.
Chapter 13: Dragon Soars to Heaven and Brings Back the Pear/-Movement 7
189
connected, but universally to those no matter where they exist, regardless of whether you
love or hate them, or believe you will ever personally meet or connect with them or not.
The Buddhist word "compassion" carries all the meaning and impact as the word "love"
in Christianity or the phrase, "everything furthers," that permeates the I Ching, the bible of
1
Taoism. The wonderful quality of compassion and love is that it is the only natural force that
can overcome and transform negative emotions, no matter how strong and ingrained they are.
Boddhichitta is a powerful ally in helping to avoid the potential egomaniacal tendencies
that can arise from the attitude of "I can project energy therefore I am special," etc. Due to
human frailty this can easily happen to anyone when entering the world of working with
subtle energies.
When difficult life situations happen, rather than having negative emotions-anger,
hatred, fear, agitation, intolerance, greed, etc. -suddenly dominate your mind, engaging
with Boddhicitta enables you to become more compassionate and loving so you can re-pattern
long-standing negative emotional and spiritual habits.
in Taoism have two practical meanings: the secular or worldly, and the spiritual. For example, from the secular perspectve
the phrase "everything furthers" means just what it obviously implies-a course
with the wind at its back, which augers for success. From a spiritual perspective, the phrase implies being in harmony
with the Tao which means having awareness, love, compassion and benevolence.
Unlike the other major Eastern religions Buddhism and Hinduism, the inner tradition
to even the educated public. Many poorly translated texts are written not by dedicated practitioners who understand
the spiritual context that underpins the words, but by scholars who view the texts from an outsider's view-usually strongly
filtered through the lens of their own beliefs, which are commonly Christian or Buddhist.
190
1. Gradually bring your sword fingers down and up Movement 6's pathways until they
reach the level of the great meridian (Figure 13-1 B-FJ.
2. Move the sword fingers of both hands forward and inward along the great meridian
to point directly toward your lower tantien (Figure 13-1 GJ. Your hands do not touch.
Figure 13-1
Chapter 13: Dragon Soars to Heaven and Brings Back the Pear/-Movement 7
191
The tricky part of this movement is to coordinate the timing of the hand movements as
they go away from and return to the lower tantien.
Diagonal energy
pathways as/ou
turn right an
back to center
Diagonal energy
pathways
without turn
Diagonal energy
pathways as you
turn left and
back to center
!J
B
Diagonal Energy Pathways
192
a. Shift your weight to your right foot and turn your waist halfway to the right, pivoting on the ball of your left foot, heel raised. Make sure you turn from the kwa, not
your knees or shoulders (Figure 13-3 B).
b. Trace the energy pathways (Figure 13-3 B & C). From here on your hands will move
in tandem but at different speeds so they arrive at designated spots simultaneously.
Up. Your right sword fingers diagonally trace upwards from your tantien to your right
shoulder's nest and then simultaneously trace two energy pathways: upwards to the
side of your neck and right ear, as you did in Movement 6 (p. 177) and along the
inside of your arm to your right elbow as you did in Movement 2 (p. 75).
Down. Your left sword fingers trace downward diagonally from your tantien to
Right
hand
Left
hand
Hands do
not touch
Left heel is
raised during
pivot
B
Turn
to
the Right
Figures 13-3
Chapter 13: Dragon Soars to Heaven and Brings Back the Pear/-Movement 7
193
Up. Your right fingers simultaneously trace along the inside of your arm to the
center of your palm and up to the bai hui (Figure 13-3 DJ. Your fingers finish pointing
downward towards your bai hui.
Down. Your left sword fingers trace down the outside of your left leg and finish
Up. As you turn your right forearm and hand away from your body, very quickly
extend your right sword fingers up and out at an angle anywhere that feels comfortable
between straight up above your head and diagonally at 45 degrees. Feel as if you
are stabbing and piercing the sky, while without strain, projecting energy several feet
past your fingers, or imagine yourself doing so.
Down. Very quickly extend your left sword fingers and toes back and downwards in
unison. Remembering the 70 percent rule, point your sword fingers and toes strongly
as though you are stabbing and piercing into the energy of the earth. Without straining,
project your energy several feet into the earth, or imagine yourself doing so.
Left hand
pierces
earth
o
Turn to the Right
Figures 13-3
194
of
Part B
Simultaneouslya. Further unfold your right kwa and turn your body and right leg toward the center
and begin to lower your heel (Figure 13-4 B & C).
Right sword
fingers point
to bai hvi
Left heel
falls as
yov pivot
A
Tvrn Back to Center
Figures 13-4
Chapter 13: Dragon Soars to Heaven and Brings Back the Pear/-Movement 7
195
b. At the same time, trace your right sword fingers back over the energy pathways
along your right arm to your elbow and then shoulder's nest and from your bai hui
along the side of your head and neck to your shoulder's nest (Figure 73-4 B - C).
c. Trace your left sword fingers along the inside of your leg to your kwa (Figure 73-4 B - C).
Left
hand
c
Turn Back to Center
Figures 73-4
196
Up. Your left sword fingers diagonally trace upwards from your tantien to your left
shoulder's nest and then simultaneously trace two energy pathways: upwards to the
side of your neck and left ear, as you did in Movement 6 (pp. 177, 180); and along
the inside of your arm to your left elbow as you did in Movement 2 (pp. 80-82).
Down. Your right sword fingers trace downward diagonally from your tantien to
your kwa and hip socket (Figure 13-5 8).
Simultaneouslyc. Finish turning to the left by further pivoting your kwa, hips and right knee and foot.
Right heel is
raised during
pivot
B
Turn to the Left
Figures 13-5
Chapter 13: Dragon Soars to Heaven and Brings Back the Pear/-Movement 7
197
Remember, in order to protect your knees, the kwa leads and the feet follow; your feet
do not move your kwa. Adjust your left foot for comfort if needed (Chapter 5, p. 68).
d. Trace the energy pathways.
Up. Your left fingers simultaneously trace along the inside of your arm to the center
of your palm and up to the bai hui (Figure 13-5 C-D). Your fingers end pointing
towards your bai hui.
Down. Your right sword fingers trace down the outside of your right leg to the
outside of your foot (Figure 13-5 C-D).
e. Pierce heaven and earth with your fingers and unweighted foot (Figure 13-5 E).
Up. As you turn your left forearm and hand away from you, very quickly extend
your left sword fingers up and out at whatever angle feels comfortable between
straight up above your head and diagonally at 45 degrees. Feel as if you are
stabbing and piercing the sky. Without strain, try to project energy several feet
past your fingers, or imagine yourself doing so.
Down. Very quickly extend your right sword fingers and toes back and downwards
in unison. Remembering the 70 percent rule, point your sword fingers and toes strongly
as though you are stabbing and piercing the energy of the earth. Without straining,
project your energy several feet into the earth, or imagine yourself doing so.
Right hand
pierces
earth
D
Turn to the Left
Figures 13-5
198
Part B
Simultaneouslya. Further unfold your left kwa and turn your body and right leg toward the center and
begin to lower your heel (Figure 13-6 B & C).
Left sword
fingers point
to bai hui
B
Turn Back to Center
Figures 13-6
Chapter 13: Dragon Soars to Heaven and Brings Back the Pear/-Movement 7
199
b. At the same time, trace your right sword fingers back down over the energy pathways along your right arm to your elbow and then shoulder's nest and from your
bai hui to your shoulder's nest (Figure 13-6 8J.
c. Trace your right sword fingers along the inside of your leg to your kwa (Figure 13-6 C).
Hands do
not touch
Right
hand
o
Turn Back to Center
Figures 13-6
200
Option B
If you find option A to be too difficult, practice this pattern.
1. After you have pierced heaven and earth with your sword fingers, inhale as you turn
back to center and your fingers return to your lower tantien.
2. Exhale when your hands reach your tantien.
3. Inhale as you turn toward the other side until your fingers face heaven and earth.
4. Very quickly exhale as you pierce.
Practice this pattern until you become comfortable with it and then try the ideal
breathing pattern.
Chapter 13: Dragon Soars to Heaven and Brings Back the Pear/-Movement 7
Exhale~
Inhale
-------------l...~ Exhale~
Inhale
~
\
---------ot...... Exhale ---..
Perform once and count as repetition 1, then move to the next sequence.
Do once and count as another repetition, then move to the next sequence.
\
Inhale - - - - - - - - - - - - - - - - - - - - - - - - -...... Exhale ~
Do once and count as another repetition, then move to the previous sequence.
After 20 repetitions, end your practice in the manner shown in Figure 13-8.
Integration and Practice
Figure 13-7
201
202
Ending Movement
Center Your Awareness and Energy in Your Lower Tantien
Figures 13-8
Chapter 13: Dragon Soars to Heaven and Brings Back the Pear/-Movement 7
203
F
Ending Movement
Let Your Mind and Energy Become Calm
Figure 73-8
14
Physical Principles
The following fundamental principles should be incorporated into each movement of Dragon
and Tiger. These principles are also common to all Taoist chi gung and martial arts movement
practices. Some of these principles will already by familiar to you because they have been
incorporated into some of Dragon and Tiger's components. Others will be new.
One of the ways to practice Dragon and Tiger is to pick a principle and focus on it as
you do all seven movements. Stay with this principle for a day, week or month until you feel
you have incorporated it successfully. Then incorporate another principle into your practice.
As you digest and assimilate each principle within the movements, they will become progressively smoother and more coordinated. This will empower you to absorb more and deepen
your practice.
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206
Following this rule will also help you to uncover and actualize your highest potential. It
will help an experienced practitioner to move through the levels of accomplishment faster.
imbalances are obvious it is very important to correct the problems on the weaker side before
attempting to make the stronger side even stronger.
The easiest way to do this is to put your attention on strengthening your weaknesses. Put
your emphasis on the weaker links. This will help them become as capable and competent
as your stronger parts. To do this, match all motions to 70 percent of your weakest move or
link. For example, an exercise may require you to raise your hands above your head. If at
a point in time you can easily lift your left hand high above your head but can only raise
your right hand no higher than your ear, then during the exercise at that point in time you
should lift both hands only 70 percent as high as your right ear.
If you play only to your strengths, the strongest parts of your body will pull chi and strength
from the weaker parts making them worse, or at least making it more difficult for them to
strengthen. That will diminish the total circulation of chi in the body, which allows illness to arise.
207
If you adhere to this principle you will bring your body into balance, physically and
energetically, in the fastest way possible. As you pay more attention to your weaker links,
they will gain in strength, flexibility and capacity, and eventually match your strong links.
Then both can be strengthened equally in a parallel, balanced manner.
208
209
be moving.
li
Chi gung practitioners often refer to the shoulder blade as the IIroot of the arm. Eventually,
you will learn how to keep your shoulder blades moving at all times and how to initiate
the movement of your arms and hands from your shoulder blades to gain maximum arm
flexibility and energy flow.
However, as you move your shoulder blades, you must remember to keep the tops of your
shoulders down. Raising your shoulders is a sign of tension and it also impedes breathing.
or down.
The specific placements of your elbows are designed to cause you to fully articulate all the
parts of the upper body. Misplacement of your elbows will diminish your range of motion
and will prevent you from experiencing some of the benefits of chi moving through your arm
movements.
210
To open your perineum, pretend that you have been riding a horse all day, so that you
maintain a sense of your thighbones being as far apart as they can be. Do this without
exerting force and only to the extent that your knees and feet feel comfortable. As your body
loosens and relaxes, you will be able to further open your perineum. Opening and relaxing
your perineum provides a stable base for your legs to efficiently maintain the weight of your
torso and prevent strain on your knees.
range of movement.
Be very careful of your knees because they can be easily damaged. The important soft tissues
around your knees are tendons and ligaments, which do not stretch as easily as muscles.
When damaged, knees heal slowly. If you feel pain in your knees, reduce your range of
movement to between 30 and 50 percent of what feels most comfortable until the pain is
relieved. This will protect your knees and help them to heal faster.
When you bend your knees, it is best not to let them extend beyond your toes.
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A1
ApPENDIX 1
The Frantzis
Energy Arts Systell1
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TAO Yoga
TAO yoga is ancient China's soft, yet powerful alternative to what is popularly known today
as Hatha yoga. The primary emphasis in Frantzis' method of teaching TAO yoga is to stimulate
the flow of chi and free up any blocked energy. Combining gentle postures and Longevity
Breathing techniques systematically opens the body's energy channels thereby activating
and stimulating chi flow. Postures are held from two to five minutes and require virtually no
muscular effort, so they enable you to easily focus on what is internal so you can feel where
the chi is blocked and gently free it up.
TAO Meditation
Frantzis is a lineage holder in the gentle Water method of Taoist meditation passed down from
the teachings of Lao Tse, one of China's most revered ancient sages, over 2,500 years ago.
The art and power of Taoist meditation is not well known to Westerners and is often confused
with Buddhist meditation. Frantzis calls the technique he has developed TAO meditation. In the
Taoist tradition, the road to spirituality involves more than obtaining health, calmness and a
stable, peaceful mind. It includes using chi to help you release anxieties, expectations, mental
churnings, conditionings and negative emotions-referred to as blockages-that prevent you
from feeling truly alive and joyful. The first goal is to address spiritual responsibility for yourself,
helping you become a relaxed, spontaneous, fully mature and open human being. A second
goal is awakening the great human potential inside you, fostering compassion and balance.
The third is reaching inner stillness-a place deep inside you that is absolutely permanent
and stable.
Rather than using muscular tension or anger for power, the internal martial arts teach you
to use relaxation, chi and stillness of mind to accomplish the pragmatic goal of winning in
a violent confrontation.
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A2
ApPENDIX 2
The Living
Taoism Collection
Books
As a longtime practitioner of Taoist energy arts, Bruce Frantzis teaches and writes books
with deep gratitude to his main teacher, the late Taoist lineage Master liu Hung Chieh of
Beijing, who so generously shared his knowledge of the TAO.
power behind spirituality, meditation, sexual vitality, acupuncture, chi gung, TAO yoga,
internal martial arts such as tai chi, and the divination methods of the
I Ching. Included is
a very simple but potent exercise program to help you enhance your health and wellbeing-the Chi Rev Workout, much of which is derived from Dragon and Tiger chi gung.
For the first time in the West, he shares the Inner Dissolving method of TAO meditation. This
special recording introduces you to how powerfully meditation can help you let go of
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tension, fear, anger and pain. Frantzis guides you through turning inwards to awaken the
great human potential inside yourself and move closer to feeling truly alive and joyful.
Frantzis has recently released a three-CD set, Ancient Songs of the TAO, a collection of
never-before-recorded chants in ancient Chinese. These Taoist liturgies are used to balance
and transform the energetic frequencies within a human being. You can listen to them while
performing any movement or meditation practice. The songs can help you breathe fully into
your entire body and optimize your heath and well-being.
Training Opportunities
Bruce Frantzis is the founder of Energy Arts, Inc., based in Marin County, California. Energy
Arts offers instructor certification programs, retreats, and corporate and public workshops
and lectures in North America and Europe. Frantzis bridges the gap between Chinese
culture and the West. He has taught Living Taoism to over 15,000 Westerners and certified
over 300 instructors worldwide.
Visit EnergyArts.com for details of events currently being offered.
Instructor Certification
Prior training in Frantzis Energy Arts programs is a requirement for most instructor courses.
The certification process is rigorous to ensure that instructors teach the authentic traditions
inherent in these arts.
Contact Information
Energy Arts, Inc.
P.O. Box 99
Fairfax, CA 94978
415.454.5243
fax 415.454.0907
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