Taï Chi Chuan - Qi Gong - Taoïsme

Sous le soleil de Nice.

Réunion du nouvel an pour une pratique au soleil ce dimanche 15 février.

To learn Tai Chi Chuan correctly, three elements are essential: A correct method, a good teacher/transmitter of the method, correct practice.
The method: It can may be for civil practice, martial practice or both. Civil and martial practices share the same technical foundations, principles of ex*****on and work on vital energy, Jing, dynamic energy and mental functions in the first levels of learning, then include different techniques, exercises and routines depending on whether civil or martial mastery is being pursued.
The teacher: Nowadays we meet teachers of all kinds, from the most elementary to the highest level of mastery and knowledge. Some are excellent practitioners but rather bad teachers, others are very good transmitters of the method but average practitioners. We could classify teachers in the same way as for school education: there are primary school teachers, elementary school teachers, middle school teachers, high school teachers and university teachers. The level of teaching and learning is increasingly complex and arduous, but each level builds on the one that precedes it, with reading, writing and arithmetic (at least common operations) as common foundations. In school education, each teacher has trained, studied and passed exams depending on the school where they wish to work. We know who is who and what knowledge and expertise each teacher needs for the classes they teach. In disciplines such as Tai Chi, Qi Gong, yoga and meditation (not to mention Chinese and Indian medicine and other shamanic practices), there is a great deal of confusion. A diploma obtained after three years' training by a federation can entitle you to the official title of Master. There are now Masters and Grand-Masters, third-generation Masters and, inevitably better, those of the twentieth generation.
In the past, and this is still often the case in China and Japan, the practice of a teacher of a martial art or traditional art was to pass on his knowledge as best he could to his pupils, then when they had reached a certain level of ability, he would direct them to a teacher of a higher level. Many biographies of ancient masters mention this process. It is very rare for this to be the approach of today's teachers.
Another issue is the relationship between students/disciples and teachers. Personally, I've often been confused by the response I've received from practitioners when I've told them that I think they've reached the level of their teacher, or even that it would be to their advantage to look for a much better one. Their answer was that they felt good in the club/school, that there was a good atmosphere, good relations between the students, and that they really liked their teacher. What can you say to that when independence, autonomy and determination to progress seem to me to be the essential values of correct practice.
Practice: Progress, when the method and teaching are correct, is above all a question of continuity, rhythm and time allocation, attention and concentration. Professional and non-professional activities, behaviour, hygiene, diet, the living and social environment all play their part and can support, help, hinder or even prevent progress. Some people are gifted but lack motivation, others seem at first to have little ability but their unshakeable determination and willpower take them to new heights. That's why a good teacher treats all his or her pupils in the same way, without favouritism for the more brilliant (or more spectacular during public demonstrations).

Pour apprendre correctement le Tai Chi Chuan trois éléments sont essentiels: Une méthode correcte, un bon enseignant/transmetteur de la méthode, une pratique correcte.
La méthode : Elle peut avoir pour destination la pratique civile, la pratique martiale ou les deux. Pratique civile et martiale partagent les mêmes fondements techniques, principes d’exécution et travail sur l'énergie vitale, le Jing, l'énergie dynamique et les fonctions mentales dans les premiers niveaux d'apprentissage puis comportent des techniques, exercices et routines différentes selon la poursuite de la maîtrise civile ou martiale.
L'enseignant : De nos jours on rencontre des enseignants de toutes sortes, du plus élémentaire au plus haut niveau de maîtrise et de connaissance. Certains sont d'excellents pratiquants mais plutôt des mauvais enseignants, d'autres sont de très bons transmetteurs de la méthode mais des pratiquants moyens. On pourrait classer les enseignants de la même manière que pour l'éducation scolaire, il y a les enseignants des école primaires, élémentaires, des collèges, lycées et universités. Le niveau d'enseignement et d'apprentissage est de plus en plus complexe et ardu mais chaque niveau s’appuie sur celui qui le précède, avec pour bases communes la lecture, l'écriture, le calcul (au moins les opérations courantes). Dans l'enseignement scolaire, chaque professeur s'est formè, à étudié et a passé des examens selon les établissements où il désire travailler. On sait qui est qui et ce que chacun doit avoir comme connaissances et expertises selon les classes où il enseigne. Dans les disciplines comme le Taï Chi, le Qi Gong, le yoga, la méditation (sans parler de la médecine chinoise, indienne et autres pratiques shamaniques), règne la plus grande confusion. Un diplôme obtenu après trois ans de formation par une fédération peuvent vous valoir le droit au titre officiel de Maître. Il y a maintenant des Maîtres et des Grand-Maîtres, des Maîtres de la troisième génération et, forcément meilleurs, ceux de la vingtième.
Autrefois, et c'est encore souvent le cas en Chine ou au Japon, un enseignant en art martial ou d'un art traditionnel avait pour pratique de transmettre le mieux possible ses connaissances à ses élèves, puis quand ils avaient atteints certaines capacités, il les dirigeait vers un enseignant d'un niveau supérieur. Nombre de biographies de Maîtres anciens évoquent ce cheminement. Il est très rare que cela soit la démarche des enseignants actuels.
Une autre question est celle des relations entre élèves/disciples et enseignants. J'ai personnellement été souvent confondu par la réponse que me faisaient des pratiquants lorsque je leur confiais que j'estimais qu'ils avaient largement atteints le niveau de leur professeur où même qu'ils auraient grand avantage à en chercher un bien meilleur. Leur réponse était qu'ils se sentaient bien dans ce club/école, qu'il y avait une bonne ambiance, de bonnes relations entre les pratiquants, et qu'ils aimaient beaucoup leur Maître. Que répondre à cela quand indépendance, autonomie, détermination à progresser me semblent les valeurs essentielles d'une pratique correcte.
La pratique : La progression, quand méthode et enseignement sont corrects, est surtout une question de continuité, de rythme et de temps dévolu, d'attention et de concentration. Activités professionnelles ou non, comportement, hygiène, alimentation, environnement de vie et social ont aussi leur importance et peuvent soutenir, favoriser ou gêner, empêcher même la progression. Certaines personnes sont douées mais manquent de motivation, d'autres semblent tout d'abord bien peu habiles mais leur détermination et leur volonté inébranlables leur fait atteindre des sommets. C'est pourquoi un bon enseignant traite tous ses élèves de la même manière, sans favoritisme pour tel ou tel, plus brillant/te (ou plus spectaculaire lors des démonstrations publiques).

On peut lire sur Internet beaucoup de prévisions sur les tendances "énergétiques", définies comme "tendances événementielles probables", de telle ou telle année. Elles sont malheureusement basées sur une lecture simplifiée des cycles énergétiques et ne prennent pas en compte les dynamiques énergétiques principales, issues des cycles essentiels, le Mouvement Central, la Branche annuelle et l’Énergie Maître du Ciel". Ces prévisions sont principalement basées sur le symbolisme des douze animaux, à l'usage de l'astrologie populaire, ignorant le cycle réel qu'il représente.

Prévisions annuelles de l'année du Serpent de Bois yin.
- Analyse de l'année Yi Si :
Mouvement Central : Shao Shang - Métal en insuffisance.
Branche annuelle : Shao yin (Chaleur - Appartient au mouvement Feu).
Energie Maître du Ciel : Jue yin (Vent - Appartient au mouvement Bois).

L'énergie du Mouvement Central est ici en insuffisance.
- Typologie de l'énergie en insuffisance :
Si la relation d'engendrement est normale entre les éléments, la nature est luxuriante, la maturité s'accomplit, mais si le Feu domine trop, tout est sec et comme en fusion.. Les plantes de saveur piquante (millet jaune, poulet, pêches) ne sont pas favorisées ainsi que les animaux à carapace.
Les symptômes sont aux épaules, à la gorge. Si le froid survient, avec des bourrasques de grêle, les récoltes souffrent. Douleurs à la nuque et maux de tête peuvent alors suivrent, le yang du Feu réagissant. Si l'énergie du Métal est en insuffisance, l'organe Fei (poumons) est atteint et les maladies internes sont à la poitrine et aux épaules, tandis que les externes sont à la peau.

Prévisions saisonnières.

- Pour l'année Yi Si :
Préside au Ciel les 6 premiers mois : Énergie Maître du Ciel : Jue yin (Vent).
Quand Jue yin est au Ciel, si le Vent vicieux domine, alors c'est le vide, l'obscurité et la poussière, tout est nuageux. Le printemps étant moyennement froid, il y a des maladies de l'estomac et des douleurs au cœur, la gorge serrée, fermée, avec le diaphragme bloqué, aliments et boissons ne passant plus. Il peut y avoir à l'extrême des vomissements aux repas, avec la langue spasmée. Il faut alors traiter Tchong Yang, qui doit cèder (dipersion).
Préside au Ciel les 6 derniers mois : Énergie A la Source : Shao yang (Feu).
Quand Chao yang est A la Source, si le Feu vicieux domine tout est désertique, mais très clair. Il peut y avoir des pertes rouges ou blanches, du sang dans les selles et le ventre est bruyant, on est oppressé en se tenant debout, fiévreux et frissonnant. La peau est sensible, voire douloureuse, il y a des douleurs aux yeux et aux dents, au bas-ventre avec l'abdomen gonflé.

Prévisions mensuelles.
Quand Jue yin dirige l'année, l'énergie du Ciel agit par derrière, bousculant tout, alors que l'énergie du Sol est normale. Le vent amène une chaleur brûlante et les nuages n'amènent point de pluie. Bois et Feu sont en contact et tout est rapide. Les couleurs dominantes sont le vet et le rouge. Les hibernants se réveillent tôt et la fin de l'année ne voit pas l'eau geler.
Les deux premiers mois, le yang reste discret et se manifeste peu. Les maladies sont alors dues à ce froid persistant.
Les deux mois suivants le froid peut s'accentuer, avec neige et glace. Le gel tue alors les végétaux, mais après une courte période de pluie le yang arrive, causant des maladies chaudes.
Les cinquième et sixième mois, le vent occasionne des maladies telles que le larmoiement, le bourdonnement d'oreille, le vertige.
Le septième et huitième mois, humidité et chaleur se disputent et les maladies sont alors jaunisse et ventre gonflè.
Neuvième et dixième mois, le yin arrive comme un raz de marée, avec le froid, du vent et de la pluie.
Les deux derniers mois, le yang réapparaît et l'eau ne gèle pas. L'énergie de la Terre renaît et des végétaux repoussent. On ne note alors que des maladies bénignes.

Physical integration method: The six links and the three coordinations.
Part 2:
The Three Coordinations.
Linking the left and right elements of the body's structure is a way of unifying it horizontally. The next step is to unify the same structure vertically. This is the objective of the Three Coordinations.
The method is quite similar to that for establishing the connections, but this time on the vertical plane. First, we focus on coordinating the connection between the hip joints and the shoulder joints. As with the first two connections, this first coordination is fairly easy to set up and to feel, because the four joints making it up are fixed, moving neither vertically nor horizontally, like the four corners of a sheet of paper or a scarf. It is more difficult to establish the second, made up of the connection of the knees with that of the elbows, and even more difficult to establish the third, combining the connection of the ankles with that of the wrists. If the links connect, associate, unify the right and left sides of the body left sides of the body by matching the main joints, the coordinations aim rather to associate the dynamics between the upper and lower parts of the body, between the lower limbs and the upper limbs. At this level, the easiest dynamic coordination to perceive is that which associates the action of the knees with that of the elbows. Flexions and extensions in the knees are coordinated with those of the elbows. For example, in the ‘Push Back’ form (an), the extension of the elbows is coordinated with that of the left leg (in the Bow pose on the right). Coordinating the connection between the ankles and the wrists is more difficult to establish and you need to concentrate on dynamic sensations, and not on the ‘feeling’ of the body.
The Three Coordinations.
The method is quite similar to that for establishing the connections, but this time on the vertical plane. First we focus on coordinating the hip joints with the shoulder joints. As with the first two connections, this first coordination is fairly easy to set up and to feel, because the four joints making it up are fixed, moving neither vertically nor horizontally, like the four corners of a sheet of paper or a scarf. It is more difficult to establish the second, made up of the connection of the knees with that of the elbows, and even more difficult to establish the third, combining the connection of the ankles with that of the wrists. If the links connect, associate, unify the right and left sides of the body left sides of the body by matching the main joints, the coordinations aim rather to associate the dynamics between the upper and lower parts of the body, between the lower limbs and the upper limbs.
At this level, the easiest dynamic coordination to perceive is that which associates the action of the knees with that of the elbows. Flexions and extensions in the knees are coordinated with those of the elbows.
For example, in the ‘Push Back’ form (an),
the extension of the elbows is coordinated with that of the left leg (in Bow pose on the right). Coordinating the connection between the ankles and the wrists is more difficult to establish and you need to concentrate on dynamic sensations, and not on shapes or movement, to achieve it. As with establishing the links, we first perform a single form in a simple movement, then study the coordinations in a more complex sequence, and finally in a complete routine. In the end, by means of the six links and the three coordinations, the whole body is unified in all its parts and, when we concentrate on listening to our internal sensations, we can feel the effects. Firstly, the perception that the whole body forms a unity, that no part is isolated or separate. Secondly, that all the parts are linked to a centre, which is like the pivot controlling their movements and their dynamism. The body is like a spinning top, with all the points on its outer surface driven by the movement of the axis.
driven by the movement of the central axis. This is the principle of ‘When the centre moves, everything moves. When the centre stands still, everything stands still’.
Finally, one of the major effects of this method of unification is to develop a very special capacity for attention and internal listening, because it is global. This is called omnidirectional awareness and listening. From the Centre, it listens to all points on the periphery, in the body and beyond. The centre of this awareness and this listening can then be established in different places. Some place it in the head, at Ni wan, others at the central Dan Tien, with the Shen, and others at the lower Dan Tien.
When this physical process of unifyng all body parts is good then you can unifyng body, mind and energy.

Physical integration method: The six links and the three coordinations.
Part 1:
The human body is constructed in such a way that each part has a certain independence of activity and movement. The complexity of its articular, muscular and nervous structures allows each part of the limbs, trunk or even head to move independently of the rest of the body. One of the difficulties in practising TCC correctly is to achieve the integration of the parts into a unified whole. The guiding principle of this integration is contained in the traditional saying: ‘When the center moves, everything moves. When the center stands still, everything stands still’.
The introductory method for integrating the parts into a unified whole is called ‘The six links and the three coordinations’. Unfortunately, teachers are not very familiar with this method and many of them, not having achieved this unification themselves, find it difficult to teach their students. This is a serious shortcoming in the practice of Tai Chi Chuan. Those who feel they lack it should carefully study the method we set out here and practise it diligently. Achieving the integration of the parts into a ternary unity: physical, energetic and psychic, is one of the treasures offered by the practice of Tai Chi Chuan. Let's start with the physical component of this unifying integration.
The six links
The six links mean associating the joints in pairs according to the body's left-right symmetry. The twelve main joints of the limbs are consciously linked into a set of 6 pairs that are mobilised, set in motion and guided from the centre. The method for making these connections may seem fairly simple at first, but it requires a great deal of attention as you go along. To create the six links, you start by executing a simple form, which you link together in series in a direct forward step, or indirect forward step depending on the movement chosen. For example, you can do the form ‘Separating the horse's mane’, in direct or indirect forward movement, is very suitable. The exercise is to first focus on the left and right joints attaching the legs to the trunk and imagine that they are linked and form a unit. From the central axis of the body, the movement is transmitted by the waist to the two joints, linked into a single unit. When you feel this unity, you move on to the next link, made up of the left and right shoulder joints. For the third link, we go back down to the lower limbs, linking the joints of the two knees. Then we go back up above the waist, combining the two elbows in the fourth link. The fifth is at the ankles, and finally, the sixth at the wrists.
Once you have developed a clear perception of the six links in a simple form, you can go on to perform more complex sequences, still in a line, such as the four doors Peng, Lu, Ji, an, on one side and then on the other. Finally, we focus our attention on their implementation in a complete routine. When the six connections have been made, the central axis is clearly perceived as the driving force behind the movement and dynamics active on both sides of the body, from the centre to the extremities. The left and right parts of the body then form a unified whole, structured from the six links, and centred.
Once you have developed a clear perception of the six links in a simple form, you can go on to perform more complex sequences, still in a line, such as the four doors Peng, Lu, Ji, an, on one side and then on the other. Finally, we focus our attention on their implementation in a complete routine. When the six connections have been made, the central axis is clearly perceived as the driving force behind the movement and dynamics active on both sides of the body, from the centre to the extremities. The left and right parts of the body then form a unified whole, structured from the six links, and centred.