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Taigakai Dartford Iaido. 6 week beginners’ course.Location, Whiteoaks leisure centre, Swanley, Kent 10th November to 15t...
15/10/2026

Taigakai Dartford Iaido. 6 week beginners’ course.

Location, Whiteoaks leisure centre, Swanley, Kent

10th November to 15th December

Cost £60 which includes a wooden sword (Bokuto)

Aim: to introduce the art of Iaido, including but not limited to the basics of using a Japanese sword, a selection of kata, and the rules of etiquette.

Content: each week will introduce at least one kata (stylised set of techniques), a new thematic principle, and an aspect of etiquette. The last week we will perform a grading, allowing you to showcase what you’ve learned and signal the end of this course, but the start of your Iaido journey!

Clothing and equipment: any martial arts gi or sportswear will be OK. An obi (belt) to hold the sword is important, but any form of martial arts belt will work – let us know if you don’t have one! We train in bare feet, so please bring a foot covering or plaster or bandage if you have any blisters, cuts, or similar.

The sword: you will start with a wooden bokuto which will be provided.

Schedule:

Week 1

How to hold the sword and cut

Kata #1 Mae

Basic reiho (bowing)

Week 2

Footwork – how to stand and move

Kata #5 Kesa-giri

Shinzen rei (bow to the front wall)

Week 3

Posture and balance

Kata #6 Morote-tsuki

To rei (bow to the sword)

Week 4

Metsuke (where to look) and awareness

Kata #3 Uke-nagashi

Sensei, dojo rei (bow to teacher and each other)

Week 5

Meri-hari: timing, how to attack

Kata #7 San-po-giri

How to perform an embu (demonstration)

Week 6

Embu practice and open grading.

We are very excited to pass on this opportunity of taking part in a 6 week introductory course in the traditional Japane...
14/10/2026

We are very excited to pass on this opportunity of taking part in a 6 week introductory course in the traditional Japanese martial art of Iaido. (Ee eye Do) Conducted by 6th Dan teacher Sensei Anna Stone.

Six weeks from 10th November, ending 15th December. 7.30 to 9.30pm.
White Oaks Leisure Centre
Swanley

The Iaido introduction course is a great way to learn new skills, a physical, mental, spiritual traditional Japanese art, which helps develop deep concentration, self awareness, and emotional balance. Based on solo, and later paired practice drawing a sword focuses on posture, precision, etiquette and balance. From my own experience of having practiced Iaido along with tai chi and qigong can see that they share many similarities and are all a Way, (Dao / Do in Japanese to develop a better character and a healthy body and mind. My Tai Chi teacher Steve Rowe - Shikon Martial Arts has also practiced Iaido and often writes about it in his articles and courses highlighting how it has been tremendously beneficial. I’ll be there, hope you can make it too 🙏👍

https://share.google/Hi2hJSLkr6yVxa5QE

We will teach the basics of Iaido and the first 5 kata (don't panic - kata are very much shorter than tai chi 🙂). Cost will be £60 which includes a bokuto (wooden sword) and grading (optional) on the last week. You will also need to pay £10 for a temporary membership of the British Kendo Association (BKA), our governing body, to cover your insurance, unless you already have suitable insurance. Please let me know if you are interested and I can give you more details.

Iaido [ee-eye-do] (居合道) is the art of drawing a Japanese sword from its scabbard to obtain advantage over an opponent. The sword is drawn to defend one’s self, to exert control or perform the required actions to save one’s own life in the most efficient way. Iaido as we know it today proba...

13/10/2026

“The Root Is in the Feet” (其根在腳) in Tai Chi Chuan
Understanding Rootedness Through Practice
________________________________________
Preface
This article does not attempt to present a new technical system, nor does it turn practical expressions into classical terminology. The Chinese quotations are retained because they form part of the traditional theoretical foundation of Tai Chi Chuan. The interpretation that follows is based on practice and reflection — not presented as classical text, and not as a fixed curriculum.
________________________________________
1. The Principle
Tai Chi Chuan (太極拳) does not rely on stiff, brute muscular force (拙力 — zhuō lì) as its primary method of generating power. What it emphasizes is whole-body organization, structural integrity, relaxation (鬆 — sōng), and continuity of movement.
In the Treatise on Tai Chi Chuan (太極拳論) — traditionally attributed to Wang Zongyue (王宗岳) — we find:
其根在腳,發於腿,主宰於腰,形於手指
The root is in the feet; it develops through the legs, is governed by the waist, and is expressed in the fingers.
(qí gēn zài jiǎo, fā yú tuǐ, zhǔzǎi yú yāo, xíng yú shǒuzhǐ)
This passage is often cited in discussing the path of force: beginning at the feet, passing through the legs, governed by the waist, and expressed through the hands.
Immediately after, the same text adds:
由腳而腿而腰,總須完整一氣
From the feet through the legs and waist, it must remain one continuous whole.
(yóu jiǎo ér tuǐ ér yāo, zǒng xū wánzhěng yí qì)
The phrase 其根在腳 points to the importance of having a root in the feet while maintaining continuity through the whole body. In this article, when I speak of “having a root” or “being rooted,” I use the expression to describe a quality of body method — not a separate technique to be practiced on its own.
________________________________________
2. “Root” Is Not Pressing the Feet Down
Many beginning practitioners understand “having a root” as pressing the feet into the ground, tensing the thighs, and locking the knees. This can lead to stiffness and loss of mobility, and may place unnecessary strain on the knees or lower back.
In practice, what is often called “root” or “rootedness” does not come from muscular pressure. It comes from organizing the body properly: relaxing (鬆 — sōng), sinking (沉 — chén), distinguishing Full and Empty (虛實 — xū shí), maintaining central alignment (中正 — zhōngzhèng), and preserving continuity through the body.
When the body is organized in this way, force can begin from the feet and travel through the whole body. This is a consequence of how one stands and moves — not the result of trying to make the feet heavier.
Several traditional phrases are often cited in discussing these qualities:
氣沉丹田
Qi sinks to the Dantian.
(qì chén dāntián)
In practice, this need not mean forcing the breath downward. Rather, it can be understood as allowing the upper body to relax so that the center settles naturally.
The following two lines are usually grouped with the Thirteen Postures Song (十三勢歌), a text distinct from the Treatise on Tai Chi Chuan:
命意源頭在腰隙
The source of vitality and intention lies in the space of the waist.
(mìng yì yuántóu zài yāoxì)
The saying points to the importance of the waist in coordinating movement, rather than allowing the limbs to move as separate parts.
尾閭中正神貫頂
With the tailbone centered and upright, the spirit reaches the crown.
(wěilǘ zhōngzhèng shén guàn dǐng)
In practice, this relates to keeping the body's central axis naturally upright — not thrusting the chest forward, tilting the pelvis excessively, or rounding the back.
Other expressions often heard in internal martial arts include:
鬆而不僵,沉而不滯
Relaxed but not stiff; sinking but not stagnant.
(sōng ér bù jiāng, chén ér bù zhì)
上虛下實
Empty above, Full below.
(shàng xū xià shí)
沉肩墜肘
Sink the shoulders, drop the elbows.
(chén jiān zhuì zhǒu)
含胸拔背
Hollow the chest, raise the back.
(hán xiōng bá bèi)
虛靈頂勁
An upright, suspended feeling at the crown.
(xū líng dǐng jìn)
These expressions are not a separate technical system. They point to different aspects of maintaining a connected and well-organized body.
________________________________________
3. What It Feels Like in Practice
When the body begins to develop a root, practitioners may notice changes in bodily sensation:
• The shoulders and neck become less tense. Breathing is not held in the chest.
• The lower abdomen remains relaxed — not sucked in and not deliberately hardened.
• The knees remain soft — not locked and not collapsing inward.
• The tailbone is not tilted back; the spinal axis remains naturally upright.
• The soles feel soft and in contact with the floor without gripping.
• When moving, force can be felt developing from the feet through the body before reaching the hands, rather than originating in the shoulders.
Conversely, the following may indicate unnecessary tension or loss of alignment:
• Chest thrust forward, neck shortened, back hunched.
• Shoulders raised, neck muscles tense.
• Abdomen pulled in or breath held.
• Pelvis tilted excessively, lower back hollowed.
• Toes gripping the floor, ankles becoming tense.
• Shallow breathing or holding the breath during movement or issuing.
These are not a fixed checklist. They are simply observations from practice, and each person's experience may be different.
________________________________________
4. Practice Notes
Standing. Stand with the feet parallel, about shoulder-width apart. Let the crown of the head feel gently suspended (虛靈頂勁). Relax from top to bottom. Do not force the weight downward. Simply notice where tension remains.
Breathing. Breathe normally without trying to control the breath. Observe the natural movement of the lower abdomen and lumbar region with each breath. Do not turn breathing into a mechanical exercise.
Shifting weight. Begin in a basic stance. Slowly shift the weight to one leg, then to the other. The weight-bearing leg is the Full leg (實). Do not let the knee collapse inward or push excessively forward. Keep the head level.
Pushing the wall. Stand about an arm's length from a wall in a Bow Stance (弓步 — gōngbù), with the front knee bent and the back leg naturally extended. Place both hands lightly on the wall. Keep the body organized, then gradually increase pressure into the wall without pushing the shoulders forward. Notice whether the force can be maintained through the feet and body, or whether it accumulates in the shoulders.
Slow form. Practice basic postures slowly: Grasp the Sparrow's Tail (攬雀尾), Brush Knee and Twist Step (摟膝拗步), and Cloud Hands (雲手). While moving, notice whether the hips and waist are coordinated, whether the tailbone remains centered, and whether the steps remain natural.
Light partner practice. A partner applies light pressure to the shoulder or chest. Do not resist with stiff force. Use Listening Jin (聽勁 — tīng jìn) to perceive the pressure, maintain the body's organization, adjust the steps, and turn the body to neutralize (化 — huà). From there, issuing (發 — fā) becomes possible.
________________________________________
5. Closing
“The root is in the feet” (其根在腳) is not a separate technique to be trained in isolation. It is a principle concerning how the whole body relates to the ground, and how force travels through the body without interruption.
Another familiar expression in internal martial arts is:
柔中帶剛
Firmness within softness.
(róu zhōng dài gāng)
Here, “firmness” does not mean muscular tension. It is a stability that arises from structure and continuity.
The ability to receive and transmit force through the feet does not come from making the legs heavier. It comes from keeping the whole body connected and free of unnecessary obstruction, allowing its different parts to work together.
________________________________________
This article is based on classical Tai Chi quotations and notes from practice. Those with a history of knee or spinal problems should progress gradually, beginning with higher stances and slower movements, and should seek direct guidance from a qualified instructor to avoid unnecessary strain.

03/10/2026

What we neglect today can become expensive tomorrow. Take care of your body, mind, knowledge, finances, and inner life while you can.

Today is the Chinese festival, hope tonight’s sky would l be not too cloudy the beautiful moon can be seen 🌒🌓🌔🌝🌖🌗🌘
25/09/2026

Today is the Chinese festival, hope tonight’s sky would l be not too cloudy the beautiful moon can be seen 🌒🌓🌔🌝🌖🌗🌘

17/09/2026

The cancer journey for many patients doesn’t end after treatment. Many live with long-term side effects that affect their ability to sleep and cause pain, impacting daily life.

https://youtu.be/0QIJNu817TY?is=Vcq2pPCGY8cQC1wfPeter West, Iaido 7th Dan, one of my formative and influential teachers ...
13/09/2026

https://youtu.be/0QIJNu817TY?is=Vcq2pPCGY8cQC1wf

Peter West, Iaido 7th Dan, one of my formative and influential teachers of Iaido, delivers an interesting in depth insight into how the breath corresponds with body mind coordination, drawing parallels from Peter’s musical background and Traditional Budo of Iaido and Kendo. the importance of this aspect and how it develops the delivery the art. Hope this can help people of all backgrounds in mind , body, spirit activities/

The goal of the “In-Depth Look” series of videos is to explore these subjects in more detail — examining the relevance, efficacy, and methods of incorporating these work and life experiences into budo practice, budo teaching, and community building.

TOPICS COVERED:

How the Breath is used in Wind Instruments
The Benefits of Applying this Training to Iaido
Determining What Breath to Use through Understanding the Scenario
Coordinating the Body with the Breath
How the Quality of your Tools (instruments/weapons) Impact a Performance
How the Setting and Environment Impact a Performance
What it means to “Make a Kata Your Own”

The goal of the “In-Depth Look” series of videos is to explore thes...

World Health Qigong Day
13/09/2026

World Health Qigong Day

29/06/2026

THE DISCERNING EYE.

The Tai Chi Classics: ‘An inch off at the beginning, a mile off at the end.’

Even knowing nothing of ballet, if you were to see a chorus line of dancers and one of them was out of sync, you would immediately notice that something wasn’t ‘right.’ My question is, why is this same discernment not applied to Tai Chi? To know what we are looking at we have to develop a discerning eye. Discernment is the ability to see, even when two people are doing essentially the same thing, and to recognise a subtlety in one that is finer or more subtle than what is perhaps lacking in the other.

However, before we turn our ‘discerning eye’ on to others, we had better begin by being our own severest critic. As Tai Chi is constantly unfolding and changing we have to keep an eye on our own practice before imposing anything on to other people.
My background is well known and where I come from regarding the style of Tai Chi I practice and have done for over fifty years.

To Sifu Cheng Tin Hung’s Tai Chi, there’s enough out there to inform us of the nature of his Tai Chi. His Tai Chi changed over the years, as everyone’s does, however there was always a recognisable continuity, a subtle compactness and a relaxed economy of style. No one can be a carbon copy of anyone else, but it is possible to stay true to his methods and style.

Basic questions, such as: how does this person move, does it look right, is it coordinated, why after all this time is there no refinement, do the weapons look like a natural extension of the person or something held in the hand and ‘made’ to do techniques? A refined weapon such as the sword shouldn’t look like it is hacking its way through the undergrowth.

When I say, ‘does it look right?’ I don’t mean‘ pretty.’ I’m referring to the ‘no deficiencies, no protrusions’ mentioned in the Tai Chi Classics. This means being accurate, that you should be able stop the form anywhere and it should always appear balanced and in the ‘right’ place.
Using the analogy of sword making: The making of a fine sword takes time and follows a meticulous process. From being a lump of of iron to becoming a work of art is no easy matter. The raw iron is beaten again and again until it is pure steel. We can apply the same principle to our practice, ourselves being the lump of raw iron which through constant practice becomes pure steel. We have to do our best to make sure that, by learning too quickly, our Tai Chi isn’t a version of a poorly made sword.

It isn’t enough to get ‘through’ the form(s), it is how you get from A to B inch by inch. Look closely at the hands, always a clue, and you can often see a disconnect between the hands and the body.The connecting links between each posture are a natural following of the circle from one to the other. There should be no ‘fudging’ to ‘get there.’ Given that the Classics say Tai Chi is ultimately expressed in the hands this is an important point.

Forms are there for a reason. The saying is: you do forms to know yourself, you push hands to know others. They are there to develop and refine coordination, structure (no deficiencies, no protrusions)to feel the forms and ultimately, to know ourselves on a deeper level. Refining coordination to make the ex*****on of the techniques more effective. So much to be learned from the forms.The other benefit from having good hand form, is it will influence everything else you do.
Tai Chi Classics: ‘When one thing moves, everything moves. When one thing stops, everything stops.’ We have to integrate these exacting principles in to our practice. If we don’t, what is the point?

Sifu Cheng always said that Tai Chi should be comfortable. He did not mean that it was easy. He meant that it should be practiced until Tai Chi and the practitioner became one. It goes beyond self consciousness to the point where there is nothing in between the doer and the thing done. That you ‘wear’ it well. Many demonstrations are too self conscious, rendering them performances rather than genuine integrated Tai Chi. I prefer the word genuine when talking about forms rather than ‘beauty’ as beauty can be imposed, whereas there is something intangible about authenticity.
I am reminded of an Argentinian tango master, who after giving a lesson was asked if he would perform the tango. He said, “do you want a demonstration or do you want tango?” I feel the same when I see some Tai Chi.

An old Zen master was asked if he would write down what it takes to become enlightened. He went away for a while, then came back with sheets of paper on which he had written, patience, patience, patience……….. Ian Cameron.

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