Strictly Ballroom

Strictly Ballroom

An egregious fraud has been perpetuated on countless numbers of sincere taiji (t'ai chi) players over many generations. The true meaning of taiji has been hidden and obscured for centuries. Now it can be told. Meticulous and careful research has finally unearthed the true, and heretofore hidden, function of taiji dancing for couples[\1]. This is not just idle supposition but a verifiable thesis that is entirely supported by the Classics.

That taiji is a couple exercise is revealed by the fact that the original thirteen postures were encapsulated in two two-person exercises. The gender of these couples can be derived from Lao-tzu's admonition "To know the yang but cleave unto the yin." Taiji stresses that the dancers should be light on their feet, i.e., "In motion all parts of the body must be light nimble and strung together". When dancing the footwork should be coordinated, namely, "The feet, legs and waist must act together simultaneously, so that while stepping forward or back the timing and position are correct." One of the basic steps used in taiji dancing is the two step, namely, "If there is up, there is down; if there is forward, then there is backward; if there is left, then there is right." Taiji as a complete dancing art has strategies for both fast and slow dancing, namely, "In motion it separates; in stillness they fuse." It is important to follow your partner when dancing, the Classics advise, "If the ... movement is quick, then quickly respond; if ... movement is slow, then follow slowly." This ability only comes from practice, i.e., "From familiarity with the correct touch, ..." and "Without long practice one cannot suddenly understand it." Following is a skill that is important to both partners, the Classics advise that the key is "giving up yourself to follow others."

Now on to specifics. The two fundamental postures in taiji are central equilibrium (wardoff) and rollback. "The unified substance and application of Thirteen Postures is built on the application of Rollback and the substance of central equilibrium." Even a cursory examination will reveal that rollback is the fundamental posture of couple dancing the inside hand to draw close and the outside hand to gave shape to the movement. The theory of change implies that the uses of the hands are infinite. For example, the outside hand can be used to clear way through the crowd (expansion) or to draw in closer (contraction). Hence the use of the hands conform to the theory of yin and yang. Footwork is equally stressed as can be seen from the division of the 13 Postures into the 5 Steps and the 8 Postures.

Taiji dancing as an art and a science is governed by principles. The first principle is to sink and relax; this principle governs individual movement. Relaxation allows the ego to get out of way and lets you perform in the smooth and graceful fashion that characterizes all great dance. Sinking lets you move from the hips; if you can't move from the hips you can forget about the samba. The second principle is to use four ounces to lead a thousand pounds; this principle governs interaction between parties. Four ounces is that force which is sufficient to detect your partner's movement; it is also sufficient to suggest the direction of your intentions without being pushy. Brutish pulling and pushing (and pawing) are severely discouraged at all times.

The first two person exercise, push hands (t'ui shou), teaches the fundamentals of the interactions between two people. First, fixed step interactions and later moving step interactions. The Classics speak of "giving up yourself to follow others"; it is vitally important in dancing to know following and leading. If you do not know following and leading you cannot tango. The key to "giving up and following others" is given in the rule that there should be "no resistance, no letting go." This is the key to good dancing where two people have to become like one.

The second two person exercise, big rollback (ta lu), is the training basis for the more vigorous dances such as the jitterbug and the salsa. Ta lu teaches footwork, distance appreciation, and how to use momentum and impendence. The dictate of "No resistance, no letting go" is also critical in the practice of ta lu. When you consider the momentum generated in some of the more vigorous versions of the jitterbug, such as the lindy, you can see why you should not resist your partner but rather should use their momentum to help both of you perform. Similarly with "no letting go" letting go of your partner during some of the vigorous moves would certainly not be polite and could be health threatening.

The assiduous practice of these exercises leads to the ability to "attract to emptiness" and to t'i fang (the most efficient way of lifting your partner). It is important to remember that the hidden keyword in t'i fang (lift let go) is catch. After you have thrown your partner up it important to catch them again. The key to t'i fang is knowing how to "attract to emptiness". If you can attract to emptiness then you can use four ounces to move a thousand pounds. This skill is critical in the more vigorous dances. In order to attract to emptiness you must know yourself and your partner. In order to know your partner you must be able to follow; everyone (especially men) always want to lead, but following must be learned first. (Incidentally, this is why Ginger Rogers was a better dancer than Fred Astaire.) Li I yu advises that if you want to know yourself and others, you must give up yourself to follow others. Following requires correct timing and positioning, which in turn requires that you make your body one unit. Moving as one unit demands first that you pay attention (mutual attraction aids attention), and second that you have strong legs and relaxed shoulders.

Read these words carefully and discern their true meanings. The Classics warn that, because "'Missing it by a little will lead many miles astray.' The practitioner must carefully study."


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[\1] Yes, it does take two to tango.