meditations on the 10, part two: revolution, choreography, and magic

The practice of Taiji is an act of revolution.

I don’t mean this in a political way, save that all things these days have their political implications. But if we look at the definition of “revolution” we find that it is a “dramatic and wide reaching change in the way something is organized or in people’s ideas about it.”

Is this not what we are attempting in practice with every step we take, every conscious breath, and each moment of relaxed focus we achieve? Are we not practicing to thoroughly reorganize our alignment and profoundly deepen our awareness?

We practice FOR change, for a powerful revolution in our ability to move, connect, respond, and create. Those who are primarily interested in health and fitness will often find themselves back at the gym or such. Those focused more on fighting will gravitate toward other more aggressive styles of martial art. But those of us who want more and are willing to delve deeply into the rich, mysterious, sometimes uncomfortable internal spaces of body, mind, and spirit will find themselves richly rewarded from the practice of Taijiquan. This is especially true, even magical, when we enter our practice with this kind of revolution clearly in mind.

That said, all things of great value involve their various challenges and for the new student of Taiji, the first of these is choreography. I have seen many students begin their study with great enthusiasm only to see it wane as the reality of learning, and yes, memorizing, the choreography of the bare hand form sets in.

At this stage, the student is faced with a definite choice. There is no right or wrong to this, but there will be a choice. Will I shift gears into a focused and committed learning mode – or not. Again, there is neither right nor wrong to this, but the answer will determine one’s access to the revolutionary magic that is possible with Taiji. For those who make this shift, the work of choreography becomes steadily easier and over time begins to alter how one moves in daily life. Other more subtle changes are also noticed as he or she processes the principles and experiences that arise through conscious practice. Choreography thus becomes a vehicle that allows us to integrate the deeper concepts contained in Taiji. It is the first tool we pick up. In more advanced work, it is the tool we must continually acknowledge though we become more flexible in our interpretation of it.

An interesting definition for magic is “the power of apparently influencing the course of events by using mysterious or supernatural forces.” Anyone who has begun their practice in a less than uplifted state can surely appreciate the “magic” that occurs from simply the choice to practice. There is something deeply empowering that occurs when we exercise our volition to align our structure, coordinate our breath, and focus our mind.

Surely we are stepping into the “mysterious” even the “supernatural” to some degree as we raise and lower our arms and commence. I am referring here – initially – to the powerful fact that we can change how we feel, how we think, and what we create through such focused practice. A change in thought, a change in action, a change in feeling, a change in creation… all beginning with that very non-physical quality of VOLITION. If revolution is the ultimate objective of Taiji, or any system of self-cultivation, then surely it comes about through the magical application of a focused heart and mind.

As I continue with my “meditations on the 10″ series, it will be with an acknowledgement of revolution as our goal, the application of sound principles and choreography as our tools, and the volitional magic which inspires and drives it all. As we fly into the dynamic future, ablaze with challenge and opportunity, I believe that an uplifting and enlightened practice will serve and support us more than ever before.

Peace on your path!