marlon
Master Black Belt
This was given on another thread, i would like to know your opinions on what is the 'master key' spoken about and you general opinon on the article. Many thanks
Marlon
'There is a Master Key to Tai-Chi Chuan. Possessing it, if we are willing to devote time and energy to practice, we can continue to make progress throughout life to the limits of our natural ability. Without this key, we can only hope to improve our technique to a certain level, and then will "sign away our time," as the Song of Thirteen Postures says. The Master Key defines the art of Tai-Chi Chuan. We can do the forms, the "ch'uan," and even practice a variety of principles such as slowness, relaxation, straight spine, and certain hand positions. We can even reach high technical achievement; but without the Maser Key, we should not call our art "Tai-Chi Chuan."
The Master Key is not related to any particular style. Instead, it makes one family of all diverse forms of Tai Chi. The forms and styles are analogous to rooms in the same hotel. Each room has a key whose superficial appearance differentiates it from all others, and provides the guest with access to that room, and to no other. Problems arise when guests begin thinking their room is best, and the particular bumps and valleys, notches and grooves, straight or contoured edges in their key are essential, and should appear in everyone's key. As the external differences are given greater significance. "Tai-Chi hotel" turns into "Chuan Condominiums." All the guests try their keys in one another's doors and say, "Your room is no good because my key doesn't open your door, and I know my key works." This is happening among some Tai-Chi players today. Adherents of various styles become involved in describing individual differences as if they were fundamental. One might say, " The Key to Tai-Chi Chuan has five notches of increasing depth in its upper edge"; another might counter, "The upper edge of the key must be smooth to permit it to turn either way." When instructors, who may have been misled by their teachers, focus on the unique configuration of their own "keys," students are easily fooled, and mimic the person at the front of the class instead of seeking to apply the Master Key for themselves. However, just as the manager of a hotel has one master key which unlocks all doors, there is one Master Key to Tai-Chi Chuan that reveals which bumps and valleys in individual keys are merely superficial differences, and which are common to all other styles, and therefore define the essence of the art.
The Master Key to Tai-Chi Chuan, is so complete that it contains all other principles within it, yet so simple that some people will hear and laugh, some will acknowledge it yet forget to practice it, and only a few will achieve mastery with it. Yet anyone can hear and immediately have some understanding of it. What is the Master Key? You do not have to take my word for it: I did not originate it. It has existed since ancient times, distinguishing Tai Chi from other "ch'uan." I only wish to emphasize it so Tai-Chi players of all styles can see the common ground defining their practice, and can work together toward mastery.'
-Jou, Tsung Hwa
Marlon
'There is a Master Key to Tai-Chi Chuan. Possessing it, if we are willing to devote time and energy to practice, we can continue to make progress throughout life to the limits of our natural ability. Without this key, we can only hope to improve our technique to a certain level, and then will "sign away our time," as the Song of Thirteen Postures says. The Master Key defines the art of Tai-Chi Chuan. We can do the forms, the "ch'uan," and even practice a variety of principles such as slowness, relaxation, straight spine, and certain hand positions. We can even reach high technical achievement; but without the Maser Key, we should not call our art "Tai-Chi Chuan."
The Master Key is not related to any particular style. Instead, it makes one family of all diverse forms of Tai Chi. The forms and styles are analogous to rooms in the same hotel. Each room has a key whose superficial appearance differentiates it from all others, and provides the guest with access to that room, and to no other. Problems arise when guests begin thinking their room is best, and the particular bumps and valleys, notches and grooves, straight or contoured edges in their key are essential, and should appear in everyone's key. As the external differences are given greater significance. "Tai-Chi hotel" turns into "Chuan Condominiums." All the guests try their keys in one another's doors and say, "Your room is no good because my key doesn't open your door, and I know my key works." This is happening among some Tai-Chi players today. Adherents of various styles become involved in describing individual differences as if they were fundamental. One might say, " The Key to Tai-Chi Chuan has five notches of increasing depth in its upper edge"; another might counter, "The upper edge of the key must be smooth to permit it to turn either way." When instructors, who may have been misled by their teachers, focus on the unique configuration of their own "keys," students are easily fooled, and mimic the person at the front of the class instead of seeking to apply the Master Key for themselves. However, just as the manager of a hotel has one master key which unlocks all doors, there is one Master Key to Tai-Chi Chuan that reveals which bumps and valleys in individual keys are merely superficial differences, and which are common to all other styles, and therefore define the essence of the art.
The Master Key to Tai-Chi Chuan, is so complete that it contains all other principles within it, yet so simple that some people will hear and laugh, some will acknowledge it yet forget to practice it, and only a few will achieve mastery with it. Yet anyone can hear and immediately have some understanding of it. What is the Master Key? You do not have to take my word for it: I did not originate it. It has existed since ancient times, distinguishing Tai Chi from other "ch'uan." I only wish to emphasize it so Tai-Chi players of all styles can see the common ground defining their practice, and can work together toward mastery.'
-Jou, Tsung Hwa
