Research byMichael P.

GarofaloT'ai Chi Ch'uan: National 24 FormStandard Simplifi

ed Taijiquan Version, 24 Movements, 1956, Yang Style Taijiquan24 Short Form, Sim
plified Tai Chi, Standard Beijing Taijiquan 24 Form, Chinese National 24 Form Ta
iji
Chen Chang Xing (1771-1853) developed the Chen Style T'ai Chi Ch'uan (Tai
jiquan) Old Frame, First Routine. He taught the Chen Style Taijiquan to Yang Lu
Chan (1799-1872), who developed the Yang Style of Taijiquan. The grandson of Y
ang Lu Chan, Yang Cheng Fu (1883-1936) modified and popu-larized the Yang Style
Taijiquan , and published a number of books on the sub-ject in the 1930's.
In 1956, the National Physical Culture and Sports Commission of the Peo-ple's Re
public of China, under the leadership of the Taijiquan Committee Chairperson, Pr
ofessor Li Tian Ji, developed standardized and simplified ver-Taijiquan 24 FormS
tandard Simplified Orthodox Chinese National Version, T'ai Chi Ch'uan 24 Movemen
t Form, 1956, Yang Style egreenway.comsions of many T'ai Chi Ch'uan (Taijiquan)
forms. Professor Li Tian Ji (1914-1996) led the development of the 24 Taijiqua
n Form and the 32 Sword Taiji-quan Form as well as many other standardized Taiji
quan forms, and he is called by many "The Father of Modern Taijiquan."
The S
tandard Simplified Beijing 24 Taijiquan Form was based on the Yang Family style
of T'ai Chi Ch'uan, as epitomized by Yang Cheng Fu. The 24 Taijiquan Form could
be performed in 4 to 8 minutes, and consisted, as would be expected, of 24 move
ments, although some of the movements have two or three parts. The 24 Taiji-qua
n Form eliminated some of the movements that are found in the Yang Style Tai-jiq
uan 108 long form such as the Sweeping Lotus Kick, Step Up to Seven Stars, Snake
Darts out its Tongue, or Carry the Tiger to the Mountain. The short 24 Taiji-q
uan Form also greatly reduced the number of times that some movements are repeat
ed in the Yang Style 108 long form such as Grasping the Sparrow's Tail, Wav-ing
Hands Like Clouds, Left Ward Off, or Single Whip. The traditional has 108 movem
ents (postures or parts).
The Standard Simplified 24 Taijiquan Form, the s
hort form, could be taught fairly quickly to students of various ages in physica
l education programs. The brevity of the form appealed to students of all ages.
The short form could be done by large groups of people in rows since the movem
ent choreography is in straight lines. The short form provided a standard form
for use in some competitions. The new short form was less physically demanding
than longer forms and other Tai Chi styles, and appealed to older beginners. It
provided a good introduction to the basic elements of the Yang Family Taijiquan
long form. When done properly, the short form can exemplify grace, beauty, and
many fundamentals of the art. For these reasons, the Standard Simplified 24 Ta
ijiquan Form has become quite popular and is now taught, practiced and played al
l over the world.
Forty years ago it was difficult to say whether the Standa
rd 24 Form or the were the most popular in America. Professor Cheng's form, his
inspired teaching, his many accomplished students, and his amazing push hands s
kills, all definitely sparked very sophisticated writing on the subject and inte
nse commitment to his form; and his 37 short form was the most popular in Americ
a before 1977. Now, students have ready access to many more English language b
ooks and instructional media (DVDs and VHS videotapes) about the Standard Simpli
fied T'ai Chi Ch'uan 24 Form, and instructors teaching the 24 Taijiquan Form are
quite common in Amer-ica. Since both forms use Yang style postures and skills,
a few Yang style Tai Chi practitioners and teachers can do both the 24 and 37 f
orms, as well, of course, as the Traditional Yang Style Taijiquan 108 long form.
However, in my opinion, the Standard 24 Taijiquan Form, in the Yang Style, is
now the most popular Tai Chi form practiced in America and around the world.
Other shortened versions of T'ai Chi Ch'uan long forms are also practiced. A
48 movement Yang short form is also popular in China. The Chinese National Wus
hu Association has developed a 42 movement Yang style competition form. The st
yle of T'ai Chi Ch'uan also has 11, 18, 32 and 36 movement short forms, as well
as a Chen competition form of 56 movements. Both an 11 and 35 movement version
of the Sun style of T'ai Chi Ch'uan also exist.
I first learned the Standa
rd 24 Taijiquan Form in 1986, and have enjoyed practicing the form since then.
To assist others in learning this popular Taiji form, I've prepared this webpage
and provided many tools and suggestionsfor learning the 24 Taiji Form. I also
enjoy practicing the Chen Style Taiji-quan 18 Movement short form created by Gra

ndmaster Chen Zhenglei.

This webpage was first published on the Internet in
2001. It is one of the more popular webpages on the Cloud Hands website. In 2
009, this webpage was served to over 86,000 persons. I made an effort to signif
icantly upgrade the quality of this webpage in 2011, and develop it to the quali
ty of my 32 Sword Form webpage. In 2015, I began efforts to go into more detail
about each movement via separate webpages. My very best wishes to you in your
study and practice of the popular and delightful Standard Tai Chi 24 Form. From
Mike Garofalo, here at the Valley Spirit Center in Red Bluff, California, on Au
gust 18, 2015, Mike Garofalo Playing the Pi Pa"No school of Chinese martial arts
is as well known and popular as Taijiquan. It is suitable for both the young a
nd the old, not only because Taijiquan possesses special features of stretching,
flexing the joints, softly twining, exercising both the inside and the outside,
dispelling diseases and prolonging life, but it is also the martial art that be
st reflects Chinese traditional philosophy. More and more people from other cou
ntries, especially those interested in Chinese culture, are beginning to practic
e Taijiquan. Taijiquan is becoming popular all over the world. Because of this
, Taijiquan has no national boundary and is beyond the category of culture, and
belongs to people everywhere."- Fan Chun-Lei and A. Frank Shiery, Traditional C
hen Style Taijiquan. Links, Bibliography, ResourcesT'ai Chi Ch'uan: National 24
Form Taijiquan Standard Simplified Taijiquan, 24 Movements, 1956, Yang Style, B
ejing (Peking) National Form Anatomy of Yang Family Tai Chi . By Steffan de Gr
affenried. Nomentira Publi-cations, 2007. 108 pages. ISBN: 0979895626. VSTLC
. Beginning T'ai Chi. By Tri Chong Dang. Tuttle Publishing, 1994. 67 pages.
ISBN: 0804820015. 24 Form is taught. Beijing 24 Form . EveryDay Tai Chi.Bre
athing and Taijiquan Bibliography, links, quotes, notes.Chang San Feng: Biogra
phy, Bibliography, Links, Quotes, and Notes. Taoist Master Chang San Feng, circ
a 1300 CE, is the legendary founder of T'ai Chi Ch'uan. He is considered to be
a Taoist Immortal who lived for hundreds of years. He is often spoken about a
nd quoted in books by Yang Family Taijiquan enthusiasts.
Cheng Man-Ch'ing (19
01-1975) Bibliography, links, quotes, notes. Profes-sor Cheng created a Yang
style 37 movement short form that became popu-lar in the U.S.. "The Common Sens
e of Tai Chi Ch'uan: Questions and Answers." By Chang, Wen-Yuen. The People's
Physical Education Publication, Shanghai, 1960. Compact Tai Chi: Combined Form
s for Practice in Limited Space. Jesse Tsao. Weiser Books, 1st Edition, 2000.
229 pages. ISBN: 1578631262.A circular version of 24 Forms. VSTLC. Compact T
ai Chi for Healing in Simplified Form 24. Instruction by Master Jesse Tsao, San
Diego, Tai Chi Healthways. Instruction DVD, 60 minutes. $34.95. VHS version i
s also available. "Compact Tai Chi for Healing in Simplified Form 24 is an easy
-to-follow and slow-moving, yet powerful, workout. Detailed instruction of each
posture in front view and 3 repetitions in back view are given. The self-healin
g aspects of each posture will surely enhance your health and release your stres
s. At the end of the video, Master Tsao also performs the standard routine of S
implified Tai Chi Form 24. Teaching is in English. (Difficulty: Beginner Level)
. The Complete Book of Chinese Health and Healing. By Daniel Reid. Random Hou
se, 1994. 484 pages. ISBN: 0877739293. The Complete Book of Tai Chi Chuan: A
Comprehensive Guide to the Princi-ples and Practice. By Wong, Kiew Kit. Shafte
sbury, Dorset, Element, 1996. Index, bibliography, 316 pages. ISBN: 1852307927
. The 24 movement short form is described and illustrated on pages 70 - 86. VS
TLC. The Complete Idiot's Guide to Tai Chi and Qigong. By Bill Douglas. Alpha
Books, 2002, 2nd Edition. 368 pages. ISBN: 0028642643. VSTLC."Condensed Tai
Chi Ch'uan." Edited by Ching, Ku-Lui. Athletic Magazine, Shanghai, Shanghai Ed
ucational Publications, 1954. The Dao of Taijiquan: Way to Rejuvenation.By Tsung
Hwa Jou. Charles E. Tuttle, 1980, 1998. 3rd Edition. 233 pages. ISBN: 08048
13574. An outstanding textbook on Tai Chi Chuan. The Chen, Yang, and Wu styles
are introduced and explained. A very informative introduction to the philosoph
y and practices of Tai Chi. The first textbook in English about Taijiquan. VST
LC.
Dao (Saber, Broadsword) and Taijiquan Bibliography, links, resources, qu
otes, notes.Drawing Silk: Master's Secrets for Successful Tai Chi Practice . By
Paul B. Gal-lagher. Book Surge Publishing, 2007. 266 pages. ISBN: 1419663127
. A very good introductory text to Tai Chi. VSTLC. The Efficacy of T'ai Chi

Ch'uan in Older Adults : A Systematic Review of Medi-cal Literature. By Arianne

P. Verhagen, Monique Immink, Annemieke an der Meulen and Sita Bierma-Zeinstra
. Family Practice Journal: Vol. 21, No. 1. Eight Section Brocade Qigong This
is a very common Qigong and warm up exercise set used before one practices Taiji
quan.
The Encyclopedia of Tai Chi Chuan. By Feng Zhigang and Li Binci. Beij
ing, China, Education Yard Publishing House, 2005. ISBN: 7507711706. Five Ani
mal Frolics ( Wu Qin Xi ): Tiger, Bear, Crane, Deer, and Monkey I use many vari
ations of the Five Animal Frolics in the Qigong and warm up portion at the begin
ning of my Taijiquan classes and in my yoga classes in Red Bluff, California. G
arofalo, Michael P., M.S. Instructor at Valley Spirit Taijiquan. Mike has been
publishing on the Internet with Green Way Research since 1991. Mike began his
practice of Taijiquan and Qigong in 1986. He has taught Taijiquan and Qigong s
ince 2000; and Yoga since 2004. He teaches at the Valley Spirit Tai-jiquan Cent
er and at the Tehama Family Fitness Center, both in Red Bluff, California. He t
eaches Yang Style Taijiquan, various styles of Qigong and Yoga, and cane. His m
any web publications (e.g., The Spirit of Gardening, Cloud Hands, Months, etc.)
are widely cited and rank high in search engines, and he serves up over 2,000,00
0 webpages (excluding graphics) each year. He is an avid and knowledgeable gard
ener, and lives in a rural area in North-ern California. He is a semi-retired
library administrator, grant writer, web-master, and technology manager. You ca
n contact Mike by email or by cell phone at 530-200-3546. Grasping the Sparrow'
s Tail. The Four Gates: Ward Off, Roll Back, Press, and Push. Fighting Off Str
ess: A 6th Grade Class Lesson. Grasping the Sparrow's Tail is done from both t
he right side and the left side in the Taijiquan Beijing Short Form and many tim
es from the right side in the traditional Yang Family Long Form. By Michael P.
Garofalo. 45K. Handbook of T'ai Chi Ch'uan Exercises. By Zhang, Fuxing. Yo
rk Beach, Maine, Sam-uel Weiser, Inc., 1996. Index, 198 pages. ISBN: 087728891
7. Includes detailed description and line drawings of the Simplified 24 Moveme
nt Yang style short form, and the standard traditional 88 movement Yang style lo
ng form. Information on major characteristics of Yang style, key points of pra
ctice, and push hands. VSTLC. The Healing Promise of Qi: Creating Extraordinar
y Wellness Through Qigong and Tai Chi. By Roger Jahnke, O.M.D.. Chicago, Conte
mporary Books, 2002. Index, notes, extensive recommended reading list, 316 pag
es. ISBN: 0809295288.How to Best Learn the 24 Simplified Tai Chi Chuan. By Zha
ng Qi Hua and Lu Ping. Beijing, China, People's Physical Education Publishing H
ouse, 2000. ISBN: 7500917031. Hsing Yi (Xing I): Bibliography, Links, Resourc
es, Quotations, Notes. I use forward moving drills, a modified Hsing Yi style,
with movements from the Yang Style Taijiquan such as Parting the Wild Horse's Ma
ne, Brush Knee, Fair Lady Works the Shuttles, etc. Illustrations of Tai Chi Ch
uan Simplified. By Y. W. Chong. In English and Chi-nese. Hong Kong, Wan Li Bo
ok Co., Ltd., 1981. 96 pages, black and white illustrations. Illustrations of
the 24 Yang Short Form, Line Drawings. Prepared by the Jun Nan Shin Martial Art
s Academy. KU Kung Fu and Tai Chi Club. The University of Kansas. Instruction
s for Yang Style Short Form Tai Chi. Detailed description by David Hann of 24 F
orm in a HTML file and a Word.doc file . Dr. Po-lung Yu and Taichi [ video] (49
Mb). Dr. Yu's description of the meaning of Taichi [ video] (45Mb). "Enjoy Tai
chi!" (Dr. Yu, Mr. Chang, and Mr. Hann) [ video] (12Mb). List of Movements in t
he Simplified 24 Taijiquan Form. Movement names in English, Chinese characters
, Chinese Pinyin, French, German and Spanish. Mastering Yang Style Taijiquan.
Bu Fu Zongwen (1903-1994). Translated by Louis Swaim. Berkeley, California, N
orth Atlantic Books, 1999. Glossary, bib-liography, 226 pages. ISBN: 155643318
2. Translations of many Tai Chi clas-sics are included. A list of the 85 movem
ent long form and detailed notes and descriptions of each movement are provided.
251 movement analysis illus-trations. Over 76 of the illustrations are traced
and drawn from photographs of Yang Cheng-Fu. Detailed descriptions of the long
form, pp. 26-162. Push hands information. Yang Tai Chi essentials.
I have
found this to be an excellent book! This book was first published in 1963 in Ch
ina as "Yang Shi Taijiquan". An informative introduction and good translation b
y Louis Swaim. VSTLC. Old Yang Short Form 32 movement form from Yang, Chien Ho
u and Dr. Shen. Orthodox Chinese Taiji Quan.
An 88 minute videotape that tea

ches the standard Yang style, Beijing version, short form of Tai Chi Chuan. Inc
ludes footage of people doing other styles and push hands. Pictures of Tai Chi
Movements of the 24 Form Push Hands (Tui Shou) in Tai Chi Chuan. Links, bibli
ography, resources, quotes, and notes. Ripening Peaches: Daoist Studies and Pr
actices . Taoist scriptures, bibliog-raphy, Quanzhen Daoism, Neidan, Qigong. R
iver Springs Tai Chi, Simplified Yang Style Tai Chi Set (24 Movements), List of
Movements with Chinese characters. Illustrations for each movement. The Root
of Chinese Chi Kung: The Secrets of Chi Kung Training. By Yang Jwing-Ming. YMA
A Chi Kung Series #1. Jamaica Plain, Massachusetts, Yang's Martial Arts Associa
tion, 1989. Glossary, 272 pages. ISBN: 0940871076. VSTLC.
Saber (Dao,
Broadsword) and Taijiquan Bibliography, links, resources, quotes, notes. Sear
ching Google to 24 Form Taijiquan: 24 Form T'ai Chi Ch'uan; Yang 24 Form; Dr. S
hen's Short Form Tai Chi. Featuring Dr. Zaiwen Shen. 24 movement form. Simpl
ified Tai Chi Chuan. Instructional DVD by Master Liang Shou-Yu and Kelly Macle
an. 150 minutes. Directed by Yang Jwing-Ming. YMAA Publications, 2005. Compa
nion to book: T'ai Chi Ch'uan: 24 And 48 Postures With Martial Applications. Sim
plified 24 Form: Bibliography, links, quotes, notes, list of movements.Simplifie
d 24 Form Tai Chi. VCD - 2discs. In English and Chinese. 41 minutes.Standard
Simplified Taijiquan 24 Form. Research by Michael P. Garofalo, M.S. Yang Style
of Tai Chi Chuan, 24 movements. This webpage includes a detailed bibliography
of books, media, links, online videos, articles, and resources. It provides a l
ist of the 24 movement names in English, Chinese, French, German and Spanish, wi
th citations for sources of the movement names. It provides detailed descriptio
ns of each movement with black and white line illustrations and photographs. I
t includes relevant quotations, notes, performance times, section breakdowns, ba
sic Tai Chi principles, and strategies for learning the form. The Peking (Bejin
g) Chinese National ortho-dox standard simplified 24 movement Tai Chi form, crea
ted in 1956, is the most popular form practiced all around the world. Published
by Green Way Research, Valley Spirit Taijiquan, Red Bluff, California: Webpage
URL: http://www.egreenway.com/taichichuan/short.htm. Sung - Relaxation Bib
liography, links, quotes, and notes.Sun Lu Tang's Internal Martial Arts: Baguazh
ang, Xingyiquan, Taijiquan, and Qigong. Bibliography, Links, Quotes, Resources,
Instructions. Sun Style of T'ai Chi Ch'uan: Standard Competition 73 Movements
Form. Research by Michael P. Garofalo, M.S.. Webpage: 450Kb, June 2008. This
webpage includes an introduction, information on the history of the Sun Taiji-q
uan forms, a detailed bibliography, extensive links, references to video resourc
es, a large collections of quotations about Sun Taijiquan, recommen-dations on t
he best media resources on the topic, and suggestions for learning the 73 compet
ition Sun Taijiquan form. A detailed comparative list of the names of each of t
he 73 movements is provided, with source references, and the movement names are
given in English, Chinese, Chinese characters, French, German, and Spanish. Thi
s webpage includes detailed descriptions of each of the 73 movements with black
and white illustrations for each move-ment sequence along with commentary and co
mparisons. Many additional nomenclature lists and section study charts in the P
DF format, photographs and graphics are also provided - over 1.3 MB of informati
on. This webpage is the most detailed and complete document on the subject of t
he Sun Taijiquan Competition 73 Form available on the Internet. This document w
as published by Green Way Research, Valley Spirit Taijiquan, Red Bluff, Califor
nia, 2008. URL: http://www.egreenway.com/taichichuan/sun73.htm .Tai Chi Beginn
ing: A Complete Workout Reference for Beginners . By Wen-Ching Wu and Denise Br
eiter-Wu. Way of the Dragon, 1998. 128 pages. ISBN: 1889659037.Tai Chi Chuan
By Marshall Ho'o. Burbank, California, Ohara Publications, Inc., 1986. 111 pa
ges. Black Belt Magazine Publication. ISBN: 0897501098. The Taijiquan explain
ed and illustrated (with mediocre and grainy black and white photographs) is the
Standard 24 Form of Taijiquan in the Yang Style. VSCL. Master Ho'o taught thi
s form on KCET public television in Los Angeles starting in 1973 and provided me
with my first exposure to T'ai Chi Ch'uan. Tai Chi Chuan: The 27 forms by Mars
hall Ho'o. Instructional DVD, released in 2005, featuring the late Marshall Ho
'o. Black Belt Videos, 90 minutes. Includes the Nine Temple Qigong. Filmed in
the 1980's. Master Marshall Ho'o is also known for his Nine Temple Qigong Exer

cises. This book (1986) by Master Marshall Ho'o is the first English language p
ubli-cation about the Standard 24 Taijiquan Form."Dr. Ho'o was instrumental in t
he certification of acupuncture in the State of California. He was the first Tai
Chi Master to have been elected to the Black Belt Hall of Fame. He was Dean of
the Aspen Academy of Martial & Healing Arts, on the faculty of California Insti
tute of the Arts, and taught Tai Chi and Acupressure at many educational institu
tions. In 1973, he created a series for KCET public television, in Los Angeles,
teaching Tai Chi. He was a consult-ant to Prevention Magazine's The Doctor's B
ook of Home Remedies . A Chi-nese American, Dr. Ho'o was America's first T'ai C
hi Ch'uan Grandmaster. His influence is far-reaching in both the fields of heal
ing and martial arts."- The Lineage, Teachers of Two Birds Tai ChiT'ai Chi Ch'u
an and Qigong: Techniques and Training. By Wolfgang Metzger, Pei-fang Zhou, an
d Manfred Grosser. New York, Sterling Publishing Company, 1996. Index, 144 pag
es. ISBN: 0806959576. Includes a detailed description of the Beijing 24 moveme
nt form, pp. 86 -141. Excellent list and movement chart. T'ai Chi Ch'uan: Bei
jing Short Form. Yang Style, Standard Simplified Version, 24 Movements, Created
in 1956. List of movements, notes, bibliography, links, and photographs. Peki
ng short form Taijiquan. By Michael P. Garofalo. 300Kb HTML file: http://www.e
greenway.com/taichichuan/short.htmTai Chi Chuan Sports. Edited by the People's
Republic of China Physical Edu-cation Committee. Beijing, China, 1996. ISBN: 7
500911505. Tai Chi Chuan in 24 Forms . By Donald McPherson and Phyboon Cheng.
Pre-sented in English and Chinese. Lulu.com, 2006. 160 pages. ISBN: 1411677
242. T'ai Chi Ch'uan Martial Applications Advanced Yang Style. By Dr. Wang, J
wing Ming. Edited by Alan Doughall. Jamaica Plain, MA, YMAA Publications, 2nd
Edition, 1996. 363 pages. ISBN: 1886969442. VSLC. Tai Chi Chuan: The Chinese
Way. By Foen Tjoeng Lie. New York, Sterling Publish-ing Co., 1988. 126 page
s, black and white illustrations, index. ISBN: 0806968265. Excellent photos o
f Mr. Lie doing the form, informative descriptions, and a good introduction. VS
TLC. T'ai Chi Ch'uan: 24 And 48 Postures With Martial Applications. By Master L
iang, Shou-Yu and Wu, Wen-Ching; and, edited by Denise Brieter. Bos-ton, YMAA P
ublications. 2nd Edition, 1993, 1996. ISBN: 1886969337. Index, bib-liograp
hy, glossary, 153 pages. In my opinion, this is the best book to purchase when
learning the Beijing 24 Short Form. Detailed instructions, excellent photo-grap
hs, and extensive martial applications make this a first choice for students. V
STLC. Tai Chi Connections: Advancing Your Tai Chi Experience. By John Loupos.
Boston, MA, YMAA Publication Center, 2005. Index, 194 pages. ISBN: 1594390320.
VSTLC. All three books by John Loupos are very useful. Tai Chi for Beginner
s: The 24 Forms. By Lin Williams. Instructional videotape. DVD: MBSDVD009.
Tai Chi Essentials: The Simplified 24 Form By Andrew Townsend. CreateSpace ind
ependent Pub., 2015. 320 pages. ISBN: 978-1514250488. Tai Chi for Beginners a
nd the 24 Forms. By Dr. Paul Lam and Nancy Kaye. 1st Edition, SNP Leefung, 200
6. ISBN: 0977536114. Tai Chi for Body, Mind and Spirit: A Step-by-Step Guide
to Achieving Physical and Mental Balance. By Eric Chaline. New York, Sterling
Publishing Co., 1998. $14.95. Index, 127 pages. ISBN: 0806963212. Detailed
Instructions and color photographs for the 24 movement standard short form. In
cludes some qigong exercises. VSTLC. . By Cheng Zhao and Dan Zhao. Indiana,
Agilceed Books, 2006. 163 pages. ISBN: 0976118319. There is also an instruct
ional DVD to accompany this book by Cheng Zhao and Don Zhao. Overview of 4 Form
, detailed descriptions of each movement, general principles, questions and answ
ers, flow charts. Hundreds of black and white photographs, illustrations, artwo
rk, and graphics. This is a much better book than the 32 Sword Form book by the
same authors. Dr. Cheng Zhao is a full professor at Indiana State Univer-sity.
VSTLC. Tai Chi for Life: Yang Style Tai Chi. By Guangzhi Xing. 24 Form Simp
lified Tai Chi, Tai Chi Sword 32 Form. Instructional DVD, 90 minutes, Color. T
urtle Press, 2002. Instruction in English. Tai Chi for Seniors: How to Gain F
lexibility, Strength, and Inner Peace. By Philip Bonifonte. New Page Books, 20
04. 216 pages. ISBN: 1564146979. The 24 form is taught.Tai Chi for Small Space
. By Jiang Jian-ye. Based on the 24-form simplified T'ai Chi from in the Yang
style. 120 minute videotape. Jiang's Tai Chi Vide-os. Tai Chi: Health for Li
fe. How and Why It Works for Health, Stress Relief, and Longevity. By Bruce Fr

antzis. Berkeley, California, Blue Snake Books, Energy Arts Inc., c 2006. Inde
x, 320 pages. ISBN: 1583941444. VSTLC. Tai Chi Qi Gong. By Jiang Jian-ye.
117 minute videotape. 24 movement form is taught along with some qi gong appli
cations. Jiang's Tai Chi Videos. Tai Chi Productions Newsletter Edited by Ma
ster Paul Lam, M.D. He has produced an excellent instructional videotape/DVD on
the 24 Form. Tai Chi: 6 Forms, 6 Easy Lessons. By Dr. Paul Lam. VHS and DV
D. Wellspring Media, 1995, 1998. ASIN: 1885538715. An earlier version of Ta
i Chi: The 24 Forms. Tai Chi: The 24 Forms. By Dr. Paul Lam. A 120 minute vi
deotape that teaches the Simplified 24 Form, Beijing 1956 version, Yang style T'
ai Chi Ch'uan. This excellent instructional videotape/DVD includes warm up exer
cises, 6 qigong exer-cises, 7 movement drills, and extensive and clear step by s
tep instructions and numerous multi-angle demonstrations of the 24 postures in t
his popular short form. Dr. Lam, a family physician in Australia, has won gold
medals in interna-tional Taiji competitions, and has published many good books,
newsletters, articles, and produced many fine Taiji instructional videotapes. V
HS videotape (ISBN:1583500197) and DVD version (ISBN: 1583501088). $30.00. Pro
duced by WellSpring Media, 1999. Reviews VSTLC. Tai-Chi 24 Form. By Robert
Yeoh. 14 pages, PDF format. Detailed written instructions for each of the 24
postures of the form. Excellent resource. Tai Chi Secrets of the Yang Style.
Translated with commentary by Yang Jwing-ming. Translations and commentary on
Chinese Classics. Boston, MA, YMAA Publications, 2001. Index, glossary, 192 p
ages. ISBN: 1886969094. A translation of 49 documents by Yang, Ban-Hou (1837
-1892) and by afew other Yang family members. VSTLC.
Tai Chi Theory and Mar
tial Power: Advanced Yang Style Tai Chi. By Dr. Yang, Jwing-Ming. Jamaica Plai
n, Mass., YMAA Publication Center, 1996. Second Edition. Glossary, index, 268
pages. ISBN: 1886969434. VSTLC. Tai Chi Touchstones: Yang Family Secret Trans
-missions. Compiled and translated by Douglas Wile. Brooklyn, New York, Sweet
Chi Press, 8th Edition, 1983. 159 pages. ISBN: 091205901X. VSTLC. Tai Chi:
Yang Family Basic 24 Forms. By Li Huilin. Beijing, China, Da Lian Audio and Vi
sual Publishing House, 2005. ISRC CN-D03-05-0061-0/V-J7. Book and DVD. Taijiq
uan, Classical Yang Style: The Complete Form and Qigong. By Yang, Jwing-Ming.
Boston, MA, YMAA Publications Center, 1999. Index, glossary, 333 pages, 562 ill
ustrations. ISBN:188696968X. There is also an instructional videotape and DVD
to supplement this book. The DVD contains the complete form, gigong, details i
nstructions for each movement, and 13 postures. Performed by Dr. Yang, Jwing-Mi
ng and Robert Was. 240 Minutes, DVD9-NTSC, 2003. DVD ISBN: 0940871645. VSTLC.
The Taijiquan Classics: An Annotated Translation. By Barbara Davis. Include
s a commentary by Chen Wei-ming. San Franscisco, North Atlantic Books, 2004. I
ndex, bibliography, notes, 200 pages. ISBN: 1556434316. VSTLC. Taijiquan: Cu
ltivating Inner Strength By C. P. Ong. Bagua Press, 2013. 366 pages. ISBN: 9
78-0615874074. VSCL. Taijiquan Classics Bibliography, links, quotes, notes.
Taiji Quan in 24 Forms. Series of Chinese Wu Shu Shows: 24 Forms In Situ Taiji
Quan -Teaching Choice. Presentation and performance by Master Hu Qixian. Produc
tion by Sports Audio-visual Publication, Beijing. 1 NTSC vide-otape in Chinese.
Taijiquan Theory of Dr. Yang, Jwing-Ming: The Root of Taijiquan. By Yang Jwin
g-Ming. Boston, Massachusetts, 2003. References, glossary, index, 270 pages.
ISBN: 0940871432. Taiji 24 Form. Professor Le Din Yin. DVDTaiji 24 Form: Par
t 1 of 8. Instructions by Kelly MacLean. Movements 1, 2 and 3 explained with c
olor photographs. Taiji 24 Form Detailed instructions and scores of photograp
hs. One of the best on-line instructional resources for the 24 Form. the 24 F
orm is divided into 8 sections/webpages for instructional purposes. Kelly Macle
an is a full time instructor, and has taught Taiji and Wushu with Shou-Yu Liang
Wushu Taiji Qigong Institute for many years. Produced by the WushuTaiji Qigong
Intstitute. Teach Yourself Tai Chi. By Robert Parry. McGraw Hill, 3rd Edition
, 2007. 192 pages. ISBN: 0071490922. Total Tai Chi: The Step-by-Step Guide to
T'ai Chi at Home for Everybody. By Ronnie Robinson. Duncan Baird, 2006. 144
pages. ISBN: 1844832627. Thirteen Postures of Taijiquan. Bibliography, lin
ks, notes, charts, quotes. 8 Gates and 5 Steps of T'ai Chi Ch'uan.Traditional
Yang Family Short Form. By Howard Choy. A 39 movement short form. 24 Forms T
ai Chi Chuan. Demonstration and instruction by Wu A. Ming. 2 instructional DVD

s and booklet. 24 Forms Tai Chi Chuan Simplified. Instruction and demonstratio
n by Master Jiang Jian-ye. Instructional DVD or VHS videotape, 120 minutes. "
This video teaches the standardized 24-movement form based on the Yang style tha
t has been popularized in China. Jiang demonstrates the form and then teaches i
t step by step. Each form is taught with multiple views and repeti-tions. There
are reviews of segments and the form is demonstrated multiple times at the end,
front and rear." Available from Wayfarer Publications Cata-log. 24 Posture Tai
Chi (Erishisishi Tajiquan)
List of postures in English and Chi-nese. Includ
es black and white illustrations of the postures arranged in an S shaped flowing
layout.
The 24 Simplified Forms of Tai Chi Chuan. By Li Deyin. Beijing, Ch
ina, The Audio and Video Publishing House of Beijing TV Art Center, 2005. ISRC
CN-C07-02-318-00/V.G4. Twenty Four Forms Tai Chi Simplified-Enhanced. By Jian
g Jian-ye. A 90 minute videotape that teaches the standard Yang style, Beijing
version, short form of Tai Chi Chuan. Jiang's Tai Chi Videos. VSTLC = Valley Sp
irit Taijiquan Library Collection, Red Bluff, California. The Way of Harmony
By Howard Reid. A guide to self-knowledge through the Arts of Tai Chi Chuan, H
sing I, Pa Kua, and Chi Kung. London, Gaia Books Limited, 1988. Index, 191 pag
es. ISBN: 0671666320. Instructions and illustrations of the Short 24 Form can
be found on pages 90 - 139. VSTLC. The Way of Qigong: The Art and Science of
Chinese Energy Healing . By Ken-neth S. Cohen. Foreword by Larry Dossey. New
York Ballantine Books, 1997. Index, notes, appendices, 427 pages. ISBN: 034542
1094. One of my favorite books: comprehensive, informative, practical, and scie
ntific. VSTLC. Way of the Short Staff. By Michael P. Garofalo, M.S. A compre
hensive guide to the practice of the short staff, cane, jo, walking stick, gun,
zhang, whip staff, 13 Hands Staff, and related wood short staff weapons. A deta
iled and annotated guide, bibliography, lists of links, resources, instructional
media, online videos, and lessons. Includes use of the short staff and cane i
n mar-tial arts, self-defense, walking and hiking. Separate sections on Aikido
Jo, Cane, Taijiquan cane and staff, Jodo, exercises with a short staff, selected
quotations, techniques, selecting and purchasing a short staff, tips and sug-ge
stions, and a long section on the lore, legends, and magick of the short staff.
Includes "Shifu Miao Zhang Points the Way." Published by Green Way Research, V
alley Spirit Taijiquan, Red Bluff, California. Updated on a regular basis since
October, 2008. Filesize: 275 Kb. Related to Mike's popular webpage on the Sta
ff.Yang Family Style Tai Chi Chuan Traditional Long Form, 108 Movements. By Mic
hael P. Garofalo. 100 Kb+ Provides a list of the movements divided into five s
ections for teaching (.html and .doc versions available). Includes a bibliograp
hy, links, notes, and quotations. Provides a list comparing the Yang Long Form
108 to 85 postures sequence.
Yang Modified 24 Postures Short Form. Lots o
f line drawings for each of the pos-tures in the 24 form.
27Kb. MirrorYang
Short Form Pictorial A long sequence of color photographs of students performi
ng the short form in a park. From Dragon Studios. Yang Style Short Form
A
list of the 24 movements in this form.Yang Style Short Form, 24 Form. A list of
the 24 movements in this popular form. Yang Style Short Form Tai Chi. Written
by David Hann. Detailed narrative about performing the 24 Form. 54Kb. Yang S
tyle Tai Chi Chuan and Its Applications. By Yang, Jwing-Ming. VHS vide-otape.
Boston, YMAA Publications, 1995. ASIN: 0940871181. Applications for pos-tur
es in the 24, 48 and 108 forms. The Yang Taiji 24-Step Short Form: a Step-by-St
ep Guide for all Levels. By James Drewe. London and Philadelphia, Singing Drag
on, 2011. 382 pages. ISBN: 9781848190412. VSCL. Yang Tai Chi 24 Form Self De
fense By Ken Gullette. Internal Fighting Arts, 2013. 199 pages. Video Resour
ces OnlineStandard Simplified National T'ai Chi Ch'uan 24 Form, Yang StyleI prep
ared this list many years ago, and some of the links might no longer be active.
UTube has expanded greatly over the past few years. There may now, in 2015, be
many more good examples of performances or instructions about the 24 Taijiquan
Form online on UTube and elsewhere. Tai Chi, 24 Yang Form, M Du Feu, UTube 2007
, 6:18 min. Les 24 Mouvements du Style Yang (Vinz - 24 Yang Style Taijiquan),
Google Video, 1006, 7:21 min.Yang Tai Chi National 24 Forms, Narration in Chines
e, UTube, 2006. 4:37 min. A young woman doing a graceful performance. MirrorTa
i Chi Chuan Yang. Google Video, 2006, 4:13 min. Very good and strong performan

ce by a young woman.
Tai Chi Chuan - Yang - Forma 24 movimentos. UTube Video
, 2007, 3:40 min. A young man performing in a courtyard. Tai Chi Chuan Yang Si
mplified. Utube Video, 2007, 5:47 min. A young woman, Rie Takahashi, performs
the form. Tai Chi Form 24 Form . UTube Video, 2006, 7:19 min. Master Jesse Ts
ao per-forms. Yang Tai Chi National 24 Form. Video - Google, 4:37. Graceful
young lady in a pink Tai Chi uniform. Yang Taijiquan 24 Form . UTube Video, 20
06, 5:51 min. A young woman per-forms the form. Tai Chi 24 Forms. UTube Video
, 6:25. Performed by Paul Lam, M.D.. List of MovementsNational Standard T'ai C
hi Ch'uan 24 Short FormStandard Simplified Version, 24 Movements, 1956, Yang Sty
le Taiji-quanI welcome your suggestions on how to improve these translations int
o other languages for the names of the movements. Have others produced lists of
the 24 Taijiquan Form movements in other languages? Send your contribu-tions a
nd suggestions to my email box. Thanks to Stephane Gervais from France, who on
6/8/09 sent me the improved translations into French.
Commencing ( Qishi) [
Liang & Wu 1996] Starting Posture [Zhang Fuxing 1996; Chong 1981] The Beginnin
g ( Qi Ji) [Foen Tjoeng Lie 1988; Metzger & Zhou 1996] Starting Form [Zhao 20
06] Standing Quietly, Raise and Lower Hands Reconnecting with Oneness and Empt
inessQuiet Standing Mediation: Zhan Zhuang, WuJiCommencementTaijiquan Opening Mo
vementOpening Posture of Taijiquan [Garofalo 2008] Ouverture?ffnung Lage von T
aijiquan Postura de la Abertura de Taijiquan??: Yu Bei : Preparation FormPar
t the Wild Horse's Mane ( Yema Fenzong) [Liang & Wu] Wild Horse Waves Its Man
e [Zhang Fuxing]Parting a Wild Horse's Mane ( Zuo You Ye Ma Fen Zong) [Foen T
joeng Lie] Wild Horse Parts Its Mane [Chong] Parting the Horse's Mane [Metz
ger & Zhou] Wild Horse Splits Mane [Zhao] Wild Horse Shakes Its Mane Mustang
Tosses Its Wild Mane Left ( ? : Zou ) Part the Wild Horse's Mane ( Zou Yema Fen
zong )Right ( ? : You ) Part the Wild Horse's Mane ( You Yema Fenzong) Wild Hor
se Shakes Its Mane [Garofalo] S?parer la crini?re du cheval. 3 foisWildes Pfer
d R?ttelt Seine M?hneEl Caballo Salvaje Sacudare Su Melena ???? : Ye Ma Fen Zon
g : Parting the Wild Horse's Mane White Crane Spreads Its Wings ( Baihe Lian
gchi) [Liang & Wu, Zhang Fuxing]The Stork Spreading Its Wing ( Bai Ne Liang Ch
i) [Foen Tjoeng Lie]Stork Spreading Its Wings [Metzger & Zhou] White Crane S
preads Out Its Wing [Chong] White Crane Shows Its Wings [Zhao] White Stork S
preading Its WingsWhite Crane Lifts Its WingsWhite Stork Cools Its WingsWhite Cr
ane Spreads Its Wings [Garofalo]La grue blanche ?tend ses ailesWei?er Kran Verb
reitet Seine Fl?gelLa Gr?a Blanca Separa Sus Alas???? : Bai E Liang ChiBrush K
nee and Step Forward ( Louxi Aobu) [Liang & Wu] Brush Knee and Twist Step [Z
hang Fuxing] Brush You Knee and Step ( Zuo You Lu Xi Niu Bu) [Foen Tjoeng Li
e] Brushing Your Knees and Stepping [Metzger & Zhou] Brushing the Knees and Tak
ing Zigzag Steps [Chong] Brush Knee and Turn Steps [Zhao] Twist Step, Brush
Knee, Palm StrikeBrush Knee [Garofalo] Avancer et brosser le genou. 3 fois. B?r
ste Knie Rodilla Del Cepillo????? : Lou Xi Ao Bu : Brush Knee and Twist Ste
p Play the Lute ( Shouhui Pipa) [Liang & Wu; Chong] Play "Pipa" [Zhang Fuxi
ng] Playing the Lute ( Shou Hui Pi Pa ) [Foen Tjoeng Lie]Playing the Pipa [M
etzger & Zhou] Hand-hold the Lute [Zhao] Playing the GuitarStrumming the Lute
Playing the Pipa Playing the Lute [Garofalo]Jouer de la guitare (ou du luth)S
pielen des Dichtungskitts Tocar el La?d ???? : Shou Hui Pi Pa : Hand Str
ums the LuteReverse Reeling Forearm (Daojuan Gong) [Liang & Wu] Step Back to Dr
ive the Monkey Away [Zhang Fuxing; Chong] Step Back and Swirl Your Arms ( Zu
io You Dao Jun Hong ) [Foen Tjoeng Lie]Fending Off the Monkey [Metzger & Zhou]
Back-rolling the Forearms [Chong] Repulse the Monkey [Zhao] Repulse Monkey
and Step Back Step Back and Drive Monkey Away Step Back and Repulse Monkey [G
arofalo] Reculer et repousser le singe. 4 fois.Schritt R?ckseitig und Repulse-A
ffe Paso Trasero y Mono de la Repulsi?n ??? : Dao Nian HouLeft-Grasp the Sp
arrow's Tail ( Zuolan Quewei) [Liang & Wu] Grasp the Bird's Tail on the Left
[Zhang Fuxing] Grasping the Sparrow's Tail - Left ( Zuo Lan Qiao Wei) [Foen T
joeng Lie: Metzger & Zhou] Grasping the Bird's Tail, Left Mode [Chong] Left Gr
asp the Peacock's Tail [Zhao] Grasp the Sparrow's Tail to Left SideGrasping th
e Peacock's Tail to Left Four GatesGrasp the Sparrow's Tail to the Left Side (
Zuo Lan Qiaowei)Grasping the Sparrow's Tail - Left [Garofalo] Saisir la queue
de l'oiseau ? gauche. Fassen der Endst?ck-linken Seite des SpatzenAgarrar el Lla

do Izquierdo de la Cola del Gorri?n ???? : Lan Que Wei Zou : Grasp the Bird'
s Tail LeftRight-Grasp the Sparrow's Tail ( Youlan Quewei) [Liang & Wu] Grasp
the Bird's Tail on the Right [Zhang Fuxing] Grasping the Sparrow's Tail - Righ
t ( You Lan Qiao Wei) [Foen Tjoeng Lie; Metzger & Zhou] Grasping the Bird's Ta
il, Left Mode [Chong] Right Grasp the Peacock's Tail [Zhao] Grasp the Sparro
w's Tail to the Right SideGrasping the Peacock's Tail to RightGrasp the Bird's T
ail to RightFour GatesGrasp the Sparrow's Tail to the Right Side ( You Lan Qiaow
ei)Grasping the Sparrow's Tail - Right [Garofalo]Saisir la queue de l'oiseau ?
droite.Fassen der Endst?ck-rechten Seite des Spatzen Agarrar el Derecho de la C
ola del Gorri?n???? : Lan Que Wei You : Grasp the Bird's Tail Right Single Wh
ip ( Danbian) [Liang & Wu] Single Whip [Zhang Fuxing, Zhao] The Whip ( Dan
Bian) [Foen Tjoeng Lie] Simple Whip [Metzger & Zhou] Holding a Single Whip
[Chong] Single Whip [Garofalo] Simple fouet.Single Peitsche Escoja El Azote
?? : Dan BianWave Hands Like Clouds ( Yunshou) [Liang & Wu] Wave Hands Like
Clouds [Zhang Fuxing, Zhao] Move Hands Like Clouds ( Yun Shou) [Foen Tjoen
g Lie] Moving Hands Like Clouds [Metzger & Zhou] Waving Hands Like Clouds Drif
ting By [Chong] Waving Hands Like CloudsCloud Built HandsWave Hands in CloudsW
aving Hands Like Clouds [Garofalo] Agiter les mains comme des nuages. 3 fois.
Wellenartig Bewegende H?nde M?gen Wolken Las Manos Que Agitan Tienen Gusto De l
as Nubes?? : Yun ShouSingle Whip ( Danbian) [Liang & Wu, Zhang Fuxing] The W
hip ( Dan Bian ) [Foen Tjoeng Lie, Zhao]Simple Whip [Metzger & Zhou] Holdin
g a Single Whip [Chong] Single Whip [Garofalo] Simple fouet.Single Peitsche
Escoja El Azote ?? : Dan BianHigh Pat on Horse ( Gaotan Ma) [Liang & Wu] St
roke the Horse From Above [Zhang Fuxing] Asking for Directions While Riding a
Horse ( Gao Tan Ma ) [Foen Tjoeng Lie]Patting the Horse's Neck While Riding
[Metzger & Zhou] Patting the Horse on the Back [Chong] High Hand Pats the Ho
rse [Zhao] Pat the Horse on the Back [Garofalo] Tall Scout Horse, Mounted Scou
t [ John Warriner]Caresser la crini?re du cheval (ou Flatter l'encolure du cheva
l)Tappen Sie das Pferd auf der R?ckseite Acaricie al Caballo en la Parte Poster
iora ??? : Gao Tan Ma : High Pat on Horse Right Heel Kick ( You Dengjiao)
[Liang & Wu] Kick with Right Heel [Zhang Fuxing, Zhao] Right Heel Kick( You
Deng Jiao )[Foen Tjoeng Lie; Metzger & Zhou] Kicking Straight, Right Mode [Chon
g] Kick with Right Heel [Garofalo] Coup-de-pied Avec le Talon Droit Sto mit d
er Rechten Ferse Retroceso con el Taln Derecho ??? : You Deng Jiao : Right
Heel Kick Strike to Ears with Both Fists ( Shuangfeng Guaner) [Liang & Wu]
Hit the Opponent's Ears with Both Fists [Zhang Fuxing] Hit Your Opponent's E
ars with Both Fists ( Shuang Feng Guan Er) [Foen Tjoeng Lie; Metzger & Zhou] S
triking the Opponent's Ears with Both Fists [Chong] Strike Ears with Both Fist
s [Zhao] Box Opponent's Ears with Both FistsBox Ears with Both Fists [Garofal
o] Hitting Your Opponents Ears with Both FistsFrapper les oreilles du tigre (o
u frapper aux 2 oreilles).Schlagen Ihrer Konkurrenten Ohren mit beiden F?usten
Golpear sus O?dos de los Opositores con Ambos Pu?os ???? : Shuang Feng Quan
Er : Twin Fists Strike Opponents Ears Turn Body and Left Heel Kick ( Zhuansh
en Zuo Dengjiao) [Liang & Wu] Turn Round and Kick with Left Heel [Zhang Fuxing
] Left Heel Kick ( Zhuan Shen Zuo Deng Jiao) [Foen Tjoeng Lie; Metzger & Zho
u] Kicking Straight, Left Mode [Chong] Kick with Left Heel [Zhao]Kick with Le
ft Heel [Garofalo] Tourner vers la gauche et donner un coup de talon gaucheSto
? mit der Linken Ferse Retroceso con el Tal?n Izquierdo ??? : Zuo Deng Jiao
: Left Heel Kick Left Lower Body Then Stand on One Leg ( Zuo Xiashi Duli) [L
iang & Wu] Squat Down and Stand on Left Leg [Zhang Fuxing] Climb Down and St
and on Your Left Leg ( Zuo Xia Shi Du Li) [Foen Tjoeng Lie]Stooping Down and T
hen Standing on One Leg, Left Mode [Chong] Squat Down on Right Leg, Snake Cree
ps Down Left Leg, Stand on One Leg Crooked Whip Left [Metzger & Zhou] Left Dow
n One-leg Stand [Zhao] Squat on Right, Climb Down Left Golden Rooster Stands
on Left Leg Snake Creeps Down, Golden Rooster Stands on Left Leg [Garofalo] S
nake Creeps DownLe serpent qui rampe ? gauche. Die Schlange Kriecht Unten La Se
rpiente Se Arastra Abajo Golden Rooster Stands on One LegCoq d'or sur une patte
.Der Goldene Hahn Steht auf einem Bein El Gallo de Oro Est? Parado en Una Piern
a?? : Xia Shi : Snake Creeps Down????? : Zuo Jin Ji Du Li : Golden Roost
er Stands on Left Leg Right Lower Body Then Stand on One Leg ( You Xiashi Duli

) [Liang & Wu] Squat Down and Stand on Right Leg [Zhang Fuxing] Climb Down a
nd Stand on Your Right Leg ( You Xia Shi Du Li) [Foen Tjoeng Lie]Stooping Down
and Then Standing on One Leg, Right Mode [Chong] Right Down One-leg Stand [Z
hao] Crooked Whip Right [Metzger & Zhou] Squat Down on Left LegSnake Creeps Do
wn Right LegSquat on Left, Climb Down Right Golden Rooster Stands on Right Leg
Snake Creeps Down, Golden Rooster Stands on Left Leg [Garofalo] Snake Creeps
DownLe serpent qui rampe ? droite. Die Schlange Kriecht Unten La Serpiente Se A
rastra Abajo Golden Rooster Stands on One LegCoq d'or sur une patte.
Der G
oldene Hahn Steht auf einem Bein El Gallo de Oro Est? Parado en Una Pierna?? :
Xia Shi : Snake Creeps Down????? : You Jin Ji Du Li : Golden Rooster Sta
nds on Right LegShuttle Back and Forth ( Chuansuo) [Liang & Wu] Fair Lady Work
s with Shuttles [Zhang Fuxing] Throwing the Loom (Left and Right) ( Zuo You Ch
uan Zuo) [Foen Tjoeng Lie; Metzger & Zhou] Shuttling Between Left and Right, Fa
ir Lady Works at Shuttles [Chong] Works at Shuttles (LR) [Zhao] Jade Maiden
Works at the Loom Two CornersWaking WoodWork at Shuttles on Both Sides Fair L
ady Works the Shuttles [Garofalo] The Beautiful Lady Works at the Loom La fil
le de jade lance la navette ? droite et ? gauche (ou Lancer la navette ? droite
et ? gauche). Die sch?ne Dame Arbeitet am Webstuhl La Se?ora Hermosa Trabaja e
n el Telar ???? : Yu Nu Chuan Suo : Fair Lady Works at Shuttles Needle at S
ea Bottom ( Haidizhen) [Liang & Wu] Needle at Sea Bottom [Zhang Fuxing] A
Needle at the Bottom of the Ocean ( Hai Di Zhen ) [Foen Tjoeng Lie; Metz-ger
& Zhou] Looking for a Needle at the Sea Bottom [Chong] Find the Needle at Sea
Bottom [Zhao] Pick Up Needle from the Bottom of the SeaNeedle at Bottom of the
SeaScoop Up the Needle at Sea BottomPick Up Needle from the Ocean's Floor
Ne
edle at Sea Bottom Pick Up the Needle from the Bottom of the Sea [Garofalo] C
hercher l'aiguille au fond de la mer.Heben Sie die Nadel von der Unterseite des
Meeres auf Tome la Auja del Fondo del Mar
??? : Hai Di Zhen : Needle
at Sea BottomFan Through Back ( Shan Tong Bei) [Liang & Wu] Fend Off and Push
Away with Arms [Zhang Fuxing] Unfolding Your Arms Like a Fan ( Shan Tong Bi)
[Foen Tjoeng Lie; Metzger & Zhou] Shunting with Both Hands Fanned [Chong] Flas
h Arms [Zhao] Fan Through the BackFlashing the Arm Unfolding Arms Like a Fan
Flashing the Arms Like a Fan Dos en ?ventail.Blitzend Mgen die Arme einen Venti
latorDestellando los Brazos Tienen Gusto de un VentiladorFan Through the Back [
Garofalo] ??? : Shan Tong Bei : Fan Through the BackTurn Body, Deflect, Parr
y, and Punch ( Zhuanshen Banlanchui) [Liang & Wu] Turn, Intercept, and Punch
[Zhang Fuxing] Turn Around, Ward Off, and Punch ( Zhuan Shen Ban Lan Chui) [
Foen Tjoeng Lie] Deflecting Downward, Parrying and Punching [Chong] Turn to D
eflect, Block, and Strike [Zhao] Turning Around, Warding Off, Punching [Metzg
er & Zhou] Turn, Shoulder Strike, Back Fist, Deflect, Parry and PunchDeflect, Pa
rry and Punch [Garofalo] Tourner, absorber, parer et frapper du poing en avan?
ant.Lenken Sie ab, Whren Sie ab und Lochen Sie Desv?e, Parry y Perfore????? :
Jin Bu Ban Lan Chui : Step Forward, Parry Block and PunchAppears Closed ( Ru
femg Sibi) [Liang & Wu] As If Blocking and Closing [Zhang Fuxing] Closure ( R
u Feng Si Bi) [Foen Tjoeng Lie; Metzger & Zhou] Acting to Close a Door [Chong]
Seal as Close Up [Zhao] Clearing Cross Block and Pushing Apparent Close an
d PushAppears Closed ( Ru Feng Si Bi)Withdraw and Push (Closing a Door)Apparent
Close and Push [Garofalo] Ramener ? soi et repousser.Offensichtliches Nahes un
d Sto? Cercano Evidente y Empuje???? : Ru Feng Si Bi : Apparent Close UpCro
ss Hands ( Shizishou) [Liang & Wu, Zhang Fuxing, Zhao] Crossing Your Hands in
Front of Chest Cross Your Hands ( Shi Zi Shou ) [Foen Tjoeng Lie]Crossing You
r Hands [Metzger & Zhou; Chong] Close the DoorCross Hands [Garofalo] Turn a
nd Cross Hands in Front of Chest
Croiser les bras et reprendre la force.Tourn
ez et Croisez les Mains Devant le Coffre Drehen Sie und Kreuzen Sie H?nde vor K
asten D? Vuelta y Cruce a las Manos Delante del Pecho??? : Shi Zi Shou : C
ross HandsClosing ( Shoushi) [Liang & Wu] Concluding Posture [Zhang Fuxing; C
hong] Conclusion ( Shou Shi) [Foen Tjoeng Lie; Metzger & Zhou; Zhao] Taiji E
ndingClosing Posture of Taijiquan [Garofalo] Fermeture.Schlie?ende Lage von Ta
ijiquan Postura de Cierre de Taijiquan ?? : Shou Shi : Closing?? : Huan
Yuan : Return to NormalSources for Movement NamesStandard Simplified Taijiquan
24 Form[Liang & Wu 1996] T'ai Chi Ch'uan: 24 And 48 Postures With Martial App

lications. By Liang, Shou-Yu and Wu, Wen-Ching; and, edited by Denise Brieter.
Boston, YMAA Publications. 2nd Edition, 1993, 1996. ISBN: 1886969337. [Zha
ng Fuxing 1996] Handbook of T'ai Chi Ch'uan Exercises. By Zhang, Fuxing. Yor
k Beach, Maine, Samuel Weiser, Inc., 1996. Index, 198 pages. ISBN: 0877288917.
[Foen Tjoeng Lie 1988] Tai Chi Chuan: The Chinese Way. By Foen Tjoeng Lie.
New York, Sterling Publishing Co., 1988. 126 pages, black and white illustra
tions, index. ISBN: 0806968265. [Metzger & Zhou 1996] T'ai Chi Ch'uan and Qi
gong: Techniques and Train-ing. By Wolfgang Metzger, Peifang Zhou, and Manfred
Grosser. New York, Sterling Publishing Company, 1996. Index, 144 pages. ISBN
: 0806959576. [Chong 1981] Illustrations of Tai Chi Chuan Simplified. By Y.
W. Chong. In English and Chinese. Hong Kong, Wan Li Book Co., Ltd., 1981. 96
pages, black and white illustrations. [Zhao 2006] Tai Chi for Health: The 24
Simplified Forms. By Cheng Zhao and Dan Zhao. Indiana, Agilceed Books, 2006.
163 pages. [Garofalo 2008] Standard Simplified Taijiquan 24 Form. By Michael
P. Garofalo. April, 2008. Green Way Research, Valley Spirit Taijiquan, Red Bl
uff, California.
Descriptions and Instructions for the 24 Movements Standard
Simplified 24 Taijiquan Form in the Yang StyleI welcome your comments and sugges
tions for improving the descriptions and instructions for each of the 24 Form mo
vements. In particular, I would like to have more color photographs of women an
d children doing the movements. Send your suggestions and contributions to my e
mail box. First Section of Standard Simplified 24 Form Tai Chi (Yang Style) Move
ments 1 - 5Before you begin your Taijiquan form practice, be sure to do some wal
king and/or progressive warm up exercises. There are many sets of exercises tha
t can be used to warm up that have been developed in Qigong practices. Yang sty
le Taijiquan players use many different Qigong sets for warming up the body befo
re they begin Taijiquan form practice. I often use an exercise set like the Eig
ht Section Brocade, Five Animal Frolics, Wild Goose, Nine Temple, Bagua Walking,
gentle Hsing Yidrills, Sun Salutations, or a brisk walk as part of my warm up e
xercises. Be creative and playful in selecting your warm up practices.
1.
Opening Posture of Taijiquan Variations of names for this movement include: Wu
Ji, Standing Quietly, Reconnecting with Oneness and Emptiness, Quiet Standing Me
diation Beginning, Commencement, Starting Posture, Commencing ( Qishi), Taijiqua
n Opening Movement, and ?? : Yu Bei : Preparation Form. Face N 12 (1a) . For a
n explanation of the directional scheme used in Cloud Hands webpages, please see
below. Stand at attention for awhile. In Taiji and Qigong, standing quietly i
n a meditative posture for awhile is the first phase. Relax ( Sung ). Shoulder
s are down, hands relaxed and gently touching the side of leg, and head is erect
. This is the phase of (empty state), or standing like a tree (), and Reconnecti
ng with Oneness and Emptiness. Breathe easily and comfortably. Sink weight int
o right leg, and then step out to the left to shoulder width (1b). Gently raise
both arms up (1c), palms facing down, to about shoulder height (1d). Lower bot
h arms, palms down, to Dan Tien height, and lower knees (1e). The lowerDan Tie
n is a sphere of energy located a few inches behind and below the level of the n
avel or belly button; the middle Dan Tien is located in the heart area, and the
upper Dan Tien is located behind the eyes in the brain. The most important for T
aijiquan is the lower Dan Tien. Practitioners of Kundalini Yoga might consider
correspondences of the 3rd Chakra ( Manipurna) [Power, Will] with the Lower Da
n Tien, the 4th Chakra ( Anahata) [Compassion, Love] with the Middle Dan Tien,
and the 6th Chakra ( Aina) [Intuition, Vision, 6th Sense] with the Upper Dan Ti
en. The Chinese energetic system is quite different from the Indian energetic s
ystem, so correspondences are weak in this case. [Chris Akley wrote on 4/3/2012
that "Though I wouldn't say that this is wrong, I think there is a more accurat
e way to describe it. You could also say that the Dan Tien is in the second char
ka Swadhisthana which is where kundalini resides once it is awakened. But more a
ccurately, I would say it is between the second and third chakra as this Qigong
healer says , in between the energies of fire and water.]This is movement often
called "Raising Hands and Lowering Hands."Breathe normally as you stand, relax,
and center in position 1a. Breathe in through nose, and out through the nose.
Slow the respiration rate to inhaling for 4-5 seconds, holding the full in-breat
h for 1-2 seconds, exhaling slowly for 4 to 5 seconds, pausing 1-2 seconds befor

e beginning the yin/yang cycle of breathing again. Breathe in at 1a, breathe ou

t as you step to 1b. Breathe in as arms float up 1b-1c, and breathe out as arms
float down (1d-1e).
(1a)
(1c-1d)Here is a desc
ription of the beginning of the Open-ing Posture of Taijiquan (#1, 1b) from the
book Traditional Chen Style Taijiquan by Fan Chun-Lei and A. Frank Shi-ery, p.3
7:
"1. Preliminary Stance: Stand naturally upright with the feet placed s
houl-der-width apart, toes pointed slightly inward, and arms hanging naturally a
t the side. The body should be kept upright with the shoulders relaxed, eyes sl
ightly closed and breathing naturally. The body should face north. The mind sh
ould remain empty, calm and clear. This is the state of WuJi, (Nega-tive Termin
us in Taoist Teaching).
2. Commencing Form: The body should exhibit being
relaxed externally while solid within. The head is held naturally erect as if
pulled upward by an invisible string. Close the lips slightly with the tongue t
ouching the upper pal-ate. The toes firmly grasp the ground with Yongquan point
pulled upward. The eyes are looking straight ahead with the chin drawn slight
ly inward. The hip is turned up and the coccyx turned back and upward with the
waist directed downwards. The whole body should remain relaxed. A mind state o
f intent is maintained while the vital energy flows upward from the Dantian to t
he Baihui point, while the turbid energy flows downward from the Dantian to the
Yongquan point. During this time, the body exhibits no external move-ment. Yi
n/Yang, for example, closing/opening, supple-firm and fast-slow are manifested i
nternally, portraying the image of the Taiji, (Grand Terminus) (1b).
Ke
y Points to Remember: For the beginner, the primary concern should be to cleans
e the mind and spirit of tension and anxiety, removing all negative thoughts. T
his develops even-temperedness and an alert mind for quick movement and response
. Once this technique has been mastered, the practi-tioner can begin to underst
and and practice Taijiquan more effectively."- Fan Chun-Lei and A. Frank Shier
y, Traditional Chen Style TaijiquanFor more information, descriptions, explanati
ons, and interpretations about the Commencement or Opening Movement One of the Y
ang Style of Taijiquan, please check out my webpage on this subject. Relaxation
( Sung, Song, Fan Song) is essential to the successful, beneficial, and full b
ody-mind experience of openness, effortlessness, and beauty of any style of Taij
iquan. Standing Meditation: Lessons, Bibliography, Quotations, Resources. Res
earch by Mike Garofalo. "Up and Down Hands": The Alpha and Omega of Taijiquan P
ractice. By Gerald A. Sharp. Qi: The Journal of Traditional Eastern Health and
Fitness, Volume 25, No. 1, Spring, 2015, pp. 18-24. 2. Wild Horse Shakes Its
Mane Variations of names for this movement include: Parting the Wild Horse's
Mane, Wild Horse Waves His Mane, and ???? : Ye Ma Fen Zong : Parting the Wild
Horse's Mane. The general direction of movement is in a straight line from E3
towards W9 in Movement #2. Part the Wild Mustang's Mane Three Times: 1. To the
left side (2e), 2. To the right side (2j), and 3. To the left side (2o). Please
study the recommended online videos to see how the series of postures in this
particu-lar movement are performed. When performing the short form, players sho
uld: move slowly, move continuously, keep the movements rounded, move without gr
eat effort, , keep the head up, let the mind direct the movements, don't bounce,
and maintain an upright posture. Breathe in through the nose and out through t
he mouth, breathe deeply and regularly, breathe in when pulling back or reaching
up, and breathe out when going forward or reaching down. All the basic princip
les found in the T'ai Chi Ch'uan Classicsshould be followed when doing the Beiji
ng simplified Taijiquan form. Gently rise up to normal height (2a). Circle rig
ht arm counter-clockwise up to chest height, with the palm facing down. Draw le
ft arm to waist, with the palm facing up (2a). Imagine holding a ball between t
he two hands. Turn the waist to NE1 (2b). Draw the left foot to the side of t
he right foot (2b). Hold Tai Chi "energy ball" with right hand, palm down, at c
hest height; and left hand below, palm up, at Dan Tien height (2b). Relax and g
ently inhale.
"Part Wild Horse's Mane to the Left" by stepping diagonally wit
h the left leg (2d), bring left hand out, palm up, to about chest height (2e).
Exhale as the left arm extends. Left elbow is slightly bent. Right hand moves
down to right hip (2e), with the right palm down. End with chest facing W9, le
ft hand to SW7. Left bow stance with 60% of weight in forward left leg (2e), le

ft knee bent; and, 40% of weight in rear right leg, with leg bend. Head upright
. Shoulders down. "Part Wild Horse's Mane to the Right" by first drawing the
weight back into the right leg, pivot on left heel (2f), drawing the left hand b
ack as the torso turns to face SW7 (2g). Step forward with the right foot to si
de of left foot (2g). Step out the right leg to the diagonal (2i). Exhale as t
he right arm extends (2i). Right elbow is slightly bent. Left hand moves down
to left hip (2j), with the left palm down. End with chest facing W9, left hand
to NW11. Right bow stance with 60% of weight in forward right leg (2j), right
knee bent; and, 40% of weight in rear left leg, with leg bend. Head upright. S
houlders down. "Part Wild Horse's Mane to the Left" by first drawing the weight
back into the left leg, pivot on left heel (2k), drawing the right hand back as
the torso turns to face SW7 (2k). Step forward with the left foot to side of r
ight foot (2l). Step out the left leg to the diagonal (2m). Exhale as the left
arm extends (2n). Left elbow is slightly bent. Right hand moves down to right
hip (2o), with the right palm down. End with chest facing W9, right hand to S
W7(2o). Left bow stance with 60% of weight in forward left leg (2o), left knee
bent; and, 40% of weight in rear right leg, with right leg bend (2o). Head upri
ght. Shoulders down. Look towards W9. (2j)
(2f)
(2f)
(2f)3. White Crane Spreads Its WingsVariations of names for this
movement include: White Stork Spreading Its Wings, White Crane Lifts Its Wings,
White Stork Cools Its Wings; ???? : Bai E Liang Chi. The general direction of
movement is in a straight line from E3 towards W9 in Movement #3.2o = 3a. From
3a draw the right foot forward a half step (3b). The right hand moves upward (3
b) as the left hand moves downward (3b). Draw the left foot backward (3c) as th
e right hand moves up and left hand moves down (3c). Finish (3d) with the right
hand above the head and palm forward, in a left toe stance with 90% of the body
weight in the back right leg, and the left hand rests along left leg with palm
down. End with chest facing W9. Face to W9. Relax and exhale as the weight se
ttles down in the back right leg. Notice how the body turns at the waist sligh
tly to left SW7 (3b) and then to the right NW11 (3c) before it settles to face W
9. This represents the subtle internal rotation of the Dan Tien , a " silk reel
ing" movement, more pronounced in the Chen Style of Taijiquan than in Yang Style
Taijiquan, but still present in all styles of Taijiquan. Many movements in the
24 Form include this turning of the waist from side to side, and rotation of th
e Dan Tien.
(3d)
(3d)
(3d) 4. Brush KneeVariations of names for this movement i
nclude: Twist Step, Brush Knee, Palm Strike; Brushing Your Knees and Stepping;
Brush Knee and Twist Step; and ????? : Lou Xi Ao Bu : Brush Knee and Twist Step.
The general direction of movement is in a straight line from E3 towards W9 in
Movement #4. Please study the recommended online videos to see how the series o
f postures in this particular movement are performed. 3d = 4a. Brush left knee
and right palm strike (4a-4h). Left Knee and palm Twist Step (4b), turn body c
lockwise (4c-43), Brush Left Knee (4f), Right Palm Forward Strike (4h). End wit
h chest and face facing W9, look to W9 (4h). 4h = 4i.Brush right knee and left
palm strike (4i-4o). Twist Step (4j), turn body counter-clockwise (4k-4l), Brus
h Right Knee (4m), Left Palm Forward Strike(4o). End with chest and face facing
W9, look to W9 (4o). 4o = 4p.Twist Step, Brush Left Knee, Right Palm Forward S
trike. End with chest fac-ing W9. Relaxation ( Sung, Song, Fan Song) is essen
tial to the successful, beneficial, and full body-mind experience of openness, e
ffortlessness, and beauty of any style of Taijiquan. (4n)
(4o)
(4u)
(4u) 5. Playing the Lute Variations of names for this movement i
nclude: Play the Guitar, Strumming the Lute, Hand-hold the Lute, Playing the Pip
a, and ???? : Shou Hui Pi Pa : Hand Strums the Lute. The general direction of mo
vement is in a straight line from E3 towards W9 in Movement #5.4u = 5a. End wit
h chest facing W9, and look to W9. Here is a description of Playing the Lute "H
and-hold the Lute" (#5, 5a-5d) from the book 'Tai Chi for Health: The 24 Simplif
ied Forms" by Cheng Zhao and Don Zhao, p.88:
"Form 5 resembles a person playi
ng a lute, a common music instrument in old China's time. It is more accurate t

o describe it as hands holding the lute, which is also a literal translation fro
m its counterpart in Chinese.
1. Shift the body weight onto the left leg (5a
). Life the right foot and move it a half step forward, placing it behind the l
eft foot (5b).
2. Lightly shift the body center back to sit on the right leg
(5c). Extend the left heel a little forward touching the floor in an empty sta
nce (5c-5d). At the same time, rotate the waist slightly to the right (5b-5c),
lift the left arm and hand upward to the nose level (5b-5c), lower the right han
d to guard the inside of the left elbow (5d)."- Dr. Cheng Zhao
(
5d)
(5d)
(5d) Second Section of Standard Simplified 24 Form Taijiquan (Yang Style) Mo
vements 6 - 96. Step Back and Repulse MonkeyVariations of names for this moveme
nt include: Fending Off the Monkey; Step Back to Drive the Monkey Away; Repulse
Monkey and Step Back; Step Back and Swirl Your Arms; Reverse Reeling Forearm ( D
aojuan Gong), Step Back and Drive Monkey Away, Repulse Monkey, ??? : Dao Nian Ho
u. The Direction of Movement is reversed. Move backward in a straight line fro
m W9 in the direction of E3. Please study the recommended online videosto see h
ow the series of postures in this particular movement are performed. 6a = 5d.
Right leg and right twisting (reverse reeling forearm) arm back, left arm forwar
d, step back with left leg (6d), exchange arms and move right palm forward (6d-6
e).Left leg and leg twisting arm back, right arm forward, step back with right l
eg (6g), exchange arms and move left palm forward (6g-6h). 6h = 6i. Right leg
and right twisting arm back, left arm forward, step back with left leg (6k), exc
hange arms and move right palm forward (6k-6l). Left leg and leg twisting arm b
ack, right arm forward, step back with right leg (6n), exchange arms and move le
ft palm forward (6n-6o). Here is a detailed description of how to perform Repul
se Monkey (#6, 6a-60) taken from the very useful narrative document by David Han
n:
"Repulse Monkey (1): Turn your right hand palm up and let it drop so th
at your arm moves in an arc (6a-6b). Continue bringing your right arm back unti
l your hand is level with your right shoulder (6c). Turn your left hand palm up
and flat, parallel with the earth (6c). Notice that your torso is facing (6c)
to the side (N12) (the same direction as you face when you first begin, Raising
the Chi (1a). Step back with the left foot (6d-6e), taking care to maintain yo
ur stance about a two fist width from your right foot, or about shoulder width.
Now turn your torso to the left, bringing your right arm for-ward in a palm str
ike and your left arm backward as if grabbing an opponent's arm and pulling (6d63). Your right palm will now be the most advanced hand (6e).
Repulse Mo
nkey (2): Turn your left hand palm up and let it drop so that your arm moves in
an arc (6e-6f). Continue bringing your left arm back until your hand is level
with your left shoulder (6g). Turn your right hand palm up and flat, parallel w
ith the earth (6f). Notice that your torso is facing to the opposite side (S6).
Step back with the right foot, taking care to maintain your stance about a two
fist width from your left foot, or about shoulder width (6g-6h). Now turn your
torso to the right, bringing your left arm forward in a palm strike and your ri
ght arm backward as if grabbing an opponent's arm and pulling (6h). Your left p
alm will now be the most advanced hand (6h).
Repulse Monkey (3): Turn your r
ight hand palm up and let it drop so that your arm moves in an arc (6i). Contin
ue bringing your right arm back until your hand is level with your right shoulde
r (6j). Turn your left hand palm up and flat, parallel with the earth (6j). No
tice that your torso is facing (N12) to the side (the same direction as you face
when you first begin, Raising the Chi. Step back with the left foot, taking ca
re to maintain your stance about a two fist width from your right foot, or about
shoulder width (6k-6l). Now turn your torso to the left, bringing your right a
rm forward in a palm strike and your left arm backward as if grabbing an opponen
t's arm and pulling (6l). Your right palm will now be the most advanced hand (6
l).
Repulse Monkey (4): Turn your left hand palm up and let it drop so tha
t your arm moves in an arc (6l-6m). Continue bringing your left arm back until
your hand is level with your left shoulder (6m). Turn your right hand palm up a
nd flat, parallel with the earth(6m). Notice that your torso is facing to the o
pposite side (S6). Step back with the left foot, taking care to maintain your s
tance about a two fist width from your right foot, or about shoulder width (6n-6

o). Now turn your torso to the right, bringing your left arm forward in a palm
strike and your right arm backward as if grabbing an opponent's arm and pulling
(6n-6o). Your left palm will now be the most advanced hand (6o)."7. Grasping t
he Sparrow's Tail - Left Variations of names for this movement include: Grasp t
he Sparrow's Tail, Grasping the Peacock's Tail, Grasp the Bird's Tail, Four Gate
s, Grasp the Spar-row's Tail to the Left Side, Hold the Peacock's Tail, ???? : L
an Que Wei Zou : Grasp the Bird's Tail Left."Grasping the Bird's Tail" is the m
ost frequently occurring movement in the Yang Style Long 108 Form. This movemen
t consists of four parts: Ward Off, Roll Back, Press and Push. The general direc
tion of movement is in a straight line from E3 towards W9 in Movement #7. Pleas
e study the recommended online videos to see how the series of postures in this
particular movement are performed. 7a = 6o. Generally, one is moving in the di
rection of W9, to your left side, in Movement 7. Here is a detailed description
of how to perform Grasping the Bird's Tail, Left Mode (#7, 7a-7m) taken from t
he book "Illustrations of Tai Chi Chuan Simpli-fied" by Y. W. Chong, pp. 27-31:
"1. Raise the left hand arch-wise to the right (7a-7b) and stop it before th
e right side of the waist (7c). At the same time bend the right hand hori-zonta
lly before the chest as if grasping a ball with both hands (7c). Concur-rently
draw the left foot back and put it close to the right one (7b-7c), with the left
toes touching the ground (7c).
2. Lift the left hand outward in a bent m
anner to the left as if to ward off a blow (7c-7e) and bow it horizontally at th
e level of the shoulders (7e). At the same time swing the right hand downward t
o the right (7d-7e) and put it beside the right thigh (7e). At the same time st
retch the left foot out and bow it forward (7d-7e). The eyes are looking at the
left forearm (7e).
[Ward Off Left ( Peng Zuo) I]
3. Stretch the left h
and forward, turning its palm downward (7f). Concur-rently turn the right palm
upward and stretch it forward until it comes below the left wrist (7f). Then pu
ll the two hands downward past the abdomen and swing them up backward to the rig
ht until the right hand comes to the height of the shoulders with its palm upwar
d (7f-7g) and the left hand comes before the chest with its palm facing inward a
nd the elbow bend horizontally (7g). At the same time shift the centre of gravi
ty to the right foot (7g). The eyes are looking at the right hand (7g). [Roll
Back ( Lu) II]
4. Draw the right hand back and put it at the inside of
the left wrist (7g). Push both hands forward with the left palm inward and the
right one outward (7h-7i). At the same time bow the left leg forward (7h-7i).
The eyes are looking at the left wrist (7i). [Press ( Ji) III]
5. Sepa
rate both hands at the distance of the breadth across the shoulders with both pa
lms facing downward (7j-7k). Then lower the upper body slightly backwards (7k)
, shifting the centre of gravity to the right foot (7k). At the same time draw
both hands back to the two sides of the waist with both palms facing forward sli
ghtly to the ground (7k-7l). The eyes are looking forward horizontally (7l).
6. Push both hands forward and upward (7l-7m). At the same time bow the lef
t leg forward (7m). The eyes are looking forward.
[Push ( An ) IV]"- Y. W.
Chong I.
Ward Off Left ( Peng Zuo) (7b-7e) Inhale 7b-7c, and exhale 7d-7
e. Turn torso to the left towards W9 (7e). II. Roll Back ( Lu) (7f-7g) Inh
ale 7e-7g. Turn torso to right towards N12 (7g). The hand movements for Roll B
ack are not shown clearly in the the above illustrations (7f-7g). Look at righ
t hand in the direction of NE2. III. Press ( Ji) (7h-7i) Inhale 7g-7h, and e
xhale 7h-7i. Torso facing W9 (7i). Turn torso to the left towards W9 (7i). Th
e right palm presses against the left forearm. The left palm faces the body. I
V. Push ( An) (7j-7m) Face W9. Push both hands, palms forward, towards W9 (7
m). Inhale 7j-7l, and exhale 7l-7m. Torso faces W9 (7m). (7e)
(7i)
(7m)
(7m)8. Grasping the Sparrow's Tail - RightVariations of names
for this movement include: Grasp the Sparrow's Tail, Grasp the Bird's Tail, Fou
r Gates, Grasp the Sparrow's Tail to the Right Side, Hold the Peacock's Tail, ??
?? :Lan Que Wei You : Grasp the Bird's Tail Right.
The general direction of
movement is in a straight line from W9 towards E3 in Movement #8. Please study
the recommended online videos to see how the series of postures in this particul
ar movement are performed. "Grasping the Bird's Tail" is the most frequently oc

curring movement in the Yang Style Long 108 Form. This movement consists of fou
r parts: Ward Off, Roll Back, Press and Push. 8a = 7m. Generally, one is moving
in the direction of E3, to your right side, in Movement 8. Here is a detailed
description of how to perform Grasping the Sparrow's Tail - Right (#8, 8a-8o) ta
ken from the book "Tai Chi Ch'uan and Qigong: Tech-niques and Training" by Wolfg
ang Metzger and Peifang Zhou, pp. 106-109:
"Assume starting position (8a = 7m
): Arch steps to the left. Left foot load about 70 percent; right foot about 30
percent (8a). Shift weight to the right foot; left foot rotates on the heel by
90 to 120 to the inside (8b). At the same time - with gently held, slightly roun
ded arms - the hands move with the upper body to the right (8b). Slowly bend ar
ms, with right hand moving in an upward arc (8b-8c), and assume the ball-holding
position in front of the right side of the body (8c-8d). While in the ball-hol
ding position, the right foot is pulled towards the left without the toes touchi
ng the ground (8d).
1. Peng Movement: With an arched step to the right, pul
l the left hand as in Form 2 ("Parting Horse's Mane") in an arc down to hip leve
l (8e-8f), while the right forearm - different from Form 2 - moves at a left a
ngle in an arc forward and up (8e-8f) until level with the chest (8f), harmonio
usly coordi-nating it with the rotation of the body (8d-8f) and the shifting of
the weight (8e-8f). Position (8f) is the starting point for the second part of
this form. [Ward Off Right ( Peng You ) I]
2. Lu Movement: This starts wit
h a slight rotation of the body to the right SE4 (8g), not shown in the illustra
tion. While the body rotates to the right, hands are rotating to face each othe
r, the right hand moving towards the right. Both hands - while shifting the wei
ght to the left leg (8f-8g) and rotat-ing the body to NW11 - move in an arc down
to the right hip level (8g). [Roll Back ( Lu) II]
3. Ji Movement: Pre
ceded by a small reaching back movement (8h), move the left hand towards the lef
t; both hands cross at the wrists and are pushed forward and out (8i-8k). When
pushing forward, shift the weight again to the right leg (8k). [Press ( Ji) II
I]
4. An Movement: at the conclusion of the Ji movement (8k), turn the ha
nds so that they are crossed (8l) with the palms facing down, right hand below t
he left (8l). As the weight is shifted to the back left leg (8m-8n) - the toes
of the right foot raised slightly off the ground (8n) - the crossed hands separa
te again and are pulled towards the body by the elbows (8m-8n). They are then with a slight shift of of the body's weight (8n-8o) - pushed forward (8n-8o).
Do not straighten your arms out in the end position (8o).
[Push (An ) IV]."Wolfgang Metzger and Peifang Zhou I. Ward Off Right ( Peng You) (8a-8f) In
hale 8c-8d, and exhale 8e-8f. Turn torso to the right towards E3 (8c-8e). II.
Roll Back ( Lu) (8f-8h) Inhale 8g-8h. Turn torso to right towards N12 (8h).
The hand movements for Roll Back are not shown clearly in the the above illust
rations (8f-8h). Look at right hand in the direction of NW10. III. Press ( J
i) (8j-8k) Inhale 8h-8i, and exhale 8j-8k. Torso facing E3 (8k). Turn torso
to the right towards E3 (8i-8k). The left wrist presses against the inside of t
he right forearm. The right palm faces the body.
IV. Push ( An) (8l-8o) P
ush both hands, palms forward, towards E3 (8n-8o). Inhale 8m-8n, and exhale 8n8o. Torso faces E3 (8o). Both palms face away from the body. Relaxation ( S
ung, Song, Fan Song) is essential to the successful, beneficial, and full body-m
ind experience of openness, effortlessness, and beauty of any style of Taijiquan
.
(8f)
(8k)
(8k) Variations of names for this movement include: Simple Whip, Whi
p, Holding the Whip in One Hand, Hold-ing a Single Whip, ?? : Dan Bian.The gener
al direction of movement is in a straight line from E3 towards W9 in Movement #9
. From the Push phase (9a) at the end of the Grasping the Sparrow's Tail moveme
nt (9a = 8o), begin to rotate the arms from the left side to the right side. Th
e arms draw across the body at about chest height (9a-9c). After the arms reach
the left side (9c), then they rotate back to the right side (9c-9d). The waist
faces N12 (9c). As the right arm gets to the right side (9d) then the hand ext
ends in the direction of NE1 (9e) and the hand is shaped into a beak style (thum
b touches the other fingers and all fingers point down) (9e). The left arm is d
rawn up to the face level, with the palm facing the face (9e). As the right han
d forms into beak, the left leg steps to the right, bringing the left foot fairl

y close to the right foot (9d-9e), and the left toe touching the ground (9e). A
s the left leg lifts and is placed to face W9, the left hand opens out towards W
9 (9e-9f). As the body settles into a left bow stance (9g), the left hand pushe
s forward, palm facing out. We end in Single Whip (9g) with the waist facing NW
11, in a left bow stance, pushing with the left palm in the direction of W9, wit
h the right arm lifted and pointing towards NE1, beaked right hand, and looking
towards W9 (9g). Inhale 9d-9e, and exhale 9f-9g. Third Section of Standard Sim
plified 24 Form T'ai Chi Ch'uan (Yang Style) Movements 10 - 1510. Waving Hands
Like Clouds
Variations of names for this movement include: Moving Hands Like
Clouds, Waving Hands Like Clouds, Cloud Built Hands, Wave Hands in Clouds, Cloud
Hands ?? : Yun Shou. The whole Cloud Hands ( Yun Shou) movement flow is from t
he left to the right, from E3 towards W9. Cloud Hands is a gentle flowing moveme
nt that is rather complicated to describe. Please study the recommended online
videos to see how the series of postures in this particular movement are perform
ed. From the Single Whip position (10a = 9g) begin to turn the torso to the rig
ht side (10a-10e) until the front of the body is facing N12 (10c). At the same
time as the torso turns toward the right side, the right hand remains out-stretc
hed (10b-10c). The left hand moves downward and then upwards toward the right s
ide (10b-10c) until it reaches the level of the head (10d). The weight moves in
to the bent right leg (10c). The head turns and looks towards the right side E3
(10d). The left hand, palm facing the body, remaining at about face level, mov
es across the body towards the left side (10d-10f). The right hand, at about wa
ist level, palm facing the body, moves across the body towards the left side at
the same time as the left hand moves (10e-10f). The waist turns to move the arm
s more than the shoulders move the arms (10e-10f). Turn the waist and move the
arms until you reach the left side and are looking towards W9 (10f). Step with t
he right leg and move it closer to the left leg as the arms move to the far left
position W9 (10e-10f). Switch the position of the arms by moving the right arm
to about face level (10e-10f), and the left arm down towards the waist level (1
0f). This completes the first part of the Cloud Hands move-ment by moving from
the far left (10a) to the far right (10c) and then from the far right (10c) to t
he far left (10f) in a gentle flowing manner (10b-10f), moving the hands like fl
oating clouds.
From the far left position (10f) with the right hand high (10
f) and the left hand low at waist level (10g), with both palms facing the body,
move both arms to the right across the body (10g-10h). The waist turns to move
the arms more than the shoulders move the arms (10f-10h). Turn the waist and mo
ve the arms until you reach the far right side and are looking towards E3 (10h).
When you reach the far right, exchange the arms by bringing the left arm up to
about face level (10i) and the right arm down to about waist level (10i-10j), a
nd at the same time step the left leg to the left W9 (10h-10i). Now begin to mo
ve the left arm across the body to the left side at about face height, palm faci
ng the body (10i-10k), at the same time as the right arm drops down to about wai
st level (10i-10j) and moves across the body, palm facing inward, to the far lef
t side (10j-10k). When the left hand reaches the far left side (10j), lift and
step with the right leg towards the left leg (10j-10k). This completes the seco
nd part of the Cloud Hands movement by mov-ing from the far left (10f) to the fa
r right (10i) and then back to the far left (10k) in a gentle flowing manner, mo
ving hands like floating clouds. From the far left position (10k) with the righ
t hand high (10k) and the left hand low at waist level (10l), with both palms fa
cing the body, move both arms to the right across the body (10k-10n). The waist
turns to move the arms more than the shoulders move the arms (10k-10n). Turn t
he waist and move the arms until you reach the far right side and are looking to
wards E3 (10m). When you reach the far right, exchange the arms by bringing the
left arm up to about face level (10n) and the right arm down to about waist lev
el (10m-10n), and at the same time step the left leg to the left W9 (10m-10n).
Now begin to move the left arm across the body to the left at about face height,
palm facing the body (10n-10p), at the same time as the right arm drops down to
about waist level (10m-10n) and moves across the body, palm facing inward, to t
he far left side (10n-10p). When the left hand reaches the far left side (10p),
lift and step with the right leg towards the left leg (10o-10p). This complete

s the third part of the Cloud Hands movement by moving from the far left (10k) t
o the far right (10m) and then back to the far left (10p) in a gentle flowing ma
nner, moving hands like floating clouds. 11. Single Whip Variations of names
for this movement include: Simple Whip, Whip, Single Whip, Holding the Whip in O
ne Hand, ?? : Dan Bian. From the last posture of Cloud Hands (10p = 11a), step f
orward with the right foot a small step (11b). Begin to rotate the arms from th
e left side to the right side. The arms draw across the body at about chest hei
ght (11a-11c). After the arms reach the left side (9c), then they rotate back t
o the right side (11c-11e). The waist faces N12 (11c). As the right arm gets t
o the right side (11d) then the hand extends in the direction of NE1 (11d) and t
he hand is shaped into a beak style (thumb touches the other fingers and all fin
gers point down) (11e). The left arm is drawn up to the face level, with the pa
lm facing the face (11d). As the right hand forms into beak, the left leg steps
to the right, bringing the left foot fairly close to the right foot (11c-11d),
and the left toe touching the ground (11d). As the left leg lifts and is placed
to face W9, the left hand opens out towards W9 (11d-11e). As the body settles
into a left bow stance (11f), the left hand pushes forward, palm facing out (11e
-11f). We end in Single Whip (11f) with the waist facing NW11, in a left bow st
ance, pushing with the left palm in the direction of W9, with the right arm lift
ed and pointing towards NE1, beaked right hand, and looking towards W9 (11f). I
nhale from 11b-11d and exhale from 11e-11f. (11f) & (16e)
(11f) 12. Pat the Horse on the Back Variations of names f
or this movement include: High Pat on Horse, Patting the Horse's Neck While Ridi
ng, Stroke the Horse From Above, Asking for Direc-tions While Riding a Horse, Pa
t the Horse's Back, Pat the Horse on the Back, ??? : Gao Tan Ma : High Pat on Ho
rse.
From Single Whip (12a), draw the right foot forward a half-step (12b).
The right hand changes from a beaked hand into an open hand (12b). The right
arm moves forward at about face level from right to left in the direction of W9
(12b-12c), and ends with palm facing out in front of the body at face level. Th
e torso turns to the left and ends facing W9 (12c-12d). The right hand stops at
face level, with the palm facing out and away (12d). The left hand moves in a
downward arc (12c-12d) to the Dan Tien level, and ends with the left palm facing
up (12d). The left leg is in an empty toe stance (12d) The body is facing in
the direction of W9 (12d). The final position is called High Pat on Horse (12d)
. Inhale at 12c and exhale at 12d. (12d)13. Kick with Right Heel Variations
of names for this movement include: Right Heel Kick, Kicking Straight Right Mode
, Kicking with the Right Heel, ??? : You Deng Jiao : Right Heel Kick.The general
direction of movement is in a straight line from E3 towards W9 in Movement #13.
Please study the recommended online videos to see how the series of postures i
n this particular movement are performed. Lift left leg and step forward (13a-1
3b). Circle both hands outward in a circle and down (13b-13c). Step with right
leg forward to bring the right foot next to the left foot (13c-13d). At the sa
me time, circle both hands upwards and bring the right hand in front of the left
hand, crossing the hands in front of the face (13d-13d). Left the right leg as
both hands move away from each other towards the sides (13e), palms facing out
and fingers up (13f). Turn the body slightly to the left so that instead of you
r waist facing W9 it faces SW7. Kick with the left heel in the direction of NW1
0 (13f). Inhale 13c-13d, and exhale 13e-13f. Some persons may not be able to k
ick high with a straight right leg and right toe drawn back - a right heel kick
(13f). Instead, substitute a toe kick, while kicking lower if necessary, or ben
ding the knee if necessary. Don't let the inability of executing a movement per
fectly, according to a standard, prevent you from practicing Taijiquan. Adapt a
ccordingly to accommodate for injuries, balance problems, inflexibility, or weak
ness. Be practical and smart; and, make reasonable adjustments. Keep practicin
g, and you will probably see steady improvements, increased strength, and greate
r flexibility.
(13f)
(13f)
(13f) 14. Hitting Your Opponent's Ears with
Both FistsVariations of names for this movement include: Box Ears, Box Opponent
's Ears with Both Fists, Strike to Ears with Both Fists, Strike to Temple with B
oth Fists, ???? : Shuang Feng Quan Er : Twin Fists Strike Opponents Ears. The g

eneral direction of movement is in a straight line from E3 towards NW10 in Movem

ent #14.. From the Right Heel Kick posi-tion (14a = 13f), draw the right knee
back into the body to waist level (14a-14b). Draw both hands down and bring the
elbows to the sides of the body, closing the open hands into fists and holding
the hands level with the knee (14b-14c). Step forward with the right leg (14c-1
4d) in the direction of NW11. Circle the arms outward from the body (14d), and
then draw both fists towards the head level of an imaginary opponent to strike t
he opponent's temples with both fists (14d-14e). Settle into a right bow stance
(14e). The imaginary opponent is in the direction of NW10 or NW11 (14e). Look
intensely at the imaginary opponent. Inhale 14b-14d, and exhale 14d-14e. (14
e)
(14e) 15. Kick with Left HeelVariations of n
ames for this movement include: Turn Around, and Kick with Left Heel; Left Heel
Kick, Turn Around and Kick with Left Heel, ??? : Zuo Deng Jiao : Left Heel Kick.
The Direction of Movement is reversed. Move backward in a straight line fro
m NW10 (15a) in the direction of E3 (15b-15g). Please study the recom-mended o
nline videos to see how the series of postures in this particular movement are p
erformed. Turn 270 degrees clockwise, face to NE2. Cross and separate hands at
face, heel kick with left foot. Left arm in front and right arm in back at sho
ulder height. Inhale 15c-15e, exhale 15f-15g. Fourth Section of Standard 24 Fo
rm Taijiquan (Yang Style) Movements 16 - 1916. Snake Creeps Down, Golden Roost
er Stands on Left Leg Variations of names for this movement include: Squat Dow
n on Right Leg, Snake Creeps Down Left Leg: Crooked Whip to Right Side: Squat on
Right, Climb Down Left; Golden Rooster Stands on One Leg, Left Down One-leg Sta
nd, ?? : Xia Shi : Snake Creeps Down, ????? : Zuo Jin Ji Du Li : Golden Rooster
Stands on Left Leg. The Direction of Movement is reversed. Move backward from
in a straight line from W9 in the direction of E3 (16a-16h). Please study the r
ec-ommended online videos to see how the series of postures in this particular m
ovement are performed.
16a = 15g. Squat down and balance on right leg (16d-1
6e). Right arm draws back in single whip (16c), and right hand makes a beaked f
ist (16c). Extend left leg low to E3 (16e). Draw the left arm down along insid
e of left leg towards left ankle ... the snake creeps down (16d-16e). Stand up
on left leg (16f-16h). Draw right leg up until level with hip (16h). Right elb
ow is over right knee, right had pointing up (16h). This final posture, facing
E3, is called "Golden Rooster Stands on Left Leg, Golden Bird Standing Alone" (1
6h). 17. Snake Creeps Down, Golden Rooster Stands on Right Leg Variations of n
ames for this movement include: Squat Down on Left Leg, Snake Creeps Down Right
Leg; Crooked Whip to the Left Side: Squat on Left, Climb Down Right; Golden Roos
ter Stands on One Leg, Right Down One-leg Stand, ? : Xia Shi : Snake Creeps Down
, ????? : You Jin Ji Du Li : Golden Rooster Stands on Right Leg.The general dir
ection of movement is in a straight line from W9 towards E3 (17a-17h). Please s
tudy the recommended online videos to see how the series of postures in this par
ticular movement are performed. 17a = 16h. Squat down and balance on left leg
(17d-17e). Left arm draws back in single whip, and left hand makes a beaked fis
t (17c). Extend right leg low to E3 (17d-17e). Draw the right arm down along i
nside of right leg towards ankle ... the snake creeps down (17d-17e). Stand up
on right leg (17g-17h). Draw left leg up until level with hip (17g-17h). Left
elbow is over left knee, left had pointing up (17h). This final posture, facing
E3, is called "Golden Rooster Stands on Right Leg, Golden Bird Standing Alone"
(17h).
(17h)
(17h)
(
17h)
18. Fair Lady Works the Shuttles Variations of names for this movement
include: Throwing the Loom to the Left Side and Right Side, Shuttle Back and For
th, Two Corners, Work at Shuttles on Both Sides, Jade Maiden Works the Shuttles,
???? : Yu Nu Chuan Suo : Fair Lady Works at Shuttles. The general direction of
movement is in a straight line from W9 towards E3 (18a-18m). Please study the r
ecommended online videos to see how the series of postures in this particular mo
vement are performed. 18a = 17h. From "Golden Rooster on Right Leg (18a) step
left foot forward and diagonally (18b-18c), draw right foot to left foot (18e),
step out with right foot diagonally to right (18f-18g). Raise right arm to bloc
k out above head (18g-18h), palm facing out. Left palm strike (18h). Right leg
bow stance (18h). Bring left leg up by right leg (18h-18j), and bring arms to

chest (18i). Step diagonally to the left side with left foot (18k-18l). Raise l
eft arm to block out above head, palm facing out (18k-18m). Right palm strike (
18m). Left leg bow stance (18m). Here is a description of how to perform Fair
Lady Works the Shuttles("Works at Shuttles") (#18, 18a-18m) from the book 'Tai C
hi for Health: The 24 Simplified Forms" by Cheng Zhao and Don Zhao, p.126:
"F
orm 18. Fair Lady Works at Shuttles (Left and Right Sides.).
(1) Step forwar
d on your left foot; shift your body weight onto the left leg (18b-18c). Draw y
ou right foot forward in such that the toes touch the ground beside your left fo
ot (18c-18d). At the same time, your arms hold a large ball in front of your ch
est with the left hand above the right (18e). Face NE2 (18e).
(2) Rotate
your waist to the right and place your right foot forward with the right heel to
uching the ground first (18e-18f). Then shift 70% of your body weight onto the
right leg and from a right bow stance (18h). At the same time, rotate the right
arm up so the hand is level with your forehead and the palm faces out (18h). F
ace SE4 (18h). [Inhale 18e-18f, exhale 18g-18h.]
(3) Shift your body weig
ht back to the left leg, and rotate your waist slightly to the right (18i-18j).
Shift your body weight back to the right leg, drawing your left foot up to rest
beside your right foot with the toes touching the ground (18j-18k). At the sam
e time, both arms hold a large ball in front of your chest with the right hand a
bove the left (18k). Face SE4 (18k).
(4) Rotate your waist to the left an
d place your left foot forward with the left heel touching the ground first (18l
-18m). Then shift 70% of the body weight onto the front leg forming a left bow
stance (18m). At the same time, rotate the left arm up so the hand is level wit
h your forehead and the palm faces out (18l-18m). Face NE2 (18m)." [Inhale 18j
-18k, and exhale 18l-18m.]- Dr. Cheng Zhao (18h)
(18h)
(18m)
(18m) 19. Pick Up the Needle from the Bottom of the Sea Variations of names
for this movement include: Pick Up Needle from Bottom of the Sea, Needle at Bott
om of the Sea, Find the Needle at the Sea Bottom, Reach for the Moon in the Lake
, ??? : Hai Di Zhen : Needle at Sea Bottom. The general direction of movement i
s in a straight line from W9 towards E3 in Movement #19. From the last posture
of "Fair Lady Works the Shuttles" (18m = 19a), begin by step-ping forward a half
step with the right leg (19a). The right hand moves back and up to the right (
19a) until it is drawn up to around face level on the right side (19b). The lef
t hand moves down in an arc until it comes to stop at about waist height over th
e left leg (19a-19b). Lift up the left leg and step forward a half step into a
left toe stance (19b-19c). Settle the body weight into the right leg (19c).
Reach down with the right hand, fingers pointing downward, until the right hand
is below the waist. Face the body in the direction of E3 (19c). Inhale 19a-19b
, exhale 19c.
(19a)
(19a) Fifth Section of St
andard Sim-plified 24 Form Tai Chi (Yang Style) Movements 20 - 2420. Flashing
the Arms Like a FanVariations of names for this movement include: Flashing the A
rms, Fend Off and Push Away with Arms, Unfolding Arms Like a Fan, Fan Through th
e Back, Flashing the Arms, Shunting with Both Hands Fanned, ??? : Shan Tong Bei
: Fan Through the Back.The general direction of movement is in a straight line f
rom E3 towards W9 in Movement #20. From the final posture of "Pick Up the Needl
e from the Bottom of the Sea" (19c = 20a), begin by lifting the left leg up and
then stepping forward onto the left heel (20b-20c). Lift the left hand and move
it forward towards E3, fingers upward, palm facing S6 (20b-20c). The right han
d moves up and back to the left, finishing above head level, palm facing S6, fin
gers pointing upward (20c-20d). Sink the body weight into the left leg, and tak
e a left bow stance (20c-20d). Inhale 20a-20c, and exhale 20c-20d. 21. Deflec
t, Parry and PunchVariations of names for this movement include: Turing Around,
Warding Off, Punching; Turn, Intercept and Punch; Turn Body, Shoulder Strike, Ba
ck Fist, Deflect, Parry, and Punch, Turn to Deflect Block and Strike, ????? : Ji
n Bu Ban Lan Chui : Step Forward, Parry Block and Punch. The general direction
of movement is in a straight line from E3 towards W9 (21a-21h). Exhale on the
punch (21g-21h). Please study the recommended online videos to see how the seri
es of postures in this particular movement are performed.
21a = 20d. Here is
a detailed description of how to perform Deflect, Parry and Punch(#21, 21a-21h)

taken from the very useful narrative document by David Hann:

"Turn, Interc
ept, and Punch: Turn to the right on your left heel so that you are facing to y
our rear, looking over your right shoulder (21b). Your left hand is held, palm
facing out, at least a hand's width from your head. Your right hand is formed i
nto a fist, held about chest level, with the elbow below the fist (21c). Step o
ut with your right foot and strike out and downward with the back of your fist (
21d). Step up to your right foot with your left foot, toe down, heel up (21e).
Bring your right fist back to your right waist (21f). Bring your left arm acro
ss your body as if blocking an opponent's punch and bring your left hand, palm o
pen, facing and in front of your right fist (21f). Step forward with the left f
oot (21g) and punch with your right fist (21g-21h), moving it over your left han
d, which is now turned flat, palm up (21h)." - David Hann, Yang Style Short F
orm Tai Chi* Note: In this photo, we see more of the Wu Style of Taijiquan reali
zation of Punch (21h). Notice how far forward the man leans, with his feet rath
er close in a right bow stance. Notice how the left hand touches the right arm
on the inside of the forearm near the elbow. In the 24 Form, the final posture
(21h) is much more upright, without leaning forward so much. 22. Apparent Clo
se and Push Variations of names for this movement include: Clearing Cross Block
and Pushing, As if Blocking and Closing, Appears Closed, Withdraw and Push, Clos
ing a Door, ???? : Ru Feng Si Bi : Apparent Close Up. The general direction of
movement is in a straight line from E3 towards W9 (22a-22g). From the end of De
flect, Parry and Punch (21h = 22a), begin by drawing the left hand under the rig
ht hand from the forearm towards the right hand (22a-22b). Both hands come toge
ther in front of the body facing W9 (22c). Draw both arms backwards towards the
body (22d-22e) as the weight shifts back-wards into the right leg (22d). As bo
th hands reach the waist (22e) the weight is in the back right leg (22e) and the
left toe rises (22e). Begin to move forward again in the direction of W9, draw
ing the weight into the left leg and taking a left bow stance (22f-22g). Both a
rms Push ( An) forward, palms out, elbows bent, pushing in the direction of W9.
The waist faces W9 (22g) and the eyes gaze towards an imaginary opponent in fro
nt of you (22g). Inhale 22c-22e, and exhale 22f-22g.(22g)
(22g) 23. Cross Hands Variations of names for this movement i
nclude: Crossing Your Hands in Front of Chest, Close the Door, Cross Hands, Cros
s Your Hands, ??? : Shi Zi Shou : Cross Hands.Begin from the Push ( An) positio
n (23a = 22g. Gradually turn the front of the body to the right so as to face N
12 (23a-23b). Draw the right hand in an arc out and across to the left (23b).
Draw the weight into the right leg (23c). Open the arms wide to both sides (23c
), palms facing forward, arms about shoulder height. Step the right foot back t
o shoulder width stance (23d). Draw both arms down in an arc (23d) then up to c
ross the hands in front of the chest, holding the right hand in front of left ha
nd (23e). Face in the direc-tion of N12 (23e). Inhale at 23b-23c, and exhale a
t 23e. (23e)24. Closing Posture of TaijiquanVariations of names for this move
ment include: Conclusion, Concluding Posture, Taiji Ending, Ending Posture, Clo
sing Pos-ture of Taijiquan, ?? : Shou Shi : Closing.From the final posture of th
e "Cross Hands" movement (23e = 24a), begin by moving both arms down and outward
(24a) until they reach the waist level (23a-24b). The arms continue downward u
ntil they are fully extended down-ward, hands resting against the sides of the t
highs (24c). Step to the right with the left leg (24c) until the left foot is i
mmediate beside the right foot (24d). The final position is identical to postur
e 1a. Keep in mind all the prin-ciples discussed for the posture 1a. You have
now finished a full performance of the Tai Chi 24 Form. Inhale at 24a, exhale a
t 24c. Inhale at 24c, exhale at 24d. The body is facing in the direction of N1
2, as it was in posture 1a. Thousands of People Doing the Tai Chi 24 FormThe St
epping Chart show above came from Zhang Fuxing's "Handbook of T'ai Chi Ch'uan Ex
ercises," Samuel Weiser, 1996, p. 65. 9"w x 6"h. Standing Meditation: Lessons,
Bibliography, Quotations, Resources. Research by Mike Garofalo. Taijiquan: S
tandard Simplified National 24 Taijiquan FormStandard Simplified Version, 24 Mov
ements, 1956, Yang Style Taijiquan"While making a stride, it is as quietly as a
cat walks, and while putting forth strength the exertion is so mild that it look
s like reeling off raw silk from a cocoon. The movements, like clouds floating

in the sky, are spry and light, but well-balanced and steady. Motion is even an
d fluid, the muscles neither stiff nor rigid. Breathing should be deep and even
... the mind is tranquil but alert, with consciousness commanding the body. I
n practicing T'ai Chi Ch'uan it is essential that movements be guided by conscio
usness and that there be stillness in movement - a unity of stillness and motion
."- Official Chinese instruction manual for the 24 movement short form, quoted
by Howard Reid in his book "The Way of Harmony," p. 90."The China National Forms
developed by China's State Physical Culture and Sports Commission was a result
of Chairman Mao's call for the nation to use sport to increase physical well-bei
ng. In 1956 a research team extracted 24 steps from the Yang style Taijiquan an
d rearranged these into the 24 Steps Simplified Taijiquan . The process took si
x years."- Davidine Sim and David Gaffney, Chen Style Taijiquan , 2002, p. 27."
In order to popularize Taijiquan, the Chinese National Sports Committee authoriz
ed the coun-try's four most renowned Taijiquan teachers to compose the 24 Forms
Taijiquan. It is based mainly on the Yang style, eliminating many repeti-tions
and retaining most of the essential principles of Taijiquan. The 24 Forms is ea
sier to learn and shorter to practice. The whole set takes around 5 minutes. A
busy person in this modern age can do three rounds in 20 minutes (including war
m up exercises). This will be quite adequate to improve and maintain good healt
h. Most clinical studies of the benefits of Taijiquan are based on people pract
icing this set of forms. The 24 Forms very quickly became the most popular form
in the world."- Paul Lam, An Evaluation of the Combined 42 Forms, Tai Chi, Vol
18, No. 5, October, 1994, pp.26-28. Li Tian-Ji (1914-1996) "At the request of
Chou En-Lai, China's Prime Minister, Li Tian-Ji formed the committees of which h
e was chairman, to create the 24 Step Simpified Taijiquan, 32 Sword Routine, 66
Combined Routine, 48 Com-bined Routine and the 88 Yang Style Routine." Li Tian
-Ji is the uncle of Pro-fessor Professor Li Deyin, one of the creators of the 42
Form Taijiquan competition routine. Recognition of somatic training as an essenti
al means towards philosophical enlightenment and virtue lies at the heart of the
Asian practices of hatha yoga, Zen meditation, and T ai Chi Ch uan. As Japanese ph
ilosopher Yuasa Yasuo insists, the concept of personal cultivation, or shugy- (an
obvious analogue of care of the self ), is presupposed in Eastern thought as the phi
l-osophical foundation because true knowledge cannot be obtained simply by means of
theoretical thinking, but only through bodily recognition or realiza-tion ( taini
n or taitoku). From its very beginnings, East-Asian philosophy has insisted on
the bodily dimension of self-knowledge and self-cultivation. When the Confucian
Analects advocate daily examining one s person in the quest for self-improvement,
the word translated as person is actually the Chinese word for body ( shen ?). Ar
guing that care of the body is the basic task and responsibility without which w
e cannot successfully perform all our other tasks and duties, Mencius claims, The
functions of the body are the endowment of Heaven. But it is only a Sage who c
an properly manipulate them. The clas-sic Daoist thinkers Laozi and Zhuangzi sim
ilarly urge the special importance of somatic care: He who loves his body more th
an dominion over the empire can be given the custody of the empire [Laozi, C17].
You have only to take care and guard your own body .. and other things will of t
hemselves grow sturdy; the Sage is concerned with the means by which to keep the
body whole and to care for life ; being complete in body, he is complete in spirit;
and to be complete in spirit is the Way of the Sage (Zhuangzi). - Richard Schust
erman, Body Consciousness, 2008, p.18 "The 24 posture Simplified Form of Tai Chi
Chuan , sometimes called the " Beijingform" for its place of origin, is the res
ult of an effort by the Chinese Sports Commit-tee which, in 1956, brought togeth
er four tai chi teachers to create a simplified form of tai chi as exercise for
the masses. The creators truncated the Yang style hand form to 24 postures; taki
ng between four and eight minutes to perform and to give the beginner an introdu
ction to the essential elements of tai chi chuan, yet retain the traditional fla
vor of Yang style's longer hand forms (generally 88-108 postures). Henceforth th
is form was avidly promoted by the People's Republic of China for general exerci
se, and was also taught to internees in Communist "re-education" camps. Due to t
his official promotion, the twenty-four form is most likely the tai chi form wit
h the most practitioners in China and the world over (though no surveys have bee

n performed)."- 24 Simplified Form - Wikipeda"At this period of wushu, the Nank

ing Central Kuoshu Institute in 1956 tasked the choreography of a Taijiquan rout
ine what would be more suitable for pop-ular dissemination among the masses, in
keeping with the government's egal-itarian agenda. The traditional forms were j
ust too long and time consuming to practice, and the traditional methods too arc
ane and demanding for mass propagation. The challenge was to reduce the one hun
dred-odd movements of the traditional Yang Style Taijiquan, prevalent then, to i
ts core, by remov-ing the many repetitive movements as well as the less essentia
l ones. Thus, the 24-Form Taijiquan set was created. Instrumental in this simp
lification effort was Li Tianji (1913-1996) who had been appointed a wushu resea
rch fellow at the Institute. Under official auspices, the 24-Form Taijiquan qui
ckly became the standard form, taught throughout China as part of physical edu-c
ation curriculum in schools and colleges. It is perhaps the best know Taiji-qua
n form in the world today. As widespread as it is, the 24-Form is at best an ab
ridged version of the traditional Yang form, a synopsis of the art."- C. P. Ong
, Taijiquan: Cultivating Inner Strength, 2013, p. 7. "Li Yulin tuvo dos hijos,
Li Tianchi y Li Tianji. El primero opt por la carrera de la medicina tradicional,
mezclando sabiamente los conceptos clave de la medicina, el Tuina (terapia manu
al) y las bases de las artes marciales y el Qigong. El segundo ha llegado a ser
conocido como "el Padre del Taijiquan moderno", por su incansable labor en pro d
e la difusin del Taiji y por haber participado en la confeccin de algunas formas f
amosas en todo el mundo, como el Taijiquan simplificado en 24 movimientos (Jianh
ua Taijiquan).
Li Tianji (1914-1996) naci en el condado Anxin, provincia de He
bei, y comenz su aprendizaje de Wushu bajo la tutela de su padre, Li Yulin, a la
edad de siete aos. Luego pas a ser discpulo de Sun Lutang (1861-1933), y de Li Jing
lin, con quien estudi Wudang Jian. Graduado como profesor de Wushu de la Academia
Central a los diecisiete aos, Li estaba convencido de la utilidad del Taijiquan
como herramienta para el mantenimiento de la salud y la forma fsica. Fue as como l
leg a ser el primer profesor que foment la prctica del Taiji entre la gente mayor y
enfermos, logrando resultados alta-mente satisfactorios. Cuando el Taijiquan fu
e rehabilitado en la dcada de los cincuenta, el gobierno chino estableci una Comis
in Estatal de Cultura Fsica y Deportes, y Li Tianji fue escogido como su director.
Fue as como a medi-ados de los cincuenta aparecieron los textos de la forma simp
lificada en 24 movimientos de Taijiquan, la forma de 66 movimientos, la forma de
espada simplificada en 32 movimientos y la forma de 88 movimientos, todas ellas
dic-tadas por el grupo de maestros tradicionales dirigidos por el Maestro Li. T
ambin public, en 1980, un texto comprehensivo sobre la espada de Wudang. Ms adelant
e, el Wushu sigui evolucionando, y Li Tianji sigui tra-bajando incansablemente en
el desarrollo de las artes marciales, llegando a ser considerado "Pionero de las
Wushu en la nueva China" y "Padre del Taiji-quan contemporneo", y se premi toda s
u vida de esfuerzo otorgndole el ttulo de "uno de los diez mejores Grandes Maestro
s del Wushu". Hasta el da de su muerte, el Maestro Li Tianji form parte del cuadr
o de profesores del Instituto de Educacin Fsica y Deportes de Beijing.
Puesto q
ue su trabajo ha consistido en ensear Wushu durante toda su vida, Li Tianji ha te
nido grandes seguidores y alumnos. Entre los que con-tinan latradicin de la esgrim
a Wudang, cabe mencionar a su hija, Li Defang, y su sobrino, Li Deyin (1938-), q
uien estudi Taijiquan y Wudang Jian con su to,y posteriormente pas a ser alumno de
Li Jingwu (estilo Chen), Xu Zhiyi (estilo Wu), Sun Jianyun (estilo Sun) y Hao J
iajun (estilo Yang). Viaj a Shao-lin y Wudang Shan para profundizar en sus estudi
os. Actualmente, el Maestro Li Deyin es vicepresidente de la Asociacin China de W
ushu y acta en las comisiones de investigacin y desarrollo de nuevos materiales de
Wushu y Taijiquan, como formas de competicin, arbitraje y edicin de textos."- Wu
dang Jian"To have something to promote and maintain the general health for the l
arge population, the Chinese government in Beijing designed in 1956 a "sim-plifi
ed Taijiquan." They selected 24 postures from the Yang's series without the ess
ential characteristics of Taijiquan. In their written and TV instructions, only
the external forms are taught. This permits large scale teaching. The result
is that many persons do it either to rigidly or too meekly. This was severely c
riticized by the prominent Taijiquan expert Li Yaxin of Szechuan Province who tr
ained with Yang Chengfu for 18 years. While the government accomplished its ori

ginal objective, the popular appeal of this series did hinder the healthy develo
pment of the real art of Taijiquan. This is one of the series Mr. Mozell called
the "watered down version." It is no more than a new set of continuous callist
henic movements imitating certain external forms of Taiji-quan."- Master Wu, Ta
-yeh, "Suppleness and Strength in Taijiquan," Internal Arts, Vol. 3, No. 6, No
vember, 1988, p. 8
"Li Tianji studied wushu from his father, Li Yulin, as w
ell as from his father's masters, Sun Lutang and Li Jinglin. He graduated from t
he Shandong Wushu Institute, became a college professor, the executive of the Ha
rbin Wushu Federation, and the first chief coach of the China Wushu Team. Li Ti
anji has been memorialized as one of the "Ten Best Wushu Masters of China (Zhong
guo Shi Da Wushu Mingshi). In 1956 Li Tianji created the first stand-ardized si
mplified taijiquan in Chinese history: 24-Form Simplified Taijiquan and 32-Form
Simplified TaijiSword. Both forms opened the door of taiji to novices and non-at
hletes, and both are now extremely popular all over the world. For this, he earn
ed the title "Father of Contemporary Taijiquan." - Siu-Fong Evans"No school of
Chinese martial arts is as well known and popular as Taijiquan. It is suitable
for both the young and the old, not only because Taijiquan possesses special fea
tures of stretching, flexing the joints, softly twining, exercising both the ins
ide and the outside, dispelling diseases and prolonging life, but it is also the
martial art that best reflects Chinese traditional philosophy. More and more p
eople from other countries, especially those interested in Chinese culture, are
beginning to practice Taijiquan. Taijiquan is becoming popular all over the wor
ld. Because of this, Taiji-quan has no national boundary and is beyond the cate
gory of culture, and belongs to people everywhere."- Fan Chun-Lei and A. Frank
Shiery, Traditional Chen Style Taijiquan. The Eight Active Ingredients of Tai C
hi"1. Awareness - including mindfulness and focused attention. Perhaps the mos
t fundamental ingredient underlying Tai Chi, the slow, deliberate movements and
attention to breathing, body positions, and sensations, fosters acute self-aware
ness, a prerequisite to all other ingredients. The emphasis on moment-to-moment
aware-ness results in mindfulness and improved focus.2. Intention - including
belief and expectations. Additional active ingredients of imagery, visualizatio
n, and related cognitive tools alter intention, belief, and expec-tation, and co
ntribute significantly to the therapeutic and physiological effects of Tai Chi.3
. Structural Integration - including dynamic form and function. Enhanced integ
ra-tion within and between multiple structural and physiological systems is anot
her key active ingredient that underlies Tai Chi's therapeutic effect. Biomecha
nically efficient shapes and patterns of movement have functional consequences a
cross many systems. 4. Active Relaxation - Tai Chi's circular, flowing motion
helps shift the body and mind into deeper levels of relaxation, and is a form of
meditation in motion. 5. Strengthening and Flexibility - Tai Chi provides mod
erate aerobic training equal to levels obtained by walking at a moderate pace.
The integrated movements result in less strain, greater power with less effort,
and better balance. The slowness of the Tai Chi movements, in combination with
the slightly flexed stances and placing weight on one leg at a time for sustaine
d periods, leads to significant lower extrem-ity strength training and increased
loading on the skeleton, which promotes strong bones. In addition, slow, conti
nuous, relaxed, and repetitive movement also results in dynamic stretching, whic
h enhances overall flexibility.6. Natural Freer Breathing. More efficient brea
thing improves gas exchange, mas-sages body tissues, including internal organs,
helps regulate the nervous system, improves mood, and balances and moves Qi with
in the body and between the body and the environment. 7. Social Support - incl
uding interaction and community. Being part of a group has proven therapeutic v
alue for various medical conditions, including cancer, heart disease, depression
and anxiety. In ongoing Tai Chi classes, students develop a strong sense of co
mmunity, and with rich interactions and support from teachers and peers, often u
ndergo and profound journey of self-discovery. 8. Embodied Spirituality - incl
uding philosophy and ritual. Tai Chi creates a practi-cal framework for practic
ing living with a more holistic, Eastern philosophy that integrates body, mind a
nd spirit. It can also be a powerful vehicle to add a spiritual dimension to yo
ur life. Also, the ritualistic practice of Tai Chi may help amplify and sustain

its therapeutic benefits." The Harvard Medical School Guide to Tai Chi: 12 We
eks to a Healthy Body, Strong Heart, and Sharp Mind. By Peter M. Wayne, Ph.D.,
and Mark L. Fuerst. Boston, Shambhala Press, 2013. Index, detailed notes, 336
pages. A Harvard Health Publi-cation. ISBN: 978-1590309421. VSCL. 'The Eigh
t Active Ingredients of Tai Chi' are explained on pp. 30-65.
"After reaching
for the needle at the bottom of the sea,I looked up, one summer's eve,to see old
Chang San-Feng open the garden gate,and join me for Tai Chi.We said not a word
-hands moving like clouds,fingers grasping sparrow's tails,faces smiling, feelin
g the sun drop,glimpsing a half moon climbing the clear sky. Time flowed without
a ripple of memories,Space embraced a crane cooling its wings,Being began to si
ngsoftly in tune with the moon.My dusty black dog barked,sensing something on th
e warm wind;speaking her mind,ears up.Master Chang was gone.Leaving one shoe on
a beanpole, anda page of poems -mementos for mortals. Two black butterfliesdanc
ed wing to wingin love."- Mike Garofalo, Performer Paul Lam4:37Strategies for L
earning the Stand-ard 24 Tai Chi FormSuggestions from Mike GarofaloThe general a
pproach I would recommend is similar to that which I recom-mended for learning t
he 32 Sword Form. 1. You must have a desire to learn, a drive to learn, and a
passion for learn-ing and playing Taijiquan. You must have a motivation for lea
rning and a reason for learning, otherwise no tactics for learning will be of h
elp to you. 2. You might want to save this webpage to a folder on your hard dr
ive. Print out this webpage. Place the printout of this webpage in a three rin
g binder. Keep your study notes while learning the 24 Taiji Form in your three
ring binder. 3. Purchase some instructional media (DVD or VHS format) to use t
o learn the 24 Taiji Form. Here are my recommendations for some useful instructional media to purchase: Tai Chi: The 24 Forms. By Dr. Paul Lam. A 120 minut
e videotape or DVD that teaches the Simplified 24 Form, Beijing 1956 version, Ya
ng style T'ai Chi Ch'uan. This excellent instructional videotape/DVD includes w
arm up exer-cises, 6 qigong exercises, 7 movement drills, and extensive and clea
r step by step instructions and numerous multi-angle demonstrations of the 24 po
s-tures in this popular short form. Dr. Lam, a family physician in Australia, h
as won gold medals in international Taiji competitions, and has published many g
ood books, newsletters, articles, and produced many fine Taiji instruc-tional vi
deotapes. VHS videotape (ISBN:1583500197) and DVD ver-sion (ISBN: 1583501088).
$30.00. Produced by WellSpring Media, 1999. Reviews VSTLC. Compact Tai Chi
for Healing in Simplified Form 24. Instruction by Master Jesse Tsao, San Diego,
Tai Chi Healthways. Instructional DVD, 60 minutes. $34.95. VHS version is al
so available. "Compact Tai Chi for Healing in Simplified Form 24 is an easy-tofollow and slow-moving, yet powerful, workout. Detailed instruction of each post
ure in front view and 3 repetitions in back view are given. The self-healing as
pects of each posture will surely enhance your health and release your stress.
At the end of the video, Master Tsao also performs the standard routine of Simpl
ified Tai Chi Form 24. Teaching is in English. (Difficulty: Beginner Level)."
24 Forms Tai Chi Chuan Simplified. Instruction and demonstration by Master Jian
g Jian-ye. Instructional DVD or VHS videotape, 120 minutes. "This video teach
es the standardized 24-movement form based on the Yang style that has been popul
arized in China. Jiang demonstrates the form and then teaches it step by step.
Each form is taught with multiple views and repeti-tions. There are reviews of s
egments and the form is demonstrated multiple times at the end, front and rear."
Available from Wayfarer Publications Cata-log. 4. I recommend you purchase a
couple of good books to use when beginning to study and learn the Tai Chi 24 Fo
rm. Most good beginning texts provide little or no information on the martial a
rts ( Quan) aspects of Taijiquan. Here are my recommendations for some good boo
ks on the subject of the Tai Chi 24 Form: The Yang Taiji 24-Step Short Form: a
Step-by-Step Guide for all Levels. By James Drewe. London and Philadelphia, Si
nging Dragon, 2011. 382 pages. ISBN: 9781848190412. VSLC. . By Cheng Zhao
and Dan Zhao. Indiana, Agilceed Books, 2006. 163 pages. ISBN: 0976118319. Th
ere is also an instructional DVD to accompany this book by Cheng Zhao and Don Zh
ao. Overview of 4 Form, detailed descriptions of each movement, general princip
les, questions and answers, flow charts. Hundreds of black and white photograph
s, illustrations, artwork, and graphics. This is a much better book than the 32

Sword Form book by the same authors. Dr. Cheng Zhao is a full professor at Ind
iana State University. VSLC. Tai Chi Chuan: The Chinese Way. By Foen Tjoeng L
ie. New York, Sterling Publishing Co., 1988. 126 pages, black and white illus
trations, index. ISBN: 0806968265. Excellent photos of Mr. Lie doing the form
, informative descriptions, and a good introduction. VSLC. Tai Chi for Body, M
ind and Spirit: A Step-by-Step Guide to Achieving Physical and Mental Balance.
By Eric Chaline. New York, Sterling Publishing Co., 1998. $14.95. Index, 127
pages. ISBN: 0806963212. Detailed Instructions and lovely color photographs
for the 24 movement standard short form. Includes some qigong exercises. VSLC.
5. View some of the online videos of persons doing the 24 Taiji Form. 6. Pr
actice, practice, practice. 7. Memorize the names of each movement in the 24 T
ai Chi Form and the numbered order of the movements from 1 to 24. Print out my
list of the names of the movements: 8. Gain a better overall understanding of
the art of Taijiquan by reading some general introductions to the subject. I h
ave listed a number of these general introductions in the above bibliography .
I recommend the general introduc-tions to Taijiquan by Paul B. Gallagher, Bruce
Frantzis, Wong Kiew Kit, Yang Jwing Ming, and Jou Tsung Hwa. Read widely, keep
an open mind, and dis-cover, through your daily practice, what works best for yo
u. Avoid any Taiji dogmatist; they will very likely end up treating you like a
disobedient dog. 9. Gain a better overall understanding of the art of Qigong b
y reading some general introductions to the subject. I have listed a number of
these general introductions in my Qigong bibliography . I recommend the general
introduc-tions to Qigong by Kenneth Cohen, Roger Jahnke, Yang Jwing Ming, and D
an-iel Reid. 10. Break the form into Sections for learning. Learn one Movemen
t at at time. Be patient! Little by little, day by day ... you get the idea.
11. Carefully study the instructional DVD or VHS that you have chosen and pu
rchased. This will be your main method for learning the Taijiquan 24 form. My
students have told me that the instructional DVDs by Master Lam, Master Tsao, an
d Master Jiang are the best instructional tools for learning the Taiji-quan 24 F
orm. "Whereas a form-instruction video is no substitute for a qualified teacher
, those who live far from any teacher are still better off learning from a video
than if they had no instruction at all. For those who have a teacher, a video c
an augment and accelerate the learning process. Finally, those who have had prio
r instruction in internal arts should be able to attain a substantial benefit fr
om a video.One method of learning a form from a video is to repeatedly do the en
tire form or blocks of the form along with the video. However, this method is no
t efficient because there is insufficient opportunity to reinforce each movement
. A better way is to refrain from doing movement while watching the video. Rathe
r, it is good to choose a small block of material, watch it a few times. Then, w
ithout any major physical action, visualize the sequence of move-ments as clearl
y as possible. Next, go back to the beginning of that block of material, and vie
w and visualize it again a few times. Only after clear and complete visualizatio
n is achieved should the movements be attempted physi-cally.At first it will see
m extremely difficult to work this way. With persistence, however, it is possibl
e to achieve a level of visualization so intense that the imagined movements are
almost as vivid as those seen on a TV screen. The dividends of the process of v
isualization are twofold: (1) By subduing the physical aspects of movement (e.g.
, balance, coordination, kinetic sense, tim-ing), you can completely focus the m
ind on the details of the movement. (2) By cultivating the ability to visualize
and mentally encompass complex details, you become increasingly able to observe
and learn new movements quickly, especially in situations where it is not feasib
le to move while observing (e.g., dreams, teacher showing movements while the cl
ass watches). Referring to the dimension of self-defense, the more you can obser
ve and mentally encompass the movements of the opponent, the greater the advanta
ge achieved." - Robert Chuckrow, The Tai Chi Book, YMAA Publication Center, Bo
ston, MA, 1998, pp. 119 12012. When performing the short form, players should: mo
ve slowly, move continuously, keep the movements rounded, move without great eff
ort, , keep the head up, let the mind direct the movements, don't bounce, and ma
intain an upright posture. Breathe in through the nose and out through the mout
h, breathe deeply and regularly. All the basic principles found in the T'ai Chi

Ch'uan Classicsshould be followed when doing the Beijing Simplified Taijiquan 2

4 Form. Special attention needs to be given to the understanding and practice o
f " relaxation ( Sung )" during Taijiquan movements.
13. Pay attention to pr
oper breathing during the practice of Taijiquan. Gen-erally exhale when the ar
ms move out and away from the body, and inhale when the arms come closer to the
torso. Breathe in when pulling back or reaching up, and breathe out when going
forward or reaching down. Exhale on kicks. Exhale on punches and elbow strikes
(e.g., Ward Off). Generally, inhale through the nose and exhale through the mou
th. The mouth is kept slightly open with a soft smile, teeth slightly separated
, and with the tip of the tongue touching the roof of the mouth behind the teeth
. Use natural, relaxed diaphragmatic breathing, wherein the abdomen relaxes and
opens on inhal-ing, and the abdomen draws in slightly when exhaling. Breathing
should be deep, full, slow, gentle, relaxed, and effortless. The concept of Ch
i ( Qi) is very much connected with breathing and the storing, circulating, and
use of "energy ( Qi)" in Taijiquan and Qigong. In hatha yoga, Prana is associa
ted with breath and energy, and breathing exercises are called Pranayama. 14.
After you are familiar with the Tai Chi 24 Form, and can do the 24 move-ments o
n your own and with some degree of confidence and comfort, you should begin your
study of the martial arts ( Quan) aspects of Taijiquan. The following books wi
ll be very useful to you: T'ai Chi Ch'uan: 24 And 48 Postures With Martial Appli
cations. By Master Liang, Shou-Yu and Wu, Wen-Ching; and, edited by Denise Briet
er. Grandmaster Yang Jwing-Ming was involved with creating this excellent book
. Boston, YMAA Publications. 2nd Edition, 1993, 1996. ISBN: 1886969337. I
ndex, bibliography, glossary, 153 pages. In my opinion, this is the best book t
o purchase when engaged in 2nd level learning of the Taijiquan 24 Form. Detaile
d instructions, excellent photographs, and extensive martial applications make t
his a first choice for students. There is an accompanying instructional DVD for
this textbook: Simplified Tai Chi Chuan. VSTLC. 15. You must study and pract
ice on a daily basis. One saying is that "thick ice is not formed by one freeze
." You must be diligent in your practice. You must practice to learn.
Aga
in, my very best wishes to you in your study and practice of the popular and del
ightful Standard Taijiquan 24 Form. Mike Garofalo Playing the Pi PaSome might f
ind other diagrams for the four cardinal directions more useful for their Taijiq
uan workout environment and situation, and these can be found on my webpage whic
h describes the alternatives for this nomenclature more completely. There are d
irectional keys for all four cardinal directions on that webpage. Some adjustme
nts in the directions for facing and moving must, of course, be modified dependi
ng upon the space available in your practice area. When the center of your ches
t and navel face the 12 o'clock position or north, your right or east side faces
3 o'clock, your back or south side faces 6 o'clock, and your left or west side
faces 9 o'clock. . This method can be used to describe a posture like Single
Whip (Chest W 9, R Arm N 12, L Arm and Palm W 9, Face and Eyes W 9). Or, Diagona
l Slant Flying (Chest NW 10, Right Arm NE 1, Left Arm SW 7, Face and Eyes NE 1).
Remember that "NE 2 is a key, or abbreviation for facing roughly to the north
east (NE) to the 2:00 clock position; or "SW 7" is the abbreviation or key for f
acing roughly to the southwest towards the 7:00 clock position. In the descript
ion above, the direction key gives the bearing of the center of the chest and th
e navel at the end of that particular numbered phase of that particular movement
. Use the numbering found under each line drawing of the phases of a movement,
e.g. 3a, 3b, 3c, 3d.
Return to the Descriptions of the Movements of the Ta
ijiquan 24 Short Form, Yang StyleSearch Terms, TAGS: Yang Style Tai Chi Chuan Sh
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