The Essence of Harmony
In the pursuit of learning the Chinese Internal Arts students are often briefed on the importance of remaining in harmony during the performance of forms. In some cases this is done for aesthetic purposes so that the class appears uniform and beautiful. However the essence of remaining in harmony during group practice runs much deeper and is based on ancient Daoist principals.
Traditionally Chinese Internal Arts where taught in group formations at the beginning levels and to correspondingly smaller gatherings of students as they became more accomplished. During this time they were evaluated on a variety of criteria one of which was their ability to broaden their perception and awareness. This quality lead to the development of their sensitivity or listening power known in Mandarin as Ting Jing. This talent was developed and honed in group form practice as well as two person training and was dependent upon the students readiness to subdue their ego so that they could harmonise with those around them.
Today in classroom practice the student seeks to learn for and about themselves by working with others. In our western world this often poses a problem for the student due to the ego-centric nature of our culture. In the east, individuals bond more readily as a group and their progress is marked by the accomplishments of the whole rather than by the individual. In order for modern western students to progress we must make a shift in our everyday behaviour and thought to take this into account. Perhaps a line from verse 55 of the Tao Te Ching could provide a valuable way marker.
Knowing harmony is constancy
Knowing constancy is enlightenment
Learning to harmonise with those around us, whether that be in class or in our everyday lives, benefits us in many ways; specifically for our health and energy, {Chi level} our inner strength and endurance {Jing level} and for our spirit and awareness {Shen level}. While this may not appear readily apparent to beginning level students our teachers encourage us to persevere in our group practice and two person training until moving in harmony with our environemnt has become second nature.
On a Chi level learning to harmonise, not just our movements but our breath and energy as well during group practice, teaches us how to develop control over these vital functions. The tempo or speed of form performance the teacher sets can challenge our breathing capacity and so train it more efficiently. Energetically we may develop better circulation by the performance of the movements at a pace which may differ from our individual practice. As a group, if all individuals comply and achieve harmony, there may develop a palpable dynamic which conspicuously energises the surroundings and fosters overall well being. Indeed among some groups this sense of euphoria, which may be present upon the completion of a particularly satisfying performance of form practice, may become addictive and further serve to bond the group.
On a Jing level it is important to learn to harmonise our activity to that of our training partner or opponent, as the case may be, in order to better understand the change of energy into power. During group practice or two person training harmony of movement will teach us to see & feel the strength and endurance levels of our partners. It will also help us to develop an understanding of the importance of timing our applications or our failure to do so. We may also learn how long it takes us to develop our root, to sink, and connect in relation to our training partners.
Harmony with those around us teaches us about ourselves, both our good and bad points, and by so doing we learn about others. In the martial application of Jing this is vitally important. The Classics say `If my opponent does not move I do not move; If my opponent moves I have already struck.’ This quality is developed by our ability to know others by knowing ourselves, by training with others in harmony thus understanding clearly how energy is expressed through jing in both ourselves and others.
Spiritually it is an advanced goal to be in harmony with our environment in order to avoid conflict, to develop our senses to perceive danger, and to understand the discord in others in order to assist them to a more balanced perspective.
In a classroom setting learning may begin by challenging students capacity to perceive movement on their periphery and asking them to move in harmony with it. They may be asked to perform their practice in a darkened room or over rough surfaces in order to expand their awareness of their surroundings. Outside the class, close observation of human behaviour and physical frailties may further train the student to expand their awareness and understanding of their environment.
In two person training students may be asked to invest in loss in order to increase their sensitivity to others movements or motives. The may be asked to listen to the power aimed at them rather than resist or attack it in order to develop better Ting Jing.
Grandmaster Wang Hao Da, now in his seventh decade and an undefeated Push Hands Master of Shanghai, spent many years training his Ting Jing by purposefully losing every day in order to surrender his strength or Li in order to develop his Nei Jing. He said ” Ones ability to listen to another’s intention is fundamental to understanding the basics of Tui Shou training. Without Ting Jing you are as a blind man rowing against the tide.”
Learning the many principals of the Chinese Internal Arts is a lifetimes work. In the early stages of our training we find ourselves part of a group, practising these principals together. The development of the individual is honed by group practice and furthered by our ability to harmonise ourselves with those around us. The essence of this development is based upon our willingness, in the early stages of our training, to move and act in harmony with our fellow students. Later, as with many of the principals of the Chinese Internal Arts, it is hoped that we will be able to extrapolate these lessons to our everyday life and find tranquillity in the tumult around us.
Rey, who passed away in 2003, wrote this article several years before Master Wang Hao Da passsed away.