Freitag, 27. November 2015

Film: The Thin Line That Defines

Martial arts is an endless cycle of search and discovery.
A deep well of philosophy and journey.
Which is the beginning? Which is the end? Which is the point that connects all points?

The Thin Line That Defines from SPACE by Spot Marasigan on Vimeo.

Dienstag, 24. November 2015

Anecdote: Old Shanghai

After a morning’s training four of us were sitting in the living room of the family Ma in Shanghai. Having a cup of tea, Ma Yueliang started to tell an anecdote from old Shanghai, from when he was around 30 years old:

When I was walking through the little lanes of the town, I saw a strong foreign soldier blocking the lane. He was standing with one shoulder against the lefthand wall of the lane and leaning with his right hand on the oppposite wall. Any Chinese who wanted to pass had to duck under the arm. I couldn´t stand this and went up to the marine. He saw me and indicated with his left hand that I should pass under his right arm. I looked into his eyes and pointed to my chin.

At these moment Ma Yueliang could not sit still anymore in his chair. He stood up and a friend of mine to stand opposite him and to play the soldier. My friend looked very surprised, but he made a fist with his right hand and punched Ma Yueliang with his full strength. Although Ma Yueliang was more than 90 years old, he moved faster than you could see, swept the punch aside with a , borrowed my friend’s strength and threw him with a loud ‘thump’ on the floor. Then he smiled and said:

Yes, yes, Taijiquan is really a practical thing.

Dienstag, 10. November 2015

Small Thought: Embellished Movements

I am constantly fascinated how plain the movements of the great masters are. They are soft, round and flowing, but never embellished or overstated, or as the Chinese would say flowery. They express a high degree of concentration and focus on the essential.

That this idea is also know in the West, is shown in the following short story by the German writer Gotthold Ephraim Lessing:

The Owner of the Bow

A man had an excellent bow of ebony,
with which he shot far and accurately, he valued his bow highly.

Once, however,
when he looked at it attentively,
he said:

"A little too plain you are!
All your adornment is your smoothness.
What a pity! But this can be changed!"

"I will go and find the best artist.
He will carve the most beautiful images into the bow"

He went
and the artist carved an entire hunt scene on the bow -
and what would be better on a bow than a hunt?
The man was full of joy.

"You earned these ornaments, my dear bow!"

But then, he went to try it - stretched it and the bow - broke.

Foto with Ma Jiangbao by Manos Meisen

Samstag, 7. November 2015

Interview: On Tai Chi Chuan and Natural Movement

Interview with Andre Oelofse, Cape Town/South Africa.

Martin: Hello Andre, welcome to Germany. Before we talk about Tai Chi Chuan, please can you introduce yourself a little.

Andre: I am located in Cape Town, where I have an exercise studio with the name “Body Technology" specialising in the rehabilitation of injuries and movement analysis with sportsmen and women and anyone who wants to discover their true potential. The basis of my teachings stem from 20 years Pilates experience coming from a strong sporting background (both mother and father were professional athletes). I specialise in a unique technique to free up the spine to allow for a freer movement and use boxing principles to help people find their natural rhythm.

M: Andre, how did you become exposed to Tai Chi Chuan?

A: I met with Robert Rudniak in Cape Town and he invited me for a private lesson and within that session I was so inspired to see that this was the missing link on how natural movement should be taught today.

M: So you got inspired but what did Robert teach you in that lesson?

A: He taught me the gongbu and xubu and showed me the first preparation with the rotation of the waist.

M: This does not look like much, so why is this so special to you?

A: Because it is so clear to me that this is the natural diagonal functional movement pattern of the body.

M: So if this is natural, why is this so important?

A: Today, people don’t spend enough time on the legs and this is a great tool to teach people how to create a relaxed natural strong structure, without collapsing or being rigid.

M: Is there no specific training for that in the other sports that you used previously in your teaching?

A: The previous sports training and with regards to Pilates were limited to weight bearing exercises on the legs and did not offer enough natural rotations of the waist. An additional tool I used was the boxing which offers a lot more rotation of the waist, the only thing is it was too yang. That is where Tai Chi Chuan comes in with its blending balance of yang and yin.

M: So I think you have found a good name for our Tai Chi Chuan?

A: This is the missing link for me – the power of natural movement.

M: You also told me, that you got very excited about the body-awareness in Tai Chi Chuan. Please introduce us to the 25% rule.

A: It is been proven in research that the natural stabilisers of the body (muscles inside the body) will support the body structure best at 25% of their maximum strength. If one uses more than 25%, the global stabilisers become too active and can’t support the body structure effectively. This is just raw power and is not supporting the power of the natural kinetic chain, which relies on the power of the relaxed tendons.

M: I do not understand this in full? Can you try explaining again?

A: If one uses more than 25% of maximum effort to stabilise one‘s body structure then there is no synergistic connection between the natural internal stabilisers. Instead you get over activity of the bigger muscle groups of the outside of the body. This results in a stiff structure.

M: I try to simplify this. Please correct me. As soon as you use more than 25% strength to maintain your structure you start to use the wrong muscles. Is that correct?

A: Yes. In Tai Chi Chuan it is the same. One should use the muscles you need in a soft way to get into posture (natural stabilisers at 25% effort) and not more. That is why I think Pushhands is so important because it is a true test to whether the individual can withstand the natural 25% rule in motion and under stressful conditions. And the beauty of this application is that it can be taken into daily lives and everyday movement. This is an amazing tool to stay centred these days.

M: For me it was a great experience to share some time with you, because with your background you have a very special view on Tai Chi Chuan and I hope you can go on to interpret Tai Chi Chuan in a modern western way. Everything that you say conforms to classical Tai Chi-theory, but it explains it in our western way. In your teaching for a westerner it might be much easier to get access to the deep knowledge of the heritage of Tai Chi Chuan.

A: For me I am grateful to have my connection with the Tai Chi-world and I respect your insight, passion and work already done and I hope I can add some more of my insight in the future.

Andre Oelofse: here

Samstag, 24. Oktober 2015

Text: Tai Chi Chuan and Chinese Strategic Thinking

Being interested in Chinese strategy I just read this text from Francois Jullien in his book Detour and Access:

Military strategy was much more than a specific technique in ancient China. It reflected some of the most radical elements of Chinese thought and informed many other disciplines when elaborated into theory.

If there is one basic principle on which all ancient Chinese military treatises insist, it is that of avoiding direct confrontation with an armed enemy. A frontal clash, in which two armies are engaged face-to-face, was always considered eminently risky and destructive.

The whole art of war was crafted with the intention of depriving the other of his ability to defend himself and undermining him from within, even before the confrontation took place, so that at the moment of confrontation the enemy collapsed of his own accord.

"To carry one hundred victories for every hundred battles," wrote one of the oldest masters of the art of war, "is not an end in itself, whereas to subjugate the enemy without having engaged in combat is the height of excellence."

"The best general is he whose merits one does not even dream of praising, since he vanquishes an already defeated enemy."

Rather than glorifying the battle, the art of war taught how to triumph by avoiding battle altogether.

As it was my experience before, Jullien finds words for thoughts I often had in my Tai Chi-training. Tai Chi Chuan is philosophy in action. Its strategy is based on the general concepts of Chinese strategic thinking - just the ideas mentioned above. Is it not written in the Song of Striking Hands:

Divert the attack into emptiness,
the counter-attack follows immediately.

And in the Classic of Tai Chi Chuan:

Once hidden, once visible.
Left weighted – left empty.

Right weighted – right empty.
Look up – higher.
Look down – deeper.

Retreat – longer.
Advance – shorter.
Not even 
a feather can be added.
A fly can’t settle.
The other does not know me;
I alone know the other.
An invincible hero, isn’t he,
who has mastered all of this?

Indeed he is, but not like a Western hero, who wins by extraordinary strength, but like the Chinese wise man, who wins by the superior strategy.

Enjoy your Tai Chi Chuan


Donnerstag, 22. Oktober 2015

Interview Tai Chi Chuan and Alienation

Interview with Annemie van der Gucht and Peter van de Velde, France

Martin: Hello Annemie, hello Peter, we have known each other for some years now and right from the start we talked a lot about bodywork. One of the main topics was the word „alienation“. Can you explain this for us.

Peter: The word „alienation“ comes from the works of Marx, Hegel and Marcuse. Mainly it was used in the area of economics. Here alienation is between man and his enviroment. Today you can also see alienation towards the body. The contact to one’s own body is lost. You can see this in such simple things as cooking, eating and other basic activities in daily life.

Annemie: It begins during childhood. Children are not allowed to make themself dirty. They are not allowed to walk barefoot and anything that is a little bit dangerous is forbidden. At school they have to sit on chairs and physical expression is repressed.

Peter: No matter whether adult or child, alienation is the loss of contact to natural things.

Martin: How is this experience connected to your Taijiquan-practice?

Peter: Taijiquan can be a way to rediscover your body.

Annemie: For that you need an exercise. Taijiquan could be this. But Taijiquan is not a result, it is a way. For some people it is a shock when they feel for the first time how much they lost the contact to their body. They see how difficult it is to do small things, like align the hand to the nose. But this is the beginning of awareness and so the start of the healing process.

Peter: I think, the use of the body always involves the use of the senses. An important cause for alienation is that we are often too rational and have lost contact to our body. It is all to much about knowledge and much too less about feeling. The movements of Taijiquan are a medium to discover your body. But this involves much hard work.

Martin: Dear Annemie, dear Peter, thank you for your time.

Foto: Ma Jiangbao - taken by Manos Meisen

Samstag, 19. September 2015

Articel: Learning to write Tai Chi Chuan

Here a short introduction, how to write Tai Chi Chuan in Chinese.

Please click on the picture and enlarge it,
or pull it on your desktop and enlarge it there.

Thus you can see the numbers clearly.

Mittwoch, 3. Juni 2015

Link: Map and photos of old Beijing

Dear, Tai Chi-friends,

this is the Beijing of the Tai Chi-masters of the families Yang, Wu and Chen:

This link leads you to an interactive map with a lot of old foots.

Enjoy surfing.

Good background information can be found here:

More info: here

Freitag, 15. Mai 2015

Poem: To Boat on the Dongting-Lake

Dear Tai Chi-friends,

some Chinese fighters became free knight-errants. They knew how to fight and knew how to relax - one of them became the known Chinese poet - Li Bai. So if you had a hard week of training and fighting - enjoy one of his poems:

To Boat on the Dongting-Lake

An autumn night at the lake –
not a whit of mist above the water.

Wonderful it would be,
a wave could carry us into the sky.

Moonlight I would buy there –
with borrowed money.

Or sail up to the white clouds,
to buy some wine.

More Info on the Book: here

Samstag, 9. Mai 2015

Article: How did Taijiquan get it's name?

From the club magazine No. 10, page 9 of the Jianquan Taijiquan Association Shanghai from 30.04.1984

Translated by Martin Boedicker

All styles of Wushu have both, their own peculiarities as well as their own names. This manifests in a special character. How is it with Taijiquan – why it's called Taiji? There are reasons.

Wang Zongyue’s Classic of Taijiquan (Taijiquan jing) describes the meaning clearly:

Taiji is born out of wuji. It is the origin of movement and stillness and the mother of yin and yang.”

We know from our own deep experience, that this sentence explains the two Chinese characters taiji correctly and through the use of the word taiji it declares that this martial art is based on the principle of yin and yang, stillness and movement. Taijiquan is also called “Long Boxing”. It is stated in the Classic of Taijiquan:

“Long boxing flows continuously like a long river and the sea.”

Taijiquan got this name because this describes the movements of the form well, which are flowing uninterrupted like a long river and the sea.

But how to use yin and yang, stillness and movement while practicing Taijiquan?

When one starts Taijiquan with the “Preparation (yubeishi)”, you have to strive to stand with a still heart-mind (xin). Both hands hang down and the whole body is relaxed. One uses no force and is not thinking. This beginning is a state of wuji [i.e. without polarity].

Then starts the “Taiji Beginning Form (taiji qishi)”. Through the movements of the hands one distinguishes between left and right, as well as inside and outside. The left leg steps out of pingxingbu and the right leg supports the body weight. This dividing course in the movement means that taiji is born from wuji.

The body, the feet and the hands are moved through the middle of the axis of waist and hip. The centre of gravity is shifting to the right foot. Thus the left leg is empty or yin and the right leg full or yang. After this comes “Outline the Sparrows Tail (lanquewei)”. From then on this rule is in force. In all movements, yin and yang, as well as full and empty are differentiated and the movements are performed without any interruption. When one does Taijiquan like this, then one will certainly understand the name “Taijiquan”.

The term “Long Boxing,” as it is stated in the Classic, explains how we practice Taijiquan. It describes the movements of the entire form. One movement follows into the next. This is the rule for all movements and within them is the mutual change between yin and yang, full and empty. Everything is combined into a continuous single movement. In names such as “Cloud Hands (yunshou)” it becomes clear how the movement flows continuously from beginning to end, like a long river and the sea. […]

In fact, taiji is a specific scientific technical term from ancient times. Its meaning includes yin and yang, full and empty, stillness and movement, to advance and to retreat, front and back, top and bottom and left and right. This use is reflected, as is well known, in the taiji graphic. Taiji moves without interruption, forming a harmonious whole. With it one can explain the whole cosmos, physics and also the techniques of Taijiquan. […]

Starting from the name Taijiquan to the knowledge of the fundamental aspects of Taijiquan, one reaches a method for the training of Taijiquan and recognizes the requirements for the practice of Taijiquan. Truth is what is in accordance with the name. Become familiar with this rule and master it fully. Those that study Taijiquan according to this and progress in this way will certainly achieve much.

Sonntag, 12. April 2015

Article: Agilty

By Martin Boedicker

In Tai Chi Chuan there are, besides the slow form, a series of weapon forms and the fast form. These forms are conducted dynamically with many changes in pace.

According to Wu Yinghua and Ma Yueliang, in the slow form the aspects stillness (jing), lightness (qing), slowness (man), conscientiousness (qie) and perseverance (heng) need to be taken into account. The dynamic forms are different from the slow form with regard to the third aspect, slowness. Slowness means that the movements are conducted in a controlled manner, yet lightly, evenly and flowing smoothly without any interruptions. (see Ma Jiangbao, p. 41)

In the dynamic forms the aspect of slowness is substituted by agility (ling). Agility manifests itself in four different characteristics, which must be taken into account during training. Only then can the qualities of the slow form translate into the mastery of fast movements. Wu Yinghua and Ma Yueliang write:

“In order to develop lightness, agility, suppleness (yuanhua) and dexterity (ziru), one has to heed four characteristics:

1. Break and turn alternate (duncuo xiangjian)
2. Hard and soft support each other (gangrou xiangji)
3. Fast and slow are in harmony (kuaiman xianghe)
4. The front and the back are connected. (qianhou xianglian)
(Wu, Ma, p. 2)

For Wu Yinghua and Ma Yueliang the break, dun, manifests itself in central equilibrium (zhongding) and cuo, the turn, in the movements of jumping.

Ma Jiangbao explains that most movements in the dynamic forms end with a quick movement, which are accentuated by a brief break after them. The next movement always begins with a change in direction, which is often accompanied by a jump (which can also be a long sliding step). A jump or change of direction is cuo, the turn. Expounding on their explanation of the four characteristics, Wu Yinghua and Ma Yueliang write:

“The hard power (gangjin) uses strong fajin. The principle of softness (rouze) uses soft movements. This means that the hard power is followed by softness. The turn has to be quick. As far as the quickness is concerned: in it lies the turn. In the slowness is the stretching. The positions of the form have to be exact. From its very beginning all of the form has to be conducted naturally, the last movements have to be calm. They must not be neglected. This is the connection of the front and the back.”
(Wu, Ma, p. 2)

Ma Jiangbao explains that in the dynamic forms, individual positions are more stretched than in the slow form. Quite often this leads to a lower position. In spite of that, agility must not suffer.

· Ma Jiangbao, Tai Chi Chuan, Mach:Art, Ratingen 1998.
· Wu Yinghua, Ma Yueliang, Wushi Taijikuaiquan, Henan Kexue Jishu Chubanshi 1988.

Sonntag, 29. März 2015

Film: Needle Through Brick

A documentary about the struggle for survival of traditional art and culture in the face of a rapidly changing and modernizing world told from the perspective of time-honored Chinese Kung Fu masters. The story explores the history, the art of Kung Fu and asks important questions about how the cultural heritage can be kept alive in a world that prefers to forget about its origins. The sadness and tragedy conveyed in the personal stories and anecdotes of today's last surviving traditional Kung Fu masters, along with the majesty and beauty of their skills, serve as reminders of the frailty of even the deadliest of arts.

Samstag, 21. März 2015

Freitag, 20. März 2015

Article: General Teaching Concepts for Tai Chi Chuan

by Martin Boedicker

taken from the book:

Once the goals and content for a Tai Chi lesson have been determined, one should opt for a general teaching concept.
Two fundamental concepts are on offer:

1. The closed concept (deductive instruction)

A deductive approach to instruction is a teacher centred approach, i.e. the student gets clear and concise instructions from the teacher for learning a movement.

This approach is often used for basic material and ensures that the student quickly reaches a certain goal by specific instruction. After a short time a new movement can be practised. For students who arrive exhausted from daily life, this type of teaching is felt as quite relaxing.

However, the closed concept involves one way communication, encourages passiveness, can restrict the student and he/she can develop a shallow movement experience. Little attention is paid to methods of problem-solving.

2. The open concept (inductive instruction)

The open concept is student-centred. It imposes more responsibility on students for their own learning. The student works and solves problems independently. This stimulates thinking and interest. The teacher has a supportive role only.

In the open concept the student has a greater opportunity of acquiring experience with the movements, which can result in a more permanent learning.

On the other hand he/she has to make the effort of taking the initiative and the whole process consumes time. Further on there is the risk that he/she will establish incorrect movement patterns. However, the aspect of self-reliance is an important issue and should not be underestimated.

- Which concept suits my teaching best?
- Which concept suits the needs of the group?
- Does it make sense to vary the concepts within the course or will this unsettle the students?
- Can I imagine a hybrid of the concepts?

Dienstag, 3. März 2015

Review: Optimal Tai Chi Chuan and Qigong Teaching

Should be the first book for new martial arts teachers:

In this small booklet, which is very simple to read and quite short, are contained MANY important lessons. These lessons are mostly relevant for people who teach martial arts, and though the booklet was written by a Tai Chi teacher, any martial artist would benefit from reading it (!). It is a book about teaching pedagogy, as relevant to the martial arts - something the majority of martial arts instructors do not learn in an orderly fashion.

Buy: here

What this book teaches the reader is how to pay attention to the wants and needs of the beginner student, whoever he or she might be. By the time we become teachers ourselves, we have usually drifted away from many of these, and have forgotten some altogether. This is of great value for augmenting and improving one's teaching, and even for marketing purposes. I have personally used the concept and ideas outlined in this booklet to improve the way in which I describe my arts to newcomers and on my website.

Most importantly the author, who is a teacher himself of course, ask you, a fellow teacher, some very tough questions on the nature of what you teach, and how you choose to do it. This booklet forces you to tackle aspects of your teachings which you may have neglected, perhaps not purposely, but often because you wanted to avoid them. These kinds of harsh yet important reminders is something that the teacher is unlikely to get from anywhere else, apart from bitter experience.

Though the booklet is a very quick read overall, it took me much longer than expected, because I had to sit down and think matters through every 2-3 pages. The book really grabs your core conceptions of what you do and gives you a friendly shaking so you can re-sort them in your mind.

For one who is open to receive sound and very helpful advice on teaching, whose cup is not full, this book will prove a most useful and honest addition to his library.

Jonathan Bluestein
Author of best-seller Research of Martial Arts
Head of Tianjin Martial Arts Academy

Dienstag, 24. Februar 2015

New Workbbook: Chinese Characters for the Tai Chi-friends

Dear Tai Chi-friends,

this workbook comes in response to my students lively interest in Chinese characters and will familiarise you with the way they work by practical example and exercises. The characters used for the exercises are often taken from Tai Chi-technical terms.

Having works through this book you will be able to recognise the structure of Chinese characters independently and to look up characters new to you in a Chinese dictionary.

Order: here


- Strokes in Chinese Characters
- Structure of Chinese Characters
- Radicals
- Using a Chinese Dictionary

Here an example for an exercise:

For those of you who want to start to learn Chinese or just play around with the beautiful characters, this might be interesting.

All the best


Donnerstag, 19. Februar 2015

Mittwoch, 18. Februar 2015

Dienstag, 3. Februar 2015

Ebook: Optimal Tai Chi Chuan and Qigong Teaching

Dear Tai Chi-friends,

a lot of people can not get a printed copy and asked for an Ebook.

Here it comes - enjoy:

More info and order: here

All the best


Donnerstag, 29. Januar 2015

Article: About Taijiquan

From a lecture by Prof. Ma Hailong on the occasion of his visit to Düsseldorf 2002

Prof. Ma Hailong is the eldest son of Ma Yueliang and Wu Yinghua. He is President of the Jianquan Taijiquan Association in Shanghai. On his third visit to Europe he held a lecture in the Forum for Traditional Wu Tai Chi Chuan. The following are excerpts from his lecture.

Thank you very much for the kind invitation to hold a lecture here in Düsseldorf. Taijiquan is a system which has been a tradition in China for many centuries. The development of Taijiquan has spanned a long period of time. It is said that Zhang Sanfeng from the Wudang Mountains founded Taijiquan during the Tang Dynasty. In Taijiquan he refined the culture of his country. Today one speaks of the five Taijiquan families: Chen, Yang, Wu, Wu (Hao) and Sun. In the time of the Qing Dynasty the practising of martial arts was very popular. Rich people in those times trained in private circles and invited great masters, such as Yang Luchan (founder of the Yang-style), into their homes to train with them.

Yang Luchan was very famous in his time and was often challenged to fight. Later he gave lessons in the Emperor’s court. One day the Emperor asked Yang Luchan which of his students he could recommend. Yang Luchan said: “There are three who excel.” Each of the three had his own particular skills. “The first, Wan Chun, has particularly hard power (gangjin). Lin Shan is best at exerting power (fajin). Wu Quanyou, however, is the best at gently neutralising energy (rouhua)”. Wu Quanyou, my great-grandfather, became the founder of the Wu-style. It was he who made neutralisation a particular quality in the Taijiquan of our family. The aim of Taijiquan is to manipulate the power of the opponent in order to defeat him/her. That is in fact the essence of Taijiquan.

Learning Taijiquan is not only about learning to defend yourself but also an insight into a certain philosophy. The idea of Taijiquan is not to attack in an uncontrolled manner, but rather the attempt to hold back. This often has some affect on the entire character. My grandparents, uncles and parents, for example, never claimed to be masters. This is part of the philosophy of Taijiquan. Taijiquan is not something for pretentious people.

In many aspects the theory of Taijiquan follows the symbolism of traditional Chinese thinking. In China, for example, it is said that the square is the symbol of the earth. It represents strength and stability. The circle is the symbol of the sky. It signifies softness. Human beings stand between the two and therefore in Taijiquan the positioning of the feet is also based on a square and is an expression of stability. The movement of the arms and the upper part of the body are based on the circle and are soft and flexible. In this way while practising Taijiquan you can simultaneously unite both aspects in yourself.

The knowledge of the theory and practice of Taijiquan should not be confined to the Chinese culture. It should also be established in foreign countries. Three things are necessary for this to happen:

- A very good teacher
- A good learning environment
- A co-operative team spirit

After this, it all depends on hard work. In Taijiquan there is a saying: The teacher only guides you through the door, i.e. he/she teaches only the basics. Then it is all down to practice. The first three prerequisites already exist in Europe. Now all you must do is further develop this and practice a lot.

An important point in the theory and practice of Taijiquan is understanding the jin-power (dongjin). This really is difficult. It is necessary to be aware of how both you and your opponent exert energy. For this purpose you must focus entirely on Feeling (tingjin). It is like reading a poem. To begin with, perhaps, you read only superficially. It is only after in-depth study of the poem that it can be understood in its complexity. Or it is like listening to classical music. One concentrates entirely on the music. That is why you shouldn’t listen to music when practising Taijiquan. When I practise Taijiquan, I practise Taijiquan. When I listen to music, I listen to music. It is the only way I can be completely focussed. This is also called “Heaven and human being are united (tianren heyi)”. I am in complete harmony with my environment and don’t allow myself to be distracted.

Taijiquan is the connection of stillness and movement. When practising Taijiquan you should pay particular attention to the five aspects set out by my father: stillness, lightness, slowness, conscientiousness and perseverance. It is not possible to make progress without them. If you can put these aspects into action, you will have much pleasure in practising Taijiquan and you will achieve a long and happy life. Thank you once again for taking the time to listen to me for so long.

Freitag, 23. Januar 2015

Book: Optimal Tai Chi Chuan and Qigong Teaching

Dear Tai Chi Chuan and Qigong friends,

looking back on 25 years of teaching Tai Chi Chuan and Qigong and training a lot of teachers during that time, I collected my knowledge and wrote a small book:

Optimal Tai Chi Chuan and Qigong Teaching
(68 pages, 7,70 $)

This training manual is a useful guide for everyone interested in teaching Tai Chi Chuan and Qigong - enjoy reading.

Order and more info: here

Martin Boedicker, Germany


- On Pedagogy - Well-Being - Perception - Community - Spirituality - Martial Arts - On Didactic - Defining Content and Goals - General Teaching Concepts - Planning the Chronological Order of the Lesson - The Premises of Learning - Inside or Outside - Specifications of Duration - Learning Modalities - The Appearance of the Teacher - Group Structure - Group Dynamics - Over- and Under-challenging - Disturbances of Teaching - Reflection - On Methodology - A First Methodological Decision - Social Forms of Teaching - General Teaching Methods - Methodological Measures - Memory rehearsal - Learning Aids - Questions