I recently attended a three day silent t’ai chi ch’uan retreat. I spent much of my time there thinking about my practice and what I want to get out of it. One night, I sat down and wrote this before I went to bed.
I practice Yang style t’ai chi: specifically the short form developed by Professor Cheng Man-ch’ing. Yang style seeks relaxation, the release of tension, strength through softness and expansion. This type of strength is referred to as sung. Most martial arts—from Shaolin gung fu to Western-style boxing—use the opposite type of strength: contraction, hardness, tension. This is called li. Yang style only seeks sung, never li.
There are other styles of t’ai chi, most of which are notably older than Yang style. Chen style, for instance, has been practiced for centuries and remains the most popular style in China (Yang is the most popular in the West).
Musician Lou Reed practiced Chen style t’ai chi for decades and he wrote a book about his experience. I read it last year. The way he describes his style is markedly different than how we describe Yang. He talks about balancing softness with hardness, expansion with contraction, relaxation with tension, slow with fast, sung with li, and the ability to move from one to the other. This is so different from Yang practice, in which all tension is released and none allowed to build up, that it’s difficult to think of these as both being t’ai chi.

