Bao wrote:Adam Mizner teaches them a certain way, more about releasing than moving.
Interesting... How does he teach to "release" mind and yi?
And how would that "connect" or "harmonize" them?
I mean the external harmonies.
The first instruction regarding this is in the module explaining Huang Sheng Shyan's first Sung Gong exercise. He explains the movements as "long jin out" and "six harmonies down".
The long jin out is the pressure from the ground up to the hands as they rise to the side and the body is forward. The six harmonies down is the active release of the kua in hips and shoulders, then the knees and elbows, then the hands and feet as the hands fall and the body turns.
Alex Dong teaches that there are more, not really referencing the six harmonies but he outlines the various coordinations (hand to foot, hand to hand, foot to foot, etc) in his books.
What is "more"?
The antonym of fewer.
I believe it's more about peng and being strong in "8 directions" than 6 harmonies.
Well, traditionally speaking, in Chinese tradition, "6 harmonies" actually refers to "directions".
If you "release" or open all the joints in all directions, this is expansion, which most people refer to as "peng".
"Directions" is interesting from a tai chi perspective as it assumes there must be a center, or Zhong ding. However, "8 directions" is redundant as we already have "the five directions", which is in fact 8 or 10 directions, or how you want to interpret it.
However, I don't agree that the 6H would (mainly) be about peng, and I am not sure I really believe in the idea of "being strong" in all directions, which seems more like an ideal (Unfortunately our structure and balance will always have gaps and weaknesses.). And I also believe that "direction" limits too much the interplay between the three internal "harmonies" or "correlations". But hey, anything that works the best for you is just fine. As always, YMMV.
Metaphors are getting a bit mixed there.
Bear in mind this is my own misunderstanding so please don't blame the teachers I'm paraphrasing.
Directions does take different meanings, best not to get too hung up on the name and try to associate disparate concepts based on similar nomenclature. The five directions of taijiquan has nothing to do with strength in 8 directions in taijiquan. Neither are they simply "stepping". But we don't want to spiral further, do we?
So forget about 6 harmonies. As mentioned, that's xingyiquan, it has nothing to do with taijiquan. I'm not talking about 6 harmonies in taijiquan.
The more relevant organizing principle is peng. Achieve peng and manipulate peng. Which, sure, expansion of the joints is part of the means of achieving peng.
But the function of peng is that strength in 8 directions, up down, left right, forward back, in out. Round qi.
Instead of 6 harmonies, we think in terms of opposite pairs. Where there is a back there is a fore, left to right, front to back, in to out, up to down. Foot to hand, hand to hand, foot to foot, head to tailbone, spine to hand, feet to head, etc.
The timing isn't all at once even when it is fast as all at once, it's sequential and contextual. 6H doesn't cover the range and dynamics of the movement needed.
I know there's a tendency to reduce all CMA to 6 harmonies, Mike Sigman is a big proponent of this. That suggests that all arts are the same art. I don't agree.
I am often wrong.