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Taiji 24 Form By

Kelly Maclean

(ShouYuLiang Wushu Taiji Institute) Before I go on to describe Taiji and offer instruction on the 24 Form, I must make a note on spelling. Most people are more familiar with the common spelling of ¨Tai Chi,¨ which is the Wade-Giles system of romanization, rather than the Pinyin system, ¨Taiji¨. I prefer the Pinyin system for two reasons: Firstly, it is the system which has been officially adopted by China, and secondly, it leads to a pronunciation of the word that more closely resembles the way a Mandarin speaker would say it.

Most people who begin a study of Taiji come to the art for a gentle form of exercise, to improve their health and manage stress in their lives, or because they are interested in Oriental philosophy and meditation. These are valid reasons to practice Taiji, but one should recognise that Taiji is a martial art, and though it is generally practised slowly, every movement has an application, in terms of self defence. One may not have any interest in fighting, but understanding of the applications ultimately helps one to do the movements more correctly, and engages the mind by focusing intent. Focusing intent also enhances the health benefits of Taiji practice, as it increases and directs the flow of Qi, or vital energy, in the body. Thus, Taiji is also a form of Qigong. Taiji is not merely a series of calisthenics, but also a mental discipline, and an art. The wonderful thing about Taiji is that it works on so many different levels, and answers different needs at different times in one's life. Ultimately, Taiji is a rich and deep field of study of the self.

Taiji is considered to be an internal martial art because it concerns itself with what's going on inside the body, such as the regulation of the breath, a sense of balance, an awareness of the feeling inside the body, and the cultivation of internal power through relaxing, and opening the channels that carry Qi through the body. Taiji is practised slowly to develop control, awareness, and to build internal power. (Of course for self defence, one has to move as least as fast as one's opponent, and hopefully a little faster.) External martial arts concern themselves with muscular strength, speed, jumping high, punching with force, sometimes yelling, and generally hardening the body.

The 24 Form is a simplified routine based on the movements of the traditional Yang style form, commonly known as the 108. (There are five traditional styles recognised in China: Chen, Yang, Wu, Hao, and Sun.) It is a good form for beginners, as it can be learned in a relatively short period of time and is widely practised throughout the world. Yang style is characterized by broad open postures, graceful lines, and a smooth even pace of movement.

Before starting to work on the 24 Form sequence, you should become familiar with some general principles and basic stances.

Principles

One of the most important principles of Yang style Taiji is to maintain an upright posture, an upward energy at the top of the head, and a feeling of lengthening through the spine. Secondly, it is important to cultivate a habit of dropping the elbows, and allowing the shoulders to sink downward and relax. Do not pull the shoulders back;

2 allow the chest to sink so there is a feeling of openness between the shoulder blades. Think of breathing into your abdomen (the dantian). Relax the waist area, allowing the spine to twist gently. In Yang style Taiji, the feet should not slide. Place in the feet consciously. There should not be a lot of up-and-down movement. Over time, your movements will become more coordinated, smoother and more connected. Postures should be clear, but the movement between the postures are just as important as the postures themselves. Your face, and especially your eyes should reflect a calm alertness. Train yourself to relax and pay attention to your experience.

Stances

Bow Stance Both feet must be flat on the floor, and the body upright. The front leg is bent so that the knee is directly over the centre of the foot, which itself is turned very slightly inward. Be sure not to push the knee beyond the toes. The rear leg is straight but not locked, with the rear foot is angled forward at approximately 45 degrees, according to what is comfortable.

The feet should not line up from front to back, as though one were standing on a tight-rope, but rather there should be some lateral space between the heels, as thought one were standing on a narrow railroad track. The right foot always belongs on the right rail, and the left foot on the left rail. The rails should generally be about hip width apart. The length of the stance can vary, but generally there should be enough space to fit two or three of your own feet between your heels.

T-Stance With all the weight on one foot, the other foot lightly touches the floor beside the instep of the supporting foot. Both knees are slightly bent. Knees point in the same direction.

Empty Stance With all the weight on one foot, toes pointing outward about 45 degrees and the knee bent, the other foot lightly touches the floor in front, with the knee slightly bent. The toes of the front foot should almost line up with the heel of the rear foot, but not quite.

Walking Pattern

I recommend practising the following walking pattern until it becomes very familiar, before attempting the 24 Form. Start from a left bow stance (left leg in front) facing west. Sit back, lifting the toes of the left foot, and turn the left leg outward about 45 degrees to the south-west corner. Then shift all the weight onto the left foot, and step in with the right foot to form a T-Stance. Now step out with the right heel to form a right bow stance to the west.

Repeat the pattern reversing left and right. Sit back, pivot, step into T-stance, step out to bow stance. The T-stances will face the corners, while the bow stances are all on a railroad track facing west. Try to minimize rolling in the feet, and pay attention to the movement of the hip joints: the leg bone is meant to swivel in the hip socket; the knees are not meant to twist. Feel the connection between your feet and the ground. Concentrate your weight in the centres of your feet.

You may also want to practice footwork and upper body movements separately, before trying to coordinate them.

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Section – 1

1. Commencing the Form

Stand with feet together facing north, knees unlocked, arms hanging naturally at the sides, fingertips lightly touching the thighs, spine upright, and the crown point gently reaching upward.

Shift weight onto right leg, and step out to the side with the left foot, to about shoulder width. Shift weight to the middle and settle. Keep your spine upright as you do the movement. Take a moment to still your body and quiet your mind. Feel your feet connect to the ground. Check that your knees are unlocked. Breath into your dantian (abdomen). Feel the weight of your shoulders sinking down, your spine lengthening, and your ears listening upward.

Breathing into your dantian, raise your arms upward, at shoulder width, palms facing downward, to shoulder height. Think about a force from the ground attracting your hands, like a magnet.

Exhaling, bend the knees a little and lower arms to about hip level, dropping the elbows and settling the wrists so that the fingers extend slightly upward. Be sure that the knees do not droop inward; they should agree with the toes.

2. Wild Horse Parts Its Mane

Breathing naturally, shift weight onto right leg, while describing an arc with the right hand, out to the right, up, and in toward the right shoulder. Keep the palm facing downward. By the time the right hand reaches shoulder level, the left hand sweeps palm up, under the right hand, at about hip height, and the left foot moves to beside the instep of the right foot, toes lightly touching the floor, to form a T-stance. All your weight is on your right leg. Make sure the right elbow is slightly lower than the shoulder, so the shoulder can relax. Palms face each other with fingers pointing in opposite directions. This posture is commonly called ¨holding a ball¨ on the right side.

Left foot steps out to the left side, heel first, to form a left bow stance. As you are shifting to bow stance, separate the hands: left arm swings upward until the hand is at about shoulder level, palm facing obliquely upward; at the same time, the right hand glides downward, passing over the left wrist as it goes, until it reaches hip level, palm facing downward. The elbows are curved. Be careful when stepping to keep the right knee

4 stable. As you are shifting into bow stance, adjust the right foot by turning it inward until you are comfortable, pivoting on the heel. Look beyond your left hand. This completes step one.

Sit back, twisting the left palm down, and turning the left leg outward about 45 degrees.

Move the left hand in toward the left shoulder as you shift all your weight onto the left leg. Keep the left leg slightly bent. As the right foot moves to beside the instep of the left foot, to form a T-stance, the right hand sweeps palm up under the left hand, at hip level. Now you are ¨holding a ball¨ on the left side.

Right heel steps out to the west, to form a right bow stance. As you shift to bow stance, separate hands as before, reversing left and right. This time there is no need to adjust the rear foot, because it is already positioned to point toward the southwest corner. This completes step two.

Sit back on the left leg, twisting right hand palm down and turning the right leg out about 45 degrees, and take the ball on the right side again. Once more, step out with the left heel to bow stance, and separate hands. This completes step three.

Note that up to this point, all of the bow stances are on a ¨railroad track¨ going west.

3. White Crane Spreads Its Wings

Shift weight onto the left leg, and step forward half a step with the right foot. Place right foot so the toes point to the northwest. At the same time, the hands move to a ¨left ball¨ position.

Shift weight onto the right foot as the left hand presses downward and the right hand swings forward, and up. The left hand will pass the right arm at approximately the elbow. As the left leg empties, swing the right arm back slightly and raise the left knee, sweeping the left hand in front of the knee and around to the side. Place the left toe lightly on the floor in front. As the left foot touches down, the right arm settles in place with the forearm pointing upward, the palm facing the right temple, and the elbow bent about 90 degrees and slightly lower than the shoulder. The left hand settles at hip level, palm facing downward, fingers pointing forward, in the sitting

5 wrist position. All of the weight is on the right foot in an empty stance. Be careful not to let the right foot roll or the knee droop inward. Look forward to the west. This completes the first section of Taiji 24 Form.

Sections - 2

Before continuing into section 2, you must be sure to have learned and practiced section 1 correctly. As we continue the form, we are building a foundation with which many other forms and styles can be learned.

Move the right hand in front of your face, and as you swing it downward toward your hip, the left hand describes an arc form the left side, up, to parry in front of the face. The left foot draws in to form a T-stance as the left hand continues downward to chest level while the right hand swings back, palm facing upward, to the north-east. We'll call this ¨position A¨ on the right side.

4. Brush Knee Twist

Stepping out with the left heel, the left hand goes down to block in front of the leg while the rightelbow bends.

As you shift to bow stance, the left hand continues beside the left leg, while the right hand pushes to the front, passing by the right ear, fingertips leading, and the wrist settling as the arm extends. The right hand fingertips are at nose level and the left hand fingertips are pointing forward. There should be a slight twist through the waist. We'll call this ¨position B¨. This completes the first part of Brush Knee Twist.

Sit back to turn the left leg out about 45 degrees, and shift your weight to the left foot. At the same time, the right hand describes a leftward arc blocking in front of the face, while the left hand swings palm up toward the south-east corner. Bring the right foot to beside the left foot to form a T-stance as you move to ¨position A¨ left side.

Stepping out with the right heel, right hand goes down to block in front of the right leg while the left elbow bends.

Shifting to bow stance, the right hand continues beside the right leg, and the left hand pushes to the front, passing by the left ear, fingertips leading, and the wrist settling as the arm extends. This is ¨position B¨ on the other side. This completes the second part.

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Sit back and repeat part one again, finishing in ¨position B¨ in a left bow stance.

5. Hands Strum the Lute

Take a half step forward with the right foot. Shifting to the right foot with the knee bent, move the left hand up and forward and the right hand down and back. Raise the left leg, and set it down with the left heel touching the floor, the knee slightly bent, weight on the right leg. (This is a variation of the empty stance.) At the same time, palms press inward, facing opposite sides, left hand fingertips at nose level, and the right hand almost under the left elbow. Look forward.

6. Repulse Monkey

Switch the left foot from heel to toe, and drop the right hand toward the dantian (a pressure point in the lower abdomen). Swing the right arm back to the north-east and twist both hands palms up.

As you bend the right elbow, bringing the hand by your right ear, step back with the left foot. Push forward, over the left hand, shifting back to form an empty stance, lifting the right heel up off the floor. At the same time, the left hand draws back, palm up, to the dantian. The right wrist settles so that the fingertips end up at nose level. This completes part one of Repulse Monkey.

Swing the left arm back to the south-east and twist both hands palms up.

Bending the left elbow so that the left hand comes in by the left ear, step back with the right foot. Push forward, over the right hand, shifting back to form an empty stance, lifting the left heel up off the floor. At the same time,

7 right hand draws back, palm up, to the dantian. The left wrist settles so that the fingertips end up at nose level. This completes the second part.

Repeat both parts of Repulse Monkey two more times, and then circle the right hand up to shoulder level, sweep the left hand under the right hand, and move the left foot in beside the right foot, to form the ¨holding ball¨ posture on the right side.

This completes section two of Taiji 24 Form.

Section - 3

Before continuing into section 3, you must be sure to have learned and practiced sections 1 and 2 correctly. As we continue the form, we are building a foundation with which many other forms and styles can be learned.

7. Grasp the Sparrow's Tail to the Left

This movement has four parts: Ward off, roll back (or pull back), press (or squeeze), and push (or press).

WARD OFF: From "holding a ball" on the right side, step out to the west, heel first. While shifting to a bow stance, raise the left arm to in front of the chest, palm facing inward, fingers pointing right, arm rounded, and elbow slightly lower than the wrist. At the same time, lower the right hand to a sitting wrist position. Make sure your bow stance is on a railroad track, as opposed to a tight rope.

ROLL BACK: Swing the right hand up and forward, twisting the palm up and keeping the arm rounded, and turn the left hand palm down, elbow sinking. The right hand is near the left elbow, and the left hand fingers are pointing slightly south of west. Keeping the feet flat on the floor, shift the weight back, bending the rear leg, but do not straighten the front leg completely. At the same time, swing the arms down and back toward the north east, allowing the waist to turn. Be sure to keep the spine upright.

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PRESS: Bend right elbow, and press right hand against the left wrist, at chest level. Shift back to bow stance. Left hand is on the outside, palm facing inward; right hand is on the inside, palm facing outward. Elbows are slightly lower than the wrists.

PUSH: Separate hands, palms down, to shoulder width, shoulder height. Sit back, and press hands down to about waist level. Keep spine upright. Shift back to bow stance and push palms forward to shoulder level, keeping spine upright, shoulders down, and elbows sightly bent. This completes Grasp the Sparrow's Tail to the left.

8. Grasp the Sparrow's Tail to the Right

First, there is a transition in which we turn to the east: Shifting the weight to the right leg, right hand makes an arc over to the right side, while the left leg is turning inward. Next, shifting the weight back to the left leg, right hand continues downward, while the left hand moves in toward the left shoulder. Stepping in with the right foot to form a T-stance, "hold the ball" on the left side.

9 Now repeat the steps for Grasp the Sparrow's Tail to the Left, reversing left and right. This ends section three.

Section - 4

Before continuing into section 4, you must be sure to have learned and practiced sections 1 to 3 correctly. As we continue the form, we are building a foundation with which many other forms and styles can be learned. (From the end of "Grasp the Sparrow's Tail")

9. Single Whip

Shifting the weight to left leg, turn the torso leftward, looking to the northwest. Both hands brush leftward, left hand at shoulder level, right hand swinging down to waist level . The right leg turns inward, until the toes of the right foot point northwest.

When weight is fully shifted left, left hand circles down, counter-clockwise, palm facing obliquely downward, and right hand circles upward, clockwise, palm facing inward, to face level. Turning the torso rightward, and shifting to right leg, both hands move to right side. Look to the northeast, so that the eyes are coordinated with the movement of the hands.

As the left foot steps in to form a T-stance, the right hand forms a hook to the north-east, all five fingertips held together in a point, wrist bent so that the fingers point down, and elbow held straight, but relaxed.

Stepping into a left bow stance to the west, the left hand circles counter-clockwise past the face, palm facing inward. Settling into the bow stance, the left hand twists palm out, sitting wrist, fingertips at nose level, elbow slightly bent. Look over the fingertips of the left hand. This completes "Single Whip".

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10. Wave Hands Like Clouds (3 times)

Shifting to right leg and turning the torso rightward, swing left hand down, counter-clockwise, palm facing obliquely downward. Turn the left leg inward, until the toes of the left foot point north, and look to the northeast.

As the weight begins to shift back to the left leg, open the hook hand, and as the left hand circles upward, palm facing in, the right hand circles downward, in a clockwise direction, palm facing obliquely downward. The hands will pass each other on the forward-right side, with the left hand near the right elbow.

Continue shifting to left, turning the torso leftward. Both hand move across to left side. Look to northwest.

As the left hand twists palm out to circle down, counter-clockwise, and the right hand begins to circle up, palm in, step in with the right foot, both feet toes pointing forward. This completes one "Cloud Hand".

As the hands continue to circle, left hand counter-clockwise, right-hand clockwise, they will pass each other on the forward-left side of the body, with the right hand close to the left elbow.

Shifting to right leg, and turning the torso rightward, both arms move across to the right side, right hand palm in at face level, left hand palm facing obliquely downward at hip level. Look to northeast.

Once turned fully to the right, twist right hand palm out, and step out with the toes of the left foot, toes pointing north.

As the hands continue to circle, left hand counter-clockwise, right-hand clockwise, they will pass each other on the forward-right side again.

Continue the pattern until the right foot has stepped in a total of three times. This completes the "Cloud Hands" section.

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11. Single Whip

After the right foot has stepped in for the third time, shift weight to the right leg, while turning the torso rightward. The hands continue to circle as in the "Cloud Hands".

When turned fully to the right, the right hand forms a hook again, to the northeast. Continue as in the first "Single Whip".

12. High Pat on Horse

Shifting weight to left leg, open the hook hand and take a half step up with the right foot (toes point to north-west). Turning to look over the right hand, shift onto the right leg, both hands twisting palms up.

Bending the right elbow so that the hand is close to the ear, lift left knee. As the toes of the left foot touch down lightly to form an empty stance, the right hand pushes from the ear to the west, sitting wrist, fingertips in line with the nose, and the left hand draws in, palm up, to the dantian. This completes "High Pat on Horse" and Section Four.

Section - 5

Before continuing into section 5, you must be sure to have learned and practiced sections 1 to 4 correctly. These instructions assume SOUTH as the starting direction.

13. Right Heel Kick

Stepping to the left with the left foot, heel touching the floor first, thread the left hand over the right wrist. Twisting the left hand palm out, shift forward.

12 Continuing to shift onto the left leg, separate the hands out to the sides, palms facing outward. Continue circling the hands downward, until the right leg is empty.

As the hands gather upward to cross at the wrists, palms facing inward, and right hand outside, extend the left leg until it is almost straight and raise the right knee as high as possible, the toes of the right foot pointed. Look to the southeast.

Separate hands to the sides, palms facing outward, sitting wrists, and kick to the southeast with the right heel, knee straight, foot flexed. Ideally, the heel of the right foot should be at least waist level.

The right arm and right leg should go in the same direction, and the eyes should be focused over the fingertips of the right hand.

14. Double Wind Blows at Ears

Gradually sinking down again, the left hand swings toward the right hand, until the hands are about shoulder width apart, and then both hands draw into the waist palms facing upward.

Step southeast with the right foot, heel touching the floor first.

Both hands form fists, and shifting to a right bow stance, the arms circle outward and then inward, the fists striking to temple level, eyes of the fists looking downward diagonally.

Look between the fists.

15. Left Heel Kick

Shifting to the left leg, open the fists and separate the arms to the sides. Turn right leg inward so the toes of the right foot point northeast.

Shifting back to right leg, arms circle downward.

13 As the arms gather upward to cross at the wrists, palms facing inward, with the left hand outside, extend right leg until it is almost straight, and raise left knee as high as possible, the toes of the left foot pointed. Look to the northwest.

Separating the arms to the sides, palms facing outward, sitting wrists, kick to the northwest with the left heel, knee straight, foot flexed. Ideally, the heel of the left foot is at least waist high. Left arm and left leg go in the same direction, and the eyes are focused over the fingertips of the left hand.

This concludes Section 5.

Section - 6

Before continuing into section 6, you must be sure to have learned and practiced sections 1 to 5 correctly. These instructions assume SOUTH as the starting direction.

16. Snake Creeps Down (left) and Golden Rooster Stands on One Leg

Bend the left leg, pointing the left toe, and move the left hand to the right shoulder, sitting wrist, palm facing rightward, while making a hook with the right hand, to the northeast. The hook should be held between shoulder and ear level, all five fingers together in a point, wrist bent so that the fingers point down, and elbow straight).

Take a long step back with the left foot to the rear-left, toe touching the floor first and sink into a drop stance, right leg bent, left leg straight, both feet flat on the floor, left foot hooked in so that it points north, and swing the left hand down toward the left foot, palm facing out. Turn your attention to the west side.

Turn the toes of the left foot out and shift to a left bow stance, turning the right foot inward. While shifting forward, swing the left hand up, palm out, fingertips to nose level, and lower the right arm, twisting the hook back so that the fingers point upward. Hold the right hand up, away from the body. Look forward, to the west.

Turn the toes of the left foot out slightly and open the hook hand. Almost straightening the left leg, raise the right knee to at least waist level, pointing the right toe, and swing the right hand upward, wrist straight, palm facing left side, fingers pointing up, elbow over the right knee. At the same time, press the left hand down to beside the left hip, sitting wrist, fingers pointing forward. Look forward, to the west.

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17. Snake Creeps Down (right) and Golden Rooster Stands on One Leg

Lower the right toe to the floor. Pivoting on the ball of the left foot, turn to the south-east, moving the right hand to the left shoulder, sitting wrist, palm facing leftward, and raising the left hand to the south-east as a hook, elbow straight. The hook should be between shoulder and ear level, five fingers together in a point, and wrist bent so that the fingers point down.

Take a long step back to the rear-right, toes of the right foot touching the floor first, and sink into a drop stance, left leg bent, right leg straight, with the right foot hooked in so that the toes point south. At the same time swing the right hand down toward the right foot, palm out. Turn your attention to the west side.

Turn the toes of the right foot out and shift to a right bow stance, turning the toes of the left foot inward. While shifting forward, swing the right hand up palm out, fingertips to nose level, and lower the left arm, twisting the hook back, to point upward. Hold the left arm up away fro the body.

Turn the toes of the right foot out slightly and open the hook. Almost straightening the right leg, raise the left knee to at least waist level, with the toes pointed, and swing the left hand up, wrist straight, palm facing right side, fingers pointing up, elbow positioned over the left knee. At the same time, the right hand presses down to beside the right hip, sitting wrist, fingers pointing forward. Look straight ahead to the west.

Section - 7

Before continuing into section 7, you must be sure to have learned and practiced sections 1 to 6 correctly. These instructions assume SOUTH as the starting direction.

18. Fair Maid Works the Shuttles (right and left)

Sink into right leg, and step to the forward left, with the heel of the left foot touching the floor first. Shift onto left leg and, stepping in with th right foot to form a T-stance, move into the "holding ball" position, left hand at shoulder level, and right hand under left hand at dantian level.

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Step to right corner (north-west) and, shifting into a right bow stance, raise right arm, twisting right hand palm out, fingers pointing left, above forehead level, and with the left hand, push from left shoulder to the north-west, fingertips to nose level. Be sure to drop the elbows, relax the shoulders, and keep the body upright. This completes one Fair Maid Works the Shuttles.

Shift back, lifting the toes of the right foot (it is not necessary to turn the foot, though a small adjustment may be made, if desired).

Shift onto right leg and, stepping in with the left foot to form a T-stance, move into the "holding ball" position, right hand at shoulder level, and left hand under the right hand at dantian level.

Step to left corner (south-west), and shifting into a left bow stance, raise left arm, twisting left hand palm out, fingers pointing right, above forehead level, and with the right hand, push from the right shoulder to the south-west, fingertips to nose level. Drop elbows, relax shoulders, and keep body upright.

This completes the second Fair Maid Works the Shuttles.

19. Needle to Sea Bottom

Take a half step forward with the right foot, placing the foot at approximately a 45 degree angle to the north-west, and lower both arms.

16 Swing right hand up toward the right ear, arc the left hand to in front of the right shoulder, palm down, and raise the left knee.

Poke the right hand down at approximately a 45 degree angle, palm facing left side, and wrist flat, as the left hand brushes around the left knee to beside the left hip, sitting wrist, and the left toe lightly touches the floor, to form an empty stance. Look in the direction the right hand is pointing (west).

20. Fan Through the Back

With the left hand, touch the right wrist and raise both hands to about shoulder level.

Step forward with the left foot, heel touching the floor first, and shift to a bow stance, separating the hands, left hand pushing forward, fingertips to nose level, elbow slightly bent, and right hand pulling back, palm out, fingers pointing forward (west) to a little higher than the right temple. Keep space between the right hand and the head.

This completes section seven.

Section - 8

Before continuing into the final section, you must be sure to have learned and practiced sections1 to7 correctly. These instructions assume SOUTH as the starting direction.

21. Deflect Down, Parry, and Punch

Shift weight to the right leg, bending at the knee and turning the left leg inward so that the toes of the left foot point north-east, both arms arc up and to the right. Shift to the left leg, bending at the knee, and make a fist with the right hand, as it circles down to in front of the abdomen; the left palm presses down to in front of the chest. Bring the fist up inside the left arm with the eye of the fist looking inward (both hands are palms down) while lifting the right knee slightly. As the right leg turns outward to do a twist step, the heel landing first and the toes tuning outward to the north-west, the right forearm and the back of the fist deflect downward so that the fist is about shoulder level, and the left hand ends up under the right elbow. Look over the fist.

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Shift to the right leg, allowing the shoulders to turn to the right, and, while circling the left hand clockwise on a horizontal plane around to the front, palm facing obliquely downward, pull the right fist in toward the waist, eye of the fist looking outward (palm up). Continue to look forward, over the left hand.

Step out with the left foot and, shifting to a left bow stance, punch forward with the right hand, turning the fist so that the eye looks upward, and draw the left hand back to touch the right forearm. Keep the right elbow slightly bent, and look forward.

22. Apparent Closure

Slide the left hand under the right elbow and turn it palm up. While shifting the weight back, bending the right knee, and lifting the toes of the left foot, slide the left hand forward, under the right forearm. Open the right hand, palm up.

Turn both hands palms down and press down to waist level. Shifting to a left bow stance, push to shoulder level, as in "Grasp the Sparrow's Tail." Keep elbows slightly bent, the shoulders down, and the eyes focused forward.

23. Cross Hands

Turn the toes of the right foot out slightly and, while shifting to the right leg, arc the right hands lightly up and over to the right side; the left foot turns in to point north. Look over the right hand. Shifting to the left leg, both hands arc downward. Move the right foot to shoulder width from the left foot, so that the feet are even, and

18 gather the hands to cross at the wrists, palms facing inward, right hand on the outside. Look forward and keep the space between the arms and the chest open, knees slightly bent.

24. Closing Form

Separate hands, palms down, by brushing the left hand over the top of the right hand, to shoulder width. Standing up, the elbows sink and both hands stroke downward, fingers lightly extended. Relax the hands at the bottom. Move the left foot in beside the right foot, so that the feet are together.

This concludes the 24 Form.