Suggestions on Making Suggestions

Ongoing classes — which include new students, candidates, and teachers — raise the question of how and when to give suggestions, as opposed to “corrections,” since, as a favorite teacher said, “There is no bad T’ai Chi Chih.”

“Don’t expect yourself to get everything right away,” I tell beginners. “Just flow with us (I demonstrate a soft weight shift) and let the arms follow without worry about doing it wrong.” I remind them, “T’ai Chi Chih is easy to learn, but if you try really hard, you can make it difficult,” and that tension prevents Chi from flowing freely.”

For beginners in an ongoing class, I slip in quick descriptions between movements and add tidbits for continuing students. “Around the Platter traces a circle going toward the leg that’s out. Check that you are at chest level.” Any “mistakes” we see become reminders for following movements. I explain that suggestions are to make it easier, and that wherever they are on the journey is the right place. “T’ai Chi Chih is an infinite practice,” Justin said.

My co-teacher Dorian and I now usually interweave the teaching with practice. For example, after Bird Flaps Its Wings we may review the forward weight shift, explaining that we stay relaxed in place while extending the foot, while hands “go with” instead of directing.

Recently, I had an almost brand-new student who had done one practice online. She admitted to being nervous, and started in the back, out of view. As we reached the side-to-side movements, one of the regulars encouraged her to come up closer, and she chose a place up front and off to the side. With Light at the Top of the Head/Light at the Temple, I demonstrated that we don’t need calf-effort to rise on the balls of the feet; simply rolling the weight forward raises them effortlessly. Her eyes opened wide with a smile, and she commented on the ease. “Wow, you picked that up your first class,” I said, and felt her nervousness recede.

I give fewer suggestions to the newbies, rather than more. They have enough to think about just by following along. Sometimes, based on their own history, a student may not be ready to hear anything that sounds like it could be criticism. Sometimes they tell you, but usually you have to figure it out by how they receive what is being said. I suggest addressing practice pointers to the whole class, then following with brief eye contact with the student to whom it applies. If they are ready, they will catch it. If not, I trust that each person is on their own path.

Next, I use their name encouragingly. “Yes, that’s it, Bob.” If this flusters them, I back off for a few classes.

Playfulness helps the effort of no effort. In cases where a student is nervous or frustrated, I invite them to “pretend” to do the movement. The pretend version often has more connection and flow than what they were doing before. T’ai Chi Chih (TCC) is not only infinite, but enjoyable.

When I find myself saying the same thing repeatedly, I usually need to look to my own practice. For example, lately I’ve been emphasizing the wrists rolling in Bass Drum. Another teacher pointed out that my left hand was rolling, but my (often recalcitrant) right hand was not. They felt equal to me. But when I paid attention to feeling the roll of the right hand, they both felt more energy!

With teacher candidates and even new teachers, I give a lot of suggestions, which can seem overbearing, but has a purpose. It’s natural for perceived criticism to create resistance/tension. I want to help them join the flow of the group, instead of trying to do it “their way.” Merging into the group energy takes practice. I explain that they weren’t wrong; they are simply now ready for a new level of subtlety. I feel that teachers should be the most open to continuing to deepen their practice. None of us will stay “in place” because there is always so much to learn. New teachers are often at a pivot point, and can either adopt a beginner’s mind, or become stuck in “this is how I learned it.”

What do I suggest about making suggestions? Play with it — with care — evolving what works for your own style and students. Trust your inner knowing to speak. The words will come, and often they will be just right. If you say the wrong thing, it rarely will be remembered; it will pass by unheeded. Yet when you say something that bubbled up, it might seem so simple, but some will find it profound. You won’t go wrong if you flow, connect, and keep an attitude of playfulness. And you will continue to make discoveries with your students that bring immense benefits to your own practice.