Teaching Daughter On The Mountaintop, Daughter In The Valley
Justin Stone states (on the definitive DVD) that the movements of T’ai Chi Chih are simple and easy to learn. But some students do have challenges with the shapes and hand positions in certain movements like Daughter on the Mountaintop and Daughter in the Valley. With that in mind, here is a possible teaching tool that might help.
I ask students to imagine a large clock face in front of their torso, with the number six at the base (below the navel) and the number 12 out a few inches in front of the chin. For Daughter on the Mountaintop, I ask them to begin with the tips of the middle fingers at about 7:30 and 4:30 (on the clock face). As the weight shifts forward, the fingers circle the numbers upward until the fingers of both hands point upward at 12 o’clock (the left hand held closest to the body). Then I ask them (as the weight shifts backward) to lightly touch the wrists together (for teaching only) as the hands descend down the center of the clock face. When the wrists are near the navel, I ask them to start pointing the fingers downward to six o’clock and let the wrists no longer touch together, as the backward weight shift completes. The fingers then begin circling outward again to 7:30 and 4:30 and the forward weight shift begins. (Lightly touching the wrists together on the way down helps to feel the hand position).
For Daughter in the Valley, I ask the students to begin with middle fingers pointing at about 10:30 and 1:30. As the weight shifts forward, the fingertips trace the numbers downward, palms closely facing each other as the fingers point down at six o’clock, then rise up the center of the clock face until the fingers point upward at 12 o’clock, as the forward weight shift completes (hands softly holding a large egg shape). As the weight shifts backward, the hands/wrists separate and fingertips trace the numbers downward, reaching about five and seven as the backward shift completes. The palms are closest at the beginning of the forward weight shift, and the polarity is strong.
I remind students throughout of Justin’s words (in the Phototext): “The shoulders are relaxed and drooping” so that softness and flow remain paramount. I hope these tips are helpful.
Pyramid Poems from Fall Seijaku Retreat
Sheryl Adair writes: “It might be helpful to know the background of these Pyramid Poems from Carmen Brocklehurst’s Fall Seijaku Retreat, held at the Norbertine Retreat Center, well out of Albuquerque proper. It felt like real desert to someone from the humid, green South (Georgia to be exact). What a contrast. There was a very large solar farm behind this beautiful, peaceful, serene setting. The energy from the very engaged Seijaku participants, coupled with that of the silent, praying monks and huge solar farm was amazing. Add a Super Moon in a clear desert sky that became a Blood Moon for a Total Eclipse. Truly quite exceptional.”
find
the Real
it’s inside
resist not and
Seijaku
will find
you
– LO
love
beauty
Seijaku
over flowing
with the gifts
of the
ages
– Dora W
love
waiting
Seijaku
expressing now
come to me
and know
joy
– CR
strong
push through
resistance
serenity
being now
linger
soft
– Robert M
to
night we
all are so
connected through
Seijaku
and our
hearts
– Brock
strong
and soft
the essence
grounded yet free
releasing
giving
back
– Carmela
love
yourself
share the Chi
let it all go
Seijaku
fast track
joy
– Caroline G
joy
is here
Seijaku
listen to all
the noise, and
hear the
love
– Judy H
now
I am
filled with
gratitude for
Seijaku
within
me
– Leya
be
enjoy
accepting
who you are now
releasing
into
peace
– JG
the
flow of
energy
is real to us
Seijaku
within
me
– SR
change
gently
get in touch
with deeper place
inside of
myself
now
– Sheryl
starts
anger
opposite
follows serene
Seijaku
still, clear
joy
– MR
the
way starts
T’ai Chi Chih
continues with
Seijaku
strong calm
quiet
– Joyce V
arms
embrace
only love
nothing to fear
trust in Chi
release
“hai”
– MD
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