Advancement Program
The Sash Program
“As long as you think you’re green, you’ll grow...
If ever you think you’re ripe, you’ll rot.”
Sash Program/Suggested Path of Study
The world of taijiquan is vast and as students move through their study, it is helpful to have a suggested order of study. We hope these steps will provide a comprehensive guide into the wider world of taiji and help students develop a well rounded taijiquan practice. The system below lays out our suggestions of order of study. However, studying any aspect of taijiquan in any order is beneficial. This is merely our approach.
The official sash program is a way for a student to recognize their next steps, their increased commitment and study of the whole art of taijiquan. Participation in the program is not required for advancement and all students will benefit by developing a complete knowledge of this internal art. The sash provides students with a guide and recognition of advancement, as well as allowing students to look forward to the next phase.
All students progress at their own pace and are encouraged to consult their teacher with questions and evaluations. Students who wish to participate in the sash program should reach out to their teacher to let them know. Once they enter the color system, students are expected to wear their color during each class, lesson, workshop, or school event.
The five steps in the system correspond to “the five phases of change,” or wuxing, in a sequence that symbolizes the process of creative transformation. The colors and their elements are: green (wood), red (fire), yellow (earth), silver (metal), and blue/black (water), the last represented in this system by purple.
Individuals progress through the colors at their own pace. When a student would like to request an “evaluation” for the next color, they should reach out to their teacher.
Evaluations are not private lessons, and may be quite short. The student will bring a red envelope containing money ($5 is suggested), and a symbolic gift, such as a stick of incense, tea, a piece of fruit, wild flowers, or an interesting stone. At the end of the session, the teacher will give the student an evaluation and suggestions for next steps and further study.
The teacher may also endorse the student’s advancement to the next color. To complete the process of advancement, the student will have a raise in rank sash recognition during their main class and will receive a certificate at the next annual Chinese New Year celebration.
With diligent effort, students will develop a full understanding and embodiment of taijiquan. The colors are markers along a path of personal growth in the art, but they measure only the first few steps. While an accomplishment to be proud of, purple does not signify that one has completed study -- only that one has made a good start.
GREEN: Wood
Commitment/
Determination
To enter the sash program, a student should make a formal request and present $15 to their teacher to enter the program. They must be familiar with the school’s guidelines for etiquette or wude (http://www.blackbamboopavilion.com/etiquettewude) and they must know the meaning and pronunciation of: Tàijíquán 太極拳, qì 氣, qìgōng氣功, dāntián 丹田,
They should be able to name and describe the style of Taijiquan they are studying.
Any teacher may verify that the above requirements have been met and will present the sash in the student’s primary class as a recognition of their commitment: a formal evaluation is not necessary for green. The student may then wear the green (wood) sash, which represents their resolution to continue personal growth through Taijiquan.
*All sashes after green are provided by the school at no cost to the student
as a way of recognizing the dedication put into each step.
RED: Fire
Long Form
When the student is able to perform an entire taiji long form on their own to the satisfaction of their primary teacher, they are eligible to wear the red (fire) sash. This color represents their ability to perform “choreography,” though their mastery of principles may be rudimentary. To obtain their teacher’s endorsement, the student will perform or lead the long form for their primary class on a date agreed upon by the teacher and student.
The student must be familiar with the names of the postures in their form and the Chinese names for the main stances (bù 步) in their form. They must know the pronunciation and meaning of: Dào道, wújí無極, yīn 陰, yáng 陽; wŭshù 武術, gōngfū功夫, péng 掤, lǘ履, jǐ擠, àn按, cǎi採 liè列, zhǒu 肘, kào 靠, shīfù 師傅, lăoshī 老師(both mean teacher; but there are two forms of shifu, depending on the character used for “fu”: one means skilled worker/expert, the other is a polite form of address to a revered person, e.g. master, or father/mother as to a monk or nun); and a few common conversational expressions, such as: “Nĭ hăo ma 你好嗎?” (how are you?) “hăo 好” (I’m fine) “Xièxiè 謝謝(thank you); Zàijiàn 再見 (good-bye).
YELLOW: Earth
Principles
A student is eligible to wear the yellow (earth) sash when they are able to demonstrate significant command of internal principles in form: empty stepping, relaxation, proper structure and posture, good stance work, whole body movement, matching, hip mobility, knee stability, lightness and agility as examples.
The body should be relaxed, the movements easy but not soft, stretched but not stiff. The head should be lifted, the pelvis settled; the feet strongly placed, the knees stable; the arms rounded, the shoulders lowered. The waist must act like an axle, all body parts should correlate, arms and legs match.
Form should display lightness, agility, steadiness, calmness, and a combination of solidity and emptiness. Movements should be smooth and continuous.
When a student feels ready, they should schedule an evaluation with their primary teacher. Unlike the red sash test, this does not need to be a public evaluation.
Additionally, the student will be thoroughly familiar with the first Taijiquan Classic attributed to Zhāng Sānfēng 張三豐, the thirteen torso methods, the three external correspondences (wài sān hé 外三合), and the “rules for the human stage” (see Jou). They must know the meaning and pronunciation of: bāguà 八卦(eight symbols) and bāmén 八門(eight gates); wǔxíng 五行(five elements or five phases of change) and wǔbù 五步(five steps or attitudes)
SILVER: Metal
Intention
To be eligible to wear the silver (metal) sash, the student must have made progress in embodiment of the full range of principles described above and in the Taijiquan Classics. Specifically, they must demonstrate “intention” in their solo form. At this stage, all teachers (does not include instructors) in the school must be satisfied that the student has advanced, and each teacher may impose reasonable requirements in addition to the following.
The student will have begun interactive work through interactive classes, tui shou (push-hands) and/or san shou. A student can expect to physically interact with the teachers during the evaluation, showing lightness of touch, in addition to demonstrating intentions in form.
The student will be thoroughly familiar with the second Taijiquan Classic attributed to Wang Zongyue, know the three internal correspondences (nèi sān hé 內三合) and the “rules for the earth stage.” They must know the meaning and pronunciation of: song 鬆(relax), sān cái 三才(the three powers); ting, zŏu走, nián黏, huà化, ná拿(five interactive energies); chán sī jìn 纏絲勁(reeling silk energy).
A student should also have explored a little of the greater taiji world. This could include a workshop with another teacher, a taiji festival or symposium, a competition (even if only as an observer), etc. Participation in the solo form division of a tournament is highly recommended. If you would like guidance or confirmation that something is appropriate for this requirement, please consult with your teacher.
PURPLE: Water
Extension
A student is eligible to wear the purple (water) sash when they can demonstrate “extension,” fa jin, through awareness and energy in form and knowledge of applications. As with silver, purple must be conferred by all teachers in the school.
The student will demonstrate a weapon satisfactorily and converse on the applications and use of that weapon. They will also be able to demonstrate an ability to interact fluidly with another person, if not in free play push hands, then through more controlled setting such as choreographed sets during which they respond to changes within the set. Participation in the push-hands division of a tournament or other push hands event external to the school is strongly encouraged. Students are encouraged to seek out other opportunities to learn from visiting taiji instructors and should return to their teacher to talk about and explore what they have taken away from those experiences.
The student should also be able to demonstrate an ability to recognize taiji principles while assessing and evaluating other taiji players visually.
The student will be thoroughly familiar with the third Taijiquan Classic by Wu Yuxiang, and will know “four important concepts” (Jou pp. 158-9) and the “rules for the sky stage.” They must know the meaning and pronunciation of: fā jìn 發勁; jìn 勁(energy) versus jing (essence), yi, li, shen; kai, he; zhànzhuāng 站樁; bǎihuì 百會, mìngmén 命門, huìyīn 會陰, láogōng 勞宮, yǒngquán 湧泉.
Notes:
Romanization of Chinese Characters. There have been various systematic attempts to transcribe Chinese speech into alphabetic form since the Italian Jesuit Matteo Ricci’s transcription in the early seventeenth century. The two systems in most common use today are the Wade-Giles, devised by two British linguists in the 19th century, and the pinyin--the system of spelling devised by the Chinese themselves beginning in 1958. In Wade-Giles, for example, 太極拳 is “T’ai-Chi Ch’üan;” while in pinyin, it is “Tàijí quán.” They are both pronounced the same way, and refer to the same thing. The Black Bamboo Pavilion tends to use pinyin, but students would do well to be familiar with the representational conventions of both systems.
Initial sounds:
p as in ‘pie’
b as in ‘bun’ (‘p’ is breathy, ‘b’ is not)
t as in ‘tie’
d as in ‘dear’ (‘t’ is breathy, ‘d’ is not)
k as in ‘cough’
g as in ‘gamble’ (the ‘g’ is hard)
c as the ts in ‘nuts’
z as the dds in ‘adds’
h as in ‘loch’ but very softly
f as in ‘stuffy’
zh as the J in ‘January’
j as the g in ‘genuine’
ch as in ‘challenge’
q as the ch in ‘chew’
x as the sie in ‘siesta,’ a cross between ‘see’ and ‘she’
sh as in ‘shelter’ but with lips withdrawn
r as in ‘rent,’ but first make an ‘sh’ sound, vibrate the vocal chords, then change to ‘r’ while keeping the voiced vibration
Pronunciation. The purpose of learning certain Chinese terms in this advancement program is to foster an appreciation of the culture that gave birth to Taijiquan, and to savor some of the concepts related to the art in their native linguistic setting. To speak standard Mandarin well, words must not only be properly pronounced, but must also be spoken with the correct tone (see Tones). Nevertheless, while tones are marked in this document, the requirements of the advancement program will be satisfied if students merely manage an approximate pronunciation.
Finals:
a between ‘father’ and ‘at’
an as in ‘bun’ rather than ‘ban’
ang as the ung in ‘bung’
ai as in ‘aisle’
ao as in ‘out’
e between the e in ‘exit’ and ear in ‘earth’
en as the n in ‘rock’n’roll’
eng as the un in ‘hunger’
ei as in ‘lay’
ou as the ou in ‘soul’ not as the ow in ‘cow’
i as the i in ‘chlorine’ but after ‘r’ ‘s(h)’ ‘c’ or ‘z’ more of a grunted ‘eh’
u as in ‘zoo’
ong as in the German ‘Jung’
ian ‘yen’
ui ‘way’
ü ‘yew’
Tones. There are four tones in spoken Mandarin. The first is a high steady pitch, often marked with a flat line above the primary vowel: ā. The second is a rising tone, marked with a forward slash above the primary vowel: á. The third is a dipping tone, from mid pitch to low and back, marked with a “u” or “v” above the primary vowel: ǎ. The fourth is a falling tone, marked with a backslash above the primary vowel: à.
-adapted from: About Chinese by Richard Newnham
GLOSSARY:
This is some of the terms needed for the sash program. Others can be found in LaoMa’s glossary.
Bu. Step or stance. Gong (or gong jian) bu -- bow (or bow and arrow) stance; ma bu -- horse stance; xu bu -- void or empty stance; xie bu -- rest step; pu (or pu tui) bu -- extended leg stance; gen bu -- follow step; dingzi bu -- “T” step; duli bu -- single leg stance; tui bu -- backward step; mo chuang bu -- rolled step.
Dantian (tan t’ien in Wade-Giles). An energy center in the human body; the center in the lower abdomen that is the point of organization and collection for physical life force, qi. Also used for the major energy centers between the eyes and at the heart area as well as the abdomen: “upper, middle, and lower dantian.”
Dao (Tao in Wade-Giles). Sometimes translated as “Way” or “Word” (“In the beginning was the Word...”), the Dao is beyond description. “Since before time and space were, the Tao is. It is beyond is and is not. How do I know this is true? I look inside myself and see.” (Mitchell, Tao Te Ching, v. 21). We might say that there is everything (Taiji) and nothing (Wuji) -- and the Dao is that which causes them both to be. For practical purposes, it is “the way things are.”
Gongfu (kung fu in Wade-Giles). A high level of achievement or skill, clearly the result of long, hard work. Sometimes used as a synonym for wushu, martial arts, especially in reference to traditional, external styles of Chinese martial arts.
Neijia. “Inner school.” (Neigong , internal work, is a related term) an art that emphasizes breath, energy, and mental focus to benefit the internal organs; compare waijia : external exercise to benefit muscles and bones.
Peng, Lu, Ji, An. The first four of the eight gates (bamen), corresponding to the four cardinal directions: south, north, west, and east. Commonly translated “ward-off,” “rollback,” “press,” and “push,” they are more accurately thought of as energies rather than as specific postures.
Qi (ch’i in Wade-Giles). Life energy or vital force, possessed by all things: the manifested essence of the unique inner vibration of a being that gives it its characteristic nature and life. Sometimes also called “bioenergy,” “bioelectricity,” or intrinsic substance.
Qigong (ch’i kung in Wade-Giles). Literally, “energy” (qi , see above) “work” (gong , see gongfu above). Systematic approaches to the cultivation and use of qi ,
Taijiquan (T’ai-Chi Ch’üan in Wade-Giles). Pronounced “tai jee chuwhen.” “Taiji” is a noun, referring to the extremes of yin and yang (see below), but Taijiquan is often mistakenly translated “supreme ultimate boxing,” as if tai and ji were separate adjectives. Taijiquan is more correctly translated “great extremes boxing,” or “art of the fist that embodies the dynamics of yin and yang.” A classical Chinese definition of Taijiquan would be “eight trigrams in the arms, five elements in the feet: hands stir the stars, feet turn the earth.”
Wudang. From Wudang Shan , a mountain range sacred to Taoists south of the Han River in northwest Hupei. It is the site of the monastery where Zhang Sanfeng reputedly received the inspiration to create Taijiquan. The term Wudang is often associated with internal arts, as Shaolin , a Buddhist monastery, is associated with external arts.
Wuji. Ultimate nothingness; void. Also, the state from which Taiji emerges, and therefore theoretically the posture before the beginning and after the conclusion of all Taijiquan forms.
Wushu. Chinese term for “martial arts.” While it has become associated with modern efforts to promote the arts as performance sports, the term is still generic.
Yin & Yang. Names given to the complementary forces that together comprise Taiji: the “great extremes.” In The Dao of Taijiquan, section 2-1, Master Jou says “although they are opposite in nature, there is an harmonious relationship between them... the characteristics of Yang are heat, motion, and outward centrifugal force; whereas cold, stillness, and inward centripetal force are the characteristics of Yin.”