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Tai chi
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This article is about the Chinese martial art. For the philosophical concept, see Taiji (philosophy). For people with the name "Taichi", see Taichi (name). For other uses, see Taiji (disambiguation).
"Tao Chi" redirects here. For the Chinese landscape painter, calligrapher and poet, see Tao Chi (painter).
t‘ai chi ch‘üan / tàijíquán
(太極拳)
The lower dantian in Taijiquan:
Yin and Yang rotate, while
the core reverts to stillness (wuji)
Yang Chengfu in a posture from
the Yang-style t'ai chi ch'uan solo form
known as Single Whip c. 1931
Also known as
t‘ai chi; tàijí
Focus
Chinese Taoist
Hardness
Forms competition,
Light contact (pushing hands, no strikes),
Full contact (strikes, kicks, throws, etc.)
Country of origin
China
Creator
Said to be Zhang Sanfeng
Famous practitioners
Chen Wangting,
Chen Changxing,
Chen Fake,
Yang Luchan,
Yang Chengfu,
Wu Ch'uan-yu,
Wu Chien-ch'uan,
Wu Yu-hsiang,
Sun Lu-t'ang,
Wang Pei-sheng
Olympic sport
Demonstration only
Tai chi
Tàijí quán in Traditional (top) and Simplified (bottom) Chinese characters
Traditional Chinese
太極拳
Simplified Chinese
太极拳
Literal meaning
"Supreme Ultimate Boxing"
[show]Transcriptions
Standard Mandarin
Hanyu Pinyin
Tàijíquán
Wade–Giles
T'ai4-chi2 ch'üan2
IPA
[tʰâi.tɕǐ tɕʰɥɛ̌n]
Wu
Suzhounese
Thǎ-jíh jʏǿ
Yue: Cantonese
Yale Romanization
Taai-gihk kyùhn
IPA
[tʰāːi kɪ̀k kʰy̏ːn]
Jyutping
Taai3-gik6 kyun4
Southern Min
Hokkien POJ
Thài-ke̍k kûn
Tâi-lô
Thài-ki̍k kûn
Part of a series on
Chinese martial arts (Wushu)
Styles of Chinese martial arts
—————
List of Chinese martial arts
Terms[show]
Kung fu (功夫)
Shifu (師傅)
Waijia (外家)
Chin Na (擒拿)
Fa jin (發勁)
Neigong (內功)
Neijia (內家)
Qi (氣)
Qigong (氣功)
Yin and yang
Wushu in the world
Historical locations[show]
Chen Village (陳家溝)
Kunlun Mountains (崑崙山)
Mount Emei (峨嵋山)
Mount Hua (華山)
Shaolin Monastery (少林寺)
Wudang Mountains (武當山)
Wushu athletes/practitioners
Legendary figures[show]
Bodhidharma (菩提達摩)
Eight Immortals (八仙)
Five Elders (五祖)
Fong Sai-yuk (方世玉)
Yim Wing-chun (嚴詠春)
Zhang Sanfeng (張三丰)
Li Ching-Yuen (李清雲)
Historical individuals[show]
Yue Fei (岳飛; 1103–1142)
Hung Hei-gun (洪熙官; 1745–1825)
Dong Haichuan (董海川; 1797/1813–1882)
Yang Luchan (楊露禪; 1799–1872)
Chan Heung (陳享; 1806–1875)
Wu Quanyou (吳全佑; 1834–1902)
Wong Fei-hung (黃飛鴻; 1847–1924)
Sun Lu-t'ang (孫祿堂; 1860–1933)
Li Shuwen (李书文; 1864–1934)
Huo Yuanjia (霍元甲; 1868–1910)
Wang Zi-Ping (王子平; 1881–1973)
Chen Fake (陳發科; 1887–1957)
Yip Man (葉問; 1893–1972)
Ten Tigers of Canton (廣東十虎)
Modern celebrities[show]
Bruce Lee (李小龍 1940–1973)
Bolo Yeung (楊斯; b. 1946)
Sammo Hung (洪金寶; b. 1952)
Jackie Chan(成龍; b. 1954)
Jet Li (李連杰; b. 1963)
Donnie Yen (甄子丹; b. 1963)
Vincent Zhao (趙文卓 b. 1972)
Zhang Jin (張晉 b. 1974)
Wushu influence
Related[show]
Hong Kong action cinema
Kung fu film
Wushu (sport)
Wuxia (武俠)
v
t
e
Tai chi (simplified Chinese: 太极; traditional Chinese: 太極; pinyin: tàijí; Wade–Giles: t‘ai chi, an abbreviation of 太極拳; tàijíquán; t‘ai chi ch‘üan) is an internal Chinese martial art (Chinese: 武術; pinyin: wǔshù) practiced for both its defense training and its health benefits. The term Taiji refers to a philosophy of the forces of yin and yang, related to the moves. Though originally conceived as a martial art, it is also typically practiced for a variety of other personal reasons: competitive wrestling in the format of pushing hands (tui shou), demonstration competitions, and achieving greater longevity. As a result, a multitude of training forms exist, both traditional and modern, which correspond to those aims with differing emphasis. Some training forms of tàijíquán are especially known for being practiced with relatively slow movements.
Today, tàijíquán has spread worldwide. Most modern styles of tàijíquán trace their development to at least one of the five traditional schools: Chen, Yang, Wu (Hao), Wu, and Sun. All of the former, in turn, trace their historical origins to Chen Village.
Contents
[hide]
1 Overview
2 Name
2.1 Historical origin
3 History and styles
3.1 Tàijíquán in the United States
3.2 T‘ai-chi ch‘üan lineage tree
3.2.1 Modern forms
3.3 Tàijíquán today
3.3.1 Tàijíquán as sport
4 Philosophy
5 Training and techniques
5.1 Solo (taolu, neigong and qigong)
5.1.1 Qigong versus tàijíquán
5.2 Partnered (tuishou and sanshou)
5.3 Weapons
6 Health
7 Legends and anecdotes
8 Attire and ranking
9 Tai Chi as a generic brand
10 See also
11 Notes and references
12 Further reading
12.1 Books
12.2 Magazines
13 External links
Overview[edit]
The concept of the taiji ("supreme ultimate"), in contrast with wuji ("without ultimate"), appears in both Taoist and Confucian Chinese philosophy, where it represents the fusion or mother[1] of yin and yang into a single ultimate, represented by the taijitu symbol . Tàijíquán theory and practice evolved in agreement with many Chinese philosophical principles, including those of Taoism and Confucianism.
Tàijíquán training involves five elements, taolu (solo hand and weapons routines/forms), neigong and qigong (breathing, movement and awareness exercises and meditation), tuishou (response drills) and sanshou (self defence techniques). While tàijíquán is typified by some for its slow movements, many styles (including the three most popular: Yang, Wu and Chen) have secondary forms with faster pace. Some traditional schools teach partner exercises known as tuishou ("pushing hands"), and martial applications of the postures of different forms (taolu).
In China, tàijíquán is categorized under the Wudang grouping of Chinese martial arts[2]—that is, the arts applied with internal power.[3] Although the term Wudang suggests these arts originated in the Wudang Mountains, it is simply used to distinguish the skills, theories and applications of neijia (internal arts) from those of the Shaolin grouping, or waijia (hard or external) styles.[4]
Since the earliest widespread promotion of the health benefits of tàijíquán by Yang Shaohou, Yang Chengfu, Wu Chien-ch‘üan and Sun Lutang in the early 20th century,[5] it has developed a worldwide following of people, often with little or no interest in martial training, for its benefit to personal health.[6] Medical studies of t‘ai-chi support its effectiveness as an alternative exercise and a form of martial arts therapy.
It is purported that focusing the mind solely on the movements of the form helps to bring about a state of mental calm and clarity. Besides general health benefits and stress management attributed to tàijíquán training, aspects of traditional Chinese medicine are taught to advanced students in some traditional schools.[7]
Some other forms of martial arts require students to wear a uniform during practice. In general, tàijíquán schools do not require a uniform, but both traditional and modern teachers often advocate loose, comfortable clothing and flat-soled shoes.[8][9]
The physical techniques of tàijíquán are described in the "T‘ai-chi classics", a set of writings by traditional masters, as being characterized by the use of leverage through the joints based on coordination and relaxation, rather than muscular tension, in order to neutralize, yield or initiate attacks. The slow, repetitive work involved in the process of learning how that leverage is generated gently and measurably increases, opens the internal circulation (breath, body heat, blood, lymph, peristalsis).
The study of tàijíquán primarily involves three aspects:
Health: An unhealthy or otherwise uncomfortable person may find it difficult to meditate to a state of calmness or to use tàijíquán as a martial art. Tàijíquán's health training, therefore, concentrates on relieving the physical effects of stress on the body and mind. For those focused on tàijíquán's martial application, good physical fitness is an important step towards effective self-defense.
Meditation: The focus and calmness cultivated by the meditative aspect of tàijíquán is seen as necessary in maintaining optimum health (in the sense of relieving stress and maintaining homeostasis) and in application of the form as a soft style martial art.
Martial art: The ability to use tàijíquán as a form of self-defense in combat is the test of a student's understanding of the art. Tàijíquán is the study of appropriate change in response to outside forces, the study of yielding and sticking to an incoming attack rather than attempting to meet it with opposing force.[10] The use of tàijíquán as a martial art is quite challenging and requires a great deal of training.[11]
Name[edit]
Tàijíquán and T‘ai-chi ch‘üan are two different transcriptions of three Chinese characters that are the written Chinese name for the artform:
Characters
Wade–Giles
Pinyin
Meaning
太極 t‘ai chi tàijí the source, the beginning
拳 ch‘üan quán fist, boxing
Despite the one Chinese spelling, 太極拳, there are two different spellings in the English usage, one derived from the Wade–Giles and the other from the Pinyin transcription. Most Westerners often shorten this name to t‘ai chi (often omitting the aspirate sign—thus becoming "tai chi"). This shortened name is the same as that of the t‘ai-chi philosophy, sometimes causing confusion of the two. The chi in the name of the martial art may also be mistaken for ch‘i, (qi 氣) the "life force," especially as ch‘i is involved in the practice of t‘ai-chi ch‘üan.
Most Chinese, including many professional practitioners, masters, and martial arts bodies (such as the IWUF[12]), use the Pinyin version.
Historical origin[edit]
From a modern historical perspective, when tracing tàijíquán's formative influences to Taoist and Buddhist monasteries, there seems little more to go on than legendary tales. Nevertheless, some traditional schools claim that tàijíquán has a practical connection to and dependence upon the theories of Song dynasty Neo-Confucianism (a conscious synthesis of Taoist, Buddhist, and Confucian traditions, especially the teachings of Mencius).[4] These schools believe that tàijíquán's theories and practice were formulated by the Taoist monk Zhang Sanfeng in the 12th century, at about the same time that the principles of the Neo-Confucian school were making themselves felt in Chinese intellectual life.[4] However, modern research casts serious doubts on the validity of those claims, pointing out that a 17th-century piece called "Epitaph for Wang Zhengnan" (1669), composed by Huang Zongxi (1610–1695), is the earliest reference indicating any connection between Zhang Sanfeng and martial arts whatsoever, and must not be taken literally but must be understood as a political metaphor instead. Claims of connections between tàijíquán and Zhang Sanfeng appeared no earlier than the 19th century.[13]
History records that Yang Luchan trained with the Chen family for 18 years before he started to teach the art in Beijing, which strongly suggests that his art was based on, or heavily influenced by, the Chen family art. The Chen family are able to trace the development of their art back to Chen Wangting in the 17th century. Martial arts historian Xu Zhen believed that the Taiji of Chen Village had been influenced by the Taizu changquan style practiced at the nearby Shaolin Monastery, while Tang Hao thought it was derived from a treatise by the Ming dynasty general Qi Jiguang, Jixiao Xinshu ("New Treatise on Military Efficiency"), which discussed several martial arts styles including Taizu changquan.[14][15]
What is now known as tàijíquán appears to have received this appellation from only around the mid of the 19th century.[13] A scholar in the Imperial Court by the name of Ong Tong He witnessed a demonstration by Yang Luchan at a time before Yang had established his reputation as a teacher. Afterwards Ong wrote: "Hands holding Taiji shakes the whole world, a chest containing ultimate skill defeats a gathering of heroes." Before this time the art may have had a number of different names, and appears to have been generically described by outsiders as zhan quan (沾拳, "touch boxing"), Mian Quan ("soft boxing") or shisan shi (十三式, "the thirteen techniques").[citation needed]
History and styles[edit]
See also: History of Chinese Martial Arts
There are five major styles of tàijíquán, each named after the Chinese family from which it originated:
Chen style (陳氏) of Chen Wangting (1580–1660)
Yang style (楊氏) of Yang Luchan (1799–1872)
Wu Hao style (武氏) of Wu Yu-hsiang (1812–1880)
Wu style (吳氏) of Wu ch‘üan-yu (1834–1902) and his son Wu Chien-ch‘üan (1870–1942)
Sun style (孫氏) of Sun Lu-t'ang (1861–1932)
The order of verifiable age is as listed above. The order of popularity (in terms of number of practitioners) is Yang, Wu, Chen, Sun and Wu/Hao.[4] The major family styles share much underlying theory, but differ in their approaches to training.
There are now dozens of new styles, hybrid styles, and offshoots of the main styles, but the five family schools are the groups recognized by the international community as being the orthodox styles. Other important styles are Zhaobao tàijíquán, a close cousin of Chen style, which has been newly recognized by Western practitioners as a distinct style, the Fu style, created by Fu Chen Sung, which evolved from Chen, Sun and Yang styles, and also incorporates movements from Baguazhang (Pa Kua Chang)[citation needed] and the Cheng Man-ch'ing style which is a simplification of the traditional Yang style.
Wu-style master Eddie Wu demonstrating the form "Grasp the bird's tail" at a tournament in Toronto, Ontario, Canada
Most existing styles can be traced back to the Chen style, which had been passed down as a family secret for generations. The Chen family chronicles record Chen Wangting, of the family's 9th generation, as the inventor of what is known today as tàijíquán. Yang Luchan became the first person outside the family to learn tàijíquán. His success in fighting earned him the nickname Yang Wudi, which means "Unbeatable Yang", and his fame and efforts in teaching greatly contributed to the subsequent spreading of tàijíquán knowledge.[citation needed] The designation internal or neijia martial arts is also used to broadly distinguish what are known as the external or waijia styles based on the Shaolinquan styles, although that distinction is sometimes disputed by modern schools. In this broad sense, all styles of t'ai chi, as well as related arts such as Baguazhang and Xingyiquan, are, therefore, considered to be "soft" or "internal" martial arts.
Tàijíquán in the United States[edit]
Choy Hok Pang, a disciple of Yang Chengfu, was the first known proponent of tàijíquán to openly teach in the United States in 1939. Subsequently, his son and student Choy Kam Man emigrated to San Francisco from Hong Kong in 1949 to teach t‘ai-chi ch‘üan in San Francisco's Chinatown. Choy Kam Man taught until he died in 1994.[16][17]
Sophia Delza, a professional dancer and student of Ma Yueliang, performed the first known public demonstration of tàijíquán in the United States at the Museum of Modern Art in New York City in 1954. She also wrote the first English language book on t‘ai-chi, "T‘ai-chi ch‘üan: Body and Mind in Harmony", in 1961. She taught regular classes at Carnegie Hall, the Actors Studio, and the United Nations.[18][19]
Another early practitioner of tàijíquán to openly teach in the United States was Zheng Manqing/Cheng Man-ch'ing, who opened his school Shr Jung t‘ai-chi after he moved to New York from Taiwan in year 1964. Unlike the older generation of practitioners, Zheng was cultured and educated in American ways,[clarification needed] and thus he was able to transcribe Yang's dictation into a written manuscript that became the de facto manual for Yang style. Zheng felt Yang's traditional 108-movement long form was unnecessarily long and repetitive, which makes it difficult to learn and make progress.[citation needed] He thus created a shortened 37-movement version and taught that in his schools. Zheng's form became very popular and was the dominant form in the eastern USA until other teachers started to emigrate to the USA in larger numbers in the 90's. He taught until his death in 1975.[20]
T‘ai-chi ch‘üan lineage tree[edit]
Note:
This lineage tree is not comprehensive, but depicts those considered the "gate-keepers" and most recognised individuals in each generation of the respective styles.
Although many styles were passed down to respective descendants of the same family, the lineage focused on is that of the martial art and its main styles, not necessarily that of the families.
Each (coloured) style depicted below has a lineage tree on its respective article page that is focused on that specific style, showing a greater insight into the highly significant individuals in its lineage.
Names denoted by an asterisk are legendary or semi-legendary figures in the lineage; while their involvement in the lineage is accepted by most of the major schools, it is not independently verifiable from known historical records.
v
t
e
Key:
Solid lines Direct teacher-student. (张三丰)
Zhang Sanfeng*
c. 12th century
NEIJIA
Dashed lines Individual(s) omitted. Various Daoists Legendary figures
Dotted lines Partial influence
/taught informally
/limited time. (王宗岳)
Wang Zongyue*
TAIJIQUAN
Dashed cross Branch continues.
(陈王庭)
Chen Wangting
1580–1660
CHEN-STYLE (蒋法)
Jiang Fa
Zhaobao-style
(陈汝信)
Chen Ruxin
2nd gen. Chen (陈所乐)
Chen Suole
2nd gen. Chen (邢喜怀)
Xing Xihuai
2nd gen. Zhaobao
(陈大鹍)
Chen Dakun
3rd gen. Chen (陈大鹏)
Chen Dapeng
3rd gen. Chen (陈光印)
Chen Guangyin
3rd gen. Chen (陈申如)
Chen Shenru
3rd gen. Chen (陈恂如)
Chen Xunru
3rd gen. Chen (陈正如)
Chen Zhengru
3rd gen. Chen (张楚臣)
Zhang Chuchen
3rd gen. Zhaobao
(陈善通)
Chen Shantong
4th gen. Chen (陈善志)
Chen Shanzhi
4th gen. Chen (陈继夏)
Chen Jixia
4th gen. Chen (陈节)
Chen Jie
4th gen. Chen (陈敬伯)
Chen Jingbo
4th gen. Chen
4th gen. Zhaobao
(陈秉奇)
Chen Bingqi
5th gen. Chen (陈秉壬)
Chen Bingren
5th gen. Chen (陈秉旺)
Chen Bingwang
1748–?
5th gen. Chen (陈公兆)
Chen Gongzhao
1715– after1795
5th gen. Chen (张宗禹)
Zhang Zongyu
5th gen. Zhaobao
(陈长兴)
Chen Changxing
1771–1853
6th gen. Chen
Chen Old Frame (陈有本)
Chen Youben
c. 19th century
6th gen. Chen
Chen Small Frame (张彦)
Zhang Yan
6th gen. Zhaobao
(陈耕耘)
Chen Gengyun
7th gen. Chen (杨露禅)
Yang Luchan
1799–1872
YANG-STYLE
Guang Ping Yang
Yangjia Michuan (陈清萍)
Chen Qingping
1795–1868
7th gen. Chen
7th gen. Zhaobao
(陈延熙)
Chen Yanxi
8th gen. Chen (王兰亭)
Wang Lanting
1840–?
2nd gen. Yang (杨健侯)
Yang Jianhou
1839–1917
2nd gen. Yang
2nd gen. Yangjia Michuan (杨班侯)
Yang Banhou
1837–1892
2nd gen. Yang
2nd gen.
Guang Ping Yang
Yang Small Frame (武禹襄)
Wu Yuxiang
1812–1880
WU (HAO)-STYLE (他招远)
He Zhaoyuan
1810–1890
8th gen. Zhaobao
Zhaobao He-style
(陈发科)
Chen Fake
1887–1957
9th gen. Chen
Chen New Frame (李瑞东)
Li Ruidong
1851–1917
Li-style (杨澄甫)
Yang Chengfu
1883–1936
3rd gen. Yang
Yang Big Frame (杨少侯)
Yang Shaohou
1862–1930
3rd gen. Yang
Yang Small Frame (吴全佑)
Wu Quanyou
1834–1902
1st gen. Wu (王矯宇)
Wang Jiaoyu
1836–1939
3rd gen.
Guang Ping Yang (李亦畬)
Li Yiyu
1832–1892
2nd gen. Wu (Hao) (和庆喜)
He Qingxi
1857–1936
9th gen. Zhaobao
(陈照丕)
Chen Zhaopi
1893–1972
10th gen. Chen
focused on
Chen Old Frame (陈照奎)
Chen Zhaokui
1928–1981
10th gen. Chen
focused on
Chen New Frame (張欽霖)
Zhang Qinlin
1888–1967
3rd gen. Yangjia Michuan (杨振铎)
Yang Zhenduo
b. 1926
4th gen. Yang (傅仲文)
Fu Zhongwen
1903–1994
4th gen. Yang
Beijing (24) form (郑曼青)
Zheng Manqing
1902–1975
4th gen. Yang
Short (37) Form (吴鉴泉)
Wu Jianquan
1870–1942
2nd gen. Wu
WU-STYLE
108 Form Kuo Lien Ying
1895–1984
4th gen.
Guang Ping Yang (郝為真)
Hao Weizhen
1849–1920
3rd gen. Wu (Hao) (郑悟清)
Zheng Wuqing
1895–1984
10th gen. Zhaobao
(吴公儀)
Wu Gongyi
1900–1970
3rd gen. Wu (孙禄堂)
Sun Lutang
1861–1932
SUN-STYLE (郝月如)
Hao Yueru
1877–1935
4th gen. Wu (Hao)
(王延年)
Wang Yannian
1914–2008
5th gen. Yang
4th gen. Yangjia Michuan (鄭天熊)
Zheng Tianxiong
1930–2005
Wudang-style (吴雁霞)
Wu Yanxia
1930–2001
4th gen. Wu (孙剑云)
Sun Jianyun
1913–2003
2nd gen. Sun (郝少如)
Hao Shaoru
1908–1983
5th gen. Wu (Hao)
(陈小旺)
Chen Xiaowang
b. 1945
11th gen. Chen (陈小星)
Chen Xiaoxing
b. 1952
11th gen. Chen (杨军)
Yang Jun
b. 1968
5th gen. Yang (吴光宇)
Wu Guangyu
b. 1946
5th gen. Wu (孙永田)
Sun Yongtian
b. ?
3rd gen. Sun (刘积顺)
Liu Jishun
b. 1930
6th gen. Wu (Hao)
CHEN-STYLE YANG-STYLE WU-STYLE SUN-STYLE WU (HAO)-STYLE
Modern forms[edit]
The Cheng Man-ch‘ing (Zheng Manqing) and Chinese Sports Commission short forms are derived from Yang family forms, but neither is recognized as Yang family tàijíquán by standard-bearing Yang family teachers. The Chen, Yang, and Wu families are now promoting their own shortened demonstration forms for competitive purposes.

(杨澄甫)
Yang Chengfu
1883–1936
3rd gen. Yang
Yang Big Frame
(郑曼青)
Zheng Manqing
1902–1975
4th gen. Yang
Short (37) Form
Chinese Sports Commission
1956
Beijing (24) Form
1989
42 Competition Form
(Wushu competition form
combined from
Chen, Yang, Wu & Sun styles)
Tàijíquán today[edit]
Outdoor practice in Beijing's Temple of Heaven.
See also: World Tai Chi and Qigong Day
In the last twenty years or so, tàijíquán classes that purely emphasise health have become popular in hospitals, clinics, as well as community and senior centres. This has occurred as the baby boomers generation has aged and the art's reputation as a low-stress training method for seniors has become better known.[21][22]
As a result of this popularity, there has been some divergence between those that say they practice tàijíquán primarily for self-defence, those that practice it for its aesthetic appeal (see wushu below), and those that are more interested in its benefits to physical and mental health. The wushu aspect is primarily for show; the forms taught for those purposes are designed to earn points in competition and are mostly unconcerned with either health maintenance or martial ability. More traditional stylists believe the two aspects of health and martial arts are equally necessary: the yin and yang of tàijíquán. The tàijíquán "family" schools, therefore, still present their teachings in a martial art context, whatever the intention of their students in studying the art.[23]
Tàijíquán as sport[edit]
In order to standardize t‘ai-chi ch‘üan for wushu tournament judging, and because many tàijíquán teachers have either moved out of China or had been forced to stop teaching after the Chinese Civil War in 1949, the government sponsored the Chinese Sports Committee, who brought together four of their wushu teachers to truncate the Yang family hand form to 24 postures in 1956. They wanted to retain the look of tàijíquán, but create a routine that would be less difficult to teach and much less difficult to learn than longer (in general, 88 to 108 posture), classical, solo hand forms. In 1976, they developed a slightly longer form also for the purposes of demonstration that still would not involve the complete memory, balance, and coordination requirements of the traditional forms. This became the "Combined 48 Forms" that were created by three wushu coaches, headed by Men Hui Feng. The combined forms were created based on simplifying and combining some features of the classical forms from four of the original styles: Chen, Yang, Wu, and Sun. As tàijíquán again became popular on the mainland, more competitive forms were developed to be completed within a six-minute time limit. In the late 1980s, the Chinese Sports Committee standardized many different competition forms. They developed sets to represent the four major styles as well as combined forms. These five sets of forms were created by different teams, and later approved by a committee of wushu coaches in China. All sets of forms thus created were named after their style: the "Chen-style national competition form" is the "56 Forms". The combined forms are "The 42-Form" or simply the "Competition Form". Another modern form is the "97 movements combined t‘ai-chi ch‘üan form", created in the 1950s; it contains characteristics of the Yang, Wu, Sun, Chen, and Fu styles blended into a combined form. The wushu coach Bow Sim Mark is a notable exponent of the "67 combined form".
These modern versions of tàijíquán have since become an integral part of international wushu tournament competition, and have been featured in popular movies, starring or choreographed by well-known wushu competitors, such as Jet Li and Donnie Yen.
In the 11th Asian Games of 1990, wushu was included as an item for competition for the first time with the 42-Form being chosen to represent t‘ai-chi ch‘üan. The International Wushu Federation (IWUF) applied for wushu to be part of the Olympic games, but will not count medals.[24]
Practitioners also test their practical martial skills against students from other schools and martial arts styles in tuishou ("pushing hands") and sanshou competition.
Philosophy[edit]
Main article: T'ai chi ch'uan philosophy
The philosophy of tàijíquán is that, if one uses hardness to resist violent force, then both sides are certainly to be injured at least to some degree. Such injury, according to tàijíquán, is a natural consequence of meeting brute force with brute force. Instead, students are taught not to directly fight or resist an incoming force, but to meet it in softness and follow its motion while remaining in physical contact until the incoming force of attack exhausts itself or can be safely redirected, meeting yang with yin. When done correctly, this yin/yang or yang/yin balance in combat, or in a broader philosophical sense, is a primary goal of tàijíquán training. Lao Tzŭ provided the archetype for this in the Tao Te Ching when he wrote, "The soft and the pliable will defeat the hard and strong."
Traditional schools also emphasize that one is expected to show wude ("martial virtue/heroism"), to protect the defenseless, and show mercy to one's opponents.[5]
Training and techniques[edit]
The core training involves two primary features: the first being taolu (solo "forms"), a slow sequence of movements which emphasize a straight spine, abdominal breathing and a natural range of motion; the second being different styles of tuishou ("pushing hands") for training movement principles of the form with a partner and in a more practical manner.
Solo (taolu, neigong and qigong)[edit]
Further information: List of t'ai chi ch'uan forms
Painting in Chenjiagou, illustrating taolu according to the Chen style of tàijíquán.
The taolu (solo "forms") should take the students through a complete, natural range of motion over their centre of gravity. Accurate, repeated practice of the solo routine is said to retrain posture, encourage circulation throughout the students' bodies, maintain flexibility through their joints, and further familiarize students with the martial application sequences implied by the various forms. The major traditional styles of tàijíquán have forms that differ somewhat in terms of aesthetics, but there are also many obvious similarities that point to their common origin. The solo forms (empty-hand and weapon) are catalogues of movements that are practised individually in pushing hands and martial application scenarios to prepare students for self-defence training. In most traditional schools, different variations of the solo forms can be practised: fast / slow, small-circle / large-circle, square / round (which are different expressions of leverage through the joints), low-sitting / high-sitting (the degree to which weight-bearing knees are kept bent throughout the form), for example.
Breathing exercises; neigong (internal skill) or, more commonly, qigong (life energy cultivation) are practiced to develop qi (life energy) in coordination with physical movement and zhan zhuang (standing like a post) or combinations of the two. These were formerly taught only to disciples as a separate, complementary training system. In the last 60 years they have become better known to the general public.
Qigong versus tàijíquán[edit]
Main article: Qigong
Qigong involves coordinated movement, breath, and awareness used for health, meditation, and martial arts training. While many scholars and practitioners consider tàijíquán to be a type of qigong,[25][26] the two are commonly distinguished as separate but closely related practices, with qigong playing an important role in training for tàijíquán, and with many tàijíquán movements performed as part of qigong practice. The focus of qigong is typically more on health or meditation than martial applications. Internally the main difference is the flow of qi. In qigong, the flow of qi is held at a gate point for a moment to aid the opening and cleansing of the channels.[clarification needed] In tàijíquán, the flow of qi is continuous, thus allowing the development of power for the use by the practitioner.
Partnered (tuishou and sanshou)[edit]
Two students receive instruction in tuishou ("pushing hands"), one of the core training exercises of t‘ai-chi ch‘üan.
Tàijíquán's martial aspect relies on sensitivity to the opponent's movements and centre of gravity dictating appropriate responses. Effectively affecting the opponent's centre of gravity immediately upon contact, is trained as the primary goal of the martial t‘ai-chi ch‘üan student.[7] The sensitivity needed to capture the centre is acquired over thousands of hours of first yin (slow, repetitive, meditative, low-impact) and then later adding yang (realistic, active, fast, high-impact) martial training through taolu (forms), tuishou (pushing hands), and sanshou (sparring). Tàijíquán trains in three basic ranges: close, medium and long, and then everything in between. Pushes and open-hand strikes are more common than punches, and kicks are usually to the legs and lower torso, never higher than the hip, depending on style. The fingers, fists, palms, sides of the hands, wrists, forearms, elbows, shoulders, back, hips, knees, and feet are commonly used to strike, with strikes to the eyes, throat, heart, groin, and other acupressure points trained by advanced students. Chin na, which are joint traps, locks, and breaks are also used. Most tàijíquán teachers expect their students to thoroughly learn defensive or neutralizing skills first, and a student will have to demonstrate proficiency with them before offensive skills will be extensively trained.
In addition to the physical form, martial tàijíquán schools also focus on how the energy of a strike affects the other person. A palm strike that looks to have the same movement may be performed in such a way that it has a completely different effect on the target's body. A palm strike that could simply push the opponent backward, could instead be focused in such a way as to lift the opponent vertically off the ground, breaking his/her centre of gravity; or that it could terminate the force of the strike within the other person's body with the intent of causing internal damage.
Most aspects of a trainee's tàijíquán development are meant to be covered within the partnered practice of tuishou, and so, sanshou (sparring) is not as commonly used as a method of training, but more advanced students sometimes do practice by sanshou. Sanshou is more common to tournaments such as wushu tournaments.
Weapons[edit]
Taijijian
A pair of jian with their scabbards.
Wushu jian pair event at the 10th All China games.
Variations of tàijíquán involving weapons also exist. The weapons training and fencing applications employ:
the jian, a straight double-edged sword, practiced as taijijian;
the dao, a heavier curved saber, sometimes called a broadsword;
the tieshan, a folding fan, also called shan and practiced as taijishan;
the gun, a 2m long wooden staff and practiced as taijigun;
the qiang, a 2m long spear or a 4m long lance.
A matched set of two feng huo lun.
More exotic weapons still used by some traditional styles include:
the large dadao and podao sabres;
the ji, or halberd;
the cane;
the sheng biao, or rope dart;
the sanjiegun, or three sectional staff;
the feng huo lun, or wind and fire wheels;
the lasso;
the whip, chain whip and steel whip.
Health[edit]
A Chinese woman performs Yang-style tàijíquán
Tàijíquán has been reported as being useful in treating a number of human ailments, and is supported by a number of associations, including the National Parkinson Foundation and Diabetes Australia. However, medical evidence of effectiveness was lacking and in recent years research has been undertaken to address this.[27][28]
A 2011 comprehensive overview of all the existing systematic reviews of tàijíquán recommended tàijíquán to older people for its various physical and psychological benefits. There was no conclusive evidence of benefit for any of the other conditions researched, including Parkinson's disease, diabetes, cancer and arthritis.[27]
A 2015 systematic review found tàijíquán could be performed by those with chronic medical conditions such as chronic obstructive pulmonary disease, heart failure, and osteoarthritis without worsening shortness of breath and pain, and found favorable effects on functional exercise capacity in people with these conditions.[29]
In 2015 the Australian Government's Department of Health published the results of a review of alternative therapies that sought to determine if any were suitable for being covered by health insurance; t‘ai-chi was one of 17 therapies evaluated for which no clear evidence of effectiveness was found.[28]
Legends and anecdotes[edit]
Yang Chengfu utilizing one of the many possible applications of the Single Whip technique.
During the Qing dynasty, a man named Wang Yuanwai living in Beipinggao village (about 10 kilometres (6.2 mi) east of Chenjiagou), was threatened with death by a gang of highwaymen with bladed weapons, unless he surrendered his valuables. He sent for assistance from Chen Suole (see the lineage tree above), who was away according to his sons Chen Shenru and Chen Xunru – despite their being only around fifteen and sixteen years old, the boys volunteered their own help instead. They convinced the messenger to tell Wang Yuanwai to give the bandits liquor, discussed a plan and that night, traveled to the Wang residence in Beipinggao, where they jumped over the fence of the rear garden and there found Wang Yuanwai. He told them that the highwaymen, numbering around twenty, were drunken in his guest hall. While peeping in, Shenru pushed Xunru into the hall and extinguished several candles by throwing a bunch of peas at them. Xunru leapt onto beam and taunted, the panicked bandits who had seemingly started fighting each other, saying, "So you still will not hand over your weapons and surrender? Gods number one and two are here." Some tried to escape the frenzy, but were attacked by Shenru, who was still at the door.[30]
In the 1940s, a man known as "Big Spear Liu" came to Shanghai's "big world," the city's major performance and entertainment centre. Liu asked the doorkeeper, "Are there any good hands around here?", looking for a skilled opponent to challenge. The doorkeeper told "Big Spear Liu" of Tian Zhaolin (student of Yang Jianhou). With that Liu set off to find him. He found Tian Zhaolin and immediately demanded to spar by each striking the other three times, to which Tian Zhaolin responded that it may not be necessary. He said, "Just let me touch you. If you can tolerate my touch, you win." Liu, sensing a fool and an effortless victory, immediately agreed. The two men approached and Tian Zhaolin reached out his hand to touch Liu's chest. Within a few moments, Liu's facial muscles started to contort. Soon he grimaced and his face showed signs of intense pain. Spear Liu pulled away and, after recovering, commented, "I have travelled throughout five provinces and various cities but until today I have never seen such a profound skill." Energy, including that of taijiquan, may be thought of as transmission by wave. Earlier generation adepts in taijiquan had an expression—"hitting the cow on this side of the Mountain." This phrase referred to hitting an opponent's front side with the pain and effect being felt on the back side. In years past, people who sparred with Yang Shaohou often described him as also having an energy like electricity. That is, it caused very painful sensations in the muscle and even on the skin surface. Tian Zhaolin, coming from that background, also knew this method.[31]
In 1945, Hu Yuen Chou, a student of Yang Chengfu, defeated a Russian boxer by TKO in a full-contact match in Fut San, China.
At the age of 60, Huang Sheng Shyan demonstrated his abilities in taijiquan by defeating Liao Kuang-Cheng, the Asian champion wrestler, 26 throws to 0 in a fund raising event in Kuching, Malaysia.[32]
Attire and ranking[edit]
Master Yang Jun in demonstration attire that has come to be identified with taijiquan
In practice traditionally there is no specific uniform required in the practice of tàijíquán. Modern day practitioners usually wear comfortable, loose T-shirts and trousers made from breathable natural fabrics, that allow for free movement during practice. Despite this, t‘ai-chi ch‘üan has become synonymous with "t‘ai-chi uniforms" or "kung fu uniforms" that usually consist of loose-fitting traditional Chinese styled trousers and a long or short-sleeved shirt, with a Mandarin collar and buttoned with Chinese frog buttons. The long-sleeved variants are referred to as Northern-style uniforms, whilst the short-sleeved, Southern-style uniforms. The colour of this clothing is usually, all white, all black, black and white, or any other colour, mostly being either all a single solid colour or a combination of 2 colours: one colour being the actual clothing and the binding being a contrasting colour. They are normally made from natural fabrics such as cotton or silk. These uniforms are not a requirement, but rather are usually worn by masters & professional practitioners during demonstrations, tournaments and other public exhibitions.
There is no standardized tàijíquán ranking system, except the Chinese Wushu Duan wei exam system run by the Chinese wushu association in Beijing. However, most schools do not use belt rankings. Some schools may present students with belts depicting rank, similar to dans in Japanese martial arts. A simple uniform element of respect and allegiance to one's teacher and their methods and community, belts also mark hierarchy, skill, and accomplishment of practice in one school's style and system. During wushu tournaments, masters and grandmasters often wear "kung fu uniforms" which tend to have no belts. Wearing a belt signifying rank in such a situation would be unusual.
Tai Chi as a generic brand[edit]
Taijiquan form (Taijiquan Taolu) at the Associació Catalana de Choy Li Fut, Tai Chi Chuan i Chi Kung.
From roughly the mid-1990s onward, Tai Chi has gained a popularity in some countries to the point of it becoming nearly as known as a health-oriented practice as Yoga. In fact, in modern times it is even more known for such benefits and methods of practice than it is known for its original purpose[citation needed].
A new phenomenon (since the 2000s) is of various martial arts styles claiming a historical relationship or otherwise with Taiji Quan, because of its popularity. A branch of Lama Pai known as "Tibetan White Crane" had popularized a slow-movement form by naming it "Needle in Cotton" (a common term describing Taiji Quan mechanics), and referring to its practice as "Tai Chi". However, there is no relationship between these arts, historic or otherwise. A similar phenomenon occurs with the usage of the art's name as a universal brand for promoting various fitness programs, books and videos. There is, for instance, a book that describes how to use the training principles of Tai Chi to run better.[33] Regardless of the questions of whether such claims are viable, these are all new trends, which historically were not endorsed or promoted by teachers of the art.
See also[edit]
China portal
Notes and references[edit]
Jump up ^ Cheng Man-ch'ing (1993). Cheng-Tzu's Thirteen Treatises on T'ai Chi Ch'uan. North Atlantic Books. p. 21. ISBN 978-0-938190-45-5.
Jump up ^ Sun Lu Tang (2000). Xing Yi Quan Xue. Unique Publications. p. 3. ISBN 0-86568-185-6.
Jump up ^ Ranne, Nabil. "Internal power in Taijiquan". CTND. Retrieved 2011-01-01.
^ Jump up to: a b c d Wile, Douglas (2007). "Taijiquan and Taoism from Religion to Martial Art and Martial Art to Religion". Journal of Asian Martial Arts. Via Media Publishing. 16 (4). ISSN 1057-8358.
^ Jump up to: a b Wile, Douglas (1995). Lost T'ai-chi Classics from the Late Ch'ing Dynasty (Chinese Philosophy and Culture). State University of New York Press. ISBN 978-0-7914-2654-8. [page needed]
Jump up ^ Morris, Kelly (1999). "T'ai Chi gently reduces blood pressure in elderly". The Lancet. 353 (9156): 904. doi:10.1016/S0140-6736(05)75012-1.
^ Jump up to: a b Wu, Kung-tsao (2006). Wu Family T'ai Chi Ch'uan (吳家太極拳). Chien-ch'uan T'ai-chi Ch'uan Association. ISBN 0-9780499-0-X. [page needed]
Jump up ^ Lam, Dr. Paul. "What should I wear to practice Tai Chi?". Tai Chi for Health Institute. Retrieved 2014-12-29.
Jump up ^ Fu, Zhongwen (2006-06-09). Mastering Yang Style Taijiquan. Louis Swaim. Berkeley, California: Blue Snake Books. ISBN 1-58394-152-5. [page needed][dead link]
Jump up ^ Wong Kiew Kit (November 1996). The Complete Book of Tai Chi Chuan: A Comprehensive Guide to the Principles. Element Books Ltd. ISBN 978-1-85230-792-9.
Jump up ^ "Tai Chi Push Hands". Northwest Fighting Arts.
Jump up ^ [1]
^ Jump up to: a b Henning, Stanley (1994). "Ignorance, Legend and Taijiquan". Journal of the Chen Style Taijiquan Research Association of Hawaii. 2 (3).
Jump up ^ "presents... TAIJIQUAN - Origins and Development of Taijiquan". Chinafrominside.com. Retrieved 2016-08-20.
Jump up ^ "presents... TAIJIQUAN - Brief Analysis of Chen Family Boxing Manuals". Chinafrominside.com. Retrieved 2016-08-20.
Jump up ^ Choy, Kam Man (1985-05-05). Tai Chi Chuan. San Francisco, California: Memorial Edition 1994.
Jump up ^ Logan, Logan (1970). Ting: The Caldron, Chinese Art and Identity in San Francisco. San Francisco, California: Glide Urban Center.
Jump up ^ Dunning, Jennifer (July 7, 1996), Sophia Delza Glassgold, 92, Dancer and Teacher, New York Times
Jump up ^ Inventory of the Sophia Delza Papers, 1908-1996 (PDF), Jerome Robbins Dance Division, New York Public Library for the Performing Arts, February 2006
Jump up ^ Wolfe Lowenthal (1991). There Are No Secrets: Professor Cheng Man Ch'ing and His Tai Chi Chuan. North Atlantic Books. ISBN 978-1-55643-112-8.
Jump up ^ Yip, Y. L. (Autumn 2002). "Pivot – Qi". The Journal of Traditional Eastern Health and Fitness. Insight Graphics Publishers. 12 (3). ISSN 1056-4004.
Jump up ^ "SGMA 2007 Sports & Fitness Participation Report From the USA Sports Participation Study". SGMA. p. 2. Retrieved 2007-08-18.
Jump up ^ Woolidge, Doug (June 1997). "T'AI CHI". The International Magazine of T'ai Chi Ch'uan. Wayfarer Publications. 21 (3). ISSN 0730-1049.
Jump up ^ "Wushu likely to be a "specially-set" sport at Olympics". Chinese Olympic Committee. 2006. Retrieved 2007-04-13.
Jump up ^ Yang, Jwing-Ming (1998). The Essence of Taiji Qigong, Second Edition : The Internal Foundation of Taijiquan (Martial Arts-Qigong). YMAA Publication Center. ISBN 978-1-886969-63-6.
Jump up ^ YeYoung, Bing. "Introduction to Taichi and Qigong". YeYoung Culture Studies: Sacramento, CA <http://sactaichi.com>. Retrieved 2012-01-16.
^ Jump up to: a b Lee, M. S.; Ernst, E. (2011). "Systematic reviews of t'ai chi: An overview". British Journal of Sports Medicine. 46 (10): 713–8. doi:10.1136/bjsm.2010.080622. PMID 21586406.
^ Jump up to: a b Baggoley C (2015). "Review of the Australian Government Rebate on Natural Therapies for Private Health Insurance" (PDF). Australian Government – Department of Health. Lay summary – Gavura, S. Australian review finds no benefit to 17 natural therapies. Science-Based Medicine. (19 November 2015).
Jump up ^ Chen, Yi-Wen; Hunt, Michael A.; Campbell, Kristin L.; Peill, Kortni; Reid, W. Darlene (2015-09-17). "The effect of Tai Chi on four chronic conditions – cancer, osteoarthritis, heart failure and chronic obstructive pulmonary disease: a systematic review and meta-analyses". British Journal of Sports Medicine: bjsports–2014–094388. doi:10.1136/bjsports-2014-094388. ISSN 1473-0480. PMID 26383108.
Jump up ^ The Chen family chronicles[page needed]
Jump up ^ Clark, Leroy; Sun, Key. "Tian Zhaolin: A Legacy of Yang Taiji". Art-of-Energetics.com. Retrieved 2012-09-01.
Jump up ^ "THE TAIJI JOURNEY OF HUANG SHENG-SHYAN". Archived from the original on 2008-06-12. Retrieved 2008-12-03.
Jump up ^ "Chi Running". Chi Running. Retrieved 2016-08-20.
Further reading[edit]
Books[edit]
David Gaffney & Davidine Siaw-Voon Sim (2014). "The Essence of Taijiquan". Amazon Createspace. ISBN 978-1500609238.
Jonathan Bluestein (2014). Research of Martial Arts. Amazon CreateSpace. ISBN 978-1499122510.
Yang, Yang (2008). Taijiquan: The Art of Nurturing, The Science of Power. Zhenwu Publication; 2nd edition. ISBN 978-0-9740990-1-9.
Bruce Frantzis (2007). The Power of Internal Martial Arts and Chi: Combat and Energy Secrets of Ba Gua, Tai Chi and Hsing-I. Blue Snake Books. ISBN 978-1583941904.
Davis, Barbara (2004). Taijiquan Classics: An Annotated Translation. North Atlantic Books. ISBN 978-1-55643-431-0.
Eberhard, Wolfram (1986). A Dictionary of Chinese Symbols: Hidden Symbols in Chinese Life and Thought. Routledge & Kegan Paul, London. ISBN 0-415-00228-1.
Choy, Kam Man (1985-05-05). Tai Chi Chuan. San Francisco, California: Memorial Edition 1994.
Wile, Douglas (1983). Tai Chi Touchstones: Yang Family Secret Transmissions. Sweet Ch'i Press. ISBN 978-0-912059-01-3.
Bond, Joey (1999-06-01). See Man Jump See God Fall: Tai Chi Vs. Technology. International Promotions Promotion Pub. ISBN 9781579010010.
Magazines[edit]
Taijiquan Journal. 2008. ISSN 1528-6290 http://www.taijiquanjournal.com. Missing or empty |title= (help)
T'ai Chi Magazine. Wayfarer Publications. 2008. ISSN 0730-1049 http://www.tai-chi.com. Missing or empty |title= (help) Bimonthly.
External links[edit]
Wikimedia Commons has media related to Tai Chi Chuan.
Look up tai chi chuan in Wiktionary, the free dictionary.
Wikiquote has quotations related to: Tai chi chuan
Videos of the major styles
Yang Zhenduo's Yang-style at YouTube
Wu Yinghua's Wu Jianquan style
24-form Beijing form
108-form Yang-style t‘ai-chi ch‘üan
Wu (Hao)-style t‘ai-chi Online Study
Videos of strength and fighting techniques of t‘ai-chi ch‘üan
Huang Sheng Shyan defeating Liao Kuang-Cheng. Liao Kuang-Cheng, a championed wrestler at the time, loses 26-0 to Huang Sheng Shyan.
Chen Xiaowang resists a Chinese strongman. The strongman can push a 25-ton truck 100 meters, yet cannot push Master Chen (over 60 years old) out of a small t‘ai-chi circle.
Various styles of tuishou and sanshou.
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Weather and climate
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There is often confusion between weather and climate. Weather is the condition of the atmosphere at a particular place over a short period of time, whereas climate refers to the weather pattern(statistics) of a place over a long period , long enough to yield meaningful averages.[1][2]
Meteorology studies weather, while climatology studies climate; both are atmospheric sciences. Climate is an important physical element because (a) it indicate the atmospheric condition of heat moisture and circulation (B)it play a dominant role in shaping vegetation and soil. C) it ultimately affect all form of life

Its meteorology studies weather ,while climatology studies both are atmospheric sciences.
Contents
[hide]
1 Elements
2 Modifying factors
3 See also
4 References
5 External links
Elements[edit]
There are several elements that make up the weather and climate of a place. The major of these elements are the following: temperature, pressure, wind, solar energy, humidity , precipitation, and topography.but the great influential of such climatic change it associated by natural and artificial which are divided in long course and short course
Modifying factors[edit]
The more important are also five: latitude, altitude, distance to the ocean and/ or sea, orientation of mountain ranges toward prevailing winds and ocean current.
See also[edit]
Extreme weather
Outline of meteorology
References[edit]
Jump up ^ Arthur Newell Strahler (1960). Physical Geography. New York: John Wiley & Sons, Second Edition, p. 185
Jump up ^ F. J. Monkhouse (1978). A Dictionary of Geography. London: Edward Arnold (Publishers) Ltd.
External links[edit]
NASA: What's the Difference Between Weather and Climate?
What's the Difference Between a Meteorologist and a Climatologist?
This science article is a stub. You can help Wikipedia by expanding it.
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Weather portal
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text:
Direct free kick
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A direct free kick
A direct free kick is a method of restarting of association football following a foul. A goal may be scored directly against the opposing side without the ball having first touched another player. This is opposed to an indirect free kick where the ball must contact another player before a goal is scored.
According to The Laws of the Game, if the ball goes out of play, a player may not play the ball again until it has been touched by another player or has gone out of play.[clarification needed] A player who infringes concedes an indirect free kick to the opposing side.
A direct free kick is awarded when a player commits a foul outside their own penalty area (for offside, etc., an indirect free kick is awarded).[1] However, if the offence was committed by the defending team within their own penalty area, the kick becomes a penalty kick.
Contents
[hide]
1 Procedure
2 Scoring opportunities
3 Infringements and sanctions
4 Strategy
5 See also
6 References
7 External links
Procedure[edit]
Often several players (red) will line up for a free kick, so as to mask their intentions to the defending team (blue).
The kick is taken from where the foul occurred, unless it was within the fouled team's own goal area, in which case it may be taken from anywhere within the goal area. The ball must be stationary prior to being kicked. Opponents must remain 10 yards (9.1 metres) from the ball (outside the penalty area if the kick is taken from within the defending team's penalty area) until the ball is in play. Observing the minimum distance limit, the opposite players may choose to form a "wall" between the ball and the goal.
The use of a spray to set the minimum distance to the free kick became popular from the 2014 FIFA World Cup.
Vanishing foam has been used at the professional level since 2000 to keep the defending players at the right distance.
To keep the initiative a quick free kick is sometimes taken without waiting for the opposing players to retire from the 9.15 m (10-yard) radius.
The ball becomes in play as soon as it is kicked and moves, unless the kick was taken from within the kicking team's penalty area, in which case it is in play once it has passed directly beyond the penalty area.
A goal may be scored directly from a direct free kick, but only against the opposing side (i.e. an own goal may not be scored). Should the ball directly land in the kicking team's own goal, a corner kick is awarded to the opposing team.[2] A player may be penalised for an offside offence committed from a direct free kick; with the exception of receiving the ball directly from a goal kick or corner kick.
Scoring opportunities[edit]
There are various techniques used with direct free kicks.[citation needed] First, the player taking the direct free kick may blast the ball as hard as he can, usually with the laces of the boot. Alternatively, some players try to curl the ball around the keeper or the wall, with the inside or outside the boot. Additionally, certain free kick specialists will choose to kick the ball with minimal spin, making the ball behave unpredictably in the air (similar to the action of a knuckleball pitch in baseball). The kicker may also attempt to drive the shot under the wall formed by the opposition defenders. Free kick takers may also attempt to cross the ball to their centre backs or strikers to get a header on goal, since they usually are the tallest members of the team, especially if the position of the free kick is close to the wings.
Infringements and sanctions[edit]
Kicks are re-taken if an opponent is closer to the spot from where the kick is taken than the required distance (10-yards or 9.14 metres). Also, for a kick taken by a team inside their own penalty area, the ball is not considered in play until it has left the area. If the ball fails to travel directly out of the penalty area the kick is retaken.
The kicker will concede an indirect free kick to their opponents if they touch the ball again before another player (of either team) has touched it. If this second touch is an illegal handling of the ball offence, this takes priority and is penalised (with a direct free kick or penalty) accordingly.
Strategy[edit]
A defending team (red) attempts to block the direct path to goal with a "wall" of players.
Guilherme Finkler attempts to score from a direct free kick for Melbourne Victory FC
Most teams have one or two designated free kick takers, depending on the distance from goal and the side of the field the free kick is to be taken from. The strategy may be to score a goal directly from the free kick, or to use the free kick as the beginning of a set play leading towards a goal scoring opportunity.
Where there is a potential for a dangerous shot on goal to occur from a direct free kick often the defending side erects a "wall" of players standing side-by-side as a barrier to the shot. A kicker who has the skill to curl the ball around a wall is at a distinct advantage.
The 'wall' is the main defensive strategy for a direct free kick. It is a system of defending part of the goal from a free kick. The process includes positioning players 10 yards (9.1 metres) from the ball, while also joined together and placed in-between the ball and the goal. (See photo.) The number of players composing the wall varies based on distance. It is not fully known when the 'wall' was started.
See also[edit]
Indirect free kick
References[edit]
Jump up ^ "When is a direct free-kick awarded?". BBC Sport. 1 September 2005. Retrieved 17 December 2009.
Jump up ^ LAW 13 – FREE KICKS – The direct free kick -FIFA.com
External links[edit]
Wikimedia Commons has media related to Free kick.
Work on your Freekicks
When is a direct free-kick awarded?
[hide]
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Laws of the Game (rules of association football)
Terms
Law 1: The Field of Play
Law 2: The Ball
Law 3: The Number of Players
Law 4: The Players' Equipment
Law 5: The Referee
Law 6: The Other Match Officials
Law 7: The Duration of the Match
Law 8: The Start and Restart of Play
Law 9: The Ball In and Out of Play
Law 10: The Method of Scoring
Law 11: Offside
Law 12: Fouls and Misconduct
Law 13: Free kicks (direct and indirect)
Law 14: The Penalty Kick
Law 15: The Throw-In
Law 16: The Goal Kick
Law 17: The Corner Kick
Comparisons
Rugby union
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