Thanks for your feedback!
<font face="Verdana, Arial" size="2">I think you should refine the list a bit by identifying the sources and grouping into categories. </font>
You are probably right, but that sounds like real work!
I had more about sources in my original extended post, but much of the stuff I don't really think of as having any particular source, at least not in the academic sense. For example, what source what I quote for the Five Elements or for opening and closing? Perhaps what I could do, when I have time, is to give folks an indication of where they might read more. Any help would be appreciated.
Some of the stuff is also really from personal instruction I have received, in seminars or elsewhere; and I could not cite to any written source, e.g., why you want your palm oriented up in some sitations and down in others. Perhaps I could give some detail as to the territory that is covered. Again, I had some of this in my longer post.
<font face="Verdana, Arial" size="2">It's also worth mentioning that though you eschew silk reeling, nowhere else in the list do you mention arm rotation, which is something the Yang's make a big deal about and spend much time demonstrating at each seminar. Silk reeling, arm rotation, whatever you want to term it, is maybe a subset of the rule that if one part moves all parts move. I believe that these rotations are, for the Yangs just as much as for the Chens, a source of unification leading to whole-body movement.</font>
I am not sure I see arm rotation as "a source of unification," but I agree that it is a very important part of the teaching. In my mind, I grouped it in three places: "seek the straight in the curved," "palm orientation," and "Jin points."
I think of "seek the straight in the curved" as embodying the theory of the circle. When you circle the arm, you have to do so in a way that respects the rules of palm orientation.
At seminars, Yang Jun has recently begun to emphasize proper elbow rotation in places like the right arm in Brush Left Knee and Twist Step and in the descending of the arms in Cloud Hands. I think of this as learning how rotation relates to circling. It is particularly evident in the corresponding Push Hands exercises that involve open wrist circles (Cloud Hands and Brush Knee).
I would add to the above the subtle rotation in the Wardoff, Rollback, or Press arm that is often necessary to bring the proper Jin point into play. In Ward Off left, my understanding is that you want to show a lifting action and that you want to use the soft inside of the forearm, rather than the hard bony edge. These requirements mean that you have to rotate the palm upward. It feels like a rotation, rather than merely keeping the palm and arm flat and pronated, because you also have to maintain space in the armpit without straining and respect some of the forward weight shift. The combined result is the rotation. Ward Off Right, Rollback, and Press embody similar ideas, but different details.
To avoid being overly wordy for each principle, perhaps I could give some hint as to where consideration of the principle might lead.
[This message has been edited by Audi (edited 01-01-2007).]