11 September. Again, setting the scene. From the completion of Pound Mortar, the impetus for what is about to follow comes from a minuscule core undulation of the kind that is clearly displayed in XinJia. A flicker of "chest-waist change place" must happen (see chest-waist), else the hands cannot open, nor arms spread. Watch carefully what precedes their opening. It happens again in the continuation from Lazy Tying Coat.

Yesterday's first (6 sealing) movie

Yesterday's second (6 sealing) movie [lopsided view, replace?]. In the earliest years of study with CXW, there were many occurrences of this moment which appeared to stand in parentheses, and by that I mean that during certain transitions, from one clearly-defined move to another, something mysterious happened in suspended time, as if in another dimension. Puzzled, I would watch. Something was clearly happening, but what was it, what was going on? From the merest suggestion of movement, an entire wave would then emerge, enveloping the body and advancing the form, until the next incomprehensible junction.

Yesterday's third (6 sealing) movie : "Chest-waist change place", as exemplified in the last of the chansijin exercises, is the key technique that I am alluding to (see chest-waist). This technique guides the body through loopings throughout every part of the Chen forms. As ubiquitous as it is, it is not "normal", not an everyday way of moving. Again and again, there are moments in the form where one is unable to move from A to B without that core undulation. 6 Sealing 4 Closing is the first clear instance of this underlying reality.

The entire body participates in the execution of this technique. Without the involvement of toes, feet, ankles, calves and thighs, in an upward spiralling activating the inguinal joins, centre can direct very little outwards through the torso to the upper limbs. In the chansi exercise, the motion in the torso, as non-everyday as it is, is an obvious one, immediately apparent. But when the technique is utilized in the execution of the form, it is as though partial, abstracted to its essence, it is like a breath, a rustle, a flicker. I venture to say Chentaiji is a series of these flickers, charging muscular and ligamentous assertions.