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Very little has been released yet on the design. However, the proposal by Prevail doesn’t indicate a well dock. The proposal has a flight deck and that amphibious operations would be enabled with the capability to offload heavy vehicles via mexeflote (a powered raft) in use by the RN since the 60s.Though I wouldn’t be surprised if perhaps there isn’t a stern ramp an a limited well deck included as the proposals move forward. At this point it is a guess. Especially when you consider the desire to restructure 3 Commando Brigade into the Maritime Operations Commando by around 2030.Frankly, the US Navy’s Special Warfare Support vessel M/V Ocean Trader concept would fit the bill nicelyBased on the DOD contract specs, one can speculate on its abilities:Military Sealift Command (MSC) requests a U.S. flagged vessel which shall function as a Maritime Support Vessel (MSV). The vessel shall serve host to fifty (50) Sponsor personnel with the ability to surge to an additional one hundred and fifty-seven (157) support personnel, for a total of two hundred and seven (207) Sponsor personnel, within twenty-four (24) hour notice.The vessel shall support launch, recovery, refueling, and resupply of small crafts, provide organic force protection and perform stowing, transport, launch/recovery, re-fueling of manned and unmanned rotary wing aircraft.The vessel shall provide equipment stowage, messing, berthing, administrative/operational space, maintenance space, emergency towing, and logistics services in support of operations. The Contractor shall independently operate all deck equipment to include the craft handling/launching systems.C-3.1 Endurance. The vessel shall maintain sufficient stores onboard to support the crew and fifty (50) Sponsor personnel for a minimum of forty-five (45) days without resupply. Additionally, the vessel shall have sufficient storage capacity to support at-sea operations for the crew and two hundred (200) Sponsor personnel for a minimum of forty-five (45) days without resupply. At a minimum, the vessel shall be able to Fuel At Sea (FAS) using INSTREAM single probe procedures in accordance with Navy Tactics, Techniques and Procedures (NTTP) 4.01-4 (provided upon request) with standard Coalition /USNS logistics ships and be able to support VERTREP for stores and ammunition delivery as required, extending operations for up to forty-five (45) additional days if port visits are not operationally feasible.C-3.1.2 Minimum Range. 8,000 nautical miles (NM)C-3.2 Seakeeping/Docking and Station Keeping. The support vessel shall be able to maintain course and speed in storm conditions of 50 knot winds and/or seas of up to 20 foot significant wave height. Vessel must support small craft launch and recovery operations up to and including seas described in Attachment C-3. Alongside refueling operations with small craft shall be conducted in maximum sea conditions described in Attachment C-3. The vessel must be capable of anchoring in water depths for a vessel of its class and size. The vessel will be required to loiter for long periods of time as a re-supply station for small crafts. The vessel shall have the capability to maintain directional stability below two knots.C-3.3 Minimum Transit Speed. 20 knots sustained for five (5) days (120 hours). The vessel must be able to transit at least 3,000 NM in up to sea state 5.C-3.6.1 Conference Room. The Contractor shall furnish a dedicated and lockable planning conference room (SCIF capable, built to ICD 705 standards), with a lockable communications storage closet. All power shall include surge protection and automatic switching (ATS) to Un-interrupted Power Source (UPS) for backupC-3.6.2 Communications/Server Room. The Contractor shall furnish a dedicated, humidity controlled and lockable communications room (SCIF capable, built to ICD 705 standards) with a separate, attached, lockable storage space for communications equipmentC-3.6.4 Workout Rooms. The Contractor shall provide a minimum of 2,600 sq. ft. for a workout roomC-3.6.5 Aircraft Maintenance Planning Space. The Contractor shall provide one room in close proximity to the aircraft hangar that can be used for aircraft maintenance planning. Space shall be sized to support ten (10) personnelC-3.6.6 Aircraft Maintenance Work Space. The Contractor shall provide a room in close proximity and on the same level as the aircraft hangar that can be used for aircraft maintenance in accordance with NAVAIR 4.8.2.5C-3.6.13Medical Space. The Contractor shall provide a medical space where the primary focus shall be support of a surged Surgical Response Team (SRT). The secondary focus shall be support of shipboard medical clinic operations run by an independent duty corpsman or civilian equivalentC-3.8.1 Equipment Stowage. The Contractor shall provide space to accommodate twelve (12) – 20’L x 8.7’W x8’H containers and six (6) standard 108″L x 88″W ISU boxes with a minimum of 5′ wide walkways between container doors and around the craft. Access to all containers and ISU boxes shall be from the deck level or equivalent internal storage area. The Contractor shall provide power for each ISU and each container in the following circuit sizes and quantities: 110V, 60Hz, 10A and (3) 110V, 60 Hz, 20AC-3.8.2 Ordnance and Weapons Storage. The Contractor shall provide ordnance and weapons storage equal to the size of twenty-two (22) GFE climate controlled Ready Service Lockers (RSLs), four (4) weapons armories and two (2) ISU 90 weapons cleaning facilities. The exterior dimensions of the RSL are 11’L x 9’W x9’H and 20’L x9’W x9’H. The RSLs shall be secured to the deck with sufficient restraint to accommodate all vessel motions; they must be watertight and protected against corrosionC-3.11.2 Craft Launch/Recovery Systems. The Contractor shall provide the capability to simultaneously launch and recover four (4) craft up to 12.5m x 3m with a minimum draft of 2m. The launch and recovery system shall be capable of lifting and supporting 30,000 pounds per craft and shall meet the requirements of the ABS Guide for Certification of Lifting Appliances (latest revision), including the requirements for personnel lifting.

After giving my question a little study myself, I’m providing my own answer to this question; I hope that is appropriate here. This is not to necessarily disagree with what others have already said.The first thing I notice is that in the immediate context there is a portrait provided of the kind of character enters a room and “makes trouble” for the group by creating disunity and points out that a person of that character, after a period of wreaking havoc among families, communities and congregations: they crash and burn:[Proverb 6:12-15 NIV]12 A troublemaker and a villain, who goes about with a corrupt mouth, 13 who winks maliciously with his eye, signals with his feet and motions with his fingers, 14 who plots evil with deceit in his heart--he always stirs up conflict.15 Therefore disaster will overtake him in an instant; he will suddenly be destroyed--without remedy.This is followed by the author extracting from the previous profile the 6 character qualities - um, make that 7 character qualities that God “hates”:[Proverb 6:16-19 NIV] 16 There are six things the LORD hates, seven that are detestable to him:haughty eyes,a lying tongue,hands that shed innocent blood,a heart that devises wicked schemes,feet that are quick to rush into evil,a false witness who pours out liesand a person who stirs up conflict in the community.So perhaps these are acting as “two witnesses” that are saying largely the same thing. If so, perhaps a person with “haughty eyes” is someone who “winks maliciously” with his eyes?Barnes has this excellent summary:A new section, but not a new subject. The closing words, "he that soweth discord" (Proverbs 6:19, compare Proverbs 6:14), lead us to identify the sketch as taken from the same character. With the recognized Hebrew form of climax (see Proverbs 30:15, Proverbs 30:18, Proverbs 30:24; Amos 1:1-15; 2; Job 5:19), the teacher here enumerates six qualities as detestable, and the seventh as worse than all (seven represents completeness), but all the seven in this instance belong to one man, the man of Belial Proverbs 6:12.Most interesting of all to me is this passage by Paul that seems to be asserting the same truth but in positive form as an exhortation for having the excellent qualities that lead to unity in the congregation:Ephesians 4:Unity in the Body(Psalm 133:1-3; 1 Corinthians 1:10-17)1As a prisoner in the Lord, then, I urge you to walk in a manner worthy of the calling you have received: 2with all humility and gentleness, with patience, bearing with one another in love, 3and with diligence to preserve the unity of the Spirit through the bond of peace.4There is one body and one Spirit, just as you were called to one hope when you were called; 5one Lord, one faith, one baptism; 6one God and Father of all, who is over all and through all and in all.He says the same kind of thing in several of his letters:Titus 3:9But avoid foolish controversies, genealogies, arguments, and quarrels about the law, because these things are pointless and worthless. 10Reject a divisive man after a first and second admonition, 11knowing that such a man is corrupt and sinful; he is self-condemned.1 Timothy 1:3As I urged you on my departure to Macedonia, you should stay on at Ephesus to instruct certain men not to teach false doctrines 4or devote themselves to myths and endless genealogies, which promote speculation rather than the stewardship of God’s work, which is by faith. 5The goal of our instruction is the love that comes from a pure heart, a clear conscience, and a sincere faith. 6Some have strayed from these ways and turned aside to empty talk. 7They want to be teachers of the law, but they do not understand what they are saying or that which they so confidently assert.2 Timothy 2:14Remind the believers of these things, charging them before God to avoid quarreling over words, which succeeds only in leading its listeners to ruin. 15Make every effort to present yourself approved to God, an unashamed workman who accurately handles the word of truth. 16But avoid irreverent, empty chatter, which will only lead to more ungodliness, 17and the talk of such men will spread like gangrene. Among them are Hymenaeus and Philetus, 18who have deviated from the truth. They say that the resurrection has already occurred, and they undermine the faith of some. 19Nevertheless, God’s firm foundation stands, bearing this seal: “The Lord knows those who are His,” and, “Everyone who calls on the name of the Lord must turn away from iniquity.” 20A large house contains not only vessels of gold and silver, but also of wood and clay. Some indeed are for honorable use, but others are for common use. 21So if anyone cleanses himself of what is unfit, he will be a vessel for honor: sanctified, useful to the Master, and prepared for every good work. 22Flee from youthful passions and pursue righteousness, faith, love, and peace, together with those who call on the Lord out of a pure heart. 23But reject foolish and ignorant speculation, for you know that it breeds quarreling. 24And a servant of the Lord must not be quarrelsome, but must be kind to everyone, able to teach, and forbearing. 25He must gently reprove those who oppose him, in the hope that God may grant them repentance leading to a knowledge of the truth. 26Then they will come to their senses and escape the snare of the devil, who has taken them captive to his will.The last verse, which I bolded, indicates that such persons have been “captured” in a trap set by the devil. Their boasts of knowledge conceal a profound ignorance of the truth.If Paul lived in the digital age perhaps we would want to translate it as “trolls”!

Sorry to take so long to reply. This answer is long. My first recommendation is to direct this question to Rick Hamilton on Quora. He is a knowledgeable and articulate Tai Chi teacher. See other answers here too.I am not a teacher. I learned in the 1970s and, since then, have mostly done Tai Chi when I could on my own. I try to do at least half an hour a day. I have not sparred in a long time.“Tai Chi” and “Tai Chi Chuan” (TCC) mean the same for my answer.Quora does not give you a lot of space to be precise in questions, and this question could have several meanings, so I guess, and I answer more than one question.(1) You might have in mind something like “What are the basic stances?” and “How do I do them correctly?” I wrote another answer on stances in martial arts but I don’t know how to reference answers on Quora (make links). The best short answer is that TCC stances are not radically different from stances in other martial arts. Look up the stances for Shotokan karate and follow the most important ones there: forward, back, cat, horse, etc.There are two differences with TCC stances:(A) TCC is almost always flat footed on both feet, not just one. In other arts, sometimes the front foot is on the ball and the heel lifted (back stance) or the rear foot is on the ball (front stance lunge punch, or like a young boxer who does not fight flat footed). Of course your feet are not flat when you are stepping. But they are flat when you are done stepping. Most of the time you step so that the heel of the forward foot comes down first and then weight transfers to the ball also (but not only the ball).(B) TCC is never “double weighted”. The weight is not evenly distributed on both feet except only briefly or for practice. The weight is usually in transition from one foot to the other and is not 50-50 except for the brief midpoint of the transition. The exception is horse stance, used in practice, where it is awkward to shift weight from one foot to the other (unless you practice that).(2) You might want to know: If I am in X stance, how can I move my hands? How should I best move my hands? How should I avoid moving my hands? What blocks are best out of this stance? What strikes are best out of this stance? Can’t answer that here. The best answer is in the long form of any of the major styles of TCC.(3) The parallel question is: If I want to do a particular punch, what stance best suits that punch? For example: reverse punch, using body rotation, from weight in the back to weight in the front, what stance is best? OR, what is the best stance to jab from? Again, the best answer is to learn the long form of a major style.(4) Combine (1), (2), and (3) by getting into all the stances and doing all the techniques, for both kicking and punching, that you know. Get in front stance and do every arm and hip technique that you can think of, on both sides. Switch left and right feet. Do that for all the stances and all the arm-hip techniques. Yes, practice like this is OK in TCC as in all martial arts that I know of. Find out what feels good and what feels not so good.Move from one stance to another, as from back stance to forward stance. Do any punch or kick during the transition. Any punch or kick. Find out what feels good and what feels not so good.Yes, it all takes a lot of time. But it is a lot of fun too. You will have a good workout and be tired before you know it.(5) Now something a little more specific to TCC. The move commonly called “brush knee” is more fully called “brush knew (with) twist step”. Shocker: Most TCC teachers and students don’t know what the twist step is. I could show you in three minutes. I could not explain in 30 pages. Try to find BKTS on the Internet. Don’t listen to any of the talking. Look at what they are doing. See if you can see a twist step. If you can figure out the twist step in BKTS, then your main question is answered.Now, do “chop with fist”. Can you see that “chop” is a continuation of BKTS so that BKTS stepping-forward-with-the-rear-leg goes up to or slightly past the mid-line and then twists back? If you begin by doing BKTS left, your right leg will then go forward up to or past the midline, and then you will twist to the right to deliver chop with fist. The proper arm-hip action in this situation is a chop. “Chop” puts the body and legs in an awkward position for a split second, then exits gracefully and effectively. Try other arm-hip movements-and-exits from the awkward position to see how they feel. That will give you a good sense of links between arms and legs and hips. By the way, at least one karate form starts with this lesson.(6) Stand in a natural stance or moderate horse stance. You should be able to rotate your legs and hips. Put your palms our about at the same height as your solar plexus (middle of your body). Rotate your hips left and move your arms left. Rotate your hips right and move your arms right. Rotate your hips left and move your arms right. Rotate your hips right and move your arms left. Generally your hips and legs move together. Not always. When your arms and hips (legs) move together, usually your arms ride your hips and legs. Sometimes they move opposite. In that case, you arms still get energy (power, ride) from your hips and legs but I can’t describe it here. All this is a little like doing the old dance “the twist” or playing with the old toy the “hula hoop”. Now move one arm with the hips-legs while the other goes against the hips-legs. You will feel sometimes expansion and sometimes contraction. Keep that in mind.It is not that hard to feel the interaction between arms with legs-hips but it is hard to feel the interaction with legs and hips when the hips and legs don’t move together. Usually one leg moves with the hips while one legs moves against the hips, so you either expand or contract. Keep that in mind too. It is not common but sometimes important.The above exercise is a little like “wave hands like clouds” or “cloud hands”. If you step to the side as you do it, it is more like cloud hands. You will feel that your hands and body make a kind of circle or spiral. Unfortunately, pop TCC seems to have made a big mystical deal out of this. You can also do this exercise as you move forward and back. You can do it as you both move side-to-side and move forward-and-back. Then, the movement is more complicated and I don’t describe it here.(7) Have you ever roller skated or ice skated? Here is something I can name but cannot describe if you don’t get it by the name: In skating, you step like you are making an S with each leg. SL SR SL SR SL SR. And so on. Each leg goes in, then out, then in, then out, then in, then out, etc. That is how you step in TCC and most other martial arts. At first, you have to learn step high. That looks silly but is good training. Eventually you will move with your feet about 3 millimeters above the floor, but you will still be making an S. That S is an important part of BKTW. In BKTW, the S skating step is exaggerated.(8) MAKE A FIGURE 8. Stand in natural stance. Again, something I can show and say but not describe:(8A) Put your right hand in front of you about the height of your mid stomach, just above your belly button, between your belly button and the right side of your body (closer to the right side of your body), palm up, back of your hand down, fingers pointing toward the front or about 45 degrees toward your center line, thumb toward the outside rightside.(8A) Make a figure 8 motion with your right hand and right arm. The whole figure 8 is about two feet wide, about 14 inches outside your body and 10 inches inside your body (or slightly less). Your hand, arm, and wrist rotate constantly as you make this move. Begin by moving your right hand slightly to the outside, to the right. You can move your hips along if you wish, and most people do move their hips a little bit, but you don’t have to move your hips. As your hand moves to the outside, eventually it rotates so that, when farthest from your body, the palm faces you and the back of the hand faces outward. As your hand comes in, the palm now faces down and the back of your hand faces up. When your hand is just to your center line, your hand finishes rotating so that the palm briefly faces left and the back of the hand faces right. Then your hand quickly returns to the starting position. Got it? Fine.(8B) Now do the same thing with the left hand but in the other direction. Start with your left hand in front of you, waist high, palm up, fingers pointing straight ahead, thumb point to the left. Begin by moving your hand to the left away from your body.Most people can get this in a minute or two. It is a natural movement.(8C) Now, start in the same position. But instead of starting the figure 8 by moving your right hand outwards, start the figure 8 by moving your right hand inwards, to the left. The palm and back-of-the-hand will be exactly the same at the same points but the direction of travel is the exact opposite. One way is the figure 8 in one direction, the other way is the figure 8 in the other direction. Usually people find this second figure 8 harder.(8D) Got it with your right hand? Now do it with your left hand.You now have four figure 8s, two with each hand, one figure 8 in one direction and the other figure 8 in the other direction.In TCC, they are all the same figure 8, but seen from different views. I do NOT explain that statement. You will figure it out yourself.(9) Almost ALL the TCC arm-and-hand movements are variations on these figure 8s. I will try to show two movements, with the right hand only, using 8A and 8B.Do 8A. Instead of moving your right hand to the side to begin the movement, move it to the front. You are doing the figure 8 not side-to-side but front out away from your body and then return back to your body. Don’t return to your center line but return back to where you began the movement. It is almost as if you are holding a rope, letting it go out a little, turning your hand over, and then pulling the rope back. That is a standard punch. If you stop where your hand is furthest from your body, where your hand turns over, that is a punch.Do 8B. When your hand gets away from your body, when it gets far enough away, your hand turns over from palm down to palm up. As your hand turns over, as your hand begins to move in toward your body, clench your fist lightly. That is an “in block”. If you stop briefly just as your hand gets to the side of your body, you will feel the block more. Then unclench your fist and continue. Continue to make a figure 8, clenching and unclenching your fist.Now forget that this is a punch and a block. Instead, do the figure 8s again but with no particular purpose in mind. As you do that, step forward with the same leg as the hand, in this case, the right hand. Then stop and re-stance. Start again and step back with the same leg as the hand. Do it with both 8A and 8B (on the right side). Do this about a thousand times.Then step backward and forward with the opposite leg, the left leg.Then repeat with the left hand, left leg, and right leg.(10) So far, nothing acrobatic. Now we get acrobatic. Use a chair or something that you can put one hand on, like a fireplace mantel. It is easiest to start by putting your left hand on the support and using your right foot and leg. With the leg that is away from the set hand (set side is left, away side is right), lift the foot straight up about six or ten inches off the ground. Likely you cannot do what I ask next. Try anyway. I will not tell you exactly how to hold your foot. Try just to get the feel of what is going on. With the foot in the air, using your hip as a pivot point, try to make figure 8s as if your foot was a hand. Try any way you can. If you are flexible enough, you will be able to make a figure 8 going one way and then make a figure 8 in the same pattern but with the opposite direction, like 8A and 8B. Only a few people can do this fully, especially if you are over 35 years old. Now change sides and do the same thing with the other foot. Don’t forget always to have one hand on a brace. Don’t feel bad. The important point is to see that your foot could do this in theory if you were flexible enough.The S step that you make in skating or in walking in TCC is part of the figure 8 that you would make with your foot if you could make it. Fortunately, you don’t have to be able to make a good full pretty figure 8 with your feet in order to be able to S step quite well with TCC. You only have to get the idea.Just as all the hand movements are variations of the figure 8s done with the hands from 8 above, so ALL kicks that I have ever seen are a variation on this hip-knee-foot movement. Again, I could show you but cannot write it. Also, now I am far too old to do it properly. And you don’t have to think of kicks this way to do all kicks correctly enough. I am just showing you some TCC ideals of movement.(11) Now, natural stance. Move both arms in figure 8s at the same time. It is easiest if your two hands make the same kind of figure 8 (8A and 8C) but one hand moves in while the other moves out. They both move in the same direction but one moves in while the other moves out. It is a little like doing the hula but the Hawaiian women who do it are more graceful.The easiest way to do this is to begin with your right hand facing palm up, left hand facing palm down, both basically in front of your body. Right does 8A while left does 8C. Move your right hand to the right and away from your body, move your left hand to the right and across your body. Both hands flip over at about the same time. Then your right hand moves back toward your body as your left hand move across you body in the other direction. Then your left hand moves away from your body as your right hand moves across your body. And so on.This particular kind of double figure 8 is fairly common in TCC.Unfortunately, it can feel like you are holding a little ball between your hands as you make this double figure 8, and teachers of TCC have latched on to this ball feeling as if it were all there is to TCC. You can feel it if you like but if that is all you feel, you are stuck. Don’t only feel the little ball.Now, start in the same position, with right palm up, left palm down, both hands in front of your body. But, this time, move both hands to the left together. This is harder but can be done. I will not try to describe it.Now, it gets confusing. Start with both hands in front of your body, palms up. Move both away from your body at the same time, left to left, right to right. When each hand gets to the farthest point from your body, each rotates, the palms now face down, and each comes back to your body. The hands go together apart together apart together apart etc. This is also called “compression” and “expansion”.Now it gets more confusing. (8B) and (8D). Do the same thing but start with the palms facing DOWN. I do not try to describe it. A lot of people can’t do this. But it is like the business with your feet. You don’t have to be able to do it full and pretty in order to utilize bits and pieces of it when needed in TCC.(12) While doing figure 8s of any kind or complexity, move to the side. Move consistently to one side. Stop. Then go to the other side. Stop. Go back the original direction. Etc.While doing figure 8s, move forward. Stop. Then move backward. Stop, then go forward again.While doing figure 8s, turn in circles. Turn in a circle left, then turn to the right.Mix it up. Walk a little forward as you turn in a circle. Walk a little backward as you turn in a circle.You did this next exercise implicitly and mildly while walking in circles but here I want you to do it explicitly and in exaggerated form: Remember “chop with fist” and how you stepped over the center line temporarily? Stand in natural stance. With either foot, step forward and across the center line. Then do it with the other foot. Go in this exaggerated s-wiggle until you are used to it. You might find it easier to do this exaggerated version if you let yourself go in curves, or in circles, or as if you were on the edge of a circle. NOW. Add hands. Add figure 8s of any kind in any way you wish.As you do all this, you will feel other patterns emerge. You will still be doing figure 8 but now the figure 8s themselves will fall into patterns. Don’t try to identify the patterns. These are the principles of movement discussed below.You can get really dizzy and confused moving around waiving your arms like this. Don’t worry about it. If you do get dizzy or confused, stop for a while, then start again.As you move from side to side doing figure 8s, you will be doing something like “cloud hands” again (see above) but more like it is in the form and more realistically.(13) Almost ALL moves in TCC can be seen as variations on these figure 8s. I do not describe it. All the moves in TCC are one move that is variations on the figure 8s.If you stand, and try to move in ways that are not part of these figure 8s, you will have a hard time coming up with something else.The figure 8s are closely tied to the eight trigrams in traditional Chinese lore. The figure 8s are an integral part of Pakua (Bagua) which means “eight trigram boxing”. I do not explain.If you tried to think of all the ways to combine the figure 8s with arms and feet, how to use those movements as moves in martial arts, how to see other people’s movements as figure 8s and to deal with them in martial arts on that basis, you would go crazy.Fortunately, the TCC masters of the past did this for us. They selected the combinations that are most useful, and made those into the moves of TCC and into the transitions between the moves of TCC. I do not describe that either. Trust the TCC forms and old masters. Follow the moves and you will do as they wished, incorporating the figure 8s, the trigrams, naturally.At first, as you do TCC, DO NOT, ABSOLUTELY, try to see moves entirely in terms of the figure 8s. You will go nuts. Sometimes you will see bits of moves in terms of the figure 8s. That is enough. Just let it come out naturally. In about five years, you can begin to take apart the moves in terms of figure 8s and the other principles.(14) The opening move in TCC illustrates the one figure 8 out of which the other figure 8s come. It is a circle with a little flip of the hands.The next move, Grasp Bird’s Tail, uses all the figure 8s. It is all about the figure 8s and about moving gently with the figure 8s. In the usual highly compressed way of TCC, Grasp Bird’s Tail combines the four kinds of figure 8s so that it is hard to tease them apart unless you know what to look for. The figure 8s are not even fully completed, and one kind of figure 8 merges with another kind of figure 8 before either is done. Yet they are all there, and that is pretty much all that is there.And, of course, you step gently with Grasp Birds Tail, which teaches you a little bit about the coordination of hips, legs, and hands. If you want to learn more, do GBT stepping backwards.Then, the figure 8s in GBT are the basis for Ward Off, Retreat, Press, Push (WRPrP), and all the rest of the moves in TCC. ALL the rest of the moves in TCC can be seen as variations on Ward Off, Retreat, Press, and Push, and so as incorporating the figure 8s of Grasp Bird’s Tail.The opening circle is the seed, GBT is the stem, WRPP is the first flower, and then all the other moves are simply more flowers of the same kind. No that is not mystical.(15) As you move around the figure 8s, you might have noticed other things happening such as compression, expansion, twisting, turning, going left, going right, etc. I do not debate if these are an intrinsic part of the figure 8s or if these are an additional layer that you have to pay attention to. I take the latter view for here because it is easier. If you can feel the figure 8s, you can more easily sense this other stuff. The TCC masters were quite aware of these principles of movements as well as the figure 8s, and they used them in selecting which moves are best.These principles of movement in addition to the figure 8s play a large part in the description of TCC moves. Along with the figure 8s, these are the basis for TCC.(16) The “other things, other feelings while you are doing all the figure 8s” would be where most TCC teachers begin to answer your question about arms and legs. Sometimes they are called: the 8 principles, the 5 principles, the 13 (8 + 5) principles, the face moves and corner moves, and a few other names. I learned the 8 principles as the face moves and corner moves. I learned additional principles too.The term “8 principles” comes from the 8 trigrams, from Chinese philosophy and divination, specifically from the I Ching. The 8 principles and 8 trigrams are associated with Bagua (Pakua). The term “5 principles” might or might not come from the five elements (similar to earth, air, fire, water, and “crystal” or sometimes “wood”. In the movie “The Fifth Element”, the fifth element is Love). The 5 principles traditionally are associated with Hsing I (Xing Yi) boxing but that focus is overkill. Hsing I recognizes all principles, more than just five, and only uses the five elements as an aid. TCC likely developed somewhat out of a merger of Pakua and Hsing I, and so 8 + 5 = 13. I don’t like mystic history and so avoid it. Better to learn the principles directly, and not to worry about the number or any mystic connections.(17) From time to time, for my amusement, even apart from this answer, I make a list of principles of movement. Here is my latest version:Four faces:Ward offRetreatPressPushThe Four Faces can also be called:side to sideforth and backup and downrotationAmong the Four Faces, or immediately implied by them, are:spiralingfocus or collapseFour corners:shoulderelbowtwistsplitIn addition:hollow outcompressexpandpluckchopdrilljoincrossfold up or wrap upridestickyieldquick turnspiralIt is not easily 8 or 5 or 13. This list is not sacred but other lists don’t differ much. I think some writers would derive most of “In addition” from other principles. What matters is that you get a feel for the principles and work out principles for yourself.Notice that the first four moves, the face moves, have the same name as the first four moves of TCC after the beginning and “Grasp Bird’s Tail”. That is on purpose. The first four moves of TCC deliberately teach these principles, and the principles are named after the moves that teach them. That is how and why all the rest of the moves in TCC are variations on Ward Off, Retreat, Press, and Push.Notice also that there are two names for the face moves. The four principles of action are found in all four of the TCC moves of WRPrP. But each move stresses one principle more than the other principles or gets you to notice one principle more than the others.This situation is typical of TCC moves. Many principles can be found in most of the moves. No move is only one principle. A move can stress a particular principle, or can stress a few principles. It sounds fancy to say that all the principles are found in all the moves but I do not say that. If you can discover that for yourself, good. I don’t know if it’s true.You don’t have to pay attention only to what seems like the obvious stress in a move. If you feel (or see) a principle in a move, and you wish to investigate that aspect of the move, then feel free to do so.(18) Here we have a touchy philosophical point. At least the eight trigrams, the four faces and four corners, really apply not to “moves” or to postures but to changes, to transitions. The I Ching is the book of CHANGES, not of fixed situations. A number of different situations can change in the same way. A single situation might undergo several changes. What matters more is the changes, not the situation. Each move should not be seen as a move or posture but as a sequence of bundled transitions with some inflection points or focus points. This view too is out of the I Ching and Taoism. This idea is not easy to see or teach.As a result, most TCC is taught too much as a sequence of postures. Even it is not robot-like postures, teachers still stress specific places to put hands and feet. Endpoints are stressed too much. In fact, if you don’t give students this rigid structure, they get antsy. Endpoints can be good for some kinds of meditation and conditioning but they are not good as goals in-and-of-themselves. The original question about the relation of hands and feet was wise in that it opened the door to a deeper understanding than mere postures.One of the people I learned from, Mr. Philip Ho, never did the same move in the same way twice, and I have been told I tend to do the same. That makes it much harder for beginning students to learn. But, really, that is the way it is. There is no one perfect set way to do any TCC move. Yes, they are distinct, but there still is no one set way to do any move. Don’t worry about this issue at first but keep it in mind for later. In fact, not doing the same move exactly the same way all the time makes it much easier to focus on principles of movement rather than moves, but that too is a little further down the road.It is possible to overdo the other side and think only of changes without thinking of the end points or focus points. In karate, this would be dancing around without ever landing any kind of focused block or blow. This is not practical or useful. But it is also not common to see this kind of mistake. The silly magic dance that sometimes infects TCC is a worse version of this kind of mistake.(19) Here, I should describe each of the principles and give examples of how each shows up in various moves. I would like to do that but it would take a lot of space. Ideally you should get a TCC teacher to do that. Also, I haven’t dissected all the moves in terms of the principles either. It gives me a headache. It is better to simply be aware of the principles and to see them while you do the moves when a principle comes up. You can deliberately look for them if you want as long as you don’t get stuck, as long as doing so does not get in the way of doing the moves. You can do the moves quite well without being aware of principles. Your body knows even if your conscious mind does not. Again, trust the makers of TCC; they did the job for you.(20) The best thing you can do is to learn the two-person interactive combat form of 88 steps, which, when I learned it, we simply called “the 88”. It will teach you principles of movement and interaction better than even a single person long form. Unfortunately, few people now even know about this form, let alone know the form. I don’t know what to advise. The fact few people now even know about this form and do not get it as part of their TCC training is evidence of the general deterioration of martial arts training.In theory, short two person interactive drills, called “push hands” or “push legs” (“join hands” or “join legs”) would be a good way to learn principles of movement but they are not usually taught in way so as to bring out the principles of movement other than maybe sticking. They don’t usually hurt understanding unless they are taught too mechanically or too much as pretend combat (“gotcha”). But they don’t do the job.(20) I will do what I can with the four faces and four corners. The ideas of side-to-side, back-and-forth, up-and-down, and rotation, by themselves, should be fairly clear. It is not clear how WRPrP teach the ideas. As usual in TCC, every move exemplifies every principle. But some principles are more obvious in some moves than others.If it helps, think of yourself standing in the middle of a big cube. You move along the planes (faces) of the cube, and you also rotate. I think that is where the names “faces and corners” comes from. Here goes:(20A) Ward Off. Keep in mind that the full name is “Ward Off Slanting Upwards”. It is good to contrast WO with Grasp Bird’s Tail. In GBT, your arms cross. For example, in GBT right, your left hand goes in front of your right hand, and then pulls back over your right hand as right hand goes out. in GBT left, your right hand goes in front of your left and then pulls back over your left as your left goes out.In WO, that hand movement and crossing does not happen because WO is a face move and faces don’t fold or cross. Start in GBT left, left hand up, right hand down in the center of your body. Your body Rotates (Turns) to the right. Your left hand remains behind, close to your left side. Your right hand RISES so that your right arm ends up about 45 degrees in front of your face, with your hand-or-fist slightly over your head. As you turn, you also Step Forward and Shift Slightly to the Right. Your left hand stays behind your right until the very end, at which point it can punch under the right if needed. You do not twist or cross or split or anything else too obviously. But you do get the face moves, four out of four. Which is most important? Here, likely side to side. But you can’t have one without the others. In the face moves, the hands and legs almost always move together.(20B) Retreat. Deliberately simplifying, up and down, and back and forth. For convenience, I give the nod for importance to up and down, contrary to the name of the move. I don’t want to go into details.(20C) Press. Rotate. Then Rise and Down and Back.(20D) Push. Back (from Press) and forth. However, DON’T use your hands to push. Use your body. Your arms do almost no work other than to stay attached to your body. Also, your body Rotates from right to left. Your left hand makes a smaller movement than your right, and you push the person away to your left.(21) Corner Moves. These are somewhat harder to visualize.(21A) Shoulder. Go to a rectangular room that has an empty corner. If you are right handed, the empty corner should be one where you can face a partly empty wall and have an empty corner and partly empty wall to your right. If you are left handed, you face a partly empty wall, with an empty corner and a partly empty wall to your left. I will describe for right hand only. Stand about about six inches from the wall that you face. Stand about elbow distance from the wall to your right, the wall that you do not face. Tuck your right arm in to your body so that your upper arm is along the right side of your body, your lower arm is across your body at just below the navel. Your left open hand lightly covers your right loose fist. Step a few inches to the right with your right foot so that your foot nearly goes to the wall to your right but not quite. At the same time, use your shoulder to hit the wall to your right. Don’t hit it so hard that you bruise your shoulder. You will notice that you have to hit slightly backwards with your shoulder. You can try to hit slightly forward but it does not work well. You have moved along the wall that you face and slightly turned the inside corner to the right to make the move. You have turned a corner slightly. So, it is called a corner move.Notice that you have turned the corner from the INSIDE. You go around the corner from the inside, not the outside.A move that has the same feel is chop with fist. In right chop with fist (yes, there is a lift chop with fist), you move inside to your center line, then turn to the right along the inside of a corner, and your fist comes out of that corner along the side of the room. Inside out crescent kick has a similar feel.(21B) Elbow. Sounds straightforward, right? Wrong. But it is not hard. Again I describe for a right handed person. Go to a mostly empty table. Stand facing the long side of a table near the corner, so that the short side goes away from you, away from your right side. In normal speech, you would be at the upper right hand corner, facing the table, with the short side at your right hand, going away from you. Stand about 18 inches from the corner. Now turn to face along the long side of the table, toward the corner. The long side of the table is at your left side, nearly touching your left side. You are at 90 degrees to the long side of the table. You face where the short side would be if it extended beyond the corner.You are going to do an outside arm block. The upper part of your right arm is down along the side of your body. The lower side of your arm is across your belly. Lift up the lower part of your arm so that the forearm is in front of your body, the forearm is about 45 degree from the ground. Make a fist at the same time. The fist ends up about the height or your arm pit or lower part of your shoulder. Your elbow is about the distance of a fist from your body. That is an inside-to-outside arm block. It is also “play the fiddle” but that is another story.Now the elbow. Step forward and slightly inwards firmly with your right foot, near the corner of the table, so that you step near to your center line. You now face the table, facing the long side, quite near the corner of the table. Drop your forearm down so that your fist is in the center of your body near your belly button. Put your open left hand onto your right fist. Slide very slightly to the right. Move your elbow about six or eight inches to the right (no more), guided and aided by your left hand on your right fist. You will find that you elbow not exactly away from your body, exactly to your right, but mostly to your right and ever so slightly in. You really make a small curve.You just blocked an incoming punch and elbowed an opponent to the gut or the heart.Recall that, in coming down, your right arm made an arc to the inside. If you get the distances right, you can see that you went around the corner of the table slightly before the final six inch shove, or during the six inch shove. You went from outside to inside. You went around the OUTSIDE of the corner.This move is opposite to shoulder, which went INSIDE a corner.If you wish, you can stress going around that corner. But not too much.If you know how, do an inside block followed by an elbow. That is much clear but harder to describe here.Other moves that have a similar feel are “hit like tiger” otherwise known as a hook punch. Look for it in many moves.(21C) Twist. This is easy to see but harder to explain why it is a corner move. To make it clearer, I have to give you a strong version. Take the left arm of a person. Your left hand has his-her left wrist, and your right hand has his-her elbow. Turn your hands in opposite ways so that his-her arm is twisted to the outside of his-her body. He-she will tend to follow. Keep up the motion so that he-she goes to the ground. Keep up the motion so that his-her wrist rises up above his-her elbow and his-her arm locks. Continue the motion until you have torn some ligaments and muscles (in use, not in practice on another person). You go around a corner backwards. You go around not in one direction but in all three directions. That is a twist. You can go around the outside or the inside but it is easier to visualize as inside. Twist is like a continued elbow utilizing more than one or two faces and sometimes more than one corner. You can see that in that the hands go opposite to each other but I do not explain.There is a karate kata (form) in which a move is described as wringing a towel. This is the same feeling.You can do this move by twisting in only one direction, so that the hands move in the same direction, but you don’t get the feel as much.Retreat has twist, potentially both kinds depending on how you do retreat and twist.European and Olympic sword competition use a move in which one fighter kind of wraps his-her blade around the other blade. I don’t know what the move is called. This move is common in TCC. It is a kind of twist. Done fully, retreat begins with this move in which you wrap around your opponent slightly before going backward and twisting him-her more.(21D) Split or Separate. Again, easy to visualize but hard to rationalize why it is a corner move. A teacher with more experience than me might explain better. The partner of split is join, and sometimes split and join are paired with cross. Sometimes you can see those ideas more easily than split.The first part of press consists of raising your hands and moving them slightly apart. That is split and separate. Then you twist your wrists around the opponents arms to get your hands on top of his-her arms. Then you push down slightly while moving backwards, before pressing forward.Now I will cheat by using moves other than WRPP for examples. Split is more obvious when one hand goes one way while the other hand goes the other. The first time this happens clearly is in Single Whip but most people don’t feel it as much. The first really obvious time is Stork Spreads Wings. It can also happen in Play the Fiddle.(22) Now, for arm-and-leg practice, do all these moves with the feet (and usually body) moving in the opposite direction that you usually move. Do Ward Off not by moving forward but by moving backward. Do retreat not by moving backward but by moving forward – yes that counts. Do press and push also by moving backwards instead of forward. You should be able to do all that and make it effective but it will take practice. It will help you feel relations between arms and legs, and it will help you with the principles of movement.(23) I hope this helps. I doubt I can do anymore, but, if you have questions, try to contact me.I am sorry for the typos and other mistakes.Good luck.Thanks, Mike