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REPORT DOI: 10.12032/life2019-0125-003
Life Research January 2019 vol.2 no.1 14
Using Qi flow in Taiji effecting structural change in feet
and reduced pain: a case report
Suzanne Newnham*
*Correspondence:
Suzanne Newnham, P.O. Box 720,
Mawson ACT 2607, Australia.
E-m ai l: suz annen ewnha m@
hotmail.com
Author's website:
https://suzanne-newnham.com
In the article, the author reports on a case study of chronic pain
problems caused by her own foot deformity. The author began
using Taiji, Chen style Chan Si Gong (Reeling Silk), and Zhan Zhuang
(standing meditation) to relieve chronic pain since 1986. After more
than two years of Qigong training, the structure of the author's
foot changed from the previous deformity to normal foot shape.
These changes enabled the author to walk normally and to be free
from persistent chronic pain. The article discussed the methods of
using Qi currents and other issues that need to be paid attention to
when practicing Tai chi, such as how to adjust one's mental focus
and maintain a state of relaxation to "mindful". Tai chi involves a
number of internal "micro-adjusting" about how these techniques
relax and strengthen muscles to reduce chronic pain. The report
and discussion on the treatment principle of Qigong can provide
new strategies for the treatment of chronic pain.
Due to advancing deformity
i n b o th m y f e e t , t h e
likelihood of being incapacitated
and wheel c h air r elia n t wa s
imminent, and attending a Taiji
class in 1986 was with a view to
strengthening my legs to relieve
p ressu r e on m y f e e t . G o o d
movement m emory r esu lting
from years of intensive training
for a classical ballet career, Taiji
routines were quickly learned and
strengthening of my legs and feet
progressed rapidly. These classes
were for health instead of martial
art-based, though applications
of each movement were shown
or explained depending upon the
teacher’s abilities.
In the mid-1980s the concept
of Qi (c hi – interna l or vital
energy) fl ow being taught locally
was from a western perspective:
rel axin g the bo dy; al l ow i ng
the Taiji (Tai Chi) exercise and
Qi gong (Chi Kung) breathing
skills to enable greater fl exibility,
and to strengthen the body. As
a student, the principles of Taiji
were mentioned, however, the
actual teaching of correct posture
was more akin to replicating the
stylized body on an anatomical
chart , pl us " Tai ji prin ci ple s"
of rounding the back "to allow
the Q i to move"; relaxing the
shoulders; and bringing the mind
to the Dantian (energy center in
the abdomen) whenever the mind
strayed.
It was in the context of that
limited approach that this case
study, of my own structural health
and chronic pain issue, is now
discussed.
Awareness of Qi
In 19 89 , Wang Chang Fei, an
accomplished martial artist and
tradi tional Chin ese medic in e
( T C M ) p r a c t i t io n er f r o m
Shanghai, was a gu est teacher
for the Tai Chi Academy where
I was stud yi ng . Dr. Fei Wang
recognized changes in my Zhan
Zhuang ("quiet standing") and
issued an invitation for me to
ask hi m qu esti ons abo ut Qi
and what was happening in my
practice. Dr. Wang encouraged
self-development, and to mo ve
beyond the exercise of a Tai ji
or Qigong form. Zhan Zhuang
became more than standing in a
meditative pose, I experienced
various manifestations of Qi e.g.
sensations on my skin, increased
depth of stance, some practice
sessions increased to 90 minutes
DOI: 10.12032/life2019-0125-003 REPORT
15 no.1 vol.2 January 2019 Life Research
or more. The interesting aspect of the latter was that
the passage of time seemed like only minutes. In
hindsight, the Qi fl ow at this stage was erratic, with
"body and mind relaxing" the main focus.
My fi rst introduction to the power of Qi was during
preparation for a class starting with Zhan Zhuang
(Figure 1), which is essential to becoming centered,
familiarizing and realigning one’s posture. With my
eyes closed, arms "holding the balloon" pose, with
hands turned towards my body, the teacher moved
my arms to the "correct" height as per the picture on
Figure 1. Zhan Zhuang (Reeling Silk)
An essential basic for Taiji. Also known as "quiet
standing", "standing like a pole". Arms are shown in
"holding the balloon" posture. Anchoring feet in sand
and then adjusting posture for uneven and unstable
ground are important. Once the posture feels correct
and strong the meditative part of Zhan Zhuang can
develop for that session, thus allowing the body to
auto-micro-adjust internally so the fl ow of Qi (chi –
internal or vital energy) can move unimpeded along
a given pathway.
the wall and a "large lump of energy" rushed from
my Dantian to my throat causing me to choke. The
response was not the same as being startled into a
panic attack. It took a few hours for the discomfort to
settle, but it created concern about being "corrected"
or adjusted – that was until I attended my fi rst
workshop in 1990 in Canberra with Grandmaster
Chen Xiao Wang, 19th Generation Lineage Holder
Chen Family Taijiquan, a direct descendant of Chen
Wangting, creator of Taijiquan. I explained my
concern with Grandmaster Chen’s assistant who
reassured me that I had no need to fear. Even though
I was apprehensive, Grandmaster Chen’s initial touch
while I was in Zhan Zhuang was vastly diff erent to
that previous "correction". Qi did not rush out of the
Dantian, instead, I felt stronger with my feet very
grounded. As a result, I did not want to move out of
position just in case I never experienced combined
strength and freedom again.
Unbeknow n to me, in 1981 Chen Xiaowang
realized a concept, "a principle that would form
the basis of the (Taiji) art, … to which all the ten
thousand techniques would return as one (Wan Fa
Gui Yi)…". Chen Xiaowang called this the Yundong
Guilu (the Principle of Movements) and expresses
it as: "Dantien is at the heart of the body's motion;
Once a part moves, the whole body moves; Joint
by joint energy threads through – thus the force
transmits unimpeded in one action. … It is easy to
see a breach of this Principle and its ramification.
When struck by a sudden fear, your breath would rise
and be arrested in your chest. This condition, caused
by the fear, would be a violation of the Principle.
Take a simpler example. Let someone twist and bend
your index fi nger at the joint. What happens when it
hurts? The pain causes your inside to hollow as your
body rises. You lose your root or your guard. You
know how vulnerable you have become in this off -
balance situation. The body state is in violation of
the Yundong Guilu." [1].
It was no wonder in my first wor kshop with
Grandmaster Chen that he was able to adjust my
posture without eliciting the same choking response
during Zhan Zhuang as had happened previously.
After attending Grandmaster Chen Xiao Wang’s
workshops for 12 months he off ered me an invitation
to study with him. On telling him about the issues
with my feet he reassured me that this was not a
REPORT DOI: 10.12032/life2019-0125-003
Life Research January 2019 vol.2 no.1 16
problem, and private training commenced.
Qi fl ow and reducing chronic pain limitations
Although I had attended various workshops by a
number of Taiji teachers recognized in China, up to
that point my knowledge of Qi and the principles of
Taiji was still limited to the fact that Qi existed and
Taiji movements were through the waist. It wasn’t
until Grandmaster Chen demonstrated Qi, holding
a final Taiji position, that subtle auto-adjustments
became evident to me. As Grandmaster Chen spoke
no English, and I don’t speak Chinese, everything
was via observation and tactile sense. I felt that
this unspoken communication helped enhance my
practical understanding of Qi movement. Awareness
of how my feet responded while moving from one
pose to another was crucial, such as noticing whether
all parts of my ankle thr ough to my foot were
moving independently or as a block; what parts were
holding and in what way; as well as checking if my
foot was tense or felt elongated and "connected into
the ground" holding the fi nal position. This intimate
knowledge of exactly what part was active or
inactive was key to identifying areas needing to be
worked with in each session. Other factors requiring
vigilance were recognizing whether breath was held,
and if so in what section of the movement or pose;
and feeling if other areas of my body were altered or
strained by compensating for the new way of placing
my feet.
Properly aligned posture was not as shown in
photographs and pictures – instead, angles and
height or depth of stance were individually corrected
for each transition from pose to pose, sometimes
with a marked variance to what I expected. This type
of correction formed the basis of lower limb and
ankle to foot placements, thus allowing Qi access
and smoother transition throughout my feet.
Initially, my awareness of Qi flow was mentally
visualizing the pathway that Qi would follow down
and back up my lower limbs. However, it was
during Grandmaster Chen’s adjustments that as my
ankles and feet slowly changed structure these Qi
pathways also changed. Depending upon each pose,
multi-changes of Qi pathways might occur within
that day’s session. My daily practice was two to
three hours, though I also utilized the principles in a
practical manner such as on queue at the supermarket
checkout practicing "quiet standing". With my hands
on my Dantian, adjusting my feet so weight was
even, and being aware of any variances of pressure
across feet and ankles through to hips, all built up a
new "normal".
Prac tic ing Yan g style " Taij i walki ng" was
instrumental in fully immersing my mind into the
physicality of my feet. However, the forward and
backward walking from Chan Si Gong, (Reeling
Silk) developed a new awareness of Qi flow, and
"Taiji walking" became more than just a physical
action. In practicing at the beach pressure variations
in the sand were visible while maintaining balance
on fi rm or soft sand also produced diff erent results.
From the "fixed foot" position of Zhan Zhuang, to
moving, holding and working with poses within
a Taiji form, refocus ing int o the Da nt ian was
important. This reconnection meant shifting sand did
not cause instability and imbalance (Figure 2). I used
to practice ballet in water, easily correcting positions
supported by the water’s buoyancy. Taiji water
practice also gave another dimension to learning
stability and grounding of movements. A video of
Grandmaster Chen demonstrating Chan Si Gong
while explaining the pathway Qi takes in each part
of every move became available early in my training,
supplementing my home practice. I found the minute
detail benefi cial to help me understand how to move
to facilitate and not limit or block Qi fl ow.
Grandmaster Chen taught regular classes in Sydney
(Australia), and for three years taught many ten-day
Taiji Chen Style, Chan Si Gong, plus Tui Shou (Push
Hands) workshops and classes in Canberra. The
reason why Reeling Silk is important is explained
in John Voigt’s article [2] "…Silk Reeling relates
to unwinding silk from the cocoon of a silkworm,
which must be done with the utmost care, mental
focus, and relaxation. Silk is unbelievably tensile,
but if pulled too harshly or sloppily it may snap. All
this is a metaphor in which silk is Qi, which when
carefully merged with muscular strength may be
harvested as the awesome physical power and force
called Jin."
Qi and Taiji levels of skill
First, the Taiji form as a class then it was time to
practice independently. Grandmaster Chen would
adjust each student’s transitional and final position
DOI: 10.12032/life2019-0125-003 REPORT
17 no.1 vol.2 January 2019 Life Research
from that day’s moves, allowing the student to feel a
correctly placed limb and body while experiencing
the solidity and strength of Qi-activated-alignment.
I would imit ate the posture of the student that
Grandmaster Chen was adjust ing and alter my
posture to correspond and feel the diff erence, before
readjusting for my normal posture. I felt this copying
extended my practical understanding of Qi fl ow.
The pain in my feet after these 18-hour weekends
ranged from discomfort to severe depending upon
the nature of training, and walking to and from
transport, accommodation and venues. Following the
fi nal Sunday class I had an hour to catch two trains
and dash to the interstate coach with minutes to
spare before its departure. This combination of all-
day training, fast walking, plus fi ve hours sitting
Figure 2. Taiji poses, Brush Knee
Using Zhan Zhuang principles to spiral Qi through the
upper body fi nishing one pose connecting Qi in Dantian
with the lower hand, and simultaneously Qi to the fi ngers
on the outstr etched hand. In the lower body Qi flow
spirals to Dantian from one leg and from the Ming-men
(energy point VG4) down the other leg to the toes.
on public transport traveling 360kms home meant
stiffened muscles, coping with cramping pain, and
partial plantar fascial tears in very cold feet. Were
the training and effort worth the additional pain?
Yes. It was the potential for improvement in my
feet in the longer term that fueled my commitment.
Over time Zhan Zhuang became a highly benefi cial
exercise allowing minute internal adjustments as
I focused on the Dantian, with the heat that this
generated eventually reaching my feet. At this
stage I was unaware of how the heat went from the
Dantian to the feet, it was just the end result which I
appreciated.
Grandmaster Chen explained through an interpreter
about philosophical principles contained in the
Taijiquan Chinese Classics. These principles also
included methods of practice and application, so
I asked him about learning Chinese to read the
Classics. His response was that learning the language
would not equip me to appreciate and understand
those principles, further explaining that it was
preferable for me to practice for 20 years thereby
experiencing and incorporating them into my Taiji.
Looking at the process of learning Taiji, J. Justin
Meehan states in his article [3], Grand Master Chen
said that a very simplifi ed classifi cation of the three
major levels of development of Chen style T’ai Chi
could be categorized as follows:
Level One: Learning the form, choreography, and
body mechanics correctly. This could correspond to
the Yang or external aspects of T’ai Chi development
…
Level Two: Learning to perform the form movements
in a slow, continuous and smooth which exemplifi es
correct T’ai Chi principles and the correct fl ow of Qi
internal energy throughout the body. This could be
considered the Yin stage.
Le vel Three: Performi ng th e movem ents wi th
proper Qi fl ow and also with a correct understanding
of martial intention and applications. Bot h Yin
and Yang aspects - ordinate and combine into a
comprehensive whole or "T’ai Chi balance".
Guiding Qi along its pathway spiraling out from
the Dantian and returning to the Centre is integral
to Chen style Taiji and Chan Si Gong. The motion
originates from the waist with the "energy of the
breath" in the Dantian; releasing Qi to the Ming-
Men, the energy point located at the second lumbar
REPORT DOI: 10.12032/life2019-0125-003
Life Research January 2019 vol.2 no.1 18
vertebra, facilitating Qi distribution throughout the
upper and lower bodies.
In my practice I noticed where Qi was stuck and
instead of moving that part physically or "jumping"
over the area causing a compensatory response, I
would remain focused on that area allowing the Qi
to "unstick". The key word here is "allow" which
is diff erent to consciously moving the part to eff ect
change. A joint might be fl exible or a stance low but
this physical capability doesn’t necessarily mean
that the action allows Qi to flow smoothly. When
practicing a form, I would move very slowly to
locate where posture was altered and no longer true;
or fast, faltering at the weaker areas. Sometimes to
prevent absentmindedness and complacency I would
start mid-form. All these techniques helped me to
understand what was happening to Qi fl ow and my
body’s response.
In the 1980s and 1990s authentic information
about Taiji was difficult to find. However, from
1991 magazines on Qi, Qigong, and Taiji became
available from local news agencies. In May 1992
Inside Kung-Fu, Howard Choy and Ahtee Chia
published an article [4] Master Chen XiaoWang’s 5
Levels of Skill in Taiji Training which discussed the
aims and training. These levels were:
1. Form and posture;
2. Qi fl ow;
3. Body-mind synthesis (from large to medium
circle);
4. Medium to small circle;
5. From small circle to no circle.
Mos t scho ol s of Tai ji at the time offere d a
numbered form of a particular Style, from level one
to six, or similar, however, these levels indicated
the number of terms to learn the sequence of that
Taiji form. Likewise, beginner or basic to advanced
levels referred to the months or years one had been
learning Taiji or the number of forms learned. The
fi ve levels of skill, as discussed in Choy and Chia’s
Article, relates to proficiency from mastering the
external to progressive internalization of movement,
and thus Qi fl ow. For about a year I attended private
Taiji sessions with Grandmaster Chen at Howard
Choy’s premises and when Mr. Choy or Mr. Chia
was available they interpreted so that I was able to
discuss Qi and principles with Grandmaster Chen.
While martial arts applications and Tui Shou (Push
Hands) were demonstrated in Canberra classes, to
become familiar with the martial origin of moves
in the form students generally just went through
the motions of "twisting their waist and hips",
rather than leaning backward or forward to turn an
opponent away or defl ect an incoming move. Sydney
Tui Shou classes were martial-based utilizing key
elements of grounding, fi nding balance as the body
moves, coordination, and timing eventually my feet
became stronger and less painful and I was able to
more fully engage in martial arts-based activities.
Benefits from Qi flow changes in structure and
function of feet
In my teens the structure and function of my feet
deteriorated and a potential career in ballet was no
longer viable, so my intensive dance training ceased.
Then an injury to my feet occurred and walking
became severely compromised. I started attending
regular podiatry and physiotherapy clinics. In 1989
the podiatrist I had been seeing since 1 977 left
and I began sessions with a new podiatrist. From
1991 the new podiatrist noticed "that the extrinsic
and intrinsic muscles gradually became stronger
and her arch structure and toe position improved
significantly. … More specifically, a significant
straightening of the inward turning metatarsals and
toes was noted." (Figure 3).
"Alth ough th e evidence is anecdotal, I (t he
podiatrist) am of the opinion that Tai Chi has been
beneficial in improving Suzanne’s foot position,
function and symptoms."
Ov er a pe rio d of 18 mon ths t rai nin g wit h
Grandmaster Chen, my feet became stronger and
stopped being elongated twisted painful blocks at
the end of my ankles. In 1992 an opportunity arose
for me to join a bushwalk in the Australian Alps,
with sections of track classifi ed as moderate to hard
– to even consider this walk was a mental challenge.
Prior to Taiji a painful 10 - 20 meter shuffl e before
needing to rest my feet were normal. My concern
wasn’t walking to the Hut, but would I be able to
complete the 10km return journey? Even though
the Trail is rated as a day-walk we allowed two
full days with many rests. My feet were painful on
return however no more than what one would have
expected from a bushwalk on rough stony tracks.
Following the success of the bushwalk, Grandmaster
DOI: 10.12032/life2019-0125-003 REPORT
19 no.1 vol.2 January 2019 Life Research
Figures 3. The foot condition referred to in this article is called "Metatarsus Adductus" or "Forefoot Adductus".
The pain was caused by chronic plantar fasciitis. The conditions and pain affected both feet. a. Left: Moderate
metatarsus adductus with vertical alignment line. Right: Normal foot with vertical alignment line. Metatarsus Adductus
causes the front half of the foot, or forefoot, to turn inward. Forefoot adduction is located in a pure transverse plane at
Lisfranc’s joint. b. Lisfranc’s joint. The Lisfranc joint is the point at which the long (metatarsal) bones that lead up to
the toes and the tarsal (in the arch) bones connect. The Lisfranc ligament is a tough band of tissue that joins two of these
bones. This ligament is important for maintaining proper alignment and strength of the joint. c. Plantar fasciitis. This
is an infl ammation of a thick band of tissue that connects the heel bone to the toes. Area of chronic infl ammation, pain,
and limitation of movement prior to Qi fl ow training is shown. d. Left and right feet in January 2019. Structural change
can be seen from Metatarsus Adductus (fi gure 3 image on left) after intensive practice of Taiji focusing on Qi fl ow.
resulting in normal foot alignment in both feet.
REPORT DOI: 10.12032/life2019-0125-003
Life Research January 2019 vol.2 no.1 20
Chen w hi le con ti nuing to hel p me de velop a
deeper understanding of Qi and Fa Jin (explosive
energy), altered the emphasis of my sessions to
include training with a view to Taiji competition.
The physical nature of training increased, however,
integration of Qi fl ow was still paramount. Playing
with upper body awareness, for example with an
arm in a "holding the balloon" pose, with both
hands facing the body, focusing on the inside space
becoming larger allowing the arm to move has a
diff erent eff ect on back, shoulder, and neck muscles
to the same move with the focus of the arm being
"pulled" to create the larger space between it and
the body. These changes of focus were also helpful
in looking at where and how Qi was stuck, or fl ow
limited.
In May 1996 I accepted an invitation to participate
in a Taiji competition. A week later I sustained an
injury in an accident, and training was discontinued.
For the next two months I watched videos of the
competition Taiji form and Chan Si Gong observing
my breath, mind to Dantian, sensing a connection to
Ming-Men, then pressing start on the video remote
control, and "seeing" the movement internally as
I watched the screen. This technique was more
than imagining doing the form, more than thinking
about the form, it was as though I was doing the
form energetically. I experimented and observed the
diff erence between images in my mind, and feeling
the Qi gradually spreading to the rest of the body as
if I was actually performing the movements. I found
mentally visualizing the moves seemed to create a
projecting out rather than engaging internally. This
"seeing internally" was also diff erent from listening
to music and allowing the body to express feelings in
a fl ow of movement as with creative dance.
When I studied ballet some routines were standard
curriculum; others created for that class; or taught
for performance. The teacher said the individual
movement names in sequence within a section
of choreography, and students memorized those
names while out lining the moves in a minimal
way with their hands and feet. Simultaneously the
student visualized performing the complete routine
as a perfect set of movements for an audien ce.
St ud ents were given th re e to four mi nu te s of
mi nd, vis ualization, and minimal move me nts’
preparation before a practice run, followed by the
class presenting th e rout ine. Eac h student was
expected to have correct steps and sequence so that
the expressive component could be explored thus
developing from a routine into a dance recognizable
as classical ballet.
Since the 1900s dance teachers have encouraged
their students to connect to imagery. Lynnette Young
Overby & Jan Dunn [5] explain "Dance imagery
is the deliberate use of the senses to rehearse or
envision a particular outcome mentally, in the
absence of, or in combination with, overt physical
movement. The images may be constructed of real
or metaphorical movements, objects, events, or
processes."
Dancers tend to have a high tolerance to pain
and I was no exception, especially to the early
distortion of my feet. At times I needed to practice
Taiji energetically instead of physically to reduce
further damage to my feet and cope with pain. I
believe this method of practice in developing strong
internal Qi fl ow rather than just physical movement
was also instrumental in helping me to win the Taiji
competition.
Research into the motor and mental imagery for
elite athlete training has shown "Brain activation
during the imagery of an action is stronger when
sensory inputs are similar to those that occur during
the actual execution of the same action." [6].
Stan Rockwell [7] in his Doctoral Project on
"Mental Imagery to Enhance Performa nce and
Heal" states "Healing and improvement in health
an d performance can be acco mp lish ed by the
person performing physical qigong through imagery
(directing qi fl ow with the mind)."
Rockwell [8] reports that "Weinberg & Gould
(2007:296) refer to imagery as visualization, mental
rehearsal , symbol ic rehearsal, covert practice,
imagery and mental practice. Vealey & Greenleaf
(2006:307) defi ne imagery as using all the senses to
re-create or create an experience in the mind. Hardy,
Jones , & Gould (1999:28) disti nguish be tween
mental imagery and mental rehearsal. They define
imagery as a symbolic sensory experience that may
occur in any sensory mode and as such is a mental
process and a mode of thought. Mental rehearsal
or going over a performance in your mind, on the
other hand, is a technique or process which is better
than no practice at all, … Imagery is thus multi-
DOI: 10.12032/life2019-0125-003 REPORT
21 no.1 vol.2 January 2019 Life Research
modal and may include any or all of the fi ve senses
… Imagery may also include kinesthetic awareness,
which is the innate feel of the body in motion."
Rockwell [9] quotes Shane Murphy who explains
"Internal imagery is imagery that is more seen
through one’s own eyes and body. You image from a
fi rst person perspective. … External imagery is more
third person in perspective. You view the scene as
a camera. In effect you watch yourself perform the
task from outside yourself."
Conclusion
Even though my feet are not entirely cured, I fi rmly
believe the changes in foot structure of both feet
have been due to Taiji, Zhan Zhuang, and Chan Si
Gong. This belief is supported by the podiatrist’s
assessment. Those modalities have reduced the
severity of chronic pain and acute pain episodes,
and enabled me to live and be active well beyond
what I could have imagined. Beyond the relaxation
of meditation, or increased stamina and flexibility
that usually happens with the practice of Taiji and
Qigong, it takes diligence and a dedication normally
associated with athlete training. Nonetheless, with
good tuition by Grandmaster Chen Xiao Wang, a
teacher who understands Qi flow, and is familiar
with limitations caused by chronic pain, as well as
consistent attentive practice, has led to unexpected
and welcome changes.
References
1. Ong CP. Chen Xi aowan g carr ying the bur den of
taiji legacy – Lone ly Quest and In sight. http://www.
kungfumagazine.com/index.php?p=article&article=380
(2003)
2. Voigt J. (compiled from various sources), Qi and Chen
Taijiquan (Tai Chi) – Reeling Silk. http://qi-encyclopedia.
com/?article=Qi-and-Chen-Taijiquan (acc 30 Jan 2018)
3. Meehan J. Justin, Grand Master Chen Xiao-Wang
Teaches Standing Meditation. http://www.stltaiji.com/
articles/StandingMeditation.html (1996)
4. Choy H, Chia A. Master Chen Xiaowang’s 5 Levels
of Skill in Taiji Training, Inside Kung-Fu Vol. 19, No. 5,
CFW Enterprises Inc Burbank CA (1992). http://www.
nickgudge.ie/5.d.ix.-five-levels-of-gong-fu-choy-chia.
html (2018)
5. Overby LY, Dunn J. The Hi story and Research of
Dance Imagery: Implications for Teachers, International
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ymaws.com/w ww.iadms.org/resource/resmgr/Pu bli c/
Bull_3-2_pp9-11_Overby.pdf p9 (2011)
6. Mizuguchi N, Nakata H, Uchida Y, Kanosue K. Motor
imagery and sport performance. J Phys Fitness Sports
Med. 2012; 1(1):108.
7. Rockwell S. Mental Imagery to Enhance Performance
and Heal: A Synthesis of Western and Eastern Methods,
California Southern University, p6. http://stanrockwell.
com/documents/Stan_Rockwell_Doctoral_Project.pdf
(2012)
8. Rockwell S. Mental Imagery to Enhance Performance
and Heal: A Synthesis of Western and Eastern Methods,
California Southern University, p5. http://stanrockwell.
com/documents/Stan_Rockwell_Doctoral_Project.pdf
(2012)
9. Rockwell S. Mental Imagery to Enhance Performance
and Heal: A Synthesis of Western and Eastern Methods,
California Southern University, p7-8. http://stanrockwell.
com/documents/Stan_Rockwell_Doctoral_Project.pdf
(2012)
Co mpeting interests: The au th ors declare no
competing fi nancial interests. Readers are welcome
to comment on the online version of this article at
www.tmrliferes.com
Copyright: © 2019 TMR Publishing Group Limited.
This is an open access article distributed under the
terms of the Creative Commons Attribution Non-
Commercial License.
Received: 2 January 2019; Accepted: 11 January
2019; Published online: 25 January 2019
