Turning the Windlass

摇转辘轳 · Yáo Zhuǎn Lù Lu · Form 05 of 12 · Twelve-Section Brocade

Form name in the official English edition: "Rotating Winches" Health Qigong — 12-Routine Exercises, General Administration of Sport of China (Foreign Languages Press 外文出版社, 2012 · ISBN 9787119078717). We checked this title against that book's table of contents; the step text below comes from a different source, named underneath.

Where this step text comes from. The Twelve-Section Brocade is the routine promoted by the General Administration of Sport of China (2010). The official textbook is not obtainable, so the step-by-step text here follows Zhang Hailing's Shi Er Duan Jin (Beijing Sport University Press, 2012, ISBN 978-7-5644-1117-6), the only source we can verify word for word. It agrees with a separately transcribed copy of the textbook's technical notes. We are not claiming this reproduces the official standard word for word.

Start with both fists at the lower back, the backs of the fists resting on the kidney points either side of the spine. The form has three parts. Single: on each side you work one fist through four beats — lift the fist to the shoulder as you turn 45 degrees, then return to centre and lean away as the wrist cocks up and the fist pushes forward-left with the head and arm at about 45 degrees, then let the fist fall with a straight arm until it is level with the knee, then come upright and draw it back to the waist. Six rounds each side. Double: both shoulders circle forward six times and backward six times while the index knuckles knead the kidney points. Crossed: with the fingertips down and the webs of the hands against the ribs, the hands rest on the tops of the shoulders and the elbows swing fore and aft so the arms trace a vertical circle — six this way, six the other way. Both the single and the double part are done in both directions, the breath stays even and unstrained, and the name comes from the crank of a well windlass: the arm is sent out and drawn back, it does not swing round in a wide circle.

Works on: shoulders, upper back, ribs, waist
Repetitions: Three parts: single turn on a four-beat rhythm, 6 rounds each side, double shoulder circling 6 forward and 6 backward, crossed circling 6 each direction
Time: 2 min
Difficulty: Moderate
Chair version: Yes — no floor work
Official English name: Rotating Winches
Official source: General Administration of Sport of China, 2010

The classical verse

左右辘轳转

This form belongs to the verse line above, from the classical seated routine. Quoting it is how you can tell whether a version of this movement you find elsewhere is the same one.

The classical figure is named for turning the crank of a well windlass. The traditional method notes describe the three parts separately: for the single part, the arm sends out with the waist turning, the shoulder following and the wrist settling, and draws back with the elbow bending and the wrist lifting; for the double part, the shoulder circles should be round and continuous while the index knuckle kneads the kidney point; for the crossed part, the waist leads the arms around a vertical circle with both elbows swinging to the same extent. This is the traditional description of the movement method, not a claim about results.

How to do it

The official form is practised sitting cross-legged on a firm wedge-shaped cushion with the front edge lower than the back. Every step below also says what to do if you are sitting in a chair — the two are the same movement, only the seat differs, so there is no separate version to choose between.

Continuing from the previous form, move both fists back to the kidney points on the lower back — the two spots at roughly waist height, about two finger-widths out from the spine — with the back of each fist against the point and the palm side of the fist facing backward; look forward. In a chair: if reaching behind is awkward, place the backs of the hands over the same spots, or keep the fists at the sides of the waist.
Single windlass, left, beat 1: turn the upper body about 45 degrees to the left. The right fist stays against the lower back, while the left fist, wrist flexed, lifts up to the front of the left shoulder with the palm side facing down; look at the left fist.
Beat 2, without stopping: bring the upper body back to face front and then lean it over to the left; at the same time cock the left wrist upward so that the fist reaches out forward and to the left-front, the head and the arm at about a 45-degree angle, the elbow slightly bent; look at the left fist.
Beat 3: stretch the left fist forward and to the left and let it fall with a straight arm, the palm side facing down, until it is level with the knee; look at the left fist. In a chair: the knee sits higher than it does on the floor, so let the arm reach down only as far as is comfortable, without leaning off the chair.
Beat 4, without stopping: bring the upper body upright and draw the left fist back to the waist, flexing the wrist so that the palm side of the fist faces backward; look at the left fist. These four beats are one round; run them continuously six times.
When the sixth round ends, turn the upper body back to centre to the right and draw the left fist to the kidney point on the lower back, the palm side facing backward.
Right side: the method is the same as the left, only the direction is reversed — turn about 45 degrees to the right and lift the right fist to the front of the right shoulder; come back to centre and lean to the right as the wrist cocks up and the fist reaches forward-right with the head and arm at about 45 degrees; let it fall with a straight arm until it is level with the knee; then come upright and draw it back to the waist. Six rounds. In a chair: as on the left, let the arm come down only as far as is comfortable.
When the sixth round ends, turn the upper body back to face front and draw the right fist to the kidney point, the palm side facing backward.
Double windlass, forward: open the shoulders and expand the chest, lift the shoulders upward, then bring them forward with the shoulders slightly rounded and the chest hollowed, and sink the shoulders; look forward and down. Six forward circles of the shoulders. In a chair: keep the knuckle at the base of each index finger kneading the kidney point, using the fists, the backs of the hands or the fingertips to keep the same contact.
Circle both shoulders six times in the other direction.
Come back to upright seated posture, square to the front.
Crossed windlass: open both fists into palms, turn the fingertips downward and, with the web between thumb and forefinger against the ribs, draw the hands up onto the tops of the shoulders; sink the shoulders and let the elbows drop; look forward.
Keeping the palms in place, turn the upper body to the left; taking the shoulder as the pivot, swing the right arm forward and the left arm back; look forward and down.
Without stopping, turn the upper body back to centre to the right and let both arms swing on upward with the tips of the elbows pointing upward; look forward and down.
Without stopping, turn the upper body to the right, swinging the left arm forward and the right arm back; look forward and down.
Without stopping, turn the upper body back to centre to the left and let both arms swing down with the tips of the elbows pointing downward; look forward and down.
Circle the arms across in the other direction, then practise the left and right movements six times.
Single turn: when the arm is sent out, turn the waist, follow with the shoulder and settle the wrist; when it is drawn back, bend the elbow and lift the wrist.
Double turn: let the knuckle at the base of the index finger knead the kidney point, and keep the shoulder circling round and continuous. The pressure of the hand on the lower back should be moderate, kneading the kidney point rhythmically in time with the movement of the shoulder and elbow.
Crossed turn: let the waist lead the arms around the vertical circle, with the two elbows swinging forward and back by the same amount. The circle carried by the elbow through the shoulder must be natural and smooth, with no stiffness.
Both the single part and the double part must be completed in both directions. Keep the mind on the movement and do not let the attention wander; breathe naturally, and do not deliberately stop or hold the breath — simply keep the nasal breathing smooth, even and long.

If you are sitting in a chair

The differences worth knowing before you start — the substitutions are already written into each step above.

If reaching behind is awkward, place the backs of the hands over the kidney points, or keep the fists at the sides of the waist.
The knee sits higher on a chair, so on the downward beat let the arm reach only as far as is comfortable, without leaning off the chair.

Breathing and intention

The textbook gives no fixed breathing rule here; let the breath stay its own length. In practice people usually exhale as the fist sends out and inhale as it draws back. Breathe through the nose, keep the rhythm even, and never hold the breath or force a beat to fit a breath.

Common mistakes

Doing the single turn as a full arm circle instead of the four-beat sequence of lift, send, fall to knee height and draw back.
Sending the arm out first and letting the turn follow, rather than starting every beat with the waist.
Leaving out the lean to the side in the second beat, so that beat becomes only a forward push.
Skipping the downward beat to knee height, so the fist never reaches the low point that makes the send and the draw-back one circle.
Forcing the elbow straight on the forward send; the elbow is meant to stay slightly bent with the wrist cocked and settled. The arm is straight only on the downward beat.
Losing contact between the index knuckles and the kidney points during the double shoulder circling.
Letting the shoulders ride up toward the ears, or circling the shoulders in a jerky, stop-start way.
In the crossed part, dropping the hands off the shoulders, or swinging one elbow further than the other.

Before you start

Reduce the size of the circling, or work the parts separately, if you have a shoulder injury or a rotator-cuff problem; stop at any pinching at the front of the shoulder.
If turning plus leaning makes you dizzy, shorten the turn to about 20 degrees and drop the lean.
If resting the fists on the lower back is hard on the wrists, use open hands or fingertips at the same spots.
Breathe continuously; do not hold the breath or push into pain.

Safety first

Ask your doctor before starting if you have heart disease, uncontrolled blood pressure, dizziness or fainting, a fall in the last 6 months, surgery in the last 3 months, diagnosed osteoporosis, a hip or knee replacement, a painful joint, or pregnancy.
Pain is a stop sign. Stop with burning, pressure or sharp pain; ordinary muscle tiredness is different from pain.
For seated work use a sturdy, armless, wheel-free chair with a firm seat against a wall. Keep both feet flat, and use a stable book under the foot if you need it.
For every standing or balance movement keep a fixed support within one arm's reach.
Never hold your breath. Breathe with the movement, and return to normal breathing when the effort rises.
If you feel dizzy, sit down, wait one minute, and end the session for that day.
Drink water, practise at least one hour after a meal, and use non-slip shoes or a non-slip bare-foot surface.
Use a comfortable range. Forward bends come from the hips with a long, neutral spine; avoid sudden twisting.
This programme is not medical treatment and does not replace physiotherapy.

Where it comes from

The old eight-figure set listed the single and paired windlass as two separate figures. The modern twelve-figure routine keeps both, runs them one after the other, and adds the crossed variation.

The Twelve-Section Brocade is the modern official form of the seated Eight-Section Brocade, also called the literary eight-section brocade (wen baduanjin), which the Ming dynasty texts record in eight figures. Its name appears in the eighteenth-century Shoushi Chuanzhen, and the version in most circulation today comes from the Neigong Tushuo. It was standardised as an official routine in 2010 by the General Administration of Sport of China.

Sources

Chinese Health Qigong Association, Health Qigong · Shi Er Duan Jin (routine overview)
Zhang Hailing, Shi Er Duan Jin, Beijing Sport University Press, 2012 (ISBN 978-7-5644-1117-6) — a second independent source for the movement text, not the official textbook. Our own word-for-word transcription of its seated chapter is not filed in this repository, so the site cites the book rather than a page reference.

Common questions

Can I do Turning the Windlass from a chair?

Yes. The official form is practised sitting cross-legged on a cushion, but this page gives a chair version that keeps the same movement while removing the need to get down onto the floor. Both versions are listed further down this page.

How many repetitions does Turning the Windlass take?

Three parts: single turn on a four-beat rhythm, 6 rounds each side, double shoulder circling 6 forward and 6 backward, crossed circling 6 each direction. The classical texts give their own counts, which are quoted on this page where they differ.

What does Turning the Windlass involve?

It works mainly the shoulders, upper back, ribs, waist. In the traditional framing it belongs to the 摇转辘轳 principle; practically, it is a slow movement, self-massage or stillness practice depending on the form.

How long does Turning the Windlass take?

About 2 minutes. The pace is set by the breath rather than a timer, so slower is generally better.

Where does Turning the Windlass come from?

The old eight-figure set listed the single and paired windlass as two separate figures. The modern twelve-figure routine keeps both, runs them one after the other, and adds the crossed variation.

When should I be careful with Turning the Windlass?

Reduce the size of the circling, or work the parts separately, if you have a shoulder injury or a rotator-cuff problem; stop at any pinching at the front of the shoulder. If turning plus leaning makes you dizzy, shorten the turn to about 20 degrees and drop the lean. If resting the fists on the lower back is hard on the wrists, use open hands or fingertips at the same spots. Breathe continuously; do not hold the breath or push into pain.

What else is Turning the Windlass called?

In Chinese it is 摇转辘轳 (Yáo Zhuǎn Lù Lu). The official English edition of the routine calls it "Rotating Winches". Descriptive English sources also use Rotate the Windlass, Turning the Well Pulley and Single and Double Windlass Turns. It is the same movement in every case, and the classical verse line it belongs to reads "左右辘轳转".

Written by LiHe — practitioner, teacher and consultant in qigong and traditional health practice. Review status and sources are shown below where available.

This is general movement education, not medical advice. It does not diagnose, treat or cure any condition. Read the full disclaimer.

The Chinese names are the traditional names of the movements. They are not medical claims, and this site does not diagnose, treat or cure any condition.

Last reviewed: 2026-10-08
Movement data: Standing form follows the Chinese Fitness Qigong Association standard routine. The chair versions are this pack's own adaptation, written for a seated reader.. Version v0.5.
Additional source: The Twelve-Section Brocade is the routine promoted by the General Administration of Sport of China (2010). Step text follows Zhang Hailing, Shi Er Duan Jin (Beijing Sport University Press, 2012, ISBN 978-7-5644-1117-6). English form names follow the English edition of the routine (Foreign Languages Press, 2012, ISBN 9787119078717).