Check out the latest info and research from Coach Chris' explorations in the Subject of Internal Power.
Whole body power forms the bedrock of the internal arts. Our abilities to move every part of our body in harmony is as fundamental to the health benefits as it is to the martial effectiveness found in these styles. In this article we will explore one aspect of this whole body work, which I call the attribution of effort technique.
Many of the mechanics of the internal arts are predicated on our ability to release or address tension. As we have discussed in previous articles on speed, connection, and heaviness, without the correct levels of relaxation, much of what makes these efficient will not be there. The tense practitioner will constantly be ‘breaking’ their expression of power as it travels through sports of tension or tight tissue.
One defining attribute of almost all high level martial artists is their ability to feel ‘Heavy’. Certainly, if you have ever interacted with high level grapplers you will have felt this attribute and boxers will often talk about a fighter ‘heavy hands’. But far from being a natural gift, this quality of ‘weight’ is a skill that can be trained and has implications for both the practitioners health as well as their combative potential.
In this article, we will explore some of the ways in which Internal Arts practitioners can create what I call the ‘Heavy Body’ attribute and how this translates into martial practices and health.
In the last article I talked about the idea of ‘no mind’ in the martial arts being one of the highest forms of competence. But there is another process that we see mentioned time and again in martial traditions from many parts of the globe. In the Japanese arts, it is known as Zanshin and in the Chinese sheng xing and it represents a key aspect of focus for the martial artist, it is the concept known as ‘after awareness’ or literally the ‘remaining mind’, but we can say that as a general idea it is in extending the mind and creating focus, or awareness.
Born out of the life and death struggle of war and the practical requirement for warriors to be fully aware of themselves, their surroundings and their situation, the remaining mind held a special place for the ancient martial artists.
Switching gears away from intent training, but in a related vein, in this post we will be exploring how different types of movement can create opportunities and effects in a Martial Exchange.
The study of the mechanics found in the combat arts is, at its core, the search for efficiency in dealing with forces. These could be forces acting upon us, or forces that we produce to act on others. Forces as we mean them here encompass all possible martial tactics and motions, be that the forces produced from Grappling with a partner or the concussive forces created through striking or impact.
How we move, and using which principle, will have wildly different implications for the interaction with the partner or opponent. The situation dictates the type of motion that is appropriate but it is fair to say that our aim is almost always to maximize the how our force is perceived by the opponent. Here we will explore some of the ways in which forces can be created or applied in general terms, the types of power we see in the fighting arts and their utility to the various combative fields.
In the last few articles we have looked at ‘Intent’ and its physiology as it relates to the internal arts, so in this article I will provide a couple of practical ways in which we can practice following the line of our intent to improve our movement.
There is a saying in the internal arts that one ‘follows the line of intent’, this is the process of moving in accordance with our will to act using the Intent as the link between the mind and the motion. But there is more to this concept than simply following how we would like to move.
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