Check out the latest info and research from Coach Chris' explorations in the Subject of Internal Power.
In this article I am going to introduce one of the first ideas found in the internal arts relating to the use of the legs. The method we will discuss here has a number of unique advantages, from the co-ordination of multiple muscle groups to the use of the earth in relation to the center. However, more importantly, it means that we maintain legs that are active, rather than simply relegating them to posts that we balance our weight on! The methods in this article are the absolutely basic first step to present the ideas, we will cover more details in future articles.
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 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.
Linked to the last article, in this post we will be talking about how ‘mental preparation’ increases performance and how this is utilized by the Internal Arts. Most notably in the form of the intent training method called ‘Move before you move’.
There are several very well-known examples of mental preparation being used by elite level performers to increase their physical capability. Perhaps most strikingly this is seen in Olympic Weight Lifters who will often spend time behind the bar in deep focus and concentration, then time with their hands on the bar with a yet deeper level of focus before attempting and completing their lift. Indeed, we often hear of unsuccessful lifts that ‘His mind wasn’t there’ or ‘He lost his focus’ rather than ‘he wasn’t strong enough’.
We can’t really look at movement skills without talking about how movement complexity and capacity is handled by the brain and nervous system. It is our brains that give rise to our ability to move in complex ways and also our brains that allow us to retain good movement habits once they are learned.
Indeed, some people theorize that movement diversity is the reason for humans developing such large and complex brains.
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