Check out the latest info and research from Coach Chris' explorations in the Subject of Internal Power.
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.
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.
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.
Following on from the previous post we are now going to dig into the relevance of specific lines for internal arts movement, power and methods and we will start with perhaps the most important of all the lines the Axis.
The Axis can describe several things in the internal arts, from the conceptual ‘center line’, to the spine itself, to the tissues of the central channel of the body. All of these definitions have their place and purpose, however much of the time we see them intermingled or used in conjunction with each other. The process of producing the spine wave for instance is not solely a spine related endeavor, instead needing the action of the deep tissues of the torso in order to create the action. Rotation of the torso to equalize incoming forces does not only related to the turning of the body around a conceptual center line but also how the spine flexes and how the tissues twist during the demand.
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