Welcome to my Yiquan Research blog.
This WebBlog is my journal on the theory and practice of Yiquan. You'll find my opinions on a variety
of topics as well as links to other Yiquan web sites that I find interesting. When the spirit moves me, I may also
include longer articles in the Essays section. In this blog, I will use the English Yiquan terminology I
have developed when writing YIQUAN BEGINNERS' GUIDE: BASIC SKILLS. (Available as free download in the Books
section.)
|
Sunday, September 27, 2009
YIQUAN HOLD/PRESS POSTURE – Part III (FU AN ZHUANG, 扶按桩)
This is the final sequel of the hold/press posture blog (June 11, 2009). In this blog we will explore the development/cultivation
of the “explosive power-discharge” (Bao Fa Li, 爆发力) using relaxed-standing (Zhan Zhuang, 站桩), trial-and-feel (Shi Li, 试力),
and power-discharge (Fa Li, 发力) training. With
the previous blogs as foundation, we will describe the Stage Four and Stage Five training.
Criteria of fighting maneuvers: In general, “fast attack” (Kuai Gong, 快攻) is
an effective fighting tactic. Its success hinges on minimizing your “attack time
interval”; your strike must land on your target before your opponent’s blow lands (Hou Fa Xian Zhi, 后发先至). While relax initiation increases the speed and acceleration
of your movement (Kuai Su, 快速), spontaneous coordinated
whole-body harmonized movement (Zheng Ti Xie
Tiao, 整体协调), without superfluous movement, is the fastest, and would have
the best chance to land first. Therefore:
1) To minimize your “reaction time”, you should select maneuvers that are simple (Jian Jie, 简捷) and close to your instinctive natural
movement.
2) To minimize the “execution time” of your attack, you should minimize the magnitude of their movement; minimize the distance from
start to finish (Quan Da Cun Jing, 拳打寸劲).
3) To maximize the sudden-ness of your spring-like power-discharge and to startle your
opponent (Jing Tan Jing, 惊弹劲), you should
maximize your “agility for change” (Tu Bian, 突变),
your ability to switch from one maneuver to another unexpected maneuver; operating
at a faster (or different) tempo inside your opponent’s time scale to generate confusion and disorder.
A maneuver is effective only
when it becomes “habit”. There are
no instant “habits”. Repetition is the mother of all skills. You must practice
the movement of an “effective fighting maneuver” to deliver “explosive external
power” repeatedly until they become second nature, become spontaneous reflexes.
From the foundation of proper whole-body alignment and connected-ness (Lian Tong Yi Guan, 连通一贯), study and perceive the kinesthetic interaction/coordination of your
body components in the concurrent sequential overlapping motion. Everything must
come together to keep the “path of force propagation” (Jing Lu, 劲路) pure and clean to take up power from the ground. Rapid
contraction/extension of the action muscles and total relaxation of the antagonistic muscles are necessary prerequisites of
a focus power-discharge (Fa Li, 发力). On top of that, “change of momentum”
generated from whole-body/core movement (Dong
Dang, 动荡)
and/or oscillation (Zhen Dong, 震动, Bo Lang, 波浪), gravitational force (Zhong
Li Bo, 重力波), and natural twisting of your core/limbs (Luo Xuan, 螺旋), when used appropriately, may provide additional power.
Definitions: The “contact
time” of your blow on a target is the time it takes to punch through to the back side of your opponent (Li Tou Di Bei, 力透敌背). “To minimize the contact time” should not be interpreted
as “immediate withdrawal on contact”; your blow must continue to accelerate as long as there is contact and strike through
to the back of your opponent. Using a hard “impact/contact
point” would minimize the contact time.
Let us review the dynamics of “releasing/discharging power/force”
(Fa Li,
发力) onto your opponent. Facts:
1) Releasing force onto your opponent with no acceleration of the
“contact point” would result in a constant speed push. This will not be an effective fighting maneuver.
2) Releasing force onto your opponent with moderate acceleration of
the contact point would result in a relatively long “contact time interval”, whole-body
force acting on the whole-body of your opponent, and the whole-body target would move physically with little or no damage.
3) Releasing force onto your opponent with extreme acceleration of
the contact point would result in minimal contact time interval, whole-body force acting on your opponent’s localize target,
and little whole-body physical movement of the target while causing damage.
Everything being equal, using a hard “impact/contact point” of minimal surface area of contact would result in maximum damage to your target.
To convert the “spring-like force” (Tan Li, 弹力) into “explosive external force” (Bao
Fa Wei Wai Li, 爆发为外力), you will need to employ the techniques of breath control
(grunting; Shi Sheng, 试声) to marshal the entire body into concerted action,
to “suddenly tense” your whole-body (Tu Ran Yi Jin, 突然一紧); tense your core and limbs to increase mass, to focus your power. Here, agility (Tu Bian, 突变), the ability to suddenly switch from one maneuver to another,
is of vital importance.
The power-discharge (Fa Li, 发力) process involves: Relax and bend your joints
to store energy (Xu, 蓄),
extend and flex your joints with elastic spring-like force (Tan, 弹), discharge clean and crisp force suddenly
instantaneously as if startled (Jing, 惊), and explode your internal energy as a burst
of external force onto your opponent (Zha, 炸).
Whole-body harmony (Xie Tiao, 协调), synthesizing your musculature as one (Ji Rou Ru Yi, 肌肉如一), relaxation of antagonistic muscles (Wu Guan Ji Rou Fang Song, 无关肌肉放松), minimize your internal interference (Jian Xiao Gan Rao, 减小干扰), and agility (Tu Bian, 突变), your
ability to quickly switch from one maneuver to another are required elements. You
must accelerate your blow through your target, focus your power by tensing your musculature on contact, and drill (Tui Si Zuan, 腿似钻)
your lead leg, to take up power from the ground and to arrest your forward movement to transfer momentum onto your opponent.
The training method consists of executing
the selected maneuver:
1)
In solo exercises with no resistance (Kong Cao,
空操;
Dan Cao, 单操), using
various “attacking angles”,
2)
Onto a partner and/or on various targets with appropriate resistance (Ti Yan
Zu Li,
体验阻力), and
3)
In competitive push-hands (Tui Shou, 推手) and realistic sparring (San
Shou, 散手)
training. (This will be covered in a separate blog.)
We will illustrate power-discharge
training (Fa Li, 发力) with the small-step hold/press trial-and-feel (Fu An Shi Li, 丁八步扶按试力) maneuver.
Stage Four (Qiu Bao Fa Li, 求爆发力): To be useful, you must
be able to explode your internal energy as a high speed burst of external force, onto your opponent (Bao Fa Nei Li Wei Wai Li, 爆发内力为外力) via an effective maneuver/technique. Practice power-discharge
(Fa Li,
发力) in stages: large fast motion with soft focus, large fast motion with hard focus, and small fast motion
with focus and sudden change (Tu Bian, 突变).
1)
Solo Exercise (Kong Cao, 空操): Start from the small-step hold/press posture (Ding Ba Bu
Fu An Zhuang, 丁八步扶按桩); visualize standing in waist deep water with your forearms resting on an imaginary floating ball. Drill
(Tui Si
Zuan, 腿似钻) and push off your front leg, twisting both legs outward
(Wai Luo
Xuan, 外螺旋), shift your weight slightly backwards (Tun, 吞) stretching the imaginary spring between your knees.
Simultaneously, twisting your forearms inwards (Nei Luo Xuan, 内螺旋), press the imaginary floating ball backwards, downwards and outwards.
Immediately, drill and push off your rear leg, twisting both legs inward (Nei Luo Xuan,
内螺旋), take up power from the ground, squeeze the imaginary spring between your
knees, shift your weight forward (Tu, 吐), lift
the imaginary ball upwards to mouth level and throw it forward, twisting forearms inwards (Nei Luo Xuan, 内螺旋) and rotate palms forwards. Keep your wrists
relaxed; visualize flinging the imaginary wet sand sticking to your hands forward. As you visualize pushing through your imaginary target, check your forward movement
to transfer momentum onto your target by drilling down your front leg, focus your
power by suddenly tensing your whole-body
(Tu Ran Yi Jin, 突然一紧) to discharge power (Fa Li, 发力). Immediately relax and withdraw your hands to your starting position as
if you have touched on a red hot iron plate.
Do not push your hands beyond your front foot toes. Your movements
must be “clean, crisp and small”, with sudden change of directional movements.
Use different “attack angles”
for your blow: forward/upward, forward/downward, etc. Practice the maneuver with
minimal internal/external resistance (Kong
Cao, 空操);
you must not feel the strength in your blow (Bu Jiao Li Zhi Li, 不觉力之力); it must be effort-less. If you feel you have strength, you are
tensing pre-maturely; your blow is slow and ineffective. Keep shoulders relaxed
and down. Extend/contract action muscles; relax antagonistic muscles. Delivery must be relaxed, tensing/focusing only momentarily at the very last second. Punch through your target; use your full reach but do not lock/straighten any joint (your elbow); deliver
linear force with curve form (Xing Qu
Li Zhi, 形曲力直).
When you have synthesized the
whole-body coordinated maneuver, reduce the magnitude of your movement to zero. Use
mind-intent (Yi, 意) to guide, merge and strengthen
the “path of force propagation” (Jing Lu, 劲路) with
little or no external movement.
2) Resistance exercise (Ti Yan Zu Li, 体验阻力): You must experience
the resistance of discharging power onto a partner to get the feel of timing, of distance interval, of attack angle, and of the force.
Start from the small-step hold/press posture (Ding Ba Bu Fu An Zhuang, 丁八步扶按桩) with your hands on the shoulders or chest (with proper protective equipment) of your partner. Examine the effective-ness of your Fa Li (发力) by releasing/discharging power onto your partner.
You must be able to explode your internal strength in a high speed burst of external force
(Ba Li Da Dao Shen Wai, 把力打到身外), transferring momentum onto your partner to push him back sharply. A clean crisp discharge is whip-like and spring-like.
It should include the following attributes:
a) Elastic spring-like force from rapid muscular
contraction/extension, flexing of your joints, and core oscillation (Tan, 弹),
b) Snapping tangential component force resulting
from rapid rotation/twisting of your limbs and core (Dou, 抖), and
c) Linear force resulting from whole-body momentum
transfer/exchange (Zhuang, 撞).
All force components must merge
as “one” (Quan Shen Li Yi, 全身力一). Your discharge/release of power must penetrate to the back of your opponent (Li Tou Di Bei, 力透敌背).
Up to now, we have described
the balanced force (Hun Yuan Li, 浑元力)
discharge that “moves your opponent” physically. However, combat effective power-discharge
should also “damage your opponent”. This requires concentrating/focusing the
power-discharge of your whole-body balanced force onto a small hard “impact/contact surface area” and punching through your
target with maximum acceleration. We will explore this through the examples of
“switching” (Tu Bian, 突变) from the hold/press (Fu An, 扶按桩) posture to the upward punch (Zuan Quan, 钻拳) and the downward punch (Zai
Quan, 栽拳).
Stage Five (Quan Da Cun Jing, 拳打寸劲): A
characteristic of Yiquan combat maneuvers is using your opponent’s guard against him (Tui Shou Duan Shou Jie He, 推手断手结合). Keep the
magnitude of your defensive and offensive motion small. Maintain perfect
balance at all times.
1) Downward/backward power discharge switch
to upward punch (Zuan Quan, 钻拳): Start from the small-step hold/press posture
(Ding Ba Bu Fu An Zhuang, 丁八步扶按桩). Visualize your forearms
are on top of your opponent’s forearms. Drill (Tui Si Zuan, 腿似钻) and push off your front leg, twisting both legs outward (Wai Luo Xuan, 外螺旋), shift your weight slightly downwards and backwards (Chen, 沉; Tun, 吞) stretching
the imaginary spring between your knees. Simultaneously, twisting your forearms
inwards (Nei
Luo Xuan, 内螺旋), press (Xia Ya, 下压) the forearms of your imaginary opponent downwards, backwards, and outwards. Immediately, drill and push off your rear leg, twisting both
legs inward (Nei
Luo Xuan, 内螺旋), take up power from the ground, squeeze the imaginary spring
between your knees, shift your weight upwards and forward (Fu, 浮; Tu, 吐). Simultaneously, drill your
front leg to provide a clean path of force propagation from the ground while executing a lead hand upward punch (Zuan Quan, 钻拳) towards your imaginary opponent’s central
line (Zhong Xian, 中线). Immediately relax and return to your starting posture.
2) Backward/upward power release switch to downward
punch (Zai Quan, 栽拳): Start from the small-step hold/press posture (Ding Ba Bu Fu An Zhuang, 丁八步扶按桩). Visualize your forearms are below your opponent’s forearms. Drill (Tui Si Zuan,
腿似钻) and push off your front leg, twisting both legs outward (Wai Luo Xuan, 外螺旋), shift your weight slightly upwards and backwards (Fu, 浮; Tun, 吞) stretching
the imaginary spring between your knees. Simultaneously, twisting your forearms
outwards (Wai
Luo Xuan, 外螺旋), hook/hang (Gou Gua, 勾挂) the forearms of your imaginary opponent upwards, backwards,
and outwards. Keep the magnitude of this small.
Immediately, drill and push off your rear leg, twisting both legs inward
(Nei Luo
Xuan, 内螺旋), take up power from the ground, squeeze the imaginary spring
between your knees, shift your weight downwards and forward (Chen,
沉; Tu, 吐). Simultaneously, drill your front leg to provide a clean path of force propagation from the ground while executing a lead hand
downward punch (Zai Quan, 栽拳) towards
your imaginary opponent’s central line (Zhong
Xian, 中线). Immediately relax and return to your starting
posture.
Pay special attention to the proper use of the internal/external isometric-opposing-force
pairs (Zheng Li, 争力). When you have mastered the whole-body coordinated movement of the maneuvers in slow large motion, proceed
to practice with fast large and small motion. Eventually, you must minimize the
magnitude, so the movement becomes motionless-movement (Bu Dong Zhi Dong, 不动之动), so only motion-in-stillness
(Jing Zhong Zhi Dong, 静中之动) is retained, so only your mind-intent (Yi, 意) remains.
In this three part series, we have outlined a procedure/method to combine/synthesize relaxed-standing (Zhan Zhuang, 站桩), trial-and-feel (Shi Li, 试力),
and power-discharge (Fa Li, 发力) training using the hold/press (Fu An Zhuang,
扶按桩) posture to develop/cultivate the balanced force (Mo Li, 摸力). This balanced force (Hun Yuan Li, 浑元力) must be balanced in all six directions (Liu Mian Ping Heng,
六面平衡); it may have a dominant direction but must not have an absolute direction.
The examples given are from my experience; you should select/design exercises suitable for your needs; train with a
purpose/goal. The key is the proper use of mind-intent (Yi, 意). Initially, use mind-intent
to guide/lead your internal strength (Yi Yi Ling Li, 以意领力) to develop your balanced force (Hun Yuan Li, 浑元力). Seek mind-body relaxation and whole-body
coordination (Li Qiu Song Zheng, 力求松整). Then, synthesize your mind-body so the power goes to wherever your mind-intent goes (Yi Dao Li Dao, 意到力到). Your whole-body becomes “elastic and spring-like” (Bian Ti Si Tan Huang, 遍体似弹簧). Finally,
merge your mind-intent and balanced force so they become inseparable and indistinguishable (Yi Li Bu Fen, 意力不分). Action
becomes spontaneous reflexes (Bu Qi Zi Ran Zhi,
不期自然至).
11:38 pm pdt
Tuesday, August 18, 2009
YIQUAN HOLD/PRESS POSTURE – Part II (FU AN ZHUANG, 扶按桩)
This is a continuation of the previous blog (June 11, 2009). In this blog, we will
explore the use of relaxed-standing (Zhan Zhuang, 站桩) training to develop the “spring-like force”
(Tan Li, 弹力) and the closely related “spontaneous reflexes” (Fan Ying, 反应).
Definition: The “explosive force” (Bao Fa Li, 爆发力) is defined as the maximum whole-body force that you can deliver with a maneuver onto
your opponent in the shortest time interval; the “spring-like force” (Tan Li, 弹力) is defined as the crisp delivery of your whole-body force like the sudden releasing
of a trapped coil-spring.
Warning: Before proceeding
to the more advanced training of the next few stages, you must have mastered “proper whole-body alignment and connected-ness” (Zheng Ti Lian Tong Yi Guan, 整体连通一贯). You must be able to perceive the “path of force propagation”
(Jing Lu, 劲路) to take up power from the ground. If you are not ready, these more advanced training, at best, are a waste of your time and, at worst, will
introduce errors that will be very difficult to correct. We maintain that even
achieving whole-body harmony (Zheng Ti Xie Tiao,
整体协调) does not guarantee your success in developing your “spring-like force” (Tan Li,
弹力)
and/or your “explosive force” (Bao Fa Li, 爆发力). Remember, all your physical postures must
adhere faithfully to the basic principle of using “curved physical form to deliver
linear force” (Xing Qu Li Zhi, 形曲力直).
In relaxed-standing (Zhan Zhuang, 站桩) training, with mental
directed activities (Yi Nian You Dao, 意念诱导), you
practice “motion-in-stillness” (Jing Zhong Zhi Dong, 静中之动).
The purpose is to cultivate and develop your balanced-force (Hun Yuan Li, 浑元力)
by synthesizing your mind-body into a resilient harmonious whole-body unity
(Zheng Ti Xie Tiao, 整体协调). While doing the “motionless-movement”
(Bu Dong Zhi Dong, 不动之动) training, there are “four touchstone states of perception” (Si Ru Jing Jie, 四如境界); you would sense or perceive: proper relaxation as a
thickness to the surrounding air and/or an added heaviness in your torso and limbs (Shen Ru Qian Guan, 身如铅灌), whole-body
unity as if your body is forged in one piece (Ti Zheng Ru Zhu, 体整如铸), whole-body harmony (Zheng Ti Xie Tiao, 整体协调) as
a merging of your musculature to act as one coordinated unit (Ji Rou Ru Yi, 肌肉如一), and honing of
your nerves and senses to a high level of sensitivity as if your hairs are standing on ends, interacting with the surrounding
(Mao Fa Ru Ji, 毛发如戟). These “four touchstone states of perception” (Si Ru, 四如) are prerequisites
for advance Yiquan training. We will illustrate using the small-step hold/press posture.
Small Step hold/press Posture (Ding Ba Bu Fu An Zhuang, 丁八步扶按桩)
Building on the foundations
of the “four touchstone states of
perception” (Si Ru, 四如), further development would merge relaxed-standing
(Fu An Zhuang, 扶按桩), trial-and-feel (Fu An Shi Li, 扶按试力), and power-discharge (Fu An Fa Li, 扶按发力) into one integrated exercise. Starting with the basic small-step
posture (Hun
Yuan Zhuang, 浑元桩), rotate your forearms to palms facing down and point your
fingers to the front with your lead hand a little higher and forward of your rear hand.
Prop your elbows out (Heng Cheng Shu Bao, 横撑竖抱). Visualize imaginary springs connecting your fingers to a distant
wall, connecting your wrists, connecting your wrists to your neck, connecting your knees, and connecting your feet to your
head (Xiang Lian Xiang Zheng, 相连相争). Keep all joints slightly
flexed and unlocked (Si Qu Fei Zhi, 似曲非直) to use “curved physical form
to deliver linear force” (Xing Qu
Li Zhi, 形曲力直). Use
this small-step posture for Stage
Three and Stage Four training.
Stage Three (Qiu Tan Li, 求弹力): Develop
your spontaneous reflexes (Fan Ying, 反应) and cultivate your whole-body spring-like force (Tan Li, 弹力) by mentally induced
whole-body/core oscillation. The goal here is to develop every body element/component to behave like an “elastic
spring” (Bian
Ti Si Tan Huang,
遍体似弹簧).
Any maneuver may be used; small magnitude motion against light resistance
is the key training measure.
Start with large magnitude
slow motion trial-and-feel (Shi Li, 试力) and gradually advance towards small magnitude fast motion
trial-and-feel and power-discharge (Fa Li, 发力). Slow motion large “swinging” movement training can not cultivate Tan Li (弹力). “Spring-like” or “whip-like”
power-discharge (Tan Li, 弹力) is cultivated
and nurtured by practicing rapid relaxation/tension exchanges (Song
Jin Zhuan Huan, 松紧转换) against light resistance, switching your awareness and focus attention
from using force in one dominant direction to another by using small rapid whole-body/core oscillation (Dong Dang, 动荡), taking up power from the ground. Initially, you may select to practice in one single dimension, i.e., switching from downwards to upwards
(Fu/Chen, 浮/沉), or from backwards to forwards (Tun/Tu, 吞/吐), or laterally from close to open (Kai/He, 开/合), reversing the internal/external isometric-opposing-forces-pairs
(Nei Wai Zheng Li, 内外争力), compressing/extending the imaginary springs to generate
this “spring-like” force. When cultivating this Tan Li (弹力),
it is important to not to put too much weight on your heels (Zu Gen Wei
Xu, 足跟为虚) to maintain whole-body elasticity. Let us illustrate this training with an example in the
upward/downward direction:
1.
Visualize standing in waist deep water with your
hands and forearms resting on top of a floating wooden ball. Pushing off the
ground with your lead foot, twisting knee outwards (Wai Luo Xuan, 外螺旋), shift your weight backwards and downwards, stretching the imaginary spring connecting
your knees; press the imaginary wooden ball downwards, backwards, and outwards. Do
not lean backwards at your hips; your backward movement should be like pushing your back backwards into a vertical wall by
flexing your hip joint (Tun, 吞; Chen, 沉); your shoulder and your hip moving backwards simultaneously. Immediately, grasp the imaginary wooden ball, pushing off the ground with your rear
leg to shift your whole-body upwards and forward, twisting knees inwards (Nei Luo Xuan, 内螺旋), compress the imaginary spring between your knees, lift the
imaginary wooden ball upwards to shoulder level (Fu, 浮) and throw it forward like throwing a basket ball (Tu, 吐). Keep the magnitude of your motion small (invisible).
2.
Visualize you have an imaginary pulley attached to the ceiling; one end of the imaginary rope passing through
this pulley is attached to an imaginary heavy weight; hold the other end of the rope lightly with your hands. From a completely relaxed whole-body harmony state, shift your weight backward and downward, twisting your
knees outwards (Wai Luo Xuan, 外螺旋), stretching
the imaginary springs between your knees (Xiang Lian Xiang Zheng, 相连相争) and compressing
the imaginary spring between your rear hip and the ground. Simultaneously, as you move your hips backward and downward, snap
your hands downward with inward twisting of your forearms (Nei Luo Xuan, 内螺旋), focusing
your power discharge downward, backward, and slightly outward (Hou Xia Fa Li, 後下发力). It helps to visualize tensing and squeezing a balloon between your chin and your neck
while pushing slightly upward at the top of your head. Visualize using your whole-body
to pull up the heavy weight; do not lean backward. After momentarily tensing
your entire body, immediately shift your weight forward and upward; twist your knees inwards; twist your forearms outwards
(Wai Luo Xuan, 外螺旋) and “push” (Song, 送) the imaginary rope upwards and forwards letting the imaginary heavy weight back down. Relax completely and return to your relaxed spring-like whole-body harmony state.
When you have mastered the neuromuscular coordination, you may select
to develop your Tan Li (弹力) in the upward/downward direction.
Begin by reducing the magnitude of your forward/backward movement and increase the speed of the downward/upward reversal
with appropriate twisting of your limbs (Luo Xuan Li, 螺旋力). You cultivate and develop the up/down Tan
Li by
the practice of Zheng Li (争力), reduce the magnitude
of your movement, and increase the speed of your upward/downward oscillation (Dong Dang, 动荡).
3.
You will need a partner for developing your spontaneous
reflexes. Stand in the small step hold/press posture (Ding Ba Bu Fu An Zhuang, 丁八步扶按桩) facing your partner
with his hands on your shoulders.
Without telegraphing his intention, he should “suddenly” push your shoulders downwards towards your rear. Absorb this push by sinking backwards (Tun, 吞) slightly and immediately use your whole-body spring-like elastic force
(Tan Li,
弹力) against
this external resistance force to “knock” your partner backwards (Tu, 吐). Your
reflexes must be very fast in order to meet his force before he withdraws it.
Note: Tan Li must be built on the foundation of whole-body balanced-force
(Zheng Ti Hun Yuan Li, 整体浑元力), merging all force components as “one” (Quan Shen Li Yi, 全身力一). For any maneuver, you must
synthesize and coordinate your action muscles into total harmony (Ji
Rou Ru Yi, 肌肉如一) to provide a clean path of force propagation from the ground and maximize the relaxation of your antagonistic
muscles to minimize interference to attain extreme speed.
Thus,
the progression of Stage Three development is to merge the force components into
one whole-body force (Zheng Li, 整力); from this,
you cultivate the spring-like force
(Tan
Li, 弹力) and later on the explosive power discharge (Bao Fa Li
, 爆发力). This is accomplished
by synthesizing relaxed-standing (Zhan
Zhuang, 站桩),
small slow motion and small fast motion trial-and-feel (Shi Li, 试力),
and power discharge (Fa Li, 发力). The spring-like force (Tan Li, 弹力) is the result of
fast relaxation/tension exchanges (Song Jin Zhuan Huan, 松紧转换) and
rapid whole-body/core oscillations from switching force directions (由整体动荡中求弹力). Keep the magnitude of your motion small (Quan
Da Cun Jing, 拳打寸劲); if it is too big, your frame will deform (Xing San, 形散) and your power-discharge will not be “clean and crisp” (Cui, 脆). Comprehend and employ proper relaxation
and tension; design training procedures to achieve your goal; if you relax and/or tense in-appropriately, your switching speed
and spring-like force will suffer.
In Part III,
we will explore the explosive power discharge
(Bao Fa Li , 爆发力).
11:53 am pdt
|
|
|
2009.09.01 |
2009.08.01 |
2009.06.01 |
2008.11.01 |
2008.08.01 |
2008.06.01 |
2007.11.01 |
2007.10.01

|
Thank you for visiting. I'll make changes to this site on a regular basis, sharing views, concepts,
training experiences,...whatever occurs to me. Check back often!
|
 |