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).

 

      

  

 

 

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).