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).