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INTRODUCTION

While I (Rick Wilson) am writing this article it is with the incorporation of writings and information by my good friend and training partner Rick Bottomley. We have trained together so long I cannot distinguish which thoughts were his and which were mine or where we may have read them. It would be totally inappropriate to write this article without giving him the credit he is due.

Striking with power is a layered learning activity. By this I mean there are many layers you incorporate when you want to generate the most effective and most powerful strike.

When you layer the methods you have to remember when teaching that layers are added one by one. No beginner is ready for all the layers.

We will be addressing numerous layers here and while each plays a part it is the connection of the whole that results in the greatest power.

Not all the layers will be appropriate or applicable to every type of strike.

The sections will be broken out for simplification of the explanations.

1. The Force Equation
2. Mass and connected mass (ground path)
3. Six Harmonies.
4. Loosening vs. relaxing.
5. Yin and Yang.
6. Sinking.
7. Knee action.
8. Spiral rotation.
9. Swallowing and spitting (expansion and compression or compression and expansion).
10. Body Whip.
11. Conditioning your weapons.
12. The Tan Tien.
13. Mind intent.
14. Fajing.
15. Short Power.

The Force Equation

There is no way to discuss the force equation without getting into some real mathematical technical material. (This is why I leave it to Rick Bottomley, an engineer, to explain.) Although it may get technical it is very important material as to why the generation of power in striking is approached the way we have chosen to approach it.

The basic force equation:

F= M x A

To expand the formula to the components of acceleration:

F= M ( Vd/td)

Force = velocity dissipated over the time it takes to dissipate it.

This is where penetration comes into the force equation. If the strike does not penetrate the target it will not dissipate the velocity of the strike into the target -- no power.

To illustrate the effects of improving sections of the force equation we will throw some numbers in:

F= 10 x 10/1 = 100

Doubling the speed will cut the time it takes to dissipate the velocity into the target in half therefore:

F = 10 x 20/0.5 = 400

So by doubling the speed you actually increase the force by a factor of four. A great improvement. (We will return to speed in a moment.)

If we think about it, most people walking into the dojo are probably at about half their potential speed so doubling the speed factor (increasing their force by a factor of four) is a realistic view.

Most people walking into the dojo do not hit with anywhere near their potential mass. For the most effective strike we always approach striking from the angle of teaching a small person to strike hard.

For illustration let us use the example of a woman who weighs 120 pounds. She hits with just her arm or about 10 pounds:

F = 10 x 10/1 = 100

We teach her to hit with almost all of her body or 100 pounds:

F = 100 x 10/1 = 1000 A factor of 10.

(A bigger person will have even more gains.)

So you can see that mass becomes very important as it can lead to great gains in power.

To deliver mass you must learn to connect each move or your mass is not delivered into the target.

The problem we all run into is that there is a finite amount of mass and speed.

Speed:

Speed is an accumulated factor. For example standing still (the speed factor most worked on):

Vh + Vs + Va or the speed your hips are moving plus the speed your shoulders are moving plus the speed your arm is moving.

You can increase speed with Vb or the velocity of your body, often referred to as momentum. It is also the speed factor not often worked on enough. You can have the fastest punch in the world, but you have to get there to deliver it. Often kata is done in a manner to train you NOT to use this portion of speed i.e.: the elbow strike – step in STOP then elbow. You have lost all the body momentum – wasted power. For a far more effective strike you need to “land” on the elbow.

What else can we squeeze out of this stone? Vg and Vo. “V gravity” or the sinking that has been discussed on this forum. Great stuff because it is free and just waiting to be used. “V opponent” or catching your opponent while they are moving in. This can lead into a discussion of timing which is what can make you look faster than you are (also begins to add their mass into the equation).

Everything is linked. If you have Vb + Vh + Vs + Va + Vg + Vo then you have managed to link all of these factors together or they are all CONNECTED. If you are connected then you will deliver a maximum amount of mass.

The way to add to the ability to connect is through focus: mental, intent, chi etc. Yes chi. Whether you believe in it or not the thought process of directing chi can help you to focus intent and become connected.

This all leads to more fluid connectivity.

So all aspects are important.  By learning to strike with mass you can increase your power by a factor of 10 or more. By increasing speed you can increase your power by a minimum factor of 4. After that speed leads to more mass and more power. Proper striking can lead to increasing your power by a factor of 14!

Remember that the “speed” is the speed of the weapon at the time it hits the target. Whether it has been going that fast for two feet or two inches does not change the effect. Those who work on “short power” come up to speed very quickly.

Time on Target:

The addition of mass to a strike is often taught through the concept of “time on target.”

Time on target is the “sticking” of the strike to the target without retraction. This ensures that ALL the mass has been delivered before the strike is retracted.

This seems contrary to the force equation, which says you should retract your strike as quickly as possible so that the force is transferred as quickly as possible.

It is NOT a contradiction.

Most people learning to strike will try to retract the strike quickly but do so BEFORE their mass (and therefore the force of the strike) has been delivered.

Time on target ensures the student learns to deliver all their mass. Only when they understand this can they work on quickly retracting the strike AFTER the mass and force has all has been transferred.

Another factor in “time on target” is the “crumple” effect. This is the effect a true mass strike has on a human body. The body often collapses or crumples. In other words the aggressor’s body in essence retracts from the impact increasing the force delivered.

Time on target trains delivering with mass and connected mass.

To give an example of the effect of mass consider a person lying on the back prone on the floor.

If you stand above them and drop a foam ball on their stomach they will not have any concern for their safety.

Even if you throw the foam ball fast at their stomach they will not have any concern for their safety.

However, if you were to drop a bowling ball they would start to have concerns and they most certainly would not want it thrown down on them.

There are a few reasons but one of the main factors is that the bowling ball is much heavier and that mass can harm you.

So for the force equation we see the effects of speed and the effect of mass; however, mass is much more effective when it is “connected mass.”

Connected Mass

To illustrate connected mass take a pole (Bo, broom handle whatever) and hold it horizontal laying flat on your open hands while you stand in the center of a room.

Now have someone run their torso into the end of the pole.

What happens?

The pole slides on your hands because it was not connected.

Now take the same pole, grip it tightly and hold it horizontal with one end braced against a solid wall.

Okay, so now who wants to run their torso into the end of the pole?

No sane person because the pole is now connected.

Rent Mel Gibson’s movie “Brave Heart” and watch as they place the ends of the pikes into the ground and allow the war horses, weighing a few hundred pounds, impale themselves on them (the poles).

This is what connected means.

This is very important for dealing with aggressors coming at you with true intention to harm you. Your strikes have to cut through to their core.

Delivering with speed is important.

Delivering your mass is important.

Connected mass is vital and to connect mass you must learn the internal aspects of finding a “ground path.”

Ground Path

Connection means having a ground path or line from your weapon through your body to the ground. Anyone having been pressed on or pushed on Sanchin will understand directing the force through the body into the ground.

The effect of having this ground path is similar to holding the end of a two by four against a wall and then asking someone to run into the other end. This is the added effect of having your mass connected.

Peter Ralston in one of his books asks the question: When you punch someone what do you hit them with? Answer: Your foot.

Ground path refers to an internal line that runs from the striking weapon (palm or fist or elbow etc.) through the body to the base of the feet.

One factor when you strike into this person is that your force meets their force and, if their force is sufficient, then for a nanosecond your force is directed back into you. If it goes back into to you and goes through you then their force wins out.

However, if it goes into to you “bounces” back to them then your force will win.

So to do this there must be a clear line from the striking weapon through your body to the ground.

The mass of the strike that is delivered is a factor.

It is the mass that is delivered that is affected by connectivity and alignment or the ground path.

Finding the ground path begins first with reviewing you alignment and finding any disconnects. Disconnects are areas of weakness where when the power is returned to you it escapes the body and therefore cannot be “bounced” back at the aggressor.

One common one seen is the elbow out position in striking. Following the line we can see it escapes out the misplaced elbow.

Another common one is the raised shoulder. Again following the path you escape the body at the raised shoulder.

Another common one for styles that use a large horizontal hip rotation is the raised rear heel. The power cannot connect back to the ground and escapees the body.

The Ground Path:

A good drill to begin to experience the ground path is to simply walk up to a wall and assume a comfortable stance. Now place your palm or fist against the wall.

Now simply push on your fist or palm.

Try doing it picking your rear foot up.

Try doing it picking your front foot up.

Try having your elbow out.

Try raising your shoulder.

Try to find a comfortable relaxed alignment that connects you weapon with your feet.

Can you feel the path through your body from the weapon to your feet?

Never extend passed your base. A common fault for most beginners is to reach for the target. This stretches your centre of gravity out based your base (the area between your feet). When you do this you will always disconnect from the ground and you will only be hitting with the upper half of your body.

Here is another drill to experience the ground path:

This calls for some of that internal thought process and listening.

1. Take a left stance and extend your right arm making a fist.

Have a partner place their palm on your fist and SLOWLY PRESS HARD. You must feel the pressure and loosen so that you can find the ground path that directs this into (for now) your rear foot.

Stay loose and feel how the harder your partner presses the more it just presses your rear foot into the ground making you even more rooted and stable.

• Take the same position only this time let you elbow move out of alignment “slightly” horizontally.

Have your part stay aligned with the “face” of your fist. So they would move slightly to face more to YOUR left.

Again have a partner place their palm on your fist and SLOWLY PRESS HARD. You must feel the pressure and loosen so that you can find the ground path that directs this into (for now) your rear foot.

• Take the same position only this time let you elbow move even more out of alignment horizontally.

Have your part stay aligned with the “face” of your fist. So they would move to face more to YOUR left.

Again have a partner place their palm on your fist and SLOWLY PRESS HARD. You must feel the pressure and loosen so that you can find the ground path that directs this into (for now) your rear foot.

Even though you are no longer in a “direct” path from the pressure on your fist to your rear foot you need to be able to find that ground path to connect your mass.

• Keep repeating this moving your elbow more and more out of alignment.

Think circular.

Connection through momentum (inertia):

There are times when you are driving forward in an attack and when you strike you do not have a solid connection to the ground yet your strikes seem to be very effective. This is what we call “connection through momentum or inertia.”

For example if I am at a carnival taking part in a side show game where I throw a baseball at dinner plate, when I hit a dinner plate the ball breaks them even though it has no connection to the ground.

What happens is that in that nanosecond here the plate tries to send the force back into the baseball the baseball is traveling so fast it overcomes that force just as a grounded strike would.

However, if you throw that same baseball at a telephone pole the momentum of the baseball is not enough to overcome the grounded pole and the baseball bounces off.

Connection through momentum or inertia will work just make sure you are the bat and not the baseball.

When we talk of finding the ground path we will have to have our body aligning properly. Understanding the six harmonies is one of the best ways to discover proper alignment and movement harmony.

The Six Harmonies

Body Harmony:

Body harmony means that certain parts of the body should be coordinated with other parts of the body.  For proper self protection you must use your entire body in a coordinated manner for the delivery of the maximum mass in your strikes. Follow these six principles for harmony of the body.

External:

1) Feet harmonies with the hands,

2) Knees harmonies with the elbows,

3) Lower inner Qua (line between the pelvis and the thigh) harmonies with the upper inner Qua (shoulder joints),

Internal:

4) Spirit harmonies with the intent,

5) Intent harmonies with the Qi (chi),

6) Qi harmonies with the internal force.

Movement:

Harmony of movement is for the most effective self protection. Move the body (while still maintaining the body harmonies) in the order laid out. This leads to proper body alignment as well as deceptive movement.

1) Hand then

2) Elbows then

3) Upper inner Qua then

4) Lower inner Qua then

5) Knees then

6) Feet.

Generation of line of force:

 While maintaining the six body harmonies, and moving with the six movement harmonies, you must generate force from the following order.

All this may seem impossible but proper slow practice of the forms will allow you to feel these expressions. Coiling, sinking, opening, closing, swallowing, spitting all of these further principles allow the expression of the overall six harmonies.

1) Feet then

2) Knees then

3) Lower inner Qua then

4) Upper inner Qua s then

5) Elbows then

6) Hands.

The six harmonies is one of the best ways to learn to move and strike with the entire body.

For example, you can swing your arms without moving any other part of your body.

You can turn your shoulders from side to side without moving any other part of your body.

You can turn your hips or waist without moving any other part of your body.

You cannot turn your knee and elbows coordinated together without moving your entire body.

This is what makes the six harmonies so powerful. They unite the body as a whole.

Some writings of the six harmonies will state to harmonize the hips or waist with the shoulders.

While this helps harmonies the body it misses entirely the fact that there are joints at the shoulder and connecting the pelvis with the thigh. (What is often translated as waist is often the qwa or at minimum the pelvic area.

So while harmonizing the hips and shoulders helps with harmonizing the body whole if we look at the functions of the qwa we see what is being missed.

The qwa is a Chinese word believed to refer to the line of a joint.

The upper inner qwa is the line between the shoulder joint and the chest. If you spread your arms the qwa “opens” and if you bring your arms together the qwa “closes.” The upper outer qwa is the line between the shoulder joint and the back.

The lower inner qwa is the line between the inner thigh and the pelvis. If you spread your knees the qwa “opens” and if you press your knees together the qwa “closes.” The lower outer qua is the line between the outer thigh and the pelvis.

The opening and closing of the qwa is a powerful action in martial arts and is used to enhance power. The upper qwa is the main player in swallowing and spiting (more on this later under swallowing and spitting.)

So if you harmonies the lower inner qwa with the upper inner qwa you will also harmonies the hips/waist and shoulders but you will do more than harmonies them like a block of wood being turned they will expand and contract as well like an accordion or bellows.

Leo Blinn often quotes an old Chinese saying about the qwa:

The animal that most clearly shows this use of the internal survival power of the Opening and Closing of the Qwa is the Tiger.

It crouches 'Closes' and then leaps and 'Opens' all its Qwa, its Pelvic Qwa Opens, its Spine Qwa Opens, its Arm Qwa Opens (its front legs), its Leg Qwa Opens (its back legs), all four of its paws Open to release its claws (the Hand and Foot Qwa). It also Opens its eyes and jaws and roars.

On impact with its prey all the Qwa 'Close' at the same time, there is incredible local damage from its fangs and claws but more than this, the Closing movement of every part of the Tiger's body as it impacts with its prey causes a devastating traumatic shock. When one practices one's Taiji at this level the whole body feels like a pair of giant jaws Opening and Closing. The feeling is like the whole body is breathing, like the whole body is One Qwa, Opening and Closing.

To accomplish proper alignment and harmony you must be “loose.” Often in Martial Arts we are told to relax but this is not really what we want.

Loosening vs. Relaxing

The term “song” in Chinese martial arts is often translated as relax but that may not be an accurate translation. The more appropriate translation is “loosen.”

The shift in explanation of the Chinese tem “Song” from relaxation to loosening has great meaning for me. Not to make it sound like I even knew about the Chinese term “Song” but we have all be told to relax in our martial art.

It has made a distinct difference in what I do and it makes phenomenal sense to me.

How many people have tried to spar or fight “relaxed” and been handed your as… er um head because you could not react fast enough to the attack?

Trying to relax and project intent just did not seem to mesh for me and it created an internal conflict.

It seems to me that relaxing drew yourself inward and somehow disconnected you from what is happening. No matter how you let your attention expand there was something that (while perhaps very beneficial in mediation) was missing when trying to convert that “being” to fighting.

Loosening on the other hand is like the tiger Van Canna speaks of. Everything has a certain “relaxation” to it but the threading of your body into a total unit maintains the combat ability required. Your attention is still well connected to all that is around you and to your own body. You can use your mind to create intent to drive your inner energy to execute with the body.

You can still project and tune into intent.

This is a very different feeling and one that I believe holds great promise to bring that calm amongst the chaos I refer to. Loosening is indeed a “calm” state of being, but you are still tuned into the chaos and can react to it.

When we loosen there must also be a loosening of the mind. This is where we “shake off” those distractions and settle in to the task at hand.

This loosening is also not a disengagement. The mind is “present” for all that is happening. The mind directs the intent.

Trying to relax and let go of everything is good meditation but in self protection I wonder about letting go of everything. If you do not have a thread connecting you to the threat you can “lose” sight of it and therefore lose the encounter.

A quote from Pang Gai Noon Ryu Karate-Do Seibu Juku :

“Uechi Kanbun liked the "half hard-soft" concept evidently, and used this as a name for what he taught when he started teaching in Wakayama Prefecture in Japan. Indeed, it is a good name, derived from an elemental concept in Asian philosophy and budou, "in-you" or "yin-yang" and expresses the forcefulness yet fluidity of this particular art.”

The forcefulness yet fluidity of this particular art grabbed my attention as well as the reference to the concepts of yin-yang which is near and dear to my practice of Uechi Ryu.

It is important to note the two terms forcefulness and fluidity. These are difficult to achieve simultaneously. Often when someone throws a very strong strike in Kata the recoil seems to freeze them for a moment. The art of taking the energy of the recoil and transferring it to the next move has been lost for the most part.

Think of a relaxed strike. Let me clarify some points. I do NOT tense or harden my muscles at the end point. I know some believe this is an expression of Kime but I disagree. Kime is the focus of all your energy on the strike. No where does it say tighten all your muscles, which by the way actually stops your strike and therefore the transfer of force.

Here is a test I first read in one of Peter Ralston’s books. Stand a safe distance away from a wall and thrust your strike out tightening those muscles at the extension.

Now holding the extension walk up to the wall until your finger tips touch, then retract your arm.

Then SLOWLY, let me repeat SLOWLY with every muscle relaxed reach that strike back out and see just how much distance you gain.

This also allows the strike to reach the natural end point where the back muscles (not the shoulder) stop the extension.

Now (getting away from that wall) relax all your muscles and let a smooth FAST strike go but DO NOT RETRACT.

If you do this correctly you will see that the end point of your strike is farther away than the extension point. This is because the natural elasticity of the body has reached its end point and “snapped” back.

So, at the natural end of our strikes elasticity the strike has delivered all the force it is ever going to. In other words – it is finished. So there is absolutely no advantage to leaving the strike out there.

So, when the strike begins to retract all on its own is when YOU add in the retraction body mechanics. You will find the strikes becoming very forceful and fluid.

The energy created in the strike is not lost but utilized for the retraction.

NOW, that retraction has an excellent build up of energy and we MUST take advantage of it by channeling it into the very next move.

To fail to do this is to waste or loose all that energy (force) that was built up.

IF we channel this energy and force into the next move we find the Kata begins to round or loose its rough edges (stops and starts). In fact it becomes faster without speeding up.

We also find that many moves also are more forceful because there are delivered relaxed and they have the build up of energy behind them.

By utilizing this energy you can greatly increase the forcefulness of your Kata while at the same time increase the fluidity of it.

Regardless of how you perform the actual moves this is an excellent goal.

Yin and Yang

If you took one of those old hula hoops and put it over your upper torso so that it was pulled against your back and held out from you with both hands (horizontal with the floor). Much like you used to start to spin them around your waist but higher just under your shoulder blades.

Now to do this with proper body mechanics you do this with your knees but for simplicity I will just work at with arms. For illustration you can get into the horse stance for