By John Bracy

The essentials described here are from the internal martial art teaching methods I developed over the last thirty years as a full time (+) professional. This was not something I did as a hobby, and for at least fifteen of those years I ran the largest internal martial art school in the U.S. These essentials --what determines whether or not a student will be able to apply the internal martial arts in real combat-- are some of the most important training breakthroughs I developed over those years. They explain the gaps in training many experience and help the serious internal martial artist and future master learn to use his or her art in true close combat. In fairness, these internal art teaching method I developed might not be the only answer to the question of making the internal martial arts relevant and real, but through years of experience and presenting this material at numerous seminars and workshops around the world, these methods have been proven to work, improve both the student and already advanced practitioner's ability, and are always well appreciated.

Three levels of information are presented.

[Registered users view free video on Close Combat Power training developed by Master John Bracy]

WARNING:  DO NOT ATTEMPT THE INTERMEDIATE AND ADVANCED LEVEL DEMONSTRATIONS IN PHOTOS OR LINKED VIDEOS WITHOUT PROPER TRAINING, PREPARATION AND SUPERVISION. These are potential dangerous and demonstrated by highly trained professionals. Advanced and intermediate level information is presented for research and discussion purposes only.

Many of the approaches I use for internal martial art training are unique. I have found that because they are original and challenge the conventional way of doing things, that some practitioners are threatened. I sincerely encourage both serious student and more advanced dedicated professional to look at the videos and drawing, read the material and think about the material with an open mind and decide for him or herself. The principles I describe here will help you make the internal martial arts you love and have faith in work in real combat.  I hope the material inspires thought on the subject and help the sincere student weed out the knowledgeable internal martial artist teacher from the dilettante.

(I will eventually start a discussion board for students/ teachers to share thoughts and stories about these ideas, but I want to organize the initial layout myself and not trust it to an assistant-- and right now there's too much going on-- be patient.)

1. Empty Full

How Fu Zhong-wen (Fu Zhongwen), senior disciple of Yang Chen-fu describes the importance of "Empty-full"

EMPTY-FULL describes a set of body relationships that are essential to the ability to use internal martial art in true close combat. [REGISTERED USERS READ MORE ABOUT EMPTY-FULL]

[add video of relaxed internal art strike and counter against grappler attack here ]

2. Tensegrity     The term was coined by the famous architect Buckminster Fuller to describe how certain structures bear weight. A tensegruous structure is weight bearing due to a configuration that alternates tensional with strut elements. The classic example of tensegrity is a sailboat's ability to maintain an upright mast. In a case like this, it's not the strength of the mast the holds it upright, but the interaction of the mast with flexible elements such as the boat's guide wires.

In 1977 D.L. Robbie, MD, proposed tensegrity as a model to explain how the body, like the tensegruous structures designed by Fuller, was likewise designed to carry weight. Applying the tensegrity model to the human frame, Robbie argued that vertebrae of the spinal column, in the same way as a sailboat's mast, acted as discontinuous compression elements, and that the muscles, tendons and ligaments all act together to form continuous tensional system. Robbie's theory is supported by consideration of the design of the vertebrae are not structures designed to support weight, but the instead that the ligaments and tendons around the spine lift each vertebra off the one below it. As I would eventually discover, this principle not only has tremendously important implications for both martial artists and pain patients, but helps explain and rediscover the lost secrets of the great Tai Chi Masters.

Around 1996 or '97 I began working with principles of body connection training in new ways. By 2003 I had perfected several systems of body "suspension" and "connection" training. The method I developed was inspired by "surfers." The large studio I operated at the time was only a few miles from the southern California beaches. Consequently over the years a fair number of students were surfers. I observed that, especially in the case of the serious surfers, there was something uncanny in the way they moved and learned more advanced "connection" faster than other students. In general they hit harder with less effort and more connected power than others. I wanted to find out why.

Eventually I discovered, as suggested by Robbie, that the body is more powerful and connected when tensegruous. However, what Robbie didn't understand was that, although the body is designed to be tensegruous, in most cases with the exception of some athletes like surfers and rock climbers, the body denatures and does not maintain tensegrity.

Since around the year 2000 I have been working with ways of reestablishing tensegrity for a variety of applications in and out of the martial arts including, but not limited to boxing, running, golf and basketball.

[ PLACE LINK TO TENSEGRITY TRAINING VIDEO HERE ]

3. Intercostal (ribcage) mechanics

The main reason that many internal martial artists can't hit very hard is because the way they depend on dominant shoulder muscles to execute a strike.The beauty and the true potential of internal martial arts is revealed though interconnected total body strength. The secret of merging power and relaxation lies at the heart of internal martial art and is best expressed through the words of a Taoist abbot recorded by sinologist John Blofeld,

"Calmness in the Heart of Movement is the Secret to all Power."

I'm sure most of you "old timers" in the field are still amused by those who follow the mythos of a great magical striking power by a Hsing I Chuan (xinghyiquan) or bagua zhang (baguazhang) practitioner who is unwilling or unable to demonstrate the purported skill. It is embarrassing to our industry to hear these individuals talk about their amazing power, when they are unwilling to hit or be hit.

As an example, I remember meeting a senior student of a somewhat known instructor a few years ago. I observed him teaching a class and before I departed, I asked him to demonstrate a peng ch'uan (bengquan) on my shoulder. He looked at me incredulously and kept asking " are you crazy... are you crazy?" My relative sanity aside, I find it amazing that the internal martial arts is the only profession where you could teach someone for years without a demonstration of skill. This situation is somewhat akin to a piano teacher practicing on an imaginary piano keyboard that emanates no sound. The teacher can correct you for a "reasonable" fee, but you still have no objective feedback about whether or not you hit the right chord. That's just like someone claiming expertise who won't demonstrate his martial skill.

What's wrong with a punch or take-down demonstration to the potential serious student? If internal martial arts is going to survive in the era of MMA real testing, then we must also develop ways to test and "prove" our ability. The younger generation demands real knowledge and will no longer accept the magical power of a ba gua palm on faith alone. Remember the story about the highly regarded Cheng Man-ching when he asked his master Yang Chen-fu about the application of a particular technique? As I recall, wasn't the next thing Cheng remembered was waking up next to the wall that he was knocked against? Even after years of devoted practice, if your power doesn't work, find out why. Have the courage to find out what's missing and fix it.

As for the the technicalities of the internal martial arts, for most people, one of the single most valuable things to do to improve your power is to incorporate intercostal (ribcage) mechanics into your strikes and take-downs. Consider these two photos.

I took these while teaching the student in the photos to incorporate abdominal and intercostal muscles into his punch instead of relying on mostly shoulder use. The left photo represents his standard way of throwing a punch before correction. For martial art purposes, the intercostals are the greatest unused set of muscular mechanics in the body. The intercostals are the meaty stuff you chew on when you are enjoying baby back ribs--the muscles in between the bones.

However, in most cases for those of us living the civilized life on flat and level ground, the ribcage sits there as a dead, unused system. The internal martial artist I know, Chinese master or otherwise, who are effective with their art learn to incorporate rib cage-intercostal training into their training regimen.

It is interesting to observe the body change of the student in the above set of photos a few years later after consistent work with this principle of muscle development. Below, the same student is shown applying a take-down and choke that incorporates the ribcage training. This photo taken a few years later shows how he gained increased power and ability to express strength through significant body change resulting from the new training. At first glance it's hard to believe that it's the same person in the earlier photo sets.

[FIND OUT MORE ABOUT THE INTERCOSTAL/ RIBCAGE LESSONS AVAILABLE FROM OUR ON-LINE STORE]

OTHER BASIC ESSENTIALS

4. How hand shape determines power and ability

How-and why- to hold the hand in Ba Gua (as well as all internal arts) is critical to understanding the expression of power. 6min48 sec-30 day on-line subscription- $5.00 Add to Cart

Depending on how the hand and wrist are held, the angle and shape either enhances or limits the expression of power. As a general rule, exposure of sensitive blood and nerves of the inside of the hand/ arm is not a wise (especially as unconscious) default to develop. More details on this on-line lesson

Intermediate Lessons

5. Neutralizing Force

PHOTO: LINES OF SUBTLE FORCE DIRECTED AGAINST AN ATTACKER.(From John Bracy's "Neutralization" DVD

The defining test for internal martial art combat was described by Li Yi-yu around 1880 when he penned what has become known by many as the "Tai Chi Classics"

Consider the following lines by Li Yi-Yu in the nineteenth century which are among the earliest descriptions of Tai Chi:

. . yin and yang must complement each other
. . . Movement arises from stillness, but even in movement there is a stillness.
The spirit leads the ch'i in its movement. . .
Four ounces can defeat a thousand pounds

Li, the first to describe Tai Chi (taijiquan) as a Taoist yogic, "mind" and"chi" practice provides future generation the ultimate puzzle and challenge of the internal martial arts. Li describes an art where "only four ounces of force can defeat a thousand pounds."

Although some believe the "secret of four ounces defeating a thousand pounds" is only metaphor, I believe that Li Yi yu was was the first to describe a new way of training that developed close combat power and ability through apparent effortless. When Li said, use the mind instead of force, he was trying to describe new way of effective combat engagement that relied on minimal effort, a way of "using the mind to defeat the opponent" by interrupting the opponent's ability to use strength, or "NEUTRALIZATION."

Critical to the "neutalizing force" lesson, the most important attribute to manifesting the principle is the ability to be calm and relaxed in the midst of combat. Stillness allows the mind, instead of being fearful, to engage with an attacker in new ways. It's a great feeling, but difficult since you must suppress otherwise automatic feelings such as fear and anger. It's a great way of handling any type of challenge more effectively and I hope to one day be able to apply this principle more generally to more of my life.

[WATCH THE TRAILER FOR JOHN BRACY'S "NEUTRALIZING FORCE" DVD]

ADD ORDER DVD BUTTON

6. Wai San He - the "Outer Three Relationships"

"Wai San He" refers to timing and body relationship principles. Because we currently have a DVD project in production on the subject, I'm not able to describe the mind-blowing shortcut behind wai san he training in detail right now. It seems that most translators of Chinese boxing classics missed the entire point of wai san he ("he" is pronounced "ha.") which is most commonly merely defined as the relationship between the wrist and ankle; elbow and knee; and shoulder hip, without hint to the principle of physical mechanics that the term describes. Its true beauty  can be described as the master key to how, when engaged in dual person close combat, to deliver to the opponent, what appears to the opponent as a powerful and seemingly invisible strike. Off the top of my head, when teaching this principle to instructors around the world, I don't remember anyone who could block the strike when starting out from less than five feet away--even martial artists with many years more experience than me.

If you want to try to unravel the secret on your own, here's a hint: study the early knockouts of boxer Roy Jones, Jr.  Jones (whether consciously or unconsciously) epitomized the skill in the first fight highlights depicted on his DVD, Roy Jones Jr's "Greatest-Knockouts."  [AMAZON LINK]

The serious internal art fighter will want to study his early knockouts. Although he (probably) didn't know what it was called, he uses the method perfectly in, I think the first four or five knockouts on the DVD.(When you watch the DVD, see if you can figure out what he misses later and why the knockouts aren't quite so impressive as the earlier ones. In the early knockouts, also carefully watch the expression of confusion on his opponent's face.

As way of introduction, wai san he (the last word is pronounced "ha") appears in the classic texts, especially by Sun Lu-tang, but is rarely more than translated. Literally it translated as outer three relationships. These "relationships" are the wrist to ankle, elbow to knee and shoulder to hip. When perfected, the mechanics help you deliver a powerful, what appears to the receiver as an invisible, strike and explains why correctly taught internal martial arts can be an effective close combat system.

Advanced lessons

7.  One pointed Mind

Note this advanced level lesson is very dangerous to the practitioner without proper training and coaching. Force should NEVER be felt on the body and serious injury may result from premature attempt. Presented here for research and discussion only (and the first time presented on the Internet). Although at this time, we only teach this principle to students who have undergone the requisite body training, but we're working on a system that can be taught to prepared and qualified individuals over the Internet.

One of the highest expressions of the merging of Taoist yoga with the martial arts is the ability to project power through a relaxed body to a highly focused point.

The technique can only be accomplished through 1) sufficient understanding the body's structure and energy system, 2) training the proper mind-body training frequency [ADD LINK TO TILLER'S STATE ARTICLE HERE] and 3) and directing force like a laser beam through the body.

The goal of "one pointed mind" training is to be able to effectively place force to specific targeted areas. Although the goal is to developed skillfully placed power to an opponent's elbow, jaw, neck or ribs through a joint lock or strike [ADD NEW VIDEO-jb LA DEMO-LINK HERE],  properly prepared and supervised senior students first learn to apply the principle through a stick or other weapon.

[ADD 2ND VIDEO LINK HERE.]  In this video actor Alice Kriege (Star Trek's "Queen of the Borg") works with me on the principle

Most interesting about this way of expressing and training power is that, when performed correctly, the body is very relaxed and the hands holding the stick or other weapon are strong, yet relaxed. The person holding off the attacker has an enjoyable experience that seems magical. In terms of what this means for one's training, the ability to express power while remaining relaxed means it is easy to direct power without telegraphing the movement.

(FORCE SHOULD NEVER BE FELT/ IT IS VERY DANGEROUS TO CONTINUE IF A STUDENT FEELS FORCE)

The value of the studying this method is the ability to direct force against an opponent whether in stand up fighting or ground combat.

When perfected, there are several ways this skill can be extrapolate. This means that the practitioner is able

because of being extremely relaxed, move quickly out of the way, and without telegraph or tension apply force to an exact point on the opponent. Wherever contact is made, whether against an opponent's hip for balance control, or in striking application to the temple, ribcage or neck even when extremely close. A strike incorporating this principle appears extremely fast, and with the effect to the opponent of being hit by a steel bar.

There are many police and military applications of this principle.  The principle is explained and demonstrated toward the end of [this YOUTUBE video] and I am working on putting up some other ones.

The advantage of true internal martial art in close combat is reliance on light touch to defeat an opponent. to achieve this, while in a relaxed state, force must be directed like a laser beam to one area, while at the same time keeping the body very relaxed.

[MORE VIDEO EXAMPLES AND PHOTOS COMING]

Other advanced lessons.

Meditation and chi /qi internal energy trainin. This area has to do with sensitivity to body energy flow, and the power of mind. How nervous system, attitude and emotions interplay with physical training is a fastenating area of study.

see related article on William Tiller and emotions

although I have some difficulty with the way he uses theapproach, David Hawkins MD,s bookPower vs. Force is in many ways a great introduction to this material.