From Combat to Sport: Origins and Development of the Martial Arts by Tim Cartmell

This article looks at the origins of the martial arts in general and traces their evolution from methods geared toward all out combat to those which include sportive competition. Collectively, all of these arts are considered to be “martial” as they deal with methods of attack and defense in a hand to hand fighting situation. But the training methodologies and technique base of strictly combat arts and those of arts which also include a competitive dimension are often quite different. To begin with, it will be helpful to define the parameters of each. Combat arts are concerned with protecting one’s life at all costs. Fights are viewed as life or death struggles without rules or restrictions on technique. The primary motivation in combat is survival. Sportive arts include non-cooperative sparring practices and competitive matches between individuals.  The primary motivation in such contests is to defeat the opponent within a prescribed set of restrictive rules (these rules are normally designed to protect the participants from serious injury). Techniques considered to be too dangerous are forbidden and other protective measures (mats, gloves, padding…) are often employed.

Sportive martial arts training is designed to improve the fighter’s abilities by approximating a real fight situation, although in a restricted format. Competition allows the fighter to test his skills against another, while at the same time providing an outlet for Man’s inherently competitive nature. Combat martial arts training is designed to provide the combatant with the tools necessary for survival in unrestricted, life or death fights. Proponents of both camps maintain their respective training methods are superior for acquiring real fighting ability. Because of this dichotomy in training methods, a central debate often surfaces in which purely combat oriented stylists argue against incorporating non-cooperative sparring drills and sportive competitions while those stylists which include sparring and a sportive aspect maintain non-cooperative sparring and competition are essential if the practitioner is to acquire real fighting ability. Let’s look at the origins of both combat and sport martial art in turn.

Although ritualized forms of combat (most associated with religious functions) appear early on in recorded history, it generally holds true that all martial arts were originally created for the purposes of group and personal combat only. In addition, early “sportive” martial arts competitions differed very little from battlefield combat, often the only difference being the presence of an audience in the former. Famous examples of early martial sport competition which were basically all out fighting affairs (combats) are the pankration in ancient Greece (first appearing as an Olympic event in 648 BC) and the gladiatorial competitions of ancient Rome. In ancient China, sportive wrestling matches allowed striking, kicking and locking as well as throwing. It was not until the Song Dynasty (960-1276 AD) that wrestlers were forbidden to strike and kick their opponent during competition. Similar examples of organized martial competitions with few if any rules can be found in many of the other ancient cultures. In ancient times, the definition of martial “sport” competition could be defined as “combat before an audience.”

If we go back far enough into the history of modern martial arts which contain a sportive aspect, we invariably come to their non-sportive, combat roots. This holds true for the martial arts of both East and West. Popular, modern sport martial arts, including Greco-Roman wrestling, Sumo, modern Shuai Jiao (Chinese wrestling), sport karate, judo, and even modern forms of weapons competition (kendo, fencing) all trace their roots to purely combat arts. Western styles of wrestling originate in methods of close combat from the dawn of mankind. Sumo techniques are derived from ancient methods of combat wrestling while in armor (kumiuchi). Modern, sportive Chinese wrestling is a combination of Mongolian and Han Chinese methods, and originally contained striking, kicking and joint locking techniques. Modern forms of competitive Karate can trace their roots to older combat styles of Okinawa and Southern China. Judo is a compilation of earlier combat ju-jitsu styles (and, in fact, remains a complete combat art today, which includes striking and kicking as well as grappling techniques; the majority of practitioners, however, focus only on its sportive aspect in training). So, if all martial arts (including older, sport oriented martial arts) were originally combat methods, where did the schism between pure combat training and the types of training used in modern sport styles occur, and why? Sportive competition evolved from what can be termed the “controlled sparring practices” of the combat martial arts. Most of the ancient combat styles originally contained little if any non- cooperative sparring or competition. Techniques were trained cooperatively in a form or “Kata” format. At various points in the development of some of these arts, different types of sparring drills were developed in order to allow the combat martial artist a relatively safe method of honing his skills against a non-cooperative opponent. Early forms of sparring were aimed at improving combative skill, and although they were non-cooperative, they were not necessarily “competitive.” The goal of this type of training was to increase the chances of surviving an actual life or death encounter, and not to “win” the match per se. But the natural competitive tendencies inherent in human nature eventually demand an outlet, and combat sparring drills became martial sports competition. For warriors and soldiers, the ultimate test of martial skill is in the kill or be killed “competition” of battlefield combat. After months and years of training, warriors long to test their skill. When there are no wars to fight or enemies to kill, the combat trained fighter begins to modify technique in order to compete with others in a non-lethal format. Sport competitions becomes both a test of skill (although in a limited sense) and a safe outlet for aggressive competitive urges. Martial sports competition is born. The kinds of sport martial arts that evolved were limited by their parent combat arts (technical base) and the cultural milieu in which they were created. For example, a combat art based on grappling techniques will naturally evolve into a wrestling based sport. The type of costume popular at the time of the arts inception will also have a great influence on the rules of the sport (hence the use of the gi in judo, the mawashi belt in sumo, the jacket in shuai jiao…). Concerns for safety also require further modifications and the addition of protective gear (padding, gloves, mats…). Martial arts which seem to contain techniques irrelevant to actual combat situations in the modern world can be understood by analyzing them in the context of the time and culture in which they were created.

In modern times, what are the major differences in training between purely combat oriented styles and styles which include sportive competition? There are, of course, many similarities, but the major difference in training is the emphasis placed on forms or “kata” training (including solo and paired practice) and absence of competitive sparring in the combat oriented styles.  Obviously, if a technique is designed to be lethal it cannot be practiced “for real” on a workout partner. In the absence of sparring or non-cooperative drills, there are basically only two ways to develop martial skills, namely, through forms practice and cooperative training with a partner.

Forms are designed to allow the practitioner to develop the physical skill and coordination necessary for the application of techniques on another by going through the relevant motions in the air. Training with a partner in a cooperative manner allows the practitioner to actually go through the motions of a potentially lethal technique on another without causing injury. Such paired practice must always be cooperative to a great extent for safety reasons and blows must be “pulled”. Practitioners of the martial arts which train for sportive competition also drill techniques in the air (akin to form practice), but the heart of their training involves free sparring with a non-cooperative partner. Some of the modern derivatives of more ancient, purely combat styles which now include sportive competition will have aspects of both types of training, which are practiced separately. Judo, for example includes sportive, freestyle, non-cooperative sparring with techniques considered to be non-lethal, while reserving the practice of more dangerous techniques to paired, cooperative forms training. The modern form of Chinese “San Shou” (which is a combination of Western boxing, northern Chinese kicking techniques and the throws of Chinese wrestling), Tae Kwon Do, Russian Sambo and several styles of Japanese karate also have separate training methods for combat and sport. Finally, some older methods of combat martial art were modified into competitive sports so that they might survive into the modern world in some form. Modern Western fencing is one notable example. As no one in the modern world duels to the death with swords, older combat sword methods, although greatly limited in scope and application, have evolved into their modern sportive counterparts as their only means of surviving the transition into modern times.

What are the relative strengths and weaknesses of purely combat as opposed to competitive sport martial arts training? The most obvious strength of combat martial arts training is that its technique base contains techniques designed to save the fighter’s life in mortal combat.  Techniques are not concerned with scoring points but with incapacitating an opponent as quickly as possible. Another advantage of combat training is that the technique base is generally (but not always) more well-rounded than that of sportive martial arts. This is because sports have rules, so sport martial artists train to fight within certain boundaries. In actual combat, there are no rules, so the more developed combat arts normally include techniques for dealing with the range of situations likely to occur in a real fight. The techniques of combat martial arts will not be limited to certain areas of the body nor will they rely on using the opponent’s costume. Combat martial arts techniques are often designed to take advantage of the “element of surprise” which is absent from sports competition.  The disadvantages of training in purely combat oriented techniques is that these techniques can never be practiced as they would “for real” (an important exception is throwing and grappling techniques, most of which can be performed as they would in an actual fight, provided the falling partner knows how to breakfall and lands on a soft surface). Potentially lethal striking techniques must always be controlled for reasons of safety. Consequently, techniques of this type must be practiced on cooperative partners. Ultimately, the practitioners of purely combat oriented arts (especially if they have limited real fighting experience) may be at a loss when confronted by a determined opponent who fights back. Absence of experience against non-cooperative opponents often leads to a lack of spontaneity when techniques miss or are met with resistance. Finally, practitioners of arts which do not include sparring are are often unfamiliar with the experience of being struck or taken down unexpectedly, or of dealing with a tremendous aggressive force.

Originally, the controlled sparring practices of combat based martial arts were designed to address the very weaknesses in training listed above. The sport martial artist spends a great deal of time learning to apply his or her techniques against a non-cooperative opponent (who is also a trained martial artist). Sparring becomes a “laboratory” in which practitioners test their abilities.  Those who spar, through trial and error, discover which techniques work for them and the best ways to set up and execute their techniques against an opponent who is fighting back. These fighters become used to physical contact, real aggression and learn to deal with the rapidly changing circumstances which occur in a fight. To the practitioners of sportive martial arts, sparring and competition are viewed as a relatively safe means of developing the attributes useful in a real fight.

The major weakness of sport oriented martial training is that by necessity, the technique base must be limited. Certain target area and techniques must be excluded for safety reasons. Even in those arts with a sportive aspect which include separate training methods for potentially lethal combat techniques, very often the practitioners tend to over focus on the sportive competition (as it seems more relevant to the training, there are frequent chances to participate in sports competition while street fights rarely, if ever occur) and neglect the formal combat training aspects of their art. Sportive arts which allow striking, although allowing the fighters to exchange full power blows, are limited in target area, and may train the competitors to base their combinations on unrealistic reactions. And the necessary addition of gloves and/or protective padding may result in unrealistic reactions to being struck. In addition, practitioner may begin to focus on “scoring points” at the expense of realistic technique (techniques which score points in competition may be inadequate to incapacitate or control an opponent in a life or death fight).  Finally, if the sparring practice requires a special environment (mats, a ring…), clothing or equipment (a gi, padding, gloves…), the fighter may be at a loss when fighting in an unfamiliar (street) environment in street clothes.

The essential point is not to criticize particular methods of training nor make value judgments based on isolated strengths and weaknesses, but rather to look at the various martial arts and their training methodologies from a broader perspective. It is important to understand the origins of the various arts and the logic behind their respective methods of training and techniques. From here, the martial artist can make an informed decision as to which methods of training will help them achieve their individual goals. The more well-rounded and experienced fighter will always have a decided advantage over the less well rounded and less experienced fighter. Once you understand why and how you train, and the relative strengths and weaknesses of the various techniques and training methods available, you will be able to design the most relevant and efficient training program for your individual needs as a martial artist.

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Baguazhang Introduction by Tim Cartmell

AN INTRODUCTION TO BA GUA ZHANG

Ba Gua Zhang is recognized as one of the three orthodox "internal" styles of Chinese martial art (the other two being Xing Yi Quan and Tai Ji Quan). Ba Gua literally translates to Eight trigrams. These trigrams are symbols which are used to represent all natural phenomena as described in the ancient Chinese text of divination, the Book of Changes (Yi Jing). Zhang means palm and designates Ba Gua Zhang as a style of martial art, which emphasizes the use of the open hand in preference to the closed fist. Ba Gua Zhang, as a martial art, is based on the theory of continuously changing in response to the situation at hand in order to overcome an opponent with skill rather than brute force.

Although there are several theories as to the Origins of Ba Gua Zhang, recent and exhaustive research by martial scholars in Mainland China conclude without reasonable doubt that the Art is the creation of a single individual, Dong Hai Chuan. Dong was born in Wen An County, Hebei Province about 1813. Dong practiced local martial arts (which reportedly relied heavily upon the use of open hand palm techniques) from his youth and gained some notoriety as a skilled fighter. At about 40 years of age, Dong left home and traveled southward. At some point during his travels, Dong became a member of the Chuan Zhen (Complete Truth) sect of Daoism. The Daoists of this sect practiced a method of walking in a circle white reciting certain mantras. The practice was designed to quiet the mind and focus the intent as a prelude to enlightenment. Dong later combined the circle walking mechanics with the martial arts he had mastered in his youth to create a new style based on mobility and the ability to apply techniques while in constant motion (heretofore unknown in the history of Chinese martial arts).

Dong Hai Chuan originally called his art "Zhuan Zhang" (Turning Palm). In his later years, Dong began to speak of the Art in conjunction with the Eight Trigrams (Ba Gua) theory espoused in the Book of Changes (Yi Jing). When Dong began teaching his Zhuan Zhang in Beijing, he accepted as student only those who were already accomplished practitioners of other martial arts. Dong's teachings were limited to a few "palm changes" executed while walking the circle and his theory and techniques of combat. His students took Dong's forms and theories and combined them with the martial arts they had studied previously. The result is that each of Dong's students ended up with different interpretations of the Ba Gua Zhang art.

Most of the various styles of Ba Gua Zhang found today, can be traced back to one of several of Dong Hai Chuan's original students. Among these students, three individuals were responsible for passing on the Art to the greatest number of practitioners. One of Dong's most famous students was a man named Yin Fu. Yin studied with Dong longer than any other and was one of the most respected fighters in the country in his time (he was the personal bodyguard to the Dowager Empress, the highest prestige position of its kind in the entire country). Yin Fu was a master of Luo Han Quan, a Northern Chinese "external" style of boxing, before he began his long apprenticeship with Dong. Another top student of Dong's was Chen Ting Hua, originally a master of Shuai Jiao (Chinese wrestling). Cheng taught a great number of students in his time and variations of his style are many. A third student of Dong's who created his own Ba Gaa Zhang variant was Liang Zhen Pu. Liang was Dong's youngest student and was greatly influenced by Dong's other disciples. Although Ba Gua Zhang is a relatively new form of martial art, it became famous throughout China during its inventor's lifetime, mainly because of its effectiveness in combat and the high prestige this afforded its practitioners.

The basis of the various styles of Ba Gua Zhang, and the practice all styles have in common, is the circle walk. The practitioner literally walks in a circle while holding various static postures with the upper body or while executing "palm changes" (short patterns of movement or "forms" which train the body mechanics and methods of generating power which form the basis of the styles' fighting techniques).

All styles have a variation of a form known as the Single Palm Change. The Single Palm Change is the most basic form and is the nucleus of the remaining palm changes found in the Art. Besides the Single Palm Change, the other forms include the Double Palm Change and the Eight Palm Changes (also known variously as the Eight Mother Palms or the Old Eight Palms).

These forms make up the foundation of the art of Ba Gua Zhang. Ba Gua Zhang movements have a characteristic circular nature and there is a great deal of body spinning, turning, and rapid changes in direction. In addition to the Single, Double and Eight Palm Changes, most but not all styles of Ba Gua Zhang include some variation of the Sixty-Four Palms. The Sixty-Four Palms include forms which teach the mechanics and sequence of the specific fighting techniques included in the style. These forms take the general energies developed during the practice of the Palm Changes and focus them into more exact patterns of movement, which are applied directly to a specific combat technique. Ba Gua Zhang is an art based on evasive footwork and a kind of guerilla warfare strategy applied to personal combat. A Ba Gua fighter relies on strategy and skill, rather than the direct use of force against force or brute strength, in overcoming an opponent. The strategy employed is aggressive in nature and emphasizes constant change in response to the spontaneous and "live" quality of combat.

In addition to the above forms and methods, most styles of Ba Gua Zhang include various two-person forms and drills as intermediate steps between solo forms and the practice of combat techniques. Although the techniques of Ba Gua Zhang are many and various, they all adhere to the above mentioned principles of mobility and the skillful application of force. Many styles of Ba Gua Zhang also include the use of a variety of weapons, ranging from the more standard types (straight sword, broadsword, pear) to exotic weapons, used exclusively by practitioners of the Ba Gua Zhang arts.

Each of Dong Hai Chuan's students developed their own style of Ba Gua Zhang based on their individual backgrounds and previous martial training. Each style has its own specific forms and techniques. In essence, all of the different styles adhere to the basic principles of Ba Gua Zhang while retaining an individual flavor of their own. Most of the styles in existence today can trace their roots to either the Yin Fu, Cheng Ting Hua, or Liang Zhen Pu variations.

Yin Fu styles include a large number of percussive techniques and fast striking combinations (Yin Fu was said to "fight like a tiger", moving in and knocking his opponent to the ground swiftly like a tiger pouncing on its prey). The forms include many explosive movements and very quick and evasive footwork.

Cheng Ting Hua styles of Ba Gua Zhang include palm changes which are done in a smooth and flowing manner, with little display of overt power (Cheng Ting Hua's movement was likened to that of a dragon soaring in the clouds, it is said each time he turned his body, his opponent would fly away.) Popular variations of this style include the Gao Yi Sheng system, Dragon Style Ba Gua Zhang, "Swimming Body" Ba Gua Zhang, the Nine Palace System, JiangRong Qiao's style (probably the most common form practiced today) and the Sun Lu Tang style.

Liang Zhen Pu's style can be viewed as a combination of the Yin Fu and Cheng Ting Hua styles. Liang’s student, Li Zi Ming, popularized this style.

The basic focus and function of all martial arts is fighting. Since there are only so many ways humans can move in a martial context (strike, kick, push, pull, etc.), what distinguishes one style of martial art from another? Collections of techniques do not make up a style, neither does mimicking the movements of an animal, bug, or even another person constitute a style of martial arts. In the last analysis, a style of martial art is distinct and recognizable as a coherent system because it adheres to a set of specific principles.

All styles are based upon a set of fundamental principles, and every movement, technique and strategy applied or created must be in alignment with the chosen principles of that particular style. These principles define and determine the nature of a style in two major areas, namely, body use (Ti) and application (Yung). The principles of a style will determine how things are to be done. For example, the principles of one style may dictate that the muscles must be tensed at impact when throwing a punch, while another style's principles demand total relaxation throughout the blow. Practitioners of both styles are punching, but there is a qualitative difference in body use (i.e. different styles of punching).

Just as the principles of body use determine the physicality of the practitioner and the specific methods of moving and generating power, the principles of application determine the technique base as well as the fighting strategies of a particular style. The evolution of martial arts: styles have always come about this way: A student of one or more styles of martial art comes upon a new principle or organizes a set of principles in a unique way, based upon his background, experience and personal bias. The result is a new style of martial art. It is new not because the founder added a few techniques to his existing style, but rather because he changed all that he had done before to align with his newly understood principles of body use and application.

The founder of Ba Gua Zhang, Dong Hai Quan, was an expert in a Northern Chinese style of martial art akin to Long Fist, which emphasized the use of the open hand. Subsequently, Dong spent a number of years living with a group of Daoists who practiced a method of walking in a circular pattern while chanting. The practice was used as a means of reaching enlightenment. Dong later combined the circular footwork and body method learned from the Daoists with the martial arts he studied in his youth to create a new martial art, later to become known as Ba Gua Zhang. Please note that the Daoists taught Dong absolutely nothing of a martial nature; what Dong acquired from the Daoists were the principles of circular footwork and a certain method of body use. Dong modified the movements and techniques of his original form of martial art around these principles, thereby creating a new style of martial art. It is very important to understand that Ba Gua Zhang as a style of martial art is not simply a collection of forms and techniques, but rather an art based on a set of unifying principles.

Dong Hai Quan only taught established masters of the martial arts; he accepted no beginners. The training was designed to allow his students (already masters of other martial arts in their own right) to modify their original arts in accordance with the principles of Ba Gua Zhang. Because of the diverse backgrounds of Dong's original students, their resultant styles of Ba Gua Zhang may differ greatly in terms of form and technique, but all are truly styles of Ba Gua Zhang as they adhere to the underlying principles of body use and application which define Ba Gua Zhang as a unique style. There will always be room for creativity within the Ba Gua Zhang arts. As long as a movement or technique adheres to the Fundamental principles of Ba Gua Zhang, it is Ba Gua Zhang.

What are the basic principles of Ba Gua Zhang? It is helpful to divide the analysis into two major categories: principles of body use (with the primary emphasis on the ability to generate power with the body as a coherent Unit) and principles of application

BODY USE:

The basic solo training in Ba Gua Zhang is designed to teach the practitioner how to control his or her momentum and timing in order to generate power with the entire body mass as a coherent unit. In the Chinese martial arts, this type of power is referred to as whole body power (Zheng Ti Jing). Whole body power enables the practitioner to issue force from any part of the body with the support of all other parts. Each part of the body coordinates with every other, generating the maximum amount of power available relative to the individual's size and weight. Whole body power is applied in all categories of Ba Gua Zhang techniques, striking, kicking, grappling and throwing.

In order to create whole body power in the Ba Gua Zhang format, as well as to facilitate the agile and evasive footwork utilized in the Art, all styles of Ba Gua Zhang emphasize complete physical relaxation, correct skeletal alignment, natural movements which are in harmony with the body's inborn reflexes and inherent design and that all movements are directed by the intent.

It is the fighting strategy of Ba Gua Zhang which most sets it apart from all other styles of martial art. Dong Hai Quan's unique background and combat experience, combined with his talent, resulted in a strategy of personal combat that had remained undiscovered in the preceding millennia of martial development in China. Basically, Ba Gua Zhang fighting theory advocates the complete avoidance of opposing power with power and adopts a kind of guerilla warfare mentality. The Ba Gua Zhang fighter continuously seeks to avoid the apex of the opponent's force and attacks or counterattacks from the opponent's weak angles. By circling around and circumventing incoming force and resistance, the Ba Gua Zhang fighter applies his own whole body power from a position of superiority This strategy allows the smaller and weaker fighter to apply maximum force from an angle at which the larger and stronger opponent cannot resist, effectively making the weaker fighter more powerful at that moment (for example, I have 10 units of total strength and my opponent has 20. I attack with my full 10 units of strength at an angle at which my opponent is only able to use 5 units of his total strength. I am, at that moment, literally twice as strong as my opponent).

In order to obtain a superior position, the Ba Gua Zhang fighter applies the basic strategies trained in the solo forms' practice, that is, circling around the opponent or rotating the opponent around oneself. The result is the same in both cases. The Ba Gua Zhang fighter avoids a head to head confrontation with the opponent's power and obtains a superior position from which to attack. Along the way, the opponent often becomes entangled in the Ba Gua Zhang fighter's limbs and loses control of his center of balance (correctly applied momentum overcomes brute strength every time). This loss of balance causes a commensurate loss of power and further weakens the opponent, leaving him vulnerable to the Ba Gun Zhang fighter's attack. Finally, the relaxed physical and mental state of the Ba Gua Zhang fighter makes it possible for him to change and adapt as the situation demands. His movements are spontaneous and difficult to predict. Fighters of all disciplines agree that the unpredictable fighter is the hardest to beat (especially when he circles behind you!). FOUND HERE

INTERNAL VS. EXTERNAL What Sets Them Apart? By Tim Cartmell

Introduction  There has been a great deal of discussion over whether a martial art is internal or external, and the differences between the two. Most people familiar with Chinese martial art probably associate the internal with exercises for health, softness and "chi," and associate the external with strength, hardness and fighting. We should start by defining the criteria which qualify an art as internal or external. It is very popular today to talk about internal martial arts as being methods of cultivating the chi (intrinsic energy), whereas external martial arts favor building physical strength.
 The first question is, "What exactly is chi?" And once we have come to what we believe is an adequate definition, the next question should deal with the relationship chi has to martial ability. Finally, we come back to the question of why internal martial arts would cultivate chi in some way that external martial arts do not. The point is, both internal and external martial arts talk about chi development; saying a martial art is internal because it "has chi" is not valid. The difficulty in defining chi has led some martial artists to conclude that chi doesn't exist at all, therefore there is no difference between internal and external martial arts. But there definitely is a difference, and it does not depend on whether or not one believes in chi.
Let's put aside the whole question of chi and talk about similarities and differences among the three orthodox internal styles (as representatives of internal styles in general) and external martial arts from a more tangible point of view. Let's compare and contrast the martial arts from the standpoint of body mechanics, mindset, and application. The real difference between the internal and external martial arts is not chi, softness/hardness, or which is better for health; rather, it boils down to how specific movements are done in a particular mindset, and how these apply to real fights.

The internal myth
  The orthodox internal martial arts, namely Xing Yi Quan, Tai Ji Quan and Ba Gua Zhang , have all incorporated Taoist techniques of breathing, meditation and medical theory into their methods of power, development (nei kung) and fighting movements. Although the resultant arts are superior as systems of health cultivation and physical development, health was not the primary concern of the developers of these styles. The primary focus of any martial art is, by definition, martial. The wedding of Taoist practices and martial technique came about because the masters felt movement in accordance with natural principles performed in a meditative state of mind was the quickest way of realizing the goal of absolute potential as a martial artist (fighter).
 For centuries, China has had a great variety of therapeutic chi kung and related health systems that are equally as effective as the internal martial arts for restoring, maintaining and improving one's health, and are far simpler to learn and practice than the internal styles. There was no need to invent complex and often extremely physically demanding martial arts to fulfill the same purpose. Although the internal martial arts may be practiced solely as exercises for physical fitness, they were not created with this goal in mind. The internal martial arts were developed for fighting, with their health benefits more or less side effects of training for martial ability.


Body mechanics: An overview
  The most basic and important difference between internal and external martial arts is the method of generating power or "jing" (manifest energy). At the root fundamental level, the most important factor which qualifies an art as internal is the use of what the Chinese call "complete," "unified" or "whole body" power (jengjing). This means the entire body is used as a singular unit with the muscles of the body in proper tone according to their function (relaxed, meaning neither too tense nor too slack). Power is generated with the body as a singular unit, and the various types of energies (jing) used are all generated from this unified power source.
The external martial arts, although engaging the body as a whole in generating power sequentially, do not use the body in a complete unit as do the internal martial arts. The external styles primarily use "sectional power" (ju bu li), which is a primary reason they are classified apart from the internal arts. A variation of this sectional power in the external arts is the special development of one part of the body as a weapon (iron palm, iron broom, etc.). The internal tends to forego these methods in favor of even development of the whole body, which m turn is used as a coherent unit.
 Xing Yi Quan, Tai Ji Quan and Ba Gua Zhang all have unified body motion as their root; hence, they are internal styles. However, since each of these styles emphasizes different expressions of this unified power, they are not the same style.

Xing Yi Chuan
  Xing Yi Chuan provides perhaps the easiest example of the principle of unified movement in action, as motion is stripped to its bare efficient essentials. Traditional five-element based Xing Yi Quan was created on static posture training (Zhan Zhuang). The primary purpose of these postures is to train the feeling of connectedness into the brain and nervous system, as it is easier to cultivate this feeling standing still than moving. One stands until whole body unity becomes the natural state. Only after this has been achieved does the student slowly begin to move while paying attention to maintaining this unity in motion. Typically, a single move such as splitting (Pi Quan) will be practiced exclusively and repeatedly for several months until the student understands bow to move the body without losing its dynamic unity. Once the student "gets the feeling" with a single form, other forms can more quickly be mastered.
Because the ancient Xing Yi Quan masters knew that using the body in a unified manner produced the greatest amount of power, they developed five basic movements (the five elements) which allow one to issue power (fa jing) in a unified manner. These movements are splitting (issuing power downward), crushing (issuing power straight forward), drilling (issuing power upward), pounding (issuing power outward) and crossing (issuing power inward). The developers of  Xing Yi Quan saw these five basic variations of unified power as covering the range of motions useful to fighting. Hie 12 animal forms of the style are further elaborations and variations of the five original "themes". The simple beauty and profundity of the art of Xing Yi Quan as an internal boxing style is in its logical development from a single principle, using the body in a unit, to the basic energies that can be generated from this unit, the five elements, to the further elaboration of these five basic energies into the 12 animal forms.

Tai Ji Quan
  In the first passage of the Tai Ji  Classics, Jang San Peng (the legendary founder of Tai Ji Quan) states that the body must be light and agile, and that it must be connected throughout (gwan chwan). This is the basis of Tai Ji Quan as a martial art. The most basic energy of this art is the ward off energy (peng jing). Ills energy is the same as using the body as a unit. As the masters say, "No peng jing, no martial art." The reference here is not to the actual technique of ward off from the forms, but rather to the ward off energy that must permeate the whole body connecting it with unified power, from which all subsequent variations in power are based.
The basic postural requirements for Tai Ji Quan practice (head floating up, shoulders sunk, chest lifted) are the physical prerequisites of unified body power. As in the other internal styles, the student begins by standing in static postures for a considerable length of time to cultivate the body's peng jing body before singular postures are practiced and mastered one at a time. Single technique practice (dan ba lian) and issuing power (fa Jing) are practiced until all the various postures of Tai Ji Quan can be executed with whole body power. Finally, the student is taught to link the postures into a continuous sequence that trains sensitivity to postural changes (listening energy or tingjing) and the ability to flow from one technique to the next without disconnecting the body. One of the fundamental reasons most Tai Ji Quan forms are practiced slowly is 'so the student can constantly adjust and monitor the body to make sure it is always moving in a unit. This is much easier to feel moving slowly than quickly.
Eventually, the student develops the body into a strong, supple unit which allows the frame to act as a spring against the ground (jyc di jr Ii), enabling the boxer to absorb incoming energy and rebound it into the opponent This type of power is impossible unless the body is always maintained in a unit, just as a spring is one continuous thread of steel

Ba Gua Zhang
  Although there are much older versions of Ba Gua Zhang, most of the variations of the art found today can be traced back to Dong Hai Chuan, who taught during the last years of the Ching dynasty. Dong Hai Chuan already was an accomplished martial artist before he learned the Ba Gua circling method of the Taoist  school. As with the other internal styles, Ba Gua Zhang training begins with singular movements which develop unified power. Next, the student progresses to holding various postures while walking in a circle, Here again, the primary purpose of these exercises is to train the body to maintain a balanced unity in motion. Once the basic movements have been mastered and the student can walk the circle to complete the eight basic palm changes with unified body power, the necessary groundwork has been laid for martial application.
 Just as the Xing Yi Quan masters developed the five elements to represent the basic ways power may be produced and applied from the foundation of unified motion, the Ba Gua Zhang masters created the single palm change. The single palm change includes all the basic energies and footwork used in Ba Gua Zhang as a martial art. The single palm change, double palm change and eight mother palm changes are not fighting techniques in themselves, but rather methods of developing whole body power to be used in separate fighting techniques created around these basic types of power.
 Although the three orthodox internal styles have very different movements, they all developed from the same fundamental principle of using the body in a unit. This is why, from a body mechanics point of view, these arts are classified as internal.

External martial arts
  Although body mechanics and movements of external martial arts may vary greatly from style to style, the major difference between these and the internal styles is that external styles, while generating power through the coordination of the body as a whole, lack unity of motion in the internal arts sense. For example, many external martial arts strike using the power of the waist and upper body from the base of a stable stance, the blow would be relaxed during delivery, then tightened for an instant at impact This type of strike is capable of generating a great amount of power, with the force being produced mainly by the waist and striking limb. This whipping of a limb and tensing at impact is referred to as "sectional power" ju bu li) and differs from the whole body power of internal martial arts.
 The sequence of training in external martial arts also differs in purpose. In the early stages of training, external martial arts place greater emphasis on increasing strength and endurance as the "raw material" to be refined later into precise technique. Whereas the goal of internal style stance training is to train the nervous system into the feeling of a unified body, the external martial artist stands to increase the strength, endurance and flexibility. As a consequence, external stance training is usually lower and wider than that of the internal. Although an oversimplification, it may be said that the internal martial artist stands to cultivate feeling, while the external martial artist stands to develop strength.
External martial artists often spend considerable time conditioning specific areas of the body, either to withstand impact or to increase sectional power. An external martial artist may especially condition the head, fists, elbows, shoulders, fingers, or emphasize a specific movement, resulting in the development of a specialized weapon. This is another example of the development of sectional power in the external martial arts. Once the martial artist has a strong foundation, form and technique training begins. Once again, the forms and techniques emphasized in external styles are designed around the sectional power developed through basic training. 

Mindset of the martial arts
 Another major difference between internal and external martial arts is in the approach they take to training the mind. The internal places great emphasis on mind/body unity. The Taoists realized that a relaxed body controlled by a quiet mind produced a holistic entity, capable of fulfilling its potential. At the outset of training, the internal arts place the greatest emphasis on refining and training the nervous system to control the body. In contrast, most external styles emphasize increasing strength and endurance (external power) as the base upon which martial technique will be built. Students of the internal, through mind/body unity, seek to balance the nervous and hormonal systems, thereby producing a power from within the body (nei jing or internal power). The unified power is completely dependent upon fine neuromuscular control, which is completely mentally directed. The internal martial arts also talk at great length about practicing with a quiet mind. It is often quoted that, "There should be stillness in movement," and internal martial artists seek to remain calm in spirit as they move. One of the primary reasons internal martial arts are good for health is that one may simultaneously exercise the body and rest the mind.
 Turning to external martial arts, much less emphasis is placed on a quiet mindset. In many external styles, cultivation of a state the Chinese call the "killing air" (sha qi) is preferred. The spirit is raised and directed outwardly toward the opponent, rather than inwardly, much like athletes "psyching up" before an event. An externally observable manifestation of the different mindsets is apparent in the facial expressions of the individual practitioner: the external martial artist often shouts and grimaces fiercely, while the internal boxer looks calm and may even be faintly smiling during a fight.
In application
  The third major difference between the internal and external martial arts is in how they are applied to a live opponent, as well as the various methods of training martial application. The students of both schools first develop their power, balance, feeling and body mechanics from solo training. The next step is to bridge the gap between form and function. This type of training will be determined mainly by a particular school's theories of combat. The internal schools stress sticking to, following and going with the opponent's power, borrowing energy, the avoidance of force against force directly, and the issuing of power only after one has "the right opportunity and advantageous position." External styles vary greatly in theory (some following principles almost identical to the internal), but in general, whereas an external stylist may punch through his opponent's defenses, the internal stylist never fully issues his power until he has the opponent in an unbalanced position either physically or spatially.
Most internal styles also have some variation of "push hands" practice. The primary purpose of pushing bands is to develop "listening energy" (ting jing) or become sensitive to outside pressure from the opponent in relation to one's own balance. Finally, both internal and external martial artists practice footwork drills, repeated single-technique practice, issuing power on a live opponent, and eventually free sparring to develop practical fighting skill. 

Conclusion
 This article has shown the similarities and differences among the three orthodox internal styles of Chinese martial art and external styles in general. It's clear that external and internal styles are indeed different, in theory, practice and application, and the factors that classify an art as either internal of external are clear-cut and concrete. This classification of an art as either internal or external is based solely on adherence in practice and use to a specific set of principles, and not on particular forms or posturing. It is important to remember that all arts, both internal and external, were originally intended for fighting. Finally, no judgment as to the superiority of one art over another is intended. After all, any martial art is only theory until a human being moves, and the value of any art lies ultimately in the skill and understanding of the individual artist.

Found HERE 

Xing Yi Nei Gong Health Maintenance and Internal Strength Training w Tim Cartmell

              Xing Yi Nei Gong Health Maintenance and Internal Strength Training w Tim Cartmell

Tim Cartmell - Brazillian Jiu Jitsu Belt Promotion

Congratulations to Tim Cartmell on his recent promotion to 3rd degree black belt in Brazilian Jiu Jitsu under Cleber Luciano.

I post articles and videos from Tim Cartmell here because he is an amazing martial artist and (in addition to being a Brazilian Jiu Jitsu 3rd Black) also a lineage holder and my senior in the Yi Zong Chinese Internal Martial Arts system that I teach here at Boulder Internal Arts.

Found Here

Philosophy of Martial Arts by Tim Cartmell

Philosophy of Martial Arts by Tim Cartmell                 

Everyone possesses an inborn ability to fight; it is a natural reaction to threat or stress and requires no formal training. What, then, distinguishes these random patterns of attack and defense which arise spontaneously in the untrained from the actions and reactions of a trained martial artist? The answer to this question lies in the trained fighter's application of certain principles to the movements and strategies of unarmed combat. These principles form the basis or "essence" of martial art. It is because these principles are utilized that fighting is elevated to the level of "art." In fact, it is the understanding and application of basic natural principles, which allows mankind as a whole to continuously improve and refine capabilities in any endeavor. Such knowledge is made manifest in technique; technique, in turn, is based on the understanding of natural principles. Technical application of natural principles makes it possible for construction workers to build houses, doctors to treat diseases and the weaker to overcome the stronger in a fight.

 

Without formal training, the larger and stronger naturally defeat the smaller and weaker. Therefore, a basic premise of training to fight as an "art" must be that the methods employed should make it possible for the smaller and weaker to defeat (or at least successfully defend against) the larger and stronger. As we have observed, it is not necessary to create techniques for the stronger to defeat the weaker, as this occurs without formal training. So it is logical that the basic premise of creating fighting techniques which qualify, as "art" must, at least theoretically, be designed so that a smaller and weaker combatant can apply them successfully against a larger and stronger opponent. Now that we have a definition of martial art, the next logical question to ask is what type of techniques will allow the weaker fighter to defend him or herself against the stronger.

 

Which techniques will be effective against larger and stronger opponents? Common sense tells us that techniques based on brute strength will never allow the weaker to defeat the stronger (the stronger opponent by definition possesses more brute strength than the weaker, so a technique based on brute force is doomed to fail the weaker fighter because in a contest of force against force, the stronger force invariably prevails). Once techniques of brute force (that is, techniques which require the use of force against force) have been disqualified as fitting our definition of martial art, upon what shall we base our techniques? The logical answer is to base martial techniques upon principles which allow us to use our strengths against an opponent's weaknesses, thereby circumventing superior force and applying our own force where it will have the greatest effect. Another way of describing the techniques of martial art is to say such techniques are based upon maximum efficiency in obtaining the desired result. What is efficient technique? In a violent encounter there is a real possibility for injury, and the longer the fight lasts the greater the chances of you being hurt. Therefore, efficient technique should allow one to end the encounter as quickly as possible. This means that an efficient technique should either disable an opponent or afford one an opportunity to escape in the shortest possible span of time.

 

Now that we have a definition of martial art (techniques of combat based upon principles which allow a fighter to use his or her strengths against an opponent's weaknesses) and have defined the parameters within which we want these techniques to operate (maximum efficiency in ending the threat to one's person in the shortest possible time), we need to discover which principles are relevant to creating efficient martial technique. A logical place to start is with ourselves. We should begin by discovering which principles of body use will allow us to use our minds and bodies most efficiently, thereby maximizing our abilities to move in a free and coordinated manner as we generate power appropriately. These principles of maximum efficient use of ourselves must be universal (as there can be only one best way to use ourselves), and will apply to movements in any physical endeavor. These are the principles that underlie all efficient motion. It is these same principles which are included and discussed in the various martial classics (ancient and modern).

 

The cardinal principle of efficient movement is balance. This includes an internal balance, which unifies the mind, and body as well as the actual physical balance of the body itself. Balance is a dynamic state, one that involves constant adjustment even when standing still. When the body is in a state of true balance (that is, aligned with gravity and completely free of excess tension), it is poised to move and work (generate force) most efficiently. The mind and body have innate mechanisms that act to maintain the alignment and balance of the body, in motion and at rest. Allowing these mechanisms to function, as they should, free of subconscious bad habit as well as unnatural posturing under conscious control is the first step toward creating efficient martial techniques. In fact, all martial techniques must be structured around the innate reflexes and natural design of the body if they are to be truly efficient. In short, using the body as it was designed to be used will always prove more efficient than using it in contradiction to its natural design.

 

Since balance is paramount to efficient movement in general and efficient martial technique in particular, it follows that postures and patterns of movement which interfere with the continued dynamic balance of the body should be avoided. Improper skeletal alignment and excess muscular tension are the causes of loss of true balance (although you may not fall to the ground if you have bad posture or tense muscles, you are no longer in the state of full and natural balance as dictated by the design and nature of the human body. When the physical structure is misaligned, you are not balanced in the gravitational field, and are literally forced to "hold" yourself up by expending constant effort). When true balance is maintained in stillness and motion, one is capable of utilizing and focusing his or her entire physical potential. In this state of balance, we work with the innate design of the body which allows full access to all our inherent strengths, as well as harmonizing our movements with the great natural forces to which we are subject. The force that we are capable of generating when completely relaxed and aligned with gravity I refer to as "natural power". "Natural" because it is generated without undue effort or strain, and because it is power created in harmony with the body's design. If the above holds true then the basic movements of martial technique must be based upon the principles of true balance and natural power.

 

Now that we have a definition of martial art (techniques which allow us to use our strengths against an opponent's weaknesses and are designed to remove us from the threat of physical harm as quickly as possible) as well as a set of guidelines for which types of body motions will be most efficient (those based on true balance and natural power), the next task is to actually create techniques which adhere to the principles of body use and fit the definition of martial arts are must be taken to continually balance the requisites of body use with the demands of efficient technique. This means that not only should a technique be based on true balance and natural power, it must also meet the requirements of maximum efficiency in application. Within these parameters there is still room for great variety in technique. Martial techniques that are based on the correct use of the body and are designed around maximum efficiency in application, no matter how diverse, all qualify as martial art.

 

The next logical question, now that we have created a system of true martial technique, should address how to practice these techniques so that the martial artist may apply them successfully in actual combat. It is obvious that an intellectual understanding of a technique is no guarantee that it will spontaneously manifest in a fight. In order for techniques to be useful, they have to be practiced until they are internalized, that is, until the practitioner applies the appropriate technique without conscious deliberation over individual movements (that is not to say one cannot consciously choose a certain technique to be applied, it means that the physical manifestation of the technique should occur with as little gap in time between the conscious decision to apply it and its actual application. Internalization of a technique also implies that the various movements and flow of the technique, once the martial artist makes the decision to use it, occur as spontaneously as a reflex). Another consideration when choosing a set of techniques to internalize deals with their universality in application. Obviously, one cannot practice and internalize a separate technique for every possible situation that may occur in a fight. It is important, therefore, to design and practice techniques that have a broad range of potential applicability. Unfortunately, there is no single technique, nor collection of a few techniques that will be sufficient to deal with the vast spectrum of randomness within which fights occur. Fortunately, it is possible to internalize a basic number of carefully chosen movement patterns and techniques (chosen for their relative universality in application) which the subconscious mind will modify and combine, providing the trained martial artist with constructive responses to practically every situation likely to occur in a fight. But the question of how to practice in order to internalize martial technique remains.

 

It is a fact known to every student that the amount of information absorbed and retained through focused awareness is far greater than the amount absorbed through mindless repetition. I'm sure you have had the experience of reading a page in a book while thinking of something else, only to realize as you turned the page that you had no idea what you just read (although you read every word). No matter how many times you read the same page without focused awareness, you will still not absorb and retain the information contained therein. So it is with the practice of martial technique. Mindless repetition of technical movements may qualify as exercise, but the vast majority of time spent in practice of this type is wasted as far as internalizing useful patterns of movement is concerned. On the other hand, focused awareness on the practice at hand maximizes the time spent in practice, allowing one to internalize techniques in the shortest amount of time, as well as guarding against the negligent acquisition of unwanted habits. In short, the most efficient method of training for internalizing martial technique involves mind and body unity, with the mind (intent) actively aware of and guiding the movement of the body. The goal is to maintain conscious awareness of the thought process (the mind in the brain) as well as the kinesthetic sense (the mind in the body). The key is awareness." Focusing this awareness on what we are doing is the method of efficient practice.

 

In summary, it is important to remember that an almost unlimited number of efficient martial techniques (those based on true balance and natural power, which allow us to use our strengths against an opponent's weaknesses and remove us from the threat of physical harm as quickly as possible) are created and developed from a relatively small number of basic principles of body use and technical application. It may be helpful to think of techniques (including the methods of body use as well as martial applications) as being physical manifestations of underlying principles. The principles of body use and application are the unchanging foundations of unlimited technical expression. And the focused awareness of mind and body unity in practice is the method through which martial movements and techniques become internalized, and therefore useful. These principles and their method of internalization form the essence of martial art.

Tim Cartmell

 

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