The Eight Principles of Martial Arts

On wall of our dojo is a list of 8 words that face students every day when we train. I have to admit that even though I have previously looked at these words many times, I don't really think that it is until having worked through much of the research for this project that I now understand these fundamentals more clearly and their applications.

These eight ideas are the underlining principles that need to form the foundation of sound 'soft' martial arts. If skill in martial arts can be thought of a s a series of layers, then this is the first of these followed by the 13 dynamics (The Eight Gates & Five Steps as covered previously) and then finally different techniques applied on top of these which will be specific to each form of martial art.

The Eight Principles

Feet - are the way in which our bodies connect to the ground, so are key to transmission of energy through the body and to balance. Feet in general should always be pointed in the direction of power and used to press against the floor to generate power - this is the key to good rooting and the ability to generate a spiraling of energy from the feet, up the legs and through the rest of the body. Contact with the floor should be though the pads of the feet, always being mindful of where your center of balance is - toes should just be lightly in contact with the floor.

Posture - in order to really master awareness of where your body is and what is happening in terms of balance and stance it is key to be constantly mindful of this every day, not just in training. Through the pressure generated by the feet, the body naturally brings itself upright. The feeling here should be as if the head is pulled upwards by a string and then allowing the body to soften and relax so the body is effectively not 'standing on its bones'. Good posture will give you a free passage of energy and also enables you to breath correctly.

Mind - its important to have a high level of awareness or 'liveliness' in order to be able to stay highly focused. This is especially important in threatening situations where it is critical to be able to maintain a strong, concentrated and powerful mindset. Discipline and willpower are also key to achieving this. Poor posture or breathing can particularly effect the mindset.

Breath - good breathing is key to increasing the oxygen flow through the body and ensuring the mind stays alert. Breathing action should come from the lower abdomen (the Tan Tien), pushing outwards on breathing in and opening up the back and shoulders.

Internal - in Tai Chi this is also know as 'energizing the inner orbit', opening up the energy flow around the body. On breathing in, you channel Chi through the Governing Vessel (running over the skull and along the spine) and breathing out channeling through the Conception Vessel (bisecting the front of the body). The Governing and Conception Vessels are connected by touching the tongue to the top of the mouth. Internal also refers to the ability to channel energy/force from the contact point with an opponent through the body, down the legs and into the feet. Key here is being able to connect the top and the bottom half of the body, so for example force is not just taken into the shoulders or upper body resulting in being thrown off balance.

Power - power can be generated from many parts of the body, but is most effective when used in conjunction with each other e.g. with power being 'layered' up through the actions of different joints our muscles. An example would be a punch, which some students may only use the hips to generate power. However, when layered and timed correctly power can be greatly amplified through using first the muscles around the spine, then to bring in the action of the shoulder, arm, waist, hips, legs and finally the feet. The majority of the power in this instance is generated from the spine, which is the core muscle at the center of the move.

Wedge - the point at which out hands our other part of the body would normally travel to when meeting an attack (the interception point) and combines the first four principles above to be able to first block and then begin to redirect a strike. Key here is the feeling of 'wedging' through an attack towards the opponent, and this principle is key to self defence aspects of any martial art, however is offensive rather than defensive. The wedge principle can be applied with many parts of the body including legs, head and shoulders as well as arms and hands.

Spiral - spiraling comes after the wedging action and is a way to turn the an opponents energy or momentum against them, taking force away from the opponent and turning into a lock, strike or throw. A spiraling action is also present in the way force is transmitted through the body and the legs to the feet and again helps to keep the connection in place between the upper and lower halves of the body.


As can be seen, many of the above are closely interlinked and in most cases cannot really practiced without the other, in particular the first four principles feet, posture, mind and breath. In chinese martial arts these are commonly know as Neigong which emphasises training the coordination of an individuals body with the breath. The last four principles are closely aligned with Qigong, which is the channeling of Chi through the body. Chi can also be used to repel, parry or absorb an attackers energy.

It is also very important to be able to able to recognise the condition of these principles in an opponent. For example by being able to analyse where their balance is e.g. weight might be in their heels; perhaps they are distracted so may not be fully mindful of the situation; an aggressor may also be breathing heavily with a puffed up chest which will also impact their posture and balance. An initial attack can also be targeted at disrupting one of the eight principles which can then be followed up with the primary attack aimed at disabling the opponent.


References:
The Eight Principles is the teaching system put in place by Steve Rowe at Shi Kon Martial Arts. More information can be found here

Chin-Na and it's Relevance in the Martial Arts

Chin Na is a Chinese term describing joint locking techniques used in many Chinese martial arts to control or lock an opponents joints or muscles/tendons so they cannot move or are disabled, thus neutralising their fighting ability. Chin na su is literally translated as 'techniques of catching and locking' in Chinese and features both standing and ground based grappling techniques.

The use of chin na varies significantly across many martial arts. For example, the southern Chinese martial arts have much more developed chin na techniques than their northern counterparts, with a more prevalent reliance on hand techniques which bring the practitioner into closer range to an opponent. There are over 700 chin na techniques found in all martial arts. In the Non-Temple White Crane style there are 150-200 chin na techniques alone. Other styles such as Northern Eagle Claw and Tiger Claw have chin na as their martial focus.

Given the influence that Chinese martial arts have had across the world, it is no surprise to see that elements of chin na can be found in many other fighting styles including Akido, Ju Jitsu, Judo and Karate in Japan, and Tae Kwon Do and Hapkido in Korea. Some styles such as Brazilian Ju Jitsu place more emphasis on ground grappling, compared to say Hapkido with its focus on wrist and small joint locks.


Chin Na Techniques

Chin na techniques can generally be categorised into the following main areas:

• Fen Jin - techniques which tear or grab at an opponents muscles or tendons
• Cuo Gu - techniques which put bones in the wrong positions and usually applied specifically to joints
• Bi Qi - techniques to prevent an opponent from breathing/inhaling
• Dian Mai - techniques of sealing or striking the vein/artery
• Dian Xue- cavity or meridian press: techniques for striking chi/pressure points

So as can be seen, as well as trapping and locking, techniques such as choking and striking pressure points are also key applications within chin na. The final technique also requires an understanding of Chi circulation and acupuncture.

Additional principles for applying chin na include:

• When applying a lifting chin na, you must lift your opponents heels off the floor, otherwise he will still be rooted and be able to attack
• When using a downwards chin na, you must bring the opponent down so his face or elbow touches the ground and he is completely defenseless
• When using a circular chin na you must destroy your opponents balance and rooting. Without both of these it is then possible to control them either upwards or downwards
• When applying chin na to an opponent, always have a back-up technique such as a punch or a kick in case the chin na control fails
• The key principles of grabbing chin na are twist, bend and press

In general, there is no one chin na technique that is perfect for all situations - this must be adapted to what your opponent does and must follow the situation. It therefore needs to be skillful, fast and powerful. Ideally chin na techniques should also be done by surprise - if an opponent is aware of your intention it can then be extremely difficult for you to successfully apply the technique. In such cases it can be easier strike or kick an opponent first as a distraction, and this is especially effective if a pressure point is targeted.


Basic Locks

In Japanese martial arts there are a number of basic locks which can be applied in close quarter situations:

• Nikajo - wrist lock, applied with a small lowering of weight or a bow.
• Hijo Jime - arm bar, turning over of the arm and pressing into the elbow (this pressure point can make the legs give way)
• San Kajo - twisting vertical arm lock, the arm is pushed upwards to move opponent out of their feet
• Kote Gaeshi - circular wrist lock

These locks can be combined with pushing hands techniques very effectively as shown in the video below from Steve Rowe. This shows a short kata style form for using the above locks which use the opponents efforts to get out of to apply the next in the sequence. Steve also shows with the pushing hands exercises how an opponents momentum can be used to apply each of the locks.

Joint Locking and Pushing Hands

Escaping from Chin Na Control

It is also very important that chin na practitioners know how to escape from an opponents chin na control and be able to counterattack and reverse the situation. Key factors here are speed and skill and knowing how to sense the angle from which your opponent is grabbing, being able to change this so that his control of your muscles and joints is ineffective. There are three main techniques to escape an opponents chin na:

1. Rotation Escape - the main reason for rotation when you are grabbed is to change the angle of the grab. When an opponent grabs you, he will try to do it at the most effective angle and location, and in order to escape you must act immediately. The key principle is to be able to rotate either arm hand or body in the opposite direction to the angle of the grab

2. Pressure Release Escape - this is the natural reaction of your body to pain. When an opponent tries to control you with chin na, before he completes his control you simply use your other hand to grab the opponents finger or hand that is causing you the pain. Then right after releasing the pressure, immediately change your grab into a chin na technique to gain control.

3. Distraction Escape - this is probably the easiest and most effective technique to use. Before an opponent has completed his control, you simply distract his concentration, for example by kicking his shin or groin. Alternatively, you can use the other hand to punch in the face or poke his eyes.While his attention is unfocused, you immediately escape from the grab and if possible counterattack with a chin na of your own.


The Importance of Chin Na in Martial Arts

There are a number of specific advantages for chin na practitioners. Firstly, the techniques requires skill and practice but no great amount of strength. They also do not require years of training to obtain a basic knowledge of their applications, and also fit comfortably into many other martial arts, combat and defense systems. Finally, because these techniques can be used to achieve control without inflicting serious injury, they may be used confidently and safely for self defense. This latter point is also why chin na has been an important part of the training for the police in most countries, as it enables a criminal to be controlled without the risk of injuring or killing him.

A practitioner's skill in chin na can also be further developed beyond the fundamental techniques through the application of Chi (internal energy), however this can take years of practice before full mastery.

References:
Analysis of Shaolin Chin Na - Dr. Yang Jwing-Ming


Here are some great further examples of locking techniques and escapes courtesy of Tom Hills Goju Ryu Karate:

'Come Along Technique' wrist lock takedown

Wrist locks, defense against attacks

Wrist locks plus strikes

Wrist locks applications & releases

Wrist lock & arm bar

Types of Pushing Hands and their Applications

Pushing hands is a form of exercise used to develop skill and understanding internal 'soft' martial arts. Its main focus is on leverage, reflex, sensitivity, timing, coordination and positioning. Instead of the more natural instincts in some hard martial arts styles for practitioners to resist force with force, pushing hands teaches the body to yield to force and redirect it. It is performed with a partner and this enables a student to develop what is known as 'ting jing' (listening power), which is the sensitivity to feel the direction and strength of a partner's intention and where possible redirect and use that against them. It enable students to train in the defensive and offensive movement principles of their martial art; learning to generate, coordinate and deliver power to another and also to effectively neutralise incoming forces in a safe environment.

Pushing Hands is said by T'ai Chi's Chen family to have been created by Chen Wangting (1600-1680), the founder of the Chen-style T'ai Chi ch'uan, and was originally known as 'hitting hands' (da shou) or crossing hands (ke shou). Other Tai Chi schools attribute the invention of pushing hands to Zhang Sanfeng, a legendary Chinese Taoist priest who was said to have developed the core principles of T'ai Chi. The video below shows some traditional  T'ai Chi pushing hands:

Traditional T'ai Chi Pushing Hands

Pushing hands is a core part of many types of Chines martial arts, especially those devoted to internal arts and is even practiced at a competitive level (see video below)

Pushing Hands - Taiwan T'ai Chi World Championships

Types of Pushing Hands

Within Pushing Hands are what are known as the 'Eight Gates and Five Steps', essentially eight different leverage applications from the arms accompanied by footwork in a range of motions.

The Eight Gates

The Eight Gates are associated with the eight diagrams of the I Ching as previously described in the Pa Kua martial form:

• P'eng - "Ward Off": an upward circular movement, forward or backward, yielding or offsetting usually with the arms to disrupt the opponents centre of gravity.
• Lu - "Roll Back": a sideways, circular yielding movement
• Chi - "Press": pressing or squeezing offset in a direction away from the body, usually done with the back of the hand or outside edge of the forearm.
• An - "Push": to offset with the hand, usually a slight lift up with the fingers then a push down with the palm, which can appear as a strike if dine quickly.
• Tsai - "Pluck" or "Grasp": to pluck or pick downwards with the hand, especially with the fingertips or palm.
• Lieh - "Split": to separate, twist or offset with a spiral motion, often while making immobile another part of the body (such as hand or leg) to split an opponents body thereby destroying posture and balance.
• Chou - "Elbow Strike": to strike or push with the elbow.
• K'ao - "Shoulder Strike": to strike or push with the shoulder or upper back. Can also mean to lean.

The Five Steps

The Five Steps are associated with the Five Elements already described under Hsing I:

• Chin Pu - forward step/advance
• T'ui Pu - backward step/retreat
• Tsuo Ku - left step
• You P'an - right step
• Ching Ting - the central or equilibrium position. This is not just the physical center but the principle of the 'rooted stance' required in the first four steps as well.

Normally pushing hands exercises will begin with basic single hand exercises which then advance step by step to more difficult routines. Some examples include:

• Dan Tui Shou - single-hand push hands
• Ding Bu - stationary stance push hands
• Huo Bu - moving stance push hands
• Da Lu - big pull push hands
• Hua Jiao Bu - "Flower Pattern" stance push hands

Core Pushing Hands Principles

As well as the key types of moves and training drills described above, there are also a number of key principles that need to be employed when practicing pushing hands. These can be summarised as follows:

Rooting - firm rooting to the floor through the feet and the rest of the body is key because this enables the path for absorbing an opponents energy and transmitting ones own. This is used to maximum effect with a 'spiraling' technique with the flow of energy and muscles within the body from the path of impact/contact to the ground.

Contact - maintaining contact with an opponent throughout the pushing hands exercise is very important as this fully enables one to sense an opponents balance, posture and strength. With constant contact it is possible to sense precisely when an opponent becomes unbalanced or vulnerable so that a successful attack can be made.

Softness - maintaining 'softness' or 'lightness' in the hands, arms and shoulders is probably one of the most important principles here as this enables much more effective sensing of an opponents balance and the ability to absorb or deflect an opponents attacking energy. A core technique for example is to be able to roll the arms on blocking an opponents strike, so that the attack is not simply met by a sudden impact but deflected and any resulting loss of balance can be taken advantage of. Likewise, if when attacking excessive strength or stiffness is used it is much easier to lose balance and become exposed to a counter-attack. Also softness throughout the body is requirement in order to use rooting principles and spiraling technique, as again excessive strength or stiffness of the muscles can block the channels for transmitting energy.

Balance - maintain one's own balance and shifting weight is a core skill to develop, as loss will immediately open up an opportunity for the opponent to attack. If at any point balance is lost, through the principles described above in 'Five Steps' focus should be made on immediately regaining balance and to regain the upper hand. Use of the waist to turn when blocking is also important as it enables firm rooting to be maintained and attacks to be successfully evaded without having to move the upper body excessively and the resulting loss of balance. A combination therefore of use of the waist and stepping are key to both evasion and attack.

Breathing - controlled breathing throughout pushing hands enables the softness and relation required, plus helps to more effectively channel energy.

Probably one of the most important points is that all of the above principles are very closely interlinked and all need to be used in conjunction with each other to practice pushing hands successfully.

Applications of Pushing Hands in 'Hard Styles'

In traditional hard style karate we practice a number of defensive and attacking moves such as:

• Age-uke: rising forearm block
• Gedan-bari: downwards forearm block
• Soto-uke: outer forearm block
• Uchi-uke: inside forearm block

The above and many other moves in traditional karate can be 'translated' into the techniques described in the Eight Gates (e.g. P'eng = Age-Uke, Lu=Uchi-uke), in fact it is likely that many of these moves have their origins in these principles.

While it is important in karate to be able to be able to perform the traditional moves, through practicing pushing hands it is possible to make them much more effective in terms of speed, power and visibility (the traditional moved become much 'smaller'). They are especially useful in close quarter situations and quite often it is possible to add locks, strikes and grabs onto the end of a pushing hands move (more on this in my next post on Chin-Na).

Its also quite interesting to see how many different types of martial arts take the principles of pushing hands and implement into their own styles - a few examples of these are shown below and each have their own very subtle differences in terms of how hands, arms and stances are used.

Yiquan Pushing Hands

Baguazhang Pushing Hands