Throughout the many Chinese Fist Arts, discussed in article 1, there is one common factor, Body Mechanics. My own definition of body Mechanics is, 'the way that the body moves, the joint opens, closes or puts strain on any other part of the body if manipulated the wrong way; the way that the muscles and ligaments can put torque into the body if manipulated; actions of the body caused by internal or external influences'. In Chinese Ch'uan-fa (Kung-fu self-defence training methods) we learn to receive a force which is propelled at us, disperse it, then use whatever tools are at 'convenient' disposal to disuade or disable the attacker; depending on the severity of the attack. Often these techniques use Body Mechanics, found in Chin Na, Chiu Chu-shu (Chinese Jiu Jitsu), Grappling or other popular Arts. Body mechanics also comes into play when we learn our stances. By placing the body at certain angles it lends strength to a technique of defence or attack.

A Demonstration of Body Mechanics
Take 'Ma Bu' or Riding Horse Stance.  We use Four Point Riding Horse Method to find the correct width for our Ma Bu. Once you have achieved the correct width and posture (knees out, pelvis tilted forwards, et cetera) then we strive to lower the weight by bending from the hips and knees. The maximum depth sought here is when the thigh becomes parallel with the ground – see illustration 1a. [illustration 1a > ].
In this Illustration you will see that there is a triangulation which is on parallel with the ground and  is between the knees and the hips. The centre of gravity (Dan T'ien) is centred between the feet. Note: the Centre Line looks to be off-centre but is not, this is because the camera angle is off to the side and the Centre Line runs down through the middle of the body from the top of the head  (Between points Gv 19 & Gv20) to the base of the torso(Huiyin Point Cv1).

The next stage is to try to hold this posture for as long as possible. The resulting effort and the time you last, added to repeat performances or “sustained efforts” equals your personal 'Kung-fu' in this stance. Training in Ma Bu, as well as other stances, is an essential part of Ch'uan-shu. They teach us balance, control and gaining strength from "triangulation", as well as helping us gain physical strength. Without this focus on strong stance work then what you or they do is not Ch'uan-shu Kung-fu.
 

The Part This Training Plays
By developing your Horse Riding Stance you will be strengthening your legs, obviously, but you will also develop your ch'i, your determination and willpower, focus or concentration and postural control. These things and more are all important foundations and the stronger your foundations the higher your building can be. It is self-imposed hard work (self-discipline, a cornerstone of Ch'uan-shu).

This “hard work” is an integral part of the Chinese Boxing Arts because without it you will not develop a strong body. However, as anyone putting the above test into practice will soon find out, there is more than just physical effort involved. It requires a strong mind and will ('I' pronounced 'Yee', as in Hsing-I) to persevere to a level whereby real gains are made. This creates a positive cycle of improvements which is the real doorway into the Chinese Arts. There is no one effect that is more important than the other, but the mental aspects are good for training your “Yee” or willpower as without this strong determination you will not succeed in further training to any great degree. Those who do not want to work hard on stances or put in the sustained hard work, take shortcuts or try to find alternatives, will not be as good as those who work harder.

You may have noticed that I keep using a capital 'A' for Arts. This is because the true meaning is level with that of any great performer in the ballet, a great painter or any other Artist; a person of high accomplishments through dedicated training and long term perseverance. However, I try to refrain from using the term “Martial Arts” as this refers to a limited and narrower selection of fighting styles developed for combat in militaristic circumstances; e.g. The battlefield. Like Tae Kwon Do with its jumping kicks that could unseat a mounted horse rider [now more competition orientated]. The Chinese National Arts (Kuoshu) are wide and varied and include many forms of pugilism from militaristic or “offensive”, to personal or “defensive”, but most also contain a great deal of other “life skills” and peripheral benefits, like better health, fitness, awareness, self-control, self-development, coordination's, et cetera. This is why the term Arts is used and these factors all go towards the true meaning of Kung-fu, or in our example, Ch'uan-shu Kung-fu.

Posturing
Much time must be spent getting your posture right. If, for example, you make a bad habit of overextending the knee  then you can cause joint and muscle/ligament problems, injure yourself during faster training or in a fight; self defeating. In the illustration (2) here I have used the classical Bow and Arrow Stance, or Hill Climbing Stance. In this stance if the knee is over extended you can damage the cartilage of the knee as well as the surrounding ligaments. This could enforceably cause cessation of training. Illustration 2 shows a reasonable Bow & Arrow Stance but the back is too upright. This could bring too much pressure onto the small of the back (Sacrum area) as well as cause a weak point which could easily buckle under pressure (e.g. A push from the front).

[ Illustration 2 - Weak Spine Bow]

In illustration 3 you will see that the torso leans forward very slightly. This "projects" energy forwards giving you a very strong Bow & Arrow Stance. The torso almost reflects the angle of the rear leg. In illustration 3 you can clearly see the strengths created by the triangulations and the position of the Dan T'ien (highlighted in white). The rear knee is important because of two main reasons, the
first of which is to protect the knee if struck by a kick or by the impact of absorption (from a sudden backwards push or force). The second main reason is to maintain flexible movement; in order to shift weight to the back leg quickly without having to 'unlock' the knee joint first. Any style or stylist who uses or teaches the archaic practice of locking the knees out should change. There is nothing positive to be gained in sticking with this tradition of 'Locking Out'; either in stances, punching or kicking* See Footnote. The emphasis on correct posture is predominant in all of the high level Chinese Arts, from Chang Chuan to T'ai Chi Ch'uan. Stance testing should be an integral part of every beginner's training and leads to better Ch'uan-shu Kung-fu.
[ Illustration 3 - Strength of the Bow & Arrow]

Other posture points may vary from technique to technique or style to style.  Some however have similar origins and uses. Take the Tiger Back of T'ai Ch'i Ch'uan and of other methods of Ch'uan-shu. In the so-called “Internal” (Nei Kung) styles it may be used to deliver crippling power to the body of the attacker by using ch'i as well as physical “compression” techniques. In reality there is little difference between this and the “external” styles (Wei Kung) apart from more tension perhaps in the practice stages; in the later stages a practitioner may be more relaxed and therefore their technique may echo principles of 'Internal' training methods. The method (Fa) in both Internal and External leads to an understanding of defending or attacking power through posture control. Correct movement leads to positive results, but of course we need to understand those movements, how they work, why they work and when they work. This is “Kung Fa” or Training Methods, Kung-fu science.

Movements
Kung Fa extends through all aspects of training, whether Yang Family Taiji, Hung Gar, T'ien Ti Tao, Sun Style Taiji, Chen Taiji, the Shaolin Animal or other styles and any others. Unless we are taught, or find, the correct methods then our Kung-fu will not amount to much and we would have to resort to basic, untrained animalistic or natural fighting under pressure. To be able to use our Kung-fu (Trained Skills) under duress requires that we have a wide and full understanding of movements, as well as the ability to put them into practice with a clear mind whilst under pressure. T'ai Chi Ch'uan is usually performed slower in training because there are so many aspects and details to get right in order to get it right; it has nothing to do with flow or grace. Later T'ai chi Ch'uan practices can include much faster Form or even Freestyle work. We practice, practice, practice until it becomes second nature (should that be 'first nature'?) and automatically react to a given stimulus [the attack]. These reactions can also save us or others during every day accidents.

*Footnote:
LOCKOUT
Another outdated and dangerous practice is that of locking out the knee when kicking (or elbow when punching). This causes Bursitis – the same condition as is commonly called Tennis Elbow or Footballers Knee. I lost a very good female student who moved to Ipswich and tried Karate for just a few months (as we had no club there at the time and she wished to train). Her right knee was useless after the pointless practice of locking out the knee. Had she have followed my advice in her early days she would not have even gone to the club after being asked to do such a dangerous and injurious exercise. There are many different clubs around which still teach this medically and technically undesirable practice.

©Copyright Shih-fu Mike Symonds T'ien Ti Tao 2005+ All rights reserved. This article may not be reproduced or distributed in any form whatsoever although it can be read in situ for training purposes it may not be copied, printed or distributed, in part or full, or used as own material.