Recognising your lines of force.

Its been a little while since i have posted any information on here, so sorry about that. I have been very busy training in various arts to expand my knowledge base and test my body skill.  But i have a few posts on the go so will be updating again in the next few days with some more information.

I was recently talking to a friend who was explaining a method of pushing on a wall to recognise what line was in use in a given expression of power. It is interesting that this guy wasn't from an IMA background as this sort of structure testing is something we do quite often.

But this way of establishing the line is just the first step in recognising what is required of the body and its lines when expressing directional power. Lets have a look at some ideas relating to this method.

1) Push the wall.
Here we simple take the position of a specific method, a punch or kick, shoulder bump or elbow strike, while placing the striking surface on a wall. We then push or press against the wall to feel what parts of the body are being engaged. This anatomical line is the one we form up behind the given direction when we make said movement.

This is the first line to recognize and really feel. It will highlight to us what the forming up line is behind a given movement allowing us to tailor solo and power training to developing that line for maximum expression behind the applying surface.

2) The empty lines/areas
Next we need to focus on the areas of the body not involved in forming up behind the applying surface. So for instance, in a straight punch the back leg to front hand may be the primary line of force, so we need to examine the front leg and non punching hand/side of the body.

Once we are able to feel these ‘empty areas’ of the body we need to work to engage them. Or fill them so that they are no longer empty. All the while still applying force along our primary line. We don't want them to be along for the ride but actually contributing directly to the stability of the structure or expression of force.

This is much easier said than done but the aim is to have a unified force  assisted by complimentary forces fed in from areas not required in alignment behind the specified direction.

3) Opposite directional forces
It may seem counter intuitive to have a reactionary force opposing the primary direction, but this is also a requirement if we wish to establish and maintain an equilibrium. When applying force along a direction or around an axis it is easy to ‘overcomit’ our power in said direction making us very vulnerable. The application building of a complimentary but opposite force is needed to retain our centre and balance.

This isn’t an easy concept to grasp but for instance for certain strikes the spine will be used like a bow or a spring, in a bow the tips spring due to the opposing central pressures (otherwise the whole bow would move through space) In a spring the compression is opposed by the solid base or equal pressure from the other side. Without these opposing forces there would be no potential to emit power.

Summary
Actually developing these lines and ideas once recognized is the one of the overriding principles of the internal arts. We are aiming for Maximum efficiency and mechanics in a given direction. But first, as seen above we must understand what the direction actually is inside our body, rather than outside in the resultant motion.