The Facets of a Complete Martial Artist

To be a complete martial artist requires the practitioner to develop skills in a number of focus areas.  This article will present those areas and discuss the important details of each.

The vital areas of knowledge for a complete martial artist include:

1. Footwork
2. Strikes
3. Rolls and Falls
4. Joint-locks
5. Nerve and Pressure points
6. Counters and Blocks
7. Blending and Yielding
8. Takedowns and Throws
9. Groundfighting
10. Body Mechanics
11. Breath Work
12. Energy Work
13. Spiritual Work

I believe this to be a comprehensive listing gathered from over 22 years of training in both internal and external martial arts.  The terminology is mine and the finer points may be arguable as far as the taxonomy is concerned; but I hope to present in the balance of this document my thoughts about each of these areas so that all are more fully understood.  As always, I make the assumption that this discussion on martial arts is in the context of actual combat and not competitive fighting – although most of this article should apply to either.

Footwork

Footwork may be the single most important tool in any martial artist’s arsenal.  There are numerous aspects of footwork for the martial artist; the most important being the ability to maintain a solid base at all times – especially when moving.  Footwork also has so much to do with the delivery of strikes and generation of true power.  Footwork should be natural and not too complex; complex footwork leads to confusion in a conflict and this is not a good thing.  Tripping over your own feet or getting them entangled will usually leave you in a very vulnerable position.

Proper usage of the feet also directly applies to your tactical strategies.  It may seem like something taken for granted, but training the legs to move in specific ways for specific situations is often neglected and very much needed. But the fundamentals are also just as important: width of stance, proper weighting of stance, orientation of stance, etc. Then there are the movements: the shuffle, slide, glide, pivot, etc. All of these elements of footwork must be mastered.  In my experience, JKD, Silat and Aikido foster outstanding absorption of offensive and defensive footwork movements; T’ai Chi and Bagua create an excellent sense of balance and overall leg conditioning as relevant to martial arts.  Also, any weapons training reinforces the significance and necessity for effective footwork – in fact, weapons training can be one of the best ways to get your footwork skills to where they need to be.  The extra distances and the vectors of attack/defense involved in weapons training makes you move those feet where they need to be with a higher degree of urgency – a stick or blade coming at your head should clearly motivate you to move. To cite a specific system: the unique movements in kenjutsu cannot be acquired with any other type of training. It is almost a disservice to single out the footwork in kenjutsu, because more so than any other system (in this author’s experience), kenjutsu strives for entire body coordination and harmonious movement.  But over time, one clearly picks up a unique method of movement of the feet, legs and hips from kenjutsu which gives the practitioner an amazingly efficient way to gather and release force in any movement with or without the sword.

Although there are some contradictions between some systems about proper footwork, there is no doubt that all systems place a heavy emphasis on moving the feet correctly. Explore these different perspectives and determine what works best for you individually.

Strikes

Strikes are any part of the body used to direct a percussive blow against the opponent.  Strikes include fists, open palms, “chops”, slaps, finger jabs, knuckles, claws, forearms, elbows, shoulders, kicks, knees, head-butts and even hip strikes – anything that uses a part of the body as a force-driven contact object.  A comprehensive striking regimen is a must for a martial artist.  Knowing the different types of strikes that can be delivered from all the various angles and using all body parts provides the practitioner a constant wealth of alternatives.  Limiting oneself to only a few types of strikes is limiting oneself as a complete martial artist, and may prove to be costly in a conflict situation.

Along with knowing the types of strikes to deliver is knowing where to deliver them.  We will discuss this more in the “Nerve and Pressure Points” section of this article.

Lastly, how the strike is delivered is very important.  Although it may seem pretty straight forward when talking about a punch or any other strike (you just hit the guy, right?) there are many nuances, both physical and mental, about striking that should be studied and absorbed.  What is the real difference between a reverse punch in karate and a very similar looking punch in tai chi chuan? There is a huge difference, by the way; not better, not worse – just different.  And the strikes in Systema are different than all other types of strikes I have come across.

Rolls and Falls

Knowing how to fall is hugely important.  And I am not talking about how to take an Aikido or Judo type of break-fall – try that on the street and see how much it hurts.  A fall must be as soft as possible.  Slapping the floor is also not a good idea – concrete and blacktop are pretty solid – you may wind up breaking your hand, wrist or elbow – or dislocating a shoulder.  Falling and rolling properly actually takes a lot of practice.  There is also the tactical aspect to consider – what if you are fortunate enough to have a weapon in your possession during a conflict – and if you take a fall you almost certainly do not want to lose possession of that weapon.  Knowing how to do this is a must.  Also – rolls can be used offensively as an element of surprise, closing the distance quickly, or other tactical purpose.  Additionally, proper rolling practice makes you more limber, relaxed, confident and versatile as a martial artist and helps remove the fear of going to the ground.  The best training for rolls and falls I have ever seen is in Systema.

Joint-locks

Joint-locks and other joint manipulations are an extremely important and sometimes overlooked area of a martial artist’s training regimen.  The argument against them is they are complex and require use of fine motor skills – fine motor skills deteriorate under stress (if the individual does not know how to operate under stress properly), so this is why many practitioners do not focus on joint-locks.  The argument for joint-locks is that they offer a large degree of control over the opponent if applied correctly and in the proper scenario.  Equally important to understand is that almost every joint-lock can easily evolve into a break, dislocation or other serious injury.  The “lock” portion is an attempt at control first – if control is not possible or even desired – then the full execution of the technique is applied to affect the more serious damage.  Diligent practice with joint locks will give you an outstanding set of weapons at your disposal.

Aikido/Aiki jujutsu, Silat and BJJ all have an excellent array of joint-locks. Of course, so do many other systems – I am listing those I have direct experience with.

Nerve and Pressure Points

Knowing how to strike and how to apply a joint-lock is a fundamental skill.  Knowing where and when to apply these tools is equally as important.  There is an entire series of nerve points, acu-points, pressure points and energy channels that a martial artist should be completely fluent with.  Delivering a strike or manipulation to these vital areas can be the difference between ending a confrontation quickly and effectively and a prolonged conflict.  Very few systems teach a comprehensive curriculum specific to these points and channels.  The wise practitioner will explore this area thoroughly.  Of course, the challenge here is actually finding a system/teacher who can pass on this material.  There are few who can and even fewer who are willing to share this knowledge. A dedicated student can learn much of this on his own, but will take many years to fully comprehend this area.

Counters and Blocks

A basic set of defensive skills is the ability to counter and/or block strikes coming at you.  A block is an obstruction of the incoming strike and a counter is usually a simultaneous or fastly-followed block and attack.  What is essential to know about blocks and counters is – obviously – how to properly use them against the proper strikes.  More important, however, is being able to use the counters and blocks as setups for your next movement of set of movements.  This is one of the areas where the “art” of martial arts takes form.

Blending and Yielding

This area is almost an exclusive domain of the so-called “internal” martial arts such as Aikido/Aiki Jujutsu, T’ai Chi and Bagua Zhang.  It can – and should – apply to any martial art practitioner.  The Russian martial art of Systema uses blending and yielding extensively.  Blending is the ability to work with your opponent’s energy vectors and either direct them back into him or intercept them at critical leverage points and instances of time.  It can have devastating affects when applied properly.  Yielding is more focused on a “rubber band” type of reaction to an attack: i.e. accept the incoming attack, but do not contest for the space of the strike – give in just enough to neutralize the attack.  Then, at the correct moment, spring back the force of the attack into the attacker.  This springing back can be as simple as a shove or as deadly as a lethal strike to a vital area.

Circular, spiraling movements are often a characteristic of these techniques and principles, but not 100% of the time.

The subtle aspects of these types of movements can manifest as purely outward or more inward focused actions; the same principles of action and reaction apply, however. This type of functionality requires exceptional sensitivity and timing.

Takedowns and Throws

This section is closely related to Joint-locks and Body Mechanics.  What makes it stand on its own is that it deals specifically with taking an opponent to the ground.  Joint-locks often lead to a takedown or a throw, but not always.  And not every throw is a joint-lock.  A solid understanding and application of the principles of Body Mechanics will make takedowns and throws easier, but one can apply the principles of Body Mechanics without actually performing a takedown.  So, knowing how to get an opponent on the ground covers a broad spectrum – from a simple trip or leg sweep to a complex hip or shoulder throw – the well-rounded martial artist will possess these skills.

Groundfighting

Grappling, Brazilian Jiu-Jitsu, Judo, Wrestling, etc.  I summarized them all into ground fighting.  In modern context, much of this area is covered within the Mixed Martial Arts (MMA) and Brazilian Jiu-Jitsu styles of fighting and is very closely aligned with competitive fighting such as UFC® and Pride® FC matches.  For a more practical application of this area of combat, we consider being on the ground a “bad thing” and will utilize more severe combat-oriented tactics when considering groundwork.  Today’s competitive fights are extremely rigorous and the participants are outstanding fighters, but I believe in more of a “street” or “bush” context.  If someone goes to take me to the ground, I will go for vital points that are considered illegal in competitive fights – I want things ended asap.  This is why training in MMA is (in my humble opinion) detrimental to success in actual combat.  You fight as you train, and if you train in MMA, you will not consider these vital points.  If you are a good MMA groundfighter, you may even desire to be taken to the ground – out on the street, this is not where you want to be – your opponent may have a few friends around the corner or in the car that you didn’t count on.  Sure, you may apply an arm-bar and break his arm, but now you may be getting your head stomped in.  So, our approach to groundfighting is to go there only if you absolutely must – and then end it and get back up as quickly as you can.  Eyes, neck, nose, fingers and other areas are all fair game.  Of course, with all that I have already stated, I wholeheartedly believe in knowing how to apply an arm-bar (from many different entries) or a triangle, chokes, leg locks, etc.  What I encourage is the spirit of the training on the ground being geared towards the street, not the ring.

Body Mechanics

This is a very common sense topic area, but one that needs to be fully absorbed – through practice – to be fully understood. If there is one maxim in the martial arts that virtually every practitioner knows, it is “the body goes where the head goes”.  There are also numerous other equally effective applications of body mechanics that allow a practitioner to manipulate an opponent in a way that is advantageous to you and dangerous for him.  Using the elbows and biceps as steering wheels, detecting balance points in the opponent’s stance, destroying the center of gravity, etc. – as well as understanding the basic anatomy and kinesiology of how the body functions. These are just some of the very important topics covered within this area of study.  In my opinion, this is one of the most important areas of study for a martial artist.

One of the most practical areas of knowledge in this area is what I call the “Five Balance Points”.  Essentially there are five areas on the body where you can attain a high degree of control over your opponent – with or without applied locks or holds. Those areas are:

• Head
• Arms
• Hips
• Knees
• Ankles

Applying pressure or even strikes at the correct angles and amount of force on these body parts will allow you to pretty much move your opponent where you want.  Learn these techniques and the principles behind them and you have a huge advantage.

Another very important topic here is one that is often expressed using geometric shapes; the two most important shapes being the Triangle and the Circle.  The triangle is used to communicate both offensive and defensive concepts in many systems, including Aikido/Aiki jujuts, Kali, Silat. A quick example of one of these concepts that relates to body mechanics is the triangle and the weak-point-base of the body.  Any stance someone takes has a weak point by making a triangle straight outward or backward using the feet as two points of the triangle. The third point is the imaginary intersecting line in front of or behind the person.  If you can direct your opponent’s balance or a significant body part towards that triangle point, you will almost always gain a tactical advantage. There are many other cases of using geometric shapes to communicate principles and techniques in body mechanics – explore them and absorb them all.

Breath Work

I cannot overemphasize how important breath-work is to martial arts practice and execution.  T’ai Chi and Systema are fundamentally built upon breath training. Karate and other Japanese budo arts employ the kiai as a major element of training and application.  In non-martial circles such as hatha yoga, breathwork (called pranayama) is a keystone of attaining higher states of consciousness.

In this author’s opinion, the breath is the doorway to phenomenon.  Exactly what and how that phenomenon manifests for each practitioner will vary according to many factors.  But the most amazing incidents I have seen have all been rooted in a concentration of the breath.  I practice a union of breathwork principles that I have learned primarily from Tai Chi/Qi Kung and Russian Systema .  Each of these systems has a very powerful system of breathing that will enhance one’s abilities.  Merging – well, not exactly merging them – but, rather, mixing the breath techniques from both of these traditions has brought an even higher level of awareness, power, connectedness (within and without) and health.  Another example of “absorbing what is useful…”.  Note – I have not picked specific things from each system and attempted to develop a new one; by mixing, I mean that I practice and teach both complete systems simultaneously, and the cumulative effect is outstanding. It’s like using the confusion and pre-exhaustion principles in weight training; both are very effective and valid on their own.  But many lifters combine both concepts into their training to attain greater achievements.  The same applies with this description of breathwork.

At the very least you should explore breathwork for recovery purposes.  Doing breath related exercises will greatly enhance your body’s recovery from strenuous workouts and keep your body loose, limber and resilient over time.  At the other extreme, breathwork can lead to another plane of functionality that borders on the fantastic.

Energy Work

This is an interesting topic. Energy means different things to different people – it is also true in martial arts circles. The definition of energy in the context of this article will be centered on what is known as “chi”.  Chi is also called ki, qi and prana. Chi is often regarded as a mystical phenomenon, and is often discounted by many martial artists and non-martial artists as being impractical or even nonexistent. I can say with complete confidence that chi is real and it can be developed and utilized just like you can develop and utilize your physical attributes such as muscular strength, endurance and flexibility.  All it takes is proper training and practice – the hard part is finding a qualified teacher; there are many supposedly qualified T’ai Chi and Chi Kung instructors available today – many do not have the skill, talent and ability to teach this subtle topic. But enough on this – we will assume chi is a real phenomenon and it can be developed.

So, what are the reasons for developing chi? There are many, but we will discuss a few of them here.  First, increased health is perhaps the primary reason for developing your chi. Most chi developing exercises have a beneficial supplementary feedback loop contained within them, so that as you are performing the exercises to circulate the chi, you are also simultaneously amplifying it – even if just a little. The exercises help develop outward physical characteristics that are important, and the chi is also stimulated – both leading to a more healthy overall state of being.  Training the chi also creates a deep mind-body connection, since development of the chi is dependent upon proper use of mind and body.  The practitioner truly becomes intimate with his/her own internal body functions, rhythms and structure.  Having this type of fluency with one’s own system allows the practitioner to detect subtle inconsistencies and potential negative points within the body – often called “blockages”.

A strongly developed chi can have major martial applications, including enhanced perception, more powerful strikes, the ability to “root” (i.e. become very difficult to move and/or draw strength from the ground) and – at advanced levels – to release energy within your strikes (often called fajin in Taijiquan).

In Tai Chi/Taiji practice there is a phrase: ” Yi Qi Shen”. “Yi” signifies the will or intention.  Yi will direct the Qi appropriately throughout the body through correct practice over time.  As the Qi is developed, stored, amplified and refined – it will eventually evolve into pure spirit – Shen – which is the highest goal of a Taiji practitioner. Now – spirit in the Chinese context has many meanings; the point here is that at some point in time, after diligent practice of Taiji, the stored and refined Qi will take the practitioner to another level of consciousness.

And this is a nice segue into our next topic…

Spiritual Work

To be a complete martial artist requires development of the spirit.  A true warrior must possess the skills and character traits of reason, honor, integrity and right-action as well as compassion and loyalty.  This is acquired through development of the spirit.  Also, authentic spiritual practices will aid all other aspects of a practitioner’s skills – especially the Energy Work area.  By spiritual practices, I am referring to meditation, spiritual rituals (of whatever form the practitioner chooses – we are not talking religion here), and a fundamental awareness of, and a dedication towards development/evolution of, the Soul.  The Soul is our gift from God and we owe it to ourselves and to God to develop our spirit and become as close to God as we can in this life.  If I offend anyone with the term God, so be it. I do not wish to be false – I believe strongly in God and that is part of who I am.  I will not impose my beliefs on anyone at anytime, however.  I am merely stating that to be a truly complete martial artist – or human being for that matter – requires work in this area.

The benefits can be astounding, both in the most practical applications as well as the most mystical and phenomenal aspects of our lives.  I will not elaborate in great detail on this topic, because it is often highly personal and specific to each individual. But I have had enough of my own experiences to say that my spiritual beliefs and practices have made me a better, happier and more fulfilled person, and I am grateful to say so.