Shaolin Martial Arts
[Shaolin Temple]


Bruce Lee's JKD 




Art of Hsing I (XingYi) And Pa-Kua Chang [(Internal Styles)   





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Martial Arts World

Martial art styles can be divided roughly into two categories: External and Internal. External styles, which are also called "hard" styles and which include such American favorites as Japanese Karate  and Korean Taekwondo, rely primarily upon muscular strength and less of internal energies, while internal or "soft" styles, such as Japanese Aikido and few other Chinese styles, cultivate a more mysterious energy called 'Chi.'

An external style is one which relies primarily in strength and physical abilities to defeat an opponent. In contrast, an internal style is one that depends upon ch'i  and timing rather than power. Aikido (at the master's level) would be an internal style, while most karate styles are external.

Karate  is considered to be the most efficient and effective martial art, as it has evolved over a long period of time and proved in real combat!. It has everything that a novice student would need to get initiated into Martial Arts and it builds the basic skills, attitude into a person. So its better to learn Karate a the base level and then build up or change over to other martial art styles later on.. Such students will have an edge over others and will prove to be better martial artists. 
This note is strictly my personal view.. As I have understood and experienced this fact myself. In my opinion a martial artist must learn more than one style and should be open minded. Because Martial Arts has a long history of evolution and refinement and this should continue... All styles have some worth in it and will make you aware of all dimensions of the "Art of fighting" !). 

When you learn more/new styles then don't forget what you had already learned ! infact  refine your old knowledge and add to the "New". At the same time "Empty your mind to absorb the new knowledge" (As said in Bruce Lee's philosophy).

Most students learn martial arts to be able to beak bricks or win tournaments or get fit and healthy. This is Not a good trend as "Martial Arts" should be learned to  defend yourself or your family/others. You must learn this art with this attitude if you want any  benefit from it. After all  its the "Art of Fighting". You get all other abilities/skills during this learning process. So  see your goal as one.
Note By : 
Jimmy George (Author/creator to this website).







Karate, Shorin Ryu system of Okinawan Karate


Bruce Lee's JKD





Muay Thai (Thai Boxing)


Shaolin Martial Arts


Ninja [Ninjitsu ,Shinobi,Ninpo]


Eskrima [Kali, Arnis]



Art of Hsing I (XingYi) And Pa-Kua Chang [(Internal Styles)



Taoism ('Way of Life')

"When something unexpected happens, in that very moment, treat it as a meditation."


"My words have meaning; my actions have reason;
Yet these cannot be known and I cannot be known."


Qi Gong (Chi Kung) -[Art of Breathing
Body - Energy - Spirit


"Movements of meditation and health for body, mind & spirit".


Dim Mak, Kyusho-jutsu, ATEMI-WAZA, Kyusho justu [Pressure Point Arts]



Sword Arts (Kenjutsu, Iaido, Kendo) 



(a combination of wrestling and boxing)



Martial Arts Secrets & Words of Wisdom !    


KickBoxing ! 


Indian martial arts !
[Kalari or KalariPayatu & Marma Shastra, Thang-Ta (Cheibi Gad-Ga), Silambam, Gatka, Thoda]


My Martial Art Page and about ME ! (Jimmy George, Website creator)



Click here to enter Jimmy's Martial Art's Gallary !

Quote : A teacher opens door, It's is up to the student to step through ...


 Eskrima -Kali Arnis
Philippines skick fighting



Muay Thai (Thai Boxing)




 Pressure Point Arts
[Dim Mak, Kyusho-jutsu, ATEMI-WAZA, Kyusho justu]


Qi Gong / Chi Kung



Sword Arts


KickBoxing !


Indian martial arts !


What is a martial arts style?

The concept of a style is a rather complicated one, and Chinese martial arts claim as many as 1500 different styles. By "style" we mean a particular school of martial practice, with its own training methods, favored techniques, and emphasis on attack and defense. While it is impossible to quantify differences between most styles, it is easy to see the distinctions between such disparate approaches to combat as practiced by Tiger, Crane, and Monkey stylists. In choosing a style (a contemporary privilege; traditionally, styles were assigned by the teachers), try to find one that suits your physical attributes, interests, and sense of utility. It does no good to study the graceful single-leg and flying techniques of White Crane if you have the flexibility and grace of a turtle! On the other hand, and gung fu practice will enhance your physical skills, dexterity, and alertness, and it is not uncommon for a beginner in one style to change to a more "appropriate" style later. Whatever else may be said of styles, the first year basics are almost universal--punches, kicks, and stances show little variation at the beginner's level.

Martial Arts: Hard vs. Soft, External vs. Internal

Internal or "soft" styles, such as Japanese Aikido and few other Chinese styles, cultivate a more mysterious energy called 'Chi.'

Although everybody has chi, few people have much of it, and fewer still know how to express it. But according to the Chinese, this precious elixir can be cultivated and controlled through the exercises of the internal martial arts styles.

Specifically, they say chi can be brewed in the tan tien, a spot about an inch below the navel. Once the tan tien is filled, the chi supposedly spills out into other parts of the body, where it is stored in the marrow of the bones. It is said that as a martial artist develops chi energy, his bones become hard, his sinews tough, is muscles supple and relaxed, which allow the chi to circulate freely through the body.

The concept of hard/soft and external/internal martial arts is not one easily described. In terms of styles which most people are familiar with, Karate would be an example of a hard style and Aikido or T'ai Chi examples of soft styles. A hard style is generally considered one where force is used against force; a block is used to deflect an incoming strike by meeting either head on, or at a 90 degree angle. A soft style does not use force against force, but rather deflects the incoming blow away from its target. There are uses for both hard and soft techniques. A practitioner may wish to break the attacker's striking arm with the block. On the other hand, a much smaller opponent would not be able to accomplish this, so instead may wish to deflect the incoming attack.

An external style is one which relies primarily in strength and physical abilities to defeat an opponent. In contrast, an internal style is one that depends upon ch'i and timing rather than power. Aikido (at the master's level) would be an internal style, while most karate styles are external.

However, the concepts of hard/soft internal/external are finding fewer proponents among senior martial artists. Both conceptual twins are impossible to separate in reality, and masters will generally acknowledge that any distinction is largely only a matter of subjective interpretation. Arguments about the reality of the concepts are often waged by novices and philosophical dilettantes, ignorant of the inseparable nature of duality. They see yin and yang as elements that can exist independently, while philosophical and physical reasoning demonstrate that they cannot. Without their union (=Tao), neither can exist. Ergo, a "hard" technique such as a straight fist is guided by the soft power of mind and the internal component of ch'i. Equally, the softest projection of Aikido requires the "hard" element of physical contact and movement, coupled with actively redirecting the opponent. In short, preoccupation with distinguishing soft from hard is a distraction from learning martial arts and moving towards a unifying technique and mastery.

Gung Fu Styles

Gung Fu styles may generally be divided into three classes: Shaolin Temple styles, temple-derived non-temple styles, and family styles, or Pai. Within the Temple styles are those arts generally and consistently taught in the temples, with many having their origins in pre-Shaolin history. There are two major divisions in Shaolin Kung Fu. The southern temples are predominantly hand technique oriented, while northern temples put more emphasis on kicks and foot techniques.

The northern Shaolin styles primarily consist of Northern Praying Mantis, Black Crane, and Black Tiger.

The southern Shaolin styles primarily consist of White Crane, Tiger, Dragon, Leopard, Snake, and Southern Praying Mantis.

There were also styles that had their roots in the Shaolin temples, such as Wing Chun and Hung Gar.

Many of the movements were representations of the behavior of animals. A system sometimes comprised the maneuvers of one specific animal and no other. All the blocks, attacks and stances were done in imitation of the bird or beast. Each system had certain aspects peculiar to it since each of the animals was designed differently by nature. However, most styles were not so rigid and limited; northern praying mantis, for example, uses mantis and tiger hand techniques, and monkey and generic northern style footwork.

Differences Between the Styles

In general terms, the styles followed specific training objectives (but there are always exceptions). The dragon movements were devised to develop alertness and concentration. These movements were executed without the application of strength, but with emphasis on breathing in the lower abdomen along with the coordination of mind, body and spirit. Movements are long, flowing and continuous, and provided Shaolin practitioners with the equivalent of t'ai chi or pakua.

The tiger movements were formed to develop the bones, tendons and muscles. The execution of these movements was the opposite of that of the dragon, since emphasis was placed on strength and dynamic tension. Movements are short, snappy and forceful.

The snake movements were used to develop temperament and endurance. Breathing was done slowly, deeply, softly and harmoniously. Movements are flowing and rippling with emphasis on the fingers.

The crane movements were used to develop control, character and spirit. Emphasis is placed on light, rapid footwork and evasive attacking techniques. Movements in the one-legged stance are performed with a considerable amount of meditation.

The Shaolin systems were developed from animal actions and were divided into low systems and high systems. The list used below is from the temple from the Honan province during the Ch'ing dynasty. The low systems of the Shaolin were choy li fut, crane, cobra, and tiger. The high systems of the order were snake, dragon, Wing Chun, and praying mantis. The primary features that separate high from low are the fantastic economy of movement and the differences in application of ch'i in the high systems.

The low systems were so called because they had their basis both in physical maneuvers and in earthly creatures. Choy li fut was based on a posture called a riding horse stance, so called because when adopted, one appeared to be straddling a horse. The movements are very stiff and hard, depending primarily on muscular power to perform adequately. There are only three kicks in the original system, although recently the style has adopted many techniques of the Northern Shaolin system. According to legend, it was designed for use on the house boats of the south where a stable stance and powerful hand techniques were necessary. The certain portion of its history is that the system was named for two Chinese boxing masters, Choy and Li. Fut means Buddha, serving in this instance to refer to the Shaolin temple's Buddhist influence.

The next system is crane, one of the traditional Shaolin systems. A legend is also attached to its birth. One day a monk stumbled on a battle between an ape and a crane. It seemed as if the ape would rend the bird in two. However, the bird continually stymied the ape, flapping its wings and darting in and out with its beak; at last the animal was driven away. The graceful movements of the bird were copied as well as its one leg stance. The principle weapons of the system are its long range kicks and a hand formation, the crane's beak.

The cobra system is a strange, nearly dead system. Its basis is a stance that resembles a cobra risen from the grass with spread hood. The maneuvers are strictly defensive in nature, devastatingly effective and swift. Cobra is designed for speed and tenacity for once the reptile strikes, it hangs on and makes certain that its opponent will die. Most of its techniques are hand maneuvers aimed at the eyes and throat. It is primarily a dim mak style.

Tiger is another natural system, this the opposite of crane. It is a vicious method of fighting utilizing powerful kicks and grim clawing motions. Like the tiger, its practitioner fights fiercely, rending, tearing and breaking any open space of skin or limb that is left unguarded. It is highly defensive in nature, waiting until being backed into a corner, then unleashing an unstoppable assault. Its principle hand weapon is the tiger claw, also useful for unarmed defense against weapons. By clasping the weapon between the hands or enmeshing it in the crushing grip of the hand, the enemy's advantage is lost.

Snake is an interface between the high systems and low systems. It is one of the easiest systems to learn and also one of the most deadly. The reason that it is a transition system is because it has the movements of a spiritual system and the physical applications of a low system. The spiritual movements are all flowing and continuous, akin to the movements of a cloud. Physical applications of such movements are seen by the stabbing hand motions to the face, throat and genitals. Ch'i is present in the practitioner as his body mimics a snake in its coiling, undulating motions; for only through ch'i can the proper flow be achieved to allow the technique to work. It is an earthly animal by nature, yet still somewhat spiritual due to its mysterious character. The snake has thus been appointed as the guardian of the dragons.

The basis of the dragon systems is ch'i, the inner power of Taoism. The movements and applications of the dragon systems are dependent on the use of ch'i. The special flow that distinguishes it from the flow of the crane system is due to ch'i. Also, the ch'i is substituted for muscular strength. For example, a tiger stylist would break a rock by sheer force and physical technique, while a dragon stylist would shatter it by ch'i projection.

The praying mantis has as its watchwords silence and determination. Although it is a physical system in terms of its origin, it nonetheless is classified as a high system. Praying mantis warrants its prominence because of its extreme efficiency. Despite the fact that it is hand oriented and lacks the fancy leg maneuvers of dragon, it is versatile and overpowering. Characteristic of mantis, as well as dragon and snake, is the virtual lack of blocks. Since blocks are inefficient, the high systems follow the advice of the ancient sages and yield in order to conquer. Also, it combines ch'i and extreme awareness to be virtually invincible.

The systems of the Shaolin can be arranged on the pyramid illustrated below. The best method for this is to take the tiger family as a representative of the low systems and the dragon family as a representative of the high systems. The remaining Shaolin systems will be placed in the appropriate tiers singly.

The lowest level of the pyramid is composed entirely of basic techniques. These are common to all martial arts and can be claimed exclusively by no one system. The maneuvers are comprised of kicks, punches, stances and blocks. Since they are universal to most martial arts, it is very difficult to distinguish a student from a karate style as opposed to a choy li fut pupil. All of this class of basics belongs to the low systems and so are dependent on hard, muscular movements in order to carry them through properly.

Next we progress to the low systems. As stated earlier, this level has its basis in earthly rather than ethereal beings. The subsystems of tiger are numerous at this level. Tiger, eagle, leopard, hung gar, the drunken system and the crab system all belong at this level. Tiger, leopard and hung gar are very oriented toward physical body strength and the destruction of an opponent by breaking his body's structural system. Eagle is a vicious ripping system with the bulk of its work directed against the eyes and throat. The drunken system is a lurching, seemingly unstable system that strikes with little power and thus tries to exhaust an opponent with an arrhythmic, oddly placed series of blows to tender, exposed areas. The crab system concentrated on closing off blood vessels and pinching nerves, thereby immobilizing part or all of an attacker's body.

In the category of the higher low systems are found four different tiger subsystems: hong tiger, s'hu tiger, imperial tiger and white tiger. They are placed above the previous systems because ch'i and some concepts of spiritual motion have been incorporated into them. Hong tiger was a system which evolved from a mixture of tiger and white dragon. It was used by palace guards especially against weapons. S'hu tiger was the weapons training that went with the unarmed system of hong tiger. Imperial tiger is a modern adaptation of hong tiger. The techniques are sophisticated at this level. Also contained in the band of high low systems is monkey, placed there because of its liberal use of parries and advanced striking techniques, taking it out of the realm of brute strength. White tiger is a highly sophisticated, forbidden style similar to snow tiger.

The main systems of the Shaolin that are left are placed thus: choy li fut, white crane, and tiger all low systems. Snake is a lower high system and may be classified as a low or a high system. Dragon, praying mantis, and Wing Chun are all classified as full high systems due to their efficiency of movement and the use of ch'i to both supplement and in some cases replace physical technique. These systems were taught to some extent to all monks as part of their training. The complete systems were reserved for the few, the priests that would remain in the temple after being granted their priesthood.

by Peter Urban

There was a time in Japan of the olden days that had originated in China but showed up there over three-hundred years later, a strange group of men and women. They always dressed in black. Such was the nature of their clothing that even their faces and feet were not distinguishable. The softest of black felt cushioned their steps to the sounds that black cats make stalking across thick rugs. They knew many things. Walking in silence and living at night was their way. Friends had they none. Fear and hatred by all had they won from centuries of tales not meek. Theirs was a mystique that few dared to seek. In such a group there were no weak. Reputations of evil traditions of being in league with the demons of power were described by foreign white men devils who called them magicians of Satan and wrote of them as such in terms that have been passed down through the centuries on pages of books that were hidden from view from ordinary people like us.
These "black knights" of old days, who did not believe in magic themselves but who could perform seemingly magical feats, were known as "Ninja," or "Ninjitsu people." The word (nin) means stealth. The word (jitsu) means abilities. Ergo, the archaic Japanese word Ninjitsu literally translates to (the art of stealth). For some it became a way of life. For others it becomes a religion. They were known as professional assassins by the historians of feudal Japan.
There were only two types of Ninjas. Those who were known to be Ninjas were pretenders. Those who were Ninjas were never ever known. real Ninjas were artists of life with the minds of scientists, hands of a surgeon, eyes of a hawk, emotions of a Maco shark and the morals of an ice cube. They kept the company of no one. They could not be recognized by their own kind. They were celibate, never married, not homosexual, fearless, highly educated, never indulged in alcohol, drugs or sinful human pleasures. They trusted only their own sanity.
A Ninja could never be captured or tortured. They had the power to kill themselves at any time of the day of night and under any contingency. They had beads of poison that could be kept in their mouths for any length of time; only crushing down on them with their teeth would release a poison that was so lethal, painless and swift, that it was reserved for only themselves. They could certainly be killed, but never questioned. It took a Ninja to know a Ninja. It took a Ninja to kill a Ninja. They could be anyone at any time and at any place. They could be any tree in a forest of people. To pursue them would be like attacking a bag of quicksand in the darkness of night. They never solicited business. They were never without money. They were very contented to have many imitators and pretenders who would be killed by the righteous.
They were more capable of teamwork than any army. They had no superiors or inferiors when they worked together. They could take orders and give orders with no badges of rank, no egos to feed. They had the brains of men with the efficiency of African red army ants. They had the courage and mercy of a squadron of South American killer bees. To incur the attention of a Ninja or society of Ninjas as a potential threat to them was to nakedly bathe in a river of ravenous paranas.
The most interesting things that highly objective scholar historians ever recorded about them was that they never attracted attention. They were completely in capable of sadism. They would never assassinate children or pregnant women. If they were hired to do a job, they would always be paid in advance. No matter what the needs of a client would be. If it were a child or a pregnant woman targeted as the assignment, the Ninja or Ninjas would accept the money, guarantee the assignment and then kill the client and keep the money. There was never a body to be found in any such instance. They would always lie to a liar, as well as kill them for the very act of lying to a Ninja. For practice and for a general principle still not comprehensible to the finest minds, they would kill very cruel and evil men or women for free and without being hired to do so. This observation is mind-boggling to everyone.
Ninjas devoted their childhood to training for mastery in their peculiar skills and thus were highly skilled in the martial arts. Raised utterly without morals, which they referred to as "imaginary restrictions." They were bereft of virtue as we know it or as is commonly defined by all cultures in the world.
Since they thrived on darkness, their training halls were painted completely black; varying lengths of nails and spikes protruded from the walls. Upon these spikes and stone walls, they practiced jumping, grasping, climbing, and wall-scalling techniques. Acrobatic skills were second nature to them as well as swimming.
They were superb masters of sword-handling, archery, horsemanship, Jiu-Jitsu, stick fighting, body balancing, and the art of throwing tiny poisoned darts and the small, sharp-cornered coins of that era. The latter was a particularly favorite weapon, for who would believe it possible to put out a man's eye and kill him at a distance of more than fifty feet by throwing a coin the size of a silver dollar? No weapon could ever be found -- just an ordinary coin lying in the street.
Hundreds of hours were spent practicing walking across creaky wooden floors without making a sound. This was done by unwinding their long, black, felt waistband; rolling it across the floor; carefully, lightly, and quickly darting down its entire length; then rolling it up and repeating the maneuver until the desired distance was crossed. They did everything with their own inimitable magic and called it "ninjitsu." Disappearing was their most astoundingly developed ability.
Their training, being supremely realistic and scientific, also took into consideration every adverse situation they could imagine. They called their "thing", scientific magic.
They were the original practitioners of the "art of programming." They were taught from the cradle that nothing was impossible. Not knowing that a thing could not be done, they did it.
They had many services to sell to the lords and ladies of the great houses of the day. Their specialty being murder and terror. Many provincial lords, in rivalry for one reason or another, often used the Ninja in preference to the expense of an all-out war against an enemy. A Ninjitsu man or woman could sneak past guards, fool alert watchdogs, do the job, and disappear with no traces of ever having been there at all.
They used black coal dust and chemically-produced smoke screens to distort the sight of pursuers. Their visual memory and sense of direction was so exact that, with one swift glance, they could evaluate all means of egress from a building. This enabled them to leap from any second or third story window, knowing in advance that a tree would be underneath to break their fall. Rooftops were nothing but stepping stones to be adroitly traveled upon. Using their uniquely fashioned silken rope and grabbing hooks, they scaled - up the highest, most forbidding cliffs and walls.
A skilled Ninjitsu man could run down a hallway, jump across the entrance area, grasp the eaves to a doorway, and pull himself up and over onto the roof in a matter of seconds. From the roof, where he blended into the night, he was in a perfect position for throwing darts, coins, or circular disks that looked like the blades of a power saw. No wonder everyone was afraid of them. Chasing them was almost certain death, for they would seem to disappear right in front of a pursuer's eyes. The next thing the pursuer felt would be the sting of a poisoned dart in the back of his neck.
Even when stripped down to nothing but their "fundoshi," or loincloths, they almost always managed to escape without the necessity of having to kill themselves as they always did in a hopeless situation. When the guards led a Ninja out to be executed (a foregone conclusion), he would completely confound his captors by running full tilt toward the seemingly impregnable wall. Just before he did so, he had urinated into his fundoshi. Removing the sopping wet cotton cloth, he ran up the wall as far as he could, letting out a piercing scream and slapping the wet cloth with all his strength against the top of the stone wall. Without stopping his momentum for an instant, he would swing the remaining distance to the top of the wall, using the cloth as a rope, and before the astonished and terrified guards could move, he had disappeared.
The mystique of these historically legendary oriental professional assassins increased as the centuries went by. Their secrets were handed down from family to family, generation after generation. Ninjas were never the natural children of living parents. Everyone was always an orphan or found baby. They were never recruited. It was always said that a Ninja was not made, they were born to be. Talent and destiny led them to be. A Ninja with family would not be a real one. Real Ninjas were asexual, did not need or desire any normal human ties. There could never be such a thing as a successful undercover Ninja impostor. They could not be fooled by anyone or anything or any situation. Real Ninjas had no ambitions, no greed, no passions, no need for power and recognition. They were honest unto their calling. No honest person can be conned. They desired nothing that the earth had to offer. They could not be bribed. The real ones were psychic and could not be lied to . Most of all there was nothing in life that could disappoint them or influence their thinking. They were just special people of a different ilk; born to be what they would become. Such as the world had its Mozart's, so did the martial arts have its Ninjas.
All that is known now is that there are a few old martial arts teachers in southern Japan who, for the sake of tradition only, still practice the Ninjitsu training. These old Sensei's occasionally give an exhibition of the dead art at the more important martial arts cultural festivals. They are always looked upon a little fearfully by the younger participants in the exhibitions, for after all, who knows for sure about such matters?
The portrait of a Ninja that you see in museums is of a very elite looking middle-aged man with a scroll clenched in his mouth; enigmatic looking with piercing eyes. Everyone tries to guess what he is holding in his mouth. I shouldn't tell you the answer to that secret but I will. He is not holding a diploma. He is holding a list of secrets that no person should know. What is that? Never disclose your mistakes, weaknesses or your superiority.

See our NINJA page here !

Building Super Kicks

Why are so called "super kicking skills" important, when in a real fight, kicking above the waist would be unrealistic anyway?

First, I believe if you can lift 100 pounds then it would be that much easier for you to lift 50 pounds. Thus, if you can kick high, then you can also kick lower without lack of ability.

Second, if you only practice the Martial Science purely for self-defense and not for self-improvement, then your chances of growth are limited.

Ask yourself these questions before training:

1. How would I like to improve my kicks?

2. How will I feel if I don't improve kicks?

3. How will I feel if I do improve kicks?

By asking yourself these motivating questions and answering them with emotional honesty, you can create a little more motivation. These questions can be constantly reviewed and will outlast traditional willpower. Be sure and ask more questions like these as you train. Below I have listed a few primary ideas to help you improve your kicks. Though the following is for improving kicking the same principles can be used to develop other areas as well.

1. The way is in training

With anything you want to become proficient in, practice makes perfect. Practice is consistent action towards our goals. One does not attend a few martial arts classes, buy a black belt and say, "okay, now I am a Total Warrior and I can defend myself." Yeah, maybe against an untrained mouse. Seriously though, think of something you are good at and ask yourself this question: did you become proficient in that skill in one lesson? Odds are you only learned the basics and it will take practice for you to become second nature and realistically proficient.

2. Stretch, Stretch, and Stretch

If you don't have flexibility then you won't have the kick. As obvious as it sounds, people just don't do enough stretching, even when they know they should. So I will say it once again, "Stretch." Figure out which muscles that are involved with each kick you are trying to improve and take action by stretching. There are two specific ways of stretching, the first is for warming up and is done before a workout to decrease chance of injury (hold for about 9 seconds each stretch). The other is for increasing flexibility, which is done after the workout to improve the stretch (hold for longer periods of time).

3. Slow motion kicking

When practicing to develop good ground kicks, it is valuable to utilize slow motion kicking. Slow motion kicking is the process of performing the kick as slow as possible to focus strain on all the parts used in the kick. It's easy to throw a side kick in one second, how about trying it for thirty seconds? You will feel the difference. Slow motion kicking will give you growth in four major areas: Balance, Control, Strength and Form.

4. Power, speed, and targeting

Aside from the basic development of the kick, it is also important to build a powerful fast kick that is on target. You can have nice flashy kicks, however if they lack power or are off target, what good are they? Here are a few key notes for developing your kicks.

A. Be careful throwing repetitious kicks in the air. Overextending can be damaging.

B. Use a bag or pad when kicking with full power.

C. Develop targeting by using harder to hit targets such as focus mitts.

5. Give and takes

This is done with a partner, the attacker kicks to develop his or her targeting, application, flexibility, etc. The defender or receiver takes the kicks to develop toughness, reactions and awareness. Start by facing each other and let the kicker begin by throwing one kick with little force, the defender allows the kick to make contact and takes a step back. The attacker then throws his next kick and the process continues. You can adjust the power of the kicks so there is growth in both the attacker and the defender. After about ten different kicks the defender then takes his turn.

6. Coil and recoil

This is an optional technique of bringing the knee up before the execution of each kick (with exceptions naturally). By doing so, you are protecting against incoming kicks and your opponent will not be sure what kick you are going to throw. When finishing a kick you can also come into recoil before grounding the kick. This process is very effective in sparring.

7. Break downs

Important when learning or perfecting a new kick. Start by breaking the kick into parts: positions, pivots, balance, muscles, movements and application. Work on each development separately before combining. This helps to get a better understanding of the mechanics in your kick.

8. Ambidexterity

A common mistake for many martial artists is the consistent training of one leg or one kick. Right and left kicks should be stressed equally if you are going to become the Total Warrior. Ambidexterity is important for all your training and keeps you from becoming right or left side dependent. What good are you if one of your legs become unusable?

9. Imagination

Last and just as important is the use of your Creative Mental Training (CMT). Visualize your skills improving, create fight scenes and scenarios in your head and feel the abilities that you are looking for in your kicks. Practice in your minds eye as you would in training, mentally feeling and seeing your skill and improvement.

Constantly ask, "How can I improve my kicks now?" Practice the principles with consistent physical and mental action and you will soon be on your way to having super kicks.



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