Power, in the Martial Arts, especially martial arts like Shotokan or Shaolin is often measured by how hard you can punch. Thus, people beat the stuffings out of the punching bag and the Makiwara, and they do push ups to strengthen themselves, and…and they are doing it all wrong. You see, there is one essential thing that they don’t understand, and so all their push ups and punches are having less effect than they would wish.

I want to point something out here…and I can only do that by asking you one exact question. Where, when you throw a strike , do your arms bear the most weight? The answer is plain to see, they bear it when the arm is nearly extended at the end of the hit.

So why do you need to work your arm across the whole range of motion? Being strong at the beginning or middle of the push up is not where you need the strength. Concentrating your work out through the whole range of motion of the arm is not putting energy into the impact part of the punch where you need it.

So, when you do a work out, make it gentle and general, and build up your body and your arms as a whole unit, then concentrate your efforts on the end of the fist where you need it. This is easy to do, you can do it for just about any exercise in existence. All you have to do the motion of the exercise where the arm is nearly extended, and concentrate your training on that part of the exercise.

Let’s say you’re doing that mainstay of all exercise, a simple push up. Do the push up until your arms are almost full length, and that’s where the real work out starts to occur. Do as many six inch push ups with the arms almost at full length, as you can, fast, concentrating on keeping your belly taut and having great form.

Here’s the point of it all, you need to concentrate the work out, and feel the power, in your shoulders. When you punch something the shock of impact is going to go up your arms and directly into the shoulders. Thus, it is the shoulders that must become strong and dense, it is the shoulders, as felt in the last six inches of the push up, that must be built up.

For a good fist you need thick and dense shoulders, so perform the six inch push up I have detailed here, and do it throughout the day, until the muscles of the shoulders become as dense and enduring as the leg muscles of a marathon runner. It’s odd that people have never thought of what I am telling you here, and I scratch my head at it. I suppose the problem is that people are taught how to exercise in one manner, and never actually look at the exact goal they are trying to accomplish.

So do those ‘long arm 6 inch push ups like they are going out of style. Do them and put your focus in your shoulders, letting your shoulders lightly bulk and become immensely dense. This is the way you develop a punch that is stronger than the next fellows, this is how you create the most powerful fist in the universe.

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The first time I ever actually saw someone elses thoughts happened in San Francisco. My wife and I were ambulating through Chinatown, and we entered a shop where a grouchy old Chinese lady perched on a stool in a corner. As we peered at the various bric a brac, the grouchy one snapped at her daughter, “Look, look, look, everybody just look!”

Sauntering down the street shortly after we exited the shop, I glanced over at my wife, “Did you hear what that old lady said?” “How could I,” my wife tilted her head in confusion. “I don’t speak Chinese.”

The old lady had spoken in her old tongue, and I had heard her words in English. In essence, I had actually peered into her mind and perceived her actual thoughts in my own language. And I had this ability, I instantly and intuitively knew, because I had been engaged in studying the fighting arts.

The human mind, to be truthful, is nothing more than a big radio receiver, but it transmits, and receives, thoughts. The unlucky truth, however, is that the human mind is pretty well jammed up with static. Children can usually perceive people’s thoughts, but they outgrow the ability as they grow and don’t even remember it when they enter adulthood.

When doing the martial arts the student learns to use the discipline of the body to clear the distractions and static out of the mind. He does this by focusing on making the techniques of his martial kata, or form, perfect. Eventually, the distractive static leaves the mind, and the original ability to read minds is once again realized.

The problem, unfortunately, is that over the ages the martial arts have been so conflicted and confused that it is difficult to find a form, or series of kata , that work the way they are supposed to work. Oddly, almost any form can help a person realize his abilities if it is properly examined, and reworked so that it is scientific and true. This normally takes a tremendous amount of work, even a whole lifetime, but the process can be sped up if one knows the proper science to apply to the martial arts.

Interestingly, the old Taoist writings of classical martial arts such as Tai Chi and other Wudang based arts, speak of being like a child in your approach to life. I also came across mention of this concept in classics of Zen Buddhism. Unfortunately, by the time one resurrects this ability one has become old.

Nevertheless, the old anecdotes of amazing abilities really are true, the martial arts really do work, and in ways most people don’t imagine. Indeed, though the martial arts teach people how to defend themselves in combat situation, abilities like reading minds are the real beginning of it all. And the beginning of the real beginning, for most people, is simply passing through the doors of that neighborhood training hall and dedicating oneself to a little Kenpo or Kung Fu or Tai Chi Chuan.

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Many people saunter to the corner mall, enter into their Korean Martial Arts dojo, and train in fresh pressed uniforms, inspecting themselves in wall sized mirrors, hit bags in between sips of their designer water, and think that they are doing iron man Tae Kwon do. These need to study a bit of the history of Korean Karate. They will find that that polite double kick combo they are learning was born in hell, perfected in hades, and then things got nasty.

Just to let you know, this bit of scribble is dedicated to the history of the kwans from Korea of the fifties. This includes the nine major kwans , which are Sung Moo Kwan, Chang Moo Kwan, Chung Du Kwan, Oh Do Kwan, Kang Duk Won, Moo Duk Kwan, Yun Moo Kwan, Han Moo Kwan, Jung Do Kwan. There are other Kwans that grew from these nine, but these nine are the ones that started it all.

Korea is a rugged, little spit of land, about half the size of California, jutting out from the Asian continent. It is a land equal in plains and eternal mountain ranges. It experiences extremes of typhoonal rains, siberian cold, and brain broiling heat.

Throughout the ages, Korea has endured unending wars. The Japanese reigned in the first half of the last century, and in the early fifties Korea became the battleground between the free world and communism. Thus, this peanut of land hosted the onslaught of million man armies, and the populace was in constant flight, or murdered outright.

The communist army surged across the 38th parallel on the attack, causing a mass exodus the length of the peninsula. Farmers were conscripted into the vast communist armed forces, given no rifles, and put into massive meat grinder attacks. If the peasants lived through the terrible carnage of war, they had to endure a winter with temperatures often at 30 degrees below zero.

Those people that were still alive at the end of the winters, and survived the spring attack of the UN armies, continued with their study of the martial arts. That’s right, in the middle of all the death and destruction, in spite of starvation and weather, the nine kwans survived. Indeed, they blossomed.

One tale that made me blink hard in awe of these incredible people was that, when the battle front approached, the students would pick up the planks of their dojos and head south. That’s right, they didn’t even nail the boards to the floor beams, because they knew they would be on the run, and they perfected their jumping, spinning kicks on unsecured, splintered, weathered planks. Got a splinter jammed in your arch…pick it out and keep going, because that’s the martial arts.

So enjoy the fur lined bags and gaudy mirrors, and raise your designer water in appreciation. That Korean Karate you are studying was built by gods, and it is a legacy dripping with blood and death and tears. And when you bow…kow tow to the floor, your ancestors deserve it.

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There is actually a good way to understand for this property we call Chi, one which explains away all the mystery which sometimes crops up in Taiji Quan. The problem behind all this is that internal energy has been a bucket to catch whatever people don’t understand about the matter. The truth is that Chi responds very well to the definitions which are used in the field of physics.

When one considers the matter and principles of internal energy they must realize that there are several levels inherent within the subject. These levels actually exist in precise stages, and they follow certain rules and principles and adhere to certain methodology. To understand the possibilities contained in this matter one must consider that water takes shape first as ice, then it exists as water, then it finally rarifies into steam.

On the first level Chi is nothing more than a solid substance, it is the stuff which makes up things and bodies. That swivel thing you are sitting in, it is made of immutable and never ending chi. So is the stove and the computer screen and the VCR.

On the second layer , the one that most people deal with, internal energy is a plasma sort of energy. Ground your body, move your body in a way that promotes generation and circulation, and you can feel the energy moving around inside your form. Interestingly, this liquid lightening type of energy actually moves through the apparent concreteness of your body, coexisting with matter, and actuating it.

The body is a solid contrivance, but there are relative layers to this solidness. Consider the body as a stove, and the arms as hollow tubes, and it is easy to understand and utilize the rules and principles of how to move Chi energy within the body, and even, eventually, outside the body. The real technique, of course, lies with comprehending and motivating the third level of intrinsic chi.

The third level of energy is thought, and this is the stuff you use to circulate the energetical substance inside your body. Thought is an interesting idea, because people believe it consists of symbols and words and such. Thought, however, is not symbols, it is the primal whim behind the symbols.

What effortless push of whim causes actual motion? What momentary impulse is behind all the symbolization that tries to describe intrinsic energy in a million different ways? What notion motivates us, from parasite to humanity?

To cycle energy through the body one must learn to think about the universe on progressively abstract stages. One must move the objects of reality with muscle in the beginning, and then build to less effort, and finally utilize perceptions to the point where one can actually perceive the notion or primal wish that actuates all motion in this universe. In the end, it is the effortless non-energy of perception that enables us to comprehend this subject of energy, and to move it by gut and notion, and this effortless, light method is the arena of that art we name Tai Chi Chuan.

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This is one of those secrets that the old masters could do, but didn’t know how they could do it. The secret concerns how to fight from outside the body, and it can be learned via any martial art. The secret won’t work, of course, unless your body and art is totally aligned and matrixed.

One of the first things one learns in arts like Karate or Kung fu is how to generate energy from the center. This happens because of the movements inside the forms, and it becomes obvious by continued practice of the classical forms. Too many students think the secret of the forms is in learning fighting tricks, but that is just tricks and not the real secret.

The secret of the patterns has to do with the proper generation of energy, and, again, one has to have a completely aligned, totally matrixed form if one is going to achieve this. Unfortunately, most students think their form is just fine, and so they never look into aligning their bodies the correct way. That their forms and systems are not aligned nor matrixed is proven by the one simple fact that people are generally not using karate or other arts to get out of their bodies.

The second thing one learns in Karate happens after about three years, or around black belt in an aligned system . One will be doing kumite, or practicing patterns, and suddenly they are a couple of feet behind their head. Or maybe slightly above, or somewhere else that does not use physical perceptions.

One stops being aware of eyeballs at this point and starts concentrating on who one is fighting. It is a very interesting and heady experience, but one is actually not looking with the physical senses. Perception is more like a golden tube, a tube which can be concentrated on the person one is fighting.

At this point motion stops being the result of contraction of muscles, and it feels, and is, like one is moving the body from outside. This is totally devastating to an attacker , as there is not much a person who is still using his physical senses can do to fend off the attack of one who is not. Reaction time ceases to exist, there is no ‘leaning’ before moving the body, it just moves, and the opponent is sheep before the sickle.

The third thing is one of confusion, for how does one train when one is no longer working from inside the body? Muscles are not necessary except slightly , and the student must become accustomed to moving the body with energy. One uses less and less energy and becomes intimate with such ideas as ‘moving without moving.’

This is the secret of the old masters, an aligned and matrixed body and art, and intense practice that literally drives one out of his skull. It is a secret that is virtually forgotten in todays body obsessed, muscle building, physique toting society, and it is sad. For if you align your body and art through concepts of Matrixing, then it is possible for anybody to reach the higher abilities of the old masters. This can be done with Karate, or Gung Fu, or any art.

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I love writing articles like this, because artists who learn other arts blink and have do with a bit of an inner unruliness. Taiji Quan ain’t so bad! What about my martial art!

And, of course, there is absolutely nothing wrong with other martial arts, it is just a matter of which art has more data, more information. Information, after all, is the heart of the universe, it is like a lever to move the everything. Give me enough information and I’ll knock over the universe, and that’s the first reason, the least mystical, as to why Taiji is so ultimate.

The second reason Tai Chi works better than just about any other art, and this is a bit more mystical than just simple volume of data, is that tai chi works backwards. Eh, maybe I should say it makes people learn things in reverse. Or, perhaps it is more accurate to say that the Ultimate Art enables people to absorb the motion of the universe backwards.

Look, when fisticuffs are about to begin , people push, and people push back, and…you suddenly have a fight. In tai chi, somebody pushes, and somebody goes into reverse, and the pusher is face to face with his face on the pavement. Forgive me my chuckle, but that is just smarter.

The third and final reason Taiji is so ultimately ultimate is that it never ends. I mean this in many ways, so let me talk a bit. Let me tell you what the idea of forever really entails.

I met a boxer who had missing teeth, cauliflower ears, a big, red beezer he had to center between his eyes in the morning, and who had trouble speaking a coherent sentence. This guy had been pummeled until his brain was jello, and it is fair to note that the less violent an art is the more long lasting it is. Now the art must remain street wise, or it is no art at all, but the truth of the matter is that you can actually analyze the depth of an art by how long its practitioners last.

And, beyond the basic short lived destructiveness of some arts, there is the fact that–and I love this quote–you can’t run out of nothing. When you do Tai Chi you are making energy, but not specifically by the making of energy, rather by generating space. The more space you create, the more energy can use, and the further your senses can expand, and the more ways you have to evolve your abilities, and so on and so on forever.

So, three mystical reasons why I am a Taji Quan fanatic: information, backwards, and emptiness. These three reasons can enhance any art, but the artist must first be able to understand that perhaps his art can be improved. And the most difficult thing in the world, especially for people who don’t know how to empty information backwards into their lives, is to establish and build upon these three things.

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All of my life I wanted to achieve amazing sixth sense abilities. I wanted to be able to see inside minds, always be in the right spot at the right time, know what was going to happen before it happened. I discovered that matrix martial arts are the perfect way to develop these abilities.

Unfortunately, not all martial arts work in this fashion . There are some arts that are incredible, and they open the spirit up and enhance abilities like nobody’s business. But then there are arts that are just thuggish cockfights, backroom brawls so low they make animals look high.

This difference, the difference between low and high martial arts, can easily be discerned . It is very simple to discern why some arts excel when it comes to creating magnitude and finery in the human soul, and some don’t. This is actually not just a matter of philosophy, but a mechanistic condition relating to the nature of a human being.

View the human spirit as a light bulb. There is the grungy, dingy one, maybe made of red glass, that hangs in some dungeon. Then there is the light that is sharp and shiny, a laser, able to illuminate anything it is shined upon.

A dirty light bulb twists the light, and we are talking about dirt as in anger and rage and the desire to hurt people. A laser light is not covered with filth, and the very waves of light have been aligned to make that light brilliant and infinite. So the first thing in this matter of gaining heightened sixth senses is to clean off the light bulb that you are, get rid of the rage and anger, and make all the parts of the body work together.

To organize the parts of the body so they work together, and are not possessed and filtered by anger, is something the human being does. The spirit, the real person, the actual being, must endeavor to accomplish this. Thus, to be a spirit, to ‘use’ the soul, in the simple act of coordinating the body parts, will cause the human being to shine brightly and put him on the road of increased abilities.

The second thing is to matrix the martial arts one is studying . This, again, is the act of alignment, but now one coordinates the pieces of the arts, and makes the arts into one functioning unit. Again, the spirit must be clean, unfettered, and diligent in creating this alignment of art.

Interestingly, alignment is nothing more than the fact of organizing, and it cleans the soul. In aligning body and art, one coordinates the very spirit that one is, and when the soul is coordinated the sixth sense abilities will blossom. Coordination of body and alignment of art, this is how you Matrix Martial Arts and achieve greatness and magnitude and abilities of the sixth sense.

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One of the most astonishing facts in the combative world is that Aikido Art does not work well on the street. The reason this is astounding is because it is derived, for the most part, from Daito Ryu Aiki Jujitsu, which is one of the most street wise arts in existence. Interestingly, it doesn’t take much to transform Aikido into a formidable combative art.

To understand why the ‘Gentle Way’ is not good for the street one must understand the founder’s purpose. Morihei Uyeshiba, who designed the art, designed it around his enlightenment. This is to say that he designed it for people to love their neighbor.

Of course Morihei could destroy his neighbor, so he lost nothing in loving him. The modern Aikidoka, however, studying an art distilled for peace and brotherhood does not have that ability, and so the art becomes unworkable. Thus, one has to explore the art for movements that do not enter and present themselves as ‘get along’ techniques.

In classical aiki instruction the attack is exactly prescribed, and it is designed to feed the flow of the receiver, and therefore the ‘spirituality’ of the receiver. What one should do is, after delivering a flowing attack designed to fit the defender, is apply an attack in a more rugged way, that is not designed to fit into the flow of the receiver. Thus, the defender must solve the problem of being attacked the way he would be attacked in real life.

If an attack is offered, say a lapel grab, with the arms extended straight, one must explore that attack with the elbows bent. Further, the attack must be explored with the motion of the attack to the sides, or in conjunction with the movement of feet in any possible direction. Thus, the defender learns to not just go with the direction of the technique, but to make the flow work no matter which way the technique goes.

The procedure I am describing here is nothing more than exploring all the possibilities of motion, and not just the politely described entry movements of a zen shaped art. This is the procedure we used in down and dirty karate schools, and we managed to stay polite, and yet became aware to all the things that could happen in a real fight.

I have meant many Aikidokas over the years, and the better ones have always subscribed to some deviation what I have said here. Many a night I stayed late, after class, after the polite students had departed, and explored the possibilities necessary to survival on the street. And for any Aikido practitioners out there who object to my opinions as I state them here, I suggest they look into the Hell Dojo of Ushigome, and other histories of O Sensei.

In reality, with the attention to detail, Aikido can be one of the most street wise arts in the world. It does take an enlightened mind, however, to embrace not just love and kindness, but the reality of violence. These, however, are the principles we embrace in the art of Matrix Aikido Art.

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You can translate your art of Chinese Kenpo Karate into Power Kenpo fairly easily. Of course, you’re going to have to go against the grain of the old school boys, but this isn’t always a terrible thing. In fact, if you do decide to put power into your Chinese Kenpo Karate system, you will be following in the footsteps of Ed Parker more closely than the old school boys ever thought of.

The concept of Power Kenpo is something I developed many decades ago. It actually grew from an incident that occurred in 1968 in which I asked my instructor to take a look at a kata I had been working on. My instructor stepped on to the mat to watch and I took a position and started doing the form.

I had originally learned the pattern from a series of books written on Japanese Karate, and the name was Heian Five. It is a traditional Japanese kata, with solid stance and big, significant movements. As such, it seems to stand against the concepts of the fast whirling arms of the Parker Kenpo art.

When I ended the kata my instructor merely observed, “Yes, definitely a Japanese form.” He didn’t have much more to say, and I had the feeling that there was an opinion that he wasn’t voicing. Many decades later, I understand why he didn’t say more, he was trying to teach me one thing, and I was working in a completely different direction.

To be honest, Kenpo Karate does not compliment classical Shotokan Karate. Kenpo, as I have given hint, relies on quick, circling hands. Shotokan holds a disdain for such motion, and advocates a strong stance, facing your enemy squarely, and attacking in a linear manner.

Each system has strengths, and each system has weak points, but they don’t fit together well. It is difficult even to move from one art to another when you are engaged in the practice of kumite. The funny thing about all this is that original Parker art was built upon the Heian forms.

Most people look a little stunned when I point this out, but it is true. If you are lucky enough to find a copy of one of Ed Parker’s first books you will find that it is a sequence of applications right out of the Japanese Heian forms. Indeed, if you do the applications in sequence it looks like you are actually doing the Heians.

In conclusion, now you understand what I mean when I remarked about Power Kenpo and being true to Ed Parker’s art. The fact is that sincere martial artists should study as many different martial arts as they can. The truth of the matter is that if you want to put power in Ed Parker Kenpo, or have better kicks, or develop accelerated weapons techniques, then study a separate art that has what you want, and let the good points of that art seep back into your kenpo, and that is how you build Power Kenpo.

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It takes three lifetimes to learn a traditional Martial Art like Karate. I heard that principle when I first began the martial arts, and it takes on new meaning when you consider Tai Chi. I mean, you do Tai Chi at a slower rate, so it’s got to take longer to learn than a fast art like karate, so to learn Tai Chi Chuan has got to take something like thirty lifetimes, right?

Okay, I’m poking a little fun here. We all know that Tai Chi, because it requires concentrated awareness, should be faster and easier to learn than one of the faster arts. Okay?

The truth of this thing actually tacks onto something rather interesting. To get to this interesting something we have to know the fact that there are two viewpoints when it comes to the practice of Tai Chi Chuan. There is the viewpoint from the inside, and the viewpoint from the outside.

Inside, like inside that thing you hang shirts on. The viewpoint from inside your bony topsoil, as if you had to use your optical eyeballs , as if you were a meat body. Like you are not an infinite spirit living inside a body.

Outside, like outside that thing you put pants on. The viewpoint that has position slightly, or more than slightly, above your brain , as if you were a spirit and didn’t really need those eyeball things. Like you are infinite and merely walking around in that meaty thing with all its sweaty urges.

One learns Tai Chi and engages themselves in the day to day business of the body. How do you peel a peanut or teach a horse to canter or…these fingers and toes…how do they really work? And as you learn to operate the strange and bizarre pieces of the body something strange and fantastic occurs.

Strange and wondrous if you are a student of the martial arts, for the martial arts establish the outside viewpoint. People doing other arts, like line dancing and contortionism, don’t really get this viewpoint, for those skills do not force one outside his body. Or, perhaps they do, but there is no language for them to describe, so they don’t really understand what is happening to them.

But you do move outside your body by practicing martial arts, and especially an art like Tai Chi Chuan, but mostly by learning sufficient martial arts to learn all the viewpoints to pop you slightly out of that meaty runaround you are in. Then you stop growing old as drastically as the artistically challenged, and you put aside this odd lie called reaction time, and you start picking up on other people’s thoughts, and all sort of other sixth sense types of abilities. And if you don’t achieve all these things, maybe you are learning a slow Tai Chi, that really does take three lifetimes, and if that is the case, Matrix Taiji Quan takes about three months, or so it is said.

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