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[I:http://testblog2.kathypop.com/wp-content/uploads/2010/11/AlCase3.jpg] I was working in a tubing factory a few decades ago, and wordspread that I was training in the martial arts. A Philippine co-worker came up to me at one point, and he said, \”You no study martial arts, martial Arts bad…bad, \” then he shook his head and walked away. From this quick meeting I ultimately realized how the martial arts were invented.

As one might expect, I was quite surprised by my co-workers viewpoint, the Philippines were famous for their martial arts, and so I tracked him down and queried him further. \”Why do you think the martial arts are so bad?\” I asked. This is the anecdote he told me.

\”One day I decide I need martial arts, so I go outside and chop tree. I chop like this (he did a downward chop, as if hammering down on somebody\’s head), and a I chop and I chop. I practice this karate two hour a day for two year.

\”One night my neighbor have wild party, and three in morning I go ask him to stop it. He laughed at me, so I use karate on him. I chop his head and he turn upside down, so I run home and worry I kill him…that why Karate bad!\”

I didn\’t l reveal my grin, because he was serious, he really thought that karate was bad, and didn\’t understand that his bizarre method of training, and his own lack of control, might have something to do with the art \’being bad.\’ But his story led me to wonder where and how the martial arts had been invented. I mean, the fighting disciplines are as old as the world\’s second oldest profession, so how did they come about?

They came into being because somebody wanted to take something away from somebody, and they came from somebody wanting to stop somebody from taking something away from him. This is the same as lawyerism, but applied to the actual hit and punch that occurs when politics breaks down. Eventually, the idea of taking something away from somebody, or protecting your property from somebody reached the levels of armies and weapons of mass destruction.

The idea that what you own belongs to me, and I don\’t have to pay you no stinkin\’ money…that is where the fighting arts originated. And people train to war, and steal money and property and wives and whatever else they think can get away with. And, oddly, as my previous words gave hint, the solution to this avarice and bastardization of art is…in the study of the true art.

You study the art to protect yourself, and in that study you discover yourself…you discover your self worth, and the idea that you are honorable and don\’t have to fear others, or that they might take from you. On the day that everybody on earth knows the martial arts, on that day the avarice and war stop, and on that day everybody will know where the martial arts come from. They come from within, from the spirit that is you, from the honor that motivates every beat of your heart and every breath you take.

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[I:http://testblog2.kathypop.com/wp-content/uploads/2010/10/AlCase26.jpg]When we speak of the best martial arts forms we are speaking of those martial arts kata that result in a gradual and excessive benefit to the student. To be truthful, I usually recommend learning as many forms as possible, then specializing on the ones that the student prefers, although there can be tweaks in this approach. I recommend learning whole systems, first taekwondo, then karate, then kung fu, and so on.

The kebons are good, basic forms, and are common to both karate systems and taekwondo systems. Though there are three to five of these, I don\’t usually count them as forms because they are learning the important but easy ABCs of the martial arts.

The next batch of kata to study would be the Taeguks as taught in Tae kwon do. These are basic patterns, more advanced than the kebons, but not as advanced as the Japanese Heians (Pinans). Though they take a few moves from the Heian forms, they serve them up as straight hand to hand techniques, no secret throws or weapons disarms, and no real generation of intrinsic energy.

After the taeguks one should move directly into the Pinan forms from the Shotokan system, the Isshin ryu system, and other Japanese martial styles. The Pinan forms are actually designed more for weapons and weapon defenses, though not many people know that. The idea here is that one studies the Taeguks for hand to hand, then moves into the Pinans for a basic understanding of weapons disarms, and the beginnings of chi generation.

After the Pinans one should learn the three forms found in the Pan Gai Noon, which are the base forms from Uechi ryu Karate, and which are actually three extremely intense gung fu forms. These three patterns are sanchin, seisan, and sanseirui, though the last one is often thought of as more of a demonstration form. These three unique kata are specifically designed to build the intrinsic energy known as chi or ki.

The Sanchin form teaches a student to fasten the body/motor to the ground. There are not a lot of moves in it, but the moves are excellent for teaching one to use hard energy in self defense moves.

Sanchin is the power form, but seisan is the technique form. This form takes the power of sanchin and translates it into (probably) 13 specific self defense techniques. These are all based on one specific move called wa uke, which is a circle and grabbing block.

So to ultimate arrangement of forms is Kebons to Taeguk to Pinans to Sanchin and seisan; or, as art, from taekwondo to karate to kung fu. This sequencing of martial arts forms provides the student with the most complete arrangement of classical martial arts training possible. Other forms can and should be leaned, but the heart of the art can really be found in this arrangement of art.

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[I:http://testblog2.kathypop.com/wp-content/uploads/2010/08/AlCase29.jpg]This secret move is actually inside karate fighting systems, as well as kung fu fighting systems, or just about any martial art you might know. This is because it is a basic motion of the arms. This basic motion, once one knows it, will give rise to virtually all the techniques of the martial arts.

Stand in a natural stance, feet shoulder width and extend the arms straight out in front of the body. Bend the arms slightly and make circles with the arms in front of your body in a clockwise manner. The circles should be about three feet wide, and should overlap each other by about a foot.

As you make these circles you will see a sequence of blocking moves. At one point your right arm will be in a high blocking position and your left arm will be in a low blocking position. As you circle the arms clockwise of the limbs you right arm will pass through an inverted low block (back of the wrist protecting the groin) and your left arm will pass through a palm block (protecting the face).

Anybody who attacks you will encounter one of these blocks, or enter into the swirling motion of your arms. You can angle the blocks and cause all manner of manipulations simply by adjusting the footwork. Take a step, turn the hips, pivot, all will change the angle of the circles, and you will find other types of blocks.

If you hold the distance and focus the circles you can perform hard and bruising blocks. If you step into a person and circle the attacking limb it will change into a lever and a joint manipulation or a throw, as you might find in Gracie Jujitsu schools. Tighten it up and go at a person and you will do the basic Bruce Lee blasting technique.

Thus, this circling of the arms is inherent in any art, and most students will play with it at some time in their careers. Unfortunately, they don\’t usually explore it to the degree necessary to understand the basic conceptual nature of the circles. Yet, a few decades into the art, an accomplished student will invariably realize the fundamental usefulness of the arm circles.

I discovered this move in Pan Gai Noon. The wa-uke circling block is a variation of this fundamental motion. It wasn\’t long before I saw it in the various kung fu fighting systems, and then the kenpo fighting art and all the karate fighting systems. I was quick to make it the pivotal point of my own Shaolin Butterfly Kung Fu home study course.

In summation, let me point out that this arm motion opens the door to endless fighting techniques. If you alter the direction of the circles, or change the direction of one of the circles, you will find virtually every martial arts technique imaginable. Go ahead, look at your martial arts patterns and kata, and you will find that this little trick is at the heart of every martial system, and not just Shaolin Kung Fu Systems.

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[I:http://testblog2.kathypop.com/wp-content/uploads/2010/05/AlCase13.jpg]Power, in the Martial Arts, especially martial arts like Karate or Kung Fu is often measured by how hard you can hit. Thus, people hit the bag and the Makiwara, and they do push ups to strengthen their arms, and…and they are doing it all wrong. You see, there is one critical factor that they are missing, and so all their push ups and punches are having less effect than they would wish.

I want to make a point here…and I can only do that by asking you one specific question. Where, during your punch, do your arms bear the most weight? The answer is obvious, they bear it at the end of the punch, when the arm is nearly extended.

So why do you need to work your limb across the whole range of motion from the floor? Being strong at the beginning or middle of the hit is not where you need the strength. Concentrating your work out through the whole range of motion is not putting energy into the exact part of the punch where you need it.

So, do a work out, make it gentle and general, and build up your arms as a whole unit, then focus your work out on the end of the punch. This is easy to do, you can do it for virtually any exercise. All you have to do is isolate the part of the exercise where the arm is nearly extended, and put weight on that part of the exercise.

Let\’s say you\’re doing that staple of all exercise, a push up. Do the push up until your arms are nearly extended, and that\’s where the real work out starts to happen. Do as many six inch push ups with the arms nearly extended, as you can, fast, concentrating on keeping your belly tight and having good 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 jolt 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.

Make the shoulders thick and dense, and do the exercise at various times of the day, until the muscles of the shoulders become as matter of fact as the leg muscles of a marathon runner. It\’s funny that people have never thought of this, and I wonder at it, but it is common sense. I suppose the problem is that people get a general idea of exercise 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 awareness 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 punch in the universe.

Al Case, The Doctor of the Punch, has studied martial arts 4O plus plus+ years. If you want the straight goods on how to build the most powerful punch in the world, pay him a visit at Punch \’Em Out.

[I:http://testblog2.kathypop.com/wp-content/uploads/2010/05/AlCase7.gif]Bobby lost his left arm because of a childhood illness, but it didn\’t slow him down. He rode bikes, was athletic, and did everything a child is supposed to do, except for one. He never did the martial arts, he assumed that that was one activity he would never be able to do.

When a martial arts school opened up in his neighborhood, however, he could not stop thinking about it. He would pass by the school slowly, staring at the kids working out inside. He would ask his friends who studied martial arts about their training, but he never went inside the dojo because he knew that there was no way he could do that physical discipline.

One day a friend of his invited him to the dojo to witness a demonstration. Bobby went, and watched, and sadness ate at his heart like a chainsaw chews bushes. After the demonstration, Bobby was introduced to the instructor, who invited him to study the martial arts.

\”I don\’t see how I could,\” said Bobbie, \”since I only have one arm.\” The instructor smiled and merely said that having one arm wasn\’t a problem. He held that all things are possible to a man with a whole heart.

So Bobbie began learning martial arts. He threw himself into the practice like a starving man attacked a plate of food, and he made good progress. Unfortunately, the instructor, while he would show Bobby all the techniques, would only let him work on one specific technique.

Day after day, week after week, Bobbie concentrated on learning this one technique. Dutifully, he worked out the problems with his execution until he could do the technique as smooth as silk. Still, the instructor would not let him move on to other techniques.

One day, the instructor came up to Bobbie and said, \”I\’ve entered you in a tournament.\” Bobbie was aghast, he just knew he was going to be beaten like a dirty rug and tossed like yesterday\’s salad. Still, he trusted his instructor, so he went to the contest.

He faced his first opponent, and when that foe charged, he used the one technique and won the match. And he used that one technique to defeat a second fellow, and then a third one. When the end of tournament came, Bobbie had his division!

The next day Bobbie went to class and thanked his instructor. \”The thing I don\’t understand,\” remarked Bobby, \”is why that technique always worked!\” His instructor grinned and said, \”The only defense for that technique, in all the martial arts, is for your opponent to grab your left arm.

Al Case has analyzed martial arts 4O++ years. He knows lots of Clever Tricks, like the one you just read about. Stop by Monster Martial Arts and pick up a free ebook.