I've been meaning and wanting to post for a while, but finishing (please, please let it be true) a Ph.D. sucks sometimes. My teaching (read: grading) load has been abnormally intense lately too, so it comes down, frequently enough, to get in 30-60 minutes of training or type on here for a few minutes. I think it's fairly obvious which I've been choosing and why. I wish I could include a sweet example of the kind of crap I spend my days doing, but it's apparently a bad idea to publicly display any of one's thesis before it's done. Besides, I'm not sure how to load up the sweet math text into this thing anyway without pulling some screen-shot business. I'm digressing.
My newest bit of research into the art has been going well and is very interesting, at least to me. The thing is, I don't know if it's a good idea to be doing or not, but as I seem to be deriving benefit from it and am keeping it in its proper context, I don't think it will do any harm. I've been studying the forms, actually just two of them in-depth, and running through them while turning for nearly my entire practice time (30-60 minutes, usually) other than a few minutes at the beginning when I do a little static posturing. I also, of course, have a background-noise level of studying the basic strikes, popping out a few and trying to use what little mind I have while I do them, maybe for a minute or two here or there while someone else needs to use this box, preventing me from typing for a bit. In any case, I'm digressing again, which is what makes my writing so much fun to read.
After I do the form, with power, a few times, I'm investigating the techniques in it, including many of the transition techniques, sometimes on more than one level (different stages in the transition) by freezing and holding them in isometric tension as a static posture. I force myself to connect with the ground in a stable manner and feel all of the places I'm supposed to be applying force along with trying to recreate the sensation of an opponent being there to receive and be affected by that force. I then hold the position for 3-5 breaths and move on, slowly. Each time something significant happens, I try to hold that position and feel it and increase my strength and awareness of my strength in those positions.
For example, in Lifting and Holding from the Sweeping Palm, the first technique is the opener, so I hold that with strength, trying to imagine clearly that particular use of what is, in essence, an opening sweeping/rising sweeping strike. The "second" technique doesn't occur, though, until a bunch of things happen in transition. First, the opening hand changes, pushing forward and threatening while lifting the opponent's arm. I pause there and try to feel all of that clearly. Then the foot opens and the other arm comes in, lifting with the elbow. I pause there too. Then I execute the remainder of the transition into the "second" technique, sometimes pausing yet again at the point where I could conceive of my leg making contact or my hand/forearm of the top arm reaching the opponent's face, neck, or shoulders. Wherever I pause, I spend time and effort to apply the appropriate strengths and to imagine feeling and visualizing the effects.
Remarkably, I think it's helping develop my usage and development of power in the forms, particularly in that it seems to be really enhancing my ability to find out what I'm not doing well enough or fully enough and refine it. Usually I'll repeat the slow business once or twice to each side before going back to practicing the form in its usual, much more mobile design, trying to keep attention on all that I had put attention on by being slow and deliberate.
So, now I feel better that I've said something on here again. Now I can go back, I guess, to typing up things I don't really like typing up so that eventually I don't have to type it up at all any more and can turn my nose back to training much more seriously!
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