TENDON POWER

 by Yang Xuangxing

We often hear about differences between the so-called waijia (external martial arts styles) and the neijia (internal martial arts). Many neijia stylists explains the major difference between the two by simply saying that the neijia rely on the utilization of qi (intrinsic energy) while the waijia don't. This simplistic statement is both true and false at the same time.

“Tendon power” is one of the main secrets of the Chinese internal martial arts but rarely practiced nowadays. To develop it and use it properly requires time and a great deal of practice, but the results are very worthwhile!

Most martial arts rely on the use of the large muscles, although they caution that one must be careful not to tighten them to the point of moving like a wooden soldier. However, the internal martial disciplines of China (taijiquan, baguazhang, and xingyiquan, as well as a small handful of others) don't do this; instead, they rely on utilizing what is known as “tendon power.” And it's considerably different from the power that comes from using the larger muscles.

When a muscle is tensed and then relaxed, it will release about 75-80% of its stored energy. However, if a tendon is stressed (torqued, not tensed) it will release as much as 95%. The muscles needn't be tensed, per se, in order to stress the tendons ( 腱, “jian”), and movements can retain a sort of “flowing” look. Less energy is used by the body to do this, so the muscles don't become fatigued. It is an essential ingredient of chansi jin (silk reeling power).

Many moons ago, internal martial arts made wide use of this principle. However, learning it requires a good deal of patience and daily practice and with the passage of time it was, for the most part, forgotten. It is not possible to generate and emit true “coiling power” without utilizing tendon power. Small wonder why contemporary taiji and bagua enthusiasts possess no real power when they perform their sets, which are only the outer shells of the true art. Such performances are little more than forms of exotic dance. Xingyi stylists often rely on use of the larger muscles, making their art stiff and too karate-like.

To properly use it in the practice of these arts involves more than simply learning how to torque and release certain tendons, but several other equally important principles as well. They must all be performed exactly so, and in the proper sequence. This what my book, “REFINING JIN” discusses and illustrates.