InsideOut"There is a principle which is a bar against all information, which is proof against all argument, which cannot fail to keep, and in everlasting ignorance.  That principle is condemnation before investigation."  - Edmund Spenser

Can you imagine spending 30, 40, 50 or even more years practicing and learning physical anatomical and physiological movement in your Martial Art, yet almost no time on the internal physiological functionality of human anatomy?  This would be only seeking or finding half of the whole... or the Yang without the Yin.  Instructors constantly relay the message to the student that the external art turns to internal with long dedicated practice, yet they do not understand these inner physiological processes and dismiss or condemn others for working and finding it.

Most Martial Artists today spend decades of their life in practice and researching the physiology of a punch, kick, grab or manipulation of the human body, but not the physiology of the body functionality itself.  They give little thought or effort to the vital areas, inter-relationships or anatomical structures that most efficiently accomplish these skills or can in reverse engineering, incapacitate the same functionality of an opponent.  These structures or components are one in the same and inseparable, yet most seek just the cause and not the effect or how to cause specific effect.

We as serious Martial Artists need to ask why (and never stop asking why), if we are to understand let alone accomplish the total experience.   Why would any master, expert or student not want to know the weaker structures of the body and how to affect them more efficiently or strategically is this not what we do?  Why do some spend more time refuting, denying or ignoring that there are weaker anatomical targets that their style is based on, as opposed to researching and experiencing or actually even studying it?  This was the secret all Martial Artist sought, yet now that it was found and presented, it is largely shunned.  And how can you properly understand the forms of the Martial Arts, be it the Kata of Karate, the Patterns of Tae Kwon Do, the Kuens of Gung Fu with only half the understanding?

We as Martial Artists live by a code that is a state of constant refinement and quest for efficiency, this is our passion.  We constantly work to develop strategy and physical abilities that will overcome an adversary (primarily our own prior limitations), much larger or stronger than ourselves.  We constantly work to improve not only our muscle strength, flexibility and endurance, but also that of muscle memory.  This is all attained through incalculable repetition at the surface level, but at a mental, spiritual and neurological level at its core.  As such we constantly work to refine and develop our neurological motor skills by rewiring our internal messaging and physical skill to be automatic in response.  Yet few spend time or effort in targeting these same physiological aspects to inhibit or incapacitate them in an adversary.

So again the question arises; why would the perpetual student, master or expert not seek deeper understanding of the nervous, muscle, autonomic and motor systems of the body?  Why would they only seek to learn half of the whole?  And why would anyone dismiss this obvious connection or totality, especially without full effort first?

Please understand that these questions are not asked to demean, but rather to hopefully initiate the search for the whole in more participants of the arts... No matter what style the individual trains, it is never the art or style it is always the soul.

To explain further we take a punch to the head of our opponent:  The typical Martial Artist will try to deliver the most powerful blow, with the most conditioned weapon on which they spent countless hours training and conditioning with absolute focus and study, yet when they use that finely honed weapon they just aim in general with no real concern of landing on the most efficient target of the head.    Without study on the best places or targets on the head or the ramifications or body reactions to that attack, how can it then be claimed they fully understand?  We must study the anatomy and physiology of the anatomy to complete our training on both the external as well as internal sides.    By training only half of the total possibility, we can only ever achieve half of the potential.

Now what if you could do all of this without seriously or permanently damaging the other individual, is that not the epitome of a true Artist?   No it is not myth, not a dream, not BS, it is real and it is Kyusho.

This raises yet another question; how can an individual claim they have correct method as prescribed by their styles founder if they do not use all that the founder documented?  Now here is a rather harsh reality we must take into account; how can one claim to be a master or expert when they only learn, study and teach half?  And how could one be considered a student if they condemn or dismiss without research or experience, is it not the responsibility or calling of a student to first learn then keep only that which is useful for them?

In Shotokan, Funakoshi documented Kyusho (vital point targeting) in his writings, but it is not widely known, trained or revered as part of the style he founded.

In Tae Kwon Do, General Choi documented the vital points or Kyusho in his writings as well, yet it is not known, understood or utilized as the founder had intended.

In Ninjitsu, Seiko Fujita not only documented the vital points and their effects on the human body, but also that of 15 styles in his writings.

In Judo founded by Jigoro Kano, there is documented though rarely taught Atemi Waza.

In Wing Tsun the wooden dummy form and practice was to train the proper way to apply the Dim Mak or the blood/nerve targets of the body.

In Aikido Ueshiba wrote that Aikido was 80% Atemi (point targeting)... So why is this not trained accordingly?

Elders of Chinese, Okinawan and Japanese pugilism documented these Kyusho and or Dim Mak targets in so many forms such as the Bubishi, Secret Style Notes, Scrolls and more importantly embedded in the Katas, forms or Kumites.  When we take all of this into account we can not dismiss that Kyusho is real, that it is not worth the study or effort, because the founders of each art did.  It is the truth of the whole picture as opposed to the cover of half that we must seek, realize and build on... especially now that we have the good fortune it has surfaced from the obscurity it was once captive by.  We must now keep it alive and help it perpetuate so that we may help our fellow Martial Artists in turn help yet more people find this totality.

More and more the students, not the instructors are searching and finding the truth in studying the arts in totality.  This includes the Kyusho so ignored, refuted or dismissed by the instructors.  Kyusho in modern times has reached critical mass, whereas its truth and the quest by hungry students is self perpetuating and can no longer be shunned by instructors if they are to retain the title if master or expert.  We see even the mainstream is picking up on it and using it more and more: the latest movies were Sherlock Holmes and Jack Reacher.  Even Dan Brown author of the DaVinci code is writing about it in his latest best seller Inferno... it is even mentioned in TV ads for mattresses!  So why are Martial Artists the last hold outs?

Yes there are those that espouse it yet do not know or have skill in it, they create mythical or inappropriate methods of teaching or describing it, they have big belts, patches and certificates galore, but this is true in all arts and styles.  As always buyer (student) beware... do your research first to validate with whom you train.

We at have continually strive toward this goal... our past medical studies and present 3D Brainwave research shows it is real, but admittedly not as easy to learn as it appears on so many videos... it all depends on you, your interest, your dedication and diligence, just as all arts demand.

"No one ever attains very eminent success by simply doing what is required if him; it is the amount and excellence of what is over and above the required that determines the greatness of ultimate distinction." - Charles Francis Adams




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