Building powerful legs is the first step in developing power throughout the body. In martial arts and athletics, strength alone is not sufficient for success in performance. Muscular strength must be coupled with flexibility, mobility and balance in order to utilize the acquired strength on the field, in the ring, or in any other real world application.

Springy strength is a term used in martial arts to describe the ability to move quickly and lightly, yet forcefully from position to position. We want to develop not only great strength, but the tissue elasticity to change quickly from high to low and from side to side. How do we develop springy legs for kicking, striking and throwing power? Introducing dragon twisting, a tremendous drill for developing strong, springy legs.

As in any practice, the appropriate attitude is necessary to get the full benefit of the exercise. By attitude, I mean intent, or direction of focus. What is the proper attitude for dragon twisting practice? The name of the exercise gives us a hint. The dragon is a mythological animal in many cultures. While in Western culture we view the dragon as a symbol of Evil, many Eastern cultures view it as a symbol of luck, virtue, and long life. Many of the fighting styles are based on emulating the movements of animals. The dragon is especially powerful because of its serpentine body, connected throughout as one continuous muscle. Attack the head, the tail coils around to hit you. Go for the tail, the head reaches in to sting you. Strike the center and both ends engulf you. So, when practicing, take the attitude of wrapping around the opponent, coiling and uncoiling continuously.

This drill will be taught from three positions: basic, intermediate, and advanced. However, even advanced trainees should begin with the basic drill before moving on to the more challenging varieties. Persons with knee injuries should consult with a physician before taking on this exercise.

Position 1: Basic Dragon Twisting

Stand with feet parallel, shoulder width apart, hands kept relaxed at your sides. Begin by un-weighting your Right foot, which means shift your weight to your Left foot. Immediately turn the R foot out (evert), so that toes end up at, or near 180 degrees from the start point. This is accomplished by rotating the thigh bone in the R hip by pivoting on the heel. Place the R foot flat and shift about 80% of your weight to it. As your weight shift completes, raise the L foot and pivot it on the ball. Continue pivoting until the L knee is tucked behind the R knee. Finally, sit back and down so that your hips sit directly over, but not on, the Achilles tendon/heel of your L foot. Now, reverse the position by pushing up from the ball of the L foot until you are standing upright. Rotate the L foot on its ball until the toes are pointing forward. Place the L foot flat, unweighting the R foot and lifting up the toes. Keeping your weight over your L foot, pivot the R on its heel until its toes are also pointing forward. You are now back in the starting position. Shift your weight to the R foot and repeat the Dragon Twist to the other side. Practice this bodyweight drill until you can smoothly twist from R to L in an uninterrupted low-high-low pattern. Precise footwork is tantamount to proper execution in Dragon Twisting. The twisting will make the tendons and ligaments very strong, but you must take care to learn the exact positioning of the feet, knees and hips. Gradually work into lower positions so that the joints and tendons can adapt over time.

Position 1

Position 2: Dragon Twisting in KB Rack Position:

Stand in the same shoulder-width, feet parallel position. Clean 2 kettlebells of the same weight and hold them in the rack position. Repeat the drill as described in the basic position.

Notice that the strength and balance demands are greater due to the additional weight held against your body. Again foot placement must be precise to avoid injury to the knees, ankles or hips.

If you only have one KB, you can still practice this drill. Just be sure to pay extra attention to the alignment of your knee. The uneven weight can be stressful to your knee on the weighted side, as you are twisting into it. Be sure to go slowly and keep the front of the knee aligned vertically over your foot. Perform an equal number of reps with the KB held in each hand, so that you maintain equal stress on both sides of the body

Position 2

Position 3: Dragon Twisting in KB Overhead Lockout Position:

From the shoulder width, parallel stance, jerk 2 kettlebells overhead and lock out the arms. Use a lighter weight than was used for position 2. Repeat the drill as described in the basic position.

Not only is the strength and balance demands the highest in this advanced version, but the muscles of the abdominal core are more involved. Shoulder stability is a key in maintaining safety as is the precise foot placement. Again, this position can be practiced with only one kettlebell, but should be performed for an equal number of repetitions with each arm locked-out.

Position 3

A final progression is to do any of the above 3 positions with the eyes closed. This will developed more acute body awareness and impose a greater proprioceptive challenge.

Add these in slowly with your program by doing just a few reps early in the training session while you are fresh and attentive. Do some joint mobility preceding your Dragon Twisting practice, focusing on loosening the ankles, knees, hips and low back. We want perfect practice, so do 5 reps (L + R is 1 rep), stand up and shake the legs out and then do 5 more. It is best to stick with 2 sets of 5 reps for the first 1-2 weeks, practicing every other day. In sophisticated movement patterns such as Dragon Twisting, we may not notice any tweaks while practicing, because the mind is focused on skill acquisition. That's why it is necessary to go very slowly initially. Practice, observe, practice observe. Once you're sure that your joints can handle the new movement, you can start increasing volume.

Position 1 — The best approach is to do reps in a period of time. Take 1 minute and keep twisting for the minute. As your footwork becomes smoother, you will be able to move faster and faster between twists, increasing the number of reps performed in 1 minute. Start with 10 twists in 1 minute. If you recover well perform increase by 2 reps each practice. An advanced trainee should shoot for a minimum of 50 twists in 1 minute (25 per side).

Position 2 — Focus on maintaining the kettlebells vertically aligned over the central axis, which is the point on the ground that is directly at the midpoint between the feet. You will not train speed in this variation until your form is exact. Go very slowly and for sets of 5 reps. You will find the added pressure upon the diaphragm will make the breathing very challenging.

Position 3 — Shoulder and core stability is challenged to the extreme in this advanced variation of Dragon Twisting. If you have been utilizing an intelligent progression, you will have the foot placement and correct form down by the time you tackle position 3. The objective here is to create a coiling and uncoiling affect from the fingers overhead all the way down into the ground and back up again. Because you are in a stretched-out position of "extreme compromise", the challenge of Dragon Twisting is magnified. The muscles and tendons of your abdominal core are forced to keep a very rigid platform in order to protect the spine. The shoulders must sit firmly rooted into the girdles to prevent hyperextension, and the footwork must be exact to maintain balance. This is an ultimate drill for high level strength and coordination.

Solidify your foundation for full body power by developing springy strength in your legs. By adding Dragon Twisting to the arsenal martial artists and athletes will develop the flexibility and balance needed to apply their strength to its fullest potential.

In order to generate force in the body and transfer that force into an effective strike, there has to be an understanding of the essential mechanics involved. In the myriad of martial art systems, be it karate, kung fu, boxing, or ju jitsu, the student is first taught how to stand. The particular stance of the system sets the foundation for developing effective strikes. With the study of stance/footwork, the student learns how to generate force from the ground up. The legs coil and uncoil, lunging and evading, all the while storing and unleashing elastic energy. So from the beginning all students learn that

The legs are integral to the development of striking power.

As force is increased through the foot's contact with the ground, it moves up the leg as a wave and joins with the force generated through the rotation of the hips. This rotation allow for greater extension and projection of the accumulated force. Simultaneously the abdominal "core" is contracted and pressurized so that the force has a stable "platform" to project forward from as the fist (or palm, foot, etc) impacts its target. Some martial art systems teach use of the kiai at this point, to increase the pressurization in the abdominal cavity. Keep in mind that the hip joint is complex and involves a large mass of musculature. Some martial art systems emphasize training the muscles of the inner hip (piriformis, iliopsoas, etc.--baguazhang is famous for this) rather than simply the large muscles of the outer hip, such as the gluteals.

The hips are integral to the development of striking power.

"Now", you say, "I got it". But wait, there's still one key mechanical component to add, if you want to maximize your punching power. The expansion and contraction of the muscles of the thorax will generate incredible power when applied to a strike. The reason is because we are talking about very strong muscles, the muscles that are involved with respiration such as the intercostales and subcostales, and the diaphragm. The latissimus dorsi (lats) also act as an accessory muscle in respiration. As the legs are propelling the force forward and the hips are rotating and extending the force, the torso will be forcefully contracted as the strike impacts its target. One should note a strong compression in the abdominal region and the ribcage.

The muscles of the thorax are integral to the development of striking power.

The exercise that I have found to be very useful for teaching the body how to properly contract the thorax is the Russian Military Press. If you are not thoroughly familiar with this exercise, review the RKC video and book and practice the RMP with kettlebells! With some practice, you will get a very clear sense of fully expanding and fully contracting the muscles of the ribcage.

Once you have developed the full range of motion with the RMP, put down the KB and practice the same movement with just your body. You should still be able to create the proper tension throughout the body. With the hand that is not pressing, place your fingers over the side of your ribs on the working side. As you press the hand overhead, you should feel the ribs on the pressing side open fully, so that you can poke your fingertips between the ribs. As you pull the hand down, feel the ribs closing around your fingers, so that at the bottom of the compression, your ribs form one solid 'vest', and your fingers cannot penetrate between the ribs. It is very important that you fully compress at the bottom of the movement. Think of corkscrewing the elbow down into the body as you pull the arm down. Feel a solid linkage from the armpit all the way down to the hip, so that the lats and obliques feel like one continuous muscle.

Over time, you will learn to easily expand and contract the muscles of the thorax and will be able to do so with less and less movement of the arm. Progress to the point that you can solicit the full expansion and contraction of the ribs without having to move the arms at all. Once you are at this stage in your practice, you will be able to transfer this muscle control skill into your strikes.

The legs, hips and torso and involved in all types of strikes, be it straight punches, uppercuts, hammer fist, elbows, knees, or kicks, as well as in grappling and throwing.

To incorporate full body power into a strike, there must be power generation from the legs, hips, and torso.

There is more, of course, to generating powerful strikes than the basic mechanics discussed above. Other key components include technique, timing, and balance, as well as strengthening weak links in the body such as the wrist for punching and the foot/ankle for kicking. However, by learning how to properly integrate the strength of the torso with that of the legs and hips, you are enhancing your ability to maximize your striking power.

Confusion often surrounds the topic of strength training for the martial arts. There are generally two schools of thought on the subject. One school states that weight training is detrimental to martial skill acquisition because the excessive tension held in the muscles will reduce the fluidity of movement, thus robbing one's technique of speed and power. The other school says that strength training done correctly and as a compliment to the martial skill training will increase the contractile strength of the body without sacrificing flexibility, the end result being improved speed and power.

Where do I weigh in on this long-standing debate? Some weight training practices will indeed create sluggishness and a loss of tensile strength but only if the martial artist uses a body-building or train-to-failure approach. Any weight training will also diminish martial skill if it becomes the primary focus rather than a supplement to the martial arts skill training. Strength training, when the appropriate method is selected, will compliment and contribute to enhanced martial art skill, in the form of greater speed, power, flexibility and endurance.

So what is the right method of strength training for the martial artist? Why should a martial artist practice strength training, and how does one begin? While there are many training tools available, kettlebells are the tools that offer the most to the martial artist's strength training curriculum.

Of all the physical variables that the well-rounded martial artist must address when designing the right strength training program, there are 4 in particular that kettlebells address better than other training modes: strength/endurance, mental toughness/body hardening, martial specificity, and efficiency (economy of motion).

In a martial arts or fighting context, strength/endurance, or "enduring strength", is the ability to fight with intensity for extended engagements. This is even more crucial than maximal strength, or the ability to deliver one very powerful blow. Maximal or limit strength is very important as well, as in knockout power, or a quick submission, but the well rounded fighter must be prepared to deliver multiple strikes in combinations. This requires tremendous strength/endurance. Kettlebell high repetition snatches, for example, develops a strong work capacity and anaerobic threshold. This means that you learn to continue to apply power even while aerobically taxed. For the martial artist this is a very important skill. Often times it is not how strong you are when you are fresh but how strong you remain once you become winded and have expended a lot of energy that determines the outcome. Because kettlebell lifts require full-body integration, it is a much better tool for the martial artist than doing high repetition isolation movements with a barbell or dumbbell.

Mental toughness and body hardening are listed together because they cannot be separated in the application of martial arts. One who is "mentally tough" will fold under an effective thai kick to the lower leg, if his body is not sufficiently hardened for the impact. Likewise, the fighter with a ruggedly conditioned body will eventually waiver if he is kept in an uncompromising position, such as a lock, unless his focus is perfectly sharpened and mentally tough. Kettlebell training helps to develop the necessary psycho-physical balance that is crucial to effective martial arts. In exercises like the kettlebell clean and snatch, wherein the kettlebell flips around the hand, and rests on the forearm, there is body hardening occurring due to the impact of the bell on the arm. In the early stages, the bell tends to come crashing down on the forearm, even causing pain. The perseverance to proceed is an early test of one's mental resolve. As the techniques become more refined, there is less impact on the forearm, as one learns to move the hand fluidly inside of the kettlebell handle. Even still, the bell rests on the forearm, exerting pressure and over time increasing the density and hardness of the area. Such training as the high-repetition snatch and jerk as seen in traditional Girevoy Sport of Russia is a real test of both on's mental resolve to persevere and physical ability to accept pain. These attributes need to be embraced by the martial artist as well.

In sports science, the term "specificity" refers to the adaptations to the physiological systems that occur as a result of the training program design. For the martial artist, the strength that is developed through supplementary weight training must be able to transfer into improved striking, kicking, grappling, trapping, and throwing skills. If your fighting techniques increase in speed, power, and focus as a result of your strength training program, then your program has a high degree of specificity to your martial art skill. If you become more sluggish and start getting hit by people that couldn't hit you before then the strength training regimen is ill-designed and non-specific.

Like in martial art technique, in kettlebell lifting the grip, the hips (and core), and the stance are involved in every motion. The highly ballistic nature of such exercises as swings, cleans, snatches and jerks very closely mimic the type of explosive full-body integration involved in executing effective strikes, kicks, and throws.

The concept of training specificity ties in very closely with the concept of training efficiency; you won't have one without the other. With a strength training program that is specific to enhancing martial skills, we also develop efficiency. All martial art styles pursue an economy of motion. The prevailing quality in the movement of gifted martial artists is efficiency. This is irrespective of the style and is independent of the speed of execution. Efficient movement will remain efficient whether practiced at full speed or in slow motion. Efficiency relates to using only the energy necessary to achieve the result, nothing more. It also relates to spending only the time necessary to achieve the objective, no more. In a martial analogy, this means not using 1000 pounds of force, when 4 ounces will do. If you can unbalance the opponent with only slight movement, it is more efficient than using every last bit of energy to send him off balance. When cultivating martial skill, most of one's time should be spent on mastering the particular techniques of one's style, not on cross-training. The strength training protocol selected should be one that allows for specific strength gains without demanding too much time away from the martial skill practice. This means relatively short, intense workouts that allow the body to remain fresh for skill practice. The specific time guidelines are relative to the experience and physical attributes of the trainee, but as a rule of thumb, the strength training curriculum should not exceed 30% of the martial artist's total training. In other words, to be efficient with his use of time, the martial artist should spend at least 70% of the total practice time on the martial art skill training and not on lifting weights.

To develop an efficient strength training regime, kettlebells are the ideal choice because the types of movements are similar in nature to many of the basic martial art techniques. This contributes to the economy of motion — you are not being asked to learn radically different motor patterns. Take the 2 Kettlebell "rack position", in which 2 kettlebells are resting on your arms and body. This position is attained by taking a kettlebell in each hand and cleaning them to the top position. The kettlebells stay in the top position for a period of time. This 2 kettlebell rack position is mechanically very similar to a basic guard position, as in boxing. In a fighting stance, there of course will not be kettlebells in your hands, and one or both hands may be extended slightly in front of the body, with one foot forward. The action of the body, however, is virtually identical: the lats are "full", in a very strong compressed position, the shoulders are relaxed and sunken, the chest is hollow and the back is rounded, the knees have a gentle bend (springy), and the tailbone is tucked slightly under. Try this: take a fighting stance of your liking and bring the hands up in a guard position. Notice how it feels in the back/lat, abdominals and ribcage. It should feel very full, alive, and powerful, like a tiger ready to pounce. Now do the 2 kettlebell clean and hold them in the rack position. The same sensation of fullness in the torso should be present.

The similarities in mechanics required for the martial technique and the kettlebell technique make the 2 kettlebell clean/rack a highly efficient choice of exercise, due to its specificity. Because you do not have to alter the body mechanics for the two movements, there is no wasted time in your strength practice. There are numerous other examples of kettlebell drills that have a high degree of specificity, and are mechanically efficient for martial artists.

Some of the most significant characteristics of a well-rounded martial artist are strength/endurance, mental toughness/body hardening, martial specificity, and efficiency. These 4 attributes need to be addressed when supplementing martial arts practice with weight training. Kettlebells are the tool of choice for accomplishing these objectives, and when properly integrated will increase the speed, power, endurance and movement skill of the martial artist.