Anchor your feet, bend your knees and place your hands on your head, as per illustration. Sit up and touch your right knee with your left elbow, lower to start position. This is one rep. Repeat the sit-up again, this time touching your left knee with your right elbow. Work up to two sets of 50 repetitions, then either increase resistance by doing the same exercise on an incline or by holding a weight behind your head, or on your chest as you sit up.
(ii) SEATED KNEE-INS
Sit on the edge of a chair or a bench, holding the sides for support and with feet together, as illustrated. From this position pull the knees to the chest and lower to the start position for one rep. Repeat the movement and work up to two sets of 50 reps.
Lie on your back on the floor, bend the knees and lift the shoulders off the floor, enough to tense the abs. Get a partner to tap your belly gently with clenched fists.
Continue for 10-20 seconds. Slowly increase both the time and degree of impact until you can take one minute, with medium force.
Remember: never strike a relaxed stomach.
This is the end of Routine Two. As I said before, if you intend your art to be an effective one in a street scenario it should include all ranges and all concepts. Every system should include kicking, punching and grappling ranges. If it doesn't, it cannot be classed as a comprehensive or completely effective system.
In my opinion and contrary to popular belief, there isn't a system that is so effective in its main range that it does not need to practice other ranges. Many practitioners say that their system of kicking and striking is so effective that they don't need to learn the grappling range because they will never end up on the floor. With respect, that is, at best, naive. What I am trying to say here, in a rather long-winded manner, is that if you do include all ranges within your system, then use both routines, or a combination of the exercises in the two.
Also worth a mention is the fact that there are a myriad of exercises besides these that can be used to train the major muscles related to your art; you don't just have to do the ones here. What I do recommend though, is that you use these routines until you become very familiar with the weights, then, if you want to change the exercises, reps, sets or routines, by all means do so. Variety is the spice of life as they say. Try, though, not to detract from the main aim of weights for the martial artist: you are not training for a beach physique, or a weight or power lifting contest. Weight training is an addition.
Treat the gym as a place of learning; study those around you and the exercises that they are practising. You may find as you train in the weights' gym, that others are working on different exercises to you. Make a mental note of these exercises and their functions (ask the instructor or even the other people in the gym if you are not sure) and, if and when you are ready, include them in your own routine, or replace some of your own exercises with the new ones. Make sure though that they relate to your art, otherwise you will be defeating the object.
If you are ever unsure of what you are doing, or you need advice, ask the resident gym instructor.
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