Paxtial Arts

This course covers how, why and what to think, the Paxtial Arts Formula, the foundational basis of the system, learning creative tools used in art training with regards to anatomy, how to use our diagrams and graphic imagery for training, the philosophies of paxtial arts, physiology balance and movement, the psychology behind the paxtial arts, where to start and how, when and why to apply it.

This course covers the origins of paxtial arts and its founder and the architects of the system, the roots of the Paxtial Arts system and the Martial Arts that influenced it, the history of imagery related to peace, the history of conflict resolution from past, to present, and then to the future, history of Mars the Roman god of war, history of Pax the Roman goddess of peace, purpose of the system, learning paxtial arts, teaching paxtial arts, practitioner’s responsibility of the knowledge as a peace ambassador.

This course covers the science and universal laws of the metaphysical world; the universal laws of physics and how it applies to the body; science of the mind; how to think; how the mind effects the body; the physiology and machinations of anatomy; culture, limitations and boundaries of self; balancing personal and world beliefs; rules and etiquette of the home, social considerations, laws, rules and etiquette; legal ramifications of the laws of the land; street rules; laws of nature.

This course covers a spectrum of lessons on the sense of SIGHT; an array of exercises are applied for cognitive awareness and understanding of; linear, peripheral, and intuitive sight. A myriad of three dimensional shapes are introduced to paxtial arts practitioners in order to gain analytical skills regarding perspective of anatomical forms, lines, and curves from an artist’s point of view. Drills, maneuvers, and exercises address distance, speed and timing. Visual background noise of life circumstances such as demeanor, ambient street or nature settings; time of day/night and weather conditions, as well as the circumstance of objects or solid matter are addressed.

The SOUND course begins with scientific data on the auditory influences for good and bad on agonistic behavior, first acquainting the practitioners with a well rounded lesson on the powerful effects of verbal influence. Music of all styles is examined from silent pauses, impulses, kinetic mimicry and mirror of SOUND with it’s resulting feedback; staccato sound and kinetic staccato movement with it’s influence on behavior and emotions; legato sound and legato kinetic movement with it’s comforting effects; canon is the whole picture from a landscape vantage point. As demeanor is the visual focus, the auditory focus of demeanor identifies and examines tones of hate, apathy, or love and how it effects the overall human disposition and physical reaction.

The TOUCH course begins with physics and a study of water as matter in 3 forms; ice (solid), water (liquid), and vapor (gas) because the anatomical form is primarily made of water and can transition between these forms. Lessons teach how the MIND, BODY, and even the SOUL mimics, operates, and moves its form in much the same processes as ice, water, and vapor. Lessons concentrate on key timing and vulnerable points of stability discerned within movement and how the anatomical structure of the human form can be manipulated and collapsed during these times. Rote training exercises build innate instinctual skills in the paxtial arts practitioner along with a subconscious timing of when to add a push, press, or turn applied on structural curves exposed on the body construction during movement. Muscle fatigue, the mechanics of 3 major joints; hinge joint, ball joint, and pivot joints are each examined and trained in depth through comprehensive exercises as well as a trained recognition of when muscle tension begins and ends. These aforementioned topics are each central to comprehension on the how to’s of the deconstruction of the body structure. It is our comprehensive understanding of all these concepts that contribute to our cognitive and overall knowledge of the science and success behind the Paxtial Arts System. Air, Feather, and Range are each kinetic applications of the TOUCH Course.

The DRILLS course introduces a procession of training forms and movement styles farmed from a wide range of sports and kinetic arts. Mock situations are introduced to the paxtial arts trainees and drills are practiced with one or more training partner(s).

Paxtial arts kinetic techniques are applied with physical mat exchanges and timed maneuvers. The BODY section is divided into segments of focus for comprehensive practice. Anatomical areas of focus include: back of hand, top of feet, hand to elbow, knee to elbow, knee too foot, hip, thigh, calf, ribcage, etc. This section broadens the understanding and usage of human anatomy as a non-combative. For instance; hands are typically interpreted as aggressive so paxtial arts techniques favor the use of alternative body parts such as the shoulder or the knee.

The POSTURES course is a detailed and thorough study of how, why and where to apply a paxtial arts technique upon an opponent. The circumstances with which an aggressor can make a move on someone is myriad. Lessons in the postures section explore possible surroundings; postures such as sitting, standing, or lying down are taken into consideration. Our paxtial arts self defense exercises flush out possible postures with an array of potential circumstances. We then apply rote practice and seek escape of a real life type condition; this while manipulating anatomical structures during a simulated attack. Ultimate results are sought through application of a soft redirection, anatomical deconstruction and diffusion of the attacker’s impulse and force, combative collision, strikes or aggressive solution. The primary goal is to attain a win/win with no injuries outcome. Karate is a written technique. Paxtial Arts solutions are trained to use principles of movement for spontaneity.

The BEHAVIORS course examines adaptations throughout the animal kingdomas means of escape and avoidance to falling prey by predators. Anatomical principles of movement, avoidance of detection, mimicking, distraction, startling, and subtle signaling are all animal behaviors; these behaviors and more are examined, adapted, and modified for use in the paxtial arts self defense system. Mimicking and adopting the behavioral tools of animals helps to remove some of the technical jargon which can bog down the practitioner in the learning process. This BEHAVIOR section of the paxtial arts curriculum utilizes a conceptual teaching style with the goal of teaching the paxtial arts practitioners to organize and learn survival behaviors found in the animal kingdom and store them as information that can be applied as ideas in logical mentalstructures. GLYPHS and visual teaching aids with animal imagery speeds up the application of these self defense principles.

This course focuses on the culmination of all the trainings and lessons within the MIND, SOUL and BODY sections of the system and the goal is to performing with confidence and ease 'FREE-FLOW.'

What is “FREE-FLOW”?  FREEFLOW received its name due to the type of movement the paxtial artist demonstrates while being attacked in a kinetic simulation by a minimum of 3 assailants. The FREEFLOW drill begins slow with one, then two, next three or more aggressors increasing emotional, physical, and mental pressure on the paxtial artist. The FREEFLOW drill is 3 minutes in duration without stopping while the paxtial artist must peacefully deflect punches, kicks, pushes, and grabs utilizing the Lessons learned in the SOUL and BODY sections separately.

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This Course will focus on the knowledge acquired by the partitioner up until this point of the trainning and prepare the Paxtial Artists to be able to teach and certify the Paxtial Arts Curriculum.

This course is the course where the paxtial Artist physically performs the entire system to become a certified Paxtial Artist of which ever Program they have taken.