The Hang Je Pang is the only double-ended staff set of Lam Family Hung Kyun, it is a set that Lam Jou incorporated to the Lam Family Hung Kyun. The set originates from another style of martial art.
The specific origin of this set, the “Traveler’s Staff”, also known as the “Monkey Pole”, is not well known, some say that it comes from a Northern martial art, whereas some say that it comes from the “Monkey Fist” of Fujian. Regardless of its origin, Lam Jou did some changes to the original set. He made adjustments to the arrangements and techniques, so the “Traveler’s Staff” we know today has a classic Hung Ga flavor to it. Continue reading →
Tit Sin Kyun was a form passed down from Tit Kiu Saam (Iron Bridge Three), one of the ten tigers of Canton and a grandmaster of Hung Ga Kyun. The form was taught to Grandmaster Wong Fei Hung by Lam Fuk Sing, one of the students of Tit Kiu Saam.
Tit Sin Kyun is an internal form (Noi Gung 內功) of the Lam Ga Hung Kyun System. There is a common misconception that Tit Sin Kyun trains self defence techniques. Rather than solely training self defence techniques, Grandmaster Lam Chun Chung suggests that Tit Sin Kyun utilizes dynamic tension, breathing exercises and pronunciation of sounds to generate power in the practitioner’s bridge hands, improve rooting of the practitioner’s stance and improve the overall health of a practitioner by treating each of the five major organs of the human body (i.e. Liver, Heart, Spleen, Lungs and Kidneys). Continue reading →
There are a lot of stories on Tit Sin Kyun, the Iron Thread set, creating a mystic air. Some are nothing more than misconceptions and misinterpretations, partly because the Taoist holistic idea is not always easily translated into Western concepts.
This article will go into some often-heard misconceptions heard in the West and offers some references to other comparable current Western concepts. Continue reading →
During the 20th century it is said that Hung, Lau, Choi, Lei, Mok were the five big Gung Fu styles of the Guangdong province. Different regions shaped distinctive styles of martial arts, like the Lung Ying Kyun, Southern Praying Mantis, Mok Ga Kyun of the Hakka minority in Eastern Guangdong. The area of Xinhui, Jiangmen, Yangjiang was dominated by Choi Lei Fat. In Chaoshan Choi Mok Kyun was the dominating style. In the martial arts schools as well as the martial arts culture of Guangzhou, Foshan and other big cities were influenced by external elements. Continue reading →
“Tiger & Crane Sparring Set” is without a doubt a signature sparring form of Lam Family Hung Kyun – true heritage of legendary Grand Master Lam Jou. It is also a favorite sparring set of my Sifu, Grand Master Lam Chun Sing. Many of the applications and combat techniques that my Sifu teaches are based on Fu Hok Chaak. Continue reading →
Tit Sin Kyun is the highest set in Hung Ga Kyun. Simply said, it’s a Five Elements “Internal Training” set that uses sounds that refer to emotions.
There is much more to Tit Sin Kyun, such as the “Twelve Bridge Arms” (Sap Yi Ji Kiu Sau) and its use in ground grappling/antigrappling, but we will not go into that here. Perhaps another article.
For now we will just focus on the sounds.
The sounds in Tit Sin Kyun are primal sounds, used for boosting the power/spirit on a technical level and for releasing mental and muscle tension. Continue reading →
Powerful strikes and blocks, lightning fast kicks, eye-catching sweeps and jumps – this is the most popular modern Hung Kyun sparring set called “Tiger and Crane Double Form Sparring Set” (Fu Hok Seung Ying Deui Chaak), also called Fu Hok Deui Chaak or just simply Fu Hok Chaak.
“Tiger and Crane Sparring Set” is actually not a new set, bud modification of old Lam Sai Wing’s “Taming the Tiger in Gung Pattern Sparring Set” (Gung Ji Fuk Fu Deui Chaak). It was developed by Grand Master Lam Jou, probably in late 1930’s or in 1940’s. “Tiger and Crane Sparring Set” blends traditional Hung Kyun training methods, such as “Bridge Hands” (Kiu Sau) sensitivity and conditioning, practical application, and performance. Continue reading →
Answers to the important questions that every martial artist should ask!
The second part of our installment got even more positive response than the first one – just wow.
I had to spend literally hours responding to all your emails. Scholars and warriors, thank you, I am very happy you found the practical examples and the short instructional videos useful, even though it is just a tip of proverbial (PHK curriculum) iceberg. Continue reading →