Wong Moon Toy’s ancestral home is Leung Dung, Saam Se, Toi Saan, Gwong Dung province. He is forty-three years old now. Already from an early age he liked sports very much and learned Northern Chinese martial arts from Lau Juk Fung, a student of Fok Yun Gaap (Huo Yuan Jia). Continue reading →
“Stance training, ‘Three Stars Conditioning’, kicking the pole, hitting the sandbag, and pulling the rattan ring”,” explained Mr. Yip. “The basic Hung Kyun drills we practiced when I was young. You practice these in your lineage, right?”
“Yes, we practice, except … pulling the rattan ring, I do not know this exercise!”
Cantonese martial art Master Mr. Wong Fei Hung, among his inheritors, there were two famous names, one being verified as Leung Fun, and the next was apparently Mr. Lau Jaam. They both as known-brave and skillful in fighting, outstanding in the Wong Fei Hung. Leung Fun died early, and Lau Jaam healthy and still alive. In martial art Lau was in no way weaker than Leung. They treated Lau as junior to Leung. But actually Lau was not learning from Wong Fei Hung, instead he was the pupil of Lam Sai Wing.
A young kid wanted to learn from a famous martial artist. He was poor, and could not afford the regular lessons.
The Master felt sorry for him, so he told him: “Before I accept you as my student, I want you to do following thing: When you go through the bamboo forest on your way from you work and back to your village, I want you sweep the bamboos with your legs, left and right.” Continue reading →
Power jabs, finger jabs, uppercuts, hammer fist groin strikes – right leg forward, right hand striking: that is our beginner’s PHK form “Cross Pattern Plum Blossom Set” (Sap Ji Mui Fa Kyun) in a nutshell.
Why right lead, so called “southpaw stance”?
Mark Hatmaker, of the proponents of southpaw guard, observes that there are more “deliberate southpaws” in today’s MMA (about 40%) than in boxing (about 10%), and explains his reasons why: Continue reading →
Man Mou Seung Chyun means “Scholar and Warrior” in Cantonese. It is an old Chinese ideal of a gentleman who can use skilfully both his brush and sword.
After well received book on Lama Paai Gung Fu (review HERE), dedicated to both history and technical curriculum of so called “Tibetan” styles of Chinese martial arts, David A. Ross Sifu of New York San Da brought us practical oriented textbooks of combined old and new methods, bringing the skills of traditional martial arts into the 21 century.
„Snake, Cat and Crane Combined Set“ (Se Maau Hok Wan Ying Kyun), also called „Three Animals Set“ (Saam Ying Kyun), was choreographed by Leung Wing Haang Sifu, who wrote a detailed book about it in 1950’s. The set did not get so popular as his another creation, “Butterfly Palm” (Wu Dip Jeung)and it is taught today just by very few Hung Ga teachers. Continue reading →
In the Hung Kyun collection of Mr. Lam Jou, one of the most classic weapon skill is “Double Dragon Sabre” (Seung Lung Dou), it is the set that master Lam Jou often performed in his time.
The predecessor of Seung Lung Dou has not been previously investigated. However, the pattern of this sword set is similar to “Single Battle Sword” (Daan Pok Dou 單朴刀). Comparing Seung Lung Dou to Geui Chung Dou the former uses different kind of blades. It should also be pointed out that Seung Lung Dou and the Cantonese “Butterfly Knives” (Wu Dip Dou) have a different origin. So we can assume that Seung Lung Dou was created in the beginning of the 20th century when different martial art styles came together in Hong Kong, perhaps this set is a result of inter-exchange between areas and cultures, it is also Lam Jou’s mastery and comprehensive study of Northern and Southern martial arts. Continue reading →
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 →