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 →
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 →
Family and lineage have been important values in Chinese history since ancient times. In other words, the family shrines have been important symbols. Its position within the community can be compared to a church in Western countries, a place for religion and belief. The comparison between western churches and Chinese family shrines can be applied to physical education, traditional Chinese martial arts have been taught from one generation to the next and developed during that process. This kind of passing knowledge from one generation to the next is common in traditional Chinese culture. In this tradition, family bloodline has been an important aspect. All the famous South Chinese martial arts, Hung, Lau, Choy, Lei, Mok, are all surnames. Thus, the development of martial arts have been inherited from one generation to the next which has given each category a specific features. Some varieties of martial arts have kept their knowledge within their families and they have not been allowed to teach outsiders. Continue reading →
Everyone says that Hung style, Lau style, Choi style, Lei style and Mok style are five famous styles in Southern Chinese martial arts. Among these, the Hung style has the most disciples. In the past fifty or sixty years, the Hung style exponents such as Wong Fei Hung, Lam Sai Wing, Taam Man and others have become famous among younger practitioners in Southern China. 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 →
Does Hung Ga Kyun have a Wooden Dummy (Muk Yan Jong)? The answer is – it depends.
We have already revealed a traditional Hung Ga Kyun Wooden Dummy in one of our previous articles… kind of, so our regular readers already know.
Let us expand the answer: If a Hung Ga practitioner uses whatever Wooden Dummy, it becomes Hung Kyun Muk Yan Jong. Folks, it is a tool, and if used correctly, it might be very useful tool, not only to condition your palms, fists, and “Bridge Hands” (Kiu Sau). 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 →
I have been training Chinese martial arts since 1991, age 14. I have been most fortunate to study under the guidance of some of the best teachers of Hung Ga Kyun and other various styles in Europe, USA, and of course in Hong Kong and China.
During those years, I have learned all lot of stuff – and I mean a lot of. Techniques, sets, weapons, applications, strength and conditioning exercise, you name it. My teaching methodology and of course my own practice has evolved a lot – if I look back, I can’t help smiling to myself what and how we have practiced. Back in the old days, we were training hard, no doubt about that – and basically every day, couple of hours every day. Why not – we had all the time in the world. Continue reading →
„Ten Forms Set“ (Sap Ying Kyun) aka „Five Animals and Five Elements“ (Ng Ying Ng Hang Kyun) belongs to the advanced sets of Hung Ga Kyun.
“Five Animals” part comes for the (pre-)Wong Fei Hung era, “Five Elements” section was choreographed by Grandmaster Lam Sai Wing. Various old sources suggest that „Five Animals“ and „Five Elements“ were in the past 2 sets (or more probably series of techniques and combinations), which were joined together and re-choreographed. Continue reading →