One of my fondest memories of my Sigung (師公), the Great-Grandmaster Lam Cho, was when he would put on his three-piece suit, pick up a newspaper, and take a brisk walk for lunch at his favorite restaurant, where he had a table reserved daily, between the hours of 1:00-2:30pm. On the occasion of one visit, in the early 1990’s, I had brought a variety of Chinese martial art books from my home in San Francisco, USA.
Arriving at Lam Kwoon (林館), Great-Grandmaster Lam Cho and my Sifu (師父), Grandmaster Lam Chunsing were ready to have lunch, and so we walked together, to Sigung’s restaurant, the old Joy Fook Lau Seafood Restaurant (彩福海鮮酒樓), on the fourth floor of the Pioneer Centre, 750 Nathan Road. On this particular day, I had brought the books with me, with the intention of discussing them with my Sifu. Continue reading →
“Original”, “traditional”, “orthodox”… Those are the words how (traditional) Chinese martial arts are often described. What does it mean? Same as hundreds years ago? Dated?
The word “traditional” comes for a latin word tradere, “to hand over”, “hand down”, from the Master to the apprentice, from one generation to the other – not only the techniques and sets, but concepts, principles and training methodology, often unique to a specific system or family. Continue reading →
Super rare video! Mok Gwai Laan, Wong’s last wife, performs parts of Hung Ga Kyun’s “Taming of the Tiger in I pattern”, “Tiger and Crane” and Single Whip!
Apology for bad quality – we have shot this video in Fat Saan’s Wong Fei Hung museum from a TV screen. The Hong Kong Movie database says that Mok Gwai Laan starred in Story of Wong Fei-Hung, Part 3: The Battle by Lau Fa Bridge (1950), but I haven’t been able to confirm this footage comes from this movie. If true, she would be 59 or 60 years old. Continue reading →
My Sifu told me that the “oldtimers” always squeezed the fists hard when training the sets for strength, slowly, each movement one by one. Think Jai Kiu, “Controlling Bridge” in “Taming the Tiger” or “Iron Thread”.
Old time Masters also used many other devices to train the grip – jars, bundle of chopsticks, stone locks, head long poles – grip strength was obviously very important to them.
To train the grip is a very demanding endeavor not only for your hands and fingers, but your CNS as well, so it is advise to have a long rest between the “sets”. Best would to train the trip throughout the day – but it is not very practical to carry a jar, a brick, not to mention a stone lock or a heavy long pole….
Grand Master Lam Sai Wing had a secret weapon against the (hand) weakness in his sleeve – literally.Continue reading →
How to celebrate the Chinese New Year of Fire Monkey?
With some good Gung Fu, of course.
Grand Master Gang Dak Hoi was a sworn brother of my Si Gung, late Grand Master Lam Jou. Some of the Lam Family Hung Kyun weapons as well as sparring sets come original from Daai Sing Pek Gwa Mun, ie. the sabre and the sword. My Si Gung used to teach Hau Kyun, “Monkey set”, as you can see on the photo above, but he has stopped teaching it long time ago. He always praised Gang Dak Hoi’s Gung Fu as top notch. Continue reading →
Hon Hoi belongs to the older generation of Lam Sai Wing’s Hong Kong students, together with Jyu Yu Jai (author of three so called “Lam Sai Wing’s” books), Dang Sau King, Lau Jaam,and others. He has started to learn from Grand Master Lam at his String Lane (Gung Wan Hong) gym, close to the Bamboo Hill.
The main reasons why Hon Hoi started to learn Hung Kyun under Lam Sai Wing were general fitness, strength, and health. He had a well payed job in telecommunications, but has spent too much sitting. He has heard about the famous “Iron Thread Set” (Tit Sin Kyun) and the excellent results in strengthening the body and healing diseases from other students of Lam Sai Wing, like Jyu Yu Jai and Wu Lap Fung – it was one of the main reasons why he joined Lam Sai Wing§s gym and eventually learned and mastered the set. Continue reading →
The Hung Ga system is well known for its “Iron bridge hand training”. Traditionally, there are twelve distinct Hung Ga bridge hand methods, each having a different shape, associated technique and mode of practice. The various bridge hand techniques are exemplified in different classical Hung Ga forms (Tit Sin Kyun, Gung Ji Fuk Fu Kyun, etc.). Amongst Hung Ga practitioners, the Twelve Bridges are a continual source of conversation, intrigue and even confusion. Continue reading →
Practical Hung Kyun proudly presents new discovery – rare photo of Grand Master Lam Sai Wing, performing a technique from the famous “Iron Thread Set” (Tit Sin Kyun).
The photo comes from a cover of an old martial arts pulp stories magazine “King of the Martial Arts Stories”, published in 1952. Credit and special thanks to Mr. Ng Hou for sharing the photo. We will restore the photo with the modern photo editing software and share it with all Hung Ga practitioners and researchers. Continue reading →
Today’s Hung Ga Kung Fu, also known as “New Hung Kyun” (San Hung Kyun), was signifacantly influenced by another Southern Chinese system, (Tibetan) Hap Ga and its “Long Bridges, Low/Wide Stances” (Cheung Kiu Daai Ma).
Here is a translation of a rare article from an old vintage Hong Kong magazine, telling the story of Wong Yanlam, his mischievous disciple Wong Honwing and their famous “Wing Flap” technique: Continue reading →