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 →
„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 →
You have seen it in the movies: Weird hand movement, supposedly imitating “Dragon Claws”, a fancy movie technique other martial arts or combat sports make fun of. Until…
Check out a practical application of this seemingly “flowery” pattern called “Double Dragons Plays with Pearl” (Seung Lung Hei Jyu). Indeed it has a very practical combat usage, both in stand up fighting as well as on the ground.
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 →
PHK tests are tough. You can’t “buy” the degrees, you will not get them for just taking part. The students have to show proficiency in 3 main aspect of PHK training: strength, form, and application. The standard is high.
Check out 3 videos from our recent student’s tests, beginner’s 1st Kap and 3rd Kap.
Third video shows our student Vašek, 66 years young gentleman, going through some 1st Kap tests. No excuses! 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 →
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 →