Whereas the dragon represents the spirit, the snake represents the Qi (氣), the breath, and circulation of energy within the human body. Sometimes referred to as a “little dragon,” the snake likewise speaks to the covert, and the unseen.
The snake techniques are generally considered to be a bare-hand extrapolation of ancient spear technique, and as such exemplify the principle of, “defend with a circle; counter with a straight line.” The Hung Kyun maxim states, “hard counters the soft; soft controls the hard.” Thus, the snake’s hard bridging is manifest with rooted stance and iron force, heavy as a python’s coils, while it’s elusive twining, soft bridging action is unfelt until striking the vital points, venomous as a cobra’s touch. 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 →
Rare Hung Ga videos from early 1980’s: Grandmaster Chiu Wai performs “Plum Flower Double Chain Whip” (Mui Fa Seung Yun Bin), “Ten Forms Set” (Sap Ying Kyun) and famous “Tiger and Crane Double Form Set” (Fu Hok Seung Ying Kyun).
Special thanks to Douglas Elmes for uploading the videos, and Charris van’t Slot Sifu for head ups.