3 aspects, 3 tips, 3 instructional videos with drills that you can immediately add to your training and became healthier, stronger, and more combat efficient.
Welcome in the second part of our installment!
Thank you for all the emails and messages (and even phone calls!) – we at PHK Headquarters got lots of positive feedback and interesting ideas, and even more questions.
The problems are many: Continue reading
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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
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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
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Q: Sifu, I have noticed that your Hung Ga school is also training weapon sparring. Can you post some videos of your Practical Hung Kyun’s weapon sparring, and maybe few tips, too?
A: As for weapons training, our school doesn’t train only sets or sparring sets, but also sparring drills and free fencing. Two fundamental weapons of our Practical Hung Kyun curriculum with specific sparring program are long pole and saber (adapted to short stick/baton). Continue reading
6,687 total views, 4 views today
Question: Sifu, everybody says that Hung Ga should be practiced in very low stances. I have noticed that you are sometimes using higher stances, sometimes lower stances – but still a bit higher than I usually see. Can you explain why?
Answer: Hung Ga = low stances, period. Right?
„Low stance, low stance!“, the Hung Ga Sifus shout out loud all over the world. „Don’t be lazy!“ Pain is good.
Well, stance training might serve as leg strengthening in the beginning phases of your Hung Ga journey, but the true aim of “Stances” (“Horse” in Chinese, Ma – take a hint why!) is different: Structure, body mechanics and power generation.
And the stances are not always low. Continue reading
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Question: “Hung Ga Scissor Kick” – Sifu, how does it look like?
In what Hung Ga set can I find it?
What is the proper Chinese name?
Can you please show how is it used?
Answer: “Scissor Leg Technique” (Gau Jin Teui Faat) is one our “Special Skills” (Jyut Gei). Apart from relatively recently composed set called “Butterfly Palms” (Wu Dip Jeung, which by the way isn’t part of our curriculum), you will not find it in any of the commonly taught Hung Ga Kyun sets.
Interestingly, not all techniques were transmitted via set training – many of the special patterns or combinations were taught as individual techniques. “Scissor Leg Technique” (Gau Jin Teui Faat), also called “Golden Coin Falls to the Ground” (Gam Chin Lok Dei), is one of them. Continue reading
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Question: I have heard that Grand Master Lam Sai Wing has taught in the army. Is it true? Can you please give some examples of simple Hung Gar bare-hand combat techniques, which could be use in unarmed combat situation in the army or on the street today?
Answer: It is well documented that Wong Fei Hung, Lam Sai Wing (and various other Hung Ga Kyun Masters) taught martial arts in the army.
Wong Fei Hung served his duty under famous army commanders Lau Wing Fuk, Ng Chyun Mei and Tong Ging Sung, Lam Sai Wing under Lei Fuk Lam and Chan Jai Tong. (You can find out more in the intro parts of Lam Sai Wing Memorial Book and Lam Sai Wing’s Taming the Tiger Manual).
Their function wasn’t only honorary. We can only guess what specifically did they teach in the army, but we know for sure that both Wong Fei Hung and Lam Sai Wing taught actual combat techniques – not only strength/conditioning drills to keep the soldiers disciplined and fit, but also weapon and bare-handed combat skills. Moreover, they not only taught, but also learned from the other Masters and cross-trained.
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Stand-up grappling and counter-grappling techniques, kicks, clinch work and close quarters combative skills, dealing with multiple opponents etc. These and many other are skills are taught in our “Taming of the Tiger in Gung Pattern Set” (Gung Ji Fuk Fu Kyun), 3rd Kap of our Practical Hung Kyun curriculum.
Check out a short video from last week’s training session, devoted the the practice of some of the drills. Continue reading
8,540 total views, 4 views today
Question: Sifu Macek, can you please briefly explain the “Twelve Bridge Hands” of Hung Ga Kuen? As your school is called Practical Hung Kyun, I would appreciate some practical example how to use the “Twelve Bridges” in training or real fight.
Answer: First two Bridges – Hard, Soft (Gong, Yau) and last two Bridges – Control, Adapt (Jai, Ding) are a general Yam/Yeung (Yin/Yang) framework of the remaining eight. We at Practical Hung Kyun want to end up the confrontation as fast as possible, using hard power and total control. If we meet a stronger opponent, we use soft power and adapt to the opponents action.
I took your question as challenge, and tried to explain the “Twelve Bridge Hands” of Hung Ga in twelve lines/paragraphs. Continue reading
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