Kung Fu

Chinese Martial arts

Kung Fu is considered the origin of martial arts. Having studied Shotokan Karate for nine years, I am very passionate about martial arts and the way they work. In the Guide to Kung Fu Fighting Styles, it says that "Kung Fu is merely a skill... that anyone can learn."1 Yes it requires diligent training, as does any skill, but Kung Fu is not limited to only those who have a certain body shape. What is more important is the use of the skill, and the morals and philosophy of the person bearing the name of any style of martial art. If the morals and philosophy do not live up to the expectations of the Sifu, he/she will turn down and not teach those that cannot uphold them.

Definitions

Kung Fu: Means a skill in anything, including cooking or painting. It was taken by westerners to mean someone who was adept at fighting after observing daoist monks. It is also called Wu Shu and is the modern Chinese term for martial arts, although it is more of an exercise and dance in communist China. 3

The Chinese characters for Kung Fu.

Sifu: Master or teacher.

Long arm: Using the full extent of the arm

Short arm: Using part of the arm, usually using the rest of the body to be the power behind the punch.

Hard: Powerful/ Fast

Soft: Flowing/ Slow

External Power: Focuses on outward power, without the buildup of chi.

Internal Power: Focuses on internal power, building up chi.

History

Chinese martial arts Pre date the Shang Dynasty. The art of hand to hand combat became very practical and necessary in the warring states period. It was a time that called for assassins and mercenaries as the separate states vied for power. This time, as well as being a time for developing philosophies, became a time of perfecting the body. Rulers required escorts and protection at all times, bringing forth those who were very proficient in and studied martial arts.

This came to an end when Emperor Qin prohibited the practice of martial arts by citizens and prohibited the citizens from carrying weapons.

Gaozu, the peasant who became emperor. Photo courtesy of Takashi Saito.

The next emperor, Liu Pang, also known as Gaozu, an escort and prominent martial artist, brought the study of martial arts back to China. It is said he was escorting a band of prisoners, set them free and took over, becoming the first Han emperor.

Physician, and co founder of the Kung Fu exercises. Photo courtesy of LiuTao

During this time period Hua-tuo, a physician, made a series of exercises modeled after five animals. The tiger, deer, monkey, bird, and bear became the precursors to the later five animals of shaolin kung-fu.

Bodhidharma brought Buddhism to China. When he saw that the monks were not keeping themselves fit and healthy, because they were not exercising properly, he taught the monks how to keep their bodies physically fit, and to be prepared to defend their monasteries. Being a non-violent religion, the Buddhist monks did not engage in fighting unless necessary, but did give sanctuary to refugees. These refugees took the exercises and combined them with the already established Chinese martial art. The fighting styles that came from that were taught by these fighters disguised as monks. Thus the Shaolin Style was born.1

This traveller contributed greatly to the Shaolin Style. Photo courtesy of Infinite Jeff

During the Tang dynasty, the martial arts flourished, as well as the perfection of weapons out of necessity. The government used the resources and expertise in the temples to protect the surrounding towns. This helped the government fight off invasions from all sides, especially from the north.

The first emperor of the Song dynasty, Zhao Kuangyin was also a martial artist that used a three sectioned staff. He also created the chang quan ( long fist) martial arts system. It is the grandfather of most modern styles. In southern Song, General Yue Fei, took spear techniques and changed them into empty fist techniques, something that can be found in most styles.3

In Kung Fu, philosophy is very important. It gives meaning and cause to the martial artist. The main philosophy of most styles is to be straightforward, honest and morally correct. Martial arts in general teach self-control and to use whatever is learned properly. Most styles use a combination of Confucian, Daoist, and Buddhist philosophies to govern their styles.

Two systems: Northern and Southern 1

Southern System

Hung Gar 1 pp 80-85

It is characterized by complex body maneuvers and an emphasis on leg techniques. It is straight forward and focuses on power.

Styles:

Hung Gar: Developed in the Shaolin temple of Fukien. This style uses wide, low stances, which make for a good solid base of fighting. It has slow training, which makes it popular to learn. The strikes are slow, but powerful. It is very internal, using the buildup of chi to turn the body into a fortress.

Wing Chun: This style is believed to be founded by a woman. It uses high stances, allowing for quicker movements. It utilizes short aggressive attacks to the opponents core. It is purely a style for self-defense, with no fancy moves or forms. This style, unlike most in Kung Fu, uses little weapons.

Interesting Fact: The practitioners of this style would build up their wrist sensitivity, by rubbing against other students wrists while walking in a circle, attempting to predict the other student's moves. The students then use this sensitivity on an opponent to predict moves.

Wing Chun 1 pp 86-91

Tibetan White Crane: This is a very exclusive style, and is only taught to those deemed worthy to learn. It is a long arm style, with shifting and quick footwork. The arm is never recoiled, and constantly remains in a long arm position. Using momentum from the opponent’s attacks, the arm is powered by the waist, hips and back like a missile being launched, or a birds wing being swung.

White Eyebrow: Created by Bak Mei, a revolutionary during the Ching Dynasty. The style is so called because the creator had white eyebrows. This is a short hand style. The point of it is to be soft and flexible in movement until contact is made and then the energy is released, or the hit is made. Uses pressure points as the main attacking point.

Special Southern Technique: A seldom taught technique called the Southern Praying Mantis, or Jew Gar. It was taught to the royal family in the Ming dynasty. It is also called the machine gun technique, because it utilizes short fast and powerful punches.

White Eyebrow 1 pp 98-103

Tibetan White Crane 1 pp 92-97

Northern Praying Mantis 1 pp 34-39

Northern System

Tai Sing 1 pp 40-45

Dragon Claw 2 pp 7-11

Eagle Claw 1 pp 46-52

Crane 2 pp 25-29

Hsing I 1 pp 52-55

Snake Strike 2 pp 19-22

Tiger Claw 2 pp 13-17

Leopard Fist 2 pp 31-34

Pa Kwa 1 pp 56-59

Tai Chi 1 pp 60-69

It is characterized by intricate body maneuvers and an emphasis on hand techniques. It is circular and softer.

Styles

Northern Praying Mantis: Originated in East Shan-Tung province by Wong Long. Uses quick monkey like footwork, while utilizing arm and hand strength. This style combined many styles into one.

Monkey or Tai Sing: The founder was Kao Tze. He was a prisoner in a prison where one exit was guarded by fierce monkeys. Many tried to escape through the monkeys, but would be defeated. So Kao Tze simply observed the monkeys and developed a martial art style based from monkey fighting. The founder believed that to be taught the monkey style, one must become a monkey in spirit. There were five monkeys he observed:

• The drunken monkey- This monkey appears incompetent and fun. It is elusive and uses low stances and fast attacks. This is a style for a smaller person, as it uses rolling techniques which may be awkward for average individuals.
• The Stone Monkey- This monkey uses pure physical force. This is a style for a larger person.
• The lost monkey- This monkey is tricky, and deceiving. It uses light footwork, and is unpredictable in its striking patterns. This style is also for a smaller person.
• The standing monkey- This style uses a more conventional, long arm technique. It is good for a taller person because it seldom requires rolls or low stances.
• The wooden monkey- This monkey is aggressive with controlled attacks. It is a very deadly style. It is good for the average sized person.

This is a good example of the wide variety of body types that can learn Kung Fu, for neither monkey style is the right one, as they are all for different body types.

Eagle Claw: This is another very exclusive style. It uses pressure points, joint locks and similar techniques to control, immobilize or even kill an opponent. There are 108 points of attack in this style. Of these, 36 are secret, and lethal. The other 72 are just pressure point attacks that are taught to the students. This style relies on speed and concentrated power of attack, like the eagle from which is is modelled.

Hsing-I: This style is very simple and straightforward. It is also a very internal style. It uses the five elements: earth, metal, water, wood, fire,which represent different parts of the body, to illustrate how to strengthen the body by using chi. It uses twelve animals (dragon, tiger, falcon, snake, bear, tai bird, lizard, swallow, eagle) for form.

Pa Kwa- This means eight directions. The style is characterized by curved steps, and open handed or concentrated strikes. It has a soft stage of training, where one learns the internal style and strengthens che. Then later a hard stage where one learns the external style. Unlike most martial art styles, both hands are used equally, and so double weapons are used in this style.

Tai Chi- Uses Ying and Yang in combat. In other words it is slow and flows for flexibility in fighting, and then changes to a hard and fast strike once the opportunity presents itself. Like Pa Kwa, there are two stages to learning, a soft then a hard. This way of teaching helps the student remain relaxed throughout the entire training process, because being too tense causes a disadvantage. Most students and masters do not go past the soft stage of training, because it is used in some places as a relaxation exercise and not for self defence.

Five Shaolin animals 2

In all Kung Fu styles, animals have been observed and their fighting techniques have been applied to human abilities. Each animal is ideal for different people, and one should not force their body to learn a style that is not natural. These are the main five animals used in Shaolin Kung Fu.

• Dragon- Uses a combination of hard and soft techniques. Characterized by a grabbing claw hand technique. Dragon is ideal for a lean, but strong person.

• Tiger- Has the strongest influence in Kung Fu. The techniques are hard and fast, creating a very powerful style. It is characterized by a tearing claw hand technique. One of the reasons Tiger is so popular because it the average person can learn it, and it is ideal for the larger individual.

• Snake- Is a soft style and is used to cultivate the inner energy or chi. A successful practitioner will be a very relaxed fighter, striking once, releasing all of the built up energy. Snake is ideal for a smaller person.

• Crane- Like the snake, it is a soft style, with the purpose of building up chi. Unlike the snake, it is circular, utilizing both short and long attacks. Crane is ideal for a taller person.

• Leopard- This is a style that uses a combination of hard and soft. It uses of balance, agility, speed, combined with power, requiring much chi for endurance. It is characterized by the leopard fist. This is also ideal for the average person.

Media

For more in-depth information on the forms and styles, please refer to the books in the reference section.

File:Kung fu.pptx

Avatar:The last airbenderis a good visual representation of the flow of energy desired in different styles of Kung Fu. It also shows four of the main styles of Kung Fu.

References

1 The Complete Guide to Kung Fu Fighting Styles,Hallander,Jane. Unique Publications, Burbank, CA 1985.

2 Shaolin Five-Animals Kung Fu, Hallander, Jane and Doc-Fai, Wong. Unique Publications, Burbank, CA 1988.

3 Martial Arts: Traditions, History, People, Corcoran,John and Farkas, Emil. Gallery Books, New York, NY 1983 (pp 88-102).