Ashta Vadivu is the grounding and animal quality of moving, conserving energy and training with the animal instincts. The aim is to experience the fluidity and balance in the practice. Channelling the breath in postures and movement and work with gravity and opposition.
http://www.keralaresidency.plus.com/kria-kalari-yoga.html
miercuri, 26 mai 2010
Dragon -snake
Dragon Kung Fu
From Wikipedia, the free encyclopedia
Jump to:navigation, search
Text document with red question mark.svg
This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations where appropriate. (April 2009)
The movements of the Dragon style (traditional Chinese: 龍形摩橋; pinyin: lóng xíng mó qiáo; Yale Cantonese: long4 ying4 mo1 kiu4; literally "dragon shape rubbing bridges") of Shaolin Boxing are based on the mythical Chinese dragon. The Dragon style is an imitative-style that was developed based on the characteristics of the mythical Chinese dragon and characterized by extremely quick, long-distance strikes from above. There are five Animals of Shaolin Boxing; the other four styles are Tiger, Crane, Leopard, and Snake.
Part of the series on
Chinese martial arts
Shaolinsi.JPG
List of Chinese martial arts
Terms
* Kung fu (功夫)
* Wushu (武術)
* Qigong (氣功)
Historical places
* Shaolin Monastery (少林寺)
* Wudang Mountains (武當山)
* Mount Emei (峨嵋山)
* Kunlun Mountains (崑崙山)
Historical people
* Five Elders (五祖)
* Yim Wing-chun / Yan Yongchun (嚴詠春)
* Hung Hei-gun / Hong Xiguan (洪熙官)
* Dong Haichuan (董海川)
* Yang Luchan (楊露禪)
* Wu Quanyou (吳全佑)
* Chen Fake (陈发科)
* Chan Heung / Chen Xiang (陳享)
* Wong Fei-hung / Huang Feihong (黃飛鴻)
* Huo Yuanjia (霍元甲)
* Yip Man / Ye Wen (葉問)
* Bruce Lee / Li Xiaolong (李小龍)
Legendary figures
* Eight immortals (八仙)
* Bodhidharma / Putidamo / Damo (菩提達摩)
* Zhang Sanfeng (張三丰)
Related
* Hong Kong action cinema
* Wushu (sport)
* Wuxia (武俠)
This box: view • talk • edit
The Dragon played an influential and beneficial role in Chinese culture. An amalgam of several creatures, including monitor lizards, pythons and the Chinese alligator, the polymorphic dragon was a water spirit, responsible for bringing the rains and thus ensuring the survival of crops. The dragon was symbolic guardian to the gods, and was the source of true wisdom. This latter feature most likely resulted from the observation of the living reptilian counterparts which, usually at rest, seem to be in a near constant state of contemplation.
The dragon represented two of the ancient elements, Earth and Water, endowing the creature with powers of illusion and strength. A Yin symbol, the Taoists saw the dragon as a personification of the Tao itself--"the Dragon reveals himself only to vanish." Shaolin Buddhists saw him as a vision of enlightened truth, to be felt, but never to be held. Certain very old men were called dragons, these being well versed in the life-supporting skills of herbal medicine, agriculture, and kung fu. In early China, these skills were surely a matter of life or death, and those so educated were held in high esteem.
Contents
[hide]
* 1 History
* 2 Methods and Philosophy
* 3 Techniques
o 3.1 Overview
o 3.2 Basics
o 3.3 Foot work
o 3.4 Southern Dragon style motto
o 3.5 Codes of Southern Dragon style
o 3.6 Four rules of the Dragons
* 4 Dragon style in popular culture
* 5 References
* 6 Notes
[edit] History
The history of Dragon style has historically been transmitted orally rather than by text, so its origins will probably never be known in their entirety. Modern Dragon style's history can be reliably traced back to the monk Tai Yuk Sim See who was the abbot of Wa Sau Toi (White Hair) temple on Mount Luofu. No reliable records of the style's origin prior to that exist, though there is much speculation regarding the subject.
Dragon style has roots in Hakka Kuen, a combination of the local styles of the Hakka heartland in inland eastern Guangdong with the style that the monk Gee Sim Sim See taught in Guangdong and the neighboring province of Fujian in the 1700s.[1]
North of the Dongjiang in the northwest of Bóluó (博羅) County in the prefecture of Huizhou in Guangdong Province is the sacred mountain Luófúshān. Luófúshān is the site of many temples, including Wa Sau Toi where, c. 1900, a Chan (Zen) master named Tai Yuk taught Dragon style to Lam Yiu-Kwai, who in turn passed the art on to the many students of his schools in Guangzhou.
Lam Yiu-Kwai and Cheung Lai-Chuen were good friends from their youth in the Dongjiang region of Huizhou, longtime training partners and later cousins by marriage. Lam and Cheung would open several schools together, and Dragon style and Cheung's style of Bak Mei share many similarities.
A variation of the Dragon style is taught by the Long Choo Kung Fu Society based in Penang, Malaysia and with branches in Australia. Founded by Li Ah Yu and his father near the turn of the century, this association claims it is teaching a Soft / Hard Dragon style originating from Fukkien province.[2]
[edit] Methods and Philosophy
Dragon kung fu is essentially an internal, qi (pronounced chi) cultivating method, but initial training is far more like a hard, external style than a delicate, reptilian approach. In learning the moves, the student will strike hard, block hard and stomp into each position, with the idea of learning the proper place to be once each movement is complete. Eventually, the method of transmitting power is retained, and the physically strengthened body is able to make transitions in the proper, fluid manner. In turn, this reptilian smoothness helps disguise the attack, making it extremely difficult for an adversary to effectively counter. The practitioner stands at a 45 degree angle at the opponent
Once a purely physical semblance to flow has been mastered, the disciple incorporates the deep hissing sounds to train ch'i flow. Inhaling is silent, but exhalation is deliberate, tense and controlled. Inhaling lightens the body for aerial maneuvers, while exhaling drives power into each technique. Blocking is dispensed with, and parries or simple strikes substituted. At this point, novice and advanced student show very little in common.
On the highest level, an opponent is allowed to tire himself out, evasion becoming the Dragon's key defense. Qi control is highly developed, and the degree to which the body must be moved to redirect or avoid impact is under greater control.
The forms that constitute this system are divided by complexity into three categories, and are enumerated below:
* Basic
o 16 Movements
o Passing Bridge Three Times
o Fierce Tiger Leaping Over Wall
o Rescue Master From Single Side
o Single Sword and Mount
o Press and Hit from Four Sides
o Eagle Claw
o Bridge Smashing
* Intermediate
o Touch Bridge (introduces sticking hands)
o Venomous Snake Moves Tongue
o Hua King's Fist
o Standing Five-Form
o Cross Standing Five-Form
o Turn to Hook and Hit
o Five Horses Returning to Stable Palm
* Advanced
o Plum Flower Punch
o Seven Ways of Plum Flower Punch
In each form, one is taught to "ride the wind", a phrase which in large part means follow rather than lead. Provide no opening without first letting your opponent open. Unlike Crane, which also relies heavily upon evasion as a tactic, the Dragon evades primarily by rotation of upper or lower torso with little or no stance movements, while the Crane stylist hops frequently to reposition the entire body. Both styles employ pinpoint strikes to vulnerable meridian targets, but dragon also heavily uses tiger-like punches and clawing techniques, snake-like stance shifts, and leopard-like hit and run strikes to weaken a physically superior adversary. Dragon kung fu also regularly employs low sweeping techniques, but these are not unique; most senior stylists of any kung fu system use these on a weakened adversary.
[edit] Techniques
Question book-new.svg
This section needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (June 2008)
[edit] Overview
The dragon stylist relies on a variety of fighting techniques that can be employed for a wide range of needs. The style uses techniques that can cripple or kill an opponent if the need arises or it can be used simply to control a minor street fighting situation.
Lung Ying (Dragon form) focuses mainly on powerful, short range attacks, as is common among southern Chinese styles of kung fu. However, the styles' use of gripping and seizing techniques as well as the extensive use of the forearms both offensively and defensively are fairly unique to the art. The style was created as an aggressive combat art and operates under the basic assumption that you are trying to either disable your opponent to the point that they are no longer a threat in battle, or kill them, though these are not by any means the only options a Lung Ying player has. As such Lung Ying employs a large number of techniques to damage the opponent's joints either through joint manipulation or direct striking; nullify the opponent's defenses either through breaking their stance or compromising their guard, and thus their ability to defend; and others. Like most southern style kung fu, it has limited kicks and jumps and consisted mainly of fist, palm and clawing techniques. Power generated from the waist using soft hard jin (see neijin and waijin).
Lung Ying training also involves an extensive amount of iron body training. Hardening the forearms especially is considered essential to the style as it makes such extensive use of them. Depending on the particular school any of a fairly large pool of traditional training methods will be used to toughen the body. Three, five and seven star conditioning drills, pea buckets, weighted ropes, sand bags, and striking poles are all common in Lung Ying schools. It really isn't possible to separate lung ying conditioning from its methods, the two work hand in hand, each needing the other to be completely effective.
[edit] Basics
The Dragon Kung Fu practitioner typically attacks with winding low yang; that is, powerful and quick movements. For example, when striking with the fist, more power can be exerted when the movement originates from the feet, is guided by the waist, flows through the body, and exits through the fist.
[edit] Foot work
In Southern Dragon style, leg work is characterized by a zig-zag motion that mimics the imagined movement of the mythical Chinese dragon. This also allows one to use floating and sinking movements which are very important in generating power and stability, making your body calm and relaxed.
Though the Lung Ying footwork pool is deep, it generally centers around two basic types of stepping. The first is "Zig Zag" stepping (dragon stepping). Basically with each step forward, the rear foot moves forward and becomes the forward foot. However, the step is not taken directly forward but basically follows the angle the front foot is turned at (about 33 degrees). This has the effect of moving the LY player forward and off to an angle while offering some protection to the groin from attack. This type of stepping allows a lung ying player to press his opponent (usually used before the opponent's center has been taken) while launching attacks from angles that are difficult for the opponent to defend. The LY player seems to be constantly moving into an uncomfortable range and at an angle that forces their opponent to reposition their whole body to defend against, or else torque their torso around thus breaking their structure and disconnecting them from the power generation machinery of their lower body.
The second basic type of stepping is Bic Bo stepping, or press stepping. In this method the front foot moves forward and the rear foot drags up to get back to the basic position. This stepping generally covers less distance than the dragon stepping, and is used to press the opponent. It will frequently be used once the LY player has begun to press their attack in earnest or is exploiting some advantage. There are specific methods for stretching this footwork out addressed in various forms. One of the primary purposes of this footwork is to keep the LY player "on top of" their opponent and in attacking range. Also, this type of stepping is heavily used in various stance breaking methods.
[edit] Southern Dragon style motto
"Control yourself, let others do what they will.
This does not mean you are weak.
Control your heart, obey the principles of life.
This does not mean others are stronger."
[edit] Codes of Southern Dragon style
* The seeds were first planted from Haufeng; the essence was gained later at Haushou
* Restrain one's self and yield to others not because one is weak, but to uphold the ethical Tao and let the others have their claim.
[edit] Four rules of the Dragons
1. Focus to train and condition the body.
2. Be righteous and uphold your honor.
3. Respect your parents, honor your teacher.
4. Treat others with honesty, treat your friends with loyalty.
[edit] Dragon style in popular culture
* Dragon is one of the 3 fighting styles utilized by the character Sub-Zero in the Mortal Kombat series (as seen in Mortal Kombat: Deadly Alliance and Mortal Kombat: Deception) and the character Jarek in Mortal Kombat: Armageddon. It is also Liu Kang's grapple style in Mortal Kombat: Shaolin Monks. Onaga, the boss character of Mortal Kombat: Deception, also uses a fighting style named Dragon. However, this is not the true Dragon style (as used by Sub-Zero), but is simply named as such due to Onaga being an actual dragon.
* The Dragon fighting style is used at times by the police officer, Lei Wulong, in Tekken.
These are all examples of Northern Dragon Style - rather than the aforementioned Southern Dragon (Lung Ying).
Jackie Chan uses the Dragon Style in his movie Dragon Fist.
[edit] References
* Dongjiang Dragon Style (Dongjiang Lungxing). "Dongjiang Dragon Style (Dongjiang Lungxing)". http://www.hku.hk/cmaclub/english/resource-center/malibrary/dragon-his.htm. Retrieved August 22 2005.
* Chow, David; & Spangler, Richard (1982). Kung Fu: History, Philosophy and Technique. Burbank, CA: Unique Publications. ISBN 0-86568-011-6.
* History of Southern Dragon Style Kung Fu by Steve Martin (2003) http://www.sojournpast.com/styles/dragon2.html Retrieved October 7, 2004.
* Riding the Wind: Dragon Style Kung Fu "Riding the Wind: Dragon Style Kung Fu". http://www.shaolin.com/s_dragon_martialarts.aspx. Retrieved August 26 2005.
* Dragon Style Kung Fu by Lisa Neuweld (1999)http://www.jadedragon.com/archives/martarts/dragonkf.html Retrieved October 7, 2004.
* Lineage of Dragon Kung Fu http://www.loongying.co.uk/lineage.html Retrieved October 7, 2004.
* Information about Dragon Kung Fu http://www.dmaa.co.uk/styles/item/8-southern-dragon-style-kung-fu
* An introductory article on Dragon Kung Fu - http://www.shaolinkungfu.co.nz/page.php?p=dragon
* Images of a person doing Dragon Kung Fu [1]
* Wah Nam Lung Ying History Australia
From Wikipedia, the free encyclopedia
Jump to:navigation, search
Text document with red question mark.svg
This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations where appropriate. (April 2009)
The movements of the Dragon style (traditional Chinese: 龍形摩橋; pinyin: lóng xíng mó qiáo; Yale Cantonese: long4 ying4 mo1 kiu4; literally "dragon shape rubbing bridges") of Shaolin Boxing are based on the mythical Chinese dragon. The Dragon style is an imitative-style that was developed based on the characteristics of the mythical Chinese dragon and characterized by extremely quick, long-distance strikes from above. There are five Animals of Shaolin Boxing; the other four styles are Tiger, Crane, Leopard, and Snake.
Part of the series on
Chinese martial arts
Shaolinsi.JPG
List of Chinese martial arts
Terms
* Kung fu (功夫)
* Wushu (武術)
* Qigong (氣功)
Historical places
* Shaolin Monastery (少林寺)
* Wudang Mountains (武當山)
* Mount Emei (峨嵋山)
* Kunlun Mountains (崑崙山)
Historical people
* Five Elders (五祖)
* Yim Wing-chun / Yan Yongchun (嚴詠春)
* Hung Hei-gun / Hong Xiguan (洪熙官)
* Dong Haichuan (董海川)
* Yang Luchan (楊露禪)
* Wu Quanyou (吳全佑)
* Chen Fake (陈发科)
* Chan Heung / Chen Xiang (陳享)
* Wong Fei-hung / Huang Feihong (黃飛鴻)
* Huo Yuanjia (霍元甲)
* Yip Man / Ye Wen (葉問)
* Bruce Lee / Li Xiaolong (李小龍)
Legendary figures
* Eight immortals (八仙)
* Bodhidharma / Putidamo / Damo (菩提達摩)
* Zhang Sanfeng (張三丰)
Related
* Hong Kong action cinema
* Wushu (sport)
* Wuxia (武俠)
This box: view • talk • edit
The Dragon played an influential and beneficial role in Chinese culture. An amalgam of several creatures, including monitor lizards, pythons and the Chinese alligator, the polymorphic dragon was a water spirit, responsible for bringing the rains and thus ensuring the survival of crops. The dragon was symbolic guardian to the gods, and was the source of true wisdom. This latter feature most likely resulted from the observation of the living reptilian counterparts which, usually at rest, seem to be in a near constant state of contemplation.
The dragon represented two of the ancient elements, Earth and Water, endowing the creature with powers of illusion and strength. A Yin symbol, the Taoists saw the dragon as a personification of the Tao itself--"the Dragon reveals himself only to vanish." Shaolin Buddhists saw him as a vision of enlightened truth, to be felt, but never to be held. Certain very old men were called dragons, these being well versed in the life-supporting skills of herbal medicine, agriculture, and kung fu. In early China, these skills were surely a matter of life or death, and those so educated were held in high esteem.
Contents
[hide]
* 1 History
* 2 Methods and Philosophy
* 3 Techniques
o 3.1 Overview
o 3.2 Basics
o 3.3 Foot work
o 3.4 Southern Dragon style motto
o 3.5 Codes of Southern Dragon style
o 3.6 Four rules of the Dragons
* 4 Dragon style in popular culture
* 5 References
* 6 Notes
[edit] History
The history of Dragon style has historically been transmitted orally rather than by text, so its origins will probably never be known in their entirety. Modern Dragon style's history can be reliably traced back to the monk Tai Yuk Sim See who was the abbot of Wa Sau Toi (White Hair) temple on Mount Luofu. No reliable records of the style's origin prior to that exist, though there is much speculation regarding the subject.
Dragon style has roots in Hakka Kuen, a combination of the local styles of the Hakka heartland in inland eastern Guangdong with the style that the monk Gee Sim Sim See taught in Guangdong and the neighboring province of Fujian in the 1700s.[1]
North of the Dongjiang in the northwest of Bóluó (博羅) County in the prefecture of Huizhou in Guangdong Province is the sacred mountain Luófúshān. Luófúshān is the site of many temples, including Wa Sau Toi where, c. 1900, a Chan (Zen) master named Tai Yuk taught Dragon style to Lam Yiu-Kwai, who in turn passed the art on to the many students of his schools in Guangzhou.
Lam Yiu-Kwai and Cheung Lai-Chuen were good friends from their youth in the Dongjiang region of Huizhou, longtime training partners and later cousins by marriage. Lam and Cheung would open several schools together, and Dragon style and Cheung's style of Bak Mei share many similarities.
A variation of the Dragon style is taught by the Long Choo Kung Fu Society based in Penang, Malaysia and with branches in Australia. Founded by Li Ah Yu and his father near the turn of the century, this association claims it is teaching a Soft / Hard Dragon style originating from Fukkien province.[2]
[edit] Methods and Philosophy
Dragon kung fu is essentially an internal, qi (pronounced chi) cultivating method, but initial training is far more like a hard, external style than a delicate, reptilian approach. In learning the moves, the student will strike hard, block hard and stomp into each position, with the idea of learning the proper place to be once each movement is complete. Eventually, the method of transmitting power is retained, and the physically strengthened body is able to make transitions in the proper, fluid manner. In turn, this reptilian smoothness helps disguise the attack, making it extremely difficult for an adversary to effectively counter. The practitioner stands at a 45 degree angle at the opponent
Once a purely physical semblance to flow has been mastered, the disciple incorporates the deep hissing sounds to train ch'i flow. Inhaling is silent, but exhalation is deliberate, tense and controlled. Inhaling lightens the body for aerial maneuvers, while exhaling drives power into each technique. Blocking is dispensed with, and parries or simple strikes substituted. At this point, novice and advanced student show very little in common.
On the highest level, an opponent is allowed to tire himself out, evasion becoming the Dragon's key defense. Qi control is highly developed, and the degree to which the body must be moved to redirect or avoid impact is under greater control.
The forms that constitute this system are divided by complexity into three categories, and are enumerated below:
* Basic
o 16 Movements
o Passing Bridge Three Times
o Fierce Tiger Leaping Over Wall
o Rescue Master From Single Side
o Single Sword and Mount
o Press and Hit from Four Sides
o Eagle Claw
o Bridge Smashing
* Intermediate
o Touch Bridge (introduces sticking hands)
o Venomous Snake Moves Tongue
o Hua King's Fist
o Standing Five-Form
o Cross Standing Five-Form
o Turn to Hook and Hit
o Five Horses Returning to Stable Palm
* Advanced
o Plum Flower Punch
o Seven Ways of Plum Flower Punch
In each form, one is taught to "ride the wind", a phrase which in large part means follow rather than lead. Provide no opening without first letting your opponent open. Unlike Crane, which also relies heavily upon evasion as a tactic, the Dragon evades primarily by rotation of upper or lower torso with little or no stance movements, while the Crane stylist hops frequently to reposition the entire body. Both styles employ pinpoint strikes to vulnerable meridian targets, but dragon also heavily uses tiger-like punches and clawing techniques, snake-like stance shifts, and leopard-like hit and run strikes to weaken a physically superior adversary. Dragon kung fu also regularly employs low sweeping techniques, but these are not unique; most senior stylists of any kung fu system use these on a weakened adversary.
[edit] Techniques
Question book-new.svg
This section needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (June 2008)
[edit] Overview
The dragon stylist relies on a variety of fighting techniques that can be employed for a wide range of needs. The style uses techniques that can cripple or kill an opponent if the need arises or it can be used simply to control a minor street fighting situation.
Lung Ying (Dragon form) focuses mainly on powerful, short range attacks, as is common among southern Chinese styles of kung fu. However, the styles' use of gripping and seizing techniques as well as the extensive use of the forearms both offensively and defensively are fairly unique to the art. The style was created as an aggressive combat art and operates under the basic assumption that you are trying to either disable your opponent to the point that they are no longer a threat in battle, or kill them, though these are not by any means the only options a Lung Ying player has. As such Lung Ying employs a large number of techniques to damage the opponent's joints either through joint manipulation or direct striking; nullify the opponent's defenses either through breaking their stance or compromising their guard, and thus their ability to defend; and others. Like most southern style kung fu, it has limited kicks and jumps and consisted mainly of fist, palm and clawing techniques. Power generated from the waist using soft hard jin (see neijin and waijin).
Lung Ying training also involves an extensive amount of iron body training. Hardening the forearms especially is considered essential to the style as it makes such extensive use of them. Depending on the particular school any of a fairly large pool of traditional training methods will be used to toughen the body. Three, five and seven star conditioning drills, pea buckets, weighted ropes, sand bags, and striking poles are all common in Lung Ying schools. It really isn't possible to separate lung ying conditioning from its methods, the two work hand in hand, each needing the other to be completely effective.
[edit] Basics
The Dragon Kung Fu practitioner typically attacks with winding low yang; that is, powerful and quick movements. For example, when striking with the fist, more power can be exerted when the movement originates from the feet, is guided by the waist, flows through the body, and exits through the fist.
[edit] Foot work
In Southern Dragon style, leg work is characterized by a zig-zag motion that mimics the imagined movement of the mythical Chinese dragon. This also allows one to use floating and sinking movements which are very important in generating power and stability, making your body calm and relaxed.
Though the Lung Ying footwork pool is deep, it generally centers around two basic types of stepping. The first is "Zig Zag" stepping (dragon stepping). Basically with each step forward, the rear foot moves forward and becomes the forward foot. However, the step is not taken directly forward but basically follows the angle the front foot is turned at (about 33 degrees). This has the effect of moving the LY player forward and off to an angle while offering some protection to the groin from attack. This type of stepping allows a lung ying player to press his opponent (usually used before the opponent's center has been taken) while launching attacks from angles that are difficult for the opponent to defend. The LY player seems to be constantly moving into an uncomfortable range and at an angle that forces their opponent to reposition their whole body to defend against, or else torque their torso around thus breaking their structure and disconnecting them from the power generation machinery of their lower body.
The second basic type of stepping is Bic Bo stepping, or press stepping. In this method the front foot moves forward and the rear foot drags up to get back to the basic position. This stepping generally covers less distance than the dragon stepping, and is used to press the opponent. It will frequently be used once the LY player has begun to press their attack in earnest or is exploiting some advantage. There are specific methods for stretching this footwork out addressed in various forms. One of the primary purposes of this footwork is to keep the LY player "on top of" their opponent and in attacking range. Also, this type of stepping is heavily used in various stance breaking methods.
[edit] Southern Dragon style motto
"Control yourself, let others do what they will.
This does not mean you are weak.
Control your heart, obey the principles of life.
This does not mean others are stronger."
[edit] Codes of Southern Dragon style
* The seeds were first planted from Haufeng; the essence was gained later at Haushou
* Restrain one's self and yield to others not because one is weak, but to uphold the ethical Tao and let the others have their claim.
[edit] Four rules of the Dragons
1. Focus to train and condition the body.
2. Be righteous and uphold your honor.
3. Respect your parents, honor your teacher.
4. Treat others with honesty, treat your friends with loyalty.
[edit] Dragon style in popular culture
* Dragon is one of the 3 fighting styles utilized by the character Sub-Zero in the Mortal Kombat series (as seen in Mortal Kombat: Deadly Alliance and Mortal Kombat: Deception) and the character Jarek in Mortal Kombat: Armageddon. It is also Liu Kang's grapple style in Mortal Kombat: Shaolin Monks. Onaga, the boss character of Mortal Kombat: Deception, also uses a fighting style named Dragon. However, this is not the true Dragon style (as used by Sub-Zero), but is simply named as such due to Onaga being an actual dragon.
* The Dragon fighting style is used at times by the police officer, Lei Wulong, in Tekken.
These are all examples of Northern Dragon Style - rather than the aforementioned Southern Dragon (Lung Ying).
Jackie Chan uses the Dragon Style in his movie Dragon Fist.
[edit] References
* Dongjiang Dragon Style (Dongjiang Lungxing). "Dongjiang Dragon Style (Dongjiang Lungxing)". http://www.hku.hk/cmaclub/english/resource-center/malibrary/dragon-his.htm. Retrieved August 22 2005.
* Chow, David; & Spangler, Richard (1982). Kung Fu: History, Philosophy and Technique. Burbank, CA: Unique Publications. ISBN 0-86568-011-6.
* History of Southern Dragon Style Kung Fu by Steve Martin (2003) http://www.sojournpast.com/styles/dragon2.html Retrieved October 7, 2004.
* Riding the Wind: Dragon Style Kung Fu "Riding the Wind: Dragon Style Kung Fu". http://www.shaolin.com/s_dragon_martialarts.aspx. Retrieved August 26 2005.
* Dragon Style Kung Fu by Lisa Neuweld (1999)http://www.jadedragon.com/archives/martarts/dragonkf.html Retrieved October 7, 2004.
* Lineage of Dragon Kung Fu http://www.loongying.co.uk/lineage.html Retrieved October 7, 2004.
* Information about Dragon Kung Fu http://www.dmaa.co.uk/styles/item/8-southern-dragon-style-kung-fu
* An introductory article on Dragon Kung Fu - http://www.shaolinkungfu.co.nz/page.php?p=dragon
* Images of a person doing Dragon Kung Fu [1]
* Wah Nam Lung Ying History Australia
snake discussions
http://www.dragonslist.com/archive/index.php/t-11260.html
The Dragon's List Kung Fu Community > External Styles > Animal Forms & Styles > Question on Shaolin Snake kung fu
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View Full Version : Question on Shaolin Snake kung fu
snakeeyez
May 26th, 2005, 09:25 PM
Hi Guys
Just wondering about Shaolin snake style. How does it compare and contrast to other snake kung fu. I have a chance to study snake kung fu from Northern Shaolin ( Bei) instructor, also wondering how effective is it in self defense ? how does northen shaolin snake kung fu differ from the southern style? What are the form, is divide into cobra, python, etc. Any help is greatly appreciated
Thanks
HungFamilyFist
May 27th, 2005, 05:35 AM
http://www.dragonslist.com/discussion/showthread.php?t=11102
might help
Mei Hua
May 27th, 2005, 08:30 AM
also wondering how effective is it in self defense ? how does northen shaolin snake kung fu differ from the southern style? What are the form, is divide into cobra, python, etc. Any help is greatly appreciated
ThanksIt's effective, not just technique wise, but strategy/tactic wise. But like I said, it's good to have another style to draw upon, I said I liked Tiger because its ferocious and destructive capabilities give a good balance to the lethalness of Snake, but any style will work just as good. The only difference I've seen between Northern/Southern Snake is the way the hand is positioned; Southern tends to use the Snake head more; hand 90 degrees to wrist with thumb curled under, Northern has the same but puts more emphasis on Dim-Mak strikes and so at certain levels switches the hand positioning to the before mentioned with the pinky/wring fingers curled into the hand to make it easier to hit pressure points, and to focus your energy into those fingers for the same purpose. Most Snake styles have all three types of Snake; Cobra, Viper, Python, unless it trains specifically in just one Snake type, which some schools do, but Bei Shaolin has all three. As for the forms, that depends on which your instructor teaches, some forms might start off with just one Snake type to get you familiar with it until you advance in skill and combine the three types together. Either way, Bei Shaolin Snake is a very nice school to study.
Hum Sop Lao
May 27th, 2005, 01:21 PM
since y'all are better informed than i concerning snake styles:
of the styles you know about which has more complex forms? which uses leopard-like jings? could you rank the systems in terms of stylistic complexity from most complex to least? thanks.
Mei Hua
May 27th, 2005, 11:29 PM
since y'all are better informed than i concerning snake styles:
of the styles you know about which has more complex forms? which uses leopard-like jings? could you rank the systems in terms of stylistic complexity from most complex to least? thanks.Python is the Snake style that uses leopard fist, for pinpoint strikes and for grappling purposes. As for which Snake style has the most complex forms, they all are complex, each one starts off with simple forms that progress in difficulty as your skill advances, just depends on what type of complexity as each has different characteristics. The most complex of any Snake style are the forms that combine all three Snakes into one, which requires you to be loose, flexible, and be able to make rapid changes in body and mind, as you might use a Snake technique of one type and then switch to another Snake technique and so have to change your focus, positioning, intent, purpose, and technique style with the speed of lightning. As for which I would rank in order of complexity; 1) Viper, 2) Cobra, 3) Python, but those are just my opinions, another practitioner might give you a different order depending on their body/movement type and personal preferences.
CLF Devil
May 28th, 2005, 04:52 PM
Python is the Snake style that uses leopard fist, for pinpoint strikes and for grappling purposes. As for which Snake style has the most complex forms, they all are complex, each one starts off with simple forms that progress in difficulty as your skill advances, just depends on what type of complexity as each has different characteristics. The most complex of any Snake style are the forms that combine all three Snakes into one, which requires you to be loose, flexible, and be able to make rapid changes in body and mind, as you might use a Snake technique of one type and then switch to another Snake technique and so have to change your focus, positioning, intent, purpose, and technique style with the speed of lightning. As for which I would rank in order of complexity; 1) Viper, 2) Cobra, 3) Python, but those are just my opinions, another practitioner might give you a different order depending on their body/movement type and personal preferences.
What's the difference between Viper and Cobra?
Hum Sop Lao
May 28th, 2005, 06:25 PM
Python is the Snake style that uses leopard fist, for pinpoint strikes and for grappling purposes. As for which Snake style has the most complex forms, they all are complex, each one starts off with simple forms that progress in difficulty as your skill advances, just depends on what type of complexity as each has different characteristics. The most complex of any Snake style are the forms that combine all three Snakes into one, which requires you to be loose, flexible, and be able to make rapid changes in body and mind, as you might use a Snake technique of one type and then switch to another Snake technique and so have to change your focus, positioning, intent, purpose, and technique style with the speed of lightning. As for which I would rank in order of complexity; 1) Viper, 2) Cobra, 3) Python, but those are just my opinions, another practitioner might give you a different order depending on their body/movement type and personal preferences.
quite typically you answered my question with detail that was a little beyond me: what i wanted to know was what school of snake, such as ermei, shaolin, or others is most complex.
that said, and with the additional info you dropped on me and what is in the other thread:
which schools dominate in certain snake types?
would you list a series of forms/styles/schools of snake in terms of how i could find video or schools to visit (you can leave your closed-door stuff of the list)?
Mei Hua
May 28th, 2005, 10:51 PM
I'll respond to Infrazael first; Viper uses techniques that are a little more "showy" and the theory behind Viper is to inflict serious strikes to veins and arteries, thus effecting the blood flow to the brain, and other areas, and also cause psychological damage from those strikes as well. It tends to use Snake Tongue strikes ( Two-finger strikes). Cobra uses less "showy" techniques, and the theory behind Cobra is to inflict heavy damage to the nervous system by pressure point strikes, a.k.a. Dim-Mak, it tends to use the Snake Head strike, hand bent 90 degrees to the wrist, thumb curled in, and gets straight to the "point" when attacking.
Now, Hum Sop Lao; As for complexity of Snake schools, I would say it is a tie between Emei and Shaolin, both take a long time to learn properly, and get into highly advanced techniques and forms. As for which school dominates in Snake, the three I know/practice are Emei, Shaolin, and Wudan, I would have to say Emei is the best and most effective concerning Snake, though Shaolin is a very close second.
You can get videos for Emei/Wudan Snake from Kungfu Qigong magazine, or their online store, the Emei form is done by Helen Liang and is almost identical to one of our Mei Hua Snake forms, White Headed Serpent, and for video on Shaolin Snake, you can try ESPY TV, I think their site is espy.com, their tapes are done by Rondie Chen, a member of the Beijing Wushu Team, and are pretty good examples of the difficulty of the Shaolin Snake system.
aqira
May 28th, 2005, 11:01 PM
something to keep in mind when looking at the forms is not the kind of snake thats not really the point as to what your doing...its the category of which counter application is best for the condition.
Thin counter movement IE a snake like a viper moves counter to the way and direction the joints move. So it is common to see that type of snake go around and through arm strikes and blocks.
grabbing and holds or immobilizing moves (python) use expansion and contraction in counter to the frame (skeletal) this is also applying many principals of internal arts as well.
Cobra - snaps to the point so dim mak locations that require a deep penetration delivered often in the way the strike would appear are fast jolting and withdrawn.
These are very basic examples but the point is the fundamental behind which snake is what is hidden in the forms. As well the ability to switch between them is shown in connective movements. This also has to be done with balance, flexibility, and optional routes the forms show those as well.
Anyway when you look at the forms try to see the lesson inside them rather than only watching the moves tied together.
Mei Hua
May 29th, 2005, 12:11 AM
something to keep in mind when looking at the forms is not the kind of snake thats not really the point as to what your doing...its the category of which counter application is best for the condition.
These are very basic examples but the point is the fundamental behind which snake is what is hidden in the forms. As well the ability to switch between them is shown in connective movements. This also has to be done with balance, flexibility, and optional routes the forms show those as well.
Anyway when you look at the forms try to see the lesson inside them rather than only watching the moves tied together.Exactly! Good post Aqira, and good points!
Hum Sop Lao
May 29th, 2005, 05:33 PM
thanks, both of you.
CLF Devil
May 31st, 2005, 05:05 PM
Possibly a stupid question, but how does Python compare to pure grappling based arts such as Brazilian Jujitsu, Japanese Jujitsu or Sambo???
I was curious because from what I've read you guys have said Python was a grappling system.
Mei Hua
May 31st, 2005, 05:37 PM
Possibly a stupid question, but how does Python compare to pure grappling based arts such as Brazilian Jujitsu, Japanese Jujitsu or Sambo???
I was curious because from what I've read you guys have said Python was a grappling system.Python is first and foremost a Snake system, but does use grappling techniques in its curriculum. It uses its grappling techniques to lock on to an opponent and either break bones or suffocate by asphyxiation, just as a python does to its prey. Most Snake systems have some type of takedown, but their usage is different than the Jitsu systems use, so to compare between the two styles I would say Jitsu has more broad ranged grappling skills while Python focuses its skills upon the movement of the Snake and how the snake would use them; such as wrapping around and crushing, breaking, suffocating. Hope that clarifies.
aqira
May 31st, 2005, 05:37 PM
Thats a good question, and several arts could ask the same thing, but then again its the same for strike and kicks theres only so many ways to do it.
IMO... When you look at several arts you start to see the same things with different names. For myself I try to keep from thinking like that and try to only see the dynamics that makes anything work. I try to see formulas not moves or positional encounters instead of style. But enough of the lecture
Python is grappling and has a lot of the same movements as Ju Jitsu except python does not let go so you really don't see throws and take downs the same way. The python will go to the ground trying to contain you. When you use the word python think containment.
Hum Sop Lao
June 3rd, 2005, 02:03 AM
normally when i think of 'python' i think of something big, expensive and everything i wanted in a horse.:tup:
Mei Hua
June 3rd, 2005, 09:48 AM
normally when i think of 'python' i think of something big, expensive and everything i wanted in a horse.:tup:LOL...Something big & powerful, perhaps a good hog? Or a good body blow? Watch me slap him with my "pythons!"
Hum Sop Lao
June 8th, 2005, 03:06 AM
LOL...Something big & powerful, perhaps a good hog? Or a good body blow? Watch me slap him with my "pythons!"
i think they were called 'hog-leg' at one point in the past. you don't slap'em with pythons...you cap'em with pythons.:bang: :nerd: :p
Mei Hua
June 8th, 2005, 09:34 AM
Slap, Cap, Pound:bang: anyway you wanna call it, wasn't it Hulk Hogan who coined the term My 21" Pythons?
The Dragon's List Kung Fu Community > External Styles > Animal Forms & Styles > Question on Shaolin Snake kung fu
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snakeeyez
May 26th, 2005, 09:25 PM
Hi Guys
Just wondering about Shaolin snake style. How does it compare and contrast to other snake kung fu. I have a chance to study snake kung fu from Northern Shaolin ( Bei) instructor, also wondering how effective is it in self defense ? how does northen shaolin snake kung fu differ from the southern style? What are the form, is divide into cobra, python, etc. Any help is greatly appreciated
Thanks
HungFamilyFist
May 27th, 2005, 05:35 AM
http://www.dragonslist.com/discussion/showthread.php?t=11102
might help
Mei Hua
May 27th, 2005, 08:30 AM
also wondering how effective is it in self defense ? how does northen shaolin snake kung fu differ from the southern style? What are the form, is divide into cobra, python, etc. Any help is greatly appreciated
ThanksIt's effective, not just technique wise, but strategy/tactic wise. But like I said, it's good to have another style to draw upon, I said I liked Tiger because its ferocious and destructive capabilities give a good balance to the lethalness of Snake, but any style will work just as good. The only difference I've seen between Northern/Southern Snake is the way the hand is positioned; Southern tends to use the Snake head more; hand 90 degrees to wrist with thumb curled under, Northern has the same but puts more emphasis on Dim-Mak strikes and so at certain levels switches the hand positioning to the before mentioned with the pinky/wring fingers curled into the hand to make it easier to hit pressure points, and to focus your energy into those fingers for the same purpose. Most Snake styles have all three types of Snake; Cobra, Viper, Python, unless it trains specifically in just one Snake type, which some schools do, but Bei Shaolin has all three. As for the forms, that depends on which your instructor teaches, some forms might start off with just one Snake type to get you familiar with it until you advance in skill and combine the three types together. Either way, Bei Shaolin Snake is a very nice school to study.
Hum Sop Lao
May 27th, 2005, 01:21 PM
since y'all are better informed than i concerning snake styles:
of the styles you know about which has more complex forms? which uses leopard-like jings? could you rank the systems in terms of stylistic complexity from most complex to least? thanks.
Mei Hua
May 27th, 2005, 11:29 PM
since y'all are better informed than i concerning snake styles:
of the styles you know about which has more complex forms? which uses leopard-like jings? could you rank the systems in terms of stylistic complexity from most complex to least? thanks.Python is the Snake style that uses leopard fist, for pinpoint strikes and for grappling purposes. As for which Snake style has the most complex forms, they all are complex, each one starts off with simple forms that progress in difficulty as your skill advances, just depends on what type of complexity as each has different characteristics. The most complex of any Snake style are the forms that combine all three Snakes into one, which requires you to be loose, flexible, and be able to make rapid changes in body and mind, as you might use a Snake technique of one type and then switch to another Snake technique and so have to change your focus, positioning, intent, purpose, and technique style with the speed of lightning. As for which I would rank in order of complexity; 1) Viper, 2) Cobra, 3) Python, but those are just my opinions, another practitioner might give you a different order depending on their body/movement type and personal preferences.
CLF Devil
May 28th, 2005, 04:52 PM
Python is the Snake style that uses leopard fist, for pinpoint strikes and for grappling purposes. As for which Snake style has the most complex forms, they all are complex, each one starts off with simple forms that progress in difficulty as your skill advances, just depends on what type of complexity as each has different characteristics. The most complex of any Snake style are the forms that combine all three Snakes into one, which requires you to be loose, flexible, and be able to make rapid changes in body and mind, as you might use a Snake technique of one type and then switch to another Snake technique and so have to change your focus, positioning, intent, purpose, and technique style with the speed of lightning. As for which I would rank in order of complexity; 1) Viper, 2) Cobra, 3) Python, but those are just my opinions, another practitioner might give you a different order depending on their body/movement type and personal preferences.
What's the difference between Viper and Cobra?
Hum Sop Lao
May 28th, 2005, 06:25 PM
Python is the Snake style that uses leopard fist, for pinpoint strikes and for grappling purposes. As for which Snake style has the most complex forms, they all are complex, each one starts off with simple forms that progress in difficulty as your skill advances, just depends on what type of complexity as each has different characteristics. The most complex of any Snake style are the forms that combine all three Snakes into one, which requires you to be loose, flexible, and be able to make rapid changes in body and mind, as you might use a Snake technique of one type and then switch to another Snake technique and so have to change your focus, positioning, intent, purpose, and technique style with the speed of lightning. As for which I would rank in order of complexity; 1) Viper, 2) Cobra, 3) Python, but those are just my opinions, another practitioner might give you a different order depending on their body/movement type and personal preferences.
quite typically you answered my question with detail that was a little beyond me: what i wanted to know was what school of snake, such as ermei, shaolin, or others is most complex.
that said, and with the additional info you dropped on me and what is in the other thread:
which schools dominate in certain snake types?
would you list a series of forms/styles/schools of snake in terms of how i could find video or schools to visit (you can leave your closed-door stuff of the list)?
Mei Hua
May 28th, 2005, 10:51 PM
I'll respond to Infrazael first; Viper uses techniques that are a little more "showy" and the theory behind Viper is to inflict serious strikes to veins and arteries, thus effecting the blood flow to the brain, and other areas, and also cause psychological damage from those strikes as well. It tends to use Snake Tongue strikes ( Two-finger strikes). Cobra uses less "showy" techniques, and the theory behind Cobra is to inflict heavy damage to the nervous system by pressure point strikes, a.k.a. Dim-Mak, it tends to use the Snake Head strike, hand bent 90 degrees to the wrist, thumb curled in, and gets straight to the "point" when attacking.
Now, Hum Sop Lao; As for complexity of Snake schools, I would say it is a tie between Emei and Shaolin, both take a long time to learn properly, and get into highly advanced techniques and forms. As for which school dominates in Snake, the three I know/practice are Emei, Shaolin, and Wudan, I would have to say Emei is the best and most effective concerning Snake, though Shaolin is a very close second.
You can get videos for Emei/Wudan Snake from Kungfu Qigong magazine, or their online store, the Emei form is done by Helen Liang and is almost identical to one of our Mei Hua Snake forms, White Headed Serpent, and for video on Shaolin Snake, you can try ESPY TV, I think their site is espy.com, their tapes are done by Rondie Chen, a member of the Beijing Wushu Team, and are pretty good examples of the difficulty of the Shaolin Snake system.
aqira
May 28th, 2005, 11:01 PM
something to keep in mind when looking at the forms is not the kind of snake thats not really the point as to what your doing...its the category of which counter application is best for the condition.
Thin counter movement IE a snake like a viper moves counter to the way and direction the joints move. So it is common to see that type of snake go around and through arm strikes and blocks.
grabbing and holds or immobilizing moves (python) use expansion and contraction in counter to the frame (skeletal) this is also applying many principals of internal arts as well.
Cobra - snaps to the point so dim mak locations that require a deep penetration delivered often in the way the strike would appear are fast jolting and withdrawn.
These are very basic examples but the point is the fundamental behind which snake is what is hidden in the forms. As well the ability to switch between them is shown in connective movements. This also has to be done with balance, flexibility, and optional routes the forms show those as well.
Anyway when you look at the forms try to see the lesson inside them rather than only watching the moves tied together.
Mei Hua
May 29th, 2005, 12:11 AM
something to keep in mind when looking at the forms is not the kind of snake thats not really the point as to what your doing...its the category of which counter application is best for the condition.
These are very basic examples but the point is the fundamental behind which snake is what is hidden in the forms. As well the ability to switch between them is shown in connective movements. This also has to be done with balance, flexibility, and optional routes the forms show those as well.
Anyway when you look at the forms try to see the lesson inside them rather than only watching the moves tied together.Exactly! Good post Aqira, and good points!
Hum Sop Lao
May 29th, 2005, 05:33 PM
thanks, both of you.
CLF Devil
May 31st, 2005, 05:05 PM
Possibly a stupid question, but how does Python compare to pure grappling based arts such as Brazilian Jujitsu, Japanese Jujitsu or Sambo???
I was curious because from what I've read you guys have said Python was a grappling system.
Mei Hua
May 31st, 2005, 05:37 PM
Possibly a stupid question, but how does Python compare to pure grappling based arts such as Brazilian Jujitsu, Japanese Jujitsu or Sambo???
I was curious because from what I've read you guys have said Python was a grappling system.Python is first and foremost a Snake system, but does use grappling techniques in its curriculum. It uses its grappling techniques to lock on to an opponent and either break bones or suffocate by asphyxiation, just as a python does to its prey. Most Snake systems have some type of takedown, but their usage is different than the Jitsu systems use, so to compare between the two styles I would say Jitsu has more broad ranged grappling skills while Python focuses its skills upon the movement of the Snake and how the snake would use them; such as wrapping around and crushing, breaking, suffocating. Hope that clarifies.
aqira
May 31st, 2005, 05:37 PM
Thats a good question, and several arts could ask the same thing, but then again its the same for strike and kicks theres only so many ways to do it.
IMO... When you look at several arts you start to see the same things with different names. For myself I try to keep from thinking like that and try to only see the dynamics that makes anything work. I try to see formulas not moves or positional encounters instead of style. But enough of the lecture
Python is grappling and has a lot of the same movements as Ju Jitsu except python does not let go so you really don't see throws and take downs the same way. The python will go to the ground trying to contain you. When you use the word python think containment.
Hum Sop Lao
June 3rd, 2005, 02:03 AM
normally when i think of 'python' i think of something big, expensive and everything i wanted in a horse.:tup:
Mei Hua
June 3rd, 2005, 09:48 AM
normally when i think of 'python' i think of something big, expensive and everything i wanted in a horse.:tup:LOL...Something big & powerful, perhaps a good hog? Or a good body blow? Watch me slap him with my "pythons!"
Hum Sop Lao
June 8th, 2005, 03:06 AM
LOL...Something big & powerful, perhaps a good hog? Or a good body blow? Watch me slap him with my "pythons!"
i think they were called 'hog-leg' at one point in the past. you don't slap'em with pythons...you cap'em with pythons.:bang: :nerd: :p
Mei Hua
June 8th, 2005, 09:34 AM
Slap, Cap, Pound:bang: anyway you wanna call it, wasn't it Hulk Hogan who coined the term My 21" Pythons?
The Snake (She Xing)
Venomous snakes are possibly the most dangerous animals on the planet, considering how lethal they can be compared to their size. Because of this, Nature has balanced things by providing many of them with distinctive mechanisms, like bright-coloured scales, the cobra's hood, or the rattlesnake's rattle. The snake might kill you, but you can't claim you weren't warned first.
Snake
In many ways, the Shaolin snake-style typifies this. When attacking, the snake-stylist goes for vulnerable spots like the eyes, throat and groin. However, because of the serious consequences of hitting such targets, the snake-stylist must be calm and peaceful and avoid a fight. It is only when there is no recourse but to fight, and the situation serious enough to warrant it that one should use the techniques of the snake form.
The snake techniques also promote "ting" or "listening" energy. This is the sensory ability developed through "sticking hands" and related exercises. Through its use, the snake-stylist can neutralize an opponent's attack with a minimum of effort and risk.
Because of its quiet attitude and emphasis on rhythmic breathing, the snake is traditionally thought to develop the chi.
The snake may appear not to be an ideal candidate for a shaolin animal due to its lack of legs, however if you think in more depth the snake will use slyness and softness rather than hard raw power.
The snake style is designed to cultivate internal Qi (Chi) energy thus gaining superior focus and penetrating force not associated in anyway with the external animal. The snake as it moves is very evasive as it twists its body in a zigzagging motion. In order to survive the snake must use its body in a different manner to compensate for its lack of limbs. The snake coils its body to begin with, then raises its head into a striking position and from this position straightens its body and strikes with precision and speed. This type of striking force is just from the momentum and twisting movement from the coiled position.
The animal itself is calm and relaxed and is said to posses more Qi (Chi) than the other animals. When a strike occurs and when combined with the external strike this animal is formidable.
Snake
The snake form differs to the other shaolin animals as it has no hard punching techniques instead it uses both hard and soft principles to be successful. The fingertips and palms are used to strike with penetrating force. The snake is in direct opposition to that of the tiger. The snakes energy is quiet and internal and makes no external sound as it strikes, whilst tiger styles are noisy and active as the practitioner exhales to gain power. As with any internal style characteristics this is understood to be of an advanced martial level where strikes and blocks are made simultaneously (offence and defence are one and the same!). Soft coiling actions which are deceptively defencive suddenly change to offensive strikes. Hence the speed of attack is not as important as the smoothness and flow.
There are many different finger-striking actions associated with the snake practitioner. One is known as white snake throws out tongue (bai she tu xin), here the fingers recreate the forked form of the tongue with the index and middle fingers extended whilst the remaining fingers are folded underneath and back out of the way. This strike is then used to focus upon the soft areas or adversary's eyes.
Another fingertip strike is known as snake comes out of its hole (qing she chu dong) where the practitioners fingers are together to form a cobras head shape, this strike can also be inverted to block or strike to the throat or eyes. This type of strike often comes from a bent elbow.
One inverted snake technique known as water snake swims to the surface (shui she shang an) terminates to pressure points around the throat and armpits.
Another important factor when considering the spirit of this animal is to keep the whole body moving and flowing if to be combined with the actions of the other animals. In many cases it is necessary to administer soft circular actions which terminate with focus and a harder action as the technique makes contact.
When practising snake it is important that the practitioner is relaxed with good concentration. The snake parts of a form should be calm and soft. Another issue to understand when training with snake movements is to remain "connected" with all parts of you body contributing to the desired end. As well as a flexible body concentration and clarity of thought are a necessary attribute for any martial artist.
When practising snake it is important that the practitioner is relaxed with good concentration. The snake parts of a form should be calm and soft. Another issue to understand when training with snake movements is to remain "connected" with all parts of you body contributing to the desired end. As well as a flexible body concentration and clarity of thought are a necessary attribute for any martial artist.
Practising snake style movements will allow the practitioner to project their qi (chi) energy up through their arms and out of the ends of the finger tips, however when practising in air there will apparently be no recognisable power but upon contact with a desired target power will prevail.
Unlike the other Shaolin animals which are associated with finger-striking methods, the snake style has no fingertip external strengthening and development exercises. The reason for this is that providing the Shaolin practitioner has correct balance between the other animals of Shaolin they will develop adequate finger and hand conditioning.
As the student practises the snake form calmly and quietly they will develop feeling and sensation and a sense in order to understand an opponents next move. When a snake practitioners arm makes contact during this type of training it can be likened to the sticking effect normally associated with wing chuns sticky hands or maybe even tai chi chuan's push hands. As previously mentioned the practitioner's moves are apparently powerless, however these soft touches have a magical sting upon contact, undoubtedly the adepts movements are quick and forceful if and when required. The force of a snake strike is said to be over seven times an individuals normal power!
The psychology behind the snakes special spirit is that the five animal practitioner must be calm enough to mentally look inside their own body and feel peace and tranquillity. Nothing will bother him externally.
If the correct snake spirit is developed the student will feel the energy flow from the spine along the arms and out of the fingertips. The stylist will move slowly in deliberation before the simultaneous blocking and striking action occurs as the "snake uncoils".
Assimilation of the Shaolin snake techniques, and having gained penetrating focus and intent as well as lightening speed will undoubtedly if delivered to the correct pressure point vital areas of the body cause excessive pain, unconsciousness or even death.
http://www.shaolinkungfu.co.nz/snake.php
Snake
In many ways, the Shaolin snake-style typifies this. When attacking, the snake-stylist goes for vulnerable spots like the eyes, throat and groin. However, because of the serious consequences of hitting such targets, the snake-stylist must be calm and peaceful and avoid a fight. It is only when there is no recourse but to fight, and the situation serious enough to warrant it that one should use the techniques of the snake form.
The snake techniques also promote "ting" or "listening" energy. This is the sensory ability developed through "sticking hands" and related exercises. Through its use, the snake-stylist can neutralize an opponent's attack with a minimum of effort and risk.
Because of its quiet attitude and emphasis on rhythmic breathing, the snake is traditionally thought to develop the chi.
The snake may appear not to be an ideal candidate for a shaolin animal due to its lack of legs, however if you think in more depth the snake will use slyness and softness rather than hard raw power.
The snake style is designed to cultivate internal Qi (Chi) energy thus gaining superior focus and penetrating force not associated in anyway with the external animal. The snake as it moves is very evasive as it twists its body in a zigzagging motion. In order to survive the snake must use its body in a different manner to compensate for its lack of limbs. The snake coils its body to begin with, then raises its head into a striking position and from this position straightens its body and strikes with precision and speed. This type of striking force is just from the momentum and twisting movement from the coiled position.
The animal itself is calm and relaxed and is said to posses more Qi (Chi) than the other animals. When a strike occurs and when combined with the external strike this animal is formidable.
Snake
The snake form differs to the other shaolin animals as it has no hard punching techniques instead it uses both hard and soft principles to be successful. The fingertips and palms are used to strike with penetrating force. The snake is in direct opposition to that of the tiger. The snakes energy is quiet and internal and makes no external sound as it strikes, whilst tiger styles are noisy and active as the practitioner exhales to gain power. As with any internal style characteristics this is understood to be of an advanced martial level where strikes and blocks are made simultaneously (offence and defence are one and the same!). Soft coiling actions which are deceptively defencive suddenly change to offensive strikes. Hence the speed of attack is not as important as the smoothness and flow.
There are many different finger-striking actions associated with the snake practitioner. One is known as white snake throws out tongue (bai she tu xin), here the fingers recreate the forked form of the tongue with the index and middle fingers extended whilst the remaining fingers are folded underneath and back out of the way. This strike is then used to focus upon the soft areas or adversary's eyes.
Another fingertip strike is known as snake comes out of its hole (qing she chu dong) where the practitioners fingers are together to form a cobras head shape, this strike can also be inverted to block or strike to the throat or eyes. This type of strike often comes from a bent elbow.
One inverted snake technique known as water snake swims to the surface (shui she shang an) terminates to pressure points around the throat and armpits.
Another important factor when considering the spirit of this animal is to keep the whole body moving and flowing if to be combined with the actions of the other animals. In many cases it is necessary to administer soft circular actions which terminate with focus and a harder action as the technique makes contact.
When practising snake it is important that the practitioner is relaxed with good concentration. The snake parts of a form should be calm and soft. Another issue to understand when training with snake movements is to remain "connected" with all parts of you body contributing to the desired end. As well as a flexible body concentration and clarity of thought are a necessary attribute for any martial artist.
When practising snake it is important that the practitioner is relaxed with good concentration. The snake parts of a form should be calm and soft. Another issue to understand when training with snake movements is to remain "connected" with all parts of you body contributing to the desired end. As well as a flexible body concentration and clarity of thought are a necessary attribute for any martial artist.
Practising snake style movements will allow the practitioner to project their qi (chi) energy up through their arms and out of the ends of the finger tips, however when practising in air there will apparently be no recognisable power but upon contact with a desired target power will prevail.
Unlike the other Shaolin animals which are associated with finger-striking methods, the snake style has no fingertip external strengthening and development exercises. The reason for this is that providing the Shaolin practitioner has correct balance between the other animals of Shaolin they will develop adequate finger and hand conditioning.
As the student practises the snake form calmly and quietly they will develop feeling and sensation and a sense in order to understand an opponents next move. When a snake practitioners arm makes contact during this type of training it can be likened to the sticking effect normally associated with wing chuns sticky hands or maybe even tai chi chuan's push hands. As previously mentioned the practitioner's moves are apparently powerless, however these soft touches have a magical sting upon contact, undoubtedly the adepts movements are quick and forceful if and when required. The force of a snake strike is said to be over seven times an individuals normal power!
The psychology behind the snakes special spirit is that the five animal practitioner must be calm enough to mentally look inside their own body and feel peace and tranquillity. Nothing will bother him externally.
If the correct snake spirit is developed the student will feel the energy flow from the spine along the arms and out of the fingertips. The stylist will move slowly in deliberation before the simultaneous blocking and striking action occurs as the "snake uncoils".
Assimilation of the Shaolin snake techniques, and having gained penetrating focus and intent as well as lightening speed will undoubtedly if delivered to the correct pressure point vital areas of the body cause excessive pain, unconsciousness or even death.
http://www.shaolinkungfu.co.nz/snake.php
duminică, 16 mai 2010
Choi li fut
http://choileifut.com/
What is Choi Lei Fut?
Also known as Choy Lay Fut, Choy li Fut, Choy lee Fut, and Cai Li Fo, Choi Lei Fut is a well-known style of Kung Fu that gained popularity in Hong Kong during the 1960's and 70's. During that era competitions were held on rooftops where fighters from all styles gathered to put their skills to the test. It was here that Choi Lei Fut proved its effectiveness and made a name for itself. Choi Lei Fut is one of the most widely practiced kung fu styles in the world today. It is well known for it's smooth circular body movements and flexible footwork, as well as its speed and devastating power. This style emphasizes the intelligent use of power as opposed to strength, and the combination of the external force with the internal will.
History of Choi Lei Fut
During the 18th century, the most talented monk in martial arts skill of Shaolin temple, JueYuan, felt the need to seek knowledge from outside the confines of the temple to keep the fame that the temple enjoyed. Monk JueYuan set out to serch for ingredian that missing in martial arts practised in shaolin temple. In Gansu, a Province in the west of China populated with not just Han but also Arab and Tibetan Chinese. (Infact It is still very easy for a novice to confuse Tibetan Crane sequence with Choi Lei Fut.) Here in the city, he met Li Sou, a master of Li family Kung Fu. The Li family have learnt their arts from the Taoist immortal and other traveling Tibetan hermits from the Wudang and O Mei Mountains and were passed down through the generations, mostly staying completely within the Li family. Li Sou accompanied JueYuan to Luoyang to introduce JueYuan to a internal martial arts master Bai Yufeng, They returned to Shaolin with Bai Yufeng and expanded JueYuan's 72 techniques to approximately 170. Moreover, using their combined knowledge, they restored internal aspects to Shaolin boxing. They organized these techniques into Five Animals: the Tiger, the Crane, the Leopard, the Snake, and the Dragon. These arts of combat become a tool to adjust balance in life where one could cultivate both spirituality and physical health in harmony. A efficient way for developing positive philosophies and meditations to help them be at peace with themselves and their surroundings.
At seven years old, Chan Heung began learning martial arts under his uncle Chan Yuen Woo. Yuen Woo was a famed master from Shaolin Temple, and taught his nephew the Fut Ga Kuen. Fut Ga (佛家), literally "Buddha Family," specializes in palm techniques and for this reason is also known as Buddhist Palm. After years of study with his uncle, Chan Heung had become a consummate warrior by the early age of 15. Yuen Woo instruct Chan Heung to seek out his kung fu elder brother Lei Yau San, a practitioner of the Li (Lei in Cantonese)family Kung Fu To further his skills.
After five years of training, it became apparent that Chan Heung was proficient in the Li family Kung Fu, Chan Heung was then referred to the Shaolin monk Choi Fook to further his martial arts knowledge. Choi Fook had learned this from Choi Gau-Yee,founder of Choi family Kung Fu. Choi Gau Lee is the grand student of Monk JueYuan After years of intensive study, Chan Heung combined his knowledge of 3 martial arts systems and called it "Choi Lei Fut" in honour of his teachers.
The combination of these martial arts system made Choi Lei Fut all-round effectiveness.
What is Choi Lei Fut?
Also known as Choy Lay Fut, Choy li Fut, Choy lee Fut, and Cai Li Fo, Choi Lei Fut is a well-known style of Kung Fu that gained popularity in Hong Kong during the 1960's and 70's. During that era competitions were held on rooftops where fighters from all styles gathered to put their skills to the test. It was here that Choi Lei Fut proved its effectiveness and made a name for itself. Choi Lei Fut is one of the most widely practiced kung fu styles in the world today. It is well known for it's smooth circular body movements and flexible footwork, as well as its speed and devastating power. This style emphasizes the intelligent use of power as opposed to strength, and the combination of the external force with the internal will.
History of Choi Lei Fut
During the 18th century, the most talented monk in martial arts skill of Shaolin temple, JueYuan, felt the need to seek knowledge from outside the confines of the temple to keep the fame that the temple enjoyed. Monk JueYuan set out to serch for ingredian that missing in martial arts practised in shaolin temple. In Gansu, a Province in the west of China populated with not just Han but also Arab and Tibetan Chinese. (Infact It is still very easy for a novice to confuse Tibetan Crane sequence with Choi Lei Fut.) Here in the city, he met Li Sou, a master of Li family Kung Fu. The Li family have learnt their arts from the Taoist immortal and other traveling Tibetan hermits from the Wudang and O Mei Mountains and were passed down through the generations, mostly staying completely within the Li family. Li Sou accompanied JueYuan to Luoyang to introduce JueYuan to a internal martial arts master Bai Yufeng, They returned to Shaolin with Bai Yufeng and expanded JueYuan's 72 techniques to approximately 170. Moreover, using their combined knowledge, they restored internal aspects to Shaolin boxing. They organized these techniques into Five Animals: the Tiger, the Crane, the Leopard, the Snake, and the Dragon. These arts of combat become a tool to adjust balance in life where one could cultivate both spirituality and physical health in harmony. A efficient way for developing positive philosophies and meditations to help them be at peace with themselves and their surroundings.
At seven years old, Chan Heung began learning martial arts under his uncle Chan Yuen Woo. Yuen Woo was a famed master from Shaolin Temple, and taught his nephew the Fut Ga Kuen. Fut Ga (佛家), literally "Buddha Family," specializes in palm techniques and for this reason is also known as Buddhist Palm. After years of study with his uncle, Chan Heung had become a consummate warrior by the early age of 15. Yuen Woo instruct Chan Heung to seek out his kung fu elder brother Lei Yau San, a practitioner of the Li (Lei in Cantonese)family Kung Fu To further his skills.
After five years of training, it became apparent that Chan Heung was proficient in the Li family Kung Fu, Chan Heung was then referred to the Shaolin monk Choi Fook to further his martial arts knowledge. Choi Fook had learned this from Choi Gau-Yee,founder of Choi family Kung Fu. Choi Gau Lee is the grand student of Monk JueYuan After years of intensive study, Chan Heung combined his knowledge of 3 martial arts systems and called it "Choi Lei Fut" in honour of his teachers.
The combination of these martial arts system made Choi Lei Fut all-round effectiveness.
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