kung fu styles

kung Fu Snake 

There is precious little written material available about the snake kung fu styles, although they are foundation sets in traditional Shaolin, family styles, and are incorporated in a host of peripheral schools such as Pa Kua and T'ai Ch'i Chuan. It is possibly because of the near-universal inclusion of snake techniques in Chinese and other styles that little specific attention has been paid to the style. In the Shaolin kung fu system, the snake's position between other styles (above Crane and Tiger and just below Mantis and Dragon) illustrates its intermediary nature. It is distinguished from the styles below it by the introduction of circular movement in its parries and attacks. This introduction of circles characterizes the transition to a higher style. The circles themselves can be compared to the dynamic of yang and yin in Taoism. Circular attacks (viewed as yin) are countered by direct attacks (yang). Similarly, straight techniques are countered by circular ones.

Snakes are conspicuous predators that have intrigued human beings for a long time. The snake’s biological diversity is also reflected in the style itself. Large snakes may constrict prey, preventing the rib cage from expanding to allow inhaling, causing death by asphyxiation (true, constrictors such as pythons may "crush" their prey, but only if the prey animal is strong enough to break its own bones while trying to inhale). Many small and colorful snakes have lethal venom, and to early human beings the mysterious death caused after a small bite was probably seen as nothing short of magic. Vipers inject venom into the bloodstream in order to kill prey. Cobras, on the other hand, use poison that affects the nervous system. Such creatures, then, combined elements worth including in a martial arts style.

Snake kung fu styles probably developed among the first codified martial arts creations. The emphasis on hitting weak points along the ch'i meridians suggests that such meridians and primal acupuncture had already been worked out. (It has been suggested by some practitioners of acupuncture that the meridian routes were mapped based on preferred sites for mosquito bites; many bites induce discomfort in distant parts of the body. Interesting idea...) The modern snake kung fu style is actually an amalgamation of older styles which have now died out. Its range of technique, however, reflects the influence of each of these three styles. Viper consisted of intimidating strikes that could inflict heavy psychological damage by drawing lots of blood without causing life-threatening damage. Its trademark was the tongue strike - two fingers aiming often at arteries and veins. Cobra, in contrast, did not emphasize highly recognizable or showy techniques but rather very serious strikes to nerves and pressure points. Its characteristic hand technique was an open hand with the thumb curled underneath in order to maintain dynamic tension. Python, in addition, relied on the leopard fist for its pinpoint strikes and included grappling. The two universal aspects of snake techniques are pin-point open-hand strikes and twisting arm postures to disguise one’s line of attack. Such movements are often seen in Wing Chun kung fu forms, as in the third, or Bil Jee, set, in which most of the hand techniques are snake-derived.

Most snake kung fu practitioners use an upright, mobile stance and rely less on horse-stance than most other styles. The mobile stance allows for rapid advances and sidestepping footwork. Additionally, snake stylists don't trade blows, or "tough-out" attacks. Using fast, alternating hand jabs, the practitioner drills at an opponent, sidesteps counterattacks, and drives home his attack. There are some stylistic variations, such as one Fukien-based style that employs low sweeps (and is thus an exception to the general rule of sweeps being confined to Northern styles

It is this adherence to unassuming stances and rapid attack that make snake such a deceptively simple-looking kung fu style. Snake stylists are taught to spring from rest posture to full attack; there are no preparatory stances or "threatening" gestures. If attacked, the snake stylist bobs and weaves, looking much like anyone else, until an opening presents itself. The strikes then fly quickly, in succession, hitting the same opening over and over. Should the attacker block one of these snake-strikes, the snake changes targets and continues its barrage. Kicks are low, snappy, and aimed at the shins, knee, or top of foot.

Black Crane kung fu

"From the crane, we learn grace and self control". This, the second of the styles of the Shaolin kung fu, traces its ancestry back to the time of Dr. Hua T'o during the Han dynasty. This physician developed a series of exercises for improving health by imitating animal motions, among which was a bird.

Shaolin black crane kung fu, as it has evolved today, constitutes the hand sets of the Shaolin crane. As such, it provides a short range style of boxing useful to tall boxers. Its complement was to include throws and locks but delete intricate forms so that it could be studied by the general populace or military personnel.

Legend has it that an old man was watching a battle between an ape and a crane one day and marveled at the bird's ability to evade the ape and still connect with telling blows of its own. He meditated daily on this conflict and one day, when attacked by bandits, defeated them by using the moves of the crane. Thus was a new system born.

History tells us that the movements were a collation of the ancient bird style, some tiger and the motion of snake. Because the exercises were intended to teach character and spirit, the style inherited the crane stance long before white crane kung fu itself was introduced into China.

Refined movements called ch'in na (capture holds) were taught to civil police during the 1600s. Near the end of the Ming dynasty (A.D. 1368-1644), Ch'en Yuan-ping traveled to Japan to teach ch'in na, thus creating a basis for jiujitsu. These movements are still practiced today even though they have no organized forms.

In kung fu, Ch'in Na techniques are more or less learned and researched by every style. Among the Southern Shaolin styles of kung fu, which specialize in hand techniques and in short and middle range fighting, White Crane has one of the more complete systems of Ch'in Na. Another Southern style which puts heavy emphasis on Ch'in Na is Tiger. Among the Northern Shaolin kung fu styles, which specialize in kicking and long and middle range fighting, Eagle places heavy emphasis on Ch'in Na.

Tiger kung fu

The tiger plays a great role in Chinese history and mythology, so it is only fitting that the beast should be chosen as one from which to develop a fighting art. The ferocity, wisdom and tenacity are legendary. So it is that we study the king of the animals in order to be taught "tenacity and power".

Tiger kung fu dates back to the time of Dr. Hua T'o and constituted some of the original kung fu exercises taught for health. As a fighting art, it traces its roots to Burma and the ancient methods of bandasilat. Among the Shaolin, tiger was a necessity for study because it encompassed all aspects of armed and unarmed combat.

For the most part, tiger utilizes a hard, external approach to combat that meets force with force and is very likely to maim or kill an opponent because of the nature of the counterattack. Its primary hand weapons are the closed fist and the tiger claw while kicking maneuvers are usually low to middle range kicks of great power.

One studies tiger to develop bones, muscles and tendons. The emphasis, as befits the beast, is on strength and dynamic tension, culminated in short, hard, snappy moves. As in all styles of kung fu, one becomes the animal.

The Tiger kung fu family, although a low system, encompasses an enormous range of subsystems that span levels from low to low high. The members of the family, listed in their traditional order, are as follows:

1. tiger
2. crab
3. eagle
4. pa kua
5. leopard
6. monkey
7. hung gar
8. hong tiger
9. s'hu tiger
10. white tiger
11. snow tiger
12. imperial tiger
13. drunken
14. white dragon
15. black dragon
16. white eyebrow

ORIGIN OF THE DRAGON KUNG FU STYLE

The original stretching and twisting movements associated with Dragon (Lung Ch'uan) were part of Bodhidharma's exercises which he taught after founding Shaolin temple in Honan around 570 A.D. The true emergence of a martial discipline can be traced to about 1565 A.D., but the originators are uncertain. Two legends seem noteworthy. One states that the Shaolin nun Wu Mui created the style by using moves of deception and melding with an opponent. The other credits a monk, Mui Fa San Yang with contemplating his kung fu training and daydreaming about countermoves, when he became inspired by the twisting movements of the dragon. The style was called Yow Kueng Moon, and was advanced by Yang's abbot, Tit Yang Sum Si. Both these stories place the origin at Honan Shaolin Temple. Since then, Dragon Kung Fu has evolved into two distinct styles, Southern (1565) and Northern (1680). Each consists of non-temple variations, in essence units of instruction taken, incompletely, from Shaolin, and molded into family styles. A new synthesis to organize the Shaolin styles and systematize a combined approach was begun in 1972. Of historical note, the style considered southern was the original form brought south from Honan, while northern evolved in the north after the burning of the temple in 1570 A.D.