A film about the struggle for survival of traditional art and culture in the face of a rapidly changing and modernizing world.
A documentary about the struggle for survival of traditional art and culture in the face of a rapidly changing and modernizing world told from the perspective of time-honored Chinese Kung Fu masters.
The story explores the history, the art of Kung Fu and asks important questions about how the cultural heritage can be kept alive in a world that prefers to forget about its origins.
The sadness and tragedy conveyed in the personal stories and anecdotes of today’s last surviving traditional Kung Fu masters, along with the majesty and beauty of their skills, serve as reminders of the frailty of even the deadliest of arts.
Watch the whole thing here:
http://www.snagfilms.com/films/title/needle_through_brick/
Friday, May 14, 2010
Tuesday, May 11, 2010
New Member from Sweden!
The White Crane Research Institute extends a warm welcome to our newest member Ulf Nillson from Sweden!
Ulf is an accomplished martial artist and has been training in the martial arts for 23 years now, and have been teaching since 1994. He has trained in Aikido, Wing Chun etc. He has also started exploring Baguazhang Taiji and the internal arts in general He leads a small group teaching Yin Baguazhang.
He also teaches modern Combatives as self-defence.
Ulf will be immersing himself in our White Crane Boxing, welcome into the WCRI Ulf!
Ulf is an accomplished martial artist and has been training in the martial arts for 23 years now, and have been teaching since 1994. He has trained in Aikido, Wing Chun etc. He has also started exploring Baguazhang Taiji and the internal arts in general He leads a small group teaching Yin Baguazhang.
He also teaches modern Combatives as self-defence.
Ulf will be immersing himself in our White Crane Boxing, welcome into the WCRI Ulf!
Monday, May 10, 2010
Fang Qiniang Shou Fa Mi Sa Form
This, the Master Taolu 套路 (Form) of the White Crane Research Institute 白鶴拳功夫武術研究中心. This comes to us from the Southern Shaolin Sui Lam Gongfu system. It has been handed down from Lau Sze Cung to Lau Yuen Shing (Choy Mok) and onwards. It contains a great variation of hand forms and techniques that embody the elaborate or “Mystifying Hands” of White Crane Boxing.
It revolves around the principle of Noi Chi or the “Intrinsic energy obtainable from breathing” as an energy gathering form. It utilizes the breathing methods of “Collecting the breath” “Exalting the breath”, “Sinking the breath” and “Holding up the breath”. It also utilizes several different form of Jin/Ging or “Fighting Power/Energy Expression.
As this form concentrates on the hands the requirements of Hand movements are that the practitioner must lower the shoulders and keep his elbows at both flanks. The full length of the arm is divided into three sections, which are regarded as: the “root” (the shoulder), the “branch” (the elbow) and the “leaf (the hand). All these three sections can launch energy with each joint acting in cooperation and changing flexibility. A White Crane Boxer must always keep his/her hands flexible. The hand movements are extremely fluid and embody the essence of the White Crane.
The Form 套路:
1/. Opening Sequence
Double Low Crane Wings Left Hand Leading Blocks Horse Stance
Right Dropping Back-Fist Horse Stance.
Step Right Palm Up Block (“Tian Kung / Heavens Work)
Low Block (Hidden Finger Jab ribs) (“Looking for Fish in Water” / Lau-Da – Sneaking Attack)
Double Single Wing Flying (Pok-Ming Cheung - Face Slapping Palm)
Metal Hands Twice (Saam Yin Sau)
Triple Single Wings Flying (Pok-Ming Cheung - Face Slapping Palm)
Inside Circular Lower Knife Hand Strike (Pek Cheung - Chopping Palm)
Low Earth Hand Block (“White Crane Covering the Arm”)
Whipping Back-Hand Strike (Saam Yin Sau)
2/. Left Palm Up Block (Tian Kung / Heavens Work)
Low Block (Hidden Finger Jab ribs) (Looking for Fish in Water / Lau-Da – Sneaking Attack)
Double Single Wing Flying (Pok-Ming Cheung - Face Slapping Palm)
Metal Hands Twice (Saam Yin Sau)
Triple Single Wings Flying (Pok-Ming Cheung - Face Slapping Palm)
Inside Circular Lower Knife Hand Strike (Pek Cheung - Chopping Palm)
Low Earth Hand Block (“White Crane Covering the Arm”)
Whipping Back-Hand Strike (Saam Yin Sau)
3/. Step Right Palm Up Hand (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Lion Rotates the Ball Sequence Stepping forward right, left, right feet (Series of Thrusting Fingers Strikes)
Double High Palm Up Blocks (Sheung Tian Kung / Heavens Work)
Double Low Hands (Sheung Dap-Sau – Doubling Clasping Hands)
Double Cross Hands (Ha Cha-Sau)
Palm Up Block (“Tian Kung / Heavens Work)
Double Wing Blocks (Gai)
Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
Inside Hammer-Fist.
4/. Step left Palm Up Block (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Low Block (Hidden Finger Jab ribs) (Looking for Fish in Water / Lau-Da – Sneaking Attack)
Palm Up Block (Tian Kung / Heavens Work)
Double Wing Blocks (Gai)
Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
Inside Hammer-Fist
Double High Palm Up Blocks (“Sheung Tian Kung / Heavens Work)
Double Low Hands (Sheung Dap-Sau – Doubling Clasping Hands)
Double Cross Hands (Ha Cha-Sau)
5/. Inside Flowers Hidden in Sleeves in to Rolling Right High Back-Hand Strike Right Hand (Saam Yin Sau)
Double Palm Up Blocks (Sheung Tian Kung / Heavens Work)
Double Low Hands (Sheung Dap-Sau – Doubling Clasping Hands)
Double Cross Hands (Ha Cha-Sau)
Front Kick (Tek Tiu)
Turn Front Kick Left, Front Kick Right (Tek Tiu)
Double High Palm Up Blocks (Sheung Tian Kung / Heavens Work)
Double Low Hands (Sheung Dap-Sau – Doubling Clasping Hands)
Double Cross Hands (Ha Cha-Sau)
Stepping through Inside, Outside, Inside Wing Blocks
Palm Up Block (Left) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Low Wing Block (Hidden Finger Jab ribs) (Looking for Fish in Water / Lau-Da – Sneaking Attack)
Pushing Palm Strike (Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
Outside Metal Hand "(Saam Yin Sau White Crane Twines the Neck)
Low Wing Block (Looking for Fish in Water / Lau-Da – Sneaking Attack)
Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
High Whipping Back-Hand Strike (Saam Yin Sau)
6/. Palm Up Block (Right) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Low Wing Block (Hidden Finger Jab ribs) (Looking for Fish in Water / Lau-Da – Sneaking Attack)
Pushing Palm Strike (Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
Outside Metal Hand (Saam Yin Sau)
Low Wing Block (Looking for Fish in Water / Lau-Da – Sneaking Attack)
Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
High Whipping Back-Hand Strike (Saam Yin Sau)
7/. Palm Up Block (Left) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Change into Pushing Palm (Slow) (Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
8/. Palm Up Block (Right) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Change into Pushing Palm (Slow) (Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
9/. Jumping Step, Palm Up Block (Left) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Change into Pushing Palm (Fast) (Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
10/. Jumping Step, Palm Up Block (Right) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Change into Pushing Palm (Fast) (Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
11/. Palm Up Block (Left) )(Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Change into Pushing Palm (Slow(Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
12/. Palm Up Block (Right) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Change into Pushing Palm (Slow) (Ling-Yui Jiu-Bok – Twisting the waist & Turning the Shoulders)
13/. Step Left Palm Up Block in to Single Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
14/. Step Right Palm Up Block in to Single Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
15/. Step Back Right Leg,
Double Cross Hands in to Returning Fist Punch Right Front Kick
Right Hand Dropping Back Fist in to Vertical Punch in to High Whipping Back Hand
Turn
Left high Whipping Back Hand Strike (Saam Yin Sau)
Turn to front, Left Palm Down, Right Palm Up Strike(Mor Cheung - Contacting Palm)
Step up to Horse Stance Double Forward Palm Strikes (bring Hands back behind body in to ….)
Double Side-Wards Palm Strikes Rib Level (head looks left then right) (Bai He Liang Sz) Raise arms up to side then down into Double Low Front Palm Block/Strike Raise in to Double Rising Metal Hands Strike in to Double Forward Palm Strikes
16/. Double Low Crane Wings Left Hand Leading Blocks Horse stance
Right Dropping Back-Fist
Left Low inside Hammer Fist in to Uppercut Punch to throat (Ji -Yeung Sau – Waving the Sun Hands)
Right Low inside Hammer Fist in to Uppercut Punch to throat (Jiu-Yeung Sau – Waving the Sun Hands
Finish Form.
It revolves around the principle of Noi Chi or the “Intrinsic energy obtainable from breathing” as an energy gathering form. It utilizes the breathing methods of “Collecting the breath” “Exalting the breath”, “Sinking the breath” and “Holding up the breath”. It also utilizes several different form of Jin/Ging or “Fighting Power/Energy Expression.
As this form concentrates on the hands the requirements of Hand movements are that the practitioner must lower the shoulders and keep his elbows at both flanks. The full length of the arm is divided into three sections, which are regarded as: the “root” (the shoulder), the “branch” (the elbow) and the “leaf (the hand). All these three sections can launch energy with each joint acting in cooperation and changing flexibility. A White Crane Boxer must always keep his/her hands flexible. The hand movements are extremely fluid and embody the essence of the White Crane.
The Form 套路:
1/. Opening Sequence
Double Low Crane Wings Left Hand Leading Blocks Horse Stance
Right Dropping Back-Fist Horse Stance.
Step Right Palm Up Block (“Tian Kung / Heavens Work)
Low Block (Hidden Finger Jab ribs) (“Looking for Fish in Water” / Lau-Da – Sneaking Attack)
Double Single Wing Flying (Pok-Ming Cheung - Face Slapping Palm)
Metal Hands Twice (Saam Yin Sau)
Triple Single Wings Flying (Pok-Ming Cheung - Face Slapping Palm)
Inside Circular Lower Knife Hand Strike (Pek Cheung - Chopping Palm)
Low Earth Hand Block (“White Crane Covering the Arm”)
Whipping Back-Hand Strike (Saam Yin Sau)
2/. Left Palm Up Block (Tian Kung / Heavens Work)
Low Block (Hidden Finger Jab ribs) (Looking for Fish in Water / Lau-Da – Sneaking Attack)
Double Single Wing Flying (Pok-Ming Cheung - Face Slapping Palm)
Metal Hands Twice (Saam Yin Sau)
Triple Single Wings Flying (Pok-Ming Cheung - Face Slapping Palm)
Inside Circular Lower Knife Hand Strike (Pek Cheung - Chopping Palm)
Low Earth Hand Block (“White Crane Covering the Arm”)
Whipping Back-Hand Strike (Saam Yin Sau)
3/. Step Right Palm Up Hand (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Lion Rotates the Ball Sequence Stepping forward right, left, right feet (Series of Thrusting Fingers Strikes)
Double High Palm Up Blocks (Sheung Tian Kung / Heavens Work)
Double Low Hands (Sheung Dap-Sau – Doubling Clasping Hands)
Double Cross Hands (Ha Cha-Sau)
Palm Up Block (“Tian Kung / Heavens Work)
Double Wing Blocks (Gai)
Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
Inside Hammer-Fist.
4/. Step left Palm Up Block (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Low Block (Hidden Finger Jab ribs) (Looking for Fish in Water / Lau-Da – Sneaking Attack)
Palm Up Block (Tian Kung / Heavens Work)
Double Wing Blocks (Gai)
Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
Inside Hammer-Fist
Double High Palm Up Blocks (“Sheung Tian Kung / Heavens Work)
Double Low Hands (Sheung Dap-Sau – Doubling Clasping Hands)
Double Cross Hands (Ha Cha-Sau)
5/. Inside Flowers Hidden in Sleeves in to Rolling Right High Back-Hand Strike Right Hand (Saam Yin Sau)
Double Palm Up Blocks (Sheung Tian Kung / Heavens Work)
Double Low Hands (Sheung Dap-Sau – Doubling Clasping Hands)
Double Cross Hands (Ha Cha-Sau)
Front Kick (Tek Tiu)
Turn Front Kick Left, Front Kick Right (Tek Tiu)
Double High Palm Up Blocks (Sheung Tian Kung / Heavens Work)
Double Low Hands (Sheung Dap-Sau – Doubling Clasping Hands)
Double Cross Hands (Ha Cha-Sau)
Stepping through Inside, Outside, Inside Wing Blocks
Palm Up Block (Left) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Low Wing Block (Hidden Finger Jab ribs) (Looking for Fish in Water / Lau-Da – Sneaking Attack)
Pushing Palm Strike (Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
Outside Metal Hand "(Saam Yin Sau White Crane Twines the Neck)
Low Wing Block (Looking for Fish in Water / Lau-Da – Sneaking Attack)
Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
High Whipping Back-Hand Strike (Saam Yin Sau)
6/. Palm Up Block (Right) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Low Wing Block (Hidden Finger Jab ribs) (Looking for Fish in Water / Lau-Da – Sneaking Attack)
Pushing Palm Strike (Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
Outside Metal Hand (Saam Yin Sau)
Low Wing Block (Looking for Fish in Water / Lau-Da – Sneaking Attack)
Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
High Whipping Back-Hand Strike (Saam Yin Sau)
7/. Palm Up Block (Left) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Change into Pushing Palm (Slow) (Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
8/. Palm Up Block (Right) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Change into Pushing Palm (Slow) (Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
9/. Jumping Step, Palm Up Block (Left) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Change into Pushing Palm (Fast) (Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
10/. Jumping Step, Palm Up Block (Right) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Change into Pushing Palm (Fast) (Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
11/. Palm Up Block (Left) )(Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Change into Pushing Palm (Slow(Ling-Yui Jiu-Bok – Twisting the Waist & Turning the Shoulders)
12/. Palm Up Block (Right) (Fan-Sau Chap-Da – Overturned Thrusting -Fingers Strike)
Change into Pushing Palm (Slow) (Ling-Yui Jiu-Bok – Twisting the waist & Turning the Shoulders)
13/. Step Left Palm Up Block in to Single Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
14/. Step Right Palm Up Block in to Single Downward Wing Flapping (Pok-Ming Cheung - Face Slapping Palm)
15/. Step Back Right Leg,
Double Cross Hands in to Returning Fist Punch Right Front Kick
Right Hand Dropping Back Fist in to Vertical Punch in to High Whipping Back Hand
Turn
Left high Whipping Back Hand Strike (Saam Yin Sau)
Turn to front, Left Palm Down, Right Palm Up Strike(Mor Cheung - Contacting Palm)
Step up to Horse Stance Double Forward Palm Strikes (bring Hands back behind body in to ….)
Double Side-Wards Palm Strikes Rib Level (head looks left then right) (Bai He Liang Sz) Raise arms up to side then down into Double Low Front Palm Block/Strike Raise in to Double Rising Metal Hands Strike in to Double Forward Palm Strikes
16/. Double Low Crane Wings Left Hand Leading Blocks Horse stance
Right Dropping Back-Fist
Left Low inside Hammer Fist in to Uppercut Punch to throat (Ji -Yeung Sau – Waving the Sun Hands)
Right Low inside Hammer Fist in to Uppercut Punch to throat (Jiu-Yeung Sau – Waving the Sun Hands
Finish Form.
Sunday, May 2, 2010
How to tie a Gongfu Sash (Yaodai)
Follow the link below to learn how to tie a Gongfu Yaodai (Sash):
http://www.ehow.com/video_4774781_tie-kung-fu-sash.html
It is important to know how to do this correctly.
Within many martial arts the belt or sash is worn to indicate one’s rank or status, but in Chinese Gongfu (Wushu) the sash serves a far more important purpose. In Chinese White Crane the purpose of the sash is to hold the stomach and internal organs in place while a student is practicing and perfecting their art.
The necessity of supporting the stomach and internal organs comes about because most Wushu styles generate power from the waist.
When power is generated by the waist, the waist must be jerked slightly ahead of the technique being executed. As this jerk occurs, the intestines and stomach undergo a sudden jolt. Eventually this jolt of the internal organs will cause pain or injury. For this reason an adequately snug and well fitting sash around the midsection is necessary to support the stomach and internal organs.
In Chinese White Crane the sash also enables the practitioner to centre and experience their Chi/Qi or vital internal energy. This generation of Chi/Qi is vital to the correct performance and execution of the art.
Wearing the Sash
In traditional White Crane, males wear the sash tied on the left hand side, females wear the sash tied to the right hand side and the master wears the sash tied in the centre.
http://www.ehow.com/video_4774781_tie-kung-fu-sash.html
It is important to know how to do this correctly.
Within many martial arts the belt or sash is worn to indicate one’s rank or status, but in Chinese Gongfu (Wushu) the sash serves a far more important purpose. In Chinese White Crane the purpose of the sash is to hold the stomach and internal organs in place while a student is practicing and perfecting their art.
The necessity of supporting the stomach and internal organs comes about because most Wushu styles generate power from the waist.
When power is generated by the waist, the waist must be jerked slightly ahead of the technique being executed. As this jerk occurs, the intestines and stomach undergo a sudden jolt. Eventually this jolt of the internal organs will cause pain or injury. For this reason an adequately snug and well fitting sash around the midsection is necessary to support the stomach and internal organs.
In Chinese White Crane the sash also enables the practitioner to centre and experience their Chi/Qi or vital internal energy. This generation of Chi/Qi is vital to the correct performance and execution of the art.
Wearing the Sash
In traditional White Crane, males wear the sash tied on the left hand side, females wear the sash tied to the right hand side and the master wears the sash tied in the centre.
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