“THE MARSTA” is the name of a unique and exciting martial arts class created by Shifu Ron Goninan.
“MARSTA” stands for:
Martial Arts Research, Study, Training, Advancement 武術研究, 肄, 修养, 进步. This is a special training class open to special students.
Within “THE MARSTA” is the “White Crane Research Institute” where Shifu Ron Goninan teaches Fujian Province Martial Arts (Classical Chinese Martial Arts from south-east China).
White Crane Research Institute, a non-profit association is registered with and recognized by the Australian Government Department of Fair Trading.
Both “THE MARSTA” and “White Crane Research Institute” were created by Shifu Ron Goninanand are thus headed, controlled and maintained by him.
There is an executive Committee and this consists of:
Ron Goninan – Chairman
Maurice Cenzato – Vice Chair
Debbie Goninan - Secretary
Debbie Goninan – Treasurer
Ian Cochrane - Representative
Nhan Van Tran - Representative
Joshu Lowe - Representative
Up-to-date copies of Ron Goninan’s
i) insurance certificate
ii) Accreditation
iii) Child Protection Policy
iv) Constitution
are available for inspection by all those that feel the need to see them.
Also kept on-site are Ron Goninan's credentials – certificates of accomplishment and other proof of professionalism (from various national and international bodies).
At “THE MARSTA” you can learn:
White Crane Gongfu
Chinese Weapons
Taijiquan (Tai Chi)
Energy Healing Arts
Monday, July 5, 2010
Sunday, July 4, 2010
Fighting: The Last Resort
If there is one aspect or specific area that I am trying to improve upon and impart to our members and students then it would be the philosophical side of our White Crane Boxing or Gongfu.
I personally feel that there are a plethora of systems “out there” that are only concerned with the concept of winning or worse yet, ‘kill, kill, kill” at all cost type of martial arts. Such approaches fail to take into consideration the Moral, ethical and yes legal circumstances of defending oneself from possible attack.
They teach to strike first and to go for the throat, no mercy, keep on going until the opponent can no longer stand, continue or live, Kick “em” while their down and don’t stop until they are severely injured or dead!
What message do these arts give to their members or to society at large? Is this the right message to be imparting? Many in society and yes our communities see violence as something glamorous and empowering. Its in our media and on our streets everyday. But should it be this way. Glorifying violence is not the way forward and winning over another often for the sake of the self-ego means that there is something fundamentally wrong within such a individual as a person.
A real fight is a terrifying thing, based on behavior. As humans, we all interact and react sadly most on a violent level. Real fights are behaviorally driven and behavior is learned and therefore can be changed.
Pre-emption strikes can be used when a threat arises but are not always the best path to go down. De-escalation of the situation through verbal and body actions should be encouraged before going down a path which is often hard to return from.
Ethically, morally and legally Its more advantageous to de-escalate a confrontation and avoid fighting if at all possible. Applying no attempt to defuse the possibility of a violent situation will raise the person’s guard, make him/her prepare themselves for a fight on a physiological level that may lead to and act of violence. Nd even if you win such a confrontation what have you really won? What about retribution against you or worse, your family?
It just may be that the person has had a bad day and who out of us hasn’t had one? There is enough darkness and despair in this world without us within the martial arts contributing to it.
What worries me is the trend towards fighting for glory, ego and trophies. What I am seeing is a ever increasing group of angry people (young and old) walking around, some with weapons just waiting to get into a fight to satisfy their own short-comings as people, ready to lash out at anyone who approaches them or who in their minds has done something towards their egos. This is a very, very unhealthy and dangerous attitude to instill in people.
This is what the true martial arts are against. Such a bad attitude and loss of personal self-belief flies in the face of what the martial arts are truly all about. The arts should instill confidence and provide the person with the tools to avoid violence at all costs. They should plant the seed of personal self-growth within the individual that they can then take with them through life. This then is what our White Crane Martial Arts hopes to do for those who choose to study it. Making good people, better is our aim.
I personally feel that there are a plethora of systems “out there” that are only concerned with the concept of winning or worse yet, ‘kill, kill, kill” at all cost type of martial arts. Such approaches fail to take into consideration the Moral, ethical and yes legal circumstances of defending oneself from possible attack.
They teach to strike first and to go for the throat, no mercy, keep on going until the opponent can no longer stand, continue or live, Kick “em” while their down and don’t stop until they are severely injured or dead!
What message do these arts give to their members or to society at large? Is this the right message to be imparting? Many in society and yes our communities see violence as something glamorous and empowering. Its in our media and on our streets everyday. But should it be this way. Glorifying violence is not the way forward and winning over another often for the sake of the self-ego means that there is something fundamentally wrong within such a individual as a person.
A real fight is a terrifying thing, based on behavior. As humans, we all interact and react sadly most on a violent level. Real fights are behaviorally driven and behavior is learned and therefore can be changed.
Pre-emption strikes can be used when a threat arises but are not always the best path to go down. De-escalation of the situation through verbal and body actions should be encouraged before going down a path which is often hard to return from.
Ethically, morally and legally Its more advantageous to de-escalate a confrontation and avoid fighting if at all possible. Applying no attempt to defuse the possibility of a violent situation will raise the person’s guard, make him/her prepare themselves for a fight on a physiological level that may lead to and act of violence. Nd even if you win such a confrontation what have you really won? What about retribution against you or worse, your family?
It just may be that the person has had a bad day and who out of us hasn’t had one? There is enough darkness and despair in this world without us within the martial arts contributing to it.
What worries me is the trend towards fighting for glory, ego and trophies. What I am seeing is a ever increasing group of angry people (young and old) walking around, some with weapons just waiting to get into a fight to satisfy their own short-comings as people, ready to lash out at anyone who approaches them or who in their minds has done something towards their egos. This is a very, very unhealthy and dangerous attitude to instill in people.
This is what the true martial arts are against. Such a bad attitude and loss of personal self-belief flies in the face of what the martial arts are truly all about. The arts should instill confidence and provide the person with the tools to avoid violence at all costs. They should plant the seed of personal self-growth within the individual that they can then take with them through life. This then is what our White Crane Martial Arts hopes to do for those who choose to study it. Making good people, better is our aim.
Friday, May 14, 2010
Needle through Brick Documentary
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/
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/
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.
Monday, March 15, 2010
Our Link to China
The WCRI White Crane has been accepted and validated by the YongChun YiYun Wushu Society. It’s aim along with that of the WCRI is to look at ALL White Crane Boxing as part of its rich martial arts heritage. It is a White Crane propagation/research society that gives recognition to our on-going research.
The White Crane style taught by Ron Goninan is based on that of Fujian province. Although our School is worldwide, our links back to China are strong. YongChun White Crane Kung Fu is the only White Crane style to have its origins in the Southern Shaolin temple. Our Chief Instructor Shifu Ron Goninan has been officially commissioned by the Fujian YongChun YiYun Wushu Society (China) to disseminate White Crane in Australia. The White Crane Research Institute is now accepted as original and from the same lineage by YongChun White Crane Wushu.
The White Crane style taught by Ron Goninan is based on that of Fujian province. Although our School is worldwide, our links back to China are strong. YongChun White Crane Kung Fu is the only White Crane style to have its origins in the Southern Shaolin temple. Our Chief Instructor Shifu Ron Goninan has been officially commissioned by the Fujian YongChun YiYun Wushu Society (China) to disseminate White Crane in Australia. The White Crane Research Institute is now accepted as original and from the same lineage by YongChun White Crane Wushu.
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