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2018 FISU World University Championships US Wushu Team The Tiger Claw Foundation Foundation supported the 2018 FISU World World University Championships Championships US Wushu Wushu Team T eam on August 1-5, 2018 at the 2018 FISU FISU World World University Championships in Macao, China. The 2018 FISU World University University Championships US Wushu Team: Dominic Chow, Chow, Lucy Lee, Lee, Samantha Lin, Jason Zou; Sanda: Audrey Meeks, Vincent Meng, Bruce Wang. Team T eam Leader: Bryant Fong. Fong. Co-T Co-Team Leader: Jonny Oh. Oh. Coaches: Ian Lee, Lee, Eugene Moy. Moy. In cooperation with the National Chinese Wushu Association of America, usateam.org, usawkf.com, ucmap.org, TigerClaw.com and KungFuMagazine.com. For more information, see page 10.

L-R: Front row: Dominic Chow, Audrey Meeks, Samantha Lin, Lucy Lee and Jonny Oh. Back row: Bryant Fong, Vincent Meng, Jason Zou, Bruce Wang, Matt Wong, Eugene Moy and Ian Lee

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PUBLISHER’S CORNER Publisher Emeritus Gigi Oh Publisher Gene Ching Editorial Board Gigi Oh Gene Ching Senior Designer Patrick Lugo Graphic Designers Kevin Ho Chen Xinghua Copy Editor Gary Shockley Lori Ann White KungFuMagazine.com Web Master Jake Hsen Matthew Ng Staff Reporter Emilio Alpanseque Tiger Claw President Jonathan Oh Feng Shui Master Wilson Sun Videographer Jason Chang General Manager Randy Liu Administration President Thomas J. Oh Advertising 1-800-628-6552 Advertising Director Gigi Oh (ext.141) Advertising Manager Gene Ching (ext. 137) Advertising Accounts Joan Chen (ext. 108)

I

have always cherished the diversity within the martial arts world. world. We have readers readers from all walks of life - young and old, women and men, rich and poor, educated and illiterate...well, illiterate...we ll, maybe not completely illiterate because after all, magazines are meant to be read. We get all sides of the political spectrum spectrum too Democrats and Republicans, right and left, capitalist and communist, patriots and rebels, majorities and oh so many minorities. Given the influence of Kung Fu Tai Chi and and KungFuMagazine.com upon my own personal social media, this martial diversity exposes me to a constant stream of antagonistic political rants, especially on my facebook feed. It’s disconcerting, disconcerting, but I take some solace in the fact that the bulk of the flame wars seem to have migrated there and away from our KungFuMagazine.com discussion forums. The vitriol of web trolling is so dishonorable. As we submitted this issue to print, the U.S. midterm elections were looming and far be it from me to predict the outcomes as I write this now. I’ve never seen our country more polarized and so emotionally raw. By the time this reaches newsstands, the results will be in and maybe things things will have settled down. Maybe not. Whatever the case may be, I hope the martial world stays unified. We’ve been divided before. Martial artists intrinsically like to fight and there have been so many feuds: Shaolin versus Wudang, Internal versus External, clan versus clan. Recently there was even an absurd challenge between MMA and Tai Chi as tone deaf as that seems on both sides. Above all, I trust we can all remain civil, no matter which side we might be on. Martial etiquette demands this. It’s why we bow so much. much. As a general rule, our publications take an apolitical stance. This is partly to appease that martial diversity and partly because it’s not really our place. Covering the vastness of Chinese martial arts already has our magazine and website brimming with content and there’s still so much work to do there – so much to discover, research and share – that it usurps all of our attention. But we do not exist in a vacuum. The The threat of a trade war with China has already hurt our magazine. Nowadays, print publishing publishing is like the death

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L-R: Gene Ching, Kurtis Mitchell Fujita, Tony Wong, Gigi Oh, Y.C. Wong Y.C. Wong,, Ray Ray Won Wong, g, Les Won Wongg and and Patr Patrick ick Lug Lugoo

of a thousand cuts, and we’re already hundreds of cuts deep so even the smallest cuts feel like cut to the bone. So despite this period of disunity, I hope that you will continue to support our magazine. Every little bit helps. Of course, picking us up on the newsstand or subscribing is crucial. So is telling your friends. friends. As the holidays approach, subscriptions make great gifts. Also, please support us on social media. We’re on Facebook, Twitter, YouTube, even MySpace, and we just launched an Instagram site. Please like us, follow us, subscribe to our channel, and share what you like so it might go viral. As long as you support support us, we will continue to bring you the best that Chinese martial arts has to offer. You have our gratitude. Gene Ching

Publisher, Kung Fu Tai Chi & & KungFuMagazine.com P.S. Also be sure to tune into my other job as a Weapons Expert on Man at Arms: Art of War on on El Rey Network. For more, see page 34. Correction: On page 95 of our FALL 2018 issue, it was stated that Xiao Yijing demonstrated Sun Style on our YouTube channel. It Taijiquan Small Frame on was actually his student Zhu Zhihua.

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Tel: (201) 634-7400 Fax: (201) 634-7493 Kung Fu Tai Chi Winter Winter 2018/2019 (ISSN 1050-2173 - formerly Kungfu Qigong ) is published quarterly by TC Media International, Inc., 40748

Encyclopedia Cir. Fremont CA 94538. All rights reserved. Contents copyright 2019 TC Media International, Inc. Nothing may be reproduced in part or whole without written permission from the publisher. Printed in the USA. Periodicals Postage paid at Fremont CA 94536 Second Class postage pending. letters, manuscr manuscripts ipts and corres correspondence pondence will be treated as uncondit unconditionally ionally assigne assignedd for for publicati publication on FREE-LANCE SUBMISSION: All rights in letters, and copyright and subject to editorial revision. Send to the address below. For submission guidelines, All Correspondence & see our official website at www.KungFuMagazine.com Article Submissions DISCLAIMER: We, TC Media International Inc., as publisher, make no endorsements, represen tations, 40748 Encyclopedia Circle guarantees or warranties concerning the exercises and/or legalities of the products and services advertised herein. We expressly disclaim any and all liability from or relating to the manufacture, Fremont, CA 94538 U.S.A. distribution, sale, use or misuse, or any other act of any party in regard to such products and Tel: (510) 656-5100 services. The publication is distributed on an international basis. Some products may be illegal in Fax: (510) 656-8844 some areas. Check your Federal, State and Local Laws. We make no representations or warranties [email protected] concerning the legalities or purchase or use of advertised products or services herein.

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2018 WildAid Tiger Claw Champion Lei Fan

WINTER 2019 KUNG FU  TAI CHI 5

Cover Story

40

The Steady Stead y Bridge of Y.C. Wong By Kurtis Fujita

Features 40

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22 28

Helping the Homeless Find a Balance with Tai Chi

34 52 58

Man at Arms: Arms: Art of War Season Season 2

70

Challenges in Preserving Traditions in Modern Times

78 84

The Many Forms of Five Ancestors Fist

90

Going Around in Circles

By Lori Ann White

The Punching Power of Chinese Wushu & Other Disciplines By Emilio Alpanseque

By Gene Ching

Hong Quan The Red-Style Boxing From Shaanxi and Gansu Provinces By Lucas Christopoulos

Southern Style Adaptations of the 5 Shaolin Animals Motif By Williy Pang

Lessons learned from a multi-year martial arts training program By Michelle Lin

By Sifu Daniel Kun

Kung Fu, Fencing and Bruce Lee’s Jeet Kune Do By Gene Ching

Traditional Rope Dart By Amante P. Mariñas I

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Tournaments - Events - News

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The 7th World Junior Wushu Championships

By Jonny Oh

Chen Zhenglei Tai Chi Symposium in Chen Village By Viola Brumbaugh and Rusel DeMaria

By Benny Meng

2018 Northern California Chinese CultureAthletes Federation Kung Fu Invitational and Eagle Cup International Wushu Tai Chi Championship By Gigi Oh with Sue Woo

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Grandmaster Ji Chunhua 1961–2018 By Emilio Alpanseque

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DEPARTMENTS

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CLAW MARKS

By Jonny Oh

T

hopefully impressing them enough to see a future Wushu in these games.

he 1st World University Wushu Championships, held August 2–5, Tiger Claw was 2018, in Macau, was asked to partner the first of its kind. The with United hosting organization was States Wushu the International University Kungfu Federation Sports Federation (FISU), (USAWKF) as a which hosted the 29th Summer sponsor to bring Universaide held last summer in the USA team Taipei, Taiwan. The Summer Summer Macau. I was was Universaide is second only to the to Macau. summer internships; others were asked to be a co-team Olympics in terms of size scale, taking summer summer classes. We even even leader, along with Sifu Bryant so having Wushu included in had an athlete just graduate high Fong. Coaches Ian Lee and its Games Games is tremendous. Last school and was anxious to take Eugene Moy rounded out our year Wushu made its debut debut in her first day of college. Even officials for Team USA. Taolu the games and this year they with all the hectic schedules we (forms ) athletes Samantha held their own championships Lin, Jason Zou, Dominic Chow, were able to come together and (a requirement for sports in nonhave a great trip and put in some and Lucy Lee combined with Unverisaide years). Twentysolid results. Sanda (sparring (sparring ) athletes five countries and a total of Bruce Wang, Vincent Meng, and 104 athletes participated in Audrey Meeks to make Team Team the championships this year Competition was split between USA. All athletes are university university morning and afternoon sessions. in Macau. Representatives students as required by FISU to from the International Wushu Morning was Taolu and and participate in the championships. afternoon was Sanda . The hotel Federation (IWUF) and FISU were on hand to watch the event, Some were in the midst of was a short 10-minute walk away, but with the heat and humidity of the area, it was so nice that the organizers set up buses for us. Team USA was great about cheering each other on, making a point of seeing each compete as much as possible. We arrived a few days early to acclimate the athletes to the time and weather. In the end, athletes posted very respectable results and Lucy Lee took home two bronze medals, in Nandao (southern sword ) and Nanquan (southern (southern fist ). The future of Wushu within FISU is a little murky at best. Last year, Wushu was chosen 10 KUNG FU  TAI CHI WINTER 2019

as an alternate sport in Taiwan. The hosting country is able to pick a few sports to add into the games. The way an alternate sport can become permanent is if it becomes an Olympic sport or is selected as an alternate sport 3 consecutive times. Italy hosts the next Universaide Games, and while the sports have not been finalized as this went print, it is not likely that Wushu will be picked. Being a Universaide sport last year meant that Wushu was allowed to host their own specific sport championship on a Universaide Universaide off year. If it is not chosen as an alternate sport for next year, Wushu would be outside looking in. Another way way Wushu could still find a way into the games, however, is if it

Along with the actual competition, I will remember late nights with the team, eating around the city, and walking the hot muggy streets looking for an excuse to get into an air conditioned building. is rolled into “combat sports.” Rumor has it that Wushu could be included with other “combat sports” to make it more inclusive and get a larger exposure for multiple martial arts sports. It remains a possibility that Wushu could still have a place in these Games; however, its chances are not looking great. This cannot take away from the experience of these athletes and coaches coaches though. Being able to travel to foreign places, see other Wushu athletes/friends from around the country, and experience a new culture is such a great opportunity. I personally had never been to Macau, and

was able to use this “business” trip to make friends and see a city I had never never been to before. Along with the actual competition, I will remember late nights with the team, eating around the city, and walking the hot muggy streets looking for an excuse to get into an air conditioned building. Congrats to Team Team USA. You guys trained hard for the opportunity and you all represented our country well! Jonny Oh is the President of Tiger Claw. is published under TC Kung Fu Tai Chi is Media International, a division of Tiger Claw. For more information information on Tiger Claw Martial Arts products, services and activities, visit TigerClaw.com


WEB FU http://www.kungfumagazine. http://www.k ungfumagazine.com/forum/showthread.ph com/forum/showthread.php?59403 p?59403

Kung Fu Bullfighters Bullfighting is a Kung Fu training method practiced by the Hui (Chinese Muslims) in Jiaxing, Zhejiang Province that allegedly dates back to the Song Dynasty (960-1279). Called guanniu ( ( ), the bull is not killed like like in Spanish bullfighting. It is wrestled to the ground akin to Steer Wrestling (Bulldogging) in American Rodeo. The main distinction is that instead of having two mounted cowboys run the bull down so one can jump on it, the Kung Fu practitioner

wrestles alone the bull from the ground. The notion of a martial arts master fighting a bull evokes Grandmaster Mas Oyama, the founder of Kyokushin Karate, who knocked bulls out in demonstrations. Guanniu was was revitalized by Han Haihua when he gave a demonstration at the 1982 National Games in China. It has become a spectator sport and is seeking government funding, but has drawn criticism from the Humane Society International.

http://www.kungfumagazine.com/forum/showthread.php?70795

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Photo Courtesy of the Shaolin Temple ©

Shaolin Temple Raises the Flag On August 27 2018, Shaolin Temple raised the flag of the People’s Republic of China in a high-profile ceremony attended by Shaolin Temple’s Abbot and Vice-President of the Buddhist Associ Ass oci ati on of Chi China, na, Ven Venera era ble Shi Yon Yongxi gxin. n. In the pre previo vious us month, the United Front Work Department, which oversees China’s five officially sanctioned religions - Buddhism, Catholicism, Islam, Protestantism and Taoism - held a conference in Beijing where it called upon all religious venues to raise the flag. The Chinese Communist Party espouses atheism.

http://www.kungfumagazine.com/forum/showthread.php?67255-Jade-Egg&p=1310405#post1310405

Gwyneth Paltrow’s Goop Busted for Jade Egg Claims Oscar-winning actress Gwyneth Paltrow oversees a popular lifestyle company called ‘goop’ that promotes many health-oriented trends. Goop, which comes from Paltrow’s initials with an added ‘oo’ because she was told successful web companies have ‘oo’ in their names, is valued at over $250 million. In early September, goop was ordered to pay $145,000 over Jade Eggs. Jade Egg ( fei cui luan  )) is Daoist qigong practice for women that involves inserting an egg-shaped stone into the vagina. A task force of California district attorneys found goop’s advertising claims that the product could regulate menstruation, enhance sexual energy, increase bladder control and balance hormones to be false and ordered the settlement. Beyond the fine, goop agreed to refund money to any Jade Egg customers and retract all such advertising claims.

http://www.kungfumagazine.com/forum/showthread.php?68201-Winter-Olympics-2022&p=1309655#post1309655

Shaolin Students and the 2020 Winter Olympics in Beijing

Representational image. © Reuters

Despite securing the host role for the 2020 Olympics, China doesn’t excel in Winter sports, so it is looking to Shaolin for fresh talent. Some 125 teenage students from the Kung Fu schools surrounding Shaolin Temple have been culled to train in winter Olympic sports in preparation in a program of ‘cross-discipline candidate selection.’ The General Administration of Sport has already recruited over 600 students from Shaolin’s Henan province for the intensive training program.


Gwyneth Paltrow Photographer: Neilson Barnard/Getty Images

 Exclusive articles on KungFuMagazine.com during August to Mid-October 2018

Exclusive Articles On KungFuMagazine.com During August to Mid-October 2018 VEN OM: Not Fiv e, Jus t A Dea dly One . by Patrick Lugo

MAN AT ARMS: ART OF WAR –

Season 2: The Master Craftsmen

by Gene Ching

Greg Lynch Jr. on THE LAST CAPTAIN by Gene Ching

Jow Ga Returns Home by Will Bailey

4 Martial Arts Themed Bars Around the World to Visit by Monica Mizzi

2018 TCEKFMCX Part 2 by Gene Ching

2018 TCEKFMCX by Gene Ching

Grandmaster Ji Chunhua 1961–2018 by Gigi Oh with Gene Ching

Prizes awarded from the KungFuMagazine.com Online Sweepstakes Sweepstakes during August to Mid-October 2018. No purchase necessary to enter. Five winners are awarded for each sweepstakes.

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Chen Tai Chi for Beginners DVD, DVD, Autographed by Chenhan Yang

Martial Structure , Autographed by Phillip Starr

The Dao De Jing: A Qigong Interpretation by Dr. Yang, Jwing-Ming

The Book of Samurai: Samurai Arms, Armour & the Tactics of Warfare by Antony Cummins


Ch e n Zh e ngl ei Tai Ch i Sy mposi osium iu m i n Ch en Vill age By Viola Brumbaugh and Rusel DeMaria

B

etween June 27 and July 5, 2018, the 5th Annual Chen Zhenglei Tai Chi Symposium and 20th A nnual International Tai Chi Advanced Workshop, and the 8th Annual Chenjiagou Tai Chi Kung Fu Elite Tournament, took place in Chenjiagou, Wenxian County, Henan Pr ovince, China—birthplace of Tai Chi and of Grandmaster Chen Zhenglei. The event was expanded expanded to include include a lavish celebration of the grandmaster’s grandmaster’s 70th birthday. An estimated 2500 people attended throughout the week to celebrate, compete, test, and train. People came from Mexico, Peru, Spain, Iran, France, Germany, Canada, USA, S ingapore, Great Britain, as well as all over China.

June 28 was the first full day. Anticipating a very hot day, the first events began early, starting with the Ceremony to Honor the Ancestors at the Chenjiagou Temple, followed just down the street by the unveiling of the brand new Tai Chi Academy and Exhibition Hall featuring a calligraphy calligraphy exhibition and a showcase showcase of Chen Zhenglei’s Zhenglei’s life (both ( both remained open throughout the symposium and tr aining) aining).. Everyone then gathered in front of the competition hall to take a group photo of all participants. Soon after, there was the opening opening ceremony ceremony of the Symposium Symposium and the Tai Chi Kung Fu Elite Tournament, which included the “Charm of Tai Chi Showcase” with performances by many students and masters from many different styles and arts.

Chenjiagou Tai Chi Kung Fu Elite Tournement.

The competition and symposium continued through the following day, which included lectures by the Grandmaster and the Mayor of Jiaozuo City and performances by local and foreign disciples of Grandmaster Chen Zhenglei. In their free time, participants were able to enjoy the growing village of Chenjiagou Chenjiagou where everything is about Tai Chi—many shops with uniforms, art, carvings, and, of course, weapons. There is also the Tai Chi Museum Museum and Temple. Temple. June 30 was a busy day, with over 200 students pledging as disciples to Grandmaster Chen Zhenglei. Zhenglei. Following the Disciple Disciple Ceremony was the closing

14 WINTER2019 2019 TAI 14KUNG KUNGFU FU TAICHI CHI WINTER

Chen Zhenglei at his 70 th Birthday celebration in recognition of a life of Tai Chi promotion.

ceremony for the competition and symposium, which included a well-produced showcase of Grandmaster’s life along with a banquet and awards ceremony to honor the many distinguished officials and contributors to Chen Tai Chi. On July 1 the four days of training began, offering eleven different classes to choose from. Students could choose from among the following: a disciples-only class covering all the empty hand forms and push hands review, beginner’s classes, progressive classes in Old Frame and New Frame, Push Hands Fundamentals and Combat, Single Straight Sword, Single and Double Saber, Spring and Autumn Halberd, as well as a youth class. That same evening a Wushu ranking Duanwei exam exam took place. The training continued for the next three days, ending on the evening of July 3 with an instr uctor certification exam for the Chen Zhenglei Tai Chi System. On July 4 the training and week’s activities came to a dynamic close with an evening Gala Celebration and Dinner featuring performances by instructors and students. Viola Brumbaugh is the owner and Head Instructor of Wise Orchid Taijiquan & Qigong in Seattle, WA 206-321-0613 https://wiseorchid.com. Her partner Rusel DeMaria DeMaria is an Assistant Instructor there. Both are disciples of Grandmaster Chen Zhenglei.

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The 7 t h World Junior Wushu Championships By Benny Meng

T

he 7th World Junior Wushu Championships was held July 9 to 16, 2018, in Brasilia, the capital city of Brazil. Brazil. Marking the first time this biennial biennial event has been held in the Americas, it was very well received. The event opened with a special welcoming ceremony featuring speeches by Mr. Marcus Alves, President of the Brazilian Wushu Confederation; Mr. Leandro Cruz, Sport Minister of Brazil; and Mr. Daniel Dionisio Madeira, President of Brasilia Wushu Federation. “It was clear how much these championships meant to our Brazilian hosts,” said Eugene Moy, USA Taolu Coach. Coach. “Their dedication and tireless work left a lasting impression on us. In return I hope we, the participants of the 7th World Junior Wushu Wushu Championships, Championship s, have done our part to show the Brazilian public a good and lasting impression of Wushu.” The World Junior Wushu Championships takes place biennially and is the official pinnacle junior championships of the IWuF, featuring its highest competitive level amongst its junior athletes. The Brazilian Wushu Confederation Confederation was responsible for the organization of the 7th WJWC under the auspices of the IWuF, located at the Nilson Nelson Gymnasium. Gymnasium. A total of 368 athletes from 39 countries countries registered to participate – 228 for Taolu (forms) (forms) and 140 for Sanda (fighting). (fighting). Heavy emphasis emphasis was placed on the spirit of fair play for judges, officials, and athletes. Over 200 volunteers helped to assure the events ran smoothly. US Junior Team New for 2018 was the Sanda Children’s Division for athletes ages 12–14 to bridge the gap for younger athletes and allow them more chances for development at the international and world title level of competition. Previously, junior Sanda athletes would only have 1 to 2 opportunities to compete in the Junior World Championship Championshipss before moving to the senior level, ages 18 18 to 40. “The level of skill in Sanda was uneven,” observed U.S. Sanda Coach Coach Yi-Yuan Lee. “The US athletes are amateurs amateurs who are self-supported while competitors from some other countries had the support of their government. Amateur athletes simply cannot cannot compare to professional professional athletes in terms of training opportunities, sparring partners, partners, and training environment. The US team is looking to increase their resources for the US youth athletes for the 2020 competition.” 2018 represented the largest medal count in U.S. history for this this event. The results achieved achieved in Brasilia far surpassed surpassed previous previous results. The team earned a total of 8 Gold, 4 Silver, and 4 Bronze medals for a total of 16 medals. By comparison, in 2012 the team earned 4 Gold medals and in 2014 the team earned a total of 10 medals. For additional context, context, US junior junior athletes won as many golds (8) at t he 7th WJWC this year as they had at the past three World Junior Wushu Championships combined combined – 4 in 2012, 3 in 2014, 2014, and 1 in 2016. These athletes should be commended for taking full advantage of the opportunity presented to them. 


USA Medal Count Gold 8: Alex Ni – Boy’s Changquan A, A, Boy’s Jianshu A; A; Margaret Xi – Girl’s B; Lucas Dong – Boy’s Changquan B; C; Mia Tian – Girl’s Daoshu A; A; Gunshu C; Judy Liu – Girl’s Taijijian B; B; Lucas Dong – Boy’s Changquan C; C; Elena Chow – Girl’s Daoshu C C Silver 4: Alex Ni – Boy’s Qiangshu A; Tristan Kooc – Boy’s Qiangshu C; C; Margaret Xi – Girl’s Gunshu B; B; Jocelyn Gu – Girl’s Jianshu C C Bronze 4: Mia Tian – Girl’s Changquan A; Judy Liu – Girl’s Taijiquan B; B; Evan Xu – Boy’s Qiangshu B; B; Spencer Meng – Boys 45kg Sanda Boys

USA Sanda Fight Team Group Photo L-R back – Edgar Ruiz, Carl Hyden, H yden, Yi-Yuan Lee L-R front – Rodrigo Ramos, Evan Monte, Spencer Meng, Michael Branam

USA Team Members Group A (born 2000–2002): Daniel Hu, Taolu Group NJ; Alex Ni, NJ; Catherine Luo, IL; Mia Tian, MD Group B (born 2003–2005): Alex Cao, Taolu Group IL; Evan Xu, VA; Margaret Xi, CA; Judy Liu, CA Group C (born 2006–2011): Lucas Taolu Group Dong, CA; Tristan Kooc, VA; Elena Chow, CA; Jocelyn Gu, MD Junior Sanda (born (born 2001–2003): Michael Branam, TX; Evan Monte, TX Children Sanda (born (born 2004–2005): Spencer Meng, OH; Rodrigo Ramos, TX Team Leader: Bangjun Jiang, VA; Taolu Team Coach: Eugene Moy, VA; Coach: Stephanie Lim, CA; Judge: Jie Gao Chow, CA Team Leader: Carl Hyden, MD; Coach: Sanda Team Yi-Yuan Lee, TX; Judge: Yang Pan, AZ

By Gigi Oh with Sue Woo

IN

2018, the longstanding San Francisco Bay Area annual Northern California Chinese Culture-Athletes Federation (NCCCAF) tournament joined forces with Grandmaster Lily Lau’s Eagle Claw Cup. Cup. The tournament was held held on August 11 at James Logan High School School in Union City, California. In his welcoming speech, Master Ben Zhang, Director of the Wushu for the NCCCAF, said, “As the ‘soul’ of Chinese traditional culture, Kung Fu has become one of the most important cultural bridges, connecting people from countries across the world.” Grandmaster Lily Lau reciprocated in her welcoming speech, saying, “Si nce 2009, the NCCCAF has been hosting this tournament to promote Chinese martial arts and culture. This provides a perfect chance for all Chinese martial artists from around the world to compete, share knowledge, meet old friends and make new friends. There is a Chinese saying, ‘Use your martial arts to meet new friends.’ I believe this gathering is a great opportunity for us to apply these words. The Chinese Government has announced the importance of promoting both modern Wushu and traditional martial arts together. They are now warning their students not to forget the traditional spirit of Chinese martial arts when practicing modern Wushu. Therefore, I believe that we, as traditional martial artists, need to unite in order to preserve and grow the thousand-

year tradition of Chinese martial arts for the next generation.“ The NCCCAF portion had two divisions: Modern Wushu overseen by Master Ben Zhang and Tai Chi overseen by Master Master Jeff Lin. Zhang and Lin are both Deputy Executives for the NCCCAF. The Eagle Claw Cup espouses traditional Kung Fu. Fu. The Wushu division had 300+ competitors from nearly 30 schools. Tai Chi had nearly nearly 70 competitors from 10 clubs and there were around 150 traditional competitors. This was larger than expected so the floor was very crowded. Lin said that next year he plans to separate the Tai Chi division for an independent competition on a different day than the external divisions. The competition was sponsored by Tiger Claw and the California University of Traditional Chinese Chinese Medicine. Serving as Chief Referee was Jia Shusen. 18 KUNG FU  TAI CHI WINTER 2019

Among the VIP attendees were Deputy Consul General Cha Liyou from the Consulate General of the People’s Republic of China and several esteemed masters from out of state including Grandmasters Li Zhiwei of Canada and Tai Yim of Washington DC, and Sifu Tommy Quan Quan from Houston, Texas. Californian grandmasters and masters included Bryant Fong, Benson Lee, Michael Lau, Bill Lee, Derrick Lok Sang Lee, Elmond Leung, Wayne Peng, Daniel Tomizaki, Y. C. Wong, Dr. James Yu, and Zhao Qingjian.  For more information, visit www.nccaf.org and www.laufatmangeagleclaw.com.

Demonstrations (in order of appearance): Lion dancing from the SF Yau Kung Moon Kung Fu School Beijing Tsinghua Primary School Wushu Team Lily Lau Eagle Claw School: Students from USA, Canada and Brazil Sifu Elmond Leung: Wing Tsun (Yip Man lineage) Sifu Richard Ow and Yau Kung Moon Kung Fu School: Ryan Woo, Brandon Wong, Rebecca Lee & Matthew Wong Sifu Daniel Tomizaki: Hung Sing Choi Lee Fut Sifu Benson Lee: Eagle Claw (disciple of Sum Leung) Sifu Tommy Quan: Southern Praying Mantis (disciple of Grandmaster Henry Poo Yee) Sifu Bryant Fong: Chen Taijiquan – Sanshou Pao Sifu Lester Wong: Hung Gar (disciple of Grandmaster Y.C. Wong) Grandmaster Tai Yim’s student: Hung Fut Kung Fu Grandmaster Y.C. Wong: Hung Gar Tiger Crane

The 10th Annual Tiger Claw WildAid Championship will be held on May 18-19 2019 in San Jose, CA.


Grandmaster Ji Chunhua 1961–2018

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randmaster Ji Chunhua (September+October 2015 cover master ), the Chinese Wushu expert and action movie star who lent his superb fighting skills and severe presence to a gallery of onscreen villains, died in Hangzhou on July 11, 2018. He was 57. His former Wushu coach Chen Shun’an ( ) confirmed that he died of a lung cancer diagnosed just three months in advance. According to Chen, being such a strong man who suffered and recovered from many injuries, Ji probably did not spare the time to check his health until his condition became very painful. painful. During his career, career, Ji worked on tirelessly and became a familiar villain figure in the Chinese film and television industry for over three decades. Without a doubt, both his personal and professional legacy is one for the record books.

Grandmaster Ji Chunhua, also known as Tu Ying (Bald Eagle ), was one of those Chinese martial arts experts with great command of both Taolu u (routines ) and Sanda a (full (full contact sparring ), and who later in life became an actor almost by accident. Ji started learning martial arts at the age of nine from a friend of his family, Coach Wang Xinde ( ), who had connections with the Hangzhou Amateur Wushu School where Ji became became a member. After a few years, Ji was enrolled in the Zhejiang Province professional team, under the supervision of legendary coaches Chen Shun’an and Peng Liangming ( ), both of whom are today holders of the 9th Duanwei of Chinese Wushu. At the age of 18, Ji suffered from alopecia universalis (a condition causing hair loss from the scalp and body), which he may have contracted after an apparent Traditional Chinese Medicine malpractice. He became completely bald in an era where premature baldness was severely looked down upon, to the point that it affected his standing on the professional Wushu team. In fact, Ji was terminated and sent back home jobless in 1979. Waiting for a possible office position


By Emilio Alpanseque

for retired athletes – a long drawn-out process with no guarantees – Ji started practicing Sanda a with a group led by his first coach Wang Xinde, as a way to keep doing something related to Wushu. Note that Coach Coach Wang Wang is one of the several compilers of Sanda a in in Zhejiang, which at the time was being established. Ji’s athletic 5’10’’ frame and his Taolu Taolu foundation u foundation allowed him to become good at Sanda a very fast, and he might have participated in the first Sanda a national national competitions if it hadn’t been for a sudden change in fate. In 1980, movie director Zhang Xinyan ( ) was in China from Hong Kong recruiting talent for a movie project entitled Shaolin Temple e , which took him to the 10th National Wushu Invitational Tournament in Jinan. There he signed several Shandong province athletes including Yu Hai (Janu (January+Fe ary+February bruary 2007 cover master  ), Sun Jiankui (March+April 2014  ), and the late Yu Chenghui (July+August 2012 cover master  ). Director Zhang’s next stop was Hangzhou, where coaches Peng Liangm Liangming ing and Wang Xinde were in charge of holding a casting session. Coach Wang suggested Ji to join the other athletes, but he never thought it possible to be selected as an actor. Former teammates like Hu Jianqiang (October 1999 cover master  ) were strong candidates, but him? Being bald and all? Little did he know that Director Zhang would select him even without the initial casting session. It was a matter matter of yuanfen n ( ), a common term to refer to a predetermined encounter, relation or affinity.

Ji was only 19 years old when he played the vicious villain Bald Eagle in the blockbuster film Shaolin Temple . Released in 1982, it sparked his career, and established a precedent for using authentic Chinese Wushu athletes in movies. Ji’s cinematic identity could strike fear in the audience with his penetrating stare coupled with his tensed and menacing posture. Out of his roughly 75 screen credits in film and television between 1982 and 2018, less than a handful weren’t villains. His martial arts skills were always up to par, including stunts with and without wirework, having worked as an action choreographer choreograph er as well. Lastly, playing the villain often meant performing the most violent death scenes, which he felt were important to send a message to the audience that bad or immoral behavior has serious repercussions. Grandmaster Ji expressed a desire on several occasions to produce a documentary film about his life and movie career. Hopefully someone will fulfill his dream one day. His departure is indeed a huge loss to the wulin (martial arts community ).

Emilio Alpanseque currently teaches in El Cerrito, CA, and can be contacted through his website EastBayWushu. com. For a personal remembrance of Grandmaster Ji Chunhua from Kung Fu Tai Chi i Publisher Emeritus Gigi Oh, visit KungFuMagazine.com.

V i i s si i t t O u ur r U p pg r g r a ad e d ed d W e eb s b s i i t te e N o o w w! !

By Lori Ann White

days a week, homeless people in Salt Lake City, Utah, gather in Pioneer Park and in front of the city library library for coffee, burr itos, comradeship—and Tai Chi. The program is the brainchild of Bernie Hart, w ho is the first to admit he’s not a Tai Chi master. master. Nor a social worker. Nor a sociologist or substance substance abuse expert. Hart is an engineer and inventor, which really translates to problem solving. solving. And he first noticed the problem that he decided he wanted to solve when he learned how to ski. “I started late in life,” Hart says, “and through the skiing I learned to move. “I never felt like I wasn’t efficient.” In fact, he picked it up so he became a ski 22 KUNG FU  TAI CHI WINTER 2019

instructor, and he noticed something that most people would dismiss as just inherent human variation: not all of his students picked it up as easily as he had. Hart thought about that, and hit upon a question of balance. “Your brain knows when you’re out of balance,” he says. And being out of balance made his students students afraid. The fear made them respond, and, “all the responses we saw were responses to this th is fear.” Hart the ski instructor says his immediate response was simple. “What I had to do was give them tasks to help them learn to balance. And once the people could stay in balance, they could ski.” Hart the problem solver looked a little deeper.

“When I was doing this process of learning to move and balance, I connected it to motion and movement and our relationship to gravity,” he says. “Our whole body is set up to do that using our vestibular system and proprioception. Balance is our sixth sense. As living beings we move— that’s how we survive. “I figured that this was a huge deal.”

merica Homelessness in A merica hile no longer at the stratospheric levels it reached during the housing crisis, homelessness in America is still a problem that shows no sign of going away. away. In fact, 2017 showed the first increase in total levels of homelessness since 2010, with rising housing costs contributing to upticks in many of the usual culprits, such as Los Angeles, Oakland, Sacramento, Seattle, San Diego, Las Vegas, Vegas, New York, York, and Washington, D.C. According to 2017 data, more than half a million people in the US—17 out of every 10,000 10,000 Americans— A mericans—had had no home, and on any given night 35% of those people had no real shelter at all.

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This population includes the stereotypical members—the mentally ill, people suffering from addiction, veterans. But it also includes families, the underemployed and the working poor, women women and children fleeing from abuse. More than 40,000 of those half-million homeless were “unaccompanied youth”—people below the age of 25 trying to make their t heir way on the streets alone.

Hart began to dig a little deeper with his own ski students. “I asked students questions and realized re alized I could figure out how someone was going to be as a skier and how their t heir balance was going to be by how they problem-solve,” he says. “Plotters and plodders had poor balance, while ‘feet first’ people had good balance.” Hart began to wonder if a person’s sense of balance influenced more than just the way they walk. Hart wondered if he shouldn’t think of it the other way around. People with poor balance retreating to excessive planning in an attempt to gain a measure of control over their environment that gravity wouldn’t give them. People with good balance having the innate confidence to go after their goals. And people who had, for whatever reason, given up so much control—to drugs, to alcohol, to rage, to whatever demon stalked them—could they be helped by starting from the beginning beginning again? again? Mastering gravity? “I want to create an awareness that our relationship to gravity may have repercussions that we don’t grasp,” he says. “Maybe understanding understanding that relationship can be a major breakthrough.” Above Photo and Opposite Page: Tai Chi at the Salt Lake City library.

And while the overall rate of growth from 2017 is less than 1%, the percentages are higher in some troubling categories: the number of unsheltered homeless is up by 12% (the unsheltered homeless, as defined by the Department of Housing and Urban Development, are people whose primary nighttime location is a public or private place not designated for, or ordinarily used as, a regular sleeping accommodation for people—for example, the streets, vehicles, or parks).. The number of homeless veterans is up by 2%. parks) A second population that gets much less press but that is just as indicative of the true state of our economy is the people who must “double up. up.”” The people who crash with friends because they’ve just lost lo st their thei r apartment, stay with family because their mini minimum mum wage job doesn’t pay the rent on a place to live, move back in with their parents after school because they can’t find a decent decent job. In fact, there is no place in the US where someone working a (federal) minimum wage job can afford a one-bedroom apartment at fair market rental rates. Doubling-up is officially defined as two or more adults or families residing in the same housing unit, which has been an increasing trend in the United States in recent decades. Within the past 14 14 years, the number of households containing more than one family, related or unrelated, has more than tripled. And while one study on the effects of doubling-up on families showed that a number of participants considered the experience to be mostly positive, more than one-third of the study participants found the experience to be mostly negative, negative, sometimes extremely ext remely so, endured because they felt they had no other options. Note: All statistics regarding homelessness from the 2017 Annual Homeless Assessment Report (AHAR) to Congress, published by the Department of Housing and Urban Development. Information regarding “doubling-up” from Bush, H. and Shinn, M.: “Families’ Experiences of Doubling Up After Homelessness.” Cityscape. 2017; 19(3): 331–356. 


Hart wanted to try to “reboot the system,” system,” he says. “Go back to the source, the beginning.” Rebuild problem-solving skills by rebuilding rebuilding the relationship with gravity. Skiing had started him thinking, but skiing was obviously not the right method to try. Seasonal, equipment-intensive, expensive. expensive. He was looking for a year-round, low-cost activity that could be performed indoors or out, rain or shine—or, given Salt Lake City’s climate—snow. Tai Chi fit fit the bill. “Yoga doesn’t have have the motion,” Hart says. “In Tai Chi, it’s a constant flow. Balance is a fluid thing. Balance isn’t made made to test ourselves staying still.”

Marita, left, and Mary

“The Tai Chi is good exercise,” says Davis. Davis. “Otherwise, most of the people down there [at the park and the library], they wouldn’t have anything to do for exercise. And afterwards, people feel better. Relieves stress, and that’s a big factor.” Marita, right, Chris, center, and Mary on Rio Grande Street near the Road Home shelter

He learned the Yang-style long form from Master Cheng Tsang Lu in Salt Lake City and began to put his hypothesis to t he test. Hart’s first efforts were with with autistic children. “Did you know 75% of autistic kids have poor balance?” he asks. “After Tai Chi the kids could settle in much better—there were fewer off-task behaviors.” behaviors.” Hart, not a trained experimentalist himself, managed to get some help from the University of Utah. “I’m still working with the same teacher,” he says, “figuring out how to quantify the results, so we can definitely say how we impacted kids in the classroom.” Hart next decided to work with Salt Salt Lake City’s homeless. He’s very upfront with how he entices his groups groups to gather. “We pay people to come. Two dollars, a burrito, and a coffee. If you have something to help them, you have to get them there.” Subjects in medical research generally get stipends, Hart points out. “And this is is research.” The stipend, modest modest though it might be, seems to work. It attracted the program’s initial following—”about 70 70 people. More than we thought.” The stipend might bring people in, but does the Tai Chi help them? Fred Davis, a dancer and, at the time of the interview, sober three months, m onths, is one of the Tai Chi session leaders. Davis has prior training in several Chinese styles, including Shaolin, Five Animals, and Praying Mantis.

Davis says he got involved after he and a few friends walked past a session in progress and stayed to watch. Intrigued by what he saw saw and learned afterward, he decided to come back the next day. “Bernie, he told us about about it. We decided to try it one time and we liked it and we just kept going.” In addition to the social aspect, Davis says that, “During the rest of the day I feel like I have a lot better time with myself and other people. There’s a lot of depression in the homeless community. But after they do the class, it seems like they the y feel a lot better about themselves and about their environment.” Davis says he’s been in Salt Lake for about four years now, and he thinks he’d like to stick with the Tai Chi for a while. “It kinda touches the same place dancing did,” did,” he says. says. Something else Davis Davis appreciates: appreciates: Hart’s insistence on turning the program over to the homeless community, Continued on page 26


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Continued rom page 24:Tai Chi for the Homeless

which is how Davis got his position as session leader. “Bernie and [Hart’s wife] Marita are trying to give us a bit more responsibility and we like it.” The more scientifically inclined will note that Davis’ statement constitutes anecdotal evidence, not scientific proof. And if, as Hart Hart says, some of their participants are getting jobs and getting off the streets—including Fred Davis—that’s wonderful news, but still not the proof Hart seeks that reconciling with gravity is key to functioning in the world. After all, any lasting benefits from the Tai Chi sessions might not stem from the Tai Chi itself. It could come from piercing the social isolation— new friends found, new networks put into place. Participants may realize that if they can take responsibility for showing up, or even leading sessions, they’re capable of taking responsibility for other tasks. It could be the coffee and burritos.

The group outside the Salt Lake City police department.

helping. “I have a feeling that we probably have the largest program of this type in the world.” How does Hart see himself himself in all this? He sees many things he’s not. He’s not a Tai Chi master (though he is a very good skier.) skier.) He also doesn’t consider himself a teacher. “I expose people to different experiences,” experiences,” he says, “and if I expose people to the right experiences— for example, if someone stops by and watches the Tai Chi and is attracted to its slowness and gracefulness— they have the chance to learn from it.”

Hart knows this. He’s been working with sociologists sociologists at Salt Lake Community College to devise studies around the Tai Chi sessions to try to quantify their effects. He says a group of undergraduates There’s something else Hart Hart is not. “I’m not somebody from SLCC recently presented their findings at who wants to save the world,” he says. “I have no a conference, surprising the attendees with the credentials—I’m just a crazy old man who has an idea, relatively high level of education of most of the Tai that everything is somehow due to gravity. Flow and Chi practitioners. Instead of high-school high-school dropouts, motion and ease and all the animals and styles and and most have high school diplomas and some have college different ways of interacting in time and space and all educations. What that means, Hart Hart doesn’t know. It’s this is an effort to explore this idea.” just another data point right now. An eight-year study run through SLCC will gather more. A lot of wo rk fo forr an ide a, ev even en if it is an innovative idea that has spawned a non-profit In the meantime, Hart is currently negotiating with called Understanding Us, and programs c apable of the city to expand his program to suicidal teens. He helping some of the most neglected members of his has also managed to start a program teaching a limited community, with more on the way. number of homeless to ski. “These are problems that are not going away,” Hart says. “The rate of homelessness is not declining, mental health problems are not declining, jails are still full.” And for whatever reason, Hart’s Hart’s program is

For more information, visit Bernie Hart’s website www. understanding-us.org. understandingus.org. Lori Ann White is a copy editor for Kung Fu Tai Chi . She is also a freelance writer and a disciple of the late Grandmaster Kwong Wing Lam. Below: Bernie working with people at the library.


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By Emilio Alpanseque

hen asked about the difference between a Kung Fu punch and a Karate punch during a screen test in 1964, the legendary martial artists and movie star Bruce Lee replied, “Well, a Karate punch is like an iron iron bar – whack! A Kung Fu punch is like an iron chain with an iron ball attached to the end and it goes – whang! – and it hurts inside!”

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Many have and will continue to argue over which martial artist packs the hardest punch. Even in today’s world of Mixed Martial Arts (MMA), the question continues to be raised in discussions about the stand-up game of fighters and their respective fighting systems. In this article, we will explore the results of an academic research project conducted by experts from the Chinese Wushu Research Center of the Shanghai University of Sport, led by Professor Dr. Zhu Dong ( ), and aimed to scientifically compare the straight punch power forces between Chinese Wushu practitioners and those from other disciplines.

Definitions and Setups In an effort to understand the relationship between the forces involved when delivering a single straight

punch (also known as rear hand punch, cross or reverse punch), the authors of this study invited thirty-five male university students to participate in the test. The subjects chosen comprised four groups of seven athletes of Wushu routines (Taolu (Taolu ), Wushu full contact sparring (Sanda (Sanda ), Western Boxing, and Japanese Karate respectively – together with a control group of seven Physical Education students with no significant training in any of these disciplines. The age, height, and weight of the subjects did not register any important differences. They were allowed a ten-minute warm-up period, and all used the same standard 8-ounce boxing glove for testing. In regards to instrumentation, the test device used to measure the punches consisted of a cylindrical metal instrument with a rubber hitting area, 20 cm in diameter and 20 kg in weight, suspended as a ballistic pendulum attached to a swingable rod of adjustable length inside a metal frame, and equipped with force and acceleration sensors of different different kinds. A time randomized LED light placed on top of the pendulum was used for the signal condition test. The primary data acquisition acquisition system was a 4-channel IEPE input data collector w ith a sampling frequency of 1,500 Hz. In addition, a Dartfish Dartfish motion analysis system was used to record the entire test process with a sampling frequency of 30 frames per second. Before the formal test took place, the participants performed adaptive exercises on the pendulum system to determine the appropriate hitting distance and swingable rod length. Each subject then was was instructed to deliver three straight punches at the test device with their dominant hand using maximum effort and under two conditions: 1) with no signal to measure their peak punching force and acceleration, and 2) reacting to a light signal to measure their reaction time together with their punching force and acceleration. Test results were collected for all punches, but only the best scores out of every three attempts were used in the final analysis.

Maximum Punching Force The force of an object is the product of that object’s acceleration and mass. mass. English physicist Isaac Newton introduced this fundamental identity of classical mechanics with his second law of motion, F = ma. The unit of force proposed by the International System of Units (SI) is the newton (symbol: N), which e stablishes that one newton is the force required to accelerate a mass of one kilogram at one meter per second squared in the direction of the applied force. Alternatively, the poundpound28 KUNG FU  TAI CHI WINTER 2019

Study Schematic

Study Actual Setup

PhD candidate Zhang Zhilei poses in front of the test device

with the following results: Sanda (2,532 N), Boxing (2,481 N), Taolu (2,050 (2,050 N), Karate (1,796 N), and the control group (1,300 N). Comparing the results of the tests with and without signal can help determine the percentage of efficiency of the groups in delivering the straight punch with maximal force under a signal, which the authors of this study theorize is closer to punching under actual fighting circumstances. The results results show that the Sanda group group has the highest punching force efficiency (91%), followed by the control group (89%), Karate (88%), Boxing (86%), and Taolu in in the last position (83%).

Boxing

Maximum Punching Acceleration

In addition to the amount of mass a subject can apply in a punch, the rate of change in velocity with respect of time, or the acceleration, is the other main factor to develop maximal force. Therefore, this study also recorded the maximum acceleration among all groups. The SI unit of velocity is meters meter s per second and the SI unit for time is the second, hence the unit for acceleration is meters per second squared (symbol: m/s 2). force (symbol: lbf) is the unit of force comm only used The punching acceleration results in the United States, equal to the mass of one pound obtained were consistent with multiplied by the standard acceleration due to gravity the maximum punching forces on Earth. The present study was recorded using using the SI standards, but online conversion tools are available reported previously, with a slight change in the top three positions. on the internet for those interested. The highest score was registered by Boxing (140 m/s2), followed by The results obtained revealed that the maximum Taolu (139 m/s2), Sanda (132 (132 m/s2), punching force was highest among all groups for 2 ), and the control Boxing (2,897 N), followed by Sanda (2,766 (2,766 N), Taolu Karate (103 m/s 2 group (78 m/s ). (2,466 N), Karate (2,032 N), and the control group (1,460 N). Given that the straight punches in Boxing In regards to the punching and Sanda are are more “follow-through” in nature, it acceleration obtained while shouldn’t be surprising that they are the gr oup that reacting to the signal, Sanda was able to exert the highest punching punching force. In recorded the highest (122 m/s2), contrast, Taolu practitioners practitioners are customarily trained followed by Taolu (119 (119 m/s2), to execute attack techniques into the t he air, stopping 2 Boxing (113 m/s ), Karate (89 m/s2), their punches at predetermined points and sometimes and the control group (68 m/s2). retracting them immediately to follow with the next Since maximizing acceleration technique. This fundamental difference in training training in punching is directly related to seems to have affected the peak force that they were technique and execution, it is not able to apply to the test device. strange to see the Taolu group group registering such high marks under The results for the punching force reacting to the both punching punching conditions. conditions. For signal showed a decrease in value for all the groups WINTER 2019 KUNG FU  TAI CHI 29

Karate

Taolu athletes, athletes, superb quality of movement along with remarkable control and speed is vital to gold-medal-winning performances. Now, applying the same comparative analysis, the punching acceleration efficiency was obtained and the results show that Sanda was the highest (93%), followed by the control group (88%), Karate (87%), Taolu (86%), (86%), and with Boxing (81%) surprisingly in the last position.

Fastest Reaction Time and Some Inferences Having recorded the punching power and punching acceleration while reacting to a signal, one final comparative analysis is possible: the reaction time. Understood as the elapsed time between the presentation of a sensory stimulus and the subsequent response, the reaction time can be extremely beneficial to a martial artist’s overall defensive and offensive offensive ability. From the comparison of the reaction times of each group, Boxing was the shortest (0.55 s), followed by Karate (0.61 s), Taolu (0.62 (0.62 s), Sanda (0.65 (0.65 s), and the control group in last (0.68 s). Although one-way analysis analysis of variance showed no significant difference in response time between the groups, the Boxing group still was 60 milliseconds faster than the second-ranked group, and 100 milliseconds faster than Sanda , a difference that could certainly determine who lands a finishing blow first in combat. A possible possible recommendation for athletes is to Grandmaster Qiu Pixiang practicing traditional Wushu Sanda athletes engage in more action/ with several teaching staff members. reaction time drills to The author of this article with Prof. Dr. Zhu Dong. increase their handeye-foot coordination, and thus their reaction times. Although the acceleration efficiency decreased significantly in the Boxing group, their reaction time was the shortest and their maximum punching force close to the highest. Based on the outcomes of

the peak force and acceleration of their straight punches, the authors of this study tend to believe that the practical punching capacity of Boxing is higher than that of the other groups. In regards to punching force efficiency, Taolu was was last. last. However, despite the common belief that Taolu is is a performance-based sport with no transfer to real fighting applicability, this study indicates that this may not be entirely the t he case as the Taolu group group was considerably closer to the first two tw o groups in maximum punching force, and in reaction time it was even faster than the Sanda group. group. Citing Grandmaster Qiu Pixiang ( ), one of the Top Ten Modern Wushu Professors of China and 9th Duanwei of of Chinese Wushu: “Taolu “Taolu training training methods and techniques can certainly be used as the basis of actual combat training.”

Next Round, Plenty of Options Even if numbers alone are not enough to determine the actual effect of a punch, scientific research can reveal many important components that will help coaches and athletes strive for better training methods. In order to increase the force, acceleration, and reaction time of a punch, the correlation between the specific technical gestures of the movement and the specific laws of physics related to it cannot be underestimated; likewise, the actual damage a punch has on an opponent will also be determined by a large number of other interrelated factors such as timing, drive, determination, target, and even the element of luck. Continued on page 32


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Continued from page 30

Sanda

This study was first published in the Journal of Shanghai University of Sport at the end of 2016, and thereafter has been presented successfully at several international sport science venues such as the American College of Sport Medicine in the United States and the Wingate Institute for Physical Education and Sports in in Israel. Many students and attendees have expressed interest in the testing device, the investigation methods, as well as in the punching Founded in 1952, the Shanghai University of results Sport is the first university of its kind in China. themselves. Many felt that the reaction time was the most important outcome for the athletes, and wanted to know more about the differences and similarities in punching techniques between Wushu and the other disciplines. Recently, a follow-up study was conducted at the Shanghai University of Sport to measure several peak physical attributes of the sidekick technique among Sanda female female athletes. Another proposed idea is to include traditional Wushu masters to compare their capabilities across different styles and against modern Wushu counterparts. This year, a study to compare the punching effect of athletes from Body Building, Boxing and Sanda will will be conducted to attempt to demonstrate the relationship between the bodybuilder-style muscle development and actual punching ability. We consider that the role of scientific research and theory driven interventions around training for martial arts is immense, and the range of whitepapers available and suggestions for future studies can only inspire researchers to c ontinue working in this direction. Emilio Alpanseque currently teaches in El Cerrito, CA, and can be reached through his website EastBayWushu.com. EastBayWushu.com. He wishes to express his gratitude and acknowledge acknowledge the source material that supported this article: Zhu Dong ( ), Zhang Zhilei ( ), Sun Yuke (). "Comparison of Rear-hand Strike between Chinese Wushu and Other Combat Sports (  ) [J]," Journal of Shanghai University of Sport (  ), 2016, 40 (06): 79-83.

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By Gene Ching

“I love it!”

With a colossal grin, a mischievous glint in his eye and a rapid-fire machine-gun laugh, Danny Trejo proclaims his passion for Man for Man at Arms: Art of War r . “I love the EL REY Network and I love the cast that we’ve got. They’re a great team. Everybody knows what what they’re doing and I like that. We have no politics. politics. Let’s just get it done.” Season 2 of Man of Man at Arms: Art of War premiered War r premiered on EL REY Network on October 4, 2018. It is an honor and a privilege for me to to join the cast of this show once more as a Weapons Expert.

Photo courtesy El Rey


Man at Arms: Art of War everybody’s a little more m ore fluid." originally debuted on June 18, 2017. The entire cast from the first Naturally, being part of the cast, season reassembled for Season I covered that in the July+August 2. The irrepressible irrepre ssible Danny Trejo 2017 installment of my Chollywood continues as our show's host. The Rising column because our show is master craftsmen from f rom Baltimore directly relevant to the martial arts. Knife & Sword, Kerry Stagmer, Each episode focuses on two ancient Matt Stagmer and Ilya Alekseyev, weapons of a specific culture – cold bring their exquisite and lethal arms like swords, spears and bows. creations to life. life. Professional stunt For that first season, we even built people Marko Zaror and Crystal a Mongolian Ballista – an ancient Santos are our primary weapon siege weapon that’s the size of testers. And I'm tag-teaming the a compact car with a triple-bow Weapon Expert role with Master system for launching javelins. javelins. The Da'Mon Da 'Mon Stith, founder of the Guild history and cultural context of of the Silent Sword. What's more, each weapon is explained as they we've raised raised the bar by bringing b ringing are reconstructed using traditional in more martial arts masters, specialists specialis ts for the unique weapons methods, and then put to the test against all sorts of targets. Season showcased this season. 1 opened with “The Weapons of Kung Fu” spotlighting the ancient Chinese polearm, the ji the ji i ( (), and the Wind Fire Wheels (feng (feng huo lun  ). Other episodes that season season covered weapons from Africa, Egypt, India, Japan, Mongolia, the New World and a special episode dedicated to two weapons of legend, El Cid's Tizona and Ali ibn Abi Talib's Zulfiqar. Season 2 will w ill revisit China, along with some of the other countries featured in Season Sea son 1, plus we add a few more because this season expanded to 10 episodes. "We’ "We’re re growing," grow ing," says Danny Danny.. "T "The he weapons are coming c oming quicker. Everybody’s been practicing martial arts while we were gone because

Forging Ma Man n at Ar Arm m s: Artt of War Ar

Ilya elaborates. “On our web show, we tend to work with things that are completely out of the box – weapons that are much less functional in the context of martial arts. Here we are much much more limited and have to deliver an item that the anticipated martial artist who specializes in that particular weapon can really get the feel of and perform to the utmost of their capabilities.”

Man at Arms: Art of War emerged War r emerged from a YouTube series on AWE Me channel. AWE stands for Amaze, Wow, and Educate, and offers nearly 200 episodes of Man of Man at Arms: Reforged for Reforged d for free with a fresh episode every other Monday. While the web and EL REY shows both showcase the fascinating weapons builds of Baltimore Knife & Sword, the two programs progr ams are distinct. “The EL REY show and the YouTube show, sure, they’re kind of similar,” explains Matt. “We’re making weapons on camera and then we hit stuff stuff with them. But the YouTube show, that’s primarily bringing like comic book and video game stuff stuff to life. And in this season season Photo courtesy El Rey of the EL REY show, we did do some of that. The web show caught the attention of Robert We did a little bit of a twist on certain pieces, Rodriguez, the maverick movie director who gave them a little bit of our own flair and design launched EL REY Network in 2013. Man at work. It’s kind of interesting to phase into doing Arms: Art of War r is is one of six ongoing original some of that on the EL REY REY show. I think it’s programs for EL REY, the others being The healthy to not go all the way with that because I Director’s Chair with Robert Rodriguez z , Lucha like the historical aspect of it, but on YouTube, Underground, Explosion Jones, Rebel Without a we usually don’t make very realistic weapons. Crew w , and Baja Desert Championship p. Robert We make the far far out ones. It’s request-based. makes guest appearances in both seasons of Man of Man So people say. ‘Hey I want you to make make this.’ at Arms: Art of War r alongside alongside his son, Rebel, And usually they’ve thought for a while about what the craziest weapon they don’t think we can who is himself a fledgling blade-maker. “I first started forging about five years ago,” reveals make, and we do our best to prove them wrong. Rebel, “and I’ve been taking it more seriously the On this show, if we are doing comic book stuff, past two years.” years.” Through the show, Rebel has or something from a video game, we’re trying to the unique opportunity to work with Baltimore keep it as realistic as possible – something that Knife & Sword for some of the episodes, e pisodes, bringing we can really relate to a historical item and show the viewers along for the ride. “Being able to some historical technique – not only the t he making work with the guys at BKS is a great time, and but also the using of the weapon.”

“Everybody knows what they’re doing and and I like that that..” Photo courtesy El Rey

L-R: Kerry Stagmer, Danny Trejo, Ardeshir Radpour, Gene Ching, Marko Zaror. WINTER 2019 KUNG FU  TAI CHI 35

an incredible learning experience. experience. They’re each masters of their own skills, and and professionals at a variety of skills, so there is always something new to learn from watching them work in person.” And like Ilya, Rebel is now a champion of another weapon-making show, History Channel’s Forged in Fire e . Ilya won in 2016 for Season 2. Rebel won in 2018 for Season 5, coincidentally by making Wind Fire Wheels.

Photos courtesy El Rey


Polishing Man at Arms: Art of War War

For more on Man at Arms: Arr t of A of War r & & El Rey Network by Gene Ching: On KungFuMagazine.com: MAN AT ARMS: A RT OF WAR – A New Original Series on EL REY Network St arring ME! MAN AT ARMS: ART OF WAR – For the Love of the Katana MAN AT ARMS: ART OF WAR – Stuf f That Legends Are Made Of Robert Rodriguez on Shaw Brothers and EL REY Network

In Kung Fu Tai Chi: Chollywood Rising (July+August 2017) Man at Arms: Art Ar t of War: A New Ori ginal Series on El Rey Network, Featuring Gene Ching Chollywood Rising (March+April 2015) Robert Rodriguez’s EL REY Network and the Shaw Brothers Collection Stay tuned for additional exclusive behind-thescenes coverage on KungFuMagazine.com when Season 2 airs.

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Season 2 is decidedly decidedly more martial arts-driven than Season 1. Season 1 had a few guest masters come in and the success of that encouraged even more masters for this season. season. Every martial arts is unique, unique, especially when it comes to weapons. weapons. For example, in Season 1, no one on our cast could handle the Indian Urumi – sort of a hybrid between a multi-bladed sword and a cat o’ nine tails, very sharp and hard to control. So we deferred to Master Kamaljit Kamaljit Singh, an expert in in Sikh martial arts. While everyone on the cast has cutting skills, bringing in more specialists this season allows us to really showcase how t he weapons are handled within the context of t heir martial tradition. Kerry explains. “The first season had a lot more of an aspect where they brought in historians. This time, while we still bring in historians, or give you the historical information – you know the builders are doing it – some of the people have returned in a larger role. The experts that are on are more of the team than just having somebody from a situation where they’re at a college somewhere and make a random interview as though they were doing a class. It’s a little more involved. And then on top of that, a lot of martial arts arts are brought in – different specialties specialties for the different different weapons. So it’s pretty different from the first season in that way, even though the format is essentially the same.” Photo courtesy El Rey

“I feel the presence of more diverse schools of martial arts as well as regions improves the show and shows the true potential of some of the weapons made,” interjects Ilya. “Compared to last year, this season has more weapons, more pole weapons, an assortment of martial artists who specialize not only in Asiatic martial arts but also European martial arts, which is very important as we, in the country, feel a resurgence of groups like HEMA, HMB, IMCF [Historical European Martial Arts, Historical Medieval Battles, International Medieval Medieval Combat Federation].” I won’t spoil it for you, but expect several renowned masters from the martial arts world making surprise cameos. cameos. And let me add add it was really really a pleasure to work with them. One was even from my former Kendo Kendo Photo courtesy El Rey Dojo, Sensei Kevin Saxton; we had studied under the same Sensei but at different times so we had never met until we were both on the set together. But have no fear. The There’s re’s still plenty plenty of slicing, slicing, cutting and chopping. I even got to cut up some stuff (actually (actually I got to stab some stuff in the f irst season too but that didn’t didn’t make the – pardon the pun – cut). Live weapons are dangerous business as we saw from the injury M arko sustained in Season 1. As much as I disdain disdain clichés – don’t try this at home . Working Workin g with sharps requires re quires extreme caution.. Today, only a few martial caution Photo courtesy El Rey traditions still still practice with sharp weapons, and a live blade changes everything. The Chinese martial arts have become one of the greatest culprits in the emasculation ema sculation of The addition of more masters allows for more detailed examinations weapons. China has one of of the most most of applications. Now, not only is it it possible to demonstrate the sheer destructive force and cutting power of the weapons, we also show martial diverse arsenals of any culture in the world, and yet not only have Chinese applications. “One of the biggest changes was the demo portion of the stylists stylis ts dulled their weapons, many shows – to add the element of application to it,” observes observes Da’Mon. “So modern moder n practitioners practit ioners use weapon weaponss you get to talk about the weapons, where they come from, how they’re that are too light and flimsy to be made, what they can theoretically do in combat, then you get to test the all fairness, fairness, theory of the weapon itself on ballistic gel – or it’s it’s cutting, piercing. Then remotely effective. In all Sport Karate Karate does the same. same. The you get to actually see two people put it together in a simulated fashion. emphasis is on flashiness over actual I thought that was a good addition to it.” combat worthy skills. On On Man Man at Arms: Art of War , there’s ther e’s little room for flowery spins. spins. The These se weapons are real. A slight miscalculat miscalculation ion could cost you your ear. e ar.

Testing Ma Man n at Ar Arms ms:: Ar Artt of Wa War r




Choreographed fight scenes in movies and on TV have desensitized us to the potential lethality. lethalit y. “Night and day difference,” comments Ray Copeland, the Stunt Coordinator for Man for Man at Arms: Art of War r . A Jeet Kune Do master, Ray worked with our cast to make sure we stayed as safe as possible possib le on a set full of lethal sharps. It was different than the fight choreography he has done previously.. “On set, we would just previously just choreograph some fights and, you know, ham it up a little bit, get the right angles and you had a good fight scene. With this, this, there’s there’s no room for error. err or. You mess up, it’s going to show. show. And something bad’s going to happen if you don’t pay attention. If you’re you’re dealing with bladed arts, art s, the discipline and the focus has got to be on the Nth degree.. Otherwise, you’re going to degree lose it, right?”

L-R: Ilya Alekseyev, Gene Ching, Kerry Stagmer, Matthew Stagmer

Worldwide Man at a t Arms: Ar ms: Ar Artt of War Worldwide While Man at Arms: Art of War is While Man is just beginning to catch the attention of the U.S. audience, audience, Season 1 has already gone global. It has been picked up by A&E Ole Network for L atin America, History UK for the United Kingdom, Discovery Networks Asia-P Asia-Pacific acific for India and Viasat for Scandinavia Scandina via and Eastern Europe. The United Kingdom retitled retitled the show as Man at Arms: Weapon Master . In Latin America, it’s it’s Hombre de Armas . Originally from Chile, Marko sees the international impact of the show first hand. “Actually I was was very surprised because the show has been pretty big in Latin America, South America, and Brazil. Brazil. I’ve been getting a lot of feedback from people, from fans that are enjoying the show. The They’re y’re going to be very surprised with this season for sure because we definitely took it to the next level compared to Season 1. So yeah, I’m I’m excited and I say thanks for all the support and to everybody who is watching the show and supporting supporting the show. Hopefully we can continue, you know?”

Marko agrees. agrees. He’ He’ss a 2020-year year veteran stuntman and actor and maintains a deep respect for sharps. sharps. “When you’re dealing dealing with blades, you have to be very careful. One mistake – if if you get distra distracted cted – that could be a cut – especially with the sharpness that these weapons are. They’re They ’re so sharp that you cannot make a mistake. mistake. So that adds adrenaline. It’s there, man. You I hope we can continue too. It’s been an extraordinary experience working can feel that. Even if it feels like a on this show, not just to get a behind-the-scenes perspective on how regular cut for people watching TV, reality TV is made, but more so the privilege of being able to work with we see so many m any movies and so many the exquisite creations by Baltimore Knife & Sword and to share with special effects that when you see other weapons experts and enthusiasts. Please tune in. There will be a someone holding a blade like that, I third season with your support. support. And remember, like Danny says says on every don’t know if they can understand episode, “Stay Sharp!” that, yeah, when you do it in a movie, it could be a plastic plastic blade.” For more on EL REY Network, visit www.elreynetwork.com. For more The Baltimore Knife & Sword on Baltimore Knife & Sword, visit imakeswords.com. imakeswords.com. For more on Man at weapons are are no joke. joke. The weapons Arm s: Ref org www.youtube.com/AweMeChannel. And stay tuned to orged ed,, visit www.youtube.com/AweMeChannel. on set were some of the sharpest KungFuMagazine.com for more exclusive behind-the-scenes coverage of blades I’ve ever handled. when Season 2 airs. Man at Arms: Art of War when


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By Kurtis Fujita 40 KUNG FU  TAI CHI WINTER 2019

a Sunday in San Francisco’s Chinatown, the fragrance of sandalwood incense along with the measured chants of Buddhist devotees float wistfully down from the Gold Mountain Sagely Monastery. The echoes of both rest ardently on the threshold of the the Y.C. Wong Kung Fu Studio. The school, named after the renowned sifu, is as much a fixture of the Chinatown community as the man himself. In many ways, it is hard to separate the two as Grandmaster Wong has invested so much of himself into his art and students that both have a strong reputation in the world of Chinese martial arts. Y.C. Wong is one of the first pioneers to bring Kung Fu to American shores. Adding up his many accomplishments – the multitudes of students he has taught over the last sixty years, his incredible proficiency in the styles of Hung Gar Kuen n ( ( ), Pek Kwar ( Kwar r (), Tai Chi i ( (), Bagua Bagua ( a (), and Yi Chuan n ( (), along with countless inspiring performances – one finds that his impact on Kung Fu is greater than the sum of these parts.

Humble Beginnings Y.C. Wong (Yew Ching Wong ), a native of Hoi Ping ( ) in southern China, began his study of Kung Fu at the age of six. six. He was born into a family with a tradition of practicing Kung Fu with a high regard for Chinese pugilism. His father and and a village village uncle who had studied in Hong Kong with the famed Hung Gar Kuen n Grandmaster Grandmaster Lam Jo () made sure he practiced diligently. diligently. Wong recalls, “My father would give me a single piece of candy as a reward for doing horse stance for an hour. I was so delighted to do this that I asked him if I did horse stance stance for two hours, hours, could I have two pieces pieces of candy? candy? He agreed agreed and thus my Kung Fu stance training was firmly established at an early age.” In 1950 at the age of 18, he and his family left Mainland China and moved to the former Crown colony of Hong Kong. Upon the family’s arrival, arrival, both he and his father father began studying with Lam Jo. Wong continued his studies as a live-in disciple of the legendary master, becoming Lam Jo’s assistant, practicing Kung Fu alongside him, and assisting both in teaching the younger students as well as performing t he practice known as Dit Dar ( Dar r () in the master’s bone-setting clinic.

Above: Master Wong and his students, along with Wing Chun Sifu Sifu Gate Chan, during a television appearance in Sacramento, 1976.

In 1960, Wong started his first Kung Fu school in Hong Kong. Kong. Later, in 1963, he immigrated with his family to the United States, passing through San Francisco, then settling in Ohio where his sponsoring relatives lived. While residing in the Buckeye State, Wong worked long days throughout the week and had had no time to practice Kung Fu. Several years passed passed and he finally found himself with some time off from work. That evening, he practiced the famous Tiger Tiger Crane set of the Hung Gar Gar system. The following morning, he awoke with aches th roughout his body and realized that he had been away from Kung Fu practice for far too long. He yearned to have someone to practice Kung Fu with. Left: Master Wong Wong performing performing Hung Gar Plum Plum Flower Double Chain Whip at the San Francisco Civic Auditorium, 1968.


This prompted him to move his family to San Francisco where he established established friendships friendships with fellow masters. One of the earliestt Kung Fu friends he met in the City by the Bay was earlies renowned Hop Gar () Grandmaster Grandmaster David David Chin (Cover Master July+August 2006). In 1967, Wong Wong established his first Kung Fu school in the city’s bustling Chinatown. The beginning of his career as one of Chinatown’s premier Kung Fu instructors was not without its challenges and potential dangers. Grandmaster Wong recounts that navigating navigating the unique landscape of the 1960s Chinatown Kung Fu community was no easy task. However, one of his personal personal guiding principles was that of mutual respect.

Above: Sifu Wong leaps high. Hong Kong, circa 1960-1963 Master Wong (lef t) with his Sifu, Lam Jo (right) during the 1963 Grand Opening of Lam Jo’s Jo’s Kowloon School. Wong would leave Hong Kong later that same day with his family to immigrate to the United States.

Soon after arriving in San Francisco, he took a morning stroll through Chinatown’s Portsmouth Square and came across the nearby school of the already established Hung Sing Choy Lay Fut () Grandmaster Lau Bun (). Within the hallowed martial hall of of this formidable master was an altar. You could make a monetary donation known as “Present Flower Oil” (sheung (sheung heung yau ) and have your name along with donation amount written on a slip of paper tacked to a board hanging on a nearby wall. Wong recounts that he voluntarily made a $5 donation to the school even though it was just his first time visiting. visiting. Little did he know that this kindly gesture would serve to protect him from the hostilities of a very adept Kung Fu practitioner. Shortly thereafter, a local Chinatown sifu took great offense upon hearing the news of Wong opening a Kung Fu school in the neighborhoo neigh borhood. d. This martial martial artist was known for having having strong fingers and could pry the metal cap off a glass bottle of Coca Cola using only his thumb. thumb. In a fit of anger, he prepared to challenge Y.C. Wong to a duel.


Fate however, however, had differen differentt plans. plans. The aforementioned sifu was in fact a student of Lau Bun. The old master master himself interceded and stopped the challenge before it was even issued. “Don’t challenge him. Y.C. Wong is respectful and has paid a visit to me and and my school. He understands martial etiquette,” etiqu ette,” said said the old master. master. The student student had no choice but to heed the instructions of his teacher and thus began the illustrious martial career of Y.C. Wong in San Francisco’s Chinatown.

Masters Y.C. Wong teaching his first group of students at his original Chinatown school on Stockton Street, 1967.

The First Large-Scale L arge-Scale Demonstration of Kung Fu In 1968, Kung Fu had yet to become a household name. It was still three years before before Bruce Lee would star in the film The Big Boss and Boss s and four years before David Carradine would appear in the aptly named TV series, Kung Fu . Conse Consequentl quently, y, North North America America’s ’s first real taste of Chinese martial arts came via Grandmaster Wong’s efforts in putting forth the very first large-scale Kung Fu demonstration in North America along with other sifus including Chris Chan, Jack Man Wong, and Brendan Lai. Organizing the event was no easy task as he faced stalwart opposition from some of Chinatown’s old Kung Fu guard. One such master took a particularly particularly abrasive stance when Y.C. Wong and Chris Chan spoke to him about the event. The old master’s first first response was dismal dismal and cutting in its tone. “You will not be successful,” he sneered. Ever the diplomat, Y.C. Wong replied, “If we are not going to be successful, perhaps your presence can help us. Maybe you could advise advise us on how to be be successful in our venture?”


“I will not come to your event,” the old master replied in an admonishing tone. “I will not support you in any fashion and you will fail.” Despite this setback and other opposition he faced, Wong persisted in his efforts to organize the event. Soon he had galvanized a sizable portion of the local Kung Fu community into sharing their art with a western audience at the San Francisco Civic Auditorium. The day of the exhibition arrived and the auditorium was brimming with excitement. exciteme nt. Wong and his school gave an astounding astounding perform ance of both the Hung Gar r and and Pek Kwar systems Kwar r systems to the delight of the audience. aud ience. Other demons demonstrati trations ons showcased the outstandin outstanding g skills of Kung Fu luminaries such as Chris Chan’ Ch an’ss explosive, rapid-fire Wing Chun ( Chun n () system and Kenneth Wong’s lightning-fast Hung Sing Choy Lay Fut t style. style. However, it was Wong’s performance of the esoteric weapon known as the Plum Flower Double Chain Whip which held the audience in a state of rapture. Tendrils of silver lashed out from both his hands, flying forth with a blinding blinding burst of speed. speed. Some in the audience questioned what they were witnessing, never having seen such ferocity and savage grace in a weapon performance. All they saw was twin bolts of silver dancing through the air, whipping about like

Master Wong with students and grand students in a group photo for the school’s 50th anniversary celebration in 2017.


wild mares galloping across some distant continent. As his performance reached its crescendo, the two steel whips flew backwards. The metal links retracted, folding neatly at the command of wooden handles grasped by corresponding hands. It was then that the audience saw the weapons for what they were: links of inanimate chain which he had brought to life by sheer force of will. The large audience was enthralled by all that they witnessed, and the event was a resounding success, with coverage in several prominent periodicals. This unprecedented demonstration would be the flashpoint leading into the Kung Fu craze of the seventies, with Wong himself the one who ignited the flame within the hearts and minds of those present that fateful day.

Master s Y.C. Y.C. Wong and his Mormon Missionary student per form at Lam Jo’s birthday celebration, 1961.

Teaching Chinese and Non-Chinese Alike In the lore of the American Kung Fu experience there are many xenophobic xenophobic tales. Stories abound of Chinese masters who are reluctant or outright opposed to teaching non-Chinese students. While popular opinion may state that this was once the norm, it was never the case in regards to Grandmaster Wong, who has always been willing to share his art with people of all races and backgrounds. As one of the first instructors to teach Kung Fu openly in the United States, Wong was one of the first to teach the art to Non-Chinese students on American soil. While this was progressive in its own right, few knew that he was already teaching westerners the art of Hung Gar r as as early as 1960 in Hong Kong. One of his first first students in this


regard was a white Mormon missionary. missionary. “We would meet early in the morning before breakfast, and I would t each him,” notes Wong. “Upon finishing, he would leave to do his work preaching for the day.” This was not a clandestine exchange of knowledge. knowledge. In 1961, during a birthday celebration for Wong’s teacher Lam Jo, Wong proudly presented this same Caucasian student, who performed Kung Fu alongside him much to the delight of the local Hong Kong martial arts comm unity in attendance. This type of progressive view and inclusivity was not something that he arrived at via any particular revelation. Rather, it was, and still is, part of the fabric of his mindset to share his knowledge with people of all all backgrounds and ethnicities. While the Y.C. Wong Kung Fu Studio is deeply rooted in Chinatown, it has always been comprised of students representing the full spectrum of the American experience. Throughout the decades, Wong has taught not only at his school in Chinatown C hinatown but also at locations in Sacramento, Stockton, and Oakland. This, along with his dedication, has resulted in him producing many students who have become masters in their own right. right. His son, Ray Wong, is a prime example of this. Ray contributes heavily to his father’s school and shares his razor-sharp skill along with boundless passion for the art.


In addition to his son, one group of students are amongst among st the most notable notable of his lineage. lineage. Collec Collectivel tively y known as “The Wong Family” (Lester, Leland, Aaron, Craig, Anthony, Darryl, Kyle, Megan, and Jason), the group consists of a single family and spans two generations of students who have been with Y.C. Wong since his early days in San Francisco. While they share the same surname as their sifu, they are not related to him by blood. However, and most importantly, they exemplify the high quality of Kung Fu which Wong instills in his students and continue to pass on his art as instructors themselves. Other notable instructors of the Y.C. Wong lineage in th e United States include Frank Marez of Sacramento, Peter Pena of Arizona, Jacob Brinnand of Palm Desert, and Kurtis Fujita of Los Angeles. Angeles. Wong’s L-R: Gigi Oh: Kung Fu Tai Chi magazine magazine publisher emeritus, Master students in Europe include Ursula Brueckner in Y. C. Wong and Gene Ching: Kung Fu Tai Chi magazine magazine publisher at the 50th anniversary celebration of Master Wong’s school in San Germany, Fabien Latouille in France, and Marco Francisco, California 2017. Luglio in Italy. Hours earlier, Wong and his son Ray came to rehearse with the seminal band’s percussionist. Through an introduction by a mutual acquaintance, Mickey Hart had invited several Kung Fu schools including the Y.C. Wong Kung Fu Studio to demonstrate Martial Arts and Lion Dance during a special Chinese New Year Concert. Wong himself went over the iconic drum beat of the Chinese Lion Dance with the talented Hart, who easily picked it up in astonishing fashion. It was this same beat that now echoed through the concert hall. The sound of of Mickey Hart’s drum then began to diminish, only to give way and be renewed by that of a classic Chinese Lion Dance drum played by Y.C. Wong Kung Fu’s very own Aaron Wong. Masters Y.C. Wong and Raymond K. Wong sitting on opposite sides of their student, Kurtis Fujita, during the grand opening of his school, 2009.

Year of the Gratef G rateful ul Dead Shadowy silhouettes swayed back and forth in rhythmic euphoria, infected by the musical intonations of figures basked by auburn moonlight on a raised dais. dais. The Grateful Dead was the Band, the venue was the Oakland Civic Auditorium, and the year was that of the Water Dog, 1982. The haunting timbre of Jerry Garcia’s voice cascaded across the audience the way night falls upon dusk. Suddenly, the spotlight focused on percussionist Mickey Hart who began a familiar Grateful Dead drum solo which in turn, transformed into a staccato beat not normally heard at any rock concert.

Nearby, a towering man with a burly build raised a sturdy sturdy mallet and and struck struck a large gong. gong. The thunderclap resonated across the crowd. The same spotlight which illuminated the musicians then darted sideways and upwards past the stage like a shooting star returning skyward, to stop on a small platform suspended in the air nearly twenty feet higher than where the band played. Perched on this precarious landing was Grand Master Wong, brandishing a spear directly across from his pupil Anthony Wong, who wielded dual butterfly swords whose blades glinted at the audience like a far-away constellation. They clashed in epic fashion while performing one of Hung Gar’s s most most celebrated and dynamic weapon sparring spar ring sets. sets. The stage stage was so small small that that the two had to engage the skirmish diagonally across from


each other so as to not fall off the elevated platform. The routine ended climatically with Y.C. Wong losing his spear, yet defeating his opponent’s blades while empty handed. The audience roared with applause at the dexterous skill of both master master and protege. Yet again, Y.C. Wong had transfixed an audience beyond their wildest wilde st expectation expectationss with his utter utter mastery. mastery. It was evident that all in attendance were Grateful.

The Czech Connection During the late nineties, Grandmaster Y.C. Wong would further establish his prominence as one of Kung Fu’s modern pioneers, albeit in a different diff erent country: country: the Czech Republ Republic. ic. Desp Despite ite this being prior to the internet age, word of the famous Hung Gar Sifu Gar r Sifu had already spread to the distant land via various magazine articles and martial arts publications. Several dedicated young men who wished to learn the art directly from him journeyed from the city of Prague to San Francisco. They arrived unannounced, with no prior contact to the Y.C. Y.C. Wong Kung Fu Studi Studio. o. Both Grandmaster Wong and his son Ray welcomed them with open arms and began instructing them in the art of Hung Kuen . The Czechs worked tirelessly, absorbing the knowledge at an impressive pace and soon returned to their homeland with their new art in tow. A strong bond formed between both master and students. Soon Y.C. Wong and Ray began making trips to Prague to further the martial knowledge of their Czech students. This group of students would grow to what is now known as the Y.C. Wong Kung Fu Czech Association. The group is led by Sifus Ales Kocian, Marek Bravnik, Martin Lana, Vaclav Lajcak, Martin Sedlacek, Lukas Radostny, and Toma To mass Petru Petrus. s. It has amassed a sizable following and has grown from the single Prague studio to


multiple locations across the country in the cities of Havirov, Decin, Kynsperk nad Ohri, Ohri, and Praha. The tradition of the Y.C. Wong Kung Fu lineage now flourishes in the community of this Central European Country.

evening. Once again, Y.C. Wong exhibited the ideal characteristics of a true martial arts master: The ability to make peace yet the resolve to handle conflict in the most resolute manner.

A Masterful Legacy

Sifu Wong with his son Ray and student John Wan during the 22nd anniversary celebration of his school, 1989.

Speak Softly, Carry a Big Stick “If one is to wield a pen with skill, one must wield weapons with skill because weapons provide support for the pen.” –Lam Sai Wing ()

The heritage of Y.C. Wong is one of excellence, steeped in progressive tradition. A lifetime of teaching Kung Fu has made him a pioneer while living the martial way has made him a legend. At various martial art events it is plain to see he is held in high regard by his peers as well as the generations of masters and students who follow the trail which he blazed so many decades ago. ago. At an advanced age age of 86, he remains quick to share his k nowledge with those who are still astounded by the speed, power, and grace of his masterful movements. The school he established over 50 years ago still sits firmly, embedded in the heart of San Francisco’s Chinatown. The reputation and adoration he established so long ago still sits firmly in the hearts and minds of his colleagues and students who call him by the well-earned title: Sifu.

Such is the introduction to the famed book on the Hung Gar form, Gung Ji Fook Fu Kuen n (Taming (Taming the Tiger Form  ) by Great Grand Grand Master Master Lam Sai Wing. Wing. This ideology ideology describes much of Y.C. Wong’s ability to handle adversity with grace and dignity, yet with the strength to back up these words w ords with action. During his career in martial arts, there have been times when the open hand of diplomacy required assistance from the strength strength of the closed closed fist. Wong himself himself has always always found the proper balance between these two t wo ideologies and in one instance represented the dichotomy of both masterfully. One evening, a very aggressive heckler called the Y.C. Wong Kung Fu Studio. Wong himself answered the phone. The caller insulted him, insulted his Kung Fu, and then proce eded to threaten him. Despite being yelled at in such a hostile manner, he did not lose his temper. However, his response was calm and measured, yet very firm in its delivery.

Master Wong teaching Kung Fu to his students during a visit to the Czech Republic, 2010.

Sifu Kurtis Fujita is a student of Grand Master Y.C. Wong and and Grand Master Raymond Raymond K. Wong. He is the Founder and Head Instructor of Tiger Crane Kung Fu in Simi Simi Valley, Valley, California. Sifu Fujita serves as the Los A ngeles Chairman of the United States Traditional Trad itional Kung Fu Wushu Federation and is the He replied, “I am sorry you feel that way and I have no bone to Hung Gar Advisor A dvisor to the t he International Traditional Traditional pick with you. But we will be open an an extra hour tonight just ffor or Kung Fu Association. He can be contacted contacted at: you. So please, do come down.” email: [email protected]; online: www. tigercrane.net; tigercrane.n et; Facebook: www.facebook. com/tigercranekungfu; fu; Youtube and Instagram: Suffice to say, the caller promptly hung up and did not take him com/tigercranekung tigercrane805 up on his offer despite the extended hours at the studio that


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By Lucas Christopoulos

A

ccording to legend, Red-Style Boxing (Hongquan ( Hongquan ) was created by Zhao Kuangyin ( 927–976), founder of the Song dynasty. Also known as Ancestor of the Song (Song Taizu ), Kuangyin reunited China in 960 AD after the fall of the Tang dynasty in 907 907 AD. But Kuangyin is more a symbol related to Chinese unification than the real ancestor of Hongquan . Other styles like Long Boxing of the Ancestor (Taizu ( Taizu Changquan ), Vast Boxing (Hongquan ), also known as Hongquan ( (), are also attributed to Zhao Kuangyin. Although they sound the same, these other styles use different characters for Hong . According to Master Huang Baoshan Baoshan from Tianshui (Gansu), Hongquan ( () also has the meaning of “sun,” as the sun is traditionally red in China and was sometimes used on Qing dynasty flags together with the dragon.

Master Kuixing is lifting the Great Bear (Kuixing Ti Dou )) 


The style as known today rose to prominence in northwestern China mainly during the early Qing dynasty (1644–1912) as a fighting method. It became the main martial art for the military military elite, city guardians, officials and the literate of that period, spreading through Shaanxi, Gansu, Ningxia, Xinjiang, Qinghai, Shanxi, north of Henan and south of Hebei provinces. provinces. During the reign of Kangxi ( 1661–1722), Hongquan became became the main Chinese boxing art practiced by the guardians of the nine city Gates of Lanzhou in Gansu province. Hongquan became became the martial art and gymnastics of the warriors and the literate at that time, with many weapons included in its circles circles of practitioners in northwestern China. China. In a rich martial exchange, techniques and forms grew, many coming from the Shaolin Temple itself as travelling fighting monks brought their knowledge to Gansu and Shaanxi; and these

contributions are maintained maintained in Hongquan circles today. today. In Gansu, stick techniques grew popular, and Hongquan masters masters from that province became specialists in stick techniques, while the spear became more developed in the eastern regions of China (Shandong, Hebei, Beijing, Tianjin). Hongquan masters of Gansu and Shaanxi were therefore therefore not only experts in Hongquan proper proper but also in ancient Shaolin forms and in stick fighting from the seventeenth century. Increasingly adopted by the army as a military art, Hongquan was practiced in Tongguan ( ), a famous strategic fortress situated in Shaanxi Shaanxi and protecting Xi’an. Next to it, Guanzhong (), meaning “within the pass,” was situated within the plains of the Wei River of China, while Guandong (), meaning “east of the pass,” was the northern barbaric plains from the Tongguan fortress perspective perspective in Shaanxi. On the north was the Xiao Pass ( ), east was the Hangu Pass (), south was the Wu Pass ( ), and west was the Dasan Pass (). There is within the Hongquan system system a Guangdong and a Guangxi style said to have developed from the east or the west of the pass. Thus, East of the Pass RedBoxing (Guangdong Hongquan ), Within the Pass Red-Boxing (Guangzhong Hongquan ) and West of the Pass Red-Boxing Guangxi Hongquan ( () were supposedly three different different branches of Red-Style Boxing. Boxing. But the forms of Red-Style Boxing from south Hebei to Gansu Xinjiang as seen today have similar similar characteristics, characteristics, and all were initially developed to train Chinese army officers and troops.

Wang Runshen (  1665–1742) “The Iron Twister” Wang Runshen was a native of Tianshui in Gansu, born during the Qing dynasty. According to the records of Qinzhou, “Wang Runshen with his extraordinary appearance excelled in boxing ( ).” His strength ).” was so great that it is said that he could twist iron horseshoes with his bare-hands. He was a master of stick fighting (gunshu ), highly skillful in real )) and the cane (biangan   ), fighting, both with weapons and and bare hands. He liked martial arts from his youth and travelled to Shaanxi, Shandong and Sichuan provinces to study with the best masters of the region. He met an exiled Shaolin monk fighting the Qing who became his friend and taught him him Shaolin boxing. Wang Runshen was one of the best martial arts masters from the Qinzhou ( ( )) area and became famous all around China. China. He transmitted many of his skills to his local students in Tianshui. Once, in a tavern, four drunken man wanted to test Runshen’s skills and jumped on him, kicking and punching. Runshen beat the four of them and threw them out of the door. He excelled in Red-Style Boxing ( Hongquan  ), Flower Boxing (Huaquan ), ), Eight Drunken Immortals Boxing ( Zuibaxian quan  ),  ),  ), Five Tigers and Group of Sheep Broadsword ( Wuhu ), ), Black Tiger Cane ( Heihu biangan qunyangdao  ), etc. ), 


The swallow drink water (Yanzi Hanshui  ))

Many of the generals, officers and military instructors of the Qing Qing dynasty were specialists in RedStyle Boxing. In the province province of Shaanxi during the early Qing, Sun Shoufa ( ?–1647), a Hongquan specialist fighting the Qing earlier under the command of General Cao Wenzhao ( ?–1635) of the late Ming, killed about ten soldiers of the Qing with his iron rod (tiegan ( tiegan ) during a battle. Liang Huafeng (  1621–1671) from Xi’an was also a famous general practicing Hongquan , but fighting for the early Qing, who won epic battles, killing general Gan Hui () of the late Ming and his soldiers in 1659. Yin Huaxing ( 1643–1710), an officer in the Qing army who practiced Hongquan as as a main style and had passed the “national

martial arts experts examination” examination” of Wuju ( () and fought many years in northwestern China, was officially recognized by the Emperor as a great officer and became main instructor of the armies of Xi’an. At that time, the national Wuju ( () examination included duals with bare-hands and with weapons, plus the study of classical texts, and only the best fighters and educated martial artists could receive that title and be allowed to serve in the imperial army. The officers Li Lin (), Yin Yongfu ( ?–1842) and Shi Baolong (   1765–1845) were all masters of Hongquan , and they distinguished themselves in many epic battles on horses and on foot fighting with blades. Continued on page 56


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Continued from page 54: Hong Quan

Gao Zhankui ( 1812–1902) “The Falcon with Flying Legs” Gao Zhankui, also known as Gao Hongzhai ( ( ), was born in the district of Sanyuan (  ),  ) in Ma’e zhen ( (), ), Shaanxi province. Nicknamed “Gao the Third” or Gaosan (  )) as he was the third younger of two brothers, he started to study Hongquan at at the age of four with a master from the region named Guo Chongzhi ( (). ). Then he studied with a fighting monk of Sanyuan’s Qingliang Monastery )) named Yuanjing ( (Qingliang si  ( ). After mastering Hongquan , he traveled to the provinces of Gansu, Sichuan, Shanxi, Henan, Hubei, Shandong, and Hebei in order to improve his martial arts. He became so good good in leg techniques that he was nicknamed “The Falcon with Flying Legs.” He was also an expert in “light exercises” and could jump up walls without problems. Gao Zhankui became famous in Shaanxi province as one of the best fighters of Hongquan , together with Black Tiger (Heihu Xingsan  )) from Lingtong district ( ), Hungry Tiger ( E’Hu Susan  ), ), ), ). and Lisi (Tongren Lisi  ). These four where known as the “Four Heroes of the Pass” (Guanzhong Sijie  ), but Gaosan was ), supposedly the best martial artist of all.

Pushing away posture )) (Chengqu Shi 

Characteristics of the Style Red-Style Boxing is a very elegant style with similarities to modern Long Boxing (Changquan (Changquan ) in terms of positions, jumps and stretching requirements. requirements. But it differs from modern Wushu in its more varied content and fighting fighting methods. The forms of the style have been created for demonstrative purposes as well. Hongquan forms forms are swift and agile, with very low or high postures with high kicks, the hands making large movements with the arms and the shoulders relaxed, similar to the Tongbeiquan way way of moving. Hongquan uses uses mainly palms (zhang (zhang ), fists (quan (quan ) and hooks ( gou gou ) for hand techniques, and “horse step” (mabu (mabu ), “bow step” ( gongbu gongbu ), “snatching step”


(duobu ), “stealing step” (toubu ( toubu ), “runaway step” (cuanbu (cuanbu ), “tracking step” (zongbu (zongbu ), and “back step” (tuibu ( tuibu ) for the legs. Hongquan is is richer in content than modern Wushu as it is a complete school of martial arts with its own characteristics and applications of techniques. It also serves serves as very very healthy gymnastics, as evidenced by most of its famous masters living over ninety years and still able to do forms, jumps and split-stretching late into life. The basic form of the system is called Ten Big Maneuvers (shida ( shida pangong ), composed of still positions taken from the forms that emphasize stretching and balance. Hongquan main core forms are Little Red Fist ( xiao xiao hongquan ), Middle Red Fist (zhong (zhong hongquan ), Big Red Fist (da (da hongquan ), and

Two-Roads Red Fist (erlu (erlu hongquan ), but many other forms are practiced as well. Some bare forms included in the system but acquired from the Shaolin Temple are practiced by the masters, but they are known as distinct from the original RedStyle Boxing system. There are also two-person forms and many weapons forms.

Lucas Christopoulos (Chinese name Yun Luxia ) is an indoor disciple of Master Huang Baoshan, the stick expert from the city of Tianshui in Gansu province from the age of eighteen. He is also mentioned in the historical lineage of the styles Tongbiquan , Bajiquan , and Shaolin Zhou Tong boxing. boxing.

Hung Ga : Sifu Kurtis Fujita performs hooking, striking, and kicking crane ( hok ) techniques.

detrimental deficiencies, and train accordingly The interpolation of the five Shaolin animals in order to realize realize one’s full potential. If the served as a means by which existing village self-defense techniques ( ga ga kyun ) could be physical aspects, or yang, are trained in excess, excess, augmented. Moreover, it forged a critical and they must be balanced by their metaphysical credible link to the famous martial monastery. counterparts, yin. When the concentration As this source material was incorporated into is too focused on the yin, the yang becomes various clan’s fighting approaches, it assumed underdeveloped. As such, in terms of different forms and fulfilled different needs physiological references: the leopard as it was processed and fused into those correlates to the muscles ( gei gei ); the respective arts. In each case, the five tiger is associated with the bones Shaolin animals functioned in a unique ( gwat gwat ); the snake is associated with training and applied capacity within the the breath and circulation (qi / hei ); framework of each martial art. the dragon emphasizes the waist and core (yiu ); and the crane refers to the sinews and connective tissue ( gin gin ). Their conceptual complements are addressed in a congruous manner: the leopard – strength (lik (lik ); tiger – fortitude/structure (ngaang (ngaang ); snake – The five most prominent southern Chinese facility/ease ( gaai gaai ); dragon – intent/inner family fami ly fighting styles – Hung g ( (), Lau strength (san (san ); and crane – pliancy (), Choi Choi ( i (), Lei i / / Li i ( (), and Mok and Mok ( goi goi ). When these anatomical and () – purportedly descended directly abstract qualities are trained to an from Shaolin teachings during the Qing acceptable standard, the combative Dynasty Dynas ty (1644 (1644–1911 –1911 CE ). Hung characteristics of these animals Ga firmly Ga a firmly established itself in completes this distinctive martial terms of its continuous advocacy paradigm. Within this context: the and advancement built upon a leopard exemplifies speed (chuk ( chuk staunch observance of what ); the tiger relates to ferocity was believed to be the Shaolin (maang ); the snake alludes to doctrine of that era. The Dragon elbow (lung jaang ). precision ( jung jung ); the dragon influence of the five animals is evokes invisibility (min (min ); and, very apparent in Hung Ga . the crane signifies martial force ( ging ( ging ). Over the course of successive

Hung Ga: Multiplicity


generations, which expanded understandings and developed well-defined ways to balance a practitioner’s combative completeness, the animal designations manifested throughout every stage of training in increasingly sophisticated sophisticated approaches. approaches. Empty-hand training sets such as gung as gung ji fuk fu kyun (Taming kyun n (Taming the Tiger in H patte pattern rn ), fu hok seung ying kyun (Tiger kyun n (Tiger Crane Double Shape ), and ng ying ng haang kyun n (Five (Five Animals Five Elements  ) exemplify the emphasis that the system places on the diversity of the animals’ martial capacities. Particularly in the 5 Animals 5 Elements routine (which some lineages have preserved in a truncated version of just the five animals), each animal’s essence is equally and explicitly given its own martial section equipped with specialized hand formations and corre sponding body methods to accentuate their wide range of combative possibilities.

Choy Li Fut : Practicality In other instances, the essence of the five animals is embedded within the techniques of the martial art. Choy Li Fut is a distinguished system that has many branches and lineages, yet all agree on one t hing: it is first and foremost foremost a fighting art. Through the lens of the Hung Sing ( Sing g () branch, the five animals’ influence is considered to be found in every technique because the system traces its teachings to the Shaolin Temple. Since the five animals were deemed a part of Shaolin training, it is believed that the techniques inherently embodied the combative qualities of each animal. The animal aspects aspects considered most most direct and offensively effective were heavily emphasized, e mphasized, such as the leopard (or panther) fist (paau ( paau cheui ) and tiger claw (fu (fu jaau ). Choy Li Fut t body body methods utilize strong and stable stances, flexible yet firm waist movement, and rapid and fluid footwork (bou (bou faat  ) to support the momentum behind the powerful circular swings, swipes, and strikes that are trademarks of its arm attacks – all of which reflect an indivisible expression of ng ying.

Sifu Fujita angles slightly out of the way of Pete’s (the attacker) right cross, and bridges with his folded arm. Maintaining contact, he Sifu Fujita converts his block to a hooking motion and follows up with a crane’s beak strike to his opponent’s eye.

In application, the animal techniques from the training sets are executed seamlessly with the system’s principles of engagement known as The Twelve Bridge Hands (sap (sap yi kiu sau ). Like the prototypical five animals, the twelve bridging concepts refer to both a physical and metaphysical means to end altercations. The bridging features – gong – gong g (hard (hard ), yau u (soft (soft ), bik k (pressure/force (pressure/force ), ), jik jik k (straight (straight ), fan n (divide (divide ), ding (to ding g (to set ), chyun n (inch (inch ), tai tai (lift i (lift ), lau u (flow (flow ), wan n (move/send (move/send ), ), jai jai (control i (control ), and ding (conclude ) – can be employed in a singular manner or in conjunction with each other depending on the exigencies of the situation. situation. This ideal union between the system’s strategies and animal techniques is one representation of what makes Hung Ga a Ga a a formidable fighting system.


grasps his opponent’s arm and executes a kick to the knee.

Nick punches, Fujita bridges his opponent’s punch while moving off the line of attack. His blocking arm untwists into a wrist grab while his opposing hand cradles the back of his attacker’s head, pulling it forward while delivering a devastating elbow strike.

Specific training sets such as fu ying kyun (Tiger kyun n (Tiger Shape Form ), hok ying kyun n (Crane (Crane Shape Form ), and fu paau ying kyun (Tiger kyun n (Tiger Panther Shape Form  ) are dedicated to the intensities of those particular animals. animals. In other Choy Li Fut lineages, Fut t lineages, an actual 5 Shaolin Animals routine as well as sets solely focused on each individual animal can be found. These sequences tend to expand on the exceptional attributes of each animal in a manner similar to that found in Hung Ga’s Five Animals form, yet the manifestation and execution are clearly the systematization of Choy Li Fut .

In praxis, the system’s techniques adhere to sap kyut t ( ( ), or Choy Li Fut’s s 10 10 Properties: kam / qin (catch qin n (catch ), na a (seize (seize ), ), gwa gwa (hanging ), sao o (sweep (sweep ), chaap chaap (insert p (insert ), paau (throw paau u (throw ), kap p (gather (gather ), biu u (outward (outward ), ding g (resist (resist ), and jong and jong g (crash (crash ). Whether it is a hand formation, footwork, waist action, whole body coordination, or intent, interchangeable animal traits phase in and out of techniques to produce the strongest counters or toughest attacks against adversaries. adversaries. The instinct in Choy Li Fut t is is not to favor any one particular animal’s features, but to use those that will enable the practitioner to overwhelm and overpower any unwanted encounters.

“Immortals emphasize the dragon, snake, and crane...” )). Dragon Fist (lung cheui 

Continued on page 64


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Continued from page 61: 5 Animals

Leopard paw strike (paau cheui  ). ).

Pak Mei : Intensity

There is a mart ial verse that Pak Mei practitioners practitioners are familiar with: “Immortals emphasize the dragon, snake, and crane (Sin (Sin yan ji dim lung se hok  ); teachers impart the tiger and leopard forms (Si (Si fu jan chyun fu paau ying  Fujita moves backward into a cat stance while deflecting his )." T his apotheg m traditionally opponent’s strike. He glides alongside his attacker’s arm and conveyed the idea th at the dragon, strikes his opponent’s ribcage. snake, and crane provided the spirit (san (san ), vital energy (qi (qi ), and martial force ( ging ging ), respectively, to fully support the tiger and leopard expressions – the ferocity and fighting spirit that is to be assumed when executing any and all techniques. This reinforces the perception that if force must be used us ed to end a conflict, c onflict, it should be de cisive, without reservation and with complete resolve. This is the guiding guiding precept found in both the system’s training and execution of techniques. techniques. Of the five animals, the tiger is most visibly expressed through the mindset of the practitioner and the frequency and variations of tiger claws, as ). Snake hand series (lin waan se sau  ). evidenced throughout the various training sets, particularly depicted in As opponent Jake punches, the training routine maang fu cheut Fujita shifts backwards and lam (Fierce (Fierce Tiger Leaves the Forest  blocks with the heels of both   ). The tiger theme is pervasive palms. Fujita bounces off his within the system, as it is also found opponent’s arm with a finger in the footwork through stepping stepping strike to the eyes. He follows methods method s such as a s lip bou (hunting (hunting step up with an additional strike to ) and fu bou (tiger (tiger step ) – the eyes from his rear hand. both very agg ressive and deceptive Fujita converts his block of Chris’s punch to a wrist grab while raising his left elbow footwork patterns modeled after the into an arm break. Chris forces his elbow sideways sideways to protect it from hyper-extendin hyper-extending. g. tiger’s predatory nature. Fujita borrows the force o f this and hooks his opponent’s arm downward while executing a palm strike to his face.


Continued on page 66

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Continued from page 64

When the practitioner’s intent, alignment, and whole-body coordination in conjunction with breath regulation are secured, the application of techniques will be considered efficient and effective. The different aspects of each of the 5 animals are constantly engaged to fortify the eight dynamic mannerisms (baat (baat ging ) of Pak Mei techniques: bin n (whip (whip ), ), got got (cut ), wan n (pull (pull ), ), jong jong (collide ), chung chung (charge g (charge ), taan taan (flick n (flick ), sok k (yank (yank ), and pun n (coil (coil ). The whipping of the crane, pulling of the tiger, cutting of the leopard, flicking of the snake, and coiling of the dragon illustrate some of the ways that the animals’ representations inform the fighting principles of the the system. While these animal behaviors can be analyzed in practice or recog nized in hindsight, hindsight, they are indiscernible indiscernible in combat. c ombat.

Sifu Tomizaki performs a crane strike (hok cheui ). ).  Tomizaki parries a block and grabs the attacking arm while striking the opponent’s neck with the back of the craneshape hand. In an alternate application, Tomizaki hooks away a right punch and strikes the opponent’s temple with a crane’s beak counter. ). Dragon shape (lung ying  ). Before his opponent can complete his grab, Tomizaki executes a dragon strike to the opponent’s throat while maneuvering his foot behind the opponent’s foot to secure a tripping tactic.

The 5 Animals in Evolving Times Each animal is an essential ingredient in this Shaolin formula. How southern Chinese martial systems decided what to emphasize has typically ty pically been dependent on the understand understandings ings and experience of an individual and the context of how combat was viewed. What these animals ultimately represent are the parts that make practitioners whole and relevant releva nt for the times in which they live. A practitioner’s practitioner’s martial experience, personal evolution, and needs of the moment dictate which animals’ representations should be emphasized. 66 KUNG FU  TAI CHI WINTER 2019

After seizing his opponent’s attack, Tomizaki thrusts his snake-shape fingers into his opponent’s eye.

Snake shape ). (se ying  ).

The 5 Shaolin Animals are not a static model, but a dynamic concept. Understanding them and their purpose is the beginning of the process. Making them pertinent to the circumstances of the times is the journey.

). Right: Double tiger claws (seung fu jaau  ). Left : In application, techniques may not look identical to how it is performed within a prearranged set. Instead of using double tiger claws, Tomizaki opts for a single claw to his opponent’s face with the possibility of a set-up for a throw. Below Right: Pak Mei Sifu Sifu Williy Pang performs fan si diu ma ), (tearing corpse lifting stance  ), a hallmark technique of the set maang fu cheut lam . ). Below: Seung laam jaau (double (double clutching claws  ). To illustrate the technique, Sifu Peter Pena lunges at Pang. Pang steps back to dissipate the incoming force while controlling Pena’s head and arm.

). Left: Daan mo jaau (single (single stripping claws  ). Right: Pang seizes Pena’s striking arm and simultaneously counterattacks Pena’s kidney.

)) – Left: Seung chaap jeung (double (double inserting palms  exemplifying the pliancy of the crane. Right: In application, one of the double palms is tactically substituted ). with a paau cheui (throwing (throwing punch  ).

Williy Pang and his training brother Peter Pena founded the New York Pak Mei Kung Fu Association in 2005. He can be reached at [email protected]. Master Daniel Tomizaki is the cover master of the March/April 2018 issue of Kung Fu Tai Chi i magazine magazine.. He can be reached reached at www.champio www.championskungfu nskungfu.. com. Master Kurtis Fujita is a Hung Gar stylist and the Founder/Head Instructor of Tiger Crane Kung Fu in Simi Valley, California. California. He serves as both the Los Angeles Chairman of the United States States Traditional Kung Fu Wushu Federation and the Hung Gar Advisor to the International Traditional Kung Fu Association. Master Fujitawrote the cover story for this issue. He can be contacted at: [email protected] (Hung Ga photos by Tim Divar).


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Challenges in Preserving Traditions in Modern Times Lessons learned from a multi-year martial arts training program By Michelle Lin 70 KUNG FU  TAI CHI WINTER 2019

The

YMAA Retreat Center’s martial arts training program was an experiment for all involved and its participants encountered many challenges along the way. Established by by Dr. Yang Jwing-Ming, the center was a school and home to students who lived with their teacher, as in previous generations. The mission mission was was to develop a deep understanding of martial arts and preserve its traditional quality and values. The environment and goals were almost completely different from those in the past. past. Ancient practitioners trained from an early age and their lives literally depended on their skill. Today’s Retreat Center students began much later in life and generally trained for selfdevelopment, enjoyment, and to build careers. For most students, there was a monetary exchange to cover living expenses. In previous generations, responsibilities were exchanged between student and teacher. In June 2018, the Retreat Center celebrated the graduation of Jonathan Chang (10 years), Frank Verhülsdonk (9 years), Javier Rodriguez (9 years), Quentin Lopes (6 years), Michelle Lin (5 years), Enrico Tomei (5 years), and Piper Chan (5 years).

was heavily shaped by Grandmaster Cheng’s physical skills and lessons in humility and morality. The two shared a close relationship until the master’s passing. Grandmaster Cheng once said he only learned a fraction of what his own teacher knew. Compared to his master, Dr. Yang learned even less. “If I take my knowledge to the grave, the art will continue to die.” –Dr. Yang Jwing-Ming On his master’s tomb, Dr. Yang swore to share all he knew of martial arts so they might survive. Since then, he has continually researched and deepened his Dr.Yang and Grandmaster Cheng circa 1964. understanding to become a better instructor.

Building a Legacy In previous generations, practitioners often kept their knowledge within the martial family to protect against would-be threats. Dr. Yang broke tradition and reached a worldwide audience through self-published books and videos. Initially criticized by some for revealing martial arts “secrets,” he gradually built a reputation as an authority on martial arts and Qigong.

A Promise Dr. Yang studied several martial arts styles over the years: White Crane under Grandmaster Cheng Gin-Gsao, Yang Taijiquan with Grandmaster Kao Tao, and Long Fist with Grandmaster Li MaoChing. His life’s work has involved involved sharing the invaluable lessons he learned from practicing martial arts. In the uncertainty of post-World War II Taiwan, Dr. Yang discovered that training provided solace and an escape from the harsh realities of life. As an impressionable teen, his mentality

Dr.Yang MasterZeng & classmate Chen Ming Shou circa 1965. WINTER 2019 KUNG FU  TAI CHI 71

Dr. Yang Master Zeng class photo circa 1965.

Although Dr. Yang taught classes in Taiwan, he did not actively pursue a teaching career until after living in the U.S for some time. In 1982, YMAA (Yang’s Martial Arts Association) began as a single school in Boston, Massachusetts. As Dr. Yang was invited to teach around the world, his students eventually established dozens of YMAA branch schools.

at the YMAA Retreat Center. In the remaining 3 months, students returned home or stayed to assist with seminars or facility upkeep.

Initial Hurdles

The project was met with conflicting opinions. Younger students students were excited by the romantic notion of living on a mountain and training with the master. Other students Despite reaching a wide audience, Dr. Yang only partially fulfilled his expressed disappointment in losing frequent contact with Dr. Yang. mission. The depth of traditional Many were convinced that preserving training was barely reached and traditional training in modern times by too few students. While Dr. was impossible impossible or irrelevant. Dr. Yang understood how difficult it was for students to progress while Yang’s high hopes for financial assistance were dashed by the lack of adhering to other life obligations, he grew concerned about the deeper supporters for what he believed was a worthy cause. layers being lost for good. To that end, in 2005 Dr. Yang began building a facility in Humboldt County, California, where students would immerse themselves in a 10-year training program. For 9 months of the year, he and the students lived 72 KUNG FU  TAI CHI WINTER 2019

It was and still is a hard sell. Why preserve traditional Chinese martial arts when modern weapons and combat sports exist? Undaunted, Dr. Yang sold his publication company to begin

funding the project. Over the past past decade, the center’s funds included Dr. Yang’s savings, his seminar earnings, student and visitor fees, and donations. donations. The high operational costs and fluctuating income kept the center on a shoestring budget. “My family’s support in this project was very important. Without it, I would not have had a peaceful mind while here and would not have been able to make this happen.” –Dr. Yang Jwing-Ming

Finding and Retaining Students It took a rare kind of student to apply for the training program and an even rarer kind to stay. Dr. Yang searched for physically capable, mature, young men to dedicate 10 years to the program. Based on prior experiences, he feared

that mixing genders could potentially cause conflicts. Due to the strenuous training, the age requirement was 17–25. Students were required required to have have familial support as Dr. Yang did not want to divide divide family family members. The $10,000 annual fee covered the costs of facility insurance, taxes, utilities, and meals. However, Dr. Yang Yang did not want financial limitations to hinder dedicated students from the opportunity so most of the initial students were supported by the center. Additionally, he hoped to generate donations over the years. Out of over 100 applicants, 5 students enrolled in fall fall 2008. After several left, 5 more enrolled in the following year. Within a few year years, s, it was down to Jonathan, Frank, and Javier. Students left for reasons others will never fully understand. Perhaps the environment, changing priorities, lack of funds, or issues with other residents contributed to a student’s departure. Ultimately, new participants were needed as training partners and financial contributors.

A A M Y

Dr. Yang saw potential in adjusting the applicant restrictions to accept a group with different dynamics. dynamics. In 2013, midway through the 10-year journey, 7 students arrived. The differences in the new students students reflected in their training and commitment to the program. Five were YMAA students compared to 3 out of 10 from the previous groups. Having that background later affected the group’s group’s training approach. Four of the new students were over age 25 and and more settled in their life goals. One of the new students was female. The experience of living and training with a female student opened the minds of the male residents. The inclusion of female students would later significantly improve the center’s financial situation and ability to continue operations. None of the new students were on financial aid. Interestingly, nearly all the students funded by the center were amongst the first to leave. Those who dedicated their time and resources to earn their keep had deeper commitments and showed much stronger resolve.

Different Training Approaches Following tradition, students began Shaolin training with body conditioning. Drills included wrist conditioning, rooting, mountain running, jumping, log running, rope climbing, heavy bags, candle training, stances, and common fitness exercises. Bare-hand sequences, weapons sequences, and reaction drills drills were also introduced. For Taijiquan, students learned the 108-long form, Taiji saber, saber, and Taiji sword. Martial applications were introduced with fundamental drills including centering, pushing hands, and Taiji Symbol (or Silk Reeling).

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“The features and the format of the program were exciting.” Students trained about 8 hours per day, Monday through Friday. Saturdays consisted of 3 hours of morning training and 3 hours of chores in the afternoon. Chores included upkeep of the living quarters, gym, vegetable and flower gardens, and utilities maintenance for the mostly self-sufficient operations. Despite the packed training schedule and Dr. Yang’s availability for corrections, progress was slow. Students burned out and lost direction with the overwhelming quantity and depth of the material. Some drills are quantifiable, but overall martial arts quality is subjective. subjective. How do you define define goals beyond, “I want to progress”? progress”? Only clearly defined defined goals are reachable. For the training situation to improve, improve, changes had to be made. made. The quantity of material material had to be structured. Quality and goals had to be measurable. Time had to be used more efficiently for training and recovery. In 2016, most students began using the existing YMAA curriculum as a guideline. It offered progressions, a rotation of skills to focus on, and deeper partner training. Fresh Taiji drills included Large Rollback, Cai Lie Zhou Kao , and Fighting Set. The Shaolin curriculum challenged students to construct matching sequences and drills. This gave them the chance to analyze, create, and deepen their understanding. Progress was better measured by testing specific skill sets. At the students’ request, the passing passing score was raised from the international standard. standard. The higher standard forced them to push to attain a deeper understanding and higher quality.

To improve time usage, conditioning was trained in shorter blocks and built into sequence sequence practice. More time was devoted to mental challenges in the form of analyses and group discussions. Added self-care and recovery time helped minimize the impact of injuries. Gradually, the students noticed improvement in their overall quality as practitioners and teachers. In hindsight, the students could have progressed much further in their own training had they known the optimal path from the start. However, the entire program was an experiment. Without trying different different options, the students would not have gained the invaluable lessons in how to structure curriculums and lesson plans for their future students. “The features and the format of the program were exciting. Reality usually usually draws draws a different picture. picture. In hindsight, the path we walked together was rugged, and yet the outcome outcome is very positive. positive. The perception of the dynamics in life life is the real practice. The lessons are endless, and so are the approaches and methods to tackle them.” –Frank Verhülsdonk

Above Photos by Jonathan Chang 74 KUNG FU  TAI CHI WINTER 2019

Responsibilities Beyond Training The center had no staff members aside from the students themselves. They were on rotation for cooking and livestock livestock care. Additionally, there were endless administrative tasks and additional chores to be completed. Students engaged in self-directed study of martial arts and Qigong theory, massage, Chinese language, and career planning. planning. Some of the self-financed students worked to continue participating in the program. Personal time had to be set aside and even that was divided into leisure and recovery time. Teaching skills expand beyond those developed in training. Practicing for personal interest gives a student freedom in how and what he or she chooses to focus on. Training to become instructors requires a deeper understanding of techniques and how different students learn. Dr. Yang taught through various avenues including regular classes at a school, seminars, videos, books, and

articles. Students were encouraged to follow his examples and learn career building skills in teaching, media production, and writing.

A Way of Life Ancient and modern times are drastically different but some elements remain consistent. The lessons learned through martial arts are not confined to physical practice. “The real benefit of practicing martial arts is not based on how deadly they could make me, but instead on keeping me honest and humble by highlighting my physical limits. Accepting my limits is letting go of all the judgments about what’s good or bad in me and just enjoying the fact that I move, breathe, live.” –Enrico Tomei Another invariable challenge for ancient and modern teachers is instilling morality or a code of conduct in their students. Not all teachers attempt this and many believe that morality cannot be taught. Nevertheless, all of Dr. Yang’s teachers cultivated

the importance of upholding traditional values such as humility, perseverance, respect, and righteousness. righteousness. Dr. Yang has shared the same principles with all YMAA students. For some, the harsh lessons learned from training have echoed in other aspects of daily life to the point where practicing martial arts has become their way of life.

Graduation & Discipleship Ceremony The multi-year journey ended with the Shaolin/Taiji students’ graduation on Saturday, June 23, 2018. Parents, long-time long-time students of Dr. Yang, supporters, and locals were invited to the celebration which kicked off with a 75-minute demonstration. Students performed traditional sequences from the lineage and self-created sequences. Audience members also witnessed a discipleship ceremony which raised the question: What does it mean to be a disciple?

L_R: Quentin Lopes, Enrico Tomei, Javier Rodriguez, Jonathan Chang, Frank Verhülsdonk, Piper Chan & Michelle Lin. Photo by Jonathan Chang


Photo by Kimberly Porter

In martial arts society, there is a distinction between “teacher” and “shifu,” and between “student” and “disciple.” The shifu-disciple relationship runs as deeply as a parent-child relationship and requires lifelong obligations between both parties. The shifu guides the disciple in moral growth and in learning the arts. The disciple promises to train diligently and preserve the knowledge. The 10- and 9-year students became disciples upon enrollment. The immediate acceptance was intended As practitioners everywhere have experienced, as a commitment from both teacher and student to preserving traditional martial arts is challenging on complete the program. After 7 of the students left, many fronts. Conflicts are constant, as are the benefits they were no longer disciples and Dr. Yang changed of cooperating with likeminded people. his policy. There were no promises or expectations of discipleship at the beginning or end of the 5-year and morality program. The commitment had to be demonstrated and “Success” is relative. Physical quality and generations for students the parent-child relationship had to develop organically. are subjective. It may take generations to reach the same physical capabilities as those in the Before graduation, Dr. Yang agreed to accept Quentin, past. The knowledge is available, available, but theory can only Michelle, Enrico, and Piper as disciples. go so far without execution. It is up to the current generation of all practitioners to develop the feeling While some titles and ranks were created c reated to illustrate and guide their students to deeper levels in physical, a person’s skills or achievement, the meanings remain mental, emotional, and spiritual growth. ambiguous and do not define a person. person. Additionally, the process for attaining titles and ranks are Some Retreat Center graduates have been teaching inconsistent. As experienced within within and outside outside the in the YMAA system since before the program Retreat Center, the authenticity of the relationship and will continue long after. Others will explore and commitments of each person are dependent on the opportunities. Regardless, the lessons individuals. Throughout the history of time, there have have different opportunities. learned will carry on in each person’s life and shape the been disciples and masters who demonstrated behavior communities they live in. unbecoming of their titles. On the contrary, Dr. Dr. Yang was not a disciple of any of his 3 teachers, yet he built lasting relationships with each and fulfilled his promise Whether as a student, disciple, teacher, or shifu, a to preserve his knowledge. Only time will tell how well practitioner can preserve and share the traditions. a person represents a title or rank carried. Although circumstances, traditions, and styles have changed with each generation, the essence of martial arts is the same. The essence binds binds practitioners “I am glad to have accepted a few more disciples. I together and its future depends on whether its worth just hope these new disciples and my old disciples can can be demonstrated accordingly. establish a tight connection and relationship to help each other in the future.” –Dr. Yang Jwing-Ming

Photo by Jonathan Chang


Michelle Lin trained at the YMAA Retreat Center from 2 013–2018. Hailing from Andover, MA, she has been involved with the YMAA schools on the East Coast for almost 15 15 years. Michelle is grateful for her friendship with the folks at Kung Fu Tai Chi and and she participated in their Tiger Claw Elite Championships as both a competitor and judge. judge. In addition to training and teaching martial arts, she produces videos with her partner, Jonathan Chang, as “Barking Rabbit Media” (www.barkingrabbit. com). For more information on the YMAA Retreat Center, see ymaaretreatcenter.org.

By Sifu Daniel Kun

T

raditional Chinese Martial Arts (TCMA) is known for its many empty hand and weapon forms. These forms go far beyond just teaching punches, kicks, and weapon thrusts and chops; they are designed to develop coordination of hand, feet and body. The intricate movements movements translate to various martial art techniques, such as the finger thrust, joint manipulation, escaping from attacks, the efficient use of the body without reliance on brute strength alone. TCMA has an arsenal of weapons, with weapons forms for teaching how to wield them advantageously against other weapons.

about 45 equivalent fighting drills. Goh Cho Kun is is a synthesis of five Kung Fu styles – Tai Cho Fist, Fist, Fujian White Crane Fist, Monkey Fist, Lo Han Shaolin Shaolin Boxing, and Da Mo internal Kung Fu – which is the reason for the many forms. At the core of Goh Cho Kun is is Tai Cho Fist. Fist. Tai Cho Fist Fist (Grand Ancestors Fist, or Grand Emperor Fist) was put together during the Song dynasty (960–1279 AD) and expanded during the Ming Dynasty (1368–1678 AD). An amalgamation of all the known known martial arts during those dynasties, dynasties, it includes elements of Dragon, Tiger, Eagle, Mantis, Leopard, Northern Crane, wrestling, Shuio Jiao, northern kicks, boxing, parkour, jui sut, In TCMA, the Goh Cho Kun (Five (Five Ancestors and weapons such as assorted pole arms, short weapons, double weapons, flexible weapons, Fist ) style stands out, having a total including projectiles, archery and many more. of 60 empty hand forms, 55 weapon forms, and


multi techniques Goh Cho multi

It is not surprising to see several techniques in Goh Cho Kun reflecting different styles, such as snake style with its twofinger eye poke, the joint locks from Eagle Claw, the knifehand thrusting from White Crane, the powerful gripping from Eagle Claw, leopard fist’s penetrating strike, the ripping

technique from dragon and tiger fist, the dexterity from monkey fist, flexibility from Shaolin, kicking techniques from northern schools such as Chuo Jiao , soft gentle techniques from Wudang, and other techniques such as phoenix punch, or grappling and takedown methods.

1) Sam Chien (Three Battlers ) 2) Tien Te Lin Chien (Heaven, (Heaven, Earth, Man Battle ) 3) Lian Kwan Chien (Link (Link Circle Battle ) 4) Sam Chien Sip Di (Three (Three Battle Cross Pattern ) 5) Pieng Beh Chien (Even Horse Horse Battle ) 6) Tit Kieng Chien (Straight (Straight Bow Battle ) 7) Goh Ho Chien (Five (Five Tigers Battle ) 8) Cho Chien Wat (Left (Left Battle Method ) 9) Lieng Tao Chien (Dragon (Dragon Head Battle ) 10) Hong Beh Chien (Phoenix (Phoenix Tail Battle ) 11) Sui Hwa Chien (Elegant (Elegant Battle ) 12) Sam Chay Chien (The (The Three Ability Battle ) 13) Hok Chien Wat (Crane (Crane Battle Method ) 14) Di Sip Kun (Twenty (Twenty Punches ) 15) Si Meng Pah Kat (Four (Four Doors Hitting Corner ) 16) Song Sui (Twin (Twin Soothes ) 17) Goh Toh Tim Taoh (Five (Five Times Hitting head ) 18) Lien Xia Wat (Linking (Linking Walls Method ) 19) Lien Kwan Pak Kwa (Linking (Linking Loop Eight Trigrams ) 20) Hui Hok Sang Liao Wat (Flying Crane Double Claw Method ) 21) Twe Suwah (Earth (Earth Shake ) 22) Di Tzat (Second (Second Segment ) 23) Sa Tzat (Third (Third Segment ) 24) Si Tzat (Fourth (Fourth Segment ) 25) Goh Tzat (Fifth (Fifth Segment ) 26) Swan Hong Kun (Hurricane (Hurricane Fist ) 27) Sang Sau Kun (Double (Double Sweeping Fist ) 28) Si Meng Kwa Sau (Four (Four Doors Cutting Sweep ) 29) Chien Li Ta (Thousands (Thousands Means Attack ) 30) Tui Chiong Kun (Pursuing (Pursuing Fist ) 31) Si Meng Cho Tue (Four (Four Doors to the Base )

Goh Cho Kun embodied embodied the dynasty’s empire-wide martial prowess by integrating all effective techniques and Kung Fu styles. As such, it it can be seen as an open style, predecessor of today’s MMA (mixed martial arts). Here are the 60 empty empty hand forms of Goh Cho Kun :

32) Si Meng Taio Cha (Four (Four Doors to Intercept ) 33) Cho Beh Si Meng (Walk (Walk Horse Four Doors ) 34) Lak He Kun (Six (Six Harmonious Fist ) 35) Sip Li Kun (Cross (Cross Pattern Fist ) 36) In Tin Tat (Entwining (Entwining Kick ) 37) Swan Hong Tui (Hurricane (Hurricane Kick ) 38) Song Hui Lien Kuan Tui (Double (Double Flying Continuous Kick ) 39) Tan Lien Kuan Tui (Single (Single Continuous Kick ) 40) Sa Kak Yiao Kun (Three (Three Corners Rocking Fist ) 41) Sam To Tim Taoh (Three (Three Times Hitting the Head ) 42) Tiong Kwan Wat (Centre (Centre Controlling Method) 43) Sang Pien Wat (Double (Double Whip Method ) 44) Way Ma Yiao (Turning (Turning Horse Shaking ) 45) Sang Lieng Po In (Double (Double Dragon Holding Seal) 46) Sai Tze Wan Sin (Lion (Lion Turning Body ) 47) Hai Li Po Pai (Child (Child Holding Tablet ) 48) Ko Twi Pi (Druming (Druming Cutting Whip ) 49) Peh Kao Chu Tong (White (White Ape Exit Cave ) 50) Chieng Ho Wat (Cool (Cool Breeze Method ) 51) San Chap Lak Tian Kong Wat (Thirty (Thirty Six Potential Heaven-Stars Method ) 52) Chi Chap Li Tijie Swat Wat (72 (72 Potential Earth Demon Method  ) 53) Chui Lo Han (Drunken (Drunken Lo Han ) 54) Tsit Xing Kun (Seven (Seven Star Fist ) 55) Kaw Tuan Kim Wat (Nine (Nine Section Brocade Method ) 56) Chap Pwe Hak Si Wat (Eighteen (Eighteen Scholar Method ) 57) Chong Hap Kun (Comprehensive (Comprehensive United Fist ) 58) Lian Hwa Kun (Link (Link Flower Fist ) 59) Sui Hwa Chien (Elegant Flower Flower Battle Battle ) 60) Xiao Si Meng (Small (Small Four Doors ) WINTER 2019 KUNG FU  TAI CHI 79

Long weapons

Some of the Weapons are: 1) Tan Dao (Single (Single Saber ) 2) Sang Dao (Double (Double Saber ) 3) Sang Te Kwai (Double (Double Tonfa or Short Crutches ) 4) Sang Te Pi (Double (Double Short Flog ) 5) Sang Toh (Double (Double Daggers ) 6) Tan Te Toh (Single (Single Dagger ) Sang Chiet Dao (Double 7) (Double Machete ) 8) Ta Dao (Big (Big Blade ) 9) Gang Pien (Knuckle (Knuckle Mace Bat ) 10) Kaw Tsat neng Pien (Nine (Nine Sectional Whip ) 11) Ti Kewh Si (Iron (Iron Bladed Fan ) 12) Sang Teh Kiyam (Double (Double Short Sword ) 13) Kiyam (Sword (Sword ) 14) Sang Teh Chiu (Double (Double Short Spear ) 15) Sang Po Taoh (Double (Double Axe ) 16) Ho Suwah (Umbrella (Umbrella ) 17) Teng Pai Chiet Dao (Shield (Shield and Machete ) 18) Sa Tsat Kuhn (Three (Three Sectional Staff ) 19) Goh Tsio Kuhn (Five (Five Foot Staff ) 20) Tsit Tsio Kuhn (Seven (Seven Foot Staff ) 21) Liu Xing Kuhn (Meteor (Meteor Staff ) 22) Teng Di Kuhn (Long (Long Foot Staff ) 23) Pin Tah (Peddler’s (Peddler’s Staff ) 24) Tsiu (Spear (Spear ) 25) Kwan Dao (Kwan (Kwan Blade ) 26) Sau Pe (Mountain (Mountain Trident ) 27) Kaw Tsiu (Hook (Hook Spear ) 28) Tswah Bao (Snake (Snake Spear ) 29) Fang Tian Ji (Double (Double Moon Halberd) 30) Qing Long Ji (Snake (Snake Single Halberd ) 31) Yue Ya Chan (Monk (Monk Spade ) 32) Kai San Po (Axe (Axe Halberd ) 33) Sang Jian Liang Ren Dao (Triple (Triple Bladed Crown ) 34) Chiem Beh Dao (Horse (Horse Cutting Knife ) 35) Chou To (Hoe (Hoe ) 36) Cheung Kiu Dang (Bench (Bench ) 37) Sang Toh Tsiu (Double (Double Edge Spear ) 38) Tien Lung Tsiu (Heaven (Heaven Dragon Spear or Sharp Pick Spear ) 39) Gang Pien (Mace (Mace ) 40) Sang Ho Kaw (Double (Double Tiger Hook ) 41) Chi Pi Kuhn (Eyebrow (Eyebrow Level Staff ) 42) Chiu Kwai (Walking (Walking Cane ) 43) Chang Jiao Zuan (U (U Fork Pole Arm  ) 44) Chang Dao (Two (Two Handed Long Saber  ) 45) Sang Qi (Double (Double Battle Axe  )

Among these 60 empty hand forms forms are forms to suit every type of person – tall lightweight, tall heavyweight, tall middleweight, short lightweight, short heavyweight, short slim, average height, medium height, male or female. female. In addition, there are general forms suitable for everyone. The forms utilize different fighting techniques. techniques. Some emphasize concentrated power such as Goh Toh Tim Taoh ( (), some focus on agility such as the Te Sua ( (), Sa Tzat ( (), some on fast, soft, precise techniques such as Hui Hok Sang Jiao Wat (), Lien Xia Wat ( (), Lien Kwan Pak Kwa ( (). Some forms are a balance such as Song Sui ( (), Si Mun Pah Kat ( ( (), ). Many other forms like Sam Chien ( 80 KUNG FU  TAI CHI WINTER 2019

Weapons

Tien Te Lin Chien ( (), Sam Chien Sip Di ( () are designed to build on focus, concentration and structure, some on kicking techniques as such Suan Hong Tiu ( (). All of the forms provide a martial arts formula design to meet the needs of different circumstances and fighting environments. Within the Goh Cho Kun weapons weapons arsenal one sees every known ancient weapon: spear, lance, pole axe, crescent moon pole arm, snake spear, double moon spear, half-moon spear, hook spear, pike spear, long 12-foot lance, monk spade, trident, horse cutting knife, three star pike pole arm, straight sword, three sectional staff, chain whip, long two-handed sword, broad sword, single saber, twin sword, battle axes, tiger

hook, mace, knives, projectile weapons such as archery, darts and many more. Weapons possession and training has been part of Goh Cho Kun since since the beginning. In fact, firearms might have become a part of the Goh Cho Kun arsenal except for strict government regulations and severe punishment for illegal possession Coordination of firearms. In fact fact the expansion of Warlord armies back then was due to weak government and the proliferation of firearms. By the end of the 19th century, interest in these th ese empty hand forms and weapons had waned, what with the availability of firearms, modern warfare technology, better civil interaction and the expansion of martial art sports and health exercises. exercises. Why bother memorizing memorizing all the intricate Goh Cho forms forms when one could learn far easier, viable and sustainable sustainable physical exercises? exercises? Besides,

interest had shifted away from combat training in Goh Cho Kun to to training for health, posterity, urban self defense, sports and theatrical performances. Today, only about a dozen Goh Cho Kun empty hand and weapons forms are still being practiced. practiced. Most of the long pole weapons are obsolete. Except for the staff, the weapons are rarely remembered or taught. Many of the routines have have been

Mental concentration


The empty hand and weapons forms of Goh Cho Kun deserve to be preserved not only for their historical value but their continued relevance in today’s world. Goh Cho Kun is is an impressive martial arts style offering five packages in one. It develops: 1) Coordination – of the lower, mid and upper parts of the of body, the eye, hand, mind and body; 2) Mental Awareness Awareness – concentration and total health by memorizing the forms; 3) Strength – using weapons for weight training and the utilization of internal muscle tensioning with power breathing; breathing; 4) Self Defense – mastered through diligent practice of the forms; 5) Posterity – preserving and being part of martial arts history.

Daniel Kun is Sifu of the Kung Han Ngo Cho Kun Kung Fu Association in Canada. For more information, visit KonghanKungFu.com

Strength

simplified, or have lost fidelity, and the weapons themselves have been modified, no longer combat quality, designed only for exercise and for stage performances.

The empty hand and weapons forms of Goh deserve to be Cho Kun deserve preserved not only for their historical value but their continued relevance in today’s world.

Self defense

Posterity 82 KUNG FU  TAI CHI WINTER 2019

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By Gene Ching

K

ung Fu has the most diverse arsenal of cold arms of any martial art in the world. Within that massive armory, one weapon is respected respected above the rest. The Chinese straight straight sword is most highly venerated. Called a jian a jian in in Mandarin or gim or gim in in Cantonese (), it is a doubleedged straight-bladed sword akin to a European rapier, referred to by Kung Fu practitioners as the "gentleman" of weapons. It is said that it takes 100 days days to master the staff, 1000 days to master the spear and 10,000 days to master the jian the jian . That’s a little more than three months, over two-and-ahalf years, and nearly twenty-eight twenty-eight years respectively. respectively. As Chinese weapons go, the jian the jian is is considered the most sophisticated, and yet the most subtle weapon. Despite its lofty position in Chinese cold arms, the jian the jian is is one of the most practiced martial arts weapons weapons in the world. Certainly, there are more staff wielders because because staff is the most basic weapon. And just as Bruce Lee popularized the Nunchaku, Samurai and Ninja movies have made the Katana into into a worldwide favorite. However, the jian the jian is is the traditional weapon of Tai Chi. Chi. And a solid argument can be made for Tai Chi being the most popular martial art in the world today. If all the grassroots Tai Chi happening happening in parks, in senior centers, and rehab facilities could be tabulated, it may well exceed all of the other styles of martial arts. arts. Tai Chi is so connected to jian to jian that jian that jian are are often translated translated as “Tai Chi Chi swords.” It’s a disservice because there’s no distinction between a jian used used for Tai Chi and one used for any external form of Kung Fu, except 84 KUNG FU  TAI CHI WINTER 2019

for in standard competition weapons for Modern Wushu. Modern Wushu has created jian created jian forms forms that are acrobatic and flashy, but traditional jian forms are typically slow, graceful and meditative. Even the external Kung Fu jian Fu jian forms forms typically retain a more Tai Chi feel. They can be very dance-like, even more so than most Chinese martial arts forms. Many practitioners today get lost in the ethereal moves and have little sense sense of the edge, the point or how to actually use a jian a jian in in a sword fight. Despite the extensive arsenal, weapon sparring is uncommon in most Chinese martial arts schools now beyond pre-choreographed two-person forms. And even those are somewhat rare for jian for jian . But there is Fencing.

Fencing: The Olympic Swordplay The sport of Fencing is unique in many ways. Not only is it the only direct style of weapons sparring in the Olympic Games, it is one of the

After studying the various weapons of Kung Fu including jian , Sabrina Cho advanced quickly in the Fencing world. original events of the modern Olympic movement and has been a mainstay ever ever since. What’s more, it’s one of the few weapon combat sports that uses steel swords. Most other styles use wood swords. At the Olympics, Fencing is dominated by the Italians and the French, followed by Hungary. The fourth and fifth top medal winning nations are split due to politics, with the former Soviet Union leading Russia by nearly twice as many. China is now ranked tenth, which is extraordinary considering that China has only participated in in the Olympic Games since 1984. The United States trails behind in slot number 14; however, the popularity of this sport in America is on the rise. Sabrina Cho has been practicing Kung Fu for the last decade, training with Master Xu Dezheng (a.k.a. David, May+June 2016 cover master ) at his school Pure Shaolin Kung Fu in Belmont, California. About five years ago, she started Fencing, mostly by accident. “I went to a summer camp,” confesses the teenage champion. “And it was one of the last options options available. I didn’t want to do it at all.” After studying the various weapons weapons of Kung Fu including jian including jian , Sabrina Cho advanced quickly in the Fencing world. Today she has has amassed a formidable competitive record in Fencing for one so young. She is nationally ranked as 7th for Cadet Class (born 2001–2004 as of 2018) in the United States. In March 2018, 2018, she won the Pan Am Games for

Cadet in her weapon. In February 2018, she placed 3rd for Cadet at the U.S. Junior Olympics. Olympics. She also competed in Rome and captured 13th place internationally for Cadet and in Zagreb Croatia where she placed 27th for Juniors, which was the 4th best U.S. result at that that competition. “I believe the jian the jian has has especially helped me with my Fencing technique as well as control with the blade.” On the physical level, Fencing is a lot simpler than Kung Fu. For one thing, there are only three Fencing Fencing weapons, and most competitors will specialize specialize on only one. Fencing is divided into three separate weapons: Foil, a point weapon in which only the torso is a legal target; Epee, also a point weapon in which the entire body is a legal target; and Saber, a point and edged w eapon in which everything above the waistline waistline is a legal target. Foil is the introductory weapon and what the majority of practitioners fence. The foundation of all three weapons is the same, but being an intense competitive sport, there’s enough difference to keep athletes focused on their specialty. Most Kung Fu systems have dozens of weapons to practice and Grand Champions must excel in empty-hand, short weapons and long weapons just to get in the game. In addition, Kung Fu has all sorts of punches, kicks, throws and locks. “Fencing also only uses certain muscles in the body,” says Cho, “and you only move back and WINTER 2019 KUNG FU  TAI CHI 85

forth.” Fencers compete on a strip, or more formally piste (French (French for track). A regulation piste is is 14 meters long and 1.5 to 2 meters wide, so there’s not much side to side leeway leeway for evasion. “It’s either forward or back,” reiterates Cho. “I find it fascinating that in Fencing, Fencing, there’s so much repetition – parry four, parry six, lunge, lunge, recover. But at the same time, it’s fun.” Ultimately for Cho, she credits the mindset of Kung Fu training for helping her advance in Fencing. Fencing. “You really have to train your mind,” she says. The discipline of training and and the ability to “eat bitter bitter (chi ( chi ku )," as Kung Fu proponents often say, increased her willpower and her ability to focus. “Fencing requires a lot of mental mental strength, especially when you are losing or if it is a hard match.”

The Bruce Lee Connection In the beginning of Bruce Lee’s seminal book Tao of Jeet Kune Do , there are some curious acknowledgements. acknowledgements. The first is understandable understandable – Edwin L. Haislet’s Boxing (1940). (1940). The remaining three are all Fencing manuals: Fencing by Hugo and James Castello (1962), (1962), Fencing with the Foil by by Roger Crosnier (1951), and The Theory and Practice of Fencing by Julio Martinez Castello Castello (1933). Linda Lee Cadwell (Bruce’s (Bruce’s widow) writes in her forward to the book that Lee w as “particularly impressed” by the cited authors and that “many of Bruce’s own theories are directly related to those expressed by these authors.” Lee practiced Fencing. Fencing. Although he’s most famous for his Nunchaku, Lee showcased his Fencing skills on screen in his fight scene with Master Dan Inosanto in Game of Death (1978). (1978). In that scene, scene, Lee slices slices an X on Inosanto’s forehead with a flexible bamboo rod. “And when your flashy routine can’t keep up with with the speed and elusiveness elusiveness of this thing here,” quips Lee with his h is characteristic cinematic cockiness, “all I can say is that you will be in deep deep trouble.” For the rest of the bout,


he chides Inosanto for his rehearsed routines, his lack of adaptability, and the superiority of broken rhythm (breaking rhythm, or Fencing Time, is a prevalent concept in Fencing theory). That bamboo weapon has remained remained mysterious ever since. Fans have assumed that it might be some ancient Chinese whip, or an obscure Philipino Philipino rod. Some even postulate it is a South African sjambok or or

litupa . But anyone who has any Fencing training training at all can see that Lee is just Fencing. Lee showboats a bit between exchanges with Inosanto, but he also disarms Inosanto of one of his Escrima sticks deploying a classical Fencing wrist cut and, at one point, adopts a traditional Fencing en-garde position and then launches a textbook advancing attack. Surely it would have been awkward to introduce a foil into that fight scene. Lee’s bamboo rod did did the trick. According to Matthew Polly’s new biography, biography, Bruce Lee: A Life , what made Jeet Kune Do unique was “the major major elements he adapted from fencing” fencing” (p. 200). Polly states that Lee had sixty-eight books on fencing in his library and that in his notes Lee described Jeet Kune Do as “fencing without a sword.” There’s a prevalent myth that among among Bruce Lee’s many accolades, he was also a high school Fencing Fencing champion, but Polly begs to differ. “Bruce’s brother Peter was an elite elite fencer,” clarifies clarifies Polly. “It’s unclear unclear how elite. elite. He competed competed in some international competitions. competitions. Bruce was certainly not a high school champion fencer. fencer. Peter showed him a few few moves. I believe I have a quote in my book from Peter: ‘When we were kids, I showed him some some moves. He couldn’t touch me, but when he got back from America, America, I couldn’t touch him. That’s the way Bruce was—always secretly practicing.’” It’s important to note that Tao of Jeet Kune Do was was published posthumously in 1975 by Lee’s widow. Lee died tragically in in 1973. As Cadwell reveals reveals in her forward, the bulk of the book was written in 1970 when Lee suffered a severe back injury and was laid up for six months. But the rest of the book was filled in with his copious notes. The only book Lee put out in his lifetime was in 1963, his indie publication Chinese Gung Fu: The Philosophical Art of Self-Defense .


The chapters of Tao of Jeet Kune Do read like a Fencing manual. Lee talks about the On-Guard position and the Eight Basic Defense Positions (Fencing has eight classical parries – Lee appears to have adapted the dominant four Fencing guard positions and mirrored them for a right or left lead leg to make make eight). His chapter on Preparations has the subheadings Feints and Parries, two mainstays of Fencing. And most telling telling is his chapter on Attack with the subheadings: Preparation of Attack, Simple Attack, Compound Attack, Counterattack, Riposte, and Renewed Attack. This is the fundamental progression of attacks poached directly from Fencing. The very title of Lee’s style, “Jeet Kune Do ()," reveals some Fencing roots. Jeet Kune Do has been classically translated into "the Way of the Intercepting Fist," but the Chinese characters reveal more. "Do” is “dao “dao ” as in Daoism and it’s telling of the time that Lee used the Japanese transcription as in Judo or Kendo, although that spelling might have been a version of Lee’s native Cantonese, which pronounces it “dou .” .” “Kune” is “fist” but also a general term for Chinese martial arts styles. It’s the same same character as “chuan “chuan ” in Tai Chi Chuan (  ) and "quan "quan ” in Shaolin quan ( ( ). Most telling is "Jeet” – this means to cut off, stop, or obstruct. Lee’s fighting style was built largely upon the counterattack and that is one of the fundamental responses in Fencing. For fencers, there are only only three possible reactions to an attack: counterattack, parry and riposte (which includes retreating), or get hit. Lee chose the first and fastest option. Given Jeet Kune Do’s roots in Fencing, it’s embarrassing how many Jeet Kune Do exponents are unfamiliar with Fencing theory. Fencing theory is the culmination of centuries of welldocumented research


and development, so much so that in 1968 Carl A. Thimm published his massive reference guide, guide, Complete Bibliography of Fencing and Duelling . The work cites thousands of Fencing treatises published in multiple European languages. languages. It’s a staggering staggering library of combat wisdom and Lee was a pioneering thinker to start tapping its constructs for hand-to-hand fighting. However, there’s a fundamental flaw in translating Fencing theory to fisticuffs. First and foremost, Fencing is a sport, not a street fight. Like boxing, wrestling and MMA, any combat sport must establish precautionary rules to ensure the safety of the competitors. Even most historical Fencing descends from dueling, and that had some rules. Those were duels with live blades, and while fatalities did occur, there were still constructs that sought to minimize the chance of death or permanent injury. These were duels duels of honor, and even though they were clandestine bouts (being illegal in the latter centuries), honor demands etiquette. Duels were fought with rules and witnesses. Given these constraints, modern Fencing theory does not allow for kicks or punches – “The fun part,” says Cho with a grin. Even any offensive or defensive usage of the non-weapon hand is barred in Fencing. It’s just actions actions with the weapon. In all fairness to Lee, he didn’t live to see his Jeet Kune Do book to fruition. Perhaps if he had, he might might

have resolved the rifts. Bruce Lee’s magnitude made Jeet Kune Kune Do into a must-read treatise and no martial artist of his generation can deny at least engaging it on some level. Accordingly, those theoretical theoretical rifts have proliferated subconsciously into the millennial generation of martial artists, whether they realize it or not. “Kung Fu has helped my Fencing a lot,” says Cho. Cho. “It physically made my body stronger and more aware of my movements, as well as helping with my reaction time.” time.” Although she’s traded her Kung Fu silks for a Kevlar jacket and Fencing mask, she still holds Kung Fu in high regard. Like Bruce Lee said “Absorb what is useful.” Perhaps her cross-training helped her rise to the champion she is today. “Kung Fu practitioners practitioners can can improve their precision and changing speeds from Fencing. Fencing also helped me maintain focus and stability, which many martial artists can find beneficial.”  References: (1975) Lee, Bruce: Tao of Jeet Kune Do (1975) Ohara Publications, Incorporated (2018) Simon Polly, Matt: Bruce Lee: A Life (2018) and Schuster Thimm Carl A.: Complete Bibliography of Fencing and Duelling (1896) (1896) John Lane

Sabrina Cho is assisted by her sister, Gracie, also a Kung Fu practitioner and competitive fencer, in these photos.

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By Amante P. Mariñas I

designed as weapons. Hence, they look ordinary and appear not a threat to anybody. The projectiles fall under three classes: (a) projectiles thrown free off the hand, (b) projectiles propelled by stored energy such as an arrow, blowgun dart, or a stone with a sling shot, and (c) projectiles tethered to a rope for quick recovery and re-use. Obviously, if if one throws a projectile off the hand and misses, one will need another projectile. Furthermore, the projectile that missed might be retrieved by the adversary and used against you. To prevent such a possibility, ancient Chinese masters designed the rope dart, consisting of a dart with a hole at the tail that is then tied to a length of rope. The origin of the rope dart can be traced to the Tang Dynasty. The Tang Dynasty (618–907 CE) was one of the best periods in Chinese history. The early Tang (divided into four reigning periods: 618–626, 626–649, 649–683, and 690–705) had a prosperous economy. Farmers produced more than enough for the population, so they sold surpluses to other countries such as India. The military was powerful. Art and culture flourished. This was an ideal environment for the invention of the rope dart. It was also an opportune time for the development of a martial culture that provided weapons masters for the military. he Chinese martial arts are known for the great variety of its empty hand and weapons systems. Not widely known is China’s throwing weapons. Collectively, Douglas H. H. Y. Hsieh grouped them under the heading “Ancient Chinese Hidden Weapons,” which was also the title of his book [Hsieh, [Hsieh, Douglas H. Y.: Ancient Chinese Hidden Weapons (1986) (1986) McLisa McLisa Enterprises]. The title is really a play with words. Some of the weapons such as the ordinary stone, needles, needles, A rope dart does not require any and flying cymbals are hidden in plain plain sight. These are objects that were not special fabrication; it is just a rope and a dart. dart. Get a throwing knife knife with a hole in its tail (Figure 1, top) 1 through which you can tie a rope. Paracord works perfectly for the

T

Making Your Own Rope Dart and the Target

Figure 1 - Rope darts with different lengths: left, 6’3”; center, 15’; and right, 18’ 15” – The darts, left to right, are 7”, 4”, and 7 ½”. The rope rope dart at center, was fabricated by Jeff Adams. The knives at left and at right were originally designed for throwing. Metallic rings that linked the dart to the rope (at left and at right) were taken from key chains. (Courtesy Cherry Mariñas)


2A

2B

3A

Figure 2A) Target support and Figure 2B) rectangular frame. (Courtesy Cherry Mariñas)

rope, which should be about 22’ long. If the rope is synthetic, apply heat to each end to prevent fraying. fraying. If the rope is made from natural fibers, just tie knots at both ends. For safety, dull the knife with a bench grinder or with a file. You can retain the point so it will stick in the target. The knife should not be too heavy. Rope darts of different length can be useful, but this can be achieved with a single rope dart. Using a 22’ 22’ rope, simply make a knot at 6’, another at 15’, and another at 18’. By this simple means, you will have rope darts of three different lengths in one rope dart. For targets, ancient Chinese masters started with 12” circles on a wall. Eventually they reduced the target size to that of a coin (which is interesting, since Chinese coins at that time had holes in their center). If you don’t have a wall, construct a target support (Figure 2A) on which to set a rectangular frame (Figure 2B).

3B

Figure 3A) Concentric circles glued on cardboard. Figure 3B) Plywood with 2” and 6” circles leaned against a rectangular frame.

Clip several layers of cardboard to the frame (Figure 3A). 3A). You can draw the circles on the cardboard. cardboard. A quick and dirty target can be made from junk mail by drawing a circle of the required re quired dimension, cutting it out, then gluing (or stapling) it on a sturdy back drop (Figure 3B).

4A

A back drop can simply be leaned against the rectangular frame frame (Figure 3B). You can hang a soda bottle from a tree branch (Figure 3C). For self defense defense practice, use a human torso (Figure 3D) as a target. (Do not place a target against your neighbor’s privacy fence!)

Holding and Using Your Rope Dart

4B

Most of the length of the rope is held in the non-throwing hand (Figure 4). Righthanded darters will hold the long portion of the rope looped in the left hand, then grip the rope with the right hand at a convenient point from which to pay out more length while whirling the dart faster and faster.

4C

Figure 3C) Soda bottle target hung on a tree branch. Figure 3D) Upper human body target traced on cardboard. (Courtesy Cherry Mariñas)

3C

3D Figure 4A) Amante II holds a short length of the rope that is threaded through the bamboo tube. Figure 4B & 4C) The rest of the rope is held in the left hand in loops. (Courtesy Thoraya Zedan)


5A

5B

5C

Start practice with a 6’ rope dart. Once you’re able to hit the target consistently, use the next longer rope dart by holding the rope with your left hand at the 15-foot knot. After being being able to consistently hit the target with the 15-foot rope dart, practice with the 18foot rope.

6

Figure 5A) Rope threaded through a bamboo tube will allow for a smooth release and prevent the rope from rubbing the fingers raw. Figure 5B) The rope can also be held directly in the hand. Figure 5C) The rest of the rope held in the left hand, and can let go as soon as the dart attains its launching speed. (Courtesy Thoraya Zedan)

7

The rope dart can be whirled in a vertical circle, clockwise or counterclockwise, at the side of the body (Figure 7). It can also be whirled clockwise or Figure 6) Grip on the bamboo tube as the dart is whirled on a vertical circle counterclockwise above the at the right side. (Courtesy Thoraya Zedan) head (Figure 8). In a clockwise vertical whirl, the dart will trace an upward trajectory; in a counterclockwise vertical whirl, the dart will trace a downward trajectory. The rope is paid out as the dart is whirled faster. At the proper time, the right hand releases its hold hold on the short rope. Almost simultaneously, the left hand that holds the looped rope is opened up to release the full length of the rope. These releases have to be be timed perfectly. Otherwise, the dart will fall short of the target. One disadvantage of the rope dart is that it has to be used in an open space. Using it where there are trees could get it tangled in low-hanging branches. Tall grass could get in the way of the vertical whirl. However, the rope and the dart dart

8 Figure 7) The author whirling the rope dart on a vertical circle at the right side (Courtesy Thoraya Zedan)

Figure 8) Whirling the rope dart on a horizontal circle above the head (Courtesy Thoraya Zedan) Continued on page 94


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Continued from page 92: Going Around in Circle

4-inch dart launched from a counterclockwise vertical whirl embedded on plywood – The release is like an overhand knife throw

4-inch dart launched from a clockwise vertical whirl embedded on plywood – The release is like an underhand knife throw.

The depth of penetration is more than ½” – One can only imagine the fear with which would-be robbers had from having to tangle with ancient Chinese masters of the rope dart who hired as escorts to merchants in their travels on the Silk Road. (Courtesy Cherry Mariñas)

can hardly be seen against green foliage, thereby adding to its potency as a weapon.

bottom, the dart will have maximum speed; at the top, it will have minimum speed (Figure 10A).

Practice Safety

The rope must be kept taut as the dart is whirled. The minimum velocity required to keep the rope taut is given by the formula v min = 

The Decline of Traditional Rope Darts

The rope dart is a formidable If you have not used a rope dart weapon – that goes around in circles. before, you will be surprised at the It serves two functions: as a spear depth of the penetration of the dart and as a rope. As a spear, spear, the into the target. This is even more rope dart can inflict deep puncture Critical velocity (v min) is the apparent if you use cardboard as a wounds. As a rope, it can ensnare ensnare target. If the dart is is sharp enough, it minimum required velocity to keep an arm, leg, neck, or weapon to the dart going around in a vertical will penetrate a wooden target and make a capture. During the Tang circle. If the velocity of the dart is require some effort effort to pull out. It is Dynasty, itinerants demonstrated less than the minimum, the rope kind of scary when you see the dart their rope dart skills to entertain will become slack and the dart will hit. audiences and were compensated become useless as a weapon. The in gold coins coins.. They were also hired critical velocity depends only on the Never yank on the rope to free an as escorts by merchants plying acceleration due to gravity (g) and embedded dart with the idea of their trade between north and south the radius (R) of the vertical circle. circ le. saving some some time walking. walking. The China. The radius is shown in Figure 10A force required to free it is the same for a vertical whirl and in Figure 10B as what embedded embedded it. A yank could The popularity of the rope dart did for a horizontal whirl. propel the dart back at you at the not last that long. It practically same speed that it hit the target. If disappeared, to be replaced by offThe critical velocity of a dart whirled you get hit, it will even seem faster. hand darts. Off-hand darts are in a vertical circle of radius 35” (0.89 Walk up to the embedded dart and un-tethered and thrown free off pull it out carefully with your hands. meters) is 3 meters/sec (9.7 ft/sec; 6.6 the hand, without a bamboo tube. mph). This speed is deceptively low. Today, Modern Wushu exponents One could dust off a punch delivered still use rope darts, but they usually at 6.6 mph. However, a sharp do not engage in target practice. knife that hits a target even at this Modern Rope Dart includes many low speed can cause deep puncture fancy tricks, but without target wounds. practice it’s like drawing a bow but never shooting a bullseye. A speed detector was used to As the dart is whirled in a vertical determine the speed of the rope circle, it accelerates on the way dart as it is whirled. The speed of down because of gravity and Amante P. Mariñas Mariña s I is a chemical engineer the whirl ranged from 18 to 29 mph. decelerates on the way up. At the and has written 13 books on weapons It feels comfortable to launch the and weapons figh fighting. ting. These include 2 Figure 10A) Rope dart on a vertica and Figure 10B) dart at 23 mph, which is about 3.5 books on the blowgun and 2 books on On a horizontal whirl. (Sketches by the author) times faster than knife throwing. He was inducted into the the critical velocity. International Knife Throwers Hall of Fame At 29 mph, it feels (IKTHOF) in 2007. His 14th book, Archery for like you might get is scheduled for release by Tuttle Beginners is launched instead Publishing in the the spring of 2019. 2019. He lives in of the dart. dart. These Fredericksburg, Virginia. Virginia. His email address speeds depend on is pananandata622@gm [email protected] ail.com the strength of the darter.

Understanding the Mechanics of the Vertical Whirl

10A

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FAST FORWARD FORWARD TO THE FIGHT SCENES

A

stute readers will notice that I’ve changed the title of this column. I originally originally dubbed dubbed it as “Chollywood Rising” when it began began in 2010. Back then, “Chollywood” was being bandied about by the film industry as an echo of “Bollywood,” a marginally-suitable term coined for Indian cinema because most Hindilanguage films were being made in Mumbai and that was formerly known as Bombay. Bombay. As the sleeping sleeping dragon of China’s film market awoke in Bollywood’s wake, Chollywood was a natural natural portmanteau. But unlike Bollywood, Chollywood didn’t stick. And while this this column does does focus heavily upon Chinese cinema and its global rise, it’s really about martial arts in media including including both film and TV, and not just China and Hollywood, so I’ve updated the title. In 2010, China was already the second largest film economy. Since then, China’s annual gross box office has grown from just under $1.5 billion to $8.1 billion billion in 2017. Hollywood still led with around $11 billion in 2017, but was only at $10.5 billion in 2010 – only a half billion in growth compared to China’s nearly 7 billion. So it’s easy to see why Hollywood feels threatened. threatened. In 2012, China’s China’s Wanda Group seized the majority shares for AMC Theaters to become the world’s largest cinema operator (at this writing, Wanda just reduced its holdings on AMC from 60% to 38%, most likely due to fallout from the looming U.S./China trade war). Nevertheless, China has been the nation with the most film screens for a few years years already. China crossed 40,917 screens in 2016; the U.S. had 40,759. During that year, year, China was adding an average of 26 new film screens every day, nearly 10,000 new screens that year alone. Even though “Chollywood” didn’t take as a buzz word, China’s cinematic rise introduced other slang into the vernacular such as “Warcraft Redemption.” Redemption.” After the $160 million production of Warcraft (2016) flopped with only a $47 million U.S. box, it was redeemed in China, earning over $213 million, bringing its worldwide total to more than $433


million. Resident Evil: The Final Chapter (2017) (2017) and xXx: and xXx: The Return of Xander Cage (2017) (2017) and a few other films enjoyed Warcraft Redemptions. Redemptions. Even last year’s Ready Player One , which didn’t flop with a $137 million U.S. take, earned $213 million more in China. That’s money Hollywood cannot ignore so it panders to the Chinese market, giving rise to the term “Flower Vase.” Vase.” This refers to Hollywood productions including Chinese stars in inconsequential roles for Chinese audiences, such as Fan Bingbing’s appearances in Iron Man 3 (2013) (2013) or X-Men: or X-Men: Days of Future Past (2014). (2014). Fan, one of the world’s highest-paid celebrities, mysteriously disappeared last July. In early October, it was revealed that she was jailed for corruption due to another Chinese film slang, a “Yin Yang contract.” A “Yin Yang Yang contract” is is a dual contract, one with an actor’s true salary and another with a lower figure, submitted for taxes, but that’s another story entirely. We will certainly still be covering the rise of Chollywood. However our new title more accurately reflects the mission here (plus it saves a step for when the Chinese film market inevitably rises past Hollywood). That being said, we’ll start with a film that barely has a fight scene, as ironic as that may seem. Crazy Rich Asians deserves deserves some attention as the surprise blockbuster of late summer, the first time a Hollywood film featured an all-Asian cast since Joy Luck Club (1993). (1993). It’s a rom-com, a Cinderella story based on a 2013 bestseller by Kevin Kwan, the first installment of a book trilogy that now includes China Rich Girlfriend (2015) (2015)

By Gene Ching

and Rich People Problems (2017). (2017). Given its success, a sequel is certain. Leading the cast was our regal Queen of Kung Fu, Michelle Yeoh, whose recent work has gone where no one has gone before with her outstanding role on Star Trek: Discovery , has teased us into the MCU with an end scene cameo in Guardians of the Galaxy Vol. 2 , and is headed next where we love her the most – back to Kung Fu. At this writing writing Master Master Z: Ip Man Legacy was was still slated for a 2018 release. The film is directed directed by legendary fight choreographer Yuen Woo-Ping and Michelle’s co-stars include Tony Jaa, Dave Bautista, and Max Jin Zhang.

The Holiday Rush to the New Year At Thanksgiving, Hollywood cashes cashes in on the Holiday Rush with a few actioners this year, kicking off with The Girl in the Spider’s Web . Claire Foy steps into the role of vengeful hacker Lisbeth Salander. We are attached to the original Swedish film adaptation of Stieg Larson’s epic Millennium trilogy because, in the second film, The Girl Who Played with Fire (2009), (2009), our magazine appears in a scene to show Lisbeth’s martial studiousness. This new version follows Hollywood’s adaptation of the first Millennium book, The Girl with the Dragon Tattoo (2011), (2011), with an entirely different director and cast, skipping Larson’s following books and moving on to one written after he died died by another another author. No fight choreographer was credited in advance. advance. Other November November

Hollywood actioners include another Robin Hood , this one starring Taron Egerton (also without a credited fight choreographer), and Creed II , the sequel to the 2015 update of the Rocky franchise franchise with multiple fight choreographers including Daniel Bernhardt and Jon Valera. December brings Alita: brings Alita: Battle Angel , a mangaturned-movie cowritten by director Robert Rodriguez and James Cameron. Rosa Salazar stars in the titular role as a fighting fembot with enormous CGI anime eyes, backed by action veterans Marko Zaror, Ed Skrein, and Michelle Rodriguez, with fights choreographed by stuntman Steve Brown. Brown. While the rest of the world doesn’t celebrate Thanksgiving like the United States, they have their own holiday rushes.

But before we get into foreign rushes, there’s a two films that precede this. Jean-Claude Van Damme has been aging surprisingly gracefully, and in his new film Lukas (a.k.a. The Bouncer ), ), also released last August but only in France and Belgium, JCVD plays an older single father battling for custody of his daughter in this gritty film noir.Europe noir.Europe Raiders , the third installment in Jingle Ma’s Raiders trilogy trilogy (Tokyo Raiders (2000), (2000), Seoul Raiders (2005)), was released in China last August. This action comedy trilogy featured leading man Tony Chiu-Wai Leung and this third film adds Kris Wu, Jeeja Yanin, and Cung Le. No word on U.S. releases for either film at this writing. China’s holiday rush starts on October 1, National Day, and is called ‘Golden ‘Golden Week’. This year’s

Golden Week opened with of one of China’s most celebrated directors. Zhang Yimou is returning to martial arts form after his bloated The Great Wall (2016). (2016). That Matt Damon and Andy Lau vehicle hoped to find find a U.S. audience with its $150 million budget but just barely recouped its investment in China. After grossing $334 million worldwide, it was declared a flop. But Zhang doesn’t make blockbusters. He makes provocative art films. Zhang’s new film Shadow was was dubbed by Reuters as a “Shakespearean martial arts epic” when it premiered at the illustrious 75th Venice International Film Festival Festival last September. September. Zhang, who previously won prestigious Golden Lions in Venice in 1992 and 1999, was honored this year with the Jaeger-LeCoultre Glory to the Filmmaker award. Shadow was picked up for North American distribution by Well Go USA for a theatrical release in 2019. After our introductory remarks, we’d be remiss if we didn’t peek at some Bollywood action, especially because their holiday rush surround their Festival of Lights known, Diwali, which is November 7th this year. Bollywood action has seen dramatic

T

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improvements in fight choreography recently. Thugs of Hindostan is is a twist on the pirate genre starring Bollywood superstars Amitabh Bachchan, Aamir Khan and Katrina Kaif. Newsweek proclaimed proclaimed Khan as the ‘biggest movie star’ in the world after he conquered both the Indian and the Chinese film markets with a series of record-breaking blockbusters like Dhoom 3 (2013), (2013), PK (2014) (2014) Dangal (2016), (2016), and Secret Superstar (2017). (2017). Thugs premieres premieres in India on November 8. 2.0 , the sequel to Rajinikanth’s mind-blowing BruceLee programmed robot film Enthiran (2010), debuts in late November and adds noted martial artist Akshay Kumar to the cast. There’s really nothing like the original for its absurd CGI visuals. visuals. It’s a wild rollercoaster ride of Bollywood spectacle that only works if you can park your brain outside. And next next year, He is Back begins filming. ‘He ‘He ’ is Bruce Lee. Stepping into the role of Bruce is Abb Li. This film joins a long line of Bruce Lee centered Bollywood films including Bruce Lee - The Fighter (2015) (2015) and three other films in production: Borivali Ka Bruce Lee , Bruce Lee by by esteemed director Ram Gopal Varma, and Little Dragon , a biopic directed by Shekhar Kapur and produced by Bruce’s daughter Shannon Lee.

Enter the Year of the Pig Director Xu Haofeng brings yet another martial arts epic to the screen in the tradition of his previous four films, The Hidden Sword (2017), (2017), The Final Master (2015), Judge (2015), Judge Archer (2012), and The Sword Identity (2011). (2011). Xu has practiced martial arts arts since he was a teenager. teenager. Before he directed directed films, Xu wrote two martial arts-based novels, The Bygone Kung Fu World (2006) about his Kung Fu master’s


stories and Monk and Monk Comes Down the Mountain (2007) (2007) which was made into a blockbuster film by Chen Kaige in 2015. Xu’s new film, The Weary Poet , reunites actors Zhou Xun and Chen Kun in their first film together since Painted Skin: The Resurrection (2012). (2012). Zhou Xun cracked Hollywood playing multiple roles in Lana Wachowski’s gender-bending Cloud Atlas (2012). (2012). Chen Kun had a run of Fant-Asia films – Young Detective Dee: Rise of the Sea Dragon (2013), (2013), Zhongkui: Snow Girl and the Dark Crystal (2015), Mojin (2015), Mojin – the Lost Legend (2015) (2015) – and recently appeared in The Rise of the Phoenixes , a lavish imperial court TV drama that was picked up by Netflix. Netflix. Zhou and Chen’s Chen’s ongoing relationship both on screen and off continues to fascinate Chinese tabloids, adding buzz for The Weary Poet . Once Upon a Time in Hollywood is a twist on the Manson murders by cinema provocateur Quentin Tarantino. Starring Brad Pitt, Leonardo DiCaprio and Margot Robbie, the film is slated for July 2019, and anyone familiar with history remembers that Bruce Lee was peripherally involved. involved. Mike Moh is is cast as Bruce. Bruised , an MMA drama about a mom who has to fight for the son she abandoned, got new life. Originally cast with Blake Lively in 2015, Halle Berry has taken over not only the lead role but also the director’s chair. Berry is already working on John on John Wick

3 (slated (slated for May 2019). Bruised is is produced by Basil Iwanyk, who also produced the John the John Wick franchise. franchise. Dwayne Johnson is producing a sequel to John Carpenter’s cult classic Big Trouble in Little China (1986). The possibility possibility of a remake has been floated around since 2015; however, Hiram Garcia, president of production of Johnson’s Seven Bucks Productions, revealed that it would be a continuation of the Big Trouble in Little China universe universe and that Johnson would not step into the role of Jack Burton out of respect for Kurt Russell’s iconic portrayal.

RIP William Hobbs and Shinobu Hashimoto We’d be remiss if we overlooked the passing of William Hobbs and Shinobu Hashimoto, who both passed in July. William Hobbs (1939–2018) was a British fencer who narrowly missed making the 1956 Olympic Olympic team but then went on to be one of the greatest cinematic sword fight choreographers of all time. Standouts among his 38 fight choreographer credits are The Three Musketeers (1973) and The Four Musketeers (1974), The Duellists (1977) (1977) and Rob Roy (1995). (1995). His final credit credit was in an episode of Game of Thrones in in 2011. Shinobu Hashimoto (1918–2018) (1918–2018) was a screenwriter and collaborator with famed director Akira Kurosawa (1910–1998). Among his 70 screenplays were some of the greatest samurai films ever, including Rashomon (1950), (1950), Seven Samurai (1954), (1954), and Hidden Fortress (1958). (1958). Hidden Fortress was was the inspiration for Star Wars: Episode IV – A New Hope (1977). (1977). To keep up with the latest in martial arts media and read exclusive reviews, visit our KungFuMagaz KungFuMagazine. ine. com “Martial Media and Popular Culture” online discussion forum.

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2018-11-28 (3 Days) 1st Asian Traditional Wushu (Kungfu) Championships Held in Nanjing, China Contact: International Wushu Federation 86-10-87774492 9 Huaweili, Chaoyang District, Beijing, China, 100021 [email protected] - www.iwuf.org 2018-11-29 (5 Days) World Open Wing Chun Competition Held in Foshan, China Contact: International Wushu Federation 86-10-87774492 9 Huaweili, Chaoyang District, Beijing, China, 100021 [email protected] - www.iwuf.org 2019-02-05 Chinese New Year - Year of the Pig See our Kung Fu Horoscopes for more. 2019-02-28 (4 Days) Arnold Sports Festival Held at the Ohio Expo Center Buckeye Building in Columbus, Ohio Contact: SGM Joon Choi (614) 864-4000 1349 Brice Road, Reynoldsburg, OH 43068 [email protected] - www.arnoldsportsfestival.com/usa 2019-03-15 (2 Days) 2019 USA World Championships Held at Alexis Park, All-suite Hotel in Las Vegas, NV Contact: USA Internationals (702) 738-2507 2218 Hollow Oak Drive, North Las Vegas, NV 89031 [email protected] - http://usaworldchampionships.com 2019-03-23 (2 Days) 27th Annual Chinese Martial Arts Tournament Held at the Kleeberger Field House, UC Berkeley. This two-day event is open to all ages and will feature divisions for Traditional, Contemporary, and Internal Chinese Martial Arts. One of the largest and most prestigious event of its kind, CMAT is volunteer-run, with history dating back to 1992. TIGER CLAW SPONSORED EVENT

Contact: Cal Wushu(510) 642-3268 145 Recreational Sports Facility 2301 Bancroft Way, Berkeley, CA 94720 [email protected] - http://calwushu.com

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Contact: Gene Ching (510) 656-5100 X137 40748 Encyclopedia Circle, Fremont, CA 94538 [email protected] www.TigerClawElite.com & www.KungFuTaiChiDay.com

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2019-04-26 (3 Days) World Star Chinese Martial Arts Competition Held at the Marriott Westchase Hotel in Houston, Texas Contact: World Star Chinese Martial Arts Competition (713) 780-4007 9777 Harwin Dr #509, Houston, TX 77036 [email protected] - www.kungfucompetition.com 2019-06-16 (5 Days) 8th World Kungfu Championships Held in Emeishan, Sichuan Province, China Contact: International Wushu Federation 86-10-87774492 9 Huaweili, Chaoyang District, Beijing, China, 100021 [email protected] - www.iwuf.org 2019-07-05 (3 Days) ICMAC Orlando 21st Annual Invitational Contact: ICMAC Circuit Headquarters (727) 791-8207 2519 McMullen Booth Rd, #511, Clearwater, FL 33761 [email protected] - www.kungfuchampionship.com

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2019-05-23 Martial Arts, Culture and Politics: 5th Annual Martial Arts Studies Conference Held at Chapman University in Orange County, CA. This conference focuses on the relations between martial arts, culture and politics. Martial arts can be understood in any of many ways, and the conference aims to reflect this diversity and plurality of understandings of the term. Similarly, ‘culture’ and ‘politics’ can be understood in a variety of ways. Again, the conference is open to works that use any academic approach to the theory and analysis of culture and politics. Contact: Paul Bowman (714) 997-6815 Chapman University - One University Drive, Orange, CA 92866 [email protected] - https://events.chapman.edu/56016

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FEATURED WEAPON

Length: 25” Weight 30 oz. Warring States Period (475–221 BCE)

T

his is a beautifully preserved ancient bronze bronze sword. China’s metallurgy was very advanced in comparison to other cultures cultures at the time. Some of the earliest Chinese bronze work was found in Neolithic Maijiayao culture (  ) sites, which date back to 3100-2700 BCE), although the early Bronze Age is typically attributed to the Shang Dynasty period (1600-1046 BCE) with China’s Iron Age emerging sometime sometime in the 5th century century BCE within the Zhou Zhou Dynasty (1046-256 (1046-256 BCE). This example is a later period bronze jian , the epitome of this style of ancient Chinese sword. Bronze is a fairly simple metal to work so fake antiques and mediocre replicas are common. However, when it comes to this type of jian , there are some subtle clues that can imply genuineness. genuineness. There are two distinguishing details that are almost too fine to see see in these photographs. photographs. Accordingly, these elements are typically overlooked by modern makers, which makes for a quick ‘tell’ when examining alleged antiques for authenticity if they are missing (although in recent years, many makers now know to include them). The first is the blade shape. shape. This design of jian typically typically has a very subtle narrowing of the blade towards the foible. foible. It is almost imperceptible, even when looking at this sort of blade in person. The best way to see it is to look down the blade, but t hat hardly shows in still photographs. photographs. The second is the the handle cross-section. Ancient jian handles handles were wrapped with cord or other such materials, all of which would have decayed centuries ago. So bronze bronze jian are are usually left just like this one, with an exposed tang that bears some f inger notches. Close examination shows that the tang is not round, but oval. In this way, just by feeling feeling the grip, the wielder could determine the blade orientation. Fakes and replicas often miss this detail and make the handle round for simplicity’s sake. Bronze can be sharpened for an edge as keen as a razor and as sharp as steel. This example is sharp. sharp. However, it is a softer metal than iron so it cannot hold an edge as well as steel, thus requiring re-sharpening after every blow.

From the private collection of Arthur Chin.


Qingtong Sword 45S-56 $450.00

The sword comes complete with an elegant fitted sword stand, a thick felt sword bag and a classy latched presentation box. Length: 21.9” Weight: 1 lb 13 oz

Sword of Goujian

Measurements: Total length: 29.5 inch, blade length:22.5 inch. total weight:3.9LBS, sword only:2.5LBS

Protect the Family Precious Sword 45S-53 $147.95

45S-57 $450.00

This is a premium Kung Fu sword from China’s greatest forge, Dragon Well (Lungchuan ) The fittings are covered with the Chinese characters for longevity. The scabbard is made from dark-grained hardwood. 30“ blade, 40” overall (note that there might be slight variations as each sword is handcrafted).

The Qingtong Sword is modelled after ancient bronze swords. The blade has a flattened-diamond cross-section with double hollow-ground fullers. The fittings are solid brass, tooled not cast. The scabbard and handle are of exotic ebony. Comes with an embroidered silk presentation case.

Pearwood Spring and Autumn Sword 45S-50 $262.95

Dragon Longevity and Fortune Sword 45S-52 $149.49

Size matters! This massive sword would make Conan proud! A whopping 7 lb. sword with a 31” 31” solid heavy metal steel blade - 2.5” x 0.5” at forte! - thick enough to punch through a car door like a hot knife through butter! Awesome Demon-face guard of cast brass with a beautiful pearwood scabbard, this sword is sure to impress every warrior who hefts it!

Crane Sword 45S-55 $350.00

Long Quan Straight Sword 45-36SP $99.99 (Sizes: 28”, 30”, 32”)

The Dragon Longevity and Fortune Sword is a heavy weapon has a solid forged-steel flattened-diamond shaped blade, etched with the Chinese characters for “Longevity” and “Fortune”. 30“ blade, 40” overall, weight (sword alone): over 2.5 lb (note that there might be slight variations as each sword is handcrafted).

King Yue Sword 45-72CS $159.99

Emperor’s Sword 45-53 $199.99

The Crane Sword is adorned with traditional crane and pine tree motifs. The blade is a flattened-diamond cross-section. The fittings are cast metal with a silken cord tasseled belt loop. Comes with an embroidered silk presentation case. Measurements: Total length: 40 inch, blade length: 30 inch. total weight: 5.2LBS, sword only: 3.8LBS

Dragon Fast Sword 45-58CS $279.00

This is a hand-crafted heavy sword, made of flexible forged steel. The guard and pommel fittings are constructed of cast brassy metal for added weight and superior balance. The scabbard is of beautiful f ine-grained wood. Note that these weapons are all handmade and subject to slight variations in measurements. Comes with a handmade wooden scabbard.

This mighty sword was crafted the famous Dragon Well (Lungchuan ) forge. It has an exceptional hollow-ground diamond-section blade (2” wide at the forte!) Sharpened, with a slight taper, all of the fittings are solid brass adorned with full dragon faces and mystic knots. 2.8 lbs. 26” blade, 35” overall. Comes in a beautiful embroidery gift box. Truly a collectable item!

The blade has a flatteneddiamond cross section of finely tempered steel. The fittings are of golden metal, blackened to accentuate dragon motifs. Cord wrapped handle and scabbard. Comes in an embroidered presentation box. Approximate measurements: Weight ght (sword alone): 2.4 lb. Blade at forte: 1 3/8” x 3/8” . Blade length: 29”. Handle: 9”. Overall sword length (with scabbard): 40”.

All Brass Dragon Well Forge Straight Sword 45-71CS $159.99 2 lbs. 30” blade, 39” overall. Comes in a beautiful embroidery gift box.Truly a collectable item! Perfectly balanced for practice!

Northern Shaolim Master Kisu The heavy forged steel blade is a whopping 39”. Add in the traditional two-handed sword handle, and this sword is a colossal 54” overall – the biggest Chinese sword in stock! The Dragon Fast Sword weights over 6 lbs but the long handle distributes the weight so it doesn’t feel unwieldy. Comes in a fitted embroidered silk presentation box.


KUNG FU TAI CHI DISTRIBUTORS

Kung Fu Tai Chi is is distributed by the following ﬁne locations ARIZONA ----------------------------------Hung Fa Yi Wing Chun of Arizona

1805 E. Elliot Rd. STE110 Tempe, AZ 85284 Mark Jones 480-820-2428 Shaolin Arts 4330 W. Union Hills Dr. B8 Glendale AZ 85308 Chris Workman 623-581-2000 www.shaolinarts.com CALIFORNIA --------------------------Shaolin Temple Cultural Center 9143 La Rosa Dr. Temple City, CA 91780 Shi Yanxu 626-292-1355 http://shaolinus.com Shaolin Temple Cultural Center 3628 Nogales St., West Covina, CA 91792 Shi Yanxu 626-292-1355 http://shaolinus.com Shaolin Temple San Diego 8222 Vickers St., STE 103 San Diego, CA 92111 Shi Yantuo 619-467-6308 www.shaolintemplesd.com Tai Mantis Kung Fu 758 E Highland Ave. San Bernardino, CA 92404 Don Newton 909-881-2226 www.taimantis.com John Cho’s Cho’s Kung Kung Fu School 2435 N. Fresno St., Fresno, CA 93720 John Cho 209-225-9796 Lily Lau Eagle Claw 1651 El Camino Real Millbrae, CA 94030 Sifu Kalman Wong Wong 510-201-3098 www.lilylaueagleclaw.com Gee Yung Fut Ga Assoc. 922 Jackson St., San Francisco, CA 94133 Ricky Der 415-725-8700 Fei ShiFu KungFu 47900 Warm Springs Blvd. Fremont, CA 94539 Chen Fei 510-979-9886 www.usasjccc.com Wow Wo w Cool® Alternative Altern ative Comics 21607B Stevens Creek Blvd. Cupertino, CA 95014 Marc Arsenault 408-921-5164 wowcool.com Fei ShiFu KungFu 10675-3 S. De Anza Blvd. Cupertino, CA 95014 Chen Fei 408-255-6999 www.usasjccc.com

CALIFORNIA (Continued) -----------------------------O-Mei Tai Tai Chi Culture Academy

10070 Imperial Ave Cupertino, CA 95014 Yun Jian Zou 408 252-3988 The Academy of Martial and Internal Arts 1570 Soquel Drive Santa Cruz CA 95065 Ted Mancuso 831-475-1429 www.reelingsilk.com Fei ShiFu KungFu 1510 Oakland Rd. Suite 120 San Jose, CA 95112 Chen Fei 408-452-7999 www.usasjccc.com USA Shaolin Kung Fu Zen 1161 Redmond Ave. San Jose, CA 95120 Xing Le Ye 408-806-0155 www.shaolinkungfuzen.com COLORADO -------------------------U.S. Wudan Wudang g Tai Chi Kung Fu Academy 2601 S. Lemay Ave. #7233 Fort Collins, CO 80525 Yun Xiang Tseng 970-221-3130 www.wudangtao.com Rocky Mountain Movement Tai Chi and Kung Fu 4350 S. Federal Blvd. Englewood CO 80110 Master Clarke 720-365-4941 www.rockymountainmovement.com Bob Cook Tai Tai Chi Ch i Kung Fu Chi Kung 18076 Currant Creek Rd. Cedaredge, CO 81413 Bob Cook 970-234-1085 CONNECTICUT ---------Malee's School of Tai Chi Ch i & Kung Fu 249 Broad Street Manchester, CT 06040 Sifu Malee Khow 860-646-6818 www.malees-tai-chi-kungfu.com FLORIDA -----------------------------------Wah Lum Temple Temple of USA 851 N. Goldenrod Rd. Orlando, FL 32807 Sifu Pui Chan 407-275-6177 www.wahlum.com Wah Lum Kung Fu of Melbourne 662 N. Wickham Rd. Melbourne, FL 32935 Harry Lo 321-255-1048 Shuang Long Martial Arts 5309 29th St East Ellemon, FL 34222 German Garcia 941-419-0210 www.tampabayshaolin.com

FLORIDA (Continued) --Imperial Martial Arts

5116 US HWY 19 New Port Richey, FL 34652 Roger J. Roger 727-488-7985 ILLINOIS -----------------------------------Lee's Martial Arts Supply and Academy of Martial Arts

15546 S. Cicero Oak Forest, IL 60452 Danny Lee 708-687-8707 www.leekungfu.com Academy of Chinese Martial Arts 9109 S. Western Suite #6 Chicago, IL 60620 Karl Knoble 773-723-2795 www.aocma.com International Green Dragon Society, Inc. 718 W. W. 69th Street Chicago, IL 60621 G. Warre Warren n 872-465-3003 KANSAS -------------------------------------Ryukyu Imports 5005 Merriam Dr. Merriam, KS 66203 Bill Wiswell 913-384-3345 Grace Wu Wu Kung Fu School 122. N. St. Francis Wichita, KS 67202 Grace Wu-Monnat 316-264-9640 gracewu.com

LOUSIANA -------------------------------American Kung Fu Academy

88 MacArthur Dr. Ste.# A Alexandria, LA 71303 Chuck Perry 318-442-9422 MARYLAND ----------------------------U.S. Wushu Wushu Academy Ac ademy 701 Russell Ave. Gaithersburg, MD 20877 Christopher Pei 301-869-7519 www.uswushuacademy.com Flying Dragon 10730 Connecticut Ave. Kensington, MD 20895 Tai Yim 301-946-0462 Chen Pan Ling World Family Maryland Chapter 5831 Buckeystown Pike Evergreen Plaza Frederick MD 21701 Sifu John Scott 240-675-1718 www.chenpanlingworldfamilymaryland.com

MASSACHUSETTS ------------Mark Warner's Professional Martial Arts

43 Market St Ipswich, MA 01938 Mark E. Warner 978-356-9800 www.markwarnerpma.com Wu Dao Kung Fu & Tai Chi 675 Concord Ave. Cambridge, MA 02138 Tim Hartmann 617-812-2180 MISSOURI --------------------------------Wu Hsing Chuan 5 Animal Academy 6740 Olive Blvd. University City, MO 63130 Sifu Larry Adams 314-721-6003 Shaolin Lohan Pai 8348 Olive Blvd. Suite C St. Louis, MO 63132 314-432-4218 www.shaolinkungfu.org Midwest Chinese Martial Arts Center HQ 8201 Wornall Wornall Road, Kansas City, MO 64114 Sifu Scott Winokur 816-444-4777 www.kungfukc.com NEVADA -------------------------------------Warrior Spirit Martial Arts Academ Academy y 8974 Slippery Rock Way Las Vegas, Vegas, NV 89123 Robert L. Jones 702-260-4552 www.wsmaa.com NEW JERSEY -------------------------Yee’s Hung Ga Kung Fu Academy 68 Union Ave., Clifton, NJ 07011 Pedro Cepero Yee Yee 973-772-8988 www.yeeshungga.com Tibetan Lama Dragon Crane 13-A Basswood Plaza Monroe Township, NJ 08831 Sifu Green 973-714-2748 NEW MEXICO -----------Mountain Path Kung Fu and Tai Tai Chi Academy 7717 Roberts St. NE Albuquerque, NM 87109 Sifu Rob Bibeau 505-681-5603 www.shenabq.com NEW YORK -----------------------------Goodland Trading, Trading, Inc. 823 6th Ave. New York, NY 10001 Alex 212-643-8216 International Xi n Wu Wu Men Martial Arts Association       New York, NY 10003 Long Fei Yang Yang 917-577-5158 www.xinwumen.org

NEW YORK (Continued) City Wingtsun

1024 Sixth Ave. 4 FL New York York,, NY, 10018 Sifu Alex Richter 212-354-9188 Yee's Hung Ga Kung Fu Academy 366 7th Ave. Brooklyn, NY 11215 Sifu Peter Berman 718-768-7762 Sitan Tai Chi & Martial Mar tial Arts / America Taiji Taiji Health Qigong 227 Michael Drive Syosset, NY 11791 Lynn Lin 516-677-1798 www.sitantaichi.com Red Dragon School of Martial Arts McKinley Mall 3701 McKinley Parkway Suite 832 Blasedell, NY 14219 Sifu Robert Gott 716-822-0222 www.reddragonschool ofmartialarts.com NORTH CAROLINA ----Hung Gar Kung Fu Academy Rt. 21 North, Mooresville, NC 28115 Rick Panico 704-663-6305 Hung Gar Kung Fu Academy Rt. 21 North, Mooresville, NC 28115 Rick Panico 704-663-6305 David Chin’s Hop Gar and Tai Chi C hi Center 2444 Dunn Rd. Fayetteville, NC 28301 Sifu David Chin 910-485-0039 OHIO -------------------------------------------Ving Tsun Museum 5715 Brandt Pike Dayton, OH 45424 Benny Meng 937-236-6485 www.vtmuseum.org OKLAHOMA -------------------------Academy Of Self Defense, Siu Lum Pai Gungfu 2603-D S. Memorial Dr., Tulsa, OK 74129 Ray Hildreth 918-664-8202 PENNSYLVANIA ---------Academy of Ving Tsun Kung Fu 424 3rd Ave New Brighton, PA 15066 Dale Steigerwa Steigerwald ld 724-847-3300 www.academyvingtsun.com Academy of Ving Tsun Kung Fu 424 3rd Ave New Brighton, PA 15066 Dale Steigerwa Steigerwald ld 724-847-3300 www.academyvingtsun.com

Become a Kung Fu Tai Chi distributor distributor & get your school listed here. here. Call Joan Chien at 1-800-628-6552 1-800-628-6552 104 KUNG FU  TAI CHI WINTER 2019

Kung Fu Tai Chi is is distributed by the following ﬁne locations PENNSYLVANIA (Continued) -----------------------------Philadelphia Wing Chun Kung Fu

117 North 10th St. Suite #4 Philadephia, PA 19107 Art E. Eng 215-351-6227 www.philadelphiawingchun.com RHODE ISLAND ---------Way Wa y Of The Dragon Dr agon 877 Waterman Ave. E.Providence, RI 02914 Wen-Ching Wu 401-435-6502 SOUTH CAROLINA ----Shaolin Kung Fu Studios 196 Stonebridge Drive Myrtle Beach, SC 29588 Shifu Fred Christie 843-597-5634 www.kungfu-sc.com TEXAS -----------------------------------------USA Chin Woo Federation

TEXAS (Continued) ----International Shaolin Wushu Center

6515 Corporate Drive #L2 Houston, TX 77036 Shifu Shi Xingying 713-272-0276 www.internationalshaolin.com The Kung Fu School 8811 Emmott Rd. Ste 1600 Houston, TX 77040 77 040 Sifu Houston Fuqua 713-474-6660 www.thekfschool.com USA Kung Fu F u Academy 4327 South First St. Ste 104D Austin, TX 78745 787 45 Jeff Hughes 512-707-8977 www.usakfa.com Shaolin Wushu Kung Fu 1721 Saulkleinfeld Dr. Ste H El Paso, TX 79936 Jaime Perez 915-820-8192 www.shaolinwushukungfu.com

899 East Arapaho Road Richardson TX 75081 Jimmy K.Won Wong g 972-680-7888 www.chinwoo.com

VIRGINIA ------------------------------------

Jow Ga Shaolin Institut e 600-D Carlisle Dr. Herndon, VA 20170 Reza Momenan 703-742-7800 www.jowgashaolin.com First Defense Martial Arts Center 291 Sunset Park Dr. Herndon, VA VA 20170 Nick Masi 703-835-9054 U.S. Wushu Wushu Academy Ac ademy 2979 Prosperity Ave. Fairfax, VA VA 22031 Christopher Pei 703-698-8182 www.uswushuacademy.com Laughing Dragon Kung Fu 3006 Berkmar Drive Charlottesville Charlotte sville,,VA 22901 Chris Goodbar 434-973-0318 Jow Ga Kung Kung Fu Assn. HQ. HQ. 3221 Virginia Beach Blvd. Virginia Beach, VA 23452 Sifu Hoy Lee 757-463-8888 www.jowgakungfu.com

WASHINGTON ----------Seattle Kung Fu Club

658 S. King St. Seattle , WA 98104 Master John Leong 206-624-3838 WISCONSIN ---------------------------Shao Lin Boxing Methods 202 Travis Travis Ln., Waukesha, WI 53189 Sifu Steve Kleppe 262-548-8824 www.shaolinboxingmethods.com PUERTO RICO -----------Lily Lau Eagle Claw

Latin America Headquarters Calle Ricci #40 Patillas, Puerto Rico 00723 Shifu Raul J. Abreu Tanon 787-647-5063 [email protected]

SOUTH AMERICA ------Lily Lau Eagle Claw

Rua Halfeld, Galeria Pio X 8-4 Piso, Sala 413 Juiz de Fora, Fora, Minas Gerais BRASIL 36.010.240 Sifu Clodoaldo de Silva Castro 32-3213-5778 EUROPE -------------------------------------Lily Lau Eagle Claw

Lesvou 12, T.K. 11 47 Galatsi, GREECE Sifu Christos Papachristos 69724-04665 [email protected] China Sports & Culture Heemskerkstraat 3 6971 DW, Brummen NETHERLANDS Patrick Willemse (0031) 6 1345 73 81 www.shaolinstore.nl Lily Lau Eagle Claw 48 Gainsborough Road Great Barr, Birmingham B42-1NA UNITED KINGDOM Sifu Hari Singh Dhesy 44-07739-536739 [email protected]

This list is available online! Join today and your school or store will be listed on KungFuMagazine.com. Listings include live hyperlinks to your website! Contact Joan Chien 1-800-628-65 1-800-628-6552 52 [email protected]

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S HU H UAI C HI HIA AO & GRAPP GRAP PLING Shuai Chiao – The Ancient Chinese Fighting Art by Dr. Daniel Chi-Hsiu Weng

Judo: by Olympic & Paralympic Coach Willy Cahill The complete guide for the beginning Judo student. This step-by-step program is simple and clear for study in the privacy of your own home. It can also be easily implemented by any instructor, new coach or established Martial Arts instructor. The best place to began your training!

Beginning Judo 101 DVD-WC001: $24.95

Vol. 1: DVD-DW00A DVD-DW00A:: $24.95

Vol. 2: DVD-DW00 DVD-DW00B: B: $24.95

Vol. 3: DVD-DW00 DVD-DW00C: C: $24.95

oin Dr. Daniel Chi-hsiu Weng, a pupil of the renowned Shuai Chiao Grandmaster Ch’ang Tung-Sheng, as he shows you everything you need to know to get a black belt in the ancient Chinese art of take downs and throws.

Judo: Grappling & Throwing Arts DVD-WC002: $24.95

Jujitsu – The Grappling Arts by Professor Henry Okazaki

Prof. Cristiano Xavier: First Degree Black Belt under Charles Gracie

TIGER CLAW BJJ UNIFORM

Vol. 1 - Jujitsu: Hand Escape & Locking Arts. (DVD-WC101:: $24.95) (DVD-WC101

Vol. 2. Jujitsu: Grappling & Choking Arts. (DVD-WC102: $24.95)

Vol. 3. Jujitsu: Throwing Arts. (DVD-WC103: $24.95)

The Tiger Claw BJJ Uniform is made of the finest 100% natural bleached cotton fabric. The top is designed with ricegrain weave designed for BJJ practitioners. The drawstring pants have quilted knees. A uniform built tough for the mat or the cage. Weight: 3-4 lbs. Sold only in sets.

Vol. 4. Jujitsu: Combination Combinat ion Arts. Ar ts. (DVD-WC104: $24.95)

Vol. 5. Jujitsu: Advance Arts Part 1. (DVD-WC105: $24.95)

Vol. 6. Jujitsu: Advance Arts Part 2. (DVD-WC106: $24.95)

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GUARANTEE                              please see Returns/Exchang Returns/Exchanges/Repairs es/Repairs below. below.

30

DOUBLE WEAVE MED. WT. UNF. JUDO GI

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95 LBS.

4’9”

2

115 LBS.

5’2”

3

3

3

125 LBS.

5’5”

4

4

4

150 LBS.

5’7”

L

5

5

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175 LBS.

5’9”

28

6

6

6

195 LBS.

6’0”

XL

7

7

7

225 LBS.

6’2”

8

260 LBS.

6’5”

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WEIGHT

HEIGHT

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60 LBS.

4’0”

0

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80 LBS.

4’5”

1

1

100 LBS.

4’8”

2

2

120 LBS.

5’2”

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140 LBS.

5’6”

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4

175 LBS.

5’9”

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5

185 LBS.

6’0”

6

6

200 LBS.

6’4”

7

201+LBS.

TC 2000 KICKS

KUNGFU

SPARMASTER KICKS SIZE

CHILDREN

CH06

6

MEN

WOMEN

CH08

8

5

CH10

10

7

07

7

9

09

9

11

11

11

13

13

13

27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48

CHILDREN

12

H

13 13

1

1

H

2

2

H

3

4

MEN’S AMERICAN WOMEN’S AMERICAN

5H 6

7

10H 11

12

6

6H 7

8H 9H 10 11 11H 12 12H

13

8

8H

12H 13

5

9 10

H= Half Size

SIZE

STRAW ZORRIES

CHILDREN MEN

PeeWee

3-6

CHS

7-10

CHM

11-13

CHL

1-4

WOMEN

SIZE

XS

S

M

L

MEN’S SHOES

5

7

9

11

6½

8½

10½

12½

WOMEN’S SHOES

S

5-6

5-7

M

7-8

8-10

L

9-10

11-12

XL

11

13

XXL

12-13

SIZE

BRA SIZE

T

UP TO 34A

A

34B & UP

CUP & SUPPORTER WAIST SIZE


1

2

3’5”

Shipping INFORMATION •Please check the price chart on the order form for the correct S & H cost to include it in your purchase order. •Weapons Shipping: Long weapon shipping is extra. Please call for details. Weapons Weapons over 42” can not be shipped outside of the United States by International Airmail. Airmail. They may be sent by UPS. Please Call for details. •When a parcel parcel with broken pieces is received, please keep wrapping/ package intact and immediately call us for the correct procedure to issue a claim against a carrier.

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1

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1

000

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4’0” 4’4” 4’6”

M

XL

50 LBS. 65 LBS. 80 LBS.

26

7

000 00 0

S

4

3’0”

0

S

3

35LBS.

0

1 2

00

HEIGHT

18” - 23” CHS

23” - 26”

26” - 32”

32” - 36”

CHL

S

M

37” - 42” L

XL

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KUNG FU HOROSCOPES: Year of the Earth Pig

T

 ) is he beginning of the Spring Festival (li ( li chun jie  on February 4, 2019, marking the start of the Year of the Pig. Chinese New Year is celebrated on February 5. T his year’s 5 element ele ment characteri ch aracteristics stics are weak earth and stro ng water, in contrast to la st year’s strong wood and fire. T herefore, natural events will be prone to floods. Floods will cause large losses in farmland and spread pollution. This is a warning. If humankind doesn’t face and solve this cruel reality, larger disasters will occur. If there’s flood, there will be fire, and fire causes more rises in temperature, resulting in more floods. From the 5 element perspective, if earth is weak, it will be flooded.

This is a year of struggle. Conflicts of interest will lead to war. It is necessary to expect compromise for it to become reality. The w ise will promote peace, and religious leaders will motivate people to pursue spirituality, also a leading force for promoting peace. A w ise political or religious leader might avert war. This is also a year of migration. Many w ill migrate for different reasons, bidding farewell farewell to the familiar. familiar. These population migrations will re-establish balance in the world. There will be great shifts in the southwestern and northeastern regions of the United States. Natural disasters and epidemics are predicted for the southwest and man-made turmoil, exacerbated by natural disasters, will affect the northeast. For the health outlook, digestive and urogenital diseases are prevalent. Bone damage and related pain issues will also be on the rise. However, this year will also see a generation of talented people bringing new science and technology, advancing medical treatments. It will be a year of great economic turmoil worldwide. Finding a financial lifeline is the way to success in the next five years. Global real estate development will enter an unstable period, and a downward spiral is unstoppable. European and American countries will find a strategy to revitalize the economy and put it into practice. The Asian economy will be contradictory and exploratory. Europe will become the economic and political center of the world’s great powers, but it will also be a place of struggle. Major technological breakthroughs will come from northern countries such as Russia and Canada. Favorable healthy foods include sweet potatoes, Japanese yams (), ginseng, oatmeal, Chinese skullcap (Scutellaria baicalensis roots a.k.a. huangqin ), millet, soybeans, black beans, sesame and black fungus ( ). This year, 2019, is jihai is jihai (6th (6th heavenly and 12th earthly branches  ). Gratifying political and economic situations come bet ween February 4 and April 6, immediately followed by various serious periods of political and economic struggle. The most serious occurs between August 8 and September 8, with th e worst period of natural disasters and political upheavals between November 7 and December 8. After that, another gratifying period occurs until January 5, 2020. There are three favorable and two unfortunate directions in 2 019. The favorable directions are northwest, west and central. The unfortunate directions are northeast and southwest. The northwest will profit wealth, relationships and emotion. To make a fortune, go northwest. Homes and companies with 110 KUNG FU  TAI CHI WINTER 2019

By Wilson Sun (with Gigi Oh and Gene Ching)

northwest facing doors must take advantage of this auspiciousness to turn luck around. A generation of fathers is coming to work, and it is necessary to use their talents to make great achievements. Company chiefs have the opportunity to strike big and there is no need to cover all aspects, but public relations are the key. As long as there’s talent, it is fate. This is a good time to be in power for all walks of life. Dogs are especially lucky. Pigs are mixed. Pigs have great career prospects; however, they may get entangled with trivial matters, which causes them to fall short of their wishes. The magic weapon lies in good communication and skill at using people. Thinking hard and alone will only get half the results with twice the ef fort. The western ground must be taken to win profit for wealth. Homes and companies with western facing doors must t ake advantage of this t his now. no w. Young women have luck lu ck to go and the third-ranked girl in the household will also have good luck. Companies should use these people. The female group with the smallest average age in the company exerts great potential, especially in finances. Use female students for workers and interns. Female chickens have good luck, fortune and wealth. The center profits wealth and career development. Zhonggong (center dwelling ) is the middle of nine equal parts (the others being the eight cardinal direction s). This is the most profitable position of this year and it is easily overlooked. Those with an open Zhonggong that that is clean and bright will not be able to avoid wealth. C ontrarily ontrarily,, if the Zhonggong is is cluttered with debris, congested, and odiferous, an unfortunate incident looms and no one can save it. The northeast is unfavorable to health and invites disaster. If the front door faces northeast, take Feng Shui countermeasures in advance to prevent ruin before it happens. The third ranked bo y in the family or the youngest male in the compan company y must esta establish blish regular routine routiness or unexpected health problems will come. Young oxen and tigers must be more careful. Balance work and rest, get go od sleep and adopt correct posture with sitting, lying, standing and walking to assure he alth. Young Young male students should correct any crude behavior or impetuousness, or disaster shall come. The southwest br ings ordeal and disaster. If the front gate faces southwest, be extra careful. Without proper Feng Shui protection, protection, damage to health, quarrels, and disasters will come, especially for monkeys and rams. Mothers at home must know how to care for themselves. They should not be overworked and must avoid fights. Children must not be interfered with too much, just spoken to clearly. Older and middle-aged employees must be ser ious at work or they will make many mistakes. They must review their mistakes mistak es fro from m time to time time.. Let cont continuous inuous improve ment and peace of mind be the guide. The period of December 7 to February 4 is winter in Chinese 5 Element Cosmology. Here are two recipes to nourish your heart and strengthen your kidneys:

Ginger & Perilla Tea ( Jiang Su Cha  ) 3 gm ginger

3 gm perilla leaves

Shred the ginger and add with cleaned perilla leaves in boiling water for 10 minutes. Drink as tea. Effect: dispels chill and wind, regulates stomach qi – a preventative against colds and gastrointestinal maladies. Drink twice daily, once in the morning and once in the afternoon.

Pumpkin, Red Dates & Millet Porridge ( Nangua Nangua Hongzao Xiaomi Xiaomi Zhou ) 200 gm pumpkin 15 gm sweet glutinous rice

10 red dates

75 gm millet

Brown sugar to taste

Cut pumpkin into small pieces. Enucleate and cut dates into small pieces too. Soak rice and millet in water for 15 minutes, then cook down into a porridge adding pumpkin, dates and sugar. Effect: nourishes stomach, strengthens spleen, benefits blood, refreshes the five internal organs and ameliorates deficiencies – good for those with weak stomach and spleen, anemia, pale complexion and fatigue. Recommended for women who have cold hands and feet and fear chills. Consume daily.

February 4 enters into spring, which belongs to wood in 5 Element Cosmology. Here is a recipe for this period:

Smooth Liver Eye Bright Br ight Tea ( Pinggan Mingmu Cha ) 2 gm kudzu (a.k.a. pueraria root or gegen ) 2 gm white daisy flower 1 gm sour jujube seed (a.k.a. ziziphi spinosae semen or suanzaoren ) 1 gm cassia seed (a.k.a. semen cassia or cao juemingzi ) Toast cassia seed in a pan on low heat and stir until fragrant. Boil all ingredients in water for 3 0 minutes, then drink as tea. Effect: smooths liver and brightens eyes, reduces dizziness, dizziness, poor vision, irritability and mental distractions. Drink daily. Avoid if experiencing experienci ng diarrhea.

Rat : 1924 Wood, 1936 Fire, 1948 Earth, 1960 Metal, Me tal, 19 1972 72 Water, 1984 Wood, 1996 Fire, 2008 Earth 2019: This is a good year for clear thinking, creativity, innovation 2019: This and taking examinations. The emotional outlook is also triumphant. However, big conflicts arise between emotional relationships and career or school work. Pursuing one too much will inevitably lead to the loss of the other. It is very difficult to get the best of both worlds. Therefore, know what you want. Be clear about what is important to you now and handle the relationships between the two wisely. Also, be careful of eye diseases this year.

Ox : 1925 Wood, 1937 Fire, 1949 Earth, 1961 Metal, 1973 Water, 1985 Wood, 1997 Fire, 2009 Earth 2019: Your health outlook is poor this year. It is necessary to correct 2019: Your unreasonable work and rest schedules, as well as eating habits, in advance. The most sensible measure is to prevent disease before it happens. This year, fortunes may come from acquisitions and collections, but good fortune and opportunities are inseparable from good health. Overcome your own personality. Don’t be reluctant to admit your mistakes. Use this year to focus on good health care and avoiding evil. 12/7–1/5: This period is the best time for t rade and cooperation. You’ll You’ll be reunited with some old f riends. Strive to e stablish good friendships wherever you go. 1/5–2/4: T 1/5–2/4: T his period is conducive to investments. However, be very careful with those around you. Don’t trust other people too much. 2/4–3/6: Your 2/4–3/6: Your health outlook is poor. Beware of fault y contracts contrac ts and be especially cautious with any re al estate transactions. Health and fitness are your topmost priorities now.

“When the whole world is silent, even one voice becomes powerful. power ful.”” Ox Malala Yousafzai Tiger : 1926 Fire, 1938 Earth, 1950 Metal, 1962 Water, 1974 1974 Wood, 1986 Fire, Fi re, 1998 Earth, Ear th, 2010 Metal 2019: This year will be better for interpersonal relationships. Frequent Frequent travel to distant locations will bring a wealth of knowledge to you. But pay special attention to your health, especially during any longdistance trips, because some old maladies are prone to re-emerge. Be prepared when travelling. Take all the appropriate medications to protect yourself during your journeys. Be mindful of your posture. You are prone to afflictions resulting from improper spine positioning. 12/7–1/5: Have the courage to start up a new business for yourself yourself.. Be sure to do things well. It’s a good time for partnership planning. 1/5–2/4: Male 1/5–2/4: Male tigers are especially aggressive now. Tigers are eager to win. Be lenient whenever and wherever it is possible. 2/4–3/6: Far 2/4–3/6: Far travels are in your forecast. But protect yourself because you are prone to bone fractures. Be especially careful when signing any documents. Re ad everything carefully to avoid repeated paperwork.

“Life is a foreign language; all men mispronounce it.” Tiger Christopher Morley Hare : 1927 1927 Fire, Fi re, 1939 Earth, Eart h, 1951 Metal, 1963 Water, 1975 Wood, 1987 Fire, 1999 Earth, E arth, 201 2011 1 Metal Met al

12/7–1/5: You’ll lack patience and be irritable and unhappy. 12/7–1/5: You’ll Soreness from inflammation is forecasted. Eat a healthy diet, sweat more, and drink more water. 1/5–2/4: It’s 1/5–2/4: It’s a prosperous month. You’ll benefit from cooperative trades. Beware of digestive disorders. Regulate your diet. 2/4–3/6: Beware 2/4–3/6: Beware of emotional disturbances because they can interfere with your job. Be sure to get enough rest because you’ll be prone to headaches.

2019: This will be a very jo yful year for you. Good fortune and prosperity 2019: This are in your forecast. T here will be guardian angels angels to guide you and help you re alize your wishe wishes. s. But don’t depend on them. the m. Heed He ed their th eir adv ice but find your way on your ow n. This is the beg inning of success for you, as long as you take the opportunity to engage any business in which you exc el. T here are ar e many things that you are good at so pursue pur sue goals goal s that are in line with your skill set. 12/7–1/5: Your 12/7–1/5: Your health outlook is poor. Pay great attention to conserv ing your energy. You are prone to an old malady. 1/5–2/4: T 1/5–2/4: T his period is conducive to innovation and investment. Cooperation is easy. If you are in trouble, consult your close friends. Do not t rust strangers. 2/4–3/6: This 2/4–3/6: This period is c onducive to making speeches and writing articles. Your powers of communication are strong. Be careful to protect yourself against the cold and avoid anything that might antagonize your respiratory system.

"Whether it's the best of times t imes or the worst of times, it's the only time we've got." Rat Art Buchwald

“Maybe all one can do is hope to end up with the right regrets.” regrets.” Hare Arthur Miller WINTER 2019 KUNG FU  TAI CHI 111

Dragon : 1928 Earth, 1940 Metal, 1952 Water, 1964 Wood, 1976 Fire, 1988 Earth, 2000 Metal, 2012 Water

Ram : 1931 Metal, 1943 Water, 1955 1955 Wood, 1967 Fire, 1979 Earth, 1991 Metal, 2003 Water, 2015 Wood

2019: Be very careful. This year you are prone to injury from sports 2019: activities or from travel. Protect yourself. Do not take any unnecessary risks. Always wear the proper protecti ve gear. Avoid pursuing anything that cannot be achieved. Don’t overreach. Don’t be too high-spirited about your career; otherwise, difficulties will arise. Make a practical plan for the year. This plan should encompass your daily life, your work and your practice. Keep your guard up.

2019: Attend to preserving your physical strength because the 2019: opportunities are numerous, but the fear of your inability will make you fall short of your wishes. For good luck this year, go to sleep early and exercise properly. A positive interpersonal relationship will add a lot of joy for you. Being in a good mood and entertained are important. Engage your hobbies. If you abandon abandon your hobbies hobbies for busy work, your mood mood will be pessimistic and that will block your good fortune.

12/7–1/5: Pressure from all aspects of your life will increase. Be prepared 12/7–1/5: Pressure with a full mind. Keep calm. Don’t panic. 1/5–2/4: This 1/5–2/4: This period is one of busy work and trivial things. It is important to set your priorities. Don’t try to cover everything or you will be overwhelmed. Focus on the essential. 2/4–3/6: Wealth 2/4–3/6: Wealth and prosperity are in your forecast. But don’t be seduced by wealth to the point of forgetting the loyalty of friends. Beware the scourge of wine. A light diet is better.

12/7–1/5: This is a splendid period for you. A significant article will 12/7–1/5: This come into play. You can show off your talents. Give them full display. 1/5–2/4: Your 1/5–2/4: Your communication is robust but be mindful of the law. You’ll receive respect and be widely popular. You’ll get assistance from external forces. 2/4–3/6: Wealth 2/4–3/6: Wealth and prosperity are in your forecast. It is advisable to take this period to expand your business. It’s a good time to multi-task. It is very important to get sufficient sleep.

“Leadership is no longer about your position. It's now more about your passion for excellence and making a difference. differ ence. You can le ad without a title.” Dragon Robin Sharma

“Most good relationships are built on mutual trust and respect.’ Ram Mona Sutphen

Snake : 1929 Earth, 1941 Metal, 1953 Water, 1965 Wood, 1977 Fire, 1989 Earth, 2001 Metal, 2013 Water 2019: For snakes, this year is chongtaisui (“extreme” 2019: (“extreme” ). You are prone to traffic accidents so take extra care while driving or taking any transportation. Avoid any extreme adventures. This is a vulnerable year. Seek stability with everything. Also in your forecast is unfavorable health and conflicts with others. To be clear, anticipate fierce disputes. The odds are against snakes this year. Keep healthy and physically fit and beware of dental maladies. 12/7–1/5: You will be filled with jealousy. It is better to act low-key. Let 12/7–1/5: You things pass. Talk less and do more. 1/5–2/4: Friendship 1/5–2/4: Friendship and communication are on the upswing. The temptation to do business is great but don’t be too quick and easy when it comes to signing contracts. 2/4–3/6: Pay 2/4–3/6: Pay attention to your driving. Be sure not to drive when you are fat igu ed. Fol lo low w t he rul es and reg ula tio ns of the ro road, ad, and everywhere else for that matter. Do anything, but don't just count on luck.

“Knowledge is knowing a tomato is a fruit; wisdom is not putting it in a fruit salad.” Snake Miles Kington Horse : 1930 Metal, 1942 Water, 1954 Wood, 1966 Fire, 1978 Earth, 1990 Metal, 2002 Water, 2014 Wood 2019: Get help. There will be a lot of gossip around you, but it cannot 2019: Get do any harm to you, so do what you want to do and don’t let others interfere. This will be a year of many entanglements. You must fight against this. Argue your points. Defend yourself with logical debate without stooping down to vitriol. Do not be scared by foxes parading like majestic tigers. You must rely more on the help of your friends. And most importantly, you must see the truth while in danger. 12/7–1/5: All kinds of good luck is heading your way, so don’t lose it. 12/7–1/5: All But be careful of the spoils, especially when it comes to women. 1/5–2/4: This 1/5–2/4: This is a vulnerable time for your health, especially when it comes to your thighs and pelvis. Be extra attentive to warming up before you train and exercise. 2/4–3/6: It’s 2/4–3/6: It’s a period of good fortune. However, when you do things, you must concentrate. A half-hearted attempt will end up failing halfway through. You are prone to hand and foot pain.

“If you are not willing to t o risk the unusual, you will have to settle for the ordinar ordinary.” y.” Horse Jim Rohn 112 KUNG FU  TAI CHI WINTER 2019

Monkey : 1932 Water, 1944 Wood, 1956 Fire, 1968 Earth, 1980 Metal, 1992 Water, 2004 Wood, 2016 Fire 2019: This is not a good year for your mood. Your mood swings will 2019: be very large, so much so that others will become concerned and suspicious. This kind of performance will affect friendships. Be cool, straightforward and on the level. Don’t be too keen to win positions because a miscalculation may overshadow that win. Remember that an honest person doesn’t do anything in an underhanded way. To be honest is always the best policy, especially for this year. 12/7–1/5: You can profit from business negotiations. New business 12/7–1/5: You opportunities are now available that will benef it your wealth. 1/5–2/4: It 1/5–2/4: It is a period when you can communicate your emotions. There w ill always be help from friends of the opposite sex but pay attention to the boundaries of interaction. Do not overstep or presume. 2/4–3/6: Pay 2/4–3/6: Pay attention to driving safety. Don’t be too hasty e ven if there’s an overwhelming business deal. Take your time and be observant.

“We're our own dragons as well as our own heroes, and we have to rescue ourselves from ourselves.” Monkey Tom Robbins Rooster : 1933 Water, 1945 Wood, 1957 Fire, 1969 Earth, 1981 Metal, 1993 Water, 2005 Wood, 2017 Fire 2019: This is a year of good fortune and prosperity. However, do not 2019: disregard moral principles in pursuit of profit. As always, you win some and you lose some, but you will regret losing friends while you chase some fleeting financial gain in the long run. Good friends are greater than gold. Resist temptation. Stay true to yourself and your friends and that prosperity will flourish. Many things that have not been done for many years will either be transferred or resolved this year. 12/7–1/5: Wealth and prosperity are in your forecast. However, the 12/7–1/5: Wealth temptation of wealth may co nfuse your mind. Remember – do n’t be greed y. 1/5–2/4: Stay 1/5–2/4: Stay out of t rouble. Approach all aspects of your life with a low-ke y attitude. Your health outlook is poor. Keep fit and healthy. Regulate your practice. 2/4–3/6: It’s 2/4–3/6: It’s a period conducive to emotional de velopment. There are always good ideas all around. Sharing with others will be handsomely rewarded.

“Try “T ry to learn l earn something about everything and everything about something.” something.” Rooster Thomas Huxley

Dog : 1934 Wood, 1946 Fire, 1958 Earth, 1970 Metal, 1982 Water, 1994 Wood, 2006 Fire, 2018 Earth 2019: You can enjoy a feeling of comfort this 2019: year. You’ll be free like a bird on the wing. Be communicative, passionate and unrestrained. It is inevitable to spend a lot of time dwelling upon emotional matters. Just because of this, you must seize your freedom. However, freedom comes at a cost. Don’t let freedom entice you to do anything that might affect the development of your career. T his is also a good year for wealth for you. There are many gains in your forecast. 12/7–1/5: It is easy to be upset by the financial affairs 12/7–1/5: It around you. Just focus on doing what you are good at and don’t be bothered. 1/5–2/4: It’s a period conducive to cleaning your surroundings and yourself, as well as planning ahead. Like a battery, there is always time to recharge. 2/4–3/6: It 2/4–3/6: It is a virtue to do things for others. However, thinking too much for others can be counterproductive to your own aspirations. Be courteous but don’t just give it away. Don’t be distracted.

“By striving to do the impossible, man has always achieved what is possible.” Dog Mikhail Bakunin

Pig : 1935 1935 Wood, 194 1947 7 Fire, Fi re, 1959 Earth, Eart h, 1971 Metal, 19 1983 83 Water, 1995 Wood, 2007 Fire, 2019 Earth 2019: For pigs, this year is benmingnian (“fated” 2019: For (“fated”). There’s a saying, "Shoot the leading bird ()," meaning the one in front is the first to die. Think twice before acting. Haste does not bring success. One wrong step and all may be lost. Be especially careful with your health. This year, you are prone to head injuries. Be careful when driving or taking transportation. It is not advisable to start any new high-impact sports. Avoid collisions to avoid injuries. 12/7–1/5: Do not invest blindly. Put in the effort and research the practicality of 12/7–1/5: Do anything you are thinking of investing in. Analyze the facts and data before you act. 1/5–2/4: It’s 1/5–2/4: It’s a conducive period for creativity and summary. You should focus on designing the future and getting plenty of rest. This is also a good time to further your education and take exams. 2/4–3/6: It’s 2/4–3/6: It’s easy to do bad things with good intentions. Offer your own advice to others, but don’t try to dominate their actions.

“Errors of opinion may be tolerated tolerate d where reason is left free to combat it.” Pig Thomas Jefferson Astrologist Wilson Sun is a Feng Feng Shui Master from Shanghai Shanghai – wusun5@ yahoo.com. NOTE: The monthly advice for all signs are moving to KungFuMagazine.com KungFuMagaz ine.com because they remain the same every year. Read more Kung Fu Horoscopes online at KungFuMagazine.com.


KUNG FU WISDOM

Yiri lian yiri gong. Yiri bu lian shiri kong  By Dr. Marilyn M. Chi

( 1st tone,  4th tone) means “one day”. Lian ( ( 4th tone) means “practice”. Gong ( ( 1st tone) means “achievement” or “merit” - it’s the Yiri ( same gong as as in gongfu ( ()) or Kung Fu. In the second line, bu ( ( 4th tone) negates the following word, so here bu lian means means “no practice”. ( 2nd tone) means “ten” so shiri is is “ten days”. Kong ( ( 1st tone) means “empty”, “hollow” or “deserted”. Shi ( This is a very popular saying saying within the Chinese martial arts. It means “One day’s practice [gains] one day’s merit. Skip one day’s practice, ten days are lost.” This calligraphy was written by Dr. Marilyn M. Chi, an Emeritus Professor at the Department of Education at San Jose State University in California. She survived a brain tumor and attributes her recovery in part to her daily practice of Tai Chi.


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