Class Forms and Personal Forms

Class Forms and Personal Forms

       In Kung Fu San Soo, forms, which are series of techniques done together in a sequence, are one of the tools used to work on movement and technique. The word "form" in San Soo is generally synonymous with the words such as taolu, routine, kata, hyeong, pumsae, and teul seen in arts such as Wushu, Karate, and Tae Kwon Do, although the structure of forms in San Soo is distinct from these.

       Class forms are usually given for the purposes of teaching the whole class, and they can serve as a warm down done at the end of class.

        In my experience with San Soo, a class form typically contains 26 techniques. The techniques move over an imagined cross-shaped diagram (which is taken from the plum-blossom diagram), going north, west, south, and east. Typically, techniques go in a counter-clockwise direction, but they don't always have to. Many techniques are repeated in pairs where the same technique is done on both sides, but some techniques are done stand alone.

       In general, each technique comprises a transition, defensive motions, an offensive motion, and a final stance. Sometimes, movements are emphasized and exaggerated to make a stronger impression, but all techniques in a form should be practical and effective when used correctly.

      Most techniques stay close to the center of the diagram, so as the left foot rarely moves from the center of the diagram. If reversed, then the right foot rarely moves from center.

       What follows is an example of how some San Soo forms are structured:

• The first five movements have at least one stand alone technique, but in certain cases, they can all be stand alone.

• The sixth technique is a close, facing north and bringing the student back to center.

• Techniques seven through twenty-five are usually in pairs, except for nine, sixteen, and nineteen.

• Finally, step twenty-six is a close, again facing north and bringing the student to center.

        Class forms are usually very structured, as seen above. They do not allow for a lot of forward motion, and tend to stay very centered and not take up much space. This is handy, as class forms are usually done by the entire class all at once in the same general space. Overall, class forms are very structured, focused on teaching basic motions, balance, and techniques, and can be and usually are practiced in a relatively confined space.

       Personal forms follow the same format as class forms (generally) and are created by practitioners so that they can show their understanding of how forms are made, how they function, and to show an understanding of technique, flow, and mechanics. Personal forms are also used for students to express their style and understanding of the art.
   
      Movements in a personal form may be geared toward one individual's style, comfort, and preference, and they are generally more flexible than often stringent class forms. Because of this, they can often be inappropriate as class forms. For one, they can move beyond the plum-blossom diagram, meaning they take more space, and thus are also more difficult to implement in a classroom setting if the class is not held in a very wide space. Secondly, personal forms can involve more complex combinations, where effectively a series of attacks used in tandem can count as a single technique out of the 26 that make up an entire form. These combinations are usually more appropriate for advanced students, and thus are not used within a class form, which should be accessible to both new and advanced students.

        All in all, class and personal forms are both an important part of San Soo. Some practitioners of San Soo don't use these tools, but they are useful, especially when used alongside other training methods. That said, forms in and of themselves are not typically adequate to train a fully-adapted fighter. They are again one of many way in which a practitioner of San Soo can attain mastery in the art.

KUNG FU SAN SOO: A FIVE FAMILY SYSTEM

A Five Family System

Kung Fu San Soo is synonymous with the Five-Family art of Tsoi Li Hoi Fut Hung Ga. The names of these families represent systems that were incorporated during the time the art was developed to make it what it is today. Though there is no easy way of telling how much the art has changed since it’s inception, the Five Families point to many of the concepts encompassed by the art. Truly, when combined, the Five Arts give the art a versatility that has led many to dub San Soo as an “original mixed martial art.” 

Today, the Five Families refer to basic concepts that pertain to the Art. Again, there is limited evidence to show what some of the original arts were like, but today the art’s concepts are explained by the families. Generally, the first three families are considered the "Fighting Families" due to their encompassing techniques. The last two families are based more on strategy and conditioning. What follows is this author's interpretation of the Five Families.

TSOI—The Family of Striking

Tsoi Ga emphasizes striking. This includes long range and short range strikes, encompassing strikes dealt by any variety of surfaces, including but not limited to fists, feet, elbows, and knees. A majority of the techniques learned at the start of learning San Soo pertain to Tsoi Ga.

LI—The Family of Leverages, Locks, and Throws

Li Ga emphasizes the manipulation of the skeletal frame. This includes leverages and locks to disable and disfigure tendons, joins, and ligaments. It also includes the use of leverage to throw an opponent. A few techniques from Li Ga are included early on, and a new student will learn several concepts of Li Ga to improve their overall ability to defend themselves. However, the majority of Li Ga’s techniques are not learned until a student has received a yellow belt (generally 3 to 6 months of training).

HOI—The Family of Accuracy

Hoi Ga emphasizes precise targeting. At it’s most elaborate, this includes strikes to pressure points, nerves, and internal organs. At the level of the initiate, this section of the art lies in the teaching of easily affected targets. The combination of Tsoi Ga, a strike, to Hoi Ga, a precise target, allows the practitioner to multiply the effect of their efforts. Targeting is a vital part of the art, and Hoi Ga is the family of the art that embodies this concept.

FUT—The Family of Mind

Fut Ga emphasizes mindset. The strategy of the art is in its mindset, and this is one of the most devastating aspects of the art. It is also one of the most abstract. To a beginning student, the strategy of survival is instilled. Students learn to be dangerous in taking the fight to the opponent, countering an attack with unexpected aggression, leading to an “element of surprise.” The spirit of Fut Ga lies in mastering one’s own mental balance and overwhelming that of the opponent. This is done by attacking the most vulnerable targets, not always with the intention of knocking out an attacker, but sometimes simply to disable their ability to continue the fight. A San Soo practitioner is not limited by set rules or set patterns, there are no forbidden targets, only those targets that can be attacked to get the practitioner out of harm's way as depending upon the situation. Significantly, Fut Ga prizes spontaneity, the ability to change course on a whim, again, to deal with unexpected circumstances and be adaptable while taking the fight to the foe. Without Fut Ga, this art would merely be a set of techniques. Indeed, to be San Soo, the techniques of the art must be applied within the concepts and spirit of Fut Ga. As a result, the art is very effective and must be used responsibly.

HUNG—The Family of Power

Hung Ga emphasizes the proper alignment of the body. It is the unity of the mind and body as one to turn the body into a living weapon. If Fut Ga is the general, then Hung Ga is the army. Hung Ga is what gives the practitioner of San Soo power. It is a combination of proper footwork, alignment, posture, breathing, self-awareness, balance, and movement. Over time, it is also the proper conditioning of the body for combat. Combined, the result is power. San Soo without Hung Ga is like an air gun. It may look dangerous, but it has little force. The development of Hung Gar begins at the stage of the initiate, when proper footwork, posture, and transitions are introduced. This is the most crucial moment. It lays the foundation for the greatest of students. Hung Ga is the power of San Soo.

The Basic Principles of Seven-Star Praying Mantis Kung Fu

Seven-Star Praying Mantis Kung Fu

The Seven-Star Stances

The book "Master Lee Kam Wing's Seven-Star Praying Mantis Kung Fu," by Leung Ting, came in the mail yesterday, and I read it in one sitting. Awesome book, definitely one to have for anyone interested in Martial Arts, and particularly for someone like me who is a huge fan of Mantis Style Kung Fu. 

Below is a short summary of some of the basic principles that make up Seven-Star Praying Mantis Kung Fu, as per the information in the book.

1.) Horse Stance

• A basic horse stance.

2.) Hill-Climbing Stance

• Similar to a bow stance, but front foot turned in slightly.

3.) Medium Stance

• Feet are in position similar to a Hill-Climbing Stance.
• The knee of the forward leg is held back. 
• Back leg is not straight, but slightly bent.

4.) Collapsing Stance

• A reverse Hill-Climbing Stance. 
• The body turns towards the back leg of the Hill-Climbing Stance.

5.) Circle-Entering Stance

• Similar to a knee-drop, the back knee is tucked behind the front leg's ankle.

6.) Seven Star Stance

• Similar to an empty stance or cat stance, but the front leg is straight.
• Front leg rests on the ankle with the foot pointing upwards.

7.)Tiger-Riding Stance

• A basic empty stance/cat stance.

8.) Leg-Hanging Stance

• Similar to a "Rooster" or "Crane" stance. 
• Basically an empty stance with the front leg raised up, thigh parallel to the ground.

The Twelve Key Words

1.) OU- "Hook"    2.) LOU- "Grapple"    3.) TSAI- "Pluck"

      These three are used in combination. Ou is a upwards going parry into a hooking grip applied to the forearm/wrist.  Lou is a  downwards going parry with the opposite arm, usually gripping the elbow. Lou is called "grapple" because combined with Ou it secures control of the opponent's arm. Tsai, or "pluck", means to pull down with the Lou hand to force the opponent to move forward and lose balance. At this point, Ou is released and is turned into either a punch or a palm to the opponent. 

4.) KWA- "Upward Block"

         Kwa is a basic upwards going block with the forearm to the opponent's arm. As it makes contact, the opposite arm launches a palm or punch to the opponent's face or midsection.

5.) TIAO-CHIN- "Intercept-> Go Forward"

      Tiao, meaning to intercept, is an upwards parry-hook, like Ou, but it doesn't grip. Rather, it's aim is to lower the opponents arm. Then, Chin, go forward, means to attack with the same hand. After the Tiao hand moves the opponent's arm down, the practitioner steps forward and palms with the same hand as the Tiao.

6.) PENG-TA- "Chop"

      Peng-Ta uses the Tiao hand, but instead of attacking with the same hand, the opposite hand is used, delivering a downward going chop or back fist to the opponents body.

7.) CHAN- "Contact"                8.) NIEN- "Cling"

      These refer more to principles of usage, it seems. Chan is like a warding parry, where the forearm is raised to intercept or meet a strike, and Nien is using the hook to guide or lead an oncoming arm or attack. Together, the practitioner stays stuck to the opponent, similar to Chi-Sau, using the forearm and hook to control the opponents arms.

9.) TIEH- "Tag"                          10.) KAO- "Lean"

      Tieh and Kao refer to actions involving footwork in addition to hand work. Tieh, or "tag", means to close distance to the opponent. For example, the practitioner could parry a strike while stepping to the side of his opponent. On the other hand, Kao refers to leaning one's body into the opponent to throw them off balance. Because Tieh and Kao compliment each other, they are often utilized together. Also, because these actions move the practitioner closer to the opponent, it allows the practitioner to make use of short range attacks such as elbows and knees.

11.) CHIEN-SHAN- "Dodge"
        Chien-Shan means to dodge--literally to move out of the way. However, this is done without losing the ability to attack the opponent. In that sense, though Chien-Shan is a defensive movement, it has offensive capabilities.

12.) TENG-NUO- "Bounce"
      Teng-Nuo, or bounce, is the use of jumping. It can be used to apply long range and high range techniques, namely leaping kicks and midair attacks. In the air, these attacks are sometimes done in combinations, such as a hand-technique and a kicking technique being done in combination.