Leopard style is one of the Five Animal styles, supposedly created by Jueyuan with help from Bai Yufeng and Li Sou. The emphasis of leopard is speed and angular attack. The leopard does not overwhelm or rely on strength, as does the tiger, but while it does have power it instead relies on speed and outsmarting its opponent. It uses its speed to deliver its power. The leopard practitioner will focus on elbows, knees, low kicks, and leopard punches, all at close range.
The goals of Leopard style are to:
develop muscle speed for external strength.
teach patience.
use the leopard punch for penetration and lower body springing power.
The other four animals being Crane (Bai He), Tiger (He), Snake (She), and Dragon (Lung). These five animals originally represented the five classical Chinese elements before developing into their own styles. Snake is Earth, Tiger is Metal, Crane is Wood, Dragon is Fire, Leopard is Water. Since they were derived from the Five Elements, they are kept in this pattern. At this point many styles delve into more advanced animal training or actual element training.
The proof behind this element/animal system is the contention that one animal "beats" another, and their appropriate corresponding elements also "overpower" one another. For instance, Tiger (Fire) is killed by Snake (Water). And Tiger (Fire) beats Leopard (Metal). Water puts out fire, whereas fire "melts" metal. This can be further explained by the Snake's waterlike movement (Kung Fu masters may tell their students to "imagine a river" during movement), and the Tiger's ferocious overwhelming of the calculating, fast Leopard with constant linear strikes. This Shaolin system teaches one to identify an attacker's natural or learned animal, and use its antipode to defeat it effectively.
The leopard style was founded on the creators' observation of the movements of the leopard in the wild, and therefore practitioners of the style imitate these movements. Blocking is wasted in Leopard - the style can be summed up with "Why block when you can hit?" It does not rely on rooted stances, and would only assume a stance while in attack in order to launch at the opponent. This hit and run technique of the leopard, something especially effective against larger opponents, is unique to the animal. A prime example of these techniques can be seen in the Shaolin pattern, "Golden Leopard Watches Fire".
The primary weapon is the leopard's paw, which can be likened to a half opened fist. The primary striking surface is the ridge formed by folding the fingers at the first phalangal joint. The secondary striking surface is the palm. The leopard claw can also be modified for grabbing and tearing.
Leopard is especially useful at night, when the blinding hand and foot movements are invisible. Movement is accomplished far faster than the eye can compensate for in reduced light. Leopard is also useful on wet ground.
An interesting technique of the leopard is the ability to simultaneously block and strike the opponent. This is not commonly used in the harder martial arts (like the other Shaolin styles, for example). The sheer speed of the leopard is a defining characteristic of the style; however, as with all martial arts of this style, the practitioner' ability to provide the necessary speed diminishes as he ages, reducing his or her efficacy in combat.
Leopard is "The Ghost" of the 5 animals because it is hard to see because it is so fast, quiet, patient, waiting to strike at the right moment.
The Leopard style has many stealth techniques that are useful in moving around undetectable at night where one uses the eyes, speed, stealth, and cunning in supposed imitation of the leopard (this can also be done in the daylight but not to the same degree). The darkness is considered a useful asset in the Leopard style. It was used often by assassins as well as warriors.
In order to master the leopard, you must become the leopard.
snake
There are several Chinese martial arts known as Snake Boxing or Snake Style (Chinese: 蛇拳; pinyin: sh�qu�n; literally "snake fist") which imitate the movements of snakes. Proponents claim that adopting the fluidity of snakes allows them to entwine with their opponents in defense and strike them from angles they wouldn't expect in offense. Snake style is said to especially lend itself to applications with the Chinese straight sword. Both Wing Chun and T'ai Chi Ch'uan are said to be based on a combination of the Snake and Crane styles. The snake is also one of the animals imitated in Baguazhang and Xingyiquan. The sinuous, fluid motion of the snake lends itself to the practical theory that underlies the "soft" martial arts.
Different snake styles imitate different movements of snakes. Some, for example, imitate the Cobra, while others imitate the python, while some schools imitate both for different applications. There are two unrelated, Northern and Southern snake styles.
[edit]
Northern Style
Snake is one of the archetypal Five Animals of Chinese martial arts; the other four being Crane, Tiger, Leopard, and Dragon. These five animals originally represented the five classical Chinese elements before developing into their own styles. Snake is usually Earth, Tiger is Fire, Crane is Metal, Dragon is Water, and Leopard is Wood. Since they were derived from the Five Elements, they are kept in this pattern. At this point many styles delve into more advanced animal training or actual element training. The Taoist temples of the Wudang Mountains were known to have produced many snake stylists.
Snake style is based on whipping power which travels up the spine to the fingers. The ability to sinuously move, essentially by compressing one's stomach/abdominal muscles, is very important. Footing is quite grounded. The stancework is fluid in order to maximize the whipping potential of any movement. This necessitates building a strong spine to contain the power and strong fingers to convey the strike. Since breath is important to any movement of the spine and ribs, snake style is considered one of the main styles which eventually led to internal training. Snake style is also known as an approach to weapons training, the Chinese straight sword and spear in particular. There are even specialty varieties of sword blades and spear points that curve back and forth down the length of the blade in imitation of the snake's body known as snake sword and snake spear.
Snake Style generally aims for weak points of the human body, such as eyes, groin, and joints, meaning a snake stylist must always try to avoid conflict, as taking part in combat may cause great physical damage to an opponent, making anyone who is skilled in this style very dangerous.
[edit]
Southern Style
There is also an obscure Southern Snake Style (Chinese: 蛇形刁手) whose grand master was Leung Tin Chu who was born in the late 1800's and became well known as he ranked 4th in one of Nanking's Martial Art examination in late 1920. His style was an amalgamation of Southern Shaolin style (which he learned from a Shaolin monk) and Choy Gar style learned from a Choy family member. He had two main disciples, his nephew Master Leung Gar Fong of Honk Kong and the late Master Wong Tin Yuen who taught this style at his studio on Sacramento Street in San Francisco for forty years since late 1930. The pugilistic style is best described as a mid-distance fighting style using, by coincidence, some Wing Chun-like techniques in Hung Gar-like forms. That attests to the Southern Shaolin origin of this style and its close relationship to other styles originating from Southern Shaolin. Force and techniques are softer than traditional southern styles. Besides straight punches and bong shou as Wing Chun, the use of southern style techniques of butterfly-budha palms, the hook, upper cut, and gui quen (back fist) are central techniques to this style. Biu tze (thrusting fingers) techniques resembling snake attacks are the secrets, and hence, the name of this style. There are multiple kicking techniques, as varied as typical northern styles with high kicks, but also typical below the knee kicks seen in southern styles. There are six fist sets, two stick sets, single sword, short double swords, and other traditional weapons.
dragon
Because the history of Dragon style has historically been transmitted orally rather than by text, its origins will probably never be known in its entirety.
Modern Dragon style historians relate that one of the last members of the Shaolin Temple before its first destruction (1570) was Wu Mui, who is said to have originated the Dragon style (Chow & Spangler, 1982, p. 44). The Shaolin Gung Fu Institute of the Pacific Northwest agrees with a date of 1570 for a destruction of the temple and states explicitly that Dragon style was created at the Shaolin Temple in Henan c. 1565 but, in addition to the Wu Mui attribution, also offers an alternative origin that identifies Dragon with the related martial art Yau Gung Mun,[1] which it attributes to the monk Mui Fa San Yang in contradiction of Yau Kung Mun's own traditions. The Institute goes on to say that Dragon diverged into Northern and Southern variants.
According to the Dragon teacher Steve Martin of the Sojourn Past Martial Arts Institute, Dragon style has roots in Hakka Kuen, a combination of the local styles of the Hakka heartland in inland eastern Guangdong with the style that the monk Gee Sim Sim See taught in Guangdong and the neighboring province of Fujian in the 1700s.
North of the Dongjiang in the northwest of B�lu� (博羅) County in the prefecture of Huizhou in Guangdong Province is the sacred mountain Lu�f�shān.[2] Lu�f�shān is the site of many temples, including Wa Sau Toi[3] where, c. 1900, a Chan (Zen) master named Tai Yuk[4] taught Dragon style to Lam Yiu-Kwai,[5] who in turn passed the art on to the many students of his schools in Guangzhou.
Because Lam Yiu-Kwai and Cheung Lai-Chuen were longtime training partners, Dragon style and Cheung's style of Bak Mei share many similarities. Good friends from their youth in the Dongjiang region of Huizhou and later cousins by marriage, Lam and Cheung would open several schools together.
There may be other styles named after the dragon that other schools believe to be much older; however, the Dragon style of Lam Yiu-Kwai is the most widespread and best-known.
[edit]
Techniques
[edit]
Overview
The dragon stylist relies on a variety of fighting techniques that can be employed for a wide range of needs. The style uses techniques that can cripple or kill an opponent if the need arises or it can be used simply to control a minor street fighting situation.
[edit]
Basics
The Dragon Kung Fu practitioner typically attacks with winding low yang attacks. One signature maneuver is the four finger claw techniques that utilizes the index, thumb, ring and middle fingers, or all five fingers to do hard pinching attacks to the muscles, tendons and acupressure points; and rapid, close in palm attacks. Punching techniques can be closed or open handed. Clawing and grappling techniques, in the imagined style of a dragon, are used. Kicks, no higher than waist level, are used to target sensitive areas such as the groin, knee, and foot. The waist, the largest and most central of all human muscles, receives great focus in Dragon Style. Efforts are made to strengthen, coordinate, and utilize this muscle to achieve powerful and quick movements. For example, when striking with the fist, more power can be exerted when the movement originates from the waist first, then flowing through the body, and finally into the fist.
[edit]
Foot Work
In both the Northern and Southern Dragon Style systems, leg work is characterized by a zig-zag motion that mimics the imagined movement of the mythical Chinese dragon. In Southern style, smaller strides are emphasized to complement the system's short range combat style. In the Northern system, the strides are greater, utilizing the strength of the legs to move in and out of the opponent's range of attack with speed and force.
[edit]
Southern Dragon Style Motto
"Control yourself, let others do what they will. This does not mean you are weak. Control your heart, obey the principles of life. This does not mean others are stronger."
[edit]
Codes of Southern Dragon Style
The seeds were first planted from Haufeng. The essence were gained later at Haushou. Restrain one�s self and yield to others not because one is weak. But to uphold the ethical Tao and let the others have their claim.
[edit]
Southern Dragon Style - Four Rules & Two Principles
Focus to learn and condition the body. One must not have any act of laziness. Be righteous and uphold your honor. One must not have any act of hypocrisy. Respect your parents, honor your teacher. One must not have any act of defiance. Treat others with honesty, treat your friends with loyalty. One must not have any act of arrogance.
tiger
The Tiger is one of the Five Animals of Southern Chinese martial arts. In many Chinese martial arts, both Northern and Southern are as dissimilar as Hung Gar and T'ai Chi Ch'uan, the names of techniques feature "tiger" imagery. Jee Sin is said to have taught the tiger, or at least a very early version of it. The purpose of imitating the tiger is to develop the very yang qualities of fearlessness and aggression when faced with an opponent.The tiger attacks in a staight line and rarely retreats, the tiger style relies on external "jing" or mechanical and kinetic force generated through the shifting of weight and rotation of the waist rather than the internal qi from arts like tai chi and hsing i. Most of its strikes are clubbing and claw strikes. The focus of this style is in the hand posture, the "Tiger Claw", in which the wrist is drawn back, the fingers spread as wide as possible and the fingertips held forward to deliver a blow while grasping and twisting. When delivered successfully, all five fingers should drive forcefully into the opponent with the strength of a tiger's claw.
crane
The original Lion's Roar system is attributed to a monk named Ād�tu� (阿達陀), said to have been born in 1426 to a tribe known for its horsemanship and for its joint-locking techniques. Ād�tu� also received training in wrestling including, after his ordination, a style called "Dinah" from an old man from Tala. Ād�tu� eventually decided to become a hermit in the mountains so that he could follow the dharma without distraction. One day by the side of a pond, his meditation was interrupted by a fight between an ape and a crane. Inspired, Ād�tu� devised a style that incorporated both the ape's powerful swinging motions and the crane's evasiveness and precision strikes to vulnerable points. According to the White Crane (Pak Hok) Athletic Federation in Hong Kong, the style was developed secretively in Tibet during the Ming Dynasty (1368�1644).
Even though Lion's Roar traces its origins to Tibet and its descendant styles are nowadays practiced mainly in the Southern Chinese province of Guangdong, these styles are consistent with the martial arts of Northern China. White Crane style is very well known in Chinese martial arts circles, emphasizing high steps, sweeping diversions of attacks with the arms for defense and high kicks and strikes with the elbows, fingers (in the form of 'the crane's beak') and wrists for offense. Lama Pai oral history maintains that, in the late Ming Dynasty (1368�1644), Lion's Roar spread to Northern China and incorporated the techniques of the martial arts there, explaining its Northern Chinese characteristics. In some ways, Lama Pai, Tibetan White Crane, and Hop Gar take the distinguishing characteristics of Northern Chinese martial arts (fully extended arms, mobility, high kicks) even further than those arts themselves do and may be a source of the Northern characteristics found in the Southern Chinese martial arts of Guangdong.
Wang Yan-Lam was the eldest of the Ten Tigers of Canton, a group of ten of the top martial arts masters in Guangdong towards the end of the Qing Dynasty (1644�1912). One of his fellow Tigers was Wong Kei-Ying, father of the famous Wong Fei-Hung. Father and son, both masters of Hung Kuen, exchanged knowledge with other martial artists, including Wong Yan-Lam, which would explain why the crane techniques of their Hung Kuen lineage�which emphasize one-legged stances, kicks, and the crane's beak hand formation�are closer to Tibetan White Crane than to Hung Kuen Crane's supposed roots in Fujian White Crane, whose isometric exercises and firmly rooted, pigeon-toed stances show greater affinity with the Kiu Sau exercises and Iron Wire Fist of Hung Kuen than with its crane techniques. According to Lama Pai oral history, Wong Fei-Hung learned from Wong Yan-Lam the long arm techniques found in the Tiger Crane Paired Form Fist and the Five Element techniques found in the Five Animal Five Element Fist in return for the Five Animal techniques found in the Small Five Animal Fist of Yan-Lam and his descendants. By contrast, "village" styles of Hung Kuen do not show signs of influence from Lama Pai/Hop Gar/Tibetan White Crane and are more characteristic of Southern Chinese martial arts.
Crane style martial arts focusses on rapidly incapacitating opponents instead of slowly killing them, and on defending oneself by blocking all incoming blows. Its signature weapons are staves, and staves of any sort may be freely used with any of these charms, including the following specialized martial arts staves:
http://santiago.mapache.org/rpgs/exalted/crane-style.html
