Fei Hok Phai's Valdemir Machado 'Sifu' Kung Fu & Tai Chi Chuan

     Valdemir Machado 'Sifu' was born in Sao Paulo (Brazil - 1959). He started to practice Fei Hok Phai Kung Fu & Tai Chi Chuan with Chiu Ping Lok 'Sifu' in 1973. Valdemir taught Kung Fu & Tai Chi Chuan in Sao Paulo during many years and several Fei Hok Phai's black sashes were formed by him. One of the most famous of them is Espedito Silva 'Pantera Negra' ('Black Panther') a well known World Full-Contact Champion.

In 1985 he moved to Niteroi (Rio de Janeiro) where I started to train with him. The main characteristic of his classes is the high technical quality of the Kung Fu & Tai Chi Chuan movements that he teaches. Besides the fact that the martial arts techniques improve our fighting abilities - and as I think, more importantly - they can also improve our mental/body capacity to express our thoughts and  feelings. This way of thinking is very well expressed by the Chinese five elements theory (earth, fire, wood, metal, water) as it is linked with specific body movements directions. I will write about it in another article.

Bellow, Valdemir Machado 'Sifu' performing the Pao Hok Kuan (Leopard and Crane Fists). This routine was designed by Master Chiu Ping Lok from Hung Tao Choi Mei Gar techniques.

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Health and Well Being - Kung Fu, Tai Chi Chuan and Chi Kung Practice (part 2)

It is attributed to Lao Tze (Laozi – 604 BC), ancient Chinese thinker, the following words: 

“At birth the human body is gentle and flexible; in death it is hard and stiff. Green plants are soft and full of sap; dying are dry. Therefore the stiff and unbending is the disciple of death, while the flexible and gentle is the disciple of life. ”

The underlying idea is that the Universe functions following very precise Laws, and when tuning into these Laws, the human beings can become harmonious with themselves and the Universe. According to this point of view, the Universe is living and dynamic, consisting of a primordial cosmic energy from which derives, by condensation and differentiation, all existing things.

This cosmic energy, which the ancient Chinese thinkers called “chi”, “qi” or “hei”, flows through the human body by “energy channels” (the called “meridians”), conveying life to the cells and keeping the body in harmony with the environment that surrounds it.

This vital energy, the “chi”, is renewed through the breath, the assimilation of food, and the stimulus to the senses. As a consequence of this idea, we must take permanent care with the way we breathe, the food we eat and the stimuli that occupy our senses. The primordial energy of “chi” is continuously captured by certain points distributed through the skin. The proper functioning of the human organism would be linked to the perfect capture and flow of energy “chi” through the body.

“Chi” is a unit that manifests itself polarized in opposite and complementary aspects, the negative (Yin) and the positive (Yang). Yin is the negative principle that is manifested by the expansion, as opposed to the positive Yang that contracts. All the phenomena of life would occur from the interaction of these two opposing and complementary forces – expansion and contraction. Eternal and continuous is the attraction of Yin over Yang and vice versa, forming an infinite number of combinations that make up the diversification of the Universe.

Physical and mental health is understood as a result of the harmony and balance of these two energies. When an imbalance occurs between these two energies there is the development of what we call disease. Therefore, we should seek neither excess nor deficiency of energy. Excess clogs, deficiency drains. The vital energy flowing is what makes life. Yin and Yang are inseparable qualities from the same process. Nothing is Yin and Yang at the same time, when one reaches its maximum expression, becomes the other.

The balance between Yin and Yang creates a harmonious “chi”, a radiant vitality that protects the body against the negative factors of life. The technique of manipulating “chi” is called “Chi Kung” or “Qi Gong”. “Chi Kung” includes various forms of breathing exercises and body movements whose goal is to balance and harmonize the unity of body/mind.

The training of “forms” or “routines” (standardized sequence of movements), present in all Kung Fu and Tai Chi Chuan styles, has as one of its objectives the development of the spatial perception, balance and reflexes, as well as encourage the improvement of the muscles and breathing control of the practitioner. Last but not least, it is also intended that, by implementing the routines, the practitioners’ “vital energy”, their “chi” is developed, resulting in better overall health and well-being.

Therefore, a truly complete practice of what we call nowadays Chinese Martial Arts, should encompass not only Kung Fu, but also Tai Chi Chuan and Chi Kung techniques, for acquiring all the benefits of the development and harmonization of “chi”.

For more information about Kung Fu & Tai Chi Chuan Classes in Cork City - Ireland, please visit my facebook page!

Health and Well Being - Kung Fu, Tai Chi Chuan and Chi Kung Practice (part 1)

Most new students of Martial Arts have as one of their aims to develop self-defense skills that would potentially protect them against eventual aggressors. However, I believe that the majority of students that continue their learning process for a longer period of time are driven primarily by improving their physical and mental condition, achieved by constant practice of the techniques they learn.

Certainly, no one is immune to suffer a physical assault. It is known that the Martial Arts techniques prepare its practitioners to protect themselves against possible attackers. However this does not imply that conflict situations should be sought. Rather, it is a maxim in the contemporary Martial Arts, that physical conflict situations should be avoided.

Protection is only one of the aspects that Martial Arts provide for its modern practitioners, and it is sometimes overemphasized. The physical and mental benefits that can be attained with a regular practice of a Martial Art are, for me, more important.

The body’ physical abilities, i.e., flexibility and strength, deteriorate over time. One way to try to mitigate the effects of time on our bodies is the practice of a regular physical activity. The various techniques of punches, kicks, blocks, jumps, throws, among others, practiced in Martial Arts, “grease” our joints, tendons and ligaments, develop our muscles, as well as improve the general functioning of our respiratory and cardiovascular system.

Without considering the importance of the individual’s genetic inheritance, in order to maintain a good state of health, we need:


To breath properly
To get enough rest
To have a balanced diet
To exercise regularly

These factors are essential to the development and maintenance of the body’s flexibility. Flexibility is crucial in the practice of any form of Martial Art. When our body is too rigid it is more susceptible to injuries. A simple daily routine of movements with some stretching exercises can bring many benefits to our lives.

(to be continued) 

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Southern Fist - Nanquan - Yang Shi Wen

The term NanQuan can be translated from the Mandarin Chinese to mean Southern Fist. China is traditionally divided by the north and south by the great YangTze River. The main perceived difference between northern and southern styles is that the northern styles (Chang Quan) tend to emphasize high jumps and generally fluid and rapid movements, while the southern styles (Nan Quan) focus more on strong arm and hand techniques, stable stances, fast footwork and powerfull kicks.

Beyond that, there are 2 definitions for Nan Quan:

1) The first is that Nan Quan refers to all the fighting styles developed in Southern China (Traditional Nan Quan). This includes all of the traditional styles used of the South including: Hung Gar Kuen, Choi Gar Kuen, Mo Gar Kuen, Wing Chun, Choy Lay Fut, Fut Ga Kuen, etc.

2) The second definition refers only to Modern or Contemporary Nan Quan that was developed shortly after the founding of the Peoples Republic of China (1949) as part of the new Chinese National sport, the Modern Wushu.

Nan Quan (both Traditional or Modern) is characterized for its low stable stances and strong arm movements. 

The form emphasizes power, speed and stability. 

The movements are powerful and aggressive like those of a tiger. 

In fact one of the routines of Contemporary Nan Quan is a modification of the Tiger & Crane routine (Fu Hok Kuan) present in all Hung Gar branches.

In Nan Quan, the arm combinations are used in their entirety to cover all ranges of attack and defense. Common in it is a unique form of simultaneous attack and defense called 'bridges' (qiao) which use the forearms at diagonal angles to create both a block and a strike.

While the firm stances are required, a high level of mobility is also necessary despite the fact that the practitioner maintaining the low positions.

Also present in Nan Quan is the concept of releasing energy through fa-sheng ('to happen') or 'release shout' which helps generates power through a forceful breathing exhalation and varied sounds articulations, (i.e. 'shout').

Bellow you can see Yang Shi Wen, consider as one of the best Guangdong athletes of all times, performing his version of the Tiger & Crane routine (Fu Hok Kuan), different from some Hung Gar versions but very well coordinated and extremely powerful. Guangdong style has very solid movements, each single hand movement has a strong hand snap, and the stances are not very mobile, but very solid.

'Yang Shi Wen is called as the “King of Nan Quan” (Southern Fist). He had an unforgettable style, SPEED and especially EXPLOSIVENESS that was unrivalled in his time and even today. Speed is simply getting to point A and point B as fast as possible. Explosiveness means to accelerate at a high rate and to have a type of dynamic quality that makes you get taken aback like “Woah!” Yang Shi Wen had that kind of quality and effect.'

'What make him so unique? First, his choreography was so unparalleled. He has a very unique style in which he would throw about 5-8 punches per second while he was in a stance or in between stances or transitioning stances very quickly. His punches would all fire at a rapid pace with power and precision in every technique. Also, the choreography was very fresh and interesting with very little repetition with a variety of techniques including some good traditional techniques. However, he put together movements and combinations that athletes of his time did not think of nor consider. This made him into some type of traditionalist, old school innovator with a modern athlete’s perspective. Yang Shi Wen had an explosiveness that was unparalleled. In modern days there are more explosive athletes in   than Yang Shi Wen. However, he had a better Nan Quan foundation than most of these modern day athletes.'

What does it means?

'We can start thinking that all the beauty and strength and difficulty in a Southern Fist routine lies in the details. A Nan Quan routine looks impressive when the practitioner snaps his horse stance very firmly into front stance, accelerates his arms to a strike, and stops everything abruptly for a split second before moving on to the next step. There is no momentum in a Southern Fist routine, no flow from one movement to another, each movement is initiated from the stance and the hip turn. There are no fancy movements nor big, theatrical movements.  Also, there is a lot of body movement and details in between the hand movements in Southern Fist which when put together as a whole leave an impression.  This is what Yang Shi Wen has done, and though we cannot put a finger on what exactly is the one thing is that impresses us with Yang Shi Wen: it is the athleticism he applies to these perfect movements, it is the spirit and fierceness he displays when attacking his form, it is the unique and innovative style of choreography he applied that still gets imitated today. I heard that he didn’t start training as a professional until he was 13 years old and did not originally begin training professionally (basically he was a complete beginner at the age of 13 was what I heard).'

One last question: where is Yang Shi Wen nowadays?

Bellow, another routine performed by Yang Shi Wen, 'Mr. Dynamite' .... enjoy it!

All citations were posted originally by Beewushu on July 18, 2009
For more information about Kung Fu & Tai Chi Chuan Classes in Cork City - Ireland, please visit my facebook page! 

Lim Pou Kuan - The First Fei Hok Phai Hung Gar Routine (the 2nd part)

Here it is the 2nd part of the Lim Pou Kuan routine ...

Usually after spending between one or two months learning the first part, the students start on the 2nd part.

Below, the Lim Pou Kuan's 2nd part, very slow and without strength (again!), just to help my new students (and also to help my old Brazilian students!) to remember this sequence of movements.

For more information about Fei Hok Phai Kung Fu & Tai Chi Chuan and about Kung Fu & Tai Chi Chuan Classes in Cork City - Ireland, visit my facebook page!

Lim Pou Kuan - The First Fei Hok Phai Hung Gar Routine

This is the first Fei Hok Phai's routine. Chiu Ping Lok 'Sifu' made this routine to teach the fundamental stances ('mapu' horse stance; 'kunpu' arrow stance; 'ten ti pu' low stance; 'til key pu' cat stance; 'tan key pu' crane stance; 'key long pu' cross stance), punches and kicks, blocks and breathing exercises (external 'chi kun').

The 'Lim Pou Kuan' is a proper and very useful warm-up exercise.
'Lim Pou Kuan' means something like 'Stances and Punches Practice'
'Lim': Practice
'Pou': Stances
'Kuan': Punches

It is considered an easy routine. It is divided in two parts: in the first part, each movement is repeated four times and after each movement the student count ('one', 'two', 'three', 'four' or 'ja', 'ji', 'sam', 'sei'). Each movement can be done with full power, but it is not a routine to practice the speed. There is a space of time between each movement.

The second part of this routine is more dynamic, without the counts, but with the same rhythm of the first part.

Usually the student spend between one or two months to learn this routine.

Since a started to practice 'Fei Hok Phai' in 1985, the sequence of this routine was changed several times. When I just arrived in Ireland I made (one more time!) some changes on this routine. My idea was to keep the practitioner facing the same direction during the first part of the routine, and add more kicks to the routine.

I like to practice this routine as a solid base to warm-up at the beginning of my kung fu classes. Below, the first part of the 'Lim Pou Kuan', very slow and without strength, just to help my new students (and also to help my old Brazilian students!) to remember this sequence of movements.

For more information about Kung Fu & Tai Chi Chuan Classes in Cork City - Ireland, please visit my facebook page!

 

Southern Kung Fu

Kung Fu with Low Stance and Solid Type Characteristics

Description:

Stances are generally low, wide and solid with intermix of long and short hand techniques. Emphasis on large upper body movements, or long, or hard-power emissions.

Examples:

Southern (Cantonese) Styles, Fei Hok Phai, Hung Gar, Chow Gar, Choi Li Fut, Fut Gar, Hap Gar, as they are commonly seen and practiced.

Areas of evaluation:

Form and Spirit; Coordination; Agility; Power emission; Solidity

Definitions:

Form and Spirit:

Includes proper execution of movements and techniques. 

Good form and appearance. 

Good eye focus and the ability to covey spirit and intent of movement.

Coordination:

Proper coordination of hands, eyes, body, waist/hip and stances. 

Movements are completed in sync and in total unison.

Agility:

In addition to qualities embodied in nimbleness, there must be extraordinary flexibility, bounciness, overall speed and the ability to accommodate sudden changes in direction, focus, tempo, centre of gravity and range with total control

Power emission:

Include qualities of suddenness, sharpness and explosiveness in movements employing either the whole body or certain parts. 

The impact value must be visually clear and apparent. Must take into account the various types of power emission employed by different styles of Chinese martial arts.

Solidity: 

Conveying a sense of being heavy, hard and compact. 

Solid, powerful, with a high degree of stability.

To see a routine video:
Hung Tao Choi Mei Gar (Fei Hok Phai Hung Gar) routine called Sapt Fook Fu Kuan

For more information about Fei Hok Phai Kung Fu & Tai Chi Chuan or about me and my Kung Fu & Tai Chi Chuan Classes in Cork City - Ireland, visit my facebook page!

Heaven and Hell

A big, burly samurai comes to a Zen master and says:
“Tell me the nature of heaven and hell.”

The Zen master looks him in the face and says:
“Why should I tell a scruffy, disgusting, miserable slob like you?
A worm like you, do you think I should tell you anything?”

Consumed by rage, the samurai draws his sword and raises it to cut off the master’s head.

The Zen master says:
“That’s hell.”

Instantly, the samurai understands that he has created his own hell — black and hot, filled with hatred, self-protection, anger, and resentment. He sees that he was so deep in hell that he was ready to kill someone. Tears fill his eyes as he puts his palms together to bow in gratitude for this insight.

The Zen master says:
“That’s heaven.”

Tai Chi Chuan Movements

Tai Chi Chuan belongs to the soft arts type in Chinese martial arts; movements are usually slow and continuous without sudden stops or breaks, upper and lower body move in unison, emphasis on relaxed and natural movements with no sudden, hard or explosive power emissions.

There are five traditional schools or styles of Tai Chi Chuan: Yang Tai Chi Chuan, Wu Tai Chi Chuan, Chen Tai Chi Chuan, Sun Tai Chi Chuan, Wu/Hao Tai Chi Chuan.

Some areas of Tai Chi Chuan movements avaliation are:
Form and Spirit - Includes proper execution of movements and techniques. Good form and appearance. Good eye focus and the ability to covey spirit and intent of movement.
Relaxed firmness - Conveying a sense of sinkage and rooting. Movements are relaxed but without weakness. Ease of motion without tension throughout.
Coordination - Proper coordination of hands, eyes, body, waist/hip and stances. Movements are completed in sync and in total unison.
Nimbleness - Quickness and sureness of steps and stances. Ability to shift weight and change direction at will. Good balance throughout with no hesitation in movements.

The routine above is the 37 posture Yang Tai Chi Chuan form developed and performed by Chen Man Ching. Chen Man Ching was a student of Yang Chengfu "Sifu". Chiu Ping Lok (Fei Hok Phai Kung Fu & Tai Chi Chuan - Brazil) learned this Yang Tai Chi Chuan routine in New York (USA) with "Sifu" Chen Man Ching. The traditional Yang Tai Chi Chuan routine practiced at Fei Hok Phai is very very similar to this one, with just a few more movements.

I am teaching this Tai Chi Chuan routine (and others Tai Chi Chuan techniques) in Cork City, Ireland.
For more information about my Tai Chi Chuan classes and also about my Kung Fu classes visit my facebook page.

Fei Hok Phai Kung Fu & Tai Chi Chuan

The FEI HOK PHAI (Flying Crane Style) Kung Fu & Tai Chi Chuan was created in 1968 in Sao Paulo/Brazil, by a Chinese immigrant called Chiu Ping Lok (1938 – 2009). The style arose from the union of the various styles of Chinese martial arts learned by him (Hun Gar; Choi Gar; Mo Gar; Tai Chi Chuan).

SiGung Chiu Ping Lok is also known as Master Lope, an affectionate nickname gave him by his students.

Born on May 15, 1938, in the village of Chao Chun Tung, Taishan (Tai Sam), Guangdong (Kwangtung) Province, in southern China, he began his training of Chinese martial art with the age of 5 years.

His first teacher was his uncle, Sifu Chan Mun, who taught him a form of Kung Fu named HUNG TAO CHOI MEI GAR (Hung headand Choi tail), which is a compilation of two traditional styles of kung fu: Hung Gar and Choi Gar.

He also learned from a friend of his uncle, Sifu Man Sim, the MO GAR and HUNG GAR. It was said that the Sifu Man Sim, who was blind, had an extrasensory sensitivity.

At fifteen years old Master Lope moved with his family to Hong Kong, where he continued to train MO GAR (under the guidance of Sifu Hui Miu Sin), and HUNG GAR (under the guidance of Sifu Lan Fei Hung, better known as Hung Tao Teet – i.e., "Hung, the head of Iron ", because of his public demonstrations in which he warped and straightening three irons bar with his head).

Later, in Kowloon, Master Lope met the old Sifu Si Pak, who taught him TAI CHI CHUAN, YOGA, CHI KUNG exercises, techniques of NOI GAR (called "Kung Fu Divine”, by emphasizing internal energy in carrying out movements), techniques of SI MEI KWAN ("Bat Tail Rat" - a long pole, with about 3 feet long and has one end thinner than the other), and PA KUA CHAUN.

His martial training has also been enriched by a friend of education and training whose father worked at a local film industry in Hong Kong. There, Master Lope had the opportunity to gain experience in various styles and methods of warfare, as well as training to act as an extra in several Chinese movies.

Later Master Lope also made a quick passage through New York (USA) where he studied TAI CHI CHUAN with Sifu Cheng Man Ching.

Chiu Ping Lok went to Brazil in 1961 with the intention to continue his journey to the United States, where his parents and otherfamily members lived a long time. Master Lope was twenty-four years old and, arriving in Brazil, had only the support of an uncle. Graduallyhe learned the Portuguese language with the help of a friend. The year 1963 began giving his first lessons in Kung Fu over the weekend, at the Chinese Social Center of Santo Andre (Sao Paulo) where he taught HUNG GAR and MO GAR. During this period only Chinese immigrants settled in Brazil participated in the drills.

In 1969, he founded his own gym, called “Academy Tai Chi, Yoga and Kung Fu", acknowledged as the first Chinese martial arts academy in Brazil. Together with two other Chinese immigrants, Wong Sun Keung (who arrived in Brazil in 1959) and Chan Kowk Wai (who arrived in Brazil in 1960 - Northern Shaolin Style Master and founder of Sino Brazilian Association of Kung Fu), Master Lope was an early master of Chinese martial art to settle down and teach in Brazil.

Master Lope died in Sao Paulo (2009), Brazil, at the age of 71. There are ten "Sifu" of the FEI HOK PHAI directed certified by Master Lope. They are: Lee Wai Yin (died in 2009), Jair Melo Lima, Cintia Yan, Maria Luiza Horneaux, Valdemir Machado, Mario Kunio Masuno, Benedito de Barros Filho, Guilherme Eduardo Stamato, Valter Tadeu Ribeiro and Aparecido Marrera.

For more information about Fei Hok Phai Kung Fu & Tai Chi Chuan or about me and my Kung Fu & Tai Chi Chuan Classes, visit my facebook page!