" The Dragon, Tiger and Phoenix, met in heaven to revive our Shaolin ways"

"Teach your followers righteousness, let each generation up hold and enliven"

This website is dedicated to promotion and preservation of the traditional 
Chinese Martial art of Choi Lee Fut kung fu

Masters of
Choi Lee Fut
Chan Heung
Chan Koon Pak
Jeong Yim
Chan Yiu Chi
Tam Sam
Ho Hgau
Chui Cheung
Chan Hon Hung
Tse Wing Bun
Lee Koon Hung

Choi Lee Fut 
Schools Directory
1. Africa
2. Asia
3. Australia & South Pacific 
4. Europe
5. Latin America & Caribbean
6. North America

Choi Lee Fut Articles
1. Choi Lee Fut 
Kung Fu
2. Chan Heung`s 
Ten Rules
3. The White Crane of Choi Lee Fut
4. The Choi Lee Fut Wooden Dummy
5. No Substitute For Skill

The Crane Style of Shaolin
This article was originally printed in the 1980's by a now defunct British martial arts magazine called Self-Defence International
By Geri Gilbert

Traditional Chinese kung fu systems, which trace their lineage to the ancient Shaolin Temple, contain many specialized animal styles; as aesthetically graceful as they are awesomely powerful. In many systems, the major animals contained in advanced "sets" or "forms" include the crane, leopard, tiger, snake and dragon. In legendary symbolism, the crane style is said to represent "longevity"; the leopard the development of "muscular strength"; the tiger, "bones"; the snake, "internal power"; and the dragon, "spirit".
Descending from Shaolin's glorious past, one system that features a "crane set", though strictly limited to its advanced practitioners, is that of Choy Li Fut. Choy Li Fut kung fu, founded in 1836 by the great martial artist, Chan Heung, is a fighting system which was developed in revolutionary response to the corrupt government of the Ching Dynasty. The crane set, traditionally titled "Hawk-Ying Kuen", was taught to Chan Heung by Choy Fook, the last remaining monk of the original Shaolin Temple. In addition to the solo crane set, Hawk-Ying-Kuen; there is a Five-Animal Set, a Ten Animal Set; Sup Ying Kuen, a two-person pre-arranged sparring set Ng-Ying Sparring set "Seh-Hawk-Chuk or Snake Vs. Crane.

Some martial art systems emphasize primarily either offensive or defensive techniques. The crane style within Choy Li Fut, contains both offensive (strikes and kicks) plus defensive (blocking) moves, as well as being classified in the dual category of "soft" and "hard". Those of a soft nature include circular defensive ones, while those of a hard type, consist of crane-beak pecking strikes, crane head wrist thrusts, and dangerously forceful kicking techniques.
As, with any advanced knowledge, proper preparation and training is of the utmost importance. Furthermore, due to the extraordinary degree of finger, hand, wrist and leg conditioning that is demanded, those factors become even twice as vital and imperative with respect to crane style.
Preparatory conditioning and training in the style consists of learning the basic crane stances, jumping techniques within footwork and stances, plus offensive and defensive movements. Due to the fact of it being common for cranes to utilize one-legged stances much of the time, even in fighting, much of the footwork done simulates this, along with the tremendous balance that mandatorily accompanies it. Furthermore, most footwork of an advancing or retreating nature is customarily done in a diagonal direction, usually at 45-degree angles. It should be noted that if balance is not adequate, it really doesn't matter how much conditioning and power one has with regards to strikes and kicks. All that is required is a split-second of unstable balance and hesitation to secure the time necessary for one's opponent to get their winning move in. One exercise typically performed for learning the basic crane stances is to stand with one foot on the ground, and the other foot raised high. Then, by jumping off of whatever foot is on the ground, thereby continuously switching which leg is elevated; balance, and of course resultant speed of movement, will improve on a daily practice schedule.

Strikes within the crane style tend to employ finger tip crane pecks, aimed primarily at vulnerable pressure points of the body, and thrusting ones which use the wrist and the back of the hand as surface areas of contact. Proper training and conditioning for these techniques is of great importance, and should only be attempted under the careful scrutiny of an expert - a true master of the system of study. If overlooked or not taken seriously, one could cause grave injury to one's self by executing a move that their hands are not ready for, or be faced with a movement failing short from a practical standpoint with respect to power, effectiveness and efficiency.
There are many methods of finger conditioning for the characteristic "crane-beak" strikes. Initially, after learning the crane-beak formation fingers extended and closed, while fingertips are together forming a "point" fingertip conditioning makes use of continuous striking in a crane-beak position, as well as in a relaxed, open-handed position. In the first stage of training, this is usually accomplished utilizing a small bag filled with sand; the second stage, thrusting directly into a bucket of sand. A good way of practicing these methods of conditioning, as well as the crane stances and footwork, is to do them while watching television, or anything else of a non-consequential nature. Due to the mind being concentrated on the program being viewed or whatever, the normal level and time in which one may begin to feel discomfort is lengthened, thus forcing them to continue training beyond that which they would normally, hence strengthening their hands and legs even more.

In addition to the crane-beak finger strikes, the style also features ones, which use a specialized and powerful top of the-wrist action, traditionally called "Hawk-Ding". These strikes, simulating an attack from a crane's head and the intense force behind such an action, have the wrist and the back of the hand as the areas of impact, and usually are aimed at the neck, chin or groin area. One of the ways in which strong wrists are developed, such strength being critical to crane-head strikes in particular, is by doing "wrist push-ups". By setting a goal of 100-200 per day, and slowly building up to that amount, one would not only be ca able of conveying inescapable attacks using the crane style, but also never have any anxiety about sustaining injuries to the wrist area either. An example of this wrist technique includes: in counteraction to an opponent's straight punch, by using the typical circular motions in the style that are representative of the crane's neck, on could turn a regularly "offensive" crane beak strike into a "defensive" block, the subsequently attack using the hawk-din wrist action in delivering a counter attacking to any available opening.
It is therefore not unusual to use what are normally considered offensive move as defensive ones, and in doing so ca employ crane style hand positions for the performance of such general blocks in the Choy Li Fut system as Poon-Kiu circular block), Nap-Sao (a deflecting block), or La-Sao (a semi-circular grab) By executing defensive maneuvers in this manner, one can then "go in" with victory strike which only the crane style can deliver.

The crane style does feature some unique kicking techniques. One method devises a raised-leg block in response t an on-coming low attack, then a immediate retaliatory top-of-the-knee thrust-kick to the groin or ribs, following through with a devastating toe-kick to the groin. Another way of achieving counterattack to the same situation is b delivering a traditional sidekick and either before or after, performing a knee or toe "crane" attack. Once the basic) footwork, stances offensive strikes, and defensive maneuvers are learned; then the second stage of learning is undertaken, this level focusing on the perfection of form and application of the crane style techniques.
Both the singular crane-beak and crane-head strikes, already previously discussed in this article, have as their main target areas such pressure point locations as the eyes, throat, solar plexus, arm pits, groin, top of the head, shoulders, back of the neck, and back of the body. Specifically with regards to the crane-head strike, this attack can also be used as a direct hit, omitting the pressure point factor, to smash the jaw or rib areas.

In addition to singular movements, there are those of a double formation, as well as combinations of hand and foot techniques which are of an even deadlier nature. As a demonstration of the latter if an opponent were to attempt a kick to the fragile shin area, by quickly raising the targeted leg and simultaneously using the crane-beak strike as an assault to the eyes, success would be the inevitable result. Furthermore, if the crane-beak strike were blocked by the adversary in the above example, one could always follow through with a kick from the raised leg or turn the initially offensive crane-beak strike into a circular crane block, and then attack with the other hand.
Double attacks are invaluable in that if one of the moves fail, the other will surely ace the target.
Hand movements of a dual formation are customarily titled "Siurng-Hawk" in the crane style, and feature such forms as "double cranes". These are extremely useful for fighting more than one person at a time, with the added advantage of fighting individuals coming from multiple directions. Techniques incorporate moves done with both hands at the same time (i.e. pressure points of both shoulders, known as Geung jien; both armpits, called Meng-Yik; and both temples, termed Tai-Yeung), as well as from a high and low vantage point (i.e. up to the throat and down to the groin).

Supplementary techniques include:
1. Siurng-Hawk-Sao-Dung, translated as "twin cranes guarding the cave", unites a raised knee block with the lifting up of both hands in a crane-beak
position to eyebrow level. The application of this movement can be utilised against an attempted choke hold by achieving a groin kick along with a double crane-head block, then speedily reposition in the hands so that the fingertips are forward and can, in a crane-beak double strike, perform an attack on the right and left temple areas.
2. Bok-Hawk-Tam-Soy also known as "crane drinking water", combines a one-legged stance whereas one hand
in a crane-beak position facing upwards is situated on the waist, the other aiming downward, likewise in a crane-beak hand position. The goal site of this move is the pressure point on top of the thigh, which is in close proximity to the defenseless groin area.
3. Bok-Hawk-Chum-Yu, otherwise titled "crane looking for fish", is a crane style groin strike delivered in a downward Fashion from a traditional cat stance.
4. Bok-Hawk-Chung-Tin, translated to mean "the crane flies up to the sky", is a double attack incorporating a unique and very high jump-kick. In this artistic yet deadly maneuver; while in a jump kick, one foot kicks up to the individual's throat, while the opposite hand attack-s the top of the head or temple area pressure point in a crane beak strike.

An excellent source of knowledge with respect to the crane style is Ms. Sharman Wong; top female martial art competitor in the San Francisco bay area, as well as high ranking instructor of Choy Li Fut at the Doc Fai Wong kung fu school in San Francisco California. As an individual possessing expertise in Choy Li Fut within which the crane style if one of her specialties, the intense power, tremendous speed, and incredible flexibility she displays are extraordinary, and impossible not to be envied.
When asked to expand on information concerning the crane style, Ms. Wong responded by stating, "Following the first and second stages of learning, focusing on power and speed is then embarked on, with the encompassing factor of 'control'. These skills, especially that of power, are usually accomplished by working out with a partner in two-person team workouts. Working in conjunction with another person is essential because it is solely through this manner that one can understand exactly how much power is really necessary to effectively resist or overcome a grab, with the same pertaining to that of performing a strike."
"Speed of movement can only be developed and heightened by constant daily practice. By rehearsing a technique over and over again, ultimately, it will become 'second nature', and a matter of reflex rather than an action based on prior conscious thinking."

"In summary, it is in the proper combination of form, speed and power, within an immense degree of conditioning training, which will produce the highest level of effectiveness and efficiency. Furthermore, these factors will serve to destroy a reputation kung fu has gained, from some hard style systems of the martial arts, of being nothing more than 'a dance'. Regarding the advanced nature of the crane style; though anyone could theoretically learn the techniques, they would in fact be just 'going through the motions'. By learning anything which one is not ready for at the time, especially such an advanced form of kung fu such as the crane style, the end result would be a lack of practicality; one's knowledge therefore, ineffective and completely useless. It is for these reasons, and the many others throughout this article, that the form is not taught to beginners, nor even individuals at an intermediate stage of training. it should be understood from the start of one's study that through concentrating on the basic stances and footwork of the system (Choy Li Fut), the style one may be studying (in this case the Crane Style), plus the gradual conditioning of one's fingers, hands an wrists; the style will indeed be effective not only from the practical standpoint self-defence, but also in it being a artistic compliment to the general real of martial art knowledge."

Chan Heung Gong
The Founder of 
Choi Lee Fut 
 

My Sifu, Edmund Ng

This page contains my profile, 
About Me
  My Choi Lee Fut lineage