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Southern Praying Mantis system

Introduction to Southern Mantis Kung Fu :

Southern Praying Mantis systems are much respected styles of Kung Fu with simpler,
more effective techniques than the Northern Mantis variations - designed to inflict
maximum damage on an opponent.

Southern Mantis Kung Fu uses a strong stance from which to defend against aggressive
attacks. The wrists are used to manipulate the opponent's attack, forcing an opening in
their defence allowing for a lethal & devastating counter attack targeted to vital points of
the body, destroying nerves, organs and breaking bones - effectively rendering the
opponent defenceless. This makes Southern Mantis Kung Fu very dangerous.

The Mantis systems of Kung Fu have developed in both the north and south of China,
and are now renowned and practiced world wide. The southern Mantis Kung Fu systems
have only recently travelled to the west, where their impact has been quite dramatic.
There are four southern mantis systems of Kung Fu.

1) Chu Family Southern Mantis Kung Fu

2) Chow Family Southern Mantis Kung Fu

3) Iron Ox Southern Mantis Kung Fu

4) Bamboo Forest Temple Southern Mantis Kung Fu

Bamboo Forest Temple style of Southern Mantis Kung Fu has only recently been taught
to westerners. Before this, the knowledge of this mantis system was always kept among
the Chinese. Consequently, its fame has mainly been contained within the Chinese
community.

Bamboo Forest Temple Southern Mantis Kung Fu was founded by Red Eyebrow Taoist
during the Ming dynasty, around the year 1523 AD and was first practiced in the Kwong
Sai Bamboo Forest Temple.

After Red Eyebrow passed away, his Southenr Mantis Kung Fu knowledge and skills
were passed down to his student Buddha Lee, from Buddha Lee, the teaching was passed
down to Cheung Yiu Chung. Cheung Yiu Chung developed himself and skills in
Southern Mantis Kung Fu to remarkable standards, and was known through China as
the first of the great Canton Tigers ( 10 best fighters in Canton).

On passing away, Bamboo Forest Temple Mantis Kung Fu was taken over by his top
student Wong Yu Gong. Wong Yu Gong himself specialised in the training of Iron Ribs. It
was said that, during demonstrations he would let someone strike him vigorously in the
ribs with an iron bar until the bar bent. Quite a task with a one and a half inch thick bar!
On passing away, the secrets of this unique Southern Mantis Kung Fu style were taken
over by his student, whose name was Yang Yin.

In the early 60's, Yang Yin emigrated to England. His skills in Chinese cuisine gave him a
chance to open a restaurant. In his spare time he would teach Bamboo Forest Temple
Mantis Kung Fu.

Around the age of 45 Yang Yin decided to open an alternative medicine practice in
London's Chinatown.

The Bamboo Forest Temple style of Southern Mantis Kung Fu involves the knowledge of
many medicines. During his life in England, Yang Yin picked up many recommendations
and became Sifu to many people across the country whether in teaching Kung Fu,
medicine or the spiritual 'Sun Dar'.

Grandmaster Yang Yin was a very respected man in Chinese circles and taught this style
of Southern Mantis Kung Fu to over 1000 students (but did not teach Westerners).
Unfortunately Grandmaster Yang Yin passed away on October 29th 1997 at 1.00 am in
Brompton Hospital, Fulham.

His death brought great sadness to many people and his wisdom was sorely missed. To
his son, Fun-Kit Yang, he left the medicine practice and spiritual Sun Dar and the
Bamboo Forest Temple Mantis Kung Fu was left to his most respected student, Kim Law.

Priior to this, Kim Law was helping his Sifu teach and now all the generations of
responsibility were left to him.

Master Kim Law - The Southern Mantis Fighting Machine

When Yang Yin was alive, he would have had great concern about teaching Kim Law the
devastating tequniques of this Southern Mantis Kung Fu style because of his passion for
fighting and challenging other styles and masters. Sometimes Yang Yin would stop
teaching him until he realised what he was doing was wrong and changed for the better.
Although head of Bamboo Forest Temple Mantis, Kim Law has now chosen not to teach.
Many masters respect him still because of his years of fighting experience and his
physical ability. Master Law still cares about the promotion of Bamboo Forest Temple
Mantis and holds meetings with classmates regularly.

In Master Law's short time teaching he did pass on the Southern mantis secrets of Yang
Yin to one student, Simon Wong.

Southern Mantis Master - Sifu Simon Wong

Sifu Simon Wong - a 7th Degree Black Sash with the AMA - is the founder of Yellow
Dragon Fist Kung Fu; a 7th Generation Master of Bamboo Forest Temple Mantis Kung
Fu and the U.K. representative of 100 Day Chi-Kung. He is also the founder of the
Rainbow Chi-Kung Institute. He has also mastered both the Small & Large Circle styles
of Yang Family Tai Chi Chuan. and has studied Wing Chun, Pak Mei & Hung Gar. Sifu
Simon Wong has been studying the Martial Arts and Chi-Kung for over 25 years and has
been teaching this knowledge to people for over 15 years.

The Fighting Methods Of Bamboo Forest Southern Mantis Kung Fu

Bamboo Forest Temple Southern Mantis Kung Fu is a much advanced and perfectly
developed combat system. It is designed around the centreline theory, which forms the
basis for its attack and defence strategy. The body is divided into three main regions, the
upper, lower and middle regions, and each of these is divided into three further regions, a
total of nine target areas. These are known as the "Nine Gates of The Mantis''. This
southern mantis kung fu system involves the use of both elbows as a protective shield for
the practitioner's upper body, and allows the distancing of the vital organs from attack,
by the arching of the back and rib cage.

All defence and attack techniques of this Southern Mantis kung fu style, originate from
one main stance from which the southern mantis system draws its strength. It allows a
firm foundation for the dominant power and skill of the southern mantis kung fu system,
and is used to manipulate an opponent's attack and to force an opening in the defence
allowing for reprisal of lethal and devastating effect and permanent damage.

Bamboo Forest Temple Mantis Kung Fu Training Methods

This style of southern mantis kung fu is purely for street fighting, and is not designed to
create the particular look of a bodybuilder It is a dangerous and cruel kung fu combat
system, relying on internal power and external toughness, which is developed by training
and refining the required muscle, bones and power areas in order to achieve the
necessary results in every technique.

The southern mantis kung fu training is such that the power of the practitioner cannot
be appreciated until physically experienced, a mere visual interpretation of his ability
would be most inaccurate. The body is conditioned, in much the same way as that of a
prize fighter in bare knuckle boxing, to absorb full power blows.

The whole body is toughened and strengthened with much effort spent on the
conditioning of the arms, the main defensive and offensive weapon of the southern
mantis kung fu system.

This is achieved by the use of metal rings which are placed around the arm, during
training, having the same effect as constantly smashing the arm against a scaffolding
tube. This type of kung fu training is required, in conjunction wth special medicine, to
create strong bones, tendons and skin , which in turn will create a vicious fighter - the
body is conditioned into a deadly southern mantis fighting machine, inspiring the
practitioner to greater courage and feeling no pain.

This is not like Karate or Tae- kwon- do practitioners, who build up the dead skin on
their arms and legs to deaden pain; in Mantis Kung Fu the skin is still soft and sensitive.
It is also unlike the boxing practitoner, who during training retains his gloves and the
result is soft bones and skin. For example, when the boxer Mike Tyson punched another
boxer off-stage, he broke his opponent's jaw but he broke his own finger too. This is why,
when you have strong bones, tendons and skin, you can make yourself into a vicious and
determined fighter.

Powerful Southern Mantis Kung Fu Forms

There are but a few fighting forms in this style of mantis, such as Dang Jong, Sheong
Jong, Fatsow. Sang Jing Yeul Queue, Say Moon Ba Qua ancd Ba Moon San Sow.

They involve the incorporation of the main stance Ding Ba Ma with Sang Sow set
movements numbering approximately 36, and comprehensive combinations of kicks. The
stance is designed so as to distribute bodyweight evenly between both legs so that the
point of balance is stably positioned in the middle of the stance. This in turn allows for
the possibility of shifting the body in any direction, allowing for both defensive and
offensive postures.

In this style of Southern mantis kung fu, Kicks are used in conjunction with arm
movements so that the opponent is exposed to simultaneous attacks from both arms and
legs, or if need be the practitioner can defend and attack at the same time, blocking
upper region attacks, and striking at the opponent's vulnerable lower regions. Emphasis
is placed on the use of the low kicks which are most effective and least likely to place the
practitioner in a vulnerable position.

The set movements of Bamboo Forest Mantis Kung Fu, make use of short and long range
strikes using both combined and single hand techniques. The combination of all these
factors produce a system of Kung Fu whose applications can effectively be applied to
today's street fighting situations.

Bamboo Forest Temple Mantis Kung Fu Advanced Training Methods

As in all systems of Kung Fu, Bamboo Forest Temple Mantis has its many secrets of
which only its most basic will be spoken. Doyi Jong for example is a form of sticking
hands often referred to as tempting hands.

It is used to build up power in the arms and also as training to increase sensitivity, so as
to feel the direction of an opponent's attack. This system also has its own form of Chi
Gung, a form of breathing designed to massage and strengthen the internal organs; with
more advanced techniques it is used for IRON PALM. IRON RIB, and IRON SHIRT
training which are but a few of its many possible applications.

Mantis power originates from Tan Ging, also known as spring power. It allows
immediate release of previously restrained energy in the form of an attack, released in a
mere fraction of a second. This form of spring power allows the student to use it as a
corresponding response to shock stimulus such as a sudden attack, or as a controlled
method of striking an opponent with devastating power. Though powerful and most
effective in its own right, this form of spring power is quite basic compared to the
Bamboo Forest Temple's own form, which is known as Kin Tan Ging. Kin Tan Ging -
The Ultimate Power Of The Mantis.

Kin Tan Ging is a more advanced form of spring power. Few understand its meaning, let
alone its application. Some Mantis masters assign specific set movements to develop Kin
Tan Ging, but this is totally misleading. Even young children and old people, upon
touching something hot, will withdraw their hand very quickly in a reflex action.
The real Kin Tang Ging training involves the training of the nervous system so as to
increase the reflex and reaction times of the human body.

Further training in Bamboo Forest Temple Mantis Kung Fu is designed to develop and
shape the mind through meditation, to bring out one's sixth sense. By achieving such a
state of mind control, one can manipulate the body and call up previously untapped
resources. In human terms, this means unlimited power.

An example of Kin Tan Ging is when someone goes crazy. In such a state, even a slightly
built women is capable of great power and may need several people to restrain her.
However this is not the state we are trying to achieve in our mantis training as in such a
state the person has no control of themself. Kin Tan Ging on the other hand, will harness
them same power but in a controlled way so that your mind is totally focused.

To achieve this is the ultimate goal of Bamboo Forest Temple Mantis Kung Fu; to master
it, is to master the most advanced weapon and most guarded secret in the martial arts.

The power of this system was once demonstrated by Master Kim Law who smashed
small stones by merely striking them with his index finger. Imagine then, what such a
man could do to a human body, if he so desired. As already mentioned, Sifu Simon Wong
is Master Law's only student, and he feels very honoured to be taught by such a great
man.

Sai Tin San Dar - (Spiritual Style)

There is another side to Bamboo Forest Temple Mantis Kung Fu, we have looked at the
physical aspects of the style and we now arrive at the spiritual side of things. This style of
training is known to the Chinese as Sai Tin San Dar (33rd Heaven). It taps the most
mysterious and secret side of the martial arts, of which much is said, but little is known.

San Dar, also known as San Gong involves the use of meditation and religious
incantations to communicate with spiritual forces. These forces are harnessed by the
practitioner so that in times of need the spirits enter the body and protect it from harm,
these spirits are the constant guardians of the practitioner, and practitioners of the
highest levels of San Dar and have often demonstrated their invulnerability to wounds
from weapons such as knives. Knives have been shown to cause no harm to their bodies.
San Dar also being used to heal otherwise fatal wounds and to cure many severe illnesses

This style is so potentially dangerous, that only a select few of those study Bamboo Forest
Temple Mantis Kung Fu will ever reach this stage of training. Only those students with
the highest sense of morality and honesty, and with impeccable characters will ever be
considered to be taught this spiritual style.

Traditional Mantis Kung Fu Training

Bamboo Forest Temple Mantis Kung Fu also has a comprehensive weapon training
programme, involving the study of the pole form and other weapons such as the
broadsword and tiger fork (otherwise known as the Dai Pa). On the more traditional
side, a few of the more skilled students are taught the unicorn dance, found only among
the Hak Gar dialect people in China, in whose region this style of Kung Fu was founded.
It is by tradition totally different to the lion dance.

The lion, an aggressive animal is not allowed to perform its dance within the house as the
Chinese consider it to be unfriendly. The Unicorn, a lucky animal in the eyes of the
Chinese community, is welcomed into their homes, and is said to bring the occupier good
luck and fortune for the future. The Unicorn Dance is often performed in the New Year
and during special events and celebrations.

Until recently, Bamboo Forest Temple southern Mantis Kung Fu was only taught and
practiced by the Chinese. However, after the death of Grandmaster Yang Yin, westerners
were presented with opportunity to study and learn this system

1.ORIGINS
In 1644 AD, the Manchurian tribe had invaded China and defeated the Ming dynasty rulers.
Ming loyalist, nobles and soldiers, escaped and went south. As pointed by the Wushu historian
Salvatore Canzonieri, many of this rebels relocated in the The Honan Shaolin. The Ching
rulers discovered the temple was a focus of resistance and they burned Songshan Shaolin in
1768.

After the destruction of the temple many of the Chu family and other nobles and also many
Shaolin monks from Honan moved to the South Shaolin temples (Fujian and Jian Shi). The
Chu Gar style legend mentions Tang Chan, (his real name was Chu Fook Too or Chu Fook
To), who belonged to the Ming Imperial court (1) as one of this rebels that emigrated to the
Southern temples.

At the Fujian temple (located in the Nine Little Lotus Mountains) the monks and rebels
shortened the time it took to master the boxing styles from 10 years to 3 years with the
purpose of train quickly the fighters to overthrow the Ching rulers and restore the Ming
dynasty. The Chu Gar legend says that Chu Fook Too became abbot in the Fujian temple and
changed his name to "Tung Sim" (anguish) due to his deep anguish and hatred for the Ching's
reign of terror and suffering. In the style's legend he was the person that developed the
Southern Praying Mantis style.

The monks (or Chu Fook Too himself) developed kung fu fighting styles that were faster to
learn, based on close range fighting, designed to defeat a martial art skilled opponent (Manchu
soldiers and Imperial Guard) with fast, powerful chains of attacks that left no time for counter-
attacks. If we take as an example of those styles the Southern Praying Mantis one, we will see
that it is a way of boxing developed with one purpose in mind: destroying the enemy. Restore
the Ming; overthrow the Ching, was the primary purpose of the Southern Praying Mantis and
the slogan of the day. It was violence of the Manchu rulers as they hunted down and destroyed
revolutionaries of the Ming dynasty that caused Southern Praying Mantis to develop into a
direct, deadly fighting style --- destroy the enemy before being destroyed. Some of the Fujian
styles were actually used in battles against the Manchu and also in the Boxer Rebellion, and
many of the southern styles originated from this common root, for example:

Wu Zu Quan or Go Cho Kune (Five Ancestors Boxing)

Yong Chun Quan (Wing Chun)
Fujian Bai He Quan (Fujian White Crane Boxing)
Bak Mei (White Eyebrow)
Lung Ying (Dragon boxing)
and the styles we are interested in, known with the generic name of Southern Praying
Mantis.
Some of these styles are so technically related that seem to be just variations of each other
with different legends about their origins. There is not to much difference between most of
these southern styles, the differences are small and they share lots of technical similarities, for
example the starting stance, chain punches, rounded shoulders stances, elbows kept close to
the body protecting the ribs, tight stance protecting the groin, the use of whipping power, the
use of phoenix eye fist (except for dragon style).

Against this theory of the common root in the Shaolin Fujian temple, I was told that Sifu
Chueng Lai Chuen (Bak Mei master), Sifu Lam Yuei Kwai (Lung Ying Pai) and Sifu Lao Sui
(Chu Gar/Chow Gar Gao) used to visit the same master in a tea house in Hong Kong in the
late 40's. That would suggest all this new branches were originated in the XX century. In
addition, some Lung Ying practitioners say that Bak Mei is just Lung Ying with a nice legend
Sifu Chung Lai Chuen attached to this new style to differentiate it from the original one. This
theory would easily explain the similarities of this styles, but it is difficult to explain such an
amount of differences in just one generation. That is the reason I tend to think the most
appropriate theory is the one that establishes that this styles have a common root, but they
have been differentiating each other with the transmission from generation to generation
during centuries.

Of course there are differences. When we talk particularly about the Southern Praying Mantis,
the Hakka Southern mantis looks a lot closer to the Wu Zu Quan (Go Chu Kune) root than the
Southern mantis that comes from Chu Gar and Jook Lum. Southern mantis looks like a refined
version of the Wu Zu Quan movements. At the same time, the stances, footwork and weighting
are different when we compare the Jook Lum to the Chu Gar. Many times it has been said that
Fujian Bai He Quan (Fujian White Crane Boxing) and Wu Zu Quan are the origin of the
Japanese Karate. It is true that Wu Zu Quan style has exactly the same Sanchin form that the
Uechi Ryu and Goju Karate styles (with some differences in the tension, and the Chinese
version includes two-man version). But Uechi Ryu has a form called Som Bo Gin (Three
Arrow Fist), the most famous southern praying mantis form, and both form have similar
movements and also the Uechi Ryu foot movements mimic those of Southern Mantis. In
addition most Okinawan and Japanese forms follow the same numerology, such as, San Chin
Kata (3 steps), Seipa Kata (18), Sanseiru kata (36) and Pechurin Kata (108). May be these
similarities between Karate and Southern Mantis are due to the common origin in the Fujian
temple, but may be was Southern Praying Mantis, and not Wu Zu Quan the style that
originated the Okinawan Karate...

The relation, or should be better to say the lack of relationship between Northern Mantis and
Southern Mantis is similar to the Fujian White Crane and Tibetan White Crane. They seem to
have absolutely nothing in common but the name. Why the southern style took the Praying
Mantis name will be discussed later.

2.HISTORY
The Jew (Chu, Chiao, Ju, Choi, Tsoi, Gee in Toishan, Zhu in Mandarin etc., all variations of
the same name!) royal family was descendant of the Sung Dynasty by bloodline, and their
members were by uncles and cousins related to the Ming Dyansty royal family (2)

The Jew Gar (Royal Family style) was a collection of techniques used by the Ming royal
family. Emigrated Monks and rebels worked in the Fujian temple to develop a new style based
on those techniques, but following their new concepts (no fancy movements, few forms to be
learnt in a three year period, etc.). They created the new style combining the Northern Jew Gar
techniques with the Southern Five Animals style. Therefore the new style has a southern
flavor, but the remanent from the Chiao Northern family style is the phoenix fist punch, it is
used in many northern styles, especially in the military ones (it is considered the hidden or
special fist of some of these styles).

This style had at that time three forms and the name was changed to Praying Mantis to hide it
from the Manchu spies. It was called mantis hoping to trick the Manchu guards making them
think that the style was the same as the more popular Northern Shandong Praying Mantis. If
the manchu soldiers knew that they were practicing the Ming royal family style, then they of
course would be surely killed!

Later on, the south Shaolin temples where also destroyed and the surviving monks and rebels
dispersed again. This original Jew Gar (already known at that time as Praying Mantis) split in
three branches. The style was kept secretly during generations by the Hakka Chinese,
considered to be outsider by the other indigenous peoples of Kwansi province. Hakka ("kejia"
in mandarin) means "those who came" or "guests" (3)

The style was taught in the secret anti manchu societies during the XIX century, which is
further reinforced by the secret nature of the style and difficulty to find a qualified master
willing to teach openly, even nowadays. In spite of being taught in the rebel societies the
Southern Praying Mantis styles, seem not to have been used in battles against the Manchu or
the Boxer Rebellion.

In Hong Kong Chu Gar was only taught to Hakka descendants. Later this rule expanded to
trusted members of only Chinese heritage. It is only within the last 15 years that western
students have been taught the Chu Gar art.

Under the umbrella of the name "Southern Praying Mantis (Nan Tang Lang Quan)" we
classify three styles of boxing (Chu Gar, Jook Lum Mantis and Hakka boxing).

1)Zhu Jia or Zhou Jia (chow gar). Also known as Chu Gar Gao (Chu family religion).

Rebels and Shaolin monks went to another (Shaolin ?) temple in southern China, where one of
them (Wong Dao Yun) taught the style to Chow Ah-Nam, who added more forms to the
original three and founded the Chu Gar Southern Mantis. He was also the first person to teach
the style outside the temple.

Chow Ah-Nam in turn taught it to Lau Soei, who was responsible for bringing Chow Gar from
China to Hong Kong. One of his best students, Ip Shui, changed the pronunciation of Chu to
Chow as a result of a dispute over the proper dialectic pronunciation, establishing what is
currently known as Chow Gar.

For more detailed information about the Chu Gar legends and their students and disciples
please refer to the Chu Gar section in the "Southern Praying Mantis Family" section below.
2)Hakka Boxing

We find a different evolution in the Chinese Martial arts that emigrated from China with the
Chinese communities to different Asian South East regions. Let's see two different cases. In
the first one we find a considerable influence of the indigenous arts on the Chinese Martial
Arts we find today in the Indonesian Archipelago. The Kun Tao style (translated as "fist
way"), trained by the Hokkien (4) Chinese descents, has a strong influence of Indonesian
styles (Silat, Pukulan, etc.) On the contrary, some of the old Chinese cultural and religious
practices, as well as the older Chinese traditions are more prominent in Malaysia and
Singapore than in China. Many of these practices are quite specific to Cantonese and Fujian
culture. Most Chinese came to that area in the late 1800s and the Malaysian Chinese
segregated themselves. Malay is not spoken, and very few Malay things are found. They are
all Chinese communities and maintained the natural course of development. One of the main
Chinese communities in Malaysia is the hakka one. Some other descendants of the Ming royal
family supporters, already known as Hakka, moved to Malaysia. They continued in Malaysia
to develop southern mantis in what is known as Chuka kune or hukka, which also uses the
phoenix-eye fist but different stances from the Chinese mainland southern mantis. As a proof
of the common origin of this style with the two mentioned before we could mention that the
Malaysian Chinese Hakka call their style "Chu Gar Chong Gar Chuen" translated Chu's family
Middle Range that is the same Jew Gar style !!! The style legend transmitted by oral tradition
says that a Buddhist nun hiding out after the burning of the Fukien Shaolin temple was the
founded the style. Her name was Leow Fah Chih Koo and she passed an amalgamation of
what she know to two sisters who's family was killed. They were also part of the royal ming
family: Chu Miao Eng and Chu Miao Luan. They passed the art only to one disciple: Ooh Ping
Kwan, who passed it to Lee Siong Pheow (1886-1960). Currently one of the most famous
masters of the Chuka kune style is Sifu Cheong Cheng Leong Later the Hakka Praying mantis
would be one of the sources for the creation of the Qwan-Ki-Do (Vietnamese style). Tracing
the Qwan Ki Do lineage we discover that the founder of the style (Pham Xuan Tong) studied
under Chau Quan Ky, that was one of the Hakka (He Gia) population that migrated to Vietnam
in 1936. And Chau Quan Ky studied under the tutelage of his uncle Chau Nam the southern
praying mantis.
3)Zhu Lin Shi Tang Lang Quan

Also known as Kwang Sai Jook Lum (Bamboo Forest) or kwong sai jook lum gee tong
long pai, also known as mui fa tong long. There are conflicting stories about the origin of
Bamboo Forest. Although Chu Gar and Chow Gar masters do not agree in the original name of
the style both Southern Praying Mantis branches do agree when they talk about the Bamboo
Forest history mentioning that it comes from the Lau Soei teachings. Chow gar masters say
that the Bamboo Forest creator was a friend of Lau Soei that came to stay with him in China
and later in Hong Kong, and after Lau Soei died, he formed his own style. The Chu Gar
masters say that Kwong Sai Jook Lum Southern Mantis was created when a student of Lau
Soei in Hong Kong wanted to make a movie in which the South Mantis would be defeated. As
Lau Sui did not approve this, the student broke away and created the Bamboo Forest style.
Neither the Chu Gar, not the Chow Gar exponent mention the name of this supposed student
of Lau Sui. Supporting this theory they say that is the reason why the Bamboo Forest style has
less forms that the Chu Gar style, the student simply did not learn all the style's forms. I
consider this an inaccurate theory made up to discredit the Southern Mantis sister style (sad to
say this, but it is a common practice in the Chinese Martial Arts).

The history closer to the reality is that some rebel Mings and monks from the South Shaolin
temple moved to the Jook Lum temple after the destruction of the Fujian one. In the Jook Lum
temple they taught the original Southern Praying Mantis to the monk Sam Dart (the Abbot of
the temple). Sam Dart expanded the original three forms, adding some new ones, founding the
Zhu Lin Shi Tang Lang Quan (Bamboo Forest Temple Praying Mantis) about 1835 AD.
According to the Jook Lum legend (Lam Sang See), the original source of this style of Kung
Fu came from Shaolin Kung Fu and was based on the root of Shaolin Gum Jung Jow Dit Bo
Yee.

Additionally, Jook Lum is probably closer to the original Fujian style. Most Fujian/Guangdong
arts seem to have only a very small number of core forms, with expansion happening later as
they spread. Jook Lum still has that "core" system of forms (8, 18, 108), that would be similar
to the Chu Gar's root.

3.DESCENDANCY CHART
Generation - Name

01 Som Dot or Sam Dart (Red Eyebrown) from the South Shaolin Temple
02 Sin Ko Tan Yang (some branches skip this master)
03 Wong Dao Yun or Sim Yan
04 Chou Ah Nan or Tung Chan or Chu Fook Too
05 Wong Fook Go
06 Lau Sui or Lau Soei
07 Chu Kwong Hwa or Chu Gun Wah
07 Chu Yu Hing or Sun Yu Hing
08 Tong Yat Long or Dong Yet Long
08 Choi Gam Man or Choy Kam Man
08 Chen Ching Hong or Gene Chen (USA)
09 Norman Lee
09 Roger Hagood
07 Lum Hwa
07 Wong Go Chang or Wong Hong Kwong (died in 1964 or 65)
07 Yip Sui or Ip Shiu
08 Ip K
09 Yew Tung
10 Alastair Bourne
08 Ho Ju Yuan
08 Choy Kam Man
08 Paul Whitrod (England)
08 Nelson Chui (England)
08 Eric Tsang
08 Lee Kwun (USA)
08 Nat Yearng (Australia)
09 Malcolm Sue
09 Denis Suetin
09 Brett Thedike
03 Don Yen Fai
03 Lee Sam See or Lee Siem or Lee Sum See
04 Chung Yei Jung or Chang Yu Chung
05 Wong Yook Kong or Wong Yoke Gon
06 Wang Yu Hua or Wong Yu Hwa (People's China)
06 Li Kwok Liang or Lee Kwok Liang (Hong Kong)
05 Lum Sang See or Lum Wing Fay (USA)
06 Wong Bak Lim
07 Richard Ong
06 Ah Leung
06 Ah Hing
06 Ah Sun or Harry Sun
07 Rocky ?????
06 Ah Kai
06 Chen Ho Dun
06 Lee Boa
06 Chuk Chin
06 Ng Sho
06 Gin Foon Mark
07 David Moragne
07 Roger Hagood
07 Dr. Eisen
06 Ah Bing
06 Ah Chen
06 Ah Louie or Louie Jack Man
06 Henry Poo Yee
07 Jeff Larson
06 Ah Kin
06 Ah Wong
06 Ah Lee
06 Ah Soo
06 Ah Eng or Jessie Eng
06 Ah Moy
06 Ah Poon Fan or Tien Zan Men Hay Kung
07 Yeung Yum Sun
07 Wong Hoi Ping (Ireland)
07 Lee Kok Man (England)
08 Khing Cam Lui (England)
09 Chang Tak Ming (Australia)

4.SOUTHERN PRAYING MANTIS FAMILY

1)Chu Gar/Chow Gar

Chou Ah-Nan or Chu Fook Too (in Chu Gar)

To write about the life of Chou Ah-Nan, we have to listen to the oral tradition. As we have
seen, the Chu Gar legend says the was related by blood the Ming Imperial family, but the
Chow Gar legend says that Chou Ah-Nan was the son of a rich farming family from the
province of Canton (Quanzhao). Both legends mention him as the founder of the Southern
branch Tong Long.

Although the purple legends surrounding the Fujian Southern styles usually have little historic
value, some readers could find interesting to read the Chow Gar legend to compare it to the
Northern Tang Lang legend. According to the Chow Gar tradition, when Chou was a teenager,
he developed a serious stomach complaint which would not respond to normal treatment. His
father sent him away from home in hope that a change of climate would help his problem. But
Chou became worse and he came across a good Samaritan who lent him money to see a friend
of his, who was a monk. Under the care of the monk, Chou was healed. Chou was still in
financial difficulties and as luck had it once again, he found work in the local temple as a
cook. As all employees of the temple had to practice Shaolin boxing under the guidance of the
high Monk Sim Yan. Chou started his martial arts training and practiced very hard. As in most
good Chinese stories there was a temple bully who was fond of picking on Chou because of
his small height. The bully was called Shee.

One day Chou was out for a walk when he heard the distressed calls of a little bird. Chou
investigated this noise to find a Tong Long (praying mantis) lifting up it's arms for a final
strike. In a blinding instance the little bird was dead. Chou could find no trace of the wounds
and realized that there was something special in this method of attack. Chou decided to further
study the mantis by poking sticks at it, to study it's little "fists" as they thrust outward to
attack.

Because of his weak physic, he developed a system where he harnessed the hidden Powers of
the body. This idea came about when he observed a Mantis insect overcome a bird twice its
size. After years of patience and hard work and the help of the high Monk Sim Yan, Chow Ah
Naam developed the Southern Praying Mantis system. He studied these technique's and used
the technique to defeat Shee.

From that day Tong Long was on it's way to be a most potent martial art. Chou started
teaching his new art and accepted a student, another Monk called Wong Fook Go.

As an anecdote we can mention that other branches of Chu Gar keep the similar legend, but
mentioning that Chow Ah-Nam (or Chu Nan Cheh) was not a monk, but he was the first
person outside the temple to learn the style of chu gar. He tried to organize an anti-Ching army
and was discovered and barely escaped.

Wong Fook Go

Wong Fook Go, also a monk from the Southern Shaolin temple, was responsible for passing
on this art to the common folks lived near the temple in the South East part of China. He
traveled extensively to Kwangsi province (South West part of China). Wong Fook Go, taught
the system to a young man named Lau Soei.

Lau Soei

At the age of 14 Lau Soei started his kung fu training. He pursued under seven well known
Masters. Because he was very skilled in eight years he had learnt all what those instructors had
to offer.

He lived in a small village called Wai Yearn in the East region of Canton, and although Lau
Soei was brilliant at the Martial Arts, he was not famous until something happened to him.

Snakes and wolves were known to come out in the evening to look for food in and around the
village area. One evening Lau Soei was walking home, when he was attacked by a wild wolf.
The beast jumped sharply at him, however, Lau Soei was not an ordinary man, as soon as he
heard the strange noise he quickly stepped aside and avoided this vicious attack. The beast
turned sharply and attacked again. This time Lau Soei was ready, he thrusted his right leg
directly at the beasts throat and he hit it so hard that it rotted several times on the floor. Lau
Soei hurried forward and stepped heavily on the beast. It stopped moving completely.

Although Lau Soei was a young man in his twenties (too young to be sifu in the Chinese
standards of that time), when the village people heard about this incident wanted very much to
learn from Lau Soei and he agreed to teach them.

One fine day in the late years of the last century a group of village people (about twenty or
thirty of them) were watching a spectacular Martial Arts show. Lau Soei was demonstrating
various styles of Chinese Kung Fu (Tiger, Eagle and Monkey) as well as weapons. As Lau
Soei used to teach his students in the open ground outside his home, many passers by would
gather to see this well known young man demonstrate his Martial Art skills.

Suddenly, from the middle of the crowd, a monk stepped forward and said loudly... "Young
man your Kung Fu is just a little bit better than NOTHING, how can you stand in front of
people and teach them?" Lau Soei stopped his demonstration and looked at the monk from top
to bottom. In this situation one would probably be very angry and would ask to leave. But Lau
Soei was a very modest young man, he replied politely "From what you have said, your kung
fu must be at top level".

The monk said "If you want you are welcome to try me and you may hit first". Lau Soei
thought this may be a good chance for him to test his skills and learn more kung fu and so
decided to give it a try.

They both squared off with, their adopted stances. Lau Soei suddenly attacked with a straight
punch. The monk moved his shoulder slightly and used the Gen power, and Lau Soei was sent
flying a few yards away. The monk shook his head and disappeared into the crowd. Lau Soei
found out that the monk was staying close by and tried on several occasions to defeat the
monk, and knowing his own standard realized that the monk was far superior. He knelt in front
of the monk and begged him to accept him as his student. The monk agreed.

Lau Soei invited the monk to his home, when the monk was sitting comfortably Lau Soei said
"Every time I tried to hit you, it was as if I was hit by lightening, and how you moved so fast"
The monk laughed and said "You have great strength but I directed it back to you, so your
strength was used on yourself. The power I used to divert your strength is the type that comes
from within called Gen or hidden internal Chi power. The shock you received was due the
shock power I applied. Think about a Praying Mantis, an insect which has the power to
overcome opponents three times its own size. This system is called Southern Praying Mantis
and is designed to develop this kind of extraordinary power".

When the monk first saw Lau Soei he knew he had the potential to be a Master of Kung Fu,
and later realized the Lau Soei had a humble heart. So made up his mind to teach this high
level Kung Fu to him, and hope he serve his country.

In six years Lau Soei had learnt everything from the monk, and the monk told him that "It was
time to go our separate ways". Being a lover of nature the monk Wong Fook Go went onto
travel extensively, while Lau Sui moved to Hong Kong in 1913.

Lau Soei brought Hakka praying mantis to Hong Kong and taught the first Non-Hakka
generation. He taught numerous people the style he called Chu Gar Gao, or Chu Family Creed.
(Chu is a famous surname and is reoccurring throughout the history of China). Although, he
had many students, he accepted only five disciples:

Chu Kwong Hwa (Hakka)

Chu Yu Hing (Hakka)
Lum Hwa (Lum Wha)
Wong Go Chang (Hakka)
Yip Sui (Non-Hakka)

Lau Soei died in 1942.

Chu Kwong Hwa or Chu Gun Wah

One of the Lau Soei five disciples, Chu Kwong Hwa was responsible of transferring his
master teachings in Hong Kong under the original name of Chu Gar.

Ip Shui

Ip Shui lived with Lau Soei for 7 years. Yi Sui who married Lau Sui's daughter came the first
Non-Hakka to learn the system of Chu Gar Gao. Ip Shui made his name in Hong Kong with
his Gong Sau bouts in this system of Kung Fu, against other styles. Ip Shui always has a lot of
respect for Hsing Yi, because in the sixties he had a fight with a Hsing Yi Master living in the
USA. They clashed in Hong Kong, and they had a good battle that ended in a draw. It was a
tough fight, and afterwards they congratulated each other, and Ip Shui always had respect for
that style after that.

After Lau Sui's death Yi Sui, his son-in-law, created a new stream of the Southern Praying
Mantis known as Zhao Gar (Chow Gar), named after Zhao An Nam (Chou Ah-Nan), the first
ancestor of the style. Yip Sui and his disciples use to say that the style's original name is Chow
Gar and not Chu Gar and as a proof of that they say that on Lau Soei's gravestone on a Hong
Kong hillside, it says Grandmaster Lau Soei of the Chow Gar Praying Mantis system.

But the truth is that Yip Sui, chief among the Lau Soei's five disciples, changed the
pronunciation of Chu to Chow because of a dispute that arose at the Lao Soei's death time over
the proper dialectic pronunciation. He renamed the Chu Gar style to Chow Gar Tong Long
(that means Chow Family Praying Mantis). Because of this difference in pronunciation, Chow
Gar is often thought to be a third branch of Southern Praying Mantis. In reality, Master Yip Sui
only teaches Chu Gar.

Yip Sui's Chow Gar has spread all over the world, having schools in Hong Kong, England,
Australia and New York (USA).

Ip Chee Keung

Son of lp Shui, he learnt the style from his father. Ip Chee Keung visited London (England) in
1974 starting the spread of the Chu Gar/Chow Gar in Europe.

Paul Whitrod

Paul Whitrod began his training in London in 1974 under Ip Chee Keung. He went to Hong
Kong for the first time in 1980, and he trained there with his kung tu brothers, Nelson Chui
and Eric Tsang. He stayed at Ip Shui's house in Hong Kong for about six or seven months. He
started teaching in England in 1981 and has returned to Hong Kong periodically and in 1987
Ip Shui and his son Ip Chee Keung went to London. They promoted Paul Whitrod as the UK
representative of the Chows Family Praying Mantis Kung Fu. Currently, there is already 5 of
Paul Whitrod's students teaching in England.

Dong Yet Long

Chu Yu Hing's top disciple

Choy Kam Man

In the 1950's, the Late Master Choy Kam Man was chief disciple of Yip Sui. An excellent
martial artist of superb strength, he excelled at Yip Sui's Chow Gar.

Chen Ching Hong

Chen Ching Hong (or Gene Chen) was born in 1938 in Shanghai, China. A member of the
Chen's family village, he is Master of the Chen Taijiquan and President of Chen's Taiji Assn.
in the USA.

Chen Ching Hong began to leam the Chu Gar style in 1953 from Dong Yet Long, who was a
cook at a local school. He was only a school boy then and when he approached Master Dong,
he at once refused to teach, denying any knowledge of the art. However, through persistence
and after approaching him again with his mother, and making offerings of chicken, pork and
wine he was finally accepted and introduced to Chu Yu Hing. Under his tutelage for 6 or 7
years the learning was slow but precise and it was at this time Choi Gam Man, also student of
Chu Yu Hing taught him Yang's Tai Chi.

In 1959, he moved to the USA, but in 1961 he went back to Hong Kong. There he met Dong
Yet Long and the Chu Gar family. During the six months he spent in Hong Kong he trained
with Yi Sui, Chu Yu Hing and Dong Yet Long. He returned to the USA

In 1962 he returned to Hong Kong and saw all the Chu Gar family but Yi Sui, spending
several months there and coming back to the USA. In 1965 he visited Honk Kong again and
saw all the Chu Gar family. While in Hong Kong, Dong Yet Long gave a big banquet and Lum
Wha, Yi Sui and Chu Yu Hing were all in attendance. During the banquet Yi Sui invited Chen
to visit him the next day and he did so carrying gifts of herbs and teas. Yi Sui passed Chen
some Chu Gar sets on to me as a gift. His student Ho Ju Yuan was still around at that time and
our friendships increased.

In 1970 Master Dong Yet Long conferred him the title of Chief Instructor with certificate and
Chu Yu Hing granted the title of Instructor with Certificate in 1971. He was the first certified
teacher of Chu Gar Praying Mantis in the United States. The certificate was awarded by the
Chu Gar Tong Long Guoshu Association of Hong Kong and the association Chairpersons were
Sun Yu Hing, Dong Yet Long, and Zhang Sing. During the 1970's he visited Hong Kong
several times to visit his old teachers, classmates and friends and during this period he began
to teach Chu Gar in the USA to a few selected students. In 1975 he stopped teaching based on
the fact that the style is primarily focused on fighting. Nowadays although Chen Ching Hong
is one of only a handful of Masters recognized and certified as an Instructor by Lau Sui's Chu
Gar Hakka family, he just teaches Tai Ji Quan.

2)Kwong Sai Jook Lum Gee Tong Long Pai

Sam Dart

The Jook Lum legend says that the system was founded 300 years ago by a monk named "Sam
Dart" (Red Eyebrown) from the Southern Saholin temple.

Lee Sum See or Lee Shem See or Hung Mui Wo Shing

There is some controversy about the existence of master Sin Ko Tan Yang. Some branches just
skip this master and say that Lee Sum See learnt the style from Sam Dart, making him the
second-generation master (instead of the third one). Lee Sum See (or Lee Siem), traveled all
around China building temples.

The monk Lee Shem See, nicknamed Hung Mui Wo Shing, from the Gung See province, often
came down to Dong Gung in southern China.....Later, in Wae Young province, Lee Shem See
took a student, Chung Yel Chung, back to the Jook Lum Temple in Gung Sai province to be
trained. Lee lived until he was over one hundred years old.

Chung Yel Chung

After his training in the Jook Lum Temple, in 1910's Chung Yel Chung came back to Ping
Som to open his first Kung Fu & Medicine Clinic. This is the first time the system title, Gung
Sai Jook Lum Gee Tong Long Pai, was used. From then until World War II, the system became
very popular and was nicknamed the Hakka Kuen.

Wong Yook Kong or Wong Yoke Gon

Wong Yoke Gon, in Ping Son province, and Lam Sang, in Kai Jung province, inherited the
Jook Lum system. While Lam Sang moved to Hong Kong, Wong Yook Kong remained in
Continental China, being the origin of the Jook Lum mainland China branch.

Lum Sang or Lum Wing Fay

At around 13 years of age, Lum Sang began training in the southern praying mantis system of
kung-fu from then master Chung Yel Jung. (Lum Sang had already trained for many years in
other systems by this time.) Lum Sang trained diligently for a number of years under master
Chung Yel Jung until grandmaster Lee Sum See arrived at Chung Yel Jung's door.
Grandmaster Lee Sum See informed, his student (Chung Yel Jung) that he was enroute to
build a temple and asked that Lum Sang accompany him. A boy of 15 or 16 years of age
would prove to be great help in building a temple and also supply him with a traveling
companion, Lee Sum See suggested. Chung Yel Jung respectfully complied to his master's
request and Lum Sang found himself enroute to build a temple with his sigung. For Lum Sang,
training directly under the grandmaster would prove to be a golden opportunity. The time Lum
Sang spent with Lee Sum See (the "Old Monk" as Lum Sang called him) both building the
temple and training would run six years. During this period Lum Sang would achieve an
extremely high level of kung-fu, including training in the southern praying mantis chi kungs
(of which there are many whose purposes vary). But the training and friendship between these
truly remarkable kung-fu men would come to an abrupt halt during the Japanese invasion of
Hong Kong in 1942, when upon his teacher's insistence, he found himself enroute to Liverpool
(England). While in Liverpool, England, Lum Sang trained the (hakka) dock workers in his
most treasured art. Still in his mid thirties Lum Sang found his way to NYC Chinatown, he
brought the art to New York (USA) in the 40's. During his 44 years in the USA Lum Sang
accepted hundreds of students and 22 disciples, all Chinese (he never accepted non-Chinese as
students or disciples). In New York, he began quietly teaching the Jook Lum Tang Lang at the
Son Jung Woi (Hakka Chinese Association). Later at the request of another Chinese American
Association interpreter, Lum Sang began teaching as chief instructor to the members of that
association (Hip Sing Tong). Lion Dance and Kung-fu instruction was the method used by the
associations to recruit new members, and hundreds of Chinatown's populace became students
of Lum Sang during the 1950's and 60's. During this time Lum Sang chose from among the
hundreds of Chinese students, his first disciple, Wong Bak Lim. Seven others were then
chosen and accepted as "enter the gate" disciples (Ah Leung, Ah Hing, Ah Eng, Ah Wong, Ah
Lee, Ah Kai, Ah Sun). These first eight disciples became the family of Lum Sang Sifu and the
whole group would stand before the Ancestors and the Shun Toi (altar of the art) and make
lifelong promises. They would occupy the third floor of #3 Pearl Street, NYC Chinatown for
years to follow.

Such power the Chinese Associations yielded in Boston, Seattle, Chicago and San Francisco
Chinatowns, that they sponsored the Lum Sang and his family of disciples and students during
the late 1950's for Lion Dancing and Kungfu Demonstrations. The American economy was
well enough that local Chinese Organizations could support each guest member up to $700 per
week during such celebrations!

Although, at the time, ordinary circumstances of survival were more difficult than the yearly
travel and celebrations, each of the Lum Sang's disciples supported their father/teacher and
each other with daily jobs, often at menial wages. Each individual's money was laid on the
kitchen (bread) table for the teacher's (and each others) disposal. With another war (Vietnam),
the Lum Sang saw his first family change and adapt to survive. As the remaining disciples
went to war or followed the fate prepared for them, he may have felt homeless?
Circumstances, determination or fate left the Dai Sihing (senior elder brother) Wong Bak Lim
to follow the tradition given him and he introduced the Lum Sang to the NYC Chinese
Freemason Association in 1963.

From the NYC Chinese Freemasons, the Late Lum Sang Sifu accepted a second family (in
New York Chinatown's Hip Sing Tong) among his many kungfu students; (Ah Chen, Ah Mark,
Ah Lee, Ah Chen, Ah Bing, Ah Louie, Ah Kin), and they too stood before the Ancestors and
the Shun Toi (altar of the art) and made lifelong promises (creating their future).

A few years later (some year between 1965 and 1968) Lum Sang, after closing his hands
(retirement), left the USA for Taiwan, where he lived until his return to NYC Chinatown in the
early 1980's.

Since that time Lum Sang has traveled extensively, returning often to the United States. After
finally returning to the USA in 1981, Lum Sang accepted from among a number of students
five disciples; Ah Wong, Ah Lee, Ah Soo, Ah Eng and Ah Moy.

Most of his first and second family of disciples and many of his students and friends would
see him regularly in the years before his death. Particularly, a disciple, Ah Lee, kindly assisted
him in his last years.

Lum Sang died in 1991.

Gin Foon Mark

Gin Foon Mark was born in Toison, a village near Canton (in 1927), he comes from a family
of four generations of high ranking kung fu experts. His instruction in kung fu began at the age
of five under the supervision of his uncles and grandfather. At the age of nine he was admitted
to the Shaolin temple at Chun San and studied with monk Moot Ki Fut (a.k.a. Ki Fut Sai) and
other outstanding masters. He received instruction in Sil Lum (Shaolin Boxing), White Crane,
Eagle Claw, Leopard and Tiger. He also studied in the Hoi Jung Temple in Macao (where he
learnt a version of Tiger Claw). In this monasteries, Gin Foon Mark was schooled in Ming
Kung (self-defense and healing arts), Shin Kung (spirit Kung Fu), and Chi Kung (applied to
the use of internal power for martial arts, what included Iron Shirt, Iron Palm, Cotton Palm
and Dim Mak).

In the United States he studied Southern Praying Mantis under Lum Sang for ten years. When
Lum Sang closed hands (retired) he designated Gin Foon Mark to be his successor in
accordance with established tradition. Gin Foon Mark's teaching career began in 1947 when
the trade association of the New York Chinatown requested that he instruct their young
members.

Gin Foon Mark opened the style to non-Chinese in 1968 and in August, 1969 he appeared on
the cover of Black Belt Magazine. Bruce Lee was one Gin Foon Mark's students. He was so
impressed with the effectiveness of Praying Mantis in combat, that he adopted many of its
principles in creating Jeet Kune Do.

In 1979 Master Mark went back to China. During his stay he studied Six Sounds Qigong
under a famous Tai Chi and Qigong Master, simply known as "Old Master", in Beijing.

Gin Foon Mark has opened three kwoons in the USA (New York, Philadelphia and
Minneapolis) and he has also taught at Temple University and trained the police in self-
defense techniques.

Gin Foon Mark regularly attends the annual International tournaments and exhibitions
throughout the USA and continues to teach Chinese and non-Chinese alike in St. Paul, MN.

David Moragne

David Moragne was first introduced to martial arts at age 5. In his early teens he began
studying Tae Kwon Do where he earned his first black belt.

Later he studied Pa Kua, Wing Chun, Kenpo and Tai Chi. Yang style Tai Chi became an
important part of his training. In the mid 80's, David began his studies of Southern Praying
Mantis. He then went on to meet and become a direct disciple of Gin Foon Mark. He has been
invited to demonstrate and share this art throughout the U.S. and Canada. After being told by
Master Mark to now share this art, David continues to study and teach under him.

Henry "Poo" Yee

Henry Poo Yee was born in Toi San county, Canton province of China, but was educated and
raised in Hong Kong and the United States. He claims that Lum Sang choose him to be one of
his "enter the gate" disciples and "the keeper of the flame."

Poo Yee started his Kung Fu training at the age of six in the 1940s, with southern styles of
Hung Tao, Choy May, Bok Hok and Bak Mei. In 1955 at the age of 15, he immigrated and
joined his family in New York city and started learning Kung Fu from Lam Sang. According to
his own version, he states he trained daily under master Lum Sang for a period of ten years,
from 1955 until master Lum Sang closed his hands (retired from teaching) and moved to
Taiwan in 1965. Henry Poo Yee also says that as a matter of honor and to show respect, sifu
Henry "Poo" Yee began to show the world the "true kung-fu" of master Lum Sang. During
some of his visits to Lum Sang in Taiwan, he was trained in the complete techniques of his
secret "tin sing chi kung" and the high technique form of "siem kuen". Lum Sang gave Poo
Yee his recipe for dit da jow and instructed him in the healing arts. Henry Poo Yee also
received the encouragement and blessing of Lum Sang to teach and promote the "true art" of
southern praying mantis.

After this he trained students in Paris, Hong Kong, England and Germany, settled for some
years in Fort Pierce (Florida, USA) where he trained the Fort Pierce Police Department. While
in Florida he founded the Chinese Kung Fu Academy (C.K.F.A.) of Southern Praying Mantis
Kung Fu Federation USA in 1982. Poo Yee then moved Atlanta (Georgia, USA). Finally in
October, 1991 Henry Poo Yee settled down in Texas (USA) where he has opened a new
school.

So far, Henry Poo Yee has been honored and/or appointed with titles as:

Advisor of the United States of America Wushu - Kung Fu federation.

Advisor of Chan Tai Lama Pai.
Board of Director of United States Kung Fu federation of North America.
Member of Hong Kong - Kowloon Herbalists - Medical association.

Currently his association has sixteen branches school or training clubs across the USA and
overseas.

A lot has been said about the authenticity of the Henry Poo Yee credentials. It is not the
purpose of this document to discuss that subject, therefore I will just not give any opinion. I'll
write some fact and the reader will make its own conclusions:

Henry Poo Yee has claimed that Lam Sang passed his lineage of altar to him but the truth
is that Gin Foon Mark has the possession of Master Lum Wing Fay's altar and artifacts.
Henry Poo Yee can not be found in the group photographs of Lum Wing Fay disciples.
Not in any of the three pais.
Mr. Yee's teaching has differences with other Jook Lum teachings while most of the other
disciples teach is pretty similar. He claims Lum Sang taught him a different version.

Wong Bak Lum or Wong Baklim

Wong Bak Lum was chosen as disciple by Lum Sang in the early 1950's. He was Lum Sang
Sifu's first disciple (not the first student) in the United States. Following seven others were
chosen in the 1950's including Masters Jessie Eng and Harry Sun. All the other disciples from
the first generation always called him Dai Sihing (older brother), showing respect because of
him being the first accepted disciple.

Dai Sihing (Senior Brother) Wong Bak Lim, the first son of the first Lum Sang's family, has
maintained impeccable records of dates and times of the Late Lum Sang teaching, including
hundreds of photos and (8mm) films to attest to the system of Jook Lum Gee Tong Long Pai
Chinese Kungfu in the USA.

In the 1960's he opened a school in NYC Chinatown teaching the Chinese youth for free and
even feeding them to keep them off the streets! Thanks to his effort to preserve this rare art,
one can see 40 years of Jook Lum history in just a few hours. He is the Da Sihing (Oldest
Brother) and the first of Lum Sang Sifu' s Family of Disciples. He is a living encyclopedia of
the Jook Lum Kungfu. He has publicly and privately taught students, both Chinese and non-
Chinese for the last forty years.

Jessie Eng

Jessie Eng at his 60s jogs several miles daily and has two students he calls friends, avoiding
too much tradition. Although, he is a member of the first family of the Bamboo Temple
kungfu, he also spent many years studying Chu Gar Southern Praying Mantis.

Jesse Eng has privately taught several students, both Chinese and non-Chinese in the last forty
years.

Harry Sun

He was the last of the first family of Lum Sang disciples. Harry Sun has privately taught
several students, both Chinese and non-Chinese in the last forty years.

Louie Jack Man

He has openly taught many non-Chinese students and continues to teach in Philadelphia
Chinatown today.

Henry Wong

He was a disciple of Lum Sifu at the NYC Freemasons Association. He currently lives in San
Francisco.

Roger Hagood

Roger D. Hagood, a veteran martial artist with 30 years experience, has studied this rare style
for 20 years with Masters Louie Jack Man, Gin Foon Mark, Harry Sun, Jessie Eng, and Wong
Baklim. Hagood is also publisher of several international martial arts magazines, books and
newsletters.

Louie Jack Man accepted him as his first non-Chinese student in 1978. Louie Jack Man
introduced him to his Sihing (older brother), Gin Foon Mark, and on June 6, 1980, he entered
Gin Foon Mark's school.

In 1987, he traveled with Gin Foon Mark to Mexico, together, where they introduced Jook
Lum Temple Praying Mantis Kungfu on Mexican National Television during a 10 day seminar
with 120 participants. Gene Chen accepted him as Chu Gar disciple by ceremony, in 1990.

7.FIGHTING THEORY
There are many other principles such as the centerline theory; intercepting hand and sticky
hand; rooting, moving the center, attaching the center; crossing the bridge; straight power and
borrowing force; float, sink, swallow and spit; which I may address in the future. Several
strategies may be employed when fighting: scaring, faking actions, tripping the opponent
attacking from the left and right angles as well as from the front, adhering and discharging.
Sight and sound are also refined in order to understand and anticipate the opponent's
movement. Hand-to-hand contact is used to "sense" the opponent strength, weaknesses, power,
intentions, shifting of weight, and readiness to attack. The idea is to get your opponent off
balance and not let him regain it; and at the same time shift in close with explosive rapid fire
strikes. The opponent must try to ward off these blows, but so fast and many this is very
difficult to do. Speed is essential. The principle of intent or "will-power" is first discussed.
Intent may simply be defined as the "warrior spirit." Without it, their is no focus of the body
and mind into one purpose.

If pushed downward the hand turns to strike upward, if pushed upward the hand turns to strike
downward, if pushed inward the hand turns to strike outward, if pushed out the hand turns
(changes) to strike inward (simply said). Of course, this is a principle and as one becomes
skillful, his hand learns to adapt to any angle or circumstance.

This principle of contact, control and strike is central to all mantis action is based on the three
powers of the arm; from the shoulder to the elbow, elbow to the wrist, wrist to the fingertips. A
skillful mantis will defend and attack using one arm (leaving one hand free) to trap and control
the opponents two arms. This is done with one arm by using the forearm for defensive
movement while simultaneously attacking with the hand or fingers. This can only be
accomplished if one has understood the centerline theory.

And so, a superior art is based on a deep rooted stance, upright footwork in stepping and
production of power by the movement of the ribs and diaphragm. It will use the conditioned
arms and hands 70% of the time and the legs and feet 30% of the time in offense and defense.
This is because, in this style the hands are considered the quickest and most convenient
weapon.

Songs

As many other traditional styles the Southern Praying Mantis has "songs" to help the student
to remember the style's fighting theories. This is the Praying Mantis Fist Upper Body and Foot
Work song:
Upper Body
Raise hands above, point palms down.
Grab, catch, punch and seize.
Move one hand above the head and level the other one.
Bend your knees like a frog's. Round your back like a basket.
Foot Work
Shape your feet like a "T" but not a "T", "V" not like a "V".
Stretch your hands out from the heart.
If you don't attack, I won't attack.

Another song in the styles says:

" The hanging power is like a noose that opens and contracts.
The hands that seize holds and catch
The head is down, eyes look sharp like that of a cat.
The ribs open and close like the hinge of a door.
The legs are bent like a frog ready to spring.
When you achieve something in Tong Long Kune, then you are about to
begin."

There is another song in the style that says "On tum chum bil loi lau hei sung" One should
immediately block and attack from any gate. Welcome in the guest and when we get tired of
him we kick him out The meaning of this song is take in opponent's power, neutralize it, and
return it to him many fold.

Another song "Hand to hand, heart to heart; you don't come, I won't start" is used to explain
the theory in the two man sensitivity drills.

Centerline

By pressing the centerline of the opponent, sticking to his movement and feeling his intent, the
skillful hand can, using small, quick, short, angular jerks and deflections, redirect and create
an opening in the opponents center and intent while delivering a single devastating blow in a
straight line (the shortest quickest distance between two points) to his vital spots. Continuous
direct blows are given until the opponents submission. The mantis philosophy is train until
within three blows the opponent submits, bleeds or ceases to exist.

Distances

Southern Praying Mantis has 3 distances to cover: long, to cover the distance; medium, where
to enter; and close where punishing blows can be delivered. The techniques of the Southern
Mantis system are short range, based on inch force power that comes from tendon contraction.

The first task of infighting is to get in close to the opponent. This would seem especially
important to a style like southern mantis: since the mantis stylist's forte is infighting. It stands
to reason he would be particularly vulnerable at the longer distance most other styles use.
Actually, this is no problem. When one is used to fending blows that come from very near, a
round kick or long arm punch seems slow by comparison.

If the opponent was the type who flicked kicks from as far away as possible, the mantis
practitioner would simply attack the kicking leg by catching the kick and jamming the knee, or
by actually striking the kicking leg (the side of the knee would be a good target), or by kicking
the muscles of the thigh. All of these would prove very discouraging to a would-be attacker.

In most combat situations, the long-range fighter would try to drive in against a mantis stylist,
opening with kicks to close the distance and then finishing with hand techniques. In such a
case, the mantis stylist would simply sidestep the attack and allow his opponent's own
movement to bring him into range. Often, accompanying this evasion tactic with a quick snap
kick to the attacker's groin. As the assailant moves into range to apply his hand techniques, he
would rind the mantis practitioner's hands reaching out for his arm and controlling him in his
attempts at continuing the attack.

Once the mantis stylist has come into range, or more accurately, once the attacker has moved
himself into the mantis practitioner's range-how is it possible for him to defend against getting
hit?

Levels

As there are three distances, there are also 3 levels of height involved; floor fighting, where
the Southern Praying Mantis practitioner is fighting from the floor; medium, where attacks are
aimed low and the body is slightly dropped, and high, where Mantis techniques are applied to
the face and shoulder line. if anybody has seen my school training they would notice that the
punches never come from or start at the hip, but in front of the chest, this is where short 'inch
force' movements can be applied to their fullest extent.

Feeling

Even a beginning student can execute a punch in one fourth of a second, this means that within
arm's reach it is very difficult to block a punch. The Southern mantis solution to this problem
begins with the fighting posture taken. In imitation of the praying mantis. The practitioner
holds his arms out toward his opponent. When possible, he seeks to have his arms in actual
contact with his assailant's. In this way he can feel the attack from its earliest moment. This
method saves precious time in two ways. First, he is able to react immediately to the stimulus
of an aggressive action without having to wait for his brain to process the information through
his eyes. Second, no time is lost bringing his arm from an on-guard position into place to
block. In addition to the time-saving aspect of his fighting posture, the ability to catch an
attack early in its movement makes it possible to control the blow with not too much effort.

The most important element in the mantis style integration of defense and offense does not he
in tactics and techniques, but rather, in the development of "feeling." Feeling is the quality of
being sensitive to an opponent's movements and being able to blend with them in a perfect
response. Feeling is so central to the mantis style-and to infighting in general-that everything
written so far presupposes its development One of the biggest drawbacks of close-quarters
combat is that there is virtually no time in which to respond to an action. To further compound
this, many attacks are virtually invisible. It becomes imperative that the responses a fighter
makes are not dependent on his mind's analysis of a situation or his eyes' perceptions. By
developing feeling one gains an almost "sixth" sense, a sensitivity through the arms to the
movements of an opponent. Since the stimulus is perceived-through direct tactile contact. it is
possible to respond faster. The response also tends to be mom appropriate, since the mind
often overreacts to visual stimuli. If the mantis stylist's responses are more appropriate, due to
his development of feeling, then they are also more efficient. This is an obvious advantage if
one is called upon to fight for a prolonged period of time. Efficient techniques also mean
better control over an opponent. By not over-reacting to an attack, the mantis stylist remains in
balance and capable of giving that extra little push that can turn a simple block into a move
that unbalances or exposes an assailant Another important benefit of the development of
feeling is the ability to use an opponent's power against him. If an attacker punches the mantis
stylist, he will grab the punching arm and pull it. This simple act has the effect of wrenching
the attacker's shoulder destroying his balance, and possibly pulling him into a counter
technique like a knee strike. However. if you have ever tried to grab a punch you know that it
is not really easy to do. That is why feeling is so important. By sensing the attack initially, the
mantis stylist is able to make contact with the punching arm early in the movement. In this
way. the grabbing hand is moving with the punch and has plenty of time to grab hold- as
opposed to trying to snatch the arm as it goes by. Well-developed feeling for the opponent's
movements also determines which counter move will be used. If the attacker is pulled well off
balance, then he can be drawn into a sharp counterattack. But, if the attacker's lead leg is well
forward so that his center of gravity stays behind that foot, then a palm-heel strike to his fully
locked elbow, or a single-knuckle punch to the armpit area would be more appropriate.

Southern Praying mantis fights from an upright position, never too low to impair response and
speed. Using the feeling hands of the mantis the boxer closes the gap, crosses the bridge, feels
his enemies power, yields, then with the weight of the whole body and the explosive power of
internal energy concentrated into one small area destroys the enemy within one exchange that
doesn't stop until blood is drawn.

Infighting

At very close quarters, targets below the waist are among the most vulnerable. There are two
important advantages to fighting at very close quarters. The first is that attacks can be
delivered so quickly that they are almost impossible for the uninitiated to stop. The second is
that, at close range, it becomes possible to strike at vital areas very precisely.

Defense & Offense

One of the most important elements of good infighting is how well defense and offense are
integrated. An analysis of this integration begins with an examination of the purpose of
defensive moves. The first goal of defense, obviously, is to keep from being hit. When
blocking is approached from this vantage it becomes necessary to discover the openings in the
assailant to exploit for a successful counter. The opening can be thought of as rhythmic. As a
person attacks they have a punch-and-punch-and-punch-and pattern. There is a gap, or space
of time, between each blow. In order to exploit this pattern. the defender must break this
rhythm with his counterattack. The defender's pattern would go block-and is block-counter.
thereby catching his opponent between punches. If an opponent attacked with a front kick-
punch combination, the mantis fighter would employ this rhythm breaking pattern of defense.
After parrying the kick with his leg, and while the attacker was recovering from the kick and
preparing to punch, the well trained mantis stylist would counter with a side snap kick to the
ribs. Obviously, the success of such an approach depends upon the speed at which the
counterattack follows the block. (This is why the rapid-fire, multiple-power strike is so
effective-it does not allow opportunity for a counterattacks. In order to cut down the interval
between the block and counter, mantis practitioners frequently block and counter with the
same arm (or leg) in one continuous motion. Another good way to utilize this rhythm braking
idea is to block with one hand while simultaneously countering with the other.

Usage of the attacker energy

Though it is easy to see how an aggressive attack can be used against the attacker, the mantis
practitioner can also turn the attacker's defense against him. If the mantis stylist attacked with
a punch and his opponent blocked it forcefully with an inward block, he would simply allow
the force of the block to spin his arm around like a propeller. His hand would circle with his
elbow as the axis and come crashing in from the other side. A punch blocked to the side would
return as a knife-hand blow to the neck. One blocked downward would come crashing down
as a back-fist strike. If the defender blocks more softly-so there isn't enough force to spin the
mantis' arm in a large circle-he will use what force there is to "flip" his fist around the block.
This is an action done more with the wrist than the elbow. allowing the mantis practitioner to
press the attack with the same hand by striking again. over the block.

Circles

Whole circles, half-circles, quarter circles, circling in and circling out, circling high and
circling low. In the southern praying mantis system circles are everything and everywhere.
Circles are used to walk the horse, position the body, generate power, block, strike, perform
the chi kung, and move from gate to gate. Working alongside the system of circles is the yat
yee som (1-2-3). As higher levels are achieved, the numbers increase, much based on the
number three. The foundation, however, rests in the chin som, or the first three soft positions,
and the how som, the second or power positions.

Yin/yang theory

The yin/yang theory (Mandarin) is known in Cantonese as yum/yan. To throw a punch you
must be relaxed (Yin) to make your punch speedy. Just as you are about to strike your
opponent, you suddenly exert a lot of force and become Yang. If the opponent blocks your
punch, instead of trying to exert more force (Yang versus Yang) to get by his parry, you
become soft (Yin) and spin around his block in the direction of the exerted force, striking him
and becoming Yang on contact.

A Praying Mantis practitioner develops short power, the ability to exert tremendous force from
a short distance. Therefore, a punch need not be finalized until the instant before striking and
you can also attack again without withdrawing the attacking arm.

Blocking, kicking, grappling and using weapons also turn the opponent's power against him,
just like a wall reflects a thrown ball. Combat then becomes time varying mixture of Yin and
Yang.

Yin and Yang energies circulate in the ventral and dorsal parts of the body, respectively,
determining their nature. the toughest parts of the body, which are more resistant to blows, are
the dorsal and exterior surfaces of the arms and legs and also the back. The inside surfaces of
the arms, legs and body are more sensitive. In these parts the skin is softer and more easily
bruised.

8.POWER GENERATION
However, critics would say there might be an important weakness in any fighting style that
calls for infighting how can there be any power in blows delivered at such close range?

The Southern Praying Mantis has an unique method of generating power comes in. The
exponent uses a technique of hallowing in and pushing out the chest. This sucking in of the
chest combined with the style movements, correct breathing and timing, and two man
sensitivity exercises, enables one to develop an unbelievable spring like power which is
characteristic of the style.

It is produced by the whole body in spiraling motions, as a spring is twisted and then released.
It is the function of the hand and foot arriving at the target intently at the same time. There is a
saying, "any deficiency of power in the hand, can be found in the root and center."

The natural strength a man's body possesses is known as li (lik). The Southern Praying mantis
looks for to develop jing (Ging), that is a strength acquired after special training.

Jing is produced in the feet and expressed outward toward the limbs. This is the function of the
stance and footwork. If not exactly correctly, one may never develop a root and center and so
the hands will never develop sufficient ging.

The term, jing, is used as an overall word indicating refined strength and each technique or
special skill is simply called a "hand". However, each of the mantis basic hands could be
called a ging, ie. mor ging, gwak ging, choc ging, sigh ging, etc, because after repeated
training one will acquire extraordinary power in this particular motion. The strikes that have
"jing" follow and regenerate power by using the opponents movement. The power is
continuous and flowing without the need for pulling back the hand or recoiling the arm. One
blow changes to another blow without ever breaking contact and always following the
opponents movement. In the Chow Gar it is called Gen Powers (Shock Power), an easier
explanation of this power is: if someone touches you with a lighted cigarette or a hot spoon
your reaction is immediate: a reflex action.

Different Powers

Praying Mantis has more than 1 power for example we can mention: three power strike, short,
sticking, absorbing, shock power, zhou-di-jin (elbow power), etc. Let's see in detail some of
them:

Duan-jin (short power)

The most distinctive technique of the mantis style is the "short power" punch. This technique
is delivered at about six inches from the target. In order to develop power for this blow, master
Mark begins with his elbow bent slightly and his wrist "cocked" back. Then, suddenly, as
though shocked by an electric current, he straightens his elbow and snaps his fist down and
forward. Though the blow looks soft and too short to be strong, it is in fact very powerful. Sifu
Mark just shrugs and says. "When you train a long time to develop the short power, you
develop the short power." He compares this ability with the pianist who, though not
powerfully built, still hits the keys with great force.

The Southern Praying Mantis system has six of this kind of short-range powers:

guen-hon-dew don gang

guen-hon-jet don gang
guen-hon-har gang
chung moon gang
yuh moon gang
jaw moon gang.

The short-range powers are only developed by daily practice. The feet, the body, and the hands
must balance each other before you can have true strength.

Using the Short Powers

For a skilled practitioner in a defense position, it is not necessary to block an attacker's punch.
Instead, the short-range powers can be used initially to control the attacker's force. It is
difficult for a non-Southern Praying Mantis practitioner to understand this kung fu fighting
concept, but a skillful Southern Praying Mantis practitioner, if attacked, won't block for
defense, though he will follow through with his own punch. As he completes the action, he
uses the following three motions: guen (contact); hon (using and re-directing the incoming
force); and don (then following through with a punch). Within Southern Praying Mantis kung
fu, these motions are learned at various levels, including the short-range powers in Nan Tong
Long Pai Lok Gang; Som Dim Bum (Three and Half Points Contact system); Ng Dim (Five
Points system); and the Chut Dim Lin Wan (Seven Points combination system). Combine kuen
fat with Nan Tong Long Pai Lok Gang, and you can achieve this defensive strength in
mobility.

Three powers strike

Another unique weapon in the mantis system is the multiple power strike. The usual form of
this technique is the "three power" strike, which. begins with a short punch. Immediately after
the punch, the mantis exponent attacks again with the same hand. This second blow is made
with the fingertips. It looks as if the ringers are just flicked out, but actually the power comes
from a sharp vibration in the body, and a slight snapping, of the elbow. This second blow is
followed directly with a third blow, which is a ringer spear or phoenix eye rest These three
blows come in such quick succession that they are reminiscent of a machine gun. To develop
the deadly power one must know the four ways of breath - inhalation and the ascension of chi
through the spine, exhalation and descension of chi through the anterior channel

Cun-jin (Inch Power)

Of all of the weapons within the vast arsenal of southern praying mantis, there is probably
none more feared than its deadly inch power (similar to the one Bruce Lee made famous). Just
when you think you've blocked, trapped, or contained him, the trained practitioner explodes
with exacting inch power (almost always into nerves or a vital area). Within a fraction of a
second the game has drastically changed. Tin sing chi kung plays a large role in inch power
training, especially when using finger strikes. Many elements must come together to deliver
successful high-technique finger strikes. First the body must be positioned correctly to create
and contain chi. Second, the strike must be delivered at the precise second the hand "fills" with
chi.

9.TRAINING METHODS
External Development

Learning and mastering Southern Praying Mantis can be broken into a series of stages. The
first stage is called "wang-o" or forgetting the self where the novice concentrates on simple
techniques and learns the mechanical aspects through repetition. The next step is called "tse-
jan", and at this stage the movements are very natural and you develop your own style. The
third and last stage is called "wu-wei". You are beyond technique and live in the "now". You
react spontaneously and naturally to what is happening at the moment.

One golden rule that is always emphasized is, it's not how much you train but how you train
that's important. All of the many different exercises are based on what is known as Loi Gung
(Inner development) and Noi Gung (Outer development) It is important to know that internal
power and external power are in unison and flow with one another in harmony. To give an
example, if water (Chi) had to flow down a paper pipe it will only tear and burst, so training
the external methods will strengthen the pipe so that the chi can flow stronger.

Nan-Jin (Body Building Exercises)

In the Southern Mantis system, students are taught the physical body Building exercises
without the use of weights. If a one trainer cannot find a partner, na jin dynamic muscular
tensioning exercises are practiced to boost extra muscle growth. There are altogether twelve
exertions from where the six pairs of muscle which govern all fighting moves can be worked
upon.

During Nan-Jin exercise, vigorous and dynamic physical pressure is being applied to the
particular muscle strips. Large quantities of body cells are subjected to incineration while
numerous new cells are manufactured to maintain normal body growth. Therefore, it is only
logical that multiple dynamic tension techniques, applied to ordinary muscle groups will triple
the growth of the muscle groups. Equally important to proper physical exercise, we must
ensure that we have enough oxygen to fuel those explosive actions.

Furthermore, another vital point of which we must be aware is that we are working on the
muscle groups of our shoulders, back and hands, not on our chest. Therefore, never attempt to
cause any unnecessary, tension of the chest. This incorrect practice will definitely affect our
heart and lungs normal functioning and undoubtedly cause health problems at a later stage.

One should always remember the natural dynamism of Ying and Yang in the Universe, soft
and hard must be balance. In this case, one must relax to inhale a huge amount of oxygen
before dynamic tension drillings can be executed. Breathing sequences must be practiced as
naturally as possible while any controlled or unnatural breathing should be completely
eliminated. Likewise, the hard dynamic tension exercises which exert tremendous pressure on
the particular muscle strips should only be applied as long as one's breath allows. Take another
deep breath before further strain is put on the same sinews. In between each endeavor. one
must relax to stretch the aforesaid muscles in order to balance the training of Ying and Yang,
soft and hard.

Let's see other exercises also well known in the Southern Praying mantis:

How Gung (neck strength) are exercises that help to toughen the neck, jaw and the
muscle around the temple on the side of the forehead
Dip Gwut Gung (Rib strength development) helps to strengthen the rib bones for
protection and also increases the gen power. It is a qi gong exercise.
Tun Hung (Back, Spine power) is difficult to translate or explain. The Southern Mantis
practitioner can push out his back with a sudden shock if someone grabs from behind
using this exercise.
Sun Sook Kit (Groin training). At a high stage training to bring up your testicle, though
this may sound funny there are many who can do this (for example sifu Ip Shui from the
Chow Gar Southern Mantis).
All these exercises are intended to develop the body into a fighting machine. By practicing
some of the mentioned methods in this system, you can and will promote the jing powers of
the body. In the beginning, novices will find that practicing such exercises seems very
physical, but as they prevail with such methods they will become more relaxed; pushing the
inner power from the bones and joints of the body and then the Chi energy will reach the
finger tips. When two students are training together, they can work with special pulling and
pushing exercises known as cuo shou. There are three levels of training program to cultivate
the hard, soft and ultimately the shock power. Again each level of training covers the six
moments of force, the forward and backward; inward and outward: upward and downward.

Two man drills

Two man fighting skills are the foundation of Southern Praying Mantis. The two man drills
include two man internal strengthening, two man body conditioning, sticky elbows, hooking
hands and ging power explosive force are also included. And there are numerous two man
"sticky-feeling-controlling" exercises.

Stomping with the feet, hooking and deflecting with the forearms and hands and striking the
vital points with the knuckles and fingertips are its basics. "Within three steps contact, control
and strike the enemy until he is red" is the fighting motto.

Southern Praying Mantis is a martial art which can only be learned with a partner, as self
defense is the primary emphasis. This partner training creates a very alive, feeling and
changing power based on the opponent's movement and intent. To achieve the balance
necessary for fighting, the practice must include two people. Two people learn proper strength,
balance and feeling for the hands of southern mantis. The emphasis is to never lose contact of
the opponent; as long as you can feel the enemy you can control him; this is known as making
a bridge. Chai Sau (Grinding Arm) is the basic bridge arm for power and strength, performed
by two people, that helps to build power and develops 'the shoulder, forearm, wrist, and body
stability. There are 18 variations in which the latter you are moving.

Chia Keok (Grinding leg), as the previous one, is performed by two people, but this time with
the legs. Nine variations for hip and knee development, there are also knee grinds for knee and
ankle. This builds power in the legs. There are also single exercises for both legs and arms.

Southern Mantis Training CHONGS

The word 'Chong' means something that you practice with, it could be a partner a punch bag, a
wall bag etc. In the Southern Praying Mantis method of Chongs, a partner is used. The Mantis
Chongs (Mantis sticky hand exercises) are two man training exercises to develop the close-in
hand work that the Southern Mantis is famous for. All the grabbing, seizing, picking and
cutting techniques are contained in these training chongs. They vary from the use of grabbing,
seizing trapping, hitting, block and attack at the same time, with both hands and, with one
hand, and again the legs are used in the same way that the hands would. Also steps are trained
in the Chongs; as good footwork is vital for the Martial Artist.

The Chongs develop feeling, timing and sensitivity and are different than the Wing Chun
sticky hand exercises or the Tai Ji "push hands", it follows different patterns and it's done with
a different emphasis. Sticky training is to learn relaxation. It is the ability to not blink when
being struck. It is attaching to the center of the opponent's being, neither pushing into nor
pulling away from him. It is being perfectly attached in stillness and motion. Feeling hand is
the result of sticky hand. One must learn to neither anticipate the opponents movement or
telegraph his own.

Feeling hand is the reading of the opponents intent. It is as if the hand (body) has an eye of it's
own. Controlling hand is the result of feeling hand. It is the jamming, trapping and deflecting
and attacking of the opponents intent. This is done based on the control points of the body. The
hands are placed above the heart and the elbows cover the ribcage to protect the internal
organs.

As the fighting distance is so short it is not always possible to see the opponents' hands and
feet. The sensitivity drills gives "eyes" to the practitioner's hands and feet. Sensitivity is
developed to such a high degree that practitioners are able to defend themselves entirely by
touch if necessary. Practitioners are taught to strike without telegraphing their intentions and
without warning.

The first Chong that one learns is called "Doei Chong" (or Doy Chong), meaning double hand
practice. Doy Chong is the basic bridge development of the Chow Gar Praying Mantis Kung
Fu. It is called the beginning of power known as Wun Tong. With the Doy Chong the more
time you spend practicing the better development of power you can achieve. The power of
Doy Chong is special and is not like lifting weights or pushing something.

The 4 positions of Doy Chong are up down left and right as 4 flexible powers that resist like
thick bamboo poles. After a long time practicing, you can bring the power to any part of your
body with smoothness and makes your hands and body have sensitivity. Sensitivity of not only
reflex but of power and strength as well. It is a completely different form of training to a
wooden man dummy.

It is important that one develops live power and not dead power (Say Gen).

When training with the Doy Chong, both participants must practice seriously, you cannot be
lighthearted, the atmosphere must be like that of facing your enemy. Therefore in time every
move will spark with power and life. The Doy Chong needs two people to make it a success.

It flows as follows: (A) punches (B) with Phoenix eye fist (B) blocks with both arms (A)
presses in together with both arms against (B). (B) pulls back his elbows about 3 or 4 inches,
(A) cuts back (B's) elbows with Narp Sau. Repeat continuously.

This type of Chong builds the power of sensitivity and helps your strength to become smooth,
and the internal force directed. Through this basic chong you will become more relaxed, this is
vital to understand the rest of the sensitivity drills of the system. As one progresses in these
Chongs, each time a different area is covered, whether it be the steps, grabbing, seizing,
breaking etc.

Training equipment

Auxiliary training in the style contains rolling iron bars along the arm "bridges" using the iron
rings along the forearms, training finger strength by special methods of throwing and grabbing
sandbags (iron claw), and use of a medicine ball to strengthen the whole body. Additional
training equipment for the practice in the kwoon could be wooden dummies, hanging bags,
wall bags, throwing bags and specialized springs and rubber bands pulled in different ways, all
designed to improve the practitioners speed, power, coordination and balance.

10.PAI DA GUNG (CONDITIONING SKILLS)

After training a period in the Southern Praying Mantis methods, and the Chi development has
been brought up to a good level, the practitioner now undergoes training sequences for
conditioning the body for being hit. The Southern Mantis system has many conditioning skills
teaching how to toughen your whole body, arms, legs, shins, hands, hips, ribs, palms, etc.

The system has also a special traditional training program that is designed to exercise the
joints, tendons, ligaments and also conditions the fore arms to strengthen the bones. This will
lead to development of "Iron like" forearms.

The body is divided into nine parts. Each part has its exercise to develop strength and to
condition it. In addition to the nine conditioning methods, there is Qi Gong training. Only the
discipline and patience practitioners can go through the tiring, painful training of the joints and
muscles in the time the "Shock power "can be produced. The hitting exercises for the whole of
the body, legs, back, arms, hands etc. help to stimulate the releasing of the powers

In these methods, one needs 2 people, where they will practice 'hitting' each other namely on
the legs, arms, hips, shoulders, back, etc. One of the first basic conditionings is the hand
hitting exercise. Two people face each I other and send hammer fist blows to the other open
palm. This exercise is known as "Gau Choi" and is a famous Praying Mantis movement. If any
bruise occurs then "Dit Dar Jow" is used. This type of training does not build callous on the
hand but makes the hand firm for hitting.

Rolling Bamboo is an exercise intended for strengthening and conditioning the forearms. To
begin, you will need a piece of bamboo long enough to rest both forearms comfortably across
it. Place bamboo on table, counter, or other accessible area. Now, lay both wrists, palm up, on
bamboo. Slowly (to begin) push forward, rolling arms across bamboo to the elbow. While
pushing, rotate arms until palms are face down. Return the same way, rolling arms back to the
wrist. Arms should be back in the beginning position with palms facing up. Repeat about 25
times for each arm to begin. Don't forget to apply liniment (Dit Dot Jow) generously. This will
help develop the arms internally, strengthening the ligaments and tendons.

The style has also a kind of Iron Palm known as Dit Sar Jeung. It requires very vigorous hand
training with a high degree of concentration. Hands are hardened by internal exercises and the
use of herbs liniments. Hitting hard objects is avoided because it would destroy hands
sensitivity !!

11.DIT DAR JOW

Usually it is the sifu the one that supplies the Dit Dar Jow for the Pai Da Gung training,
herbals formulas and Shun Kung (spirit) are the last things taught to the students.

The Medicine taught in the style is a form of Chinese medicine that deals with broken bones,
sprains, bruises, internal injuries. Say you've been hit badly, then you learn how to Cure that
injury. Part of it is learning how to make the dit da jow, the bruise medicine.

The style's herbal formulas are documented in manuals but the problem is that it is difficult to
get some of the herbs, even in big Chinatowns such as New York or London and they have to
be ordered from Hong-Kong. Some of the herbs are very poisonous, and sometimes they
contain things like dried lizards. You've got different strengths of dit da low, and, as you
advance in your training, you increase the power of your dit da jow.

12.QI GONG
Qi Gong (chi kung) is the heart of the southern praying mantis system. Internal training begins
and is developed here as you learn about the tan tien, the development of chi and the
movement of chi throughout the body. Patience in chi kung training is not merely helpful, it is
absolutely necessary. It produces the system's short-range powers. The style has breathing
exercises of both hard qi gong (Non Kung) for external purposes, and soft qi gong (Yuel
Kung) for internal purposes For example "Hay Gung" are breathing exercises for internal
exercise to help increase the flow of energy within the body. The most important Hay Gung
exercises are 18 internal dark power hands, and Dip Gwut Gung (Rib training includes the
inch punch)

Why is it so important the qi gong in the Southern Praying Mantis ? Simple, if there is not qi
gong practice the short power will not be produced !!

Chi can also be used in defensive manner, as a shield, so that the martial artist can resist blows
to vulnerable parts of the body.

13.KUEN FAT (HAND TECHNIQUES)

All attacks come from the elbows. The fist is not withdrawn to the hips as in many other kung
fu and karate styles, the hands are held in front or on the chest and this allows the exponent to
hit multiple times. As seen in the power section, it comes from the feet through the legs, then
the hips through the shoulders and up out the fists. The entire body becomes the driving force.
The varieties of fist styles involve the use of wrist power, elbow power, shoulder power,
bouncing power, crushing power, smashing power, clawing and seizing. A single movement of
the arm may contain several actions. Many of the movements are simultaneously defensive
and offensive.

The mantis arm is composed of three "hands;" from the shoulder to the elbow, from the elbow
to the wrist and from the wrist to the fingertips. A good mantis will use his "second hand" for
control by pressing the forearm into the centerline of his prey, at the same time striking a vital
area with his "first" hand or fingers.

Techniques

The style has 18 "hands" (hand techniques) that are taught individually (one by one) and then
combined with the steps. Tactical operations of the hand include grappling, catching, holding,
capturing, clasping with the forearms, slicing strikes with the knuckles, pressing with the
elbow, sudden quick pushes with both hands, spearing with extended fingers, flicking of the
hands in quick jabs, exploding fingers from the fists, jerking the opponent's arm, slicing and
chopping with the edge of the palm, hooking and deflecting hands, elbow strikes, claw-like
raking actions, and poking with the back of the hands. A single movement may contain several
of these actions. Once contact is made there is no backing up or breaking apart. Each of the
eighteen hands is a reaction to an action with the intent of each movement to make one deadly
strike enough.

The style also uses a variety of open handed techniques and specialized hand maneuvers such
as the ginger fist, three finger spear, and bamboo slicing hand, all of which attack the bodies
vital points. These strikes can cause paralysis, as well as cutting off blood flow and
distribution of chi to vital areas of the body. There are seizing clawing and breaking methods,
from trapping to covering movements. The mantis hook is employed, but so are numerous
other trapping and controlling maneuvers.

Behind all these appliances you must know how to trick your opponent, like leaving yourself
open for attack, as your opponent comes in then you hit him. The strategy of how to use the
hand techniques has been seen in the Fighting Theory section.

The style has soft hand techniques (Yel sao) that includes:

tun sao
fun sao
sog sao
mor sao (forward and backward)
bow sao
chum no/jaw jook/sog sao

as well as hard or power techniques (Gon sao) such as:

jet choi
yel choi
dan choi
ka choi
shung jung ha
laun choi
gao choi.

Let's see with more detail some of the most popular hand techniques:

Gau Choi is a devastating relaxed hammer blow, it was used to strike the heads, the
temples at the side of the head, and was also used to strike the arms.
Bow Chong is a fast covered hand and attack method, done simultaneously.
Kum La Sau are claw seizing methods going up and down continuously, giving the
opponents no place to attack.
Soc Sau is a sudden shock (Gen) technique: the pulling of the arm of your opponent.

Blocks

If we take a look at the Southern Praying Mantis forms, you will notice the absence of the
passive rigid blocking. This is because the past masters of this system knew too well that this
type of blocking is inadequate for fighting use. This is why the most Chinese fighting systems
(such as Southern Praying Mantis, Pak Mei, Lo Man Ga, Hsing I, etc. had very little blocking
and the blocking was very simple. Therefore, there are no actual blocks in this system, since
the opponent is not given the opportunity for much counter attack. The style does not use force
against force either; again that wastes valuable time and energy, they redirect the blow and
immediately counter attack. Blocks can also be used to create openings. In this ploy, a punch
is not merely deflected, but pushed aside. A blow to the head can be deflected upwards,
exposing the chest to a counter. Driving the punching arm across the center line of the body
opens up the sides pushing downwards opens the head, blocking from the inside outward
exposes the attacker's center line. In order to accommodate this function, the mantis stylist
blocks his opponent's arms near the elbow. In this way, a small motion of the blocking hand
causes a large displacement in the attacker. Furthermore , it then becomes more difficult for
the attacker to break contact with Mark's hand to cover himself.

Another application of this same principle adds an extra movement to the blocking action to
expose 3 target. For example. If a mantis stylist were pressing an opponent's punching arm
across his body, he might resist by pushing the other way. At that point. It would be possible to
suddenly change direction and scoop the arm out of the way, thereby opening the chest.
Another example is when the mantis stylist suddenly grabs onto the attacking arm as he
finishes a block, pulling the attacker off balance.

Fun Non Choi or Feng An (Phoenix Eye Fist)

However, at the heart of the Southern Praying Mantis style is the phoenix-eye fist. The style
makes no use of the clenched fist seen in other styles, instead preferring to use the extended
index finger knuckle to strike the enemy. This one-knuckled attack allows the exponent to
focus his energy on the one small area covered by the knuckle, rather than the larger area
covered by the fist, further increasing the effectiveness of blows to vital areas.

It might be referred to as a kind of "acupuncture boxing" due to the fact that the phoenix-eye
fist is used to strike vital acupuncture centers in rapid succession. In attack, the middle
knuckle (phoenix eye) of the index finger is used like a needle to pierce internal organs.
Practitioners of southern praying mantis explain: "A punch with the fist produces an external
muscular bruise; striking with the phoenix eye.-produces an Internal bruise." This fist coupled
with the internal spring power the mantis strike becomes deadly.

Those who practice the "hard" forms of chi kung internal protection know that it is only the
phoenix eye that can break-their internal work. Applied by a soft touch, over a vital organ. and
then a powerful strike down and Into the organ with the needle-like finger. the resulting
damage may be as moderate as stagnation of the blood and air or as severe as thrombosis
(blood clotting) and internal hemorrhage.

14.DIT DAR (DIM MAK or DIM YUET)

The advanced martial artist must also learn to control his Chi flow. Short power involves an
explosive flow of Chi from the Dantian to the striking surface. He or she must also be able to
transmit Chi to others and to remove Chi from others.

Throughout the body there are many nerve points that are weak and vulnerable to attackers.
This system shows the practitioners the angle, position and direction to strike most effectively
at these targets. In the beginning, students strike for such well-known targets as the eyes, the
point below the nose. the throat, the spaces between the ribs, and so on. These targets do not
need to be hit very hard for the blow to be effective. Advanced students in the art am taught to
strike more complex and less obvious (though no less effective) targets. For example, the
senior students learn how to (permanently) paralyze an attacker's arm by carefully hitting the
brachial artery and nerve.

All the techniques are designed to paralyze or disable the enemy quickly as possible. This
process can be used to heal people and also for self-defense, where it is called "Dim Mak".
The pressure point knowledge, has the objective of hitting spots on the body to damage
tendons and nerves. Dim Mak is the antithesis of acupuncture producing illness or death by
disrupting the Chi flow.

The result can be death! If you hit two certain points between 9.00 pm and 1 1.00 pm, then the
victim could die within seven days. Then there's the half-hourly points, where, it you're hit at
12.00 mid-day, you could die straight away. Maybe in the old days the masters looked at the
position of the sun and used a particular technique. Nowadays, the practitioner can hit the
pressure points and block the flow of energy through the body, without looking for the death
of his opponent. Of course, the same information is used in healing people as well.
Acupuncture points also have a Yin and Yang character. For example, striking the Ming Men
can produce death. Sometimes moxibustion on this same point can resuscitate a dying person.
A strike to Lung 5 can cause a KO; needling this point on the arm which has not been struck is
the antidote. The Southern Praying Mantis forms include hidden Dim Mak strikes.

Sifu Ip Shui (Chow Gar Praying Mantis) has published a book on this subject and a version in
English was published by his student Paul Whitrod.

15.CHO KUI (FOOTWORK)

Southern Praying Mantis uses leg trapping and low line attacks, but rarely high kicks. The
main combat targets for kicks are feet, ankles, shins, and groin. The kicks are all low, below
the waist. This is done to maintain balance and speed. Low kicks are harder to block because
the practitioner always uses them in conjunction with simultaneous hand techniques. Using
these kicks with hand techniques, or holding and opponent give the practitioner a kind of three
legged stance that allows for more stability than if the kicks were thrown without the hands
hitting or touching the enemy. Also, using the hands and feet together make it difficult to see
the kick coming, lending them the name of "Mor Ying Gerk", or "no shadow kick."

Like the Mantis insect itself, that dismantles the legs of its prey, the Southern Praying Mantis
system has many breaking of the leg techniques, which is ideal if you are close and want to
end the situation quickly. The feet, ankles, knees and hips may mirror the hand movements,
having the same fighting strategy. The style has eight basic kicks, that are taught to the
students through training drills (like the hand techniques). The leg techniques have different
combinations of the kicks aiming also at Dim Mak points.

16.FORMS
The forms bases their learning on sections of movements rather than a complete long form.
There are unique ways of learning these forms. In-stead of learning one long form you learn
sections of movements. Each section may consist of 8 moves, when you have completed all
the different varieties of sections. This in turn gives a much better feeling, and could be seen
as a form of shadow boxing. It will serve to give your own expression to the system. By
learning to change to circumstances you evolve. So even though the Southern Mantis is a
traditional system it does not lack the creativity. Nothing becomes stagnant and predictable in
this system. Traditional system was created by humans too. and can only be bogged down by
someone who does not share or understand its methods.

Some forms of the Mantis system are quite short and consist of only small amounts of
movements. Students learn these basic maneuvers in the many 'forms, individual, and two
man, which incorporate all the hand and foot techniques of the system. Mastery of three
techniques is more useful than knowing nine and not being able to use them. As a result
students often practice for several years only to learn the basic forms. Though each form has a
two-man breakdown in which students try to develop the ability to "feel", "adhere" or
"redirect" power, they are also broken down into step-by-step basic movements for self-
defense. Breakdown forms range from two to five-men situations and train the students' hands
to react instinctively in free fighting. Each form has a 2 or more person breakdown, allowing
the student to learn the meaning and practical application of moves. The way how the forms
are taught makes difficult to differentiate the forms from the exercises, that is the reason why
there are so many differences in the names and amount of forms reported by the different
branches and even by different instructors in the same branch of Southern Praying Mantis.
Let's try to establish a list of forms in each one of the different branches:

1)Chu Gar

It is supposed that Lao Sui only taught as forms the following four sets:

Som Bo Jin (Three step arrow punch)

Som Jin Yu Kiu (Three arrow punches and shake off the bridge)
Som Bond Ging Tan
Fut Sao (Buddha Hand)

But the Chow Gar currently lists as forms much more of the style's sets of movements,
including a bunch of chi/nei gungs. Let's see the detail:

Chow Gar (Ip Shui's Chu Gar)

There are ten basic forms, and then each form has three different levels. All together, in total,
there are twenty five different forms. They're not long. For example, the difference between
the second and the third form is TWO new movements.

The forms are the same, except that you add moves as you progress. The only difference
between Sahm Gin Yiu Gee (Three Steps Shake Off The Bridge), and the following form is
that the latter add a couple of movements. You have to train the form to understand how it
works. The different levels mentioned in the forms is not related to the forms themselves
changing, in terms of the movements, but of the student developing different kinds of 'geng',
strength, within the form. For example, there's what we call chao geng, which means the
power is rough, and then you come to no geng, which is hidden, power, and finally you have
the mixed stage, geng geng, which means you use short, sharp contractions and expansions of
power. You can learn those three different kinds of form, but you can only develop the essence
of them through hard training.

These are the forms we currently find in the system:

Som Bo Jin (Three step arrow punch)

Yee Kup Som Bo Jin
Sup Baat Yau Loong (Eighteen Swimming Dragons)
Bo Sim Sau (Searching for the insect)
Som Jin Yu Kiu (Three arrow punches and shake off the bridge)
Som Bo Pai Kui (Three step slicing bridge)
Som Bo Pin Kui (Three step parallel bridge arm)
Yurn Yearn Kum La Sau (Ying Yang seizing hands)
Fut Sao (Buddha Hand)
Tow Mo Kuen (Breathing mist form)
Sup Jee Jau Cow Dow Sau (Cross hands claws continuous form)
Som Bo Loi Deng Choy
Som Bond Ging Tan
Jik Bo
Say Mun Gao Choy
Ying Chum Sao
Som Gin Yu Sao
Say Mun Bao Zhang
Som Yu Som Fung
Gan Ton Ging
Chut Bo Tui
Som Gong Bo
Sup Bot Mo Jung

2)Hakka Boxing

Som Bo Jin (Three step arrow punch)

Som Bo Jin (wo person version)
Say Moon San Sao (Four gate single hand form)
Tong Long Chut Dong (Praying mantis coming out of the cave form)
Boon Ben Lin (Half lotus form)

3)Zhu Lin Shi Tang Lang Quan

Traditionally, the sifu Lum Sang only taught, the forms Som Bo Jin, Sup Bot Dim and Yup Bot
Ling Bot and their two Man counterparts; but, as in the Chu Gar branch, we currently find
more forms taught in the system:

Som Bo Jin (Three steps arrow)

Lah Sao 1 (First Loose Hands) 2 Man Form
Som Bo Jin (Three steps arrow) 2 Man Form
Lah Sao 2 (Second Loose Hands) 2 Man Form
Sup Bot Dim (Eighteen Points) Single Man Form
Sup Bot Dim (Eighteen Points) 2 Man Form
Chut Dim Siem Kuen (Seven Point Monk Lee's Fist) 2 Man Form
Moi Fa (Plum Flower or Five Fists) 2 Man Form
Yup Bot Ling Bot (108) 2 Man Form

Now that we have sorted most of the forms in the different branches we will see some details
about the most important forms in the system:

Som Bo Jin (3 step arrow punch)

The basic form and the corpus of the style, we find it in all the different branches (it is the
"bung bo" of the Southern Praying Mantis). It is a form that concentrates on the development
of Chi power. This form goes into strengthening the body.

3 step arrow punch is simple by technique, but it is very hard by practice; through this form
you will begin to attain the gen powers. For example, Som Bo Jin works on the Phoenix fist,
and it is through this form that the fingers are strengthened so that the phoenix fist becomes a
much more solid force with a piercing power (finger power is known as "tsee lik"). This form
is done slowly, and the arms are always in front and the punching is done at a short distance of
about 5 inches, it is from this practice that power can be attained at short distance. Even
though the first form is basic, you could say that it's one of the most advanced forms as well.

To make another comparison with more popular styles we could say it's like Sil Lum Tao in
Wing Chun. It's the first thing you learn but the appreciation of It only occurs over a period of
time.

In-depth study of this form teaches you the correct footwork, and the proper position of your
techniques. The three step arrow form is recognized by kung fu masters as a chi kung formula
which guides the breath to the lower abdomen while also developing inch-power.

Stepping, gathering and releasing power in short explosive strikes and borrowing force are the
important points of this form. During the training of this single man form, one should train "fic
shu" and mantis chi sao (fic shu is a series of continuous hand motions to increase fluidity,
relaxation and flexibility in the hand and arms).

Once the single man Som Bo Jin form has become skillful, one next learns the two man
"breakdown " of Som Bo Jin. This is a two man form stressing basic skills of stepping,
borrowing force, and striking in unison with a partner. It differs from most other style's two
man forms in that it is very sticky and contact oriented. The two practitioners hands, arms and
legs are hardly separated once the form is begun. The two man Som Bo Jin is the application
of all the principles and philosophy in a realistic way.

In the Zhu Lin Shi Tang Lang Quan, Lum Sang taught Som Bo Jin as the first form and the
foundation of the system. Roger Hagood has stated that this form is often mistranslated "Three
Step Arrow", although the actual meaning is "three steps forward".

1.Chow Gar (Ip Shui's Chu Gar)

Yee Kup Som Bo Jin

The second stage of Sarm Bo Jin, used to develop the Gen power.

Sup Baat Yau Loong (18 Swimming Dragons)

The 18 Swimming Dragons are part of the intermediate stage of the Chows Mantis system,
they are a selection of 18 singular movements, their actions are seen as a Chinese Celestial
Dragon twisting and turning. When you have completed all 18 movements you then practice
them by changing into any of the 18 moves in any particular order. The idea of the 18
Swimming Dragons is to avoid the strengths and powers of your opponent, to finally land a
precise blow of your own.

When the training in Southern Mantis starts the students tend to think that the it is a hard
physical practice system (see the training exercises section). This is totally the wrong
impression, and could not be further from the truth. However the beginning stage is tough
training, as the student goes through the Southern Mantis stages of training and development
he begins to flow with his conditioning. The 18 Swimming Dragons are simple relaxed
movements of the Chows Mantis System. By practice and putting them to use, will make you
harder to hit and get hold of, you learn to tackle your opponent by avoiding his attacks, and
because you are twisting like Chinese Dragon. your opponent finds this frustrating until you
land an attack of your own.

The 18 Swimming Dragons teach one to go up, down, left and right, weaving in and out
causing the opponent to miss with his attacks. These movements apply themselves to the
avoidance and divertion of your foe's execution of movements, of course your own foundation
must be firm to use such relaxed moves. Overall they could remind someone of a boxer who
bobs and weaves. as it did me many years ago, with the head and body going side to side etc.

There is grabbing and pulling situations when exercising the 18 movements. It bases itself on
free form, flowing into one movement to the next. Also one has to be cool in the application of
the 18 movements, by putting yourself in a better position and your opponent in a more
awkward one. This is done by controlling him and his balance so he looses his sense of
gravity, so the fight is completely under your control.

This is the soft side of the Southern Mantis system, the first nine dragons teach body mobility,
the monkey footwork, and the last nine dragons teach techniques like sweeping dragon,
turning dragon, plus the Tow Mo Loong (breathing dragon Hay Gung).

Bo Sim Sau (Searching for the insect)

A direct translation would be "Searching for the insect". The insect, refers to the pressure
points It consists of thirty sections of footwork and hand movements, with each section having
five different movements, and it is the longest form in the Chow Gar system.

Som Gin Yu Kiu (Three arrow punches and shake off the bridge)

Yui Kui means to shake off, and this form teaches how Yui Kui works in the Chow Gar system
as a joint locking technique aiming at the wrist points.

Som Bo Pai Kui (Three step slicing bridge)

Pai Kui is the Southern Mantis slicing technique, the form has hidden Dim Mak techniques.

Som Bo Pin Kui (Three step parallel bridge arm)

This form in the Chow Gar system is renown because of the Pin Kui technique, that cuts
across the vital Dim Mak points, hence the name of the form.

Yurn Yearn Kum La Sau (Ying Yang seizing hands)

Ying Yang or opposite forces are much in play in the form which include breaking techniques,
and how to make your opponents limb easier to break by striking the Dim Mak points. There
are many short range techniques in this form which is ideal for close-in fighting.

Fut Sao (Buddha Hand)

It is an advanced form showing the hidden dim mak points and the 12 different palm strikes to
hit those dim mak points.

Tow Mo Kuen (Breathing mist form)

This Chow Gar Praying Mantis form is for close-in Dim Mak strikes

Sup Jee Jau Cow Dow Sau (Cross hands claws continuous form)

This form contains many different strikes including palms, claws, and Dim Mak techniques. It
is an advanced form.

Som Bo Loi Deng Choy

This form teaches the Say Barn Lig (4 powers hand technique). It also includes hidden Dim
Mak techniques.

2.Hakka Boxing:

Say Moon San Sao (Four gate single hand form)

Also known as Koy Moon, is taught by some branches of Hakka boxing as the first form of
the system.

3.Zhu Lin Shi Tang Lang Quan

Lah Sao (Loose Hands)

Lah Sao (loose hands) is a short, medium and long range two man hand set with low kicks,
high kicks and sweeping. Although the form is based on stickiness, there are three separations
of the two men. Both sides must be learned by both men as one continuous "round" to
complete the form.

Sup Bot Dim (18 Points)

Sup Bot Dim (Eighteen Points) includes, stepping, kicking, covering left, right, and center
gates and striking low below the waist, all while attacking the nerves with short continuous
explosive strikes. Also known as "Eighteen Buddha" form this set teaches vital point striking
with the knuckles and fingertips in forward, left and right positions. Eighteen points two man
form follows and the partners develop greater feeling, timing and sensitivity while learning
where and how to strike the vital points with intent. Staff, broadsword, sword and sai may also
be taught.

Chut Dim Siem Kuen (Seven Point Monk Lee's Fist)

This form was sometimes taught privately to those advanced students who had potential but
weren't deemed acceptable by the Master to graduate the system. Unless one was asked and
became an inner disciple by ceremony, traditionally his training would stop here. Only those
who became personal disciples of the Master would continue their training further.

Moi Fa (Plum Flower or Five Fists) 2 Man Form

It is four directional and includes the evasion of takedowns and sweeping. Next is the two man
Moi Fa set where the skills are further refined. Moi Fa, follows and is a circular two man set
teaching one to attack vital points below the navel.

Yup Bot Ling Bot (108)

It is the master's form, only taught to those who are formally accepted by the master. It is a
two man form teaching 108 vital points (36 lethal - 72 paralyzing). Medicine is taught at this
stage along with a spiritual gong fu (Shun Kung).

This sticky hand form teaches precision in attack, defense and counter attack of those vital
areas. This skills are supported by the Monkey stepping (low). However, this training is not
taught publicly. 108 has origin in symbolic Hinduism, Buddhism and Taoism. It represents the
36-72 Heavenly and Earthly spirits which complete nature.

17.WEAPONS TRAINING

There are eight basic weapons in the Southern Praying Mantis. There's the butterfly knives, the
pole, the kwan dao, the spear, the dan dao, the gim, the iron ruler and the tiger fork.

The style also has forms with other weapons like the walking stick and the bench, but the
principal weapons of the system are the pole and the straight sword.

The system has numerous weapon sets (qixie or hay hai). As we did in the bare hand forms we
will classify the weapons forms according the different branches they belong to:

1)Chow Gar (Ip Shui's Chu Gar)

Ng Hung Kwun (Five elements staff form)

Five Elements (staff form)
Duk say kwan or Duk Sheu Gun (Poison Snake Staff form).
Bow sim kwan (staff form)
Yellow Cow (staff form)
Lau Soei Kwan (staff form). Supposedly sifu Lau Soei created this form himself. It is a
short form, just half a dozen movements.
Woo Dip Dow (Butterfly Knives)
Kwan Do (Kwan Do form)

2)Hakka boxing

Liu Tien Pan Kun (6 1/2 pt staff)

Mei Hua Kun (Plum flower staff)
Sho Ho Chian (Neck locking long spear)
Shih Sun Chian (13 pt. long spear)
Chu Toh (Farmers hoe)
Tze Mu Tau (Double butterfly knives)
Tieh Cher (Iron rulers)
Kun Twee Chai (Prearranged long stick sparring set)

3)Zhu Lin Shi Tang Lang Quan

Butterfly Knife
Broadsword
Double broadwords
Duk say kwan or Duk Sheu Gun (Poison Snake Staff form)

18.MORALE TEACHING
Practicing Southern Praying Mantis makes one aggressive in nature, and the constant rubbing,
feelings and turning of power acquired during feeding hands gives one confidence to defeat
the enemy. That is the reason why the masters put so much effort in teaching a rigid morale to
the students.

The spri (altar), is honored from generation to generation. The spri has the deepest spiritual
meaning, this is where the sifu honors all previous masters. The students honor the current
masters this is the way of order. Only the (sifu) will go near the spri, upon the opening of each
class, sifu will light the incense and place upon the spri. In silence the sifu and the students
honor the ancestors in the art. In daily practice they show this by saluting (with the unique
southern mantis salute) the altar of kung fu and past masters and sifu when they enter and
leave class. Sifu opens his classes by burning incense at the altar and closes it with his salutes

As a spiritual discipline, each of students learn the meaning of the Chinese words:
Hoc Yurn
Hoc Yi
Hoc Kung Fu
Jurn Jow
Jurn Si
Jurn Gow Do.

They must understand humility, loyalty, and hard work with respect of the ancient masters,
respect of sifu and respect of his guidance.
"Respect the ancient Masters
Respect the Master
Respect and Cherish your Teacher and Teachings"

19.CONCLUSION
The southern praying mantis has all the elements necessary for effective infighting. There is an
intelligent fighting posture, and skill at infighting also requires an effective arsenal. There are
three important factors in effective attacks, one is the accurate delivery of blows to vital and
sensitive targets, a second is the delivery of those blows with the smallest, most concentrated
striking surfaces and third is the development of power even in "small scale" actions. Effective
defense is important too. Defensive actions both protect the defender from getting hit and help
create or discover opportunity for counter. But effective defense will only occur if one has
developed feeling, a sensitivity to the moments and energies of an opponent. It is only in the
development of feeling that the martial artist can hope to successfully integrate defense and
offense in close combat.

In summary then, Southern Praying Mantis is a complete and effective fighting system with
soft and hard aspects uniquely mixed into the style. It is ideal for men and women of all ages.
Simple, effective and basic body mechanics make it easy to practice regardless of age,
physique, or sex. It is a superb form of training for both health and over all physical fitness
and it is a highly devastating, easy to use method of self defense.

Notes:

(1)Other sources in the Chu Gar style say he was a younger brother of the last Ming emperor.
This is difficult to believe because if we analyze the dates, he should be about 100 years old
when he moved to the Southern Shaolin temples. Therefore, it makes sense to think he was
blood related to the last Ming Emperor, but he was probably one of his descendants.

(2)These are the surnames of the dynasty families:

Dynasty Surname
Qin Ying
Han Liu
Jin Sima
Sui Yang
Tang Li
Song Zhao
Ming Zhu
Qing Aisinjuero

(3)Hakka (Ke-ren or guest people) people were formally from the North of China, but they
would move around in a group. Somehow their journey reached Southern part of China. It is
supposed that the Hakka people is descendant of the Ming royal family and their supporters
that moved to the South escaping from the Manchu invasion in the XVII century.

(4)Hokkien people are from Fujian province (that translates to Fukien in Cantonese or
Hokkien in hokkien dialect) and this community has its own dialect spoken in Southern Fujian
area and other countries where the Hokkien emigrated, for example Malaysia. Their language
is very similar to teochew (chiaochow in mandarin).

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