Hung Gar (“gar” meaning family or clan) is an adaptation of the Shaolin tiger system originally taught to Hung Hei Goon by the monk Master Jee Seen. Disciple Hung took his subsequent mastery of the Tiger Claw and combined it with his wife’s White Crane style. Hung was married to Fong Wing Chun (no relation to Yim Wing Chun) who studied the White Crane system also under the tutelage of Master Jee Seen. He further added selected techniques of the Dragon, Leopard and Snake forms.

There’s nothing fancy about this style. It’s just sheer power formed through the combination of internal and external energy forces. Hung Gar’s internal training is a series of exercises that resemble dynamic tension drills called bridge hands. Bridge hands transfers chi (internal power) from the body to the striking surfaces of the hands. Formed by extending the arm forward with the palm facing out, the index finger raised and the other fingers bent, bridge hands also represent the connection between the opponent and hung gar stylist. Once contact is made, the bridge hand can block, trap or strike. You will notice this transfer of chi while using the bridge hands in the Gung Gee and the Tiger - Crane forms. This is one of the style’s trademark.

The horse stance (ping ma) is the best known stance in hung gar. This is formed by sinking as low possible with both toes pointed straight ahead and the knees pushed outward. This provides the hung gar stylist with balance and stability required of this power fighting style. Ancient practitioners famed for their calm and uncomplaining endurance began their training by standing in the low horse stance while practicing straight punches. They did this for three burning of incense sticks (One incense stick lasted approx. one hour) every day for three years before learning any advanced techniques.

Another stance often used in hung gar is the cat stance (dil ma). When tighter hand techniques are used the stances are low and crouch-like, with the back leg bent to produce sudden springing power, to go into another stance or to deliver a snap kick. However, crane techniques require a higher cat stance than the tiger. Crane blocks and strikes are quick actions armed at high targets. When using a crane technique from a cat stance the body is turned to the side presenting the smallest target possible.

One common fist position in hung gar is the sun punch (yuk jee kune). The punching arm is extended to 90 percent of it’s length, with the elbow slightly bent. The fist is in a straight sideways position with the thumb on top. The other common fist is the reverse punch with the arm fully extended.

Perhaps hung gar’s best known animal imitation technique is the tiger claw (fu jow). They play such an important role that they are accompanied by their own energy producing sounds. This pushes the martial artist’s energy into their abdomens, creating a flow of energy through the tiger claw hands. The “wah” sound used to drive the practitioner’s chi into his tan tien (the center of the body’s internal energy). This is produced in conjunction with the tiger claw hand techniques witch are reputed to be one of hung gar’s most powerful strikes. The tiger claw hand is made by bending the fingers and are placed in a position like a cat’s claw. The wrist is also bent back making the forearm hard and more receptive for blacking. Tiger claws can also be used for defensive purposes. The claw is often positioned between the practitioner’s knee and elbow, where it quickly protects the torso.

The animal form seen almost as often is the crane. Crane power is fast and light, since its targets are the most fragile areas of the body. Crane attacks often have a recoiling appearance, they withdraw quickly to wait for the next technique. A common crane hand technique is the crane beak (hak Jui), which is formed by extending the fist tow fingers and connecting them to an extended thumb ( this creates a smaller surface area for sticking). The hand is cocked to the practitioner’s ear, to imitate the cocked head and neck of the famous crane. Strikes are made with the wrist straight and extended.

Another common technique is called crane wing (hak uik) a double hand block that strongly imitates the aggressive defensive astion of a calm but graceful crane when it spreads its wings. This movement helps catch and pull away the wrist of an oncoming punch. A lightning fast straight snap kick often follows the crane wing defense, since hung gar’s defensive hands block an opponent’s field of vision lide a crane’s wings would cover this enemy’s eyes. It is important that crane strikes should be light, quick and directed at targets such as the eye or temple region. When doing crane techniques be graceful and quick like the crane, put yourself in its body.

Hung Gar Kung Fu merges both long and short range techniques. To ensure effective fighting, a martial artist always maintains the proper range between the opponent and himself. Long-range techniques include jumping, foot sweeps, kicking and hand techniques. Short-range or closed-in fighting techniques are generally based on quick hooks and uppercuts.

Hung Gar also combines circular and linear techniques. Circular movements are smooth and are in great harmony with the flow of Chi. The linear method is executed with a straight motion. Since a straight line is the shortest distance between two points, linear attacking and blocking are very effective in Kung Fu. This, however, usually means a force-on force attack with the stronger force winning, (not to effective for a small built martial artist). Hung Gar blends the two with more emphasis or circular motions. For example, most blocking techniques follow an arc or circular pattern enabling the hands to move more smoothly. Counter attacks can be executed with straight or curved movements depending on the position of the opponent.

A skilled martial artist should be able to circle his hands freely and continuously in all directions. Once a practitioner grasps the essence of circular motion techniques, he will be able to perfect it to deviate any attack. Rather than blocking, attacking force with force, he changes the direction of his opponent’s force to take advantage of his opponent’s momentum.

Hung Gar hand techniques stresses the use of the entire body to generate the power behind the hit. Forces are exerted through the back legs, waist and arms to the hands. To ensure a smooth technique the waist, legs, back and arms must be coordinated in a single strike. For example, when throwing a fist, start with the elbow bent to draw the fist to the side of the waist. While turning the waist and legs, throw the fist forward and twist the forearm so there is a snapping motion at the end of the movement. This will intensify the power generated in the hit.

Blocking in Hung Gar is primarily performed with the forearms and can be used for attack and defense. In Hung Gar, blocking with the forearms is known as “Bridge-moving Techniques”. When blocking with a tiger claw technique, the wrist should be bent back. This will in effect tighten the muscles in the forearm making your block harder and stronger.

To harden the forearms a two person exercise can be performed. While facing each other in a horse stance about one arm’s length apart. Both swing their right arms in a low arc hitting the backs of the forearms together. Keeping the elbow and shoulder still, the forearms then swing up and out hitting each other on the thumb side of the forearm. Finally, the arms swing down to hit the little finger side of the forearm. Then repeat on the other side.

Other divices can also be used to toughen the forearms for blocking. For example striking a tree trunk or other hard objects. Also, using iron rings around the forearms during practice will do the trick. Hitting them with a round piece of hard wood (aprox. 24” long), starting on top and going all the way around will also have great results.

Keep in mind that when starting these exercises, to start slowly and for a short period of time. Then you can start lengthening the time sessions and hitting a little harder, as you feel the need.

In Hung Gar Kung Fu, repetition in training is emphasized. During practice, the practitioner works over and over on moves in the forms until they become second nature. After long-term training, each part of the body can then respond properly when called upon.

When training one repeats those moves which work best for him or her. There are usually only a few moves any one practitioner has absolute confidence in. However, the more one trains, the more moves one can use.

Fook Fu & Gung Gee are considered the fundamental and oldest forms in Hung Gar Kung Fu believed to have been developed by Hung Hei Goon after his intense training with his sifu Abbot Jee Seen. The origins of these two sets can be traced back to Siu Lum Temple. Fook Fu meaning “Taming the tiger” and Gung Gee meaning “hard work”. These sets are based upon a solid horse stance, use of force in the mid section and the strength of the forearms. The close knit sequences with forward and backward movements in organized patterns condition the reflexes for other Kung Fu practice, such as weapons sets. These sets will also help develop and enhance one’s breathing capacity.

The Tiger Crane Form is the most famous and popular of the Hung Gar forms and is said to have been developed by Wong Fei Hung. This form stresses the Tiger and Crane techniques as well as balance between the two complement each other in the form. While the Tiger is utilized for teaching one to refine his power, dynamic tension, breathing skills and courage. The Crane develops whipping power, evasive tactics, waist movement, balance and calmness of the mind.

With consistency in training these sets or forms will become a thousand techniques, and all techniques will return to one principle. Practice does not make perfect. But practice will make better.

Written By Sifu Rino Côté