Bak Mei Kung Fu Manual - Download as PDF File .pdf), Text File .txt) or read online. The Multi-Layered training Methods hidden in Bak Mei Kung Fu (Written and Illustrated by Tyler Rea) Secrets of the Bak Mei Salute to drop and arch to the left . Download .. Acquiring explosive power in Bak Mei kung fu leads to work on This concept is almost the trademark of Bak Mei kung fu.
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eBook on Bakmei Kung Fu - Straight Step Form / Jik Bo Kuen. Instant download - No waiting periods. Why you should learn Bak Mei Kung Fu. Bak Mei Kung Fu is a type of internal kung fu style originating from Szechuan You will find set out in our eBook a guide to the concepts and techniques of Bak Mei Kung Fu. The White eyebrow training manual Vol 1 features structure formula, martial maxims, Download and Read Free Online Bak Mei Kung Fu: Martial Maxims and Bak Mei Kung Fu: Martial Maxims and Power formula by Mr T. R. Rea Free PDF. Pak Mei, or White Eyebrow Kung Fu, is a comprehensive classical Chinese martial art Get your site here, or download a FREE site Reading App. . from that discusses concepts, training methods in addition to martial instruction.
Now, just as with the kite, visualize a line, a string, a centerline plane extending from your center to the attacker.
The following sections contain informa- tion regarding the Say Ging Four Energies of Southern Boxing as well as Ging methods and application tactics based on the Chinese 5 element theory. He who has mastered this is capable of rendering his oppo- nent completely immobile, thus putting him under absolute control.
Bak Mei Kung Fu Manual
This key to power is cultivated through Jahng Dai Lik Elbow sinking power. When the opponent moves, one simply sinks the center into him. This is trained in the form sombogin.
If skillfully applied some say this feels like the opponent is being shocked by electricity or permeated by a shockwave of expansive force. The Principles of Tan, Tou, Fau, Cham are Tou, or to spit, corresponds to an outward found in virtually all Southern Chinese martial release of force away from the body.
Typically, arts and their combative interpretation can tun complements tou as a kinetic pair. Shown here with the Icon of an Ax, within some schools this is more accurately rendered as a Scissor, which embodies the details of Polarized power integrated and focused in angular attacking reference structure.
Pak Mei Kung Fu’s Gau Bou Teui – Nine Step Push
Drilling, Water Vorticular power is at the heart of both your ability to manifest abundant force and also your ability to disrupt and neutralize the attacker. Crushing, Bursting, Wood In combat, to maintain a dominate position from which to apply our power we must always go forward. Although deceptively simple and ap- parent, this principle allows the one applying it to control the diminishing amount of physical surface area you have to protect and control. Pounding, Cannon, Fire In much the same way a Fire can burn out of control consuming itself, it should be the goal of a practitioner to force the attacker to do the same.
An Attacker who wastes movement, tactics, and emotional energy Assures his own defeat. Thus as in the Art of War, we feed off the Attacker and impoverish his resources to fortify our own. Crossing, Earth This principle not only expresses the aspects of applying Heavy ging to the attacker but also the skill of maintaining a soundly rooted position of power. This early life adversity, as much as any other factor, probably stoked his desire to master the martial arts.
Cheung began his martial education at the age of five under the tutelage of a respected local doctor named Lam Sek. He introduced the boy to both boxing and weapon sets that would remain in his repertoire throughout his life. His education with this new teacher focused on close quarters combat and a new set of weapons. Cheung was also greatly influenced by Dragon Shape Boxing.
His initial exposure to the system was through the ground work taught by Lam Yun father of Lam Yiu Gwai. As a young adult Cheung Lai Chuen moved to Guangzhou seeking employment and a little excitement. Not a lot is known about this period of his life.
He worked a number of odd jobs and continued, like so many other country boys, to practice the various boxing styles that he had learned in his spare time. He may have taught some friends and cousins who formed his immediate social support network , but he did not open a school or take on the title of Sifu at this time. Around Cheung claims to have encountered a young Buddhist monk sitting in the middle of a traditionally Manchu neighborhood and teahouse in Guangzhou.
His name was Lin Sang. Relations between the Han and Manchu communities were deteriorating rapidly, but the teahouse featured cockfighting and gambling which interested the young Cheung. Over time he became curious about the frequent appearances put in by the young monk, who generally held himself aloof from the commotion and never seemed to be bothered by the Manchurian patrons.
Upon further investigation Cheung managed to discover that Lin was in fact a talented martial artist and the student of a monk named Juk Faat Wan who resided outside of town at the Gwong Haau Ji temple.
The story goes that Juk Faat Wan was furious to learn that his disciple had been demonstrating his martial arts to outsiders. In fact, Cheung was his only student, with the exception of Lin.
Unfortunately the political upheaval of the country dictated that Juk Faat Wan and Lin Sang needed to leave for another temple, and after three years of isolation Cheung Lai Chuen wanted to return to a more secular lifestyle. The three men parted ways. While Cheung went on to become famous, no one ever heard of the two monks again. The implication here is that they may have been some sort of revolutionaries with a role to play in the events of This account poses a number of problems for historians.
Sometimes it is just not clear how to handle a story such as this one. If Cheung had claimed to have visited the southern Shaolin temple in Fujian it would be easy to dismiss the entire account out of hand.
At this point it is generally accepted by scholars that this structure never existed except in popular literature. Yet there were small temples all over the countryside, and the monks and novices who resided in them occasionally had to study martial arts to ensure their own safety in dangerous times.
This was never the primary function of these monks, and it is not clear that there was anything uniquely Buddhist about their martial arts, but this sort of stuff did happen. Nick Hust, in his book Sugong , provides a wonderful account of real schools run by martial monks in both Southern China and South East Asia.
Still, there are a number of problems with this account. This stands in marked contrast to the contemporary monks discussed by Nick Hurst who actually do appear in the historical record and can be subjected to historical scrutiny. Of course it is always possible to wave-off these mundane concerns with the suggestion that the two mysterious figures were really revolutionary agents on a secret mission to overthrow the government.
Yet if that is the case then it seems unlikely that they would have risked bringing in an outsider compromising their security only to gain nothing by the exchange. It is also extremely odd, and strangely convenient, that Juk Faat Wan would have taken on only a single student. Generally speaking it took a lot more than one student to defend a temple and its property.
Dozens of students were needed for a mission like that and temples with martial monks might have up to a hundred students.
Then there is the fact that so much of what Cheung learned from his first four teachers ends up in Pak Mei, the art that he supposedly learned from Juk Faat Wan.
It is certainly possible that Cheung studied with another teacher between and It is even possible that this happened at a temple.
But it is hard to see how any of this is necessary to understanding the art that he ended up promoting. While it is hard to say much about the veracity of this account without more evidence, I think that we can conclude that it derives its value from being a good creation myth, much like the story of the southern Shaolin temple or Ng Moy.
It probably told students a lot about the social nature of what Cheung Lai Chuen was trying to promote, while telling them relatively little about where his techniques actually came from. Salt is an important good, necessary for life and easy to transport.
Governments have long known that taxes work best, and are hardest to evade, when they are placed to inelastic goods that must be traded and sold in centralized markets. As one would expect informal, often criminal, networks quickly formed with the goal of smuggling and selling untaxed salt. This was difficult, dangerous work, but it was also very lucrative. Provincial officers were forced to create salt agencies to enforce the tax and combat smuggling. Since this was often rough work, both salt tax offices and the salt smuggling gangs were a frequent source of employment for young martial artists.
Of course the myth never says which side of the official trade he was on. That is left to the imagination on the individual storyteller or listener. Cheung had no doubts about which side of the issue he was on and who he worked for.
Southern Dragon Kung Fu
In fact, this job really set the pattern for a lot of his subsequent success in life. He learned that the government was a powerful source of patronage, and gaining the favor of the right official was the key to promoting ones career, even as a martial artist.
Accounts indicate that Cheung succeeded admirably in the rough and tumble world of tax enforcement, confronting smugglers and breaking limbs. His prowess in this department won him the admiration of his colleagues who became his first set of official students.
It was the reputation that Cheung made while working for the government that allowed him to go out and open his first set of schools, building a truly impressive network of public institutions.
Purely commercial success never seems to have been enough for Cheung.
Bak Mei - White Eyebrow
Whenever possible he attempted to make contact with government officials who might recognize the value of his art. Bak Mei has a high stance with small crisp motions. There is a clear distinction between the tensing and relaxing of muscles.
Tensing only occurs at the moment of impact. The idea is to relax immediately upon tensing. By not carrying the tension, the Bak Mei practitioner is able to generate crisp and sharp hits.
Offense is considered the best defense in Bak Mei. The idea is to defend the centerline rigorously, while creating openings and attacking such relentlessly through the combination of highly aggressive hand techniques and offensive footwork that never stops until the opponent is down. Tun To Fao Chum is the key lesson to be learnt in Jik Bo Kuen and relates to how the hand moves in coordination with breathing.
Maintaining the correct posture is also a critical part of Bak Mei. The three body types are the Round, Flat and Thin Shapes. As elaborated below, Roundness relates to the upper body arm.
Each plays an indispensable part in shaping how the Bak Mei fighter engages his or her opponent. Bak Mei traces its roots to the time of the Qing Dynasty, during the rule of Emperor Qianlong around the 18th Century.I guess the sigung comment threw me off. You have ONE source, and of course your comrades who also drank the kool aid. Cheung Lai Chuen played this game with great skill, and he lobbied hard to see the southern Chinese arts acknowledged and even included in the official curriculum of local Guoshu run organizations.
For Bak Mei practitioners, the bottom line is not to acquire force but to acquire power. However, his life story also demonstrates the importance of political backing and support for anyone wishing to promote the martial arts Nationalist China.
Similarly, the compound lever ac- tion of the scapula, trapezius, and shoulder create an open and closed opposition. It is important to realize that the Pearl River Delta was an incubator for martial artists.
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