Since not many know of all of these styles that will be in the game, I decided to post descriptions of all the styles that are confirmed so far. Until they are finally confirmed for each character, for now they'll just be listed by themselves. I'll update the list when new styles are revealed.

NOTE: As of now, there is very little information on the style, Ying Yeung to post. If anyone comes across any verifyable info, feel free to let me know so I can update the list as well inform me if any corrections/additions need to be made to the descriptions.


----------

Sun Bin Boxing
This is a style supposedly named for the grandson of Sun Tzu, the author of that famous military text "The Art of War" (Bing Fa). Sun Bin was himself an important writer and his commentaries are considered classics of Chinese military theory. The Art of War and Sun Bin's writings have been read and studied throughout Asia for hundreds of years and influence personal martial studies as well as wider military applications. This style is a Long Fist of fluid motions and light energy. It's most immediately distinctive feature is a high stance almost on the toes like a boxer during certain actions. Some of its sets relate to Mei Hua Plum Blossom Boxing.

Sixty Hands: A form consisting of 60 movements. In some senses Sun Bin resembles Tan Tui in its elongated and direct motions.This is one of the fundamental forms for the style.

Hammer Fist: A long form of 108 movements and is the key Sun Bin fundamentals set. There are many attack and defense movements with Sun Bin's distinct flavor and an emphasis on coordination of upper and lower body.

Small Frame Fist: This consists of sixty-four forms and is also called "Sun Bing 64 Hands. A middle-level routine its movements are almost awkward with hopping on one leg, lift kicks and short hand motions. Sweeps and twirls are particularly emphasized.

Middle Frame Fist: This set serves for what many people would call a Linked Fist. That is, it stands as the shortest set in the system and is compiled of the basics gathered from the other sets. Even though basic, it is very characteristic of the style.

Large Frame Fist: This is the longest of the basics forms. Its movements concentrate on striking to the upper body. It also seems to show more techniques form both side. Again, the distinctive movements of this teacher/practitioner are somewhat awkward though this may be the effect of age.

First Road: This is also called MAI FU QUAN which is to say Ambush Fist. Why Sun Bin's first "core" is also the first fist of the Mei Hua Boxing system we're not sure. However, being familiar with the fist, we can say that this famous form is well named. It emphasizes the "hidden hand" where the idea of "ambush" is an extension of the practitioner always remembering his "off hand" while performing the more obvious actions. Mai Fu is so significant to Mei Hua style that of the ten Mei Hua core sets it appears twice.

Road #1 Sword: This is also known as the MERIDIAN (ZhiWu) SWORD. A longish set it is one of the few we have seen that utilizes the sword "back hand" style as well as the more common normal grip. Fast, tiny steps punctuate this long-fist style straight sword.


Ba Shan Fan
This is tighter than most Northern Styles with obvious applications to practical self defense and fighting. Almost a short fist style with xing yi like movements and fast hands form solid positions. Ba Shan Fan is probably more famous under its alternate name: Fan Tzu Boxing.

Ba Shan Fan: Much tighter than most Northern Styles with obvious applications to practical self defense and fighting. Sort of Wing Chun if invented by Northerners.

Mei Hua Pao or Plum Flower Cannon: This form shows movements that are more "hard" with applications demonstrating hand leg combinations. Tornado kick and back kick both in the form. This routine contains 3 basic cannon fists, basically 3 palm skills, & 4 various footwork patterns.

Seven Step Fist: The form is said to emphasize Chi accumulation and storage. A little softer than the previous Mei Hua Cannon Fist.

Yun Shou Fan or Tumbling Cloud Hands: The emphasis here is on double arm actions and flicking movements almost like Praying Mantis Fast hands with coordinated leg actions. Still not as large framed as many Northern Fists.

Sz Ping Shi or Four Calm Levels: Here we have fast kicks, quick hands, a short learnable set with applications shown. Pin means calm. This routine is said to calm your mind, qi, and heart. The acquisition of Stillness is useful in fighting and, as George Xu once told us, "takes away the fear".

Liu Tang Gen or Six Rows Root: More short and quick movements this form particularly emphasizing elbow actions and direct punching. Applications show not only practical movements but rapid and streamlined follow ups some of which are pretty interesting. This form is also called MuTzi Mother-Son Fist. The implication here being Mind is to Chi like Mother to Son. Free fighting type applications.

Eight Quick Steps: Stresses quick feet, quick hands and quick thinking. Applications show moves based on not only fast moves but sudden changes of direction and counter fighting.


Fu Jow Pai
The style is Southern Kung Fu based with emphasis on strong clawing motions and powerful actions.


Mian Quan "Continuous Chuan"

Mian Quan or the continuous Chuan is a northern style of fist play, which is popular in central Hebei Province. The main feature of continuous Chuan is to gain supremacy by attacking only after the opponent has attacked. It centers on the opponent and the movements change if the opponent changes. It bases its movements mainly on defence and launch attacks only after defensive moves. Suppleness turns to hardness once the boxer gains control of the combat and they fight in accordance with the development of the combat. By putting out their hands to meet the opponent they benefit from his forces, forcing the opponent to change from attack to defence and use surprise tricks to beat the opponent before the latter has time to prepare for a new bout. When combating, charging and hardness are used more in attacks whereas retreat and suppleness are used more in defence. The continuous boxers prefer to defend before attacking and they always try to gain the dominant position by using supple and soft forces. They become hard once they are dominant. This is how hardness and suppleness are combined in the continuous Chuan.

Movements in the continuous Chuan are spread but steady and the basic actions of the body, hands and feet are similar to those of the long-style Chuan. The difference lies in the fact that continuous boxers keep their heads upright; their necks straight; their shoulders lower and their chest, waist, hip, back and abdomen relaxed. Their movements are fully extended but steady, supple and continuous.


Chuojiao "Feet Poking Chuan"
Chuojiao or feet poking is one of the oldest Chuan styles practised in north China. It is known for its range of feet and leg plays. Most of the Chuan styles of the north feature these, so their style is called "Northern Feet." Chuan proverbs about this school say: "Fist plays account for 30 percent whereas feet plays for 70 percent"; "The hands are used as doors for protection but it is always the feet used for attack.".

Chuojiao originated in the Song Dynasty (960-1279) and became popular during the Ming and Qing dynasties (1368-1911). It is said that Deng Liang created the Chuan on the basis of the 18 basic feet plays. He developed the basics according to calculations of the Chinese abacus to form a chain of feet plays incorporating 108 tricks. It was passed on to Zhou Tong who taught Song Dynasty General Yue Fei who became revered as the founder of the school. As some of the outlaws described in the classic novel Outlaws of the Marsh were specialists in feet poking, it has been known as the water margin outlaw school of Chuan.

Shi Dakai, one of the leaders of the Taiping Heavenly Kingdom (1851-1864) in the Qing Dynasty, is known for his scholastic and martial arts abilities. He taught the jade ring and mandarin ducks tricks as his consummate skills to his selected soldiers in training. In Volume 20 of the Unofficial History of the Taiping Heavenly Kingdom, it recounts how Shi's soldiers fought Qing Dynasty troops. They stood in front of the enemy line with their eyes covered by their hands, and then jumped back about 100 steps. When the enemy came close, they used both feet to kick the enemy soldiers in the abdomen or groin. If the enemy soldiers were stronger, they doubled their kicks and turned their rings simultaneously to defeat their enemy. These selected soldiers were called the braves of Shi and won many battles against the Qing army.

Zhao Canyi, a general in the Taiping Heavenly Kingdom, was also good at Chuojiao. After the northern expedition of the Taiping army failed to take the city of Tianjin, Zhao Canyi lived in seclusion at Raoyang in Hebei, where he taught the feet poking Chuan to Duan Yongqing and Duan Yonghe and the Yan Qing tumbling Chuan to Wang Laozi and Wang Zhan'ao. The Duan's and the Wang's often taught each other while practising their own styles of Chuan. As a result, their followers mastered both Chuqjiao and Fanzi Quan. At the end of the Qing Dynasty, Chuqjiao was spread to Shenyang in northeast China.

The northeast China style of Chuqjiao falls into two categories-martial and scholarly routines. The Beijing Chuqjiao does not have any such division. It is called Chuqjiao Fanzi, which is short for Chuqjiao (feet poking Chuan) and Fanzi Quan (tumbling Chuan). There is still another style which combines the martial and scholarly routines.

The martial routine was the origin of Chuqjiao (feet poking Chuan). The martial routine in Shenyang later became known as the Hao-style Chuqjiao, namely feet poking Chuan named after Hao Mingjiu. It features powerful but comfortable moves and its blows are accurate and incorporate a variety of subtle feet tricks. Hands and feet cooperate well for better advantage and longer reach. Its strikes are short but fatal. Hardness is the core of Chuqjiao which it combines with suppleness. Its routine consists of nine inter-connected twin feet routines. These routines can be practised either one by one, or linked together. The feet plays call for close cooperation between the feet which is why it is called twin feet play. Another feet poking Chuan is called nine-tumble 18-fall Chuan.
The scholarly routine is a derivative from the mar tial routine. It is said that during the reign of Emperor Guangxu (1875-1908) of the Qing Dynasty, boxer Hu Fengsan of Shenyang learned of the fame of Chuqjiao masters, the Duans in Hebei Province, and traveled 500 kilometers to study with him. After years of hard work, Hu came to understand the secrets of Chuqjiao and went back to his native town, where he further developed the art into the scholarly routine, known later as the Hu-style Chuojiao. It is characterized by its exquisite and compact stances and clear-cut, accurate and varied movements. It is also very fast in delivering both fist and feet blows. The scholarly style features such routines as 12-move Chuan, 18-move Chuan, flying swallow Chuan (small flying swallow Chuan), arm Chuan, turning-ring Chuan, jade-ring Chuan, six-method Chuan, two-eight Chuan, two-eight feet plays, 16-move Chuan, 24-move Chuan, 32-move Chuan, soft tumbling Chuan, one-legged 80-move feet plays, one-handed 81-move fist plays, etc.

The martial-scholar tumbling Chuan has combined the strengths of the martial and scholar routines, especially the combative techniques. It is arranged according to the rhythms of offence and defence of the martial arts and combines high-low, release-catch, extension-flexion and straight-rounded movements. Its tricks, combinations of motions, still exercises, hardness, suppleness, substantial and insubstantial moves are well planned and accurate. New tricks include ground skill feet poking, feet poking tumbles, Shaolin feet poking, leg flicking feet poking, free-mind feet poking, eight-diagram feet poking, etc. All these have their own styles, forms, rhythms and techniques.


Baji Quan "Eight Extremes Chuan"
Baji Quan or the eight extremes Chuan is also known as the open-door eight extremes Chuan, which is one of the traditional Chinese Chuan schools. Baji Quan is known for its force-fullness, simplicity and combative techniques. According to Wushu proverbs: "For ministers, Tai Chi Quan is used to run the country and for generals, Baji Quan is used for defending the country." From this it can be seen that Baji Quan holds a significant position among various Chinese Chuan school. The Meng Village of Cangzhou in Hebei Province is the birthplace of the Eight Extremes and while it is mainly practised in north China, it is also found in some places in the south. The Wu-style eight extremes Chuan is said to have a history of more than 260 years. It was passed on from a traveling senior monk to Wu Zhong of the Meng Village. The book of Secrets of the Eight Extremes Chuan, therefore, proclaims that the Monk was the creator of the eight extremes Chuan and Wu Zhong was the first successor. Because of his excellence at spear play, Wu Zhong was known as Spear God Wu, the number one spear fighter from Nanjing to Beijing.

The eight extremes Chuan is simple and plain. It consists of short and yet menacing moves which are forceful, powerful and abrupt and demands hard play in both attack and defence. Elbows are often used in straightforward ways. The explosive powers generated are stimulated through breathing which is articulated by two sounds of "Heng" and "Ha." Powerful blows are delivered from elbows and shoulders in close combat against the opponent.


Xingyi Chuan "Form and Meaning Chuan"
Xingyi Quan or the form and meaning Chuan is also called Xinyi Quan (free-mind Chuan), Xinyi Liuhe Quan (free-mind six-combination Chuan)* or liuhe Quan (six-combination Chuan). There are two propositions about the name of this school of Chuan. One holds that the body actions and movements should be guided by Mind and that this school of Chuan is an identity of mind and body; the other proposition states that this school of exercises are mere imitations of animal actions and movements and adopted the form and meaning of animal movements.

According to historical records, the creator of Xingyi Quan was Ji Jike (1602-1683) from Village Zuncun in Yongji County in Shanxi Province. A resident of the late Ming Dynasty and early Qing Dynasty, Ji Jike was also known as Ji Longfeng. On his trip south to the Shaolin Temple and Luoyang in Henan Province and Qiupu in Anhui Province, Ji Jike passed his art on to Zeng Jiwu. During the reign of Emperor Qianlong of the Qing Dynasty, Xingyi Quan was spread in Henan, Hebei and Shanxi provinces. Ma Xueli, a Luoyang resident in He-nan, Dai Longbang, a resident of Qixian in Shanxi, and Li Luoneng, Dai's disciple from Hebei, all contributed to the dissemination and development of the Chuan. Over centuries, this school of Chuan is now practised in different styles. The Shanxi style is compact, delicate and yet forceful while the Henan style is powerful, vigorous and substantial. The Hebei style stresses steadiness, stur-dihess and comfort. As regards routines of fist fight, a similarity is seen between the Shanxi style and the Hebei style, both using three postures of the body, five major movements of axing, bursting, penetrating, hurling and traversing and imitations of 12 animal forms (dragon, tiger, monkey, horse, turtle, chicken, hawk, swallow, snake, owl, eagle and bear. The Henan style mainly imitates 10 animal forms (dragon, tiger, chicken, eagle, snake, horse, cat, monkey, hawk and swallow) (see picture).

liuhe (six combinations) is a special term used in Wushu, Chinese martial arts. In the Shaolin school of Wushu, there is a special branch called Liuhe Men (six-combination-group), which includes Uuhe Quan (six-combination Chuan), Uuhe spear (six-combination spear), Uuhe sabre (six-combination sabre), etc. One explanation is that the six combinations mean spirit, breath and mind (inner three combination) and hand, eye and body (outer three combination). Another explanation is that the six combinations are the combinations of eye and heart (or mind), heart (or mind) and breath, breath and body, body and hand, hand and foot, foot and hip.


Zha Quan
Zha quan means Zha family fist. The Zha family style was founded by Zha Shang Yi, 1568 - 1644 C.E. He was a Muslim of Hui origin. He lived in Xinjiang province in Northwestern China. Zha Shang Yi was succeeded as head of the system by Sha Liang, nicknamed "Flying Legs Sha Liang". Sha Liang taught this system to many Chinese Muslims. The Zha system core contains ten empty handed routines. The first routine is called Mu zi, meaning mother and son. The second routine is called Xing shou, meaning parallel hand movement. The third routine is called Fei Jiao, meaning flying foot. The fourth routine is called Sun Bin, meaning rising horizon. The fifth routine is called Quan Dong, meaning eastern gate. The sixth routine is called Mai hu, meaning ambush tiger. The seventh routine is called Mei hua, meaning plum flower. The eighth routine is called Lian huan, meaning continuous. The nineth routine is called Long bei wei, meaning shake dragon's tail. The tenth routine is called Chuan quan, meaning piercing fist. These ten routines seem to be a common core among the various Zha quan lineages. Additional forms taught in the various lineages include: Tan tui in 10 lines, Hong quan, Pao quan, Hua quan, staff routines, broadsword routines, straight sword routines, Kwan do routines, and two person routines.


Hua Quan "China-style Chuan"
Hua Quan or the China-style Chuan originated in Jining of Shandong Province (ancient Rencheng). It is said that during the Kaiyuan reign of the Tang Dynasty (713-741), a Mount Hua knight named Cai Mao killed his enemy of a noble family of Chang'an, and went to hide in Rencheng. Cai Mao was excellent at combat and sword play. About 400 years later Cai's offspring, Cai Tai and Cai Gang, were also proficient at combat and were often chosen to compete in prefectural and national Wushu contests. They developed their style into the present-day Hua Quan. Cai Wanzhi of Jining, during the Jiaqing reign of the Ming Dynasty (1522-1566), put the finishing touch to Hua Quan by writing a book The Secrets of Hua, Quan. He based his book on the traditional philosophy of combining spirit, breath and ego.

Cai Guiqin, grandson of one of the few remaining martial artists of Caixing, a village in Jining, was born in the third year in the reign of Emperor Guangxu of the Qing Dynasty (1877) and was fond of Wushu as a little boy. He learned martial arts from his grandfather and after his death, was forced by poverty to move away from Caixing to a district outside the southern gate of the city wall of Jining. Thanks to this migration, Cai Guiqin met with Ding Yushan, a well-known expert in Shandong Province for his mastery of Hua Quan. Cai studied with Ding for three years and later became a contemporary Hua Quan master during the late Qing Dynasty.

In the 23rd year of the reign of Emperor Guangxu of the Qing Dynasty (1897), Cai Guiqin traveled alone in south China. Eventually he met and discussed martial arts with Qiu Jin, a woman revo-lutionary from Shaoxing in Zhejiang Province, in Shanghai in 1906. In the ninth year of the Republic (1920), Cai Guiqin met with Dr. Sun Yat-sen before going to teach Wushu to government officials in the headquarters of the Republic in Guangzhou. After the death of Sun, Cai went on traveling before settling in Shanghai for the rest of his life. Hua Quan was spread as he traveled through Hubei, Jiangxi, Hunan and Henan provinces.

Hua Quan is characterized by its flawless, well connected movements, lightening-like speed and rock-still stances. Boxers breathe deeply to spread air flows throughout the body and body movements are a result of mental activity.


Moi fah
Moi fah means the plum flower. It is one of the Northern Shaolin empty hand routines that form the Ten Hand Sets.


Hapkido
Hapkido is a martial art of Korean origin. Its name means literally "The way of coordination and internal power." Hapkido is a complete martial art in that it consists of: dynamic striking and kicking techniques, very similar to Tae Kwon Do, both hard and soft style deflection techniques, throws, takedowns, ground-fighting, and extensive joint locking techniques. Hapkido is the combination of two Korean Martial Arts - Yool Sool which comes from the Japanese art known as Daito-Ryu Aiki-Jutsu and Tae Kyon which is an ancient Korean Kicking Skill that was widespread during the time of the Three Kingdoms.

Daito-Ryu can be traced all the way back to Senwa Tenno who is considered by many to be the very first in the Daito Ryu line. The techniques were basically the combat methods of the Minamoto clan that had been refined and perfected by General Yoshimitsu. The General is known to have studied the cadavers of criminals to understand human anatomy. The techniques of General Yoshimitsu were passed down and then combined with the Aizu techniques to become what is now known as Daito Ryu.


Mugai Ryu(Iaido)
Iaido is one of the Japanese traditional Budo concerned with drawing the blade and cutting in the same motion. (Budo means martial arts or military arts in Japan). A typical form consists of the draw and cut, a finishing cut, cleaning the blade and returning it to the scabbard, all without looking away from the imaginary opponent.

Most practice is solo, eventually with shin-ken (a real blade). In contrast with Kendo, Iaido is performed without protective coverings of any kind. Students must strive to achieve power, precision and perfection in their form. Along the way they learn balance, grace, and control both of the body and the mind.

Iaido dealt more with everyday situation rather than those on the battlefield. The term "Iai" is taken from the Japanese phrase: "Tsune ni ite, kyu ni awasu". The meaning of this is, whatever we may be doing or wherever we may be, we must always be prepared from any eventually.

The techniques themselves dealt with many situations such as a sudden attack by several opponents, a surprise attack while bowing to someone, an enemy lying in wait behind a sliding door or an attack in a darkened room. The permutations (suppositions) were countless.

Iaido began in the mid-1500's. Hayashizaki Jinsuke Shigenobu (1542 - 1621) is widely accepted as the founder of Iaido.

There were many (probably several thousand of) Koryu ( traditional schools), though only a small proportion remain today. Almost all of them also study older school established during 16-17th century, like Muso-Shinden-ryu, Hoki-ryu, Muso-Jikiden-Eishin-ryu, Shinto-Munen-ryu, Tamiya-ryu, Yagyu-Shinkage-ryu, Mugai-ryu, Sekiguchi-ryu, and so on.


Pencak silat
Pencak silat or silat ("fighting by using techniques of self-defence") is an oriental martial art with roots in the culture of the Malaysian peoples. This art is widely known in Indonesia and Malaysia and in these countries we can find dozens of alirans (styles) and thousands of schools. Many of the alirans find their origin in the observation of wild animals fighting. "Harimau" (tiger) and "Monyet" (monkey) are some examples.

There are four main aspects to pencak silat:

The "Mental-Spiritual" (mental and spiritual) aspect:
Pencak silat builds and develops the personality and noble character of oneself
The "Bela-Diri" (self-defence) aspect:
Self-confidence and perseverance are very important.
The "Seni Budaya" (culture, art) aspect:
Culture and performing the "art" of pencak silat is very important. This combines Pencak Silat with traditional music and costumes.
The "Olah Raga" (sport) aspect:
This means that the physical aspect of pencak silat is important. We try to have a sound mind in a sound body. Competitions are part of this aspect.
There are full-contact (Tanding) fights, as well as form demonstrations, for one (Tunggal), two (Ganda) or three (Regu) persons.
The styles and schools of pencak silat differ from each other with regard to which aspects are emphasised. It is thanks to the sport and self-defence aspects that this sport has become popular in Europe. However, many believe the essence of Pencak Silat is lost, or watered down, when converted to a sport.

Pencak Silat is a system that consists of Sikaps (positions) and Geraks (movements). When pesilats are moving (when fighting) these sikaps and geraks change continuously. As soon as one finds an opening in their opponent's defence, they will try to finish the opponent with a fast Serangan (attack).

Pencak Silat has a wide variety of defence and attacking techniques. Practitioners may use hands, elbows, arms, legs and feet in attacks. Common techniques include sweeps, locks, etc.

The pesilat, or silat practitioner, practices with Juru-juru. A Juru is a series of meta-movements for the upper body used as a guide to learn the application, or buah when done with a partner. The use of Lankah, or lower body meta movements teach the use of footwork. When combined, it is Dasar Pasan, or whole body flow.


Hung Gar
Historically, Southern China has been dominated by five Kung Fu styles: Hung, Lau, Choy, Lay and Mok. Hung Gar is most widespread and popular of these.Gar means clan or family in Cantonese, whereas Hung refers to the family name of the man who invented the system, Hung Hei Goon, a Fukien tea merchant.
According to legend, Master Gee See,a monk of the Fukien Shaolin Temple, taught Hung the Shaolin Tiger Style. Hung being a curious man, always sought to improve his skills. He added to his Tiger Style elements from his wife's White Crane system, movements from the Dragon, Snake, and Leopard forms, and techniques from the Five Elements Fist.He modified and expanded his Tiger Style to develop a system better balanced in long- and short-range application,a system which better reflected his own character and skills -- Hung Gar.

Hung Hei Goon developed a reputation for being a fighter of great skill and was known as "The Southern Fist".The essence of Hung Gar can be found in its name. "Hung" means to "stand tall with integrity." Hung Gar tenents stress honesty,directness, iron will-power and righteousness.
Southern China is a wet land of great rivers and agriculture. Trade and transportation center around its rivers. Its population is greater than that of Northern China and its cities more crowded.Hung Gar is well adapted to close quarter fighting in small, crowded alleyways or in wet, slippery rice fields. Hung Gar training emphasizes strong stances, iron-hard blocks, low snapping kicks,ambidexterity, deceptive hand techniques and power, all geared for close-range techniques.The low,strong stances conform well to encounters on barges and rafts. Low snapping kicks are well suited to wet and slippery ground.
Hung Gar hand techniques stress ambidexterity and use simultaneous blocking and striking.The blocking maneuvers of Hung Gar were well-known and feared.Opponents often thought twice before challenging a Hung Gar practitioner, for if a block could numb an attacker's limb, how much more painful must a strike be? The training is grueling and highly demanding and fits well the student who is physically strong and compact, of muscular build and who possesses great endurance. Legends depict of Hung Gar students who stood in horse stance the length of time an incense stick burned down completely, anywhere between one to three hours.


Shotokan Karate
The roots of martial arts are frequently obscured by the traditions of secrecy among those who originated the practices. Developed as a system of unarmed self-defense by people who were forbidden to use weapons, the early masters and practitioners revealed their secrets only to a chosen, faithful group of students.

Martial arts began in different forms in different places. They eventually spread throughout the oriental world through travel and commerce, taking new forms as they evolved. One of the places they eventually spread to was Okinawa.

During the 18th century, the different fighting arts of the Okinawan people were synthesized with other forms to create the self defense systems called te (empty hand). At the turn of the 19th century, there were three primary styles of te practiced in Okinawa. They were Shuri-te, Naha-te, and Tomari-te. These styles eventually changed into the modern day styles of Goju-ryu, Shorin-ryu, Shito-ryu, Wado-ryu, and Shotokan.

Master Gichin Funakoshi was born in Shuri, Okinawa in 1868. During his youth, he began to study under Master Azato. Master Azato was a scholarly man who emphasized karate for the development of mind and body. Master Funakoshi gained a deep understanding of bushido (the warrior ideal stressing self-improvement through awareness and study) from Master Azato. It was done secretly, however, because at that time, the Okinawan government had banned the practice of karate. Master Funakoshi would frequently work during the day, then walk to the home of his teacher and practice all night. Returning home just in time to go back to work.

Eventually, in 1902, the government sanctioned karate as a legal martial art and lifted its' restrictions on the practice. Master Funakoshi, who was working as a schoolteacher, began to teach his art and give demonstrations all throughout Okinawa.

In 1922, he went to Japan, at the invitation of Jigoro Kano (the founder of Judo), when the Japanese Ministry of Education held a martial arts demonstration at the Kodokan. His demonstration was so powerful that he was deluged with requests to further demonstrate and teach his art. He never returned to Okinawa.

He opened a dojo in a dormitory lecture hall and soon was teaching at a number of local universities. His room at the dormitory was adjacent to the door. During the day when the students were in class, he cleaned the dormitory. At night, he taught karate. Master Funakoshi also visited and taught at other karate clubs. He visited one, the Shichi-Tokudo, every other day until 1927 when three of the leaders decided that practice was not enough and introduced Jiju Kumite (free fighting). Master Funakoshi considered this action destructive and belittling to karate and, when he could not discourage it, ceased attending the school. Funakoshi prohibited sports sparring at his schools. The first sanctioned competitions did not appear until after his death.

Master Funakoshi set out to make karate more accessible to the public. He revised, distilled, and streamlined the components of karate training, especially the kata, in order to make karate simple enough for everybody to learn. Master Funakoshi believed it would take a lifetime to truly master just a handful of kata, but he actually knew and taught more than 40 different kata.

In 1935, Master Funakoshi's supporters raised enough money to build the first free-standing karate dojo in Japan. It was completed and opened the following year. The dojo name was Shoto-kan. Kan means building, and Shoto means "pine waves". This described the sound of the wind in the pines around the structure and was Master Funakoshi's pen name when he wrote.

Master Funakoshi's style of karate is now known as Shotokan Karate.

For Shoto-Kan, he chose the 16 kata he believed were best suited for physical strength and self-defense. He firmly believed kata was an art, rather than a sport and believed students should spend a minimum of three years learning each kata before advancing.


Dragon

Dragon Kung Fu (Loong Ying) is one of the five animal styles of Shaolin Kung Fu. This is a Chinese martial art that in essence takes certain parts of other kung fu that makes the best use of all known short range fighting methods of the time period. In the 17th century, in the Guangdong province, Gee Sim Sim See taught Kung Fu, Hakka Kuen style. This evolved under Lam Yiu Quai around the 18th century. In combining Kung Fu with Taoism.

The Dragon Kung Fu practitioner to typically attacks with winding high "yang" attacks. One signature maneuver is the three finger claw techniques that utilizes the index, thumb and middle fingers, or all five fingers to do hard pinching attacks to the muscles, tendons and acupressure points; and rapid, close in palm attacks.


Pigua Quan "Axe-hitch Chuan"

Pigua Quan or axe-hitch Chuan was known in ancient times as armor wearing Chuan. Ming Dynasty General Qi Jiguang included the move of putting on armours while fighting as laid out in his book, A New Essay on Wushu Arts.

When the National Wushu Institute was founded in Nanjing in 1928, Pigua Quan specialist Ma Yingtu was put in charge of the fist play department of the Institute. He invited another Pigua Quan pugilist Guo Chang-sheng from Hebei to lecture. The two of them delved into the Chuan adjusting the moves but keeping the excellent essentials and adding speed and explosive power as well as the skills from the 24-form Tongbei Quan. The revised edition of Pigua Quan turned out to be a com-pletely new art, which was said to be feared by even deities and demons.

Pigua Quan in fashion at present has come mainly from this revised version. The axe-hitch Chuan which is popular in Gansu Province consists of axe-hitch, blue dragon, flying tiger, Taishu and Dajiazi Quan (big frame Chuan ) while the popular version in Cangzhou is made up of axe-hitch, blue dragon, slow and fast axe-hitch and cannon Chuan.

Execution of the axe-hitch Chuan demands accuracy, fluency, agility, continuity, speed, power, dexterity, excellence, subtlety and uniqueness. Be it single moves, combinations of moves, or the entire routine, the axe-hitch Chuan requires a learning process which ranges from simplicity to complexity. In the first place, the stance and execution of movements must be accurate and standard. The emphasis then goes from accuracy to fluency, to agility and continuity, and then to speed, power, dexterity, excellence, subtlety and uniqueness.

Pigua Quan also concentrates on combinations of movements which are complementary to one another and is known for its slowness in pitching stances but its swiftness in delivering fist blows and its subtle use of tricks. The execution of moves and tricks involves tumbling, strangleholding, axing, hitching, chopping, unhitching, scissoring, picking, brushing, discarding, stretching, withdrawing, probing, feeling, flicking, hammering and beating.

The features of the axe-hitch Chuan include abrupt starts and stops, powerful axing and hitching, straightening arms, holding arms and connecting wrists, twisting waist and hips, restraining chest and protruding back, standing high and creeping low, closing knees and clawing feet to the ground, lowering shoulders and breathing deep, as well as continuity of movements. Different styles of axe-hitch Chuan, however, have different stresses in execution.


Vale Tudo
Vale Tudo is a Portuguese term meaning "everything goes" used to describe mixed martial arts competitions which allow striking with kicks, elbows, knees, and submission grappling.


Taekwondo
Taekwondo (Tae Kwan Do), "the way of foot and fist," is based on ancient Korean methods of self-defense. It emphasizes flexibility and kicking techniques, but hand techniques are also widely employed. A means of self-defense, physical conditioning, recreation, and mental discipline, Taekwondo is recognized not only as a martial art, but also as an exciting sport with powerful kicks and punches that emphasizes continuous action, endurance, skill, and sportsmanship.

The five original Korean Kwans ("schools") were: Chung Do Kwan, Moo Duk Kwan (the art of Tang Soo Do), Yun Moo Kwan, Chang Moo Kwan, and Chi Do Kwan. These were founded in 1945 and 1946. Three more Kwans were founded in the early 1950's - Ji Do Kwan, Song Moo Kwan, and Oh Do Kwan.


Mi Zong
Mi Zong is a Northern Shaolin Kung Fu style with numerous followers in northern China. Mi Zong Law Horn is a branch of Mi Zong school that was the inheritance in Grandmaster Yip-Yu Ting's family for eight generations, before Grandmaster Yip first revealed this tradition to the general public in South China. This style belongs to the "long-fist" form of martial arts. Mi Zong Law Horn's origin has been traced to Chuong Hsien and Nan Pei of the Hopeh Province.


Drunken Fist
Drunken kung fu began in Buddhist and Taoist folklore. The Buddhist version says that during the Song Dynasty, a well known martial artist named Liu Chi Zam mistakenly killed a man. He then became a monk to evade the authorities. One day Liu got drunk on powerful Chinese rice wine and was banned from the monastery. In a drunken rage he challenged and defeated over 30 monks in hand-to-hand combat. Still not satisfied, Liu continued on his path of destruction until he tore down the monastery gates. The next morning, Liu remembered his drunken condition and vividly recalled the odd rolling and tumbling techniques he used against the 30 monks. He practiced those techniques diligently' and taught them as drunken kung fu. His particular style was referred to as drunken lohan. Lohan describes the first stage of Buddha-hood and only refers to Liu's brief Buddhist encounters.

Years later, with the advent of Taoism in China, a new drunken kung fu story emerged, known as the legend of the eight drunken immortals. This story ultimately became the foundation for most drunken kung fu forms.

Immortality is one goal of Taoism, and the story says that eight people who happily achieved that goal got uproariously drunk while crossing the ocean. In this particular ocean existed a crystal palace belonging to the ocean's gods. The behavior of the drunken immortals completely disrupted life in the crystal palace. A fight between the drunken immortals and the ocean gods took place, with each of the eight immortals using his or her own brand of drunken kung fu.

Drunken kung fu has moves that other styles might consider odd. For instance, if you're on the ground, it's natural to kick your opponent's face if you're a drunken kung fu stylist. A typical kung fu strike to the jaw would come straight in. But with drunken kung fu, it can often rise sharply from beneath, totally surprising your adversary.

Although only a folktale, the drunken immortal story let people use their imagination in developing a drunken kung fu that displayed a high level of martial arts expertise. Since each drunken immortal had a distinctive character, inventive martial arts instructors created a diverse form of drunken fighting. It became so advanced that it was kept highly secretive. In Taoist folklore, the eight immortals achieved immortality through rigorous self-discipline and worthiness. They are said to travel occasionally into the human world to continue their good work, which often appears in comic and bizarre forms, such as the drunken story.

You will notice that in every drunken style practitioner, their hands seem to be closed like a fist but not entirely. Its like if they are holding a cup of tea.

This is an important exersize while learning the drunken art, it strenghthens your hands & forearms. This style is also known as these following names: Zui Quan, Jui Quen, Drunken Style, Drunken Fist, Drunkard Boxing, Drunkard Style, Drunkard Fist, Drunken Gods & Drunken Immortals.


Nan Quan "Southern-style Chuan"
Nan Quan or the southern-style Chuan is widely practised in south China. It evolved during the Ming Dynasty (1368-1644), and has many different styles. Among the famous are the five major styles: the Hong-family, Cat-family, Liu-family, Li-family, and Mo-family Chuan. Dozens of other less-known ones include the five-ancestor Chuan and black tiger Chuan.

Nan Quan emphasizes squatting stances with a low center of gravity and steady footwork. Its fist blows are forceful. It is characterized by combinations of short moves with few jumps. Power is generated through breathing and sound articulation. Because southern- style boxers keep their elbows and arms stiff and strong, their movements are alive with combating tricks.


Tai Chi Chuan
The word Tai Chi first appeared in Book of Changes of the Zhou Dynasty. The essay says: "Where there is Tai Chi, there is peace and harmony between the positive and the negative." Tai Chi means supremacy, absoluteness, extremity and uniqueness. Tai Chi Quan takes its name for the implication of superiority. Tai Chi Quan got its name when Shanxi secular Wushu master Wang Zongyue used the philosophy of the positive and negative from the Book of Changes to explain the principles of the Chuan.

There are different opinions on the origin of Tai Chi Quan. Some think it was created by Zhang Sanfeng of the Song Dynasty (961-1279) while others believe it was created by Han Gongyue and Cheng Lingxi in the Liang Dynasty (502-557). Still others say that it was created by either Xu Xuanping or Li Daozi of the Tang Dynasty(618-907)Yet all propositions cannot be proved from authenticate historical records. According to the research of Wushu historian Tang Hao, Tai Chi Quan was first exercised and practised among the Chen family members at the Chenjia Valley which is located in Wenxian County in Henan Province. The earliest choreographer of the Tai Chi Chuan was Chen Wangling who was both a scholar and a martial artist. Chen combined his knowledge of ancient psychological exercises; the positive and negative philosophy describe in the Book of Ch-anges and Chinese medical theory of passages and channels of blood, air flow and energy inside the human body with the exercises and practices of Wushu. He absorbed the strong points from various schools and styles of martial arts of the Ming Dynasty, especially the 32-move Qi Jiguang style of Chuan (long-style Chuan), to form the school of Tai Chi Quan.

After years of dissemination, many styles of Tai Chi Quan were created. The most popular and wide-spread are the following five styles:Chen-style Tai Chi Quan, Yang-style Tai Chi Quan, Wu-style Tai Chi Quan, Wu Yuxiang Style Tai Chi Quan, Sun-style Tai Chi Quan.

Although different in style and form, all Tai Chi Chuan routines require their practitioners to be tranquil, calm, relaxed but concentrative. In Tai Chi Quan the spine is the pivot around which the body moves. Forces and energy should be generated from the spine and waist before reaching the arms and legs. The movements are executed slowly, continuously and softly, but hardness is implied in softness. Substantialness should be distinguished from insubstantialness. Practitioners are required to breathe regularly and smoothly. The inner strengths and energy should be exuded through external movements and actions.

The theory of Tai Chi Quan was developed when Wang Zongyue wrote his On Tai Chi Quan. Tai Chi Quan theories matured with later writings of the Thirteen-form Frame, Thirteen Postures, Secrets of Thirteen Stances, The Essentials of Martial Artists, Martial Artists' Ballad, Tai Chi Combats and Five-Word Essentials.

As mentioned earlier, the Tai Chi Quan has health enhancing and disease curing functions. This is largely due to its effect on brain function. Practising Tai Chi enables part of the cerebral cortex to enter a protective inhibition so that partial rest is possible while other parts are excited. As a result brain function can im protracted exercises and practices of Tai Chi Quan. Various chronic diseases resulting from the malfunction of the nerve system can thus be cured or ameliorated.


Tai Chi Chuan Styles:


Chen Style Tai Chi Chuan
The Chen-style Tai Chi Quan falls into two categories - the old and new frames. The old frame was created by Chen Wangling himself. It had five routines which were also known as ihe 13 move Chuan. Chen Wangling also developed a long-style Chuan routine of 108 moves and a cannon Chuan rouline. Il was then handed down to Chen Changxing and Chen Youben, boxers in the Chenjia Valley who were all proficient at ihe old frame. The preseni-day Chen-style Cshuan boasts of the old routine, the cannon routine and the new routine.

The Chen-style Tai Chi Chuan is the oldest form, all the other styles of Tai Chi Quan having derived from it either directly or indirectly. With jumps, leaps and explosions of strength, the performance followed a circular path. The Chen Style Tai Chi Chuan was known by the name "Lao Jia" ("old frame").


Yang Style Tai Chi Chuan
The originator of the Yang-style Tai Chi Chuan was Yang Luchan (1800-1873) from Yongnian in Hebei Province. Yang went to learn Tai Chi Chuan from Chen Changxing in the Chenjia Valley as a boy. When grown up, he returned to his native town to teach the art. To suit the need of common people, Yang Luchan made some changes, and dropped some highly difficult moves, such as force irritating, broad jumps and foot thumping. His son shortened the routine which was further simplified by his grandson. The grandson's form of the Yang-style Tai Chi Chuan was later taken as the protocol of the Yang-style Chuan. Because of its comfortable postures, simplicity and practicability, this form has become the most popular routine for exercise and practise .

The Yang-style Tai Chi Chuan features agreeable movements and actions combining hardness, softness and naturalness. When practising, practitioners should relax to form softness which transforms into hardness thus combining the hard and the soft. The Yang-styk Tai Chi Quan is divided into three sub routines, namely high-posture, middle-posture and low-posture routines all with comfortable and agreeable movements and actions. The Yang Style Tai Chi Chuan was known by the name "Da Jia" ("big frame").


Wu Style Tai Chi Chuan
Wu-style Tai Chi Chuan was created by Quan You (1834-1902) who lived at Daxing in Hebei Pro-vince (now under Beijing Municipality). Quan You was of the Manchu nationality of China. He learned Tai Chi Quan from Yang Luchan and later followed Yang's second son Yang Banhou to study the short program. Quan You was known for his ability to soften his movements. Quan's son Jianquan changed his family name to Wu as he was brought up as a Han national. Wu Jianquan (1870-1942) inherited and disseminated a style of Tai Chi which is comfortable and upright. His style is continuous and ingenious and because his routine does not require jumps and leaps, it spread far and wide among common people. Since this style of Tai Chi Quan was disseminated by the Wu family, it became known as the Wu-style Tai Chi Chuan. The Wu Style Tai Chi Chuan was known by the name "Zhong Jia" ("medium frame").


Wu Yuxiang Style Tai Chi Chuan
Wu Yuxiang (1812-1880) was the creator of another Style of Tai Chi Quan. A Yongnian resident in Hebi, Wu Yuxiang learned the ABC's of Tai Chi from fellow provincial Yang Luchan. In 1852, Wu Yuxiang went to work for his brother at Wuyang. On his way to Wuyang, he learned the new routine ,of Tai Chi Quan from Chen Qingping and mastered it. At his brother's home, Wu Yuxiang got hold of a transcript of Wang Zongyue's On Tai Chi Quan. So upon returning home, Wu Yuxiang delved into the book and practised the principles stipulated in it. Wu eventually wrote Ten Essential Points of Martial Artists and Four-Word Poetic Secrets of Tai Chi: Apply, Cover, Combat and Swallow, which have become the classics of Chinese Wushu writing.

The Wu Yuxiang style of Tai Chi features compactness, slow movement, strict footwork and distinguishes between substantialness and insubstantialness. The chest and abdomen are kept upright while the body is moving around. The outside movement of the body is initiated by the circulation of air flows inside the body and by inner adjustments of substantialness and insubstantialness. The two hands are in charge of their respective halves of the body-one does not infringe upon the other. The hand never goes farther than the foot. Li Yishe (1832-1892), son of Wu Yuxiang's sister, inherited the Wu Yuxiang style of Tai Chi. He wrote about his experience of practising Five-Word Essentials, The Secret to Relaxation: Lift, Guide, Loosen and Release and Essentials for Tai Chi Movements and Actions. In the first year of the Republic (1911), Hao Weizhen (1849-1920) from Yongnian County taught the Wu Yuxiang style of Tai Chi in Beijing, and later in Nanjing and Shanghai. The Wu Yuxiang Style Tai Chi Chuan was known by the name "Xiao Jia" ("small frame").


Sun Style Tai Chi Chuan
The initiator of the Sun-style Tai Chi Chuan was Sun Lutang (1861-1932) from Dingxian County in Hebei Province. Sun was a master of Xingyi Quan (free-mind animal-imitating Chuan) and Bagua Zhang (Eight-diagram Palm). In 1911, he followed Hao Weizhen to learn the Wu Yuxiang style of Tai Chi. He later created the Sun style of Tai Chi Chuan by blending the cream of the Wu Yuxiang style of Tai Chi, Xingyi Quan and Bagua Zhang. The feature of the Sun-style Tai Chi is that practitioners advance or retreat freely with quick and dexterous movements, which are connected with each other either in closing or opening stances when the direction is changed.

Besides the above-mentioned five style of Tai Chi Chuan, there is another style called Five-Star Tai Chi. This style was initiated by Wang Lanting, butler of Prince Duan of Yang Luchan who served as Wushu master to Prince Duan. After mastering the Chuan art, Wang Lanting passed it onto Li Ruidong and Si Xingsan. Li Ruidong then absorbed the cream of other styles of Tai Chi to form the Five-Star Tai Chi.

The Chanmen Tai Chi Quan or Buddhist Tai Chi Quan which is popular in the area of Pingdingshan in Henan Province was developed by monks in the Shaolin Temple according to the Infinitely Merciful Dharani Scripture. By the end of the Qing Dynasty, it had also absorbed the best of the martial arts practised by followers of Taoism and Confucianism. As it was first created by Buddhist monks, it was called Chanmen or Buddhist Tai Chi Quan.


Judo
Jujitsu is the source of modern Judo. Japanese Warriors practiced many forms of unarmed combat, which were grouped under the general name "Jujitsu" for "the gentle pratice." The object of all these martial arts forms was to avoid an enemy's superior strength and to use that strength to his disadvantage. Since Jujitsu was strictly a combat technique, contests were rare and were decided only by the death or crippling of one of the contestants.

>>> Added info by krsx66: In feudal Japan, the only weapons were hands (jiujitsu), knives, clubs, staves, swords, spears and bows and arrows. Use of these was taught and practiced with scientific and often deadly skill. Toward the end of the Tokugawa era (1570's - 1870's) a great change occured in the types of weapons and methods of fighting. The old martial arts fell into rapid disuse and interest diminshed as well. The jiujitsu masters lost their offical positions and were forced to seek employment elsewhere. Many turned to wrestling and exhibitions at fairs. One man, Jigoro Kano, a student of many of the old masters, realized that the arts were disappearing. He set out to revive, organize and make a system of intruction for them. In 1882 he established the Kodokan (the original Judo institute) in Tokyo. <<<

When Japanese society began to change structurally in the 1860's, feudal lords no longer had their private armies; the martial arts, including Jujitsu, began to die out. In the early 1880's, Professor Jigoro Kano, a teacher from Tokyo and an expert in many types of Jujitsu, decided to save some of these ancient knowledges. He modified or eliminated the most dangerous of the Jujitsu techniques and created a new discipline, which he called "Judo" or "the gentle way."

Judo is "the gentle way" because the end result is the accomplishment of a goal with maximum effieciency and minimum effort. As a sport, rather than simply a combat form, Judo includes a code of sportsmanship, a sense of mutual respect, and a system of ethical and moral development. Judo is both an art and a science. As an art, Judo enables its practitioners to gain self-respect, self-confidence, and self-thisthingisdisabled; as a science, it involves a mastery of such basic natural laws as gravity, friction, momentum, weight transmission, and unity of forces. From its simple beginnings in nineteenth-century Japan, Judo has spread in popularity throughout the world. Its rich, medithisthingisdisabled heritage combined with Professor Kano's modern, scientific approach has made Judo into the exciting sport it is today.


Bagua Zhang "Eight-diagram Palm"
Bagua Zhang or the eight-diagram palm is one of the most popular schools in China. It is also called Youshen Bagua (roving eight-diagram), Longxing Bagua (dragon-shaped eight-diagram), Xingyi Bagua (Xingyi eight-diagram Chuan), Yinyang Bapan Zhang (positive-negative eight-plate palm), etc.

There are different stories about the origin of this school of Chuan. Some say it originated among the anti-Qing Dynasty cliques while others believe that it was created by the two Taoist priests of Bi Yun and Jing Yun on Mount Emei in Sichuan Province during the late Ming Dynasty and early Qing Dynasty and it has been passed down to its ninth generation of practitioners.

Most of Bagua Zhang boxers are found in Hebei Province. Some of them learned Bagua Zhang from scratch from their tutors, while others asked the masters for advice to improve their own skills. Over the years various routines of exercises were cultivated in different styles. The most popular ones are:

The Dong Haichuan-style Bagua Zhang. A native of Zhujiawu, south of Wenan County in Hebei Province, Dong played an important part in the dissemination of the eight-diagram plam, teaching many people in Bei-jing. Most reputed disciples of Dong included Yin Fu, Cheng Tinghua, Liu Fengchun and Li Cunyi who all contributed to the dissemination and development of the Chuan style. Some of the eight-diagram palm styles are named after these disciples, for example the Yin-style, Cheng-style, Liang-style and Sun-style eight-pictography palms.

The Li Zhenqing style of Bagua Zhang or the positive-negative eight-diagram plam Li (a. 1830-1900), a native from Weijiaying in Hebei Province, went to Henan Province to learn the positive-negative eight-diagram palm in order to improve the Chuan techniques which he had already mastered. After returning home in about 1870, Li taught his skills to his villagers. A follower of Li Zhenqing, Ren Zhicheng wrote a book on the Yinyang Bapan Zhang (positive-negative eight-plate palm) in 1937 and the book has been passed down.

The Tian Ruhong style of Bagua Zhang. Tian, whose style of Chuan is called the Yinyang Bagua Zhang (positive-negative eight-diagram palm), was a native of Shandong Province, but later moved to Dengshangu Village at Tanggu in Hebei Province in the late Ming Dynasty. On a tour of Emei and Qingcheng in Sichuan Province, Tian saw wrongdoings and volunteered to do justice. When he was in danger, two Taoist priests rescued him. After the incident, Tian Ruhong acknowledged the priests as his Wushu tutors and followed them for 12 years mastering their style of martial arts. When the Ming Dynasty gave place to the Qing Dynasty, Tian said good-bye to his tutors and returned home. Due to his resentment of the autocracy of the local authorities in the Qing Dynasty, Tian left his home village once again and took with him a youngster called Tian Xuan. Years after, Tian Xuan came back to teach the eight-diagram palm to Tian family members. In the beginning, this style of Chuan was known only among Tian family members. It is only in recent times that it has been taught to others outside of Tian family.

The eight-diagram palm is based on the old Chinese philosophy of eight combinations of three whole and broken lines used in divination. While practising, the practitioner moves according to the eight diagrams. There are eight basic palm plays. A total of 64 palm tricks and moves have come from the original eight basic palm plays. Apart from solo practices, there are also sparrings, Sanshou (free sparring) and fighting with weapons, such as Bagua sword play, Bagua sabre play and Bagua cudgel play, and Bagua play of shaft decorated with seven stars, etc. While practising these routines, practitioners rove around like a dragon moving amidst clouds (see picture).

Bagua Zhang features dexterity and agility. When moving around it is like walking in a muddy place, with foot steps changing all the time like running water. Palm tricks and body movements follow one after another. The roving around looks like endless circles which overlap one another. The body turns around from the waist during walking, roving, turning, rising and falling. Palm tricks change with the movements of the body. When the upper body protrudes, the lower part of the body squats back to keep balance. When the arms are sent out, the feet are drawn back. When moving it is like a roaming dragon; when squatting it is like a sitting tiger; when looking around it is like a monkey on the lookout; when roving it is like a circling eagle.


Lui He Ba Fa or Liu Ho Pa Fa"Six Harmonies Eight methods Fist"
The complete system consists of six hand forms, The Twelve Animal form (¤T1⁄2L¤Q¤G¶Õ),Eight Linking Palms (§f¬õ¤K¶Õ), Six Harmonies Eight Methods Fist (¤»¦X¤Kak®±), Dragon and Tiger Fighting (Àsaê3⁄4Ô),Coiled Dragon Fist (îhÀs®±) and Coiled Dragon Swimming (îhÀs ́å).

The Twelve Animal forms are a set of twelve short forms that build the necessary foundation need to practice the remaining forms. Each set was developed in characteristics associated with each animal. These forms develop the basic body movement and proper breathing necessary to complete the more complex techniques found in the remaining forms.

The main form (Six Harmonies Eight methods Fist) contains some seven hundred different techniques alone. It is in essence contain all of the movements of the other forms, but in for instance in the Dragon and Tiger Fighting form, contain a more in dept extrapolation of the chin na skills found in the main form.


Choy Lee Fut(Choy Lay Fut)
Choy Lay Fut kung fu is a martial art originating from the southern provinces of China. Founded by the Great Grandmaster Chan Heung, Choy Lay Fut is a method of combat that utilizes powerful offensive techniques designed to overwhelm the opponent. Combining the knowledge gained from both his southern and northern Shaolin martial arts instructors, Chan Heung combined the benefits from both northern and southern techniques to create an offensively devastating yet incredibly nimble martial system.

Though Choy Lay Fut stresses combat through powerful offensive hand strikes, the system is not limited to them. All ranges of combat are practiced, including weapons training to throwing and joint locking.

The Choy Lay Fut system teaches its practitioner flexible concepts of movement and simple methods of power generation to offensively overwhelm their opponent. There are no blocks practiced in Choy Lay Fut. Each movement in the system is trained as an attack or a “destruction”. Instead of blocking an incoming strike from an opponent, the Choy Lay Fut practitioner will either evade (or redirect) the strike to counter attack or destroy the incoming limb with a strike their own.

The Choy Lay Fut system utilizes an alphabet of ten basic movements along with adaptive and flexible concepts of body placement to enable its practitioner with the technical efficiency and power necessary to overwhelm a violent opponent. A swift and powerful striking system complete with devastating throws and punishing joint locks, Choy Lay Fut offers the practitioner with the tools necessary to triumph in a violent encounter.

----------

Zai jian!


I'm Ghost!