Incursioni e riflessioni di Alberto Biraghi – online dal 7 febbraio 2001
Western students of Chinese martial arts, especially those who make a life out of them, are in big troubles with the inflation of the term “sifu”. The problem: if you accept that any muscled poser who learned three moves on YouTube can define himself “sifu”, . . .
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Fu Hok Seung Ying Kuen (“tiger and crane double fist”), or “Fu Hok” as it is usually referred to, is an icon of the Hung school and one of the best known Chinese sets in the martial world. In this article, connected with the videos . . .
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The Twelve Bridges join the two basic martial elements, deeply interpenetrated and inseparable, foundation of every martial art: the internal element (i.e. the emotional attitude and the connection between thought and action) and the external element (i.e. the physical action and the connection with the . . .
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In the days of the COVID-19 pestilence, after a long reflection, I decided to share with the world in a series of 27 videos the Tit Sin Kuen form that I received from my master Chan Hon Chung in 1984. I gave the reasons in . . .
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What is the Tit Sin Kuen meaning and its technical value in the martial evolution of the Hung Kuen school practitioner?
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A significant number of Hung Kuen common errors appeared as a consequence of the social and cultural transformation of Hong Kong. Back in the last Century learning some good Chinese kungfu was straight forward: select a style (Hung Kuen, Tang Lang, Wing Chun, …) and . . .
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In my 47 years (ouch!) of constant practice, my perception of the martial arts evolved. But the trigger that launched the reflection that brought to these considerations was meeting Dorillo Rota, an awesome martialist of great human value, who has devoted his enormous experience to . . .
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Hung Kuen stances: a correct execution is the most important assumption for the serious student. In every martial art the forms are basically a symbolic (if not “metaphoric”) way to avoid the contaminations, aimed to keep and hand down the set as pure as possible. But every student . . .
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Agter more than 44 years training the kung fu learned from master Chan Hon Chung, I still consider the traditional methods of teaching and training as the only way to preserve the conceptual nature of Hung Kuen and to understand its fundamental principles. Some considerations . . .
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This article considers the necessity of a conceptual approach to Hung Kuen forms execution to preserve the purity of the style as taught by master Chan Hon Chung in his gym at 729 Nathan Road. I studied with master Chan from 1977 until the shutdown . . .
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You can be European or Chinese, you may have been born 20 years ago or in 1945, you can call yourself a beginner or a “grandmaster”, but if your advanced position is unnaturally low, your hip is open and your back foot points out, you . . .
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After the passing of the master, the Hung style of Chan Hon Chung has been undergoing an heavy contamination and modification by external influences, sometimes openly conflicting with an uncontaminated handing down of its pure essence and tradition.
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I heard of a recent flame about “honour and respect” in Chinese martial arts that hit my Hung Kuen brother Che Kong Mak. According to what I understood, he has been criticized for posting a video of him teaching Hung Kuen kung fu to some . . .
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Ricevo un inaspettato numero di richieste da persone interessate a imparare l’Hung Kuen che ho appreso da Chan Hon Chung e perfezionato con il mio “fratello maggiore” Cheung Yee Keung dopo la chiusura dell’Hon Chung Gymnasium al 729 di Nathan Road.
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Again with this great Hung style performer. In the previous article I explained as this video confirms my theory of of a few movements added by my brother Cheung Yee Keung to Chan Hon Chung’s Tit Sin Kuen just before the first unicorn step. But . . .
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I found a YouTube channel with a few videos of a guy performing the Tit Sin Kuen and some other forms of the Hung Kuen style. His kung fu is 95% similar to the one that my master Chan Hon Chung taught in the late Seventies . . .
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“This is a great fact that I am sharing now, for the benefit of whoever wants to get it: in our family’s Hung style breathing in never happens while contracting the muscles or even worse executing a technique. For this reason we do not breath in while . . .
Continua a leggere“In fact, the author seems to make a very pointed argument that Hung Gar is in its essence not a technical system of physical movements, but is instead an expression of culture. He doubts the ability of anyone who was not born within the Chinese . . .
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