M
monkey-a-go-go
Guest
I am curious how this might fit in to the Cerio curriculum. I can dig the marriage of shotokan and kenpo but I wanted to know how this form fit in. I am going by the Leo t. Fong version shown in his very cool old ohara pub. book. Lin wan kune is a generic name of many kung fu forms <Continuous and returning fist>. His he states is from Sil lum from Y.T. Wong with whom he studied for four years. James Lee convinced him to switch schools. I did some Googling a while back and it seems that Wong Tim Yuen came from more specifically Fut Ga. But the form isn't in all Fut Ga curriculums. The Gee Yung association describes Fut Ga as "Combinations of blocks and counter-strikes are not done in individual steps, but in one spontaneous movement. The block and strike are executed simultaneously, as are following combinations of blow and kicks. Fu Ga also teaches to strike in threes - to not be satisfied with one hit, but to follow up with at least two more strikes. Combinations of blocks and strikes require many weight shifts; the emphasis on speed in execution demands that the student subtly and effortlessly move from one stance to another. "
Fong's form follows this using <in the book> the horse stance exclusively with tiger claws, hammer fists, uppercuts. I think Fong wanted readers to explore the applications because there is a gap between the form's descriptions and the breakdown he shows. In an old Black Belt interview Fong:"Sil-lum is a 'soft' style and it translates as 'young forest,' meaning that the practitioner should be supple and flexible-able to bend with the wind like a young tree. All moves in this style are done from a stationary stance, but is supposed to be superior to cho-li-fat because of the variety and deception of its movements. The hands are constantly in motion, used as feints to cover a sudden kick or other surprise movement. While these hand movements are useful for deception, there is a tendency for them to become an end in themselves, as one series of movements is not fully completed (followed through for contact) before beginning the next series. Unlike cho-li-fat this style incorporates some kicking techniques, but it does not teach the practitioner a sense of timing or how to 'bridge the gap' and move in for the disabling blow. " I figure Cerio learned it from Fong? Sorry if no on cares about this type of stuff let me know and I will disappear
! Y. T. Wong wrote a book in the 60's i wouldn't mind getting my hands either. The old Ohara books were/are super cool.
Fong's form follows this using <in the book> the horse stance exclusively with tiger claws, hammer fists, uppercuts. I think Fong wanted readers to explore the applications because there is a gap between the form's descriptions and the breakdown he shows. In an old Black Belt interview Fong:"Sil-lum is a 'soft' style and it translates as 'young forest,' meaning that the practitioner should be supple and flexible-able to bend with the wind like a young tree. All moves in this style are done from a stationary stance, but is supposed to be superior to cho-li-fat because of the variety and deception of its movements. The hands are constantly in motion, used as feints to cover a sudden kick or other surprise movement. While these hand movements are useful for deception, there is a tendency for them to become an end in themselves, as one series of movements is not fully completed (followed through for contact) before beginning the next series. Unlike cho-li-fat this style incorporates some kicking techniques, but it does not teach the practitioner a sense of timing or how to 'bridge the gap' and move in for the disabling blow. " I figure Cerio learned it from Fong? Sorry if no on cares about this type of stuff let me know and I will disappear
! Y. T. Wong wrote a book in the 60's i wouldn't mind getting my hands either. The old Ohara books were/are super cool.
