PfErdeKraft,
"Zu weich".
Woher hast Du diese Idee?
Hast Du denn je unter die Sohne von Lam Cho trainiert?
Wahrscheinlich hast Du nur Schuler von Y.C. Wong gesehen?
Er hat die Korperbewegungen sanfter gemacht, wie er selber in seiner Webseiten beschreibt.
Das Kung Fu von Lam Chun Fai ist das Kraftigste, das ich je gelernt habe.
Es geht darum um die Muskel am richtigen Moment zu spannen, die Korperteile zu drehen fur die besten Kraftanwendung (und dann rede ich nicht nur vom Drehen der Hufte), und nicht alle Muskel im Korper zu spannen und verkrampfen.
Wenn Du Chiu Wai mal gut anschaust, kannst Du dies auch sehen.
Er hat ja viele Muskeln, da er mal Body Builder war, aber er spannt die Muskeln gar nicht so viel. Seine Schuler in Hong Kong haben ein normaler dunner Korperbau, und ihr Kung Fu ist dann auch sehr identisch mit z.B. der Lam Familien. (d.h. gar nicht so weit entfernt als einige Leuten uns gerne glauben lassen).
Reines Muskel-Kraft ist im wirklichen Hung Ga nur anfangerisch.
Es geht also nicht um das Aussehen.
Leider verstehen einige sogenannten Lehrer dies selber gar nicht. Sie sagen ja sehr lange zu trainieren, aber in Wirklichkeit kommt all ihr Konnen von Sifu McVideo - und ein Video unterrichte leider die wirklichen, tieferen Sachen nicht. Um dies zu verhullen, sagen sie das anderen das Hung Ga geandert haben.
Hung Ga ist ein Allround-Stil, der hart und weich kombiniert.
Anbei ein Text auf English die dies erlautert:
SEEKING THE SOFTNESS OF HUNG GAR
by Calvin Chin
The average student will tell you hung gar is the most external martial art
on earth. But dig a little deeper and you'
ll find a soft, subtle side known
to only advanced stylists
Much of what I've seen of hung gar supports the popular notion that the
style is an external martial art. This classification is a misnomer and does
not begin to characterize this traditional multifaceted system.
When my students exhibit hung gar, they are often misunderstood and
considered to be practicing a hybrid system. Our use of natural strength is
in conflict with what is perceived to be strength in martial arts. However,
taken to a higher level, hung gar is both an internal as well as external
martial art. In fact, all martial arts must be refined to the level of
internal as well as external to fully appreciate their practical
application.
Just as hardness in the sense of stiffness is not what creates external
power, softness in the sense of flaccidity is not what creates internal
power. In fact, hard and soft are two extremes we never want to reach. The
external aspects of all martial arts must be guided by internal principles
to develop explosive executions. However, internal principles are not
achieved simply by practicing in slow motion.
Divide And Conquer
Too often, the hardness prevalent in hung gar comes from stiffness resulting
in brute force or dead strength. This is because movements are being
isolated. Isolation of movement is what we strive to overcome at the higher
levels. The internal aspect of all martial arts is achieved when mind and
body become integrated and movements become totally connected with balance
and strength and total body coordination. It is not easy to see the soft
side of hung gar at its higher levels because the subtleties of the
movements are camouflaged within their transitions. Softness comes from the
ability to yield to movements through sequential coordination of body
components. This is considered live strength, yielding and pliable. The body
works together as a connected unit, not as separate isolated movements.
All hung gar is noted for its bridges and low stances. There may be slight
variances in form sequence, but more often the difference is in the
execution of techniques. The strength and stiffness of execution will vary
in practitioners, depending on their level of understanding. Beginners view
power as strength so they have difficulty practicing a martial art without
using strength. Because beginners do not understand how to use their
strength, their movements are done with too much force and postures become
stiff. Their tendency to use excessive strength in the arm requires their
bodies to be rigid. This is reactive tension created to compensate for the
excessive force generated by the arm. In this rigid state, the practitioner
loses balance when stepping is incorporated. The irony is that using
excessive strength leads to stiffness, which becomes a hindrance rather than
an asset in the execution of technique.
Hung gar has a history of hardness. The early martial artists were vagabonds
who traveled and learned from different teachers. They tended to become
attached to the hard side of the martial art because it was more easily
attainable. Today's society is not much different. People want to learn
things fast. By learning things fast, they misinterpret strength and are
misguided through their learning experience. Hung gar is not often practiced
to the soft stage of refinement because not everyone trains for a long
period of time or has the opportunity to study with the great masters.
To Another Level
Taking martial arts to more advanced, softer levels require time to develop
muscle memory and programming of the sequential events that underlie motor
skills. What most practitioners have attained is the hard or external level.
The agility of footwork and the softness comes with years and years of
training and enough time to understand the principles of hung gar.
The use of natural strength is contrary to our perception of power. Power as
brute force is more commonly accepted. However, once this concept of hard
execution is adopted, it is very difficult to change until the methods
change. And the methods can't change until the understanding of the movement
changes. At that point, the teacher has to offer guidance to soften the
movements. Hardness can also be learned through assimilation. If a teacher
exhibits dynamic power, then the students will pick up the hardness through
mimicry without understanding the true execution. This lack of understanding
can manifest itself into stiff execution and over time it becomes habit.
Breaking that habit is a process that takes even more time.
It's the training approach that makes the difference. The goal is to attain
a naturalness in the postures that is inherent in the geometry of one's
skeletal make-up. Levers and fulcrums play an important role in body
mechanics, which help maximize the efficiency of the strength used to create
a force. Using natural strength, students develop soft movement without the
stiffness that is apparent in many styles and learn to create the same force
without excessive strength. Once this concept is understood, then the
student is ready to evolve to the next stage of development, whereby the
same process is followed.
Natural Movements
In traditional systems such as hung gar, characteristics and principles are
built into the forms. The guidelines that control the characteristics of the
system are further governed by the principles in martial art theory. This
helps a practitioner achieve a high level of martial skill. Until the
principles are absorbed into the body and mind and become natural, the
movements will be forced. The founders of these styles had the insight and
depth to create the forms as a mapping of footwork and strategies and as a
means of preserving their systems. They are the textbooks of traditional
kung-fu systems and equivalent to the precepts of the Tai Chi Classics.
Many people practice form without knowing its true purpose. Built into the
form are imagery, fundamental principles and martial guidelines and through
the stages of refining the form, a student evolves into the higher levels.
The 12 bridges of hung gar categorize the methods of the hand maneuvers.
They are guided by other principles in what is termed as the five
coordinates: hand, eye, body, waist and stance. These coordinates must work
in unison to achieve a higher skill level. The summation of components, the
five coordinates result into total body movement, a concept that is more
evident in the internal systems, but is inherent in all martial arts in its
advanced stages. The hard and the soft theories should be prevalent in all
systems of martial arts. At the higher levels where hard and soft meet, the
distinction between external and internal cannot be detected. Hardness and
softness are not what appear on the surface. However, hardness works even
when it is not generated from natural strength. But softness is ineffective
without a deeper understanding of the mechanics of the movement and the
body's understanding of the principles that guide it.
Principles are subjective through interpretation. If the practitioner is not
at a level where the principle can be interpreted as a concept of
integration and the unification of body components, the movement remains
stiff. When the principles are in place, the sequence of postures in a form
should be fluid. Fluidity comes from the linkage of postures through the
transitions. The postures may be similar, but the transitions are varied,
all of which are guided by martial arts principles. Any practitioner who
wants to seek the soft level has to analyze and re-learn many of the
movements. Taking a single form to its highest level is how a student
achieves in martial arts.
Balancing Hard And Soft
Within hardness there is softness and within softness there is hardness.
Ultimately, there should be a balance of hard and soft. Soft controls the
hard, never the other way around. To execute a movement effectively, the
practitioner has to be relaxed. A movement has to be balanced with
relaxation and contraction of opposing groups of muscles. When the movement
is rigid there is tension that creates imbalance and the movement is stiff.
When the movement is soft you can direct the movement better and focus on
developing the hard. Hard not as being rigid, but being strong and
explosive. Softness does not mean that movements are done slowly or
completely flaccid. In our hung gar training, we try to eliminate that
conflict with the use of hard and soft executions. The soft should become
more apparent and the focus should not be purely on developing dynamic
power. Developing good transition with sound principle and creating correct
body alignment allows the practitioner to use innate strength and to use it
efficiently. It is more difficult to make the transition from hard to soft,
but once you have developed softness, you can never be rigid.
There is no secret formula in finding the softness in hung gar. The soft
stage evolves over time through the understanding of the guidelines and
principles of a traditional system. Fundamental guidelines and principles
are the true differences between what is traditional and what is eclectic.
Hybrid systems are created when complex concepts and theories are
extrapolated and then simplified from traditional systems. In their
fragmented and eclectic state, they do not contain the depth of information
found in whole traditional systems.
The knowledge gained in a traditional system taught by a qualified teacher
is boundless because evolution is endless. You constantly discover and
reinforce your understanding of what is attainable in martial arts.