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The movements of the Southern Dragon style (Chinese: 龍形摩橋; pinyin: lóng xíng mó qiáo; Cantonese Yale: long4 ying4 mo1 kiu4; lit. ‘dragon shape rubbing bridges’) of Shaolin Boxing are based on the mythical Chinese dragon. The Dragon style is an imitative-style that was developed based on the imagined characteristics of the mythical Chinese dragon.
The Dragon played an influential and beneficial role in Chinese culture. An amalgam of several creatures, including monitor lizards, pythons and the Chinese alligator, the polymorphic dragon was a water spirit, responsible for bringing the rains and thus ensuring the survival of crops. The dragon was the symbolic guardian to the gods, and was the source of true wisdom. This latter feature most likely resulted from the observation of the living reptilian counterparts which, usually at rest, seem to be in a near constant state of contemplation.
The dragon represented two of the ancient elements, Earth and Water, endowing the creature with powers of illusion and strength. A Yang symbol, the Taoists saw the dragon as a personification of the Tao itself—”the Dragon reveals himself only to vanish”. Shaolin Buddhists saw him as a vision of enlightened truth, to be felt, but never to be held. Certain very old men were called dragons, these being well versed in the life-supporting skills of herbal medicine, agriculture, and kung fu. In early China, these skills were surely a matter of life or death, and those so educated were held in high regard.
The history of Southern Dragon style has historically been transmitted orally rather than by text, so its origins will probably never be known in their entirety. Modern Southern Dragon style’s history can be reliably traced back to the monk Daai Yuk Sim Si who was the abbot of Wa Sau Toi (White Hair) temple on Mount Luofu.[1] No reliable records of the style’s origin prior to that exist, though there is much speculation regarding the subject.
Southern Dragon style has roots in a combination of the local styles of the Hakka heartland in inland eastern Guangdong with the style that the monk Ji Sin Sim Si taught in Guangdong and the neighboring province of Fujian in the 18th century.[2]
North of the Dongjiang in the northwest of Bóluó (博羅) County in the prefecture of Huizhou in Guangdong Province is the sacred mountain Luófúshān. Luófúshān is the site of many temples, including Wa Sau Toi where, c. 1900, a Chan (Zen) master named Daai Yuk taught Southern Dragon style to Lam Yiu Gwai (1874–1965), who in turn passed the art on to the many students of his schools in Guangzhou.[3]
Lam Yiu Gwai and Jeung Lai Chuen (1880-1966) were good friends from their youth in the Dongjiang region of Huizhou, longtime training partners[4] and later cousins by marriage. Lam and Jeung would open several schools together, and Southern Dragon style and Jeung’s style of Bak Mei share many similarities.
A variation of the Southern Dragon style is taught by the Long Choo Kung Fu Society based in Penang, Malaysia and with branches in Australia. Founded by Li Ah Yu and his father near the turn of the 20th century, this association claims it is teaching a Soft/ Hard Dragon style originating from Fukkien province.[5]
Southern Dragons kung fu is essentially an internal qi (pronounced chi) cultivation method, but initialisation training is far more like a hard, external style, than the delicate approach an internal (like it’s chi ch’uan or baguazhang) would have. In learning the moves, the student will strike hard, block hard and rush into each position, with the idea of learning the proper place to be once each movement is complete. Eventually, the method of transmitting power is retained, and the physically strengthened body is able to make transitions in the proper, fluid manner. In turn, this dragon-like smoothness helps disguise the attack, making it extremely difficult for an adversary to effectively counter.
Once a purely physical semblance to flow has been mastered, the disciple incorporates the deep hissing sounds to train chi flow. Inhaling is silent, but exhalation is deliberate, tense and controlled. Inhaling lightens the body for aerial maneuvers, while exhaling drives power into each technique. Blocking is dispensed with, and parries or simple strikes substituted. At this point, novice and advanced student show very little in common.
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