Theories of Hard and Soft in Hung Ga's Five Animals and Five Elements
by Frank Yee (Yee Chi Wai), Translated by: Yui Chow, Edited by: Michael A. Mintz
Adapted from the originally pu b lished work in New Martial Hero Magazine , (2003) issue 5, pg. 67-70
Five Animals and Elements
Dragon - The dragon trains the spirit and corresponds with the earth element. It is flexi b le and teaches the rising and sinking power, as well as the theory of swallowing and spitting. One of the four creatures in Chinese mythology, the dragon represents the spiritual manifestation of the group, which also contains the phoenix, the turtle and the unicorn (Kei Lum).
A b le to fly in the clouds or go deep in the ocean, Chinese folklore considers the dragon a magical and powerful b eing. The Imperial Emperor in China wore a crest of the dragon as a sym b ol of his superiority and for b id others to wear it. This exclusivity only added to the mystery that surrounded the powerful dragon, purported to b e everywhere, b ut never seen b y the eyes of men. An old Chinese saying declared, "the dragon is b ig and mysterious. You will never see the entity in its entirety. You may see some part of it b ut will never see all of it."
In training the dragon section of Hung Ga, you must place emphasis on the ideas and theories of the mythology and not so much on the physical strength. Dragon movements use side-to-side power and the theory of Tang Toe (earth) swallowing and spitting. Tang movements flow with soft ging allowing the toe movements to strike b ack with hard ging. Thus the "sum faht" of the dragon contains "soft within hard." This means that the dragon appears a strong powerful animal from the outside, while maintaining a b alance of this strength with precision and fluidity on the inside. Like it's associated element the earth, the Hung Ga dragon can b e hard as a rock or soft as sand. Its majesty encompasses the height of a mighty mountain or the depth of the unrevealed ocean floor.
The dragon in Hung Ga coils and twists, just like the b ody of the Chinese dragon. Using this theory a practitioner may learn from the dragon how to "steal/leak" into an opponents space b y using the principles of b eing soft and "going with the flow." Once we get on the inside of an opponent we destroy them with the dragon's "hard" power. The second dragon section of the Five Animal Form ( Ng Ying Kuen ), demonstrates this a b ility to steal and leak into the opponent using the coiling and twisting of the b ody, b locking and striking with the elements of earth, while invading the opponent's space.
Attempts to imitate or recite the spirit of the dragon will prove futile. A practitioner must understand its theories and learn to control the techniques to b ring out the soft within the hard whenever appropriate. The dragon techniques must b e a b le to b e called upon at will to keep the opponent off guard with unpredicta b ility. Much like the conception of God, human comprehension cannot grasp the ethereal nature of the dragon spirit. Another old Chinese saying a b out the dragon goes, "a Sifu can teach you the tiger and leopard, b ut only an Immortal can teach you the dragon, snake and crane." These last three animals all share a dichotomous quality of soft and hard. According to the saying only an exceptional Sifu will b e a b le to guide the student through the concepts of the earth element dragon. Harnessing its complicated nature requires diligent study, for the dragon's power resem b les a tornado: it may b e soft as a wind yet cut through anything like a b uzz saw.
Snake - Associated with the water element, the snake trains the b ody's chi. Flexi b le and adapta b le it will coil and stick to an opponent. The snake emphasizes remaining still and soft until it connects with a strike. Much like the animal itself, a practitioner of the snake must coil and b e still with their chi until they release their strike, delivering the potency and lethality of the strike only upon contact with the opponent. Body connection must b e emphasized as the paramount ingredient towards achieving the snake's precision.
The "sum faht" of the snake, unlike the dragon has "hard within soft." A small version of the dragon, the snake lacks the knockout power of the b igger b east. To make up for this deficiency, the snake must utilize multiple strikes and adaptation to end a confrontation, whereas the dragon can usually end things with one powerful b low. The snake practitioner's b ody must b e like water, soft and adapta b le to its surrounding environment. In execution, the b ody must coil or expand, contract or open as the situation dictates. The snake techniques rely on b ody positioning. Getting in with footwork and b eing adapta b le to quick changes dictates the success or failure of these techniques. One has to dodge an attack and in the split second b efore the next attack get in and apply the strike.
In general, the snake's striking techniques rise and sink, moving forward and b ackward. Notice the difference from the dragon's side-to-side approach. Due to its small size the snake must use chi b y raising energy when it moves and then sinking power when striking. Snake techniques use two points: the head and tail. Most of the time the head attacks and the tail defends, b ut one may use the tail to strike as well, usually after the head has already attacked.
Tiger - Training the b ones and tendons, we associate the tiger with the fire element. Practitioners of kung fu consider the tiger "king of the b easts." It has the overwhelming characteristic of powerful physical strength. In the animal kingdom, this giant cat dominates as a strong and powerful predator. It's low growl carries far, b ringing fear to all who hear it. Like fire, you want to avoid coming into contact with the tiger.
Tiger techniques are explosive and overwhelming. The tiger uses the whole b ody connection to generate powerful strikes: the hips are tight, the arms are strong and the legs are solid. Attacking with a full power commitment, the entire b ody connection locks as one unit holding nothing b ack. Concentration emphasizes power in the tiger claw consisting of the fingers, the palm and the b ones and tendons of the hand. Attacks are directed to the face and joints, b ut anywhere the tiger claw strikes will b e effective, b ecause chin na (locking) techniques may b e applied to dislocate, as well as rip and tear at the b ody.
Once the tiger touches its opponent it must inflict massive damage quickly and relentlessly. In general, strikes done with the right hand are called man fu (angry tiger) techniques and strikes done with the left hand are called hak fu (sneaky tiger) techniques. Another description of the tiger techniques uses the theory of the "red door" and the " b lack door." In red door techniques attacks come straight at you in a direct execution.
Black door techniques are sneakier and less direct. The tiger has b oth of these characteristics.
Leopard - The leopard trains the usage of b ody momentum and associates with the gold (metal) element. Considered a smaller version of the tiger, the leopard uses its b ody weight and speed to compensate for any lack of power. Leopard techniques utilize the metal element b ecause like an ax used to split wood, it relies on momentum to gain the advantage. Strikes are performed with gong ging (hard power) and unlike the larger tiger, must b e fast and ruthless. A leopard can carry its prey in its powerful jaws and still clim b up a tree. This demonstrates the agile quality of the leopard whose muscles and tendons are much stronger than a tiger's. In using leopard techniques, movements must b e quick and short using the chop choy to strike the eyes, throat and ri b cage. A practitioner will want to target weak points of the b ody in an attempt to disa b le the opponent with a relentless flurry of attack.
Crane - Training b ing ging (whipping) and the sinews, the crane utilizes the wood element philosophy, which emphasizes b alance in attack and defense. When the crane moves it performs with grace and looks like it floats on the air. During attack, the crane stays alert and focused, keeping its eyes on the target at all times with undistur b ed concentration while remaining calm and collected in its demeanor.
The crane fighter does not get overly excited and never loses their cool. They are patient and wait for an opening. When this opening b ecomes apparent, the crane fighter attacks with a quickness utilizing the b ing ging . Like the snake, the crane has hard within soft: power from without and gracefulness from within. Chinese wisdom on the crane says " jing (vitality) concentrates on its stances." It means that the crane must have b alance all the time. An example of this may b e seen in the high standing single leg stance. Used to attack taller opponents, the practitioner must b e b alanced to execute the techniques.
When in the air, the crane needs b oth wings to b alance much like wood element uses b oth arms to b alance its strikes. As in wood element philosophy, the crane uses squeezing techniques to sta b ilize. A piece of wood can "hold onto" the ax chopping into it b y squeezing the cutting edge. Crane uses squeezing techniques to hold onto the ground b y curling the toes of one leg to sta b ilize itself while attacking with the other leg. In addition to its legs, crane techniques include the usage of hok jueh (crane beak), hok jow (crane claws) to attack, gra b and rip and hok yik (crane wing) used as either an attack or defense using the bing ging .
Hard and Soft Theory
The lowest level of a martial artist's kung fu skill will have either the qualities of "all hard and no soft" or "all soft and no hard." A person at the highest level of skill possesses b oth hard and soft with the a b ility to demonstrate their kung fu techniques at will. Unfortunately, most martial artists are either more "hard than soft" or more "soft than hard." Confucius once said, "when anything is overdone, it is the same as b eing incomplete." This holds true for kung fu performed overly hard or soft.
Hard and Soft with Age
Legend has it that Master Chang Sam Fung developed Tai Chi Chuan when he was close to 100 years old. Logic tells us that for a person of that age, just moving around freely with the a b ility to care for one's self constitutes a great accomplishment. To b e a b le to perform and practice kung fu with b oth hard and soft power like Chan Sam Fung did could almost b e called inconceiva b le. When they teach in their elder years, most kung fu sifus have the experience and knowledge a b out playing their kung fu with a mix of hard and soft, b ut lack the physical a b ility to accomplish the goal of com b ining the two. Paradoxically, younger practitioners have the strength and physical a b ility to perform at optimum levels of hard or soft, b ut lack the experience and understanding of coordinating the two. This explains the trend of golden year practitioners concentrating on health and theory while fiery youngsters spend their time testing skills they have learned.
The Numbers of Hard and Soft
What do we mean b y hard and soft? The following scale may help to understand a general measurement:
| Ratio |
Hard |
Soft |
Level |
Comment |
1 to 9 |
10 % |
90 % |
5th |
Lowest |
9 to 1 |
90 % |
10 % |
5th |
Lowest |
2 to 8 |
20 % |
80 % |
4th |
beginning of advanced study |
8 to 2 |
80 % |
20 % |
4th |
beginning of advanced study |
3 to 7 |
30 % |
70 % |
3rd |
advanced understanding |
7 to 3 |
70 % |
30 % |
3rd |
advanced understanding |
4 to 6 |
40 % |
60 % |
2nd |
top martial artists |
6 to 4 |
60 % |
40 % |
2nd |
top martial artists |
5 to 5 |
50 % |
50 % |
1st |
highest |
Most external stylist b egan with 90% hard to 10% soft, while internal stylists start with 90% soft to 10% hard. If mem b ers from either groups can achieve levels of 60% hard to 40% soft or 60% soft to 40% hard then they will b e considered as top martial artists. Very few people can reach the level of 50% hard to 50% soft, and the ones that have are generally the founders of the various systems that we practice today.
Hard and Soft in Combat
When facing an opponent, one must consider the size and skill of their adversary to formulate the proper strategy. In the Hung Ga system, we use the "five animals and five element" theories in com b at. To reiterate, the five animals are dragon, snake, tiger, leopard and crane. The five elements are earth, water, fire, gold and wood. The following scale depicts the five animals hard and soft ratio:
Animal |
Hard |
Soft |
Hard & Soft Relationship |
Dragon |
70 % |
30 % |
Soft Within Hard |
Snake |
30 % |
70 % |
|
Tiger |
70 % |
30 % |
Soft Within Hard |
Leopard |
70 % |
30 % |
Soft Within Hard |
Crane |
30 % |
70 % |
|
The above hard and soft ratios on the different animals are b ased on the characteristics as well as the size and strength of each of the animals. When we engage in com b at, we must take note on the opponent's size and strength. If the opponent uses 80% hard and 20% soft, we must yield and counter with 80% soft and 20% hard. The old saying goes, "when encountering a weaker foe we must overwhelm them with force like a tidal wave. When encountering a greater force, we must yield and look for weak spots using courage, strength and skills." If one does not have the courage, then the strength and the skills will not come out. In speaking here of strength we do not mean physical strength b ut rather "ging:" the product of com b ining b oth hard and soft theories in the techniques that we train through foundations. Without proper training and foundation, all of this theory is just talk.
List of Hard and Soft Qualities in Weapons
Pole
• The pole has soft within the hard.
• It uses both ends and strikes in all directions
Spear
• The spear has hard within the soft.
• Spear strikes in one line.
• It emphasizes circular and flexi b le qualities and must b e a b le to adapt to changes with strong and lively footwork. The hips, legs, arms and wrists must work as one shooting power to the tip of the spear.
• Old saying about the spear: "(it) comes and goes like an arrow in one line, moves like a dragon."
Gim (Double edged sword)
• The gim has hard within the soft.
• Considered "the General" of the short weapons.
• It is dou b le edged.
• The techniques are mostly poking and sta b b ing.
• Power is on the tip of the gim; in com b at, the theory is "protect the center and sta b straight." Gim uses the soft theory where the steps are light and fast, foot work - lively and unpredicta b le.
Sabre
• The sa b re has soft within the hard.
• Unlike the gim emphasis is on chopping.
• Old saying a b out the sa b re: "single sa b re, the emphasis is on the free hand while dou b le sa b res concentrate on the footwork."
Hard and Soft in Techniques and Release of Power
Soft Theory - When using techniques with the soft theory in mind, one must go with the opponent like the dragon dodging right and left in defense; never force against force. Before an attack, one must totally relax ( b ody and mind) and concentrate all the power at one point. The moment of impact demonstrates the "extreme hard." Once the strike is over, the release and pull b ack reinstates the soft theory.
During transition periods like small steps or turning and jumping, one cannot b e stiff. The emphasis must b e placed on the soft. When one prepares to strike, depending on the situation, the stances of rising, sinking, floating and extending movements are done with hard theory.
Key points of soft theory emphasize chi, the usage of "spiral ging" and the a b ility to change into "hard ging." "Soft ging" can also b e called "hidden ging;" it is hidden and not seen.
Hard Theory - We concentrate all the power at one point and at the moment of impact use hard theory. The hard must b e learned through strict foundation training like stances training, b ridge hands training, b ag work and all types of conditioning. The key to "hard ging" is remaining strong when releasing power. One uses stomping of the foot and different sounds to deliver power. The strike must b e heavy like a hammer hitting or b om b exploding. During com b at, "hard ging" constitutes mostly offensive techniques; it overwhelms an opponent with force against force. It is considered as "yang ging" which may b e seen in its manifestations in nature.
Hard and Soft in Mo Duk - As a martial artist, one must have compassion as strong as their skills. To accomplish this task means to reach the highest level one can achieve.
Conclusion
"Soft within the hard is true hard, hard within the soft is true soft."
Hard means: strong, b rave and fast. Hard is not cruel; it must b e straightforward. If a person has all physical power, b ut no power in the mind they are doomed to fail. If they have the a b ility to have soft within the hard they can accomplish anything.
Soft means: enduring and never fighting force with force, like water. It uses the mind and must never give up, penetrating rock like flowing water. It will take time, b ut eventually the soft drip of the water may erode the hardest surface.
by Frank Yee (Yee Chi Wai), Translated by: Yui Chow, Edited by: Michael A. Mintz
Adapted from the originally pu b lished work in New Martial Hero Magazine , (2003) issue 5, pg. 67-70
|
