Lam Cho Sets The Record Straight
by Donald Hamby, Inside Kung Fu, March 2001

My quest to further my knowledge in the Hung Gar system recently took me to the Orient. I first visited Hong Kong in 1985, needless to say, it was an experience that left me yearning to visit once again. The thought of flying over the ocean for over 12 hours filled me with great trepidation, but my desire to learn the Ng Long Bot Qua Quone set, (which translates to 5 th Brother Long Eight Diagram Pole) elevated my tolerance for such a long flight. This is one of the most highly regarded two man stick fighting sets within the Lam family Hung Gar system, and is rarely taught outside of the Lam family. Even though I went to Hong Kong to learn the Ng Long Bot Qua Quone set, I came back with a deeper understanding of the history and dynamics of Hung Gar and its legacy.

There is a great deal of controversy regarding who taught whom in the Hung Gar world.While I was there, I had the opportunity to learn some things concerning the Hung Clan from Master Lam Cho. I accept this information as valid since he is the last survivor of all the Hung masters from the time of the legendary Wong Fai Hung in the early 1800's to the present era. Wong Fai Hung is famous for developing the Tiger Crane and Sup Ying forms. Master Lam Cho stated that Wong Fai Hung did not run a school per se; he was a herb doctor and only taught Kung Fu to a small group in his home which also served as his clinic. One of his most outstanding disciples was Lam Sai Wing who was responsible for spreading Hung Gar in modern times. The students of Lam Sai Wing brought even more fame and notoriety to Wong Fai Hung in the first half of the 20t Century by sharing his story with filmmakers who, in turn, made movies about Wong Fai Hung and used some of these students as actors. Many stories have been told about Wong Fai Hung, but not all are true. One in particular is the Leh Shan Theater fight. This was in fact Lam Sai Wing, not Wong Fai Hung.

Some of the Hung Gar practitioners who made a name for themselves during the time of Lam Sai Wing gave credit to Wong Fai Hung as their sifu instead of Lam Sai Wing because of social status since Wong Fai Hung was a respected doctor and Lam Sai Wing was a butcher. Likewise, in this modern time some prefer to claim Lam Sai Wing when actually they received their training from Master Lam Cho. This can be proven by Master Lam Sai Wing's alumni who kept a list of all the students that Master Lam Sai Wing taught. Master Lam Cho brought many weapons and two man fighting sets to the system since Hung Gar is mainly comprised of strong empty hand techniques. The Ng Long Bot Qua Quone pole set originated from the Yang family styles. Lam Sai Wing only taught this set to his nephew Lam Cho who introduced it to the Hung System, but only taught it to a select few. Therefore, all Hung Gar practitioners of that time who practice this pole set and claimed Lam Sai Wing as their teacher, obviously learned it from Lam Cho because Lam Sai Wing didn't have it as part of his Kung Fu system.

Being that Lam Cho was Lam Sai Wing's nephew and was adopted by him at the age of 6, wouldn't it stand to reason that he would be trained more thoroughly in the Hung Gar system than an outsider would. During that time, the Ching dynasty was in rule, and Lam Cho accompanied Lam Sai Wing as he was being hunted down as a rebel by the Ching government because of the Leh Shan Theater fight. Being proficient in Hung Gar was their means of survival.

Lam Cho is a modern day legend in his own right. He started teaching when he was 16. When his uncle Lam Sai Wing passed away, the Hung Gar legacy waspassed on to him making him the Si Gung of the entire Hung Gar system of modern day practitioners. Many of his students went on to make a name for themselves and sometimes their students incorrectly claimed Lam Cho as their teacher rather than giving credit to Lam Cho's students in order to place themselves on a higher rung of the Hung Gar ladder. Lam Cho also created the two man tiger and crane set. According to Lam Cho, his teacher Lam Sai Wing played the Gung Gi Fook Fu two man fight set which he thought lacked effective technique and flare. So because of Lam Cho's profound understanding of the hand techniques, he created the two man tiger and crane fight set. Another misnomer labeled with Wong Fai Hung's name.

Because of Master Lam Cho's good name and being famous for his martial arts, there were many teachers who were very jealous of him. In 1970, Master Lam and his sons and a handful of students were engaged in a life and death struggle with ten different schools and they survived with only a few bruises while many of the offenders were seriously wounded. The Hong Kong police and the news media were present and Lam Cho is pictured in the newspaper showing the strength of his bridge hand technique against so many stick attacks. In Hung Gar a strong bridge hand (forearm) is very important. To take on a well known master and defeat him or kill him would boost up one's status in the Kung Fu community. (But as the saying goes, respect your elders lest you suffer a painful chastisement, which the challengers wrought.)

To speak of Hung Gar Kung Fu is synonymous with Master Lam Cho's name, for the purity of the art of Hung is preserved within the Lam family. Every year Hung Gar practitioners from all over the world visit Hong Kong to pay homage to this gentle and sagacious man. At the present time, Lam Cho is 90 years old and no longer teaches. He has passed his legacy down to his first born son, Master Lam Chan Fai, who is more than qualified to carry on his father's legacy and from whom I learned the Ng Long Bot Qua Quone two man stick fighting set. Master Lam Chan Sing, the youngest son, who is the chief instructor and whose eyes are as penetrating as a tiger's, stated, "any one wishing to improve his or her knowledge of the Lam family, Hung Gar Kung Fu is welcomed to their home."

Master Lam Cho still practices the Steel Wire Set every morning, which he credits for his longevity and good health. When I arrived at the Lam family home, I was warmly received. I was asked to perform the famous tiger and crane form because this set serves as the litmus test to the understanding of body dynamics and of the five animals of Hung Gar. He was overjoyed and well pleased with my performance. This meant a lot to me and assured me of my progress through diligent practice. Grand Master Lam Chan Fai, is in a class by himself with his graceful and elegant display of the Hung Gar sets. Although there are many great performers of the Hung Gar style, none are as mesmerizing as Lam Chan Fai. He is a man of honor and principles and most of all a masterful teacher.

All praise is due to the Lam Family for preserving the Southern Shaolin Hung Gar System.