Our Syllabus

The forms of the Tiger-Crane system

The style of Kung Fu taught at the Nam Yang Pugilistic Association, founded by Grand Master Ang Lian Huat in 1954, is the Tiger Crane Combination Style. The style, as passed down by Grand Master to his successor, Master Tan Soh Tin, consists of eleven basic hand routines, (often called forms, patterns or sets), which constitute the basic training of the art, and numerous more advanced routines. The time which students spend on each routine will vary according to the individual, but a depth of understanding of the techniques presented in each routine does take time to develop.

The first routine a student learns is the Sam Chien. Master Tan always stresses the importance of training Sam Chien, as did Master Ang, which is continually developed throughout the life of the martial artist. Without a firm grounding in the basics, as practiced in Sam Chien, any progress in the art will be impossible.

The importance of Sam Chien training to the art is unquestionable. Only with correct tuition and training in this form can a student develop ‘geng’, or ‘springing strength’, which can then be applied in the other forms. This is not a matter of just repeating the same moves continuously over time, but rather being shown how to develop and refine the moves through the guidance of a qualified instructor, or a Master. Through continual correct training in Sam Chien, the senses are developed and the body is conditioned both internally and externally, so a practitioner develops an ‘Iron Shirt’.

There is a very logical progression set out in the rest of the routines one learns after Sam Chien, in terms of the martial artist’s development. In Sam Chien, for example, one might say part of the focus is on moving forwards and backwards, and developing ‘geng’, while in ‘Tet Bay Sam Chien’ a shuffle step is added to the above techniques and students have time to consolidate what they learn in Sam Chien, since the two forms are otherwise quite similar. As a practitioner develops, and progresses through these eleven forms, they learn to apply ‘geng’ in more progressively complex ways and techniques. Below are outlined only a few of the basic techniques introduced in each routine.

In Sip Ji Koon various punching, striking, grabbing and blocking techniques, as well as 90-degree turns, are taught. Charp Tsar Tai Por adds 180 degree turns as well as the famous crane kick. Here a student also learns to focus their ‘geng’ out to 45 degrees from the forward stance. This is further developed in Si Men Dao Dui, where students use the same stance to focus power out to various angles, including 90 degrees from their stance, changing the direction of focus, making it particularly important in the training of defence from multiple attackers. The basic squatting position is also introduced here.

Body conditioning, sidestepping and the phoenix eye technique for punching, are developed in Tien Tay Lin Chien, while more complex hand synchronisation and body movement in the generation of ‘geng’ is introduced in Hu Die Shuang Fei.
Perhaps one of the most beautiful forms is Pei Ho Tien Sit, with a focus on various open hand techniques introduced with a variety of stances. Tay Chung Koon focuses on cross-stepping, phoenix eye techniques and floor work, with kicking, sweeping and trapping movements performed on the floor using the practitioners legs. In Ti Goo Lip Chiok a student performs more complex footwork combined with turning, and more complex uses of ‘geng’ which are then developed further in Ben Hor Choot Nar, where the Tiger element in the style can be more clearly seen.
These eleven routines provide the basic vocabulary for a Tiger-Crane practitioner.
The more advanced routines Grand Master Ang taught are much more numerous. Many concentrate on specific techniques, such as one finger strikes, or advanced applications of ‘geng’.
 

Shuang Yang - The White Crane soft art   (The Sun Frost White Crane Soft and Gentle Art)

At Nam Yang Staffordshire we teach the Shuang Yang Pei Ho the soft and gentle art similar to Tai Chi. The class normally starts with Chi Gong and stretching before beginning the Shuang Yang practice. Below is an explanation of the Shuang Yang by Master Tan Soh Tan

“The White Crane Soft Art was taught to me by my Master Ang Lian Huat, who learnt this form of art from his Master Miao Sian Meng, from the Chuan Chew Shaolin Temple. Literally translated the name should be ‘Frost and Sun White Crane Soft and Gentle art’, I will refer to this as the Shuang Yang White Crane Soft Art.
The words ‘Rou Ruan’ mean ’supple, smooth, gentle, flexible and soft’, which is the best way to describe this art. The ‘Shuang Yang White Crane Art’ enables a person to build a sound and healthy body, which is able to prevent illness. The training of the ‘Shuang Yang White Crane Art’ involves the familiarization of sixty-six moves. Once the student is familiar with the moves, breathing should be incorporated and later the practice of concentration of guiding the Qi to flow with the body and limbs. The movements and steps should be performed in a supple, smooth, gentle, flexible and soft a way as possible. Diligent and regular practice play an important part in the specialization of the art. The supervision of the Master or instructor is important in the early stages of learning, which is about three years of regular training practice. Once the student is conversant in the application of Qi and the modes, he would advance to a stage of self-realisation though furthering the art.
The ultimate aim of the art is to develop a strong and healthy body that is (literally translated) ’soft and supple as cotton wool externally and hard as steel internally’. That is, the outside should be very soft but inwardly it should be strong and viable. In their quest for the ultimate, a student will discover and experience certain feelings stage by stage, like the flow of Qi to certain parts of his body and the feeling of warmness at the point of concentration. Apart from building a healthy body the Shuang Yang White Crane Art is a good form of self-defence. It can be practiced by everyone whether young or old, and regardless of sex.”

Words by Master Tan Soh Tin