History & Arts

One of the Three Nam Yang Kung Fu Cores

The White Crane Soft Art

The White Crane Soft Art is one of the major three cores of Nam Yang Kung Fu where every student is taught to master a set of 66 moves.  It is a Martial Art emphasising relaxed, calm and gentle moves performed slowly and continuously. 

The term “soft” doesn’t mean soft in the sense of weakness. It is soft in the sense that the moves are done in a gentle purposeful way very much as a Crane moves. The body is not tense but relaxed and balanced, while the mind is calm and the breathing natural. 

In this way the Qi (Life Energy) flows smoothly through the body and conditions your health and strength.  

The Crane in our Logo signifies the softer part of Nam Yang’s style of Chinese Martial Arts.  When combined with the hard core of Nam Yang’s kung fu  – the Three Wars Form (Sam Chien– you attain the Union of The Tiger & The Crane; the Union of Hard and Soft. 

 

A Master user of the soft White Crane kung fu movements can repel a more forceful opponent.  This goes back to ancient Chinese combat teachings where an ounce of energy skilfully applied can upset a heavier opponent. 

The White Crane Soft Art when practiced regularly bolsters both fitness and health.  In  ancient Chinese theory, Soft Martial Arts like this and Tai Chi use the mind and not strength, and their power lies not in the moves but in guiding one’s Qi – for this is the aim in practising a soft art. 

The Three Wars Form

Sam Chien

Sam Chien or the Three Wars Form is the main core of Nam Yang Kung Fu.  All students learn this Vital Art.  Its Moves and Patterns are used both for offence and defence  and is thus much more vigorous than the Soft White Crane movements, Sam Chien develops both bodily and mental strength. 

The Three Wars could also mean that in order to master Sam Chien – one must bring three warring parties into harmony. 

Who are these warring parties?  They are none other than yourself.  The Three Wars is an ancient mystical reference to one’s Spirit, Mind and Body.  When our Mind disregards the Body and the Body disregards the Spirit, we are thus in a State of Three Wars and Disharmony. 

But when the Spirit, Mind and Body work as one, the student acquires mastery over himself and power to use the forms effectively.  These principles may have evolved from Shaolin Zen teachings. 

ORIGIN: 

Sam Chien is a Southern Chinese Combat Form; supposed to have originated from the Fujian Shaolin Temple hundreds of years ago.  It was also imported by the Japanese Okinawans who practice a form of Karate based on the original Fujian forms.  There are many variations of Sam Chien in South China. 

THE NAMYANG SAM CHIEN FORMS: 

The style of Kung Fu taught in Nam Yang, was founded by Grandmaster Ang Lian Huat in 1954, from the Tiger Crane Combination Form.  The form was passed down by  Grandmaster Ang to his successor, Master Tan Soh Tin.  It consists of 11 basic hand routines, (referred to as either forms, patterns or sets), which constitutes the basic training. 

The Qi Gong We Practise

Tong Ling Qi Gong

At Nam Yang Singapore we practice the Tong Ling Zi Ran Qi Gong style as taught by Master Huang Xing Xiang. 

There are a few hundred styles of qigong practiced in China today, each one of them unique on their own. According to Traditional Chinese Medicine the flow of “qi” and blood complement each other for us to maintain health, prevent and cure ailments. This leads to the cultivating of the mind, the body and the spirit. 

The word “Qi” is the Chinese Word for Life Energy and “gong” means the work or practice of harnessing this Life Energy to improve one’s health and attain harmony of mind and body. In all Qigong Practice, a form of Diaphragm or Abdominal breathing is done where the lower abdomen and lower back expand with inhalation and contract with exhalation.

Qigong is divided into 2 types. The Movement or Active type in which the breathing exercise is performed while actively making different slow movements.  The meditative type is where you sit in a position, relax yourself and practice Qi breathing. 

Traditional Chinese Medicine stressed the prevention rather than cure for illness. Thus, the training of qigong is to strengthen ourselves and immunise ourselves against illness. The benefits of these training can only be felt when one does it regularly and consistently. The practice of qigong existed for over 5000 years. It was readily accepted by people of all generations due to its unique qualities. 

The word “Tong” means clearing, access, flowing and circulating. In this context it means clearing the diseased “qi” from your meridians, enhancing smooth flow of blood and “qi” circulating the universe and gaining access to the cosmic power. “Ling” means effectiveness, swiftness and alertness. It is effective in the treatment of diseases, in strengthening the body and cultivating sixth sense and psychic power. 

Master Huang Xing Qiang from Guilin, China studied qigong Chinese Herbal Medicine and “Wushu” since his childhood days with renowned masters of those days. He was involved as lecturer and adviser to various academic institutions since 1978. He is the founder of the Tong Ling Qigong. 

There are 11 basic exercises in the Tong Ling Qigong system. The requirements of these exercises are simple and easy to learn.  All the exercises can be done in a small place.  Any individual who trains in this qigong can acquire strong qi sensations after a short practice period.  The practitioner will be able to feel the increase in his mental power and health. 

As we practice the Qigong through the different exercises, we are harmonising the flow of Qi in our body, mainly the flow of the micro and the macro orbit.  Along the spine are all our vital organs and as we bend and twist our spine during the qigong exercises, we are actually massaging the vital organs in our body and thus maintaining our health. The organs in our body function together and complement each other so we have to keep them in good shape all the time. 

Case histories have shown that some diseases can be overcome by practicing Qigong. Common are high blood pressure, anaemia, stress and nervousness, migraine, inflammation of nose and throat, asthma, sinuses and stroke related problems. If we exercise regularly, we can prevent a lot of illness from coming our way. 

The Founder

Grandmaster Ang

Grandmaster Ang Lian Huat founded Nam Yang Pugilistic Association in 1954.  He was born in Quemoy (now Kinmen), an island off the coast of Fujian province, China.  Quemoy was heavily fortified – an island fortress guarding the Fujianese coast. 

Grandmaster Ang took up training in the Tiger-Crane art when he was only eight years old. His master was Tee Hong Yew, a member of the Tee family, through which the art had been passed down for many generations – ever since its development by Tee Eng Choon and Hung Ee Kan. Tee Hong Yew was known as ‘the secretive old man’ due to his habit of coming and going without a word. 

As well as the Tiger-Crane Combination, Grandmaster Ang learned several other styles. His second master was Grandmaster Tan Kew Leong.  He was the chief of the herbal medicine peddlers in the Chuan Chew district of China. 

These medicine peddlers were usually highly accomplished martial artists and were often challenged to fights in the towns and villages they visited. For this reason, their Kung Fu had to be good. Tan Kew Leong specialized in the Tai Chor (tiger) style and was also a master of the Shaolin weapons system. 

Grandmaster Ang’s third master was Miao Sian Meng, a monk from the Chuan Chew Shaolin Temple. From him Grandmaster Ang learned the full Shuang Yang Pei Ho (Sun/Frost White Crane) soft art and external Chinese medicine. 

Grandmaster Ang’s family were quite wealthy – which was why he could afford the very best Kung Fu teachers available. Kung Fu was an all-consuming interest for him and he did little else. His father was a timber merchant but unfortunately, he died whilst Grandmaster Ang was still young. His brother took over the business and moved it to Singapore – a place which at the time, was attracting many Chinese immigrants. In 1947, Grandmaster Ang emigrated to Singapore to take part in the family business. He was so hot tempered, however, that he quarreled with his uncle to the extent that he was excluded from the business. 

Since arriving in Singapore, Grandmaster Ang had continued to practise his Kung Fu – at which he was now extremely accomplished. He took a job as a ‘bouncer’ at a gambling den. During the second world war and in the years after, Singapore was quite a rough, dangerous place – in total contrast to what it is today. Martial arts experts were highly favored as doormen and were often greatly feared. 

It was in 1954 that Grandmaster Ang founded the Nam Yang Pugilistic Association. Here he taught the Tiger-Crane Combination, Shuang Yang Pei Ho, Tai Chor, Lohon and Monkey and Shaolin weapon arts as well as Chi Kung and Lion Dance. 

Grandmaster Ang was greatly respected throughout the Singapore martial arts community. He was known as being strong willed, quick tempered and an exceptionally good fighter. He disliked men who set themselves up as Kung Fu masters without really knowing the art and would challenge anyone who he suspected of being such an impostor. 

When Mass Oyama, the founder of the Kyokushinkai Karate, visited Singapore he came to Nam Yang. Karate styles also practise the Sum Chien form. Oyama was sufficiently impressed to offer him a karate black belt. Grandmaster Ang refused, saying that he could only accept a grading from someone he considered his senior. 

Grandmaster Ang presided over Nam Yang for the rest of his life and trained many students. He was still teaching keenly even in the last few weeks of his life, trying to impart as much of his vast knowledge as he could. He died in 1984 at the age of 60. He had suffered for some time with diabetes. 

Grandmaster Ang had a great depth of understanding of Kung Fu. He was a master of the ‘touch’ system and stressed the use of a straight counter for a side attack and a side counter for a straight attack – dash against wave and wave against dash. He maintained that to every move there is a counter and to every counter there is a counter, etc. He emphasised the importance of concentration and awareness, having been beaten in his youth by an opponent who spat in his face then hit him whilst he was distracted. 

Despite knowing so many styles and several hundred patterns, Grandmaster Ang stressed that this was not really important compared to the depth of one’s knowledge and the strength of one’s basics. The key to success is the mastery of the Sam Chien form. His most senior disciple was Master Tan Soh Tin, who took over the running of the Nam Yang Pugilistic Association. 

The Disciple

Master Tan

Master Tan was born in Singapore during the second world war. In those days much of Singapore was still plantations and swamps. Master Tan lived in a rural area with no amenities. As a boy, one of his tasks was to fetch water from the well. He would hold the buckets out either side of him with straight arms as he climbed the hill to his house. This was a way of building strength in his arms and shoulders. 

When he first took up training in the martial arts, Master Tan was eight years old. He learned from his uncle whose name was Teo Choon Bee.  

Master Teo was famous as a bone setter. In those days, of course, there would not have been modern hospitals in Singapore. Chinese doctors were often also masters of the martial arts. Master Teo taught the Tiger-Crane Combination. 

Most Singaporean Chinese are of Fukienese descent, so Fukienese arts such as Tiger-Crane are commonly taught there. Master Teo’s classes usually contained about fifteen students. They would begin by practicing basic moves then split off to be taught their routines individually. The style of Tiger-Crane which Master Teo taught was similar to what we practise now. 

Master Tan trained with Master Teo until he was about thirteen years old, but then stopped his Kung Fu training to concentrate on his school work. While he was a teenager he liked to go to parties and ride motorbikes. The scars which you can see on his shins today came from crashing old British bikes while racing them through the plantations and the swamps. 

After he had left school, Master Tan again wished to concentrate on Kung Fu training. This time he went to a master named Tan Heng Han. This master was quite old and Master Tan describes him as having a “huge belly”. Master Tan Heng Han had no club house. In fact he used to train his students near a chicken coop, the smell of which was often very strong. He was there all day and students would come and go as it suited them. They paid a monthly training fee but would often also bring their master gifts such as tobacco and pigs trotter cooked in soy sauce – which he particularly enjoyed. 

Master Tan Heng Han is said to have been quite rough and uneducated. In his youth he lived as a rebel and a bandit in China. These were the days before guns were common in China. Most men still fought with hand to hand weapons such as swords and spears. For men for whom killing was a way of life, sound knowledge of fighting techniques meant the difference between life and death. This is why our art is so practical and so deadly – because if it was not, the old masters would not have live long enough to pass it on. 

At the time when he taught Master Tan, Master Tan Heng Han was nearing the end of his days. Whilst watching Master Tan do his Sum Chien, he would sit smoking unfiltered ‘roll-ups’ until they crumbled between his fingers. Sometimes he would doze. For all this, though, he was very strict on the training of the basic principles of Kung Fu. The style of the Tiger-Crane Combination which he taught was more rigid than that taught by Grandmaster Ang. He taught the rigid ‘thousand pound’ stance and squeezed the body very tight when drawing the arms in. The arms were drawn back very close to the body. For all this though, his style was very relaxed when throwing the arms out – making use of the ‘springy strength’. 

Master Tan Heng Han put great emphasis on the training of the basics, as embodied by the Sam Chien form. He was a good teacher and drilled his students very strictly. They practiced mostly the Sum Chien but also some fixed sparring, arm toughening exercises and and few fighting moves. 

Master Tan trained every evening of the week and also Sunday mornings. Every session he would do his Sam Chienover and over again – perhaps about twenty times. His master would correct him and gradually improve his Sum Chien to higher and higher levels. He developed the springy strength to a remarkably high degree – not only in his arms and legs but through his whole body. By constantly practicing the breathing of the Sum Chien, he developed the remarkably flexible stomach which is one of his hallmarks today. He was able to hang from a tree whilst people took it in turns to punch his stomach. By retracting the stomach and then throwing it out using his springy strength he was able to send the people punching him flying backwards. To test Master Tan’s development his master used to tell people to wait until he was not expecting it then hit him in the stomach. Even when surprised he would still send them flying. The culminated in an incident when he was climbing a ladder to put something on a high shelf. A close friend of his sent a hard punch into his stomach but was sent flying across the room and hit the wall so hard that he was lucky to escape serious injury. After this, Master Tan’s master never told people to hit him in the stomach again. 

For four years, the only routine which Master Tan was taught was the Sum Chien. During this time he practiced so diligently that he achieved a remarkably high level of skill. When his master was finally satisfied that he had mastered the Sum Chien form, he was happy to teach him many more routines: in fact he taught them so fast that Master Tan had a hard job to keep up. In less than two years, Master Tan was taught all the eleven basic routines of the Tiger-Crane art, a long staff routine, a tiger fork routine and a routine with two short iron rods. Eventually his master told him “I have taught you all I can teach, now it is up to you to practise and perfect your art – you do not need to come for lessons anymore”. 

Master Tan was not satisfied simply to practise what he had already learned – he still wished to further his study of Kung Fu. He offered to start a club, teaching in his masters name and also looked around to find a master who could teach him even more. The club was quite successful and Master Tan attracted a number of students. At this time,  Grandmaster Ang Lian Huat was acknowledged by all the masters of the Tiger-Crane art in Singapore as being the highest authority. Master Tan began to study the Shuang Yang Pei Ho (Sun/Frost White Crane soft art) form of Chi Kung with  Grandmaster Ang. 

After some time, Master Tan also began to train in the Tiger-Crane art with Grandmaster Ang. He was still running his own club, but Master Tan Heng Han was not very interested in it. Master Tan, wishing to further his knowledge of the Tiger-Crane art and feeling that he was not yet ready to take on the burden of instructing his own club, asked to be taken as a student of Grandmaster Ang. He was accepted and he told his students to join Nam Yang Pugilistic Association and follow Grandmaster Ang’s teachings. Some of them rose to become instructors of the association. 

The style of Tiger-Crane which Grandmaster Ang taught is, of course, the style we learn today. Compared to that taught by Master Tan Heng Han, it is more subtle and sophisticated; the stance is more springy and the power is generated more internally. Grandmaster Ang was an expert at the ‘touch system’ – sticky hands etc. 

Grandmaster Ang was renowned for his wide knowledge of Kung Fu – he know many styles and literally hundreds of routines. He still emphasised the importance of the basics and of the Sum Chien, however. He would not teach his students the higher routines until he was satisfied with their Sam Chien. Even Master Tan, who had already been recognised as a master, had to go back to practicing the Sum Chien for four years before Grandmaster Ang would teach him further. Having also spent four years learning the Sum Chien with his previous master, this meant that Master Tan did a total of eight years training just on the Sum Chien. This explains his remarkable standard and why, in his teaching, he puts so much emphasis on the basics. 

Once Grandmaster Ang was happy with Master Tan’s Sum Chien, he taught him the whole of the tiger-Crane style as well as the Shuang Yang style and many of the Shaolin weapons. In all, Master Tan learned about fifty routines. When training him, Grandmaster Ang would make him repeat them one after another, including the weapons. This is an exhausting form of training! Master Tan was famous for his lethal kicks. He is unbelievably flexible which enables him to kick very high, although he always recommends not to use high kicks when fighting – they are too risky. 

When he was thirty-three years old, Master Tan entered the Singaporean Kung Fu Championships. He had no competition experience and was unsure what to expect. He found himself fighting with a head/face guard which blocked his view against an experienced competition fighter who did not get close to him but kept picking off points. He often tells the tale of how he was waiting to land one good shot. Near the end of the fight, the chance presented itself and he applied one of his famous kicks to his opponents tan tien. Master Tan was disqualified for injuring his opponent – who had to be carried off the mat and rushed to hospital. The moral of this story is that the real winner of a fight is not necessarily the one who wins a medal but the one who goes home unscathed. 

Master Tan performed in many demonstrations and became a very well respected martial artist in Singapore. In time, he became accepted as Grandmaster Ang’s senior student. He was the secretary of Nam Yang Pugilistic Association and during Grandmaster Ang’s lifetime turned down instructorship so that he could concentrate on the administration of the club, leading the club’s Lion Dance and Martial Arts Troupe to perform both locally around Singapore, as the Master traditionally did. 

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