I must present some context and a disclaimer to frame this fascinating topic correctly. I first learned the Tall Monkey style (including the Stone Monkey and Lost Monkey styles) of Tai Shing Pek War from a student of Sifu Paulie Zink, my Sifu James Zimmerman, or as I affectionately called him, Mr. Z, in 1993 or 1994. I referred to it as Monkey Kung Fu or Shaolin Monkey Kung Fu; later, I learned that Tai Shing Pek War was its own system, a relatively recent creation, utilizing monkey-themed boxing.  Recently, a Sifu began online instruction in Tai Shing Pek War. I subscribed to his main course. I immediately recognized his high-level skill and power in the applications he demonstrated. After 30 years of practicing what I was most attracted to in the Tall Monkey style (Stone and Lost Monkey, too), I wanted to see what I had possibly forgotten. So far, I am incredibly pleased.  Certain vital elements of the Monkey styles I had previously learned exist that I was never taught or w...

Hung Gar is the last complete fighting style developed in Shaolin and the crystallization of Shaolin's doctrine: the fearless confrontation and subduing of evil. Tiger boxing methods and metaphysical principles align with the fire element first and metal second. Ferocity, power, and courage serve as the three virtues expressed by the wild Tiger, the heart and soul of Hung Gar Kung Fu. Both the Tiger and the fire element are straightforward and explosive. The Tiger latches on and clings to its target like fire, devouring its host as fire on a log. The Tiger is heavy but sharp, like metal. The Tiger possesses a springy, mechanical pounce and maintains its durability while transitioning shape. As the ax head splits wood, so does the Tiger divide and separate another's power with unrelenting force. Tiger martial applications are directed against the heart and will of an adversary. Much of the Tiger's tactics are swathing away an adversary's guard to deliver cruel, stiff sho...

The "Sea Maau Hok," or Three Shapes: Cat, Crane, and Snake combined fist boxing, is a lesser-known set taught and maintained by only a select few schools of Hung Gar. This method was choreographed sometime circa 1940 or 1950 by Sifu Leung Wing Haang in a fast-modernizing city of Hong Kong. The Sea Maau Hok is not from the Shaolin Temple or is hundreds of years old. This helps explain its unique composition compared to older Hung Gar sets, which had all or most of their formulation within the walls of Shaolin. During the mid-1900s, the streets of Hong Kong were bustling, extraordinarily crowded, and dangerous. Numerous family clans and societies were vying for control of those streets. Bloody gang wars were fought to hold or expand territory, protect economic interests, and show whose Clan, Family, and or Society was the best in Martial Arts. Demonstrating superior martial skills meant your school attracted more students, and your gang became wealthier and more influential.  T...