Lau Gar Kung Fu is derived from the form of boxing practiced at Kuei Ling Temple in the Kong Sai Province, West China. It was learned from a Monk on retreat from that temple by the Master “Three Eyed Lau” who was founder of the Lau Gar style.
Towards the end of the 1800′s Master Yau’s Grandfather, Yau Luk Sau, conceived the desire to learn Kung Fu. When he was 13 he left Kowloon, and traveled to Kong Sai Province where he trained under Master Tang Hoi Ching.
Nine years passed before he was able to teach without Master Tang. Master Yau’s Grandfather subsequently met the Master Wan Goon Wing with whom he continued his studies for a further six years.
On his return to Kowloon, Master Yau Luk Sau taught only his family and close friends before opening his club to the public. During this time Master Yau started training at the age of six, training for 4 hours a night 360 nights a year for 15 years.
Master Yau brought the style to the UK in 1961. The British Kung Fu Association was set up in 1973 and Master Jeremy Yau, being the keeper of the Lau Gar style, was invited to be the Chief Instructor. Subsequently Lau Gar has become Britain’s most popular form of Kung Fu.
The fighting techniques of the style are based upon the movements of the five Shao-lin Animals.
The Dragon style represents the cultivation of the spirit.
Pronounced back arches, side horse stances and twisting body postures feature strongly in the style.
Flexibility and graceful movements are stressed.
The Tiger does not need to defend, it is the ultimate predator.
It has no evasion techniques, no blocking or defence.
In any confrontation it leaps into attack going for the quick and direct resolution of the conflict. The Tiger uses any simple and direct approach. It’s techniques and methods are easily understood with not a lot of strategic thinking or planning; and absolutely no preparation.
The Tiger is purely reactive.
The Crane style is characterised by training of the sinews requiring quick movements and a good sense of balance.
Deflecting and then jabbing, hooking or poking at the opponents vital areas
Long arm attacks and the use of the waist produce a graceful style that overcomes aggressive attacks.
The crane does not attack it only counter attacks, sidestepping and using its wings to mask the movement and then deliver a technique.
The Snake style emphasises the development of ‘chi’ employing highly accurate strikes to the opponents vital areas.
Characterised by the use of flexibility, elasticity and diagonal movements
Snake style attacks involve shooting hand movements that are accurate and precise.
Some movements are there to distract using swaying techniques before shooting out and striking at the opponent.
The Leopard style represents bravery and martial ferocity.
The development of strength and a strong waist is required.
The leopard style also requires the development of speed and power for fast and penetrating strikes to the opponent.
MACKF
