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INTRODUCTION

Over the past fifty years martial arts have seen a rise in popularity never seen at any other time. Along with this popularity, though, has come a watering down of the traditional kung-fu methods. That is to say, the original purpose of the arts as systems of self-defense and physical and mental disciplines has turned into aerobic and gymnastic performance activities.

Due to the recent changes in the People’s Republic of China, martial arts there have taken on a unique flavor, one based on the utilitarian role they are seen as fulfilling. With the aesthetic aspects of the art being stressed, and as a result of the persecution of martial artists during the ten years of the Cultural Revolution (1966-1976), the practical aspects are often downplayed, and it is arguable that the overall level of skill in the combative elements of the arts has greatly declined.

The purpose of this book, then, is to not only preserve one of the most dynamic and realistic Chinese fighting arts in existence, but to provide the reader with a broader view of the art of Chuka Shaolin than has previously been available.

This current work is divided into four parts, each focusing on a different dimension of the art. Part One, “Chuka Shaolin in Perspective,” sets the tone for the book by presenting a detailed history of the art from its parent art of Fukien Shaolin to its formation at the hands of the Chu sisters, through several generations of masters, up until the present time. This section also offers an overview in terms of how a student learns the art and the fighting principles that enable the practitioner to effectively apply the art when necessary.

Part Two, “The Empty-Hand Art,” gives an overview of the basic stances, hand techniques, and foot techniques used in the art in general—yet also specific to the two-person fighting form presented later in the book—as well as descriptions and photographs of the empty-hand two-person form. By practicing this form, exponents learn the proper distances, angles, and psychological mind-set necessary when attempting to apply the empty-hand techniques against an opponent. This section also presents five strength and conditioning exercises, diligent practice of which will better enable the Chuka practitioner to execute his techniques, absorb the impact of his opponent’s techniques, as well as develop his own gripping, pulling, and pushing power without the use of external training devices.

Part Three, “The Weapon Art,” offers an overview of the weapons used in Chuka Shaolin, which includes the pole, long spear, iron rulers, twin knives, and farmer’s hoe. The six-and-a-half-point pole form is then presented, along with fighting applications of the pole and other weapons.

Part Four, “The Healing Art,” discusses the little-known healing dimensions of Chuka Shaolin. This section provides a discussion on the use and practice of chi kung, or internal energy exercises, and presents an overview of the impact healing art used to treat old injuries to the musculoskeletal system.

The book concludes with an afterword, a lineage of the art’s masters and teachers, and a complete list of the solo and two-person empty-hand and weapon forms found within the system. In the interest of keeping the text easy to read, most of the art’s terms are presented in English. For those interested in the original Chinese spellings, a glossary of terms in English and Mandarin is found at the end of the book.

We hope this book has something to offer all martial artists, beginners and advanced, Chuka stylists and exponents of other arts alike. It should be noted that this book was not written in a vacuum, but represents, instead, the efforts of many individuals. We would, therefore, like to thank the following for their respective contributions to this project: Tan Hun Poey, Cheong Boo Kheng, Ong Tatt Lin, Woo Kim Hin, the Lam family, Ron Beaubien, Karunakaran A/L R. Chindan, Hunter B. Armstrong, Carlos Aldrete-Phan, Robert Chu, Alex Co., and the late Donn F. Draeger.

—Cheong Cheng Leong &

Mark V. Wiley,

Penang, 1999