White Crane

This kung fu style is Tibetan in origin. The legend of its beginnings is with an old man who would contemplate daily near a pond. One day he was observing a beautiful white crane, when out of the forest came a gorilla. He feared that the ape would destroy the bird, but was amazed by the bird's elusiveness and ability to peck vital parts of the gorilla's anatomy. He thereafter meditated daily upon the bird's actions. One day, two armed robbers attacked him, and without thinking, he defeated them both. When he meditated on his actions, he realized that he had mimicked the movements of the crane. He then set about to study and preserve this knowledge, which today is called the White Crane system.

Major characteristics of this system include wide-armed, wing-like movements, high kicking, and the crane's beak, a hand weapon made by joining the fingertips firmly.

While in its traditional form the White Crane system is rather impractical for modern use, it has undergone various modifications throughout the centuries, and it is today one of the major, revered schools.

ANALYSIS OF THE PHILOSOPHY

INTRODUCTION

White Crane kung fu has its origins in Tibet, and is probably the oldest "classical" style, aside from Snake, in the repertoire of Shaolin Chuan. There are three basic schools extant-Hop Gar, Mot Gar, and Pak Hok-the similarities far more numerous than the differences. Unlike the widespread Praying Mantis schools with a diphyletic origin , White Crane follows a direct linear path from Lamaistic origins, dispersal through Bodhidharma and finally through the Shaolin temples.

Crane is generally regarded as an internal system, though initial training is extremely demanding. Although difficult to learn because of these physical demands, it is in fact a highly effective combat system, once the method employed by the Emperor of China's bodyguards. There are only six original forms, though modern schools have devised numerous variations.

COMBAT PHILOSOPHY

The white crane is one of several birds related to storks found throughout southern Asia, the most common being the saurus crane (Grus antigone). All are tall, long-necked, long-legged birds that are quite frail in appearance. The beak is long, pointed and strong and is used as a defensive weapon. However, the morphology of these birds is not such that a stand-and-fight strategy would be successful against most potential predators, so an evasiveness developed to remove the body out of the line of direct assault. Wings actually parry incoming force, or act as weapons when opened quickly, while the long talons also are effective for defense.

The kung fu practitioner following this school uses two basic hand techniques, the crane's beak, formed by contacting the thumb with all four fingers to make pinpoint strikes, and the crane's wing, a finger rake. The sun fist is also employed, by beginners more often than by masters. As the defender physically evades an assault, the torso turns with force that accelerates the force of a strike, making even minor contacts painful to the antagonist. Furthermore, evasive footwork forces the opponent to work harder to target in on the kung fu practitioner, who in turn has the opportunity to tire his opponent before launching a definitive counterattack.

The crane's wing parries use the whole arm in graceful upward or downward sweeps to move not only an arm or leg strike, but the body of the opponent as well. Properly executed, these parries shift the opponent off balance, forcing him to open a vulnerable target. Frequently, they are executed with enough centripetal force to double as palm or backhand strikes while simultaneously parrying.

From an interception with the arms may come locks-and-throws (Ch'in Na), pushing or warding back (which uproot the opponent and hurl him forcefully backwards) or a direct counterstrike. Ch'in Na used by a white crane stylist is often designed to procure a living "shield" during multiple assaults, or of throwing one or more people into other assailants. Even here, though, the crane stylist is constantly hopping around, never taking a solid stance or restricting his own maneuverability.

Footwork in White Crane is legendary, targets being anything from head to groin. Bottom of the foot kicks are effective, as are crushing stomps, generated at close range and with great speed. Other kicks are designed to dislocate or unbalance opponents. Part of White Crane philosophy teaches control over an adversary, and to maim only as a last resort. Even in footwork, evasion is the primary goal, to allow the opponent(s) to tire, perhaps withdraw, or at worst, open up for a minimal, decisive counter.

DISCUSSION

White Crane kung fu originated and spread through largely inhospitable regions of Tibet and China. Preparatory training, though rigorous, was not as difficult to one accustomed to harsh conditions; rather they served to limber and tone muscles to provide greater mobility in the heavy clothing of the region. However, like the namesake bird, the practitioner was vulnerable to attack in a greater manner, perhaps, than other Asians. A severe cut could cause hypothermia and attendant shock, so being rendered "merely" unconscious could also cause freezing, making even a minor engagement a serious affair.

Evasion is necessary to avoid stress created by slippery terrain (ice) and large adversaries. In thin air, an aggressor is likely to tire relatively quickly, and conflict avoided altogether. The low sweeps characteristic of this style may take an opponent to the ground where he will be unable to rise quickly (again, bulky clothing hampering movement and some winding having occurred).

Practice of forms stresses long, loose movements which maximize speed and ch'i flow as an end product. The total result is threefold; total evasions of any incoming force; control of opponent with little or no harm inflicted; and total control to the point of maiming or (rarely) killing.

ANALYSIS OF THE TEACHING PHILOSOPHY

The style encompasses only six forms, yet ranges from hard, external physical development, to soft, internal ch'i movements. Examination of the style shows it to be an excellent natural progression for a student of a single style.

FORMS

Beginners to White Crane are started with the Fei Hok Sao Kuen, or Flying Crane Hand Form. It is almost purely a conditioning exercise, stressing long, deep horse stances and punches thrown from 90 degrees to the body. The form is fairly long, having 175 separate moves, each to be mastered slowly, and with great precision.

A new practitioner may also begin with the Lou Sing Sao, or Shooting Stars Hand Form, which emphasizes balance on one leg and rapid manual coordination. The use of kicks is somewhat restricted here, compared to Flying Crane Hand, but the development of balance highly complements that exercise.

By the time a novice completes either of the above sets, he moves in rank from a black sash, which represents blindness, to a red sash, symbolizing sunrise. He now begins to develop the accurate use of long range kicks and evasive footwork. The Five Form set delineates the method of positioning the body to draw an attack, then shift the stance to allow a counter from an unexpected point. In essence, this sidestepping is preparing the student for multiple opponents and the beginning of ch'i development. At this point, he advances to a yellow sash, which represents brilliance.

The Cotton Needle Set, a soft form, is common to several styles sharing Crane ancestry, including Hung Gar and Shaolin. It is designed to exercise all of the internal organs and enhance the flow of ch'i energy. So powerful and strenuous is this form that it is considered to be therapeutically superior to T'ai Chi Ch'uan. For a student to master this level may take several years, and success grants the blue sash of firmament.

Lau Hon Sao, or Buddha Guardian Hand, is another external set, but one utilizing all the maneuvers of the style, and thus requiring an adept, conditioned practitioner. Parts of the form may be taught at the beginner level, but rarely is it mastered until this point. It is followed by Dow Raw Sau, the Knife Foot and Hand Form, the most evolved internal set. This form is learned in three stages, each taking considerable effort: the basic, combat-speed method; the slow, meditating method; and the super-speeded conditioning method. Upon completion, the stylist is truly a master and may wear the silver sash.

These forms remain essentially unchanged since conceived by Dorawkitan. Elements of some are seen in many other styles, and are perhaps enhanced by the more varied methods. Flying Crane Hand appears in part in the Shaolin Black Crane style, as well as in Ch'in Na and Eagle. Knife Foot and Hand is seen in Hong Tiger, Praying Mantis and Monkey, while Buddha Guardian is seen in Pa Kua and Lo Han Hart Ch'uan.

ANALYSIS

Traditional White Crane is highly dependent upon long range strikes. To develop the timing and technique required to achieve that end, the forms are sequences so that primary training develops the muscles, while coordinating hand and eye. Once that concept is established, the training can increase in complexity, thus teaching coordination of stance and foot attack. A student at this stage has usually completed one year of study, and can be considered as fairly capable in self-defense.

The next phase develops the arsenal in terms of variety of weapons available and the choice of targets. It is here that a Crane stylist begins to decrease the striking targets to a few vital spots, as he is technically able to position himself for a thorough assault.

Finally, the highest level comes in being able to completely avoid an opponent's assault, and having the option of either evading the assailant until he is quite too exhausted to continue or deliver a fast, effective terminating strike.

That a Crane stylist is effective is beyond question. Integrated with broader combat skills, the style should be actively employed in teaching any novice the basic discipline and coordination that can enhance any further martial study.

WHITE CRANE PROGRESSION

Black Crane kung fu

"From the crane, we learn grace and self control". This, the second of the styles of the Shaolin kung fu, traces its ancestry back to the time of Dr. Hua T'o during the Han dynasty. This physician developed a series of exercises for improving health by imitating animal motions, among which was a bird.

Shaolin black crane kung fu, as it has evolved today, constitutes the hand sets of the Shaolin crane. As such, it provides a short range style of boxing useful to tall boxers. Its complement was to include throws and locks but delete intricate forms so that it could be studied by the general populace or military personnel.

Legend has it that an old man was watching a battle between an ape and a crane one day and marveled at the bird's ability to evade the ape and still connect with telling blows of its own. He meditated daily on this conflict and one day, when attacked by bandits, defeated them by using the moves of the crane. Thus was a new system born.

History tells us that the movements were a collation of the ancient bird style, some tiger and the motion of snake. Because the exercises were intended to teach character and spirit, the style inherited the crane stance long before white crane kung fu itself was introduced into China.

Refined movements called ch'in na (capture holds) were taught to civil police during the 1600s. Near the end of the Ming dynasty (A.D. 1368-1644), Ch'en Yuan-ping traveled to Japan to teach ch'in na, thus creating a basis for jiujitsu. These movements are still practiced today even though they have no organized forms.

In kung fu, Ch'in Na techniques are more or less learned and researched by every style. Among the Southern Shaolin styles of kung fu, which specialize in hand techniques and in short and middle range fighting, White Crane has one of the more complete systems of Ch'in Na. Another Southern style which puts heavy emphasis on Ch'in Na is Tiger. Among the Northern Shaolin kung fu styles, which specialize in kicking and long and middle range fighting, Eagle places heavy emphasis on Ch'in Na.

The Shaolin modified the new ch'in na by adding techniques from white crane (60%) and organizing their creation into 20 forms. In 1968, these forms had been reduced to 8 and have now been condensed to a mere 4. These are an introductory drill (the first form), a balance exercise (crane leaving the marsh, #2) and the combined techniques of black crane (the synthetic fist set and defending the 4 angles, forms #3 and #4).

The names of the black crane forms are as follows:

1. Unnamed
2. crane leaving the marsh
3. synthetic fist form
4. defending the 4 angles

This kung fu style is Tibetan in origin. The legend of its origin is this: an old man who meditated each day near a pond observed a beautiful white crane. One day as he was watching the crane, it was attacked by an ape that had lunged from the nearby forest. The old man was amazed by the bird's elusiveness and its ability to peck vital parts of the ape's anatomy. He thereafter meditated daily upon the bird's actions. One day, two armed robbers attacked him, and without thinking, he defeated them both. When he meditated on his actions, he realized that he had mimicked the movements of the crane. He then set about to study and preserve this knowledge, which was called the Lion’s Roar style, and was later to become modified as White Crane. The style is arguably the oldest of the intact Shaolin core martial arts.
Combat principles of White Crane are based upon features found in the large, long-limbed bird. Before covering the specifics of these features it is important to understand that many of the techniques of White Crane kung fu simulate methods employed by the birds, but the practitioner does not actually mimic the crane. For example, White Crane employs some physically demanding legwork, but cranes do not use their legs to kick or sweep opponents.

Hand and arm techniques

Principles off hand techniques can be divided into finger strikes, grappling techniques, fist strikes, parries and blocks, arm-locks, and elbow techniques. Finger strikes, delivered as either pecking thrusts or sweeping motions, are used to attack soft vital spots on the body such as the eyes, throat, armpits, and groin. The thrusting strikes simulate the long strong bill of the crane, which is employed to make multiple rapid strikes at the opponent.
Grappling techniques are grabs to secure an opponent and twist finger and wrist joints to restrain or disable an attacker. The versatility of the grappling techniques evolved into a system of their own, now known as chin na. These techniques were influenced by actions of the ape, not the crane.
Fist strikes in White Crane are delivered with considerable momentum, representing the bent elbow of the bird’s wing. The straight or sun fist is delivered straight from the shoulders, the targets including the nose, upper lip, cheeks, and xiphoid process of the sternum. In each case, the intent is primarily to cause extreme, debilitating pain, but not permanent or lethal damage. Alternate closed-hand techniques are delivered using the leading knuckles of a closed fist and from an overhead arcing motion, called a meteor hand. Swinging downward to hit the nose, clavicle, or extended arm, these arcing crane’s wing strikes barely touch the target, and follow-through of the arc is important for correct execution. When more impact is required, the standard meteor hand is turned 90-degrees and used as a hammer fist.
The closed fist is also employed to deliver the uppercut known as the rising fist, again to be used against the elbow of an extended arm, or to strike the underside of the jaw. In the latter case, the strike may break the jaw or neck of the opponent.
In rare cases, and when the intent is to create pain but no significant damage, the inner hammer fist, which uses the circle of bones on the thumb-side of the closed fist, is employed. It is pretty much restricted to use against the nose, lips, or cheeks.

Parries and blocks, arm-locks, and elbow techniques

In classical White Crane practice, hands and arms are used to deflect attacks as both blocks and parries. A block is a technique that aims to stop an incoming strike by intercepting it and applying sufficient force-against-force to stop that attack. In contrast, parries intercept an incoming strike and add force and speed to it while also providing redirection: going with an attack, but using a minor addition of speed and steering to avoid being struck. One advantage of a parry is that the practitioner does not need to be nearly as strong as the attacker. White Crane techniques include broad and arcing whole-arm block and parry techniques, and a single open Buddha’s Hand parry. The latter is the precursor to the slap block/parry of the Wing Chun style.
Arm locks are very specialized techniques intended to use against an incoming arm and wrapping around it to engage an arm-lock. In these cases, the intent is to put considerable pain-causing pressure against nerves in the elbow and/or shoulder. In extreme cases, the opponent’s scapula may be dislocated.
A fighting crane may use its wings to bat at incoming strikes, and use the bend in the wing (elbow) to hit the attacker. The use of the arm bent at the elbow, elbow up and swept across the torso, is a standard close-range parry/block. If the lower arm is pulled tight to the biceps, the elbow maybe used as either a laterally or descending vertical strike.

Leg techniques

White Crane leg techniques include stances, kicks and sweeps (which are effectively very low kicks). The stances used by White Crane stylists is possibly the most diverse of any style of kung fu, borrowing liberally from many schools as well as using its own unusual techniques. As in any fighting style, stances are platforms for balance and positioning of the stylist. The core stances are front, horse, scissors, crossing, cat, crane, and hanging horse.
Cranes do not use their legs or feet as primary weapons of defense, and when they do they are of limited effect. White Crane stylists’ leg techniques represent additional wing motions. The characteristic crescent kicks equate with the broad sweeping wing motions cranes use when trying to keep an aggressor at a distance, while sweeps are simple ground-level kicks, also delivered as wide circular arcs. Kicks that employ the toes or ball of the foot are long-range equivalents of crane’s beak strikes, while the side kick using the knife edge of the foot falls into a category of its own: effective, versatile, and with no specific link to any animal.

You will find style specific basic technique here along with 2-person drills and forms. This video is essentially what we had on our CD-ROMs and is now available for free! For basic gung fu technique, check out our Training Section.