Exoteric

ABOUT SOUTHERN PRAYING MANTIS

This style is connected by similarity with the Fukien Crane, Wing Chun, Dragon Shadow, and White Eyebrow styles (as well as the Okinawan Karate styles). Its technique is based on a deep rooted firm upright stance, straight forward explosive force (of a sticky nature) and the use of turning or borrowing power with small deflective angles, circles and hooks.

Practitioners emulate the mantis fighting posture by extending their hands forward, with the elbows slightly bent and tucked in close to protect the centerline - like a mantis. The feet are separated by the distance of about 18-24 inches, shoulder width apart, with the bent lead leg supporting most of the weight, while the slightly curved leg acts as a strut.

A single movement of the arm may contain several actions. Tactical operations of the hand include grappling, catching, holding, capturing, clasping with the forearms, slicing strikes with the knuckles, pressing with the elbow, sudden quick pushes with both hands, spearing with extended fingers, flicking of the hands in quick jabs, exploding fingers from the fists, jerking the opponent’s arm, slicing and chopping with the edge of the palm, hooking and deflecting hands, elbow strikes, claw-like raking actions, and poking with the back of the hands. Many of the movements are simultaneously defensive and offensive. The feet, ankles, knees and hips may mirror the hand movements.

In my teaching, the principle of intent or "will-power" is first discussed. Intent may simply be defined as the "warrior spirit." Without it, their is no focus of the body and mind into one purpose.  Rooting and centering are next discussed. Rooting is the skill of developing the force of one thousand pounds in the feet. With it, the stance is as firm as Mt. Tai and not easily moved. Without it, the power of the fist will be stagnated in the chest and one's feet will not be steady. Centering is the development of the root. It is the lowering of the center of gravity within the body. It is accomplished by breathing and correct body structure.

Body structure is a key element. Like a triangle, one must develop a base in relationship with the other parts. In the body it is a sinking power. If the stance is too wide, too narrow, too long or too short, the center will be unstable. Imagine an upside down triangle standing on it's tip and you can see the slightest force will cause it to topple. This is a floating center and should be avoided.

Many styles mimic the movements of animals, but the Jook Lum Mantis is based on the structure of the human being. The practicer stands upright with the feet firmly placed heel to toe 18-24 inches apart. Gathered through the feet and up the legs and back, the power is expressed in the hands. This produces a live springy power (action-reaction force in a sticky way). It is produced by the whole body in spiraling motions, as a spring is twisted and then released. It is the function of the hand and foot arriving at the target intently at the same time. There is a saying, "any deficiency of power in the hand, can be found in the root and center."

Being that the structure of this kungfu is based on the natural movements of man and the hand movements of a mantis, the style's form and function express themselves as one. How many times have we seen dozens of different stylists, all practicing their various forms, only to enter the fighting competition and become indistinguishable from each other? That is to say, that their form and function is not the same. Jook Lum Mantis is one style that exhibits form and function inseparably.

Once found, one must learn to move the center while remaining stable in all positions. This is the function of stepping and is based on the body structure and the use of power in attack and defense with the feet, shins, knees and hips. Jook Lum has both linear and circular stepping such as three steps forward, four corners and eight directions.

Once a rooted stance is developed and one is able to move the center of his body by stepping forcefully and agressively without a break in the root, he may learn to "box" using the hand. When the stance is rooted and one can move the center, it is said the whole body has become a hand.

The mantis arm is composed of three "hands;" from the shoulder to the elbow, from the elbow to the wrist and from the wrist to the fingertips. A good mantis will use his "second hand" for control by pressing the forearm into the centerline of his prey, at the same time striking a vital area with his "first" hand or fingers.

In my teaching, I first introduce 18 hands individually, one by one, combined with the steps. One learns this as a single man exercise but quickly begins two man, "partners," practice in offense and defense. This is "attaching to the center of the opponent and controlling him." These 18 hands can be likened to the alphabet. A follows B turns to C, etc. Once the alphabet is learned, we can make words, which make sentences, which make paragraphs and books and so on. At last, the practicers arrive at 18 continuous hand combinations.

By daily training and repitition, of these hands offensively and defensively in high, low, middle, left, right, center and back positions, the mind and body will gradually come to an instinctual action or reaction based on the "partners" intent. It is too late if one must think in combat.Ancillary exercises during the basic training are numerous. Of course, standard exercises include kicking, sweeping, chinna, grappling, ground fighting and the likes, but more specific Jook Lum exercises such as two man internal strengthening, two man body conditioning, sticky elbows, hooking hands and ging power explosive force are also included. And there are numerous two man "sticky-feeling-controlling" exercises.

Sticky training is to learn relaxation. It is the ability to not blink when being struck. It is attaching to the center of the opponent's being, neither pushing into nor pulling away from him. It is being perfectly attacthed in stillness and motion. Feeling hand is the result of sticky hand. One must learn to neither anticipate the opponents movement or telegraph his own. Feeling hand is the reading of the opponents intent. It is as if the hand (body) has an eye of it's own. Controlling hand is the result of feeling hand. It is the jamming, trapping and deflecting and attacking of the opponents intent. This is done based on the control points of the body. The motto, is "hand to hand, heart to heart, you don't come, I won't start." (The hands are placed (chambered) above the heart and the elbows cover the ribcage to protect the internal organs).

Once the basics are learned, next is taught the form Lah Sao (or loose hands). It is a short, medium and long range two man (A-B) hand set with low kicks, high kicks and sweeping. Although the form is based on stickiness, there are three separations of the two men. Both sides (A-B) must be learned by both men as one continuous "round" to complete the form.Next is the basic form, "three steps forward." It strengthens the structure and teaches gathering, exploding and borrowing power. It is followed by the two man "three steps forward" form. It is the application of all the principles and philosophy in a realistic way.

This is followed by the "five fist" form. It is four directional and includes the evasion of takedowns and sweeping. Next is the two man "five fist" set where the skills are further refined.Moi Fa, follows and is a circular two man set teaching one to attack vital points below the navel.This in turn is followed by the 18 Buddha Form as a single man set and then a two man set. This set teaches vital point striking with the knuckles and fingertips in forward, left and right positions.Now a two man set, "seven point fist" is taught to advanced practitioners who will not "graduate" the system. Those who will must be formally accepted by the master to receive the "masters form" called 108. It is a sticky hand two man set teaching one hundred eight vital point striking, defending and countering. I call it acupuncture boxing. Herbals and Shun Kung (spirit) teaching follow. Traditionally, the Late Lum Sang Sifu only taught, the forms three steps forward, 18 point, seven point fist and 108 with their two man sets.

MANTIS FORM AND FUNCTION
In most teachings, forms are broken down into a sequence of 1, 2, or 3 techniques (movements) and explained as combat application. The problem with this is that the demonstration is usually static, this is, one person is asked to punch (attack) and hold out his hand while the other applies a sequence of
1 2 3 actions in defense and offense. This is unrealistic.  In a real fight the attacker will never punch only once and stop - waiting for your reaction. Neither will he remain static waiting for you to attack him (or his weak spots). Action causes reaction - this is a basic law of nature (and survival).

When one person defends and/or attacks the other will instinctually move to avoid being hit - in example, clap your hands in a wilderness area and watch as the fowl and animals instinctually move - or like one automatically blinks when being poked toward the eyes.

Martial arts applications cannot be realistic if they are static. Application must be dynamic; cause and effect, action and reaction, especially against skilled martial art. It is possible that a skilled martial artist defending against an unskilled person MIGHT find himself in a situation where his 1,2,3 movement can be applied, but, even an unskilled person will turn his head when being struck in the face or turn his body when being struck in the chest.

Therefore, superior martial art must first be guided by relentless intent - eye to eye, hand to hand, driving forward into the center of the opponents being. Second, a superior skill must have segmented feeling power which can produce whole body force, that is, any part of the body can yield independently to the opponents incoming force creating an unstable center and opening and then discharge a focused single deadly strike with power issuing from the feet, up the legs, back, arms, and fingers into a weak vital point of the opponent such as the eyes, throat, or solar plexus. Third, a skillful art must be based on changes of the hand, since the hand (arm) is the quickest and most convenient weapon (just watch any real fight).

By pressing the centerline of the opponent, sticking to his movement and feeling his intent, the skillful hand can, using small, quick, short, angular jerks and deflections, redirect and create an opening in the opponents center and intent while delivering a single devasting blow in a straight line (the shortest quickest distance between two points) to his vital spots. Continuous direct blows are given until the opponents submission. The mantis philosophy is train until within three blows the opponent submits, bleeds or ceases to exist.

But this is based on the ability of the practicer to intently stick, feel, yield and discharge continuous changes based on the opponent's action and reaction. Simply said, if pushed downward the hand turns to strike upward, if pushed upward the hand turns to strike downward, if pushed inward the hand turns to strike outward, if pushed out the hand turns (changes) to strike inward (simply said). Of course, this is a principle and as one becomes skillful, his hand learns to adapt to any angle or circumstance. Like the stance, one first finds the center, develops power, moves the center and attaches the center to his opponent. Later, any position or posture is centered, whether lying, sitting, standing or walking.

The eighteen mantis hands all change in this way without a break in the power and contact of the two people. A is followed by B, by C turns to D and so on. In time, two people learn to change hands (power) automatically. By repitition A instinctually turns to B turns to C, etc. At this point, one may simply hold out his hands and they will move and strike without thought. When the eighteen mantis hands are practiced by two skillful people, it looks like a continuous "sticky" fight. Once contact is made there is no backing up or breaking apart. Each of the eighteen hands is a reaction to an action with the intent of each movement to make one deadly strike enough.Learning the eighteen hand changes individually is basic training and is followed by a series of two man "sticky, feeling, changing" forms in which the mantis practicers begin to instinctually skill various changes while developing precision in striking vital areas. The forms are "hands on" and realistic in "continuous fighting".

This principle of contact, control and strike (until the opponent is red) is central to all mantis action is based on the three powers of the arm; from the shoulder to the elbow, elbow to the wrist, wrist to the fingertips. A skillful mantis will defend and attack using one arm (leaving one hand free) to trap and control the opponents two arms. This is done with one arm by using the forearm for defensive movement while simultaneously attacking with the hand or fingers. This can only be accomplished if one has understood the centerline theory.

And so, a superior art is based on a deep rooted stance, upright footwork in stepping and production of power by the movement of the ribs and diaphragm. It will use the conditioned arms and hands 70% of the time and the legs and feet 30% of the time in offense and defense. Again this is because, the hands are the quickest and most convenient weapon (as we can see in any real fight).

LIK AND GING
Lik (li) is the natural strength a man's body possesses. It is his physical constitution and it varies from person to person. Sometimes a smaller person is naturally stronger than a larger person and sometimes the larger person is not naturally strong. In the case of one's Lik (natural strength) size is not always an indicator.

Ging (jing) is based on the Lik (natural strength) of person but it is not natural. It is a refined strength, a strength that is acquired after special training.

Think of the body builder. He has both lik and ging. His natural strength (lik) is due to his body size and his refined strength (ging) is developed in the movement of lifting weights. Therefore, his ging is useful in moving weights, but not in other actions. This is why different people with different daily lives have different lik and ging. The person who digs ditches with a shovel will develop a refined power (ging) that allows him the greatest ease and comfort at shovelling.  And so it is that in martial art we develop ging or refined power after special training. And we can see that the better our (lik) natural strength the greater our refined strength will also be. Today, we can hear of so many kinds of ging, particularly in Tai Chi or the so called "internal arts" that it may sound confusing. (And in many cases, I do believe the practicers are confused).
Simply stated, each skill or technique when mastered becomes a ging.

In mantis, the term, ging, is used as an overall word indicating refined strength and each technique or special skill is simply called a "hand". However, each of the 18 mantis basic hands could be called a ging, ie. mor ging, gwak ging, choc ging, sigh ging, etc, because after repeated training one will acquire extraordinary power in this particular motion.

If one's ging cannot be easily changed according to the opponents reaction power and intent, then it is called "dead power". We see this in many Karate movements where force is met with greater force. It is "dead ging" because once exerted it cannot change or re-issue power until it has been regenerated usually by chambering or pulling back the hand as in the reverse punch. In contrast, "live power or ging" strikes, sticks, follows and regenerates power by using the opponents movement. The power is continuous and flowing without the need for pulling back the hand or recoiling the arm. One blow changes to another blow without ever breaking contact and always following the opponents movement. This, however, is a function of correct technique.

It is said that ging is produced in the feet and expressed outward toward the limbs. This is the function of the stance and footwork. If not exactly correct, one may never develop a root and center and so the hands will never develop sufficient ging.

There are many other principles such as the centerline theory; intercepting hand and sticky hand; rooting, moving the center, attaching the center; crossing the bridge; straight power and borrowing force; float, sink, swallow and spit; which I may address in the future.

ANECDOTE
In the book, Complete Guide to Kungfu Fighting Styles, it is clear that the author, J. Hallander, had little or no experience with Southern Praying Mantis. Many erroneous statements are made about South Mantis including the basic history. Unfortunately, misinformation is abundant regarding this style, especially on the internet today!

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