Grand Master Johnny Kwong Ming Lee       Grand Master C.H. Marr                                                          Lost Track Kung Fu School

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Description of My Jhong Law Horn

Lost Track Lo Han


My Jhong Law Horn (Mizong Luohan) is an external style, with distinct internal influences. It draws on many aspects of the external Northern Shaolin Long Fist style, and the internal styles T'ai Chi Ch'uan , Pa Kua Chang and Hsing I Ch'uan, with which it is often taught in modern times. It is characterized by deceptive hand movements, intricate footwork, varied kicks, and high leaps. In execution, the style changes very quickly.


The emphasis on flexibility in Northern Shaolin styles is a guiding principle of Mizong, and this is evident in the versatility of its attacks and the extent to which it integrates the concepts of many internal styles. An increased emphasis on mobility often comes at the price of power, but Mizong compensates for this by providing a means for the dynamic generation of power. Mizong's unique fa jing (discharging of force) comes from the combination of the internal corkscrew power seen in Chen style Tai Chi Chuan and the external snapping power of Shaolin Long Fist. The result is the efficient generation of force through the dynamic motion of multiple elements of the body, the mastery of which gives a Mizong practitioner the capability of generating force quickly and flexibly from any distance.


This system was presided over by Grandmaster Yeh Yu Teng in the twentieth century until his death in 1962 at the age of 70. A number of his students, among them Master Chi-Hung Marr, and Master Johnny Lee emigrated to the North America and have continued to teach this system in locations around the U.S. and Canada.



                                                                      Grandmaster Yeh Yu Teng



Deceptive and Deadly: My Jhong Law Horn

By Grand Master Johnny Kwong Ming Lee                                        



The execution of techniques and the appearance of movements of different styles, whether in fighting or forms, have special flavors peculiar to each style.  However, it is not the physical difference of technique that makes the distinction in styles, but rather the mind of the student.  His thinking and strategy dictate the technique to be used, which in turn requires a special way to initiate the discharging of power suited to his tactics.  It is this means of accomplishing a strategy of combat that creates a difference in style.


My Jhong Law Horn and northern shaolin long fist are similar in the bold action of jumps and long-range attacks, but different when one looks at their combat strategies.  Long fist uses its jumps and long-range techniques to form a precipitous attack so that the opponent has no chance to even get close.  My Jhong, however, is more deceptive.  Bold leaps become nimble jumps to achieve a superior position for countering.  The long range strike is replaced by the shrewd precision of a multiple-angle combination.


My Jhong Law Horn’s fighting prowess is based on deception and mobility.  These principles are reflected in the versatile use of the hands and feet, which are characterized by markedly fleeting movements coupled with nimble jumps and shrewd attacks.  A technique may change from a side blow to a flying kick in mid-air, or to a sweeping stroke beneath the legs, thus demonstrating its mobility and the viability of multiple angle attacks.  In the face of such unpredictable motions, the opponent is left in confusion, vulnerable to an unexpected angle.  Carrying out such minutely devised maneuvers requires that the hands, eyes, body and feet move in one coordinated motion of swiftness and agility.  A technique designed for mobility has a flexible and extensive stretch which gives the appearance of relaxed and fluid motion while containing the potential for tremendous force.  The production of this strength gives My Jhong Law Horn its fa ching, or discharging force, a cross between the internal corkscrew power of Chen style tai chi and the second joint (elbow) snapping power of shaolin long fist.


We shall use the skip-step wheeling-arm slap as an example.  In performing this technique, the practitioner strikes with the wheeling-arm slap with the maximum summation of forces without the conventional lowered-gravity, wide-based, rooted footing.  In fact, the strike occurs while his feet skip-step around the opponent to cover distance.  The momentum of the reaction force of the skip-step combines with the corkscrewing force of the waist rotation and the snapping force of the wheeling arm to deal a crushing palm strike to the opponent.


The keys to generating My Jhong’s fa ching are as follows:


    *  Iron hard fist, cotton soft wrist

    *  Supple whip arm, spinning wheel elbow

    *  Unified scapulas, loose hanging shoulders

    *  Wide open chest, snake slithering waist

    *  Opened and closed hips, rounded crotch

    *  Bent knee, spring loaded feet, and swift-flowing steps


The fa ching of My Jhong uses an element of spiral energy, which is usually considered to be part of the internal styles.  The fighting principles of the internal stylist call for him to get in close and tight to his opponent, and stick to his target with a soft hand.  Therefore, without punching space, he must discharge force from the rear thigh by driving against the ground, reflecting the force through the heel, and transferring it from the rotation of the hips and waist to the shoulder.  From there it is conveyed through the arm and imparted by the hand.


But the fighting tactics of My Jhong cause damage through its iron hand rather than by uprooting its opponent.  Therefore, if the fa ching were to start from the rear thigh, it would be too slow and have to cover too long a distance.  Instead, it starts with an elbow snap, followed by driving the opposite shoulder away from the target, which transfers a reaction momentum through the unified scapulas to the striking arm.  This is augmented by the corkscrew force produced by the rotation of the hips and waist and the final twist of the wrist upon impact.  This imparts tremendous momentum in a very short period of impact, causing massive spot-damage while the practitioner’s body remains in a mobile state.


Southern shaolin’s tactics call for quick blocking and multiple trapping hands to open the opponent’s centerline for attack.  These techniques require strong shoulders, forceful arms, closed hips, and superior upper body strength for stiff, direct power.  My Jhong’s combative focus is on mobility in countering and shrewd tactics to create confusion.  Consequently, it has less need for concentrated blocking techniques, using its blocking hand as a safety check while countering and as an illusory ruse while attacking.


My Jhong training uses forms practice as one of its main tools.  There are more than 60 forms encompassing empty-hand, weapons forms, and two-man sparring sets.  Sparring is important for the development of efficient, economic footwork, precise alignment, and fast, fluid action.  It also trains the acceleration of body parts to deliver maximum power on demand, as well as developing a highly refined sense of timing and rhythm in technique execution.  Training externally conditions the tendons, bones, and muscles while simultaneously strengthening the breath of chi.  Agility and flexibility in action and strength and hardness on impact are acquired through vigorous external training in basic techniques and combinations.  The hands are conditioned through iron palm training, while the grips and jabs of eagle claw are conditioned through specialized rubbing and thrusting at a magnetized iron plate.


Internal training occurs solely through the practice of the empty hand and weapons forms and moves through three stages.  In the beginning, diligent and thorough practice of the forms with the correct postures and details of the techniques is required.  The second stage progresses beyond technique, as the forms are performed with swift coordination, precise timing, fluid rhythm, flowing momentum, and maximum focus.  Combining these qualities with an understanding of the techniques allows one to practice the forms as if one were encountering an opponent.  The final stage reaches the state of chuan, no chuan (technique, no technique), yi, no yi (mind, no mind).  The Chinese maxim reads “from no yi shoots out true yi,” meaning that from thoughtlessness comes true meaning.  The internal practice follows the tradition of Zen rather than Taoist methods of consciously or willfully guiding the chi through special routes.  All one needs is a total commitment to the form without any mistakes or artificial feelings for the true unification of mind, body, and action to occur.

                                                                                      Grand Master Johnny Kwong Ming Lee
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The Legend Continues...of a Great Master

By Grand Master C. H. Marr


The mastery of the Northern Shaolin Kung Fu system known as My Jhong is the guarded legacy of the Foh's Clan. It is therefore known as Foh's Fist, which, by the time it was mastered by Foh Yuan-chia (founder of the Chin Woo School) of the early 20th century, had been taught for seven generations. Like the Northern Kung Fu styles of Tai Chi, Erh Long, Fan Tze, Pa Kua, Cha Tsuan and Tan Tui, it belongs to the 'long-fist' school of martial arts. The viability of the My Jhong School lies in the alacrity and shrewd precision of its movements, which, precipitous while in attack, forces its opponents to focus on defending themselves, rather than attacking.


The My Jhong Law Horn Style is a branch of the My Jhong School, and is characterized by the peculiar versatility of the hand movements and foot work involved. With markedly fleeting movements and nimble jumps, a typical My Jhong Law Horn form metamorphoses from a side-blow to a flying kick in mid-air, or to a sweeping stroke beneath the legs. In the face of such unpredictable moves, now upwards, now downwards, the opponent is often left at his wits' end. To top it all, every maneuver is so minutely devised that it transcends prediction. With the hands, eyes, body and feet in one coordinated motion of agility and swiftness, the practitioner can deal far-reaching blows. Designed to strike from a wide range, the form has a flexible and extensive stretch. Beneath the ostensibly fragile stance lurks a tremendous force from which the very potency and strength characteristic of this style generates. This is what truly makes My Jhong Law Horn a renowned style of Kung Fu of Northern China.


The My Jhong Law Horn Style dates back to time immemorial. Its origin has been traced to Chuong Hsien and Nan Pei of the Hopei Province. In those days teachers and students alike treasured and confined the art to themselves. Consequently it became a family inheritance and was rarely taught to outsiders. There were numerous followers of the art in Northern China, but is was Grand Master Yip Yu-Ting who first brought and revealed this art to the people in Southern China.


Sifu Yip Yu-Ting, alias Yeh Chuk-chuan, came from Chuong Hsien of Hopei Province in Northern China, was born in the times of Emperor Kwang Shi of the Ching Dynasty. He started learning My Jhong Law Horn, the family legacy, from his father at the age of seven. By the time he was fourteen, he had achieved great stability in stature and immense versatility in body and limbs. In furtherance of his skills, he practiced My Jhong Law Horn under the pupillage of a great Master, Yeh Sheh-tsun of Sifu Yip's own family. Endowed with high intelligence and evincing sheer dedication which made practice of the art an all weather, night and day preoccupation, he won the favor of his Sifu. Intensely gratified that he had found a successor, the old man unreservedly taught Sifu Yip all his skills within a few years.


When Sifu Yip reached the age of twenty, he started to teach martial arts in his home town of Chuong Hsien and the neighboring Nan Pei County. Upon the instruction of his Sifu, he became the Chief of Guards in the All Victory Security Service of the East Gate at the age of twenty-four. It was a time of segmentations of the country by the warlords after the collapse of the Ching Dynasty. Civil wars were rife. Across the Northeastern parts and within and beyond the Great Wall, bandits spread like plague. They robbed all over the place, plundering and wreaking havoc with unsurpassed vehemence.


Viewing Sifu Yip as a fledgling, they were filled with spite, and tried to waylay his guarded consignment. As they soon found out, the debut of Master Yip on horseback was a stunning shock. His mastery of My Jhong Law Horn sent them fleeing under the grass. It took them little time to learn that they should scurry away at the mere sight of the 'All Victory' banner, less still to fall to pieces at the mere mention of Sifu Yip's name. After the proprietor of the All Victory Security Service died, and as highway robberies dwindled away, Sifu Yip grew tired of his job. It so happened that General Huang Wei-hsin of Peking was reorganizing his troops to fight the Northern warlord at the time, and was determined to make martial arts part of the army training. He heard of Sifu Yip and secured his services as the Chief Martial Arts Instructor of the First Company.


On his promotion to Commander of the Peking Army, General Huang appointed Sifu Yip as the army instructor in martial arts. Sifu Yip was given three promotions within a span of three years, after which he stayed on in his job for another seven years. General Huang subsequently quit, so he could work under General Chang Hsieh-liang, son of General Chang Jor-Lin. Having held his job for another three years, Sifu Yip resigned on the pretext of family commitments. After a while, however, he was again courted by the military, this time by General Chang Chung-chuang of the Shantung Provincial Army, who appointed him as army instructor. Having served there for two years, he resigned upon General Chang's death, and migrated southwards to Shanghai on his own. He became allied to the Central Chin Woo Athletic Association of Shaolin Class in the South China Athletic Association.


At the outbreak of the Second World War, Sifu Yip moved on to Guongzhou Wan, located 242 nautical miles to the Southwest of Hong Kong, where he taught at the Cosmopolitan Lion Dance Institute and the Sze Yeng New Martial Arts Center. After the war, he was invited by members of the South China Association to return to his post in Hong Kong. Moved by their earnestness he made a comeback. From then on he remained Head Instructor of Shaolin Class at the South China Athletic Association for nearly thirty years, within which period he turned out a stream of students. His end, alas, came all too soon at the age of seventy. He died after a brief illness in December, 1962, surrounded by his devoted and heartbroken students at his bedside. He was buried in the Tsuen Wan Chinese Permanent Cemetery. Buried with him was the life he had had as a renowned Master of My Jhong Law Horn, but never our profound grief at the loss of this great master!


Sifu Yip's death did not mark his end to posterity. His devout disciples include Chi-hung Marr, Johnny Kwong Ming Lee, and Raymond Wong, to name a few, who, together with their students, have since proudly shouldered the responsibility of propagating the art of My Jhong Law Horn at home and abroad. To remind themselves of such a meaningful task, they have on display in the training halls of their Kung Fu schools two scrolls flanking the Grand Master's portrait, a couplet which reads:


                                                                The five continents are simmering;

                                                                Tigers and monsters are waiting

                                                                  To be conquered by Law Horn.


                                                   May there be no diversions from the main course;

                                                           To spread the art and defend the cause

                                                           Are the duties of the My Jhong Masters.


                                                                      Grand Master C. H. Marr  

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