T'shuva/Crane pt. 1 of 3 [Kung Fu Expressions #1]

Returning to the Source: T’shuva and the Lessons of the Crane – Part 1 of 3
(Originally featured in Yee's Hung Ga Kung Fu Acadamy Newsletter)


There is a concept in Judaism called “T’shuva,” which means to return to the source. Often it is used in the context of a person coming back into a religious way of life after some absence, or finding a religious life after having previously never lived one. Thus T’shuva describes a discovery of dedication for both the beginner and the practiced person who has lost their way. This idea, however, is not limited to religious life for we see similar manifestations of it in Hung Ga Kung Fu discernible in our movements, chi gung and philosophy.

Hung Ga is a system of kung fu based on the five animal philosophies of the tiger, crane, leopard, snake and dragon. Each one of the animals is manifested in various external hand shapes and movements, as well as, internal processes and chi development. Early on in the journey of the martial artist, the animals serve as a concrete image to direct the focus of training. One such animal, which tends to be a difficult for new martial artists to grasp, and which is relevant to our discussion of T’shuva, is the crane.

The first formal introduction to the crane of Hung Ga comes from the form Fu Hok Seurng Ying Kuen (Tiger/Crane Double Pattern Fist). Although crane concepts appear in early stance training, sinking the essence to the dan tien using Yee Gee Kim Yeung Ma (crane stance), Fu Hok is the first training exercise that emphasizes the Hok Ying (crane shape), which consists of eight specific crane techniques. These techniques all condense the jing (essence) through concentrating the spirit, relaxing the arms and transporting the chi, thus training the bing ging (whipping power).

This proper use of the crane is usually very hard for the beginner to understand and perform well. A technique such as Hok Jui Chum Jong (Crane Beak Sinking Elbow), where one hand hooks a strike while the other hits the eye is a perfect example of the complex subtlety of the crane, because it requires the martial artist to relax their body completely, shoot their fingers out to a precise point on their opponent, and quickly retract their extended strike, sinking all energy back down to the source of power.

In the next installment of this story we explore the significance of T’shuva and the crane in physical health concerns.