Shaolin Shows in SF Bay Area

[Pk_StyLeZ]

i see gene
http://www.youtube.com/watch?v=eFdLJ22D-8U

[GeneChing]

youtube makes me look fat.

[GeneChing]

...there was a short Shaolin demonstration at the 2nd International Traditional Kung Fu Wushu Tournament & Master's Demo & 4th Eagle Cup Competition. If memory serves, it was a traditional form, some wushu and tongzigong.

[GeneChing]

Here's a straight up live theater performance. Marin is just north of S.F.

The Shaolin Warriors
Friday, October 5, 2007 8 pm
Marin Veterans' Memorial Auditorium, San Rafael

In a new fully choreographed theatrical production, the Shaolin Warriors bring the remarkable skill, stunning movement and spectacular imagery of Kung Fu to stages throughout the world. Performed by the Buddhist monks of the Shaolin Temple, a sect that has become known throughout the world for its disciplined spiritualism and deadly martial-arts prowess, the performance features many forms of Shaolin Kung Fu as well as a look at the daily temple life of the monks and their Zen Buddhist philosophy.

These Kung Fu masters have trained from a very young age in mental and physical disciplines, which allow them to perform feats one thought only possible in the movies. Shaolin Warriors toured North America in 2002 and 2004 including sold-out performances at Marin Center. After returning to China for several years, the monks are ready to make a triumphant return to Marin Center.

“They combine the agility and grace of gymnasts with the showmanship of Cirque du Soleil performers.”—The Washington Post

$50 / $35 / $25
Students 18 and under - $20

Tickets to this event can be purchased through the Box Office and ticketmaster.

[GeneChing]

Yanran was mentioned in The Gold Mountain Monks: 38 Shaolin Immigrants to the San Francisco Bay Area By Chen Xinghua and Gigi Oh in our Nov Dec 2007 Shaolin Special. He's having his school grand opening this Sunday (which is the Shaolin show for this thread), but I'll in in L.A. for Shaolin: Temple of Zen at Otis Gallery.

Fremont: The U.S. base for Shaolin kung fu masters
By Matthew Artz, STAFF WRITER
Article Last Updated: 01/21/2008 02:36:44 AM PST

FREMONT — All it took was one Jet Li kung fu movie for Shi Yanran to know what he wanted to do, way before he was all grown up.

The 25-year-old Buddhist monk was just 6 years old when he watched "Shaolin Temple" on video.

He was so transfixed by the fighting scenes and the 1,500-year-old Buddhist monastery that gave birth to kung fu that he talked his parents into traveling 400 miles to the monastery and letting him seek admission.

The monks rejected him at first, but when he returned with his parents just two years later, he was accepted and left his family for good.

Now, 17 years later, Yanran has been sent on a new journey.

Since last year, he and 15 other ordained Shaolin monks have been living in a San Jose artist housing complex and teaching their ancient blend of martial arts and Buddhism to students in Fremont, their U.S. headquarters, and two other Bay Area cities.

Traditionally, the monks only train those who traveled to the remote monastery in the foothills of China's Songshan mountains or their other satellite monasteries in China. But the current abbot determined that Shaolin culture eventually would wither if they didn't try to spread their teachings, Yanran said through an interpreter.

Fremont was chosen as one of three Bay Area locations — San Jose and Millbrae are the others — because of its large Chinese population and overall diversity.

"This is a good place to reach out to different communities,"
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said Yanran, who is director of the Fremont school.

Kirk Graebe, a former martial arts instructor, did a double-take the first time he drove past the school — a former auto repair shop — at the corner of Peralta Boulevard and Dusterberry Way.

"I said, 'Right, Shaolin monks in Fremont,'" he said. "I couldn't believe these guys were the real deal. It's almost like a fantasy to get to train with them."

According to Chinese history, Shaolin monks first gained notoriety in 698 for helping a future Tang Dynasty emperor defeat a rebellious general. They found themselves in the thick of other political battles over the centuries, but now practice martial arts as a way to stay healthy and build character.

The monastery gained global notoriety with Bruce Lee's kung fu movies, and kung fu masters such as Jet Li continue the tradition.

What separates Shaolin kung fu from other martial arts, Yanran said, is its combination of meditation, Buddhism and fighting skills.

Belts are eschewed and so is competition.

"It's very internal," Yanran said in Chinese. "It's not for showing off."

Yanran's early years in the monastery seem like scenes from "The Karate Kid." The monks ordered him to perform menial tasks with precise movements before they started training him in kung fu.

He became an ordained monk at age 18.

For Shaolin monks like Yanran who specialized in kung fu, days at the monastery started at 4:30 a.m. with morning prayers and exercises. They studied after breakfast, meditated at night and for 3.5 hours every afternoon, they practiced their fighting skills, Yanran said. Bedtime was always 9 p.m.

These days, Yanran and his fellow monks in San Jose are almost as regimented. They're up at 6:30 a.m. for exercise and breakfast. At 8 a.m. it's off to English class. When that lets out about noon, they go to their schools where they teach until about 9 p.m. Then it's back to San Jose where they make dinner, and go to bed by 11 p.m.

The monks have made some adjustments to Americanize the discipline. They do award belts, and the classes are focused much more on kung fu than meditation or Buddhism.

"We don't preach Buddhism," Yanran said, adding that their teachings are universal principals that are compatible with the teachings of other religions. "It's up to the student how much they want to accept."

For now, even those students interested in Buddhist meditation will have difficulty learning it from the monks. Since their English is still a work in progress and the meditations involve words that don't easily translate, the monks only teach meditation in Mandarin Chinese.

Eventually, Yanran said, they hope to offer the class in English. Besides learning English at class and from their students, they have squeezed in enough time to practice by listening to the radio and watching some television, but not enough for Jet Li movies, he said.

"When I have time I still like to watch them, but right now I'm too busy," he said.

Shaolin Temple USA is located at 4343 Peralta Blvd. The phone number is 510-818-9966.

[GeneChing]

Good ol' Fremont. Who'd have thunk?

Cultivation of spirit
MONKS BASED IN FREMONT SHARE SHAOLIN CULTURE
By L.A. Chung
Mercury News
Article Launched: 02/03/2008 01:45:09 AM PST

The new kung fu academy in Fremont, operated by Shaolin Temple USA, may be the only place in America where you can learn double broadsword from temple monks and get an oil change at the same time.

Sandwiched among auto service businesses on 4343 Peralta Blvd. in Fremont, the unassuming U.S. headquarters of the storied Shaolin Temple, will officially introduce itself to a curious public during an open house from 1 to 4 p.m. today.

"Most people misunderstand the essence of kung fu," said Master Shi Yanran, the center's youthful director. "It is exercise to achieve the Zen state. One of our missions is to clarify that kung fu is only a very small part of the Shaolin culture. It's a much larger thing."

Forget Hollywood crossover star Jet Li with his breakthrough classic "Shaolin Temple." Ignore "Mortal Kombat: Shaolin Monks." This is the real deal: Real monks, sent by the abbot Venerable Shi Yongxin at the 1,500 year-old temple at Song Mountain in Henan province in China, to spread the Chinese kung fu made famous by movies, but imbued with the philosophical Buddhist underpinnings that are its foundation.

Established in 495 A.D., the Shaolin Temple of legend was the birthplace of Zen (in Chinese called Chan) Buddhism and Shaolin kung fu. It is the only monastery that trains martial arts monks, in a unique tradition that integrates physical and spiritual elements for health and cultivation of spirit.

Many members of the Fremont area Chinese community have embraced the academy, which will hold a Buddhist ceremony for city officials, then throw open the doors for an open house for the public, including demonstrations of martial arts and free lessons to children. The non-profit Chinese Performing Artists of America is a sponsor of the monks' efforts.

Part of that embrace comes from the center's offerings of qigong and wellness classes that appeal to older adults, those not bent on learning two-finger handstands and double broadsword fighting techniques.

The center, with its large, floor-to-ceiling windows at Peralta Boulevard and Dusterberry Way, has already attracted a mix of 120 students, many of them non-Chinese, since it first started offering classes in August, said Shi Yanran. Seven days a week, in afternoon and evening classes, they teach a mix of children and adult classes in English. Two other smaller centers, one in Millbrae and the other in San Jose at the Chinese Performing Artists Association on Bollinger Road, attract about 50 students each.

It is the larger Fremont center, book-ended by a post office and a Department of Motor Vehicles office, that draws the curious with its corner location and monks clad in gray or mustard-colored robes. A banner reading "Oil Change $19.95" hangs from the bay adjacent to the studio. The monks chose Fremont over such locations as San Francisco, Shi Yanran said, because it can be reached within 35 minutes from many places in the East Bay, South Bay and Peninsula.

Some students, like Garson Soe, 52, and his wife, Patsy Lung, 47, heard about the classes through their children's nanny, who read about them in one of the Chinese newspapers. They make the 35-minute drive each way because "they are actual monks who practice Chan Buddhism and have been doing Shaolin kung fu for their whole lives," Soe said. It's a healthy activity for their whole family, Soe said.

Lung, an electronics engineer now staying home, takes the 4-year-old Kiley, and twins Ian and Carter three times a week, driving from their San Ramon home. Soe, a tax attorney who studied the Korean martial art tae kwon do in his youth, comes twice a week with them. They are joined by Patsy's sister and brother-in-law.

The monks hope someday to raise enough money to build a temple in the United States. There are already official Shaolin temples in Germany, France, Russia and Australia. Every year, about 3,000 people from the United States go to the Shaolin Temple in China for instruction, where monks hold the old kung fu texts.

In the past decade, former monks and others connected to the Shaolin temple have set up shop around the country. In San Francisco, a not-for-profit organization called the Shaolin Foundation arrived with a splash a few years ago, performing around the San Francisco Bay Area and collaborating with Alonzo King's Lines Ballet Company.

In New York, Shi Yanjing, a monk who is of the same 34th generation as Shi Yanran, defected during the temple's first touring exhibition in 1992 and set up his own school there.

With everyone else capitalizing on the Shaolin name here, the time seemed right for the temple to send monks to the United States.

The center was six years in the making. After its 2001-02 tour of the United States and Canada, the abbot felt that audiences in California seemed most enthusiastic, Shi Yanran said. He traveled to Sacramento at the invitation of the California Legislature in 2004, and lawmakers proclaimed March 21 Shaolin Temple Day. Gov. Arnold Schwarzenegger sought them monks out during his trip to China. In 2006, the abbot decided to settle a group in the Bay Area. Sixteen monks live communally now in San Jose, taking adult education classes in English in the mornings and commuting to Fremont and Millbrae to teach in the afternoons and evenings. A smaller group of monks are getting established in the Los Angeles area.

Will people understand that kung fu is more than kung fu? Perhaps, Shi Yanran said. "Slowly, I think, with time."

"Even myself, at first, I only wanted to learn kung fu," Shi Yanran said. "That's why I joined the temple."

The monks have provided instruction sessions for free for children with Down syndrome and autism through the organization Friends of Children with Special Needs, and conducts weekly free wellness classes for people older than 60.

"To me, it's more than kung fu, I see it as a discipline," said David Morales, a 27-year-old San Jose State University student who has come to the center three times a week since it opened. "I don't go there to learn to punch and kick. The training is not just for your body, but to clear your mind."

Morales was taking classes at another kung fu studio when he switched to the monks' academy. In the past five months, he says, he's learned a lot, much of it not purely physical. "I've learned to educate yourself that it's not for fighting purposes. There is fighting without fighting."

And, there are some other benefits, as far as some parents are concerned. "At the beginning, we had some students who are barely paying attention, listening to their MP3s, slouching," Shi Yanran said. "We teach respect of elders, and the history of the temple and our lives. We teach they should have appreciation for what they have."

That has included telling students to do chores around the house, the way the monks clean their own center - mopping floors, washing dishes, cleaning up. And some parents have found the classes give a boost of energy for themselves.

"Three-year-olds are not as calm and don't do exactly what you tell them," Lung said of her twin boys. "The monks are very patient with them. I never thought of taking kung fu, martial arts or anything, but I'm so glad we do."

The open house is from 1-4 p.m. at 4343 Peralta Blvd. See www.shaolinint.com or call (510) 818-9966. Also see www.shaolin.org.cn for more information in Chinese.

[hasayfu]

Sorry for the late notice but Shaolin Kung Fu Chan will be opening a new school in San Jose.

Sunday Feb 17, 2008
2pm
1344 Ridder Park
San Jose, CA 95131

(near Brokaw and 880)


My team will be doing an Eye Doting Ceremony for two new lions

There will be the usual plethora of Shaolin demonstrations as well.

If anyone gets a chance to make it, say high to me. I'll be the English emcee.

[GeneChing]

This is our local Tiger Claw Elite Championships Qualifier. There's so many Shaolin wuseng in this area now that there's sure to be some sort of demo at the Ultimate Internationals. Believe it or not, there's even more than when we published The Gold Mountain Monks: 38 Shaolin Immigrants to the San Francisco Bay Area By Chen Xinghua and Gigi Oh in our last Shaolin Special. Last year, we had a formal opening (duckless) demo. This year, there will be a main demo at 11, but there's scheduled to be school demos ongoing throughout the day. Hope to see you there!

[GeneChing]

The Ultimate Internationals has transformed into Benefit for Quake Victims.

Representing Shaolin at this time are the following:
Pure Shaolin Kung Fu with Ye Xinglie
Shaolin Kungfu Chan with Xu Dezheng and Chen Fei
Shaolin Kung Fu International with Ben Zhang
Shaolin Temple U.S.A. with Shi Yanran

Please come out and support this benefit. You'll find the latest updates on TigerClawFoundation.org.

[GeneChing]

For background on this project, see posts 50 , 53, 58 & 59 on this thread, as well as my article, Long River High Sky: Alonzo King's Lines Ballet and Shaolin Monks in our 2007 November/December.

Dance review: Lines Ballet with Shaolin monks
Rachel Howard, Chronicle Dance Correspondent
Friday, May 30, 2008

Usually the phrase "back by popular demand" is just so much marketing spin, but apparently the word really has gotten out about Lines Ballet's collaboration with Shaolin monks. This week's entire encore run of "Long River High Sky" at the Yerba Buena Center for the Arts Theater is sold out, and Wednesday's opening-night audience was on its feet the moment the curtain fell.

Most of the cheers during the two-hour show went to the monks' more acrobatic kung fu feats: propeller-legged jumps, lightning-fast punches, landed on the crown of the head. But after one quartet exclusively by Lines' own exquisite dancers, an irrepressible lone enthusiast shouted "Bravo!," and more power to him. Because though the monks may be mesmerizing, they're far from carrying the show. The real marvel here is how choreographer Alonzo King brings these two art forms together with a shared sense of spiritual purpose that can't be faked or fabricated.

It works because both King and the monks treat their endeavors as physical disciplines seeking enlightenment - a tendu isn't just the straightening of the leg but a ray of light radiating from the sun, King is fond of saying; the goal of ballet isn't to look pretty but to reach for transcendence.

The Lines dancers and the monks circle each other, showing each other phrases of movement like two tribes speaking different languages and yet understanding the same grammar, they entangle in passages where a martial arts kick finds its echo in a grand battement. But never do they cross paths in a way that looks naive, exploitative or forced. It isn't until Act 2 that King does what for another choreographer would have been the default starting point: Have the full company of ballet dancers get drilled in the monks' moves.

Like figments in a dream

Instead, the monks and the dancers pass beneath Axel Morgenthaler's space-age lighting as though figments in a weirdly timeless dream. Shi Yanliang and Shi Yanzhong fall backward into Laurel Keen and Meredith Webster's cradling arms; Shi Yanran drags a surrendering Keen across the stage; the whole melange parades past Shi Yanguo on an explosion of sound.

Seeing "Long River" a second time, I was freshly struck by how crucial the score is in holding together this only fitfully structured series of episodes. The seamless blending of Miguel Frasconi's pulsing electronic textures and traditional Chinese music performed live by Melody of China lets it all drift pleasantly, though more of a trajectory from King would not have been unwelcome. Colleen Quen's short silk dresses for the Lines women match the music's futuristic chic.

There is much to experience anew in "Long River High Sky." The cast of monks is not the same as at the April 2007 premiere. Reportedly some of those monks could not leave China because of visa issues; their stand-ins are from Fremont's Shaolin Temple USA, and though they do not have the same intergenerational appeal as last year's monks, who ranged from 10-year-olds to elders, the Fremont monks have a rawer fierceness.

The second half especially gives them opportunity for action-movie-worthy sparring, and Shi Yansong has an entrancing solo with a pole, the out-thrust end hovering in the air as though controlled by an invisible opponent. But it's a testament to the strength of King's current company - and to the otherworldliness of King's twisting, unfurling style - that Lines' nine dancers inspire equal wonder.

Brett Conway's flowing line is a stream of perfect curvatures, like staring at the spiral of a nautilus shell. Delicate Keen is King's leading female muse, but she has a commanding peer in Meredith Webster, a paragon of strength and never-rigid control. New member David Harvey, a product of the growing Lines Ballet School, looks as if he's been dancing for King all his life.

A hot tip

They're in top form as the company prepares for a busy summer of international touring. Hot tip for those who wish they could get tickets to "Long River High Sky": Between appearances at Jacob's Pillow, the Montpellier Danse Festival, and the Festival Internacional in Guatemala City, Lines Ballet will touch down in San Francisco to perform alfresco at the Stern Grove Festival on July 20, with live music from saxophonist Pharoah Sanders. Price of admission: free. No Shaolin monks on that program, but a high likelihood of transcendence.

Long River High Sky: Lines Ballet collaboration with Shaolin monks. (Through Sunday. Yerba Buena Center for the Arts Theater, 700 Howard St., San Francisco. Tickets: $15-$65. (415) 978-2787, www.ybca.org.)

[David Jamieson]

oh man, when it said "get an oil change at the same time" I thought that was some weird reference to wrestling no nos. lol

I really gotta stop thinking like that.

[GeneChing]

My first visit to Shaolin Temple USA was two weeks ago for the first meeting of the organizing committee for Martial Arts Benefit for Quake Victims. There was a press conference scheduled there and we coat-tailed on that to make the initial announcement of our intentions. We had to cut through the autoshop office/waiting room to get to the Shaolin Temple meeting room. I could see people sipping coffee, waiting for their oil change, just outside the door of that temple common room.

Real Shaolin is surreal. Case and point: real Shaolin includes fake Shaolin.

[GeneChing]

From the dancing perspective.

Meditation Through Movement

LINES Ballet
“Long River, High Sky”
May 28, 2008
Yerba Buena Center for the Arts
San Francisco, California
by Rita Felciano
copyright © Rita Felciano, 2008

It’s not difficult to understand why LINES Ballet packed them in at the reprise of “Long River, High Sky”, Alonzo King’s 2007 collaboration with wushu practicing Shaolin monks from China. The almost two-hour East meets West show proved that under the right circumstances different cultures indeed can meet. The work received one of the longest standing ovations that I can remember having seen in the Bay Area. It should have been no surprise. Who can resist a septet of flying thunder ball monks in tandem with a group of gorgeously articulate dancers on their own forays into space?

While maintaining much of work’s original structure, “Long” looked more integrated this time around because this septet of monks partnered with Lines’ nine dancers on a more equal level. Last year’s contingent, now apparently returned to China, included a rather elderly monk and a set of adorable ten-year old twins. The current group, residing in a monastery in Fremont in the East Bay, allowed for substantial choreographic interaction between the two types of performers

One reason that “Long” works as well as it does -- besides the sheer exhilaration of watching superbly focused performers in action -- is that the monks’ performing practice holds up a mirror to King’s way of working. They have trained to focus physical and mental energy into bursts of explosive, precisely placed force. The flying horizontal leaps, spine-challenging whipping turns and razor sharp thrusts create sharply drawn images. Integral to that image is an invisible opponent, a partner so to speak. King’s dancers also draw on focused internal energy. But theirs pulls them into multiple simultaneous directions. What to us may look like off-center balances and skewed alignments, so characteristic of King’s choreography, emanates from a constantly shifting center of gravity. It’s a more fluid approach that carves images which are no less striking. Underlying both styles of performance is a different response to a common basis of stillness.

The monks’ performance practice of short intense bursts of energy also fits nicely into King’s way of dealing with such theatrical exigencies as timing, rhythm, flow and structure. He approaches them by not establishing a trajectory, by not working with linear time, by not creating a sequential logic. Instead he places a number of small units—29 in “Long’s” case -- next to each other, letting them flow from one to another to suggest a vibrating continuum. Beginnings and endings don’t seem that important to him. “Long’s” overlapping styles of performance also inject a note of freshness that King’s other works sometimes lack.

The monks’ virtuosity and disciplined withdrawal into themselves, elicited justifiable gulps of admiration. But it was the interaction between dancers and monks that gave “Long” whatever depth it had. For that the ballet dancers deserved the major credit, they were extraordinary.

The opening getting-acquainted duet set the tone. Rising from a curl, Brett Conway opened his limbs, twisting himself into a fluid piece of architectural grace. The quietly sitting Shi Yanliang responded by a close to the body burst of kicks and stabs in which he somehow ended up holding his foot. Later on “Long’s” second act opened on a similar note with a duet between Shi Yansong and Shi Yanzhen in which a younger monk introduced himself to an older one. Both cases left you with a sense of a conversation having started.

The monks were often seen wandering through the physical landscape of King’s dreamy dancers. One them calmly watched a diagonal of what looked like travelers through cobwebs or clouds. At another point, three of them emerged like beams of light that had penetrated a pulsating organism.

Those walking patterns may have inspired a lovely circle dance. With the gloriously articulate Meredith Webster at the center, King dancers calmly traced a circle around her. They became kinetically more differentiated only during the downstage trajectory.

Long chains of in-place pulling and yanking suggested connectedness much the same way the oppositional pull of King’s duets does. In one set of duets one of the monk’s turned Meredith Webster’s arabesque into a slowly turning weather vane while the other dragged Laurel Keen across his back like a bag. And then the women supported the two men melting into their arms. That whole episode floated on top of a Tibetan folksong, played live by Melody of China.

Juxtaposed male ensembles contrasted the Shaolins’ directional physicality with the ballet dancers’ more exploratory approach. A few minutes later the two groups got together in duets of intricate but every so silken partnerings. A trio for Webster and Corey Scott-Gilbert had Conway worm his way into the couple’s interaction until they simply absorbed him. At another high point Keelan Whitmore soared out of an ensemble number liked an eagle surveying his realm. But maybe the evening ultimately belonged to Keen, mesmerizing in a long solo in which she allowed her body to respond to impulses from within even as they pushed her to a place that seemed unattainable.

Musically “Long” is one of King’s most sophisticated accomplishments. Miguel Frasconi’s synthesized a score from natural sounds and a plethora of musical sources was rhythmically rich and uncommonly evocative. The dancers also could not possibly have wished for more support than Melody of China’s three musicians provided in both set pieces and improvisations. The white of Colleen Quen’s glamorous costumes-wispy skirts for the women, knee-length pants for the men--beautifully contrasted with monks’ gold and brown robes. The first-rate artist Axel Morgenthaler one more time designed the excellent lighting.

[GeneChing]

The Tiger Claw Foundation and KungFuMagazine.com will be supporting China Songshan Shaolin Temple Day.

March 21, 2009 • Sat. 10 am - 5 pm
Union Square, San Francisco
Shaolin Temple Day Celebration
• 10:30 am
Spring Prayer for America
presided by
Venerable Abbot Shi Yongxin
of China Songshan Shaolin Temple
• 12 noon, 3 pm
Shaolin Kung Fu Demonstration
• Free Lessons:
Shaolin Kung Fu, Qigong, Wellness Exercises
• Photo Display:
History of Shaolin Temple & Shaolin Kung Fu
• Shaolin Cultural Booths:
Shaolin Medicine, Chan Tea & Cuisine
Shaolin Monk Attire, Shaolin Weapons, Books & Arts
& many more...

March 22, 2009 • Sun. 3:30 pm
San Jose Center for the Performing Arts
The world famous Shaolin Temple Warrior Monks in
Magnificent Shaolin
Shaolin Kung Fu & Qigong Performance
The splendid harmony of Shaolin Martial Arts & Chan Buddhism
that inhabits the ancient monastery comes to life on stage.
Performed by Kung Fu Monks of
the visiting China Songshan Shaolin Temple Delegation
led by the Venerable Abbot Shi Yongxin
& Shaolin Kung Fu Monks stationed at Shaolin Temple USA

I'll update you on developments here or on the I dropped by the new Shaolin Temple USA school thread.

[GeneChing]

Shaolin Martial Arts and Chi Gong at Oakland Asian Cultural Center - I'm curious what day this demonstration was. At first, I looked at the posting date - March 22, 2009. That would be way too weird because it would have coincided with Shi Yanran's troupe's performance and the Abbot's visit for Shaolin Temple Day and given that it's Guosong's troupe, well, like I said... too weird.

Here's more:
Shaolin Martial Arts at Oakland Asian Cultural Center Part 2
Shaolin Martial Arts Asian Cultural Center at Oakland ( Part 1 of 2 )
Shaolin Martial Arts Asian Cultural Center at Oakland ( Part 2 of 2 )