Short Bridges in Hung-Ga

[TenTigers]

what do you consider the short bridging in Hung-Ga, and how do you train them?

[YouKnowWho]

The bridge is your body part touches your opponent's body part. The bridging concept exists in all TCMA styles and not just Hung-Ga. What do you mean "short"?

[sanjuro_ronin]

When I work "inside" his elbows.

[YouKnowWho]

When I work "inside" his elbows.

As far as I know, the "mantis arm" is the best "inside" bridging that you touch your fore-arms on top of your opponent's for-arms, and your hands on top of your opponent's elbow joint. It also exists in many southern CMA systems.

[sanjuro_ronin]

As far as I know, the "mantis arm" is the best "inside" bridging that you touch your fore-arms on top of your opponent's for-arms, and your hands on top of your opponent's elbow joint. It also exists in many southern CMA systems.

Indeed it does

[TenTigers]

wow..that's all the replies?
C'mon, guys.

[sanjuro_ronin]

I tend to train it in this way:
On the dummy I work inside the "elbow" of the dummy, where you are "suppose" to work.
On the bag I put my elbows in front and work my strikes with them in front and from minimal distance.
And when I spar and want to focus on them, I do basically the same thing:
Elbows in front, hands "in the way" and spar that way.

[Indrafist]

wow..that's all the replies?
C'mon, guys.

There's a deep question here about just what a style is?
If it's an informational set, analogous to genetic material, then how do you use what you've got? If you read the structures etc as presented, then they're abstract. If you apply what they 'imply', directly, then you get a specific bandwidth limited by the abstract structures. If however you make them work for you, as Sanjuro does, then you have a living relationship to the 'form' of the art, within you. This will mean that one man's Hung Gar short bridge is very different from someone else's which, I think, is how it should be.

Indra.

[sanjuro_ronin]

There's a deep question here about just what a style is?
If it's an informational set, analogous to genetic material, then how do you use what you've got? If you read the structures etc as presented, then they're abstract. If you apply what they 'imply', directly, then you get a specific bandwidth limited by the abstract structures. If however you make them work for you, as Sanjuro does, then you have a living relationship to the 'form' of the art, within you. This will mean that one man's Hung Gar short bridge is very different from someone else's which, I think, is how it should be.

Indra.

An excellent point.
Add to that explaining in words what tends to be best demo'd in moves and you have a tricky subject Rik.

[Subitai]

There's a deep question here about just what a style is?
If it's an informational set, analogous to genetic material, then how do you use what you've got? If you read the structures etc as presented, then they're abstract. If you apply what they 'imply', directly, then you get a specific bandwidth limited by the abstract structures. If however you make them work for you, as Sanjuro does, then you have a living relationship to the 'form' of the art, within you. This will mean that one man's Hung Gar short bridge is very different from someone else's which, I think, is how it should be.

Indra.

Hey Ten.... Indra kinda just said your quote: My Gung-Fu may not be Your Gung-Fu.

Didn't he???

I realize that you may just be trying to get a good discussion going so Kudos for that.

IMO, if you want a Textbook A typical example from HG i'd say: The lance piercing hand. Basically the guy grabs you and you Crowd, Settle down and stabb. I shouldn't need to explain it further for someone like you. Anyone who knows Hung should know this basic move.


Short can also be a timing issue other than just physical limitation.
I guess another thing to consider is Actual distance and timing. For example, it isn't easy to elbow someone who "Floats like a butterfly and stings like a bee" from a distance.

So what do you do? Especially if that's your bread and butter? Well, I'm always a fan of the saying you cannot force what isn't given to you. So that pretty much answers that question.

But patience and allowing the other person to get closer is another view. As you get older, you realize you don't chase a younger fighter down...(that's HIS game) you let him make the mistakes. Then you make him pay big!!

[YouKnowWho]

wow..that's all the replies?
C'mon, guys.

Since this is a Hung-Ga thread, only Hung-Ga guys are qualified to comment. Even I'm interesting in the "bridging" concept, I'm afraid to dirve this discussion outside of the Hung-Ga system.

Don't want to act like a MMA guy and try to hang around in area that he should not hang around in the 1st place.

[Indrafist]

Since this is a Hung-Ga thread, only Hung-Ga guys are qualified to comment. Even I'm interesting in the "bridging" concept, I'm afraid to dirve this discussion outside of the Hung-Ga system.

Don't want to act like a MMA guy and try to hang around in area that he should not hang around in the 1st place.

Hi YouKnowWho, I am a Hung-Gar guy (36 years training in that style).
I'm not known particularly for it but it's a style for which I have a lot of respect and affection. My point re bridges was that you can't avoid making the art a part of you, based on your personal experience. That experience will show thru, not so much in how the forms are done (there's always variation in this both within and between schools) but in how they are applied. A good traditional teacher has very well refined san-sau. This will come from experience and not (only) from the repetition and grooving of forms. The forms, will inform the san-sau, but at a certain point, they no longer determine it.

Indra.

[sanjuro_ronin]

Hi YouKnowWho, I am a Hung-Gar guy (36 years training in that style).
I'm not known particularly for it but it's a style for which I have a lot of respect and affection. My point re bridges was that you can't avoid making the art a part of you, based on your personal experience. That experience will show thru, not so much in how the forms are done (there's always variation in this both within and between schools) but in how they are applied. A good traditional teacher has very well refined san-sau. This will come from experience and not (only) from the repetition and grooving of forms. The forms, will inform the san-sau, but at a certain point, they no longer determine it.

Indra.

Quoted for the truth.

[YouKnowWho]

My point re bridges was that you can't avoid making the art a part of you, based on your personal experience. That experience will show thru, not so much in how the forms are done (there's always variation in this both within and between schools) but in how they are applied.

I find the bridging concept is very unique in TCMA. Depending on your goal, you try to use your bridge to reduce your risk to the minimum. A Hung-Ga guy may want to use his bridge to create a head on collusion strike. Others may want to use his bridge to get into clinch.

[Indrafist]

I find the bridging concept is very unique in TCMA. Depending on your goal, you try to use your bridge to reduce your risk to the minimum. A Hung-Ga guy may want to use his bridge to create a head on collusion strike. Others may want to use his bridge to get into clinch.

My point is that Hung Gar practitioners are not stereotypes, as indeed those of other styles are not. Hung Gar is not a rule-set that allows you to predict what a given practioner will do. Many people like to believe that kind of thing: it's the basis of generic style 'put-downs' (I'm not suggesting this of you BTW). Styles find their expression thru individuals. In the end it's the differences between practitioners that determine what stage of development they're at. A style is a starting point, the end goal is something personal and unique.
As for head on or clinching, both are entirely possible with a 'Hung Gar guy'.
Ask Subitai.

Indra.