VOLUME 1 MantisQuarterly ISSUE 1

elcome to the first issue of Mantis Quarterly. We hope that this publica- W tion will provide a forum for Praying Mantis practitioners to discuss, debate and disseminate information on the histo- ry, technical aspects and practice of this art that we all love. It has been a long time in coming (due mostly to my own lack of diligence), but now that it has begun, we hope that momentum from the mantis community keeps it going. There has never been a time of community and an exchange of information among the world’s Praying Mantis practitioners as there is today. Nearly all of this new communication owes its origin to the Internet and to those who, having envisioned the possibility of such things, created forums that made this exchange possible. Beginning in the 1990s, my students and I were one of the first groups to offer an international mailing list online with the art of Praying Mantis as its sole topic. It and other online groups slowly overcame partisan politics and generations-old The statue of Wang Lang as warrior looking out over differences to share information about different Laoshan near the Huayan Si memorial site. approaches to the art. As more online forums and lists arose and proliferated, what began as a present but are so marginalized and are in such a small group grew into a thriving community of comparative minority as to be insignificant. voices. Where a scant decade ago there were only When I again quietly proposed the idea of individuals exchanging videos of sets or having Mantis Quarterly last year, practitioners around occasional visits, now schools frequently meet the world immediately contributed articles. Some and exchange ideas freely and openly, improving submitted informative pieces detailing practices the practice of the art for all. and techniques of training. Others sent articles In recent months, during the time when we chronicling the spread of the art in a particular were already busy preparing this newsletter, many country or region of the world. The quickness of in the online community have said that it is time response and the quality of the work presented for a publication dedicated to Praying Mantis. clearly indicated the timeliness of this present Nearly ten years ago we attempted to provide undertaking. such a publication, but found that the voices The Quarterly as it appears today is as small actively against the project and the exchange of a beginning as those online venues were several information it would facilitate greatly outnum- years ago. It is a solid beginning nonetheless. It bered those in favor. After a year of attempting to is, for now, not extensive in size or scope but can gather writers to publish regular issues in the face be maintained indefinitely, allowing for slow and of this resistance, the project was shelved. certain development. All that is needed is for the However, I will now admit that I have secretly community to continue to express its desire to held the URL www.mantisquarterly.com for share information. Considering the present atti- more than five years waiting for this day. tude of practitioners of Praying Mantis around Now things have changed; the Praying the globe, this will not be difficult. Mantis community has expressed overwhelming The focus of the Quarterly will be topics dis- desire to discuss and research the art and to doc- cussed at the level of the advanced student or ument that research for present and future gener- instructor. It is hoped that the Quarterly will ations. Those detractors of a decade ago are still become a place for many voices, from all the different branches of Praying Mantis, offering There were more submissions in response to informed opinions on the art and technique that the Quarterly’s initial request than could be placed most instructors and senior students simply do in the first issue. One technical article from not have the opportunity to address in detail and one historical article from Australia during classes. In were selected for this first publication and England addition, there will be and the Philippines have been chosen for historical opinion pieces, such accounts on the growth of the art in those coun- as a student’s or tries. In future issues we will include regular fea- instructor’s forum, tures, such as web site reviews and opinion pieces, where experience, of and we will highlight additional regions, branches both those new to the of the art and countries, ensuring a diverse gather- art and of seasoned ing of opinions and perspectives. practitioners, will be The Quarterly needs support while in its presented for consid- infancy. This support can be submissions on the eration. When appro- technical, historical or Chinese cultural aspects of priate, dissenting Praying Mantis; opinion pieces; or stories of opinions will also be interest to the community at large. Submissions presented. Finally, do not have to be in English; the Quarterly there will be a guide already has translators that can handle most The entrance to Wang to the Internet, the mother of this community, major languages. Individual and school subscrip- Lang's memorial located on where sites around the world will be reviewed. tions to the Quarterly will help tremendously for Mount Laoshan near the For the next four issues the Quarterly will financial support and will help determine the Buddhist temple where he served as abbot. hold to the present format and length. As subscrip- growth of the publication. In short, this under- tions and submissions allow, it will expand in size taking, set aside so many years ago, is begun and scope. There are plans to have the Quarterly again. The staff of Mantis Quarterly looks for- eventually translated into other languages. The lan- ward to this shared adventure exploring the fasci- guages made available will be subject to the nating art of Praying Mantis! demand from different regions of the world. —Steve Cottrell

History Lion Dance: Its origins and place in the traditional school

About the Author Origins The dance has been continually performed since Matt Young has been a stu- It is almost certain that lion dancing is not a these early times and has continued to evolve and dent of Tsui Wing Sing Chinese invention. There are no lions and never take on meaning. The fact that lion dancing has (Jimmy Tsui) in Perth Western have been any lions native to — yet still survived to the current day despite the changing Australia since 1996. He has the dance is at the core of the traditional Chinese face of China and its principles is testament to its also trained in praying man- culture. It is possible the lion dance was intro- importance to both those who perform it and tis both in Hong Kong and in duced as early 200BC, when traders from the silk Chinese people in general. Unfortunately, it is mainland China. route sent lions to the Han emperors as gifts. unlikely there will ever to be a definitive answer One belief is that lion dancing developed around to the question: Where did Chinese lion dancing this time. During the same period, traders and come from? merchants performed dances similar to what we now know as lion dances, and the Chinese may Types of Lion Dance have adopted these dances. The fact that similar There are two major types of lion dance — the dances are still performed in India, the Middle more common southern lion and the northern East and many Southern Asiatic countries lends lion. credence to that theory. The southern lion is a colorful and power- We do know that during the Tang Dynasty, ful-looking lion. Traditionally each lion repre- around 800 AD, lion dancing was an important sents a historical Chinese figure. For example, part of in all levels of society. the red lion is the lion of Guan Gung (the

2 MantisQuarterly FALL 2002 patron saint of and business), and end of the lion dance, the lion bows to those the yellow is the lion of Liu Pei. Each lion has responsible for organizing the lion dance to show its own personality, which reflects both the char- respect and as a final blessing to them. At this acter to which it is dedicated and the school of stage the lion will often present them with a ban- its origin. A tanglang lion, for instance, will ner — a lasting talisman for good luck. exhibit a predilection for tanglang as Thus, the lion scares away evil spirits and taught in that school. Indeed, some experienced brings luck and wealth. Lion dancing is most lion dancers can identify other schools simply often seen around Chinese New Year to bring from the footwork, cymbal pattern or behavior luck for a prosperous and healthy new year. Lion of their lions. dances may also be performed at any major cele- The northern lion dance is most instantly bration, including business openings, weddings, recognizable by its golden, shaggy lion. The anniversaries and the like. northern lion tends to have a longer tail and tra- ditionally is more acrobatic. This is the lion often Lion Dance and Kung Fu Schools depicted in the Chinese Circus, although both The southern lion is the one most often associat- types are often represented. The motions of the ed with kung fu schools. Schools with a southern northern lion are also more playful than those of tradition, even those teaching northern styles, are the southern lion. far more likely to have a lion dancing tradition than those from an entirely northern back- The Meanings of Lion Dance ground. For this reason, it is easy to spot a Many people are at a loss to understand exactly Northern Praying Mantis school that has passed what is going on at a lion dance. There are liter- through the Hong Kong or tradition. ally hundreds of traditions regarding the lion’s Their Northern tanglang brothers, not associated movements and actions. Lions bow to shrines to with Hong Kong, may not perform the lion show respect, fight each other, eat small chil- dance at all. Despite the association between dren, shirk away, climb over difficult apparatus southern styles and lion dancing, kung fu schools and perform many other actions. Some of these will often perform using the northern lion. have direct traditional meanings, some are sim- Indeed, most schools will attempt to include ply part of the dance, and some are an expres- a northern sion of a particular lion’s personality. lion in their Additionally, every school will perform the repertoire. dance slightly differently. It is no wonder that As with people have difficulty understanding and appre- the origins of ciating the complexity of the ceremony. lion dancing, The most important thing to understand the association about the lion dance is the significance of having between kung one in the first place. Lions are thought to bring fu schools and good luck by scaring away evil sprits. That lion dancing is explains the association of firecrackers and lion often subject dancing — the firecrackers are also thought to to myth and scare away evil spirits. Offerings are made to the conjecture. lion to thank it for scaring away the spirits. The There are sto- two most common offerings are red packets with ries of fights money in them and the “green vegetable.” The erupting red packets are traditionally given around between rival Chinese New Year because the Chinese believe lion dancing that whatever is given away during that period troupes. will be received back many times over. The pack- Whether these ets also help pay for the lion dance. The green are a tradition- vegetables are usually “eaten” during the culmina- al, integral tion of the lion dance. The vegetable is often part of “real” lion dancing or if the participants Kung fu schools have choy sum or Chinese cabbage, but it can also be are simply responding to a combative urge inde- historically been the holding lettuce or a similar vegetable — the symbolism pendent of the dance is the subject place of the tradition of lion dancing. being the same. The “choy” in the name of the of debate. vegetable sounds like the Chinese word for Kung fu schools have historically been the wealth, and when the lion spreads the cabbage all holding place of the tradition of lion dancing, over, it is thought to be spreading wealth. At the particularly in the south. Today, lion dances

FALL 2002 MantisQuarterly 3 its movements. There are also many tradi- tional associations with his movements. The lion comprises only two dancers—any more would indicate a dragon, a dance also often performed by lion dance troupes. The front dancer is usually somewhat lighter and controls the personality and decisions of the lion. The rear dancer is the root of power for the lion, providing the strength and footwork required for some of the more spectacular jumps and balancing acts performed by the lion. Dancers must know their part- ners extremely well because vision is lim- ited under the tails and masks of the lions. The best dancers think as one to such an extent that the audience forgets that there are two performers and instead see only the lion. The musicians include a drummer, a gong player and cymbal players. The are also performed musicians not only respond to the lion by community but also serve the purpose of helping the lion groups and special- scare away evil spirits with their noise. By tradi- ist lion dance tion, the drummer follows the lead lion, and the schools, as well as other lions hear the drummer and follow the kung fu schools. In leader. In reality, it is more like a conversation the past the dance between the lead lion and the drummer. When was used as a secret vision between the two is limited, they use hand way of passing mes- signals to match the music and movements. Each sages and practicing drum rhythm has meaning and corresponds to martial arts when the movement of the lion. It takes many years to those activities were drum a lion dance confidently. The sound of the outlawed by the gong and symbols carries the sound farther than state. Many kung fu the bass of the drum can. They too need to be schools today use perfectly in time, and their beats also reflect the lion dancing to meaning and motion of the lion. Their sounds improve students’ are the first experience many audiences will have stances and legwork. of the lion dance — their importance cannot be In the eyes of a overestimated. southern master, a kung fu school is The dance goes on... The drummer and the lead not complete with- Lion dancing has a long, rich tradition. Today it lion coordinate in matching out a lion dance tradition. As such, the dance is found in kung fu schools and community rhythms, moods and in represents the school — the stronger and more groups around the world, and it is performed by leading the other lions. technically brilliant the dance, the better it Chinese and westerners alike. Although layered Sifu Tsui Wing Sing (top pic- reflects on the school, and it is a way for the sifu in meaning and subtleties, the art is open to all ture) performs the difficult to improve his standing in the community. to enjoy. It is the quintessential ingredient in a task of drumming for the lion large Chinese celebration — with the possible dance performance. The Anatomy of a Lion Dance Troupe exception of food — and it is loved by young The lion dance troupe is divided into two parts and old. For the participant it offers discipline — the dancers and the musicians. They may and skills not found through any other practice. swap duties at different points during the lion For the kung fu school, the lion dance is a part dance, often imperceptibly to onlookers. There of their heritage and a reflection of their skill may also be a “little buddha” running about teas- and endeavors, and for the public lucky enough ing the lion with a fan or a celestial pearl. His job to experience one, it is a tiding of good fortune is actually to be the eyes for the lion and direct and prosperity in times to come. MQ

4 MantisQuarterly FALL 2002 Technique The Two Person Set

n many styles of Praying Mantis kung fu, solo In the pi stage, students take several tech- About the Author routines can be performed as two person exer- niques from a set and use them as a flow drill. Kevin Brazier has been a cises. In this training method, one person per- For example, Beng Bu’s “to the face straight practicing martial artist since I 1982. He moved to Taiwan in forms the set as it is done solo, with its attacking, ” and “encircling ” coupled with pursuing and defending motions, and the other “mantis seizes the cicada” can be made into a 1989 to continue his study of responds with appropriate movements to facilitate drill for two people. Each person uses the three Praying Mantis under the tutelage of Shr Zhengzhong. the set’s techniques. For many schools of Praying techniques in turn. Like children singing “row, He currently operates a Mantis, the purpose of paired set performance is row, row your boat,” the partners go back and Praying Mantis school in to preserve an appropriate interpretation of the forth between attack and counter without any Tainan city and is head techniques from generation to generation. break in the action. instructor of Tainan Boys’ First However, there are also developmental drills Because the knowledge contained in ling is High School Martial Arts Club. designed to enhance effectiveness inherent used in pi, a student need not practice the ling in the paired set, if it is used correctly. For the first step for every set. It can be argued that pi is a time in an English language publication, these more efficient use of students’ training time stages are outlined for the Praying Mantis practi- because they do not have to memorize the largely tioner’s consideration and use in training. passive respondent’s half of every set. In fact, Plum Flower Mantis, Six Harmony Mantis and Two-Person Set Training Methods some Seven Star schools bypass ling altogether. Master Shr Zhengzhong of Taiwan uses a five- Yet pi does not provide complete reactions for stage training methodology in the practice of attack and defense; a flow drill cannot fully pre- two-person sets. The stages are lien (drill), ling pare students for the instinctive choices that must (receive), pi (split), chai (break apart) and gan be made when fighting. Once students are skilled (overtake). Practitioners of Hong Kong Praying in pi methodology, the training must progress to Mantis will see many similarities to those meth- the next levels to develop effective combat skills. ods taught by their founder, Luo Guangyu. At the chai stage, students are given the In the lien stage, the student practices the choice of two different pi techniques to perform. solo form. Balance, form of movement, linkage Neither participant knows which technique the between movements and fajin (the release of other will use. This eliminates unconscious coop- energy) are perfected. Some schools of Praying eration between the partners and makes it more Mantis concentrate the majority of basic training difficult to perform the techniques effectively. in this stage, and rightfully so. Proceeding further After the instructor has determined that the stu- without fully accomplishing this stage jeopardizes dents are adequately skilled, a third pi drill will one’s potential because errors not corrected at be added, then a fourth, a fifth and so on. this stage will compound themselves in more To make the progression to multiple drills complex exercises. move as efficiently as possible, the following pro- The ling stage is practicing the routine with gression is suggested: a partner. This stage teaches the most fundamen- 1. Hand techniques with no footwork. tal application of the set. Partners must fully 2. Hand techniques with footwork. cooperate with each other to synchronize the 3. Hand techniques with . movements. This stage is effective training for 4. Hand techniques with takedowns. coordination, sense of distance, timing and sens- ing an opponent’s energy. Once students are pro- The gan stage is similar to Western . ficient at performing this level of drill, training Students do not cooperate with each other, and can proceed to the remaining three stages, and techniques are chosen according to the tactical real fighting ability can be developed. It is regret- situation and thrown with full effort. Full effort table that, for many schools, ling is the entire is also expended by the defender to escape and extent of their training. Making the leap from counter each attack. At this stage students are ling to actual fighting with Praying Mantis tech- free to use whatever skills they have acquired in nique is difficult if not impossible. Though sig- their training. nificant, ling alone cannot effectively teach one Over time, students will clearly understand to use Tanglang Quan. the techniques (ling), perform them with a

FALL 2002 MantisQuarterly 5 relaxed ease (pi), use them in a non-telegraphic not at the same time. The Beng Bu techniques manner (chai), and execute them with full combat listed in the section describing the pi step can be power, having chosen them in accordance with the used as a rounds style set. changing tactical situation (gan). To further devel- op their fighting expertise, students must gain Folded Form more experience fighting against practitioners of A folded form set is one in which the second half different styles, temperaments and physicalities. of the form is the counterpart for the first half. One famous example is Chuji Chuen, a compila- Types of Two-Person Sets tion of Praying Mantis, and Baji The following are four types of two-person sets. Chuen kung fu styles. Zhongji Chuen, a longer, (The names given here are only intended to differ- more complex form, also follows the folded form entiate between types and are not to be considered principle. San Tsai Straight Sword and Shaolin a part of the traditional Praying Mantis lexicon.) Eighteen Movement Stick are two other well- known forms that use this method. Mirror Image In this type of drill, partners perform the same Same-Style Counterpart techniques at the same time using techniques that In this type of two-person drill, the partners per- are simultaneously both offensive and defensive. form techniques that are not specifically from the For example, the Six Harmony Double solo form, but are of the same style. Sometimes Broadsword can be used as a mirror set. A tremen- the techniques for the counterpart can be found dous amount of precision is required to apply in other forms. For example, the counterpart for these moves correctly while running, jumping and the beginning of Beng Bu can be found in the turning. A series of stationary and moving drills to Taiji Praying Mantis form Twelve Old Hands. help perfect each technique and its corresponding footwork can aid in the learning process. Many of Endless Techniques the basic single broadsword drills for two people There are hundreds of Praying Mantis forms, can also follow this mirror image method. with techniques in the thousands, that could be used as two-person drills. When asked how many Rounds techniques one should master, Shr Zhengzhong This method is used for short exercises where replied that he had mastered ten techniques and both people perform the same techniques, but perfected three. MQ

Mantis in the Philippines

About the Author he establishment of ized in Choy Gar and Fut Gar, respectively. The Arnold Buenviaje began schools and organizations in the two masters later retired, and their senior students his Gongfu training in 1977 T Philippines began in the 1930s. The took over the association. While in the Ling Nam, with the Ling Nam Athletic prominent styles then were the Southern Chan taught several Chinese martial art styles, Federation. His training spans Chinese styles of Ngo Cho (Five Ancestor Fist), including Seven Star Praying Mantis. Among many Gongfu systems, Choy Gar, Fut Gar and . Praying Chan’s notable students in the Ling Nam were including Hung Gar, Pak Hok Mantis was first introduced in the 1960s by a Julio Kwong, Teddy Gaw, Henry Sy and Tony Tan. Pai, Choy Gar and Tanglang. He is a disciple of Zhong young man named Shakespeare Chan (Xu Wei In 1974, after leaving the Ling Nam, Chan Lianbao and serves as Peng). Chan had traveled to Hong Kong, where opened his own martial arts organization called founder and chief instructor he studied Seven Star Praying Mantis with Chui Wu, named after the famous Jing Wu club of the Ling Ming Martial Arts Chi Man (Zhao Zhi Min), a senior disciple of of Shanghai. Chan soon closed Chin Wu so he Association. Luo Guang Yu; the White Crane style under Ou could concentrate on his growing hobby shop Hai; and Hung Gar with Lau Kai Tong (Liu business. After closing Chin Wu, Chan began Tung). Chan was invited by one of the senior teaching privately. In 1981, Chan and his student members of the Ling Nam Athletic Association Alexander Co, co-authored The Praying Mantis to teach martial arts in the association. Style of Kung Fu, the first Chinese martial arts Ling Nam, one of the two earliest Chinese book published in the Philippines. In 1995 Chan martial arts organizations in the Philippines, was and some of his former Ling Nam students, established in 1958 by Zhang Jing Shan and Yu including Julio Kwong and Teddy Gaw, organized Xin Fu, two southern Chinese masters who special- the Tibetan White Crane Athletic Association,

6 MantisQuarterly FALL 2002 which concentrated on teaching the White Crane Ling Nam members, including William Soon style. Chan has produced several outstanding (Xue Wu ), Arnold Buenviaje (Cai Ming Praying Mantis students, but only a few of them Ren), Richard Ng (Wu Li Qiang), and Rolando are teaching Seven Star Praying Mantis. Villamora (Gao Ming Xiang), were accepted as Liang Ji Ci, who moved to the Philippines Zhong Lian Bao’s first overseas disciples. During from Taiwan in 1972, also taught Praying Zhong’s visits to the Philippines, he accepted Mantis there. Liang was the son-in-law of the Henry Sy (Shi Yi Mou), Tan Bun Kim (Chen famous martial arts master Han Qing Tang. Wen Jin), Lim Chiao Dong (Li Shao Nong), Jay Liang studied several styles of Praying Mantis Lee (Kuang Ji Hua), and Julio Kwong (Kuang under different masters in Taiwan. He learned Guo Qing) as disciples. Six Harmony Mantis from Zhang Xiang San, At present, the organizations that actively Eight Step Mantis from Wei Xiao Tang, Taiji propagate the Seven Star praying Mantis of Mantis from Liu Zu Yuan, and Seven Star Master Zhong Lian Bao in the Philippines are Praying Mantis from Wang Song Ting. In 1978, the Ling Nam Athletic Federation, the Ling Liang and his wife, Han Ling Ling, established Ming Martial Arts Association, the Chi Ching the Philippine Jiann Shyong Kung Fu Center, Association, the International Qi Xing where he taught several Praying Mantis styles Tang Lang Association -Philippines and the and other Chinese martial arts as well. Liang left Manila Downtown YMCA. the Philippines in the mid-80s and is currently About three years ago, Erwin Ines, a former teaching martial arts in Boston. student of Joseph Alzate, a student of In 1993, a Philippine Wushu team represent- Shakespeare Chan and Alexander Co, went to ed by members of the Ling Nam Athletic Hong Kong, where he visited Seven Star Praying For more information, visit Association, now called the Ling Nam Athletic Mantis master Lee Kam Wing, a famous disciple the following web sites: www.lingnam.home.ph Federation, competed in the Yantai International of Chui Chi Man. After studying with Lee Kam www.geocities.com/ Tang Lang Quan Wushu Exhibition Competition Wing, Ines was given permission to represent lingmingwushu in Yantai, China. While in Yantai, they met Seven Master Lee in the Philippines. Ines teaches pri- www.geocities.com/ Star Praying Mantis master Zhong Lian Bao, a vately and continues to study Lee Kam Wing’s sevenstarmantisfist disciple of Mantis Master Lin Jing Shan. After a Seven Star Praying Mantis style under one of www.geocities.com/ period of training under Master Zhong, several Master Lee’s senior disciples. MQ chiching95

Seven Star Praying Mantis in the UK

here are three main branches of Seven Star dents. Paul Drummond began learning from Sifu Author’s Note Praying Mantis in the United Kingdom, Mo Lam in 1972. Mo Lam died in 1981, but This article is intended as an and they have more similarities than dif- Sifu Drummond, one of his closed-door stu- introduction to Seven Star T Praying Mantis in the United ferences. The forms are clearly identifiable dents, still promotes his version of Tong Long. and, apart from the odd exception, consistent in Sifu Drummond teaches in Banbury, Kingdom. It is by no means name and teaching order. Oxfordshire and actively promotes his art. He has comprehensive, and I wel- come further discussion and One of the main branches, descended from spread this mantis style to France, Belgium, research to bring our mantis Chan Wing (Chan Chen Wen), is currently rep- Ukraine and Mexico. He teaches approximately community closer together. resented by Sifu Paul Drummond of Banbury, 40 fist forms and 23 weapons sets and is connect- About the Author Oxon, who studied under Sifu Mo Lam. Chan ed to the International Chinese Martial Arts Paul Tennet has been a stu- Wing, who learned Seven Star Praying Mantis Council based in Lini, Shantung Province, China. dent of for 17 from Fan Yuk Tung in the 1870s, settled in the In 1971 Sifu Michael Lee (Lee Kok Seng) years, studying under Sifu Shantung Province to run a medical supply busi- immigrated to England, bringing with him a Trevor Jefferson since 1985. ness. Mo Lam, born in 1905, was adopted by branch of Seven Star Praying Mantis descended Between 1989 and 1992 he Chan Wing, who taught his adopted son his from Lor Kwang Yuk. Wong Kam Hong, a stu- studied Choy Li Fut under complete system. After studying medicine in dent of Lor Kwang Yuk, taught Seven Star Sifu Ng Ho Tak. Since 1995 Shanghai, Mo Lam left mainland China and set- Praying Mantis in Malaysia. Michael Lee and his Paul has been studying Lee tled in Taiwan, where he taught his art in the father were students of Wong Kam Hong in Kam Wing’s Seven Star evenings after work. Mo Lam’s students in Malaysia. Sifu Lee has enjoyed success in his Praying Mantis with Sifu Derek Frearson. He has a Taiwan included Cheung Li Yu, Alan Tung, Jia teaching since moving to Huddersfield, Yorkshire, training academy in Li and David Lok. In 1971, Mo Lam moved to and he actively promotes kung fu at competitions Newcastle upon Tyne. England with Sammy Lai, one of his senior stu- throughout the United Kingdom. Mark

FALL 2002 MantisQuarterly 7 Hampshire is Sifu Lee’s most well-known stu- He has the largest number of groups in the dent. Several years ago, Sifu Lee invited Sifu Jon United Kingdom, including branches in the Funk to visit the United Kingdom, and he taught Northeast, Northwest, Yorkshire, Midlands, sessions for Sifu Lee’s students. Sifu Lee and his Southern England, Scotland and Southern students perform demonstrations throughout the Ireland. Sifu Frearson has also taught in South United Kingdom, and Sifu Lee has produced a Africa, Italy and Spain and regularly has overseas video Sap Say Lo Tam Toy (14 students come to England to train with him. Springing Legs). Apart from the main branches described Sifu Derek Frearson, of Leicester, here, there are many other branches active in Leicestershire, represents the third branch of the United Kingdom. Wutan International Seven Star Praying Mantis in the United teaches Seven Star Praying Mantis throughout Kingdom. In 1989 Sifu Frearson invited Sifu the United Kingdom, as descended from Sifu Lee Kam Wing of Hong Kong, an instructor Liu Yun Chiao of Taiwan, Adam Hsu’s teacher. under Chui Chi Man who was a senior disciple Sifu Yuen Man Kai, a student of Wong Hun of Lor Kwang Yuk, to the United Kingdom. He Fan, has also visited the United Kingdom to For more information about teaches mantis kung fu and lion dancing during promote Seven Star Praying Mantis. During a Seven Star Mantis in the UK, annual visits to the International Taijiquan and visit to the United Kingdom in 1976, he taught contact Sifu Michael Lee or Sifu Derek Frearson at the Shaolin Wushu Association Summer Camp. Sifu students of the British White Cloud Society in following web sites: Frearson also takes his students to Hong Kong Northwest England. www.7starmantis.net to train with Sifu Lee twice a year. Praying mantis kung fu in the United www.itswa.freeserve.co.uk/ Based in Leicester, Sifu Frearson represents Kingdom is spreading, and the standard contin- sspm.htm Sifu Lee’s organization in the United Kingdom. ues to improve. MQ

MantisQuarterly Subscriptions

Steve Cottrell For Subscription information, Publisher/Executive Editor call (toll free) 866-328-2347, [email protected] send an e-mail to [email protected] or visit our web site at www.mantisquarterly.com. April Eubanks Editor/Art Director [email protected] Jon Anderson, Claire Villarreal Submissions Copyeditors For information about submitting articles and art, Mantis Quarterly is published by Authentic Kung Fu, Inc., Fort Worth, call 817-244-2347, Texas, USA. Copyright 2002. All rights reserved by Authentic Kung Fu, send an e-mail to [email protected] Inc. No part of this publication may be reproduced in part or whole or visit our web site at www.mantisquarterly.com. without written permission from the publisher.

8 MantisQuarterly FALL 2002

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