shaolin 7In our school, our students have the opportunity to learn classical, specialized Shaolin sets and arts, and also other kungfu styles outside the Shaolin tradition.

We are grateful for having been transmitted, and to be able to pass on, not only the form of these arts, but also their essence, which is their complete practical application in combat as well as daily life. This is the purpose of all kungfu.


Below is a list and descriptions of all kungfu arts taught in our school. Find more information about the training programme in Shaolin Nordic here.



Unarmed Arts

shaolin kungfu 12 oldClassical Shaolin Sets

Crossroads At The Four Gates

This is a fundamental Southern Shaolin Kungfu set, that was still taught at the old Shaolin monasteries before the burning by the Qing government. The monks practiced it to build the foundation upon which all their future kungfu development would depend. In Shaolin Nordic, we follow this tradition.


Great Majestic Set or The Triple Strech Set

This set was originally named by the "Great Majestic Hall" of the Southern Shaolin Temple where the monks used to practice it, and was transmitted to us through Shaolin patriarch Chi Sim's lineage. The other name refers to the "triple stretch" force training method, which is also prominently included in the set. The Great Majestic Set is a complete set for Shaolin Kungfu, including force training, combat sequences, tactics and strategies.


Shaolin Flower Set

The Flower Set was the speciality of many legendary Shaolin masters, such as Ng Mui and Fong Sai-Yuk. This advanced set is known for the "Flower Hand" technique, "leaking" strikes, and organ seeking kicks. Despite its elegant patterns, it also includes effective methods for force training. We've inherited this set from two sources, Shaolin patriatch Chi Sim's lineage and through Choy family Wing Chun.


Dragon Strenght Chi Circulation Set

The Dragon Strenght Set is primarily for training internal force, ie. "dragon force" and "dragon speed", but the set also contains a comprehensive approach to combat application. Dragon Strenght is a high level art. Shaolin Grandmaster Wong Kiew Kit has stated that he considers it his highest attainment in kungfu.


The Essence of Shaolin

It is said that the best techniques in Shaolin Kungfu are contained in this set. The Essence of Shaolin is a long set, where each pattern is performed only once. Its application is advanced, as the techniques are used in subtle, profound and often surprising ways. It is a tradition that this set is taught by the master only to his chosen successor of the Shaolin arts.

shaolin kungfu 16 wongOther Shaolin Kungfu Styles

Shaolin Kungfu Monkey Form

Our monkey form is crystallized in the "Five Monkey Eighteen Felling Technique" set, which, as the name suggests, comprises of five different aspects of the monkey, containing also eighteen hidden felling techniques. This art is transmitted to us from Southern Shaolin, from our Sigung Ho Fatt Nam's lineage. The monkey may seem playful and cheeky, but is deadly in combat. The typical monkey weapon is the staff.


Shaolin Kungfu Dragon Form

Our dragon kungfu is from Northern Shaolin, and it was Sifu Markus' first specialization in his Shaolin training. The hallmarks of the dragon are its flowing movements, which often look soft and graceful, but can be very powerful. One of the characteristic weapons for the dragon is the sword or "jian".


Lohan Kungfu

Lohan Kungfu was the progenitor of Shaolin Kungfu, with earliest versions reputedly containing only eighteen techniques. Later it evolved alongside Shaolin Kungfu also as a legitimate kungfu style of its own, where crushing fist techniques are typically emphasized. The Lohan Kungfu practiced in our school is recorded in the set of "Eighteen Lohan Fists".


Wudang Taijiquan

The patriarch Zhang Sanfeng developed Taijiquan from Shaolin Kungfu at China's Wudang mountain about 700 years ago. Because our school first and foremost represents the Shaolin tradition, our Taijiquan is Wudang Taijiquan, instead of the later, better known family styles such as Chen, Hao, Sun, Wu and Yang. In our practice, chi kung, meditation, combat and force training are equally important, and acquiring good skills for practical fighting is emphasized over set practice. Combat training is predominantly for unarmed applications, but we also teach traditional Taijiquan arts for the sword, the sabre, and the staff.

shaolin kungfu 15 wongOther Kungfu Styles

Hung Gar

The art of Hung Gar kungfu, developed from Southern Shaolin kungfu, is known for its internal force, tiger and crane techniques, and the famous "no-shadow kicks". The Hung Gar kungfu in our school includes three sets, which were also the specializations of the legendary Hung Gar master Wong Fei-Hung: "Taming The Tiger" set, the "Tiger-Crane" set, and the "Iron Wire" force training set:


Taming The Tiger Set

This classic set that consists predominantly of tiger techniques was made famous by Wong Fei-Hung's well-known student Lam Sai-Wing. Tiger techniques are effective for both striking and gripping, so we use specialized force training methods for the tiger claw in the set, as well as to supplement it.


36 Pattern Tiger-Crane Set

Commonly in the Shaolin-tradition, three different tiger-crane sets are known, two of which are practiced in Shaolin Nordic. The shorter one, 36 pattern set, may at first glance seem short and concise, but in fact it contains a comprehensive selection of both tiger and crane techniques. The applications and tactics of the fierce, powerful tiger and the elegant, agile crane complete each other perfectly.


Iron Wire Set

This famous southern Shaolin set comes from Leung Kwan, the most senior of the "Ten Tigers of Guandong", who was known for his overwhelming force. The set is primarily meant for force training, but it also has very useful methods for fighting, such as the "Iron Wire Twelve Bridge Force" applications hidden in the set.


shaolin kungfu 14Wing Chun

The Wing Chun kungfu practiced in Shaolin Nordic is Choy family style, which characteristically uses short range force, applications against bigger opponents, and includes Choy Li Fut techniques. Our primary wing chun set is the "Choy Family Wing Choon 72 Pattern Tiger Crane Set", and we also train extensively in "asking bridges", which is the art of "sticking hands".


Xingyiquan or Xingyi

Xingyiquan, known as the "General's Kungfu", can come across as a simplified style, but it's combat and force applications are actually very versatile. Our entire Xingyi style is recorded in the "Five Element Continuous Fist" set, which is quite concise, but its techniques can be effectively used against any kinds of attacks.


Choy Li Fut

Choy Li Fut is a kungfu style that favors wide stances and long reaching attacks. It is especially effective for fighting multiple opponents at once, and is known for its "wave tactic", where strikes follow one other in waves in a flowing manner without pause. The main Choy Li Fut set in our school is "Twelve Fists", which is a long and comprehensive set. In force training, we use both internal and external methods, such as punching with hand weights, "Rolling Bamboo" and the art of "Iron Arm".

shaolin kungfu 19 v oldArmed Kungfu

In Shaolin Nordic, we also practice traditional kungfu weapons and weapon arts.

Read more about the benefits of kungfu weapon training here.

Ho-Family Flowing Water Staff

Traditionally speaking the staff in a monk's weapon, and there is a saying in kungfu that if you haven't learned at least one staff set, your Shaolin kungfu training is not yet complete. For a long time this set was transmitted only in a single family line, and it contains a complete method for fighting with the staff. Its secrets are hidden in the open in the following poetic couplet: "If there is a bridge, go along the bridge / If there is no bridge, flow with water".


Travelling Dragon Crescent Moon Spear

The crescent moon spear is a versatile weapon, combining characteristics of the spear, the staff, the trident, the sword, the hook and the dagger. The Traveling Dragon Crescent Moon Spear set makes good use of all these qualities, making it a very multifaceted and useful kungfu weapon art.


Plum Flower Sabre

This sabre (dao) set is named after the plum flower, because its movements fan out like the petals of the plum flower. The Sabre is a common weapon in kungfu, especially among those practicing the tiger style. In capable hands it is a formidable weapon even against the spear, whose attacks may be overwhelming against most fighters.


Green Dragon Crescent Moon Guan Dao

The guan dao is a heavy weapon, consisting of a large single blade on one end, a counterweight on the other, and a long shaft combining the two. In the past it was used in wars by both cavalries and foot soldiers, because the great weight of the weapon can readily cut through armor. The proper use of the bulky guan dao requires good technique and a lot of force.


Three-Sectional Soft Whip

Despite its name, the three-sectional soft whip is actually made of full, thick metal parts. It combines three components: The handle, the middle section and the tip with a sharpened end, attached to one another with metal rings. It takes a lot of practice to wield this weapon safely and effectively. It is the second one of Shaolin Wahnam Institute's emblem weapons, in the logo referring to the application of soft and flowing force.


shaolin kungfu 22 wongShaolin Travelling Dragon Sword

The use of the Chinese sword or "jian" is markedly different from many other sword traditions. It is never used to block the opponent's force directly, but the light and agile kungfu sword rather tends to circle the opponent's movements, slashing and piercing with great precision. Of all the kungfu weapons the "jian" is the most demanding to learn.


Taming The Tiger Trident

The speciality of the trident is its three prongs, which may be used for piercing, blocking, crushing, locking or disarming. It is generally a heavy weapon, whose weight is used as an advantage to frustrate the opponent's techniques. The trident is the other one of Shaolin Wahnam Institute's emblem weapons, in the logo referring to the applications of hard, direct force.


Travelling Dragon Thirteen Technique Spear

In Chinese culture, the spear is often called the "king of weapons", referring to the fact that the attacks of a skillful exponent can be very difficult to avoid. Commonly kungfu spear arts are categorized into "soft" and "hard", or so-called "metal spears" and "flowery spears". This spear set belongs to the latter category. It is a light spear art making good use of fast and agile techniques.

shaolin kungfu 24C vKungfu Arts

72 Shaolin Arts

Many kungfu classics have mentioned the renowned "72 Shaolin Arts", which are regarded as the best in Shaolin. These arts have varied throughout different times and traditions. In our school, we practice five of these arts:


One-Finger Zen

"One-Finger Zen" is one of the main force training methods in our school, and also one of the most famous ones in Shaolin Kungfu. It is a treasure of our school, one that the students learn at the very beginning of their training. "One-Finger Zen" is a chi kung exercise, which develops both force and its applications comprehensively.


The art of 1000 steps

In kungfu, "The Art of 1000 Steps" belongs to a category of "light-body skills". Its aim is to develop practitioners stamina, mobility and speed. The training consists of various exercises involving breathing and running. It is said that a master of this art can run a thousand steps with only a single drawn breath.


Golden Bell

The art of "Golden Bell" is meant to enable its practitioner to withstand strikes without taking damage. Although an essential aim in all kungfu fighting is not to be hit even once, this art also paves way to various different combat applications. "Golden Bell" training consists of stance training, chi kung and gradually conditioning the entire body.


Iron Arm

The difference between the famous "Iron Palm", "Iron Fist" and "Iron Arm" arts is that the latter strenghtens the entire arm. It is particularly useful in kungfu applications and styles, such as Choy Li Fut and Lohan, which use long reach and the whole arm for striking. In "Iron Arm" training we use both "internal" and "external" methods, such as stance training, chi kung, "Rolling Bamboo" and "Three-Star Hitting".


Marvellous Fist

The "Marvellous Fist" is perhaps the most famous of all Shaolin arts associated with striking with the fist, and as the name suggests, it is used to develop powerful punches. The training of this art combines punching practice and chi kung into a comprehensive method. The strike used in the "Marvellous Fist" is typically a so-called "arrow punch", which is a straight, horizontal strike.


Other Kungfu Arts

Asking Bridges

In kungfu, "Asking Bridges" is the art of using the limbs for sensing through contact and following through momentum to feel, predict and neutralize the opponent's attacks. In some traditional kungfu styles such as Taijiquan and Wing Chun, "Asking Bridges" is practiced systematically, but in Shaolin Kungfu this is infrequent. Our school has been transmitted a complete system for this art, which includes features from southern Shaolin, Choy Li Fut, Taijiquan, Wing Chun and Wuzuquan.




shaolin kungfu 7Shaolin Nordic is first and foremost a traditional kungfu school. In our kungfu practice, the emphasis is on effective practical applications for both combat as well as daily life. For this purpose, we offer our students a systematic training syllabus, which aims for good results in a productive and efficient time frame. Our syllabus, which is structured into twelve progressive levels, can be roughly divided in three different phases: Basic stage, Intermediate stage, and Advanced stage.

Our students also have the opportunity to learn classical, specialized Shaolin sets and arts, as well as also kungfu styles outside the Shaolin tradition. Find more information about our specialized kungfu arts here.


Basic training

Our practice starts from fundamental kungfu combat and force training. Kungfu footwork, techniques, stances and combat skills for realistic application are systematically taught through selected basic techniques. We use 16 basic combat sequences, various partner drills and sparring modes, and teach tactics and strategies as well as build the foundation for the consistent and beneficial practice of chi kung, zen meditation and kungfu principles. Controlled sparring begins during the beginners course, and free sparring within the first nine months of training. Depending on the student, basic training lasts for two years or more.

Read more about our basic training.


Intermediate training

At the intermediate level, our students are taught their first classical Shaolin Kungfu set, "Crossroads at the Four Gates". We pay a lot of attention to building and deepening the skills and tactics found in this set. In addition, the basics of kungfu weapons are taught through the practice of the sabre and the staff. Individual strenghts of the students, as well as different ways of fighting to best suit each student, are increasingly emphasized, and used to guide the students towards their first kungfu specializations. Depending on the student, intermediate stage lasts for one year or more.

Read more about our intermediate training.


Advanced Training

Advanced training starts from learning and deepening the students' first specializations, which may be their chosen kungfu sets, styles or arts. Also advanced unarmed and armed fighting methodology will be taught at this stage. Subsequent training introduces more freedom for the students to indepentently focus on different areas in their practice, or to expand their repertoire. We will also offer further teaching in various kungfu arts and skills to best advance the students' goals and development.

Read more about our advanced training.

shaolin kungfu 11Basic Training

Level 1:   The Fundamentals of Shaolin Kungfu

Beginners course. Kungfu basics and the foundations of practical application. Read more about our introductory course.

Level 2:   Lohan Asks The Way

First kungfu set "Lohan Asks The Way". Deepening force training and combat application. Controlled sparring modes and the art of "Asking Bridges".

Level 3:   Black Tiger Steals Heart

Pressing attack, flowing techniques, instantaneous change. Free sparring using kungfu.

Level 4:   Fierce Tiger Speeds Through Valley

Four new combat sequences. Tactics and strategies and applying them. Adding more subtle techniques to the basic repertoire.

Level 5:   Happy Bird Hops Up A Branch

Four new combat sequences. Deepening the applications of kicking and leg techniques. Expanding tactics and strategies.

Level 6:   Felling Tree With Roots

Four new combat sequences. Deepening the applications of felling and gripping techniques. Applying advanced breathing methods under pressure.


shaolin kungfu 10Intermediate Training

Level 7:   Crossroads At The Four Gates

Classic Shaolin Kungfu set "Crossroads at the Four Gates", and its force training, combat applications, tactics and strategies.

Level 8:   Shaolin Staff

Classic kungfu staff set "Ho Family Flowing Water Staff", and applying it to learn the principles and methods of weapon training for combat.

Level 9:   Shaolin Sabre

Classic kungfu sabre set "Plum Flower Sabre", and combat training between different weapons focusing on the staff and the sabre.


shaolin kungfu 3Advanced Training

Level 10:   Unarmed Against Armed

Learning and deepening the first specialized kungfu style or set. Combat training for unarmed against single armed opponent.

Level 11:   Unarmed against Multiple Unarmed

Learning and deepening the first specialized kungfu art. Combat training for unarmed against multiple unarmed opponents.

Level 12:   Unarmed Against Multiple Armed

Deepening learned kungfu specializations, or learning new ones. Combat training for unarmed against multiple armed opponents.


After level 12 the students can continue training in their chosen arts or to expand their repertoire at our classes, in which we will offer our ongoing teaching, support and advice.



blog 202102Outdoors training is one of my favourite things, and I do my daily practice out in the open troughout the year. Indoors, you need to clear the space, accommodate others, ventilate before and after...whereas outside there's as much room and fresh air as you need. Of course, during the summertime everything is just peachy, but wintertime training may seem like a big challenge for many.

Actually, even in a country as cold as Finland, it really isn't as big a deal as one might think. So, here are some simple tips I've found useful for outdoor training during the colder seasons!


Rather a bit too warm, than a bit too cold

In arts like chi kung, kungfu and zen, where relaxation is crucial, practicing while freezing really doesn't do you any favors. Cold makes the body tense up; shoulders go up, breathing gets shallower, and the body generally just wants to move about to fight the conditions. This is not a good recipe for meditation or stance training, where you should remain static yet relaxed for long periods of time. A good rule of thumb is to be slightly too warm during practice. Make a point to wear clothes generously, and then start removing items if you get too hot.


Keep things loose

Probably the most common problem with any practice clothes - indoor or outdoor - is for them to be too constricting or restricting of movement. It's easy to go wrong here, especially when choosing outdoor training gear. First of all, make sure that you can do any movement with ease while wearing your full set of clothes. Secondly, your clothes shouldn't coax your body into wrong positions and bad habits. This can happen quite easily yet insidiously, and in the long run may cause issues where the actual prpblem may be hard to pinpoint. A tight-fitting scarf can cause shoulder stiffness and neck pain; a body suit with a snug waistline may cause stomach problems or shallowness of breathing; shoes that cradle the ankles too closely can spell trouble for your entire posture. For the outdoors, a good, loose-fitting coverall usually has all the important bases covered for outdoor practice.


In arts like chi kung, kungfu and zen, where relaxation is crucial, practicing while freezing really doesn't do you any favors.


Coveralls are great!

The problem with combining lots of different pieces like pants and jackets for your Winter training gear is that there are more openings, so it's easier for the cold to seep in. Also, outdoor pants may often prove to be constricting around the waistline. And, when your training gets lively, suspenders tend to fly off, buttons and zippers pop open, and so forth. Coveralls and outdoor full suits work great with training, because they allow for maximimum mobility, while at the same efficiently preserving body heat. For years now I've used coveralls meant for ice fishing and other Winter outdoor activities, and they've never got in my way.


Stay light on the hands and feet

Often I see people training kungfu in relatively heavy training shoes, which I personally never recommend. A common feature with many sports shoes is that they lift up the heel and bring slightly more weight to the toes. Especially in kungfu, I find that this messes with your posture. It might feel easy and nice to train with bit of air under your heels, but this often curves the back in stances, and may also be detrimental to your knees. I favor light shoes with thin, even soles - even when practicing outdoors. Yes, heavy winter shoes may be nice and warm, but they're too unwieldy for most kungfu leg techniques. Same thing with gloves; it's better to use light and well fitting fabric gloves, than heavy mittens only capable of forming a bad fist. Kungfu techniques can use any part of the hand, so you should keep your options available. And don't worry about getting cold - when you make sure that your torso, arms and legs are well warmed, hands and feet usually don't mind a bit of chill.


Wear layers

Up where I live, Winter lasts a long time, with temperatures ranging from about 5°C (40°F) to -30°C (-20°F). For almost 20 years now, I've done (and loved) my daily training outside through all this. To benefit from the same outdoor clothes through the entire wintertime, create a set that has layers you can easily add or take away. I have my coveralls, a good single body layer, plus a warm long-sleeved set of underwear. Add to that a knit cap, a loose cotton neck protector, two layers of socks, and optional two layers of light gloves, and I'm ready to take on pretty much any Winter day. Just adjust the set as needed, and you can find a combination from the same clothes for any temperature.


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Although that was a lot of gear-related advice, generally speaking kungfu training doesn't require much in the way of accessories. Of course, as with anything, you can go crazy with gear, but I think exercise shouldn't about the equipment. No need to supplement your kungfu with gyms or practice halls, special floors or yoga mats, treadmills or hand weights; just get some empty space and you're good to go!



- or -

"What are you swatting at with that 30lb bladed polearm?"

shaolin kungfu guan dao weapon trainingThe famous performer and martial artist Jet Li once said: "A gun outdoes years of martial arts training in a split second."

However, many traditional martial arts practiced today still include weapon traditions from eras when modern firearms could scarcely be dreamed of. In kungfu, weapons and their training are particularly diverse. Swords, sabres, staves and spears are just a tip of the iceberg, and many practitioners still preserve arts for the more exotic of weapons, such as hook-swords and sectional metal whips.

So, the question that inevitably pops up might be expressed as such: "How likely is it that one day I'll find myself on a battlefield with a heavy Chinese glaive for defending against a stampeding cavalry?"

Or to put it more simply, why should we still maintain ancient weapon training in present times?

To answer: because one aspect of martial arts training never changes, which is that it's meant for practical benefits. So, let's examine what preserving these "dead" martial weapons can really offer us.

For convenience, I'll divide the benefits of traditional kungfu weapon training to three categories:

  1. Force
  2. Combat efficiency
  3. Personal cultivation

Force is the most obvious one. At its best, traditional weapon training strenghtens the body in ways that are practical, effective and comprehensive. In kungfu, weapon arts typically address as many and as versatile combat situations as possible, and consequently their techniques make excellent use of full body movement. Furthermore, bulkier weapons such as the guan dao (Chinese blade-tipped staff) demand systematic practice to be even used properly - imagine wielding a weightlifting barbell as a fast striking weapon, and you get some idea what genuine guan dao training is really like.


Why should we maintain ancient weapons training in present times?


The force derived from weapons training also greatly benefits bare-handed techniques. However, physical strenght isn't the sole advantage, but correct weapon practice also develops precision, balance and agility, which brings us to the next benefit: combat efficiency. Competence in different weapons hones fundamental fighting skills, such as timing, spacing and good judgment. When fighting with hand-to-hand weapons, every part of the body essentially becomes a target, which further raises the stakes of combat. Also, a useful extra benefit is the skill for using improvised weapons. Nowadays, it's unlikely to end up in a self-defence situation with a sword or a spear conveniently in hand, but how often could something else be available, like a coat, a bag, an umbrella, a chair, or even a stick from the ground? Comprehensive, correct weapons training provides the foundation of using any available tool that might give an advantage in a fight, and traditional kungfu even has dedicated weapon sets for some of the aforementioned everyday objects.

Kungfu weapons training also provides interesting opportunities for personal or spiritual cultivation. For example, the Chinese sword (jian) is relatively small and lightweight for a weapon. It is not used for blocking with hard force, but its techniques are characteristically delicate and flowing. Using a jian effectively requires a great level of skill and control, and its demanding practice is excellent for developing a focused, calm mind. Historically, the kungfu sword has been regarded as the scholar's weapon, whereas the staff is characteristic for a monk.

It bears mentioning that most, if not all, of the aforementioned benefits require concientious and correct practice, where practical combat is strongly emphasized. So, if you happen to have the good fortune to find a teacher of genuine traditional weapons, you should be thankful for the opportunity; you may stand to gain much more than just an interesting glance into the history of fighting arts.




Why I practice Kungfu, part 3: Spiritual Cultivation

(Continued from part 2.)


Spiritual Cultivation

A wood print of Miyamoto Musashi by Utagawa KuniyoshiI like the English term "martial art". In my native Finnish, the corresponding term which translates to "fighting skill" is, in my view, not complete; it only refers to competence in fighting, whereas in English - as well as in Chinese - combat is only one part of the concept. The other part indicates artistry; culture, sophistication and depth, which, as in all great arts, can demand much, but offer even more.

As a young boy, the book Musashi written by Eiji Yoshikawa left a great impression on me. It is a fictional story of the real-life Japanese swordsman, Miyamoto Musashi. Although the book revolves around martial arts and their practice, they are presented as much more than just a means for fighting: As an approach for Zen training in the pursuit for personal and spiritual cultivation, through the process of meditative action. This instilled into me the ideal what martial arts could be at their best, which has stayed with me throughout my life.

Shaolin Kungfu was created as a vessel for spiritual cultivation.

This idea has also been a part of Chinese Shaolin arts from their very beginning, a thousand years before the time of Miyamoto Mushashi. The first Shaolin Kungfu -practitioners were Buddhist monks, former warriors and army generals who had retreated to the Shaolin monastery, and combined the internal arts taught in the monastery to their fighting techniques, thus creating the first, early version of Shaolin Kungfu. All subsequent kungfu-styles are greatly indebted to this progenitor of Chinese martial arts. But why were Buddhist monks, whose highest aim was to attain enlightenment, interested in fighting?

Because Shaolin Kungfu was created as a vessel for spiritual cultivation. The connection between fighting and spirituality might seem like a strange concept, but if you've ever dedicatedly practiced martial arts, you may be able to confirm from your own experience that their training can also offer an effective way to becoming a better person - that is, if one wishes to follow it. For example, in high-level kungfu, every part of training promotes this aim, were it health, meditation, or cultivating the mind and the body through practical combat training. The demands of a combat situation are high and immediate, so any training meant to prepare for them keeps the bar high for practitioners striving to reach their potential.

Although my own ideals for martial arts developed early, my own training found its way only after many missteps. I know from experience how a certain kind of martial training can feed aggressive or violent impulses. On the other hand, I also know how another can help you become the best version of yourself. For some reason, spiritual cultivation is often considered intrinsically religious, which I consider an oversimplification. Its results should be first and foremost down-to-earth and practical. Would you rather be calm or nervous? Focused or confused? Confident or worried? Brave or fearful? Grateful or bitter? The former are benefits specifically for an internal martial arts practitioner.

The world has seen fighting and combat training probably as long as humans have existed. Similarly, there are endless reasons for it. Through its long history and unique position, kungfu had the opportunity to evolve way beyond mere fighting. Of course, most martial arts would never even strive for anything else than combat; after all, effectively conquering or defending is the crux of any fighting. However, sometimes it is worthwhile to judge an art by what it can be at its best. For myself, kungfu is an art that puts everything into perspective. Oftentimes, it is so insanely difficult, that I find myself wondering whether I should call myself a practitioner in the first place. Contrarily, I also find it so rewarding that I have yet to discover any aspect in life where I couldn't benefit from it.


Considering this, it doesn't feel like a stretch to see myself practicing daily also for the next 20 years.



The first Shaolin Kungfu -practitioners were Buddhist monks, former warriors and army generals who had retreated to the Shaolin monastery