Bak-Sing Choy-Li-Fut: This style is a combination of two of China's most popular styles; Cho-Li-Fut and northern Shao-lin. Bak-Sing was founded by Tam-Sam during the Ch'ing dynasty. Bak-Sing places heavy emphasis on sparring, kicking, and long arm movements. A wide horse stance is most often used and power is thought to come from the shoulders and hips. Many techniques involve simultaneously blocking and striking. Bak-Sing techniques are graceful giving this style a very artistic look.
Ch'a Ch'uan: This is considered a northern style of kung fu, practitioners contend from long range, darting swiftly to the attack. High, long leaps are an important aspect of Ch'a Ch'uan to cover distances quickly.
Choy-Li-Fut: A southern style of kung fu derives from the Shoalin temple. Choy-Li-Fut stresses the development of long hand techniques, as well as firm and solid grounding of the body, though the feet must be versatile.
Drunken Style: This is a system of Chinese fighting patterned after the conventional movements of a drunkard. The actions appear wild and illogical which is why they work :) The practitioner wobbles unsteadily and occasionally seems to stumble to the ground, where he will lash out with a combination of foot and leg techniques. Most styles have drunken sets such as drunken monkey, drunken praying mantis, drunken white crane, ect.
Fong Ngan: A style of kung fu know as the Phoenix Eye, originating in China's Hopu province and developed by Kew Soong. In this system the basic blow is delivered with the fore-knuckle fist. Palm strikes, finger strikes, ridge hands, and knife hands are also taught. The only kick in the system is the front snap kick. There are no formal stances, instead practitioners learn to crowd an opponent. A fong ngan practitioner never retreats from an attack, but moves into it, or jumps to the side while counterattacking. Fong ngan involves trips and leg hooking throws, which are always followed up by a "killing" blow.
Hop Gar: Also know as Lama kung fu, it became prominent during the Ch'ing dynasty in China as the official martial system of the Manchi Emperor and his guards. Hop Gar is composed of 12 short-hand and 12 long-hand maneuvers, and 8 forms employing empty hand and weapons. The most important aspect of the style is footwork, called kay-men-bo, used atop Ng-Mui's mui-fa-jeong, a series of stumps driven into the ground.
Hsing-I: Literally meaning "mind form", found mainly in the northern part of China, originating in San-Shih province. It is based on the five element philosophy of Chinese cosmology, it is a simple practical style. Major weapons of the Hsing-I form are knife and sword. It used single movements in training, repeated on both the left and right sides, and contains short basic forms.
Hung-Chia: A southern style of kung fu stressing powerful hand techniques delivered from strong low stances. The system is based on movements of the five animals; dragon, snake, tiger, leopard, and crane.
Liu-He: Liu-He translated means "Six methods", it is a difficult style of northern kung fu, weapon routines include the spear, staff, and knife. It is composed, as the name implies, of three internal and three external principles.
Mi-T'sung-I: A northern style of kung fu founded around the end of the Sung dynasty. Its founder, Yen-Ching, was actually a character in a famous Chinese novel entitled Water Margin. Emphasis is on changing directions, speed, and footwork to confuse the enemy. Aspects of both hard and soft arts are included. Its most noted weapon is the knife.
Monkey Style: A style known in Chinese as Tai-Sing pek kwar; founded by Kou Tze, a Chinese martial artist, in the early 19th century. Kou Tze formulated his art through observation of monkeys habits during an eight-year imprisonment. He analyzed and classified their movements and combined them with the grand earth style of kung fu, which he had previously studied. The style consists of five species, each utilizing a different principle of movement. Kou Tze named these forms: "Lost Monkey", "Drunken Monkey", "Tall Monkey", "Stone Monkey", and "Wood Monkey". Lost monkey deals with surprise attacks and self defense situations. Drunken monkey, perhaps the most bizarre of all kung fu systems simulates imbalance and broken rhythm. In reality the practitioner is alert, his stance solid, and his movements evasive and deceptive thus unpredictable. Tall monkey features long distance sweeping, swinging arm movements, and low, deep stances. Stone monkey relies on power and brute strength, its characterized by somersaults, rolling and falling. Wood monkey is primarily a form of deception. It requires quick wits and cleverness to lure an opponent into the trap.
Praying Mantis: Kung fu system founded in the 17th century. Praying mantis relies heavily on fierce grasping movements, clawing attacks, and punches for both defense and offense. There are many variations and other style of the praying mantis.
Ti T'ang: Northern style of kung fu, techniques involve fighting while falling or lying on the ground. Emphasis on kicking and falling techniques. Balance is considered from three standpoints: Keeping comfortable balance, using difficult movements yet maintaining balance, and breaking balance, falling and yet maintaining composure. Ti T'ang is also know as Ti-Kung and Bai-Ma-Sya-Shuan.
White Crane: Style of kung fu based on the movements of the crane and the ape. White crane is a combination of long and short hand techniques. It employes both internal and external methods of training and is composed of 24 sets, 10 empty hand and 14 weapon sets. As a rule the techniques apply methods of cutting nerves and striking pressure points. White crane footwork is based on moves for the mui-fa-jeong (plum flower stumps). The philosophy of white crane is based on four points: chon (to destroy), sim (to evade), chun (to penetrate), and jeet (to intercept).
Wing Chun: A southern style of kung fu, it emphasizes self-defense reduced to its most streamlined rudiments: Simultaneous attack and defense with multiple straight line strikes at extremely close range. Every punch, poke, strike, slap, or kick in the system has been designed to serve as a defense to double as an attack. Rapid hand techniques combined with low kicks tend to be featured in an aggressive array of constant forward pressure. Wing chun students are taught to insure the most effective deployment of their striking techniques by controlling or "trapping" one or more of an opponents limbs whenever possible.