One locates the birth of Master Nguyen Duc Moc about 1910 in a mountainous province of North Vietnam, the ha Vat, with the gates of China. To locate these turbid times, Indo-China discovers since 1897 an organization and a coherent administrative capacity under the influence of Paul Doumer and IIIème République. Hanoï becomes it capital of Indo-China to the detriment of Saigon and the South Vietnam. **time-out** in this context of great modification of Empire colonial French, Nguyen Moc him see in contact with contact de.la nature with medium of these hill or landscape hostile and armed robbery ceaseless be the daily newspaper familiaux.Dès the age of 6 year, it be the beginning of its training in practice la pratique of Martial arts Martiaux. The family tradition is turned towards the art of the combat taught first of all by his/her father then by his maternal uncle. It is during nearly 10 years, the rudimentary training and its practical application to the daily newspaper. At 16 years, Nguyen Duc Moc meets the Master Hoang Huaba left monk batelor and guerissor (itinerant salesman). This character, Maître authentic coming from the pagoda " My Duong Cuong " (China) will be the link between Võ family and the structured traditional art which we know today. **time-out** in 1939, Nguyen Moc be enrolé of force in the colonial army coloniale French then after have fight on various face with Middle East and in Africa, it be demobilize and himself find in France to work in the factory Renault Billancourt with manufacture of block driving. He will not lose the teaching received throughout his life and until 1957 there entraine in the wood of Boulogne some workmen of its sector to lead to the creation of its own school in 1957.En 1965 there are two rooms held by Maître Moc: the gymnasium of the COMB with Bagneux and a room of boxing, run of the stable in IIème district. The style of combat of vo taught by Maître Moc " His Length Quyén Thuât " means " Technical of combat of the mountain of the dragon " which comprises 18 disciplines with naked hands and weapons.

The shape of Võ Dân Tôc of our school is originating in a mountainous area of the north of Viêt Nam, where the usually spoken language is the viêtnamien, but some will have noticed that the majority of the names of our techniques are not in viêtnamien. From which does this linguistic curiosity come? During all the history of Viêt Nam, the contacts with China were constant and delicate. These two countries regularly clashed, the policy of expansion of the Chinese empire having led to the tender of Viêt Nam during nearly thousand years. Viêtnamiens knew to resist by preserving their identity and their specific culture, but they knew to benefit from certain aspects of the Chinese culture, in particular in the fields of the administration, art (music, literature, theatre), of medicine and the martial arts. The Chinese writing in ideograms was essential during the periods of Chinese domination, and the well-read men viêtnamiens usually used about it for the drafting of literary works and treaties of medicine, military strategy or martial arts. Moreover, the knowledge of Chinese was essential for these well-read men, that it is for the diplomacy or their general culture. The Chinese language in question here is the old language of the well-read men, which, largely influenced with the oral examination by the pronunciation viêtnamienne, became what is called of the "sino-viêtnamien ". **time-out** the syntax of Chinese, that respect that of sino-viêtnamien, be different of that of viêtnamien, but the two language have jointly some aspect dependent with pronunciation and for the use usage of tone, those allow to differentiate the word (which make only one syllable). Thus, with the wire of the centuries, the contact between these two cultures supported the intrusion of many expressions of Chinese origin in the language viêtnamienne, especially in the " cultural " field. In Asia, the martial arts form part of the cultural field, and besides are frequently associated with medicine, of the term. The old treaties of Võ were written in Chinese, and the original names of the techniques of the various great styles viêtnamiens (Võ Bac Ninh, Võ Thieu Lam, Võ Tay Its / Binh Dinh, Võ Lam Its...) all are almost expressed in sino-viêtnamien. All these names are almost identical, but the movements described by these expressions can be different, each school judging of the terms corresponding best to its techniques Thus, the expression sino-viêtnamienne CAT Phong Cuoc (" the Foot of the Wind of Storm ") indicates in our School a right kick or " triangle ", but of other schools viêtnamiennes apply this same name to a circular kick. Our movement Song Long Xuat Hai (" Two Dragons Spout out of the Sea "), whose name is also in sino-viêtnamien, corresponds to a double blow of palm slightly tonic. On the other hand, a Master of the style Võ Tay Its indicates by this sentence double piqué with the eyes. In the same way, in the south of China, of the schools of the style of Kung Fu " Hung Gar " use this same expression (sometimes written Seong Long Chot Hoi) to indicate double piqué with the eyes, whereas in an old treaty on the old Boxing of Shao-Flax of the South (which is not practised any more nowadays), " Two Dragons Spout out of the Sea " corresponds to a double blow of palm. The contemporary writing viêtnamienne, which uses the Latin alphabet associated with accents and specific marks (essential to the comprehension of the meaning of the words), allows also the transcription of the sino-viêtnamiens terms. Thus, without inevitably knowing the Chinese ideograms, we can have access to these old expressions sino-viêtnamiennes, which makes it possible to perpetuate the literary and cultural tradition of the School.




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