Wing Chun Lexicon – Page 8 – just another Wing Chun blog

An interview with Robert Chu

Combat Journal Interview with Robert Chu by Salim Badat, first published at Combat Journal Website June 2008

1. How did you get to train in wing chun?

I started training in WCK when I was 14, after starting other systems of martial arts since age 7. I also studied Okinawan Shorin Ryu and Judo since age 10 and had some hard core training in that, so when I learned WCK, it was rather easy. A friend from the Chinese restaurant I worked in had some basic training and taught me the Siu Nim Tao set and the basic exercises Pak Sao, Lop Sao, Dan Chi Sao and Cern Chi Sao, as well as shifting from the 2nd form. I also learned basic fighting tactics with WCK. Afterwards, I decided the system was good and sought out more competent instruction.

2. Please explain the concept of body structure and it’s relevance to combat?

I am probably the popularizer of the term “body structure”. Most people think it refers to the form of WCK, whereas I refer to it as the function of WCK. Body structure in a few words is body alignment. Most people who throw around the term do not even know what it means.

Basically, I am talking about vector force alignment to maximize vector forces, or to reduce oncoming vector forces. This is all caused by proper skeletal alignment – you must be able to feel a line of force through your bones initially.

My entire system is based on body structure – you could say it is the core of my system, and it differs from other Yip Man Ving Tsun/Wing Chun systems out there in the curriculum and teaching methodology it is taught in.

In my system, one is taught how to defend your body structure, how to attack and maximize, how to protect yourself with the best anatomical positioning, how to face an opponent, how to control an opponent’s body structure, how to neutralize the opponent’s structure, how to disrupt an opponent’s body structure or lack of it, how to weaken the opponent’s structure, how to regain it if necessary, and how to reposition to it, as well as how to project it through weaponry. To my knowledge, no one has completely adopted this teaching methodology as completely as I have.

3. How does one develop body structure in wing chun?

Basically body structure is taught to a WCK practitioner by day one – how one stands, and feels his or her center of gravity and the relationship to the earth on a vertical plane, while being sandwiched between an opponent’s resisting force. This is the only way to have body structure. Originally we had 4 major tests for it, now we have hundreds of exercises in which to cultivate it. Only students of my system can adequately understand our meaning. In our system, the shoulder girdle is the equivalent to the pelvic girdle, and the width of the stance is determined by proportionate body measurement – it is not “follow me and I’ll show you…”.

4. Briefly describe some of the differences and similarities between the Yip Man, Yuen Kay San and Gu Lao wing chun?

All WCK is WCK. There’s really no good or bad WCK, just functional in the moment or non-functional in the moment. People who train realistically have it; people who train in a dead manner do not.

Yip Man WCK is the most popular system in the world. It is a good modern system, adapted to today’s society. However, there are many branches in the world taught today. Of them all, I highly regard the training I had in Hawkins Cheung system, Wong Shun Leung system (from Gary Lam) and Ho Kam Ming system (from Augustine Fong and Johnny Wong), as well as what I received from Koo Sang, Lo Man Kam and William Cheung.

The Yuen Kay Shan system is more sophisticated and includes an older training methodology, perhaps better taught one on one. The 3 forms are more similar to Yip Man’s early teaching in Fut Shan, there are 14 conceptual key words, 12 Cheung Bo training drills, and their Muk Yan Jong is longer and in some ways more sophisticated than in Yip Man system. I very much like the pole and knives training in YKS WCK. I am indebted to my sifu, Kwan Jong Yuen, and my training brother Rene Ritchie for my YKS training.

Gu Lao WCK is a great system for those who do not want to learn forms. The core of the system is freeform, and drilling is based on points. However, your mileage may vary depending on the person you study with based on their knowledge of fighting applications. One could study all the points, but without practical combat knowledge, they would simply be ugly random movements. A lot of people are coming out of the woodwork now with variations of Gu Lao WCK, but I must say that it is the skill rather than the number of points that is most important.

All WCK extends through the same source. The Yip Man and Yuen Kay Shan systems utilize forms, whereas the Gu Lao system I learned did not use sets, but individual moves. All had a strong emphasis on straight punching. In fact, I would say that the WCK straight punch is the essence of WCK. If you could just master that, most of real WCK is embodied in that.

5. Please tell us a bit about your recent U.K. visit?

I came to the U.K. on the invitation of my student Alan Orr, and by Mark Hobbs of Pagoda Imports, to the recent Seni event, Europe’s largest martial arts expo, held at the Excel Centre in London, England in April of 2008. There, I taught my first open U.K. seminar and gave the 35 attendees a problem: how would they rectify the dichotomy of study that was traditionally passed down to them and the functional manner in which I based my WCK on?

For the morning, I taught the nuances of my WCK, which included making and striking with the proper Wing Chun fist, some rudimentary structure methods for aligning and rooting the stance and issuing power, methods of using the striking methods of transitioning from hand to body and body to hand. Emphasis on striking and follow through were shown, and a question and answer period was held. My basic message was to emphasize the value of testing martial art through function, not only form and tradition.

The highlight of my trip was handing out medals to the winners of the First International Chi Sau Open in which my group won 7 gold medals and 1 silver medal in fullcontact Chi Sao competition against all different systems of WCK in the U.K. My grandstudents won in the tournament because of our structure methods.

6. You had to actually cover making a fist?

Yes, you might think its funny, but so many people in WCK don’t grip their fist properly! The thumb placement is a big deal – it never passes the index finger, and you must extend the first punch by aiming with your middle knuckle. The 3rd and 4th digits clench slightly more tight than the other fingers and the angle of the wrist is pronounced and with slight hyperextension, and the fist is rotated with a slight supination to maximize skeletal alignment. Knowing this, your martial arts study also increases your health. Of course in Chinese medicine, we recognize that finger as being the “fire” element (just like when we extend it to give people a piece of our mind), and then the bottom three knuckles hit the person incidently. We don’t extend our wrist or snap it – the extension puts it in anatomically correct position with the ulna and radius bones aligned properly to channel a force upon impact, and absorb a resultant force. Too many have malalignment of the fist upon impact, hitting with the pinky first. It’s a joke – they can break their fist immediately upon impact! But they insist it is their style’s trademark. This is what I mean when others pass on a dichotomy of form not equal to function.

7. What is the unique feature of your wing chun?

You could say my WCK is the functional version of WCK.

Even with all the training and research I have done, I don’t combine “styles” – I test it as a scientist does – look at what’s functional, have a hypothesis, test it, see if its replicable. With my studies in anatomy, physiology, kinesiology, acupuncture, Chinese medicine, physics, and modern athletics, this leads me to my conclusion. Over the years, this lead me to “Let function rule over form”, and “Let application be your guide”, and now, I can also say, “Experience beats experiment.”

8. Don’t you think speed is also a critical aspect in Wing Chun? A lot of systems stress speed as a critical component of their system.

Alertness, smoothness, mental decision making, power, and timing are more critical components rather than speed. Speed by itself is empty. One time a WCK teacher boasted that one of his students could throw 12 punches in a second. My reply was how hard could that student hit? His answer, “Well,…”

9. Isn’t there body structure in other systems as well?

Yes there is, but as I said, others think that form is body structure, but unless it is tested in the same way we do, I don’t agree they have maximised full potential of structure. Even with any skilled martial artist or WCK practitioner, I could teach them to hit even harder, control better, have a more stable and mobile root, and set up strikes to finish them at will. Its all based on the thorough study of body mechanics, velocity, momentum and power. I don’t think most WCK have done this to the extent I have. And so many over the years have boasted to me they could pass structure test one, and they can’t. For me function is the form. There has to be core skill development and objectives, otherwise its all a bunch of guys arguing that this is the way it was handed down to me, not taking into account human flaw.

10.What is the essence of wing chun?

(jokingly) Wing Chun is basically: No can stand = no can fight!

But more seriously, WCK is to learn the proper mechanics and adapt them freely in combat while breaking the opponent’s balance and working him over.

11. Has your personal expression of wing chun evolved through the years?

When I was younger, I was very aggressive and attacked my opponent’s attack. I would use strikes, kicks, body control, throws, joint locks and take the opponent down to the ground.

Of course, since I am older now, I have a tendency to be more tricky. I always break my opponent’s balance and allow him to determine what kind of beating he wants. I don’t throw it all at him.

12. What is the unique flavour of your branch of wing chun?

In my branch of WCK, we approach everything from a functional level and want to create well-rounded fighters and practitioners to have strength, endurance, flexibility, correct mindset, work ethic and flexibility in all facets of combat including striking, kicking, throwing, joint locks, groundfighting and weaponry.

I think it is important for a fighter to be well rounded in practical application, while also perfecting their major system. For those who think it is a bad thing to cross train, it shows a bit of close mindedness. For example, there’s no doubt BJJ and MMA have their impact on the martial arts now, what does a WCK person do to survive if he is placed in that scenario? Without ever testing it, one is lost. I’m not saying combining all arts, but stating what are your strengths and weaknesses under all circumstances. I put one student in the mount on top of another, and see the one on the bottom either gas out or fight his way out. Its an important drill. Another thing is many WCK people are terribly out of shape. They need to make savage the body more, instead of yapping about politics!

The emphasis on combat realism is the thing that was passed down from me by Hawkins Cheung. Hawkins Cheung’s is the inspiration to me, as I have passed my art down based on his approach. Most people overemphasis sticking hands and forms, he emphasizes combat application. One would think that to be common, but most WCK instructors emphasize forms, then drills, then even more drills in Chi Sao. My sifu is the most deceptive fighter. He doesn’t look like one, but he has a way to trick you if you fight him. Its very deceptive how hard he hits and kicks. As a teacher, he didn’t teach me “Hawkins Cheung WCK”. Instead, he taught me skills and principles WCK.

13. What are your future goals and aspirations?

I am semi-retiring from WCK teaching now, really distilling my training method to make it simpler and faster to teach. I may still take on a few disciples, but only ones who want to fully learn the art and study it from the complete perspective of martial arts and medicine. I am writing a new book on these applications and training methodologies.

I am concentrating more on the teaching of Chinese Medicine and Acupuncture of which I lecture on internationally in the U.S.A., Canada and Europe.

I am also a fulltime clinician, with an active practice, I am continuously doing battle with diseases such as Cancer, Parkinson’s, lupus, diabetes and heart disease. But I am very much into health and longevity, incorporating my Chinese medicine knowledge with Ayurveda in rejuvenation practices and herbal therapy.

I have also been developing my health through both external training enschewing modern and ancient training regiments with kettlebells and martial arts equipment, as well as Qi Gong/Yoga type training and created complete training regiments there. Kettlebells are great training devices that will help any fighter develop endurance, explosive strength and cardio without bulking up. I highly recommend the training to everyone, but people should have good detailed training through an AKC/WKC or RKC coach.

I have been very proud of my students’ accomplishments as well, especially of my disciple, Alan Orr, who created the International Chi Sau Open, unique in that all Judges and Referees would be invited each year from different branches of Wing Chun, with central idea for “Bringing Wing Chun forward together”. I think it will become a major event to follow throughout Europe. My other students Dave McKinnon and Marty Goldberg, are also taking my WCK to open competition and MMA venues, and proud of them as well.

Lastly, I will be doing more research and development in the Yik Kam Siu Lien Tao WCK, which I feel is one of the earliest forms of WCK, as there is documented proof, as well as core related forms, drills, skills and concepts taught in Fukien White Crane and Emei 12 Zhuang system to show how it was created. I think we need to preserve cultural artifacts for the next generation.

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Jiu Wan Sifu says, ”Fighting Cannot Solve Problems”

Ti Lung [Tommy Tam Fu-Wing], a martial art movie actor, is the student of Jiu Wan Sifu, a respected elder of Wing Chun. Ti Lung has been popular for a long time and, like all movie stars, his story has created a lot of gossip. But there are few articles about how he learned Kung Fu. Readers may know that both Bruce Lee and Ti Lung practiced the Wing Chun style. In fact, before he entered the movie business, Ti Lung was already a favored student of Jiu Wan. Although now a celebrity, he still respects Jiu Wan as a teacher and continues to practice and visit with him.

Early Practice of the Martial Arts in Foshan

Jiu Wan Sifu is very humble and never talks about himself, therefore very few newspaper and magazine articles have been written about him. So who is Jiu Wan and what kind of person is he?

Jiu Wan, in his youth in Fatshan, China, studied Wing Chun from his cousin [Editor’s note: literally his father’s elder brother’s son] Jiu Tong, who is in the same lineage as Wing Chun Master Yip Man. Later, because he was quick to understand the martial arts, Jiu Wan established his own Wing Chun school in Fatshan. He developed a friendly relationship with Yip Man at this time, and became his personal student.

Yip Man & Jiu Wan

After the Communists took over China, Jiu Wan left Fatshan for Hong Kong where he met with Master Yip for continued advanced study. Since, as it is said, “There can be no two teachers in the same style” or in other words no two teachers equal in skill, in his twenty years of following Yip Man Jiu Wan has always treated Yip Man as his master.

Jiu Wan Sifu never tires of improving his skill. Whenever he has time during the day he goes to learn about his Chi Sao techniques from Master Yip, sometimes practicing until very late at night. Therefore his skill is always improving and his dedication should be a model for the younger generation.

Recently Jiu Wan established a school to teach Wing Chun and spends a lot of energy training new students. Very seldom does he openly demonstrate his Kung Fu techniques to the public. Only once, years ago at Master Yip’s birthday party, Master Yip asked him to demonstrate the Chum Kiu form of Wing Chun and everyone in the audience was very impressed.

Ti Lung Never Tires of Learning

Jiu Wan, when talking about his movie star student Ti Lung, says, “He is a very good student of the martial arts. He has the advantages of a strong body, intelligence, good footwork and he also practices diligently.” Although lately seldom able to attend the school, Ti Lung always strives to improve his martial arts skill and Jiu Wan has already given him his certification.

Fighting is Not the Way to Solve Problems

“Being a teacher is not that simple. Teaching should be like a parent and child relationship, with constant attention to the student’s conduct. When a mistake is made it should be corrected. That is the real meaning of teaching a martial art, and is good for both teacher and student.”

“The young are always full of energy, and rebel against traditional thinking. I also had the same feelings, but young people often react emotionally and cause themselves problems.”

“I absolutely disapprove of fighting,” Jiu Wan Sifu also says, “because whatever method you try to find for a solution, fighting only makes things worse and is not the way to get results. But when a mistake is made, don’t blame yourself too harshly, just treat it as a learning experience and strive to do better in the future.”

“This is very easy to say, but hard to do – but being a teacher is a big responsibility.”

The Wing Chun Puzzle: Knowledge is the Main Solution

Jiu Wan Sifu thinks the Wing Chun style is like a puzzle – hard to understand even over a lifetime of study. Noone should say they are successful, and he says, “As for myself, I only understand a little bit.”

When Jiu Wan teaches he emphasizes practice sparring. He explained that Wing Chun doesn’t have many forms and, in general, doesn’t take too long to finish learning the system. But when you study the martial arts it should be practical, and young people in particular get easily bored. Sparring trains the reactions, and Chi Sao too can help students understand the main points of the system. Diligently practicing these drills gets better results than any complicated explanation.

With sparring, a student can both increase their confidence to face an attack and give themselves a chance to use the offensive and defensive movements they have learned in order to protect themselves.

Master Yip Man, before he passed away, presented Jiu Wan with a plaque on which was written the four words “Wing Chun Jing Tung” which means “Wing Chun the Pure Tradition.” With his skills thus recognized, and teaching his students in a dignified manner, Jiu Wan Sifu has no regrets.

Though a teacher to the stars and a martial arts senior, Jiu Wan is humble and polite. He does not depend on his own high skills but joins with the young as both teacher and friend. His skill and thoughts should be a model for the modern martial art practitioner.

By by Gai Hak with Ti Lung. Translated from Chinese by Chow Hung-Yuen,

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San Kam’s Pole Dummy Spread Over the Red Junk

The famous pole method of the Red Junks was the 6 ½ points. This, they say, is because Sim (Chan/Zen) Teacher Jee Shim came south and hid aboard the Red Junks and taught Leung Yee-Tai. After he learned, Leung Yee-Tai became the master teacher of the Red Junks and passed the technique to San Kam (New Kam). Later, when in Foshan, he taught the techniques to Mr. Leung Jan. The Red Junk students made the 6 ½ point pole very popular. It was the specialty of many in the Foshan Weng Chun (Always Spring) sect.

The 6 points are Tai (Raise), Lan (Bar), Dim (Point), Kit (Deflect), Gwot (Cut), and Wun (Circle) and the half point is Lao (Leak). In fact, these 6 ½ points become 28 points and many changes are possible from these. The 6 points are for attack and ½ point is for defense. Mathematically, 7 x 4 is 28. This is like when you write an article. It has a beginning, a continuation, a turn, and then a finish. They can become 10 000 words and still much more remains. This is why it’s a very good technique.

San Kam was famous in the Guangdong opera. He always aimed to develop the martial arts. He was also very patient when teaching others. When he had finished learning the martial arts, he taught many students on the Red Junks. Because this martial art was from Jee Shim, and at the time the Manchurians were after the Shaolin disciples because they were revolutionaries, he could not say it was Shaolin martial arts or that Jee Shim had taught him. He knew Jee Shim had taught in the Shaolin Weng Chun Dim (Always Spring Hall). So he call this art Weng Chun sect.

The main boxing form of the Weng Chun sect is Saam Bai Faat (Three Prayers to Buddha). Because Jee Shim taught on the boat and the boat was a small place, the big stances and long bridges could not be used. So, the method was all changed to sunken downward facing elbows and short hands. The focus was on protecting the back. They only used Yee Jee Kim Yeung Ma (Yee Shaped Clamping Groin Horse). This only required a few feet of space. And they could practice in a small place. Because the Red Junk traveled on a river, the boat always rocked on the waves. This way, the body would rock and the horse remained easy to move. They made the stance narrow, so it would be stable on boats.

The Weng Chun wooden dummy is also very important, but all normal dummies are “dead”. In many other system, the dummy is put halfway in the ground, so it cannot move. On the boat, they cannot make it like this so San Kam thought up a new method. The “dead” dummy was brought to “life”. The support was put against the wall, but the hands were not changed. This wooden dummy had some good points. With the “dead” dummy, even when used with a lot of power, it cannot move. This means you can use hard to hit hard. The new dummy was softer. Though it hangs on the wall, it is very heavy and must be practiced with hard power. But with the “live” dummy, when it’s hit it will come back, making it soft power. So, to continue practice, it must be used with soft power. Thus, the old dummy trains hard power while the new one uses hard and soft combined. This is why it is very good. In this way, Weng Chun boxing, even if practiced on land, can use the “live” dummy and sand bags hanging on the wall (which also involves rebounding power).

In practicing the pole it is very rare to use a dummy, but the Weng Chun sect has a pole dummy. The pole dummy also hangs on the wall. It uses one square piece of wood with seven poles. Each side has three poles of 1′5″ (Chinese measure). The middle one is shorter. It is practiced by hitting the dummy.

This pole dummy was created by San Kam because at that time he was working on the Red Junk, which was very narrow. They used the single headed pole but it could not move it around much. The pole dummy is a pretend enemy and is struck with the pole. It is very flexible in the practice of the 6 ½ points. San Kam was famous for the pole methods. His student, Fung Siu-Ching was also a specialist in the 6 ½ point pole in Foshan.

By Ngaw Fei San Yan, New Martial Hero. Roughly translated from Chinese.

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Wing Chun Vs Hung Gar Mindset

I thought it would be interesting to start expanding the interviews beyond just WC people. After all it is very unlikely that you are going to fight or compete with a WC guy or gal.

For this interview I managed to get Sifu Pavel from practicalhungkyun.com.

He is a full time Hung Kyun teacher and we were happy to hear from him on the blog!

Lets get it started and learn about the Wing Chun vs Hung Gar mindset!

1. How did you start your training and what made you choose Hung Kyun over other styles?

I am afraid I am a very typical story – small kid, but weak and sick, wanting to be strong. Did some Judo when I was a kid, and joined a Gung Fu school when i was 14.

Why Hung Kyun? Well, it was a coincidence – it was one of the very few Chinese martial arts schools here. Later on I went to learn directly from the source and traveled to San Francisco, Hong Kong and China to learn authentic Lam family Hung Kyun form the best. My teachers, their skill and teaching method were more important to me than the actual style.

2. What is the “prime directive” or main theories in Hung Ga? For example in Wing Chun we often talk about the “center-line.”

Our arts share the common roots “Old Hung Kyun” (Lou Hung Kyun) is very, very similar to Wing Chun. Many of the concepts and principles are similar, compatible or complimentary. Together with my very good friend Sifu Ivan Rzounek we have done extensive research of various mainland China Wing Chun and Hung Kyun families.

Hung Kyun principles and concepts are very rich and profound: “Live and Death Road” (Sang Sei Lou), “Five Gates” (Ng Mun), “Swallowig, Spitting, Lifting and Sinking” (TanTou Fau Cham)… Core principles are summarized in “Twelve Bridges” (Sap Yi Ji Kiu Sau).

Pratical Hung Kyun prefers aggresive, pro-active self-defence, or if you prefer, self-offence. “If the Bridge is coming, cross it, if the Horse is coming, charge in!” (Kiu Loi Kiu Seung Gwo, Ma Dou Ma Faat Biu ). Not much stepping back – “Hung Kyun school – buffalo heads! Fight to the death – never turn your back!”

3. What kinds of drills do you train for horse stance?

The main aim of the basic “Stance Training” is not necessarily strengthening the legs, but correct posture and functional flexibility, mobility and alingement of all joints (ankles, knees, hips, thoracic, spine, scapulae, shoulders).

Stance training actually encompasses three interconnected parts: “(Static) Stance Training” (Jaat Ma), “Stance Turning” (Jyun Ma) and “Footwork” (Jau Ma). Beginners learn the basic stance, short set of all eight stances and a short set of eight footwork drills. Senior students work on advanced internal exercises like “Golden Bridge” (Gam Kiu).

Stance training is important, but it is just one side of the coin (the other side being the footwork) and definitely not a panacea for all problems – you have to move on and work on other stuff.

4. Is their any drills similar to Wing Chun sticky hands?

Hung Kyun has a set of drills called “Asking the Bridge” (Man Kiu) – compared to commonly seen Chi Sau drills, Hung Kyun bridging is more offensive and destructive; not much sticking, adhering and chasing the hands, but more crossing over, charging in, smashing, grabbing, pressing, lifting etc.

Although this is a written interview, I (Scott) would like to jump in for a second and state, As a Wing Chun Side note, good Chi Sau never over sticks or chases the hands ?

5. If i were to fight or spar with a Hung Ga person, what are the main things I should look out for?

We use full contact free sparring as one of our main combat skills development methods (and Hung Kyun stand up skills are very well adaptable to sport fighting), however our “sparring” it looks a bit differently than in other combat sports. The mindset is different – we do not want to learn how to spar, but how to fight, get the job done quickly and aggressively.

Be ready for surprise attacks, aggressive entry, bridges that will smash you guard, kicks that you do not see, strikes that you feel, continuous pressing attacks. Fierce, accurate, powerful and fast.

Apart from sparring we use various application drills (Saan Sau), combat sequences (Wui Hap) and reality-based self-defense scenarios – one on one, one vs. multiple opponents, vs. armed opponent etc.

6. In your opinion, how is it that Hung Ga people are able to generate so much power? Is there any drills that help illustrate or enhance this?

Old masters say clearly: “If you practice only sets and techniques and ignore strength and conditioning training, you won´t achieve anything even if you have practiced your whole life.”

Hung Kyun emphasizes strength and conditioning from day 1: Stretching and mobility drills, stance training, squats, push ups, pull-ups, back bridges, forearm conditioning (famous “Three Stars Conditioning”, Da Saam Sing) etc.

Practical Hung Kyun uses several traditional and modern tools: A hanging pole, punching bags, focus mitts, kicking shields, heavy weapons, brass forearm rings, rattan ring, three-section punching pads, iron palm bags, barbells, kettlebells etc. We lift stuff and hit stuff a lot.

Last but not least let’s not forget about “Iron Thread Set” (Tit Sin Kyun), one of the secret treasures of Hung Kyun. It is said that by practicing Tit Sin Kyun correctly you can get nine times stronger. I don’t know if exactly nine times, but much, MUCH stronger – and healthier as well.

Hung Kyun masters boast not only power, but longevity as well – my Si Gung, Grand Master Lam Jou, lived a long, fruitful life – 102 years, practicing since he was 6 and teaching since 16 – for almost 90 years! He always attributed his health, longevity and power to Tit Sin Kyun.

7. What makes Hung Ga unique compared to other Martial arts?

It’s not the hammer, it’s the smith. I don’t believe in better or worse martial arts – just better or worse teachers, practitioners and methods. There are just few really good Hung Ga schools, just like Wing Chun, Karate or any other style.

Our Practical Hung Kyun curriculum is very systematical, methodical and progressive, the system is a complete art for self-defence, strength and conditioning as well as personal development. People realize we do things differently – practical traditional martial art for modern world.

8. Do you have any final words of wisdom?

Learn from the best teachers – if it takes to travel thousand miles, pack you bag and go.

Good health and solid basics are the prerequisite – first move well, then move often.

Lift, hit stuff, spar.

Cross-train – “train one family, watch hundred other families”.

Don’t do drills for a sake of drills, keep it practical and real.

Train hard, train smart.

Learn Chinese, study the classics, be both “Scholar and Warrior“.

The higher you grow, the lower you bow.

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Guangzhou (Canton) Wing Chun

Wing Chun began with a Buddhist nun named Ng Mui, a Bak Hok Kuen (White Crane Boxing) practitioner who taught Miu Sun. Miu Sun took the good qualities and left out the weaknesses, and combined what he learned with his own invented style and then passed it along to Yim Yee. Yim Yee took all that he learned and passed them along to his daughter, Yim Wing-Chun. Yim Wing-Chun passed them along to her husband, Leung Bok-Lao. When Wing-Chun later passed away, Leung Bok-Lao commemorated her by naming the martial art Wing Chun Kuen (Praise Spring Boxing).

Leung Bok-Lao went to Guangzhou and taught Guangdonese opera performers of the Red Junk. “Tall Man” Chung, “Painted Face” Kam, Leung Yee-Tai, and Wong Wah-Bo were his four students.
Later, “Painted Face” Kam, in the city of Guangzhou passed along Wing Chun to Fung Siu-Ching. When Fung Siu-Ching was very old, he was honorably invited to Foshan by Yuen Kay-San and others to teach Wing Chun martial art skills.

Yuen Kay-San was born an avid martial art lover and had formerly followed a Wing Chun teacher named Kok Bo-Chuen (a student of Wong Wah-Bo’s) to learn martial arts. Later on when Yuen Kay-San and others honorably invited Wing Chun teacher Fung Siu-Ching to Foshan, and because Yuen Kay-San admired the excellent skills of Fung Siu-Ching, he enlisted himself to be one of the disciples. Because Yuen Kay-San martial art skills were learned from both Fung Siu-Ching and Kok Bo-Chuen, it is slightly different from the Wing Chun of Leung Jan (who was a student of Leung Yee-Tai’s and Wong Wa-Boh’s). Yuen Kay-San did not (formally) open a school to train disciples. Later on, the ones who inherited his skills are Sum Nung and others.

Guangzhou Wing Chun Kuen includes the following forms:

Siu Lien Tao (Little First Training)
Chum Kiu (Sinking Bridge)
Biu Jee (Darting Finger)
Hong Jong (Air Dummy)
Muk Yan Jong (Wooden Dummy)
Luk Dim Boon Gwun (Six and a Half Point Pole)
Yee Jee Kim Yeung Dit Ming Do (Parallel Shaped Pinching Yang Life-Taking Knives)

By Fong Yiy-Gin, Hong Kong Chin Woo Annual. Roughly translated from Chinese.

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Lun Gai – From Where the Water Flows

Much is written about the life of Master Yip Man and his students in Hong Kong, his teachings and followers have received wide publicity. Generally little has been published about his teaching in Foshan and his disciples from these early days.

Over the last four years I have had the great pleasure of studying with one of Yip Man’s original students, Master Lun Jie.
With over 20 years experience learning learning and teaching Wing Chun I have had the opportunity to research this style and its many branches in England, Hong Kong and China. I have found Master Lun’s method illuminating. This is his story:

Sifu Lun was born in 1926, he began to study Wing Chun at the age of 14 under Yip Man who was about 40 at this time. This was during the occupation by Japanese forces. The class would meet in secrecy in a warehouse as the practise of martial arts was banned by the Japanese.

The classes were held during the evenings and attended by six students. Master Yip Man had no interest in teaching a lot of students, in fact Sifu Lun recalls Yip Man saying that he didn’t intend to take any more.

During training Master Yip laid great emphasis on the practise of Wing Chun’s first form Sil Lum Tao and on horse stance practice.

When they practiced Chi Sao they would cover their eyes, Master Yip would go around and play Chi Sao with all of his students, his sensitivity was so refined he could tell which one of his students he was training with just by the feel.

Master Lun recalls a story of when Yip Man was out walking with a relaitive. The relative got involved in an argument with a detective. As the argument became more heated the detective pulled out his gun to shoot, Yip Man grabbed the gun and broke it.

Yip Man left Foshan around 1949 before the liberation of China. As a policeman he feared that he might be arrested by the new regime. Some time later the members of the class scattered and lost contact with each other.

In the original class Sifu Lun’s older Kung Fu brother was Guo Fu. Sifu Lun recalls at this time Guo Fu was much better at Wing Chun than he was, being six years older he was much stronger and able to apply the techniques in a more realistic manner.

Sifu Lun made an effort to try and contact Guo Fu but to no avail, at the same time Guo Fu was also trying to find Sifu Lun. Knowing his old classmate was an electrician by trade he would always ask any electricians he met if they knew Sifu Lun.

One time Guo Fu was near Guangzhou he met an electrician who said he knew Sifu Lun and that he had returned to Foshan and was working in a pump factory. Guo Fu wrote a letter to the pump factory in Foshan which Sifu Lun received, the old classmates were reunited in 1958 and have been close friends ever since, They began to train and research Wing Chun and continue to do this up to the present day.

Cultural Revolution

During the cultural revolution the practice of martial arts was banned, anyone practicing would be branded a counter revolutionary. Sifu Lun did practice throughout this period mostly in his home, sometimes lie would go to the park and to the Ancestral Temple.

Often the practice at the Temple would be watched by a policeman who was himself a martial arts practitioner so he never reported them. The authorities all over China were very nervous about the practice of martial arts, this was particularly true about the practice of Wing Chun with its emphasis on attack and combat techniques.

Many martial arts masters were persecuted by the Red Guards, this included torture, imprisonment and death.

I asked Sifu Lun if he had ever had to use his Wing Chun in a real life situation. He said that it is not his intention to right and he doesn’t want his students to fight. There was one occasion, however, just after the cultural revolution when he went out on his bicycle into the countryside at night. He was travelling along a dark road when two men jumped out in front of him, as he stopped the light on his bicycle went out. He quickly put the bicycle down, one man threw a powerful punch towards Sifu Lun. Lun applied the Kuo Sao movement from Wing Chun’s second form Chum Kiu. He heard the breaking of bone and the man screamed with pain, turning to the side the other man had already launched a kick which glanced on Lun’s thigh.

The man didn’t follow up the attack hearing his accomplice’s screams, both men fled.

Foshan Wing Chun, Hong Kong Wing Chun?

On the development of Wing Chun in Hong Kong and the differences between Foshan and Hong Kong Chun as taught today.

Sifu Lun doesn’t know why the teaching of Yip Man was different in Hong Kong, he can only assume that Yip Man might have added or dropped some movements, he also might have allowed his students more freedom interpreting the movements, this would account for the differences of his followers.

He does, however, know that Yip Man only taught the Bagua steps in Foshan. During Sifu Lun’s four year’s training with Yip Man he always taught the conventional method of punching, before he left Foshan he told his students to use the Phoenix Eye punch, a method which Sifu Lun still favours today.

Even in Foshan there are people who claim to teach Yip Man’s method yet Sifu Lun doesn’t know how this can be. As long as Guo Fu and Lun Jie can remember Yip Man only had six students, four of which are now dead.

Sifu Lun’s method is very direct, the amount of power he generates over such a short distance is phenomenal. I was on the receiving end of many “Jerk Hands” techniques and his “Slap Block” made my whole body shake.

Although nearly 70 his hands are still very fast, on one occasion we were discussing how to apply force with the Phoenix Eye punch.

Our training area was on a rooftop and Master Lun proceeded to demonstrate the punch on a large metal water tank, his right hand flicked into the tank with a thud as he continued to explain the point.

The point was lost for a while as the centre of attention was the dent that had appeared in the water tank, “Sifu you’ve dented the tank”. He laughed loudly then continued the explanation. Since that day I have seen him train by punching trees and brick walls.

Master Lun is a very humble man, during training he apologized for any deficiencies in his teaching. He said that Guo Fu and himself were not educated men, in fact Sifu Lun has only had one year’s schooling. Both men have concentrated on developing and researching the direct fighting method as taught by Yip Man in Foshan.

The Forms

The Foshan method has the same number of forms similar to those taught in Hong Kong.

The first form is around the same length as the Hong Kong version but some of the angles are very different, all the other forms are longer with a greater variety of techniques.

Yip Man also didn’t teach the Single Sticking Hand or any other method apart from two handed Chi Sao.

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The three ranges of Wing Chun

written by a student of Sifu Tom Wong

Short range is the range that is most associated with Wing Chun, even with those who are only remotely familiar with the style. This close range infighting is very advanced and can only be properly learned, practiced, and understood after the longer range concepts are fully grasped. This distance is also commonly known as trapping range. In Wing Chun we practice sticky hands, or chi sau for this.

My teacher has a specific and unique method for teaching sticky hands.

First, the preliminary training for long range and mid range techniques teaches students in our family to close the gap, move in and “stick” to our opponent. Easier said than done. We spend a great deal of time perfecting our mobility, foot work, not wasting movements, stamina, speed, timing and agility.

This is the forward energy often mentioned in Wing Chun but hardly understood. Students in our family “bug the opponent like a bee or a fly or a hummingbird”. Starting from a distance, as most confrontations do, and then ending up “too close for comfort to the opponent”.

Every technique we use, every weapon we use, and every principle we follow carries this spirit. The close range principle is easily understood by soft style practitioners, but it seems to be mysterious to some Wing Chun artists. I will adress this later because it is very fundamental.

Once after sparring 3 or 4 people in a row, Sifu asked me, “Now, what do you think you can do better next time?” I thought for a second. Then I said,”Workout harder!”, because I was completely out of breath. He said, “Hmm…no that’s not it…once you get in, you don’t know what to do!” At this point I am familiar with the long and medium ranges but the short range I have yet to master.

In application, from my past experiences with other challengers and Kung Fu brothers from other schools, I see people often neglect this part of Wing Chun principle that is vital to a Wing Chun practicioner, or they demonstrate actions that are different than what they preach about Wing Chun.

My teacher says sticky hands is a fragmented part of Wing Chun training. There is more to Wing Chun than just that. As a result, Wing Chun has gotten a bad reputation for only looking good but with no practicality. That’s why people try to mix it with Muay Thai or some other hard style of boxing when it comes to real fight training.

Totally incorrect.

Everyone who practices martial arts, has had a few fights, or is fairly intelligent when they start martial arts always gets the idea to take the best stuff from every style and create their own personal superstyle. In fact this is how martial arts evolves. But most people are not qualified to do this for one reason. In order to get the best from every style you practice requires years of training. But most people study only short while, or even worse they study for years but never fully grasp the principles and never master the style. So when they take from the style they only end up taking a few moves or techniques; never carrying with them the spirit, the essence of the style.

They dont get “the best stuff”.

In our family one of our founders, Fung Siu Ching, incorporated Tai Chi grappling into our Wing Chun. Many people practice some form of Tai Chi and some form of Wing Chun and try to mix the two. So what makes ours different?

Well, Master Fung was well known to be a very experienced general, marshall and bounty hunter for the Qing. He had real hand to hand combat skill for most of his life. He knew Tai Chi grappling probably better than he knew his wife. It was in him, it was a part of him. A soft, internal style principle that is our Kung Fu is internal–its in your soul, your DNA. Many readers frown on the Wing Chun and Tai Chi relationship, and confuse us with some of the masters who add Tai Chi technigues into their Wing Chun techniques like adding apples and oranges together.

Some swear that Fung had studied Shaolin Crane Style (Shaolin practitioners have said this). Most of them have never heard that Ng Mui was from Aumei White Crane Cave (stated by the Master of Lost Track style in the book Lost Track Style Kung Fu and Master Sum Nung). The Aumei Pi style of Kung Fu is actually a family of many mixed styles of Shaolin and Wudong, by many masters of the two, over hundreds of years! It became a new fruit! Back to my point.

Closing the gap in our Wing Chun is similar to Xing Yi and Tai Chi principles. In both styles the master gets close. In Xing Yi they close in. In Tai Chi they allow the opponent to close in. We do similarly but still different. We move forward in a yielding manner. Once in close, short range, trapping range, the most deadly, powerful, accurate finishing blows are executed. In this range we also differ from other Wing Chun families because we emphasize much more stand up grappling, White Crane sweeping and throwing, take downs, and breaks.

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Functional Approaches

by Rene Ritchie

There’s a great story about Ayoob creating his stress-fire combat shooting programs. Traditional shooting approaches required a complex 9-point body alignment that didn’t hold up under the stress conditions typically faced in lethal encounters. i.e. trained shooters would miss even at incredibly short range because their arms would shake, adrenalin would dump, and they couldn’t produce consistent, reliable application.

Ayoob simplified things down to a 3-point alignment, using alignment mechanics that were far more reliable under stress. The results looked very impressive.

Flashback – Kano, when vying for the position as instructor to the police forces, had to ready his team to compete against many other jujitsu coaches in Japan. Instead of teaching them “deadly” techniques they could never practice on each other with any degree of realistic resistance, he simplified. He removed anything that couldn’t be trained safely, yet repeatedly and applied against an unwilling, skilled, resistive opponent.

Rather than making the art “less deadly” due to missing so-called death techniques (or whatever), they attained similarly impressive results.

Flashback – Did the red junk boat actors, having to use their art to survive, attain a similar realization about simplicity and realistic, progressive, systematic training? Is that why WCK geometry is what it is? If we remove the mystic mumbo marketing jumbo and try to sweep away the return-to-complexity succeeding generations of humans often find necessary to re-impose on martial arts as they become further removed, is it possible? I think so.

Fundamentals aren’t martial arts specific, nor are they specific to martial arts. Stepping back, there seems to be readily discernible patterns to those who “discovered” how to teach functional skill to large groups of people (individuals don’t count — natural ability is too easy a distraction).

When I look for a coach, I seldom if ever care what story they have or even how good they are. I look to how efficiently they can make me good. The best coaches I’ve found make improvement almost immediate, and can get you doing what they can do very quickly. And they all tend to use the same or at least very similar methods to do it.

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Coaching From The Ancestors

by Jim Roselando

One of the main criticisms by the modern practitioner would be that it is pointless to look into our arts roots as today’s fighters are not the same as the boxers from the time when Wing Chun was developed! Well, times may have changed but the human body has not, and, the reason for the research is to help us understand what was the goal (or purpose) of the training (when the union of the Emei Snake & Fukien Crane took place) which was the paradigm shift for a martial art development process. The new system was rooted in two giants of Chinese martial and health arts, which explains why our art was designed to be more effective and efficient than other systems. This article will address some of the core coaching from the Wing Chun ancestors and how we can utilize their teaching to maximize our own development today!

Why?

The art of Wing Chun Kuen, just like any art, has many aspects of training. Solo, footwork, partner, sticking hands, dummy, free fighting and other elements that all need be developed, but one of the key aspects in developing the practitioner is a proper solo cultivation. So, why we practice is quite simple. “To develop and integrate our whole body.” This brings us to one of the common stories we have all heard which is that “wrong training is harmful to the practitioner”? Well, what kind of wrong training are the ancestors talking about? What could be done in training that could be harmful to the body and boxing? So, lets address some of the coaching of Wing Chun Kuen ancestor Yik Kam with regards to the solo cultivation!

One boxing classic states: Internally train the breath and Qi. Externally train the muscles, tendons and bones. This is the clearest guide for understanding what is to be cultivated during your solo practice, and, will develop the right stuff needed to activate and integrate your entire body. These two simple phrases will be the guide for keeping us from swaying off the path when it comes to understanding what two aspects our solo practice will develop! They are the core of how to train the internal, and external, aspects of our body with our martial art. The inside training is thru stillness (this training is specifically targeted/isolated in the first section of the first set) and moving works the external training but in our art they are both exercised thru our solo practice and the result of the training will be the foundation for the qualities famous to our art. This would be the ability to use qualities of joining, sticking and spring shock force with a centered wholesome body. The offensive and defensive tools of our art are being simultaneously developed during solo training but this article will focus on the core engine building and not its extensions.

How?

The training concepts for solo practice that come from Wing Chun ancestor, Yik Kam, are actually quite simple and come directly from the ancestral Kuen Kuit (boxing poetry). Keep in mind that the art of Wing Chun is a “natural state” or soft form of Boxing. This means, the main purpose of Wing Chun’s solo training is to condition your whole body while simultaneously developing the tools and dynamics of the art. The platform of development, and conditioning, during solo practice would be:

1) Physical

2) Mental

3) Breathing

4) Energy

5) Force

The primary purpose of the solo practice is designed for loosening up the practitioner! The two easiest aspects to grasp during solo training would be the physical & mental. The physical body must be released and every part of the body must be open and softened from your daily exercise. The second aspect of training is the mind. If the mind cannot relax then how can the body? So, as one begins to gradually quiet the mind via the breathing awareness, the training of loosening of the physical is being developed at the same time.

There are direct relations with the process of quieting the mind and the breathing layer of training. A quiet mind is the result of breathing awareness and this brings us to understand something about energy. For without a relaxed body, mind & breath there is no energy cultivation. So, bringing awareness to your posture, relaxation and breathing is the foundation of the Boxing Sets exercise. During your solo training the breathing must be effortless and this requires a gradual and natural process to Sink the Qi to the Dan Tien thru lower abdominal breathing. The Zheng Qi energy will eventually cultivate and transport from the Dan Tien throughout the entire body creating a fully integrated but dynamic structure. When all the first four areas are cultivated the practitioner will have Ging (soft wholesome force) that drives our Wing Chun and is the result of this specific path of the solo development! A body that is elongated and released thru solo practice will have the quality of heavy and light with a greater range of elasticity to the body thus taking the foot off the break while driving your martial art!

Final Thoughts

If the art of Wing Chun was designed to be highly efficient then it had to be very simple. The goal of the solo training was to return the body to the natural state while developing the tools and dynamics of the art. Keep in mind that to develop your body and mind still requires time and effort. This is the Kung of Kung Fu! Solo training without this methodology would actually deplete us and close off the body as a result of the training which brings understanding as to why; Wrong training is harmful to the practitioner! Wrong development will harden the body and close off the joints, which depletes sensitivity, shock force and many other key elements. A tense breath and body obstructs the flow of blood, which disturbs your ability to respond and react in a dynamic situation. If one utilizes the simple five stages of cultivation for their solo practice these concerns need not apply and you will be on the fast path to famed state of Sung (letting go) thanks to a little coaching from the ancestors!

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The Hammer and the Nail

by Rene Ritchie

It’s sometimes heard in Wing Chun Kuen that power is generated from the ground. This is actually heard more frequently in other arts, and personally I never heard this while Hammer-and-Nail learning Wing Chun Kuen. I heard something slightly different.

One of the qualities Wing Chun Kuen favors is adaptability; we change according to feeling and circumstance. If we put a hand out and our opponent does nothing, we hit them. However, if our opponent defends, we don’t stubbornly plow through, overcommit, stumble and leave ourselves open for counter. No, we change to another hand and continue on towards our target. This is referred to as “asking the way”, where the opponent lets us know exactly how to defeat him or her.

And what applies to the hand applies to the body (hand, waist, and body unite in Wing Chun Kuen).

If power is generated from the ground, transfered through the body, and targeted into the opponent, that power is already dead.

Wing Chun Kuen, by contrast, generates no power until the moment of contact with the target. In that instant, hand, waist, and body combine but not in a uni-directional pulse from the ground up, but rather a bi-directional and reflectional wave where the legs brace with the ground as the hand is driven into the target. Since the ground is more stable than the opponent, the opponent gets some of the ground’s reflected share as well.

In more classical Wing Chun Kuen terms, some systems use body power like a hammer swing. They drive a heavy locked bar with great force but no adaptability. Other systems use hand power like a nail toss. They throw a light, agile projectile with little force and no stability.

Wing Chun Kuen takes the nail, holds it to the opponent, and just as it digs in, smashes it with the hammer.