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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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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:

  1. Siu Lien Tao (Little First Training)
  2. Chum Kiu (Sinking Bridge)
  3. Biu Jee (Darting Finger)
  4. Hong Jong (Air Dummy)
  5. Muk Yan Jong (Wooden Dummy)
  6. Luk Dim Boon Gwun (Six and a Half Point Pole)
  7. 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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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!