Wing Chun Chinese Boxing Hull

The Real History of Wing Chun Kung Fu

When Leung Jan retired from his pharmacy in Foshan he returned to his native Gu Lao village in the Heshan (Hok San) area of Guang Dong province. There, the renowned doctor passed along a simple yet remarkably profound style of Wing Chun, the sei sup dim (forty points) system, also known as Gu Lao Wing Chun. Leung Jan was known as the “King of Wing Chun Boxing” and the Gu Lao style of Wing Chun is his final legacy.

History & Development

Legends say that during the Qing Dynasty, Yim Wing Chun and her husband, Leung Bok Chao taught the 2nd generation of Wing Chun Kuen. These second-generation students worked undercover as a Red Boat Cantonese Opera troupe by day and Anti Qing terrorists by night. They were affiliated with many Anti Qing groups including the Heaven and Earth Society. Their goal was to overthrow the Manchurian government and restore the Chinese Ming to the throne of China. Wing Chun Kuen was their art of choice. They could hide knives in their loose fitting garments and assassinate Qing officials in the narrow alleys of Southern China. As an Opera Troupe, they moved about freely at any time without suspicion.

The second-generation students of Yim Wing Chun included Wong Wah Bo, Leung Yee Tai, Dai Fa Min Kam, Gao Lo Jung, Hung Kam Biu, and Leung Lan Kwai. Many of these Opera members had training in Shaolin Fist and pole techniques, acrobatics, and knowledge of two man sets. They were master choreographers, performing every night the Opera was in a town. Yim Wing Chun’s art consisted of simple, direct, economical moves and was conceptual in content. Training consisted of some 40 or so repetitive techniques that could be practiced solo, with a partner, or on a dummy, empty handed or with knives. It is speculated at this point in the history of Wing Chun Kuen development, there were no set forms, as it was the goal of this training to be applied immediately to serve the purpose of self defense or assassination.

Wong Wah Bo and Leung Yee Tai had a student named Leung Jan. Leung studied the original art and later studied the art in set forms after they were choreographed by the Opera members. Leung became known for his application of Wing Chun in “Gong Sao” (Talking Hands a real match) and became known as the King of Wing Chun, or the Gong Sao Wong (Talking Hands King). Leung Jan has become the famous subject of books written by the famous fiction author Au Soy Jee and today, movies. It is known that Leung Jan became an herbalist and opened an herb stop on Chopsticks street in Fut Shan. The shop was called Jan Sang Tang (Mr. Jan’s Hall). Leung Jan was a native of Gu Lao, not Fut Shan. Leung Jan went on to teach a few, select students like his sons Leung Bik and Leung Chun, Chan Wah Shun, Muk Yan Wah, Chu Yuk Gwai, and Fung Wah.

Upon reaching retirement, Leung Jan returned to his native Gu Lao. While there, he taught a few local students his synthesis of Wing Chun. Instead of focussing on teaching the Wing Chun forms, dummy set and weapon sets that were choreographed by the Opera members, he focused his training on the forty short routines and San Sao drills, pole techniques and double knife techniques. These became known as the Gu Lao Sae Sup Dim (40 points) Wing Chun system. The 40 points are the loose expression and application of Wing Chun Kuen. The forms Siu Lien Tao, Chum Kiu, Biu Jee and Muk Yan Jong sets, and the Yee Ji Cern Dao (Ba Jaam Dao) were created later. Training in Chi Sao and San Sao are emphasized, as well as practice of the 40 points on the wooden dummy. Since we consider them “points”, as opposed to techniques or postures, their applications can be limitless. Each point teaches numerous concepts, and it is the goal of the Gu Lao sifu to teach one how to combine the 40 points. I came to learn this system from my good friend and Sifu, Kwan Jong Yuen, who in turn learned the art from Leung Jan’s grandstudent from Gu Lao, Tam Yeung. I am told that one of Leung Jan’s students in Gu Lao taught Fung Sung, who created the Pien Shen Wing Chun system. The Pien Shen Wing Chun and Gu Lao systems are perhaps one and the same, with the only difference in how they have arranged their curriculum, and who have passed them down. I have also recently read an article from Mainland China that shows the existence of a 22 point Gu Lao Wing Chun system. Until further research indicated they are different, however, I will consider them the same system as the one I learned from Kwan Jong Yuen, owing only to stylistic difference or changes in curriculum.

The Forty Points

The 40 points include classical and metaphorical names for each of the movements. In typical Chinese Cheng Wu style, this was designed so that members of other systems would not be able to understand what the movements were unless they had studied the same system. Some of these may indicate the Shaolin origin of some of the movements. Most of these names in modern Wing Chun have been replaced using modern jargon. Although few in number and perhaps not as intricate as the classical forms of Wing Chun, the forty points serve to review the Wing Chun system to the advanced practitioner, and serve as an excellent teaching tool to beginning students. They are trained in sets of repetition, alternating left and right sides. One should not simply look at the 40 points as techniques, but look at them as tactics to teach the fighting skills of Wing Chun. When the basics are mastered, a student can then look to doing combinations and permutations of the techniques while moving left and right, with high and low stances, or done high, middle or low levels, to the front and back, and while advancing and adjusting your steps. The advanced practitioner can reach the level of being able to change and vary his movements with empty hands or the double knives of Wing Chun.

The 40 points are not inseparable or different from the other forms of Wing Chun as taught today. Leung Jan simply passed on the art of Wing Chun Kuen in its San Sao (loose hands) stage when he retired to Gu Lao. Kwan Jong Yuen tells me, that in Gu Lao, when Tam Yeung was a student, it would cost a small fortune to learn one point. This included the complete application of the point while standing, with steps, during Chi Sao and with an opponent during San Sao.

Forms & Training

Gu Lao Wing Chun’s basics are trained through the forty points outlined below:

1. Ji Ng Chuie (Meridian Punch)- Also known as Yat Ji Chung Chuie, (Sun Character Thrusting Punch) this is Wing Chun’s signature punch with short explosive power with the vertical fist, the fists are held relaxed until impact and force is exerted with the entire body.

2. Duen Kiu (Short Bridge)- The Short bridge is equivalent to the Cern Jum Sao (Sinking Bridge ) movements. In application, it teaches the concept of Por Jung, breaking the centerline. The hands are open and relaxed and cut down vertically to the opponent’s attacking bridge.

3. Ba Gua Long Na (Eight Directional Dragon Grab)- Uses the double grabbing hands (Lop Sao), the lead hand held upwards in a clawing motion, while simultaneously the rear hand grabs and pulls the opponent’s bridges, setting the opponent up for a kick, throw or strike.

4. Sae Mun (Four Gates)- refers to the four gates using the on guard stance (Bai Jong); one exercises the left and right positions of the forward stance (Ji Ng Ma) and the left and right Chum Kiu horse stance positions

5. Siu Fuk Fu (Small Subdue the Tiger)- Uses an alternating left and right double Gaun Sao with phoenix eye fists; similar to the Gaun Sao section of the Biu Jee set.

6. Dai Fuk Fu (Big Subduing Tiger)- This technique is basically the same as the above, but using triangle steps to enter at an opponent’s side gates

7. Pien Shen Chuie (Slant Body Punch)- This is the Ji Ng Chuie using the Wing Chun shift. In application you may strike to your opponent’s outside gate, crossing over his attempted blow.

8. Pien Jeung (Slant Palm)- This tactic uses palm heel with the fingers pointed to the centerline to strike the opponent. The same short explosive power is used.

9. Biu Jee (Darting Fingers)- Although the movement implies the fingers, the technique in application utilizes the forearm when striking the opponent at the acupoints ST9 and LI 18

10. Wan Wun Yiu/Tiet Ban Kiu (Emergency Bend at the Waist and Iron Bridge)- Trains the practitioner to bend forward or backwards at will and can be coupled with hand techniques. It is similar in application as the fade and slip in western boxing.

11. Chum Kiu (Sinking Bridges)- Uses a double sinking bridge arm position that breaks into the centerline of the opponent

12. Gwai Ma Chuie (Kneeling Horse Strike)- This tactic utilizes the kneeling horse and a phoenix eye fist to deliver a blow aimed at the groin. This gives an insight into Wing Chun applied at a low line level.

13. Pien Shen Jeung (Slant Body Palm)- Uses the side palm as a slashing palm maneuver using the front/back shifting

14. Gao/Dae Jeung (High and Low Palms)- The high and low double palms are actually horizontal butterfly palms with palms facing the opposite direction

15. Lian Wan Fai Jeung (Linked Fast Palms)- utilize are a Tan Sao/Pak Sao combination followed with a circular Saat Jeung/Chong Jeung combination

16. Hoc Bong (Crane Wing)- uses the arm in an upwards 90 degree or 45 degree maneuver to attack or defend

17. Dai Bong (Big Wing)- the Big wing is a low Bong Sao position used to defend against a low attack

18. Jung Bong (Middle Level Wing Hand)– is the standard middle level Bong Sao

19. Noi Liem Sao (Inside Cutting Hand)- This is the inner line hand utilizing the Fuk Sao in a circular fashion

20. Oi Liem Sao (Outside Cutting Hand)- the outer line hand position utilizes Tan Sao in an outward circular fashion

21. Fu Mei (Tiger’s Tail)- The tiger tail is a short backward hammer-fist strike to the opponent’s groin

22. Gua Long Jeung (Hanging Dragon Palm)- Combines the dragon claw and Ji Ng Chuie in combination similar to a Fuk Da or Lop Da

23. Fu Biu Chuie (Darting Tiger Blow)- The darting tiger blow is the equivalent to Fuk Sao combined with a phoenix eye strike

24. Sam Jin Chuie (Three Arrow Blows)- Is done with one hand (high, middle and low straight punches or equivalent with Lien Wan Chuie

25. Sam Bai Fut (Three Bows to Buddha)- utilizes the Tan, Pak Sao and Gum Sao to stop multiple blows

26. Dip Jeung (Butterfly Palm)- Is the equivalent to the Bao Pai Jeung attack and defense

27. Siu Poon Sao (Small rolling hands)- Trains the Luk Sao or rolling hands of Wing Chun

28. Poon Sao (Rolling Hand)- This tactic is similar to a Pak Sao/Lou Sao combination, but close to the body. It is the main transitional move in Wing Chun

29. Juk Da (Slanting Strike)- The slant strike is equivalent to the slant body Jut Da

30. Juk Kiu (Slanting Bridge)- The slant bridge is essentially Tan Da done with a shift

31. Dang Jeung (Hammer Palms)- The hammer palms are the equivalent to the second section of Siu Lien Tao utilizing the Gum Sao. There are 4 positions: left, right, double frontal and double rear.

32. Ping Lan Sao (Level Obstruction Hands)-The level bar arms is the equivalent of the Kwun Sao or Tan/Bong position

33. Lui Kiu (Double Palms)- Utilize a double Tan Sao position to bridge the gap on an opponent

34. Chong Jeung (Thrusting Palm)- is the equivalent of the forward palm strike of Wing Chun done to the opponents face or chest.

35. Fan Cup Chuie (Flipping Upper Cut)- Is similar to the Chou Chuie from the Chum Kiu set

36. Cup Da Sao (Covering Hitting Hand)- utilizes th Bong Sao immediately followed up with a Lop Sao and downward back fist (Gwa Chuie)

37. Cern Lung (Double Dragons)- The double straight punches

38. Pien Shen Dip Jeung (Slant Body Butterfly Palm)- alternating low palm strike

39. Charp Chuie (Piercing Strike)- is basically a Wu Sao with a fist combined with a straight punch

40. Bik Bong (Pressing Wing Hand)- is the Wing Chun elbow strike

Training includes the complete application of each point while standing, with steps, during chi sao (sticking hands) and with an opponent during san sao (separate hands). Also taught in the curriculum are Chi Sao, application of the Gu Lao 40 points on a wooden dummy, practicing the Gu Lao points with knives (called “Yee Ji Cern Dao”) and pole exercises collectively known as the Luk Dim Boon Gwun.

Concepts & Principles

As with all Wing Chun systems, the Gu Lao 40 point system requires that the practitioner utilize the principle of “Lai Lou Hui Soong, Lut Sao Jik Chung”.

Gu Lao Wing Chun practitioners utilize the entire body, are principle oriented martial arts as opposed to the technique oriented systems. Timing and positioning are most important, and we utilize simple, direct economical movements in self-defense. A practitioner of the Gu Lao art is expected to learn the classical point, modify the technique according to circumstances, and combine a point with another point, while utilizing footwork and foot maneuvers (Gerk Faat).

It is interesting to note that the Yuen Kay Shan Wing Chun curriculum begins with many techniques similar to those in the Gu Lao curriculum. There is also a trend of modern Wing Chun (Wing Chun Do, Jeet Kuen Do, and other arts) variations to take many of the loose or separate techniques of Wing Chun Kuen.

The Gu Lao Wing Chun Kuen is a glimpse of the teachings of Wing Chun Kuen in a San Sao format. It is an ideal system to learn quick, simple, direct, economical movements for combat purposes.

For more information on wing chun chinese boxing classes in Hull east Yorkshire contact region director for chu sau lei gu lao wing chun kuen Sifu Gary Gowan: tel: 07943846568 to book your introductory lesson in wing chun Kung fu….

Here are some wing chun sayings and proverbs to give you a better understanding of the system we study.

TRADITIONAL WING CHUN RULES OF CONDUCT

Remain disciplined–Conduct yourself ethically as a martial artist.
Practice courtesy and righteousness–Serve the society and respect your elders.
Love your fellow students–Be united and avoid conflicts.
Limit your desires and pursuit of bodily pleasures–Preserve the proper spirit.
Train diligently–Maintain your skills.
Learn to develop spiritual tranquility–Abstain from arguments and fights.
Participate in society–Be moderate and gentle in you manners.
Help the weak and the very young–Use martial skills for the good of humanity.
Pass on the tradition–Preserve this Chinese art and rules of conduct.

MAXIMS OF WING CHUN

The novice fights across the stream, the master fights from the bridge.
If there is no bridge, build one.
Retain what’s coming in, follow what is retreating. Thrust in upon loss of hand contact.
Do not chase the hands past the release.
Do not be lax when your opponent is not advancing.
Once your opponent moves,, his center changes.
Others walk the bow, we walk the string.
Make the first move to have control. Attack according to timing.
Timing is achieved through practice.
A strong attitude and posture gives an advantage over your opponent.
Being alert and adapting to the situation allows maximum results for minimum effort.
The body follows the movement of the hands. The waist and the stance move together.
Complement the hands with posture to make good use of the centerline.
The eyes and the mind travel together, paying attention to leading edge of attack.
Charge into the opponent. Execute three moves together.
Strike any presented posture if it is there. Otherwise strike where you see motion. Beware of
sneak attacks, leakage attacks and invisible centerline attacks.
Soft and relaxed strength will put your opponent in jeopardy.
Coordinate the hands and feet. Movement is together.
Do not take risks and you will always connect to the target.
Have confidence and your calmness will dominate the situation.
Occupy the inner gate to strike deep into the defense.
To win in an instant is a superior achievement.
The Yin Yang principle should be thoroughly understood.
The theory of Wing Chun has no limit in it applications.
Be humble to request your teacher for guidance.
Understand the principles for your training.
Upon achieving the highest level of proficiency,
The application of techniques will vary according to the opponent.

WING CHUN TRAINING PROVERBS

There are not many sets of training exercises in Wing Chun.
They are easy to learn but to master them requires determination.
Learning the usual ways will allow later variations.
Short arm bridges and fast steps requires practicing the stance first.
Siu Lim Tau mainly trains internal power.
Lon Sau in Chum Kiu is a forceful technique.
Bui Jee contains life saving emergency techniques.
The Wooden Man develops use of power and structure.
Fancy techniques should not be used in sticky hand practice.
The steps follow turning of the body like a cat.
The posture complements the hands to eject the opponent.
The Six and a Half Point Staff does not make more than one sound.
The Eight Cut Sword techniques have no match.
The thrusting and fast attacks are well suited for closing in.
Eyes beaming with courage can neutralize the situation.
Those who completely master the system are among the very few.

SEVENTEEN KEYS TO WING CHUN

Fight from the bridge
Be ferocious when clashing.
Be fast with your fist.
Be relaxed when applying power.
Be accurate with timing.
Be continuous when applying Fak Sau.
Do not use all your strength.
Protect your own posture.
Be alert with your eyes.
Unite you waist and stance.
Coordinate your hands and feet.
Movements must be agile.
Comprehend the principles of Yin and Yang.
Remain calm.
Be steady with your breathing and strength.
Be commanding with your fighting demeanor.
Be quick to end the fight.

YEE JEE KIM YEUNG MA (Siu Lim Tao Ma)

Pull in the chest, push out the upper back, and bring in the tail bone.
Fill the Tan Tien with Ch’i and distribute the strength to all parts of the body.
Point the knees and toes inward.
Form a pyramid with the center of gravity in the center.
Fists are placed by the side of the ribs but not touching the body.
Sink the elbows, the shoulders, and the waist.
Hold the head and neck straight and keep the spirit alert.
Eyes are level, looking straight ahead, and watching all directions.
The mind is free of distractions and the mood is bright.
There is no fear when facing the opponent.
Yee Jee Kim Yeung Ma is the main stance.
Develop a good foundation for advanced techniques.

SIU LIM TAU

Siu Lim Tau comes first,
Do not force progress in training.
A weak body must start with strength improvement.
Do not keep any bad habit.
Yee Jee Kim Yeung Ma,
Train the Ch’i by controlling the Tan Tien.
To maintain good balance of strength,
Grip the ground with the toes.
To release Ch’i from the Tan Tien,
Will enable proper release of power.
Sink the elbow and drop the shoulders,
Guarding the centerline to protect both flanks.
There are one hundred and sixteen moves, all practical and real.
Thousands of variations can be used,
Aiming for practical use and not beauty.
Internally develop the Ch’i,
Externally train the tendons, bones and muscles.
Taun Sau, Bong Sau, Fok Sau, Wu Sau, and Huen Sau,
Their wonder grows with practice.
Each movement must be clear and crisp.
Timing must be observed.
Practice once a day,
More will cause no harm.

CHUM KIU

Chum Kiu trains the stance and the waist,
The arm bridge is short and the step is narrow.
Eyes are trained to be alert,
The Ch’i flows in a perpetual motion.
Strive to remain calm in the midst of motion,
Loosen up the muscles and relax the mind.
Turning the stance with a circular movement,
Will allow superior generation of power.
When the opponent’s arm bridge enters my arm bridge,
Use the escaping hand to turn around the situation.
Pass by the opponent’s incoming arm bridge from above,
Without stopping when the countering move has started.
Lon Sau and Jip Sau,
Put an opponent in danger.
Do not collide with a strong opponent,
With a weak opponent use a direct frontal assault.
A quick fight should be ended quickly,
No delay can be allowed.
Use the three joints of the arm to prevent entry by the opponent’s bridge,
Jam the opponent’s bridge to restrict his movement.
Create a bridge if the opponent’s bridge is not present,
Nullify the bridge according to how it is presented.
The arm bridge tracks the movement of the opponent’s body,
When the hands cannot prevail, use body position to save the situation.
Using short range power to jam the opponent’s bridge,
The three joints are nicely controlled.
Where is the opponent’s bridge to be found?
Chum Kiu guides the way.

BIU JEE

The Biu Jee hand contains emergency techniques,
Iron fingers can strike a vital point at once,
The stepping in elbow strike has sufficient threatening power,
Fak Sau, and Guide Bridge their movements are closely coordinated and hard to defend and nullify.
Springy power and the extended arm are applied to close range,
The situation is different when preventing from defeat in an emergency.
The Biu Jee is not taught to outsiders,
How many Sifu pass on the proper heritage?

THE WOODEN MAN (Mook Jong)

There are 116 movements for the Wooden Man,
Repeated practice brings proper use of power.
Steps vary and always maintain close contact with the Wooden Man,
Power starts from the feet and heart and shoots towards the centerline of Mok Yan Jong,
Up, Down, Back and forth, the movements are continuous,
Power improvement cannot be predicted but is sure
The arm bridge sticks to the hands of the Wooden Man while moving,
Adhesion power when achieved will be a threatening force.
Power can be released in the intended manner,
Use of the line and position will be proper and hard to defeat

Here is a rare video of Master Hawkings Chueng in the 1960’s doing chi sau (flares are coming back), Bruce Lee’s training partner and best friend growing up and one of only a handful of people to learn the whole Wing Chun system from Grandmaster Ip Man……This is the lineage of our school…Master Chu Sau Lei learned Ip Man Wing Chun from Hawkings Chueng…..

Here is an article from the Wong Shun Leung Lineage Wing Chun System detailing the importance of footwork and distance control……..

Everyone knows how boring it is to practise footwork, but there isn’t a martial artist alive who could deny the importance of acquiring the skills involved. It doesn’t matter how fast or powerful your punches and kicks might be, without a delivery system, no striking technique, no matter how great it might be, is of any use at all if it can’t reach the target. Even more important is the need to be able to avoid an opponent’s attempts to attack, while still being in an advantageous position, hence footwork, no matter how tedious, is a skill that needs to be drilled constantly.

Not only does footwork require constant drilling to perfect, it must be structurally sound and based on logical principles in order to be effective under real conditions. While much of the footwork patterns practised in many martial arts may work within the relative safety of the dojo, dojang and kwoon, or in competition or pre-arranged demonstrations, when it comes to the “real thing”, sadly many methods of footwork fail to deliver the goods. The footwork of the wing chun gung fu system, as taught and practised by the late Sifu Wong Shun Leung of Hong Kong and his followers, this author included, stands up to the demands of real combat.

What is it that makes this brand of footwork so effective? In simple terms, it is the fact that it adheres to the three most basic principles of the wing chun system, namely that it is SIMPLE, DIRECT and EFFICIENT. It is simple because wing chun footwork is based entirely on just one stance, yee ji kim yeung ma, generally referred to as the “goat stance”, and variations to this stance are derived naturally as a result of the structure of this basic position. It is direct because it advocates always utilising the shortest distance between defender and attacker(s) without superfluous motion or posturing.

Finally, it is efficient because it prescribes small changes in position so as to maintain close proximity to the assailant (the preferred wing chun fighting range, and the range most often encountered on the street), maximising the control one has over their opponent and reducing the time available to the opponent for attempting a counter measure. It is also efficient because it provides a strong base from which maximum power can be generated with minimal effort, without compromising the balance or integrity of the stance, thus making sudden changes to the situation easier to respond to in a very natural way. Wing chun footwork is also efficient as it allows for simultaneous attack and defence (lin siu dai da), because the practitioner is always left in a position where he or she can reach the opponent with both hands and at least one leg for attack, defence and control.

While this article will try to touch on all aspects of the wing chun footwork concepts, it is likely that the reader will note an emphasis on the defensive aspects. This is due to the fact that in the majority of cases where one might expect to need to use these skills, it will be as a victim of an attack, rather than as the instigator of one. Having said that, one will soon realise, by virtue of the descriptions and illustrations provided, that where wing chun footwork concepts are concerned, attack and defence are closely entwined and one easily gives rise to the other. In other words, wing chun footwork is both flexible and adaptable.
It has been suggested that the footwork of the wing chun system was developed by people who spent much of their lives working on the water, plying the intricate river systems of the southern Chinese coastal provinces of Fujian and Guangdong. This is a not an unrealistic assumption when one examines the basic shapes and principles involved, in particular the propensity to slide rather than step with the back foot when in forward motion (thus maintaining constant contact with the ground which assists in the maintenance of good balance), while the “goat stance” would provide a perfectly good way of maintaining good footing on the surface of a moving deck. If you doubt this, try it for yourself, and it needn’t be a boat; a moving train, tram or bus is just as good a proving ground.

This theory also helps bring us some way towards understanding what many people regard as the paradox of the wing chun system, that it makes use of upright, mobile stances typical of northern Chinese systems, yet exhibits a distinct preference for close-range application of both hand and foot techniques, more typical of the combat systems of southern China. Because of this preference for a more upright, less flamboyant stance than most other forms of gung fu, the wing chun method was ideally suited to the tight alleys, crowded streets and rooftops of Fatsaan and Hong Kong where its most famous exponents, Dr Leung Jan, his student Chan Wa Sun, the late grandmaster Yip Man and his student, Wong Shun Leung, brought the art to prominence.

When categorising the various forms that footwork takes within the system, it can be said that all wing chun footwork is derived from the basic “goat stance”, as stated earlier, and that from that stance there are but five footwork options. The best way to come to an understanding of how the footwork is actually applied in combat is to take each of these five options in order and break them down into concepts and applications. In order to begin, we must firstly take a look at the “goat stance” so as to appreciate its structure and its underlying influence on wing chun footwork overall.

The Cantonese name of the basic stance is yee ji kim yeung ma, which describes very accurately how the stance should look and, to a lesser extent, feel when being practised. It is the stance from which all three empty hand forms of the system are practised, most evident in the performance of the first form, siu nim tau (“young idea”), where the entire form is practised while in this one basic position. If the name is broken down into two parts, it is easier to understand what it is telling us in terms of how the stance should appear.

The expression yee ji means “the character for the number two” and this describes the correct position of the feet. With the toes turned inwards in the classic “pigeon-toed” position, a line drawn between the toes of both feet would represent the shorter, top stroke of the character, while a line drawn between the two heels would represent the longer, bottom stroke of the character. The other half of the name, kim yeung ma, translates as “goat-gripping stance” and is meant to conjure up the image of a person bending their knees inwards and forwards so as to squeeze a goat (or sheep) to prevent it from getting free, in much the same way as Australian sheep-shearers might keep control of a sheep as they remove its fleece. Another contemporary image that parallels this shape is the so-called “snow plough” position used by skiers to slow down when going down the ski slopes.

When viewed from the side, it is important that there is a straight line existing from the shoulders through to the hips and the knees. It is structurally unsound if the head and shoulders are too far back (indicating that the practitioner is leaning too far back), or if the hips are back (indicating that the back is arched), as both of these postures will result in poor balance and/or the inability too move smoothly and quickly from this stance to another. The knees should be in line with the feet, not turned inwards towards each other, but instead pointed forward towards a common central point in front of the body. When done correctly, the feeling is not unlike that felt when sitting in a chair. In other words, you will feel stable and comfortable with no sensation of being able to go any lower or fall down.

When formed correctly, you have a stance that is balanced, favouring neither leg over the other, and a stance that is actually training both back legs of the advancing stance (saam gok bo) at the same time. That is to say, the angle of both feet is the same as any one foot would be positioned if you were to move forwards or backwards in the left or right side stance. The “goat stance” is also deliberately unstable, such that as soon as a force is applied to it, there is a natural tendency to collapse into a better position, hence the practitioner learns to not try to stand like a brick wall, meeting the opponent’s force head on, but to use that energy to form a more favourable position, but more on that shortly.

To form the “goat stance”, the ideal method is to firstly bend the knees, while the feet are together, as far as they will naturally go, which isn’t all that far. From there, the toes are turned outwards (at approx. 45o ), the heels remaining fixed on the spot, then the heels are turned out with the toes acting as the pivot point. At this point the hips should be tucked in, allowing the weight to be taken up by the knees which are now bent in line with the inward-pointing feet. Determining how wide the stance should be (ie. the distance between the heels) becomes more obvious when one attempts to move from the stance (refer below) but as a rule of thumb, one’s own shoulder width is generally wide enough as a shallower or deeper stance effects balance and mobility.

Creating a stance for advancing and/or retreating can then be created by turning to the right or left, using the heels as the pivot-point. Movement can now be achieved by stepping a few inches forward with the front foot (which should leave the ground, not slide), afterwhich the body is propelled forwards by virtue of the angle of the hips (backside tucked in) which cause the back foot to drive the body in the same direction as the forward leg. This action very much resembles the action of a rear-wheel drive car, the front wheels steering while the back wheels provide the energy to drive the car. The back foot should be in total contact with the ground throughout this action. To step backwards, the process is done in reverse, with the rear foot stepping and the front foot sliding, however, the posture remains the same and the weight remains over the rear leg. Practitioners of wing chun will no doubt realise that this is the way that forward stepping is first introduced within the second and third sections of the cham kiu form, the second of the three basic training forms.

It is now, when stepping is attempted, that one can discover whether or not the distance between the feet is correct. If the distance between the heels remains the same, after stepping, as the original basic “goat stance”, then all is well. If, however, there is inconsistency (ie. when returning to the basic position one finds that the feet are too close or too far apart) it is important to determine whether it is that the original stance was wrong to begin with, or that the distance between the feet is being allowed to vary during stepping. Usually it is found to be a little of each, however by lessening or increasing the angle at which the toes are turned out when forming the basic “goat stance” can often fix the problem. By a process of trial and error, one can normally find the “happy medium” which is the right stance for themselves.

The method described above clearly helps to understand the connection between the “goat stance” (yi ji kim yeung ma) and the “triangular advancing stance” (or saam gok ma), but it does not represent the most practical way of applying it, only the best way of learning, understanding and training it. As far as combat application is concerned, it is important to be able to advance or retreat as directly as possible from a neutral position and this is achieved, in training, by firstly forming the basic stance and visualising a line running between the feet, dividing the stance down the centre. Moving in either the forward or backward direction is then done by moving which ever is to be the lead leg directly to that line (either to the front or rear), followed immediately by the other foot. There should be no unnecessary motion associated with this, such as bringing the feet together first or making circular patterns, simply moving as directly as possible to the central line as described. This then represents the first two of the five options, (1) advancing forwards, and (2) stepping backwards, both possible from either a neutral or committed stance.

In attack, which is the favoured application (while stepping straight back may be an option, it is generally avoided at all costs by wing chun practitioners, with “side-stepping” (see below) being the preferred response), this concept of seung ma (“advancing/attacking steps”, literally: “getting on the horse”) can then be applied from any position or angle from the opponent, simply taking the shortest distance between oneself and the target as the line of attack, and stepping accordingly. Generally speaking, the closest side to the target will always become the lead leg as it reduces the time taken to achieve the movement, reduces the targets made available to the enemy, and maximises the chance of intercepting the opponent with most effect. If the situation calls for a more proactive response to a given threat (what some combat strategists, such as Britain’s Geoff Thompson, like to refer to as “pre-emptive strike scenario”), this type of footwork provides a very efficient means of delivering the first blow.

In accord with earlier remarks, it is important to now consider what, for the majority of situations, may well be the more likely requirement, the use of defensive footwork. This is the area in which the wing chun method excels, and for want of a better term in English, it will be referred to as the technique of “side-stepping” (the Cantonese term being tui ma, or “pushed step”, but more on that later). At the basic level, “side-stepping” is mechanically exactly the same as the footwork previously described, that is, it is the “goat stance” modified to form the “triangular advancing stance”, but with the direction and angle of movement altered to meet the specific needs of the situation. These are that (1) one must move in such a way as to avoid meeting the force of the attack head on, but (2) still be close enough to launch an effective counter-attack. Not only that, but to be able to achieve this as a set of simultaneous motions, catching the attacker off balance and totally committed to their attack, hence at the mercy of the defender who is then able to reverse the situation with consummate ease.

To understand and develop this skill, one must first imagine themselves as standing in the centre of a giant clock face, facing the twelve o’clock position. The attacker is then visualised as moving from the twelve o’clock position to the six o’clock position, taking you with them if you remain standing in the centre. It must be remembered here that it does not matter what form of attack that the enemy may be launching (hands or feet, straight or round), the fact of the matter is that he or she is bound by the laws of nature such that the central mass of their body must move in a straight line (only Peking Opera performers attack by running in winding lines!) For this reason it is imperative that one always faces the line of the attack (ie. the body of the attacker) so as to maximise the effect of the counter strikes to be delivered.

Thus, turning side on to the attack, or turning away from the attack will reduce the chances of seeing it coming, let alone dealing with it. Obviously, moving back in a straight line only delays the inevitable (you will still get run down), likewise jumping straight out to the left or the right is risky because the likelihood of still getting hit, at least partially, is still there, not to mention the fact that it is next to impossible to land an effective counter strike while moving in the opposite direction to the target. The wing chun response then? Go with the attack, moving both backwards and slightly sideways, at either an angle of five o’clock or seven o’clock from the centre of the “clock”. This enables the defender to face the attacker so as to be able to control and attack with both hands simultaneously, quite literally drawing them into to the trap that has been set by the footwork.

It allows for a very powerful counter strike because the enemy literally falls into the oncoming hand techniques which are being supported by the strong base provided by the rear leg. The harder the attacker rushes in, the harder they get hit, contributing to their own downfall. The structure of the stance provides a natural line of power, being that all impact is being reflected back from the ground, not through the shoulders or waist of the defender, as is the case in the methods employed by other systems, hence body mass does not play the crucial role that it does in some methods and even a smaller person can generate sufficient strength to injure an opponent quite seriously. The sharpness of the angle also makes it extremely difficult for the attacker to respond in time, preventing them from re-positioning themselves for a continuance of their own attack.

There are basically two ways in which this “side-stepping” can be employed. The first is when initial contact is made, such as during an attack involving pushing or grabbing, or else when a clash of techniques has taken place. Under these conditions, the Cantonese term of tui ma (“pushed step”) makes perfectly good sense. When the opponent attempts to push the victim off balance, the structure of the basic position takes over and the stance collapses naturally towards the side most appropriate, with the closest leg to that side moving first (left leg to the left side, or right leg to the right-hand side). In other words, the attacker guides the defender into the appropriate response, what sifu Wong liked to describe as, “Allowing the attacker to show you how to hit him”.

The other possibility is, of course, when initial contact is not made and the attacker launches his or her attack from a distance. Should this take place, the response is exactly the same, except that the defender has to judge when to move from the visual clues offered by the attacker, but the method of shifting the body remains identical. Again, the attacker, by making the first move, sets himself up to be counter attacked, attack being the operative term as the Wong Shun Leung Method always advocates attacking the attack, not defending against it. There is also ample research available to support the notion that the reactive fighter is more likely to be successful than the proactive one, in much the same way that the gunfighter who draws first inevitably gets shot by the guy he has drawn on. This is scientifically provable, not just Hollywood hype.

Once the “side-step” has been applied and the first of the counter strikes initiated, the wing chun fighter is now in a commanding position and can take full advantage, driving forward with “advancing footwork” (as described earlier) towards an opponent who now finds themselves out of position, off balance and unable to continue their own fight plan as originally envisaged. They are not only then physically defeated, but also psychologically defeated as they find themselves at the mercy of the very person whom they had previously planned to injure. By driving the attack back towards the enemy while simultaneously controlling the upper and lower portions of their opponent’s body, the wing chun practitioner is able to get the “head and tail of the enemy moving in different directions”, thus fully controlling the situation.

The technique of “side-stepping”, as described above, not only works from a neutral posture such as the “goat stance”, but also from a position where one is already committed to a movement in either the forward or backward direction. For example, should the initial “side-step” be insufficient to slow down the forward rush of the opponent, or else the counter-attack not completely incapacitate them, the body can be easily shifted again by means of one of two methods, “shuffle stepping” or “long stepping”, both of which make use of the same structures already described, and both of which are natural follow ups which take their cues from the opponent’s actions. These actions are not limited to being applied after an initial defensive response, they also work just as efficiently as a response to an attempt to attack which has run into trouble, such as a clash of techniques which effect the balance or position of the wing chun exponent as they drive forwards.

To understand how these variations on the stepping work, let’s set up a situation and see what takes place. If, for example, the wing chun exponent already has the right foot forward after having moved towards or away from the opponent, and then wishes to retreat towards the left side, the “shuffle step” would be applied. In essence this is exactly the same as the basic “side-step”, whereby the closest foot to the desired destination, the left foot, steps in that direction, followed immediately by the right foot. The end result is a stance no different from that which would have been achieved had the step originated from the neutral “goat stance”. As with basic “side-stepping”, this technique can be applied from a contact or non-contact position, although it is particularly easy when it occurs as a direct result of the opponent’s attempts to crash through one’s defence.

Should the situation require movement in the opposite direction (ie. the right foot is forward and there is a need to retreat towards the right), the method employed is what is referred to as “long stepping”. In this case, unlike the “shuffle step” whereby the stance remains in the same configuration as the body shift takes place, in “long stepping” the stance changes completely, transferring the weight to the opposite leg. This means that the right leg, which begins as the front leg, ends up as the rear supporting leg. In both instances (“shuffle step” and “long step”), the direction of movement remains the same, being either five o’clock or seven o’clock from the original position in relation to the opponent’s line of attack. Should the opponent prove difficult to control due to great strength or the inability of the defender to land strong counter techniques, a short series of steps making use of all of the above variations can easily be applied to confuse and control the opponent until they can be effectively dealt with. This then represents the third option, (3) side-stepping, with all its practical variations.

This brings us to the fourth footwork option utilised by wing chun practitioners, (4) the “pivot” or “stance-turning” (juen ma). Of all the footwork methods utilised in the system, this is probably the one most misunderstood, most misused, and most underrated. It is also the most difficult to use well and, as such, requires a great deal of training. Juen ma is first introduced in the very first section of the cham kiu form where it is used in conjunction with the bong sau/lan sau technique combination to illustrate how force can be dissipated. While the “goat stance” may be the perfect position for practising techniques, it is the “half-pivoted stance” (dui gok ma or “diagonal/side-on stance”) which is the preferred pre-fighting posture. This is mainly because it is more mobile and less committed than a stance with either leg already forward, and less “rigid” than the “goat stance”.

To try to put “pivoting” into perspective so as to illustrate the difference between it and the “side-step”, consider the following statement: “When one side-steps, one allows the opponent to maintain their position and structure, and is forced to relinquish territory to the attacker, whereas when one uses the “pivot”, the opponent is the one forced to give up position, structure and territory.” In other words, if one is able to use “pivoting” rather than automatically retreating to the side, it will be the opponent, rather than the defender, who ends up off-balance and out of position because their line of attack has been suddenly and dramatically disrupted. For the attacker, recovering from such a position is extremely difficult indeed, whereas when a “side-step” is the response to their initial attack, there is always a chance to reposition the body and attack again if the defender has not counter-attacked with sufficient effect.

The question that should now be rushing to the mind is that, if the juen ma is such a dynamic technique which causes so much trouble to the opponent, why isn’t it used all of the time? The answer is, of course, quite obvious, …or at least should be. The use of the “pivot” is limited by virtue of one’s proximity to the opponent, and by virtue of the type and strength of the attack being dealt with. Under most circumstances, the “pivot” is employed only when initial contact has already been made, or else when there is little body motion accompanying the attack (ie. the opponent is remaining virtually motionless during the strike apart from moving the attacking limb), such as when one throws a jab punch from a stationary position with shoulder or hip movement, but little or no forward body movement.

The structure of the “pivot” is such that, if used incorrectly, where the opponent’s forward energy was misjudged or not anticipated, the position formed by “pivoting” will automatically collapse into the previously mentioned “side-stepping” positions. Which way that one moves will generally be determined by the actions of the enemy who will trigger reactions in the stance that are pre-determined by virtue of the underlying structure and concepts already discussed. This, of course, will only happen under pressure if the concept has been tested through drills, and more importantly, only if certain basic guidelines are adhered to by the practitioner.

The most basic of these is that the heels of the foot are always used as the pivoting point, not the balls of the feet or the centre of the feet. By pivoting on the heels, the body is able to remain on its original position, with the balance remaining unaffected. A common error made by practitioners of wing chun is to pivot on the balls of the feet because this method does not allow the body to remain on its central axis, nor does it maintain the balance. Instead, pivoting on the balls of the feet throws the body from one side of the central axis to the other, actually increasing the distance that the counter strike has to travel. It also provides an opportunity for the attacker to “steal the balance” of the defender because the rocking/swaying action caused by moving in this way leaves the defender easily overcome by the forward momentum of the attacker’s body.

Similarly, pivoting on the centre of the feet also creates a balance problem, particularly because the body in not able to remain on the same vertical axis. Again the result is the potential to over-balance, and this can lead to being unable to deal with the force of the opponent’s forward force without the need to take a full step, thus losing whatever advantage the pivot was meant to provide. In direct contrast to this, pivoting on the heels makes it possible to fall naturally into a side-step position while still maintaining the range required to nullify and counter the attack, because the structure of the stance at the moment of pivoting is such that too much force causes it to collapse in the same way as the basic “goat” stance already described above. This then completes the range of stepping to be found within the Wong Shun Leung Method, bringing the total number of options to five, this fifth one being a combination of two previously described methods, whereby (5) a “pivot” collapses into a “side-step”.

All of the methods mentioned above are easily tested and found to be valid, so long as the basic requirement, the underlying structure of the stance, is maintained at all times. In recent years there seems to have been a lot of unnecessary tampering with these methods of footwork, giving rise to additional, but impractical variations to the “repertoire” of techniques available. Some instructors have no doubt been influenced by the methods employed by other martial disciplines that they have been exposed to, or have “invented” variations that appear to work within the safe surrounds of the training hall, but have never been put to the test under realistic circumstances. On analysing such methods, they are generally found to be structurally unsound and not compatible with the basic techniques of the system. If nothing else, these “alternative” methods are usually too complicated, require too much thought, and demand almost psychic awareness of the adversary’s intentions in order to be applied safely and effectively. In short, …they just don’t work!

It is most important to keep in mind that the methods described in this article have been put to the test many dozens of times by one of the greatest fighters of this century, the late Wong Shun Leung, who used these skills with incredible effect in his illustrious and undefeated challenge fight career, where he earned the title of Gong Sau Wong, the “King of the Challengers”. If nothing else, these methods represent a natural extension of the basic principles of the wing chun system, are completely complimentary to the hand and leg techniques found within the system, and are easy to learn and put into practise, providing practitioners of wing chun with skills that work when it really counts. The reader, if already a devotee of wing chun, is encouraged to actively compare these methods with those currently being practised so as to possibly streamline and make more effective their current footwork techniques, which, as stated earlier, may include many techniques radically different from those described on these pages.

Objective analysis of such “additional” stances or complex footwork patterns will more than likely reveal them to be superfluous, impractical, inefficient and (potentially) downright dangerous if applied under realistic circumstances. For the non-wing chun practitioner, the wing chun footwork concepts outlined on these pages could easily be adapted in order to enhance the effectiveness of the methods currently being employed in your particular combat system. To that end, this writer hopes that the reader will give serious consideration to the footwork concepts and techniques of the Wong Shun Leung Method in order to make the motto “Get out of the way, …and make them pay!” more than just words on a page. Make it a practical reality!!!

I hope you enjoyed the article and practice footwork regularly………..

Sifu Gary Gowan, Hull Wing Chun

Wing Chun in the movies

Wing Chun seems to be everywhere at the moment, in this article we will look at its impact on the big screen. With the release of the Ip Man Movies wing chun became the buzz word in martial arts. Everyone from Bruce Lee, Nicholas cage to Robert Downey jr a wing chun exponent since 2003 have used this famous Chinese boxing system on Hollywood’s screens.

Here are some images of Wing chun student Bruce Lee and IP Man

  

ROBERT DOWNEY JR.

Wing Chun Gave Me The Strength To Overcome My Addictions

In the nineties, Robert Downey Jr. was arrested multiple times for drug and alcohol-related crimes. He was quoted as saying,

“It’s like I have a loaded gun in my mouth and my finger’s on the trigger, and I like the taste of the gunmetal.”

Whether it was driving naked with a loaded gun down Sunset Boulevard or breaking into his neighbor’s house by accident, Robert Downey Jr. was out of control.

In 1999, the actor was arrested once more and spent the better part of a year in jail. He was such a loose cannon that filmmakers who wanted to hire him were forced to take out massive insurance policies or withhold his salary to get their films made. He was fired from Ally McBeal after another drug infraction and chose to take a few years to get his life together and re-evaluate his priorities.

It was during 2002-2003 that he began practicing Wing Chun, a form of kung fu which he credits for giving him the strength to overcome his addictions.

Sometimes referred to as “a martial art for the mind,” Wing Chun is a powerful new (yet very old) Chinese art known to increase focus, concentration and relaxation.

In 2003, Downey started working again, and released a string of well-received movies like The Singing Detective, Fur and Zodiac before landing the key role of Tony Stark in Iron Man, which was released in May of 2008 to record-shattering returns.

With Iron Man, the resurgence of Robert Downey Jr. is now complete. He’s on top of the box office with a blockbuster franchise, clean and sober, and happily married. With his drug demons behind him, his legend is only beginning. Downey is now working on Iron Man II which is set to be released in 2010 as well as starring as the Victorian-era detective in the upcoming Sherlock Holmes film. Robert used Wing chun in both the sherlock holmes movies and the iron man series.

Bruce Lee used wing chun in all his movies, especially Enter the Dragon, where you can see a wing chun skill drill called reference training used in the competition section of the movie. Nicholas cage used wing chun in his potrayal of a Hit Man in the movie Bangkok Dangerous.

The concepts and philosophies found through Wing Chun training bring about a new way of looking at life’s challenges helping you to deal with situations in whole new way – things you don’t usually find in other activities.

But what is this Chinese martial art called Wing Chun? Wing Chun (Wing Tsun / Ving Tsun) is a highly effective combat-tested system of self defense, fighting skills and defensive tactics. It has been taught and integrated into the training programs of hundreds of military & law enforcement agencies around the world such as the US Navy Seals, FBI, CIA, French RAID and German SEK units.

Wing Chun emphasizes aggressive tactics, direct/scientific movement and realistic training. It prepares its trainees in the subjects of self-defense, self protection, fighting and combat skills, as well as skills to defend others. A practical and scientific system, Wing Chun teaches how to prevent, deal and overcome all kinds of violence and attacks.

But what really seems to have caught the attention of Robert Downey Jr. is the art’s ability to go well beyond fighting. It encompasses the full mind, body & spirit of martial arts. The concepts and philosophies found through Wing Chun training bring about a new way of looking at life’s challenges helping you to deal with situations in whole new way – things you don’t usually find in other activities.

For classes in Hull, east Yorkshire contact Sifu Gary Gowan with over twenty years wing chun training as well as training in thai boxing, Eskrima and bjj, Gary can help you to better control and understand yourself whilst learning this explosive martial art. call 07943846568 today to book your first lesson in Wing Chun Kung Fu.

The Wing Chun Mind:

Learn to Think Like a True Fighter

 By Robert Chu and Hawking Cheung

Many have heard of the wing chun system of martial arts. Most articles deal with the techniques, the chi sao, the forms, the politics, and the variations, but I believe this may be the first article that deals with the wing chun mind. Master Hawkins Cheung, who has taught in Los Angeles since the late 1970s, outlines the concepts of wing chun in combat. An early student of grandmaster Yip Man, Cheung has practiced wing chun for over 30 years. Hawkins was also Bruce Lee’s training partner in the early 1950s and together they explored fighting concepts. Master Cheung stands 5-feet-5 and weighs 105 pounds. He is every inch a skilled fighter and excellent teacher.

Cheung explains the wing chun mind and the “how” and “why” of wing chun. He also explains where many wing chun men are incorrect Cheung states that the principles discussed here could be used by any system of martial arts to be applied in combat, regardless of the tools delivered. He considers stylistic differences, postures, techniques, forms and drills secondary to wing chun’s application in combat. Master Cheung’s advice here is reminiscent of Sun Tzu’s Art of War. He offers practical, straight forward advice on combat, very much like his style of fighting.

 Combat

 Wing chun is designed as a combat system. For this reason, the system emphasizes confidence, timing, intercepting, capturing the centerline, shocking the opponent, setting up for consecutive strikes, and trapping. But the most important weapon in wing chun is the mind. Cheung explains that the mind is the center, the “referee” that the system revolves upon. Cheung uses the term “referee” because it denotes a bystander, one who is emotionally detached. Cheung states that, “Having a calm mind will determine your success in combat” To Hawkins Cheung, the wing chun mind is the mental frame of mind you need to survive.

 Confidence

Hawkins often uses an analogy of driving a car to convey his teachings. He asks, “Are you good driver?” A student nods affirmative. Are you a good driver in Europe? Are you a good driver with a manual transmission? Are you a good driver in New York?” The student looks confused, as Hawkins continues, “The difference between driving a car around the block versus driving a car on the freeway is confidence and experience. Confidence and experience go hand-in-hand. If you’re not confident, you will be a disaster in driving or fighting.” The students understand.

“Practicing with a partner develops confidence so that when you eventually face an opponent it will be like driving to the supermarket If you have fear, you will lose. Don’t fight it if you have too much to lose. If you must fight, you must destroy your opponent and not stop until he is defeated. You must have the fighting spirit and attend to the job on hand. Don’t have fear, let your fighting instinct guide you in destroying your opponent. This is the kind of confidence you need to face your opponent,” says Cheung.

“The basic drills pak sao (slapping hands), lop da (grabbing and striking) and dan chi sao (single sticking hands) give a beginning student a sense of facing an opponent. The first form, siu nim tao, advises the student to ‘not think too much,’ and gives the basic tools and how to utilize them, as in learning to drive a car, which you eventually do without having to think.” says Hawkins, “The wing chun system was designed to develop a person with no knowledge of martial art to eventually become a proficient fighter.”

“If you’re facing an opponent, you must have the confidence to walk straight in on his punch or kick! “exclaims Cheung. “There is no retreating step in wing chun; the idea is you have to ‘eat up’ your opponent’s space and step in. It’s not wing chun if you take a sidestep or retreat from an attack.”

Newton’s laws of physics states that only one body can occupy a space at a time. “You must rush in with absolute confidence. “Master Cheung states that knowing this is an important factor in mastering wing chun, “because if a practitioner can’t fulfill this requirement, he may as well study another style.”

 Timing and intercepting– “Can you do it?”

 Hawkins often states anyone can learn the entire wing chun system in a short time, but it difficult to master. He often asks his students, “You can learn so and so, but can you do it?” Being a close-range art, wing chun is based largely upon timing. “Hitting a person just as he is attacking requires perfect timing:’ The question is, can you do it?” He notes many other martial arts styles are fast “The boxing jab is perhaps the fastest punch, and coming in on it is dangerous. By utilizing the proper timing, you can score a blow just as the jab is retracting or about to be launched.”

Timing is the prelude to intercepting or cutting off an attacking Says Cheung, “Fighting is based on shocking attack. To shock the opponent with a blow or through surprise will slow or stop his attack” Hawkins’ explanation is reminiscent of the German blitzkrieg (lightning) attacks of World Warn, and of the recent Persian Gulf War, where the Allied forces bombed Iraq through a surprise night attack.

Sifu Cheung continues, “You have basically two methods of capturing the centerline: the first is to have superior speed over the opponent, and the second is start entering just as the opponent attacks. The key determining factor is timing.”

Cheung states if there is no starting point, a wing chun man will not initiate his attack “if you move, I move; but I arrive first”‘ says Cheung. Sun Tzu’s Art of War states that you attack after, but arrive first.

“Having a fight is like arguing with someone. When you’re engaged in an argument, you and your adversary are emotionally charged and each side wants to speak his point of view. But in wing chun, the idea is to let my opponent speak first, and I will initiate my timing from his start.” Cheung continues, “From that point, I shock or scare my opponent and initiate my say-so.”

Like a gunslinger, Cheung states that a wing chun practitioner has to develop the fastest draw. “A wing chun player captures the centerline first, which means he has the opponent targeted. if I am pointing my gun at you, and you move, even slightly, I’ll shoot Other Systems want to shoot as soon as possible, but with wing chun, you want to be the one that draws first, then shoot if necessary.

“if you can strike your opponent at his moment of entry, the results can be devastating,” claims Cheung. “Impact is virtually doubled. The question is: Can you do it?”

 Capturing the centerline

 Many martial artists understand the concept of the centerline, a principle emphasized in wing chun. As master Cheung defines it, the centerline is the fastest line of entry between two opponents facing each other. The centerline concept is what differentiates wing chun from other systems of martial arts.

“In other styles, movement originates from outside toward the center. Other styles choose to use the curved line. Wing chun is different in that movement originates from the center outward. Wing chun is designed to cut the motions from other systems, and timing is the means to occupy the center first”‘ says Cheung. “It’s not wing chun if the movement doesn’t originate from the center.

“One must capture and control the centerline to occupy a superior position. To occupy the centerline in an instant is the mark of expert skill, by controlling it you have immediately developed a sense of what the opponent can or cannot do,” says Cheung. “You have, in essence, presented a question or problem for the opponent to answer.”

“Many wing chun men ignore the skill of closing the gap and distance fighting,” says Cheung. Wing chun’s famous motto explains, “Stay as he comes, follow as he retreats; rush in upon loss of contact.” To “rush in” means to overwhelm the opponent with a blast An analogy of the pressure of a river behind a dam suddenly opening its gates should help you understand this feeling of ‘rushing in.” Master Cheung continues, “Seeing a whole body charge at you has a totally different mental reaction then a fist coming at you. A fist is small, but an entire body is big. This mental shock can be unbalancing to my opponent”

 Shocking the opponent

 When you strike an opponent, you stun or shock him. The shock causes a sudden overwhelming stimuli which can overload the brain and delay reaction. This shocking action allows you to setup your opponent for further consecutive strikes. Whether you choose to strike, yell, curse, spit or slap your opponent, the result is the same if you are successful. Your shocking blow will delay the reaction time of your opponent, causing an opening. if you hit him again, it canes more shock; more shock will cause more delay; more delay in reaction will cause more strikes to land. As Cheung says, “My fists are like drumsticks beating on a drum.” But he cautions, ‘Don’t let the shock reverberate back to you, as you will delay your own timing. Only through correct muscle conditioning and relaxation will you break the vibration back to yourself”

One day Hawkins said to this writer, “Attack me, Robert, anyway you like.” I complied and prepared to attack. Just as I did, I suddenly felt stunned, and I had Hawkins’ fist in my face. He smiled. ‘”Did you feel the shook? Did your mind ‘blank out?”‘ I felt first-hand his skill on entering and setting me up. Hawkins did not rain punches on me, but had he, I doubt that my 6 feet, 185 pounds would be able to stop anything after shocking my system.

“To shock your opponent, you can use pak da (slapping strike), lop da or any other tool. You must catch your opponent with the correct tiling. When you shock your opponent, you cause him to blank out, and in that instance he loses himself and his surroundings, and there is an opportunity to destroy him!” says Cheung. “Anytime a martial artist, regardless of style, throws a punch or kick, he is blanking out because of the focus and emotional commitment” This blanking out gives you the time to strike your opponent.

The chi sao training is a famous feature of the wing chun system, but as master Cheung describes it, “Many wing chun practitioners overemphasize the drill. They find themselves unable to use the sticking hands in combat.” Cheung continues, “Sticking hands is for contact sensitivity. At long range and no contact with your opponent, you must have eye sensitivity. The problem with most wing chun practitioners is they have trapped themselves with only relying on contact sensitivity; you must have both. Both eyes sensitivity and contact sensitivity follow each other, where one leads off, the other follows to continue.”

“Chi Sao training is for you to get information on your opponent, but if you don’t have the contact and are at a distance, you must rely on your eyes. Master Cheung describes in detail that, “Eye sensitivity takes over when you don’t have the contact with your opponent; contact sensitivity takes over when you’re jammed up and or in close. If you don’t develop this, you win never he able to use wing chun.”

He cautions: “If a motion is too fast for the eye, it can be a trap, and if it is too fast for the hand, it may be a trap. In these circumstances, you must use your eyes to zoom in, or cut your opponent’s motion by rushing in and use your contact sensitivity.” Master Cheung’s advice is reminiscent of a Patriot missile sighting a Scud missile in mid-air.

“What is important to learn is to control your opponent’s bridges and set him up for the next shot. Good wing chun is like playing billiards, you must always look for the next shot. Make your opponent follow you, if you are fast, make him catch up to you. If he is faster, make him slow. If he is hard, defeat him with soft. If he is soft, defeat him with hardness. If you can master the wing chun principles of ‘stay as he comes, follow as he retreats; rush in upon loss of contact,’ you win realize the essence of wing chun.”

 Lien wan kuen: Conseculive strikes

 After setting up the opponent with a shocking strike you must follow up with consecutive strikes. One of the most often drilled punches wing chun is called lien wan kuen. It is quick burst of straight line punches along the centerline that continues until an opponent is downed. Translated loosely in English, lien wan kuen means “chain punches” or “consecutive striking.”

“Lien wan kuen is a major application of the wing chun principle,” says Cheung, like an expert in billiards, each one of your shots scores and sets up for the next shot You do not give your opponent a chance to breathe. You strike and set up the opponent for more strikes until he is unconscious. You act like a butcher, cutting and hacking away at your opponent. Never stop until your opponent is down. That is the wing chun attitude.”

There is a certain amount of detached cruelty at work here. This aggressiveness has helped Hawkins survive many street encounters.

 Trapping: Giving frustration

 Trapping is the heart of wing chun. Sun Tzu wrote that all warfare is based upon deception, and to trap an opponent is to deceive him. Says Cheung, “When I trap your hand, your leg, or your body, your mind instantly freezes and considers the options. There is a psychological breakdown, and my opponent begins to lose his sense of confidence. When I don’t allow you the time to solve your immediate problem, I frustrate you, and therefore trap your emotions. You then have two opponents against you– me and yourself.

“If your opponent is fast, you be slow. If he is slow, you be fast. You must always keep in control of a fighting situation,” warns Cheung.

“If I can trick you, I am controlling your mid if I make believe there’s no pressure in my right hand, you may believe I’m not paying attention and want to attack there. But since I’m deceiving you, I want to draw your response so I can set up the next shot,” says Cheung.

An excellent example is the recent Persian Gulf War. Iraq’s strength was on the ground, but the Allied forces concentrated initially on air assault prior to any ground fighting. The tactic was to confuse the opponent and lead Iraq into concern of air assaults. Says Cheung, “You never allow your opponent to feel comfortable, that is the essence of trapping.”

 Offense and defense

 “Offense is based on attack, defense is based on body structure”‘ says Cheung. Offense is only 50 percent of the art Many wing chun men only concentrate on the offensive portion because offense is the best defense.” He warns, “Mastering the defensive portion of the art requires that one develop a strong stance and correct body structure. Defense means that you have to depend upon being a half-beat slower and follow your opponent and respond from there.”

For the wing chun practitioner, defense relies upon the correct structure of the body. The wing chun body structure holds back the rushing in of an opponent, much like a dam holding back a river. Again, we come to wing chun’s motto of “Stay as he comes, follow as he retreats; rush in upon loss of contact” Your body must stay and be able to receive your opponent’s rushing in.

Cheung describes the body structure as eating up the opponent’s space and his pressure. This is the soft part of the art Cheung again refers to the importance of the mind. “When an opponent rushes in toward you, you must have the mental preparation to receive the attack. Your mind must be calm.”

A wing chun principle is that the striking hand is the blocking hand. Offense requires superior timing in one beat A defensive counter works on a one-and-a half or second beat Wing chun’s simultaneous defense and offense is in one beat According to Cheung, “The best wing chun players can combine both offense and defense simultaneously in one beat if offense and defense are separate, you’re not adhering to wing chun principles. Many wing chun men don’t realize the importance of timing which makes the concepts come alive. You have to make the opponent blank out if you don’t make the opponent blank out, you have lost the superior one-beat timing. A common reason is because you have jammed up your own timing because the shock has reverberated to you.

If a wing chun practitioner can master superior timing, he can be free from the style. if you master timing, the style is secondary. You can use the opponent’s technique at that point You have to train to reach that point It takes years of hard work; you literally gamble with timing.” There is a wing chun saying of “glass head, bean-curd body, and iron bridges.” Master Cheung is a living example of this expression. “Being physically small, I can’t take a punch or a kick,” says Cheung. “Using timing and these methods of attack, I never had to draw my last card” The last card that sifu Cheung speaks of is defense. Like the ground war during Operation Desert Storm, the last card is the trump card.

“if I had a body like Mike Tyson’s, I could afford to wait and play the defensive role and wait for my opponent,” says Cheung.

Forever Springtime

 The wing chun fist are is named after its founder, Yim Wing Chun, but to Hawkins Cheung, the words “wing chun” also mean “Forever Springtime”.

“If you look at wing chun this way, the art is always fresh and new.”

Sifu Cheung often explains that wing chun practiced in America has a different emphasis than in Hong Kong. “In Asia, we practiced wing chun to defend mainly against body blows, so you’ll have to emphasize crossing the bridge, gaun sao and other techniques,” he notes. “In America, you have boxers, wrestlers and other martial arts, each with their strengths, so you have to keep aware and adapt.”

Change and adaptation are essential to survival. That is why there are so many types of martial arts. He insists that like an immigrant, you have to change your ways to adapt to your new environment “A good wing chun player is a great pretender. He can adapt and change his tactics. You must change and adapt to circumstances to survive! That is the wing chun mind.

“Wing chun is a trap, too, because many practitioners get hung up thinking wing chun is the only way to fight. Many wing chun men are in the process of still developing the tools, so they can’t begin to conceptualize how to apply them properly in combat Changing to survive is universal, not just in wing chun,” says Cheung. “The frustrating part of wing chun is learning how to enter. This skill take years to develop.”

He concluded, “A master can only be a master today. You can’t tell what the future is, as the situation may change. You can only be a master up to the present An individual has to develop, continue with his own research and grow everyday.”

Sifu Gary Gowan

Hull Wing Chun

Robert Chu (Chu Sau Lei, Zhu Shouli) began practicing the martial arts in the early 1970s. He specializes in combat application and health aspects with a focus on the Yip Man Wing Chun Kuen system as taught by Hawkins Cheung and the Yuen Kay-San and Gulao Wing Chun Kuen systems as taught by Kwan Jong-Yuen. He is the co-author of Complete Wing Chun, (Charles E. Tuttle Co., Inc, 1998) and haswritten many articles for Inside Kung Fu, Martial Arts Legends, Inside Martial Arts,Martial Arts Combat Sports and other publications, in addition to his regular monthly column, Wandering Knight, which appears in Martial Arts Combat Sports magazine. He teaches privately in the Pasadena, California area.

He has been practicing the martial and Chinese healing arts since childhood. Robert is a Licensed Acupuncturist and Herbalist, specializing in the Master Tung Acupuncture and Optimal Acupuncture methods in which he effectively treats pain, industrial injuries, sports injuries, and neuromusculoskeletal disorders. Dr. Chu also treats a wide variety of internal diseases including hypertension, hyperlipidemia, diabetes, psoriasis, thyroid disorders, gynecological disorders and side-effects from cancer treatments. He is appointed by the Industrial Medical Council as a Qualified Medical Evaluator (QME).

Dr. Chu was formerly affiliated with the St. Vincent Medical Center , as the first fulltime Acupuncturist on staff and treated cancer patients with Acupuncture, Herbal Therapy, Qigong and Tai Chi. Dr. Chu is a former faculty member of Samra University of Oriental Medicine in Los Angeles, where he taught acupuncture. He has also taught Tai Chi and Qigong at Loyola Law School . Dr. Chu volunteers at Pasadena’s Wellness Community , where he does monthly lectures for cancer patients and a weekly lifestyle/nutrition and Qi Gong class. He is occasionally featured as a speaker for the American Cancer Society . In July of 2004, Dr. Chu was selected as the Acupuncturist to Olympic athletes at the Olympic Trials held in Sacramento, CA.

Dr. Chu also lectures nationally and internationally on Acupuncture and Chinese Medicine to provide continuing education to MD’s and Acupuncturists. In 2003, he founded the International Association of Optimal Acupuncture and Clinical Chinese Medicine to spread his effective clinical system. He also serves as President of the ITARA – International Tung’s Acupuncture Research Association, which he founded in 2005, to preserve, standardize, educate, and research new applications of the Tung family system of Acupuncture with integrity, open sharing, and a goal to help end suffering in fellow beings. He has been decorated as an honorary member of the Finnish Traditional Chinese Medicine Society of Acupuncture and Herbs and a therapist member of the National Register of Acupuncture Therapists in Finland. Dr. Chu is also listed as a Master Practitioner of Oriental Bodywork Therapy and Master Practitioner of Tui-Na Manipulations, awarded by the International Association of Tui-Na Therapies in London, England. He has lectured at Emperor’s College of TCM , CSOMA , and other functions as a dynamic and entertaining speaker.

In 2004, Robert was awarded a Ph.D. in Buddhist Ayurveda from the non-profit college Ayurveda Healing Arts Institute in Berkeley, California.