Donnie Yen: Bringing Ip Man to Life

DONNIE YEN HAS A DEDICATED FOLLOWING IN ASIA FOR HIS IMPRESSIVE MARTIAL ARTS SKILLS, AND HAS ACHIEVED INTERNATIONAL CULT STATUS FOR ROLES IN ACTION MOVIES SUCH AS LEGEND OF THE FIST: THE RETURN OF CHEN ZHEN, PAINTED SKIN, FLASH POINT, SEVEN SWORDS, SPL, SHANGHAI KNIGHTS, HERO AND BLADE II.

With the recent box-office success of the Wilson Yip helmed movies Ip Man and Ip Man 2, Yen has become one of China’s hottest actors and is now being offered roles outside of the action genre.

In connection with Cine-Asia’s UK DVD release of Ip Man 2, we were able to chat with Yen about bringing Grandmaster Ip Man to life on the big screen and ask him probably the #1 question on fans’ minds: Will he reprise the role of Ip Man in a 3rd movie?

What is your fighting style and background?
Well, my first style was Wushu and Tai Chi, when I trained under my mother, who is a Gung Fu teacher in Boston, Mass., and her name is Bow Sim Mark. Then, when I was a teenager, and I think kind of against her wishes(!), I went out to study all different arts, like boxing, Karate–everything! Bruce Lee was my idol, and I knew he hadn’t just studied one style, so I wanted to learn everything I could. And I still do!

How did you prepare mentally and physically to play the role of Ip Man?
Mentally, I read everything I could on Ip Man, I met his oldest son, Ip Chun, and asked a lot of questions. I trained in Wing Chun with various teachers, including Ip Chun, and we had a wooden dummy at the film company offices that I could train on. For this role, I wanted to lose weight, because Ip Man was such a slender figure, not as muscular as my usual kind of roles.

Did your investment in Wing Chun, for the role of Ip Man, cause you to re-examine any of the other styles that you had already learned?
Not really. I just looked at it in the context of the character and the film. It certainly gave me a new appreciation of Wing Chun! I have used Wing Chun movements in some earlier films, but this was the first time I studied it so intensely, the dummy and the different forms.

What was the most interesting thing you learned about Wing Chun?
I really began to appreciate the way it brings a scientific approach to close range fighting. Of course, today we have MMA and all these different aspects of combat, but, when Wing Chun was developed and became famous, when you compare it with the styles of that era, like Hung Gar or Choy Li Fut, it really was revolutionary for its time.

What was the most interesting thing you learned about Ip Man?
Well, it was all interesting to me, because, before this film, all I really knew about Ip Man was that he was the Grandmaster of Wing Chun and that he taught Bruce Lee. Then, from reading the script, from my own research, and from talking to his oldest son, you get the impression of this really skilled martial artist who is also a scholar, a family man… I felt like we really hadn’t seen a Gung Fu hero like this before.

Unlike the first film, Ip Man 2 includes more wirework. How do you feel about both doing and watching wirework in movies?
Hmm. Actually I think the wirework was about the same in both films! Maybe we just had some more spectacular movements in Ip Man 2, so you noticed it more. I think it’s just another tool for the action director, just like CGI. If you notice it too much, it’s probably not a good thing.

What’s your most memorable moment(s) working on the Ip Man movies?
I remember a scene in the first film, where a whole truckload of Japanese soldiers drives by, and Ip Man sees them and he realises his Gung Fu is powerless against this kind of force. I thought that scene was very effective, unlike the kind of action hero I’ve played in the past.

What was the toughest thing for you about working on the Ip Man films?
To be honest, of course, it was physically demanding, to perform the fight sequences, but everyone worked together so well, and the character seemed to suit me, so it was a real pleasure to come to work each day. In terms of the action, the hardest thing in the first film was the last fight, with the Japanese general, because the actor wasn’t a martial artist, which is always a challenge. He worked very hard, though. On the second, it was the challenge matches on the table, just because it was a lot of action shot at the same time, and in a very confined space.

Were you surprised at the phenomenal success of the Ip Man films?
After the first one, I knew we’d made a good film, but you never know how it’s going to be received. I had a feeling it would do well, but quite how well it did was a surprise. With the sequel, you feel there’s probably an audience, but, I don’t know if you know this, but Ip Man 2 was a huge success in China, so, again, it was the degree of success that surprised me.

Wing Chun is an art not normally considered as flamboyant enough for Gung Fu movies… how did you get around this with the Ip Man films?
I was lucky, because that was basically [action director] Sammo’s problem! Of course, he has made several great movies in the past where he used Wing Chun, so we were pretty confident he could make it look good on screen. And he did!

At 59, Sammo Hung is still active and directing fights, and also stepping in front of the camera? Do you see that somewhere in your own future?
You mean still being active at 59? I hope so! I mean, whether I’ll still be starring in films, I don’t know, but I think I’ll be active in the industry. I don’t know what else I’d do!

Do you prefer fighting with weapons or fists for filmic work?
I don’t mind, I just want to find a style that suits the character. For Flashpoint it was MMA. For the Ip Man films Wing Chun. I did a film called The Lost Bladesman about the Three Kingdoms character Kwan Kung, who has a very distinctive weapon, so we had to make that work on film. It all comes from the story and the character.

Madame Tussauds Hong Kong now has a Donnie Yen/Ip Man waxwork–what was it like to meet yourself?
Well, firstly it’s a great honour. I should point out that it’s actually a statue of Donnie Yen as Ip Man. I don’t dress that way the rest of the time! It’s an interesting process, the way they take measurements, and it is pretty lifelike. I’m thinking of sending the dummy out on my next press tour, see if anyone notices!

You come from a musically talented family and play the piano yourself. Are you ever worried about damaging your fingers when practicing martial arts?
Hmmm. Now you mention it, I suddenly am! Actually, piano has always been a hobby for me, but I make my living from action movies, so I’d be more worried about an injury that might prevent me from doing action scenes. I’d miss playing the piano, but I could get by without it. So far, so good, though!

Would you say that the musical score in the Ip Man films portrays an important part of the story?
Oh, absolutely. For years, I’ve been saying that we need bigger orchestral scores for Hong Kong movies, and I can say that one of the first films I was involved with where the score really worked was Kawai Kenji’s one for Seven Swords, and so we worked with him again on (my film) Dragon Tiger Gate and then on the Ip Man films. The music adds so much, and Kawai San did a great job every time.

You have stated that martial arts are a form of expression, and of course acting is too–can you say something about your romantic and poignant portrayal of Ip Man (apart from the fighting)?
I think this role came at a time in my life when I was ready to play it. Ip Man is someone who’s obviously a Gung Fu expert, but he’s also a good husband and father. In earlier projects, I think I was sometimes portrayed pretty much as this fighting machine, and, at that stage, maybe I couldn’t have appreciated every aspect of Ip Man the way I can now.

You have said that after Ip Man 2, you would never ever touch any films related to Ip Man. Why? Fans would clearly love to see you reprise the role of Ip Man.
Did I say that? Well, maybe we can do Ip Man 3, but first we have to wait for all the other Ip Man films to come and go, and then we can seriously consider it.

You have collaborated with director Wilson Yip on several films. What is it about his work that keeps you working together?
It’s hard to say. From our first film, SPL, there was a definite sense that we were on the same page. He’s very low key, you hardly ever see him out at any events, unless it’s his own premiere or something. Wilson just has a very quiet focus, doesn’t say too much and yet still he manages to make great movies. He’s a good man and a good director.

What’s next for you?
I’m shooting Havoc in Heaven now, and I’d like to take a break afterwards, but it looks like I have other things lined up. I don’t want to talk about them too soon, but I think I’ll be pretty busy.


AUTHOR BIO: Eric Lilleør is the Publisher/Editor-in-Chief of Wing Chun Illustrated. He started his martial arts training in 1978, and in 1984 he started to train Wing Tsun (Leung Ting lineage). Today, Eric is a proud and devoted Wong Shun Leung Ving Tsun Kuen Hok practitioner under the guidance of Morten Ibsen, David Peterson and John Smith. Visit website.

Wing Chun, Sifu Wong Shun Leung on the use of Juen Ma(Pivoting)

Wing Chun, Sifu Wong Shun Leung on the importance of Chiu Ying...

Wing Chun Master - Chan Chee Man

CHAN CHEE MAN IS ONE OF GRANDMASTER IP MAN’S SENIOR STUDENTS. CURRENTLY 76 YEARS OLD, HE STARTED IN WING CHUN IN 1954, AND IS STILL ACTIVE AS AN INSTRUCTOR. CHAN CHEE MAN CAN ALWAYS BE FOUND TALKING PASSIONATELY ABOUT WING CHUN WITH A SMILE ON HIS FACE—WHICH WE WILL SEE IS HIS SECRET TO MAKING HIS WING CHUN SO EFFECTIVE.

Please tell me how you came to start in Wing Chun.
When I was young, I started to learn Wing Chun from Ip Man and it was a precious time. Looking back, I chose Wing Chun because I had met many people who practised it, which piqued my interest. At the time, the Restaurant Union was in Shan Shui Po district on Wong Chuk Street, and my home was near there. I went up there to learn Wing Chun—sometimes four or five days per week, training early in the morning and every night until about 9:30pm.

After training at the Restaurant Union, I would follow my Sifu and go to the local temple. I would carry an old lamplight for him because at that time there weren’t many electric streetlights like there are today, and the streets were narrow. Every night we were there with all my Sihings—they were elderly back then and most of them have passed away now. I’m very thankful for those times.

I like Wing Chun because it is simple, practical and straight to the point in regards to fighting. Simple doesn’t necessarily mean easy—if you want good skill, you must spend a lot of time training and work hard for it. It’s also very suitable for a weaker person to learn—once they know how to properly relax, not chase hands, etc. Even bigger and stronger people can learn Wing Chun, but they usually can’t relax as easily. Understanding how to link the hands with the footwork is important. As well, it’s important to notice that when the opponent faces with one side, as soon as they turn their body to face you again, they will show you how to enter.

Please tell me about the teaching style Ip Man used.
Sifu started with Siu Lim Tao. He divided it into three sections and told me that each section must be practised in a relaxed manner. I was also taught how the elbow brings the hand out and was shown the proper positions. I had to practice the first section for a long time with Sifu, insisting that I get the Fook, Tan and Wu Sao right—again, all using the elbow to bring the hand out and back.

The waist and the stance were then taught, with emphasis on the knees because this is where the power comes from. Sifu then showed me the concept that each strike must use a six joint connection to create a powerful punch. The six joints are the ankle, knee, waist, shoulder, elbow and wrist. I was also taught to imagine my opponent in front of me, punching at the same place with lots of power. I was shown to hit the sandbag the same way. Sifu explained the different punches, especially the inch punch, inside punch and outside punch, and how to develop power with the sitting Ma.

Lastly, I was taught to put everything together. When either attacking or defending, to use Chiu Ying (Facing/Chasing), use the Ma to enter, and link all the six joints together for maximal power.

What were you taught in regards to partner training?
Both parties must relax, stay calm and work together to make practice perfect. Sifu never let us trade hits, and made sure we were following the Wing Chun method. I have memories of Sifu sitting on a chair to one side and watching us. He would say, “You can’t just hit each other and scare your training partner by cutting his lip and making him bleed—then he’ll never learn Wing Chun.” Sifu never let us learn fighting by using any method other than Wing Chun, unless we were imitating another Gung Fu style and our partner was practising proper Wing Chun.

You’ve written a book called “Ving Tsun Keys”. What are some of the key points the book is trying to make?
Each key that appears in the book is important. It offers nice exposure to the old times of Wing Chun. You have to pay attention to properly perform the actions, use the elbow to develop power, have the body connected and project the force across the six joints. To accomplish this you have to emphasise the position (Ma), use the centreline and face (Chiu Ying) the opponent—following his body, not his hands. If you don’t follow these points, then you are not doing proper Wing Chun.

Besides the sandbag training, how was the transition from Chi Sao to fighting taught?
We practised the following every day, again and again—sandbag training, empty punch, inside punch, outside punch and different kinds of footwork, kicking, Wooden Dummy form and footwork, Chiu Ying (Facing), Choi Ying (Keep the Facing), Sheng Ma (Step forward and attack), and Chor Ma (Turning Stance). Practice makes perfect. Then, sometimes we would go out with friends, or other people, to compare Gung Fu and see what we have learned. In those times, many people liked to compare what they had learned because Gung Fu was very popular.

What about the Wooden Dummy? What should a practitioner keep in mind?
When practising the Dummy, attention must be drawn to matching the hands to the body positioning and footwork. It’s important to keep the right position in mind—never too far away, nor too close. Developing the footwork on the Dummy will add to the Chum Kiu and Biu Je footwork to show how to achieve the fastest and straightest line to your opponent. Also, don’t use Big Power on the Dummy because it is not an opponent and can’t hit back. When hitting an opponent, you need to increase your hitting power, but on the Dummy you have plenty of time to train it correctly.

What is the key to training the Luk Dim Poon Kwan?
First, one must practise the pole’s empty punch, the Chi Kwan Choi, with Sei Ping Ma (Riding Horse Stance) and Tui Ma (Cat Stance). Second, when holding the pole, strike back and forth with power. Lastly, stick your pole to the opponent’s (like striking, but pole towards pole).

What is the key to training the Bart Jam Dao form?
The form is for training the waist, footwork and Gung Fu spirit—it is also very helpful for the wrist. Playing the Bart Jam Dao is the same as Wing Chun’s empty-hand forms. Therefore, if the hand positions are correct, it will also help the Dao—the Dao is just an extension of the hands. Another thing that is the same is the way the Dao is used. One hand punches and the other hand stays beside it. Two hands go together—this is the same with the Dao. One thing that is different, is that you use the side of your body to face the enemy. Linking the waist, footwork and Gung Fu spirit together isn’t easy, and takes a lot of practice.

As the older generation passes on, where do you see the future of Wing Chun heading?
I believe the future of Wing Chun will be a lot different compared to the older generation. Truth be told, I like the old style of Wing Chun better. This is because the older generation was taught from the beginning to practise the proper way. For example, we were taught that Siu Lim Tao must be done as relaxed as possible, that each hand form must be done slowly and each hand position must not be rushed. The whole body must be relaxed—the mouth never closed tight in order to breathe the right way, the eyes always looking forward, etc. Also, each hand position must go out according to the proper line, especially the elbow part without putting power into the hands.

Later, when we got the right position, we started to put power into the elbow and then moved that power down to the wrist, and then finally combined the two. There was emphasis on the footwork and stance, Lok Yiu Kim Ma (Low Adduction Stance), as well. We were taught the importance of imagining our opponent in front of us, such as when we played Siu Lim Tao. As the Fook Sao starts to go out, we must imagine the opponent’s Tan Sao coming in at the same time, so as to perfect the right position and control our opponent (elbow and wrist power can increase at any time by feeling).

When the Siu Lim Tao training was good, then we started with single-arm Chi Sao. Single-arm Chi Sao is to train Fook Sao, Tan Sao, Jut Sao, Bong Sao, and a strike with the fist/palm. These steps are very important. If any of the hand positions were incorrect, Sifu would not let us start trying to hit our opponent. He said, “You guys come to train Wing Chun, so you must learn to do it the right way. If you come to do Wing Chun, then you must hit the Wing Chun way, otherwise you needn’t come visit me and you might as well just train at home!” You can be ambitious, only thinking of winning without using proper hand positions, however, although you win, since you’re not using Wing Chun, you’re not learning Wing Chun correctly.

Following the single-arm Chi Sao, we practised double-arm Chi Sao, focusing on the concepts of Chiu Ying and Choi Ying. You might have had to train just the Rolling Hands for a very long time because Sifu was careful to notice each hand in the correct position—if you were able to relax the whole body and if you were able to increase the power behind the structure, as well as your opponent at the same time. Sometimes, Sifu liked to put a towel over our eyes and then have us do Chi Sao. Of course, both sides must have reached a certain level in order to control their power, but he would get someone to stand in the middle to act like a referee—or he would do it himself.

Regarding Da Lat Sao, something like a free-fight, one person would act out another Gung Fu style, while the other partner would use Wing Chun. You know, Wing Chun very seldom moves the Ma. While in fighting, there may be an opponent who is too powerful, punches too fast or enters too fast. In this situation we have our Chiu Ying and backwards-moving footwork for the purpose of trapping the opponent. Stepping back also gives me the chance to get my two hands in the proper position, because I won’t be able to use Chor Ma. If the opponent isn’t so big and strong, then no matter how strong or fast their attack is, I don’t like to step backwards, instead I prefer to step forward and attack.

Therefore, learning Wing Chun skills can seem easy, but when you use it in a real situation you need to control your emotions. Staying calm is the only way to be able to demonstrate Wing Chun’s powerful side, therefore real Wing Chun isn’t easy. I know only few of the new generation that can do this, but I have no comment on that because I like the ways of the older generation.

You are always seen smiling and very passionate about what you’re teaching. Can you comment on your teaching method?
My teaching method is simple—I just try to teach in the same manner as my Sifu did. I try to teach a very important Wing Chun principle—how to relax. Sometimes I might use smiling to relax my body to help create the six joint connection.


AUTHOR BIO: Kenton Sefcik is a Registered Acupuncturist and Chinese Medicine practitioner. He started martial arts at the tender age of 14 (after watching a late-night commercial) and trained in a few types of Gung Fu before settling down with Wing Chun. Visit website.

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March 2013 Group Dinner & Movie Session - Ip Man The Final Fight

This is the first JSFVT group dinner and movie gathering we have in 31/3/2013. We have 33 pax to support the movie "Ip Man The Final Fight" at GSC ONE UTAMA.

Wing Chun Illustrated - Wang Zhi Peng : Keeping In Real

BEIJING VING TSUN’S MASTER WANG ZHI PENG IS KNOWN FOR HIS DIRECT, NO-NONSENSE APPROACH TO WING CHUN. AN EXPERT TECHNICIAN WHO KEEPS TRUE TO THE TRADITIONAL VALUES PASSED DOWN BY THE LATE WONG SHUN LEUNG. BUT HE IS BY NO MEANS A TRADITIONALIST STUCK IN THE PAST.

Touted as a “human weapon” wang keeps it real with free-fighting that both observes old techniques and brings them up to date to ensure that students can deal with a more modern, well-trained assailant or fighter. he lives by the saying: “Let the hands do all the talking”.

In your opinion, what are the most important attributes to be developed through Wing Chun training?
For me, the most important training to develop one’s Wing Chun is all-round actual combat training involving kicking, punching, Shuai Jiao, Qin Na, ground control and weapons. This will develop a strong core, balance and structure for techniques. If the practitioner trains all of these areas but does not use them in actual combat scenarios, they will find it very difficult against someone who does.

What is your opinion of Chi Sau competitions?
Chi Sau is only a training approach. It should not be used in competition form at all. In Chi Sau, you practise your responses in close-range fighting, understanding points of contact, receiving and releasing of pressure, understanding of angles, being able to replicate every movement on both left and right sides and the movement of one’s Horse. Internal strength in particular is important in order to control the opponent’s hands and accordingly control their body. If you want to compete, you should just enter into an actual fight without Chi Sau rules. No matter how good your Chi Sau is, it can’t replace actual fighting. If you have watched Wang Kun in Chi Sau competitions, you will see that it’s just a game of push and pull and beating the opponent to the punch. Not realistic at all. If it were to be used like this in actual fighting, you would not see any traces of Wing Chun as the opponent would not be adhering to the Chi Sau rules, thus making it a senseless competition.

If Chi Sau is the link between forms and free fighting, why do so many people stop their development at the Chi Sau stage?
Many Wing Chun practitioners are excessively addicted to practising Chi Sau. This is counter-productive. People who train like this have a false perception that once they are good at Chi Sau, they can engage in actual fighting and win using it. There are no rules in actual combat, no set place or circumstances in which fights occur. Chi Sau is by no means impromptu, it is very much staged to give both participants an even platform from the outset. Many people are too idealistic or traditional to face that reality. They are always under that illusion and exaggerate the effects of Chi Sau. Fighting, it’s like learning to swim, it’s no use just standing on the edge imagining what it’s like to get in, you have to actually jump into the water and experience it first hand in order to learn to swim. Chi Sau is only part of the process, almost a theory, it’s not everything. If you want to enhance you fighting ability, you have to find different opponents and fight with them using limited rules.

How worried are you that Wing Chun is being gradually watered down?
With the emergence of movies like Ip Man, Wing Chun has been pushed to another climax with the popularity of the films. However, this brings with it students that would otherwise not be interested in learning a martial art or students who are only interested in fads and fashions.

Another reason to be worried about the watering down of Wing Chun is the ease in which people are gaining certificates and merit without real skill. This happens because of the abundance of pyramid structured Wing Chun institutes–Mc’Dojos. This kind of stain on the art of Wing Chun is only designed to make money and has no intention of spreading real, historically accurate Wing Chun. The Wing Chun masters of today should get together and unite like a family with a unified organisation and regulations, only in this way can Wing Chun be better regulated so that the real essence is not lost.

Do you feel muscles are beneficial to Wing Chun?
What is important is not whether the practitioner is muscular but how they improve the elasticity of their muscles. The practitioner must coordinate every muscle group towards the same goal, focusing their strength on speed and directional force whilst staying economic in their movements. This is comparable to a company’s staff that all pull together and work as a team, if one member of the team is not working at 100 per cent, the rest get affected and cannot complete their tasks.

Wing Chun has been subjected to a lot of criticism by MMA fans, how do you feel about these opinions?
The criticism by MMA fans of Wing Chun does hold water. We should not be conservative, we should learn from and cooperate with MMA practitioners, only this way can we learn from their techniques and fighting approaches in real- time combat and learn how to deal with them effectively when competing in MMA matches. People often say, “Wing Chun won’t work in the ring because of the rules.” Well, they are traditionalists and can’t think outside the box. It is also important to remember that it is you who use the styles, but not the other way around. The uniqueness of Wing Chun lies in how you perfect your own techniques with flexibility. You control the technique; the technique does not control you.

Do you consider Wing Chun to be an internal art? If so, what does this mean and how does it affect training?
Wing Chun belongs to Ng Ga Kuen (styles that focus on inner strength). Wing Chun does not emphasise brute strength (external force). It emphasises the small defending against the big, the weak defeating the strong, and the soft overcoming the hard, like David vs. Goliath, This meets the requirements of Ng Ga Kuen. Ng Ga Kuen is like traditional Chinese medicine, which emphasises that the coordination of the inner systems can improve the outer symptoms. If internal balance is achieved, the external results can be improved. Therefore, when practising Wing Chun, the practitioner should first strengthen their internal structure and then fine- tune their external power. For example, at the beginning, the practitioner should first practise Siu Nim Tao (the little idea) step by step, the stance training that improves the overall core strength, and practise the Qigong to strengthen the bones and build flexibility in ones tendons so that they can coordinate their muscles and achieve a state in which “all the muscles are one”. One should perform Siu Nim Tao for no less than 45 minutes daily, as we do, to have any chance of gaining these attributes.

How would you define a complete martial artist?
An ideal martial artist should be like Bruce Lee who not only studied Eastern martial arts but also Western ones too. They should make their Gung Fu simple, direct and innovative by absorbing the good and filtering out the bad. Bruce was a truly well-rounded martial artist to which others should aspire to be like. A good martial artist should be enterprising and creative so that martial arts can pass down from generation to generation with vigour.

Have you changed how you approach your Wing Chun as you’ve gotten older?
As my age advances, I have found myself teaching more than I practise. Practising is more of a hobby but teaching is my responsibility. However, as my knowledge of Wing Chun becomes more and more profound, I realise that my work in the first ten years was like how an ignorant newly-born baby views the world and the second ten years was like a more mature grown-up teenager with plenty more room for expansion and development.

In your many years of teaching what is the most memorable moment(s)?
The most unforgettable moment came when I had the chance to spread the art of Wing Chun to the Chinese Police Academy, the largest un-militarised police force in the world. The students there had been learning Taekwondo, Karate and other foreign martial arts; however, after taking my senior students there and performing a demonstration, they understood the importance of Wing Chun as a home-grown martial art. This was of great significance to me as over time I could see a loss of interest in Chinese culture in the younger generation. It now gives me great pleasure to say that they study Beijing Ving Tsun as their sole combat defence protection.

What has the Wing Chun training taught you in life?
Practising Wing Chun not only brings me mental and physical health, a better life and more flexible psyche but also inner peace. It does not make me short tempered but enables me to learn forbearance and tolerance when dealing with people, only in this way can greater contributions be made to the whole of human civilisation.

How would you like to see Wing Chun develop in the modern world?
What’s important for the modern development of Wing Chun is not to show how fierce and strong it is but to display what benefits it brings for human mental and physical health and how it enables people to acquire new knowledge and understanding of life and the world. Wing Chun embodies our predecessors’ thoughts about human life and the universe over hundreds of years, and it interprets the ancient Chinese philosophy with perfect inner and outer movements. The spread and development of Wing Chun in the world enables us to cultivate ourselves by practising it, and enables all its practitioners to become united and live peacefully like one big family, which can be said to be a great contribution towards the peace of the human race.



AUTHOR BIO: Jai Harman is a closed-door student of Master Wang Zhi Peng and Senior Instructor at Beijing WSL Ving Tsun, China. Known for his “no nonsense, hands on approach” to teaching and fighting, Jai has appeared in countless magazine articles and on every national Chinese TV channel exhibiting his skill. Visit website.

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