Friday, 28 June 2013
Wednesday, 26 June 2013
Tuesday, 25 June 2013
Saturday, 22 June 2013
Wing Chun Illustrated Magazine: Sifu Allan Che Kong Lee, The Art of Short and Long Bridge Fighting
"The most outstanding characteristic of Sifu Ip Man was that he could explain complicated theories, philosophies and concepts by using analogies in a genuinely simple and straightforward way that students could easily digest. Listening to Sifu Ip Man speak always made you feel privy to the true essence of the Wing Chun style. Although I would not say that Sifu was a very strict teacher, he did expect his students to train diligently and do their own research with common sense after receiving his instruction. He encouraged his students to try it out themselves, rather than to simply believe what he taught as true. I recall Sifu Ip Man being keener on sharing his knowledge of the art to those who diligently followed his advice."
-- Spread of our interview with Sifu Allan Che Kong Lee's from the upcoming Issue #12. Like this? Then please spread the word by clicking the “Like” or "Share" link. Thanks!
Wing Chun Illustrated Magazine: Luk Dim Boon Gwan, Sifu David Peterson
THE WING CHUN SYSTEM IS EXTREMELY COMPACT COMPARED WITH OTHER MARTIAL ARTS METHODS. MADE UP OF JUST THREE “EMPTY-HAND” FORMS, A WOODEN DUMMY FORM AND SEVERAL UNIQUE TRAINING DRILLS, WING CHUN IS WELL KNOWN FOR ITS EFFICIENCY AND PRACTICALITY AS A BARE-HAND COMBAT SYSTEM.
Perhaps less well known, but equally as practical and efficient, are its two weapons forms, the Luk Dim Boon Gwan (“six- and-a-half point pole”) and the Baat Jaam Do (“eight-slash/cut knives”).
Traditionally, the most coveted form is that of the Baat Jaam Do, considered by some as the highest level of the system. However, it is theLuk Dim Boon Gwan that more closely resembles the “empty-hand” component of the system and which, in many ways, is a far more beneficial aspect of the system, in terms of what it offers to the student. In fact, it could be best described as “One-armed Wing Chun!”
The actual pole used in Wing Chun is a particularly long weapon, usually measuring anywhere from 8 to 12 feet in length. This being the case, it comes as no surprise that the weapon is not one that is twirled or manipulated like the poles found in other fighting arts. It is basically a “single-headed” weapon, held at one end and making use of thrusting, spear-like actions for attack, and short deflecting motions for defence.
Historically, it has been suggested that it was developed on board the opera boats that plied the river systems of southern China, a very convenient adaptation of the long poles used by the crew to move the boats thru the shallow portions of the waterways which they traversed on a daily basis. In fact, there is much aboutWing Chun, especially with regard to footwork, which lends support to its genesis having been on the water, the pole form being an especially obvious example.
What of the significance of the name? It is quite simply stating the obvious, that there are six and a half techniques (seven if you like, but bear with me on this for the moment), which make up the content of the form. These actions include both offensive and defensive movements that, like the basic actions of Taan, Bong and Fook Sau (the “seeds” of the “empty-hand” portion of the system), combine together to create all that is required to be combat effective.
The techniques involved, at least in the version of the Luk Dim Boon Gwan form as taught by my own teacher, the late Wong Shun Leung, are as follows:
1. Fong Lung Cheung (“releasing the dragon spearing-action”) The thrusting/striking movement in the form, which is its major attacking action, comparable to the basic Wing Chun punch.
2. Ping Cheung (“level spearing-action”) The pushing and pulling action of the form, similar to the Laan Sau in the empty-hand forms.
3. Leung Yi (“two moves”) The action that resembles the Jaat Sau and Jaam Sautechniques in the empty-hand forms. It is referred to as Leung Yi because it enables us to both defend and be in a position of attack within one action.
4. Lau Soi (“moving/stirring the water”) The movement that is the pole form’s equivalent of the Bong Sau and Gaan Sau actions.
5. Kam Gwan (“covering pole”) The action that follows Lau Soi where the pole covers the opponent’s weapon, knocking it downwards. It is akin to an exaggerated Jaat Sau action.
6. Dang Gwan (“ascending pole”) This is the arcing/lifting action done at the start of the pole form, and again towards the end, a Laan Sau-type motion that can be applied offensively or defensively.
6.5 Che Cheung (“descending spearing-action”) The backward/downward action at the very end of the pole form, used to intercept the opponent’s weapon (or the opponent’s legs) when the attack comes in on a low line from the rear. It is something of an “emergency” action, used to recover from being poorly positioned due to over-commitment of motion. It can be likened to the Suen Kuen (“chord punch”) in theCham Kiu form.
The Che Cheung is the seventh motion referred to earlier, but it is considered a “half-motion” for two specific reasons. The first of these is the fact that, according to Wing Chun folklore, if this action is used to strike a rice paper target, it leaves a “half-moon/half-circular” shape in the paper, whereas all of the other striking actions leave a perfect “full-circle” behind. It is also the only striking action performed from fully extended arms, thus considered a “half-action” compared to the rest. This fact also makes it potentially the most difficult action to perform and master.
When one first sees the Luk Dim Boon Gwanform, the stances and footwork used suggest that it is very different from the rest of the system. It has even been surmised that this form was introduced into the system at a later stage in the development of Wing Chun, coming from another system of Gung Fu altogether. Personally, I find myself disagreeing on both counts. Looks can be deceiving, and the more one studies the form, the more parallels with the rest of the system become apparent.
In fact, as stated above, the best description of this form would be that of “One-armed Wing Chun.” Basically, what the form resembles most of all is the way in which one might have to fight if restricted to just one side of the body, while still utilising Wing Chun concepts and strategies. If that were the case, due to injury to one arm for example, the smart way to fight would be to use extremely short deflecting movements and very direct thrusting attacks, while reducing one’s own target area and increasing one’s reach.
This is exactly what we see in the Luk Dim Boon Gwan form, but due to the nature of the weapon, being that it is both long and heavy, the stances and footwork, as well as the way the arms and body are used, take on an especially modified format. The arms alone cannot generate near enough power to move the weapon effectively, so the legs are used to replace the shoulders and the hands kept in contact with the legs during virtually all defensive actions so as to draw power from the stance.
When attacking, a lower “horse stance” (Sei Ping Ma) is used, with the rear elbow held close to the body and the body perfectly side-on, thus generating outstanding power and strength straight up from the ground. Defensively, the feet are drawn well back, with the front foot placed such that the toes/ball-of- the-foot are in contact with the ground and the knees well spread. What this does is to give a “springy” base that provides dynamic power from short distances in deflective actions, allowing the arms to connect to the legs and hips for stability and structure.
In movements such as the Lau Soi and Che Cheung actions, the entire body is thrust behind the movements through the use of a shift of the hips. This is particularly so in the Lau Soi action, with the elbows also staying in contact with the body to enhance the ability to use “whole-body” power, rather than relying upon arm strength and the shoulders alone. Unfortunately, manyWing Chun practitioners miss this point and wield the Gwan solely with their arms.
Such is the directness and efficiency of the Luk Dim Boon Gwan, it is a tradition that when it is used effectively against an armed opponent, one should expect to hear only one sound—that is, only the sound of ONE clash of weapons—before the opponent is hit and incapacitated. This is possible because the defensive motions are extremely short and allow for the follow-up attacking motions to flow immediately from the point of interception. Being struck with the small end of such a powerful thrust, rather than being hit with a swinging motion, is similar to being hit by a bullet in the chest—few can withstand the impact.
Of course, this will NOT happen if the person wielding the Gwan is NOT using the whole body to make their movements. Doing so with the arms alone increases the likelihood of over-shooting the opposing weapon and being forced to have to recover with a second, or even third, defensive action, thus missing the opportunity to counter immediately and effectively. Many inWing Chun are as guilty of “pole chasing” as they are of “hand-chasing” due to not appreciating this aspect of the form.
As a prelude to learning the Luk Dim Boon Gwan, the student of Wing Chun is taught theChe Gwan Kuen (“pole pushing and pulling punches”) exercise to train the Sei Ping Ma and the stepping that is involved, as well as stretching and strengthening the arms, chest, waist, back and shoulders prior to training theGwan itself. Replicating both the basic footwork and arm actions of Luk Dim Boon Gwan, theChe Gwan Kuen exercise is an invaluable addition to the form as well as being useful for all-round Wing Chun training.
Once the form is learnt and trained as a solo exercise, the student is then introduced to a handful of partner drills that further enhance their understanding of the Luk Dim Boon Gwanand increase their ability to actually apply those skills. Like the “empty-hands” aspect of the system, the Gwan also involves the concepts of “sticking” and of Lat Sau Jik Chung, something that the Baat Jaam Do definitely does NOT involve. This then is yet another reason why theLuk Dim Boon Gwan more closely resembles the rest of the system. Thus, as with the “empty-hands”, these skills can be tested via drills akin to Chi Sau and by sparring with another person also armed with a Gwan or other weapon.
Having knowledge of the Luk Dim Boon Gwanprovides an introduction into making use of ANY long object as an effective weapon; the same basic system concepts that apply to the hands can also be applied to weapons usage.
In addition, it provides an efficient means of strengthening the body, especially the wrists and arms, enhancing one’s ability to hit harder, as well as learning how to draw more power from the body structure, stance and the ground. Sure, you won’t be carrying a 12-foot pole around with you on a daily basis, but regular training with the Luk Dim Boon Gwan will add greatly to your Wing Chun skills base. 
AUTHOR BIO: David Peterson is a direct student of the late Sifu Wong Shun Leung, and is well known for his book, DVDs, and many published articles on the Wing Chun (Ving Tsun) system. He is an in-demand seminar presenter all around the world and he is the Principal Instructor of WSL Ving Tsun Combat Science Malaysia. Visit website.
Tuesday, 18 June 2013
Wing Chun Illustrated Magazine: Michael Quijano - Living the Gung Fu LIFE
"Wing Chun is Wing Chun. Period. I have been wholly blessed by having some great teachers share their knowledge with me. Because they were open-minded in their teaching, I’m the exact same with my students. But a student must have dedication to succeed. If the student puts in the work, then I can help bring his/her Wing Chun to a high standard. In Wing Chun, you can’t progress if you truly don’t have a complete understanding of the various principles and concepts. Nor can you progress if you don’t have a strong foundation. Too many people nowadays are in a rush to learn Wing Chun. To make matters worse, they are also in a rush to become a Sifu themselves and start teaching before their time—sometimes to the point where they become Gung Fu Pirates."
-- Spread of our cover interview with Sifu Michael Quijano from the upcoming Issue #12. Like this? Then please spread the word by clicking the “Like” or "Share" link. Thanks!
Wing Chun Illustrated Magazine: William Kwok
"Whilst distinguishing between 'traditional' Wing Chun and Practical Wing Chun, I want to be clear that there is no 'right' and 'wrong' way. The Practical Wing Chun system was specifically developed by Wan Sifu to address those typical everyday situations in which Wing Chun can or should be applied. His system still wholly encompasses the aspects of the traditional system, but he has expanded (or developed) where he believes changes can be useful (e.g. five centrelines versus the traditional one centreline, 135-degree angle arm punch versus traditional straight-arm punch). It’s important to note that all of the modifications introduced by Wan Sifu are grounded in the traditional Wing Chun system and its principles, for example, he wouldn’t introduce a boxing hook punch because it does not follow the basic principle of Wing Chun centrelines."
-- Spread of our interview with Sifu William Kwok from the upcoming Issue #12. Like this? Then please spread the word by clicking the “Like” or "Share" link. Thanks!
Monday, 17 June 2013
Saturday, 15 June 2013
Wing Chun Illustrated Magazine: Decoding Wing Chun, Sifu Hung Kwok Chow
"The shifting drills teach the student to generate their power from the core, meanwhile turning and utilising the hands to block or strike. At this point they are not quite ready for the Chum Kiu form, therefore I changed the second and third sections of the Siu Lim Tao form to also include shifting. It is no different from the traditionally taught shifting drills, except my shifting form covers every hand technique possible in Siu Lim Tao, whereas the traditional shifting drills usually focus on just a few of them."
-- Spread of our interview with Sifu Chung Kwok Chow from the upcoming Issue #11. Like this? Then please spread the word by clicking the “Like” or "Share" link. Thanks!
Friday, 14 June 2013
Wing Chun Illustrated Magazine : To Kill the Body
"The maintenance of our head position is essential to provide a stable platform for the sensory organs. Critical to this stability are the muscles found at the base of the neck. These are richly innervated with nerves that are sensitive to any changes in muscle length. When the head is displaced, it stretches these muscles and activates the sensory nerves. Their output reflexively alters the activation of muscles throughout the body and limbs. These in turn produce changes in posture that are aimed at recovering head position. When the head is pulled back to avoid a strike, or driven back as the direct result of one, this produces increased activation in the extensor muscles of the limbs. The legs push forward to prevent us from falling back. The arms drop and extend to shift the overall centre of gravity forward. Conscious or pre-programmed actions, like maintaining a guard or launching a counter punch, are largely overridden, severely reducing ones capacity to fight using any systematic structure."
-- Spread of Dr. Matthew Mills' article from the upcoming Issue #12. Like this? Then please spread the word by clicking the “Like” or "Share" link. Thanks!
Wing Chun : Loi Lau, Hoi Sung; Lat Sau Jik Chung
"In much the same way that one removes their hand from a hot surface, or responds to a pin-prick before actually consciously knowing that any danger is present, through the development of the Lat Sau Jik Chung concept, one’s body becomes 'loaded to fight' at a neural level, such that combat practical reactions take place automatically without the need of conscious thoughts to initiate them. Once again, the development of such skills involves relaxation and the use of 'soft' resistance against a greater level of force at all times—if not, then the limbs are more inclined to move towards the wrong direction, away from the opponent’s centre of mass, thus leaving the defender in the worst possible position for defence against what may follow next."
-- Spread of Sifu David Peterson's article from the upcoming Issue #12. Like this? Then please spread the word by clicking the “Like” or "Share" link. Thanks!
Tuesday, 11 June 2013
Wing Chun Sifu Kong Chi Keung 江志強 : Biu Tze 標指
標指是詠春最後一首拳亦是為最高級的套路:
詠春標指的手法是長橋的打法，多是打手救手的招式，打法忽長忽短，由下打上，消打同時，柔化剛發，襟頭屹尾，襟尾屹頭，攻擊力度如竹如籐，落點穿透。臨陣應敵，以手保形，前手多變，拳不空出，手不空回。標指內的鳳眼搥及姜子搥打法，都是十分兇狠凌厲毒辣的重擊手法。「詠春標指不出門，還魂急救標指手」，可見標指在詠春拳系的超凡地位。
Biu Tze (Darting Fingers) is Wing Chun’s final and highest level of the open hand forms:
Wing Chun Biu Tze hand techniques are long bridge methods. Mostly attack and rescue/recovery hand techniques. Motions are long coupled with short, attacking from below to above, simultaneous attack and defense, the way of soft overcoming the hard, if the head is held the tail will rise, if the tail is held the head will rise, attack strength like bamboo and like rattan, penetrating piercing power at the contact point. As the opponent draws near we must prepare to attack, with our hands we protect our form, the front hand is capable of many varied changes, our fist does not go out empty, our hand does not return empty. The use of the Phoenix Eye fist and the Ginger fist within Biu Tze are extremely vicious and sinister heavy attack methods.
It is said “Wing Chun Biu Tze does not go out the door, emergency recovery Biu Tze hands” Refers to Biu Tze’s extraordinary place within the Wing Chun System.
Wing Chun Sifu Kong Chi Keung 江志強 ：Chum Kiu 尋橋
尋橋是詠春追形及截擊敵人的拳法，尋橋對馬法要求是虛實分明，三尖相對，在真正搏擊時不能盲目進攻，也不能只攻不守，在進行打鬥時雙方的距離都會不停移動及變化，我們便要掌握好自己及對手的速度時間和攻防的機動性。尋橋的手法在實戰中，如遇敵正面而來或走馬偏門，甚至假身影手，我們都可以用尋橋的手法及腳法首尾相應，以最短的路線和速度消打敵人的進攻。「所謂：人過我橋三分險，轉馬偏身把形朝，遇敵尋橋需落馬，轉身靈活標馬快，橋入三關任我打」，這便是詠春尋橋的特點。
Chum Kiu (Bridge Seeking) is Wing Chun’s second form that teaches us to pursue and intercept the enemy. Chum Kiu requires us to have a very clear and real understanding of our horse stance and its usage and our three points of alignment. During a real fight we cannot blindly charge in and attack, we also cannot just only attack and not defend. During a fight situation, the distance between the two sides will always be in motion and always changing. We must master our own and our opponents pace, speed, balance, timing and offensive and defensive mobility. Chum Kiu’s hand techniques during an actual fight can be applied when we approach our opponent from the front or using our footwork to attack from the side, even to feint, we can also use Chum Kiu hand techniques and Leg techniques simultaneously to correspond accordingly in the shortest distance to dissolve and attack our opponent.
It is said “whomever passes through my bridge poses a risk, turning, side body, bring our body to face, to encounter an enemy requires a stable horse, agile turning body, fast charging horse, through the third gate of the bridge I am free to hit as I wish”
These are the characteristics of Wing Chun Chum Kiu.
Wing Chun Sifu Kong Chi Keung 江志強 : Little Idea Form 小念頭
小念頭的「念」是包含着思考及意念。詠春是意念拳法，非招式拳術，所以我們有拳訣說道：詠春拳是「以手型入門」、「用意念去發揮」，開始鍛鍊小念頭，注意要不「急」不「燥」，要懂得自己先身正，才去正人。
小念頭是詠春基本精要拳種，是要令學者如何認識中線距離，力法理念及整體結構，鍛鍊正面朝形，在詠春技擊中以最簡單直接的攻擊及防守、去應付六路的攻防。
從第一段開始的開樁、開步、開馬，是詠春拳對身體結構的嚴格要求。
「雙耕手」、「雙攤手」是分中手，打出最簡單的左右「日字衝拳」的尺寸和距離，及包涵著力度落點是我們要求的拳架。
到在第二段的「三拜佛」在一攤三伏、四圈、四護手法裡，不光是練習手法，還要著重身法，手踭帶腕的意念，力流循環不息，心靜思維要清晰，靜中求動眼睛判斷就能做到有準繩。
第三段是我們以寡敵眾，開合吞吐浮沉偷漏的埋身搏擊功夫。小念頭整套拳法正是詠春拳系技法總匯，所謂:「若求詠春真妙法，需從念頭下真功。」
江志強 2013
小念頭 (Siu Nim Tau) Little Idea – The word “念” or "concept" includes thought and ideas. Wing Chun is a “thought” based martial art not a “technique” based martial art, we have a saying that goes: “Wing Chun is "to enter with the hands," "express with the mind". When practicing Siu Nim Tau, we pay attention it is practiced not “quickly” and not “quick tempered”. We must understand that our own body must first be correct before we can correct others.
Siu Nim Tau is the basic essence of Wing Chun. It is to enable students to understand and recognize Centerline and distance, power generation concepts and structure of the whole body. It teaches us the concept of “Chiu Ying” - always facing our opponent. When using Wing Chun we aim to hit with the simplest and most direct attack and defense, and how to deal with offence and defense from our six planes.
Beginning with the first section, opening step, opening horse, are Wing Chun’s strict requirements on body structure.
"Double Gang Sau", "Double Tan Sau" are the center dividing hands, it divides left and right and to find the centre. Punching with the most simple left and right Wing Chun Punch, its proper measurement, angle and distance it also contains our proper control of power and point of impact. These are all the things we demand for our fighting structure.
Continuing to the second section known as "Three Prayers To Buddha" from 1 Tan, 3 Fuk, 4 Huen, 4 Wu, within these techniques, not only do we train our basic hand techniques, but we also focus on training our body, the idea of the elbow carrying the wrist, the endless circular flow of power, calm and clear emotions and mentality, to seek movement within stillness and accurate judgment with our eyes, then we can achieve the proper level.
Third section is about how we alone can fight the many, to separate and to combine, to swallow and to spew, to float and to sink, to steal and to leak, as a close range combat martial art.
The whole Little Idea form is truly the combination of the whole Wing Chun system’s basic skills, It is said: “If you seek the true mysteries of Wing Chun, one must put true effort and hard work from the Little Idea”
Wing Chun Illustrated Magazine
"The maintenance of our head position is essential to provide a stable platform for the sensory organs. Critical to this stability are the muscles found at the base of the neck. These are richly innervated with nerves that are sensitive to any changes in muscle length. When the head is displaced, it stretches these muscles and activates the sensory nerves. Their output reflexively alters the activation of muscles throughout the body and limbs. These in turn produce changes in posture that are aimed at recovering head position. When the head is pulled back to avoid a strike, or driven back as the direct result of one, this produces increased activation in the extensor muscles of the limbs. The legs push forward to prevent us from falling back. The arms drop and extend to shift the overall centre of gravity forward. Conscious or pre-programmed actions, like maintaining a guard or launching a counter punch, are largely overridden, severely reducing ones capacity to fight using any systematic structure."
-- Spread of Dr. Matthew Mills' article from the upcoming Issue #12. Like this? Then please spread the word by clicking the “Like” or "Share" link. Thanks!
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