WING CHUN MALAYSIA: VING TSUN MARTIAL ART: Wing Chun Grandmaster Ho Kam Ming 何金銘

...staying true to the Centerline Theory, Grandmaster Ho Kam Ming 何金銘 watches his students through the Center Line.

A seminar with Grandmaster Ho Kam Ming 何金銘

(part ...staying true to the Centerline Theory, Grandmaster Ho Kam Ming 何金銘 watches his students through the Center Line.

A seminar with Grandmaster Ho Kam Ming 何金銘

(part 5)

Principles and Techniques

Master Ho demonstrated techniques against a straight punch. He executed circle step Pak/Low Palm. He showed the correct position for blocking with Taan Sau. He stated, "If the angle is incorrect, I won't be able to block the strike. The angle should be braced out, toward the line of attack." He used the "blocking line" to deflect the blow while punching. This is called the central line by some.

This was followed by Bong Sau Low Side Kick; Quan Sau Low Side Kick; Guide Bridge Low Front Kick; Guide Bridge while throwing the opponent; Bong Sau Chor Ma; Taan Da with a slight angle change. Master Ho then retreated out of distance as a response to a strike. He executed Quan Sau Chor Ma; Inside Facing Jaam Sau, followed by a chop; beginning from Lop Sau, advancing Bong Sau, etc.

Master Ho: When practicing, one partner should be active and the other passive; retreat and change angles, then go in after adjusting. You have to get the right timing. For example, while the opponent is still coming in, that's when you attack. Learn to avoid the "power point" first--then strike. When an opponent punches you, when you retreat or angle out, he has a tendency to continue to come forward, that's when you get him. By practicing the stance, you know the correct moment to step. Wait until the punch comes all the way to you before you move. You must practice this kind of timing. Also, if the opponent comes in too fast, and you can't step back--use turning. (Master Ho showed how to adjust angles and slip punches.)

Question: Is this Boy Lay Ying Faat or Glass Body technique you are describing?

Master Ho: The term Boy Lay Ying is the title for this. But the principle idea is to learn how to adjust your distance when fighting. Learn how to avoid the opponent's power point.

Question: Is this also applicable to "chasing the shadow?"

Master Ho: Yes. When two fighters are facing each other, you "face the shadow." This is called Chew Ying. If the opponent turns sideways, I'm Chew Ying, he's Bai Ying. He is losing his structure. Front-on facing (Yee Jee Kim Yeung Ma) isn't necessary (to be the Chew Ying concept). If your opponent is in front of you and you're looking at him--that's Chew Ying. It doesn't matter as long as you face the opponent. But you don't have to face front-on each time with the basic stance. You can rotate slightly, chasing the shadow (punching the opponent). That's Chew Ying. Many martial artists jump around like boxers, but in Wing Chun we stay in one point and "face the line."

Question: What about when your opponent flanks you and goes beyond your shift limit?

Sifu Fong moved quickly right, but was easily cut off by master Ho's punches.

Question: Besides chasing the shadow, how about "striking the shadow?"

Master Ho: This isn't quite right. What happens if you turn around and see a shadow and punch a tree? You still have to focus and know what you're doing. Let me ask you, why do we practice punching a wall bag? The wall bag is just like a target for shooting arrows. This develops focus for the fist. When you see the opponent, his whole body is the target. When he attacks, it is basic Wing Chun technique which protects you. The main idea is that you learn to see the opponent's opening and how to get in. When you close the gap, it isn't with techniques but with your stance--then your attack comes. Don't strike when you're closing. If you use hand techniques to close the gap, you'll lose when the opponent moves--it's easy to get hit at that time. It's best to close first and then to trap the opponent as he tries to attack you. (Master Ho showed how to slip and withdraw and then attack using Wing Chun closing techniques.)

Question: So, you make the opponent react to you?

Master Ho: Yes. Also, in Wing Chun we never duck our head around. When you duck, it's easy to get hit. It's best to use structure to dissolve an attack. If an opponent ducks a lot, I can easily get him. I can hit him anytime I please. He can't defend himself for he is too busy ducking. When he comes back up, that's when I'll get him. The key word is to learn to adjust your timing and structure.

Question: Which is better--to close the gap and attack, or to wait until the opponent commits to something and comes into your area?

Master Ho: Closing and setting up the opponent is superior to waiting. If you wait until the opponent is attacking you, he may be applying this theory and therefore you will be in trouble. Also, when closing the gap, if an opponent doesn't react, if he doesn't move at all, then you can strike him anytime. Don't wait for a reaction--just strike.

Question: When an opponent attacks, he will usually attack with three punches or a combination. How would you adjust this concept for this type of opponent?

Master Ho: If you catch the opponent on the first punch, he won't have a chance to throw a second and a third.

Question: Should we then continue with combinations of our own? For example, should we use just one punch at a time or concentrate on landing combinations?

Master Ho: The principle is like this: If you get in with one punch, that might not be a killing blow. If you have a chance to strike a second time, fine. But if not, don't do it. Don't try to hit too much. Try to use the right timing.

Question: Should we then go back out and start again?

Master Ho: That's not necessary. You just don't have to hit, continue to chase, control.

Question: So, it's better to punch one, two, three, watching the opponent than to try to throw three punches at thesame time?

Master Ho: In a real fight, you rarely have a chance to punch the opponent three times quickly like that. When you punch, at that moment, you are stationary--your hands are faster than your stance. But if you advance and land solid blows on the opponent, one by one, this is superior.

Question: For systems that use great power like Choi Lee Fut, do you attempt to get out of the way or what?

Master Ho: Sure. If you understand the distance, it doesn't matter how strong an opponent's power is. As long as you're just one paper distance away, you won't accept any force. Learn to adjust your distance and move properly. Like a gun which shoots a mile--as long as you're a mile and an inch away, you're safe. Also, in Wing Chun, we don't put our hands above our shoulders. (Master Ho demonstrated a boxing posture.) If you think this will protect your head against a strong punch, you're wrong. It will blow right through your hands. If your guard is high, you can't balance your hands and technique. Also, for a roundhouse kick, when the opponent executes this kick, all of his weight is supported over one leg. When you kick like this, you can't easily change your position. I can move to the other side and in. Don't use your kicks too much. But if you have the chance, go ahead.

Question: In contrast to hard power like in Choi Li Fut and Hung Gar, what about soft power? Do you use soft against soft or hard against soft like Tai Chi Chuan?

Master Ho: In Tai Chi Chuan the center of gravity changes all the time. When you shift your center like this, it's not good; you're in a poor position to launch an attack. This may be good for health but not for fighting. Also, Wu Shu from China; such moves are enjoyable to watch. We can't do this type of movement. For fighting, the moves we use, they can't apply this either. So, we can't copy them and they can't copy us. (Master Ho performed a Wu Shu pose.) These motions have no meaning, like saluting, there's no fighting aspect. Also, running around and performing splits have nothing to do with fighting. This may be good for health and movies, it's wonderful to watch, but that type of martial art is different that what we practice.

Question: Wing Chun employs the Plum Blossom symbol. Could you comment on the significance of the Plum Blossom withinthe Wing Chun system?

Master Ho: The Plum Blossom defines the prime attacking areas for the front body: the center of the chest, face, higher ribs, lower ribs, etc.

Question: Does the Plum Flower relate to footwork also?

Master Ho: Yes.

Question: May I ask about the application for the Wing Chun hook punch?

Master Ho: (Master Ho demonstrated guiding the opponent and then striking.) This punch is best used to the body; there's more protection in this. But you can use these techniques any way you wish. Like writing, after you learn how to write, you can write anything you like. But you should use some common sense. When practicing, if you just punch any old way, after ten years you won't improve. But if you pay attention to acquiring the right foundation, correct timing, after ten years you'll improve greatly.

Question: Can you explain how we can develop our Sticky Hands from the basics so we can improve?

Master Ho: In the basic rolling motion the forearm in Taan Sau should be pointing upward; Bong Sau must be at the correct angle (135 degrees). Your arms touch at one single point; the rest of the arm and shoulder is relaxed. You should control your own motion. The power should equalize. If one is not balanced, then you'll be hit by your partner. Also, rolling too fast is not good for there's no inner control. If there's no control, there's no power--just the motion. Do not waste your time practicing like this. When practicing, you roll "one by one." If your partner presses in too hard, that's when you attack--go in, use your feeling. Also, if your partner withdraws his power, attack right away. In a passive position (Taan/Fok Sau), dissolve the attack by using Bong Sau. Deflect the punch first before you attack. The main thing in Sticky Hands is to learn how to control your motion. Learn to feel the equalization point--equalize with both hands. When you feel something uneven, that's when you know to attack.

Question: Is it a good idea to practice the basic positions Taan/Bong and Double Fok in the beginning before combining the other two positions Taan/Fok, Bong/Fok, etc.?

Master Ho: They're all important--all four positions. You should practice them all.

Question: Could you please comment on whether the palm in Taan Sau is flat or upward?

Master Ho: It should be flat. Have you ever seen a bridge connecting two land masses that point upward?

Question: I notice when you execute Bong Sau, and too much pressure comes inward, you adjust and guide the force away. Is it a bad habit to perform Lop Sau at this time?

Master Ho: You have to know whether the incoming force is in the center, up, low, or to the side. That's why you practice for feeling, so you know which way the force is coming. The technique is applied according to the direction of force. From Bong Sau, if the force is coming down, you can use Lop Sau. Now, if the force is coming straight in, pressing your Bong Sau, don't use Lop Sau. Use your elbow (Gwai Jong). If the power goes to the other side, use Taan Sau. That's why it's important to have an instructor to point these things out to you when you practice.

Question: Could you comment on the use of light and heavy power Sticky Hands?

Master Ho: Light Sticky Hands isn't good; too much force is also not good. If you can apply the correct power and equalize perfectly, this is excellent.

Question: When you apply an elbow strike, does it come down or across?

Master Ho: If executed sideways it's called Pai Jong. If an elbow is applied downward it's Gwai Jong. Pai Jong is introduced in Chum Kiu set and Gwai Jong is found in Biu Jee.

Question: Could you demonstrate the correct Lop Sau exercise? Master Ho demonstrated with Sifu Fong and stated, "Don't emphasize the trapping motion too large; also don't stick constantly while applying Lop Sau. These are both wrong."

Question: When you apply Lop Sau and you meet, are you just touching or do you hit hard?

Master Ho: You're going to hit down, but when you touch, you release the power and relax. (Master Ho demonstrated Lop Sau with power and then added a few techniques.) If you're good at the basics, you can do whatever you like. If not, forget it.

Question: If I understand correctly, the purpose for Sticky Hands is to develop feeling, what's the purpose of Lop Sau?

Master Ho: Also to practice your feeling.

Question: Will you comment on the development of internal energy within the Wing Chun system?

Master Ho: If you practice correctly and with a good foundation, clear your mind, emptiness, natural breathing, automatically the Ch'i will run down to your Tan Tien. That's the foundation of Chi Kung.

Question: Do you have any views about the future of Wing Chun Kung Fu and of the many branches which are spreading?

Master Ho: It doesn't matter when speaking about the branches of Wing Chun, as long as you carry on the correct principles--that's all that counts. The future of Wing Chun is based upon you.

Question: I've heard that in Chinese astrology there's something significant about the number nine, which 108 adds up to. For example, all the forms have 108 motions. Could you comment on this?

Master Ho: Before, in the history, it's said there were 108 fighters who ascended the mountain to train their students to rebel against the Ch'ing government. However, the real principle is lost, no one today knows why the number 108 is so important. Actually, the number is not important.

Question: I have a history question about Leung Lan Kwai. Is he considered part of our genealogy?

Master Ho: The father of Leung Lan Kwai was Leung Lan Chin. Leung Lan Chin learned from Yim Wing Chun's husband, Leung Bok Chau. Some historians include Leung Lan Kwai in the genealogy while others do not. However, in the Wing Chun clan, Leung Lan Kwai is considered to be above Wong Wah Bo and Leung Yee Tai in the history; Leung Lan Kwai and his father are part of an earlier generation.

Question: Do you know of any other Wing Chun lineages, besides Yip Man, which exist today?

Master Ho: In his generation, including Yip man, there were sixteen students (si-hing dai). However, they've all passed away.

Question: Did Leung Bik, Yip Man's other sifu, teach anyone else?

Master Ho: No.

Question: Who is Fong Wing Chun of the Hung Gar legend and is there a connection between this person and Yim Wing Chun?

Master Ho: Fong Wing Chun is a different person and not considered part of our lineage.

Question: What's the difference between the Taoist concept of controlling power and the Buddhist, and does this relate to Wing Chun?

Master Ho: Taoist and Buddhist control of energy is based on Ch'i--how to breath in order to generate internal development. Wing Chun control is based on the physical. How to control an opponent, etc. This is a different thing. Taoism and Buddhism are religions. Wing Chun is not a religion.

Question: How much did the Wing Chun art change after Yip Man studied with master Leung Bik. Was there a modification of the style?

Master Ho: There was actually no change. Yip Man learned from Chan Wah Shun before. But master Chan died early. Later, Yip Man was introduced to Leung Bik and discovered he was Leung Jan's son. So he kept learning Wing Chun. Master Leung Bik is the one who taught Yip Man the details of Wing Chun--more theory, etc.

Question: I've heard that Wing Chun was developed from Ng Mui by watching a snake and a crane or a fox and a crane. Do you have any comment about this?

Master Ho: The credit for this system doesn't go to Ng Mui but to Yim Wing Chun because the art was improved by her. Ng Mui was Yim Wing Chun's instructor. Ng Mui developed the Wing Chun art but Yim Wing Chun improved it. What we practice today is based on the ideas and improvements of Yim Wing Chun. This is why it's called Wing Chun.

Question: What about the weapons? Are they important?

Master Ho: Before there were guns, the weapons were important. Now weapons training is not that essential. Today, the hands are more important. But it's the same concept. Whether it's the hands or weapons, it's the same structure and position.

Question: How is it you speak so clearly about Wing Chun?

Master Ho: Well, I've studied Wing Chun and its theory for over thirty years. I've spent my whole life researching the theory and principles of this system.

Question: Concerning Wing Chun being just a fighting system, how can we call Wing Chun a complete system without the religious elements?

Master Ho: Now, if you're talking about a spiritual level like in religion, then no. But if you speak of a spiritual part of Wing Chun--then yes. For both the physical and spiritual must improve together. But if you try to place Wing Chun in the category of religion, with that type of development, then no. You shouldn't think that Wing Chun is religious and spiritual. In another way these two elements are balanced within the art.

Question: Besides natural breathing when you are practicing, do you have different types of breathing exercises for developing your Ch'i?

Master Ho: We don't use any special forms or techniques of breathing. Everything should be natural to make your Ch'i flow.

Question: Did grandmaster Yip Man teach the students at the beginning of his teaching career differently than near the end?

Master Ho: Of course there's a difference in the way of his teaching. For example, when you just graduate from college and begin to teach, you have little experience. But from then onward, you learn better. Just like teaching Kung Fu; at the beginning you're less experienced. Your way of teaching will improve.

Question: Did Yip Man teach anybody else besides you the complete system of Wing Chun?

Master Ho: Everyone learned the whole system, but it depends upon the individual whether he can digest the system or not. That's a different story. If I give all of you a subject and ask you to write a composition, you'll write your own way. Some will write differently than others. It's the same idea. Also, it depends how long you learn the system. If one learns the three forms in two weeks and someone else learns the forms in three years--the difference is already there. In the Wing Chun system, there's only three forms, one dummy form, Six and a half point Staff, and Bot Jaam Do set. If you want to learn the motions, it'll take you a half year. But if a good student takes his time and learns the forms correctly, a little is better than one who learns too much.

Question: Master Ho, we appreciate your efforts in speaking to us and setting the record straight. I'd like to thank you on behalf of everyone for answering these questions.

Master Ho: Thank You.

-Compiled and edited by Curt James

courtesy of Wing Chun Chinese Martial Arts Association