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

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

Wing Chun Grandmaster Ho Kam Ming 何金銘

During the seven years Grandmaster Ho Kam Ming 何金銘 was with GGM Ip Man, he trained Wing Chun in the school everyday for at least four hours per day, without taking a single day off. Needless to say, he developed a very close personal relationship with GGM Ip Man.

After seven years of dedicated training, Grandmaster Ho opened his own Wing Chun school in Macau and the Ho Kam Ming Wing Chun Association was established. Unlike many other Wing Chun instructors who chose to teach on a part time basis, Grandmaster Ho taught Wing Chun full time. Passing down the art has been his life time career since that time.

Back in the 1960′s and 70′s, in addition to teaching Wing Chun for self-defense, Grandmaster Ho also trained professional Wing Chun fighters. His full contact Wing Chun teams fought in martial arts tournaments throughout southeast Asia and they had achieved considerable recognition.

-WingChunPedia

Photo: GGM Ip Man visiting GM Ho Kam Ming's class.

Wing Chun Chi Sau Hand Body by Sifu Hawkins Cheung

Wing Chun Chi Sau Sensitivity by Sifu Hawkins Cheung

WSL VING TSUN - CORE CONCEPTS by PVT

For all those wondering when the DVD I was working on will be out. Well friend, it is finally ready!. Please check the below for Pre-Order and price details! This will our PVT group's first DVD! 

Pre-Order Delivery Date : Aug 23' 2013 !

http://cranesproduction.net/index.php?main_page=product_info&cPath=26_30&products_id=289

LIMITED quantities of DVDs available at Cranes Production and also directly at PVT School in Hong Kong !

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

Wing Chun Malaysia - Sifu Wong Shun Leung on Chi Sau Concept

Bruce Lee's The Way Of The Dragon English Full Movie

ENTER THE DRAGON 40th Anniversary presentation by the ACADEMY

Wing Chun Malaysia - Sifu Wong Shun Leung on Dan Chi Sau (part 2)

Wing Chun Malaysia - Sifu Wong Shun Leung on Dan Chi Sau (part 1)

Stop Making Wing Chun Look Bad - There is No Fook Sau

1st WSL Ving Tsun Kuen Hok Worldwide Fellowship Gathering Trailer - Full HD

Bruce Lee - His Own Words (Part 2)

Bruce Lee - His Own Words (Part 1)

Bruce Lee Explains How MMA Not On His Level

Bruce Lee A Warriors Journey 1 10

Bruce Lee CGI in a Johnnie Walker comercial in China

葉問宗師 (2/2)

葉問宗師 (1/2)

葉問 [ 香港百人 ]

聚賢會徐尚田part 2 Chui Sheung Tin talks about Siu Nim Tau part 2

Sifu Sergio presents an interview with Wing Chun Sifu Tsui Sheung Tin Pa...

Sifu Sergio presents an interview with Wing Chun Sifu Tsui Sheung Tin pa...

Grandmaster Tsui Sheung Tin Authentic Wing Chun Compilation

Chu Shong Tin Wing Chun Wooden Dummy Tutorial

Philipp Bayer Ving Tsun

PVT 純。詠春 - 001

PVT 純。詠春

(詠春 Ving Tsun) - In Class Practice Jan 2013 Part 2

(詠春 Ving Tsun) - PVT In Class Practice Jan 2013 Part 1

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PVT DVD Trailer # 1 with Sifu Jerry Yeung & Sifu Mark Wong

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 (WCI) is the world’s only magazine dedicated to Wing Chun. Published six times a year, each 60-page, full-colour issue features articles by and about the world’s greatest exponents of the art. WCI is available in various formats: Print (ships worldwide), Desktop, iOS, and Kindle Fire. For more details, please refer to:

http://www.wingchunillustrated.com/buy

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.

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 (WCI) is the world’s only magazine dedicated to Wing Chun. Published six times a year, each 60-page, full-colour issue features articles by and about the world’s greatest exponents of the art. WCI is available in various formats: Print (ships worldwide), Desktop, iOS, and Kindle Fire. For more details, please refer to:

http://www.wingchunillustrated.com/buy

Fight Quest S01E13 Wing Chun Full

Must Watch:Wing chun vs mma,karate,tkd,muay thai,silat,xing yi,monkey st...

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!

Wing Chun Illustrated (WCI) is the world’s only magazine dedicated to Wing Chun. Published six times a year, each 60-page, full-colour issue features articles by and about the world’s greatest exponents of the art. WCI is available in various formats: Print (ships worldwide), Desktop, iOS, and Kindle Fire. For more details, please refer to:

http://www.wingchunillustrated.com/buy

Wing Chun Boxing of Shunde Part 2

Wing Chun Boxing of Shunde Part 1

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!

Wing Chun Illustrated (WCI) is the world’s only magazine dedicated to Wing Chun. Published six times a year, each 60-page, full-colour issue features articles by and about the world’s greatest exponents of the art. WCI is available in various formats: Print (ships worldwide), Desktop, iOS, and Kindle Fire. For more details, please refer to:

http://www.wingchunillustrated.com/buy

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 Illustrated (WCI) is the world’s only magazine dedicated to Wing Chun. Published six times a year, each 60-page, full-colour issue features articles by and about the world’s greatest exponents of the art. WCI is available in various formats: Print (ships worldwide), Desktop, iOS, and Kindle Fire. For more details, please refer to:

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!

Wing Chun Illustrated (WCI) is the world’s only magazine dedicated to Wing Chun. Published six times a year, each 60-page, full-colour issue features articles by and about the world’s greatest exponents of the art. WCI is available in various formats: Print (ships worldwide), Desktop, iOS, and Kindle Fire. For more details, please refer to:

http://www.wingchunillustrated.com/buy

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 Masters says.... @ Wing Chun Illustrated Magazine

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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