WING CHUN ORIGINS
What is not generally known is that the origins of the Wing Chun system can in fact be traced a little further back in history to a Buddhist nun named Dok Bei Sun Lee, which literally translates into 'one armed nun'. Dok Bei Sun Lee was originally a princess during a time of war in the Chinese province Kung Ju. During this period in history her official title was Chung Ping Kung Ju which means princess of Kung Ju. The Emperor of Kung Ju was losing the war. Fearing the worst for his daughter, the princess, if she were to be captured by the enemy, he secretly ordered his general to kill her. The Emperor thought it was better that his daughter should die with dignity rather than be violated or sold into slavery. The general could not bring himself to kill her. Instead he cut off her hand and let her go free. He took the severed hand to the Emperor and convinced him that he had killed the princess as ordered.
The Princess although she lost her hand, still retained her life and took to hiding in the Shaolin temple in the Fujian province. It was here that she studied Buddhism and was taught by another nun a martial arts system suitable for use by a woman. The Buddhist nun Dok Bei Sun Lee developed this style to make it more suitable for use by a person with only one arm. This style used one arm to control two arms with simultaneous blocks and strikes employing all available parts of the human body as weapons to strike with and use as a source of energy. All aspects crucial to striking were developed to the highest possible level such as: fingertip first knuckle strikes; full knuckle strikes; use of wrist energy, then elbow energy, followed by shoulder energy and finally hip energy, with leg strikes and movements and footwork. Most of these features or principles can still be seen in the first form. Of course, principles developed for one arm were easily adapted for two arms with great effect.
At this point in history the martial arts system had no distinct name. Later on, the Buddhist nun Dok Bei Sun Lee taught a Buddhist nun named Ng Mui. It is difficult to ascertain the accuracy of the details in this story because history is not based, in the main, on documentary evidence, but on oral tradition passed down from person to person.
Ng Mui enrolled at the Shaolin Temple in Fujian, the centre of the Southern School of Shaolin pugilism, to study the Buddhist scriptures and learn martial arts. During her youth she studied pugilism and had extensive training. When she entered the temple she had the opportunity of the best instruction from the highest authorities in both Buddhist learning and the martial arts. She trained hard and excelled, becoming later the leading nun in the temple. The style of pugilsim she studied was the 'hard and soft' Shaolin pugilism.
Having learned what she could, she further experimented and devised a system of her own, which would, in particular, suit the female physique. Her art makes use of principles such as: using your opponents' strength to counter them; close quarter-fighting; centre line defending and attacking; shoulder, elbow and wrist generated energy for handwork; waist, hip, knee and ankle generated energy for footwork. In particular the Buddhist nun Ng Mui devised 12 hand techniques with centre, left and right applications making 36 movements. When these movements were applied on high, middle and low levels as well, one had in total 108 movements. Again, these 108 movements could be expanded by varied usage according to the practitioner's interpretation. These techniques were later acquired by the founder of the Wing Chun style for her three forms and wooden man form.
Overview of Siu Lim Tao
An important preliminary to learning and applying the forms in Wing Chun is good stance and footwork. Indeed, Wing Chun stance and footwork is fundamental to progress in this style.
The most basic stance in the Wing Chun style is the so called goat riding stance. In this stance the feet are shoulder width apart, with the heels and toes in line and the toes pointing slightly inwards.
Sink down in the stance until the knees are bent and squeeze the knees together until the gap between them is one fist distance apart.
Your pelvis is thrust forward.
The neck, head and the body are aligned and the thighs and buttocks are tensed.
This stance provides the foundation for all the footwork in the Wing Chun system.
It also generates energy for the upper body to fight with from the knees and the tension in the thighs and buttocks furthermore, it allows one to practice trapping and footwork to move and fight.
Since the stance involves sinking the body (Cha Ma) one develops a considerable amount of potential energy useful for fighting and defending; a little like the potential energy stored in a coil and compressed steel spring.
One can rise up from the sinking position and add body movement to give more energy in the strikes and blocks, combining this basic stance with turning and footwork, prepare the foundations and offers further progress in Wing Chun
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The First Form - Siu Lim Tao
This is the first form in the Wing Chun system. It can be translated into 'little training idea' or Form'; a reference to the small, at vital movement of the wrist that are trained to strike and block using Inch power. This form is designed to train the Wing Chun practitioner in the following:
Elbow and wrist energies at short distance to develop inch power.
Straight line/Direct fighting
Centre line positioning of the body
Develop the ability to control two hands with one hand
Centre line theory and handwork guard top, middle and lower gates
Cultivate accurate positioning for each hand movement
Correct breathing whilst fighting
Independent movement of limbs
Mind and Body co-ordination
Promote the generation and flow of internal energy (CHI) in the body for defending and fighting
Develop hard and soft use of energies in striking and blocking
Another important principle taught in Siu Lim Tao is Ye Sil Sau and Ye Dar Sau'. This refers to the practices of interchanging the roles of the hands when attacking and defending.
That is to say, attacking hand becomes the defending hand and vice versa.
Siu lam tao comprises of 108 movements, and may be divided up into three parts. The first part concerns itself with the build up of energy for fighting.
The second part deals with the explosive release of this energy in blocks and strikes.
The final part allows one to practice techniques and attain good hand positions, whilst using the energy one has built up in the first part of this form.
The last part of Siu lam tao has to be performed with a delicate balance of tension and relaxation at certain points in the form.
For the first few months it is important to practice Siu Lim Tao whilst relaxed, and to concentrate firstly on achieving good positioning of the hands and accuracy with the strikes and blocks.
Speed and power must come later, and are no use anyway if one's technique is crude and sloppy.
The key to making progress with Siu Lim Tao is repetition of the movements with accuracy and precision whilst keeping the body relaxed.
The movements which make up this form must become second nature, i.e. Instinctive.
Every single movement in Siu Lim Tao has several practical fighting applications, which must be thoroughly understood by the practitioner.
All correct hand positions and the basic Wing Chun stance must be mastered before progress can be made.
Siu lim Tau contains most of the blocks, defections and strikes used in Wing Chun, and one must become proficient in their use.
The Wing Chun practitioner must be able to apply hard and soft energies, and be confident in using one hand to control two.
Each form has its own particular kind of punch, and it is vital that the student masters the first form punch before moving onto the other (forms and) punches.
Power is developed by practising one's punches on a wall bag.
The forms, on their own, are limited in their ability to develop power in the student.
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The Second Form - Cham Kiu
This form is known as the seeking or searching the bridge form. In this form one learns to reach out and find one's opponent, i.e. Seek the bridge, in order to fight or defend against them.
This form also teaches the Wing Chun student various body movements which are designed to dramatically increase the power of one's blocks and strikes. Various new blocks and strikes are also introduced in this form, as well as three different kicks and techniques for defending against kicks using the knees and body turning.
The key points of Cham Kiu are proper use of the turning stance in conjunction with blocks and strikes and rising and sinking of the body. In contrast with Siu Lam Tau, Cham Kiu concerns itself with using both arms and both legs together.
Similar to Siu Lim Tau, Cham Kiu has three parts. However, the distinction between these parts is not as clear as in the case of Siu Lim Tao, where every part has a clearly defined purpose.
The most important part of Cham Kiu deals with teaching the student how to: change direction (turn) and defend; combine technique, stance and footwork together; and use sinking and rising energy in blocks, strikes and kicks.
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The Third Form - Bil Jee
This form is known as the flying or thrusting fingers form. In the old days, this form was traditionally only taught to a select group of closed door students.
Apart from introducing a variety of completely new techniques, such as 18 rotating elbow strikes, this form also teaches the Wing Chun practitioner how to recover from mistakes and over commitment in the execution of techniques.
Although, only one type of elbow appears in Bil Jee, namely, kup jarn (downward rotating elbow), the form may be performed with many other types of elbows such as: tiu jarn (upper cut elbow); gwei jarn (sitting or sinking elbow); pau jarn (over the top elbow); and all the remaining elbows which are known to the Wing Chun style.
Bil Jee deals with the development of striking techniques using fingers, elbows and more advanced methods of fighting.
In this form the elbows are not only used for striking, but are also used for trapping. The bent elbow arm may also be used to strike, block or grab with when released.
The emphasis throughout Bil Jee must firmly be placed on circling or rotating and fingertip energy.
In Bil Jee, one is concerned with the development and refinement of a certain kind of energy, which must be focused into the fingertips and hands.
The main target areas are the vital points of one's opponent.
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The Wooden Dummy Form
The wooden man form is a training tool for the practice of Wing Chun techniques, both hard and soft.
As far as I understand and was taught, the wooden man not only allows position and movements to be practised but also allows the application of techniques which incorporate strikes.
Wooden man training also improves ones timing, speed of movement, power and accuracy of strikes, arm and leg co-ordination, toughness of arms and legs and flowing movements, another thing taught by the wooden man is the correct fighting distance between you and your opponent.
The wooden man may also be used for the soft practices of hands positions and rapid in/out body movement using footwork.
However the wooden man will not teach you how to react to a real opponent who is capable of counter attacking you.
The wooden man may be regarded not so much as sparring partner but more of a dictionary on which to practices ones Wing Chun techniques over and over again.
There are 116 fighting techniques in the wooden man form
This form teaches the Wing Chun practitioner how to apply the inch power techniques learnt throughout Siu Lam Tau, Cham Kiu and Bil Gee, how to generate energy upon contact with ones opponent.
It is not always possible to find a human opponent on which to practices on all day long; the wooden man provides a solution to this problem.
The arms and legs of the wooden man are carefully designed to move and absorb the energy due to impact, and thereby protect the hands, arms, feet and legs from damage.
Each set of movements in the wooden man form is a sequence of fighting techniques in its own right.
One must constantly practice these movements until they become instinctive.
A complete understanding of the meaning and applications of each set of movements then has to be achieved, in order to use these techniques for fighting in real life situations.
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(Lee Shing - Three And A Half Point Pole)
The pole form is one of the main constituents of the Wing Chun system. Often the Three and a half point pole is misunderstood to comprise of only six and a half movements; a common misconception.
However, the Three and a half point pole form consists of 108 movements in which both ends of the pole are utilised to their full capacity.
The use of the pole as a weapon evolved from the spear. If the spear can be regarded as the king of all weapons, then the pole may be regarded as the prince.
All techniques which can be performed with the spear can also be performed with the pole; the only difference being that the pole does not have a sharp point at one end and any red coloured hair from the tails of horses around the base of the point to distract one's opponents.
Removal of the point from the spear to form the pole however resulted in a slight modification of the techniques which can be used.
As the spear has a sharp point it is easy to thrust with it and cause serious damage.
However, the pole does not have this point therefore to cause damage when thrusting it has to be thrust in a particular manner which focuses the energy of the thrust into the last three inches of the pole (near the striking) end.
This is a very advanced technique which can only be learned from a true master of the pole form.
One of the central themes of the pole form is the concept of 'Yam - Yeun' which means that one has to be competent in knowing and sensing exactly when, where and how to use soft and hard energies in executing techniques with the pole.
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Siu Lam Seung Dao (Shaolin Double Knives)
The highest form in the Wing Chun system is widely acknowledged to be the knives form.
The knives in the Wing Chun system are often called pat cham dao which translates as eight times chopping knives.
Sometimes they are also referred to as butterfly knives.
The knives form consists of eight different sets of movements (hence the eight above) which enable the practitioner to defend against various weapons both long and short.
The knives used are especially designed to afford the user maximum protection of the hands, forearms and elbows.
This is evident from the shape and structure of the hilt, and the length of the blade which has to cover the elbow when held in a particular way.
The design of the hilt of the knives also allows one to rotate the knives very quickly, whilst releasing the handle, which allows one to change the direction in which the knives are cutting very rapidly.
All this of course is achieved by swift and smooth movements of the fingers, hands, wrists, elbows and shoulders which must move with co - coordinated precision.
Ultimately correct positioning of the body and good footwork becomes essential if one is to use the knives to their best effect.
The correct positioning of the body is crucial for one's own protection from attack by their opponent.
Good footwork is essential to get one within striking range of one's opponent and also out of their striking range if necessary.
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Gulao (Koo Lo) Village Branch / Leung Jan - Lee Shing - Yeoh Wing Chun
Gulao Wing Chun Kuen was Taught by Dr. Leung Jan when he retired back to his native village of Gulao in Heshan County, Guangdong province and is typically referred to by the village name to distinguish it from the doctor’s Foshan teachings. The Fung family variations found in Kulo Village have also come to be called Pian San (Side Body) Wing Chun Kuen.
Fung Family Koo Lo: Fung Chun, Fung Hoi, Fung Lim, Fung Kong, Fung Min, Fung Jau, Koo Lung, Fung Chiu, Fung Sang, Fung Keung
Lee Shing 12 point version: Joseph Cheng,Eddie Yeoh,Nigel Fan,Austin Goh,Joseph Lee,Simon Lau, Eric Hardy, and Samuel Kwok.
Fung Lim 22 point version: Chiu Fan Kai.
Yim Sei 40 point version: Tam Yeung.
Pien San (Side Body) Wing Chun originates from the village where Dr. Leung Jan retired after leaving Fatshan. Gulao was his home (a small village in Hessian province). Traditionally in Chinese culture the leading Kung Fu master of the village would teach the village youngsters in order that they would be able to protect their village from bandits and raiders who were prevalent at this time and would prey on the weaker villages. Like all styles of Kung Fu this teaching had two purposes, one was to provide a practical fighting system that would allow the youngsters to defend themselves and their loved ones. The second was to promote health in mind and body to allow the youngsters to live long lives. In addition with the ability to deal out deadly techniques, there must be some responsibility so the Master must teach the youngsters to be mature, responsible people.
Leung Jan therefore taught a method of Wing Chun that was different from the stylized approach he had previously taught in Fatshan. It was quick and easy to pick up being made up of separate techniques (San Sao). That the beginner could repeat in order to strengthen his body and use very quickly in a fighting situation. Yet there was a lot more to Leung Jan's teaching than mere body movements. At a more advanced stage the student would realize that these San Sao actually encompassed all the under-lying principles that make up Wing Chun. Once this was realized the student would be able to apply them with ease to any situation - including fighting with sticks, pole and knife.
Many people today fail to realize that Wing Chun is primarily a set of fighting principles. The basic movements taught are merely a vessel to focus these principles. Today many instructors teach like this, the move must be done this way, rather than focusing on the principle behind the move. This will allow the student to learn much faster, and allow Wing Chun to become a part of themselves rather than a set of foreign movements that a student must repeat with the hope that they may one day assimilate them. This may have been the original intention of Leung Jan.
What then happened to this Pien San or Gulao Wing Chun, and what does it have to do with the man who brought Wing Chun to England? Indeed, who was the man who brought Wing Chun to England?
Master, Lee Shing, brought Wing Chun to England towards the end of the 1950's. Who's first teacher was Fong Yee Ming, who himself had learnt from Wong Wah Sam who had learnt from Leung Jan. Lee Shing had a real interest in Wing Chun and was a keen disciple who was interested immediately in researching all the different styles of Wing Chun inspired by his knowledge of Pien San Kuen. He therefore, in his research, went on to study under Fung Sang who was one of the central points of Pien San Wing Chun, having studied under his father Fung Lim and his uncle Koo Siu-Lung (both students of Wong Wah Sam). He then went on to learn from the famous Kung Fu master Ng Jung So, and later Jiu Wan.
Even though the present of Wing Chun is more important than the past, it is important to know where your roots lie. This can give you an insight into the reason behind your art and the techniques used. Lee Shing eventually moved to Hong Kong where he met and trained with Lok Yiu before being introduced to Yip Man in the 50's before being allowed to open up a school on Hong Kong Island - with the opening ceremony being conducted by Grandmaster Yip Man. It was at this time that Lee Shing met Yip Chun who had resumed his studies in Wing Chun. The two became firm friends and henceforth when Yip Chun came to England, he would always stay at Lee Shing's home.
Lee Shing eventually moved to England and went on to teach many current day masters such as Joseph Cheung, Joseph Lee, Hau Bing Sam, Tan Man Kun, Nigel Fan, Eddie Yeoh, Sam Kwok, Simon Lau, Austin Goh and Joseph Man. He was well respected by all London based Kung Fu Masters
His syllabus comprised of the following Siu Lim Tao (little idea form) intended to give beginners an idea of the scope of Wing Chun, Chum Kiu (seeking the bridge) teaching how and when to make first contact, Biu Jee (shooting fingers) and Dai Lim Tao (big idea form). This is as important as Siu Lim Tau in that it encompasses the scope of Wing Chun but this time with the idea for the techniques to be used in all situations. The principles of the hands can therefore be applied to the feet, i.e. Bong Gerk or whilst grappling.
The Form Consists Of The Following 12 Handsets
Siu Lim Tao :(Little Idea )
Dai Lim Tao : (Big Idea )
Sam Jheen Choi (Three finger jab)
Biu Choi (Charging/Thrusting punch)
Sap Jee Choi (Reverse meridian/Cross hand punch)
Dip Cheung (Double Butterfly Palm). Alternating low palm strikes.
Lan Kiu (Bar Arm Bridge)
Teet Jee Chum Kiu (Iron Finger Sinking bridge). Back fist flowing into low strike followed by low palm strike.
Tang Ma Biu Jee (Rising thrusting finger with phoenix eye)
Hok Bong (Crane bong). Level Bong Sau, moving into side body with simultaneous attack
Wan Wan Yeu (Life after Death). Using the waist to lean back to avoid strikes detected late, then using the return waist power in the hand strike
Fook Fu (Subduing the Tiger). Mixture b/w Gan and Fak Sau with phoenix eye.
Also included in the syllabus are Dai Bong (Low soft Bong), Fu Mei (low strike to the groin), Gwai Lung Na (double Lop Sau), Sam Bai Fut (Three bow to Buddha), Sam Jhin Chiu (Three arrow blow), Fan Kup Choi (uppercut), Lien Wan Fai Jeung (linked fast palms), and important principles like the double bridge - double, Flicking Tan Sau with forward energy to bridge the Gap in Chum Kiu.
Pien San teaches you also how to modify these points depending on the situation and how to combine them effortlessly in free flowing techniques so that they are not static but flow freely along with correct footwork.
(Lee Shing - Three And A Half Point Pole)
Saam Dim Boon Kwun (Three-and-a-Half Point Pole) is the standard pole set of the Gulao (Pien Sun) Wing Chun Kuen system. This version originates from the Lee Shing teachings of Fong Yee-Ming and Fung Sang.
Huen (Circle)
Dim (Point)
Gwot (Cut)
Doy (Pull Back)
Biu (Thrust)
Siu Lam Seung Dao (Shaolin Double Knives)
Siu Lam Seung Dao (Shaolin Double Knives) is a double broadsword set of the Gulao (Pien Sun) Wing Chun Kuen system, This version originates from the Lee Shing teachings of Fong Yee-Ming and Fung Sang.
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Yeoh Wing Chun : As Taught By Sifu Wayne Hunt @ His Essex Kwoon
Beginner Level:
Siu Lim Tao (Little Idea) Form
Lien Wan Kuen(Rapid Consecutive Punches)
Front Sitting Goat Stance(Keng Yong Mah)
45degree Right & Left Sitting Goat Stance
Front Right & Left Sitting Goat Stance
Side Right & Left Sitting Goat Stance
Bong Sau/Lap Sau Drill
5 Changes in Bong Sau / Lap Sau Drill
Tang Chi Sau (Single Arm Chi Sau)
Siong Chi Sau(Double Arm Chi Sau)
Sand Bag / Punching Form
Arrow Punch Form
Conditioning
Controlled Sparring
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Intermediate Level
Cham Kiu (Seeking the Bridge) Form
Application of Cham Kiu Form
Kicking Form
Chi Gerk (Sticky Legs: (Conditioning & Application)
Controlled Sparring
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Advanced Level
Application of all the above in Chi Sau & Chi Gerk
Chi Gung Breathing
Bil Jee (Thrusting Fingers) Form
Full Contact Sparring
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Muk Yang Jong (Wooden Dummy)
All its applications
Full Contact Sparring
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Pole Form
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Knife Form
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Full Instructor : Black Sash
Ther are no gradings or sashes in Yeoh Wing Chun the only sash students will receive is when they are made Instructor.