The Wing Chun System (Romana sau Engleza)

The classical Wing Chun system of Gung Fu is, by comparison to other Chinese Gung Fu styles, quite simple in ppearance with a distinct lack of acrobatic leaps, extreme looping motions and flowery techniques. It is a system built on scientific concepts and based on the natural motion of the human body, not on the motions of animals. The entire system is very complete, with the movements of one phase of development perfectly countering those of another, only to be countered by a third which in turn can be overcome by the first. Like the Chinese game using hand positions to simulate paper, scissors and rock, there is no single Wing Chun technique, which cannot be countered by another. An old Wing Chun proverb says “Bock Gai, Bock Jeet,” or “For every attack, there is a counteraction.”

The system contains only three hand forms, one Wooden Dummy form and two weapon sets. This would appear quite simple to those who are accustomed to Gung Fu styles that may have as many as 72 hand sets, and 36 weapon sets or more. However, even though the forms are few and easy to learn, to master them requires patience, perseverance and determination. This mastery is vital, however, as the forms of Wing Chun are considered the “keys to the system.”

Siu Leem Tau

The first form, called Siu Leem Tau or “The Little Idea” teaches the student the basic hand motions as well as many of the concepts, or “ideas” of the system. The concept of Centerline—the backbone of the system—is introduced in its basic form at this stage. The trainee simultaneously learns the basic stance together with how to relax in motion, sink the weight, to remain calm and to exert power correctly as well as the principles behind each of the attacking and defending motions from the form. Once these qualities are developed to a certain extent, the student then begins learning the five basic forms of footwork, called Ma Boh (“Horse Stances”) and a series of drills to develop better technique, power, timing and Angle Structure. He or she continues practicing the Siu Leem Tau form and will begin developing the integral skills of mind clearing, quietness, weight energy sinking and “softness,” which in Wing Chun means “flexible strength.” At this level, the student also begins training in Chee Sau, or “Sticky Hands,” called this because of the way two persons’ arms cling together with forward reciprocal energy flowing between them. The trainee’s first Sticky Hands drill is known as Chee Don Sau, or “Single Sticky Hand.” This gives the student a good foundation in basic Wing Chun reaction sensitivity called Gum Gock Ging. There are four major types of Single Sticky Hand to master at Siu Leem Tau level.

Chum Kiu

Once the student has achieved proficiency in all the areas described above, he or she then progresses to the second hand form of the system. This form is called Chum Kiu, meaning “Searching For The Bridge” but the same term can also be interpreted as “Sinking Bridge,” the word Chum being a homophone for two words in Chinese that can either mean “to seek” or “to sink.” The term “Bridge” referred to here is taken to mean contact between two persons but more specifically, the forearm.

In the Chum Kiu form, the student is formally introduced to the concept of stance turning and a variety of combination stancework exercises based on the five Ma Boh moving stances taught at the previous level. He or she is also instructed in greater detail about the Centerline Theory as pertains to the Horizontal Centerline, Blocking Lines and Attacking Lines.

The eyes are trained in Chum Kiu to focus quickly and there is more emphasis on the development of power, both externally in the form of torquing as well as internally through learning to flow the Chi, or Internal Energy, smoothly to various parts of the body.

At this level, training in important drills such as Lop Sau, Mun Sau and Syeung Chee Sau—“Double Sticky Hands” begins. The concept of timing one’s movements in relation to an opponent is studied in detail. Trapping Hands of many types are drilled and sharpened by Chum Kiu level practitioners in the “Slow Attack” exercises. Pyramid concepts and Yin/Yang theories are analyzed and discussed in a classroom atmosphere, with the instructor serving as lecturer, assuring that all students have a thorough intellectual understanding of the logic behind these and other Wing Chun concepts. During such discussions, the instructor will use a blackboard to explain some of the theory, but might also draw comparison to objects as varied as a ball of cotton, an automatic weapon, a serving dish, an opening and closing door or other such unlikely items to help illustrate different points. This is no coincidence. By Chum Kiu level, the Wing Chun student is able to see that all the workings of the system are clearly based on logical, tangible facts and principles which apply equally to many everyday objects, occurrences and situations.

The student at Chum Kiu level is also trained in some of the kicking techniques of the system, which are characterized by their shortness and speed. An old proverb about these kicks says, “Gyeuk Moh Hoy Fot,” meaning, “A kick never misses.” Wing Chun kicks rarely go above waist level and never above chest level. This is due to the economical structure of the system and the inherent danger (within a Wing Chun context) of raising the foot during combat, an action that automatically temporarily immobilizes the kicker. Wing Chun kicks can be executed with a block, strike or trap or a combination of any two. To develop this skill, the student is instructed to practice some of the drills taught earlier with kicks inserted at strategic points in the repetitive drilling cycles.

Mook Yan Joang and Mui Fa Joang

By the time the student has reached a substantial mastery of the first two hand forms, he or she is ready to begin formal training on the Mook Yan Joang—the “Wooden Man Post” or Dummy, which has by now already been used by the student to train basic blocking and kicking motions, as well as for toughening the limbs to prepare them for contact with another person in the two-man drills.

The Wooden Dummy is a man-sized post with three arms and one leg set at strategic angles and suspended by two horizontal cross beams which pass through it and are anchored to two vertical uprights. Training on the Mook Yan Joang develops an ability to release one’s power smoothly into a stationary object. Some other areas developed during this phase are understanding and use of the Centerline, ability to “close the gap,” flowing from one motion to the next, and a more realistic application of hand and leg motions. Due to the perfect angle of the Wooden Dummy’s structure and the crisp sound made by the square tenons snapping against its square holes when it is hit correctly, even the slightest error in one’s own structure tends to be magnified and can therefore be immediately recognized and corrected.

The entire form of Wooden Dummy motions, called Mook Yan Joang Fot Yut Ling Bot contains 108 techniques as do all Wing Chun empty-hand sets, but only the first 60 motions are taught to the student at this point. Only after completion of the next phase (Biu Jee) can the remaining 48 motions of the Dummy be learned. This is because Part II of the form is made up of motions from that set, which have not yet been introduced by Siu Leem Tau or Chum Kiu level. Many kicking techniques that do not appear in the second or third form are found in this half of the Wooden Dummy form. Sweeping Kick, Hooking Foot, Wing Leg, Raising Knee Strike and other leg maneuvers are seen in Part II of the dummy form.

Much is learned by constant practice with the Mook Yan Joang. Students learn to direct power properly, keeping the body at the proper distance from the Dummy and the correct angle in relation to the Centerline. Sticking Energy, or Chee Ging is developed further as is Body Unity and Connecting Energy (Gan Jeep Ging) while moving the stance in and out as the hands flow up and down from one side of the Dummy to the other. Eye Focusing Power, called Ngon Ging, learned at Chum Kiu level is put into play as the eyes remain constantly fixed on the Centerline throughout the many subtle and radical changes of the line that take place during the form.

Another training implement is introduced to the student at Mook Yan Joang level. Called the Mui Fa Joang, or “Plum Flower Posts,” it is a set of six 5” to 7” diameter rounded stakes anchored into the ground and set in a perfect pentagonal pattern with one stake dead center. The height of the posts can be anywhere from 1’ to 6’, depending on their intended application. Various types of footwork can be practiced and perfected both on top of the level horizontal surfaces of the posts and on the ground between the posts. The vertical surfaces the posts can also be hit or kicked as well.

Biu Jee

After the first 60 motions of the Wooden Dummy form can be executed smoothly with power and proper Structure, the student becomes eligible for consideration to be taught the Biu Jee, or “Shooting Fingers” form, which even in today’s modern society is still considered to be a privilege to be shown by many Wing Chun masters. As another old Wing Chun proverb goes, “Biu Jee Mm Chuet Moon”—“The Shooting Fingers form does not go out the door,” meaning that outsiders are not to be shown its secrets. Nowadays, some masters are opening up more and more in the interest of spreading the art. This is very fortunate for those of us who would not otherwise be able to appreciate its highly sophisticated and technical wonder. Besides having completed the necessary prerequisites of Siu Leem Tau, Chum Kiu and Part I of the Mook Yan Joang form, along with all their related drills and techniques, the student must also be worthy of such knowledge and have consistently displayed the sense of responsibility required. This means not only self-control and trustworthiness, but also patience, loyalty to the school and the ability to get along with fellow students, abstaining from fighting or otherwise misusing the knowledge of Wing Chun concepts and principles. If the instructor feels that the student has met these criteria, he or she will be invited to join a select group of the school’s top students to train at a higher level.

At Biu Jee level, the student begins formal training in Chee Gyeuk, or “Sticky Foot” technique. Sticky Foot is a form of controlled leg sparring which has various set patterns to be drilled as well as a freeform version known as “Double Sticky Foot,” where spontaneous reflex action is developed in the legs in a manner similar to that of the hands.

Biu Jee-level Chee Gyeuk training also encompasses groundfighting— Day Ha Chee Gyeuk, which teaches the Wing Chun fighter to attack and defend when one or both fighters go to the floor. Kicking is practiced from a supine position, aimed up at a standing opponent. Various wrestling, joint-locking, nerve-shocking, trapping and striking motions previously applied from an upright fighting position are taught at Biu Jee level, applied from the same supine position on the floor. The student is also taught reversals, counters and escapes from various situations that commonly occur in grappling. In Wing Chun groundfighting, the ground itself can also be used as a weapon. The Wing Chun fighter is trained to smash the opponent’s head, elbow, knee, hand or foot into the hard floor, or to pin the enemy’s hand or foot to the ground by leaning, pressing or stepping on it while bending the limb in the opposite direction to the natural flexion of the joints. Many of these groundfighting principles can be seen in application in Volume II of this series—Explosive Self-Defense Techniques.

Sticky Hands training also advances further at this level. For example, the Gwoh Sau Combat Sticky Hands exercise can be practiced with one or both trainees blindfolded. Multiple partner Sticky Hands practiced by Biu Jee level students helps to prepare them for the possibility of multiple attackers in a real combat situation. More emphasis is placed on improving the ability to close and leave the gap—attacking and defending from a position where both fighters are apart without Bridge Contact. This training, known as Lut Sau Chee Sau, can be combined with Chee Gyeuk technique to create Lut Sau Chee Gyeuk—Wing Chun terminology for free sparring with hands and feet.

Other areas of Biu Jee development are the Internal and External exercises known as Hay Goang (Chi Kung, qigong) and Teet Sa Jyeung (Iron Palm). The former trains and improves the ability to circulate and direct the flow of Chi, resulting in more powerful and explosive technique, while the latter develops the bones, muscles, tendons and blood vessels of the hands to strengthen and toughen them. This is important because by Biu Jee level, the student is able to generate a substantial amount of Whipping Power (Bau Ja Ging) with the hands, and they must be strong enough to withstand the impact of their own potential power.

Biu Jee students are encouraged to delve more deeply into the theories behind the system and to prepare themselves to become instructors of the art. This implies that they must be completely familiar with all aspects of Wing Chun, both physical and mental as well as having developed spiritually. A true master of Wing Chun should be compassionate, helping the disabled, the elderly and the poor. He or she must always strive to be knowledgeable, humble, respectful and non-violent, setting a proper example to all Wing Chun students.

Weapons

After reaching a substantial level of development in the Biu Jee form and all of the additional knowledge described previously, the student is ready to progress to weapons training. The Wing Chun system has only two weapons forms—the “Look Deem Boon” Gwun (“Six-and-a-Half Point” Pole) and the “Bot” Jom Doh (“Eight” Slash Butterfly Swords). Wing Chun history tells us that these two weapons were introduced into the system by Wong Wah Bo and Leung Yee Tai, two ancestors of Wing Chun lineage who were performers in the Chinese opera and were proficient in the use of many types of swords, knives, spears and other ancient Chinese weaponry. Like all other Wing Chun kuen (forms), the weapons sets contain short sequences within the total sequence designed to aid flowing from one motion to the next and to suggest possible combinations of techniques from which combinations of principles can be determined. Most such fragments are made up of three motions, as this is the number of “flowing” in the system. Once a Wing Chun fighter has attacked, he will generally continued to “flow” in with two more attacking motions. This “flow” is developed and improved through forms practice. An old Wing Chun proverb says, “Som Jiu Chai Doh”—“Execute three motions at once.”

In “Look Deem Boon” training, the student is taught attacking and defending motions with the weapon. Some of these motions are combined with footwork that the student is already familiar with by this time, however, there is certain footwork in the weapons sets that is unique to those sets and is rarely seen in empty hand combat. Stances and footwork in the pole form are generally lower than those of the hand forms to compensate for the added weight and momentum of the weapon and to strengthen the legs while the upper arms and body are strengthened by the swing and snap of the pole. Certain motions of the “Look Deem Boon” Gwun form require the student to snap the pole up and down or across the body vertically, horizontally or diagonally. The snapping action in the wrists and arms developed by such motions is called Ngahn Ging—“Elastic Energy” and can be applied to empty hand techniques as well. Similarly, working with the heavy “Bot” Jom Doh develops the wrist, forearm and finger grip strength while training the basic attacking and defending motions of the knives.

Many of the motions and techniques of the pole form can be applied in close quarters infighting as well as in groundfighting when the locked-out arm or leg or other parts of an opponent’s body are treated as the pole and manipulated in similar ways.

Both weapons forms are comprised of motions based largely on the same principles as the empty hand forms, with certain adjustments made for the structure of the weapons and the transference and focusing of power into a smaller area such as the tip of the pole or the edge of a knife.

During the period in which training with weapons is introduced, the CRCA Wing Chun student is also instructed in the use of a Rattan Ring which can be placed over the forearms during shadowboxing practice, encouraging the student to apply smoother circular rolling motion to his or her technique and also enhancing the ability to flow smoothly from one motion to another.

The “Improvisational” Stage

As mentioned before, Wing Chun is a classical Chinese art and as such has very traditional roots. But within its structure there is a tremendous amount of freedom to express the techniques and principles of the system. Once these elements are completely mastered, they are always at the fighter’s fingertips to be called upon as desired in a multitude of ways. This is not a new concept in any way. This freedom within a structured system of fighting is as old as Gung Fu itself.

When a seasoned Wing Chun fighter is observed in sparring, Sticky Hands or actual combat, techniques are sure to emerge which do not appear to be from the system. These techniques might not be found in any of the forms, but they are still logical extrapolations of the principles contained in those forms blended with the instinctive reactions developed through repeated practice of the drills that accompany each of them. This emergence of a “personal fighting system” can be referred to as the “Improvisational” stage. At this stage of development, the Wing Chun fighter will draw upon all of the knowledge gained at each level as well as through personal experience. He or she may seem to “invent” techniques, but they are simply using rarely seen combinations of principles that have occurred to many others before them who were also well trained in the classical forms.

Many of the interpretations of the principles and techniques of Wing Chun that have been “discovered” by the author and shown in this series were a result of extensive training over many years. Examples of such hybrid motions that are now part of CRCA Wing Chun will be seen in many applications in the pages to come. Those who consider themselves strict “classicists” may frown upon free interpretation of these techniques and principles, but even within the proverbs that chronicle the traditional wisdom of classical Wing Chun, we are told that “the techniques of Wing Chun are limitless in their application.” This is self-explanatory.

The idea of freedom within a structure can be seen in the game of chess. Although there are strict rules of motion and utilization that apply differently to the individual game pieces, there is complete freedom to use those pieces as one sees fit. Depending on strategy, experience and skill, one player can capture another’s game piece in a trap set many moves in advance. In the same way, a Wing Chun fighter can use any technique combined with any principle and any footwork necessary for the situation. With all the “pieces of the puzzle” from each level of development at his or her disposal, the Wing Chun stylist can be completely free to choose the best motion for the circumstances without being limited to any one choice. This is freedom born of structure and cannot be attained in Wing Chun without the forms—the “Keys to the System.”