wing chun kung fu · • wing chun theory 24 chapter 15 • wing chun training charts 25. 4 page...

Wing Chun Kung FuTraining Manual

Written and Designed by Sifu Andrew DiGuiseppi

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The Wing Chun Manual

Do not believe in anything simply because you have heard it.

Do not believe in anything simply because it is spoken and rumored by many.

Do not believe in anything simply because it is found written in your religious books.

Do not believe in anything merely on the authority of your teachers and elders.

Do not believe in traditions because they have been handed down for many generations.

But after observation and analysis, when you find that anything agrees with reason and

is conducive to the good and benefit of one and all, then accept it and live up to it.

~Buddha

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Contents CHAPTER 1

• Martial Ettiquite 4

CHAPTER 2

• The System Curriculum 5

CHAPTER 3

• Wing Chun Lineage 6

CHAPTER 4

• Trapping Hands 7

CHAPTER 5

• Kham Na 8

CHAPTER 6

• Terminology 9

CHAPTER 7

• Rules of Conduct 13

CHAPTER 8

• Maxims of Wing Chun 14

CHAPTER 9

• Basic Wing Chun Training Proverbs 15

CHAPTER 10

• 17 Keys to Wing Chun 16

CHAPTER 11

• Yee Gee Kim Yeung Ma 17

CHAPTER 12

• Special Training Proverbs 18

CHAPTER 13

• Martial Songs 23

CHAPTER 14

• Wing Chun Theory 24

CHAPTER 15

• Wing Chun Training Charts 25

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Martial Ettiqute

1. The training area should be seen as a special place. lt should be treat-

ed reverently and held as a place separate and unique from the outside

world. One should bow and acknowledge when entering and leaving the

designated training space. By bowing one honors the previous masters

and founders of the system studied. Through the application of bowing

one also shows one’s humility and right attitude to learn.

2. When within the training area one should treat more advanced stu-

dents with deference and the less advanced students with kindness and

willingness to help. The teacher should always be treated with respect

and kindness, just as the teacher should always treat the students ap-

propriately.

3. Do not teach unless asked

4. Never ask the teacher or master to break a rule or give special excep-

tion in front of other students who are following the rules.

5. Never walk out of class early without informing the teacher before-

hand, unless the situation is a dire emergency. Always salute when leav-

ing class and wait for acknowledgement from the teacher.

6. One should always take it upon oneself to help keep the training area

clean and neatly arranged unless given other instructions by the teach-

er. If one finds the teacher cleaning the area one should always offer to

do the work for the teacher immediately. Lower level students should

always offer to help upper level students or assistant teachers.

7. One should always know and follow the rules of the training place and

take it upon oneself to teach these rules to the new students instead of

letting the teacher do so.

8. In practice, one should make every attempt to do what the teacher or

master suggests. Half-hearted effort shows disrespect for oneself, the

master. and the founders of the system. Things that are difficult to master,

are usually the things that will create the most improvement.

9. Do not use manipulation to approach the teacher or master. Refrain

from flattery, bribery, coercion, or other forms of manipulation to gain

access to the teachings or become closer to the teacher. The teacher

may accept gifts but will never consider them in relation to the granting

of special favors or status. These things must be earned. The teacher

gives when the student is ready regardless of what the student does. If

the master perceives that you are trying to manipulate, teaching may be

withheld until the proper attitude of respect is restored or attained.

10. One should always keep one’s practice equipment clean and in order.

11. In regards to when visiting other teachers or schools, one should use

the same criteria of etiquette as in one’s own school until told otherwise.

If one is visiting a teacher for the purpose of instruction, on the first visit

it is customary to offer the teacher a small gift as a token of respect. This

is necessary if the teaching is ongoing, but is good form and gives both

the student and the teacher good face at the outset.

12. When away from the school with the teacher or master, one should

be respectful. Always offer the teacher the most opportune seat or spot

in any assemblage and gladly help in any way possible. lf a senior stu-

dent has offered to do the task for the master, offer in turn to do it for

the senior student.

13. Always keep the teacher apprised of your intentions about instruc-

tion. It is excellent form to let the teacher or master know at least a day

ahead, if possible, of intention to miss class. Never haggle over mon-

etary things with the master. You should be willing to do anything the

master asks if you truly value the teaching. The teacher will never ask

anything that is unreasonable if they are a worthy teacher.

14. When one is leaving instruction, it is customary to offer the teacher

a small gift out of gratitude. This shows that one values the teaching

received and is leaving on good terms. After having departed from one’s

teacher or master one should make every attempt to maintain friendly

contact and let your teacher know how your progress is coming along.

If one has been accepted as a full-inside door student, the connection

between the practitioner and the teacher or master is lifelong.

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TheSystem

Beginner Curriculum

Siu Lim Tao Form

Theories

Centerline, Target Facing

Economy of motion

Economy of Energy

Chi Gung

3 Trapping Methods

4 Gates

Chain Punching Drills

Dan Chi Sao

10 Terms

Siu Lim Tao Applications

Theories

8 Energies, Yin & Yang

Forward Pressure

9 Trapping Methods

Mui Fa Foot Work

Look sao

20 Terms

Intermediate Curriculum

Chum Kiu Form

Theories

Triangle Structures,Sink Bridges

Interception

Lower gates - attack - defend

18 Trapping Methods

Chi Sao

30 Terms

Chum Kiu Applications

Theories

Body Unity, Sensitivity, Simplicity

Kicking while Trapping

Chi Sao

Light to mid sparring

40 Terms

Advanced Curriculum

Biu Gee Form

Chi Gerk

Basic Kham Na

Elbows strikes, Knee strikes

Finger Strikes

Knuckle Punches

Sweeps, Take Downs

Chi Sao

50 Terms

Biu Gee Applications

Kham Na

Blind Folded Chi Sao

Sweeps, Take Downs

Emergency Techniques

Pressure Points

Cavity Strikes

Nerve Destructions

Full contact sparring

80 Terms

Apprentice Instructor

Curriculum

Mook Yan Jong Form

Mook Yan Jong Drills

Chi Sao

Kham Na

100 Terms

Teaching

Mook Yan Jong Applications

Chi Sao

Kham Na

Sweeps - Kicks

Continued Terms

Teaching

Full Instructor Curriculum

Luk Dim Boon Gwan Form

Power Training Drills

Pole Weapon Foot Work

Accuracy Drills

Chi Gwan

4 Gates

Teaching

Baat Cham Do Form

Power Training - Heavy Swords

Defense against other weapons

Weaponry Footwork

Teaching

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Wing ChunLineage

Siu Lam (Shaolin Temple, Mt. Sung, Honan, China)

Yat Chum (22nd Generation Siu Lam Nun)

Cheung Ng

Wong Wah Bo – Leung Yee Tai (Red Junk Opera)

Leung Jan

Leung Bik – Chan Wah Shun

Yip Man

Leung Sheung (1950-1958, Hong Kong)

Ng Wah Sum (1958-1966, Hong Kong)

Chung Kwok Chow (1967-1971, Hong Kong)

Kevin Becker (1992-2000, New York City)

Andrew Di Guiseppi (1999-2005, Danbury Connecticut)

You...

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Our Study of Trapping Begins with Crossed Wrists First Entering with Pak Dar. (Note. This list is by no means all inclusive, there are many hundreds of variations and alternate possibilities.)

If the force over extends past centerline:1. Lap dar

2. Tan dar

3. Tan sao (on center) / pak / go jeung

4. Gwat dar

5. Cow dar

6. Gum dar

If the force in on the centerline:7. Double pak

8. Chun choi / pak dar

9. Flat fook sao / biu jee

10. Flat fook sao / pak / biu gee

If there is no block:11. Jik chun choi

If the force is from the inside pushing out ward:12. Jao sao / chun choi

13. Jao sao / po pai

14. Huen sao (inward) / dai jeung

If the force is from the inside at the shoulder line:15. Jut sao / fak sao

16. Jut sao / biu gee

17. Jut sao / chun choi

If grabbed away from center same side:18. Chun choi (with free hand)

If grabbed on centerline:18. Tan sao / chun choi (with free hand)

19. Gaan sao / chun choi

If grabbed past centerline but with in shoulder line:20. Cup jarn / chun choi

21. Cup jarn / jik chun choi

If grabbed past centerline and is out side shoulderline:22. Kham na / take downs

TrappingHands

Entries

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Below are the most basic 18 techniques.

Variations and combinations can be made from these original controls

Important Note: All Techniques Begin from a wipe to the eyes and Lap Sao.

Variations can be applied to any of the joint centers for unique locks and manipulations.

Your hands are on the Inside of the Incoming Arm.

1. Lap Sao - Head Turn -Fook sao - Double Hand Claw to control head.

2. Lap Sao - Man Sao - Lap Sao Elbow Control with Wrist Control.

3. Lap Sao - Wu Sao - Switch Arms - Wing Lock, into head throw.

4. Tan Sao - Lan Sao - Ying Jow (Eagle Claw @ Throat)

4a. Tan Sao - Lan Sao - Go Jeung (on Chin), Sweep to take down.

5. Lap Sao - Jip Sao - Roll Elbow as in Chum Kiu Sequence - Push Elbow To Ground.

6. Lap Sao - Jaam Sao - Hand On Chest & Claw Head Down, Keep Centerline while on ground.

Your hands are on the Outside of Incoming Arm.

1. Lap Sao - Tok Sao - Roll To Wing Lock

2. Lap Sao - Lan Sao - Cup Jarn as in Biu Jee Sequence.

3. Lap Sao - Lan Sao - Wrist Control (Figure 4)

4. Lap Sao - Sao Kuen - Down Ward Pak Sao - Pull or Push Straight Arm.

5. Lap Sao - Chai Pai Jarn - Into Wing Lock via forearm press.

6. Lap Sao - Pak / Biu Sao - Lan Sao - Rear Choke/Head Control

You have siezed the Hands & Fingers.

1. Thumb Grab - Outside Wrist Control (Pak Controlled Hand)

2. Four Finger grab - Fingers Pointing Down - Press Thumb upward - Step on Foot.

3. Reverse Wrist control - Pak Elbow

4. Pinky & Ring Finger Control - Pak Elbow

5. Four Finger Facing - Curl Fingers Back and down

6. Individual Finger Capture. (Middle Finger is Best.)

KHAM NAJoint Seizing and Controling

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Cantonese English

General Terms

Yin Tang Point Third Eye

Tan Zhong Point Solar Plexus

Dan Tien Lower Energy Center (2 Inches Below Navel)

Dit Da Jow Iron Hitting Wine (Linement)

Dit Da Injuries, Bruises, Sprains And Strains

Jung Cin Centerline

Kong Kink Hard Energy

Kung Lik Internal Power

Kwoon School

Mun Gate or Door

Sil Lim Tao Little/small Idea

Wing/Weng Chun Eternal/Praise Springtime

Wu Wei No Mind

Sao Faat Hand Techniques

Bik Kink Pressing Energy

Biu Gee Thrusting Fingers

Biu Sao Thrusting Fingers/Used To Deflect

Bo Ja Lik Exploding Energy

Bong An Chi Sao Blindfolded Sticky Hands

Bong Sao Wing Arm

Chair Kuen Pulling Punch

Chai Pai Jarn Upward Elbow

Chuen Kink Inch Punch

Chi Gung Internal Engergy Exercises

Chin Na Joint Locking/Siezing

Chi Sao Sticking Hands/Energy Hands

Chour Keun Hammer Fist

Chun Choi Straight Punch/Thrusting Punch

Chum Kiu Seeking The Bridge

Don Chi Sao Single Arm Sticking Hand /Energy Hand

Don Sao Single Hand

Dai Bong Sao Low Wing Arm

Terminology Dai Choi Low Punch

Dai Jeung Low Palm

Ding Jarn Rear Elbow

Ding Sao Bent Wrist Strike

Fak Sao Whipping Hand (Chopping)

Fon Sao Replace Hand

Fook Sao Controling Hand/Stalking Hand

Guan Sao Sheering/dragging/sweeping Hand

Gum Sao Pinning Hand

Gurng Gee Kuen Ginger Fist

Gwat Sao Scaping Hand

Huen Sao Circling Hand

Jao Sao Running Hand

Jeet Kuen Intercepting Punch

Jik Chun Choi Chain Punch

Jing Jeung Upright Palm

Jip Sao Controlling Bridge (Arm Break)

Jum Sao Sinking Hand/While Already on Bridge

Juk Jeung Side Palm

Jut Sao Jerking Hand

Kao Sao Covering/Detaining Hand

Kiu Dai Under The Bridge

Kiu Sao Sizing Hand/Measuring

Kuen Fist or Punch

Kup Jarn Covering Elbow/Downward Elbow

Lan Sao Bridge Arm

Lap Dar Pull To Strike

Lap Geng Neck Pull

Lap Sao Pulling Hand/Grab

Lau Sao Staying Hand

Lok Sao Rolling Hands

Man Sao Asking Hand

Pak Sao Slapping Hand

Po Pai Jeung Holding Shield Hand/Butterfly Palm

Pie Jarn Horizontal Slashing Elbow

San Sao Slow Attacking (Exercise)

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Sao Hand or Arm

Sheung Chi Sao Two Hands Sticking Hand

Sheung Sao Two Hands

Tok Sao Lifting Hand

Tan Sao Spreading/dispersing Hand

Wu Sao Guarding Hand/back Protective Hand

Wui Jung Return To Center

Yau Kink Soft Energy

Gerk Faat Leg Techniques

Bik Ma Thrusting Stance

Bo Stepping

Bo Fat Foot Work

Bong Gerk Wing Deflection Leg

Chai Gerk Stepping On Foot/stomping Kick

Chi Gerk Sticking Leg

Chin Gerk Front Foot

Chor Ma Shifted Stance

Dai Gerk Low Kick

Dai Jing Gerk Low Front Kick

Dai Wang Gerk Low Side Kick

Dang Gerk Nailing Kick

Ding Gee Ma Side Horse Stance

Fook Gerk Down Ward Leg Defense

Fook Sut Inward Knee Strike/block

Guan Gerk Low Shearing Kick

Gwat Gerk Scraping Kick

Hou Biu Gerk Rear Thrusting Foot

Huen Bo Circle Stepping

Jeet Tek Intercepting Kick

Jun Turning

Jun Ma Turning Stance

Jut Gerk Jerking Foot

Kao Gerk Detaining Foot

Loy Out Gerk Inside Hook Foot

Ma Stationary Stance

Mui Fa Plum Blossom

Out Gerk Hooking Foot

Sae Ping Ma Horse Stance

Sheung Ma Step Foward Stance

So Gerk Sweeping Foot

Som Kwok Ma Triangle Stance

Sip Ma Occupying Stance

Tai Gerk Lifting Kick

Tan Gerk Dispersing Leg

Tarn Gerk Bouncing Leg

Tek Gerk Kick

Tor Ma Step Slide Stance

Tui Ma Stepping Back

Tyk Sut Lifting Knee

Wang Gerk Side Foot(Side Kick)

Wu Gerk Guarding Kick

Yee Gee Kim Yeung Ma Character 2 Abduction Stance

Jong Faat Dummy Techniques

Bai Jong Assume The Dummy Position

Chi Jong Attaching to the Dummy

Da Hong Jong Hitting no Dummy

Da Jong Hitting the Dummy

Da San Jong Loose Dummy Techniques

Dai Jong Ground Dummy

Jong Sao Dummy Arm

Jong Gerk Dummy Leg

Jong Sun Dummy Body

Mook Yan Jong Wooden Man Dummy

Terminology

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Kwan Faat Pole TechniquesBiu Kwan Thusting Pole

Dan Kwan Downward Striking Pole

Ha Sau Kwan Bottom Hand Pole

Ha Lan Kwan Low Obstucting Pole

Kum Kwan Covering Pole

Lok Dim Boon Kwan Six&half point Pole

Sheun Sau Kwan Top Hand Pole

Sheun Lan Kwan Upper Obstructing Pole

So Kwan Sweeping Pole

Tarn Kwan Snapping Pole

Tiu Kwan Picking Upward Pole

Dao Faat Sword TechniquesBiu Dao Thrusting Knife

Baat Jam Do Eight Chopping Knives

Fak Do Whipping Knife

Huen Do Circular Knife

Jum Do Sinking Knife

Gaan Do Sheering Knife

Kup Jarn Do Downward Elbow Knife

Lan Do Obstructing Knife

Tall Do Pulling Knife

Tan Do Spreading Knife

Wu Dip Do Butterfly Knife

Yaat Gee Do Number 1 Knife

Forms

Sil Lim Tao Little Idea

Chum Kiu Seeking The Bridge


Mook Yan Jong Wooden Dummy

Lok Dim Boon Kwan 6 And 1/2 Strike Pole

Baat Jam Do Eight Chopping Knives

Types Of Energy In Wing Chun

Bau Ja Gung Explode Power

Chi Gung Sticking Power

Keng Gung Listening Power

Junn Gung Drilling Power

Jek Jip Gung Direct Power

Yaan Gung Guiding Power

Lin Jip Gung Connecting Power

Choung Gung Aggressive Power

Yon Gung Elastic Power

Si Gan Timing

Si Gan Sing Regular

Tor Chi Si Gan Delayed

Por Si Gan Breaking

Chong Jou Si Gan Creating

Si Gan Sing Regular Timing

Sin Lines

Jung Sin Centerline

Ngoi Jung Sin Inside Line

Hoi Jung Sin Outside Line

Gung Gek Sin Wai Attacking Line

Fong Sau Sin Wai Blocking Line

Jung Sum Sin Vertical Motherline

Wang Jung Sin Horizontal Motherline

Terminology

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Terms According To Form, In order of appearance

Sil Lim Tao

Yee Gee Kim Yeung Ma Character 2 Abduciton Stance

Gaan Sao High And Low Sheering Hands

Chun Choi Straight Punch

Huen Sao Circling Hand

Tan Sao Spreading/dispersing Hand

Kiu Sao Bridge Hand

Wu Sao Rear Guarding Hand

Fook Sao Controlling Hand

Pak Sao Slapping Hand

Jing Jeung Palm Strike (Fingers Up)

Ding Jarn Rear Elbow Strike

Gum Sao Pinning Hand

Sheung Gum Sao Double Pinning Hand

Lan Sao Barring Arm

Sheung Lan Sao Double Barring Arm

Fak Sao Whipping Hand

Sheung Fak Sao Double Whipping Hand

Jum Sao Sinking Hand

Sheung Jum Sao Double Sinking Hand

Jut Sao Jerking Hand

Sheung Jut Sao Double Jerking Hand

Tok Sao Lifting Palm

Sheung Tok Sao Double Lifting Palm


Sheung Biu Gee Double Thrusting Fingers

Ding Sao Strike With Bent Wrist

Sheung Ding Sao Double Strike With Bent Wrist

Sao Kuen Withdrawing Fist

Ngoi Jut Sao Outside Jerking Hand

Go Jeung High Palm

Terminology Lau Sao Scooping Hand

Gwat Sao Scrapping Hand

Dai Jeung Low Palm

Bong Sao Wing Arm

Teet Sao Freeing Hand

Jik Chun Choi Chain Punch

Chum Kiu

Chor Ma Shifting Stance

Biu Sao Thrusting Hand

Pai Jarn Horizontal Elbow

Sheung Lap Sao Double Pulling Hand

Jip Sao Arm Break

Wang Gerk Side Kick

Jing Gerk Front Kick

Sheung Dai Bong Sao Double Low Wing Arm

Sheung Tan Sao Double Dispersing Hand

Sheung Jing Jeung Double Upright Palm Strike

Sheung Man Sao Double Asking Hands

Biu Gee

Fong An Choi Phoenix Eye Punch

Cup Jarn Covering/downward Elbow

Huen Ma Circle Step

High Low Gaan Sao High And Low Sweeping Hand

Gurng Gee Kuen Ginger Fist

Sam Bai Fut 3 Bows To Buddha

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Remain Disciplined

Conduct yourself ethically as a martial artist.

Practice Courtesy And Righteousness

Serve the society and respect your elders.

Love Your Fellow Students

Be united and avoid conflicts.

Limit Your Desires And Pursuit Of Bodily Pleasures

Preserve the proper spirit.

Train Diligently

Maintain your skills.

Learn To Develop Spiritual Tranquility

Abstain from arguments and fights.

Participate In Society

Be moderate and gentle in your manners.

Help The Weak And The Very Young

Use martial skills for the good of humanity.

Pass On The Tradition

Preserve this Chinese art and rules of conduct.

Rules ofConduct

14Page


Retain what comes in, send off what retreats.

Rush in on loss of hand contact.

Do not be lax when your opponent is not advancing.

Once your opponent moves, his center of gravity changes.

Make the first move to have control.

Attack according to timing.

Timing is achieved through practice.

A strong attitude and posture gives an advantage over your opponent.

Being alert and adapting to the situation allows

maximum results for minimum effort.

The body follows the movement of the hands.

The waist and the stance move together.

Complement the hands with posture to

make good use of the centerline.

The eyes and the mind travel together,

paying attention to leading edge of attack.

Charge into the opponent.

Execute three moves together.

Strike any presented posture if it is there.

Otherwise strike where you see motion.

Beware of sneak attacks, leakage attacks

and invisible centerline attacks.

Soft and relaxed strength will put your opponent in jeopardy.

Maxims of Wing Chun

Coordinate the hands and feet. Movement is together.

Do not take risks and you will always connect to the target.

Have confidence and your calmness will dominate the situation.

Occupy the inner gate to strike deep into the defense.

To win in an instant is a superior achievement.

The Yin Yang principle should be thoroughly understood.

The theory of Wing Chun has no limit in it applications.

Be humble to request your teacher for guidance.

Understand the principles for your training.

Upon achieving the highest level of proficiency,

the application of techniques will vary according to the opponent.

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There are not many sets of training exercises in Wing Chun.

They are easy to learn but to master them requires determination.

Learning the usual ways will allow later variations.

Short arm bridges and fast steps requires practicing the stance first.

Siu Lim Tau mainly trains internal power.

Lon Sau in Chum Kiu is a forceful technique.

Bui Jee contains life saving emergency techniques.

The Wooden Man develops use of power.

Fancy techniques should not be used in sticky hand practice.

Sticky leg practice is inseparable from the single leg stance.

The steps follow turning of the body like a cat.

The posture complements the hands to eject the opponent.

The Six and a Half Point Staff does not make more than one sound.

The Eight Cut Sword techniques have no match.

The thrusting and fast attacks are well suited for closing in.

Eyes beaming with courage can neutralize the situation.

Unknown techniques are not suitable for training practice.

Those who completely master the system are among the very few.

BasicWing Chun

Training Proverbs

16Page


Be ferocious when clashing.

Be fast with your fist.

Be forceful when applying power.

Be accurate with timing.

Be continuous when applying Fan Sau.

Do not use all your strength.

Protect your own posture.

Be alert with your eyes.

Unite your waist and stance.

Coordinate your hands and feet.

Movements must be agile.

Comprehend the principles of Yin and Yang.

Remain calm.

Be steady with your breathing and strength.

Sink your inner Ch’i.

Be commanding with your fighting demeanor.

Be quick to end the fight.

17 keys to Wing Chun

17Page


Kim Sut

Hips and knees pressing together. The knees not “pinching” in with

stiffness, but rather “pressing” firmly, and softly inward and downward.

All wing chun teachers will mention “kim sut” in the beginning,

but if they don’t push it, the practitioner will soon forget.

It is too much effort for a lot of people, and it is painful.

If they (teacher and student) are not committed, it is the first thing they

will abandon. If you push it, it is extra hard work, but “kim sut” cannot

be avoided if one is to become proficient.

Lok Ma

Lower the stance downward, sinking through the knees. Lok ma is

where the “rootedness” is developed. It trains the legs to effectively

support he body, and helps the practitioner to, later on, develop the

advancing step of wing chun.

Ting Yu

Back straight, pelvis rolled under slightly so that each vertebrae is

stacked one on top of the other. The spine is completely aligned.

The upper body should not be leaning back nor is the head tilted

forward. Maintaining the head in the right position and proper

execution of ting yu is a prerequisite for dung tao.

Dung Tao

Head up, neck relaxing into the shoulders; shoulders drifting

downward by gravity with no tension. The head should be held as if

being pulled upward gently by a string to help draw the spine straight.

Mai Jiang

Pressing the elbows inward and forward. Without using force, the

elbows should maintain a fist’s distance from the torso. The energy

projects from the elbow forward, through a relaxed forearm and hand.

Yee Gee KimYeung Ma

18Page


Special Training Proverbs

Yee Jee Kim Yeung Ma

Character two abduction stance

Pull in the chest, push out the upper back, and bring in the tail bone.

Fill the Tan Tien with Ch’i and distribute the strength

to all parts of the body.

Point the knees and toes inward.

Form a pyramid with the center of gravity in the center.

Fists are placed by the side of the ribs but not touching the body.

Sink the elbows, the shoulders, and the waist.

Hold the head and neck straight and keep the spirit alert.

Eyes are level, looking straight ahead, and watching all directions.

The mind is free of distractions and the mood is bright.

There is no fear when facing the opponent.

Yee Jee Kim Yeung Ma is the main stance.

Develop a good foundation for advanced techniques.

Siu Lim Tau

Little Idea

Siu Lim Tau comes first; Do not force progress in training.

A weak body must start with strength improvement.

Do not keep any bad habit.

Yee Jee Kim Yeung Ma Train the Ch’i by controlling the Tan Tien.

To maintain good balance of strength, grip the ground with the toes.

To release Ch’i from the Tan Tien, will enable proper release of power.

Sink the elbow and drop the shoulders;

Guarding the centerline to protect both flanks.

There are one hundred and eight moves, all practical and real;

Thousands of variations can be used,

aiming for practical use and not beauty.

Internally develop the Ch’i; externally train the tendons,

bones and muscles.

Taun Sau, Bong Sau, Fok Sau, Wu Sau, and Huen Sau;

their wonder grows with practice.

Each movement must be clear and crisp. Timing must be observed.

Practice once a day, more will cause no harm.

19Page



Chum Kiu

Seeking The Bridge

Chum Kiu trains the stance and the waist;

the arm bridge is short and the step is narrow.

Eyes are trained to be alert;

the Ch’i flows in a perpetual motion.

Strive to remain calm in the midst of motion;

loosen up the muscles and relax the mind.

Turning the stance with a circular movement,

will allow superior generation of power.

When the opponent’s arm bridge enters my arm bridge,

use the escaping hand to turn around the situation.

Pass by the opponent’s incoming arm bridge from above,

without stopping when the countering move has started.

Lon Sau and Jip Sau put an opponent in danger.

Do not collide with a strong opponent;

with a weak opponent use a direct frontal assault.

A quick fight should be ended quickly;

no delay can be allowed.

Use the three joints of the arm to prevent entry by the opponent’s

bridge; jam the opponent’s bridge to restrict his movement.

Create a bridge if the opponent’s bridge is not present;

nullify the bridge according to how it is presented.

The arm bridge tracks the movement of the opponent’s body;

when the hands cannot prevail, use body position to save the situation.

Using short range power to jam the opponent’s bridge,

the three joints are nicely controlled.

Where is the opponent’s bridge to be found?

Chum Kiu guides the way.

Biu Jee

Thrusting Fingers

The Biu Jee hand contains emergency techniques.

Iron fingers can strike a vital point at once.

The stepping in elbow strike has sufficient threatening power.

The phoenix eye punch has no compassion.

Fak Sau, Ginger Fist, and Guide Bridge;

their movements are closely coordinated and hard to defend and nullify.

Springy power and the extended arm are applied to close range.

The situation is different when preventing from defeat in an emergency.

The Biu Jee is not taught to outsiders.

How many Sifu pass on the proper heritage?

20Page


Mook Yan Jong

The Wooden Man

There are 108 movements for the Wooden Man;

repeated practice brings proper use of power.

Steps vary and always maintain close contact with the Wooden Man.

Power starts from the heart and shoots towards

the centerline of the Mok Yan Jong.

Up, down, back and forth, the movements are continuous.

Power improvement cannot be predicted.

The arm bridge sticks to the hands of the Wooden Man while moving;

adhesion power when achieved will be a threatening force.

Power can be released in the intended manner;

use of the line and position will be proper and hard to defeat.

General Sayings

There is no difference in who started to study first;

the one who achieves accomplishment is first.

Students from the same teacher will differ in their skills.

Touching the opponent’s arm bridge makes

the situation more favorable.

When facing multiple opponents, it is easy to manage the situation.

When chasing the opponent’s arm bridge, beware of being led.


When pushing the opponent’s elbow, beware of being pulled.

Learning the techniques without developing the skills

will never bring any accomplishment.

The ideal in Martial Arts is humanitarianism.

Accomplishment uses diligence as a goal.

When the opponent passes your arm bridge, avert the danger

by turning the stance and facing with the appropriate posture.

Strike when you should. Do not strike when you should not.

Do not be too eager to strike. Do not be afraid to strike.

One who is afraid of getting hit will finally be hit.

Persistent attacks will surely gain you entry.

Staying on the defensive too long will surely get you into trouble.

The punch starts from the heart.

The staff does not make two sounds.

A kick does not miss.

Power is generated from the joints.

Strength originates from the heels.

Store mental energy with the mind.

Move Ch’i with mental energy.

Exert strength with Ch’i.

Generate power with strength.

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No harm will come if Ch’i is nurtured naturally.

Power can be stored but with enough to spare.

Ch’i comes out of the Tan Tien, and travels along the waist,

the thighs, and the back.

Know yourself and your opponent, and you will always win.

People do not know the extent of my skills, but I know their abilities.

Go along with your opponent’s failing posture

in order to take advantage of it.

Glass-like head, cotton-like belly, and iron-like arm bridge.

You can strike anywhere when your arm bridge

has passed beyond your opponent’s three joints.

Pass by the opponent’s incoming arm bridge from above.

Jam the opponent’s bridge to restrict his movement.

Create a bridge if the opponent’s bridge is not present.

Nullify the bridge according to how it is presented.

Know the difference between Yin and Yang, real and feigned.

Take advantage of any available opportunity.

Sticking to the opponent while shifting hand position

shows good control of the situation.

Being stuck to by the opponent while attempting to shift your own hand

position cannot produce the intended result.

Bong Sau must not remain.

Faan Sau should be closely paced.

Know your own limit in the use of power.

Releasing all out is 90% of the way to defeat.

The knees lead the stance. The waist links the body.

Where the mind goes, the eyes go, and the hands and feet follow.

Strive to remain calm in the midst of motion.

Loosen up the muscles and relax the mind.

The three terrors of Wing Chun are Taun Sau, Bong Sau, and Fok Sau.

Feet and hands work together, and the threat comes to an end.

Beware of brute strength when facing someone from the same style.

Beware of the situation in a confrontation.

In uniting the waist with the stance, power can be generated.

In a match do not expect any compassion.

Grasping the throat is a ruthless technique.

Once commenced, it cannot be stopped.

Storing energy resembless pulling a bow.

Releasing power is like shooting an arrow.

Circular and straight accompany each other.

Bent and straight complement one another.

22Page


Extreme softness enables one to be hard.

Being extremely natural enables one to be agile.

Direct the mind to store spirit, not Ch’i, in the body.

Otherwise it leads to sluggishness.

No power is obtained when occupied with Ch’i.

Use alterations in stepping forward and backward.

Hands and feet should be closely coordinated.

Invisible posture. Invisible kick.

As long as you are sticking to your opponent, you are unlikely to lose.

A well trained waist can prevent loss of balance.

Hand techniques must follow the Yin Yang principle.

Strength must be applied with inner power.

There is a counteraction to every attack.

Rapid moves are hard to guard against.

Go in when the opponent slows down.

Kicks lose nine times out of ten.

The feet are like wheels, and the hands like arrows.

A hand used for attack serves also to parry.

Do not collide with a strong arm bridge.

Get out of the way and take initiative to attack.

During sticky hand practice, the hand which has entered beyond the

elbow will win nine times out of ten.

Do not follow, force, or butt against the opponent’s hands.

Destroying the opponent’s center line will control his bridge.

In Bong Sau the forearm inclines, the wrist is on the center line, and

the fingers droop. A raised elbow weakens the force.

The elbow must be strong. Then you can take on any attack.

If the opponent grasps your arm bridge,

do not oppose him with brute force.

Go with the opponent’s force and change into rolling hands.

Turn around the situation to control him.


23Page


Wing Yin Chi Ji – Mo Mong Hong Juk – Dai Day Wu Chun

Always speak with determination,

don’t forget the han nation,

for we will return in spring.

The song above was later shortened and spoken like a password.

The abbreviation became: “Wing Chun”.

Bong Baat Ting Lao

‘wing does not stop or stay’.

Dik Yaat Yee Dong

‘enemy moving’, or ‘enemy shifting’.

Jung Sum Yim Hong

‘balance is already empty’.

Kuen Yao Sum Faat

‘techniques come from the center’.

Lien Siu Dai Da

‘join cancelling to bring hitting’

(often translated as ‘simultaneous offense and defense’).

Loi Lao Hoi Sung

‘stay with what comes, send off what goes’,

‘detain what arrives, escort what is removed’, etc.

Lut Sao Jik Jong

‘the free hand charges straight forward’.

Mo Ying Da Yieng

‘no shape, strike impression’.

Mo Yieng Po Jung

‘no impression, cleave the center’.

Sien Faat Jai Yan

‘move first to gain initiative’.

Yan Si Yee Gong

‘because timing effects the attack’, or ‘attack according to timing’.

Yao Ying Da Ying

‘have shape, hit shape’.

Yao Ying Juk Lao

‘have impression, continue to stay’.

Yee Sao Wai Gong

‘use defense as offense’.

Yee Gong Wai Sao

‘use offense as defense’.

MartialSongs

24Page


Centerline

The center line in wing chun is the line that marks the middle between

our left and right side, as well as the most direct line between

ourselves and our opponent.Gaining position of the centerline

ensures dominance.

Posture

posture in wing chun is achieved by not leaning forward or back. it is

finding the middle, finding our balance in perfect relevance to gravity.

Body Unity

The body should move as one unit, carrying the body’s weight behind

each technique. Hands follow the feet, Elbows follow the knees, and

the shoulders follow the hips. If this unity is broken, then the source

of power formed by this unity is also broken, resulting in diminished

power, and vulnerable imbalances of positioning

Economy of Motion

All movement should be economic. Large dramatic movements will

only leave one open for attack. All movement should be direct, and

focus toward the target.

Economy of Energy

All usage of energy should also be economic. If you use too much, you

will only waste your self too soon. Be cautious with the use of energy,

power and strength should only be placed at the point of impact.

Target Facing

By pointing our centerline at the opponent, we have faced our target.

When the centerline is facing the target, equal reach ensures a balance

of possibility.

Forward Pressure

Each technique and sequence of attack should have a forward

pressure. When the opponents has yeilded to the pressure,

the area is the filled with constant advancing positions.

Sensitivity

Touch skill is a glue that seams techniques together. It refines move-

ments, their accuracy and enables fighting with out the use of sight.

Avoiding Force against Force

Muscle vs muscle will result in the strongest man winning.

Do not resist force, instead yeild to it and redirect it.

6 Gates

The gates define the body by sections; high, middle, low.

Then left, right and center.

Triangle Structures

All powerful hand positions, elbow positions and leg positions are

based on the stability of a triangle.Like the tip of a sword or the front

of a boat through water. Strong, stable, load bearing, penetrating

structure.

Ranges

Each body weapon should be applied according to range, there is a

right tool for each job. The distance between you and your opponent

will determine the weapon.

Lin Sil Dai Dar

Let your offence be your defense. Block and attack together.

Angulation Strategy

Fighting with the study of angles is essential to succeeding using Wing

Chun. With out the study of angles, one may just be performing

techniques, not applying strategy.

Yin & Yang

Balance on all levels. Emotional, physical, spiritual.

Simplicity

Make things as simple as possible. Just hit them.

Wing Chun Theory

25Page


Wing Chun Theory

6 Gates

5 Lines

3 Energy Centers

Heaven

Man

Earth

Inside Gate

Outside Gate

Upper Gate

Middle Gate

Lower Gate

26Page


Wing Chun Theory

The Power Triangle

Elbow Power

27Page


Wing Chun Theory

Yin & Yang

Torque Power

28Page


Wing Chun Theory

Mui Fa Jong

Plum Flower Posts22”

2’- 4’ Above Ground

2’- 4’ Below Ground

6”- 8” Diameter

Possible Field Arrangement

29Page


Wing Chun Theory

Ranges

LONG RANGEFront kicksSide kicksStomp kicks

SHORT RANGERaising kneesDropping knees

REACTION /INTERCEPTION POINT

BASIC WING CHUN RANGESFrom the center of the axis to the point of powerful impact, this determines the correct range.

Gerk (legs)

LONG RANGEFingersChopsKnucklesPunchesPalms

SHORT RANGEElbowsHooks

Sao (arms)

30Page


=1 In

ch

9”

1.5”1.5”

8.5”

14”

1.5”

1.5”

5.375”

9”

2” Slats

8.5”

9”

11”

11”

1.125”

Diameter2.5”

Lathe to1.5”

1.125”

Middle Arm

Diameter2.5”

1.125”

1.125” Diameter2.5”

1.125”

Right Arm Left Arm

Front View Top View

2” Slats

Side View

Wing Chun Theory

Mook Yan Jong

Wooden Dummy

Construction Plans

31Page


Yee Gee Kim Yeung Ma Kiu Sao / Wu Sao Chun Choi Gaan SaoFook Sao

Dai Jeung Dai ChoiWu SaoKiu SaoTan Sao

32Page


Fak Sao Pak Sao / Man Sao Seung Lan Sao

Seung Tok Sao Seung Flat Fook SaoSeung Fak SaoSeung Man Sao Seung Jaam Sao

Teet SaoMan Sao

33Page


Seung Biu Sao Tan Sao / Kiu Sao Tan Sao / Flat Fook Sao Seung Biu Jee Sup Gee Sao / Seung Gaan Sao

Sup Gee Sao / Seung Gaan Sao Pak Dar / Pak Sao / Chun Choi Geurng Gee Kuen

34Page


Chor Ma / Kiu Sao / Wu Sao Chor Ma / Bong Sao / Wu Sao Chor Ma / Seung Gaan Sao Tan Sao / Dai Jeung

Cow Sao / Tan Sao Lap Sao / Fak Sao Lap Sao / Chai Pai Jarn Cup Jarn / Flat Fook Sao Cup Jarn / Wu Sao

Chor Ma / Kwan Sao

35Page


Bik MaBik Ma / Kiu Sao / Wu Sao

GuardBik Ma / Chun Choi Bik Ma / Flat Fook Sao Guard Bik Ma / Jip Sao

Bik Ma / Seung Lap Sao Bik Ma / Lan Sao Bik Ma / Seung Lan Sao Bik Ma / Biu Sao Bik Ma / Biu Sao / Flat Fook Sao

36Page


Bik Ma / Tan Dar Bik Ma / Gaan Dar Bik Ma / Geurng Gee Kuen Bik Ma / Phong An Choi

Dan Chi Sao / Step 1 Dan Chi Sao / Step 2 Dan Chi Sao / Step 3 Dan Chi Sao / Step 4

37Page


Bik Ma / Tan Sao Guard Kiu Sao / Wu Gerk

Kiu Sao / Wu GerkTan Sao / Tan Gerk

Kiu Sao / Jing Gerk

Kiu Sao / Jing Gerk

Lan Sao / Wang Gerk

Lan Sao / Wang Gerk Bong Sao / Bong Gerk

38Page


Kiu Sao / Low Jing Gerk Bong Sao / Low Wang Gerk

39Page


Credits:

Lineage Page 6. Provided by Sifu Kevin Becker Hand Written Document.

Trapping Set Page 7. Provided by Sifu Kevin Becker, based on original student handbook given to Sifu Andy DiGuiseppi in 1999.

Kham Na Set Page 8. A collection and organization of techniques given by Sifu Kevin Becker to Sifu Andy DiGuiseppi.

Terminology Pages 9-12. Sources: Hand Written Notes by Sifu Kevin Becker, Hand outs by Sifu Chung Kwok Chow, http://www.fongswingchun.com, Gathered from multiple book sources,

complied by Sifu Andy DiGuiseppi.

(Spellings are not Yale Pin Yin Approved, instead they are audible translations and custom phonetic spelling choices.)

Wing Chun Kuen Kuit. Source: Originally Sourced from http://www.fongswingchun.com (Site from 1999, no longer available on this site).

Printed version of this was provided to Sifu Andy DiGuiseppi, by Sifu Kevin Becker.

Yee Gee Kim Yeung Ma Paragraphs. Source: http://www.bawcsa.org/ (Original notes no longer available online)

All Photography taken by Steve Napolitano of Snaphoto.

All Illustrations drawn by Sifu Andy DiGuiseppi

wing chun kung fu · • wing chun theory 24 chapter 15 • wing chun training charts 25. 4 page...

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