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WING CHUN STRATEGY AND TACTICS II Strike, Control, Break

Jon Rister and Alfred Huang

Copyright © 2015 by Jon Rister and Alfred Huang. Library of Congress Control Number: ISBN: Hardcover Softcover eBook

2014922863 978-1-5035-3143-7 978-1-5035-3144-4 978-1-5035-3142-0

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner. Any people depicted in stock imagery provided by Thinkstock are models, and such images are being used for illustrative purposes only. Certain stock imagery © Thinkstock.

Rev. date: 01/28/2015

Xlibris 1-888-795-4274 www.Xlibris.com 540447

Contents Acknowledgments Foreword Preface Chapter 1 Strike Chapter 2 Control Chapter 3 Break Chapter 4 Who, Why, What, How, Where, and When? Chapter 5 Biu Jee Form Chapter 6 Understanding the Internal Art

ACKNOWLEDGMENTS

Many thanks to the following instructors and students of Rister International Martial Arts who were involved in photo illustrations (listed alphabetically): Roger Carlson Diego Hernandez Risto Hietala Alfred Huang Matthew LaBombard Tony Lett Jon Rister Israel Rodriguez Dwight Wilson This publication is also dedicated to the following associates, instructors, and students of Rister International Martial Arts: Dave Bernosky James Fell Risto Hietala Tommy Jones Ville Kaikkonen Jani Kenttala Timo Kivinen Jarkko Lampsa Victoria Lampsa Virpi Muhonen Jorge Santamaria Kaj Tepponen Joachim Viide

Many thanks to JKD Finland Special thanks to Helen Huang for assisting with photography and to Alfred Huang for editing, photography, and photo editing.

FOREWORD

When I was asked to write the foreword for (Sifu) Jon Rister’s second book on wing chun, I felt honored and a bit confused. The confusion came about because I had to ask myself, “Why me?” Sifu Jon has many more knowledgeable, gifted, skilled, and talented students than myself. However, I have been a student of his for over twenty years now. My primary martial arts are in the Filipino martial arts (FMA). It has only been in the past two years that I have become a serious wing chun student after Sifu Jon telling me for years that wing chun will help your kali. He was right.

I am an old school martial artist. I enjoy the traditional and historical study of martial arts. However what I learn must be practical, functional, and efficient. I work in the private security industry as a uniformed armed security officer at a federal facility. I also work doing private investigations, and personal protection. My martial arts training needs to reflect my work reality. Accomplishing my mission and going home safe is the name of the game. Sifu Jon has trained in wing chun for decades. He has been a martial arts instructor since the late 1980s. His experience, knowledge, research, and ability to relate this to his students are a true gift. His understanding of wing chun is years ahead of most wing chun instructors, even those with “Master” and “Grandmaster” titles. In some regards, I do not even think they are studying the same martial art.

Strike, Control, Break is the result. The information contained in this book will improve your wing chun. It is based on Sifu Jon’s unique ability to question and problem solve. I remember Sifu Jon telling me in one of my private lessons, “Wing chun is problem solving.” When I pushed for more information,

he simply told me the information is in the forms. Strike, Control, Break (SCB) will give the wing chun practitioner a simple, yet effective tool to remember under stress to prevail in any conflict. In this book, I hope it becomes clear that, contrary to what most students and instructors of wing chun believe, wing chun is actually a “weapons-based” art. Many think of wing chun as an empty hand art with three empty hand forms, a wooden dummy form, drills, chi sao, and those other two weapons forms that are not really relevant anymore. The pole form and the double sword form were added as an afterthought, and besides NOBODY fights with a pole, or double swords anyway, so why bother. WRONG, WRONG and WRONG! The essence, the spirit of wing chun is hidden within the weapons. Without the knowledge of the weapons, you have no wing chun. You just have to trust me. Sifu Jon will change your wing chun and make you better. I promise. Dwight Wilson Security Professional (CSO, PPO, PI) Martial Artist, Naturalist, and Tracker Author – FOLLOWING TRACKS, A PERSONAL LEARNING TO TRACK WILDLIFE AND MAN

JOURNEY

PREFACE

The art of wing chun often brings to mind popular videos or films of various practitioners displaying a flurry of dynamic techniques. Unfortunately, this is often a cause of disillusionment when the learned techniques in a controlled setting fail in actual application. Because of this, the art of wing chun is often ridiculed and deemed unrealistic in the modern era. This publication is our attempt to dispel certain myths and to give a little insight on how wing chun can be most effective. In learning wing chun, training must include at least three aspects: the forms, the drills, and the application. While some may debate the utility of one aspect over the other, it is our firm belief that all three are imperative and form a cycle that continues to develop and improve one’s skill. The forms and drills are necessary to learn the energy and structure of wing chun; there is yet another level of learning that has always been deficient and misunderstood. Too many instructors confuse drills for application. Our burden is to attempt to touch on this road less traveled. This is not merely a book on techniques but on tactics. In other words, making techniques effective does not always depend on more skill or physical prowess. With sound tactics, one can overcome an opponent’s skill or physical superiority. As a physician, I have instructed medical students in medicine far longer than I have helped instruct wing chun students in the art of wing chun. However, there are remarkable similarities in instruction between the two. It is somewhat easy to teach medical students diagnosis and treatment of various pathologies. Although it takes some time to develop their knowledge base, it is relatively easy to help them think of differential diagnoses, diagnostic tests, and formulation of treatment plans. To a certain extent, it is even not too difficult to learn all the pharmaceutics and procedures. All this is just objective knowledge that eventually gets internalized in time. What is not so easy to

learn is how to apply this knowledge to patients in real life. No scenario in medical school can accurately simulate that. Patients come with multiple complicated problems. Even if a disease is presented in a similar way, no two persons are the same in their personal value systems, religious beliefs, and philosophical makeup. There may even be times when a medication is not what is required to remedy a problem. Sometimes knowing how to address a problem, or even multiple problems, does not require mere knowledge but rather wisdom. Unfortunately, learning this takes experience and time, perhaps a lifetime. In this regard, I myself am continually learning the “practice” of medicine. I am always reminding myself to maintain a spirit of a learner with humility. In the same vein, it is somewhat easy to teach the structure and form of wing chun. Even the drills are not too difficult to learn. Learning how to move your body in such a way that you understand structure takes time to internalize. However, it is extremely difficult to learn how actual conflict takes place against an opponent or multiple opponents. An instructor may explain how techniques work in various scenarios, and the student would rightly assume that this is application. If they are honest with themselves, they would admit that reality never plays out like predetermined scenarios. Unfortunately, many people (myself included) have been lulled into thinking that whatever techniques they have learned are enough to help them in a real altercation. This kind of bravado will put you in very real danger. Therefore, it is important to understand that our emphasis is not on showing better techniques. Moreover, our attitude is not to promote arrogance or foolish aggression. It would be absurd to think that we can illustrate every useful technique in one publication. No book can be that all-inclusive. In fact, we will be limited to illustrating only a few techniques. However, if you can look beyond the techniques and realize what is trying to be conveyed tactically, you will hopefully gain a little more insight on how to make wing chun or any close-quarter combat system truly applicable. In this volume, we will introduce aspects of wing chun that will enable the practitioner to become more effective. As always, please seek direct

professional instruction. The material in this book is for information purposes only, and it is not intended to replace actual instruction from a qualified instructor.

Alfred C. Huang, MD

CHAPTER 1

Strike The essence of close-quarter combat is urgency. In confined range, the crucial need is to engage our opponent quickly and effectively using the various “tools” at our disposal. The “tools” here refer to the various techniques used to strike, control, or break (incapacitate) an opponent. These tools must be employed efficiently and deliberately in order to cause physiological and psychological disturbance. In addition, side-to-side movements and body mechanics become even more important. In other words, you must understand your tools and how to utilize them for close-quarter combat. Strike, control, and break refer to three basic modes of engagement. Depending on the intention and situation, one might flow from one mode to another. Striking is covered first. Without striking the opponent first, it is very difficult to control an aggressive opponent. Even offering the threat of a strike can make a difference. The opponent’s reaction to a perceived imminent strike may possibly cause them to give up a limb or become distracted enough to allow you to maneuver and further manipulate them. Striking can be with the fingertips, the edge of the hand, the palm, the thumb, the fist, the elbow, the knee, the foot, or even a head butt. When these tools are learned, then one can learn what to apply from various positions, when to use them appropriately, and how they can be easily utilized. The strike often occurs when we feel any lull in combat. Even if not powerful, these strikes can be effective enough in keeping the opponent off balance. Even if you intend to control or break, tactically, they all must include strikes. However, striking by itself means that we pretty much disregard any opportunity to grapple or affect the limbs. In this case, the goal is to strike rapidly and to keep striking until the opponent is incapacitated as in a blitz style of attack. This does not mean that we just charge ahead blindly punching. You still must protect yourself while striking

effectively with power and efficiency. In other words, we do not try to seek the locks and the control techniques. We simply attack and continue attacking with the striking tools. We will illustrate the technical aspect of effective striking and how to incapacitate an opponent efficiently.

The tools are as follows: 1. Biu gee (finger thrust)

2. Chum choy (vertical fist punch)

Although mostly used in training, it can be used in combat as follow-up. 3. Ding jarn and cup jarn (butting elbow and diagonal elbow)

4. Wong jern (sideways palm)

5. Sot sao (knife hand/throat-cutting hand)

6. Sut (knee strike)

7. Jing deem jern (vertical palm)

8. Lop sao (grab pull used on neck)

The basic principles are derived from the twelve gates training in wing chun. Gates 1 and 2 are high outside gates. Gates 3 and 4 are low outside gates. Gates 5 and 6 are low inside gates. Gates 7 and 8 are high inside. Gates 9 and 10 are angle-in punches at the heart level. Gates 11 and 12 are straight-in punches at the heart level. These twelve gates cover relatively well all the possible angles of being struck by an opponent who knows boxing, tae kwon do, judo, or jujitsu. They also cover any attempt of the lapel or neck grab, a body tackle, or thrust to the body. One must learn these basic gates before one can learn the tactics and strategies that set up the technique to make the striking effective. Eventually, the techniques by themselves become less relevant, as

they all should blend together. In the initial stages, however, this kind of training will offer you the ability to develop flow.

Gates 1 and 2 – Biu da (thrusting hand and simultaneous punch)

Gates 3 and 4 – Gan da (slicing hand and simultaneous punch)

Gates 5 and 6 – Jut da (short snapping hand and simultaneous punch)

Gates 7 and 8 – Pak da (slapping hand and simultaneous punch)

Gates 9 and 10 – Bong lop sot (tying up/grabbing/pulling hand and knife hand strike)

Gates 11 and 12 – Jop sot (closing gate hand and knife hand strike)

Striking is the primary survival skill. Striking means the base tools are launched out to neutralize a threat. With a mind focused on striking, a solid base of defensive motions must be maintained subconsciously. The hands must be ready to protect in an instant if our opponent attacks or even while we are executing our own attack. This is referred to as lin sil da (simultaneous attack and defense) in wing chun. However, this does not happen because we intend to do it. Instead, it happens reflexively, without a thought being given to the act. When striking, we carry out an offensive that gives the opponent little or no

opportunity to respond. As a result, we take the initiative and maintain it throughout combat. Illustrations below convey the idea of this kind of attack. Using the tools aforementioned, we will demonstrate a combination of strikes that can be most effective with little wasted motion and still be effective. Strikes can be done with a biu jee (finger strike), a sot sao (knife hand strike), or a da (punch). Regardless of the strike, it must be a real threat that will affect the opponent. It must threaten to the extent that the opponent will either be forced to defend, disengage, or get hit. Once we hit, we stick to the opponent and strike on a soft target like a nerve, throat, or eyes. We then continue to strike with the opposite hand and repeat.

Gate 1: Biu da

sot-da

sot-da

sot-da

Gate 2: Biu da

sot-da

sot-da

sot-da

Gate 3: Gan da

sot-da

sot-da

Gate 4: Gan da

sot-da

sot-da

Gate 5: Jut da

chum choy

sot-da

sot-da

Gate 6: Jut da

chum choy

sot-da

sot-da

Gate 7: Pak da

jut-da

sot-da

gnoy doy gock kuen

gnoy doy gock kuen

Gate 8: Pak da

jut-da

sot-da

gnoy doy gock kuen

gnoy doy gock kuen

Gate 9: Bong lop sot

da

gnoy doy gock kuen

gnoy doy gock kuen

Gate 10: Bong lop sot

da

gnoy doy gock kuen

gnoy doy gock kuen

Gate 11: Jop sot

da

gnoy doy gock kuen

gnoy doy gock kuen

Gate 12: Jop sot

da

gnoy doy gock kuen

gnoy doy gock kuen

Follow-up strikes can be varied and practiced from the gates. As examples, one can alternatively use the following: Gate 1: Biu da

sot-da

gnoy doy gock kuen

gnoy doy gock kuen

Gate 2: Biu da

sot-da

gnoy doy gock kuen

gnoy doy gock kuen

Gate 3: Gan da

ding jarn

ding jarn

cup jarn

Gate 4: Gan da

ding jarn

ding jarn

cup jarn

Gate 5: Jut da

chum choy

sot sao

ding jarn

cup jarn

Gate 6: Jut da

chum choy

sot sao

ding jarn

cup jarn

Please note that under great stress, multiple strikes delivered on the same line have a tendency to be more effective. This practice “motivates the muscle” to perform through the stress loading. Instead of lin wah kuen (traditional chain punching), try using multiple gnoy doy gock kuen strikes. The techniques taught thus far are performed by what we call dry fire. In other words, the opponent is executing only one punch and you are employing one technique. Let me underscore this is only the learning phase. At this level, you are only learning techniques and not actual application. After learning the techniques, they must still be practiced over and over by yourself and with as many different training partners as possible. Later, you will need to develop them further by placing them in the context of various scenarios. Doing this might involve having a person throw three or four punches and then executing the technique when the timing and position is optimal for a counterattack, follow-up, and finish. Later on, one will understand how one mode can flow into another. In other words, the striking can flow into controlling, which can then flow into breaking. What we are ultimately achieving is to have the opponent unable to continue fighting. All three modes (strike, control, and break) are trying to essentially achieve the same end

result.

CHAPTER 2

Control Control means that we are controlling the opponent to keep him off balance and to put them in a position that we may better finish the fight. Control does not necessarily mean taking an opponent to the ground and putting them into submission. Neither does it mean performing joint locks to cause the opponent to submit. Even though joint locks can be used in order to throw, unbalance, dislocate joints, or take down an opponent, we do not recommend going to the ground. The control is an interim phase that puts the opponent into a position where we can strike them into submission, to remove a weapon, or to prevent a weapon from being used. While this does not mean that it cannot be used as a submission tactic, the primary use is for survival, not fighting for sport. In many cases, trying to grapple an opponent into submission also means placing yourself in danger by exposing your back to surrounding people and other potential opponents.

Gate 1: Biu da

wong jern

cup jarn

mun sao

sut-sut-sut

mut sao

tie sao

Gate 2: Biu da

wong jern

cup jarn

mun sao

sut-sut-sut

mut sao

tie sao

Gate 3: Gan da

ding jarn

sot sao

sut-sut-sut

jut gerk

chai gerk

Gate 4: Gan da

ding jarn

sot sao

sut-sut-sut

jut gerk

chai gerk

Gate 5: Jut da

chum choy

ding jarn

sot sao - lau sao - jop sao

sut

gan gerk

jut gerk

chai gerk

Gate 6: Jut da

chum choy

ding jarn

sot sao - lau sao - jop sao

sut

gan gerk

jut gerk

chai gerk

Gate 7: Pak da

jut da

da-da

sup sao

dum ma

lop sao - seep ma

Gate 8: Pak da

jut da

da-da

sup sao

dum ma

lop sao - seep ma

Gate 9: Bong-lop-sot

jut sao

biu gee

jop sao (arm bar)

sut

gan gerk (over the head)

seep ma

Gate 10: Bong-lop-sot

jut sao

biu gee

jop sao (arm bar)

sut

gan gerk (over the head)

seep ma

Gate 11: Jop sot

jut biu

mun sao

lau sao

sut

gan gerk

seep ma

dum ma

biu gerk

Gate 12: Jop sot

jut biu

mun sao

lau sao

sut

gan gerk

seep ma

dum ma

biu gerk

CHAPTER 3

Break Break is utilized when we are in an extremely hazardous situation and are most likely facing multiple armed attackers. Therefore, we execute or “break” with extreme prejudice, which is the most efficient means to incapacitate an opponent. Wing chun is especially well suited to this end. Many of the movements, including the kicking movements, in the basic forms describe these applications. What we are illustrating here are the most urgent of self-defense techniques to eliminate a high-risk threat with the simplest established pathway.

Gate 1: Biu da

biu gee (maintain center line while lau sao passes the arm)

jip sao (on arm or shoulder)

oi jut sao

wong jern

huen (the head)

dum ma (arm over knee)

Gate 2: Biu da

biu gee (maintain center line while lau sao passes the arm)

jip sao (on arm or shoulder)

oi jut sao

wong jern

huen (the head)

dum ma (arm over knee)

Gate 3: Gan da

lau sao - ding jarn

sup sao

dum ma

Gate 4: Gan da

lau sao - ding jarn

sup sao

dum ma

Gate 5: Jut da

sot sao - chum choy

sot sau - lau sao

syeung (double) jop sao

Gate 6: Jut da

sot sao - chum choy

sot sao - lau sao

syeung (double) jop sao

Gate 7: Pak da

jut da

jip sao

pak sao - jong sao (like fig 4)

dum ma

Gate 8: Pak da

jut da

jip sao

pak sao - jong sao (like fig 4)

dum ma

Gate 9: Bong lop

chan jern

jip sao

(passing arm to other side of body) sao kuen

yup jern

dum ma

seep ma

Gate 10: Bong lop

chan jern

jip sao

(passing arm to other side of body) sao kuen

yup jern

dum ma

seep ma

Gate 11: Jop sot

jut biu (same hand)

sot – ding jarn – cup jarn

seep ma elbow

Gate 12: Jop sot

jut biu (same hand)

sot – ding jarn – cup jarn

seep ma elbow

These are basic techniques that one should practice. Later on, they should not be thought of as mere techniques, as they will simply become a part of who you are and how you move. Movements will become interchangeable and will depend on how the opponent responds to your initial actions. Therefore, we say that “one technique becomes all techniques” when you have assimilated the knowledge, along with the forms and other drills, into your subconscious. You need to be able to flow from striking, into controlling, back to striking, or into breaking at any time. We structured this book by taking one variation of a technique and superimposed it onto a particular gate or point of entry. The base technique for each gate is determined by where your hands are positioned at the time and by the most direct route to the action desired, whether striking, controlling, or breaking. After these base techniques are perfected, they should be practiced from an incoming jab instead of from a basic straight punch. Then they should be practiced from a combination (like jab-cross-hook) to get into gate 1. Following this, they should be practiced while moving around. Afterward, you can practice this against a weapon. The following are a few examples of dry fire training against a knife:

Gate 1 (up grip): Biu da

lau sao-sot sao (too keep the centerline)

jip sao

jut sao, (disarm on body)

Gate 1 (down grip): Biu da

sot sao-lau sao (disarming the weapon)

jip sao

oi jut sao

wong jern

huen sao (head)

Gate 5: Jut sao-biu jee

jut sao

tie sao (low return)

Gate 9: Bong-lop-sot (or qua choy)

jut sao

cup jarn (high return)

ding jarn

seep ma

Thus far, we have covered some basic concepts involving strike, control, and break. However, in discussing strategy and tactics, there is another aspect of close-quarter combat that must be covered. This involves the who, why, what, how, where, and when.

CHAPTER 4

Who, Why, What, How, Where, and When? First, you must consider who you are fighting. This important question will determine your tactics and sense of urgency in combat. Are you facing a person determined to kill you? Is this person enraged about something you can identify with? Is this person a violent predator and you are merely a random victim? Are you in a planned attack, or are you facing a drunk who is out of his mind? These are all the things you need to consider when determining the tactics to employ. There are probably many more questions to ask about your attacker. However, you will have to assess these things in a blink of an eye and under possible duress. Sometimes you may even need to keep it simple. There is a saying, “When in doubt, whip it out!” In other words, you would usually open with a strike of some kind to upset and off balance the attacker. This may not necessarily be a heavy blow but still one that would be effective. Keep your attacks as simple and direct as possible. You may even strike while moving away (see Luk Dim Boon Kwun). Always take into consideration that the person may be armed and dangerous. In fact, we always teach that you should presume the opponent is armed. You can also presume that their intent is to harm you, but this will be covered in the next section on why. Second, why are you fighting? This is a reiteration of who first and why second. While seemingly obvious, you can presume an attacker is motivated to cause you harm; otherwise, they would not be engaging you. If they are not intent on causing you harm, then you need to ask yourself why you are engaging them. Get out of the situation and go home. Do not engage in combat unless it is

absolutely necessary. When you can keep a clear understanding and attitude, you are morally justified when needing to take all and necessary action to escape alive and unscathed. What I mean is do not get into a fight that you will regret later if someone were to get injured or even killed. Keep your conscience clear. If your goal in clear sight is to take them out, realize that the aftermath may be far worse than the call to arms. As previously stated, you must consider, is it worth it? If what is at stake is not for your own protection, a family member, or loved one, then do not fight. Even if you are defending a third party, why fight if you can get them help by other means? Think clearly about this: If you are fighting for the sake of ego, then do not. If you are fighting to protect property, then weigh the risk versus reward very carefully. Are the contents of your purse or wallet worth your life? If you kill someone over your wallet, will you be able to live with that for the rest of your life? You must measure your capacity to survive these things now. This way, you will not be hindered or you will not hesitate at the time you have to act. As discussed in our previous book, Close Combat Strategy and Tactics: Prevent, Confront, Prevail, do not put yourself into a position where violence is the only answer. We say this emphatically. However, you need to be very clear that when you have no choice but to act, you can do so absolutely and without hesitation. Third, what are you fighting with or against? This simply means what weapons are available to you, what weapons do your adversary have, and are you even aware that weapons might be involved in the fight. Even if you are not sure, you must already assume there are weapons on the enemy. Always assume your opponent may have a firearm. Since we live in a conceal carry state, we reasonably assume this is always true. Fourth, related to the why and what is how you apply the tactics in any given situation. In understanding why you are engaged in a fight, you can determine what is your intended outcome or goal. Will you try to escape? Will you try to put your opponent in submission? Will you just go all out (anything goes)? Overall, our first goal should be to get out of a situation immediately. Most of

the time, we should look to escape if possible and only resort to an attack when escape becomes impossible. There are many times when we should look to defuse or de-escalate the conflict. Especially when the threat level is high, de-escalation may need to take place very quickly. When de-escalation fails or does not resolve the situation, you will need to move aggressively to create angle and space. You may need to preempt an attack, especially when you suspect a weapon is involved. All of these assessments happen in a split second. Timing is everything. Fifth, you need to consider where you are. Pay attention to your location and surroundings. Are you fighting in a public area? How many witnesses are there? Whose side will they be on? Even if you are in the right, you might have a hard time proving it. Can you just leave the area? Always consider escape to be the first option. Be careful to try to get as many witnesses on your side after an incident. What is the terrain like? Whether you are on wet grass or pavement can make a difference on how you fight. Are you being recorded on camera? Just about every public area is now under some kind of video surveillance. So how will this affect the way you defend yourself? Answer: It should not if you follow certain principles of selfdefense. First, do not fight unless you must. Second, make sure to end it quickly. Third, do not continue if your opponent is out of commission. If children are present, make sure you do not endanger them. Sixth consideration is when you are fighting. This is very similar to considerations in your environment. Is it nighttime? If it is after dark, you may use it to your advantage by shining a bright flashlight or a flash from your camera/phone. If there is some kind of event or gathering nearby, you will need to assess whether that will be an advantage or disadvantage. Perhaps it will be more difficult to find an escape. Perhaps it will be a factor to find help. If your confrontation occurs after a vehicle accident, your ability to flee or escape becomes more difficult, as you may not be able to leave the scene of the accident. In cases involving road rage, if possible, do not stop. It is much

better to proceed to an area where you can get help.

CHAPTER 5

Biu Jee Form Biu jee is the third open-hand form that is composed of short-range and longrange techniques, along with low kicks and sweeps. This form shows urgent combat tactics and techniques used for counterattacking when the structure and centerline discipline is broken or not maintained as can occur if one becomes seriously injured. As developed in chum kiu, the pivoting and stepping movements enhance a range of motion that involves more of the upper body to develop power at close range. There are also stretching movements that provide greater reach for longer-range strikes. Hence, the movements include very close range elbow strikes and finger thrusts to the throat. Serious wing chun students view this form as imparting deadly, lethal blows or maiming techniques that should never be used if at all possible. Thus, biu jee is referred to as urgent combat. A common wing chun saying is “Biu jee does not go out the door.” It may also be stated that biu jee is an “indoor form” only. Some people interpret the biu jee form should be kept secret. Others may interpret that it should never be used. In fact, many wing chun instructors may not teach this form, and neither will they teach the staff or the swords. Perhaps they think that keeping it a secret helps the art as a whole. Our view is that by not teaching the biu jee form, the staff, and the swords, the true nature of wing chun remains obscure and hidden, which will only damage the art’s reputation. In the 1980s, wing chun was viewed as an aggressive fighting art. These days, it is not regarded as such, perhaps even ridiculed. Biu jee and chum kiu share many of the same routines to the extent that some may say that the biu jee form is not needed to learn to fight with wing chun, to think this is grossly erroneous and will cause one to miss out on crucial aspects of combat. Biu jee form, as well as the staff and the sword forms, is necessary to transform a mere boxer or puncher into a skilled survival fighter. To defeat a more powerful opponent, one cannot neglect learning these three forms.

Opening *Remember to relax and breathe deeply. ** Keep the center of focus on the low diaphragm. Lop jing

Jun bay

Huen bo (lau gerk)

Sup sao down

Jong sao

*Left side first. Yut gee kuen

Biu jee sahm (vertical three times)

Biu jee sahm (horizontal three times)

Huen

Sao kuen

*Repeat on right side (not shown)

Section I-A Cup jarn turning right (diagonal down elbow)

Cup jarn turning left

Cup jarn turning right

Right biu jee

Left biu jee (stepping up and stomping)

Huen sao

Sao kuen

Left pak gerk then gan gerk

Right pak gerk then gan gerk

Left pak gerk then gan gerk

*Repeat on opposite side (not shown)

Section I-B Cup jarn turning right

Cup jarn turning left

Cup jarn turning right

Right biu jee

Left chang jern (upward palm strike)

Sot sao turning left

Jop sao

Jong sao

Biu jee

Huen sao

Sao kuen

*Repeat on opposite side (not shown)

Section I-C Cup jarn turning right

Cup jarn turning left

Cup jarn turning right

Right biu jee

Left wong jern

Left taw sao

Biu jee

Huen sao

Sao kuen

*Repeat on opposite side (not shown)

Section II *Left side first Mun sao three times (whispering hand)

Jop sao

Left die sao three times (guiding hand)

Jong sao

Biu sao

Huen sao

Sao kuen

*Repeat on opposite side (not shown) *Left side first Gong sao (three times)

Jop sao

Biu jee

Huen sao

Sao kuen

*Repeat on opposite side (not shown)

Section III *Left side first Biu jee three times (left-right-left)

Chan jern (shoveling upward strike)

Sot sao

Jop sao

Jong sao

Biu jee

Huen sao

Sao kuen

*Repeat on opposite side (not shown) *Left side first Double lop sao

Jor nao choy (left hooking punch)

Chum jarn

Yup jern

Huen sao

Sao kuen

*Repeat on right side (not shown) Squatting scoop three times

Sau ma (closing stance)

CHAPTER 6

Understanding the Internal Art Often, wing chun is merely perceived as an aggressive close-range combat system. While wing chun is very effective at close range, it is much more than that. There is an internal aspect that takes some time to understand and develop. To further illustrate, let us consider the first wing chun form, sil nim tao (a little imagination). The first section should be practiced slowly and frequently to develop breathing and focus from the dan tien (the lower diaphragm). The eyes should concentrate on a single point straight ahead. The chin should be slightly down, with the shoulders and chest relaxed. The upper thigh muscles should support the weight, which is also isometric training. Attention should be placed on elbow position and the centerline. Every major movement starts at the elbow and occupies the centerline. The stance yee gee keem yueng ma (pigeon-toed stance or restraining-the-goat stance) aligns the entire skeletal structure so that the tendons and bones support most of the weight, allowing the student to learn to relax. The second section of sil nim tao should be more flowing and graceful, emphasizing relaxed, fluid muscles instead of tense, straining muscles. Combined with the first section, this training will allow one to understand how to receive and project energy in an everyday mind-set. This is much like a relaxed “walk in the park” frame of mind instead of a panicky, stressed-out mindset. As a result, there is no excess adrenaline being dumped to the muscles to cause early fatigue. Section 3 of sil nim tao should be done with snap in the motion. There is still the emphasis on the elbow position and control, but the movements involve more vigor and aggressive energy. Without moving the hips or torso, keep the hands inside the box. The box (also called four corners) is the invisible

boundaries where the hands stay within. This box is roughly between the right and left shoulders horizontally and between the level of the shoulders and level of the hips vertically.

To stay in the box means that the hands do not chase anything outside these set boundaries, thereby keeping the body and limbs under control at all times. In other words, do not reach out to stop a strike. This only gives away the initiative and breaks centerline discipline. Individual hand techniques should not be applied directly out of this form, as every movement has many meanings and can be used for multiple purposes. Although the following may be difficult to explain, take for example the sequence pac sao oi jut sao wong jern (slapping hand outside snapping wrist sideways palm). These could be applied as one movement together or used sequentially. Pac sao (slapping hand) can be used offensively or defensively. Sometimes people can over-interpret the meaning behind the movements. For example, the double sot sao (throat-cutting hand) is not necessarily intended for you to strike two flanking opponents simultaneously (although I suppose it could be done if one could actually get two opponents to line up precisely for you).

Rather, this movement is to teach the correct alignment of the arms and hips in order to execute a powerful strike.

Sil nim tao is to teach you how to use and control your arms while keeping your body aligned. Hand techniques are far more effective when the rest of the body is properly aligned. Seemingly, movements merely involve the physical aspect. However, repetition eventually brings about a closer connection between both brain hemispheres. This is why both sides are performed in the same way. When one can develop oneness of the body and mind, one will eventually realize a deeper spiritual understanding of the art (imagination). Hence, essential concepts and principles will become clearer.

One should not seek to fight with wing chun. In other words, one does not seek to use this or that stance but rather engaging from where you are at any moment. Simply allow the tools learned to apply themselves. The premise that a wing chun practitioner should attempt to fight from the classical stance or pose is not realistic and is a gross misinterpretation. One must understand that stances are merely snap shots of a continuous mobile process. As one circles his opponent, he will phase in and out of each stance or posture not using any one stance but all. Static training teaches the student sectoring, angling, leveraging, and drawing out certain responses from an opponent. However, students should not confine themselves to a particular position and try to defend it. Learning to “root oneself,” for instance, is to learn how to generate power from the ground, not to defend a particular piece of territory. One only needs to look at history (Masala, Maginot Line, Festoon Europa, Siegfried Line, etc.) to know that any fortification, regardless how secure, can be overcome by a powerful, patient opponent. Even though stances are an integral part of the overall learning process, the application should be practiced more realistically from a mobile base. This is precisely why jun fan gung fu was developed by its founder, Bruce Lee, a wing chun practitioner and student of Yip Man. He wanted to bring mobility to the art and nonrestrictive positioning to the practitioner. It is unfortunate that current generations of practitioners are now degrading into doing the same freeze-framing thing instead of what was once a mobile and flowing art. Wing chun should be practiced on three levels (or phases): forms (the structure), drills (the fluid motion), and application (the strategy and tactics). Most of the application that is taught today is usually at the technique level only. In other words, an instructor can take the idea of tan sao from the form and show a so-called application by adding a stance and a punch. They can even show how it counters a punch using tan da, but this is still learning a concept and technique. This is not real-time application. The only way to make wing chun effective is to make it part of you, not separate from you.

“One does not do wing chun. Nothing is or is not wing chun.”