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CHAPTER 1

Yip Man Wing Chun

葉問詠春拳

Yip Man Wing Chun, the first system of Wing Chun kuen to be taught publicly has become one of the most popular Chinese martial arts in the world today. The modern history of Wing Chun (also commonly romanized as Ving Tsun and Wing Tsun by many of Yip Mans descendants), began with the changes wrought by the Communist takeover in 1949. With his property and wealth taken from him under the communist regime, Grandmaster Yip Man fled China and came to Hong Kong. Yip Mans misfortune, however, became the free worlds blessing, for soon after arriving in Hong Kong he began his career as a professional martial arts instructor.

HISTORY AND DEVELOPMENT

The legend of Wing Chun begins in the Qing dynasty with the Siu Lam Jee (Shaolinsi or Young Forest Temple). The Siu Lam Temple offered not only religious sanctuary but also a safe house from the military hunting for anti-Qing revolutionaries. It was only a matter of time, however, before the Manchurians made the decision to eradicate this source of rebellious activity. With the treacherous aid of Siu Lam insiders such as Ma Ning-Yee, the Qing troops laid siege to the temple from without, while the temple was burned from within. Siu Lam was laid to waste. Out of the conflagration, the ng jo (five elders) of Siu Lam fled and went into hiding. The five elders consisted of Jee Shim Sim Si (Jee Shim, Chan Buddhist Teacher), Fung Dao-Duk, Miu Hin, Bak Mei Dao Yan (White Eyebrows, Taoist), and Ng Mui Si Tai (Five Plums, Nun). Ng Mui (Wu Mei) fled to the Bak Hok Jee (Baihesi or White Crane Temple) on the slopes of the Daliang Mountains. There, on the border of Sichuan and Yunnan province, legend states Ng Mui witnessed a fight between a crane and a snake. Inspired by the encounters, she combined the animals movements with her own Siu Lam boxing and created the principles of a new, as yet unnamed, martial art.

Since the art was intended only for those loyal to the Ming throne, it was taught in secrecy and to just a few carefully selected students. Ng Mui eventually took on a female disciple, Yim Wing-Chun and taught her this unnamed system. Yim was known for her beauty and cunning and was desired by a local ruffian who tried to force her into marriage. Using the art taught to her by Ng Mui, Wing-Chun challenged and defeated her unwelcome suitor, driving him from the area and firmly establishing her reputation as a fighter.

Yim Wing-Chun later married her betrothed; a salt merchant named Leung Bok-Chao. Yim passed the martial art of Ng Mui on to her husband, who named it Wing Chun kuen (Wing-Chuns Boxing) in her honor. From Leung Bok-Chao the style passed on to Hung Suen (Red Boat) Opera member, Leung Lan-Kwai (although some legends state that Leung was a wealthy scholar or Chinese herbalist). Leung Lan-Kwai passed the art to Wong Wah-Bo and Leung Yee-Tai, also of the Red Boat Opera.

A picture of Grandmaster Yip Man seen in many of the schools descending from his teachings.

Legends hold that Leung Yee-Tai was a poler for the Chinese Opera troop, whose job it was to steer the boat away from rocks or shallow water by pushing off with a long pole. On the boat, Leung befriended a cook who was really Jee Shim, the former abbot of the Siu Lam Temple in hiding. Jee Shim decided to teach Leung the famous six-and-a-half point pole set and its applications. Leung soon mastered the techniques and later he met another martial artist named Wong Wah-Bo, a master of Wing Chun kuen. They became close friends and discussed the principles of their martial arts. The two decided to trade and share their knowledge. After much refinement, the six-and-a-half point pole was incorporated into the Wing Chun curriculum.

The Vlng Tsun Athletic Association, the nexus for Yip Man’s art in Hong Kong.

Both Wong Wah-Bo and Leung Yee-Tai taught the notable Dr. Leung Jan of Foshan who brought fame to Wing Chun through his exploits, many of which have since been romanticized into stories and movies.

Dr. Leung Jan, a noted local herbalist, was known both as Jan Sin-Sang (Mr. Jan) for his professional and gentle nature and also as Wing Chun Wong (King of Wing Chun) for his fighting prowess and fierce reputation in challenge matches. Leung Jan taught at his store Jan Sang Tong (Mr. Jan’s Hall) on Fai Jee Street in Foshan and had a number of students, among them his own sons Leung Chun and Leung Bik, and his disciple, Chan Wah-Shun.

Chan Wah-Shun, often called Jiao-Chin Wah (Moneychanger Wah) due to his profession as a currency converter, proved himself outstanding in the practice of Wing Chun. A large and powerful man, Chan carried on his teachers reputation in challenge matches, and enhanced Wing Chuns reputation in Foshan with his victories.

Among Chan Wah-Shun’s disciples (said to have numbered sixteen in all) were his son, Chan Yiu-Min, and students Ng Siu-Lo, Ng Jung-So, Lui Yiu-Chai, Lai Hip-Chi, and Yip Man, among others.

It was Yip Man, Chan Wah-Shun’s final disciple, who went on to change the history of Wing Chun forever. Born in the mid-1890s to a wealthy family in Foshan, at roughly the age of thirteen (although some accounts suggest earlier) Yip Man approached Chan Wah-Shun, who taught on the Yip family’s property, and sought instruction. Chan, at first, thought the young Yip Man was too scholarly and gentle for the martial arts. Hoping to dissuade the young man, Chan asked Yip for a substantial tuition. Yip’s desire was so great, however, that he returned immediately with his life’s savings, intent on pursuing lessons. Yip Man’s dedication won over Chan and he accepted Yip as his last disciple. A short time later, when the old moneychanger passed away, Yip Man continued his lessons under Ng Jung-So, one of Chan’s most senior and talented disciples.

One account holds that Yip Man came to learn Wing Chun again while in Hong Kong attending school at St. Stephen’s college during the 1910s. Through a classmate, Yip was introduced to an old man who was said to be skilled in the martial arts. Yip, known for his brash and feisty character, challenged the old timer. According to some accounts, Yip charged at the old man, missed, and fell into the water at the pier where the match was taking place. Yip Man later found out the old man was, in fact, Leung Bik, the son of Leung Jan and his own sibak (martial arts uncle). Suitably impressed, Yip followed Leung Bik for the next few years, polishing his Wing Chun before making his way back to Foshan.

In those days, it was not uncommon for practitioners of Wing Chun to keep their knowledge secret, and simply not teach at all. So it was that, at first, Yip Man himself did not teach and practiced only with his good friends and martial arts peers. During the Japanese occupation, conditions changed. Life grew more difficult and Yip saw his wealth and prosperity dwindle. In 1941, to repay the kindness of Chow Chen-Chung, Yip Man taught some students in the nearby village of Yongan. These pupils included Chow’s son Kwong-Yiu, as well as Kwok Fu, Chan Chi-Sun, Lun Kai, and Chow Sai. As of this writing, most of Yip Man’s early 1940s students have passed away. Kwok Fu and Lun Gai, however, still preserve his art in Foshan.

If nothing had changed, Yip Man probably would have remained in Foshan and Wing Chun would likely never have attained the fame it currently enjoys around the world.

The winds of change, however, soon swept over China in the form of Mao Zedong’s Communist Party seizing power in 1949, after the defeat of the Nationalists and their retreat to Taiwan. Under Communist rule, Yip Man lost his wealth and property and had no choice but to flee his homeland.

In late 1949, fate brought Yip Man once again to Hong Kong. No longer young or wealthy, Yip took shelter at the Restaurant Workers Association in Kowloon, to which he was introduced by his good friend Lee Man. Teaching at the association at the time was a man named Leung Sheung. Although Leung Sheung taught Choy Lay Fut, he had also been exposed to lung ying mor kiu (dragon-shape rubbing bridges style), Bak Mei pai, and the Jee Shim Wing Chun of Dong Suen. Age had not dampened Yip Mans feistiness and, according to one account, he critiqued Leungs performance rather sarcastically in front of his class. Yip’s slight build emboldened the larger Leung Sheung. Leung threw down his challenge, the end result of which saw Leung asking to become Yip Mans disciple and Yip starting his career as a professional Wing Chun teacher in Hong Kong.

Masters Wong Shun-Leung and Hawkins Cheung, two of Yip Man’s students who helped forge Wing Chun’s reputation in challenge fights.

In the spring of 1950, Yip began with just over a dozen students. A short time later another class commenced with well over two dozen students. By 1951, a third class had begun with over forty people. Wing Chun proliferated among the restaurant workers and its reputation had spread, attracting people from outside the association as well. Wing Chun was finally taught publicly after decades of secrecy.

The early years saw the rise of Yip Mans reputation as a teacher and that of Wing Chun as a fighting art. Yips students issued and accepted many challenges. Yip Man taught literally thousands of students over the years hailing from varying social classes. Among his followers were his senior disciples who helped him instruct, a group of high school students, professionals, Restaurant and Bus Driver Association members, and more affluent private pupils.

Master William Cheung is based in Australia and teaches internationally.

Some of Yip Mans early disciples included Leung Sheung (famous for his biu jee set), Lok Yiu (famous for his Wing Chun pole), Tsui Seung-Tin (famous for his siu nim tao set), and Wong Shun-Leung (famous for his application of Wing Chun in challenge matches and street fights).

Through their victories in challenge matches, Wong Shun-Leung, Cheung Chuk-Hing (William Cheung, now in Australia and teaching internationally through his World Wing Chun Kung Fu Association), Lee Siu-Lung (Bruce Lee, who more than anyone else helped popularize and spread Wing Chun and kung-fu in general around the world through his movies and teachings), Cheung HokKin (Hawkins Cheung, now teaching in Los Angeles, California), and others firmly established Wing Chun’s reputation as a fighting art in Hong Kong.

Master Hawkins Cheung shows an example of simultaneous attack and defense.

Yip Man also passed along his art to his family members, including his nephew, Lo Man-Kam (now in Taipei, Taiwan) and his sons Yip Chun and Yip Ching when they later left Foshan for Hong Kong in 1962.

Other Wing Chun practitioners from Yip Mans lineage who were responsible for spreading the art include Wang Kiu in Europe, Kan Wah-Chit (Victor Kan) in the United Kingdom, Leung Ting teaching around the world through his International Wing Tsun Martial Arts Association, Lee Shing in England, Ho Kam Ming teaching in Macao and Canada, Fung Hon (Stewart Fung) in Canada, Chan Shing (Chris Chan) in San Francisco, Moy Yat in New York, Leung Siu-Hung (Duncan Leung) in Virginia, Fong Chi-Wing (Augustine Fong) in Arizona, Chung Man-Lin (Ken Chung) in San Francisco, Chong Yin-Cheung (Eddie Chong) in Sacramento, Yeung Biu (Robert Yeung) in Hawaii, and many, many others.

Master Leung Ting is the leader of the International Wing Tsun Martial Arts Association.

In 1972, after having passed along his Wing Chun to thousands of students, and seeing the art spread around the globe, Grandmaster Yip Man passed away as a result of complications from throat cancer.

Although at times politics, rivalry, controversy, and some infamy have surrounded Yip Man’s art, the style itself has made great strides forward. It is hoped that remaining differences will be resolved and that the Yip Man family will continue on in harmony, proudly claiming its place as one of the most popular forms of Chinese martial arts practiced around the world.

Five instructors of wing Chun in the Los Angeles area: (left to right) Jim Lau, Hawkins Cheung, Robert Chu, Gary Lam, Jerry McKinley.

BASIC MOVEMENTS

Yip Mans Wing Chun basics stress the fundamental structure with the yee jee kim yeung ma and the three essentials of tan sao, bong sao, and fook sao.

The yee jee kim yeung ma (goat clamping stance), also known as the “inward rotation abduction stance,” trains stability, force redirection and projection, and is the basic stance and structure of the system. Structure refers to the positioning and form of the body, stance, waist, and hands in order to connect the body and maximize power to the limbs. In Yip Man Wing Chun, the waist and pelvis push forward upon receiving pressure. If the waist and pelvis are not pushed forward, the upper torso will collapse when pressure is received, thereby breaking the structure. Weight is distributed evenly between both legs and the buttocks are ahead of the rear heel. Yee jee kim yeung ma is also the root of the other stances and steps in the system, including bik ma (pressing step), chum kiu ma (seeking bridge horse, the sideways facing stance from the second set), kao bo (hooking step), sam gwok ma (triangle step), gwok ma (angle step), and juen ma (turning step). In general, these stances emphasize a 50/50 weight distribution, although some Yip Man Wing Chun instructors vary this in their teachings. During bik ma stepping or in the juen ma turning stance, when pushed, the rear leg has the feeling of being pushed into the ground and when pulled, the forward leg has a feeling of being pulled into the ground. This gives the practitioner the sense of being firmly rooted to the earth.

In recent years, there has been some disagreement over the nature and form of footwork in Yip Man Wing Chun, becoming a noted source of controversy. However, it is known that Yip Man taught his students various methods of stepping while either dragging or picking up the feet, in both fixed and relaxed stances.

Tan sao (spread-out hand) is the basic configuration from which the other arm shapes are derived. Tan sao faces ninety-degrees perpendicular to the body and its height is determined by facing the opponent or by the “bridge” (extended arm) it comes in contact with. The hand is straightened out and the wrist is bent naturally. Tan sao also trains the hei (qi, internal energy) circulation and force projection. An old Wing Chun saying holds that “under heaven the tan sao is invincible,” and it is known that when Yip Man practiced the first set, siu nim tao, he would spend at least an hour on the tan sao section.

Master Koo Sang practices a movement from the baat jaam dao.

Gaun Gwun from the luk dim boon gwun techniques is demonstrated by Master Koo Sang.

Bong sao (wing arm) is probably the trademark of Wing Chun, so unique and outstanding is its shape. In the bong sao, the forearm indicates a gradual dip and the shoulder is kept relaxed. It is the only core Wing Chun hand position in which the elbow flies outward. The technique varies in height according to the opponents attacking bridge and its variations include high, middle, and low positions. Bong sao can only be executed when there is a force sufficient to create its need. When used, it can be employed as a shield, as a transitional move, or to slow or drag an opponent’s attack. The dual nature and multidimensional aspects of the technique allow for vast differences in its interpretation. The traditional saying that “bong sao does not remain” serves to remind the practitioner that this technique must be used only in the moment of its need, then changed immediately.

Fook sao (subduing hand) is so-named after its design, which makes it ideal for subduing the force of an opponents arm upon contact. Etymologically, the Chinese character for fook signifies a dog held down by a person, and this is exactly what the fook sao does through control of an opponent’s leverage point. Fook sao, like tan sao, is also held perpendicular to the body. Its difference lies in that fook sao is an on-top-of-the-bridge position, whereas tan sao is a relatively underneath-the-bridge position. Fook sao arguably has the most transition positions and can lead into lop sao (grabbing hand), gum sao (pinning hand), pak sao (slapping hand), jut sao (choking hand), and other techniques (Figs. 1–3).

Master Hawkins Cheung squares off with his opponent (Fig. 1). As the opponent punches, Cheung Sifu moves in quickly, intercepting with his forearm (Fig. 2) and flowing straight into a counter strike (Fig. 3).

Tan sao, bong sao, and fook sao are the most important hand maneuvers in Wing Chun and are often thought of as fixed techniques. In actuality, however, they are very much alive and adaptable. The names are merely convenient terms for the ideal positions of the bridge arms in relation to an opponent. Since their feeling is alive, they only exist when in contact with an opponent and only for the time it takes to actually perform them in transition.

FORMS AND TRAINING

Yip Mans Wing Chun contains three empty hand forms that capture the core skills that define the art of Wing Chun.

It is interesting to note that while different branches of Yip Man Wing Chun all teach forms that follow the same basic principles, there is a great deal of variation in the sequences themselves. Perhaps Yip Man learned different variations from his different instructors, continuously strove to refine and improve his art throughout his teaching career, taught the sections with emphasis on conceptual points rather than fixed sequences, tailored the sets to suit each individual student, or the sets have simply been changed by current-day instructors to fit their own needs. Of course, mistakes, misunderstanding, and misinterpretation may have also led to such variation. In the end, it is not important which variation of the set is the “original,” but rather that these sets give the practitioner a feel for the systems concepts, tools, and the basic knowledge necessary for their application.

Siu nim tao (little idea), the first form, is meant to give beginners an idea of the scope of Wing Chun techniques. Broken down, siu refers to “small, efficient, without waste, or compact and economical.” Nim is “to immerse yourself in the study of a subject.” Finally, tao refers to the “head.” Together, siu nim tao can give the cryptic message of “put it in your head to study the concept of efficient, small, economical, compact motions.” It is a training form, rather than a fighting form, emphasizing awareness of the centerline and the development of stance, body structure, and hand structure. Economy of motion is stressed, no excessive movement is required to deliver power to any of the “weapons” (i.e., attacking limbs) and when striking, the limbs do not vibrate. Basic offensive and defensive movements, centerline facing, proper elbow positioning for power, forward “spring” power, hands in coordination and independent of the body, development of sensing mind intention, and hei (qi) flow are also trained through siu nim tao. During the set, breathing is natural and the eyes follow the hands while peripheral vision is used to see in all directions. The mind is calm and as the name of the set implies, “don’t have big ideas, just maintain a little idea.” Siu nim tao has different levels of training and seeks to instill in practitioners important movements that are crucial to mastering the art. It is for this reason that siu nim tao is at once regarded the most basic yet most advanced form in the system.

Chum kiu (seeking bridge), the second form, refers to the timing of entry. Through the practice of the chum kiu set, practitioners learn to “seek when to bridge the gap between themselves and their opponents.” The form teaches to close the distance with a bent arm, then to straighten the arms (e.g., strike) after entering. It requires footwork movements in all directions, with the body facing the opponent’s centerline. The key idea of chum kiu is to break the opponent’s body and defensive structure. It exemplifies the control of the bridges of the opponent and the significance of the Wing Chun body structure in motion. It shows the importance of maintaining the shifting and the turning of the stance, and rooting into the ground, not just spinning on the surface like a top. Chum kiu also develops good grounding and side stepping to cut off an opponent’s circling movements. Through chum kiu, practitioners are trained in kicking, the high, middle, and low bong sao, the lan sao (obstructing arm), the chou chui (bouncing fist), and other tactics. The form teaches how to take and change the centerline and use it while moving; how to explode one’s power with coordination between torso, waist, and stance; how to step through an opponent; and how to come into proper fighting range. In some respects, chum kiu can be considered the most advanced form in Wing Chun kuen (Figs. 4–8).

(Fig. 4) The opponent faces Master Hawkins Cheung. (Fig. 5) As the opponent begins a front kick, Cheung Sifu immediately moves in.

(Figs. 6–8) Jamming the attack with a kick of his own, Cheung Sifu sends his opponent flying.

Biu jee (darting fingers), the third form, refers to the darting or thrusting motions trained in this set. Biu jee is comprised of the words biu, to “dart in,” and jee, to “point at” (with a finger or compass needle). In essence, it means that a practitioner must “dart in at what they are facing.” Biu jee trains an exponent in adjustments of position in relation to an opponent (bien jung sien) and stance. It comprises ways to break through an opponent’s centerline, and emergency techniques which can be used to free a practitioner when they are trapped or their structure is broken. Biu jee also teaches to strike with the fingers at the body’s weak points and develops one’s bridges to become as hard as steel. In addition, the form includes hooking steps and shifting along three centerlines. As it was traditionally taught only to disciples, there is a saying that “biu jee but chut mun” (biu jee does not go out the door.) As Chinese characters have different meanings, this saying can have several interpretations: 1) Don’t teach outsiders this set; 2) Don’t use biu jee (darting fingers technique) outside of your gates; 3) Don’t go out the door using biu jee. The question is which gate/door? Biu jee is only a secret, however, if one is unaware of its inner workings and understands the techniques solely on a superficial level.

Muk yan jong (wooden man dummy) is the only form in Wing Chun to be trained using an external aid. Contrary to its use in many styles of martial arts, the Wing Chun wooden dummy is not meant to be a device for toughening the arms. Rather, the dummy is used to help the practitioner to further understand concepts such as proper positioning and diffusion of force. Every section of the muk yan jong set is a means to check for proper body structure and stance. Bridges should stick to the dummy arms. The muk yan jong is taught in several stages. The first two sections of the set are the most important, with the remainder of the set being an artistic representation of the style. Typically, Yip Man would introduce the first two sections to a student, and the students would learn the rest of the set from their si hing (seniors). The muk yan jong has the most variation in the system, and may be due to this manner of teaching.

Basics on the wooden man dummy allow a student to do repetitious excerpts from the forms and practice these movements by themselves. They can practice gaun sao (cultivating hand), kwun sao (rolling arm), huen sao (circling arm), seung fook (double subduing arm), and seung tok (double lifting arm), among others, as drills on the device (Figs. 9, 10).

The muk yan jong set varies from 108 to 116 movements and from student to student. Typically, the sequence of the first sixty movements is performed virtually identically among each of Yip Man’s students, whilst the remaining motions vary among the disciples. With the set, practitioners learn how to adjust their steps, develop power and closing skills, take the “proper” line, and how to use hand/foot combinations.

Practice of the da san jong (free-style dummy) encompasses breaking the set down into its applications in setting-up an opponent and the proper context in which to do so. Practitioners learn to juxtapose the sequence to develop their minds to vary and spontaneously change their tactics as needed.

Hong jong (air dummy) practice involves doing the set in the air, without the physical dummy, and allows the practitioner to learn to combine techniques, flow freely, and later to “shadow box.”

The use and applications of the movements or mai sang jong (making the dummy come to life), involves practicing the techniques of the dummy set against a live partner.

Master Hawkins Cheung practices tan da and gaun sao on a muk yan jong.

Luk dim boon gwun (six-and-a-half point pole) consists of the seven underlying conceptual principles tai (raise), lan (obstruct), dim (point), kit (deflect), got (cut down), wun (circle), and lao (receive). The last principle is considered a half-motion as it allows one to withdraw the pole and start a new movement.

Many Yip Man Wing Chun practitioners prefer to explain the concepts in Wing Chun terminology using biu (dart), tan (spread-out), bong (wing), fook (subdue), jut (choke), gaun (cultivate), and huen (circle). Combined with stepping, angling, sensitivity, and interpreting energy, in addition to methods of issuing strength, these basic concepts may be combined to form innumerable permutations.

Historically, the pole was the shaft of the spear typically used by Chinese foot soldiers during times of war. Measuring seven to nine feet in length, it is thicker at the butt and tapers down to one inch in diameter at the tip. The pole is a heavy weapon and requires a practitioner to utilize correct body connection, body structure, and position.

Opening move for the 6 1/2 point pole.

Wing Chun pole training is based on the Siu Lam luk dim boon gwun. The original sequence has been simplified and shortened, training has been modified to include both the left and right hand lead positions, the grip has been reduced to match the shoulder width of the practitioner (and if one’s standard is high, this distance is maintained while practicing with the pole), and chi gwun (sticking pole) has been introduced into the curriculum. An advanced practitioner can wield the long pole as if it were a toothpick. This is to say, one does not use the pole as if it were a heavy, long weapon, but rather a light, maneuverable weapon (Figs, 11–19).

Saat gwun, a quick, downward stroke to an opponent’s hand.

Biu lung cheung, darting dragon spear.

In addition to the strengthening exercises and the pole form itself, there are a variety of supplemental drills which can be performed with the pole. One such drill involves affixing a small ball on a string as a target and repeatedly trying to strike the ball while it is stationary and while it is in motion. Another accuracy drill involves hitting coins or nuts or other small objects placed on the ground. Later, as a practitioner becomes more proficient, a spontaneous or live form is used and the practitioner can wield the pole in all eight directions. The front hand allows for front power and agile movement. The rear hand is the stabilizer for driving strength. The qualities of stabbing and thrusting, striking and cutting, jabbing and driving are combined and their attributes developed for application.

Tiu gwun, jumping upward staff.

Once these drills are mastered, a student can move on to the chi gwun or sticking pole exercise. In this exercise, practitioners come into contact with and stick to each other’s pole. Similar to sticking hands, the practitioners circle, position, and re-position to exploit the openings in each other’s defense. Control is emphasized for if one thrusts or strikes too hard injuries can easily happen. Chi gwun exercises develop sensitivity through the pole, long distance positioning, and train stance, torso, and bridges. After one is proficient in chi gwun, a practitioner can move on to free-style sparring practiced slowly at first and then faster

Dang gwun, hammering staff.

The most important principles when facing pole against pole is the Wing Chun saying, “gwun mo leung heung” (the pole has not two sounds). When using the pole, a practitioner should strike in one motion, hence, make one sound. The most efficient way to do this is by combining offense and defense in one motion. This does not mean first engaging a pole and then sliding down to strike the hand, for that makes two sounds. Rather, one should strike the hand immediately upon facing an opponent.

Tan gwun, the pole equivalent to tan sao.

Baat jaam dao (eight slash knives) provides training in mobility and further enhances precision in movement. It is also excellent for training the waist to lead the body. The baat jaam dao is often considered the most advanced form in the Wing Chun system. It was, and still is, treated as such a secret that to this day only a few dedicated students are taught the knife set, if at all. It is a practical form devoid of fancy moves like flipping the knives backwards or twirling about in circles, and it stresses the footwork required in the Wing Chun system. It is said in Wing Chun circles that “dao mo seung faat,” which means the moves of the knives are not repeated. Imagine that a Wing Chun practitioner can injure or kill an opponent in one move, attack and defend simultaneously, and efficiently economize his motion. If one can picture that, one can have an idea of how the baat jaam dao streamlines the Wing Chun practitioner’s ability and skill.

Lou suei gwun, flowing water staff.

There are several opinions as to why the double knife set is called the baat jaam dao. Some state that there are eight special slashes which include: jut (downward slice), pek (chopping), jaam (slashing), waat (sliding), biu (stabbing), lao (stirring), chai (stamping), and huen (circling), that comprise the set. Others hold that there are eight sections to the form. It is said that originally the Wing Chun knives were called the yee jee seung dao, owing to the fact that each section closed with a movement in which the parallel positioning of the knives made it look like the Chinese character for yee and that it was Yip Man himself who renamed the techniques “baat jaam dao” togive them a more conceptual label.

Fook gwun, subduing staff.

Some sharpen the skills of the knives on the wooden dummy. One must also sharpen the knife skills while striking objects. The knives are overall very simple in their application; as they touch, they injure. The baat jaam do train the armed application of Wing Chun principles, develop the bridge for breaking the centerline, train footwork, move to the outside gate, develop power, and develop the “butcher mind set” (an analogy of unrelenting cruelty to the opponent) (Figs. 20–31).

Lan gwun, the obstructing pole.

As Yip Man preferred to teach the practical, rather than have students memorize numerous keywords, he taught the essentials of his system through various basic partner exercises.

Pak sao (slapping hand) is the main defense against a fast strike. Pak sao is used to check the opponent’s incoming blow and as a basis for follow-up to “capture the timing” of the opponents movement and to initiate a counter-attack. Two partners train the exercise in yee jee kim yeung ma, with one partner doing lien wan chui (chain punches) and the other defending with pak sao. The eyes must follow the incoming blows, and particular attention must be paid to the torso and stance. With this exercise, a practitioner develops timing, hand and eye coordination, balance, and forward power with the pak sao and chung chui (thrusting punch).

Lop da (grab and strike) is important in teaching the student the use of the bong sao as a detaining technique, and the use of a grab and strike as a follow up. It is practiced with two partners in yee jee kim yeung ma, with one partner beginning the cycle with a chung chui and the other receiving with a bong sao. The bong sao is then followed with a lop sao chung chui combination which the first partner receives with a bong sao. The cycle is then continued numerous times and one may switch sides. There are many variations of bong sao lop da. A practitioner may vary the exercise with a push with bong sao, a step back and pull with lop sao, or changes with the attacking “weapon.” With this exercise, one develops the “jerking power” to knock an opponent off balance, timing, coordination, the feeling of sticking to an opponent, how to follow up when an opening is made, and the hands to assist and follow each other.

The low sup jee dao movement in the opening of the 8 slash knives set.

Upper crossed knives movement.

Chit dao, slicing knife.

Biu dao, darting knife.

Yee jee dao, parallel obstructing knives.

Tan Jaam Dao, dispersing and slashing maneuver.

Bong dao, wing knife.

Kwun dao, a combination of tan and bong knife.

Gaun dao, cultivating knife.

Tan dao/wang chit, dispersing knife and horizontal slash.

Jaam dao, slashing knives.

Biu dao, darting knife.

Dan chi sao (single sticking hands) is a basic exercise which teaches the changes of tan sao, bong sao, and fook sao. This exercise can be varied with the positions of running up and down the bridge of the opponent. Dan chi sao makes defenses strong; develops proper positioning of tan sao, bong sao, and fook sao; develops timing while sticking; develops stance and structure; and develops proper elementary defense for chi sao.

Luk sao (rolling hands) is a maneuver designed to develop a student’s sensitivity. Luk sao is the backbone of chi sao. Students learn to maintain the structure and stance during the luk sao exercise and vary the pressure (i.e., light vs. heavy), and the “running” of the hands. Mastery of running of the hands is important in learning how to cross the bridges. Luk sao develops the four major gate positions, which allow partners to create a bridge and the feeling of intention in the bridges. One develops proper coordination between tan sao, bong sao, fook sao, and the clean flow of techniques.

Seung chi sao (double sticking hands) is a drill in which the elements of Wing Chun are taught in a living laboratory or clinic. Through luk sao, students can learn to apply the movements taught in the three empty-hand sets and the wooden man set. It is known that when Yip Man taught chi sao, his students would always be gently falling backwards or forwards and unable to control their center of gravity. Yip Man would constantly have the students up on their heels or on the balls of their feet, while controlling their every movement. Some sources mention that Yip Man never bothered to touch hands with his students. This gave a great insight into the character of Yip Man. If he liked a student, he would do chi sao with them; if he didn’t, he would pay no attention to them.

In chi sao, it is most important that the student learn to control his opponents’ bridges and to set them up for the next shot. With chi sao, a practitioner learns to strike when an opponent’s intention is not there, and to stay wary and mindful of one’s own situation; to recognize opportunity, and become sensitive to it; the three major components of tools, timing, and positioning; and lastly, experience. Experience gives one the ability to recognize other avenues when before there seemed to be none. Advanced practitioners will practice chi sao while blindfolded, and with all the empty-hand tools, including the hands, feet, knees, elbows, and head. Chi sao practice helps to merge concept with practice. Often, students are advised: “Chi sao mo lien fa sik” (There are no flowery techniques in sticky hands practice”). Chi sao is the means to develop the most efficient way to strike an opponent. To utilize fancy techniques is to waste time and render the techniques inefficient.

Chi gerk (sticking legs) is a study by some of Yip Man’s students on developing sensitivity with the legs. The principles of the Wing Chun hands also pertain to the legs. For example, the “asking hand” and “guard hand” techniques become the “asking foot” and “guard foot” techniques, and tan sao, bong sao, and fook sao can be done with the legs as well.

Chi gerk training allows one to isolate leg training and to develop balance, endurance, and tactile sensitivity with them. During chi gerk practice, one discovers that each step in Wing Chun is a potential kick. Chi gerk also teaches to alternate the legs, to trap an opponents kick, and to “kick at the post” (e.g., attack the opponent’s supporting leg). It develops whole body coordination and combinations of hand and foot techniques. It trains the mind to subconsciously react with feeling; and to develop the balanced use of fifty percent hands and feet. Yip Man Wing Chun has the saying “gerk mo hui faat” (the kick does not miss), which means to kick only when necessary and when one knows that it will score.

San sao (free fighting) trains the applications of Wing Chun techniques. San sao training gives the student a way to customize their own Wing Chun, develop confidence in their abilities when facing an opponent, and explore how to take the correct angle of entry.

CONCEPTS AND PRINCIPLES

Wing Chun is a martial art that is based on principles and concepts rather than just techniques alone.

Jung sien dui ying (centerline facing principle), also commonly referred to as the saggital plane, central line, mother line, middle line is the cornerstone principle of Wing Chun. By adhering to the centerline principle, the Wing Chun practitioner has occupied the optimal position from which to defend or attack. Thus, the centerline principle forms the basis for the study of proper positioning. By positioning and correctly aligning the anatomical tools in the centerline, the manifestation of power and force is maximized. Finally, the centerline principle defines the effective limit and the power path of each movement, and the areas protected by conceptual shielding.