Wong Shun Leung Ving Tsun (Ving Tsun Kuen Hoc) The Science of Pugilism according to Wong Shun Leung
In this picture taken in 2005, you can see me in between my Sifu (Father in Martial Arts) and good friend Bernard Poon. We are with other students and family of Sifu Anthony Kan. I am very proud to have been selected by my teacher and Sifu Anthony Kan. My journey in Martial Arts began some thirty years ago.
Some of my former teachers have been in order Geoff Holts Juko Ryu Ju Jitsu, John Cheetham Shotokan Karate, Jeremy Yau, Lau Gar Kung Fu, Samuel Kwok and Michael Tse Ip Chun Wing Chun, Mark Jackson and Nick Smart Leung Ting Wing Tsun. I also have some limited experience of Tomiki Aikido and Ninjitsu. All of my former teachers are excellent in what they do and I have the highest respect for them.
However, I consider that it is only in the last 14 years after meeting Sifu Kan that my knowledge in Chinese Martial Systems was developed and honed to the full. Sifu Anthony Kan was a good friend and personal student of the late Wong Shun Leung who in turn was a brilliant and outstanding student of Yip Man. Wong Shun Leung is also recognised as the premier teacher of the late great film star Bruce Lee.
With Sifu Anthony Kan I have been learning and practising the martial arts of Ving Tsun Kung Fu since 1993 and also over the last two years I have been studying Wudan Yang Style Tai Chi Chaun under the lineage of Professor Fang Ning with whom my teacher is now studying in China. I have also been learning Qi Gong or Chi Gung which is the cultivation of energy for healing and balancing the mind and body. I must state that whilst WSL Ving Tsun Kung Fu has served me well for many years, I have now decided to focus my main attention on Wudan Yang Style Tai Chi as taught through the lineage of Professor Fang Ning. This is mainly due to my increasing interest in cultivating Internal Energy and practising methods of Qi Gong as well as my age. Of course I will still continue to practice WSL VT as much as I can, since it is an excellent system of Martial Art which keeps fighting movements simple, efficient and to the point. WSL VT is one System which is readily suited to the real world of self protection. This article from David Peterson's website is an excellent introduction to the topic at hand:
http://wslwingchun.resolvedesign.com/personal_protection.htm
This main purpose of this page is to honour WSL VT as an excellent system of Martial Study and it acts as a vehicle to celebrate Wong Shun Leung and other teachers of the System who have promoted and furthered the way for dedicated followers.
Wong Shun Leung Ving Tsun (WSL VT) is a close quarter method of fighting and it is famous for its unique sensitivity drills within Chi Sau or Sticking Hands training. In essence though the principle of WSL VT is not to adhere or stick hands with the opponent. If the way is clear to hit then one should be hitting, it is only if one's attack has been stopped or taken off line that one needs to use the methodology of Chi Sau to find the next available line of attack. This is an important point of WSL VT which is "aggressive" and decisive in nature. In WSL VT hitting the attacker and making sure that one hits direct and in the shortest path and time is essential since combat is a life or death matter, the movements within WSL VT are simple, direct and efficient.
WSL VT is also concept based and not technique based. For example movements from the Patterns can be trained within Chi Sau and also outside of it but there is no set sequence of movements in Ving Tsun and the WSL VT exponent must find the movements to fit the situation and not the other way around. WSL VT is fast, effective and deadly. It is a method of incapacitating an opponent in the shortest time. All movements should reflect this.
The WSL VT Curriculum is:
Siu Nim Tao = Young Idea Pattern
Chum Kiu = Searching for the Bridge Pattern
Biu Jee = Finger Pointing to the Moon Pattern
Mook Yan Jong = Wooden Man Pattern
Luk Dim Boon Kwan = Six and a half Point Pole Pattern
Bart Chum Do = Chopping/Slashing Butterfly Knives Pattern
Videos of my Sigung (Teacher's Teacher) Wong Shun Leung
Here is my teacher (Sifu) Anthony Kan with Master Wong Shun Leung. My teacher was a personal friend of Wong Shun Leung and a student of his. My teacher is a Senior UK Representative of the late Master Wong Shun Leung. I am honoured to be a student (To Dai) of my Sifu. His skills are superb and he has guided me to finding my own path to Ving Tsun and to expressing it in my daily life. I have completed all of the formal study of the Wong Shun Leung curriculum including the Butterfly Knives or Bart Chum Do. I have also received a Certificate to this effect from my Sifu.
Below you can see some video of Master Wong Shun Leung performing the Siu Nim Tao or Young Idea Form. This is the first Pattern within the VT System and teaches setting up of the Ving Tsun Stance or Horse called Yee Jee Kim Yeung Ma. As well it teaches the concept of the elbow force and the elbow path especially in the Tan Sau, Huen Sau, Wu Sau and Fook Sau sequence, with Tan Sau being delivered once and Fook Sau trained three times. This is sometimes called Praying Thrice to Buddha. The elbow path and force is very important in Ving Tsun. Also strong elbow to hip connection is vital, this is called Yiu Lik.
Siu Nim Tau also teaches the three fundamental positions or seeds of Ving Tsun namely, Tan Sau, Fook Sau and Bong Sau. As well it teaches the theory of facing or Chiu Ying and of course the importance of the Centreline. Lut Sau Jik Chung or punch under no resistance is also a fundamental component of WSL VT and this Pattern introduces and cultivates this unique concept within the opening sequences. In fact the SNT can be divided into three sections for learning purposes, whilst in practice it is all one Pattern. It consists of 108 movements all applied in one spot i.e. there is no changing of the Horse. This in itself could be considered a form of Chi Gung or at the least strength training for the legs and waist. The Yee Jee Kim Yeung Ma provides the basis for all other stances used in Ving Tsun. Whilst this Pattern may appear to have little or nothing to do with protection of oneself, it is in fact the essence of this unique and devastating system of close quarter fighting.
The three sections of Siu Nim Tao can be expressed for training on the Tan Sau actions: These Tan Sau actions can be shown in the First, Second and Third Parts of Siu Nim Tao. Please note these are not three ways of using Tan Sau. They were used to show the way in which elbow energy can be applied.
Lut Sau Jik Chung (Development of constant forward elbow force to opponent's centre)
Lau Cheung (Development of control of elbow force on the centre)
Yi Wei (Development of shifting the elbow to create new lines of attack or defence)
More Video of Sigung Wong Shun Leung performing Siu Nim Tau
Video of Chi Sau with Master Wong Shun Leung
Below you can see some Video of Master Wong Shun Leung performing the unique hands and feet sensitivity training known as Chi Sau. Chi Sau or Sticking Hands is similar in essence to Tai Chi Chaun's Tui Sau or Push Hands. However in Ving Tsun there is an emphasis on striking and also the speed of movements is normally a lot faster. Master Wong Shun Leung and my Sifu Anthony Kan are experts at the Chi Sau. I too am highly skilled. Chi Sau teaches one positioning of the whole body in relation to an opponent, it teaches hand and feet sensitivity to read incoming energy and make use of it, it teaches facing and the concept of always attacking Centre and never chasing the limbs (except in Biu Jee Theory). Chi Sau has within it Lok Sau and Poon Sau as well as specific drills for whole body power e.g. Jon Thoi Ma (Push Horse Training). Chi Sau also conditions Lut Sau Jik Chung and in fact the whole 8 word idiom from the Kuen Kuit can be practised within Chi Sau. That is Loi Lau Hoi Sung, Lut Sau Jik Chung.
Loi Lau = Stay with what comes
Hoi Sung = Follow through as the force retreats
Lut Sau = Hands lost
Jik Chung = Fire instinctively
Chi Sau is a wonderful system of programming the mind and body to react in the moment to what is and not to what might be. One learns to use the Bridge Arms to read and intercept energy and thus one liberates oneself from fixed patterns of combat. One learns to move and act instinctively and thus overcoming the tendency to over analyse so prevalent in some forms of combat. In a real situation there is no time to think if one does it may be too late, to quote the words of Barry Lee another outstanding exponent of Wong Shun Leung Ving Tsun (WSL VT). In Chi Sau as in combat it is essential to chase the opponent (Jui Ying) One must never normally chase hands. Later on when training the Biu Jee and looking at the WSL Ving Tsun System from out of the box so to speak then one does and can deploy methods which chase the hands but this is for a specific reason. That is but one reason why it is best not to introduce the Biu Jee Pattern too early into a Ving Tsun student's education. To return to Chi Sau, one must seek to chase the opponent's centre and drive home one's attacks, exploiting any weakness and contunually seeking to find a position to attack from. It is also essential to be at bent arm range when launching one's attacks and to combine attacking movements with synchronisation from the Horse. This means that whole body power is transferred to the opponent rather than localised power. The force of the strike to the opponent is magnified due to the incoming force of the Ving Tsun Technician colliding with the opponent who is effectively "walking" onto the strike/s.
After hand movements are mastered then foot attacks can be also delivered via Chi Gerk (Sticking Legs) this applies simple and direct parries with the feet to foot and leg attacks and then allows the Ving Tsun Technician to attack with their own feet or to deploy trips and sweeps to the opponent. Chi Gerk also trains the supporting leg of the Ving Tsun Technician. Balance is vital and if one can train one's supporting leg to be very strong and flexible to forces then one has a distinct advantage. Please note, however, that standing on one leg in a fight is not productive in essence one needs to be on two legs and thus Ving Tsun considers it best to use hands to win the fight. However, if one can seize the moment by applying a well timed kick direct to target then so be it. Ving Tsun even has a strategy to maximise balance in such circumstances by using one of the attackers limbs to hold on to for balance thus the attacker's limb becomes the support to assist the balance of the WSL Ving Tsun Technician whilst he launches his own kick! Once the kick has been launched it should return direct to the ground as quickly as possible. To facilitate this and to offer extra protection, WSL Ving Tsun uses a forward stepping motion to deliver the returning foot to the ground whilst at the same time attacking continously with the hands. It is a truly ingenious System of In Fighting.
Chum Kiu (The Second Pattern of Ving Tsun)
Below is a short Video of Sigung Wong Shun Leung explaining the Chum Kiu applications. Note although Ving Tsun is a concept based System, one needs to have examples of applications to converse with practically. However, the movements shown are not prescriptive and in other circumstances and depending on the feel from the training partner and the direction of force other more applicable movements may arise. Even so the examples given are well formed and applicable to the context and situation. One can immediately see the simplicity of the Ving Tsun concept. It uses attack and defence in one timing. This is structurally faster than block and then attack. Ving Tsun also uses the elbow to cover the straight line. Chum Kiu can be translated as Searching for The Bridge with the Bridge being a link between the WSL Ving Tsun Technician and the opponent. Note well this can be a physical Bridge e.g. an arm or a leg etc or it can be a mental Bridge created in the air through the elbow line to guide the Ving Tsun Technician's attacks to the target. In WSL Ving Tsun there should not be any incorrectly formed attacks or defences, all attacks and deflections must have structure, alignment and power. Power in WSL Ving Tsun is gained via structural alignment, the correct line of attack and defence as well as the correct elbow to hip connection which roots incoming energy back to the ground. Strong legs and waist are vital. There is a general Ving Tsun saying: hands like lightning, legs like a mountain. This implies very quick hand movements and also a strong connection via the legs to the ground. Of course the WSL Ving Tsun Technician must also possess nimble and fast footwork for directional change to get out of the incoming line of attack and attack along a new line which is structurally superior. Chum Kiu teaches this mobility and footwork. It combines the hand techniques and postioning of Siu Nim Tao and adds in footwork. Chum Kiu also teaches one timing (synchronicity of movements) in that everything starts together and ends together. Thus hand movements should synchronise with foot movements. This is also refected later on in the Mook Yan Jong where one can judge by listening the prowess of the Ving Tsun Technician. Even though multiple movements are performed the sound from the Jong must be as one. The Chum Kiu song or saying is:
Yiu Ma Hap Yat - Horse and Waist power combined. This two directional force is very important and adds to the rotational speed and delivery of movements. Flexibility in the waist and groin area (Kua) is vital. Again the Chum Kiu Pattern can be broken down into three sections for training although the Pattern is complete when performed as one:
The three sections for Training focus on the following aspects of Bong Sau:
Yi Bong (Shifting Bong Sau)
Paau Bong (Throwing Bong Sau)
Dai Bong ( Low Bong Sau)
Note these are not three different methods for applying Bong Sau but teach the correct path and elbow force for delivery of Bong Sau. It must always be noted that Master Wong Shun Leung did not advocate Bong Sau as a useful strategy in and of itself as it provides no direct threat to the opponent's centre. Paau Bong does have an up rooting and "shocking" force back into the opponent but in reality it is better to use hitting rather than Bong Sau or if forced to use Bong Sau combine immediately with an attack. Lap Sau teaches this principle.
In this Video Master Wong Shun Leung is joined by another outstanding student of Wong Shun Leung namely Chan Kim Man: It is Chan Kim Man that performs a wonderful rendition of the Chum Kiu Pattern at the beginning of the Video. Although the Video is all in Chinese Language the simplicity and practicality of Ving Tsun shines through.
Below the Video of Chan Kim Man performing the Chum Kiu is a video of Sigung Wong Shun Leung performing the Chum Kiu. I hope that you will enjoy these wonderful videos of pure Ving tsun skill.
Biu Jee (The Third Pattern of Ving Tsun)
Above one can see Sigung Wong Shun Leung performing the Biu Jee Pattern. He is about to perform Gwai Jarn or Downward Elbow strike. Wong Shun Leung likened the methodology of Biu Jee to a business man facing impending financial disaster. In this scenario sometimes the business man will have to cut his losses by sacrificing parts of the business to save his company and himself. Likewise sometimes in situations that have gone against a WSL Ving Tsun Technician, the WSL Ving Tsun Technician may well have been attacked unawares or be outnumbered, then he will have to deploy methods that go against some of the normally held concepts of the System. For example in WSL Ving Tsun one is taught from the beginning of one's education never to chase hands but always to attack the opponent's centre (Jui Ying concept) However, in Biu Jee we see and train movements which do at times chase hands. This is important when fighting multiple opponents as one wants to destroy and cause pain to the attackers incoming limbs at the first opportunity (taking what is given) and also there is often no time to go in on Centre as to do so is too risky when there are multiple opponents. Biu Jee also teaches hit and run tactics, to cut one's losses one hits and then makes good an escape. One also deploys grabs in this Pattern to use one attacker as a weapon into other attackers or to use one attacker as a shield against other incoming attacks. Gow Gup Sau or Emergency or First Aid Hand is also used extensively to recover the Centre when one has lost it or been forced off the centre. In Siu Nim Tao or Chum Kiu one is also taught never to cross arms and yet in Biu Jee one actually puts one's arms into crossed positions to train oneself what to do in this worst case scenario. There are no kicks in this Pattern as the potential loss of balance is just too dangerous when facing the adversity of multiple opponents or when one is cornered or attacked unawares. This Pattern is to do with survival. The Pattern also does not have clearly defined parts to it such as Siu Nim Tau or Chum Kiu. In fact it seems to be a collection of techniques and concepts for survival. Below is a video of Sigung Wong Shun Leung performing the Biu Jee.
Articles on Wong Shun Leung Method:
The link below leads to an excellent article on Biu Jee by David Peterson (Sifu) a well known foreign student of Wong Shun leung. David Peterson (Sifu) is a wonderful teacher and presenter of Wong Shun Leung Ving Tsun. David has also produced an oustanding book on the WSL VT System and in it he shares memories of his training with Wong Shun Leung and provides many insights into the System. I highly recommend his book and his DVD's on Siu Nim Tau and Chum Kiu. For more details on these as well as brilliant articles on Wong Shun Leung Method Ving Tsun follow the links on David's excellent website, listed directly below:
http://wslwingchun.resolvedesign.com/biu_ji_ving_tsuns_misunderstood_form_by_david_peterson.htm
And for more high quality information on WSL VT one could do no better than to look at the website of John Smith (Sifu). Hong Kong trained by Wong Shun Leung and originally a student of David Peterson, John Smtih combines tradtional knowledge with highly practical and functional skills. John's website contains a detailed description of each of the Patterns and is very clearly laid out. I highly recommend it.
For more on John Smith (Sifu) and Illawarra Ving Tsun School, please see this:
http://members.ozemail.com.au/~jr.smith/
I particularly like this page on the logic of Ving Tsun:
http://members.ozemail.com.au/~jr.smith/page2.html
Mook Yan Jong
The Mook Yan Jong or Wooden Dummy Pattern. This Pattern traditionally consists of 108 movements but certain teachers have expanded upon this to 116 movements. The Pattern largely consists of recovery movements. In other words seeking to best understand how a WSL Ving Tsun Technician can regain the initiative after a movement has been made which puts him or her into a compromised position. Thus movements such Gaun Chor Sau (wrong side Gaun Sau) are recovered with Huen Sau. Or equally Bong Chor Sau is recovered with Gaun Sau. Sigung Wong Shun Leung was quoted as saying that the first two thirds of the Wooden Dummy Pattern most resembled movements from the Siu Nim Tau and Chum Kiu Patterns, with the latter movements being most applicable to concepts from the Biu Jee Pattern. The key point with regard to the "playing" of the Jong is the "one sound" theory which states that one can hear if a Technician is playing the Jong properly as even though multiple stirkes are presented they should arrive as one on the Jong thus one hears "Da Da" rather than "Pitty Pat, Pitty Pat" Hard to explain but the sound should be as one not a multitude of different sounds. The Jong is to do with correcting one's angles, force should never clash with force. It is not about how hard one strikes the arms or leg of the Dummy as this would in fact be chasing hands!! It is to do with how one angles into the Jong to provide a structurally superior line of attack and defence. In fact one does not strike the trunk of the Jong from distance instead one goes in with co-ordinated foot and arm movements and then using the "inch" force to transmit force to the Jong. The Jong conditions the whole of the WSL Ving Tsun Technician's structures since it provides a "rebound" force when struck. If the structure of the WSL Ving Tsun Technician is incorrectly aligned then the resultant force will not be transmitted back to the ground via the correct vector path and thus force into the Jong will be lost and also the Ving Tsun Technician is likely to lose their footing, especially on the kicking movements performed on the Jong. Also in WSL VT one does not stick to or adhere to the Jong's arms, in fact one creates the correct room and distance to be able to generate synchronicity of movements to enable the correct, line and structure to generate unrestrained force into the Jong. Below one can see a video of Sigung Wong Shun Leung performing the Mook Yan Jong. Note, listen to the "one sound " theory and watch how Sigung Wong Shun Leung creates room and correct distance for delivery of his movements.
Sigung performs the Mook Yan Jong Pattern
Mook Yan Jong Seminar with Wong Shun Leung and Nino Bernardo
Below is a short clip of a Wooden Dummy Seminar with Sigung and one of his oustanding students namely Nino Bernardo: Even within this short clip one can appreciate the deep knowledge and wonderful skills of Wong Shun Leung. Wong Shun Leung (Sigung) is also explaining that the arms on the Dummy are not necessarily right or left handed attacks or positions but that they can alter depending on the angle of defence and attack or the theory being looked at, at that time. Thus it takes a skilled teacher to impart the inside knowledge of the Wooden Dummy Pattern. Note I have this video within part of my private collection on Ving Tsun and Wong Shun Leung.
Luk Dim Boon Kwan (Long Pole Pattern)
The Ving Tsun Long Pole Pattern resembles the movements used by single arm empty hand fighting within the Ving Tsun System. It is a very long weapon often up to nine feet in length and being made of Redwood, it is of course very heavy. To hold the Pole at the end and to wield it with dexterity takes considerable power which improves one's elbow force and structure. The Pole Pattern also enables the conditioning of the Horse and thus improves the stepping and punching power of the VT Technician. The Horse stance used is now no longer Yee Jee Kim Yeung Ma. The Horse Stance used for the Long Pole is the Sei Ping Ma which is the same Horse Stance used in Hung Gar. For more on the Sei Ping Ma please see this:
http://www.hungkuen.net/training-basicstances.htm
The Long Pole Horse Stance can also be referred to as Gwun Ma or Big Horse. Traditionally the Technician lowered the Horse very low to the ground but now a days one knows that this causes damage to the ligaments of the knees and thus it is sensible to only go to parallel and no further. The song of the Luk Dim Boon Kwan is that "the Pole only makes one sound"
The Pattern is very short consisting of only six and a half point techniques. These are as follows:
The Six and Half Point Long Pole Technique.
Terminology:
1. 'fong lung cheung' - "releasing the dragon spearing-action"
2. 'ping cheung' - "level spearing-action"
3. 'leung yi' - "two moves" Resembles the tan Sau action in the empty hand Patterns
4. 'lau sui' - "moving/stirring the water"
5. 'kam gwan' - "covering pole"
6. 'dang gwan' - "ascending pole"
0.5 'che cheung' - "descending spearing-action" - the backward/downward action at the very end of the pole form, used to intercept the opponent's weapon (or the opponent's legs) when the attack comes in on a low line from the rear of the stance.
Next follows a video of Sigung performing the Luk Dim Boon Kwan. Note prior to learning the Pole, one is traditionally taught the empty hand movements of the "pull apart" Pole Punches. A video of these movements is also demonstrated by Sigung
Luk Dim Boon Kwan by Wong Shun Leung
Pole Punching Drill (Che Gwan Kuen) by Wong Shun Leung
Bart Cham Dao
From my understanding based on what I have been taught, Wong Shun Leung did not have descriptive names for each of the movements in this Pattern. The Pattern is the 8 Slashing or Chopping Knives Pattern. The emphasis within my training has been on the application of the Knives. When my Sifu was learning from Wong Shun Leung they would often use rolled up Newspapers or magazines to practice the application which prevented injury. Wong Shun Leung was a Master of applying the knives. In fact Wong Shun leung would use the Fencing Foil to encourage students to be very fluid and flexible in using the Knives. I have completed the Bart Cham Dao Pattern and I have learnt and I am still learning the applications of the Bart Cham Dao. Some key ideas are that the hand becomes the elbow, referring to where the source of power is when using the knives. Other key ideas are that the opponent's weapon must never directly face and thus much more turning and side on facing is done when using the Knives. Also the Knives must stay well out from one's own body and must never be twirled as the dangers of cutting oneself are all too readily apparent. Positioning and sensitvity of reaction as well as new footwork (Gote Ma) is used. Attacking the attacker's arms and chopping or slashing them at the first opportunity is vital. Blade must never clash with blade. Synchronisation and dexterity of movement is called for. There are movements to deal with long weapons such as the Luk Dim Boon Kwan (Long Pole) as well as movements designed for short weapons such as the Bart Cham Dao. Note as the theories and movements of the Knives are significantly different from Empty Hands then in my opinion and judgement, I do not teach and cannot teach the Knives unless a student has near mastery of the Empty Hand System. This of course can take many years of dedicated training. Teaching the Knives too early on in a student's education can lead to problems within their Empty Hands thinking and training. However, if a student has a very good understanding of the rest of the System then the Knives can add to and complement their knowledge and understanding. Of course there are may everyday objects that can be used in the place of the Long Pole and Knives, as improvisational weapons for strategic offence.
I will now post an excellent article by Gary Lam (Sifu) with his student Greg Le Blanc. I concur with this article and find it very good on the movements and thinking behind the Knives:
http://www.garylamwingchun.com/index.php?view=article&catid=34%3Aarticles&id=73%3Athe-wing-chun-double-knife-training-baat-jaam-do-by-sifu-gary-lam-with-gregory-e-leblanc&option=com_content&Itemid=113
Pictures of Sifu Doug Clark and Todai Craig Clark (Note all of these pictures are captured from Video. None of the positions are set, they all arise during motion of either Chi Sau or Sparring from a non contact positioning.
This picture shows me intercepting a straight punch from my opponent and using a forward pressure Pak Sau deflection which moved into a control with my elbow line at the same time Palm Heeling to the jaw. My Wu Sau (Guard Arm) position is on my own Centre of Balance and is acting as a Helping Hand. It is watching for the opponent's other arm (in case he hits) and is paving the way to hit.
Lap Da - Hitting within Lap Sau Drill
Here I have collapsed my Training Partners defence and launched a co-ordinated attack of my own. I have used one timing on the Lap Sau drill to deflect his arms and to go in with my Horse and punch direct to target.
Control and Hit
Here I am controlling my Training Partners arms and body via my positioning and have hit with a heavy hit and co-ordinated timing with the Horse.
Pad training for power
Fak Sau (chop) into the pads for training power and angle of strikes prior to using in sparring. Using the Wall Bags, the Jong and also Speed Ball and Thai Pads as well as Chest Protectors to gain contact awareness and transfer of punching and striking power into the opponent. I do not believe in doing a lot of air drills on one's own as there is no relation to the opponent. Using pads and other contact work alllows one a sense of hitting a target.
Sparring outside of Lok Sau
Using the techniques from outside of Lok Sau to teach the ability to spar or fight off the Bridge. This is good training and is essential to transfer the skills from Lok Sau (Chi Sau) into use for potential street attacks. It teaches timing and awareness and forces one to use visual skills and recognition whereas Lok Sau teaches tactile sensitivity.
Extending the punch into his Core
A very heavy hit straight into his Core. I am using the waist power (Yiu Lik) to nail the punch in with co-ordination from the Horse and Stepping. Look at the angle of the punching arm, gaining power from the Horse and from the Hip Connection.
Pak Sau with forward energy
This picture shows an earlier stage of the previous photo. I am entering the opponent's space and deflecting his punch (gun) off my Centre whilst I have used Juen Ma (turned the Horse slightly) but remain in Chiu Ying position to have equal reach with both hands (guns) lined on his centre.
Collapsing the Bridge of the opponent with Centreline punches
In this picture I used my Horse and co-ordinated elbow actions to enter my opponent's position and collapse his Bridge at the same time stepping through and striking. This photo is still on the way, I actually go right through the opponent and drive them into the door behind.
Lap Sau (collapsing the opponent's Bong Sau with simultaneous punch)
This picture was shot mid action in Lap Sau (deflecting hands). I simultaneously collapsed Craig's Bong Sau and punched through on the line whilst stepping in with the Horse.
Centreline punch to jaw with stepping Jon Ma
Here I am on the way through to striking the opponent's jaw with a centreline punch whilst my other arm has collapsed his Bridge.
Pinning
Pinning for split second control whilst Palm Heel lines to strike
Hands and Feet Chi Sau
Learning how to use the Hands and the Feet whilst going in with the Horse with control of the opponent
Sending the Opponent Off using the Horse and Waist Power
This shows me projecting my opponent out of the fighting area using a fast striking and sending action with the hands and waist combined
Flying him away from Push and Pull Drills
In these drills one person has two Bridge Arms on the Outside and the other has two on the Inside. The one with the arms on the Outer pulls the partner in and the one being pulled uses Kwan Sau to ride the force. The one on the Outside then uses power from the Horse to send off the other person. Of course one can control this and continue to train by pulling and pushing off. These are very strenuous drills to teach rooting and transfer of power from the whole body.
Push and Pull (Kwan Sau)
Here I have used my elbow energy and waist to pull him in along with the connection to my Horse. He has riden the force in and used Kwan Sau to off set me. In the above picture I have completed the motion by throwing him off with whole body power.
Punching from the Outside Gate
There is an Inside Gate which opens the Opponent up but may leave the Ving Tsun exponent exposed to a counter punch and there is the Outside Gate which is more defensive but enables the Ving Tsun exponent to off set the opponent and take their hitting hands out of the firing line. Here I take the Outside Gate and fire into the opponent with punches.
Structure Testing
The Lok Sau positions can be used to test the opponent's structure. By pulsing with the Horse and Waist combined and sending the elbow force from the waist and legs. Here I have completely collapsed Craig's position with my Bong Sau. This kind of "heavy" training is essential for power.
Punch to Throat
Punching into the Throat with the other hand momentarily controlling and my Horse going at the same time. My elbow position on the punching hand helps to control the opponent as well. One has to be very careful with punching on this line as any movements to the Throat contain the potential for significant damage. Note how the opponent's structure is broken, even at this early stage of the punch going in.
Lap Sau
A picture showing the Lap Sau cycle. Lap Sau is not simply standing on the spot. It is a complete drill with the Horse moving and going in to Bridge as well as retreating at times with the opponent's movements to flow and change in an instant. In one of the above videos Master Wong Shun Leung is shown demonstrating the Lap Sau drill with feet movements combined. Changing the Lap Sau cycle can be done with Fan Lap. As well Tan Da can be used within this drill. Low Palm strikes with Pak Sau acting as a covering hand can be put in to test the opponent as can varying degrees of pressure. There is much more to the basic drill than meets the eye. However, the key point is to clear the path to hit when one has compromised by using the Bong Sau action. The Bong Sau presents no direct threat to the opponent. Thus it is essential that the Ving Tsun Technician knows how to recover quickly from the Bong Sau. One way to do this is to use the warding off hand from Lap Sau combined with a hit.
Centreline Punches Whilst Going In With The Horse
Extremely strong and powerful punches being driven in with the Horse and Waist alignment power, called Yiu Lik. The Horse and waist are trained in a static position within Siu Nim Tau as is the elbow connection to the waist. Some people think that the waist cannot be trained in Siu Nim Tau as one is not moving but this is incorrect. Static positions held for a significant period of time train the muscles to co-ordinate and bind together so as to become very strong and resilient. This picture shows the Horse and punching going into the centre all at the same time.
Palm Heel to Jaw
Note how my training partner's balance has been compromised and how the power from the correct elbow to waist alignment pins him against the door. In reality this strike could be driven right through and it is a very heavy blow to receive. Note the bent arm range for hitting which maximises the power into the opponent. This palm heel was converted from an earlier Pak Sau deflection. Note the co-ordination and synchronisation of the whole body driving into the opponent. The timing is as one, with Horse and strike all arriving at the same time. This unity of timing is practised and taught specifically within the Chum Kiu stepping movements.
Hand Lost Recover by Retracing the Elbow Path to Grab Neck/Head and Hit
This is a movement which can occur due to the punch of the VT Technician failing to find its mark. As such one can retrace or follow the line of the punching elbow back and if and only if the opponent's head is there, one can make use of it as shown in this picture, combining the movement with a synchronised punch. This movement can and does work but only as a recovery movement. The hand that comes back makes a very hard slapping and shocking movement to the base of the opponent's skull prior to grasping and locking the head for the hit. The slapping movement to the base of the skull can cause shock to the brain stem so must be practised with caution. The movement is shown conceptually at the beginning of the Mook Yan Jong Pattern. However, this is only one interpretation. It is equally correct to state that one is training the elbow to come back quickly to the correct line for punching.
Recovery from Gaun Chor Sau, Huen Sau and Hit
The follow on from Gaun Chor Sau, Huen Sau and then hitting through whilst still protecting and controlling the centre.
One hand covers two
Here one can see that I am controlling both of the opponent's arms with one hand of my own, whilst at the same time I have combined a punch with my Horse moving in at the same time to break the structure of my opponent.
Cover and Hit
Here I simultaneously cover both of my opponent's Bridge Arms whilst hitting from an angle that protects my own Centre whilst off setting his. I have also momentarily trapped both of his arms with my positioning.
Higher and Lower Gaun Sau on the Jong
Note the distance between my Torso and the Jong. We create a lot of space whilst "playing" the Jong. I only Bridge when I need to. Outside of that I want to protect my Centre and thus controlling my personal space is vital. Clsoing in too much is in effect "jamming" myself. Of course when I need to hit then I use my Horse and synchronised timing to go in and hit with the "inch" force. The sound on the Jong should be the "one sound" theory where everything starts together and arrives together. Whilst "playing" the Jong it is the Horse that leads and directs the body. Arms nor feet never lead first, always synchronised actions. This transfers whole body power rather than localised power.
Hit Direct to Target
A hit direct to target. I am still going in with the Horse at this point. Note how my opponent's structure is already collapsing. My rear arm is lined to strike through.
Wearing the Chest Protectors
In this Lap Sau Drill, I am wearing a Chest Protector so that my Partner can fire through instinctively with unrestrained force as soon as he feels a gap. This is to train Lut Sau Jik Chung (Punch under no resistance). Lut Sau Jik Chung is a highly important principle in WSL VT and we train it a lot. Basically when the hands are freed from obstructions they should be hitting. It is of course vital that one has protected oneself and taken the correct angle and path to hit rather than just blindly striking out. Lut Sau Jik Chung can be trained with one person releasing and the partner "firing" or it can be trained within Lap Sau where again one person releases for the other to practice the instinctive reflex action of Lut Sau Jik Chung. Chest Protectors allow the other person to "fire" in with force and to train a heavy punch. Although in reality it is only the first strike form loss of contact that can be considered to be Lut Sau Jik Chung. The Lut Sau Jik Chung is not just the hand "firing" in but it is synchronised action of the whole body entering the opponent's space and punching. Lut Sau Jik Chung can be thought of as "rush in upon loss of contact". Please note this rushing in is not "blindly" moving in on the opponent. It is a reflex action but the correct angle which protects the WSL Ving Tsun Technician needs to be taken along with the corresponding strike.
Gaun Chor Sau, Huen Sau and Hit
Here you see me recovering from Gaun Chor Sau (Wrong Side Gaun Sau) with Huen Sau and Hit. In reality my Lower Hand should already be above the Bridge. However, this shot was taken mid action and my lower arm is on the way to strike. But ideally both hands should be on top of the Bridge at this point. Then again life is never perfect is it. As long as one knows what is the correct path and the correct way of approaching one's training then one can maximise one's learning and ability conforming with the Motto of Sigung Wong Shun Leung:
To better oneself with each day of training"
Lap Sau
Note the angle of the Lap Sau drill. One needs to have Juen Ma'd sufficiently. Note also Craig's Bong Sau is creating space to protect himself. If the Bong Sau is too close to the body it will not stop a heavy hit. His Wu Sau is the Rear Arm Guard and is covering his Centre.
Lap Sau and Hit
In this shot I have collapsed Craig's positioning and put myself into a postion where I can hit and control at the same time with the same arm. In the follow on from this I hit through with synchronised action from my Horse. Note my elbow positioning which monitors and controls both of my opponent's arms,
Releasing to allow my Training Partner to train Lut Sau Jik Chung
Here I have released my arms from Lap Sau to allow Craig to immediately fill up my space with his Horse and Punch. Thus conforming to the motto of Lut Sau Jik Chung which is part of the Ving Tsun Kuen Kuit and wider song of:
Loi Lau Hoi Sung, Lut Sau Jik Chung.
Using the Chest Protectors as explained above allows for the training of heavier punches to go in on target.
Bart Cham Dao
Here you see a picture taken in which I am showing Todai Craig Clark how to use the Bart Cham Dao. I am beginning with the basic knive exercises which are used to condition the wrist and the power in the hand. In the Bart Cham Dao the hand becomes the elbow. In other words the power which in WSL VT Empty Hands is located in the elbow to waist connection (Yiu Lik) is now transferred to the hand and wrist which becomes the source of the power. It is essential to use well crafted knives which are heavy and weighted so that the power flows into the tip of the knives for chopping and slashing movements.
Gary Lam Articles
Gary Lam is an excellent teacher and exponent of Wong Shun leung Ving Tsun Kung Fu. Please take the time to look carefully at his excellent website. Gary Lam has produced a number of excellent DVD's on the Ving Tsun System. My Sifu Anthony Kan met Gary Lam in 2005 in Germany. Gary Lam spent 15yrs training under Wong Shun Leung and was his Assistant Instructor at his School for 6 years. As well his excellent fighting skills made him the undefeated champion of the Hong Kong full Contact Tournament in 1978-1979.
Articles by himself and his students appear here, I highly recommend them:
http://www.garylamwingchun.com/index.php?option=com_content&view=category&id=34&Itemid=113
Wong Shun Leung Biography
A Tribute page to my Sigung the legendary Wong Shun Leung courtesy of the Wing Chun Archive. The products site of this site is now called Everything Wing Chun and I can highly recommend Aaron and his team for selling and delivery excellent products in an execllent format and with very good International delivery times:
http://www.wcarchive.com/bios/wsl-method.htm
Everything Wing Chun (for all your Wing Chun/Ving Tsun or Wing Tsun needs)
http://www.everythingwingchun.com/
Wong Shun Leung and Chu Shong Tin Interviewed:
Below are links to two excellent articles with discussions on many aspects of Ving Tsun from two of Yip Man's finest students. This was when the two Masters visited Canada.
http://www.springtimesong.com/wcwongshunleung.htm
and
http://www.springtimesong.com/wcqanda.htm
Interview with Ko Kin by John Smith Sifu
Here is an excellent interview by John Smith Sifu a good friend and a fellow WSL VT teacher. John is based in Australia and has made regular trips to the UK with his colleague and friend David Peterson Sifu: For more on John Smith or David Peterson please see the links sections of this website:
Or click below:
David Peterson (Sifu)
http://wslwingchun.resolvedesign.com/
John Smith (Sifu)
http://members.ozemail.com.au/~jr.smith/
The Interview with Ko Kin by John Smith:
http://www.wongvingtsun.co.uk/kokin.htm