Mook Joong - Wing Chun Wooden Man

Wing Chun and Wooden Dummy What is Wooden Dummy  Wooden Dummy Construction  History of Wing Chun  Glossary of Wing Chun  Dimensions of Wooden Dummy 

 

What is Wooden Dummy (Muk Yan Jong) Even though a variety of martial arts nowadays employ a wooden dummy for training, it is usually more recognised as being (associated) with the Wing Chun kung fu system and it is generally accepted that it originated from the Shaolin temple. A 'live' dummy is one which is mounted on the wall or a portable stand; whereas a ‘dead’ dummy is one which is sunk into the floor or ground. Prior to Yip Man’s era, most dummies were 'dead' dummies. There is a story that goes as follows, when Yip Man moved into his Hong Kong apartment, there was no where to 'sink' a dummy into. So, he put the dummy to a wall-mounted frame. With this new mounting, there was also a type of 'give' to the force being exerted since it would move slightly, and it was found that this type of mounting was actually preferable to the non-moving "dead" dummies. A dead dummy is completely non-moving so you need to move more around the dummy. Practising with a 'live' or 'dead' wooden dummy requires a person to have a good command of their structure. Yan Chong Fa represents a big strong opponent, which you must move yourself around, or try to go behind him. The Wooden Dummy also precisely develops hands strike lines, footwork, two handed movement, correct body structure, hand conditioning power (hand strikes & kicks). The Wooden Dummy is the most prestigious of the empty-hands Wing Chun combat techniques. The Wing Chun kung fu system comprises three empty hands boxing forms (Siu Lim Tao, Chum Kiu, Biu Gee and a set of 116 wooden dummy techniques). The wooden dummy set is divided into eight sections. Muk-Yan Jong means Wooden Dummy. Yan Chong Fa means Wooden Dummy Techniques. Usually Wing Chun practitioners refer to the dummy set as 108 wooden dummy techniques (Yan Chong Fa). (The number 108 is preferred by the Chinese culture as it corresponds to a special set of stars and is a lucky number) The Wooden Dummy is a progression after the three boxing forms. In the Wooden Dummy form you practice the applications of the three forms in addition to extra moves that are not contained within the three empty hands boxing forms. The Wooden Dummy (Muk-Yan Jong), is a very skilful set and is one of the main forms for advanced practitioners of the Wing Chun system. Unfortunately, many people have misunderstood or have been mislead into thinking that the dummy is only used to develop power (for example, like that used to break wood and bricks) and it is because of this that they have to try very hard to break a piece of wood. Doing so, either you damage or break your hands or the dummy. That should not happen!

The Wooden Dummy definitely develops the advanced fighting aspects of Wing Chun. Lots of hours are required to make your body, hands and legs listen to you. You should not get hooked on how fast you can learn all of the above forms. Learning the forms fast is not important if your body has not matured into the Wing Chun concepts and you don't have good command of your structure. Don't mislead yourself.

How to Make a Your Own Wooden Dummy Overview Muk Yan Jong - literally translates "wood man post", but is generally called a "wooden dummy" in English, or "jong" for short. The dummy consists of a body with two upper arms at shoulder level, a lower arm at stomach height, and one leg, suspended on a framework by two crosspieces. As easy at it might looks to make a real wooden dummy is an extremely difficult task. For some this task has an incredible end result, a training partner with your sweat, blood and qi.

Materials Teak was often traditionally used for all parts of the dummy. But, since solid blocks of this exotic hardwood are increasingly hard to find, you can use almost any strong hardwood - one that's heavy, strong and dense, but not brittle. Some softwood may not have enough strength to withstand the force applied to a dummy, or have the proper weight. Another problem with softer wood is that over time, as the arms and legs are struck repeatedly, they become compressed and more "sloppy" in their movement. Because it's difficult to get hardwood in a piece large enough, you might try laminated wood (although the look will be different with all those lines running through it). Avoid wood with pitch in it, and the wood should be well seasoned - dry all the way through - to avoid cracking. Try to find wood native to your area since transporting it from a different climate, especially with different humidity, can cause cracking. Even with these precautions wood will still sometimes check or split, in which case you might use a wood fill or banding.

Body Use hardwood for the body so its weight will correspond to that of a human body. This way if you can move the dummy you can also move a person. The body has a round cross section of about eight inches

in diameter. Anything smaller doesn't give the needed weight and requires adjustments in the length of arms and leg. The height of the body is about five feet. Make the cross section as close to a perfect circle as possible. Irregularities in the surface could cause damage to hand, fist or foot. The body should be smooth, though not necessarily polished, to avoid splinters. Slightly taper or round off the top and bottom of the body to remove hard edges. One of the hardest parts of dummy construction is cutting the square holes for the arms. First drill circular holes, then square them with hand chisels. In order to give both arms room to pass through the dummy, the left arm (facing the dummy) is slightly higher than the right. The holes intersect at their outer edges where they cross in the exact center of the dummy. An advantage of hardwood is that you're less likely to tear up the center of the dummy as you cut these overlapping holes.

Arms The arms should be the same material as the body, since they need as much strength. Stress on the arms is at the point where they enter the body. Turn the arms on a lathe, rather than make them by hand, since a smooth level surface is essential. All three arms are identical Each is twenty-two inches long, divided into two sections: one eleven inch half goes through the dummy body and out the back, the other eleven inch half sticks out from in front of the dummy. All three arms are set parallel to the floor. The visible half of the arm, extending from the dummy, is cylindrical - though wider at the point where it leaves the body and tapering smaller towards the tip. The widest part, closest to the dummy, is two and a half inches in diameter. The amount of taper differs, but a loss of about an inch, down to one and a half inches in diameter at the tip, is average. Slightly round off the tip end so there are no hard edges. The inner hidden half of the dummy arm has a square cross section. Though it's far easier to make the inner half cylindrical, this would allow the dummy arm to spin on contact - unlike a real opponent's arm. This half of the arm can be either in line with the outer half, or offset from center so one corner of the inner half touches one edge of the outer half while the opposite corner of the squared inner half is inset from the edge of the rounded outer half. While this offset is more difficult to make, it allows the dummy arms to be adjusted to different angles simply by switching or turning the arms, causing the width apart at the tapered ends to be changed. While the distance apart at the tips depends on your own body - the

upper arms point at your shoulders when you stand at an arms length away from the dummy - the average is about eight and a half inches. The upper arm is nine inches down from the top of the dummy. The lower arm is eight and a half inches down from the upper arms, extending straight out from the center of the body. The holes cut in the body for the arms should provide a fairly tight fit, neither too tight nor too loose. Your technique on the dummy can be judged by the sound of the arms moving in their holes: a dull thud indicates tension in the arms, caused by holding back power, while a sharp "clack" shows power has been properly passed to the dummy without force being reabsorbed into your own arm. Extend the dummy arms through the body and out the back two inches. Secure the arm in place with a removable pin or wedge.

Leg The leg is divided into two sections: one half extending through the dummy and out from the front center of the body to a "knee joint", the other half extending down towards the "ankle". The leg is the least standardized part of the dummy. The upper part of the leg may come straight out from the dummy, parallel with the floor, or it may extend downwards at an angle. The lower part of the leg may come straight down, at a right angle to the floor, or it may extend forward at an angle. It is meant to correspond to your own leg, if you were to stand with one leg forward, so keep this pattern in mind when making your wooden leg. Use the knee joint as your guide and have it roughly at the same height as your own knee. The upper section of the leg is about twenty-two inches long: one half of which extends through the dummy and out the back, the other half extending out in front. The part that passes through the dummy must be smaller than the part that is visible, so the leg won't slide back up into the dummy. The lower "hanging" section is about thirteen inches long. As with the arms, the leg is secured in back with a removable pin or wedge. The diameter of the leg is not standardised, since it was traditionally made from a hardwood branch with a knot and bend where the knee would be. This makes a functional, and pretty, leg, but suitable tree limbs are hard to find. A square cross-section leg with a joint at the knee is much easier to construct. Anything less than two by two inches will be too weak to stand up to steady use. Round the edges slightly so kicking the leg is easier on the feet.

The section of the leg extending through the dummy must be cut with a square cross-section, to eliminate any rotation of the leg in its hole. The leg leaves the dummy at a point roughly sixteen or seventeen inches from the base of the body. Because the angle of the leg can vary the hole may be raised or lowered as needed. The bottom of the leg should line up with the bottom of the body, about six inches above the floor. Stress points are at the knee and where the leg passes into the dummy. Use a strong hardwood, since the leg must withstand a great deal of kicking force. And, as with the arms, it's a good idea to have a spare leg on hand.

Cross Pieces The dummy is suspended above the ground by two crosspieces or slats, each one inch wide by two inches high. No matter what wood is used for the rest of the dummy, these crosspieces must be a strong hardwood since they receive most of the force given to the dummy. On the other hand they must not be too brittle, otherwise they will crack rather than flex under stress. Stress points are at the spot where the slats first pass into the dummy. It's a good idea to have an extra set of crosspieces on hand for the inevitable day when one cracks. The crosspieces should be no less than five feet long, so they are long enough to flex when the dummy is moved forward or backward, and long enough to extend out several inches on either side of the framework. The top crosspiece is six inches down from the top of the dummy; the bottom crosspiece is nine inches up from the bottom of the dummy. At this distance apart they provide support so the dummy does not tip forward or backward when moved. Also, if the top crosspiece is any closer to the top of the dummy it gets in the way of a neck-pull. The crosspieces must be cut perfectly parallel to each other, the top directly over the bottom; otherwise they will bind, and not slide, in the supporting framework. They should also pass directly through the center of the dummy for best balance. Attach stops so the dummy body won't slide on the crosspieces - the body and slats should move together. Put another set of stops on the crosspieces to keep the dummy from sliding all the way out of the framework on either side.

Frame Mount your dummy on two sturdy parallel upright wooden posts (four by eight is a good size) about five feet apart, or on any framework that adequately supports the weight of the dummy while allowing for its movement. Attach these supports securely to floor, walls, or ceiling. Set them far enough out from anything behind to allow for forward and backward movement of the dummy. "Life" in the dummy is provided in two ways: by flex in the cross slats when you move the dummy forward or backward, and by these slats sliding in the framework when you move the dummy side to side. < Although the dummy should be suspended about six inches above the floor, the actual height of the dummy from the floor depends on your own height: the upper arms point at your shoulders. You can make the dummy portable by cutting downward pointing L-shaped slots in the uprights to hold the crosspieces. You can then lift the dummy in or out of the top of the slot and then drop it into the bottom of the upside-down "L" to keep it in place. These slots also provide a way to adjust the height of the dummy. Cut the bottom of the slots at the lowest height needed for the dummy then, to raise the dummy, insert wooden risers in each slot. You can also support the crosspieces on L-shaped brackets attached to the front of the uprights.

Finish You don't need to use oil or stain to finish the dummy, natural oils from the hands and arms will eventually seal and color the wood. I personally use an all natural lin seed wax to finish my dummies. Never kick the arms, as shoes can damage the finish and scratch the wood. Remember, the trunk is for striking and the arms are for flowing around.

The History of Wing Chun Kuen Much of Wing Chun history is full of myth and legend and until the mid to late 1800's there is no accurate accounting of the history. Many claim to know the story or to have studied the historical documents yet many of the documents, if they do exist at all, have not been produced for all to see leaving skepticism and political bickering about who has the true history. Many claims by the various families as to who holds the truth does nothing except to fan the flames of controversy even more. Following is an accounting of the history as we view it, part myth, part legend, part speculation and part fact. What we do know is in 1644 the Manchurians took over and an end came to the Ming Dynasty. Revolutionary societies sprang up after the fall of the Ming government early in the Qing Dynasty. The Shaolin Temple became a place where revolutionary activities took place and people loyal to the Ming family took refuge. As word leaked out to the Manchu government, which was hostile to the Chinese people, legend has it that five temple elders began developing a new form of Kung Fu. The new style was to be quicker to learn than that traditionally taught there. Arousing fear in the Manchu government, they sent troops to attack the temple. The temple was attacked and with the help of Shaolin monk Ma Ning Yee, fire was set from the inside. The surviving monks, Buddhist Nun Ng Mui, Master Fung Too Tak, Master Miu Hin, Abbot Jee Shim and Abbot Pak Mei escaped. Leading the way for development outside the temple of Wing Chun Kuen and a possible explanation for the various lineages that exist today. Ng Mui often practiced her Kung Fu after fleeing the temple, spending time further advancing the principles she had learned in the temple. Legend has it that one day while walking she witnessed a fight between a snake and a crane which allowed her to complete the system. Other animals are often mentioned at this juncture, some families use a fox and a crane. Taking refuge in White Crane Temple on Mt. Tai Leung (also known as Mt. Chai Har) Ng Mui eventually met Yim Wing Chun the daughter of Yim Yee.

Yim Wing Chun was a young, beautiful woman of the marrying age and the local bully was trying to force her to marry him. When Ng Mui learned of this she agreed to teach Yim Wing Chun kung fu fighting techniques so she could defend herself. She told the bully if he could beat Yim Wing Chun in a fight that she would marry him and if he lost he would leave her alone. Ng Mui took Yim Wing Chun into the mountains teaching her Wing Chun Kuen. Yim Wing Chun returned, fought the bully and won allowing her to marry Leung Bok Cho. Ng Mui named her style of kung fu after her first student. Many people claim that Ng Mui and Yim Wing Chun never existed that they were simply made up to throw off the government, we will never know the truth as all known records from that time have been destroyed.

Yim Wing Chun in turn taught Wing Chun Kuen to her husband Leung Bok Cho. He in turn passed his kung fu techniques to Leung Lan Kwai, who while present in some histories is absent in others. He in turn passed his kung fu on to Wong Wa Bo. Wong Wa Bo was a member of the Red Junk Opera. Wong worked on the Red Junk with Leung Yee Tei. Abbot Jee Shim, who fled from the temple upon its destruction,

disguised himself as a cook and was now working on the Red Junk. Jee Shim taught the six-and-a-half point long pole techniques to Leung Yee Tei. Wong Wa Bo was a close friend of Leung Yee Tei and traded him the knowledge of his Wing Chun for the knowledge of the pole that Leung Yee Tei had learned from Jee Shim. Together they improved their techniques, and thus the six-and-half-point long pole techniques were incorporated into Wing Chun Kuen.

Leung Yee Tai and Wong Wa Bo passed Wing Chun Kuen on to Leung Jan, one of the first figures in the history of Wing Chun to have been known to actually exist. Leung Jan was a well known herbal doctor in Fatshan. Leung Jan learned and grasped the innermost secrets of Wing Chun, and attained a high level of mastery. Leung Jan became famous and many kung fu masters came to challenge him. Challengers would travel hundreds of miles to fight the famous "Fighting man of Fatshan".

Having mastered Wing Chun Kuen, Leung Jan began teaching his two sons, Leung Chun and Leung Bik in his herbal shop after closing for the day. Chan Wa Shun, also known as "Wa The Money Changer", changed currency in the market in front of Leung Jan's shop. One day during a rainstorm Chan Wa Shun stood under the awning in front of Leung Jan's shop. Chan Wa Shun noticed light coming from Leung Jan's door and he looked into the shop. He watched as Leung Jan taught his two sons Wing Chun. Chan Wa Shun would secretly watch Leung Jan every chance he could and practiced what he saw. He began to beg Leung Jan to teach him the kung fu he had seen. Because Leung Jan had known Chan Wa Shun for a long time he agreed to take Chan Wa Shun as his student. Chan Wa Shun was a loyal student and the only non-family member ever taught.

After the death of Leung Jan Chan Wa Shun began teaching kung fu in the Ip clan family complex in Fatshan. It was here that Ip Man first saw Wing Chun Kuen. At the age of 12 years Ip Man went to Chan Wa Shun and asked to be taught Wing Chun. Because he was teaching at the family complex Chan Wa Shun could not refuse the young Ip Man. However, he required Ip Man to pay 600 pieces of silver to become a student. It took Ip Man 6 months to raise the money. This shocked Chan Wa Shun and he suspected Ip Man of stealing the money. Chan Wa Shun took Ip Man to see his father. Ip Mans father explained that he had given Ip Man the money. Ip Man learned directly from Chan Wa Shun for three years before he passed away.

Ip Man went to Hong Kong at the age of 17 to attend high school at Saint Francis College. Ip Man and a classmate came upon a police officer beating a Chinese lady on the way to school one day. This officer was beating the women simply to be cruel. The officer took a swing at Ip Man realizing he was just a kid. Ip Man having trained kung fu for four years responded to the attack. The officer went down with blood all over his face. Ip Man and his classmate ran quickly to school.

Ip Man's classmate told an old man who lived in his building about the incident. The old man, also from

Fatshan, asked to see what Ip Man had done. The old man then asked Ip Man's classmate to meet Ip Man. The classmate took Ip Man to see the old man. The old man asked what type of kung fu Ip Man had studied in Fatshan. Ip Man told the old man that it was the best kung fu in the world, that he had studied Wing Chun. The old man asked to see the Siu Lim Tau form. The old man told him that it wasn't very good, angering Ip Man. The old man also asked Ip Man to perform Chum Kiu form. Ip Man was unhappy but did it anyway. During the demonstration, the old man kept shaking his head again angering Ip Man. The old man asked to see the Biu Gee form. Ip Man did not know the Biu Gee form and simply told the old man he didn't feel like it. The old man asked if Ip Man would chi sau with him. Ip Man happily agreed, thinking he could teach the old man a lesson. Ip Man threw a punch and the old man blocked it and threw him to the side. Ip Man got up and throws another punch. Again the old man blocked it and threw him to the side. Ip Man got up and left.

Ip Man's friend told him the old man requested to see him again, Ip Man said no. The old man then told him to tell Ip Man he was Leung Bik. The friend told Ip Man the next day, Ip Man left before class was over and went straight to Leung Bik's. Ip Man lived with Leung Bik for five years and learned the entire Wing Chun Kuen system. Leung Bik was an educated man, and his understanding of Wing Chun was shaped by philosophy. His understanding of the principles was very different than Chan Wa Shun. Ip Man referred to Leung Bik as Si Pak. Chan Wa Shun was a relatively uneducated man and his understanding was more grounded, it is also said that Chan Wa Shun was a large man in stature, which also changed his understanding. Ip Man referred to Chan Wa Shun as Sifu. Both of his kung fu teachers had the same kung fu but they both had different teaching styles. Upon Leung Bik’s death, Ip Man returned to Fatshan.

Wing Chun Glossary •

Art Kiu - Pressing Bridge / Pressing Forearm

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At Yiu (Yayao) - Pressing the waist

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Au Jaw-Ting (Ou Fangting)

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Au Hong - (Ou Kang) - Student of Chan Wa Shun

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Au Kuen - (Au Choi) Hook punch

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Au Shi- (Ou Si) Student of Fung Siu Ching from 1933–1936 along side Yuen Kay Shan, at the Yuen Estate in Mullberry Gardens. Teacher of Wai Yuk Sang. Owned and ran a butcher shop on ChopStick street.

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Au Tac Gerk - Hooking Kick

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Baat Gwa Bo - (Ba/Bat/Bot Gwa/Kwa/Gua Boe) Eight triagrams step

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Baat Gwa Lung Na(bagua longna)-Eight direction dragon grab.

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Baat Hop Wui Goon-Eight Harmony Union

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Baat Sik Dan Da(Bashi Danda)-Eight form single hit.

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Bai Jong - Assume Post / Ready Posture

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Bai Ying - Losing body structure / loss of balance

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Bai Ying Chi Sau - Irregular structure sticking hands

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Bai Ying Jing Ngau Gerk -To regain lost balance by controlling with a front instep kick

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Bai Ying Ngoi Au Gerk - To regain lost balance by controlling with an inside instep kick

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Bak Gek - Sparring

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Bak Hok Chang Sa(Bai/Bok he Chansha) - White crane shoveling sand.

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Bak Hok Kuen(Bai/Bok hequan) - White crane boxing.

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Bak Hok Kum Wu(Bai/Bok he Qin Hu) - White crane catches fox. From Cheung Bo’s San Sik Wing Chun. Sum Num included this San Sik in his “Sup Yee San Sik”. Also found in the Yuen Kay Shan Muk Yan Jong form.

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Bak Hok Tan Sui(Bai/Bok he Tan Shui) - White crane explores water. Supplemental form found in Heir Ban Wing Chun Kuen of Leung Sifu.

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Bak Mei Pai (Baimeipai) - White Eyebrow’s style

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Bak Mei Tao Yan - White Eyebrow (taoist)

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Bai Jong (Baizhuang) - Assume Post

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Bao Pao Jeung / Po Pai Jeung - Shield holding Hands or Breaking the Row/Column Palms.

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Bau Ja Geng - Whipping or exploding energy/power/force

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Bau Ja Lik - Exploding strength.

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Bien Choi / Bien Kuen - Whipping punch

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Bien Kuen (Bianquan) - Whipping fist

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Bik Bo - Pressing or chasing steps / Jamming stance in the knife form

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Bik Bong - Pressing Wing/Flank Arm

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Bik Mah - Simply another name for the Chum Kiu Mah/Jin Mah/Biu Mah. Translates as Chasing Horse or Pressing Horse. Found in the pole of some versions of Wing Chun. Can be used with Sai Ping Dai Mah or Yee Jee Kim Yeung Mah.

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Biu - Concept of Darting / shooting / thrusting forward

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Biu Cham - Thrusting Cutting (Cheung Bo lineage)

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Biu Dao - Shooting/ thrusting / darting with the knives

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Biu Gwan / Bue Kwan - Shooting/ darting or thrusting with the pole

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Biu Jee ; Bue Tze ; Bil Gee - Shooting or Darting fingers

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Biu Jee Mah - Outward circling stance.Another term for Huen Mah?

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Biu Jong Sau - Centerline thrusting block or strike with the thumb side up, contacting on the thumb side of the wrist

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Biu Mah - Simply another name for the Chum Kiu Mah/Jin Mah/ Bik Mah Shooting forward stance. Also performed with the pole and knives.

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Biu Sau - Shooting fingers block, contacting on the little finger side of the wrist

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Bo Lay Ying - Glass technique

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Boon Dim - Half Point. Inch Spearing with Inch Power, from all other Wing Chun Kuen structures. Inch spearing from the lead hand, using the Pole.

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Boon Je Lan or Poon dim Lan - Half point barring motion

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Boon Tan Bong - Half dispersing Half Flanking / I.E Kwan Sao

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Bok - Shoulder

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Bok Hok Chang Sa - White Crane Shoveling Sand

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Bok Hok Kuen - White Crane Boxing

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Bok Hok Kum Wu - White Crane Catches the Fox / one of the Sup Yee San Sik. Also found on in various Versions of the Muk Yan Jong (Cheung Bo and Sum Num Lineage)

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Bok Hok Tan Sui - White Crane Explores the Water

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Bong An Chi Sau - Blindfolded sticky hands

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Bong Dao - Wing arm block with the Bot Jam Dao Yip man version

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Bong Family - A family of Wing Chun techniques that contact on the little finger side of the wrist

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Bong Gerk - Outer shin bock with the knee turned outward

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Bong Gerk - Shin block

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Bong Sau -Common definition is wing arm block contacting on the wrist area / True definition is Flanking arm

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Bot Gwa - 8 Trigrams from the Taoist Cannon, The I-Ching.

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Bot Gwa Bo - 8 Trigrams stepping

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Bot Gwa Kuen - 8 Trigrams Fist Form; The name of the fourth section found in Wong Wa Bo’s Original Single Hand Form, that contained four sections. When the single form was broken down

into the 3 hand forms we see in modern day Wing Chun, the forth section was used to create the earlier Muk Yan Jong forms.

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Bot Jam Dao / Bart Cham Do / Bat jaam Do - 8 Direction slash knives; Character “8″ slashing sword ; the name of the Wing Chun knife form

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Bot Sin Choi Chi Sau - 8 Immortal table sticky hands for demonstrations

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Bot Mo Dan Da / Bot Sik Dan Da - 8 Single hitting ways

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By Jee - Swaying fingers (Pan Nam, Yip Man Futshan, Yiu Kay)

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Cha Jee Sau - Cross armed block defining the gates, center line and central area, low to high, found within all Wing Chun

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Chaan Bo - Go forward and jam step in the Bot Jam Dao Form

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Chaan Dao - A upper slash or chop with the butterfly knives

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Chaan Jeung - To “push out” with the palm; an upper gate palm strike that drills out with the palm

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Chaap Kuen - Low punch

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Chai Dao - Bandits long handled broadsword

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Chai Gerk - Any kick that stamps down; also a scraping kick contacting with the blade edge of the foot

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Chai Mei Gwun - Eyebrow level pole found within many Mainland Wing Chun branches; Double ended staff

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Chai Sut - To stomp downward with the knee

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Chair Kuen - Pulling punch; the Wing Chun basic rotational punch

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Chao Choi - Bouncing punch found in the Yip Man Family Chum Kiu Form, after the Saam Gum Sao Juen Jah

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Chan Dai jeung / Dai Chan jeunng / Juk Jeung - To “cut in”; a low knife edge palm strike, contacting with the little finger side and with the palm up

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Chan Ga-Chai-Chen Jiaji

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Chan Ga-Lim-Chen Jialian

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Chan-Ga-Wing-Chen Jiarong

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Chan Geng - Neck chop with the little finger side of the palm down or palm up

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Chan Hui-Chen Kai

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Chan Shing-Chen Cheng

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Chan Wah-Shun-Chen Huashun

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Chan Yiu-Min-Chen Rumian

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Chan Jeung - “Knife edge” palm strike contacting with the little finger side of the palm

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Chan Jee Pai - Paper Shoveling

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Chan Kiu - Shoveling bridge

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Chang Gerk - Spade Kick / Supporting Kick

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Chang Jeung - Spade Palm / Supporting palm / Shovel Palm

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Chang Sau - Spade Hand

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Chang Tan Jeung - Thrusting and Dispersing Palms (Cheung bo style)

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Charp Choi - Piercing Punch Hammer

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Charp Sau - Piercing Hand

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Chat Sing Bo / Chut Sing Bo - 7 Star Stepping. Stepping pattern based on the Big Dipper design

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Chat Sing Kau Choi - 7 star trapping / holding Punches

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Chat Sing Kuen - 7 Star boxing

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Chat Sing Mah - 7 Star Horse

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Che Chai Gerk - Slant stamping kick

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Che Chin Kuen ; Che Jin choi - Shooting arrow punch

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Cheen Chor Ma / Jing chor ma - Forward bracing stance

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Cheung Bo-Zhang Bao

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Cheung Chuk-Hing-Zhang Zhuoquig

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Cheung Gung-Zhang Gong

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Cheung Gwun Wong-King of the Long pole

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Cheung Hok-Kin-Zhang Xuejian

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Cheung Kiu Jeung - Long bridge palm that drills as the stance turns, contacting with the little finger side of the palm; from the Bue Gee form

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Cheung Kiu lik - Long bridge power

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Cheung Lung Tan Yue - Long Dragon Explores the Moon

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Cheung Ng-Zhang Wu

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Cheung Sam Bo - Long Robe Steps a term for a particular footwork method found in different places in different branches of Wing Chun. In Yip Man family its found in the Bot Jam Tao form; In Pao Fa Lien its found in the Siu Lien Tao Form; In Lo Kwai Family its found in the 4th form sometimes called Siu Bot Gwa

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Chi Chang Gerk - Slant thrusting kick

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Chi - 1) Internal energy 2) Sticking

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Chi Bot Dim Lin Wan Kiu - Sticking 8 points linked chain bridges (Ban Chung Cho Family Wing Chun)

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Chi Dan Gerk - Single sticky legs exercise

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Chi Dao - Sticking knives

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Chi Gok Chi Sau / Ji Gok Chi Sau - Light sticky hands

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Chi Geng - Sticking energy

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Chi Geng - Sticking power

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Chi Gung - Internal energy exercises

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Chi Gerk - Sticking legs exercise

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Chi Gwan / Chi Kwan - Sticking pole exercise

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Chi Sau - Sticky hands exercises; there are many types of chi sau

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Chi Sau Chi Gerk - Sticking hands and legs exercise

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Chi Seung Gerk / Chi Gerk - Double sticking legs exercise

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Chi Seung Sao - Double sticking arms

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Chi San - Body sticking

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Chiao Ti / Sui Jow - Wrestling

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Chin Bo - Fighting Steps

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Chin Choi - Battle Punchs

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Ching Sun Gerk - Front facing thrusting kick

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Ching Sun Mah - Front facing horse

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Chit - To slice

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Chit Jeung - Slicing Palm

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Chiu Mien Jui Ying Gwun - Facing and Chasing Posture Pole

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Cho Dak-Man-Cao Dewen

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Cho Dak-On-Cao Dean

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Cho Dak-Sang-Cao Desheng

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Choi Geng - Taking over power

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Chong Jou Si Gan - Creating timing

•

Chong yin-Cheung-Zhuang Xuanxiang

•

Chor Dao - Stomping with the knife handle

•

Chor Mah - “Sitting” horse stance, the basic turning stance

•

Chow-Kwong-YiuZhou Guangyu

•

Chow Sai-Zhou Xi

•

Chou Gerk - Snapping front kick

•

Choung Chi - Aggressive energy

•

Choung Geng - Forward, aggressive power

•

Chour Kuen / Chour Tau Kuen - Hammer fist

•

Chu Chong-Zhu Zhong

•

Chu Chong-Man-Zhu Songmin

•

Chu Gwok-Yui-Zhu GuoYao

•

Chu-King Hung-Garrett Gee

•

Chue Seung Pow Kuen - Double leopard punches-( Pan Nam System)

•

Chuen Ging Jee Lak - Inch force exerted by the Joints

•

Chuen Kiu - Piercing bridge movement

•

Chuen Sum Gerk(Chuanzinjiao)-Center piercing kick

•

Chui Meen Joi Ying - Follow the structure; straight on facing and chasing

•

Chui Ying - Facing straight-on structure; facing the shadow

•

Chuk Chong / Juk Jong - Bamboo Dummy / Post ( Passed down from Fok Bo Chun to Yuen Kay Shan and Yuen Chai Wan lineage )

•

Chum Bo - Cat sinking stance in the knife form

•

Chum/Chaam - To sink, one of the principles of the Siu Lum Tau

•

Chum Geng - Sinking power to duck away from attacks

•

Chum Jarn Gao Sau - Sinking elbow saving hand

•

Chum Jong - Sinking elbow bock; immovable elbow line

•

Chum Kiu - 1) Searching for the bridge (Yip Man translation) 2) Sinking the bridge (Yuen Kay Shan Translation

•

Chum Kiu Biu Jee - Sinking Bridge thrusting fingers (Chan Yiu Men lineage)

•

Chum Kiu Mah - Bridge seeking Horse

•

Chum San - To evade by sinking the body, ducking

•

Chum Sau(Chenshou)-Sinking hands

•

Chum Lung Jeung - Sinking Dragon Palms (Pan Nam lineage)

•

Chuen Geng / Chuen Jing - Short power / Shock power

•

Chuen Geng Kuen - One inch punch, a short punch

•

Chun Chiu Dai Do(Chunqiu Dadao)-Spring and autumn big knives

•

Chuun Lop - Moving stance work between the poles in the mui fa jong

•

Chung Choi(Chongchui)-Thrusting punch

•

Chung Jeung(Chongzhang)-Thrusting palm

•

Chung Kuen - Straight punch

•

Churng Wai - Stealing the line

•

Churng Wai Chi Sau - Stealing the line or regaining the line in chi sau

•

Chut Lun - Seven Wheels

•

Chut Sing Bo(Qixingbu)-Seven star step

•

Cup Da Sau-Covering and hitting hand

•

Da - Strike or Hit

•

Da Bao Jarn - Wrapping hitting elbow

•

Da Ng Jarn - Hitting 5 elbows Drill

o

Gwai Jarn - Diagonal downward elbow

o

Pai Jarn - Inward horizontal elbow

o

Sau Jarn - Retracting / rear elbow

o

Tai Jarn - Raising elbow

o

Wang Jarn - Outward horizontal elbow

•

Da Sa Bao - Sand bag hitting

•

Da San Jong(Dasanzhuang)-Separate hitting dummy

•

Da Sau Geng - Hand strikes throat

•

Daai Geng - Directing energy

•

Dai - Lower level attack

•

Dai Bong(Dabang)-Big wing

•

Dai Bong Sau / Dai pong sau - Low level wing arm block

•

Dai Chan Jeong - Low knife edge palm strike

•

Dai Che Lun Sau / Dai Fan Che Sau - Big Wheeling arms / Big Circling arms ( Section found within the Yiu Kay, Yuen Kay Shan, Lun Gai and Gwok Fu, Mai Gai Wong lineages Siu Lien Tao Form-In Yip Mans Siu Leing Tao the motion is replaced with Horizontal Seung Fak Sao)

•

Dai Fa Kuen - Big Flower Fist

•

Dai Fook Fu(Dafuhu)-“Big subduing the tiger”movement found with in Kulo village Wing Chun. The movement is typically referring to a Gan Sau performed with phoenix eye fists, used with a sinking motion.

•

Dai Lien Tao - Big idea which is built up from the little ideas in the Siu Lim Tau form

•

Dai Au Gerk - Low roundhouse

•

Dai Gerk - Low level kick

•

Dai Jeung / Har Lo Jeung - low level spade thrust palm strike

•

Dai Jing Gerk - Low front kick

•

Dai Jing Gerk - low front kick blocking with the calf muscle

•

Dai Pa(Daba)-Trident

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Dai Wang Gerk - Low side kick

•

Dan By Jeung - Single praying palm

•

Dan Chi Sau - Single sticking hands exercise

•

Dan Dao - Single Broadsword

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Dan Dao Tang Pai - Single broadsword and rattan shield

•

Dan Huen Sau - Single circling hand

•

Dan Tien - The center of energy in the body located about two inches below the navel in center of the trunk

•

Dang Gerk - Nailing kick

•

Dang Gwan / dang kwan - Snapping straight down with the pole

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Dao - Knives or small swords

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Dao Jong(Daozhuang)- Knife dummy

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Dap Bo -Joining Step

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Dap Bo Bong Sau -Joining Step flanking arm

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Darp - To join

•

Darp Kiu - Joining bridges

•

Darp Sau / Loi and Oi - Joining Hand- Inner and outer

•

Day Har Au Gerk - Roundhouse kick on the floor

•

Day Har Chi Gerk - Sticky legs on the floor

•

Day Har Jing Gerk - Front kick on the floor

•

Day Har Wang Gerk - Side kick on the floor

•

Day Ton Bok Gek - Ground fighting

•

Deng Gerk - Nailing kick

•

Deng/Tai Gerk - Raising kick

•

Dim - Point

•

Dim Gwan / Dim Kwan - Stabbing pole

•

Dim Mah - Stamping in the pole stance to give more energy

•

Dim Mak - Point Marking (pressure point striking method)

•

Ding Gerk(Dingjiao)-Nailing kick

•

Ding Jeung -Nailing Palms

•

Ding Sau - Bent wrist block or strike contacting with the wrist area

•

Dip Jeung(Diezhang)-Butterfly palm

•

Dit Da - Injuries such as bruises, sprains and strains

•

Dit Da Jau / Dit Da Jow - herbal liniment for bruises, sprains, and strains

•

Dit Ming Dao - Life taking knives

•

Dit Yeung Juk - Candle hitting

•

Diu Mah(Diaoma)-Hanging stance

•

Doi Gok Gerk - Low diagonal leg block or strike

•

Doi Gok Kuen / Wang Kuen - Diagonal punch from outside across the centerline

•

Dok Gerk Siu Lien Tao - Single leg form of Siu Lim Ta

•

Do Bo - Moving stances with the knives

•

Do Lung Choi(Dulongchui)-Single dragon punch

•

Dong - Swinging force

•

Dong Dao - Swinging knives

•

Dong Sau - Swinging arms

•

Duk Kwok Choi / Duk Lung Choi - Single Horned Punch / Single Dragon Punch (Cheung Bo lineage)

•

Duk Lung Choi - Single Dragon Punch / Poison Dragon punch (Duk - poison implies 2 also) (Cheung Bo, Sum Num, and Mai Gai Wong Lineage)

•

Duen Geng - Short inches power

•

Duen Kiu(Duanqiao)-Short bridge

•

Dui Sau(DuoShou)-Chopping hand

•

Faan Dan Chi Sau-Bouncing sticky hands

•

Faan Kuen - Circling punch either inside or outside

•

Faan Kuen or Faan Sau-Continuous attacking with controlling while alternating punches as in Pak Faan Sau.

•

Faan Sau - Continuous lop sau basic attack to break through the opponent’s structure

•

Faan Sun - To regain the body position

•

Faan Sun Jing Gurk-To regain the body position with a front kick

•

Fa Kuen(Huaquan)-Variegated fist

•

Fai Jee Gung-Chopstick work

•

Fak Dao-Whisking knives;horizontal slashing knife attack.

•

Fak Sau- Whisking hand;horizontal swinging arm with typically a knife edge strike.

•

Fan Cup Chui(Fanqiachui)-Flipping cover punch(uppercut)

•

Fan Kum Na - Counter seizing and grappling

•

Fat Do - Right power in techniques

•

Faun Au Gerk or Fong Ngau Gurk - reverse roundhouse

•

Fay Jong - Flying elbows

•

Fei Biu - Flying darts

•

Fook - Controling / waiting / a man holding a dog down with a hand

•

Fook Family - A family of Wing Chun techniques which use the palm

•

Fook Gerk - A downward leg block or strike contacting with the muscle next to the shin bone

•

Fook Sau - A palm controlling block with the elbow down

•

Fook Sut - An inward knee block or strike

•

Fong Sau sin wai - Blocking line

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Fung Ngan Kuen/Fung An Kuen - Phoenix eye punch with the index knuckle forward

•

Fung Siu-Ching-Feng Shaoqing

•

Fung Ting-Feng Ting

•

Fung Wah-Feng Hua

•

Fuun Do - An outward or sideward slash with the butterfly knives

•

Fuun Sau - An outward or sideward horizontal chop

•

Ga Chok - Bouncing technique off of an opponent’s structure

•

Gaan Da - Simultaneous low sweeping block with a punch

•

Gaan Gerk - 3 leg blocking exercise with the following blocks:

•

Gaan Jaam - Simultaneous low sweeping block with a forearm deflecting block or chop

•

Gaan Jaam Do - Simultaneous low sweeping bock and upper deflecting block with the butterfly knives

•

Gaan Sau - A low sweeping block. There are two kinds of gaan sau

•

Gaan Sau - 5 blocking motions

•

Gan Jip Geng - Indirect power

•

”Gao Lo” Chung-“Tall Man” Chung

•

Gao Tong-Gao Tang

•

Gee - Fingers

•

Gee Gok Chi Sau/Ji/Chi Gok Chi Sau - Light sticky hands

•

Gee Gok Geng/Gum Gok Geng - Feeling power

•

Gerk - Leg or kick The 8 positions of the kick are:

1.

Jing Gerk -Strike with the top of the heel just below the arch

2.

Wang Gerk - Strike with the outside of the heel on the little toe side

3.

Soo Gerk - Strike with the inside of the arch

4.

Yaai Sut Gurk - Strike with the middle of the heel downward

5.

Tiu Gerk - Strike with the instep with the toes pointed

6.

Jut Gerk - Strike with the lower calf and Achilles tendon

7.

Tai Sut - Strike with the top or side of the knee with the leg bent

8.

Chai Gerk - Strike downward with the knife edge of the foot

•

Gerk Jong - 8 Kicks to the mok jong or dummy

•

Geng/Ging/Jing - Energy; the 8 types of Wing Chun energy are:

1.

Keng Geng - Listening power

2.

Juun Geng - Drilling power

3.

Jek Jip Geng - Direct power

4.

Gan Jip Geng - Indirect power

5.

Yaan Geng or Daai Geng - Guiding power

6.

Lin Jip Geng - Connecting power

7.

Choung Geng - Aggressive power

•

Gin Kuen - Moving side punch for pole exercise

•

Goiu Ying - Adjusting the body structure

•

Goot Dao - Cutting knife attack

•

Goot Gwan - Cutting down with the pole

•

Gor Dan Chi Sau - Attacks in single sticky hands

•

Gor Lop Sau - Attacks in lop sau

•

Gor Sau/Guo Sau - Attacks in sticky hands

•

Gour Yung - Guts or determination and self-confidence to win

•

Gu Deng Chi Sau - Sitting sticky hands

•

Gum Gok Geng , Gee Gok Geng or ji Gok Geng - Feeling energy

•

Gum Jeong - Low palm edge strike

•

Gum Sau - Downward palm block or strike with the elbow turned outward

•

Gum Ying - Body feeling

•

Gung Gek Sin Wai - Attacking line

•

Gung Lik Chi Sau - Heavy sticky hands to develop power

•

Gurng Gee Kuen - Ginger fist punch

•

Gwai Jong - A circular downward elbow block or strike contacting with the forearm

•

Gwai Sut - A downward knee block contacting with the side of the knee or shin

•

Gwan/Kwan - Pole

•

Gwang Geng - Steel-bar power

•

Gwat Ji Fat Lik - Bone-joint power

•

Gwat Gwan/Sut Gwan - Opening up or blocking the inside or outside lower gate with the pole

•

Gwat Sau -A circular controlling technique that carries the subject across the centerline to open an attacking line

•

Haa/Chaap Kuen - Low punch

•

Haa Jeong/Dai Jeong - Low palm strike with the side of the palm

•

Haan - Economic motion

•

Haan Kiu - Walking on the bridge or forearm

•

Haan Kiu Chi Sau - Walking on the bridge chi sau

•

Haan Sau - A long bridge block contacting with the little finger side of the wrist

•

”Hak Min” Nam-“Heimian” Nan-“Black Face” Nam

•

Hau Chor Mah - Backward bracing stance

•

Hau Huen Joon Mah/Hau Huen/Hau Joon — A turning stance that is executed by stepping forward then turning 180 degrees to face the opposite direction

•

Hau Jeong - A palm strike with the back of the palm

•

Hay Jong/Tai Jong - Raising elbow strike or block

•

Hay Sau/Tai Sau/Ding Sau - A raising bent wrist block or strike contacting on the little finger side of the wrist

•

Hay Sut/Tai Sut - Raising knee block or strike contacting with the top or side of the knee

•

Ho Han-Lui-He Hanlu

•

Ho Kam-Ming-He Jinge

•

Ho Kam Ming - A long time disciple of Grandmaster Yip Man; the teacher of Augustine Fong (Fong Chi-Wing)

•

Hoi or Oi -Outside

•

Hoi Bok - Outside shoulder

•

Hoi Faan Kuen - Outside whip punch

•

Hoi Gaan Sau - An outward low sweeping block

•

Hoi Gaan Sau - Outside low sweeping block

•

Hoi Hurn - Outside facing stance

•

Hoi Jaam Sau - Outside wu sau

•

Hoi Jeorng/Hau Jerong - Back palm strike or block

•

Hoi Jung Sin - Outside line

•

Hoi Kwan Sau - Outside rolling hands block

•

Hoi Mah - To open the horse stance

•

Hoi Moon Chi Sau/Hoi Mun Chi Sau - Outside gate (position) chi sau

•

Hoi Moon Kuen or hoi mun kuen - Outside gate diagonal punch

•

Hoi Sik - Opening position

•

Hoiu - Emptiness, one of the major principles of Siu Lim Tau

•

Hoiu Bo - Empty step or cat stance in the pole form

•

Hoiu Ying - Empty shadow

•

Huen Da - Simultaneous circling with one hand and striking with the other

•

Huen Fok sau - Circling one hand into the “Fok Sau” position

•

Huen Gerk - Any circle kick

•

Huen Jing Gerk - Circling front kick

•

Huen Mah - Circling stance in the pole form

•

Huen Sau - Circling, controlling hand

•

Huen Tiu Gerk - Circling instep kick

•

Huen Wang Gerk - Circling side kick

•

Hui Sam-Joy-Xu Sanzhu

•

Huiu Mah - Cat stance in the pole form

•

Hung Fa Wai Goon-Red Flower Union

•

Hung Fook-Kong Fu

•

”Hung Gun” Biu (Hongjin Biao)-Red Bandanna

•

Hung Gwun Wui (Honggunhui)-Red Pole Society

•

Hung Jai - Control of power

•

Hung Jai Chi Sau - Controlling sticky hands motion to block the opponent

•

Hung Jai Geng - Controlling energy

•

Hung Mun-Kong Man

•

Hung Mun Wui (Hongmenhui)-Hung Mun Society

•

Hung Suen Hay Ban(Hongchuan Xiban-Red Junk Opera Company

•

Jaam Dao - A forward deflecting block with the butterfly knives

•

Jaam Sau - A forearm deflecting block contacting with the little finger side of the forearm

•

Jam Jong - Stance for chi gung

•

Jan Sin-Sang (Zan Xiansheng)-Mr. Jan

•

Jau Ma/Jou Mah - Combining moving footwork

•

Jau Mui Fa Jong - Stance work on the plum blossom

•

Jau Sau - Changing lines in attacks, going from one line to another

•

Jau Wai - Moving stances while changing from one line to another

•

Jau Wai Chi Sau/Ngou Sau - Moving sticky hands while changing lines

•

Jau Wai Yaai Sut - Moving stances to attack with the knees

•

Jee Shim Sim Si (Zhi Shan Chanshi)-Jee Shim Chan (Buddhist) Teacher

•

Jek Jip Geng - Direct power

•

Jeong - Palm strike or chop; the 8 palm strikes are

1.

Jing Jeong - Front vertical palm

2.

Choen Kui Jeong - Long bridge palm

3.

Hau Jeong - Back palm

4.

Dai Jeong - Low side palm

5.

Pau Jeong - Downward vertical palm strike

6.

Gum Sau - Diagonally downward palm strike

7.

Chan Jeong - Knife edge palm strike to upper body and head with palm up

8.

Wang Jeong - Side of palm strike to upper body and head with palm down

o

”Jiao-Chin” Wah-Moneychanger

•

Ji Gok Chi Sau, Gee or Chi Gok Chi Sau - Light sticking hands

•

Ji Yau Bak Gek - Free sparring

•

Jing - Front or center

•

Jing - “Quietness” one of the major principles of the Siu Lim Tau form

•

Jing Bok - Front shoulder

•

Jing Chor Mah/Cheen Chor Mah - Forward bracing stance

•

Jing Dok Lop Mah/Jing Gerk Dok Lop Mah - Front single leg stance

•

Jing Gerk - Front kick

•

Jing Jeorng - Straight vertical palm strike

•

Jing Jung - Any strike on the center

•

Jing Mah/Yee Gee Kim Yeung Mah - Front developmental stance; it is not a stance to fight from

•

Jing Meen - Facing to the front

•

Jing Ngour Gerk - Toe up hooking kick or control

•

Jing Sun - Wing Chun front-on body structure

•

Jin Kuen - Punches from the pole horse stance

•

Jit Gerk - Stopping a kick with a kick

•

Jip Sau - “Controlling the bridge” an arm break

•

Jiu Chao-Zhao Jiu

•

Jiu Ching-Zhao Cheng

•

Jiu Sang-Zhao Song

•

Jiu Wan-Zhao Yun

•

Joi Geng - Chasing power

•

Joi Yin - Following the shadow

•

Joi Yin Chi Sau - Following the shadow in chi sau; a type of chasing chi sau

•

Joi Yin Jong - Following the shadow on the floor

•

Jon Geng/Juun Geng - Drilling power

•

Jong - Elbow

•

Jong Dai Lik - Elbow power produced from practicing the punch

•

Jong Gek - Elbow pushing from behind

•

Jong Sau - 1) A centerline block or strike contacting with the thumb side of the wrist

2) the general name for the Wing Chun fighting position

•

Joong-Lo - Mid-level

•

Joong-Lo Kuen - Mid-section drilling punch

•

Juen Mah - Turning and circling stance with the pole

•

Juk Dok Lop Mah/Wang Dok Lop Mah - Side single leg stance

•

Jung Sin - Centerline or centerline plane

•

Jung Sum Sin - Vertical mother line

Juun Geng - Drilling power

•

Jut - Snapping motion

•

Jut Da - Simultaneous snapping control with one hand and striking with the other

•

Jut Dao - Snapping the knives sideways

•

Jut Geng - Snapping power

•

jut Gerk - Snapping block

•

Jut Gerk - Snapping kick or block

•

Jut Sau - Snapping block contacting with the thumb side of the wrist

•

Kan Wah-Chit (Jian Huajie)-Victor Kan

•

Kau Sau/Kow Sau - Hooking palm control

•

Keng Geng - Listening power

•

Kit Gwan / Git Kwan - Opening up or blocking the inside, upper gate with the pole

•

Kuen - Fist / Punch

•

8 Families of Wing Chun punches are:

•

o

Chair Kuen - Pulling vertical punch

o

Chaap Kuen - Low punch

o

Ngoi Faan Kuen - Inside whip punch

o

Hoi Faan Kuen - Outside whip punch

o

Doi Gok Kuen - Diagonal punch

o

Chour Kuen - Hammerfist

o

Joong-Lo Kuen - Drilling punch

o