Wing Chun Jook Wan Huen Sy

 

WING CHUN: JOOK WA N H U E N S Y S T E M Omnibus Edition

Tyler R. Rea

MasterPath Publications & Everything Wing Chun

 

COPYRIGHT This is the first publication of the Wing Chun Jook Wan Huen System, Omnibus Edition. First edition. Published in 2020 by MasterPath Publications and Everything Wing Chun®. ISBN: 9798615094262

© Copyright 2016-2020 Everything Wing Chun®, LLC . All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the copyright holders, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the support staff at www.EverythingWingChun.com www.EverythingWingChun.com..

 Everything Wing Chun® Chun® and Wing Chun University® University® are registe registered red trademarks of Everything Everything Wing Chun, L LLC. LC. The following books were combined into the omnibus edition: 1. Wing Chun Kung Fu Bamboo Ring: Martial Methods and Details of the Jook Wan Heun of Wing Chun (Volume 1).  First edition published in 2010. Second edition published in 2013. 2. Wing Chun Opium Pipe Staff (Bamboo Ring Wing Chun Kung Fu Volume 2) . Published 2013. 3. Wing Chun Kung Fu Bamboo & Iron Ring Training (Bamboo Ring Wing Chun Kung Fu Volume 3). Published in 2013. 4. Inch Punch Power: Details and Training Methods. Published in 2013.

 All books © copyright copyright 2010-2020 Everything Wing Chun®, Chun®, LLC.

 

DISCLAIMER Martial arts training, like many sports, is a potentially dangerous activity. This book contains techniques that can cause physical injury. The author, publisher and those individuals demonstrating their skills assume no responsibility for any injury, misuse or damage resulting from the execution of the techniques and exercises presented here. Always train with safety under the guidance of a qualified instructor. Consult your physician before using this or any exercise program Risk of Physical Injuries: Bumps, bruises, scrapes, scratches and soreness are commonplace, and most students will encounter this sort of minor injury in their training. More serious injuries are possible, including sprains, strains, twists, cramps, and injuries of similar magnitude, and students can expect to encounter these injuries infrequently. It is always possible, if not training properly or under supervision, for students to encounter serious injuries or death - especially if using sharp weapons (which we do not endorse or recommend). Liability: The techniques discussed and demonstrated within this book are being performed by healthy professionals and are Liability: The being shown solely for entertainment purposes. No one should attempt these techniques without personal instruction from a qualified teacher. By purchasing this book you are affirming that you understand the above statement of risk (physical injuries), and accept the responsibility for any training techniques, advice, and/or methodologies mentioned herein. You assume responsibility for your own safety, actions, and understanding, and accept all risks involved with martial arts training. By assuming this risk, you completely absolve all authors, creators, copyright holders, and affiliates from liability for any injury (to you or another) or misuse of the information contained herein. Anyone who attempts these techniques does so at their own risk and assumes 100% responsibility for their actions and the results of said techniques, including any legal action taken against them.

 

CONTENTS CO NTENTS Title Pag Pagee Copyrightt Copyrigh Disclaimer Disclaim er About Tyler Tyler Rea Introduction Introduction Rings: Bamboo Bamboo Rings Rings: Sifu Sifu Kwai's Kwai's Eleven Link Sets Rings: Sifu Choi's Standing Ring Exercises Rings: Weighted & Brass Rings Equipment: Weighted Pipes and Poles Equipment: Weighted Club Equipment: Training Dummies Opium Pipe Staff: Intro & Stances Opium Pipe Staff: Strikes/Attacks Opium Pipe Staff: Techniques Hand Weapons Power: Knowledge & Details Power: Development Exercises Power: Energetics Power: Generation Wisdom: 36 Stratagems

 

Wisdom: Maxims & Poems Wisdom: Martial Idioms Thanks

 

ABOUT TYLER REA Mr. Tyler Rea has been a practitioner of the martial arts for over thirty years. Mr. Rea began his martial training in 1983 with Kodokan Judo and Uechi  Ryu karate, and has since studied: Xingyiquan, Indonesian Pentjak Silat , Wing Chun kung fu of both Ip Man and the Jook Wan Huen method, northern Seven Star Mantis and Chu southern Praying Mantis methods. As of 2005 he has also studied the rare southern system of Taixuquan, also known as Look Jahng Kuen (six elbows) kung fu. Mr. Rea also writes extensively on the subject of the martial arts. He produces training manuals, posters, and also lectures and teaches throughout the United States of America.

 

INTRODUCTION In 2010 I wrote my first book describing the Jook Wan Heun (bamboo ring) method of Wing Chun kung fu. This method of Wing Chun was introduced to me in the late eighties by Sifu Edmund Kwai and his brother-in-law Sifu Lee Bing Choi. It was my hope to present some of the basic curriculum taught to me by Sifu (teacher) Kwai to shed greater light on this more obscure area of Wing Chun training. The bamboo ring offers any martial art a very compact, affordable and effective training aid to cultivate various martial skills. The subject of this book are the various Wing Chun and southern mantis training methods as taught to me by the late Sifu Lee Bing Choi. Sifu Choi shared his knowledge of the bamboo ring and also details of the  Hakka boxing method of southern mantis insisting both had similar roots in the past. Now for the reader more versed in southern mantis there are some terms or references which differ with what is currently described in southern mantis terminologies. Throughout sections covering southern mantis the term/description of som bo jin (three step arrow), will be referred to by Sifu Choi’s term of gom jin (golden scissor) or gom jin go ying fan kiu sao (golden scissor spring bridge hands). This is only meant to delineate and better describe the mechanical details presented here as taught by Sifu Choi. In addition the material covering the very broad range of Hakka boxing and thus southern mantis is in no way meant to represent, endorse, advocate or diminish any branch of the art. As an old martial boxing maxim states; “One forest has many trees”. The material and exercises presented are for informational use only, any errors of term or application are strictly the author’s.

 

RINGS: BAMBOO RINGS

he Jook Wan Huen (bamboo ring/hoop) is a training device developed in the early years of Wing Chun kung fu. Based on pictorial records and statues, martial scholars believe that the ring was first used in religious rituals before being applied to martial practices in temples throughout the southern region. From temple training, the ring method was adopted by various secret societies operating within the temples, each with its own name and agenda.

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Once political pressure from the Qing government against the temples

 

became too strong and the threat of aggression too great, many secret societies fled, taking the ring method with them. For those secret societies that were the early custodians of the Wing Chun system, the Jook Wan Heun became an ideal way to train the evolving system, but also to train beginners easily in the essential structural elements necessary for skillful Wing Chun boxing. Groups such as the Red Flower Union, the Plum Blossom Opera, the Heaven and Earth Guild, the White Lotus Society and most famously the Red Junk Opera troupe were known for cultivating the  jook wan methods. Martial historians believe members of the nineteenth century group called the Red Boat Opera company used the bamboo ring as a means of training the emerging style of Wing Chun kung fu under the guise of a dramatic performance implement. Brightly colored and adorned on stage and wielded in dramatically choreographed routines, the ring would go unnoticed. When the training on board their boats, the redthe junk members would often practice ring method in a seated position due to congestion on board, rough waters, or slippery decks. In private seclusion on board the junk the ring could be used to refine Wing Chun boxing for a seated practitioner allowing training to go on unnoticed. When the opera troupes disbanded, the methods of training  jook wan techniques began to change and become more diverse. When the method moved to land the jook wan ma bo (stepping and footwork) began to expand to encompass many important and diverse patterns. Prior to leaving the red boats some of the most fundamental  jook wan ma bo (stances and steps) were: heun bo (circle step), ching cheong ma (forward brace step), hao cheong ma (backward brace step), bik bo (jamming step), sei ping bo (four side step) and cheun ma (shifting). Some consider the practice of the Jook Wan Heun to be the final level of solo training refinement in Wing Chun. While still others believe it to be a form of lei sao (loose hands) training from a bygone era in the early days of Wing Chun before the system became so heavily codified. Regardless of these two perspectives, the Jook Wan Heun is one of the finest and quickest methods to acquire and train the fundamentals of Wing Chun

 

structure. Often thought of as “Wing Chun’s portable dummy” the jook wan gives the practitioner the ease and fun of training anywhere, anytime, standing or seated. This book is intended to present the fundamental training training methods of the Jook Wan Heun of Wing Chun kung fu. The material and training syllabus presented are the combination of four of my teachers and one instructor of Judo, who became aware of this method during his childhood in Hawaii. The primary teacher and source of this material is the late Sifu Edmund Kwai (Mo Kwai) 1933-1997. His jook wan syllabus consists of the following: ●  sup yat wan (eleven ring sets) ●   jook wan da kuen (bamboo ring strike fist set) ●  sup yat wan mor kiu  (eleven link rubbing bridges) ●  lao ruen quan (old man palm stick) ●  bung zhaa quan (black moth pole) ●  vagabond opium pipe set This method dovetails naturally with most southern Chinese kung fu systems but specifically renders structures most recognizable as belonging to Wing Chun. For easier reading the Jook Wan Heun will be abbreviated to simply the JWR throughout the rest of the book. You can find my videos and courses of much of the JWR materials at www.WingChunUniversity.com (WCU) www.WingChunUniversity.com (WCU) www.EverythingWingChun.com (EWC).  (EWC).and/or EWC also carries a great g reat selection www.EverythingWingChun.com of JWR (rings) to practice with. Buying a set of eight inch, ten inch and twelve inch rings is a good place to start.

 

Bamboo Ring Circumference One of the first things to establish before training is to select or construct a JWR that is sized for your kiu (bridge arm). To begin your bridge arm is the distance from your wrist to your elbow. This designates the surface area you use to feel and redirect the attacker’s pressure. Between the wrist and elbow make a non permanent mark to denote the mid line point on the forearm [Figure A] The circumference of your training ring may be the full length of your forearm like the length of bot jom do (eight cut knives) or it may fall to just before the mid forearm line [Figure B]. Make certain to never go below the mid forearm line, of to pivot do so rotation minimizes circumference to the ring and trains a point thatyour willtraining not affect the attacker [Figure C].

 

If your JWR circumference goes below the mid forearm line, it also makes it nearly impossible for both bridge arms to smoothly transition between positions with any measure of power. Training with a large ring (one that has a circumference that goes beyond the wrist) is still acceptable and this trains the deltoids, trapezius and latissimus muscles to coordinate rounding the back and linking spine and stance through pelvic lift. It was felt by my teachers that the JWR movements predated the widespread use of a wooden dummy regimen. Practically all JWR exercises can be found in the dummy sets of most Wing Chun branches, the primary ones being kwan sao (bubbling hand), seung gan sao (double cutting hand), po pai jeung (butterfly palm), tan da (open block and hit), pak da (slap block and hit) and sot jeung (palm strike). Over time as your movements become more natural, you can train each set against lit candles, so that you can begin to monitor and see how your motion affects a lit flame. You will be surprised that the more you practice it, you can naturally do what is often considered a cliché training act of putting out candles with your motion.

 

RINGS: SIFU KWAI'S ELEVEN LINK SETS

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up yat wan (eleven link sets) are a series of five polarized, and five unpolarized arm positions with one outer-arm position known as lan wan (barring set) for a total of eleven.

These ring sets may be combined with an almost limitless variety of footwork allowing them to be trained in practically any system. Throughout the course of this book certain basic training guidelines and cheviots will be presented with each exercise to help maximize the initial stages of practice. Within jook wan training there are two primary positions with which to use the ring. One is called “unpolarized”. It is where both bridge arms face the same direction, positioned parallel to each other within the ring. The other is called “polarized”, where both hands are inserted within the ring in opposite directions.

 

Kwan Sao Within all the ring techniques presented, the fundamental or most crucial is called kwan sao (rolling hands block), known in many branches of Wing Chun. The detail that is important to remember about both these ring techniques as well as most of the sup yat wan (eleven link sets) exercises is that each is a combination of pairing single arm movements together to form a single circuit of structured movement. For example, tan sao (palm up block) and bong sao (wing arm) are the two primary transitions in one circular circuit of motion. Whether moving in bong sao (wing arm) and then transitioning out to tan sao (palm up block) or reversing the cycle of the circle. With respect to kwan sao (rolling hands block) the arms moves in a circular fashion, transitioning between bong sao (wing arm) and tan sao (palm up block) alternating left and right sides of the center line. Also every ring movement contains what is called loy cheun sao (inward coiling hand) because in all the ring motions the rotation of the bridge arm is essential for added power and ballistic rotation to your techniques. So it is important important that every arm m motion otion not be dead or static, where you’re chopping across the center line or chopping downward. There needs to be rotation as well as contraction and expansion power in your arm. Again, depending upon your branch, the names vary but the structures are essentially the same. All ring movements contain a cycle referred to as a “swallow and spit” cycle, where you’re spitting the power force outward and forward. The reverse is the swallow cycle, or absorption cycle. This will be highlighted later in the unpolarized ring segments where you have wan tun sao (linked swallowing hands) and wan tow sao (linked spitting hands) All the ring motions are a compound movement series of two arm movement actions. With respect to the kwan sao (bubbling hand), you are transitioning a tan sao (palm up block) and bong sao (wing arm block) motion on both sides of the body with both arms, but each being polarized in opposite references of timing. For example, the transition of dai bong sao (low wing arm) to tan sao (palm up block) here polarizes and reverses itself. This is again crucial to

 

understanding how the hands cycle to defend you. The second, being loy cheun sao (inward coiling hand) and the lower gan sao (cultivating hand) forming the structural foundation of seung gan sao (double cultivating hand). Think of kwan sao (bubbling hand) and seung gan sao (double cultivating hand) as two parents, and they create the entire variation and proliferation of all JWR techniques as their children.

 Kwan Sao Set 01

 

 Kwan Sao Set 02

 

Double Cultivating Hand When practicing seung gan sao (double cultivating hand) it’s important to know that within the transition of the movement, the lower hand may perform a jik choi (straight punch). When you transition and deal with an attacker who comes at you with two hands and you deflect him off the center line, the lower hand is the first striking hand, because it is both more difficult to defend and more difficult to see within the scope of the technique because it hides under the elbow. The seung gan sao (double cultivating hand) movement is generally found in the biu jee (thrusting fingers) form and wooden dummy set of most Wing branches. as Although  (double cultivating hand) isdescribed most Chun seung gan saohands. often translated double “cultivating” It is more accurately

 

as double cleaving hands, the way a plow cleaves the soil. This description highlights the importance of seung gan sao (double cultivating hands) to displace the attackers movement while moving forward. Seung gan sao (double cultivating hands) on a basic level is the reversed movement of kwan sao (bubbling hand) and, as such, the low gan sao (cultivating hand) has elements of gwat sao (sweeping hand). Many ancient Chinese boxing manuals say that the fist that hides under the elbow is the one that carries death’s seal. So when you apply the motion of loy kwan sao (inward bubbling hand) or seung gan sao (double cultivating hand), be aware that you have a  jik choi (straight punch) at your disposal within the transition. This also replicates the structural transitions of sot jeung (killing palm) motion. Again you’ll see that many of these movements are variations on a theme but a very important theme that runs throughout the whole course of the structured movements of the JWR.

 Double Cultivating Hands

 

 Double Cultivating Hand And Shift 

 

Killing Palms Now within the eleven sets, there is one palm technique, known as sot jeung (killing palm). My teacher, Edmund Kwai, Kwai, referred to it as the “devil gate palm” and “devil guardian palm” because sot jeung  (killing palm) is a transitional technique and transitional attack position that can be applied between all of the ring techniques. It is like the the crossroads or the intersection point of all of the techniques. For example, when posing kwan sao (bubbling hand), immediately you can deflect and move into the sot jeung (killing palm) technique. Sot jeung is considered a variation of po pai jeung, but again out of the polarized ring position.

Sot jeung, without the ring, is composed of a dai wong jeung (lower spade palm) and a fak sao (hacking arm). This motion can be used with the “phoenix eye punch”, the ger nah choi (ginger fist punch) as well It can be used with any specialty hand fist that you wish to use within it. Sot jeung, within the unpolarized ring position is considered a much simpler expression of the technique then when the hands are in the polarized ring position and resembles the po pai jeung (butterfly palm) technique. Strike attacks naturally flow from the left and right sides defending left and right gates.

 

Pressing Rotating Palms

 

Gum fan jeung (pressing continuous palm) is a motion sequence which replicates many motions that utilize the tan sao (palm up hand) portion of the kwan sao (bubbling hand) ring set to perform backhand line attacks. Within some schools of Wing Chun, backhand line attacks are frowned upon and they fall under a terminology category called gwa choi (hanging punch). Sometimes called  (overturning punch) and then within some cup choi schools of southernfan mantis gao choi (thunder punch). But regardless of the branch that one is familiar with, out of the kwan sao (bubbling hand) motion, the fan gum jeung (suppressing palm) is this sequence, where you’re taking the upper tan hand and it is transitioning to perform a gum (pinning) motion, past the bridge arm, near the elbow, wiping and suppressing while the bong sao (wing arm) transitions upward into the tan kiu (dispersing bridge). In this instance, we’re using it as a backhand line attack. This is very crucial and often overlooked scope ofare an actual fight,motor successful techniques boil down because to those within that, at the their heart, very gross movements. Therefore it’s essential that your line of attack intersect all possible lines of attack that come at you. When attacked, the angle and type of attack is unknown. It’s essential that your motion intersect all possible angles along the centerline. Just as a fisherman when fishing uses a net to fish a large area within the body of water, you don’t want to fish within the space of a bucket or dinner plate. You want to cast a broad net so that you can catch as much as possible, so too with an attacker. When they launch an attack at you, you want to intersect their motion from here and you want to do so with a movement that exemplifies a very powerful outer circular circumference. All the bridge arm positions within the JWR training, at their core are meant to replicate the outer circumference of a circle and most importantly of a sphere. We take the structural template of the ring from here and imagine that it is much larger, almost the size of a hula hoop, that we are embracing from here. You want your arm structure from shoulder to wrist to approximate one third of a sphere or a circle so that you have roughly one hundred and thirty five degree bend to your arm so the structural integrity is intact and with the use

 

of what is called jang dai lik  (elbow  (elbow sinking energy) you want that circumference to be cast out at the attacker so that you intersect their force and metaphorically, just like being put under the wheels of a bus, you want that force to rip and tear them down to the ground and go forward so that you can attack them. Within the scope of fan gum jeung (suppressing palm), take your bong sao (wing arm), press downward, making certain that you stay within the circumference of the ring. Refrain from breaking contact with the ring. The ring again is to articulate and guide your arms within the circular motion. When you do so, try to refrain from training it quickly, again, you want every part of the body to participate in this motion sequence. You don’t want one part of the body to become prematurely excited or prompted to move and break its sequence with all the other sections of the body. Make certain tthat hat you train movements slowly and smoothly, staying within the the corrective structure of the so that the timing of hands and rotation, the cheun jingring/hoop,  (rotating energy), is correct andthe accurate.

 

Palm Up Block The fundamental techniques of tan da (palm up block) can also be found within the JWR syllabus. It is trained in two primary ways. The first of which is with the hands inserted in position two of unpolarized where one hand touches the shoulder of the opposite side, initiates tan sao (palm up block) and a jik choi (straight punch). Then the ring transitions where you touch the opposite side shoulder, transition and repeat tan da (palm up block). This is one way in which the sequence is practiced, often with cheun ma (shifting) footwork or oy (inward) and noi seen wai (outside line facing) footwork. It is fairly basic, effective and I present itof here representation thebecause JWR. you will see it amongst other clans’

 

It is also very effective when training with a much larger hoop so that you can traverse through the four gates much easier with the ring, applying the tan da (palm up block) technique. The one that I’d like to focus on here is in the polarized position, just like within kwan sao (bubbling hand), we have the child of kwan sao (bubbling hand), this variation of tan da (palm up block), where the hand comes up and you punch forward in this fashion. Where the tan sao (palm up hand) is obliquely referenced on the centerline with the jik choi (straight punch) below. Again, they are staggered on the centerline, allowing you to turn and cycle between the left and right side horse stances with the tan da (palm up block) technique, displacing the attack off the centerline in a very aggressive wedge-like fashion, which will be shown in the applications. But again this replicates in some respects the important details of why some systems like White Eyebrow Boxing have their salute contrived the way they do. Through this experience ring set, of and  (palmthe upimportant block) you can mechanics begin to of what tan da immediately express body are called the sei jing (four energies): float, sink, swallow, and spit to that your ring motion will have that contract and expand quality necessary to the discharge power in multiple directions. When using it against an attacker’s punching arm, you’re using your tan da (palm up block) to displace that arm and punch them in the flank. Refrain if you can from heading for the face. It’s a somewhat odd habit in America especially that applications reference punching a person in the face and head. Whereas there’s a time for all applications in training, try to avoid that for the simple respect that the human mouth is a very bacteria laden environment. The most bacteria laden environment on the entire human body. As such its important in a day and age when HIV, AIDS, and hepatitis are commonplace that you not punch an attacker attacker in the mouth. You are virtually guaranteed to get your hand broken, but if you cut your hands on their teeth, you will receive a very, very nasty wound that will become infected and cause you some severe problems. So again, avoid the mouth for the sake of your own personal hygiene and safety. In a more long term way, refrain from punching a person straight in the face. Please know I am not advocating a particular act of violence, but when you

 

have to use your self-defense techniques, try to reference your palm for the face, that way you don’t break your hand. Now from the neck down, targets are ideal for a closed fist, so you don’t injure your hand or wrist. So in respect to the tan da (palm up block) technique, make sure you’re aiming for any abdominal target below the shoulder, whether it’s centerline referenced or flank referenced near an attacker’s latissimus dorsals doesn’t matter. Just make sure you reference the attack low. Other details about tan da (palm up block) that are important to note are that the hand, the punching hand here, will rotate along the lower portion of the ring’s circumference. Again, this pressure triggers the rest of the hoop to cue the upper hand so that you’re receiving tactile sensitivity information to both hands through the hoop and ring that relates reciprocally to rotational power. So that as you’re hitting from here the punching hand as you’re rotating through so that it then traverses downward along the opposite shoulder and hip region, upward almost through through the arm pit. If you can see the hand as it descends through the armpit region it’s passing through your carotid zone around your neck. This is another wonderful facet of the ring training and it is that your arms are treated like bone shields and these bone shields traverse bleeding zones around the body providing back-up protection. Here with tan da (palm up block) the lower hand is dropping downward to fall within the region of my femoral artery near the pelvis. So we have carotid, brachial, femoral near the pelvis. From here, the hand descends, striking out, striking out, drops down, ascends again to the neck, punching from here. So that you have built in form of defense as your hands are transitioning and cycling to reload this attack. Another aspect of what’s sometimes called lao jing (leaking force) is that when the arm is twisting as I just pointed out and sinking down, this hand is covering so that the hands are looping in a way that if you receive too much force or pressure in your bridge arms, your hands can turn and spring forward in almost exactly the same way as the siu nim tao (little idea) form when people perform their double gan sao (cultivating hand) and their lower hand will spring up to defend against trapping actions. That same mechanic is built into this ring set.

 

So to the best of your ability practice the tan da (palm up block) ring technique with this in mind. Train it slowly and smoothly. Try not to get frustrated that the ring will force and confine your hands to stay within the boundaries of your shoulders so that you don’t depart beyond at forty five degree angle of line facing.

Palm Up Block With Turn

 

Butterfly Palms  Po pai jeung is practiced practiced in ring position 2 (unpolarized). Begin with both hands inserted parallel two each other in the ring. If standing with the right leg forward, make sure the left hand covers on top of the right hand. This makes sure that the right hand is deployed first and forward, Allowing it to hook outward in the pao jeung (leopard palm) position. As with all the JWR sets, each movement of the right or left arm is designed to serve as back-up for the other at all times. This aspect is most evident in the  po pai eung (butterfly palm) set but is a function of all. The standard po pai jeung (butterfly palm) cycle found in most Wing Chun clans’ Wooden Dummy set and introduces the student to the importance of palm applications in the system.  Po pai jeung (butterfly palm) is a movement that expresses some of the highest skills of sticking and bridge arm adhesion.  Po pai jeung (butterfly palm) is designed to facilitate fast and flowing trapping actions that bind the attackers bridge arm as well as skeletal fame when coupled with the jamming attributes of the Wing Chun stance.

 Po pai jeung (butterfly palm) comprises a majority of the palm applications within the wooden dummy set, within some non-Ip Man branches over sixty percent of the set is devoted to  po pai jeung (butterfly palm). This level of dual palm training is meant to enhance the coordinated use of the open hand to deliver greater power to zones in and around the rib cage.

 Po pai jeung (butterfly palm) is also meant to prepare the student for the use

 

of double weapons, in most branches the bot jom do (eight cut knives) training stage to come. Po pai jeung (butterfly palm) applications highlight the importance of safe non radial artery contact points when dealing with a weapon.

 

Phoenix Eye Punch The fong an wan (phoenix eye) set develops center point and circumference pivot rotation to alternate the application of the fong an choi (phoenix eye punch) and the wu sao (guarding hand).

This hand is covered extensively later in the book (under “Hand Weapons” and “Phoenix Eye Fist”), so we’ll just introduce a little extra info here. The action of forward pressure in the punch may also be used in a chum kiu (sinking bridge) fashion to suppress the attackers arm and then counter strike. Keep the bridge arms in front of the body with the elbows down, being stabilized by gravity (through relaxed trapezius and deltoid muscles) and manifest what the Chinese call jang dai lik  (elbow  (elbow sinking power). The method of central pivot rotation is of extreme importance when trying to dissolve the aggressive pressure of an edged weapon attack. The alternating and reciprocal application of non-radial contact points is a safety detail of great benefit in moments when a sudden knife attack requires an instant

 

deflection that also serves as a strike. The preferred striking surface in the fong an wan (phoenix eye) aside from the phoenix eye punch itself is the inner forearm bone or ulna bone and bien choi (heel of the fist) strike. Prior to the use of gloves in boxing, in the days of bare-knuckle matches, both fighters’ hands were usually broken (to a greater or lesser extent) by the second or third round. It is important to strike with the bone support inherent in the position of the knuckle fold because this affords the best structural support possible to the most fragile of the bones.

 

Thrusting Bridge The biu kiu (thrusting bridge) is a ring set that focuses heavily on the deployment of cheong kiu jing (long braced bridge power).

Biu kiu (thrusting bridge) contains many bridge arm methods generally seen in systems like bak mei (White Eyebrow) and South Mantis, however the JWR imposes the sao fot  (hand  (hand techniques) calibration of the five pivots too When practicing the movements make sure the tips of your fingers do not exceed the height of your eyebrows, nor should they fall below the solar plexus. The biu kiu (thrusting bridge) exercise should have the following elements:  

● The forearms need to maintain a position as parallel as possible to the ground. ●  Forearm rotation should be evident throughout the extension of the movement. Train this movement SLOWLY! The key mental focus is on unyielding forward penetration driven from the spine rooted through the stance.

Thrusting Bridge Without Turn

 

Thrusting Bridge With Turn

 

Barring Arm This exercise provides a way to train the stance pivot of Wing Chun while holding the static posture of a double lan sao (barring hand) variation. The structural detail or a relaxed trapezius muscle and rooted sunken elbows are keys too uniting the backs spine power to the arms and deploying that power beyond the body. Probably the single most important reason to train with the JWR is due to the point of rotation. In nature any display of power on a grand scale is due to rotation power (windmills, tornadoes, whirlpools, planetary rotation, planetary orbit, supernova collapses or expansion etc.) When using the JWR, the hands, and specifically the wrists, are in constant contact with the inner circumference of the ring, this causes the arms to rotate around an artificial pivot point. When the arms move in this way orbiting around this artificial pivot point they have greater mass than they would if the axis of rotation ran through the ulna and radial bone area - as well as greater deflection surface area. Through the rise and fall of the elbow, the arms generate greater power through the second most important element (the first being the change in pivot). Enhanced expansion and contraction of the arms ability to generate power. This is further amplified through the integrated use of the spine (lifting of pelvis and rounding of the back’s scapula), this and adding the body’s mass (through the stance rotation) more than potentially doubles the power

 

produced. In rare instances power is tripled. Double fist technique naturally flows out of kwan sao (bubbling hand) and po ai jeung (butterfly palm).

 

Rolling Hands

 

 Look sao (rolling hands) is just as its name suggests. However this simple and overlooked exercise contains many fine points. While developing the practitioners ability to drill vorticular power down the centerline look sao (rolling hands) also reinforces the one hundred and thirty five degree deflection angle of the bridge arm, in conjunction with the transition between

bong sao (wing arm) and tan sao (palm up block) crucial to sticking hands practice when not with a partner.

 Rolling Hands 1

 

 Rolling Hands 2

 

Linked Hands Wan sao (linked hands) uses the structures of bong sao (wing arm) and tan sao (palm up block) in three basic planes of movement to develop greater power and structure with yin and yang power arcs of pressure. The Five Basic Planes of Movement are: ●  ●  ●  ●  ● 

Vertical linear rising tan (palm up) or bong (wing arm) transition. Horizontal linear tan (palm up) or bong (wing arm) transition. Circular tan (palm up) to bong (wing arm) transition. Swallowing tan (palm up) to bong (wing arm) transition. Spitting tan (palm up) to bong (wing arm) transition.

Wan sao (linked hands) uniquely focuses on the unification of planes of

 

bridge arm movement with that of the body’s core torso mass. This important ring set lays the foundation for the application of duan jing (short/inch power) much sought after in the martial arts. To the right a dai kwai jang (lower elbow strike) application from wan sao (linked hands).

 

RINGS: SIFU CHOI'S STANDING RING EXERCISES

 

M

any of these exercises are the same as Sifu Edmund Kwai’s 11 Sup Yat Wan (eleven linked sets), but are presented here again to include extra details and show the complete sets for each Sifu.

Note that the terminology used by Sifu Lee Bing Choi has been converted to Cantonese. We will cover: ●   Kwan Sao - Rotating Hands ●   Dai Gum Jeung - Low Pinning Palm ●   Dai Jik Choi - Low Straight Punch ●  Seung Fong - Double Phoenix Eye ●  Bong Lop Da - Wing Arm Grab ●  Double Lop Da - Double Grabbing Palms

(above: footwork diagram to be covered later)

 Rotating Hands / Kwan Sao

Known within most Wing Chun branches as kwan sao (bubbling hand), cheun wan (turning loop) was the description given to this ring set by Sifu Choi. It’s also the first polarized sup yat wan (11 linked sets) from Sifu Edmond Kwai.

 

This particular ring set trains the alternating deployment of tan sao (palm up block) and bong sao (wing arm) both high and low, right and left. Photos 1-3: Begin in your yee jee kim yeung ma (character two goat clamping stance) and rotate toward your left gate while extending the tan sao (palm up block) and bong sao (wing arm) of the cheun wan (turning loop) ring set. Photo 4: Allow the tan sao (palm up block) hand to turn over and descend to dai bong sao (low wing block). This whirlpool like like transition anchors the ballistic generation of added power within Wing Chun ring training. Photos 5-6: Now polarized to the opposite gate, rotate toward your right while extending the tan sao (palm up block) and bong sao (wing arm) of the cheun wan (turning loop) ring set.

 

 Low Pinning Palm The dai gum jeung (low pinning palm) is generally found near the end of the chum kiu (sinking bridge) form prior to the execution of the tai kuen (raising punch). This ring set capitalizes heavily on the downward twist twisting ing rotation of the body and stance to drive the palm. Contained within the static static positions of this ring set are the elbow strike of bik jang (jamming elbow) and eet kiu (intercepting bridge) as well as a potential arm and neck break to name just a few. Photos 1-2: Begin to rotate your stance toward the left while allowing your lead guard hand to descend and execute a gum sao (pressing hand) not going below the hips/groin. Photo 3: Whirlpool like transition reloads and cycles the hands to the sup jee seung tan sao (crossed double opening hand) position. Photos 4-8: Begin to rotate your stance toward the right while allowing your lead guard hand to descend and execute a gum sao (pressing hand) not going below the hips/groin. Repeat steps alternating gates.

 

 Low Straight Punch

 Dai jik choi (low straight punch) is the cycled deployment of a  jik choi (straight punch) and wu sao (guarding hand) within the midline gate. This ring set is much like the lin wan kuen (linked cycling punch) contained within the whirlpool structure of the ring. Photos 1-3: Begin to rotate your stance toward the right while allowing your lead guard hand from the sup jee seung tan sao (crossed double opening hand) position to descend and execute a straight jik choi (straight punch) hit. Photo 4-5: Whirlpool like transition reloads and cycles the hands to the sup jee seung tan sao (crossed double opening hand) position. Photos 6: Begin to rotate your stance toward the left while allowing your lead guard hand from the sup jee seung tan sao (crossed double opening hand) position to descend and execute a straight jik choi (straight punch) hit. Repeat steps alternating gates.

 

 Double Phoenix Eyes

Seung fong (double phoenix eye) an is the cycled deployment of two phoenix eye strikes within the mid and low line gates. This ring set is much like the seung gan sao (double cultivating hand) utilizing a yin and yang power arch that channels ballistic rotation down the centerline. The structural foundation of this type of movement pattern is found in the wooden dummy and biu jee (thrusting fingers) set. Generally thought of as an emergency or contingency structure it is taught among the gao gup jing sao (nine emergency hands) of Wing Chun. This particular ring set was Sifu Lee Bing Choi’s favorite to train, allowing a practitioner to quickly and safely get very close to an attacker with back-up elbow strikes both high and low. Photos 1-3: Begin to rotate your stance toward the right while allowing your arms (while posing double phoenix eye punches) to extend and arc forward to sheer the centerline with double phoenix eye punches to strike. Photo 4: Whirlpool like transition reloads and cycles the hands. Photos 5-6: Begin to rotate your stance toward the left while allowing your arms (while posing double phoenix eye punches) to extend and arc forward to sheer the centerline with double phoenix eye punches to strike. Repeat steps alternating gates.

 

Wing Arm Grab The three count technique of bong lop da (wing arm / grab drill) is a standard technique and lap sao (grabbing hand) action found in every Wing Chun system.

This movement effectively deploys a bong sao (wing arm) deflection and bone shield, a lap sao (grabbing hand) deflect and detain movement from wu

sao (guarding hand) and a counter punch using the front flat of a fist or the hammer edge known as bien choi (heel of the fist). Because most familiar with Wing Chun are already versed in this movement it will not be described in detail here.

 

 Double Grasping Palms The double grasping palms represents an un-polarized ring set that combines the vice like power of two lap sao (grabbing hand) actions and two spade palm strikes. This was considered a variation on the sot jeung (killing palm). Called the cow (the female domesticated ox), because the only real martial skills associated with a cow is the grip of it’s mouth and the mass of it’s body. It is by no means a flashy technique but it is very effective.

 

RINGS: WEIGHTED & BRASS RINGS

T

he personal practice of bamboo ring material differs notably between my two JWR teachers in the following way.

Although both taught me the training syllabus of the sup yat wan (eleven linked sets), Sifu Choi trained an additional and personal set of exercises using an tin wan (iron ring). Not to be confused with iron or brass forearm rings, this is a heavy JWR. All exercises here use a six pound ring (approx 2.72kg). At the time I trained under Sifu Choi, he would practice with a one pound steel ring, however I was told in his youth he trained with rings as heavy as eight pounds and up to thirteen inches. Aside from his love of the martial arts Sifu Choi was a fanatical mah jong player, often practicing with his ring in

 

between games. My teacher Edmund Kwai would jokingly call these times mah jong. Whether eating, training martial arts, or mah jong, over the years I rarely saw him without his iron ring. My study of Wing Chun under Sifus Lee Bing Choi and Edmund Kwai were the only ones to ever cover or advocate the seated training of Wing Chun methods. Over the years I always expected other instructors and practitioners to mention this method of practice but to date I have found none.

When Sifu Choi taught this method he would describe the spacial area around the centerline plane as an analog of a baseball diamond. He stated that a line running from your right hip to your right knee delineated home base to first base. A corresponding line from left left hip to left knee was, home base to third base. Your centerline plane from your nose to crotch extending out to infinity, denoting home base to second base. Each bridge arm like a guard dog was to defend it’s yard, left arm staying in the left yard and vice versa.

 

Sifu Choi explained that this dimension of training grew from the days when martial arts were practiced aboard boats within the rivers and coastal regions of China.

Seated, Weighted Ring Exercises:

1. Look Sao (rolling hands) - to build up strength. 2. Huen Wan Ging (circle ring energy) - a spring tension exercise. 3. Seung Gan Sao (double cultivating hand)

 Look Sao  Look Sao (rolling hands): The hands): The following photos demonstrate the use of a large six pound ring to train look sao (rolling hands). This practice is initially meant to build up strength in the practitioner’s rrolling olling arms cycle. Over time to become accustomed to large heavy pressure from large training partners. The heavier ring can heighten the awareness of vorticular oscillating pressure in the rolling arms cycle.

 

Spring Tension Energy  Huen Wan Jing (circle ring ring energy): The photos here demonstrate the use of a large six pound ring to practice a spring tension exercise called huen wan ing (circle ring energy).

 

Seated Gan Sao

 

Seung Gan Sao (seated bubbling hands): The photos below demonstrate the use of a large six pound ring to train seung gan sao (double bubbling hands).

 

Brass / Iron Forearm Rings When opportunity and financial fortune smiles, it is highly recommended to invest in a traditional set of brass forearm rings. Generally a full set of is ten ringstraining (five for forearm) in mostform martial systems. This style simple aideach provides a dynamic of weight resistance that doesn’t allow a practitioners training results to plateau and then taper off over time. This is due to the fact that each ring moves independently of the other in all three vector planes of space as well as laterally up and down the forearm. This provides a training workout that forces the practitioners body to constantly adjust to the rings ever changing position during movements. This constantly shifting load of weight creates perpetual muscle confusion, as well as a higher caloric expenditure while the body constantly works to stabilize movement while training. An economic alternative for those who can not afford or find a traditional brass ring, is to use hardware grade heavy chain. Simply purchase a length of chain equal in length to your forearm from elbow to wrist or from fingertips to shoulder. Loop the chain with a carabiner clip, wire, cord or other method and then wrap the chain round your arm allowing the bundle to hang nearest your elbow. Another configuration is to use a very long length of looped chain. This longer and thus heavier segment is wrapped figure eight style around both arm, creating more more dynamic resistance during practice. With regard to to brass ring training it is considered more advanced and taxing to a practitioner’s training to move as slowly as possible so that the rings are silent and do not chime as they move along the the arm. It is often told told to students that an instructor is able to pick out of a group a student who is incorrectly training a movement based upon the sound the rings make. In reality it is the student who is able to train with the rings silently who requires no correction.

 

EQUIPMENT: WEIGHTED PIPES AND POLES

W

e will cover exercises for the weighted rolling pole and weighted pipe here, as well as construction of these devices.

Pipe Construction

First, here are two poles/pipes to construct. The “Rolling Pole” and the “Weighted Pipe” - they are basically the same thing, the pole is just longer (enough to sit across both of your arms).

A weight pipe or rolling bar is a type of training device used within the Chinese martial arts. This type of training device provides a level of interactive resistance training that strengthens and refines many fundamental movements and power generating mechanics crucial to Chinese kung fu. This simple and remarkable training device is normally found within the southern boxing traditions, but was first introduced to me through  I Chuan (intention boxing).

 

This device is generally made for a student by the instructor but an item as simple as a stick, staff or pole may be substituted. In the past a rolling pole was made of bamboo or a hollowed section of wood, filled with small rocks, sand or water for resistance. The illustration shows a cut away so you can see the resistance material within. The purpose of a resistance material such as small stones, sand, copper/zinc BBs or water is not only to add an element of interactivity but to fine tune small muscle movements generally suppressed my major muscle movements.

 

For ease of construction and low cost: 1. Begin by purchasing the following materials: a. A piece of PVC pipe. i. Roughly the length of your forearm for the weighted pipe, and maybe 1.5-2x that for the pole. ii. Roughly no more than 3 fingers in width. b. Two PVC end caps to fit your pipe. c. A can of PVC adhesive sealing glue. d. A package of zinc or copper BBs from a sporting goods store. Small stones and sand can also be used. 2. Start construction by sealing one end of your PVC pipe with one of the two end caps and adhesive sealing glue. 3. Next, fill only half your pipe with the BBs (sand or small stones). 4. Finally, seal the open end of the pipe with the remaining end cap and allow the device to rest for thirty minutes to ensure the PVC adhesive has had time to set. The size/length and weight of pipe may be increased for greater resistance.

Rolling Pole Exercises With the Rolling Pole, we will train: 1. Forward Extension 2. Rise and Fall Extension 3. Forward Ballistic Rotation Train the exercises presented with attention to position and a steady smooth pace. Avoid rapid sudden movements as the shifting resistance of the weight medium can make control difficult.

 Forward Extension The first rolling pole exercise trains forward penetrating extension. Begin standing in a stance slightly wider than shoulder width. Place the roller pole evenly balanced across your forearms. The position of your palms throughout the whole of exercise two is with the palms facing each other as if holding a loaf of bread between them.

 

Begin by slowly and smoothly extending your arms forward so that the roller contours the length of your forearms from wrist to elbow bend. As you extend your arms forward they will rise slightly, the main detail is to keep the forearms as parallel as possible to the ground, so that the interaction of roller pole and extending bridge arms is a smooth and seamless dovetail of movement. The mind intent is on the smooth forward extension of the arms supported by the back and elbows converging near the centerline plane. Breathing should be calm and natural as you focus your awareness on the expansion and contraction of the body’s frame during the movement.

 Rise And Fall Extension

The second rolling pole exercise trains rise and fall arm extension. Begin as in exercise one, place the roller pole evenly balanced across your forearms. The position of your palms throughout the whole of exercise two is with the palms facing down as if holding a cup of hot coffee and trying not to spill it. Begin by slowly and smoothly extending your arms forward. As they rise slightly focus and point with the wrists as the palms flex slightly downward. Again, the main detail is to keep the forearms as parallel as possible to the ground as the roller pole evenly moves over the forearms. The focus should be on the rhythmic cycle of the rise and fall of the hands and wrists in contrast to the movement of the roller as it moves in the

 

opposite direction heightening an awareness of contradictory forces.

This movement is known in I Chuan (intention boxing) as “turtle emerges from the sea” cycle and over time may be practiced with the appropriate footwork from that exercise. However, far more important is the initiation of slight, slow movement that acts on the roller pole in small increments to maintain a flow of movement that is not abrupt.

Persistent practice of these exercises refines and heightens an awareness of the spacial boundaries of the “four corners”.

 

The “four corners” represent the boundary areas of the shoulders and hips forming a box that extends out in three-dimensional space. It is this area, not exceeding the height of the eyebrows or falling below the waist, is the area your arms must dominate in a fight.

 Forward Ballistic Rotation The third rolling pole exercise trains forward ballistic rotation. Begin as in exercises one and two with roller pole across the forearms. Your hands should be palm up not exceeding the width of your shoulders. Begin by slowly and smoothly extending your arms forward, transitioning the palms to a position where each palm faces each other and fingers point forward as in exercise one. Your movement should continue uninterrupted in extension with the palms ending palm down.

 

With this exercise you should become aware of artificial point of rotation axis extending from your shoulder out to the outside of your palms. Your arms should orbit around this pivot axis contouring it as if it were a physical object like a tapered nose cone under your arm pointing outward.

Persistent practice with thewhen rolleritwill develop aAs vorticular forward coiling power in your bridge arm is extended. indicated above each segment of the arm expresses a unique diameter of axial rotation like the various gear segments of a bike. These axial rotation segments allow the user to apply greater and greater levels of displacement power that bores through the attacker. When all axial rotation segments plus body mass are discharged together at one moment bursting inch-power is released, like that of a drilling domino chain that tears through the attackers structure. As indicated below each segment of the arm expresses a unique weight displacement ratio as well. Each of these weight segments especially the elbow and body mass discharge great power when united with gravities pull through relaxed sung (settled) body structure.

 

Weighted Pipe Exercises There is one basic exercise to train here - “Wringing the Pipe”, but you need to do it to the left, right and center.

Pipe Wringing Left Side Begin first by holding the weight pipe with both hands palm down. Take your right hand and wring the end of the weight pipe inward toward your left armpit. This action is similar to that of wringing water out of a wet towel. Next, as in photo 3, allow your hand to ascend and carry the weight pipe up the centerline and outward to its original position in photo 6 as it was in photo 1. Repeat for at least ten cycles, alternating between right and left hands.

 

Pipe Wringing Right Side Begin first by holding the weight pipe with both hands palm down. Take your left hand and wring the end of the weight pipe inward toward your right

 

armpit. This action is similar to that of wringing water out of a wet towel. Next, as in photo 3, allow your left hand to ascend and carry the weight pipe up the centerline and outward to its original position in photo 6 as it was in photo 1. Repeat for at least ten cycles, alternating between right and left hands.

 

Centerline Wringing This exercise is identical to the previous exercise cycle, with a slight difference. Rather than cycling the weight pipe between the right and left sides of the centerline you are now to try and keep the weight pipe cycling directly on the centerline. Repeat ten times, or as often as you wish.

 

EQUIPMENT: WEIGHTED CLUB ifu Choi was very

S fond of various

types of training weight and exercise methods. One type of very ancient training weight he used is called an Indian club. This bowling pin shaped weight is believed to originate in India but is found in many other cultures as well. For Wing Chun, the clubs help strengthen the motions we use with the bot  am do (butterfly swords). The exercises will reference these sword motions. Butterfly Sword / Weighted Club Exercises: 1. 2. 3. 4. 5. 6.

Circling ( Huen  Huen) Thrusting (Biu) Dispersing (Tan) Sweeping (Gwat ) Cultivating (Gan) Golden Scissors

 

High Quality Wing Chun Butterfly Swords from MasterPath and Everything Wing Chun

Weighted Club / Butterfly Sword Exercises Circling The circling knives movement is an excellent starting point as it strengthens the wrists and enhances the flexible range of movement wielding the bot jom do (eight cut knives). Photos 1-3: Begin by allowing the weight of the clubs to sink downward and outward on the right and left sides of the centerline plane. Photo 4-6: The resulting downward momentum will then cause the rise of each club to ascend and move forward past the region of the neck and cut forward on the centerline plane. Repeat steps alternating gates.

 

Thrusting The thrusting knife exercise trains the stabilization of the elbow and the smooth deployment of forward penetrating force. Introducing a practitioner to the clubs prior to the knives ensures stability in movement as an individual becomes accustomed to the techniques prior to the bot jom do (eight cut knives). Photos 1-8: Due to the simplicity of the biu do (thrusting knife) and all biu jee (thrusting fingers) related movements, a detailed explanation will not be given. Please follow the photo sequence.

 

 Dispersing The tan do (palm up) knife exercise utilizes a tan kiu (palm up bridge) deflection to clear the centerline and strike. Photos 1-3: Begin to rotate your stance toward the left while executing a tan sao (palm up hand) movement with the club clearing the centerline. With the opposite club strike forward on the centerline. Photos 4-6: Transition to the right and repeat steps alternating gates.

 

Sweeping Because the movements of seung gan sao (double cultivating hands) are known by most Wing Chun practitioners a detailed description will not be covered. You already practiced the gan (bubbling) movements with the rings. Now practice with the clubs.

 

Cultivating Because the movements of seung kwan sao (cultivating hands) are known by most Wing Chun practitioners and was taught in the rings section, a detailed description will not be covered.

 

Golden Scissor  This exercise applies weight training for the core bridge mechanism of southern Hakka Mantis. This movement pattern follows the structural template of the southern Mantis form som bo jin (three step arrow). Photos 1 and 2:

 

Begin in a rooted stance, gradually raise the clubs up the centerline of the body from navel to sternum height. Photos 3 and 4: Once the clubs rise to the height of the throat begin by twisting the forearms outward, rotating the clubs forward. Photos 5 and 6: As the clubs extend beyond the ears and head extend the arms out laterally and hold for at least ten seconds. Repeat the movement sequences as many times as you wish at a smooth and even pace.

 

EQUIPMENT: TRAINING DUMMIES

ncluded in this book are some of the various training aids and dummies that Sifu’s Choi and Kwai exposed me to. Sifu Kwai’s home in particular was littered with training equipment, weights and jong (post) style dummies.

I

Having trained in the martial arts for over 30 years I have owned and made a number of training devices. These training aids follow tr traditional aditional designs, as well as more modern variations, yet all are based on the form and structure of

 

a jong (post). The term jong is a Cantonese word meaning “post” and is meant to represent the vertical cylindrical structure of the human frame. The following are examples of basic training aids that are easy to construct and that are very effective partner supplements.

Bamboo Jong Bamboo jong (post): This training aid is the most flexible and plyometric of those presented. It is composed of a steel plate base with a metal sleeve welded to it. This design allows a practitioner to insert a length of bamboo into the anchored sleeve to act as a striking striking target. Many Southern kung fu systems also train dynamic forms of bridge arm conditioning on such a  jong (post) to further augment their respective power development. The illustration to the right shows a design comprised of a section of galvanized electrical conduit covered by a sleeve of plumbing pipe. The sleeve-covered shaft provides two forms of extra interaction aside from the flexible yielding of this design. Contact pressure applied can cause the sleeve and fallapplied as wellduring as to rotate, forcing the practitioner to refine the amounttoofrise pressure training.

 

The outer plastic sleeve permits the striking surface to both rise and fall, rotate right and left.

Millstone Jong Millstone jong (post): This training aid, also known as stone  jong (post) and Jade Collar jong, is the oldest form of contrived portable and weighted  jong. Originally anchored with a heavy stone collar at the base, this design affords greater resistance as well as a two training additions. First, the stone base is often made semi convex, this causes the  jong (post) to arc and wobble slightly when struck, adding to the need to adjust and interact spatially with the device during training. Second, the thick height of the base is used as a kicking target that can also serve to teach placement for foot trapping. The Illustration to the left shows a design of mine that uses a car axle and wheel rim. Thick outer padding permits safer iron palm strike training. Simulate multiple attackers for footwork development with multiple multiple jongs (posts) clustered together.

Pole Jong This training aid is a more firm and rigid version of the bamboo  jong (post). This design allows a practitioner to train both empty hand and weapon applications side by side. With both types of jong, the base is anchored using Olympic barbell weights. This allows the practitioner to adjust the level of resistance, as the continued increase in the practitioner’s power will move and displace this device. Many southern kung fu systems also train dynamic forms of bridge arm conditioning on such a jong (post) to further augment their respective power development.

Spring Pole Jong An invaluable training aid that can be built dirt cheap is the fan gwan jong  jong

 

(spring pole dummy). Made to replicate the vertical structure and spring tension resistance of bamboo, a spring pole dummy provides a fantastic supplement to two person training that can greatly develop power and sticking coordination. Simply attach an eye bolt to the ends of a wooden pole, next attach three additional eye bolts (two at the bottom of a door frame and one to the ceiling). Attach short bungee cords to tthe he ends to link the tension - or attach bungee cords to the ends of the pole and hang it up. The pole and bungee length can be changed to fit your available space. Practice any of the exercises presented here to add another dimension to your martial training.

Tire Jong This training aid is most often used by practitioners of extreme iron palm, and those who train in the Filipino martial arts. The suspended tire girdle provides a very mobile and ever adjusting target to strike, requiring greater control and accuracy. All jongs (posts) may be configured in various patterns and numbers to heighten and refine footwork development as is the case within the system of Baguazhang (eight trigram palm).

Beggar’s Jong

Over the years I have often been asked about alternative training aids, so I wanted to add thisthe design thejong line-up of  jongs  (  (posts). posts). Most martial artists are familiar with mooktoyan  (wooden man dummy) of Wing Chun .

 

There are, however, many other types and configurations of wooden man dummies worth exploring. This type of training dummy is modeled after a Choy Lee Fut dummy.

Constructed of PVC pipe and bungee cord, this design is considered by some to be a very affordable junk yard dog alternative. A traditional wooden dummy is a privilege to own, but they are undeniably an investment, and until one is ready to make that worthwhile investment this a affordable stunt double that is ready to train. Bungee cords attached to wooden arms and anchored to the PVC trunk by eye bolts. This creates spring resistance in the arms to augment sticking and power development.

Other Jongs & Mantis Jong The term jong (post) refers to a training tool used the world over in every culture. Wooden posts are used by almost every system of Chinese gung fu as a training tool representing a human cylindrical frame, this allows a martial artist to train ma gung (footwork skill), sao fot  (hand  (hand techniques), and depending on the style of mount (floating or buried in the ground),  jing fot  ( power power discharge techniques). A smooth finished or rough outdoor jong (post) is the most common type of

training jong (post) used, systems such as Baguazhang (eight trigram palm),

 

Tong Beiquan, Pigua, Baji as well as many other systems. The moi fa jong  jong (five plum blossom post) is so named because smaller jongs (posts) planted in the ground at an average of knee level height are grouped in a pattern of five resembling a plum blossom petal, this  jong (post) method is used most often for training footwork and balance in systems such as northern Praying Mantis and styles of chang chuan (long fist). The sam sing gerk  jong  jong (three star kicking post) is most often used in the system of Wing Chun as a method of refining footwork, kicking, speed and timing. Wing chun is also famous for its use of the mook yan jong (wooden man dummy) which is a jong (post) configured to more closely resemble the structure of a combatant.

The Mantis som dim jong (three point post) allows the southern mantis practitioner to train and refine a multitude of kung fu skills, from gan geep ing (sticking power) to bik jing (pressing power) to gak jing (shocking power). The upcoming illustrat illustration ion gives a structural break down of the various striking surfaces found on the Mantis  jong (post). When facing the dummy a practitioner can train the ping shu (flicking techniques) or fic shu (poking techniques) hand strike to the left or right posts marked as #1 and #2. The roller bar m marked arked by #4 permits the smooth application of forward pressure within the gop shu (vice bridge) and jik shu (straight hand) motions. Combinations of post #1 and #3 or #1 and #2 can express chok shu (reflection hand) and jik choi (straight punch) punch combinations as well as gwat da (sweeping punch) strikes at the low line. Target #5 as well as #1 and #2 are excellent for mantis kicks which are always meant for low line attacks. One of the most interesting dummies in Sifu Choi’s collection was his southern mantis mor kiu jong (grinding bridge post). This dummy is meant to simulate the vertically standing bamboo found in the various bamboo forests of China.

 

A very wide range of bridge arm pressure and  jing (energies) can be developed, as well as multi di directional rectional striking. This aspect of multi directional striking is at the heart of Hakka boxing's ability to strike from several directions without without retracting the practitioners bridge arm. This aspect of training embodies advanced isometric tension. The dummy anatomy is the following... 1. 2. 3. 4. 5. 6. 7.

Support post, left striking target. Support post, right striking target Centerline striking target Mid-line rubbing bridge roller bar Low-line kicking bar Weighted post High-line rubbing bridge roller bar

Many different combinations are trained with the Mantis jong (post), for example when posing chok shu (reflection hand) the backs of both hands can hook and pull the dummy frame forward. Sai shu (perching arm) may be used to jolt the dummy to the right or left to aid punching or kicking attacks. Combinations of rising wrist strikes and falling heel slaps of bao jeung (protection palm) may be applied to both high and low roller arm targets. The diagram below illustrates how targets to the right, left and front are positioned in relation to the Mantis boxer. This type of training was extrapolated from the isometric tension exercises practiced on live bamboo growing in dense groves throughout southern China. This level of training encourages the free flow of application coupled with the firm application of power to provide greater realism in application for the practitioner.

 

OPIUM PIPE STAFF: INTRO & STANCES About Gwan (Chinese Staff/Poles) Throughout the history of mankind, weapons have taken on every conceivable size, shape, and configuration based on effective function in combat. This is even more the case in cultures and circumstances that require the instant use of improvised weapons. The Chinese martial arts are famous for their successful implementation of unusual and exotic types of weapons all along the spectrum from large to small. Staff weapons within the Chinese martial arts are known generally as gwan (staff/pole). Gwan (staff/pole) encompass spears, long poles, and staffs, generally made of bare wood, bamboo, or metal and range in length from six to thirteen feet. Gwan (staff/pole) are also martially adorned with edged metal appointments from sharp tips to axe blades to short sword blades.

 

Gwan (staff/pole) can also be shorter staff-like weapons and are most often used in a civilian domain. Far too short to be effective on the battlefield, gwan (staff/pole) are most often used as self-defense weapons in everyday settings. The general lengths for a gwan (staff/pole) style club are between two to three feet, often custom measured for the user. Individuals generally determine the ideal length for their personal weapon as the distance from floor to crotch, from nose to tip of finger, or from floor to solar plexus.

The primary criteria, aside from available length of material, is that the club length not exceed the grip width of the hands. The Chinese word gwan (staff/pole) can refer to a short staff weapon used in Chinese martial arts. It is known as one of the four major weapons, along with the qiang (spear), dao (saber), and the jian (sword). All are collectively known as “The Grandfather Weapons.”

 

The gwan (staff/pole), and its longer counterparts, is sometimes tapered at one end. This configuration, with one thick end as the base and a thinner end near the tip, is sometimes capped with metal or a sharp point. Besides the standard gwan (staff/pole), there are also types that are flail-like, with twoand three-section the staff. Modernorstaves arealloften madeare from wood, wax wood,varieties graphite,ofplastic composite, rattan, of which strong, flexible, and lightweight.

The Opium Pipe

This material comes from the late Sifu Edmund Kwai, and was taught to me in the late 1980s as part of his mainland Wing Chun instruction. This weapon method is called opium pipe club due to the short length of the weapon and the signature grip one uses when striking with it. Opium pipes generally range in length from six inches to two and a half feet and, in rare cases, as long as three feet.

Beggar smoking: a close up of the signature grip of the opium pipe club. The grip is similar in appearance to an opium pipe being smoked.

 

Stances Lantern carrying stance: This stance replicates the position of holding a lantern to see ahead. It is used as an active guard posture in combat and, as the name implies, is meant to show the way to the attacker’s defeat. The weight distribution is sixty percent on the front leg and forty percent on the back leg.

 

Beggar smoking stance: This stance replicates the position of smoking from an opium pipe. It is the primary power discharging posture in combat. The act of striking from this stance is equated to exhaling the attacker like opium smoke. The weight distribution transitions between sixty percent on the front leg and forty percent on the back leg and the inverse.

Monk sweeping stance: This stance is a defensive position used to bait and displace attacks. Shown here in a sixty-forty back to front weight stance, it is most often paired and posed in in a rear leg wei weighted ghted cat (90% of weight on back leg - not pictured here) or single leg dok lop ma (solitary stance).

Dead stance or ghost judge stance: This stance is a “neutral/dead”

 

unpolarized ready position. It is called the ghost judge stance, symbolically representing an emissary of the underworld ready to collect the dead in preparation for judgment. The weight distribution is fifty-fifty.

Other Footwork: Related Wing Chun footwork that we will use in the technique section later on.

 

OPIUM PIPE STAFF: STRIKES/ATTACKS Strikes When the opium pipe staff was taught to me, techniques were grouped in to three descriptive categories. These categories were called Beggar, Monk, and Ghost Judge based upon the way the staff was held and wielded. Within all three are the following strikes: ● ● ● ● ● ●

biu gwan (thrusting pole) lan gwan (obstructing / barring pole) gwat gwan (sweeping pole) cao gwan (plucking pole) cheh gwan (scrapping pole) ding gwan (butting pole)

Each category has five basic prearranged striking patterns or tactics to aid in configuring and imparting the method tactics to a practitioner. Aside from the abundance of striking techniques within the opium staff method, body trapping is also a fundamental skill. The applications presented in this book all attempt to highlight the importance of three body trapping methods. The most important of the three is always to try to place a trapping leg on the outside of the opponent’s lead leg. The reason this tactic is so supremely important is that it instantly causes the attacker to fold and bind his own stance structure in order to defend himself. When successfully applied, this affords the user a strategic position of dominance that makes striking flow into body trapping positions that is very difficult to defend against. Due to the double yin hand grip position used in

the opium pipe method, a standard pivot point is established in the middle of

 

the staff between the hand grips. This simple detail reduces defensive combat tactics to gross motor movement skills that are easy to implement during the duress of combat.

Target Zones The diagram below is presented as a quick visual target reference relating to the three primary attacking forms of Beggar, Monk, and Ghost Judge. Each of the three encompasses a general angle category of striking. Naturally, however, in combat any and all methods and angles are brought to bear on the attacker.

 

Beggar zone (Heaven gate): Targets within this region relate to the act of smoking the pipe and are classified as Beggar. The throat, neck, lungs, collar bone, and eyes are the targets associated with this target zone. (Downward oblique strikes and forward thrusts).

Monk zone (Man gate):

 

Targets within this region relate to man’s connection to the Universe through the dan tien (energy center). The targets surrounding the centralized region of the dan tien (energy center), especially the mid torso are considered as relating to Monk attacks. (Horizontal and upward oblique strikes).

Ghost Judge zone (Earth gate): Targets within this region relate to mobility (life) and immobility (death). The legs from foot to, shin , knee to upper thigh and groin are the. Aside from strikes leg locks, sweeps and foot trapping are methods taught within the Ghost judge level. (Upward oblique and butting strikes).

Attacking Motions  Beggar Attacks ● Beggar exhales smoke: This attack is the core thrusting strike, deployed high, medium, and low. Target: Throat, solar plexus, and groin ●  Beggar plays lute: This attack is a downward diagonal strike executed from the lead side over the lead shoulder. Target: Collar bone ●  Beggar thrashing grass: This attack is a forward thrust and downward chopping strike executed from the lead side over the lead shoulder. Target: Back of skull, neck, and occipital bone. ●  Beggar takes coins: This is a weapon retention chin na (joint locking) technique grinding the weapon edge against the attacker’s wrist. ●  Beggar carries pole: This is a surprise attack very much like a arnis/kali abaniko to the neck or skull. Executed as a backhanded wrist flexion as the practitioner looks away. Target: Side of skull, neck and jaw bone.

 Monk Attacks ●  Monk sweeps leaves: This attack is a low oblique strike to the attacker’s lower abdomen or inner thigh. ●  Monk’s recitation: This attack is a choke using the club and forearm to vise the attacker’s throat. ●  Monk holds the scroll/sutras: This attack applies the area of the staff between the grips to slam down on exposed bony parts. Targets: collar

 

bone, knees, skull, jaw, etc. ●  Begging monk: This attack is a grinding tug applied to the attacker’s arm, shoulder, neck, or leg. ●  Praying monk burns incense: This attack is a sudden pounding of the sternum or belly with the vertical shaft of the staff and a simultaneous upward thrust to the throat with the end.

Ghost Judge Attacks ●  Ghost judge dots with brush: This attack is a sudden butting strike to the kidneys with either end of the weapon. ●  Ghost judge dots with brush (variation): This attack is a sudden butting strike to the top of the foot with either end of the weapon. ●  Ghost judge shakes heaven: This attack is a butting strike to the knee or thigh with either end of the weapon. ●  Red seal stamp: This attack is a butting strike to the groin or inguinal crease of the hip socket with either end of the weapon. ●  Ghost judge kow tow (bow): This attack is a kneeing strike to the attacker’s instep from a crouch, combined with a thigh press using the surface area of the club between the hands/grips. ●  Ghost judge reaps souls gwai gwan (ghost staff) - Hooking Applications

Strikes/Attacks Shown: The following attacks from the above list are shown on the following pages: ●  ●  ●  ●  ● 

Beggar exhales smoke Beggar plays lute Beggar thrashing grass Monk sweeps leaves Ghost judge reaps souls

The 19 applications following the attacks section do contain many of these techniques - see if you can figure them out. For example, technique 5 iiss a variation on “beggar takes coins”. However not all of the above attacks are

shown.

 

 Beggar Exhales Smoke (Middle Gate) This attack is comprised of biu gwan (thrusting pole). Target: Throat, solar plexus, and groin (High, Middle, Low)

 

 Beggar Exhales Smoke (High Gate Attack)

 

 Beggar Exhales Smoke (Low Gate Attack)

 

 Beggar Plays Lute This attack is a downward diagonal strike executed from the lead side over the lead shoulder. Target: Collar bone or Head 1-3 Open Stance striking the left. 4-6 Closed Stance striking the right.

 

 Beggar Thrashes Grass

 

This attack is a forward thrust and downward chopping strike executed from the lead side over the lead shoulder. Target: Back of skull, neck, and occipital bone.

 

Grip Details:

 Monk Sweeps Leaves (Open Stance) This attack is a low oblique strike to the attacker’s lower abdomen or inner thigh.

 

 Monk Sweeps Leaves (Closed Stance)

 

Ghost Judge Reaps Souls (Open Stance) Hooking Application: gwai gwan (ghost staff)

 

Ghost Judge Reap Souls (Closed Stance) Hooking Application: kao gwan (plucking/hooking pole)

 

OPIUM PIPE STAFF: TECHNIQUES Main Blocks:  Lantern Carry Block Lantern carry block can be performed on the left or right side and is the primary lateral deflection of the opium pipe staff. As shown below in a drill it can be performed against alternating left and right punches.

 Barring Block

 Lan gwan (obstructing/barring block) is the primary bracing deflection of the opium pipe staff.

 

Almost all of the techniques/applications on the following pages are based on the Lantern Carry Block, unless otherwise noted.

Techniques Technique #1 Inside gate lantern carry block vs left punch.

 

Technique #2

Outside gate lantern carry block vs left punch.

 

Defender on the left deflects a left punch to the outside with the lantern carry block. The defender then slides the staff for- ward to hook the neck of the attacker. The attacker is pulled forward and then toppled with the placement of a inner leg sweep.

 

Technique #3 - (#2 with slight variation) Outside gate lantern carry block vs left punch.

 

Technique #4 - Evade and Strike Defender on the right evades a right lead lunge punch. Defender then strikes the rib area of the attacker with the butt end of the staff. The defender next slides forward to trap and then displace the attacker with an inner leg sweep and kidney strike with the staff butt end.

 

Technique #5- Beggar takes coins Defender on the right is seized at the wrist by the attacker. The defender, with staff in hand, rotates his hand palm up at the wrist. This reverses the torqued wrist pressure back to the attacker. This pressure is then sealed to the attacker’s wrist by applying the staff edge to the top of his wrist in a painful wrist lock, made complete by having the defender grip the staff with both hands.

 

Close Up Detail:

 

Technique #6 -Variation of beggar takes coins. Self-explanatory technique sequence.

 

Technique #7  Self-explanatory technique sequence.

 

Technique #8 - Outside Lantern carry block - Open Stance This technique’s sequence is identical except for the stage of initiation. Defender on the right begins with his right leg forward in relation to the attacker’s left leg lead. This position is generally known as a open stance relation and is the worst position for the attacker. This is highlighted in the final photo (number four) as the attacker is placed in the best and preferred leg trap position.

 

Technique #9 - Outside Lantern carry block - Closed  Stance This technique’s sequence is identical except for the stage of initiation. Defender on the right begins with his left leg forward in relation to the attacker’s left leg lead. This position is generally known as a closed stance relation. The defender only needs to take one step forward and the attacker is placed in the best and preferred leg trap position.

 

Technique #10 Self-explanatory technique sequence.

 

Technique #11 Self-explanatory technique sequence.

 

Technique #12 Self-explanatory technique sequence.

 

Technique #13 Self-explanatory technique sequence.

 

Technique #14 Self-explanatory technique sequence.

 

Technique #15 Self-explanatory technique sequence.

 

Technique #16 Self-explanatory technique sequence.

 

Technique #17  Self-explanatory technique sequence.

 

Technique #18 Self-explanatory technique sequence.

 

Technique #19 Self-explanatory technique sequence.

 

HAND WEAPONS here are a number of specialized striking fists used in kung fu specifically in the application application of duan jing (short power). These fists are used by many systems throughout China, south east Asian, the Indonesian archipelago, Japan and Philippines.

T

Some of the most well know strikes within kung fu are: ●  fong an choi (phoenix eye or peacock eye fist) ●  ger nah choi (ginger fist) ●   jieu cham choi (pig’s heart fist) ●  lop choi (vertical standing fist) ●   ping choi (horizontal fist) ●  lao yip jeung (willow leaf palm) ●   pao choi (leopard fist)

 

It is important to strike with the bone support inherent in the position of the knuckle fold because this affords the best structural support possible to the most fragile of the bones. Whether training with the aid of dit da (fall / hit wine) medicine or not, one should use care in all martial practices. An important element of short power training, which is rarely pointed out, is that the training methods develop the awareness and use of the humerus

bone-lever. Rather than initi initiating ating movement from the forearm which produces segmented power relying on brute force, the humerus bone, in conjunction with the body’s mass, provides structural support for arm

 

movements. Striking paper, foam core board or a piece of cardboard is by far the safest and naturally the cheapest method for training to be accurate with these specialized striking fists. Apply various configurations of dots to the paper/cardboard and practice striking without disturbing or tearing the whole target, striving to pierce with a small point. An excellent and equally affordable target is a shower curtain. These specialized striking fists provide an extremely effective technique when applied to pressure points and delicate areas of the body such as the throat, temple, and armpits also on sensitive exposed areas such as the ribs, solar plexus and kidneys. This type of strike strike is effective because all the momentum and power of the strike is focused in a small area of a single point. The syllabus of system forms forms should keep the bridge arms in front of the body with the elbows down, being stabilized by gravity (through relaxed trapezius and deltoid muscles) and manifest  jang dai lik (elbow sinking power). The punch should first be executed from a distance of no longer than twelve inches (from start to finish) and then over time cover a shorter and shorter distance to the target, training down to an inch or less. The punch should not be executed in conjunction with long or wide bridging steps, simply because this is a close-quarter strike and is meant to be used with footwork that makes adjustments within inches of the attacker. It is advisable not to strike a heavy bag, with any specialized knuckle fist or to do so on a wooden dummy for obvious reasons. Training with any specialized knuckle fist adds a powerful element to closequarter self-defense that does take time to cultivate, but is well worth the effort, regardless of what system or branch an individual studies.

Phoenix Eye Fist There are several facets of this compact and close-quarter striking method that make it an effective favorite strike in kung fu. The fist, which is formed

 

by sequentially closing the fingers into a fist beginning with the little finger, on up to the middle, and then folding the index finger back upon the support of the thumb. The phoenix eye fist affords the user several unique options in the choice of striking surfaces. 1.  2.  3.  4. 

Striking with the frontal face of the index finger. Striking with the back face of the index finger. Striking with the frontal face of the fist. Striking with the nail or knuckle of the thumb. Gouging the eye is the easiest with the thumb, the strongest digit. 5.  The bien choi (whip punch with heel of the fist) surface and  pek choi (hammer fist strike) falls under the umbrella of gao choi (thunder punch). 6.  The gwa choi (back hand punch) surface also falls under the umbrella of gao choi (thunder punch). It is important to note that one should refrain from striking with the very tip of the phoenix eye fist. Initially, this sounds unavoidable and incorrect, but striking with the tip of the fist is very hard on the joint.

 

Palm Loads This ingenious and deceptively simple weapon represents the ultimate and most basic form of improvised weapons. Ranging from the purposely fashioned to the humbly mundane and domestic, palm loads may be made from anything. The tradition and martial application of the palm load can be found in almost every culture and are known by the following names: ●  ●  ●  ● 

Chinese Martial Arts: jao ruen gwan (old man club) Japanese Martial Arts: yawara Filipino Martial Arts: tabaki malit and olisi palad Indonesian Martial Arts: tongkaht 

The details that define a palm load weapon are that the object is generally

cylindrical; is long enough that the length extends a few centimeters or so at either end of a closed fist; and that it is used for striking. The palm load has the added benefit of reinforcing the structural support of a striking hand, and

 

if held with a length extending beyond the little finger end of the hand it may be used to hook, guide, scoop, and manipulate an attacker, augmenting the dexterity of the hand. Within the Chinese traditions of the lao ruen gwan (old man pole), a lanyard is attached to one end of the weapon and the other is looped round the wrist. This allows the user to conceal the palm load up their sleeve and use it as a blackjack bludgeoning weapon as well.

 

POWER: KNOWLEDGE & DETAILS OWER, POWER, POWER,... is the name of the game. Power is the make-or-break detail for success in the application of any martial art. Without power, a martial artist is relegated, at best, to the position of a walking archive of martial techniques and, at worst, a performance artist.

P

In some circles, it is considered politically incorrect to strive for power, but for a martial artist hoping to survive a fight, it is essential to have power. In our daily lives, whether we admit it or not, we are all striving for power in one form or another, and to survive in life, some kind power is a necessity. I hope to present within this book the key structural, physical, and training details for the transmission of power that have been encoded within southern Chinese martial systems of the past. After studying martial arts for nearly thirty years, I am continually amazed at the endless nested layers of knowledge encoded within simple movements. This vast amount of knowledge often goes unnoticed, even by seasoned and very talented martial artists. artists. This is not at all to suggest that I am in any way in possession of superior skills or awareness, only deeply surprised by a very counterintuitive discovery. This discovery became the source of an increasingly disturbing paradox revealed to me in 1985 by an instructor whose lectures about the hidden details of knowledge and the martial arts as a vehicle of knowledge have preoccupied my study study ever since. Like the nested knowledge described described above, this book addressing the mechanics and details of short power

generation meantthread to transmit transmit more without to the reader. Forupon it is impossible ithe mpossible to focus on theissingle of anyfar subject touching fabric of the universe as a whole. Now, that statement sounds arrogant and pious; it is

 

not meant to be, but by the end of this book it is my hope that you see martial knowledge in a new light.

Transmission Of Knowledge

In 1985, an instructor of Southern Chinese kung fu named Steve Thompson posed these questions to me over lunch: 1. How is each successive generation of martial artist able to receive the core of a system’s knowledge? 2. Why are there so few who possess this knowledge today? 3. How is the DNA of martial knowledge transmitted to a student?

Sifu Thompson contended that, at that time in the mid eighties, most of the systems of which the public was aware hadturn ceased to produce high caliber of practitioners recorded as recently as the of the twentieththe century. These masters of the past were renowned for skills and power that put them head and shoulders above their contemporaries. Why then are there so few, if any, today? He went on to point out that many martial traditions, masters, and systems were lost during both the Boxer Rebellion and Cultural Revolution, further impoverishing the number of systems we have today. In response to his questions, I gave the best answers I had at the time. Please keep in mind that I was fourteen! 1. How is each successive generation of martial artists able to receive the core of a system’s knowledge? A. Through diligent practice. 2. Why are there so few skilled practitioners today? A. They didn’t practice hard enough. 3. How is the DNA of a system’s martial knowledge transmitted to a student? A. By a good teacher.

Each of mywent answers received a patient, yet disproving smile. his Sifu Thompson on towas explain howwith much more difficult it is to address questions without considering the following key points:

 

1. The martial success of each generation’s skill cannot solely rest on the number of sequential practiced martial movements. Mere rote memorization does not equal skill. 2. The problem of robotic repetitionthe versus ansystems understanding of transmit underlying principles is especially case in today that their knowledge in a series of techniques codified for specific attacks. That method and perception of applying knowledge is far too cognitive, requiring too much conscious thought, to be applied effectively in a real fight. A real fight, as Sifu Thompson said, has no time for strategy and barely enough time for tactics. In response to my reply to his second question, he began by scolding me for the very way in which I phrased it. He declared that the success of diligent practice, regardless of how physically demanding it may be, is predicated on knowing what you’re practicing and why. The training of a martial art should never involve the execution of techniques or movements under excessive tension, duress, or rough repetition. He compared this stage of programing movements to recording a television program with a VCR (video cassette recorder ... yes, those were the olden days.) His example was this, the program you wish to record is transmitted at a certain frame rate. In those days analog video had three basic speeds: SP, LP, and SLP, each being slightly slower than the one before. He went on to say that your recording device, the VCR, must record at a slower rate than that of the transmission source to capture every frame of video. He then compared the teacher, sensei, or sifu to the transmission source, the martial knowledge to the video program, and the student to the recording device. He also felt that this stage of repetitive practice should always take place at a slow methodical rate to augment the strength and galvanized stability of a practitioner’s structure. This is most ardently adhered to by practitioners of tai chi chuan. Most people assume at first glance that this mode of training is to facilitate the ease of martial movement for those practitioners of senior age. However, this method of slow, deliberate deliberate practice conceals a far more advanced effect of densely bundling muscle fibers over time, making what

appears to be an average framed individual capable of far greater exertion of strength when the application of that strength is needed. He insisted that the the very movement and methods themselves should transmit a strength enhancing component, long before the practitioner even thinks about any

 

weight training or greater cardiovascular demands. In other words, it is better to do “wait” training than weight training. After finishing lunch and retiring to the restaurant’s lounge Sifu Thompson described at length what he called "The Devil's Eight Details", which are:

The Devil’s Eight Details 1. Fractal, redundant structures. 2. An axis of external rotation, allowing expansion and contraction of the skeletal frame 3. Multi-directional displacement in single movements 4. Multiple discharging kinetic springs in single movements 5. The sei jing (4 energies) 6. The ability to separate the cultural context from the structural components of the martial art 7. Tactical protocols that repeat with specific movements 8. Noting the differences between what an instructor teaches and what they themselves train Let’s first take a look at #1 in more detail, starting with the definitions of fractal and redundant.

 Fractal

A complex geometric pattern exhibiting self-similarity in that small details of its structure viewed at any scale repeat elements of the overall pattern. A geometrical or physical structure having an irregular or fragmented shape at all scales of measurement between a greatest and smallest scale such that certain mathematical or physical properties of the structure, as the perimeter of a curve or the flow rate in a porous medium, behave as if the dimensions of the structure (fractal dimensions) are greater than the spatial dimensions. A figure or surface generated by successive subdivisions of a simpler polygon or polyhedron, according to some iterative process. Of, relating to,

or involving such a process: fractal geometry; fractal curve.

 Redundant 

 

1. Characterized by verbosity or excessive repetition in expressing ideas; prolix: a redundant style. 2. Being in excess; exceeding what is usual or natural: a redundant part. 3. Having some unusual or extra part or feature. 4. Characterized by superabundance or superfluity: Lush, redundant. 5. Engineering a. (Of a structural member) not necessary for resisting statically determined stresses. b. (Of a structure) having members designed to resist other than statically determined stresses; hyper-static. Having excess or duplicate parts that can continue to perform in the event of malfunction of some of the parts. 1. Surplus to requirements; unnecessary or superfluous 2. Redundant (of components, information, etc) duplicated or added as a precaution against failure, error, etc. Now, let’s look at these in more detail. When looking for critical structural and tactical elements within a martial system, look for movements that repeat. It was Sifu Thompson’s belief that to truly impart a martial art’s DNA, the training time of a student/practitioner must be viewed from beginning to end in terms of the number of opportunities there are to refine and galvanize the most important structures. He went on to stat statee that if a hypothetical founder of a martial arts system were configuring his or her forms syllabus the most important elements would be presented in the first opening movements learned, and repeat throughout the first form of the system. This is often why the jing lai (salute) of a system contains many, if not all, of its core structure and engagement tactics. The salute of White Eyebrow kung fu is a good example of this principle. Still another example can be found within Wing Chun kung fu. Most individuals familiar with the system and its

forms would agreehand) that the threesao seed hands of are tan the saomost (palm syllabus up block), fook probably sao (detaining , bong  (wing arm) important.

 

Undeniably, those hand structures are very important, but based upon the low frequency with which they occur throughout all three empty forms, siu nim tao (little idea), chum kiu (sinking bridge), and biu jee (thrusting fingers), they are not the most important. There is, however, a far more important hand movement - even more important than the straight punch - that occurs more often than any other single or compound movement. That hand movement is huen sao (circling hand). Given its persistent recurrence, we should then ask ourselves why, of all the hands within Wing Chun, does this one repeat with such redundant frequency? The answer, in part, has to do with the nature of frequency. Verbal communication, for example, becomes possible through the identification of a repeating pattern with in the noise, making order out of apparent chaos. Because most, if not all, martial knowledge within a training form is nonverbally communicated orelements not the instructor is aand “good teacher”), is essential that the most(whether important repeat over over. This it aspect of a system’s knowledge and the method of transmitting it can be severely compromised in many ways: 1. The most skilled and knowledgeable practitioners die, taking their knowledge to the grave 2. The most skilled and knowledgeable cannot teach 3. The most skilled and knowledgeable wish to hoard and keep secret their knowledge which feeds deception and dogma These only a and few the examples. conflicts and social upheaval, like thereasons Boxer are Rebellion CulturalViolent Revolution mentioned earlier, can destroy entire lineages lineages of knowledge and practice. This detail of repeated and redundant elements dove tails with and is an analog of the aspect of fractal structure. By this, I mean simply that a movement taught in the early stages of training will by necessity reoccur in slightly different tactical applications throughout one’s study of the system. An example of this would be a structural element first being the focus of a hand movement, next an arm or elbow movement,

and later a component of the stance or footwork, and so on. The result is a sense of martial déjà vu that permeates one’s practice and reinforces the structural theme found throughout one’s training. The practitioner must be very much aware that the system under study may not be configured or taught

 

in the way it was originally intended by it itss founders or custodians. It is always a certainty that the system’s core syllabus has been reconfigured and had sections omitted or altered. The practitioner must determine what indigenous structure remains and how often is it found repeated within the system’s training forms. Moreover, each practitioner has a natural proclivity to express variation in their interpretation of a martial art, which can work for the good by increasing the adaptability of the system, or for ill, resulting in the dilution of the core knowledge structure. Often you will hear within today’s martial community that progressive, forward-thinking schools don’t teach forms. Such a declaration is narrow-minded and self-defeating, since forms and static stance postures are the primary vehicles for transmit transmitting ting structure. This book is meant to transmit to the reader the fundamental structures and movement methods used in the kung generation martial art of southern Chinese fu. of striking power used in the

 

POWER: DEVELOPMENT EXERCISES About These Exercises Presented here are a series of exercises from several kung fu systems that specialize in the cultivation of short inch power. ●  SSix  (four energy ei jing jeungtaixuquan biufu) kiu (thrusting bridge) from Elbows  (six palm) elbowsand kung ●  Jik chung choi (center straight punch) / lien wan kuen (linked cycling punch) and som pai fut  (three  (three bows to Buddha) from Wing Chun ●  Som bo jin (three step arrow), stationary sao fot  (hand  (hand techniques) from  jook lum (bamboo tree) mantis ●  Bak mei (White Eyebrow) - jik bo kuen (straight step fist), stationary sao fot  (hand  (hand techniques) from white eyebrow ●  Stationary sao fot  (hand  (hand techniques) from Southern Crane - wood and fire element. With each exercise make certain to practice slowly paying particular attention to the following details. 1.  Target your bridge arms either on the center line or mid center line of your target. 2.  With any movement note when your elbow points down. 3.  Always be conscious of the four energies of float, sink, swallow and spit in your practice.

Exercises Two Man Forms

 

This is a two man form stressing basic skills of stepping, borrowing force, and striking in unison with a partner. It differs from most other style’s two man forms in that it is very sticky and contact oriented. The two practitioners hands, arms and legs are hardly separated once the form is begun. The two man som bo jin (three step arrow) is the application of all the principles and philosophy in a realistic way.

Som bo jin (three step arrow) can be described as the power source and deployment platform for the ballistic weapons of the thirty six hands of Southern Mantis. The form also li links nks the action of the elbows, rooted through their placement above the knees and integrates them with the expansion of the back or swallowing of the chest to generate greater duan ing (short power). Every time striking actions are discharged the angular momentum of the Southern Mantis practitioners bridge arm displaces the attacker’s arm on contact and causes a level of power feedback that can disrupt stance stability and balance.

Som bo jin (three step arrow) also develops the skill of sei dan ging (four single powers) or lok jing hop yat  (six  (six directional powers), the ability to discharge power along several directional planes at one ti time. me. This is often often felt as a sudden spherical expansion that overwhelms the attacker because it is occurring along several angular planes during the moment of one action. In all Southern Mantis som bo jin (three step arrow) is the beginning and the end of one's training and the foundation of the system. Often this form is often mistranslated “Three Step Arrow”, although the actual meaning is “Three Steps Scissor”.

 

Three-Step Arrow Punch

Som bo jin (three step arrow) is the germinating seed from which all southern mantis grows, we find it at the heartmantis of all the different southern mantis branches (it is too southern praying what bung bo (crushing step) is to northern praying mantis). To make another comparison we could say it’s like the siu lum tao (little idea) form in Wing Chun. It is a form that cultivates and unifies the body’s kinetic spring lever systems for discharging whole body power. Three step arrow punch is simple by technique, but it is very hard by practice; through the diligent training of this form you will begin to attain various  jing (energy) powers. The som bo jin (three step arrow) cultivates the phoenix eye fist, and it is through this form that the fingers are strengthened so that the phoenix fist becomes a much more solid force with a piercing tsee lik  (finger  (finger power). Begin your practice slowly, with the arms always held in front of the body with punching executed at a short distance of about five inches and no longer than twelve, it is from this practice that power can be attained at short distance. Even though the first form is basic, you could say that it’s one of the most advanced forms as well. In-depth study of this form teaches you the correct footwork, and the proper position of your body for powerful techniques. The som bo jin (three step arrow form) is recognized by as a which fu masters kung formula guides the breath to the lower kung abdomen while also chi developing inch-power. Stepping, gathering and releasing power in short explosive strikes and borrowing force are the important points of this form. During the training of this single man form, one should train fic shu (poking techniques); a series of continuous hand motions to increase fluidity, relaxation and flexibility in the hand and arms) and mantis chi sao (sticking hands). Once the single man som bo jin (three step arrow) form has become skillful, one next learns the two man “breakdown “ of som bo jin (three step arrow).

Thrusting Bridge I present this exercise first, from taixuquan (six elbows kung fu) because this

 

exercise more than any of the others dovetails with and augments the power cultivation of the individual regardless of their martial background. Over the course of your practice of this set be very mindful of your elbow position as the act of sinking it down is the source of supreme power in all systems. It’s also found within Wing Chun as a biu jee (thrusting fingers) exercise.

Biu kiu (thrusting bridge) - Begin this exercise by taking a standard lead guard stance, in this case with your left foot forward. Rotate both your bridge arms inward palm up parallel to the center line fingertips pointing forward at your target. Next begin extending your rear right hand (chambered at the elbow bend) forward along your forearm out toward the apex of the center line posing a biu jee (thrusting fingers) hand position. Repeat exercise nowfeel on the opposite sideof inthe thebridge same sequence. There should be movements a slight conical to the extension arms supported and initiated by the body’s rotation.

 

 Four Energy Palms To perform the four-energies palms exercise (sei jing jeung), begin with both hands positioned palm up on the parallel side of the center line pointing forward. Next rotate the the palms outward while still pointing forward. This preserves the axis of rotation that runs the length of the forearm, out the fingertips targeted on the attacker. Relax the wrists and drop the fingertips and wrists down, maintain a forward focus. Press the palm edges forward, return to the ready guard. Relax the wrists and drop the fingertips and wrists down, circling the hands outward in a hooking arch. As the hands sweep out beyond the hips they rise up the vertical perimeter of the shoulder line.

As the hands arrive at the shoulder line they each coil inward so that the palms face the practitioner executing loy cheun sao (inward coiling hand). ●  ● 

Bai kiu sao (ready bridge hand) Cao sao (plucking hand)

● 

Bai kiu sao (ready bridge hand)

●   Loy cheun sao (inward coiling hand) ●  Chum lop sao (sink and deflect hand) ●  Jik jeung (straight palm)

 

Loop and repeat 100,000,000 times.

 

Three Prayers to Buddha This is the single most important compound movement exercise within the entire Wing Chun system. This movement within the siu nim tao  (little idea) form of Wing Chun, is the deployment of the fook sao (detaining hand) forward along the centerline three times. A practitioner begins first with extending tan sao (palm up block), transitioning to huen sao (circling hand), to recede back to the center of the chest with wu sao (guarding hand). From wu sao (guarding hand), fook sao (detaining hand) is extended out to the apex of the center line, this is traditionally repeated three times, although it should be practiced relentlessly.

 

Center Straight Punch From the Wing Chun system

● Jik chung choi (center straight punch) ●  Lien wan kuen (linked cycle punch)

In this exercise, extend your right vertical fist out on the centerline at chin height. While holding the punch position slowly twist your punching fist from vertical to a finger nails up position while dropping your elbow.

 

Three Powers Punch This exercise is the stationary practice of the jook lum mantis kung fu som bo tree mantis threeis: step arrow) forms the primary three powers in (bamboo punch section. The sequence ●  Gop shu (vise bridge) ●  Jet shu (root bridge) ●  Jik choi (straight punch) ●  Biu jee (thrusting fingers) ●  Gee lik  (finger  (finger power) ●   Kum law (claw seize) ●   Dai mor shu (grinding hand rotation down) ●  Gop shu (vice bridge) Note: the sequence above does not match match the following photos sequence.

 

Straight Step Punch From the white eyebrow system comes the straight punch with step drill for maximizing power. From your kiu sao (bridge hand) position slowly deploy a biu jee (thrusting fingers) with the left hand forward along the centerline. Drop the elbow of the left hand returning it to a guard position while beginning to rotate and extend forward your right bridge arm from it’s guard position. Your right straight punch is extended out to the centerline to strike. Return right punch to original guard position by sinking the right elbow down.

 

 Jik Bo Kuen

Golden Scissor Bridge

Gom jin go ying fan kiu sao  (golden scissor spring bridging hand). From the Chu Mantis kung fu system comes this nei gung jong (internal method

 

bridging post/hand) exercise.

 

 Feeding Hands (Wood) From the southern crane system of kung fu is the feeding wood hand exercise. Demonstrated here isWhen the wood element for feeding with phoenix eye punch. the arms are hand extended begin to tocrane initiate thea hand cycle by rotating your elbows inward and downward. This establishes the arms stability immediately as they are drawn back through the center line intersection before being re-deployed, powered by the protraction of the scapula. This exercise, like many found throughout the various branches of southern crane kung fu capitalize of a movement mechanism known as the gold scissor bridge. This movement is nearly identical to that performed by a collegiate rowing team as they row. alternate Grasping the oarsstates of their boat, and anchoredand through a seated position between of scapula protraction retraction powered by their torso sway. This exercise m may ay be practiced with either palm or fist.

 

 Feeding Hands (Fire) Demonstrated here from the southern crane kung fu system is an abbreviated form of the fire element hand for feeding crane with a phoenix eye punch (this movement traditionally uses forward facing palms, which have the look of flames/fire). As with the previous exercise when the arms are extended begin to initiate the hand cycle by rotating your elbows inward and downward. This establishes the arms stability immediately as they they are drawn back through the center line intersection before being re-deployed, powered by the protraction of the scapula. This exercise may be practiced with either palm or fist.

 

Incense Ceremony

n 1987 I was shown an exercise which I recently found used by a system of kung fu called taixuquan (six elbows kung fu) that I began studying in 2005. Within a martial system it is often the small details that hold the greatest importance especially those concealed within austere ceremony. This exercise is called the burning kow tow (bow) and is derived from the act of burning incense in front of an ancestral alter while turning between statue effigies or photos of deceased system practitioners. Kow tow ((bow) bow) rotation is a crucial exercise for uniting the body’s rotation with rooted bridge arms

I

placed the centerline. practice method simple take stance with with the feetupon shoulder width apart,To bend your this knees slightly, extend your hands with palms facing as if in prayer. Align your fingertips, nose and center line vertically, do not let the fingertips of your palms exceed the height of your eyebrows, the throat region is best. Now from tthat hat position slowly begin turning right to left and back within a 45 degree arch for a minute or as many times as you can for as long as you wish. Slow practice is the key coupled with the triangular structure of the arms on the center line with elbows pointing down.

 

POWER: ENERGETICS Four Energies

here are four energies of tun (swallow), to (spit), fau (float), and chum (sink). The first one is to apply tun (swallow) and to (spit) to body shape. So tun (swallow) and to (spit) can also be translated as shrinking and stretching. The second way is to consider only the air we breath. Tun (swallow) and to (spit) are then related to a breathing pattern (breathe in; breathe out, stop breath and press air down to tighten the abdomen.). Tun (swallow) and to are then translated by inhale and exhale. In both body shape and breathing, these concepts deal with generating power in a specific way.

T

For kung fu  practitioners, the bottom lline ine is not to acquire force but to acquire power. That is the reason why tun (swallow), to (spit), fau (float), and chum (sink) are considered the core of kung fu. Acquiring explosive power in kung fu leads to work on tendons. The muscles have to be softened,

 

hardened, shrunk and stretched. The spinal column is used in such a way that the back of a practitioner looks hunched. The ribs also seem to contribute to the power generation. Tun (swallow), to (spit), fau (float), and chum (sink) is the feature which makes people say that a system is an internal style.

The main attacking power is gang jing (shock power). This concept is almost the trademark of kung fu. But there are two ways to describe it. The first one is to bring out a power which is understood as a rapid contraction of the muscle. It is the same power that people get when suddenly scared. The second way is to see gang jing (shock power) is the power which shakes up the opponent as if he gets scared or shocked. For attack, the actions of the hands are tight and close, elbows need to be sunk, and shoulders to be loose. The focus of the long hand action and short hand action is short or even none. Defined as sei noi biu jing (four internal expulsive forces). Within this context, the internal aspect is addressed by the structurally integrated mechanics of look jing (rolling energy). The issuing force assumes a directional charge derived from the compressing and releasing dynamics of the waist, core muscles, and back.

Tun (swallow) redirects an opponent’s incoming force into the ground. In

essence, the practitioner grounds the energy of an attack with this action. To (spit) corresponds to an outward release of force away from the body. Typically, tun (swallow) compliments tou (spit) as a kinetic pair. Fou (float) is an uprooting force that disrupts and displaces the opponent’s foundation. This enables the practitioner to take advantage of the adversary’s vulnerable state. On the other hand, chum (sink), a sinking action, bears weight onto the opponent in a suppressing manner, providing the practitioner the opportunity

to capitalize on the adversary s submissive state. The concepts (spit), arts and tun (swallow), fau (float), chum (sink) are found in manyofsouthern Chinesetomartial and their combative interpretation can range from isolated to integrated actions. Some styles

 

translate this formula as an expression of the extremities such as hand techniques swallowing, releasing, raising, or pressuring the limbs of an opponent’s attacks. Others view this concept as one arising from a holistic source based upon the principles of connected and coordinated movements reinforcing techniques.

Tun (swallow) The exertion of flexible force usually in circular or spherical manner so that you intercept the opponents blow by causing it slide and fall into emptiness missing the target, rather than intercepting it by force against force. To (spit) This principle embodies being able to discharge a strike anyway possible; to strike using the borrowed force of the opponent; to strike in such a way that the opponent feels the simultaneous actions of swallow, spit, sink and float in one strike. If skillfully applied some say this feels like like the opponent is being shocked by electricity or permeated by a shock-wave of expansive force.  Fau (float) The sudden release of force, explosive energy, which is capable of bouncing the opponent away in full weight. Skillfully applied the opponent will feel like being afloat on water and is easily thrown aside. This is similar to  peng (ward off) in tai chi chuan (ultimate boxing) or I Chuan (intention boxing). Chum (sink)

Chum (sink) is more difficult to master as it depends on one's natural ability to learn to relax and use “feeling” or to perceive the opponent’s exertion of

force. He who has mastered this is capable of rendering his opponent completely immobile, thus putting him under absolute control. This key to power is cultivated through jang dai lik  (elbow  (elbow sinking power). When the opponent moves one simply sinks the center into him.

 

Displacing Energy

 Five Fundamental Pivots When an individual begins training in Wing Chun kung fu regardless of the branch, a student is first introduced to the basic structural detail for generating power. Those power details are first presented in the structure of the fundamental Wing Chun stance the yee gee kim yeung ma (character two goat clamping stance). This stance allows the practitioner to solidify and galvanize a rooted position of power and also develops a special axis of rotation.

The concept of an axis is crucial to the structural method of how power is generated which is through rotation, however that axis must be rooted with stability to effectively generate power. The first stage of this axis and its

 

construction places it within the body running from the top of the head at a location called the pai hui (nine crowns gate) point at the crown of the head. Extending down the length of the body through the pelvis ending at the doo mai (grain path) point located between the genitals and anus. This axis begins to make the practitioner more aware of gravity's role in the partnership of stability necessary to begin building the foundation of successful martial boxing. This relationship to gravity’s pull is critical to maintain a rooted position of power but also begin uniting the kinetic springs of the body’s skeletal frame to also discharge power to the attacker. There are three three primary kinetic spring systems that discharge power from the body, they are first the stance, second the spine or core trunk mass and third the arm sphere or the bridge arm wedge. Over time these three power spring systems unite and anchor themselves into the vertical mother axis plane described previously. Once the vertical mother axis is stable that two dimensional plane evolves into a three dimensional plane with the integration of the three kinetic spring systems and causes the apex of this power plane to extend beyond the body. Over time with practice the practitioners ability to channel their full body mass through this plane toward an attack begins to transform into the ability the apply that force in an expanding or contracting sphere. There is a fundamental cascade of principles that grow out of these structural relationships, one considered basic is the principle of gate theory or tactical spacial Within mostbilateral martial traditions principle of dividing the bodythresholds. plane and establishing symmetrythis is given the next dimension when the center gate midline is established. This is done by connecting the elbows with a line that runs through the solar plexus. How many reading this are already familiar with this structural detail. However there is one related to this that is less well known but hidden in plane sight. The shadow line is a plane that wraps around the body even though the initial details are hidden behind the posture and position of lan sao

(barring arm). The shadow line or more bluntly the nipple line is is both a region that generates power based on position but also is one of four of the most dangerous target regions you must protect. JWR training at its core adds a level of ballistic rotation to all movements and

 

techniques within Wing Chun kung fu. It is is this heightened level of rotational, cheun jing (coiling energy) movement that imparts added levels of power. During the initial st stages ages of JWR training there are five fundamental points of pivot rotation that the ring sets develop.

 

Central Pivot 

The first pivot principle is called central pivot, and just as its name implies this point of rotation is at the exact center of the  jook wan ring. The central pivot concept takes the structural template of the jook wan circle to teach the student to root this pivot axis with the core axis plane of their body and that of the Wing Chun stance. The act of uniting the central pivot contained within the  jook wan to that of the stance creates a virtual axis that extends beyond the body and imparts an element of expansive and contractive movements not general focused of within some empty hand forms. This first level helps the practitioner become more aware of a sensation of rotating expansion as they extend their arms along the centerline plane. The ook wan at this level also acts as a governing tool to keep the arms on a fixed orbit and fixed patrol route within the shoulder boundary lines.

Circumference Pivot  The second level of pivot mechanics is circumference pivot, this takes the central pivot and extends it to the circumference of the the jook wan. At this stage of practice the student is given a level of real time instantaneous tactile feedback, as rotational pressure from one bridge arm transmits pressure immediately to the other through the rings circumference.

This takes place in both the polarized and unpolarized ring positions and highlights the importance of keeping both arms in contact at all times with the inner circumference. The timing of each arm’s rotation and the calibration of that act is a focus of this level as well as the rooting of the elbows at important moments within movements transitions.

 

 Extended Pivot 

The third level of pivot mechanics is extended pivot, this takes one of the circumference pivots and anchors it so that the opposite pivot point on the circumference is allowed to extend beyond the circumference of the ring. This literally permits the practitioner to “change gears” and as when using a larger lever andfrom pulley or the usedand in a bike, acircumference greater load ofwith bothapressure thesystem attack can be gears dissolved greater power discharged at the attacker. This is a critical detail within the mechanics of any martial system, and that is, if the pivot point of rotation between two bodies exists at the center of the movement conflict then neither body will receive the combined momentum force produced. This is changed entirely if one of the two two bodies adopts the same structural model of virtual axis rotation and diverts or discharges the force back at the other doing so with the fully combined momentum force. A very crude and familiar example is that of a matador and bull. The matador uses the decoy axis of “the cape” to both distract and divert the momentum force of the bull, but unlike the matador and bull example the stage of discharging attack force back at the attacker lies in the sudden contraction and implosion of the rotational circumference sphere in question. This base line of power is spiked through the roof if the practitioner in question who is discharging the force has all three kinetic spring systems unified. Each of the kinetic spring systems acts as an electrical transformer station to boost and amplify the jing (energy) power, so that an individual

weighing one hundred and twenty pound can strike with the force of a 360 pound person. A simple formula example is that each kinetic spring system, in our case three basic ones, the arms, legs and spine, collectively give the user three times the potential level of discharge power.

 

 Expansive Pivot  The fourth level of expansive pivot will vary according to the practitioner and focuses on the vertical axis that runs through the forearm and the tapering surface area on the outside. If the outside surface area of the forearm has a greater taper from elbow to wrist (creating a conical shape) then the potential level of coiled inch power is increased. This is not only due to the inherent probability of greater and more developed muscular force but more accurately the ability based on shape to emit greater inch power based on ballistic tapered rotation. An example meant to highlight this structural detail is that of a wood screw verses a machine screw. First a machine screw is like a cylinder in structure and has no taper, and because there is no taper such a structured shape cannot compact accelerate coilitsofvery rotation manifests. However the astructural shape of aorwood screwthe is by shapeitdesigned to bore through surface on contact requiring minimal forward pressure to facilitate deep penetration and thus manifests ballistic power.

 Root Pivot  The fifth level is root pivot, and at this stage the term “root” is meant to denote several ideas, the first first of which is training without the ring ring at all. In much the same way as a practitioner spends time training on the Wooden dummy, and then steps away to perform what is called hei jong fot  (air  (air wooden dummy method). Much like playing air guitar a practitioner is training the movements and techniques of the dummy without the structural corrective benefits of the dummy. Following this training theme a practitioner is putting the jook wan aside and practicing the movements of the ring and the structural details  jook  wan training is meant to impart. Training at the root stage is meant to apply the pivots that have been developed, those that stick with the practitioner, and to move as if the ring

were still there with an element of free flow application and interpretation. The detail of root has toAs dobamboo with how a plant sendsout down roots or morenext specifically rpractice oot runners. grows it sends in all directions smaller roots that act like feelers to establish root bases around it and propagate the plant. For the jook wan practitioner it is the ability to

 

manifest and apply multiple pivot point simultaneously within Wing Chun movements.

 

POWER: GENERATION  Body Integration

I

f we look at the body’s ability to produce power for striking from the perspective of the structure formula for power in Chinese boxing, we can see that it is very important to access the body’s full mass. The body has

three parts that can be used as kinetic springs—the legs, arms, and spine. In comparison to the legs and arms, the torso or spine contains the greatest amount of mass.

In practically the same way a medieval catapult or French trebuchet utilizes a downward, falling counterweight to generate its ballistic power, so too does this boxing method. It is through the fi first rst two polarized energy extremes extremes of float and sink that this is accomplished. Once the spring power systems of the stance (legs) and torso (spine) are linked through the rolled forward pelvic lift, it is time to unlock the power within the scapula gate. The image of a gate expresses an open and closed polarity. Similarly, the compound lever action of the scapula, trapezius, and

shoulder create an open and closed opposition. This is accomplished within the two primary polarized states of retraction and protraction.

 

This very critical detail allows the practitioner to access the body’s torso mass and deploy the resulting power in the six major  jing (energy) directions. Through the act of rounding the back and swallowing the chest, the scapula bones become the source of and deployment point for the arms’ striking power. This action and detail of movement allows the practitioner: First to strike without the retraction of the arms that commonly occurs in other systems. It is a common practice in most systems to retract and withdraw the striking arm to wind up a punch. This winding-up motion consumes time you do not have, opens vulnerable space, and violates the core principle of “no retraction.” Second, attacking motions are therefore no longer isolated strictly to movements initiated by the forearm, which would break the chain of power discharge. Third, any rebound contact force from the attacker can be channeled and dissipated from the bridge arm contact through the spine, down the legs to the ground, away from the practitioner.

Three Ranges of the Arm The “Three Ranges” in kung fu refer to the initial segments of the body that both generate and discharge jing (energy).

The first power is is the segment of the body from fingertips to wrist. wrist. The second power is from the wrist to just behind the elbow. The third power is from behind the elbow, through the body down to the feet, encompassing the rest of the body’s trunk mass.

 

The three powers also utilize three surfaces known in Chinese as “mouths” that act as adhesive surfaces to trap and control the attackers bridge arm. arm. These mouths allow the practitioner to seize, grasp, pin, and immobilize an attacker without the risk of grasping with the thumb. When attacked this helps to keep both arms free to continue to attack and restrain a weapon bearing arm.

Six Zones of Martial Force Production

 Look  jing  jing (rolling energy) refers to the totality of martial force while lik  (power) is typically associated with muscular intensity. The term jing (energy) is used to emphasize the production, execution, and application of integrated force. Look jing (rolling energy), sei noi biu jing (four internal expulsive forces), and bot jing (eight energies) all incorporate the expression ing (energy) within their descriptions to accentuate the relationship that these principles share within the process of issuing force. The physical aspect of producing jing (energy) requires that the network of 6 specific areas of the body act in unison. The southern boxing stance, customarily known as ding bat ding, bot bo bot  (feet  (feet not splayed but not pointed in), is the foundation upon which all techniques are derived. The exact translation of this couplet is: “not completely in the shape of the Chinese character for person and not completely in the shape of the character for the number eight” - referring to the placement of the feet and width of the legs. This principal position enables the practitioner to execute techniques with both stability and mobility. To ensure proper support, the practitioner’s weight is equally distributed between both legs assisting the action of linking the muscles of the core, back, and chest to optimize fa jing (issuing force). Collectively, the waist and the core muscles known as  yiu (flexibility) in conjunction with the biu (back), facilitate the mechanics of the upper body in this martial power circuit. As the actions of the trunk turn and torque, close

and open, and compress and explosive in unison, the force generated from these gestures travel to the extremities known as sao (hands), to be emitted in an effective and injurious manner. For the practitioner, this same damaging force is kept from causing personal

 

harm to the practitioner when the neck, and the teeth, complete the physiological circuit responsible for the production of fa jing (issuing force). These final two areas are defined as critical components within look  jing  jing (rolling energy) their roles in securing an uninterrupted force within the due necktoand skull when techniques are executed. transmission of It is essential that the teeth are clenched to stabilize the skull so that the force will be strengthened and reinforced throughout the entire body rather than dispersed and weakened through a sagging jaw. Throughout the course of this book it is my hope to present a detailed description of the major regions of the body, as well as their collective interactions, that generate power for martial application. Implementation of any one or all twelve of these training details dramatically increases your body’s collective ability to generate power.

Power Articulation Sources 01.  Stance Root 02.  Knee Anchor 03.  Waist Gate Rotation 04.  Pelvic Lift 05.  Body Drop 06.  Rounded Back - Hollowed Chest 07.  Oblique compression 08.  Scapula gate - Forward Shoulder Fold 09.  Immovable Elbow, Elbow Drop 10.  Targeted Bridge, Aligned Forearm 11.  Wrist extension 12.  Breath and Intention

Stance Root  To strike successfully in any martial art, a position of rooted stability is

essential. Most martial arts teach a fundamental stance, generally known within Asian arts as ma bo (horse stance). This term is meant to convey the importance of embodying mobility and integrated stability in all movements. It is important that each foot remain isolated from the other’s lateral plane of space when striking. To highlight this detail, stand with your feet side by

 

side, then slide your right or left foot up so that the heel of that foot touches the toe of the other. From that position, slide your raised lead foot sideways to open your stance, making sure to maintain a heel-to-toe relationship throughout your stance and stepping. It is the ability of the practitioner at this stage of training to galvanize the structural stability of their stance that ensures a stable deployment platform for their power. Any feedback of power when striking can be redirected through the rooted position of the stance to ensure stability and lack of injury to the practitioner.

 Knee Anchor 

Building upon a rooted stance, it is important to cultivate the knee anchor. Imagine for a moment an axis running from the knee of your lead leg downward through your shin bone and out the sole of your foot, extending a mile below the ground, perpendicular to the surface. This virtual axis is meant to anchor your knee and prevent any recession, retraction, or drift in its

 

position during striking. The next visualization will sound counterintuitive, but please keep an open mind. Imagine the above-mentioned cross-bracing structure in your body, facing the attacker squarely and contracting in a way that forces the intersection point of the two perpendicular lines out the back.

When applied, this is the act of rounding the back that extends forward and inward the ends of the cross-bracing structure, which would discharge power down the centerline plane towards an attacker. If this is hard to imagine, picture the torso as the pocket of a slingshot, with the center of the pocket being at the point between the shoulder blades. When you round the back, it is like drawing back a slingshot, creating tension that can be released forward in an explosive manner. The force projected by the spinal kinetic spring is like the stone released from the slingshot. This is the development of power through gravity’s partnership. Since the beginning of our lives we as human beings have been acutely aware of the presence of gravity and since our early development as children learning to crawl, to stand and then finally to walk, gravity has exerted a constant influence on our bodies. As a result we have each learned naturally to move to a great or lesser degree with gravity and to balance ourselves against its influence, in doing so over the years we also develop an inherent accumulation of body tension. This tension is the result of our bodies

constant attempt at structural self-correction.

 

Pelvic Lift  Through the lifting or rolling up of the pelvis comes dieu tong (pull/roll up pelvis), the lower lumbar curve of the spine is diminished and transformed. The back’s structure changes from that of a S to a C and becomes more like the shape of a bow, which is the simplest of kinetic springs. When cultivated, this structure permits the generation of incredible power, as well as the ability to skillfully dissipate the attacker’s power, acting as a “iron vest” of protection. Through the practice of llifting ifting up the tailbone, the legs are ever ready to spring forward. Coiled with kinetic power, their release propels the

practitioner ahead to engage and defeat the opponent. Due to the nature of this integrated stance structure, any feedback power from the attacker may be channeled into the ground for protection or back at the opponent due to the pelvic lift.

 

 Body Drop

Chum sun (body drop) is a power detail made famous by the late great boxer Jack Dempsy and more recently by Mike Tyson. This is the sudden act of severing the upward vertical support resisting gravity to allow the body’s mass to fall. fall. As mentioned regarding the catapult or French trebuchet, it

 

generates ballistic power through the downward deployment of a counterweight, so is it the same when integrating the act of body drop into your striking actions. This act is the combination of several important elements, each one being a stand-alone principle: ●  The downward compression of the spine transforming from the shape of letter S to the letter C. (Pelvic Lift—Lifted Tailbone). ●  The rotation of the body’s core toward the target along a vertical axis that does not recede or wobble. (Knee anchor ). ●  Stand in a lead guard stance (right side) and rotate the left side towards the lead. (Oblique compression).

Waist Gate Rotation Throughout the natural world from the microcosm of the subatomic to the scale of the galactic, all power is the the result of rotation. Tornadoes, whirlpools, hurricanes, the differential plasma rotation of the sun, all are rotational power systems. As for the martial arts, rotation of the body’s core is an essential component of power dependent on a rooted pivot axis. A student is generally introduced to this body axis concept via the center line. The student is told that the body’s axis of stability runs vertically from the pelvic region at a point called the Du Mai (Du4 Governing Vessel), rising up to and out of the skull from the pa hui (the nine crowns gate) point. This is only partially true and applies more accurately to the way the body’s bilateral symmetry is expressed and delineated. In reality, this axis of rotation departs from the body and becomes a virtual axis around which the body rotates. This is what, iin n ancient times, was referred to by boxing masters as the stillness within movement. This virtual axis, depending on tthe he cultivated structure of the practitioner, orbits anywhere from the region of the pubic bone on out to the knee. Regardless of the position of this axis, its fundamental stability depends on a

knee that does not recede at the moment of impact when stri striking. king. Any recession of the lead leg’s knee will instantly dissipate and break the deployment chain of power. As an example, it would be like trying tto o slam a door closed just as the pins in the doors hinges fall off, causing the door to fall free of its frame.

 

 Rounded Back Hollow Chest 

Sao kai boi (rounding the back) is a very crucial detail of training that unlocks the kinetic power interaction of the back and the scapula gate. Within most kung fu forms this action is practiced over and over, refining the interaction of spine, scapula, body rotation, and body drop, culminating in a kinetic spring mechanism that discharges tremendous inch power.

Swallow the Chest 

Tang han / hum hon (swallow the chest) is the transverse action of rounding the back, which integrates the muscular relationships of trapezius, pectoral

and clavicle muscles for combat. Applying tang han (swallow the chest) also links the lower abdominal region with the pelvis lift and relaxes the diaphragm and belly easing respiration in preparation for combat.

 

Oblique Compression Traditional Chinese martial arts define a principle region of the body called the sei gom gwak dim (four golden corner points). The four golden corner points, most commonly refers to the area delineated by the shoulders and the hips. In some Northern Chinese systems and African arts, this region extends to encompass the knees. Think of your own torso/chest and visualize or look in a mirror and imagine diagonal lines connecting your shoulders and hips like an X. Think of your right shoulder being connected to your left hip and the same but opposite arrangement with your left shoulder and right hip. This oblique diagonal integration facilitates dramatic and powerful contraction and expansive movements that express vorticular, ballistic, spiraling rotation in multiple vector planes. Tang Han Um Hon (swallow the chest), and baht bei (rounded back) are formulaic terms used in many arts to express this structural transformation of the torso core for power and protection. This area of study deals with the interaction of diagonal lines of adduction force, as well as the application of shearing and scissoring lines of force. This very broad structural principle also relates to weapon carry zones that a practitioner should defend on himself or be able to search on an attacker.

Scapula Gate, Shoulder Fold  The “scapula gate” is a way to express the polarized open and close transitions of the upper back and its power. This fundamental power detail is the back’s ability to issue power through the two states of protraction and retraction. Protraction permits the transmission of power forward along the centerline while simultaneously withdrawing the targets of the chest and abdomen.

Retraction is the recharge cycle that through rooted elbows reloads, recalibrates and, with breathing, re-energizes the practitioner for the next discharge of power. This crucial detail carries forward to the shoulder and rotator cuff, allowing the shoulder to fold forward naturally to support the explosive discharge of

 

power along the bridge arm. It is this aspect of a relaxed, natural shoulder fold that adds forward explosive power that conveys the body’s mass to the contact target. Within southern Chinese Chinese boxing this structural detail is called aduring dragon prawn back, named back for the of the practitioner’s back practice. This shrimp or appearance dragon prawn mechanic highlights the integrated structure of the body’s kinetic spring sections of legs, spine and arms.

 Downward Rooted Elbow There is a Chinese boxing maxim that says, “A rooted elbow can pull down heaven”. Jang dai lik   (elbow (elbow sinking power) is the root and source of the arm’s structural power is the elbow. It is the practitioner’s ability to connect to and integrate gravity’s pull through a vertically downward positioned elbow. This skill is ultimately predicated on relaxation and its manifestation in the peripheral joint system of the shoulder and back. Visualize the following example: Think of your arm from shoulder to fingers as a length of fishing line—naturally strong and supple--at one end a round float (the shoulder), at the opposite end a hook (the hand). Now picture, in the middle, a lead sinker (the elbow) hanging downward due to gravity’s pull. It is only due to the excessive pressure of the opponent that this position should be disturbed, not through the practitioner deviating from this optimal position of structural stability. stability. This power source is fundamentally the practitioner’s ability to relax under the duress of a fight and maintain this optimal elbow position. To do so dramatically enhances the certainty of defeating the opponent when in contact. Striking power, as well as the ability to successfully displace and direct the attack, is made possible only when this elbow skill is supported through the previous elements of stable stance, lifted tailbone, rounded back, and vertically suspended pivot of the torso core. It is the partnership of gravity and your intent to relax and sink with the elbow that unlocks truly wondrous

applications. I have known many teachers who feel this principle is supremely special, even stating that a knowledge of it can make all of heaven submit.

Targeted Forearm

 

To accurately deploy power when striking, it is always essential to point your forearm at your target. Think of your arm from elbow to fingertips as dagger or bayonet. If we use the dagger analogy, to not strike this way is to slash at the target rather than stab. We line up with our target through aligning our eyes, nose and fingertips along a single vertical plane. Then, with a downward rooted elbow, we extend from the scapula our bridge arm along our centerline for striking.

Wrist Extension This is the weakest link in your chain of power. Therefore, this book includes inch power exercises specifically for the open palm as a backup supplementary method. The primary reason the fist is the weakest component of your domino chain of power is due to its structure as the most dexterous articulation of bones and the most fragile. It is important that when striking with the fist you begin with a vertically oriented fist position with the elbow rooted downward. This alignment supports the forward deployment of force through the ulnar bone directly behind the last three bottom bottom knuckles. As you can see in the examples to the right, we only need the distance from fingertips to wrist to affect the target. Even so we should always train deployment of the striking hand from along the forearm, from elbow to wrist, to ensure the support and rotation of our body’s core. In this way, regardless of our physical strength over time, the training of this method never solely rests upon physically robust muscular power, but always on the rotation power of our body’s core. An easy test to demonstrate the structural stability of the vertical punch position is with a push-up. Take a push-up position on the the floor, orient your closed fists in the vertical position (as if holding a coffee mug), and place the knuckles flat on the floor at about the width of your chest. Once positioned,

begin at least five slow push ups and note the structural support and relative ease of execution from beginning to end of the push-up movement.

 Breathing Breath naturally and always exhale when striking. This simple act reinforces

 

a cycle of expansion and contraction that is natural and dovetails with your movement even when under stress.

Force Generation Methods  Lok Jing Hop Yat (Six Directional Powers) Powers) This embodies the potential vector of directional force the body can deploy power from. It is part of every motion and refers to the motion of the force.

Sow Kai Boi (Round the Back Power) This is the power of rounding and charging the back with potential kinetic power. The leverage pivots for tthis his power are localized in in the action of the scapula cervical vertebrae. The mechanical action ofgate thisdirectly power isbelow from the the seventh wrapping forward of the tendons and muscles. Parallel adduction and abduction power.

Gwun Jing (Rolling Energy) This force is basically used when a bridge is involved. It rises while moving forward then drops. This power redirects oncoming force and crashes it, in a forward coiling motion.

Chum Jing (Heavy Sinking Energy) The achievement of this stage is the iron body and unified combat frame.

 Bik Jing (Jamming Forward Energy) Energy) Jamming forward power is the force generated by rooted forward pressure into the enemy.

 Jang Dai Lik Jing (Elbow Sinking Energy) This is the power generated through the partnership of gravity and your intent

This is the power generated through the partnership of gravity and your intent to relax and sink with with the elbow. The effect of gravities gravities pull on the elbow acts to not only stabilize the movement and  jing (energy) produced by the arm but also to unite the body's frame over time.

 Dip Gwat Jing (Rib Bone Compression Power) Power)

 

The power cultivated in the compression of the rib bones, latissimus muscles, back (trapezius and scapula) etc. This element of movement contributes to the forward/backward element of look jing (rolling energy). This power cultivation also strengthens the body’s golden bell aka iron shirt.

Sing Jing (Floating and Uprooting Energy) This leaves the opponent feeling that he can not root himself properly and that you provide not a hint of leverage for him. At this stage, you have full command of your body.

 Jik Jing (Direct Forward Expelling Energy) In attacking one forges ahead never to back out. At the accomplishment of this stage techniques are clean and crisp. Extended tools never need to be retracted. It charges on ruthlessly and relentlessly.

Sai Dong Jing (Forceful Swaying Energy) This is a shaky power like in Chen taiji. This jing (energy) can be done in succession. Sai dong jing (forceful swaying energy) is the machine gun firing in smooth continuous bursts at the opposite of gang jing (shocking energy) which is singular/mono. Some also distinguished several stages of development such as; jik  (straight),  (straight), chum (sink), sing (elevate), & gang (shock).

Siu Sup Ji Jing (Small Cross Pattern Energy) The power in the joints of the arms and legs like the wrist, elbow, etc. Because the joints don’t move out but they can be dislocated they contribute to the forward/backward element of lok jing (six energies). This power is from pulling the tendons. Oblique adduction and abduction power.

 Dai Sup Ji Jing (Large Cross Pattern Power)

This is the power of the cross section of the body - shoulder to shoulder pulling the horizontal tendons of the chest, and pelvis to rib cage pulling the vertical tendons of the abdomen. Parallel adduction and abduction power.

Ranges Of Power

 

 Inch Power  It is a false assumption that the one-inch punch skill comes only from the Wing Chun system of kung fu. Although The The one-inch punch was popularized by the actor and martial artist Bruce Lee, it is present in many styles of Chinese martial arts. As a general rule, southern Chinese martial arts are most notably recognized for this skill as well as for the application of hand techniques from very close quarters. It is a strike refinement refinement designed to improve punching power and technique. technique. Because invariably martial artists were often fighting nose-to-nose with their opponents, they had to learn a way to deal out punishing blows even while almost touching their target. The one-inch punch skill is based on the discharge of fa jing (issuing force) to generate tremendous amounts of impact force at extremely close When executing the one-inch punch the practitioner stands with his range. fist very close to the target (the distance depends on the skill of the practitioner, usually from zero to six inches). A series of integrated compound movements produces the force needed, the wrist is held with the knuckles facing out on a vertical axis, the wrist is then flexed forward in a surge to strike with the bottom two knuckles. The target in demonstrations vary, sometimes it is a fellow practitioner holding a phone book on the chest, sometimes wooden boards can be broken. The one-inch punch is also often used in martial arts as a training exercise to show how to generate further power to the end of a conventional punch. Although depending on the martial system there are many types of power, the bulk of this book will cover two of the most well known: shake or shudder ing (energy), and shock or burst jing (  (energy). energy). Power generated fr from om the body can be transmitted to the bridge arms in one of two primary ways. The first being cheong kiu jing (long bridge power), and the other duan kiu jing (short bridge power). Each of these two types can be thought of like the

modulation wave frequency of the electromagnetic spectrum. Cheong kiu jing (long bridge power) can be thought of as the end of the spectrum having low frequency radio and microwaves. At the opposite end of the spectrum would be high frequency X and gamma rays representing shock and explosive duan

ing.

 

Hallmarks of cheong kiu jing (long bridge power) most notable are the powerful whip like discharge expressed from the shoulder to and beyond the fingertips. The application of this type of power can neutralize an attackers entry techniques, lock holds and much more at long or short range. Hallmarks of duan kiu jing (short bridge power) most notable are the explosive short range strikes such as the one and three inch punch. The application of this type of power can rupture internal organs, cause mass hemorrhaging as well as a range of instantaneous knockouts.

 

WISDOM: 36 STRATAGEMS

The thirty six stratagems are a Chinese essay used to illustrate a series of stratagems used in politics, war, as well as in civil interaction, often through unorthodox or deceptive means. The Stratagems are often misnamed as strategies; however, a stratagem (synonymous with ruse) is not the same thing as a strategy (being a long-term plan or outline). Part 1: Winning Stratagems (勝戰計)

 

Part 2: Enemy Dealing Stratagems (敵戰計) Part 3: Attacking Stratagems (攻戰計) Part 4: Chaos Stratagems (混戰計) Part 5: Proximate Stratagems ( 並戰計) Part 6: Desperate Stratagems (敗戰計)

Origin The thirty-six stratagems, the name of the collection comes from the Book of Qi, in its seventh biographical volume, biography of Wáng Jìngzé   ((王敬則傳 ／王敬则传). Wáng was a general who had served southern Qi since the first Emperor Gao of the dynasty. When Emperor Ming came to power and executed many members of the court and royal family for fear that they would threaten his reign, Wáng believed that he would be targeted next and rebelled. As Wáng received news that Xiao Baojuan, son and crown prince of Emperor Ming, had escaped in haste after learning of the rebellion, he commented that “of the thirty-six stratagems of Lord Tán, retreat was his best, you father and son should run for sure.” Lord Tán here refers to general Tan Daoji of the Liu Song Dynasty, who was forced to retreat after his failed attack on Northern Wei, and Wáng mentioned his name in contempt as an example of cowardice.

It should be noted that the number thirty-six was used by Wáng as a figure of speech in this context, and is meant to denote numerous stratagems instead of any specific number. Wáng’s choice of this term was in reference to the I

 

Ching, where six is the number of Yin that shared many characteristics with the dark schemes involved in military strategy. As thirty-six is the square of six, it therefore acted as a metaphor for numerous strategies. Since Wáng was not referring anyconnection thirty-six specific stratagems however, the are thirty-six proverbs and to their to military strategies and tactics likely to have been created after the fact, with the collection only borrowing its name from Wáng’s saying. The Thirty-Six Stratagems have variably been attributed to Sun Tzu from the Spring and Autumn Period of China, or Zhuge Liang of the Three Kingdoms period, but neither are regarded as the true author by historians. Instead, the prevailing view is that the Thirty-Six Stratagems may have originated in both written and oral history, with many different versions compiled by different authors throughout Chinese history. Some stratagems reference occurrences in the time of Sun Bin, approximately 150 years after Sun Wu’s death. The original hand-copied paperback that is the basis of the current version was believed to have been discovered in China’s Shaanxi province, of an unknown date and author, and put into print by a local publisher in 1941. The Thirty-Six Stratagems only came to the public’s attention after a review of it was published in the Chinese Communist Party’s Guangming Daily (光明日 報／光明日报) The Thirty-Six Stratagems are divided into a preface, six chapters containing six stratagems each, and an afterword that was incomplete with missing text. The first three chapters generally describe tactics for use in advantageous situations, whereas the last three chapters contain stratagems that are more suitable for disadvantageous situations. They are in the form of four-character idioms. Each proverb is accompanied by a short comment, no longer than a sentence or two, that explains how said proverb is applicable to military tactics. These 36 Chinese proverbs are related to 36 battle scenarios in Chinese history and folklore, predominantly of the warring states period and the three kingdoms period.

Part 1: Winning Stratagems When In A Superior Position 勝戰計

 

 Deceive the heavens to cross the ocean 瞞天過海 Cross the sea under camouflage This means to create a front that eventually becomes imbued with an atmosphere or impression of familiarity, within which the strategist may maneuver unseen while all eyes are trained to see obvious familiarities. Combat application: Hiding your motion in motion. Example; light hopping in sparring can hide your attack. Prepare too much and you lose sight of the big picture; what you see often you do not doubt. Yin (the art of deception) is in Yang (acting in open). Too much Yang (transparency) hides Yin (true ruses). This stratagem references an episode in 643 AD, when Emperor Taizong of Tang, balked from crossing the sea to a campaign against Koguryo. His general Xue Rengui thought of a stratagem to get the emperor across and allay his fear of seasickness: on a clear day, the emperor was invited to meet a wise man. They entered through a dark tunnel into a hall where they feasted. After feasting several days, the Emperor heard the sound of waves and realized that he had been lured onto a ship! General Xue drew aside the curtains to reveal the ocean and confessed that they had already crossed the sea: Upon discovering this, the emperor decided to carry on and later completed the successful campaign. This stratagem means that you can mask your real goals, by using the ruse of a fake goal that everyone takes for granted, until the real goal is achieved. Tactically, this is known as an ‘open feint’; in front of everyone, you point west, when your goal is actually in the east. By the time everyone realized it, you have already achieved your goal. Harro von Senger notes in the GermanLanguage “Die List” that to grasp the full meaning, it would be something like “to deceive the holy virgin Mary” in the West. This stratagem makes use of the human failing to become unaware of common everyday activities, or events that appear normal. The best secrets

are carried out in broad daylight. The best hoax is to repeat it so often that people are convinced that the next move is also a hoax. When this happens, it is the best moment to carry out one’s previously hidden true objective.

Surround one state to save another  圍魏救趙

 

 Besiege Wei to rescue Zhao When a strong group is about to take over a weaker group, a third part can “have its cake and eat it too,” gaining a good reputation by attacking the aggressor in apparent behalf of the defender, and also eventually absorb the weakened defender to boot, without incurring the same opprobrium that would be leveled at outright aggression. Combat application: Protecting Protecting a loved one or friend. When the enemy is too strong to be attacked directly, then attack something he holds dear. Know that he cannot be superior in all things. Somewhere there is a gap in the armor, a weakness that can be attacked instead. The origin of this proverb is from the Warring States Period. The state of Wèi attacked Zhao and laid siege to its capital Handan. Zhào turned to Qí for help, but the Qí general Sun Bin determined it would be unwise to meet the army of Wèi head on, so he instead attacked their capital at Daliang. The army of Wèi retreated in haste, and the tired troops were ambushed and defeated at the Battle of Guiling, with the Wèi general Pang Juan fled on the field. Note that this campaign is also described explicitly in the Art of War of Master Sun Bin the younger. The idea here is to avoid a head on battle with a strong enemy, and instead strike at his weakness elsewhere. This will force the strong enemy to retreat in order to support his weakness. Battling against the now tired and lowmorale enemy will give a much higher chance of success.

 Borrow a sword to attack another  借刀殺人  Kill with a borrowed knife When one side in a conflict is weakening, it may draw its own friends into battle, thus delivering a blow to its enemy while conserving its own strength. Combat application: defeat the enemy through the use of their own power or

that of another, also literally disarm the attacker and use their weapon. Attack using the strength of another (in a situation where using one’s own strength is not favorable). Trick an ally into attacking him, bribe an official to turn traitor, or use the enemy’s own strength against him. The idea here is to cause damage to the enemy by getting a 3rd party to do the deed.

 

 Face the weary in a condition of ease 以逸待勞 Wait at ease for the fatigued enemy or leisurely await the labored. You force others to expend energy while you preserve yours. You tire opponents out by sending them on wild goose chases, or by making them come to you from far away while you stand your ground. Combat application: Stay out of your attackers range and make them expend energy on useless attacks. It is an advantage to choose the time and place for battle. In this way you know when and where the battle will take place, while your enemy does not. Encourage your enemy to expend his energy in futile quests while you conserve your strength. When he is exhausted and confused, you attack with energy and purpose. The idea is to have your troops well-prepared for battle, in the same time that the enemy is rushing to fight against you. This will give your troops a huge

advantage in the upcoming battle, of which you will get to select the time and place.

Plunge into a fire to pull off a robbery 趁火打劫

 Loot a burning house

 

You use others’ troubles as opportunities to gain something for yourself. Combat application: Take advantage of your attackers misfortune, for example if the sun, rain, wind gets in their eyes, of they become distracted etc. When a country is beset by internal conflicts, when disease and famine ravage the population, when corruption and crime are rampant, then it will be unable to deal with an outside threat. This is the time to attack. Keep gathering internal information about an enemy. If the enemy is currently in its weakest state ever, attack it without mercy and totally destroy it to prevent future troubles.

 Feint east, strike west 聲東擊西  Make faint to the east but attack attack in the west  You spread misleading information about your intentions, or make false suggestions, in order to induce the opponent to concentrate his defenses on one front and thereby leave another front vulnerable to attack. Combat application: Feint, fake. In sparring sparring fake a low kick and follow with a high strike when your attacker lowers their defense. In any battle the element of surprise can provide an overwhelming advantage. Even when face to face with an enemy, surprise can still be employed by attacking where he least expects it. To do this you must create an expectation in the enemy’s through use of and a feint. idea here is towhich get the enemy to focus mind his forces in athe location, thenThe attack elsewhere would be weakly defended.

敵戰計 計 Part 2: Enemy Dealing Stratagems 敵戰  Make something from nothing 無中生有 ／无中生有

Produce something out of nothing You create a false idea in the mind of the opponent, and fix it in his mind as a reality. In particular, this means that you convey the impression that you have what you do not, to the end that you may appear formidable and thus actually obtain a security that you had not enjoyed before.

 

Combat application: I once used my wallet as a pretend cell phone to scare off a car full of car thieves. From a distance they thought I was calling the police. This is similar to sticking your finger through your jacket and faking you have a gun. You could also pretend to know a stranger crossing the street, waving to them to plant the false idea in the attackers mind that you know them. A plain li lie. e. Make somebody believe there was something when there is in fact nothing. One method of using this stratagem is to create an illusion of something’s existence, while it does not exist. Another method is to create an illusion that something does not exist, while it does.

Cross the pass in the dark 暗渡陳倉 dvance to Chencang by a hidden path 明修棧道 , 暗渡陳倉／明修栈道 , 暗渡陈仓 Openly repair the gallery roads, but sneak through the passage of  Chencang

You set up a false front, then penetrate the opponent s territory on other fronts while they are distracted by your false front. (pretend to prepare along one path while secretly going along another). Combat application: Zig and Zag, fake left go right etc. Deceive the enemy with an obvious approach that will take a very long time,

 

while surprising him by taking a shortcut and sneak up to him. As the enemy concentrates on the decoy, he will miss you sneaking up to him. The phrase originated from the Chu-Han contention, where Liu Bang retreated to the lands of Sichuan to prepare for a confrontation with Xiang Yu. Once he was fully prepared, Liu Bang sent men to openly repair the gallery roads he had destroyed earlier, while secretly moving his troops towards Guanzhong through the small town of Chencang instead. When Xiang Yu received news of Liu Bang repairing the gallery roads, he dismissed the threat since he knew the repairs would take years to complete. This toYu retake and eventually led to hisallowed victory Liu overBang Xiang andGuanzhong the birth of by thesurprise, Han Dynasty. This tactic is an extension of the “Make a sound in the east, then strike in the west” tactic. But instead of simply spreading misinformation to draw the enemy’s attention, physical baits are used to increase the enemy’s certainty on the misinformation. These baits must be easily seen by the enemy, to ensure that they draw the enemy’s attention. At the same time, the baits must act as if what they meant to do what they were falsely doing, to avoid

drawing the enemy’s suspicion.

Watch the fire from the opposite bank of the river  隔岸觀火 ／隔岸 观火

Watch the fire from the other side of the river (showing non-

 

unconcernedness) You calmly look on when adversaries experience internal troubles, waiting for them to destroy themselves. Combat application: Take advantage of any environmental distractions or misfortunes your attacker may suffer. Crossing the street when faced with multiple attackers for example can disorganize the group if there is traffic. Delay entering the field of battle until all the other players have become exhausted fighting amongst themselves. Then go in at full strength and pick up the pieces.

 Hide a sword in a smile 笑裡藏刀 ／笑里藏刀 Conceal a knife in your smile You yourselfyou withcan enemies, inducing them trust. you. When you have ingratiate their confidence, move against them in to secret. secret Combat application: Don’t let on you are about to attack. Charm and ingratiate yourself to your enemy. When you have gained his trust, move against him in secret.

One tree falls for another  李代桃僵 The plum dies for the apricot  Individual mayCombat have to application: be made to achieve greater goal. to bait (substitute sacrifices this for that) Create aa false opening the attacker into a trap. There are circumstances in which you must sacrifice short-term objectives in order to gain the long-term goal. This is the scapegoat stratagem whereby someone else suffers the consequences so that the rest do not.

Take the sheep in hand as you go along

順手牽羊  Make off with a sheep in passing by. 顺 手牵 羊 Take the opportunity to pilfer a goat. You take advantage of any opportunity, however small, and avail yourself of

 

any profit, however slight. This comes from the story of a destitute traveler walking on a road. As he went along, he came across a flock of sheep; making his way through them, when he emerged from their midst he had a sheep with him. He behaved so calmly and naturally, as if he had been leading his own sheep to market all along, that the shepherd never noticed him. (Lead away a sheep in passing) Combat application: Hide your attack in a natural non threatening motions. While carrying out your plans be flexible enough to take advantage of any opportunity that presents itself, however small, and avail yourself of any profit, however slight.

Part 3: Attacking Stratagems 攻戰計  Beat the grass to startle the snakes 打草驚蛇 ／打草惊蛇  Beat the grass and frighten away the snake. Stomp the grass to scare the snake When opponents are reserved and unfathomable, you create some sort of stir to see how they will react. Yagyfi mentions this, and also notes that it is used in Sun (Zen). Certain Sun sayings and stories are used primarily to test people and find out what they are like. Combat application: Test your opponents reactions with hand strikes, low kicks, verbal attacks etc. Push their buttons. Do something unaimed, but spectacular (“hitting the grass”) to provoke a response of the enemy (“startle the snake”), thereby giving away his plans or position, or just taunt him. Do something unusual, strange, and unexpected as this will arouse the enemy’s suspicion and disrupt his thinking. More widely

used as “[Do not] startle the snake by hitting the grass”. An imprudent act will give your position or intentions away to the enemy.

 Borrow a corpse to bring back a spirit  借屍還魂 ／借尸 还魂  Resurrect in a new guise / Borrow a corpse to resurrect the soul soul..

 

You don’t use what everyone else is using, but use what others aren’t using. This can mean reviving something that has dropped out of use through neglect, or finding uses for things that had hitherto been ignored or considered useless. (Raise the dead) Combat application: Improvise a weapon from a natural object. Take an institution, a technology, a method, or even an ideology that has been forgotten or discarded and appropriate it for your own purpose. Revive something from the past by giving it a new purpose or bring to life old ideas, customs, or traditions and reinterpret them to fit your purposes.

Train a tiger to leave the mountains 調虎離山 ／调虎离山  Lure the tiger out of the the mountain/   Entice the tiger to leave its mountain lair  You don’t go into the fastness of powerful opponents’ territory, but induce

them to come out of their stronghold. Combat application: Bait your attacker with a false opening. Never directly attack an opponent whose advantage is derived from its position. Instead lure him away from his position thus separating him from his source of strength.

 

 Let the enemy leave in order to catch him 欲擒故縱／欲擒故纵  Let the enemy off so to snare them them /   In order to capture, one must let loose When you want to take captives, leave them on the loose for a while. (Let the enemy off so to snare them) Fleeing enemies may turn again and strike desperately if pursued too hotly. If they are given room to run, on the other hand, they scatter and lose their energy. Then they can be taken captive without further violence. Combat application: Control your attackers motion, cutting off his options and force them where you want them to be, for example drawing an attacker in between two parked cars, a stair case etc. Cornered prey will often mount a final desperate attack. To prevent this you let the enemy believe he still has a chance for freedom. His will to fight is thus dampened by his desire to escape. When in the end the freedom is proven a falsehood the enemy’s morale will be defeated and he will surrender without a fight.

Toss out a glazed tile to draw a jade 拋磚引玉  ／抛砖引玉 Cast a brick to attract a gem/  Tossing out a brick to get a jade gem You present something of superficial or apparent worth to induce another party to produce something of real worth. Combat application: Bait your attacker with a pretend opening. Bait someone by making him believe he gains something or just make him react to it (“toss out a brick”) and obtain something valuable from him in return (“get a jade gem”).

This proverb is based on a story involving two famous poets of the Tang Dynasty. There was a great poet named Zhao Gu ( 趙嘏) and another lesser poet by the name of Chang Jian ( 常建). While Chang Jian was traveling in Suzhou, he heard news that Zhao Gu would be visiting a temple in the area. Chang Jian wished to learn from the master poet, so he devised a plan and

 

went to the temple in advance, then wrote a poem on the temple walls with only two of the four lines completed, hoping Zhao Gu would see it and finish the poem. Zhao Gu acted as Chang Jian foresaw, and from this story came the proverb.

To capture the brigands (rebels), capture their king 擒賊先擒王 ／擒 贼擒王 To kill a snake cut off the head  Catch the ringleader first in order to capture all his bandit followers. Defeat the enemy by capturing their chief. When confronted with a massive opposition, you take aim at its central leadership. Combat applicati application: on: Take out the leader or the most feared of the group and the willtousually become disorganized. If the enemy’s or army is strong butgroup is allied the commander only by money, superstition threats, then take aim at the leader. If the commander falls the rest of the army will disperse or come over to your side. If, however, they are allied to the leader through loyalty then beware, the army can continue to fight on after his death out of vengeance.

Part 4: Chaos Stratagems 混戰計

Take the firewood out from under the pot  釜底抽薪 Take away the firewood under the cauldron / Remove the firewood from

 

under the pot  When you cannot handle an adversary in a head-on confrontation, you can still win by undermining the enemy’s resources and morale. (take drastic measures to strike at source of a problem) Combat application: Again using the environment, for example tipping over furniture, drawing them onto higher ground (you’re higher) etc. The idea being if you are of equal or inferior skills you must use strategy to succeed. If something must be destroyed, destroy the source.

Stir up the waters to catch fish 渾水摸魚／浑水摸 鱼  Fish in troubled water /   Disturb the water and catch a fish You use confusion to your advantage, to take what you want. It may specifically mean taking advantage of a general or particular loss of direction in order to gather followers from among the uncommitted or disenfranchised. (try to take advantage of a disturbed situation to take in profits) Combat application: Fighting with the sun to your back so it’s in their eyes, or the wind. Bumping a car to activate the alarm to create confusion. Take advantage of your opponents distracti distractions. ons. Create confusion and use this confusion to further your own goals.

The gold cicada molts its shell 金蟬脫殼 ／金蝉脱壳 Cast off the molted skin. Slough off the cicada’s golden shell. This means leaving behind false appearances created for strategic purposes. Like the cicada shell, the facade remains intact, but the real action is now

elsewhere. (escape unnoticed) Combat application: Raise a hand high and kick low, toss something at your attackers face etc. It’s a stratagem mainly used to escape from an enemy of superior force. Mask yourself. Either leave flamboyant traits behind, thus going incognito, or just masquerade yourself and create an illusion to fit your

 

goals and distract others.

 Lock the gates to catch the bandits 關門捉賊 ／关门捉贼  Close the gate to catch the thieves. Shut the door to catch the thief.

You catch invading predators by not letting them get away. You don’t let them get back to their homelands with what they can get from you. If they escape, you don’t chase them, because you will thereby fall prey to the enemy’s plot to wear you down. (Bolt the door to catch the thief) Combat application: Stepping on your attackers foot, trapping their hands etc. To deliver capture the enemy, you must plan prudently if if you want to succeed. Do not rush into action. Before you “move in for the kill”, first cut off your enemy’s escape routes, and cut off any routes through which outside help can reach them.

 Make allies at a distance, attack nearby 遠交近攻 ／远交近攻

 Befriend distant countries while while attacking those nearby.  Befriend a distant state while attacking a neighbor. When you are more vulnerable to those close by than you are to those far away, you can defend yourself by keeping those around you off balance, in the meantime cutting of their field of maneuver by securing a broader ring of

 

alliances surrounding them. Combat application: application: Concentrate on the immediate immediate threat. It is known that nations that border each other become enemies while nations separated by distance and obstacles make better allies. When you are the strongest in one field, your greatest threat is from the second strongest in your field, not the strongest from another field. This policy is associated with Fan Sui of Qin, circa 269 BC.

 Borrow the right of way to attack the neighbor  假途伐虢  Conquer Hao after obtaining permission to cross another country. Obtain safe passage to conquer the State of Guo. You secure the temporary use of another party’s facilities in order to move against a mutual enemy. After having used these facilities to prevail over the enemy, you then turn and use them against the party from whom you borrowed them. (Forge neutral alliances) Combat application: Use one attacker against the other. Move when fighting so they constantly cross each other and get in one another’s way. Use an attackers weapon against the other attacker. Borrow the resources of an ally to attack a common enemy. Once the enemy is defeated, use those resources to turn on the ally that lent you them in the first place. See Duke Xian of Jin.

Part 5: Proximate Stratagems 並戰計 Steal a beam to replace a pillar  偷梁換柱／偷梁换柱  Replace the beams and pillars with rotten timber. You try to recruit top talent from among allies, inducing them to join your

concern. Combat application: Use negotiations and undermine their confidence, I remember one time an older master relates a time when a young punk with his friends started to harass him. He said to the harasser ‘You know if you beat me up, all you did was beat up an old man. But on the other hand if I get a lucky shot in on you your friends will never let you forget an old man beat

 

you. Either way it’s not good’ the young punk postured a little bit and then walked away. Attack the legs. Disrupt the enemy’s formations, interfere with their methods of operations, change the rules in which they are used to following, go contrary to their standard training. In this way you remove the supporting pillar, the common link that makes a group of men an effective fighting force.

Point at one to scold another  指桑罵槐／指桑骂槐 Point at the mulberry only to curse the locust. Point at the mulberry tree while cursing the locust tree. You criticize indirectly, getting your point across without confrontation. (scold one person through another) Combat application: If with another you can pretend it’s their fault and you will take care of them. (of course this as to be explained wink, wink to your friend). To discipline, control, or warn warn others whose status or positi position on excludes them from direct confrontation; use analogy and innuendo. When names are not used directly, those accused cannot retaliate without revealing their complicity.

 Feign ignorance without going crazy 假痴不癲／假痴不癫  Feign foolishness. Feign madness but but keep your balance. You pretend to be stupid and ignorant, but avoid talking loosely. (Pretend madness without losing the balance) Combat application: Fake Fake injury, sickness, stupidity etc. Hide behind the mask of a fool, a drunk, or a madman to create confusion about your intentions and motivations. Lure your opponent into underestimating your

ability until, overconfident, he drops his guard. Then you may attack.

 Let them climb the roof, then take away the ladder  上屋抽梯

Take away the ladder when the enemy is on the second floor.  Remove the ladder when the enemy has has ascended to the roof.

 

You maneuver enemies into a point of no return by baiting them with what look like advantages and opportunities. Combat application: Like Bruce Lee’s character in the movie Enter the Dragon when he asked his challenger to take the small rowboat to the small island to fight. When the challenger got on the boat he set it adrift. A modern application would be to let them through the door first and then lock it behind them. With baits and deceptions, lure your enemy into treacherous terrain. Then cut off his lines of communication and avenue of escape. To save himself, he must fight both your own forces and the elements of nature.

 Make flowers bloom on a tree 樹上開花／树上开花  False flowers on a tree.  Deck the tree with false blossoms.

You dazzle and deceive the eyes of opponents by showy displays. (use decoys)

Combat application: Fake and feint or shatter their confidence with a demonstration of skill. I remember an older master discouraging a gang once by picking up a cobblestone from the street and breaking it in half. Tying silk blossoms on a dead tree gives the illusion that the tree is healthy. Through the use of artifice and disguise, make something of no value appear valuable; of no threat appear dangerous; of no use appear useful. This

 

stratagem is identical to that of the Potemkin village.

Turn the guest into the host  反客為主／反客为主  Make the guest the host.  Make the host and the guest exchange exchange roles. This is when a business is taken over by one of its own clients or consultants. Combat application: Use your attackers energy against them, when pushedpull, when pulled-push. Usurp leadership in a situation where you are normally subordinate. Infiltrate your target. Initially, pretend to be a guest to be accepted, but develop from inside and become the owner later.

敗戰計 計 Part 6: Desperate Stratagems 敗戰

Scheme with beauties (beauty trap)

美人計／美人计 Scheme with beauties. The beauty trap (honey trap). This refers to using the charms of women to influence key figures in an adversary organization. The stratagem of (making use of) a beautiful woman (as decoy)

 

Combat application: Use something attractive to the attacker, an opening, money, reward etc. A modern application could be dropping your wallet ‘accidentally’ as their eyes follow it attack. Send your enemy beautiful women to cause discord within his camp. This stratagem can work on three levels. First, the ruler becomes so enamoured with the beauty that he neglects his duties and allows his vigilance to wane. Second, other males at court will begin to display aggressive behaviour that inflames minor differences hindering co-operation and destroying morale. Third, other females at court, motivated by jealousy and envy, begin to plot intrigues further exacerbating the situation.

Scheme with 计 an empty castle 空城計／空城 Open gates and an emptied city with soldiers waiting in ambush. The empty fort strategy.

You appear weaker than you really are, so that opponents may defeat themselves by one of three reactions to your supposed weakness: they may become conceited and complacent, leading to their downfall; they may become arrogant and aggressive, leading to their destruction; or they may assume you are setting up an ambush, leading them to flee of their own accord.

 

Combat application: When weak appear strong, when strong appear weak. Don’t let the attacker know your state, lure him by pretending to be weak, discourage him by appearing strong. When the enemy is superior in numbers and your situation is such that you expect to be overrun at any moment, then drop all pretense of military preparedness and act calmly so that the enemy will think you are setting an ambush. This stratagem has to be used sparingly and only after one has first developed a reputation for military prowess. This also depends on having a clever opponent who, in perceiving a trap, may over-think his reaction.

Scheme with double agents 反間計／反间计 Sow discord in the enemy’s camp.  Let the enemy’s own spy sow discord in the enemy camp. You compromise insiders of other organizations to get them to work for you. Combat application: In a multiple attack situation, attack in a fast, aggressive and unpredictable manner, to confuse the group. Undermine your enemy’s ability to fight by secretly causing discord between him and his friends, allies, advisors, family, commanders, soldiers, and population. While he is preoccupied settling internal disputes, his ability to attack or defend, is compromised.

Scheme with self-inflicted wounds 苦肉計／苦肉计

The stratagem of self-mutilation in order to lure out the enemy.  Inflict injury on oneself oneself to win the enemy’s trust. trust. This a technique particularly for undercover agents: you make yourself look like a victim of your own people, in order to win the sympathy and confidence of enemies.

Combat application: Pretend to be injured or sick then attack. Pretending to be injured has two possible applications. In the first, the enemy is lulled into relaxing his guard since he no longer considers you to be an immediate threat. The second is a way of ingratiating yourself to your enemy by pretending the injury was caused by a mutual enemy.

 

Scheme in continuous circles 連環計／连环计 The stratagem of combining rings (of various stratagems). Chain stratagems.

When facing a more powerful enemy, you don’t oppose by force, and don’t concentrate all your resources on only one avenue of strategy; you keep different plans operating simultaneously in an overall scheme. Combat application: Keep your awareness active, use what becomes available to you. Tip over furniture, throw objects etc. In important matters, one should use several stratagems applied simultaneously after another as in a chain of stratagems. Keep different plans operating in an overall scheme; however, in this manner if any one stratagem fails, then the chain breaks and the whole scheme fails.

 Know when It is best to run 走為上／走为上 The best stratagem is to run away.  If all else fails, retreat 

When overwhelmed, you don’t fight; you surrender, compromise, or flee. Surrender is complete defeat, compromise is half defeat, flight is not defeat. As long as you are not defeated, you have another chance to win. Combat application: Run! If it becomes obvious that your current course of action will lead to defeat,

 

then retreat and regroup. When your side is losing, there are only three choices remaining: surrender, compromise, or escape. Surrender is complete defeat, compromise is half defeat, but escape is not defeat. As long as you are not defeated, you still have a chance.

 

WISDOM: MAXIMS & POEMS

 

Strategy And Tactics 那些未能獲得一個以上的逃離活該死

 

 Nàxiē wèi néng huòdé yīgè yǐshàng de táolí huó gāisǐ. Those who fail to secure more than one escape invite death.

一個聰明的動物有三窟。一個聰明的武術備份有三種形式或三種形式逸 出

Yīgè cōngmíng de dòngwù yǒusān kū yīgè cōngmíng de wǔshù bèifèn yǒu sānzhǒng xíngshì huò sānzhǒng xíngshì yì chū. A clever animal has three burrows. A clever martial artist has three forms of back-up or three forms of escape.

覆巢之下當所有的雞蛋都碎了，當攻擊者所有潛在的平衡被打破攻擊被 推翻

 Fù cháo zhī xià dāng suǒyǒu de jīdàn dōu suìle, dāng gōngjí zhě suǒyǒu qiánzài de pínghéng bèi dǎpò gōngjí bèi tuīfān. When a nest is overturned all eggs are broken. When the attackers balance is broken all potential attacks are overturned.

嘗試任何在絕望的情況下。

Chángshì rènhé zài juéwàng de qíngkuàng xià. Try anything in a desperate situation.

兩起襲擊事件是一體的，沒有一個攻擊對於成功的概率最高引人注目的 部署多個攻擊

 Liǎng qǐ xíjí shìjiàn shì yītǐ de, méiyǒu yīgè yīgè gōngjí duìyú chénggōng de gàilǜ  zuìgāo yǐn rén zhùmù dì bùshǔ duō gè gōngjí. Two attacks are one, and one attack is none. For the highest probability of

successful striking deploy multiple attacks.

尋求主宰直接從頂部的外橋接觸參考

únqiú zhǔzǎi zhíjiē cóng dǐngbù de wài qiáo jiēchù cānkǎo. Seek to dominate straight from the outside top bridge contact reference.

 

尋求旋轉與滾動力由內而外底橋接觸參考

únqiú xuánzhuǎn yǔ gǔndòng lì yóu nèi ér wài dǐ qiáo jiēchù cānkǎo. Seek to turn and roll force from the inside bottom bridge contact reference.

在第一次接觸中，攻擊者必須屬於自己的馬

Zài dì yī cì jiēchù zhōng, gōngjí zhě bìxū shǔyú zìjǐ de mǎ. At first contact the attacker must fall off their horse.

隱藏刺敵人找到

Yǐncáng cì dírén zhǎodào. Hide thorns for the enemy to find.

您必須是兇猛的衝突時

 Nín bìxū shì xiōngměng de chōngtú shí. You must be ferocious when clashing.

Body / Structural 沉肘，奪回控制權

Chén zhǒu, duóhuí kòngzhì quán. Sink the elbow to regain control.

使用剪切力引導攻擊. 使用鑽探力驅動的攻擊者

Shǐyòng jiǎn qiè lì yǐndǎo gōngjí. Shǐyòng zuāntàn lì qūdòng de gōngjí zhě. Use shearing force to steer the attacker. Use drilling force to drive the

attacker.

緊緊地擠在腋下

Jǐn jǐn de jǐ zài yè xià. Tightly squeeze close the armpits.

 

手不要退縮向前延伸

Shǒu bùyào tuìsuō xiàng qián yánshēn. The hands don’t draw back to extend forward.

拉的胸部，推出上背部，並帶來尾骨

 Lā de xiōngbù, tuīchū shàng bèibù, bìng dài lái wěigǔ. Pull in the chest, push out the upper back, and bring in the tail bone.

可以形成一個金字塔的重心在中心

 Kěyǐ xíngchéng yīgè jīnzìtǎ de zhòngxīn zài zhōngxīn. Form a pyramid with the center of gravity in the center.

當步進，提高膝蓋彷彿被吸進民進

 Dāng bù jìn, tígāo xīgài fǎngfú bèi xī jìn mín jìn. When stepping, raise the knee as if it is being sucked into the dan tien.

肘部，肩膀，腰部下沉

Zhǒu bù, jiānbǎng, yāobù xià chén. Sink the elbows, the shoulders, and the waist.

當移動手臂，根肘，如果它被吸進胸骨

 Dāng yídòng shǒubì, gēn zhǒu, rúguǒ tā bèi xī jìn xiōnggǔ.

When moving the arm, root the elbow as if it is being sucked into the sternum.

當移動臂，廢的排骨用肘部

 Dāng yídòng bì, fèi de páigǔ yòng zhǒu bù. When moving the arm, scrap the ribs with the elbow.

 

向前進攻帶動你的胳膊肘在你們手裡

iàng qián jìngōng dàidòng nǐ de gēbó zhǒu zài nǐmen shǒu lǐ.

To attack forward drive your elbow into your hand.

朝目標始終對準你的前臂

Cháo mùbiāo shǐzhōng duì zhǔn nǐ de qiánbì. Always align your forearm with/toward the target.

始終注意中期中心線垂直和水平平面上鉛膝蓋必須永遠不會退去，搖晃 或固定探測器

Shǐzhōng zhùyì zhōngqí zhōngxīn xiàn chuízhí hé shuǐpíng píngmiàn shàng qiān xīgài bìxū yǒngyuǎn bù huì tuìqù, yáohuàng huò gùdìng tàncè qì. Pay attention to the centerlines. The lead knee must never recede, wobble or be unanchored.

在所有的腰部旋轉，像一塊濕毛巾，擰主角腿大腿，表達一個漩渦旋轉， 螺旋向上或向下移動。膝蓋絕不能退卻！

Zài suǒyǒu de yāobù xuánzhuǎn, xiàng yīkuài shī máojīn, níng zhǔjiǎo tuǐ  dàtuǐ, biǎodá yīgè xuánwō xuánzhuǎn, luóxuán xiàngshàng huò xiàng xià ídòng. Xīgài jué bùnéng tuìquè. In all waist rotation, wring the lead leg thigh like a wet towel, expressing a whirlpool rotation that spirals upward or downward. The knee must not recede!

清單彈道導彈旋轉補充力量和潛力，顯示穩定的攻擊者的每一個動作

Qīngdān dàndào dǎodàn xuánzhuǎn bǔchōng lìliàng hé qiánlì, xiǎnshì wěndìng de gōngjí zhě de měi yīgè dòngzuò. Manifest ballistic rotation in every action for added power and potential to destabilize the attacker.

 

General 一條心，一個身體，一個電源

Yītiáoxīn, yīgè shēntǐ, yīgè diànyuán. One mind. One body. One Power.

如果你追逐兩隻兔子你會抓不住專注於一個攻擊的時間

Yītiáoxīn, yīgè shēntǐ, yīgè diànyuán. If you chase after two rabbits, you’ll catch neither. Focus on one attacker at a time.

如果你不殺根雜草會回來

 Rúguǒ nǐ bù shā gēn zá cǎo huì huílái. If you don’t kill the root the weed will return.

當進入一扇門，知道的鉸鏈，門把手和中央開口

 Dāng yídòng bì, fèi de páigǔ yòng zhǒu bù. When entering a door, know the hinges, door knobs and central opening.

不聞不若聞之，聞之不若見之，見之不若知之，知之不若行之；學至於行 之而止矣

Bù wén bù ruò wén zhī, wén zhī bù ruò jiàn zhī, jiàn zhī bù ruò zhīzhī, zhīzhī  bù ruò xíng zhī; xué zhìyú xíng zhī ér zhǐ yǐ bù wén bù ruò wén zhī, wén zhī  bù ruò jiàn zhī, jiàn zhī bù ruò zhīzhī, zhīzhī bù ruò xíng zhī; xué zhìyú xíng  zhī ér zhǐ yǐ. Not hearing is not as good as hearing, hearing is not as good as seeing, seeing

is not as good as mentally knowing, mentally knowing is not as good as acting; true learning continues up to the point that action comes forth.

風向轉變時,有人築牆,有人造風車, 风向转变时,有人筑墙,有人造风车

 Fēngxiàng zhuǎnbiàn shí, yǒurén zhú qiáng, yǒurénzào fēngchē, fēngxiàng

 

 zhuǎnbiàn shí, yǒu rén zhú qiáng, yǒu rénzào fēngchē. When the wind of change blows, some build walls, while others build windmills.

害人之心不可有, 害人之心不可有

 Hài rén zhī xīn bùkě yǒu, hài rén zhī xīn bùkě yǒu. Do not harbour intentions to hurt others.

師傅領進門，修行在個人, 师傅领进门，修行在个人

Shīfù lǐng jìnmén, xiūxíng zài gèrén, shīfù lǐng jìnmén, xiūxíng zài gèrén. Teachers open the door. You enter by yourself.

有錢能使鬼推磨, 有钱能使鬼推磨

Yǒu qián néng shǐ guǐ tuī mó, yǒu qián néng shǐ guǐ tuī mó. If you have money you can make the devil push your grind stone.

千军易得, 一将难求

Qiān jūn yì dé, yī jiāng nán qiú. It is easy to find a thousand soldiers, but hard to find a good general.

风无常顺，兵无常胜

 Fēng wúcháng shùn, bīng wúcháng shèng. A boat can’t always sail with the wind; an army can’t always win battles.

老骥伏枥，志在千里

 Lǎojìfúlì, zhì zài qiānlǐ. An old warhorse in the stable still longs to gallop a thousand miles.

兵不厌诈

Bīng bù yànzhà.

 

Nothing is too deceitful in war.

严师出高徒

Yánshī chū gāotú. Good pupils are to be brought up by strict teachers.

哀兵必胜

i bīng bì shèng. An oppressed army fighting with desperate courage is sure to win.

保持紀律進行自己的道德作為一個武術家

Bǎochí jìlǜ jìnxíng zìjǐ de dàodé zuòwéi yīgè wǔshù jiā. Remain disciplined, conduct yourself ethically as a martial artist.

實踐禮貌和公義服務社會並尊重你的長輩

Shíjiàn lǐmào hé gōngyì fúwù shèhuì bìng zūnzhòng nǐ de cháng bèi. Practice courtesy and righteousness, serve the community and respect your elders.

愛你的同學團結起來避免衝突

i nǐ de tóngxué tuánjié qǐlái bìmiǎn chōngtú.

Love your fellow students, be united and avoid conflicts.

刻苦訓練保持自己的技能

 Kèkǔ xùnliàn bǎochí zìjǐ de jìnéng.

Train diligently, maintain your skills.

學習如何開發精神安寧放棄從參數和打架

uéxí rúhé kāifā jīngshén ānníng fàngqì cóng cānshù hé dǎjià.

Learn to develop spiritual tranquility, abstain

 

from arguments and fights.

參與社會保守你的舉止溫柔

Cānyù shèhuì bǎoshǒu nǐ de jǔzhǐ wēnróu. Participate in society, be conservative and gentle in your manners.

幫助弱者很年輕老的用你的良好的人類門派技能

Bāngzhù ruòzhě hěn niánqīng lǎo de yòng nǐ de liánghǎo de rénlèi ménpài ìnéng. Help the weak and the very young and old, use your martial skills for the good of humanity.

傳遞的傳統，保護這個中國藝術和其行為規則

Chuándì de chuántǒng, bǎohù zhège zhōngguó yìshù hé qí xíngwéi guīzé. Pass on the tradition, preserve this Chinese art and its Rules of Conduct.

Miscellaneous 每牛年有兩個角，四個蹄子

 Měi niú nián yǒu liǎng gè jiǎo, sì gè tízi. Every ox has two horns, and four hooves.

在水面上跳石有一條路由

Zài shuǐmiàn shàng tiào shí yǒu yītiáo lùyóu. A skipping stone on water has one route.

小洞不补，大洞吃苦

iǎo dòng bù bǔ, dàdòng chīkǔ. A small hole not mended in time will become a big hole much more difficult to mend.

 

读书须用意，一字值千金

 Dúshū xū yòngyì, yī zì zhí qiānjīn. Intention of required study, the word worth a thousand gold.

讀萬卷書不如行萬裡路, 读万卷书不如行万里路

 Dú wàn juǎn shū bùrú xíng wànlǐ lù, dú wàn juǎn shū bùrú xíng wàn lǐ lù. Reading ten thousand books is not as useful as traveling ten thousand miles.

福無重至,禍不單行, 福无重至,祸不单行

 Fú wú zhòng zhì, huòbùdānxíng, fú wú zhòng zhì, huòbùdānxíng. Fortune does not come twice. Misfortune does not come alone.

良藥苦口, 良药苦口

 Liángyào kǔkǒu, liángyào kǔkǒu. Good medicine tastes bitter.

肉包子打狗, 肉包子打狗

 Ròu bāozi dǎ gǒu, ròu bāozi dǎ gǒu. To hit a dog with a meat-bun.

死馬當活馬醫, 死马当活马医

Sǐ mǎ dāng huó mǎ yī, sǐ mǎ dāng huó mǎ yī. Try to save the dead horse as if it is still alive.

授人以魚不如授人以漁, 授人以鱼不如授人以渔

授人以魚不如授人以漁, 授人以鱼不如授人以渔

Shòu rén yǐ yú bùrú shòu rén yǐ yú, shòu rén yǐ yú bùrú shòu rén yǐ yú. Teach a man to take a fish is not equal to teach a man how to fish.

樹倒猢猻散, 树倒猢狲散

Shù dǎo húsūn sàn, shù dǎo húsūn sàn.

 

When the tree falls, the monkeys scatter.

水能載舟，亦能覆舟, 水能载舟，亦能覆舟

Shuǐ néng zài zhōu, yì néng fù zhōu, shuǐ néng zài zhōu, yì néng fù zhōu. Not only can water float a boat, it can sink it also.

三思而后行

Sānsī érhòu xíng. Think three times before you move.

一分耕耘，一分收穫, 一分耕耘，一分收获

Yī fēn gēngyún, yī fēn shōuhuò, yī fēn gēngyún, yī fēn shōuhuò. If one does not plow, there will be no harvest.

自助者天助, 自助者天助

Zìzhù zhě tiānzhù, zìzhù zhě tiānzhù. Those who help themselves, God will help.

人心齐，泰山移

 Rénxīn qí, tàishān yí. When people work with one mind, they can even remove Mount Taishan.

明人不用细说，响鼓不用重捶

 Míng rén bùyòng xì shuō, xiǎng gǔ bùyòng zhòng chuí.

People of good sense or expertise need only a hint to understand any matter.

花有重开日，人无再少年

 Huā yǒu chóng kāi rì, rén wú zài shàonián.

Flowers may bloom again, but a person never has the chance to be young again. So don’t waste your time.

 

有借有还，再借不难

Yǒu jiè yǒu hái, zài jiè bù nán.

Timely return of a loan makes it easier to borrow a second time.

失败是成功之母

Shībài shì chénggōng zhī mǔ. Failure is mother of success.

人过留名，雁过留声

 Rénguò liú míng, yànguò liú shēng. A person leaves a reputation, bad or good, behind wherever he works or stays.

万事俱备，只欠东风

Wànshì jù bèi, zhǐ qiàn dōngfēng. Everything is ready except the east wind.

常将有日思无日，莫将无时想有时

Cháng jiāng yǒu rì sī wú rì, mò jiāng wú shí xiǎng yǒushí. When rich, think of poverty, but don’t think of riches when you are poor.

塞翁失马, 焉知非福

Sàiwēngshīmǎ, yān zhī fēi fú.

A bad thing may become a good thing under certain conditions.

学而不思则罔，思而不学则殆

ué ér bù sī zé wǎng, sī ér bù xué zé dài.

Learning without thought means labour lost; thought without learning is perilous.

 

书到用时方恨少

Shū dào yòngshí fāng hèn shǎo.

It is when you are using what you have learned from books that you wish you had read more.

有理走遍天下, 无理寸步难行

Yǒulǐ zǒu biàn tiānxià, wúlǐ cùnbùnánxíng. With justice on your side, you can go anywhere; without it, you can’t take a step.

麻雀虽小,五脏俱全

 Máquè suī xiǎo, wǔzàng jùquán. Small as it is, the sparrow has all the vital organs.

但愿人长久，千里共婵娟

 Dàn yuàn rén chángjiǔ, qiānlǐ gòng chánjuān. Wish us a long life to share the beauty of this graceful moonlight, even thousands miles apart.

路遥知马力，日久见人心

 Lù yáo zhī mǎlì, rì jiǔ jiàn rénxīn. As distance tests a horse’s strength, so does time reveal a person’s real character.

灯不拨不亮，理不辩不明

 Dēng bù bō bù liàng, lǐ bù biàn bùmíng. An oil lamp becomes brighter after trimming, a truth becomes clearer after being discussed.

三人一条心，黄土变成金

 

Sān rén yītiáoxīn, huángtǔ biàn chéng jīn. If people are of one heart, even the earth can become gold.

当局者迷,旁观者清

 Dāngjúzhěmí, pángguānzhěqīng. The spectators see more of the game than the players.

大处着想，小处着手

 Dà chù zhuóxiǎng, xiǎo chù zhuóshǒu. Keep the general goal in sight while tackling daily tasks.

吃一堑，长一智

Chī yī qiàn, zhǎng yī zhì. A fall into the pit, a gain in your wit.

不能一口吃成胖子

Bùnéng yīkǒu chī chéng pàngzi. Keep going with your Chinese, you just started.

水满则溢

Shuǐ mǎn zé yì. Water surges only to overflow.

有缘千里来相会

Yǒuyuán qiānlǐ lái xiāng huì. Fate brings people together no matter how far apart they may be.

哑巴吃饺子,心里有数

 

Yǎbā chī jiǎozi, xīn li yǒushù. When a mute person eats dumplings, he knows how many he has eaten, even though he cannot speak.

只要功夫深，铁杵磨成针

Zhǐyào gōngfū shēn, tiě chǔ mó chéng zhēn. If you work hard enough at it, you can grind even an iron rod down to a needle.

种瓜得瓜, 种豆得豆

Zhǒng guā dé guā, zhǒng dòu dé dòu. As a man sows, so shall he reap.

人逢喜事精神爽

 Rén féng xǐshì jīngshén shuǎng. A merry heart makes a cheerful countenance.

水滴石穿, 绳锯木断

Shuǐdīshíchuān, shéng jù mù duàn. Dripping water pierces a stone; a saw made of rope cuts through wood.

一日之计在于晨

Yī rì zhī jì zàiyú chén. A day’s planning is done in the morning.

读万卷书不如行万里路

 Dú wàn juǎn shū bùrú xíng wànlǐ lù. It is better to travel ten thousand miles than to read ten thousand books.

静以修身

 

Jìng yǐ xiūshēn. Quiet thoughts mend the body. 强龙难压地头蛇

Qiáng lóng nán yā dìtóushé. Even a dragon (from the outside) finds it hard to control a snake in its old haunt.

一步一个脚印儿

Yībù yīgè jiǎoyìn er. Every step leaves its print; work steadily and make solid progress.

一个萝卜一个坑儿

Yīgè luóbo yīgè kēng er. One radish, one hole. Each has his own task, and nobody is dispensable.

冰冻三尺,非一日之寒

Bīngdòng sān chǐ, fēi yī rì zhī hán. It takes more than one cold day for a river to freeze three feet deep.

一人难称百人心/众口难调

Yīrén nán chēng bǎi rénxīn/zhòngkǒunántiáo. It is hard to please everyone.

千里之行,始于足下

Qiānlǐ zhī xíng, shǐ yú zúxià. A thousand mile journey is started by taking the first step.

国以民为本,民以食为天

Guó yǐ mín wéi běn, mín yǐ shí wéi tiān.

 

People as the root of the country, and food is the first necessity of people.

没有规矩不成方圆

 Méiyǒu guījǔ bùchéng fāngyuán. Nothing can be accomplished without norms or standards.

前怕狼,后怕虎

Qián pà láng, hòupà hǔ. Fear the wolf in front and the tiger behind.

青出于蓝而胜于蓝

Qīngchūyúlán ér shèng yú lán. Indigo blue is obtained from the indigo plant, but such color is bluer than the plant itself; the disciple has surpassed the master.

十年树木,百年树人

Shí nián shùmù, bǎinián shù rén. It takes ten years to grow trees but a hundred years to rear people.

木已成舟,生米煮成熟饭

 Mùyǐchéngzhōu, shēng mǐ zhǔ chéngshú fàn. The timber has been turned into a boat already. The rice is already cooked.

身体力行

Shēntǐlìxíng

Practice what you preach.

惩前毖后

Chéngqiánbìhòu Learn from past mistakes to avoid future ones.

 

化干戈为玉帛

 Huàgāngēwéiyùbó

To bury the hatchets and work for peace.

留得青山在,不怕没柴烧

 Liú dé qīngshān zài, bùpà méi chái shāo. Where there is life, there is hope.

祸从口出

 Huò cóng kǒu chū. Disaster emanates from a careless talk.

静以修身

Jìng yǐ xiūshēn. A light heart lives long.

逆境出人才

 Nìjìng chū réncái. Adversity makes a man wise, not rich.

事实胜于雄辩

Shìshí shèng yú xióngbiàn. Actions speak louder than words.

蜡烛照亮别人,却毁灭了自己

 Làzhú zhào liàng biérén, què huǐmièle zìjǐ. A candle lights others and consumes itself.

不会撑船怪河弯

 

Bù huì chēng chuán guài hé wān. A bad workman always blames his tools.

 

WISDOM: MARTIAL IDIOMS

Strategy & Tactics Control at first contact. Go forward, penetrate and displace.

 

✽ ✽ ✽

Greet the attacker with pain. Chase the attacker with death. ✽ ✽ ✽

Soft and relaxed strength will put your opponent in jeopardy. ✽ ✽ ✽

Upon achieving the highest level of proficiency, the application of techniques will vary according to the opponent. Simultaneous offense and defense; use offense as defense. A hand used for attack serves also to parry. ✽ ✽ ✽

Defend the four gates. ✽ ✽ ✽

Kicking to the head is like punching to the foot. Kicks lose nine times out of ten. ✽ ✽ ✽

Never force an opening. It must be developed and found through superior sticking and cultivated skill. When the opportunity is there, your hands find it through sensitive feeling and touch.

✽ ✽ ✽

During sticky hand practice, the hand which has entered beyond the elbow will win nine times out of ten. ✽ ✽ ✽

 

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

If the opponent grasps your arm bridge, do not oppose him with brute force. Go with the opponent’s force and apply your turning skills to control the situation. ✽ ✽ ✽

Move first to gain initiative, attack according to timing. ✽ ✽ ✽

Jam opponent’s bridge. ✽ ✽ ✽

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

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

 Use the three joints of the arm to prevent entry by the opponent’s bridge. Jam the opponent’s bridge to restrict his movement.

✽ ✽ ✽

When wrist touch wrist, a kick does not miss. ✽ ✽ ✽

Welcome the attacker with open arms.

 

Let them advance and know great harm. Hold your ground with hands held wide, invite their defeat and turn the tide. ✽ ✽ ✽

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

Grasping the throat is a ruthless technique. Once commenced, it cannot be stopped. ✽ ✽ ✽

Use alterations in stepping forward and backward. Hands and feet should be closely coordinated. ✽ ✽ ✽

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

Rapid moves are hard to guard against. Go in when the opponent slows down. ✽ ✽ ✽

You must be ferocious when clashing.

✽ ✽ ✽

Some of your strength must be kept in reserve. ✽ ✽ ✽

 

Seek to dominate straight from the outside top bridge contact reference. ✽ ✽ ✽

Seek to turn and roll force from the inside bottom bridge contact reference. ✽ ✽ ✽

The shifting of a single pillar will shake all the beams. Attack the root of structure. Strike first and prevail. Strike late and fail. ✽ ✽ ✽

If you don’t have anything to swallow, go sideways.

Body / Structural Avoid flying elbow disease. Drop your elbows, relax and sink your shoulders. Elbow sinking power makes all of heaven submit. ✽ ✽ ✽

Coordinate the hands and feet. Movement is integrated and unified. ✽ ✽ ✽

Cultivate and maintain a rooted pivot axis. Unite the three kinetic springs of the body - legs, spine, arms. ✽ ✽ ✽

Maintain a strong triangular displacement bridge.

 

✽ ✽ ✽

The stance and steps are like a chariot, the hands are an onslaught of arrows. ✽ ✽ ✽

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

Waist moves the arm, arm moves with the waist. ✽ ✽ ✽

Drop elbows to take the center. ✽ ✽ ✽

Hands match hands, kicks match kicks. Fists are placed in front of the heart. ✽ ✽ ✽

Sink the elbow and drop the shoulders. Guarding the centerline to protect both flanks. ✽ ✽ ✽

Power is generated from the joints. Strength originates from the heels. ✽ ✽ ✽

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

 

✽ ✽ ✽

A well trained waist can prevent loss of balance. ✽ ✽ ✽

Iron fingers can strike a vital point at once. ✽ ✽ ✽

The phoenix eye punch has no equal. ✽ ✽ ✽

Storing energy resembles pulling a bow. Releasing power is like shooting an arrow. ✽ ✽ ✽

For good strong balance grip the ground with the toes. ✽ ✽ ✽

Hunch the back. ✽ ✽ ✽

Hang the arms like cables.

✽ ✽ ✽

Back like a willow basket.

General The 4 energies of float, sink, swallow and spit are the root of all skills.

 

✽ ✽ ✽

Techniques come from the center. ✽ ✽ ✽

Do not keep any bad habit. ✽ ✽ ✽

Practice once a day, and you gain a day. Skip a day and you will loose ten days. ✽ ✽ ✽

Know the difference between Yin and Yang, real and feigned. Take advantage of any available opportunity. ✽ ✽ ✽

In a match do not expect any compassion. ✽ ✽ ✽

Circular and straight accompany each other. Bent and straight complement one another. ✽ ✽ ✽

Extreme softness enables one to be hard. Being extremely natural enables one to be agile. ✽ ✽ ✽

Hand techniques must follow the Yin Yang principle. Strength must be applied with inner power. There is a counteraction to every attack.

 

✽ ✽ ✽

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

Do not collide with a strong arm bridge. Get out of the way and take initiative to attack. ✽ ✽ ✽

Kung fu uses his opponent’s strength against him. ✽ ✽ ✽

Each formula has a two or more person breakdown. ✽ ✽ ✽

Kung fu fighting is relaxed, continuous and flowing. The techniques are practiced exactly the way they are used; there is no show. ✽ ✽ ✽

The fist must be fast. ✽ ✽ ✽

Power must be used to release strength.

✽ ✽ ✽

Timing must be accurate. ✽ ✽ ✽

 

Trapping hands must be continuous. ✽ ✽ ✽

Your own posture must be protected. ✽ ✽ ✽

Eye power and focus must be sharp. ✽ ✽ ✽

Movements must be agile. ✽ ✽ ✽

The spirit must remain calm. ✽ ✽ ✽

Breathing and strength must be steady. ✽ ✽ ✽

Internal strength must be sunken. ✽ ✽ ✽

The fighting demeanor must be commanding.

✽ ✽ ✽

A fight must end quickly. ✽ ✽ ✽

 

To release Chi from the will enable proper release of power. ✽ ✽ ✽

Thousands of variations aiming for practicality, not beauty. ✽ ✽ ✽

Internally developing chi. Externally training tendons, bones and muscles. ✽ ✽ ✽

Emphasize power, speed, accuracy, balance, aggressiveness. ✽ ✽ ✽

The first strike must make the attacker taste their spine. ✽ ✽ ✽

Attack until the fist is soaked red. ✽ ✽ ✽

The four aims are: Shocking power, sticky hands, releasing hands and heavy power. ✽ ✽ ✽

The eyes and hands act together. ✽ ✽ ✽

The hands don’t draw back to extend forward. ✽ ✽ ✽

 

Best to bestow a single skill on a student than a thousand pieces of gold. ✽ ✽ ✽

Posses a single skill, and reap the benefits for a lifetime. ✽ ✽ ✽

Maintain your focus and you can bore through an army of ten thousand opponents. ✽ ✽ ✽

In the area of learning, age makes no difference. Those who know will always be the teacher of others. Study and inquiry are the path to knowledge. ✽ ✽ ✽

Those who work with their brain rule. Those who work with their brawn are ruled. ✽ ✽ ✽

In martial arts skill depends on the footwork. ✽ ✽ ✽

There is always one thing to subdue another.

Everything can be countered. ✽ ✽ ✽

Forced memorization is not as good as natural realization of principle, this is an organic martial awakening. ✽ ✽ ✽

 

When the time comes to apply knowledge, we always regret our lack thereof. ✽ ✽ ✽

A good quality of another may provide the remedy or solution for our own faults. ✽ ✽ ✽

You can’t gain knowledge without practice. Wisdom comes from experience. Fall behind in practice and your skills will fade. ✽ ✽ ✽

Sand is small, but it will harm your eyes. ✽ ✽ ✽

Diligence is a priceless treasure. Caution is a talisman for survival.

 

THANKS I wish to extend my gratitude and thanks to the following people for their contributions to this book:

Sifu Wayne Belonoha Project Management Nancy R. Baker Editor & Technical Consultant Aaron Cantrell www.EverythingWingChun.com www.WingChunUniversity.com www.eWingChun.com Sifu Edmund Kwai Wing Chun & South Mantis Sifu Lee Bing Choi Wing Chun, South Mantis, & Bak Mei Sifu R.L. Harris

Wing Chun & Xingyiquan

Sifu Steve Cottrel Wing Chun & Seven Star Mantis

Sifu Steve Thompson South Mantis & Bak Mei

 

Sifu Edward Robinson III Taixuquan Six Elbows Kung Fu Sifu Mike Reyes Taixuquan Six Elbows Kung Fu Sifu Alex Do Jook Lum Mantis & Bak Mei Sifu & Author Mark Wiley Ngo Cho Kuen Sifu Tyson Durr Bak Mei, Iron Palm, Wing Chun Sifu Elaine Emery  Tai Chi Chuan Sifu Simon Lui Lam Hung Pak Mei Athletic Association of Minnesota Simon Lui Kung Fzu Physical Institute www.pakmeiassociation.com [email protected]

Grand Master Brendan Lai Seven Star Mantis Sensei Jeff & Ann League Aikiki Aikido

Sensei Dale Wagner Judo & Uechi Ryu

 

Sensei Clyde Kimura Judo & Jook Wan Sensei Russ Smith Goju Ryu & Southern Crane Guru Steve Black Kali & Silat, Guru Steve Todd Kali & Silat Guru Carl Canliss Balintawak, Kali Arnis Guru Larry W. Gibson Silat & Xingyiquan Guru Carl Magnuson Kali, Baguazhang, Chen Tai Chi Madame Tom Hoi Leong Xingyiquan Andrew Vachss Author