Wing Chun: The Works

Topics: Theory, Footwork, Drills, Basics, General, Conditioning, and more!
Technical: Paperback

Description:

Wing Chun: the Works is an updated collection of Alan’s functional reference books with an extra, previously unpublished 20,000 words and lots of brand new photography. Further to his existing writing this edition also contains: A neuromuscular investigation into the effects of training, a detailed analysis of Wing Chun theory and application as well as plenty of new drills and tips on how to keep your Wing Chun training Simple Direct and Efficient. Synopsis Wing Chun (Ving Tsun) kung fu is one of the most admired and practical martial systems in the world; Alan Gibson is one of the foremost authors in the method and presents us here, with an investigation through the form and function of this very popular Chinese art.

This is a comprehensive and functional reference that gets right to the heart of Wing Chun. The Works is an updated collection of Alan's pragmatic, Why Wing Chun Works series of books, packed with exiting new writing, philosophy, diagrams and photography, all laid out in a straightforward manner.

Written in his familiar, easy reading style, Alan's friendly coaching voice is constantly backed up with concise and dependable information from respected experts. We are taken on an elegant journey through all six Wing Chun forms and each one is discussed in detail through concepts, application and training effect.

In 1998 Alan published 250 copies of his first book, Why Wing Chun Works, he has been consistently updating and improving his learning resources ever since. His books are now published internationally and two have been translated into German and Russian.

This book is a celebration of twenty years of Alan's organization The Wing Chun Federation; as well as being an updating and consolidation of some of his most popular written work. This volume is one that any fan of the martial arts will surely benefit from reading and one that they really cannot do without.

Sample

Introduction To The Solo Forms

A form is a pre set sequence of movements laid down to aid the correct passing on of a martial art. The form contains many movements, theories, structures and ideas.

Correct training in the forms also helps to program the neural pathways and helps the practitioner focus on salient points. It is important to learn the forms, corresponding drills, and theories in sequence because movements and ideas from the Siu Nim Tau (the first form) are later expanded upon in Cham Kiu (the second form) and the others.

The six Wing Chun forms contain all of the actions and ideas central to the system. To the uninitiated it may not be apparent exactly what is going on and how much information is being passed on via the forms. There are four open hand forms, one performed against a specifically designed wooden dummy, and two weapon sets; the Luk Dim Boon Gwan (Six-and-a-half-point Long Pole) and Baat Jaam Do (Eight Slashing Knives form, more commonly known as the Butterfly Knives form).

For many people, forms involve pretending to fight one or more imaginary opponents; this is not true of Wing Chun. You cannot have a fight on your own and, as Wing Chun concerns itself with concepts, as opposed to specific techniques, this thinking will restrict understanding of the system. It is more useful to keep the interpretation of the forms conceptual and broad, than to tie every movement down with a specifi c, unchangeable purpose. From simple concepts spring a wealth of ideas and techniques.

The same is not true for the reverse.

The forms have been designed in an abstract way to prevent students becoming trapped in them. Provided the essential ideas are listened to, you can express your skill in any way you like. The forms are not a path of restriction but one toward freedom and self-expression.

During my research into the forms I spoke at length to my good friend Dr. Matt hew Mills and he proposed the idea of the Hidden Forms. This is a method of breaking down and explaining in detail, what kind of training processes, both physiological and neuromuscular, go on while we are gradually learning and practicing our forms and possibly thinking about other things - such as, what move comes next? Am I too tense? Where is my elbow? And possibly, do I look suitably muscular in this T-shirt?

Siu Nim Tau

The first form is called Siu Nim Tau, meaning Young Idea (personally, it also reminds me that the devil is in the detail). This form is the seed from which the whole system will grow. A tree needs strong roots to hold it up, so the first form and all the concepts held within it, must be fully understood in order for a student to progress successfully.

Wong Shun Leung described Siu Nim Tau as being like learning the alphabet of Wing Chun. You will need to learn it thoroughly before you move on to Cham Kiu where you begin to blend ideas together to make the equivalent of Wing Chun words and sentences.

Siu Nim Tau contains reference points for many of the basic techniques and concepts, so make sure you understand them thoroughly and learn correctly from the outset. Siu Nim Tau is made up of techniques with direct application, techniques designed to elicit expanded applications, techniques performed to develop concepts, and techniques designed to load responses into the neural system, shades of grey, not just black and white. Initially, it is more important to understand the ideas behind the system than the techniques themselves. Any structure needs a strong foundation or it will not stand up under pressure. Equally, if you want to hold a conversation you will first need to learn the language. Practicing Siu Nim Tau regularly (and correctly) is the best way to train your body and mind for Wing Chun.

This form is split into three sections with a different emphasis on each, but the overall aim is to achieve a good stance, structure and the idea of Lat Sau Jik Chung, with relaxed arms that can act explosively and independently from the trunk of the body. Many of the movements are performed one arm at a time, while the other arm is kept isolated in the ready position. Siu Nim Tau contains reference points for all the basic techniques, so make sure you get it right from the outset.

The opening shows us how to find the correct stance; it then defines and demonstrates the Central Axis Line. This is in general order of importance, first find the stance, then recognize the Central Axis Line, then follow with an attack, which is what you would need to do in a fight.

The first section introduces the central idea of structure and trains us to develop the muscles and joints in the proper way, without involving excessive movement or tension. The springy force of Taan, Sau, Fook Sau and Wu Sau are also introduced. This section should be performed very slowly and deliberately, with all movement driven from the elbow. The section closes with Paak Sau (Slapping-hand Deflection), Jing Jeung (Standing­ palm Strike) and Huen Sau (Rolling-wrist Deflection), which develops and stretches the muscles and nerves of the forearm. The rear or backward elbow follows the Huen. This is the first, most frequently practiced elbow in the system and arguably the most useful.

The second section teaches the general concept of recovery and also teaches about the correct use of relaxed power. Variants of Soh (Gum) Sau (Pressing-palm Deflection) are shown and a method for recovering from a Bear Hug from behind. Lan Sau, Fak Sau (Whisking/Whipping-hand Attack), Jam Sau (Sinking-arm Deflection), Jat Sau (Jerking/ Dragging-hand Deflection) and Biu Sau (Spearing-hand Attack) are introduced.

Mostly, both arms perform the same move on opposing sides of the body. This has a balancing effect making excessive body movements less likely for the beginner. The section finishes with a downward and upward pressing action driven from the shoulders. This reminds us that even if the arms are extended the hand can still travel directly to the target, without first drawing the arms back to the body. This section of the form should be performed briskly.

The third section describes basic shapes, teaching us how to flow simply from one position to another. It also emphasizes the idea that we can reuse the lead hand and do not always have to change arms when our attack is jammed. It opens with Paak Sau, Waang Jeung (Lying-palm Strike) and Huen Sau, going on to demonstrate Taan Sau applications with Jam Sau, Gaan Sau, Huen Sau and Che Jeung (Descending-palm Strike), Bong Sau with Taan Sau and Dai Jeung (Lifting palm Deflection), then finally, two arms working together to recover from a compromised position. This section should be practiced with an emphasis on correct positions and use of elbow energy. The form closes with several punches and Huen Sau.

Opening The Stance

The basic stance of Wing Chun is named Yi Ji Kim Yeung Ma; this translates literally as the Character Two Goat Gripping Stance. This curious name is given because the leg angles resemble the Chinese character for the figure 2 and presumably you might stand in this pose if you needed to restrain an animal (or indeed a prone person) while keeping your hands free for other work.

To open the stance, keep the feet together and bend the knees slightly (losing about 4cm in height). Raise the arms, outstretched and with the elbows pointing down (this demonstrates that the elbow must never be higher than the shoulders), then withdraw the elbows to your side (showing the important concept of the wrists being higher than the elbows and shoulders held down and back). Then put your weight on your heels and push your toes out as far as you can sideways. Next, transfer your weight to the balls of your feet, and push your heels out until your feet aim to a midway point that would form a triangle (your feet should not be parallel in the training stance). Now rotate your pelvis forward, clenching the buttocks and dropping your torso down until it sits comfortably, and lines up with your thighs. You weight should feel as if it is being supported by your knees and the fronts of your thighs.

It is important to maintain the straight line from the knee to shoulder, as this is essential for correct stance movement. Your center of gravity should be placed over the center point between your feet; this is the definition of good balance and stability. You should also ensure that your chest is pushed up and that your shoulders are down and back (this is aided by holding the arms in the correct positions). The basic or training stance is the origin of all footwork and kicking actions, so it is important to get it right from the start. Simply standing in the correct Yi Ji Kim Yeung Ma while you perform your form will strengthen and prepare your legs for the more vigorous training when you learn to step, kick, and pivot.

The crossed arms then demonstrate or define the Central Axis Line; this action also shows the upper and lower limits of the arm actions. This implies that lower arm techniques will use the arm almost straight whereas upper arm movements will employ a bent arm shape.

The first two punches of the form actually demonstrate and express the Central Axis line or plain - the relaxed hand is introduced onto the center first and is then driven down the line by the downward pointing elbow. The knuckles should be rising constantly throughout this action, this is to help drive the opponent up and of their stance when you hit them and to allow any recoil to be grounded. The elbow points to the floor during every action in Siu Nim Tau except Bong Sau. This is to maintain the line of reaction force back into the stance; this makes all our actions powerful and thoroughly rooted. The punches are followed by a Huen Sau wrist stretch, amongst other uses this acti on helps to develop strong and supple wrists to perform effective Wing Chun punches.

Finally, the elbow is driven straight back as a powerful rear elbow strike. After some actions in the form, the arm will need to be repositioned - this is to allow the arm/ elbow to travel back in a straight line, directly to the intended target. The arms are then held back in this withdrawn position, while not performing other actions the elbows should not flare out sideways nor should they be held so tightly that the shoulder is lifted up. The fists should be back level with but not resting on the chest. The forearms should be parallel and pointing back and slightly down. This position will create a useful balancing stretch to the chest and add strength to the back muscles, helping to support your punching action.

Section One

The first section promotes the correct exercising of the muscles and joints of the whole body (structure). Lat Sau Jik Chung, the essential springy force of Taan, Wu and Fook Sau are introduced - this feeling is derived from and trained through the whole stance. This section should be performed slowly and naturally, with all movements driven from the elbow and related to the waist. Training for forward - feeling, enables us to spring into any gaps in our enemy's defense without thinking or being distracted by any sideways force.

Some people liken this section to Qigong training or Tai Chi, but while similar benefits can be gained, the emphasis in Wing Chun is always on training effective fighting skills. You should be thinking about or meditating upon the elbow's movement (and an imagined connection to the waist) and the body's forward feeling while performing this section. We reduce the pace in order to be able to concentrate on the actions and also to help us relax properly and switch of antagonistic muscle usage - for instance, we do not want to train ourselves to pull back with Wu Sau, we actually want it to spring forwards.

There are actually three Taan Saus in this form. Thinking about their action, as opposed to their final position will help to clarify their use. The first Taan Sau teaches the springy force and Central Axis Line of Wing Chun; the relaxed hand and wrist is introduced, driven by the elbow. The forearm of Taan Sau must be parallel to the Central Axis Line in order for it to work properly - misalignment will allow you to be hit or cause you to defend poorly. Do not allow the angle at the elbow to be too obtuse by holding the hand too low.

The elbow drives the (relaxed) hand forward until the middle finger arrives on the Central Axis Line. As the elbow is slowly driven forward, its position and feeling is as though it were connected to the hip. As the elbow approaches the front of the body, it att empts to hug the Central Axis Line behind the hand. This is difficult at first, but will become easier with practice as the ligaments of the shoulder become more supple and stretched. Taan Sau does not need to be forced onto the center; it can lie happily about halfway between the centre and shoulder, although there can be circumstances where added flexibility are very useful. Your forearm moves out parallel to the Central Axis Line, and the elbow will rise as it presses the hand forward. The movement ends when the elbow reaches a distance from the body of about a fist and a half.

Your hand and wrist should still be relaxed and tipped forward, not held stiffly in line with the forearm. I liken this to the position and tension you might hold your hand in if you were waiting for change to be given to you in a shop. The amount of tension held in the hand is very important for all the actions in the form and it is a very common mistake for practitioners to stiffen the palm in the mistaken belief that it will make their moves more powerful, tidy; or even to simply feel or look more like the kung fu film in their head.

As you perform Huen Sau, keep your elbow pointing downwards, maintaining the triangle with the shoulder and center. Huen Sau can be applied in several different ways including: to redirect an opponent's force, to free your arm from being held or locked, and also to change your own hand from the inside to the outside of an opponent's arm. After the Huen Sau the wrist rotates fully to demonstrate Wu Sau (Guarding-hand Deflection).

Now, by bringing the elbow toward your waist, slowly drag the Wu Sau straight back to the chest along the Central Axis Line. Wu Sau should always be on the Central Axis Line as its purpose is to guard your center of gravity. The fingers of Wu Sau should be relaxed but pointing upwards - with the fingertips at about chin height, the elbow still points to the floor. Wu Sau should still feel ready to shoot forwards, even though it is traveling backwards, and it should not collapse if struck from the front. Wu Sau's range of movement in the form also defines the area within which it can safely operate. Although Wu Sau is traveling back towards us in the form, it is most frequently used moving away from the body. It is always worth remembering that, many of the actions demonstrated in the forms can be applied in both directions, although this is not always demonstrated.