Wing Chun Illustrated Premiere Issue 2011

ONE VOICE
ALL LINEAGES ISSUE 01
Victor Kan Wah Chit

THE MAN WHO WOULD BE KING
Greco Wong Wai Chung
Ip Man
UNSUNG PIONEER OF WING CHUN IN THE UK
MASTER OF A GENERATION
Leung Jans Kulo Wing Chun
Saam Pai Fat
THE FOUNDATION OF PIN SUN BOXING
WENG CHUNS SECRET BODYWORK
WWW.WINGCHUNILLUSTRATED.COM
WEVE GOT IT COVERED

children
& cinema
AustrAliA
Greening the Screen

Green Festivals
www.filmandfestivals.com
February March 2009
GREEN
ISSUE
SPecial Feature
January-February 2009
November December 2008
OctOber 2008
Takeshi Kitano
Kim Jee-Woon
Dakota Blue Richards

Exclusive Interview
ASiA
Childrens film festivals

Filmmakers of the future
Film in schools
Interview with Jonas & Alfonso Cuarn
Festivals: Sheffield, Tokyo, Latitude, Rio, AFI Los Angeles, New York, Buster
Festival reports: Antalya, London, Filmstock, Doc/Fest
Australian Cinema at the Crossroads Again

talking Ozploitation with Mark Hartley
Festivals: Adelaide, Dublin, Animated Exeter, Glasgow,
london short FF, london Australian FF, Palm springs
Looking over
the Red Cliff:
The new rise
of Asian cinema
Festivals: Bradford, Deauville Asian, Hong Kong,

San Diego Latino, SXSW, San Francisco Asian American
August 2009
Volume 3 N 10
Dario Argento
Neil Oseman
Jake West
American
Independents
Horror
Asiel Norton
Lyn Shelton
Todd Solondz
Festivals: Abertoir, Bram Stoker, FrightFest, Mayhem, Terror
iNFORMATiON
Cinema of the Maghreb

Animation in Africa
Film schools
Post-apartheid cinema
Mugabe and the White African
chris Atkins on TAkiNg LiBERTiES Brent Leung on HOUSE OF NUMBERS

Robert kenner & Eric Schlosser on FOOD, iNc.
Issue 25
Volume 4 N 7
Volume 4 N 5
Youth
EastErn
EuropE
Festivals: Cinemagic, Giffoni, Odense
Festivals: american Indies, Bloody Xmas, Jihlava, London, raindance, Zlin
CoMeDy
Matt Harlock and Paul Thomas
reanimate Bill Hicks
Dean Haglund: Renaissance Man
Rajkumar Hirani on 3 Idiots
Festivals: BIFA, Bradford Animation, Leeds, onedotzero
Festivals: Annecy, BAFiCi, Cannes, edinburgh, Los Angeles
The Italian Key

The Queens Suite
Lee Unkrich
Nisi Masa
Festivals: AFO, Bradford, Pantalla Pinamar, Plume & Pellicule,

New Directors, SCI-FI-LONDON
Festivals: Artivist, Berlin, Birds Eye View, Borderlines,

Bradford, Human Rights Watch, Mumbai, Sundance
Issue 27
AnimAtion &
trAnsmediA
DOcUMENTARiES THAT cOULD SERiOUSLY ALTER YOUR ViEW OF THE WORLD
Festivals: Aluta, Cape Winelands, Jamaica Reggae,

Pan African, Pune, Ventana Sur
Festivals: Bursa, Mar del Plata, MIAAC, River to River, Thessaloniki
SCI-FI
Terry Gilliam
Richard Kelly
Gareth Edwards
The People vs George Lucas
Radio Free Albemuth
SUBVERSiVE
AFRiCA
AFRicA
Ketan Mehta
Aasif Mandvi
Shyam Benegal
Sharmila Tagore
WARNING!
Volume 4 N 5
Volume 4 N 3
SouTh
ASIAn
CIneMA
Volume 4 N 4
Volume 4 N 2
Volume 4 N 1
Issue 26
Festivals: Austin, Festroia, Raindance,

Red Rock, Venice, Woodstock
Mohamed Al-Daradji
Ahmad Abdalla
Rula Jebreal
Rafi Pitts
Janus Metz
MiDDle eAst
Festivals: Doc/Fest, Doha, Dubai, leeds, london iranian, thessaloniki
Vilmos Zsigmond
Danny Cohen
Lone Gun Manifesto
In Praise of Super 8
CINEMATOGRAPHY
Arizona, Berlinale, Bradford, Cambridge Super 8,
Human Rights Watch, iPhone, SCI-FI-LONDON
The place where filmmakers and cinema lovers meet
Buy print-on-demand & digital versions from www.magcloud.com/user/FilmandFestivals
section
features
14
IP MAN
Master of a Generation (Part 1)
By David Peterson
Once merely a footnote in the biography of Bruce Lee,

thanks to several recent movies based upon his life, the late
Grandmaster of Wing Chun Kuen is now fast becoming a
household name, but what of the real story of Ip Man?
22
GRECO WONG WAI CHUNG

Unsung Pioneer of Wing Chun in the UK (Part 1)
By Rolf Clausnitzer
In a revealing interview, Greco Wong Wai Chung recalls his

early training with Grandmaster Ip Man and Moy Yat, and
how he helped introduce Wing Chun to the British public
in the 1960s.
40
DONNIE YEN
Bringing Ip Man to Life
By Eric Liller
With the success of Ip Man and Ip Man 2, Donnie Yen has

become one of Chinas hottest actors. Here, Yen talks about
bringing Ip Man to life on the big screen and we ask him
probably the #1 question on fans minds: Will he be
reprising the role?
48
LEUNG KWOK-KEUNG
Death of a Hidden Master
By Suki Gosal
Suki Gosal celebrates the life of one of Wing Chuns best

kept secrets, his Sifu Leung Kwok-Keung, the hidden
master of Hei Ban Wing Chun.
IN FOCUS
30 VICTOR KAN WAH CHIT
The Man Who Would be King
By Alan Gibson
Victor Kan Wah Chit, nicknamed Untouchable and King of Chi Sau,
is one of the last active students of Grandmaster Ip Man. Senior in rank to
both Ip Chun and Ip Ching, he describes himself as GM Ip Mans natural
successor. Readers may well be shocked by some of his opinions, and yet,
when Alan Gibson met him, he found him to be good company. Kans
arguments are based on rank and tradition, and he has plenty of tales to tell
about GM Ip Man in the glory days of Wing Chun. While Wong Shun Leung
and his peers were out fighting Beimo around Hong Kong, he was holding the
fort for the next generation. Kans beliefs are concerned primarily with
quality Wing Chun. The remainder is arguably scandal and self-promotion.
Photo & Cover Photo: HAIDE AUGUSTA www.strangeceremonies.co.uk/photography
52
LAT SAU JIK CHUNG

A Core Element of WSL Ving Tsun
By John Smith
When used successfully, Lat Sau Jik Chung provides less

risk to a Wing Chun fighter and will ensure a far quicker
and speedier victory within any intended confrontation.
reviews
54 IN PRINT
56 SCREEN FIGHTING
58 SCREEN EDUCATIONAL
ISSUE 01
contents
ONE VOICE
ALL LINEAGES
ONE VOICE
ALL LINEAGES
ONE VOICE
ALL LINEAGES ISSUE 01
departments
06 BODY STRUCTURE
Why Body Structure and How to Develop It

By Dr. Robert Chu
26
Dr. Chu discusses the importance of understanding the

complexities of Body Structure, the functional core of
Wing Chun.
columns
18
36
Saam Pai Fat:

Weng Chuns Secret Bodywork
By Andreas Hoffmann
40
THE INQUISITIVE HAND

Wing Chuns Systems Thinking
By Alan Gibson
Wing Chun is a system, as opposed to a style, but what does

this mean and how can it affect the way in which we coach
or train? Systems thinking also exposes the potential folly
of hybrids and the pick and mix policy of some practitioners.
12
CHI SIM SHAOLIN WENG CHUN
THE INNER CIRCLE
Hong Kong cinema expert Bey Logan recalls his experiences

on location in Hong Kong for the filming of the Sammo
Hung-directed Gung Fu classic, and reveals some inside
stories about the movie and its stars.
10
The Muk Yan Jong is NOT for Dummies

By David Peterson
GM Andreas Hoffman unravels the mysteries of Weng

Chuns most important form, Saam Pai Fat, and recalls
the first time he felt its awesome power and application.
44
14
MOON POINTING FINGER
The wooden dummy is a complex, multifaceted training

tool that has many shades of grey and so much to offer
practitioners of the system, but it requires a very special
kind of thinking.
36
Adopting The Prodigal Son (Part 1)

By Bey Logan
The Path of Mastery

By Wayne Belonoha
Improve your training by clearly understanding the purpose

of key drills like Chi Sau. With the drills boundaries
clearly defined, you will be able to practise and train in the
specific skills needed for mastery.
26
08 WING CHUN AT THE MOVIES
SECOND NATURE
THE HIDDEN FORMS

Power and Speed in Punching
By Dr. Matthew Mills
The punch is a critical element of the Wing Chun system

and improving its impact will clearly magnify its effectiveness.
Dr. Mills examines the biomechanical and neuromuscular
components of punching power and how to maximise them.
44
Leung Jans Kulo Wing Chun:

The Foundation of Pin Sun Boxing
By Jim Roselando Jr.
Master Leungs Kulo village boxing is one of the rarest

forms of martial art in the world today. In this issue, we
discuss the history and basics of Master Leung Jans final
teaching: the art of Pin Sun Wing Chun.
50
THE INTERCEPTING FIST

The Wing Chun/JKD Stance Connection
By Lamar M. Davis II
Find out just how closely related Wing Chuns Yi Ji Kim

Yeung Ma is to the Jun Fan Gung Fu and Jeet Kune Do
Bai Jong position.
www.wingchunillustrated.com
editorial
this issues contributors

F. SCOTT FITZGERALD ONCE WROTE, You dont write
because you want to say something; you write because
youve got something to say. Reflecting on those words,
I am proud to present to you the very first issue of Wing
Chun Illustratedthe worlds only magazine dedicated
to Wing Chun, regardless of lineage or style.
Im aware that others before me have tried to publish a
Wing Chun magazine and failed. I clearly applaud their
good intentions, but unlike people before me, magazine
publishing has been my bread and butter for 12 years.
I hope this experience will shine through on the pages
you are holding in your hands.
The unbelievable support and enthusiasm you guys have already shown our Facebook
fan page is simply amazing. If youre not already a fan, please connect with the page as
you will be able to read any WCI related news there first. We are also on Twitter.
Some of you have asked if it is possible to subscribe to the Print-on-Demand Edition.
Sadly, MagCloud does not currently offer this option, but its something they are
working on. However, its worth mentioning that they do offer a volume/bulk discount.
Please check their website www.magcloud.com for more details. Although I love the
smell of a freshly printed magazine, Wing Chun Illustrated is a 21st century magazine
for a 21st century audience and we will have a Digital Edition ready soon (see ad opposite).
Some readers might wonder why their particular lineage isnt immediately covered in
WCI. Do keep in mind theres only so much space in each issue. For me, a magazine is
a living, breathing thing that is constantly evolving, and clearly youll see changes and
additions to WCI as we find our voice.
I would like to take this opportunity to thank each and every writer for their
contributions to our first issue, and, most especially, thank them for their confidence
in an unseen magazine from an unknown entity. I would also like to thank my designer
Chris Patmore, my Assistant Editor Adam Thursby, and Kjartan Kragh Ohmsen for
creating a kick-ass logo. Last, but not least, special thanks and gratitude needs to go to
my girlfriend Payoogtong who supports my passion for our art and who is always in my
corner. There are other people to thank, but before this turns into an Academy Award
acceptance speech, let me just say that your help is greatly appreciated and the fruits
of your labour can be seen on every page of WCI. I, for one, think weve done a pretty
good job creating something you can cherish, something you can respect.
In closing, its my hope that no matter what lineage we each belong to, we can all unite
around WCIafter all, we all share the same love and passion for the art.
One Voice. All Lineages! See you next issue
Eric Liller, Editor-in-Chief

P.S. Email me comments, questions and ideas, they are very welcome.
Editor-in-Chief
ERIC LILLER
editor-in-chief@wingchunillustrated.com
Publisher
MUI FA PUBLISHING
Palnatokesvej 33, 1th
DK-5000 Odense C
Denmark
www.facebook.com/wingchunillustrated
www.twitter.com/wcillustrated
Assistant Editor
ADAM THURSBY
Art Director
CHRIS PATMORE
Retoucher
CLAUS SMED
www.pixelsmed.dk
Logo Design
KJARTAN KRAGH OHMSEN
Editorial submissions
We do not accept unsolicited
submissions. Please e-mail the Editorin-Chief to pitch him your idea for an
article or interview. We are only
interested in material that has not
been previously published.
Advertising
For enquiries about advertising in the
Print and/or Digital Edition, as well as
advertising on the WCI website,
[PAGE 6] DR. ROBERT CHU is internationally known in Wing Chun and

Acupuncture circles, specialising in body structure methods. He is the co-author
of Complete Wing Chun, and has been featured in Masters Magazine, Inside
Kung Fu, Black Belt, UKs Martial Arts Illustrated and other publications.
www.chusaulei.com [PAGE 8] BEY LOGAN is a Hong Kong-based writer/
director/producer, a 20-year veteran of the Chinese film industry, and a worldrenowned expert on Asian action cinema. Though primarily a Hung Kuen stylist,
Bey previously trained in Wing Chun, mainly under Nino Bernardo in the Wong
Shun Leung lineage. www.bxe-productions.com [PAGE 10, 30] ALAN
GIBSON is a firm devotee of the Wong Shun Leung lineage. He founded The
Wing Chun Federation with the express purpose of the development and promotion
of Wing Chun. Alan is known for his seminars, instructional books and DVDs.
www.wingchun.org.uk [PAGE 12] DR. MATTHEW MILLS came to Wing Chun
during travels to Hong Kong between 2000-2002. He has a PhD from the Dept
of Medicine at UCL. Through a long-standing friendship with Alan Gibson, Matt
has developed a keen interest in the scientific basis of Wing Chun. He has
co-authored several books with Alan. www.mindandbodymetamorphosis.co.uk
[PAGE 14, 26] DAVID PETERSON, a direct student of the late Sifu Wong
Shun Leung, is well known for his book, DVDs and many published articles on
the Wing Chun (Ving Tsun) system. He is a much in-demand seminar presenter
all over the world and Principal Instructor of WSL Ving Tsun Combat Science
Malaysia. www.wslwingchun.my [PAGE 18] WAYNE BELONOHA has over
30 years of martial arts experience and is author of the Wing Chun Compendium
books. Through the guidance of Grandmaster Moy Yat and Grandmaster Sunny
Tang, Wayne has mastered both the intellectual and practical sides of Ving Tsun.
www.vingtsun.ca [PAGE 22] ROLF CLAUSNITZER started out as Wong
Shun Leungs first foreign student in 1965, and also trained with instructors of
other Ip Man lineages before completing the system under David Peterson. He
wrote the first English language book on Wing Chun and lives in Perth, Western
Australia. [PAGE 36] ANDREAS HOFFMANN is the current Grandmaster of
Chi Sim Weng Chun. He learned directly from the late GM Wai Yan from 19861996, and has introduced Weng Chun to more than 15 countries. He was
awarded International Grandmaster of the Year 2010 Hall of Fame, by Budo
International. www.wengchun.net [PAGE 40] ERIC LILLER is the Publisher/
Editor-in-Chief of WCI. He started his martial arts training in 1978, and in 1984
he started to train Wing Tsun (Leung Ting lineage). Today, Eric is a proud and
devoted WSLVT practitioner under the guidance of Morten Ibsen, David Peterson
and John Smith. www.dvtfederation.com [PAGE 44] JIM R. ROSELANDO
is a disciple by ceremony of Sifu Henry Mui and Master Fung Chun in the art of
Pin Sun Wing Chun boxing. Jims Kulo Boxing Association is the HQ for Pin Sun
Wing Chun in the US. His Kulo DVD, eBooks and many articles have become
true classics in the Wing Chun world. www.ApricotForestHall.com [PAGE 48]
SUKI GOSAL studied Wing Chun and Chinese Boxing under (the late) Leung
Kwok-Keung and Non-Classical Gung Fu under Jesse Glover. A keen advocate
of pressure testing, athletic conditioning and mind-setting, Suki teaches
privately in British Columbia, Canada. www.DarkWingChun.com [PAGE 50]
LAMAR M. DAVIS II has practised martial arts for 44 years. He is a 2nd
generation Certified Senior Instructor of Jun Fan Gung Fu/Jeet Kune Do, and
the Executive Director/Senior Instructor of Hardcore Jeet Kune Do Chinese
Gung Fu Association. Lamar is the author of several books, over 100 magazine
articles and stars in over 50 Instructional DVDs. www.HardcoreJKD.com
[PAGE 52] JOHN SMITH commenced training under the tutelage of Wong Shun
Leung back in 1991, and continued regular training until the untimely death of
Wong Sifu in 1997. John continues to pass on what was taught to him by Wong
Shun Leung in an undiluted manner. http://members.ozemail.com.au/~jr.smith/
[PAGE 54] MARK PAGE is a WSLVT coach at Havant Wing Chun (UK), which
is part of The Wing Chun Federation. He has a background in the Chinese
internal martial arts, with the last decade dedicated to the WSL method of Ving
Tsun. Mark continues to learn the system from Alan Gibson and Cliff Au Yeung.
www.havantwingchun.co.uk [PAGE 56] JAI HARMAN is a closed-door
student of Master Wang Zhi Peng and Senior Instructor at Beijing WSL Ving
Tsun, China. Well-known for his no nonsense, hands on approach to teaching
and fighting, Jai has appeared in countless magazine articles and on every
national Chinese TV channel exhibiting his skill. www.wingchuninchina.com
[PAGE 58] JIM WOODCOCK is the co-coach at Havant Wing Chun (UK). He
trained and graded under Alan Gibson, David Peterson, Kevin Bell and Mark
Page in the WSL method of Ving Tsun. He has also trained extensively in the
Self Protection fighting systems. www.havantwingchun.co.uk
please contact Eric Liller:

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Wing Chun Illustrated (WCI)
is published bi-monthly (January,
March, May, July, September and
November) by Mui Fa Publishing in
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ISSUE 01
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body structure
Why Body Structure

and How to Develop It
BY DR. ROBERT CHU
WHEN I SPEAK OF BODY STRUCTURE, THE FUNCTIONAL CORE OF WING

CHUN KUEN (WCK), I AM REFERRING TO THE SKELETON ALIGNED PROPERLY,
SO THAT VERTICAL CHAINS OF MUSCLES, TENDONS, LIGAMENTS, BONES
AND FASCIA PROVIDE OPTIMAL MECHANICS, AS OPPOSED TO ISOLATING
AND USING THE SHOULDER MUSCLES. WE ARE CONCERNED WITH THESE
MECHANICS BECAUSE IT IS WHAT POWERS OUR WCK STRIKES.
Body Structure is also concerned with

balanceour own and our opponents.
Here, we are concerned with offsetting
the opponents balance in such a way
that we can control him and strike him at
will because we have pushed and pulled,
wedged or pivoted along the opponent,
destroying his balance and striking him at
will because they are occupied regaining
their balance. When you have control of
your opponents structure, you set up your
timing based on his falls and stumbling.
While he is off balance, trying to regain
his posture and composure, you are
striking him.
Proper structure requires that you act as
a human wedge, equalising pressure of
an opponent and creating inertia because
he is offset. You maintain a kinetic
balance of relaxation and tightening of
large muscle groups, which can confuse
and create havoc with your opponents
balance. At times, you will feel like a
brick wall to the opponent, other times,
you will feel like a sheet of paper being
blown into the wind and the opponent
has nothing to stand against.
I have, in the past decade, offered structure
tests to teach fellow WCK practitioners
The author performing

the Jut/Tok drill.
they can use WCK structure to optimise

their power.
Many WCK practitioners simply use the
arm in a flurry of strikes. Often, the
result is empty speed and no power in
their strikes. By bringing the powerful
quadriceps and gluteal muscles into play,
you will have more impetus in your
strikes. These concepts are not lost to
modern athletics, but may be new to
poorly trained WCK enthusiasts.
In summary, this core knowledge of body
structure is a theme central to the three
forms, partner exercises, sticking hands,
sticking legs, practice on the Muk Yan
Jong, long pole and knives. Without this
core element of WCK applied, there is no
WCK. It will simply be a facsimile or
pantomime of true WCK. Without it, knives
will not be able to chop, pole work will
be weak, and empty hand WCK a joke.
The three exercises I use to train beginners
in structure are (a) the medicine ball
drill, (b) the Jut/Tok drill on the Jong,
and (c) the Ngaat Yiu exercise.
In the medicine ball drill, I simply have
two players partner up and toss a 15lb
(7 kg) medicine ball to each other while
remaining in the basic Yi Ji Kim Yeung
Ma stance. They throw the ball, launching
it with their structure and receiving it in
their structure. Although the drill is very
simple, many things may be derived from it.
the value of structure. These structure

tests have been mentioned many times
before in my previous articles and DVD
series (see www.chusaulei.com for old
articles). The basic idea is to train the
vertical chains of muscles to alternately
relax and contract to equalise and post
against incoming force. The goal is not a
sensationalist demo of rooting, but
rather to make the practitioner aware that
First, the practitioners have to align the

shoulders and hips, elbows and knees,
and wrists and ankles to throw the ball.
The ball is launched with a pelvic thrust.
Secondly, in catching the ball, the reverse
mechanics of absorbing the incoming
force must be utilised. This is akin to
receiving and neutralising incoming force.
The force is caught largely on the pelvis,
hips, knees and ankles. Done correctly,
there will be a proper form of a
pronounced pelvic tilt and angle of knee
bend. This can be observed by looking at
the tibia (lower leg bone). A set of 30
repetitions per practitioner is done.
ISSUE 01
body structure
By bringing the powerful quadriceps and gluteal

muscles into play, you will have more impetus
in your strikes. These concepts are not lost to
modern athletics, but may be new to poorly
trained WCK enthusiasts.
This exercise can also be done alone,
using a wall to bounce the medicine ball.
Variations of stances and steps can be
done with the ball, and en masse with
multiple partners and multiple balls.
feedback is invaluable and will show

whether practitioners have developed the
proper power from the body. One should
do at least 30 repetitions per day to
reinforce this skill.
The second exercise is a simple one

drawn from the intermediary moves of
the Muk Yan Jong formthe Cern Jut
Sau and Cern Tok Sau movements.
These moves are what differentiate the
various sequence sections in the Ip Man
system. The Jong will immediately
provide feedback. When performing the
Cern Jut Sau movement, the Jong will
lurch forward and downward, showing
that the practitioner has the balance of
right and left, and sinking and downward
energy; when the Cern Tok movement is
performed on the Jong, it will be pushed
upwards and backwards, indicating the
practitioner has a balance of left and
right, forward, and upwards energy.
The last exercise, Ngaat Yiu, is an exercise

that I have borrowed from the Pan Nam
WCK system. I was introduced to the
exercise by Grandmaster Pan Nams last
disciple, Eddie Chong, and have since
integrated it into my curriculum.
Since the horizontal slats of the Jong

need to be somewhat flexible, this will
require not arm strength, but rather,
entire body structural alignment. This
Later, they are taught to combine and

feign in one direction, while deploying a
push or pull in other directions leading
to 64 variations. When they have learned
Basically, two partners engage and hold

onto each others elbows while remaining
in the main horse of WCK. They alternately
try to push each other off balance by
pushing or pulling. The first player to
step out of the horse is the loser. It is
great fun. Initially, the partners are
taught to off balance in eight directions,
similar to Judos Happo no kuzushi (eight
ways of breaking balance) methods.
The Medicine Ball drill.
these methods, they further drill up to

512 variations in pushing and pulling off
balance. This central exercise is the set
up for Chi Gerk (sticking legs), as well as
throws, sweeps, knees and kick,
accompanied with strikes while the
opponents balance is displaced.
Often because of my research, many
have asked if I created a new system of
WCK. My response is that there is no new
system, just an enhanced training
methodology and curriculum to accompany
it, with physical examples that give you
immediate feedback. Because of space
limitations, I will continue to expand on
the subject matter, but will explain more
in future columns.
The Ngaat Yiu exercise.
wing chun at the movies
Adopting The Prodigal Son (Part 1)

BY BEY LOGAN
Lam Ching-ying unleashes his

powerful palms against Yuen Biao.
WHEN I FIRST WALKED ONTO THE GOLDEN HARVEST STUDIO BACK

LOT, I STEPPED ONTO THE RIGHT MOVIE SET AT THE RIGHT TIME. I
HAD TRAVELLED ALL THE WAY FROM PETERBOROUGH, ENGLAND,
TO THE (THEN) CROWN COLONY OF HONG KONG DETERMINED TO
EXPLORE THE HOME OF BRUCE LEE AND MARTIAL ARTS MOVIEMAKING. THAT RAINY DAY IN 1981, AS A PALE, SKINNY 19-YEAR-OLD,
I STUMBLED ONTO THE STAGES OF WHAT WOULD LATER BECOME
MY ALL-TIME FAVOURITE GUNG FU FILM: THE PRODIGAL SON (AKA
BAK GAR JAI).
Despite its prestige and profitability, and the
popularity of its stars, Golden Harvest maintained
very lax security. The sleepy attendant slouched
at the studio gates barely raised an eyebrow at the
sight of this dazed looking English kid making his
way up the steep incline towards the nondescript
cluster of buildings set against the Kowloon hillside.
The property at 8, Hammer Hill Road had once

been a textile factory; now they made movies
instead of shirts, but little, architecturally,
seemed to have changed.
There was a small attempt at a period Chinese
back lot, pitiful compared to the extensive space
enjoyed by the mighty Shaw Brothers Studio out
by Clearwater Bay. An ancient Chinese teahouse
and street set had been erected; director Yuen
Woo-ping was shooting his film The Miracle
Fighters. As I passed by, a cluster of crew members
from that movie regarded me curiously. I waved
and kept going, up to the largest of a series of
hanger-like buildings set into the slope, onward to
the set of The Prodigal Son.
Stepping from daylight into these electric shadows,
I found myself standing to one side of a set
ISSUE 01
wing chun at the movies
representing the exterior of a rural farmhouse.

The lights, camera and focus of the set were all
aimed at a middle-aged man, heavy-set, balding,
bearded, as he practised a series of Gung Fu
techniques on a wooden bamboo contraption.
I stood and watched for a while. Unbeknownst to
me, this heavily made-up figure was my subsequent
idol, Sammo Hung. The simple shot was repeated,
there were fast exchanges of Cantonese between
director and crew, meaning as much to me then as
the clack-clack of keys on a typewriter. No one
welcomed me, and no one asked me to leave.
After about ten minutes, a rotund bespectacled
figure approached, and enquired, in perfect
English, if he could help me. This was the films
screenwriter, Barry Wong, a warm, gentle soul
who became an invaluable guide for me during my
first visit to the studio.
Later, I was placed in the care of an avuncular
Aussie named Russell Cawthorne, then Head of
Marketing for Golden Harvest. He was amiable
enough, but slightly nonplussed that a kid from
England would have come all the way to Hong
Kong to watch someone make a Gung Fu movie.
The main difference between Russell and Barry
was that the latter actually knew what was going
on out on the studio shop floor, and it was
thanks to him that I got to meet Sammo Hung and
Yuen Biao (and Jackie Chan, though thats a story
for another day)
Id like to be able to tell you that, just from being
on the set, I could tell that The Prodigal Son was
destined to be a masterpiece, and that there was a
whole new wave of Gung Fu cinema yet to hit our
shores. As it was, my head was still in the 1970s.
When I chatted with Sammo, who looked to be a
much younger man outside of his Prodigal Son
make-up, all I wanted to hear from him were
stories about Bruce Lee. I mean, here was the guy
who had duelled Lee in the opening reel of Enter
the Dragon!
question, walked away with a bit of bamboo from

the wooden dummy, for Buddhas sake (imagine
what a chunk of that would bring on eBay!).
About a week later, I found myself back on the
Prodigal Son set, but as a resident rather than a
visitor. True to his word, Barry had arranged for
me to meet Jackie Chan. Chan was away shooting
his film Dragon Lord in Taiwan but Barry had
called Jackies manager, Willie Chan, and arranged
for me to meet Jackie at the studio for an interview.
The catch was that I would have to extend my
Hong Kong stay by a day, and had no money left
for a hotel. Undaunted, I took my luggage to the
airport and spent most of the night on the roof.
In the early hours, it became too cold even for
someone from England: I decamped for Golden
Harvest, passed the sleeping sentry and stashed
myself on the Prodigal Son farmhouse set. As the
grey dawn broke, I found myself sitting by a fire,
drinking tea with the leathery old watchmen,
waiting on the ghost of Bruce Lee
It was to be many months later, on a rainy
afternoon in Londons Chinatown, that I spotted a
poster for the film I had visited the set of. I had
spent enough time with Sammo (in character) to
recognise him among the photos of the cast. I
ventured inside the theatre to watch the movie
itself mainly from curiosity. Little did I know
I could tell
that The
Prodigal Son
was destined
to be a
masterpiece,
and that
there was
a whole
new wave
of Gung Fu
cinema yet
to hit our
shores.
Next issue: The Prodigal Son Remembered.
The late, great Lam Ching-ying (right)

schools Yuen Biao in The Prodigal Son.
The sequence they were shooting, I realise now,

was the one in which Hungs character, Wong
Wah-bo, pretends to teach his version of Wing
Chun to the lead character, Leung Jaan (Yuen Biao).
I was introduced to Biao, and remember wondering
how a skinny kid with bad skin could actually be
starring in a movie. If Id known then what I know
now, Id have taken more photos, asked more
the inquisitive hand
Wing Chuns
Systems Thinking
BY ALAN GIBSON
you describe your aims the more likely

you are to be able to design mechanisms
to help you achieve them.
SYSTEM DEFINITION
System: An integrated set of compatible
elements, including: principles, theories,
strategies, tactics and physical elements.
Each has specified and distinct
capabilities, which when working in
synergy, enable the individual to perform
a specified task. To satisfy our definition,
we also need to define our operating
environment and have a probability of
success of the prescribed outcome.
To help explain the rationale for this
definition, lets look at each part in
greater detail.
RATIONALE
Lets examine the basis for each phrase
in the definition.
By compatible elements, we mean
that elements within the systems
structure must be compatible with
each other in form, fit, and function,
for example. Systems include
physical, psychological, technical,
environmental elements and anything
else that supports mission
accomplishment (e.g., task specific
strength and conditioning is good,
bodybuilding is not).
WE OFTEN REFER TO WING CHUN AS A SYSTEM BUT HOW OFTEN DO
WE CONSIDER WHAT THIS ACTUALLY MEANS? DO WE EVER THINK
ABOUT HOW WE CAN USE THIS KNOWLEDGE TO BETTER UNDERSTAND
OUR SYSTEM AND IMPROVE OUR COACHING OR TRAINING, THROUGH
ITS COMPONENT MECHANISMS?
10
I work in the plastics industry and one of

the jobs I do involves drawing flow
diagrams to understand and simplify a
complex computer system. When I began
using the software, I quickly realised that
it would be a very useful tool for visualising
different aspects of my Wing Chun.
different definitions as there are systems,

so I have taken a standard scientific
definition and beaten it into a shape that
suits my purposes. You may see your
own system differently, but it will
doubtless be an interesting analytical
exercise to try to describe your own.
To begin with, we need to define what a

system actually is. There are as many
I think it is important to be able to express

your meaning accurately; the more tightly
By each element having specified

and distinct capabilities, we mean
that every element should work to
accomplish some specified goal or
purposeful mission. This requires
that capabilities for each system
element be identified and limited to
allow the element to be analysed,
designed, developed, tested, verified,
and validated either on a standalone
basis or as part of the integrated
system. For example, stating that Chi
Sau is for developing sensitivity is
not good enough. Nor is stating that
Chi Sau is not fighting. I say that,
Chi Sau is a drill that teaches us to
be able to disengage (when jammed
or held) in order to continue striking.
ISSUE 01
the inquisitive hand
Having a well-defined system will enable

you to fine-tune your coaching and training
to individual needs.
By working in synergy, we mean
that the purpose of integrating the set
of elements is to accomplish a higherlevel capability that cannot be achieved
as standalone elements (just learning
to hit hard or to have tidy forms is
not good enough).
By enable us to satisfy our
definition, we mean that every
system has a purpose (i.e., an effective
fighting art, self protection, personal
development) and a value to the user.
Its value may be a return on investment
or to satisfy system missions and
objectives. I personally like, The
studied ability to disable an assailant
while limiting or preventing them
from causing harm to ourselves.
By in a prescribed operating
environment, we mean that for
outcome, and survival reasons, every
system must have a stated and
bounded operating environment
(competition fighting, pavement area,
health and fitness, defence against
armed assailants, etc.).
advantage. It enables you to explain what

you do, why you do it and how you do it.
Importantly, it allows new practitioners
to understand, why they need to train
Siu Nim Tau and Chi Sau; and how this
relates to fighting back, when you are
violently attacked by a stronger and more
aggressive assailant.
If people understand why they are doing
a specific drill, or how each action works
and what it can be used for, they will put
more effort into ittest and help each
other and be more likely perform it
correctly. If they know how this integrates
into the whole system, they will become
a more effective martial artist as well as
a better ambassador for the coach and
the system.
When people move from one system to
anotherwhether this is from one style
of martial art to another or from one
lineage/coach (in the same martial art)
to anotherthey might come across
systematic difficulties due to the fact
that primary elements of the system they
had trained in before do not fit or work

in synergy with elements of their new
system. A Wing Chun specific example
of this could be something basic and
significant like the way in which you
stand, step, or pivot. Even the philosophy,
logic, and the language that you use is
very significant.
Many people like to enquire about the
differences between lineages. If you look
at this question from a systems perspective
it is easy to spot which elements of your
own practise do not fit within another
system and would consequently need to be
changed (in your training), if you wanted
to assimilate ideas from the other system.
Simply saying something like, Your Bong
Sau is in a different position. Or, Your
Siu Nim Tau has an extra bit, will not
cut the mustard because this observation
stems from a more fundamental root.
I once naively asked Ip Chun what his
fathers favourite technique was. He
replied, It was punch on the nose.
Ultimately, Wing Chun is a Chinese
method for punching someone on the
nosewhile they are trying to do the
same to you! If you cant achieve this
with some degree of success then systemsthinking is not necessarily going to help,
but it might help you to redefine what it
is that you do.
By prescribed outcome, we mean

that participants (students, coaches,
etc.) expect the method to produce a
result. The products, by products, or
services must be outcome-oriented,
quantifiable, measurable, and
verifiable (are you able to fight back
under pressure? Can you defeat an
attacker who is stronger or more
aggressive? Are you getting fitter?
Are you more confident and assertive?).
CONCLUSION
Having a well-defined system will enable
you to fine-tune your coaching and
training to individual needs. It enables
you to overcome personal weaknesses
and exploit your strengths to your
11
the hidden forms
Power and Speed

in Punching
BY DR. MATTHEW MILLS
PUNCHING IS A CRITICAL ELEMENT OF WING CHUN. IMPROVING THE IMPACT

OF A PUNCH WILL CLEARLY MAGNIFY ITS EFFECTIVENESS. STRENGTH
TRAINING HAS OFTEN BEEN ADVOCATED AS A MEANS TO INCREASE THE
EFFECTIVENESS OF HAND STRIKES. WHILE WE MIGHT INTUITIVELY EXPECT A
DIRECT LINK BETWEEN STRENGTH AND IMPACT, THE RELATIONSHIP IS IN
FACT NOT THAT SIMPLE.
A Wing Chun punch is delivered in

around a quarter of a second. The faster
a limb moves the lower the forces
generated by the muscles driving it. This
is because a muscles contractile
machinery becomes progressively less
efficient as speed increases. At the point
of contact, the energy transferred into an
12
opponent (and therefore damage caused)

by a punch, is determined mainly by the
speed the hand is travelling.
The acceleration of the hand is determined
by the initial impulse of force from the
muscles driving it. It takes around half a
second for a muscle to become fully
activated and generate maximum force.

During a punch the driving muscle will
reach less than half the maximum
possible. The difference between
maximum and actual force launching a
punch is called the Explosive Strength
Deficit, and is a far more critical
limitation on the final speed of the hand.
Clearly, the striking arm does not act in
isolation, but rather represents the end
of a kinetic chain engaging the most
powerful muscles of the body. The
Gluteal Muscles (buttocks) produce more
turning force around the hip than a V8
engine. A punch is initiated by a
powerful contraction of these muscles,
extending the leg on the same side of the
body as the punching arm, driving the
heel into the ground. The reaction from
the ground produces rotation in the hips.
This force is translated through the
midsection driving the shoulder forward.
The forces are cumulative, so the hand is
released with much greater acceleration
than would be possible using the arm
muscles alone.
The force production in each limb is
dependent on posture. During extension
of the leg, the greatest forces are
produced when the limb is nearly
straightened with the hip and knee
slightly bent. During extension of the
arm, the greatest forces are produced
when the elbow is held close to the body
and slightly in front of the chest. These
limb positions confer the greatest
mechanical advantage for each muscle
group, and maximise the potential to
accelerate a punch.
A critical component of a punch is that at
the point of contact, the muscles of the
upper limb, waist and leg must be tensed.
This ensures that the impact of the strike
is driven into the opponent rather than
the reaction forces driving us backward.
The coordinated contraction of upper
and lower limbs is facilitated by a series
of postural reflexes called irradiation.
As the fist impacts the opponent, pressure
of the fingers in the palm promotes
forceful contraction of the upper limb.
ISSUE 01
the hidden forms
Contraction of the hip muscles produces

an even more powerful effect called
hyper-irradiation, tensing the legs,
waist and magnifying forces in the upper
limbs. Of equal importance, due to the
Explosive Strength Deficit, the hip and
leg muscles will not have sufficient time
to relax and contract between initiating
a strike and receiving reaction forces.
They will need to remain fairly tense
throughout the action. A successful
strike is therefore more dependent upon
engaging the hips and effective use of
reflex hard wiring than the absolute
strength in the arm muscles.
Thrusting the pole provides ideal resistance

training for the rear arm in the punching
motion at the correct velocity.
provide a solid foundation,

while those of the upper
body are alternately
explosively contracted
and relaxed.
A critical examination of the punching

process suggests the limitations to
developing impact and implications for
training. Muscular strength in the arm
is not as important as the rate of force
production. Equally, as a punch is
executed at high velocity, muscular forces
will be relatively low. These observations
suggest the muscles of the arms should
be trained explosively, with the objective
of increasing the rate of force production.
Hidden within the Wing Chun forms is an

ideal training method for punching; but it
is not in Siu Nim Tau. Thrusting the
pole provides ideal resistance training for
Training effects are specific, so training

should be carried out at speeds close to
those actually used. It follows any
resistance used to train the arms must
be fairly light to allow movement at close
to punching speed. During execution of a
punch, the hips and legs are required to
sustain high forces from initiation through
to receiving the reaction from striking
the opponent. The legs are therefore best
trained with relatively heavy weights to
maintain high loads for prolonged periods.
the rear arm in the punching motion at

the correct velocity. Performed in a deep
level stance (Sei Ping Daai Ma), the leg
muscles are conditioned with high tension
due to poor mechanical advantage in this
posture. The muscles of the waist must
also contract statically to ensure movement
of the pole does not disrupt the stance.
Interestingly, all of the biomechanical

and neurological references for optimal
punching technique can be found in Siu
Nim Tau. The form is opened and closed
with a series of rapid, explosive punches
launched with the elbow held at the
position of greatest mechanical advantage.
Similarly, Yi Ji Kim Yeung Ma creates
the ideal posture to maximise force
production from the lower limbs while
engaging the hyper-irradiation reflex
from the hip muscles. The muscles of the
hips and legs are constantly engaged to
poorly conditioned
compared with these
individuals. On this basis
there is a strong argument for an
initial conditioning period prior to more
formal Wing Chun training. Training
with heavy weights is an excellent way to
undo the worst effects of a desk job, but is
probably not ideally suited to the specific
demands of Wing Chun.
Interestingly, all of the biomechanical and

neurological references for optimal punching
technique can be found in Siu Nim Tau.
Siu Nim Tau is typically taught first in the

system. The Young Idea (as we prefer to
call it in my lineage) provides the essential
references for further development in
Chum Kiu and Chi Sau. Despite the
apparently basic nature of Siu Nim Tau,
it is far from simple, containing a range of
sophisticated concepts and assumptions.
Amongst these are that we will engage in
unarmed combat and will be sufficiently
well conditioned to do so.
At the time it was developed, Wing Chun
students would probably have been fairly
well conditioned from daily physical
labour. Advances in technology mean
most of us are relatively sedentary and
The Luk Dim Boon Gwan (Six-an-a-halfpoint Long Pole form) is often trained as
an afterthought in Wing Chun. This is
paradoxical for a system based on such
logical principles. Conceptually it makes
more sense to use a weapon than fight
empty handed. Hand-to-hand combat
is a dangerous last resort. It follows
Siu Nim Tau is not the logical place to
start the system.
Wing Chun stands out as a remarkably
efficient system. Nothing is retained
unless it has value. While the pole may
seem arcane or even redundant, from a
conditioning perspective the Luk Dim
Boon Gwan form is ideally suited for
conditioning to meet the specific demands
of basic Wing Chun. Furthermore, with
only six and half techniques compared
with the 108 movements of Siu Nim Tau,
it is the simplest way to introduce basic
Wing Chun concepts. Given its simplicity,
fundamental relevance and obvious
value, it follows that the humble Long
Pole should be taught first.
13
I
feature
P MAN
MASTER OF A GENERATION (PART 1)
BY DAVID PETERSON
IN THE REALM OF CHINESE MARTIAL ART FOLKLORE, THE MERE

MENTION OF A SELECT FEW NAMES CAN CONJURE UP IMAGES OF
BRAVERY, SKILL AND HONOUR. NAMES LIKE HUNG KUEN MASTER
WONG FEI HONG, JING WU INSTITUTE FOUNDER HUO YUAN JIA OR
WING CHUN ANCESTOR LEUNG JAAN, IMMEDIATELY REMIND US OF
GREAT MARTIAL ARTISTS WHOSE SKILLS AND DEEDS CONTINUE TO
INSPIRE RESPECT IN THE MARTIAL WORLD. ANOTHER NAME HAS
BEEN ADDED TO THAT LIST IN RECENT TIMES, BROUGHT TO THE
ATTENTION OF THE WIDER PUBLIC IN THREE RECENT CHINESE
MOVIESWING CHUN GRANDMASTER AND PATRIARCH, IP MAN.
Once merely a footnote in the biography of

celebrated screen star Bruce Lee, the late
Grandmaster of Hong Kong Wing Chun Kuen is
now a household name throughout the Asian world,
and rapidly becoming almost as well-known in the
West, thanks largely to the films Ip Man (2008) and
Ip Man 2 (2010) starring Donnie Yen in the title
role. A third film, The Legend Is Born: Ip Man
(2010) starring Dennis To and featuring screen
legends Sammo Hung and Yuen Biao, presented
the film worlds version of the younger years of
Ip Man prior to the events presented in the
Donnie Yen films.
Yet another major motion picture by art-house
director Wong Kar Wai is set to be released in 2011.
Plagued by production problems and taking over
ten years to materialise, this movie, tentatively
titled The Grandmasters, is said to tell the story
of Ip Mans latter years in Hong Kong and will star
Hong Kong heart throb, Tony Leung Chiu-wai in
the title role.
14
ISSUE 01
feature
In martial arts there is no right or wrong, only the last man

standing. Tony Leung Chiu-wai stars as Grandmaster
Ip Man in art-house director Wong Kar Wais long-awaited
biopic The Grandmasters. Photo courtesy of Wild Bunch.
There are even now rumours of a 40-episode TV

series based on the life and exploits of Ip Man to
be made as well, in the not-too-distant future! The
term Ip Man Effect is now appearing in the media
throughout the region as a means of trying to
describe the sudden and explosive interest in both
Ip Man and the Wing Chun system that has now
captured the public imagination. Schools that
once had a handful of students training in them
are now packed with people of all ages wanting to
become the next Ip Man.
So, what do we know about the real Ip Man and
the legacy that he left behind? Well, if we rely
upon what is presented on screen, the answer is
not very much, or at least, a very distorted and
exaggerated story of the man and his skills. The
media, with a certain amount of pressure from
Chinese leaders to invoke the patriotism of the
Chinese people, have created a new folk hero to
revere and inspire, but in doing so, have largely
ignored a story that is every bit as exciting and
involved as the one we see on the screen. In
addition, as with Ip Mans most famous student of
all, the late Bruce Lee, we have been given a
sanitised portrait of the man, when in the case of
both men, the warts and all story is so much
more fascinating.
Ip Man was born in a tumultuous time in Chinas
history, a juncture between the Old China and
the beginnings of the amazing powerhouse that
China has become in recent generations. On
November 6th, 1893, just a few short years before
the Manchu Dynasty collapsed and the Republic of
China was established by Dr. Sun Yat-sen (another
famous resident of the Guangzhou region), parents
Ip Oi-doh and Ng Shui welcomed their third child,
Ip Gai-man into the world. With an older brother,
Ip Gai-gak, older sister, Ip Wan-mei and younger
sister, Ip Wan-hum, young Gai-man enjoyed a

relatively contented life as the son of very
successful parents who owned land and property
in Foshan (Fatsaan). Living on that property was
to become pivotal in creating the role that Ip Man
would play in the history and development of
Wing Chun Kuen over the ensuing years.
The Ip Family Clan Hall was located on Song
Yuen Dai Gai (Mulberry Gardens Street) near the
centre of Foshan and local instructor Chan Wa-sun
approached Ip Oi-doh to seek permission to teach
his students there. Better known by his nickname,
Jaau Chin Wa (Wa the Money Changer), he was
himself the student of famed Wing Chun ancestor,
Fatsaan Jaan Sinsaang (Mr Jaan of Foshan),
Leung Jaan.
By the age of 13, Ip Man had become quite
fascinated with what Chan Wa-sun and his
students practised in the Clan Hall, and he
plucked up the courage to ask Chan if he could
learn. By then, Chan was already 70 years of age
and didnt really want another student, especially
the son of a wealthy landowner. He believed in the
proverb that rich students make poor students,
and so to discourage Ip Man, he told the young
boy that the fee to learn was some $500 silver
dollarsan absolute fortune at that time.
Instead of this discouraging him, Ip Man went to
his father to ask if he could use his life savings to
learn from Chan. Surprised in his sons interest,
but pleased that he was so keen to learn, Ip Oi-doh
allowed his son to take the money to Chan. On
seeing the money, Chan was convinced that he had
stolen it or worse, so he insisted that Ip Man bring
his father to approve. On hearing from Ip Oi-doh
that his new pupil had willingly offered his own
money to learn, Chan accepted Ip Man as his 16th
In 1917,
when he was
24 years old,
Ip Man returned
to Foshan
and surprised
his seniors
by being able
to effortlessly
overcome their
Wing Chun skills,
something
that had
not happened
previously.
15
ip man
and final student. Sadly, barely three years after

taking up the art, Ip Mans teacher, Chan Wa-sun
was dead, so the task of instructing him fell upon
Chans second student, Ng Chung-so.
Around the time of Ip Mans 15th year, another
important milestone took place in his life. With the
growing interest in Western thinking and education,
it was suggested that Ip Man travel to Hong Kong,
then a British colonial outpost, to attain a Western
education. With the help of a relative, Leung Faatting, he went to Hong Kong and was enrolled to
study at St. Stephens College, a school famous for
educating the children of wealthy Chinese and
foreigners. Ip Man was a person who believed in
justice and fairness, so he found certain aspects
of life in Hong Kong quite troubling and developed
strong feelings regarding how he saw the Chinese
being treated there. Bullying by foreign students
in the school met with swift justice in the form of
Ip Mans fists on more than one occasion and he
soon gained a reputation as someone who could
take care of himself very well.
according to a much disputed story, one of those

who heard of the episode was Leung Bik, son of Ip
Mans own teachers teacher, the famed Leung Jaan.
It is said that Leung Bik asked to meet the young
man and in their discussions, revealed himself as
Leung Jaans son after easily defeating Ip Mans
attempts to engage him in a challenge match.
For the next few years until Leung Biks death in
around 1912, Ip Man was trained in methods of
Wing Chun that he had not previously learnt from
his teacher or his seniors. In 1917, when he was 24
years old, Ip Man returned to Foshan and surprised
his seniors by being able to effortlessly overcome
their Wing Chun skills, something that had not
happened previously.
However, there is much debate about this aspect
of Ip Mans training history, with many believing
that this meeting never actually took place. For a
start, there seems to be no way of proving that
Leung Bik was even alive at this time, let alone in
Hong Kong, and many of Ip Mans own students
had never heard anything of this story until the
late 1950s when a reporter for a prominent local
martial arts magazine interviewed him for an
article about Wing Chun history. Even my own
teacher, the late Wong Shun Leung, one of Ip
Mans closest and most skilful students, stated
that until that interview was conducted, he had
never heard Ip Man speak of any of the history,
including the story of Leung Bik.
As far as the history of Wing Chun is concerned,
we can only verify for absolute certainty that
Leung Jaan existed, and that he was the teacher
of Chan Wa-sun who was in turn the teacher of Ip
Man. All history prior to that, based on research
to date, is speculation and has not been proven.
The majority of other Chinese martial arts can all

boast legends concerning the founding of their
arts, with tales of monks and warlords, insects
and animals, heroes and villains that led to the
On one occasion, while walking through the streets development of their systems. With Wing Chun
of Hong Kong with a friend on the way to school,
being such an unknown and secretly practised
Ip Man witnessed the brutal beating of a Chinese
system up to the time of Ip Man (Leung Jaan is
woman by an Indian police officer and went to the believed to have only had three to five private
womans aid. The policeman, enraged by this, turned students, and Chan Wa-sun only 16 in his lifetime),
on Ip Man, who was forced to defend himself,
perhaps there was no provable recorded story
knocking the policeman to the ground with a
worth relating, so Ip Man, in an attempt to save
rapid burst of Wing Chun skills. He managed to
face (the concept of face being incredibly
evade arrest, fleeing the scene with his friends,
important to the Chinese since ancient times) in
one of whom related the story to others and,
front of his martial peers in Hong Kong, created a
16
ISSUE 01
feature
story that contained exciting elements to match

those of his rival systems.
With the death of Leung Jaan, his student Chan
Wa-sun had inherited his mantel as head of the
style, with his two sons, Leung Bik and Leung
Chun, choosing to not challenge for the role. After
that, very little seems to have been recorded about
either of Leung Jaans sons, so we cannot say for
sure where they lived out the rest of their lives
and whether or not they taught students. If Leung
Bik did indeed end up in Hong Kong, by the time
he met Ip Man, if such a meeting actually took
place, he would have been a very old man, having
been of a similar age to Chan Wa-sun (who, by
that time, was deceased), hence Leung Bik would
have been unlikely to be physically in a position to
teach, let alone overcome the younger and stronger
protge of Chan Wa-sun and Ng Chung-so.
It is very clear that Ip Man was a Wing Chun
genius, a man who trained hard and realistically
to learn and master his skills. As such, we might
speculate that it was through his own determined
efforts, coupled with the hands-on experiences
that he gained from combat in Hong Kong and
elsewhere, that he returned to Foshan able to
defeat his elder Wing Chun brothers. To save face
with them, he may well have invented the story of
Leung Bik to justify any changes or improvements
he had made to his Wing Chun because his peers
were more likely to accept that the skills of a
family senior such as Leung Bik, a generation
above them, were superior (and therefore
acceptable) than the more prosaic explanation
that Ip Man was simply better than them, because
he had trained hard and advanced his skills and
understanding. Lending weight to this genius
explanation is the fact that Ip Man seems to have
repeated this process again after he arrived in
Hong Kong in 1950, teaching a very different
interpretation of Wing Chun to the one that he
taught in Foshan, but more about that shortly.
After returning to Foshan, Ip Man began working
as a police officer, deciding to put something back
into the community. He became very well-known
for his integrity as an officer of the law, and found
many occasions to put his Wing Chun skills to
good use in the course of dealing with criminals.
Eventually, after the Japanese were defeated and
left China in 1945, Ip Man became Chief of Police
in Foshan. In his private time, he continued to
train and test his skills, cross-training with other
It is very clear that Ip Man was a

Wing Chun genius, a man who trained
hard and realistically to learn and
master his skills.
martial artists such as Yuen Kei-saan, Yiu Choi,
Lai Hip-chi, Tong Gai, and Ip Chung-hong, and
teaching a handful of colleagues, friends and
relatives, but never running an actual school of
his own. It would seem that he had no desire to be
an instructor or run a school, considering Wing
Chun to be a passion, rather than a job. Even
when approached to teach in Hong Kong later on,
he did so very reluctantly and was not entirely
comfortable in that role.
Of those whom he did teach in Foshan during those
years, the names of only a very few have come
down to us, with only two of them (as far is as
known) continuing to teach in their own right,
with students and now grand-students continuing
that heritage. The two students concerned, Gwok
Fu and Lun Gai, are the only students of that era
still alive and both are currently teaching in Foshan
today. The name of Ip Mans most outstanding
student of that period was Chau Gwong-yuk, son
of Ip Mans close friend, Chau Ching-chuen, owner
of the Luen Cheung Embroidery Factory portrayed
in the first Ip Man movie. Chau Ching-chuen was
a successful businessman and loyal friend of Ip
Man, supporting him financially during the war
years when Ip Man had fallen upon hard times.
It was at the cotton mill where Ip Man conducted
classes, after dark, for these people, during the
Japanese Occupation period. It is reported that he
did not charge fees for these lessons, instead
promising to offer the classes free of charge for a
period of approximately one year so long as the
students trained regularly and with a determined
effort to improve. Chau Gwong-yuk eventually
followed a career into business, never taking any
students of his own and both Chan Chi-sun (who
tragically died quite young) and Lui Ying, two of
the other students from this period, also appear to
have not taught others. As an indication of his
humility, Ip Man refused to be called Sifu (Master)
by his trainees, insisting on them calling him simply
Man Suk (Uncle Man).
17
second nature
The Path to Mastery

BY WAYNE BELONOHA
EACH MARTIAL ART STARTED WITH

THE CREATORS IDEAITS GOALS.
IN SOME CASES, THE IDEA WAS TO
FIGHT SUCCESSFULLY AGAINST ANY
STYLE OF ATTACKER. IN OTHER
CASES, THE GOAL WAS TO FIGHT
AGAINST A SPECIFIC TYPE OF
ATTACK OR LEVEL OF SKILLS.
Some martial arts have been developed

for entertainment reasons; some for
physical and/or self-development; some
even for the purpose of relaxation. A style
can specialise either in one express
purpose or be a blend of them.
With the purpose or purposes clearly set
forth in the mind of the creator, he or she
will then put together a training regimen
(the main topic of discussion for this
article) to achieve those goals.
The other day I was teaching a Bong Sau
drill. The new student would lift the Bong
Sau upwards, redirecting the incoming
punch into his face as he tried to make it
work. He astutely observed that the drill
as performed would not work in a fight,
and that he would be hit if the punch had
been a real centreline punch.
I explained that in the Moy Yat system,
Bong Sau is taught in four steps. The first
focuses only on the handstiming,
sticking, and the forward corkscrew
18
ISSUE 01
second nature
some drills do appear as a practical

fighting technique at first glance, not all
drills do.
A great example is our Golden Rooster
stance. We perform our forms and some
of our skills on one foot with our other
foot lifted high and sticking out to the
front. This certainly is not a practical
fighting method for our style, but it trains
the very important attributes of balance
and core strength.
By understanding the purpose of the drill,
we can side step the slippery slope where
every drill has to look like fighting.
Conversely, only doing drills that look
like and teach fighting can be a valid
method of reaching a systems goals,
depending on what those goals are. So at
best, without knowing the goals and
complete training method of a system,
one cannot reliably say whether or not a
drill is good. To do so would be to make
assumptions about anothers system
based on our own experiences and
knowledgewhich often does not include
an in-depth knowledge of their system.
The Golden Rooster Stance trains

balance and a strong waist.
motion of the Bong Sau. The next stage

focuses on the footwork and the shifting
needed to redirect the punch sideways
(not up into the face). After the technique
can be applied with shifting, we practise
it in a more fluid environment of single
then double Chi Sau and finally in
no-restrictions fight practise.
This was a great example of a commonly
occurring problem that often causes
confusion and dismay among students
and instructors alike. By shining some
light on the problem and outlining how
our drills work toward meeting our
goals, I hope it can help give a different
framework you can use to assess your
own drills and help improve some pieces
of your own training.
If a student or instructor has an unclear
understanding of the purpose of a drill,
and how important competencies are
developed, the tendency is to try and fill
that gap as early as possible. By
understanding the whole system, an
instructor can simply say, This is a

beginner level drill and having it work on
the street is not something we have to
worry about yetthat will come at this
point, and can give specifics about when
the whole skill will be learned.
It is common to want to have an eye on
this prize called street fighting and to
paint all drills with the same brush. In
our system, all drills contribute toward
becoming a highly proficient fighter
(because thats our purpose), and while
There is a saying I quite like that states

how amateurs train in what they are good
at, while professionals train in what they
are bad at. Between actual games and
training sessions with opponents, the
professional athlete will also spend
countless hours working on a simple
component like basketballs free throw or
the baseball pitch. In our system, we
believe fight training should consist of
similar elements. It is important to test
and train against an opponent but it is also
It is important to test and train against

an opponent but it is also necessary to
spend time doing purposeful practice,
fine-tuning the base skills.
19
second nature
necessary to spend time doing purposeful

practice, fine-tuning the base skills.
One common problem that often slows
training and increases frustration occurs
when a drill is used for something it was
not designed for. A great example from

many Wing Chun schools is double-hand
Chi Sau (Sticking Hands drill). Many
people believe that the purpose of Chi
Sau is to teach fighting, and armed with
this belief they expect that any street
fighting method or approach is valid for
use. Chi Sau is only one small step
toward the larger goal.
Double-hand Chi Sau teaches our hands
to return to centre, teaches our feet to
move forward and not back, and teaches
us how to get into the boundaries of
others while protecting our own. We do
not attack the head and do not perform
techniques that take advantage of the
drills rules. We maintain a respectful
Sihing (older Gung Fu brother) and Sidai
(younger Gung Fu brother) relationship
during the drill so the focus remains on
teaching and learning.
This means we will not do, or learn to
defend against, some attacks that will
appear on the streetbut were fine
with that because we start to learn
about those attacks during long-arm
Chi Sau.
Chi Sau teaches how to enter anothers boundaries while
protecting your own Bong Lap Da drill, one step in learning
a practical Bong Sau.
In parallel with the Chi Sau set of drills,

we will start the Tsui Ma (Pushing
Horse) drills and the Chi Geuk (Sticking
Legs) drills.
Once the hands can cross the opponents
boundaries while keeping our own, the
stance is strong and can withstand
pressure (without leaning, as trained in
Tsui Ma drills) and the legs know how to
run, trap and avoid sweeps (as trained in
the Chi Geuk drills), we are ready to fill
in the final gaps with our Mai Sang Jong
drilla no restrictions fight training
exercise that very closely resembles how
we engage an opponent and how we fight.
In this drill, both practitioners must have
very good control and flawless technique,
or injuries can occur since we do not
wear any protective gear.
With our training curriculum, we move
from very structured training drills that
dont much resemble the systems purpose
to those that very closely align. An
advantage of this structured approach is
that each drill has both a big brother
and little brother drill. If I have trouble
with any drill, I can go back to the more
structured little brother drill to refine
the techniques.
Within any professional physical
activitys curriculum, if any one drill
tries to teach too much, it is common
for that drill to end up teaching too
little. Our structured method provides
us with a very effective iterative learn,
practise, test method. We will learn a
new skill or drill, train the skill within
well-defined boundaries, and when it is
stable, we will test it using the next drill
in the system. If during testing we find
that the skills are too weak to learn
what the drill has to teach, we will go
back to the previous drill and train in it
for a while longer.
It is essential to fully understand the
objectives of each drill and what it is
trying to teach. Armed with this
information, you will be able to step your
way through the system and learn all the
skills necessary to meet its goals.
20
ISSUE 01
feature
GRECO WONG WAI CHUNG HAS BEEN

TRAINING AND TEACHING WING CHUN FOR
OVER 50 YEARS. IN 1956, WHILE STILL AT
HIGH SCHOOL IN HONG KONG, HE WAS
INTRODUCED TO THE COMBATIVE ASPECTS
OF TAI CHI CHUAN UNDER FAMED TEACHER,
CHEN TING HUNG. IN 1958, GRECO SWITCHED
TO WING CHUN WHEN HE BEGAN TRAINING
PRIVATELY WITH HIS FRIEND MOY YAT,
G
A SENIOR STUDENT OF GRANDMASTER IP MAN.
Colour photos by Wayne Belonoha
BY ROLF CLAUSNITZER
RECO WONG
WAI CHUNG
UNSUNG PIONEER OF
WING CHUN IN THE UK (PART 1)
During his training time, Greco had the good

fortune to meet with some of the best known and
most respected practitioners and teachers of that
period. In the mid-1960s, he travelled to the UK
where he teamed up with Paul Lam Yuk Wing,
Senior Student of Leung Sheung (the first of
Ip Mans four core students) to become one of the
first public teachers of Wing Chun in the UK,
with students from all races and walks of life.
Finally, after a short spell in Africa on business,
he migrated to Canada where he taught Wing
22
Chun for several decades. Greco now lives with

his family in contented retirement, spending much
of his time with his grandchildren, as well as
occasionally conducting Wing Chun seminars.
The following three-part interview was constructed
from a number of e-mails exchanged over a
considerable period between Rolf Clausnitzer, a
former student of Greco Wong and co-author with
him of the first-ever English language book on
Wing Chun, and Tony Yung, Senior Student of
Greco Wong. As Greco was often too busy to
ISSUE 01
feature
correspond, Tony acted as intermediary and

deserves a special mention for his patience and
diligence in executing what would not have been a
straightforward task, conveying and discussing
Rolfs questions with Greco whenever the
opportunities arose, usually in Chinese to ensure
clarity and no loss of nuance, and then to format
Grecos responses in English.
Chun book in 1969. When the book was published,

I sent Sifu a copy.
I remember that clearly. I think we waited nervously
(or at least I did) for about a month before Moy Yat
sent a positive reply.
After a few years in the UK, I went to Nigeria in

Africa to work. There was one occasion when I
was on a business trip to the UK. On the way back
Can you confirm that you were Moy Yats first Senior
to Africa, I stopped in New York for one day. I
Student and how much contact you had with him?
went to visit Moy Yat, who had in the meantime
Moy Yat, another guy called Chow Yat Loon (One migrated to the USA. I took a taxi to visit his
Dragon), and I were friends. We used to go to one school, with the intention of pretending to challenge
anothers homes to playremember, back then,
his students there, but as soon as I arrived, his
we were just kids. Their families knew my family. mom happened to be at the door and invited me
And we were all very interested in martial arts.
in. The first thing I saw in his school was the book
Whenever we got together, we always talked about that you had writtenwith my picture on the
martial arts. While I was learning Tai Chi, Moy
cover. Of course, I could no longer pretend to be
Yat was learning Wing Chun from Ip Man, and
an anonymous challenger! Later that day, Moy Yat
Chow Yat Loon was learning Pak Hok (White
came back, took me to visit all of his schools in
Crane) from Chan Hak Fu, a very famous Pak
New York, and introduced me to all of his senior
Hok master in Hong Kong. I always wanted to find instructors there. I even did Chi Sau with all of
out more about different martial arts, so I started them. Even after I had moved from Nigeria to
learning White Crane from Chow. Later, Chow
Canada, we still maintained contact by mail.
told me to further my training with his Sibak
There was one time he sent me an invitation to
Koon Boon Fu (another famous White Crane
become the President of the Canadian Moy Yat
teacher in Hong Kong), so I did. I learned several
Wing Chun Association, or something like that,
forms, some White Crane combat applications, a
I cant remember exactly what it was called. For
sword form, and a pole form. While I was exploring personal reasons, I declined. When I look back to
White Crane, Moy Yat told me he needed a partner the early days in Hong Kong, I can say that, amongst
to practise his Wing Chun with. He also wanted to us kids, Moy Yat was definitely one of the wealthier
apply new techniques he had learned from Ip Man ones. As his dad lived in the US, he was the kid
on me. That was how I started learning Wing Chun. living in Hong Kong with his mom. While I was
As I came to do more and more Wing Chun, I
getting spending money from my dad in Hong
started to like it more than White Crane. I enjoyed
practising Chi Sau with Moy Yat and wanted to
learn more. And that was how I came to meet Mak
Po. Mak Po was Moy Yats Sihing. Before Moy Yat
opened his school, Mak Po used to go to Moy Yats
place to practise, and I was usually there too.
That is how I ended up doing lots of Chi Sau with
Mak Po. After Moy Yat opened up his own school,
Mak Po also visited and practised there too. Aside
from Wing Chun, Moy Yat and I were also very
good friends. We used to go swimming and to
outdoor BBQs together with other classmates. I
was best man at his wedding. It was he who
suggested that I should go to Ip Mans school to
practise. When Moy Yat opened up his own school
in Hong Kong, I became his Assistant Instructor
there. Even after I left for the UK, we still
maintained contact by mail. I also sought his
permission to provide material to you for the
production of the first English language Wing
We asked
Ip Man how
to break
through a
Taan Sau;
his answer
was the
Phoenix Eye
punch.
A priceless photo of Greco Wong

(right) and Paul Lam with some of
their senior students after they had
started what was arguably the first
Wing Chun school open to the
British public. Vijay Paul (second
from left in second row) and Fred
Warren (standing next to him) were
the most skilled students (under
whom the author continued his
training after Greco had left for
Africa and subsequently Canada).
Note the suits and ties how
things have changed!
23
greco wong wai chung
Kong dollars, he was already spending US dollars.

That is why he could afford to take Ip Man out
often for Dim Sum and tea, and fortunately Moy
Yat asked me to come along on many occasions.
Moy Yat knew all along that one day he would go
to the States. So his main focus at that time was
on learning and doing things to prepare himself
for the move to the US. Therefore he learnt a lot of
different skills, like Chinese BBQ cooking, Chinese
painting, calligraphy, seal making, Gung Fu, etc.
Of course, he was also a very artistic individual.
This is fascinating. Can you tell us a bit more about
Mak Po, who has a formidable reputation, from what
I have heard?
His hands
were very
soft, very
sticky and
very fast.
Greco Wong and Paul Lam in the

basic Luk Sau roll before they
launched into Gwoh Sau action.
24
Mak Po was Moy Yats Sihing. They both learned

from Ip Man at the same time. Moy Yat used to
invite me and Mak Po to go to his place to practise.
When I was teaching at Moy Yats school, Mak Po
used to visit, and I would find myself practising
with him. Most of the time, I and the other students
would be doing Chi Sau with Mak Po. After I left
to study in the UK, I lost contact with him. I heard
through my students researching on the Internet
that Mak Po is now living in San Francisco. I dont
know if he is still teaching Wing Chun. Id love to
get back in touch with him. I think he would still
remember me if you asked him about Ah Chun.
those wheels are. Instead of using a trolley to move

those tyres around, he would just carry them by
himself. Despite his size, he was a real gentleman.
You would think he must have been using his
superior physical strength against other people in
Chi Sau, but no. His hands were very soft, very
sticky and very fast. You never felt that he was
taking advantage of you because of his size.
I also recall reading on the Internet that Mak Po used
to vet candidates for Gwoh Sau or Beimo events against
other Gung Fu styles. Can you comment on these?
Although this may have been the case, I personally

havent heard of either Mak Po or Moy Yat being
involved in Gwoh Sau events.
Changing the subject Im sure all readers will want to
know about your personal memories and knowledge
of Ip Man.
As I mentioned earlier, back then, Moy Yat used to

regularly take Ip Man out for Dim Sum and tea,
and he often asked me to go along with them. Ip
Man knew of me as Moy Yats friend and student.
When Moy Yat wrote to me, he would address me in
Chinese as Yau Son, meaning friend and student.
During Dim Sum, we would usually take every
opportunity to ply Ip Man with questions about
Wing Chun. When I was training under Ip Man, he
was already quite old, around 70 years old. He
didnt do much Chi Sau with anybody. His school
was open pretty much all day. You would just go
up there and practise Chi Sau with different
students there. I used to go there three times a
week after school. Sometimes he was there and at
other times he wasnt. When you were doing your
forms or Chi Sau, and if he saw that you were not
doing it right, he would sometimes come over and
correct you. I didnt do any Gwoh Sau with him,
but there was one occasion that he was showing
me Chi Sau, and I did roll with him for a while.
His hands were very soft, you didnt feel that he
was using any strength, but his arms were very
sticky, as if they could suck you in. Ip Man liked
to wear traditional clothing, white T-shirt when
training, and if he had to go out, he would put on
a long coat with the buttons on the side, with white
I hope you succeed. Perhaps you can tell us something socks and Gung Fu slippers. And he walked with
about Mak Pos reputed strength and skills.
one hand held behind his back. The cigarettes he
Back then, Moy Yat and I were younger than Mak Po. smoked were unfiltered. He was always very calm
We were still in school, and Mak Po was already
and collected. When you asked him a question, he
working as a mechanic at a bus terminal. He was
usually didnt answer you right away. Sometimes
a big and tall guy. He was at least six foot tall.
you would think that he was ignoring you. But
There were a lot of big double-decker buses
after a while, he would come back to you and say,
operating in Hong Kong. You can imagine how big Ah Chun, did you just ask me about...? Then he
ISSUE 01
feature
Greco Wong adjusting a students

response to a palm strike. The
technique shown is one of at least
four different responses the author
has come across, in this case a sort
of sinking Wu Sau action.
When Moy Yat left Hong Kong in 1963 to travel

around the world as a seaman for a year, I naturally
wanted to keep up my Wing Chun practise. So,
before he left, Moy Yat introduced me to Wong
Shun Leung. I was still a student without much
money, and Wong Shun Leung charged $60 a
month, so I couldnt quite afford it. Chu Shong Tin
and even Ip Man charged only $40. So Moy Yat
suggested I train with either Chu Shong Tin or Ip
Man. I went to Chu Shong Tin first and trained
with him for a while. I admired Chu Shong Tin as
a teacher because he would stick hands with his
would give you an answer. There was one question students. Later on, I went to Ip Man. By that time I
that we asked him during Dim Sum and tea. I
had already learned all three forms, Chi Sau and
forgot whether it was Moy Yat or I who posed the
the dummy. I just wanted to verify and compare
question. We asked him how to break through a
the things I had learned from Moy Yat (much as
Taan Sau; his answer was the Phoenix Eye
todays Wing Chun students like going to different
punch. He didnt teach Moy Yat the six-and-a-half- seminars, reading different books, and watching
point long pole or the butterfly knives until after
different videos) and to keep up my Chi Sau
Moy Yat had opened up his own school in Hong
practise with different students of Chu Shong Tin
Kong. Ip Man then personally went to Moy Yats
and Ip Man. Some of the other teachers at the time
school to teach him the pole and the knives. After included Ho Kam Ming, Jiu Wan, and Ip Mans
Moy Yat had learned these, he taught them to me, younger son, Ip Ching. His eldest son, Ip Chun,
as he needed someone to practise with.
was around at the time, but did not appear to be
really involved with teaching. I used to see him
Can you tell us about some of the other famous names occasionally at Ip Mans school, but did not see him
in Wing Chun at the time?
practise with anybody, either drilling or Chi Sau.
25
moon pointing finger
The Muk Yan Jong

is NOT for Dummies
THERE IS A VERY SIMPLE, BUT

EXTREMELY IMPORTANT AND MUCHOVERLOOKED FACT THAT FEW
PEOPLE PRACTISING WING CHUN
SEEM TO UNDERSTAND ABOUT THE
MUK YAN JONG FORM: IT MUST
NEVER BE VIEWED IN PURELY BLACK
AND WHITE TERMS WITH REGARD TO
CONCEPTS AND/OR APPLICATIONS.
BY DAVID PETERSON
The Muk Yan Jong is a complex,

multifaceted training tool that has many
shades of grey and chief amongst its
requirements is the need to have a very
active imagination in order to actually
discover the full potential of what is
contained within it. It is a training tool
that has so much to offer practitioners of
the system, but for most, never delivers
all that it could because it requires a very
special kind of thinking. The Muk Yan
Jong is NOT meant for Dummies!
Dont just hit the Jong like a robot,

or with unrealistic expectations, or with
a plan to apply each sequence verbatim
in a scenario that will never occur.
26
One of the most respected and

innovative Wing Chun teachers of recent
memory, the late Wong Shun Leung Sifu,
believed that the most important
consideration regarding the Muk Yan
Jong form is the need for the Wing Chun
practitioner to appreciate the fact that
there are certain things that the Jong is
NOT: it is NOT a conditioning tool; it is
NOT a Chi Sau training exercise or
substitute for hands-on experience; it is
NOT meant to be interpreted as a set of
rigid sequences to be applied in rote
fashion in combatto practise and/or
attempt to apply it as such is a recipe for
disaster (to do so presumes far too much
knowledge of the opponent, and to think
in that way will lead to the Wing Chun
practitioner getting him or herself into a
situation that is extremely difficult to
recover from or escape).
Herein lies the true nature of what the
Muk Yan Jong IS there to teach us. It is
primarily a means to learn the basic skill
of RECOVERY. It isnt there to teach us
how to have unbeatable skills, extreme
ISSUE 01
Photos: Brett Brogan
David Peterson performs the Biu Sau/Dang Geuk movement

from the final section of the WSLVT Muk Yan Jong form.
power or unstoppable attacks. It is there

to provide us with the best means
possible to overcome what is our very
worst enemy of all: our natural human
capacity to make mistakes. No matter
how much we think we know or how
good we think our skills are, somewhere
along the way, we all make mistakes. In
combat, any mistake can lead to defeat
unless we have an effective means of
recovery. This is the purpose of the Muk
Yan Jong form, to show us what the most
typical mistakes are and then go about
programming our neural systems with
the best possible solutions and skills to
deal with those mistakes.
Along the way, the form also reinforces
and trains skills and concepts that are
found within the three basic forms (Siu
Nim Tau, Cham Kiu and Biu Ji), as well
as improving distance, timing, footwork,
power generation, positioning and
co-ordination, to name just a few of the
attributes it can develop and enhance.
Much of what is contained in the first
half of the form (approximately 60
movements in) emphasise Siu Nim Tau
and Cham Kiu principles and tools. As
we progress through to the second half
of the form, we are introduced to more
unusual or specialised ideas which in
many instances, are more along the lines
of what is contained within the Biu Ji
form, though not exclusively so.
The Muk Yan Jong form contains several
variations of the basic kicking techniques
of Wing Chun (only two basic kicks are
introduced prior to this: Dang Geuk
More crucial than anything else, it is

extremely important that one never loses
sight of the fact that the Muk Yan Jong is
a piece of training equipment, simple in
construction (a trunk of wood with three
arms on two levels, each representing
both the left and right sides, and both the
inside and outside, with the mid-level arm
representing mid-level kicks as well, and
a single leg protruding from the front),
and mounted in such a way that it cannot
move more than a few inches in any
direction. As such, the Wing Chun
(Ascending Heel Kick) and Waang Geuk

(Horizontal/Side Kick), in the Cham Kiu
form), thus expanding both the repertoire
and the adaptability of the Wing Chun
student with regard to the use of the legs
for attack and defence. Interestingly, of
these kicking actions, all but one are
considered to actually be geuk or kicks
with just one action referred to as tui or
legthis is because the four geuk
actions are for attack, while the tui is
considered an emergency recovery action,
not one that would normally be considered
as a primary weapon of attack.
With regard to numbers, there has been
much debate over the years as to how
many techniques make up the form.
Some insist that it is 108, others say 116,
while for others even more. Each camp
offers up reasons for their assumption,
most of it mere speculation or hearsay.
Basically, the number of techniques is
NOT really a matter for concern. As
Wong Sifu was known to say many
times, we should be concerned with
learning combat skills, not mathematics.
Hence, not only is the number not of any
real consequence (if one actually counts
every single movement as one action, the
number is somewhere around 180!),
ultimately even the order of the
sequences is not really that important, so
long as you try not to leave anything out
of the form. In addition, subtle variations
within the sequences or in the actual
actions themselves are really not of any
great concern, so long as the basic
concepts of the system, as well as logic
and reality, are always adhered to.
Ensuring that he trains to deflect/re-direct rather than

meet force head-on, David performs the Kwan Sau
action past the central mass of the Muk Yan Jong.
practitioner has to move around the Jong

when, in reality, the opponent is able to
move at will. Thus, when playing the form,
many of the actions and the direction or
angle of movement, or the actual position
of the hands will NOT be the way in which
these actions may end up being applied
in actual combat.
It is therefore very important that one
has an active imagination and uses it
during practice, visualising things that
are not actually happening, such as
arms moving or not being present, or
one arm representing two arms, and a
host of other possibilities. In this way,
the Muk Yan Jong truly comes alive as a
training tool that goes way beyond its
very simple construction.
27
Looks can be deceivingDavid demonstrates the

Bong Sau action on what represents the outside,
rather than the inside arm of the opponent.
Dont be a Wing Chun Dummy, use what it has

to offer you to make your opponent wish that
you were one!
A key to getting the very most out of
using this equipment is to make sure that
one slows down, giving every movement
equal importance and attention, checking
every angle and technique for accuracy,
and learning to apply the very best
possible body structure so as to ensure
the development of flexible, explosive
power that can be applied without the
need to over-exert the body. One needs to
feel every movement and make sure that
they develop a fluid and natural means of
moving from start to finish.
There is absolutely NOTHING to be gained
by trying to complete the form as quickly
as possible, or to try to bash the hell out
of the Jongthere is only one dummy in
such an exchange, and its NOT the
equipment! Just as in the practice of the
basic forms, the emphasis should be on
the things that really matter: accuracy of
movement, structure, balance, angle,
distance, and so on.
28
The whole idea is to upload the best

possible information into the neural
system in order for the very best possible
application of the concepts and tools
contained in the form. If you want to work
on speed or power, there are far better
ways to do so, and more appropriate
equipment to do it on.
Yet another essential fact to accept is
that the various sections of the Muk Yan
Jong form are NOT set sequences that
must be applied exactly as they appear in
the form. Quite the opposite is the
truththey are simply a very clever
arrangement of concepts, strategies and
techniques that can be utilised in ANY
combination that a particular situation
dictates. Like a toolbox containing all
the very best tools to deal with ANY
situation that we may ever come across,
the sequences of this form (just like the
sequences/sections of all the forms in
Wing Chun) are there so as to allow for
natural and effective absorption into our

neural system, such that the body has no
problem finding the right tool for the job
under the pressure of actual combat,
without the need to stop and think about
itthat is a luxury that real combat does
not allow.
Over the years, I have seen what can only
be described as suicidal interpretations
of the movements in the Muk Yan Jong
form, where various masters try
desperately to find a scenario that would
permit the sequences to apply as per the
order in the form. These interpretations
of the form are tantamount to teaching
their students to die in the street; such is
the impracticality and unrealistic nature
of what is being demonstrated. If nothing
else, these attempts to justify their
combat thinking only serves to prove
that they have never been in a real fight
in their lives! Instead, Wing Chun
practitioners should look at the sequences
as a means of learning to flow naturally
from technique to technique, learning to
adapt and open their minds to the
prospect that anything can and will
happen on the Pavement Arena.
In closing, I would encourage all Wing
Chun devotees, regardless of lineage or
style, to take a step back and re-think
what they are getting from training on
the Muk Yan Jong and to see if they can
change their approach such that they
start to see the infinite number of
advantages that this form and equipment
can provide for them.
Dont just hit the Jong like a robot, or
with unrealistic expectations, or with a
plan to apply each sequence verbatim in
a scenario that will never occur. Instead,
open your mind to the fact that the form
is a doorway that can take you way
beyond what you first perceived Wing
Chun to be, and that the Muk Yan Jong
is no Dummyit is one of the best allround training devices ever invented.
Dont be a Wing Chun Dummy, use what
it has to offer you to make your opponent
wish that you were one!
ISSUE 01
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section
30
ISSUE 01
in focus
FOR READERS WHO HAVE BEEN FOLLOWING WING CHUN SINCE THE
1980S, GREAT GRANDMASTER VICTOR KAN WAH CHIT NEEDS NO
FORMAL INTRODUCTION. UNDER THE TUTELAGE OF GRANDMASTER
IP MAN, HIS FELLOW STUDENTS NICKNAMED HIM THE UNTOUCHABLE
AND THE KING OF CHI SAU. OUTSPOKEN, OPINIONATED, ARROGANT
BY SELF-CONFESSION AND POTENTIALLY CONTROVERSIAL, THIS
WAS ONE CONVERSATION THAT WAS ALWAYS GOING TO SIZZLE.
It took place over a delicious Dim Sum lunch at the

famous Wing Yip building in North West London.
And like the food, the Wing Chun banter was free
flowing with Victor Kan assuring us that his Wing
Chun school was the last genuinely traditional
school, and that he is the most senior in the Wing
Chun community.
V
During the photography session, Victor Kan wore

his silver silken Mandarin jacket and a lengthy
fashion shoot ensued. Mr. Kan was encouraged
through his various poses and facial expressions.
Eventually, WCI staff writer Dr. Matthew Mills
offered to act as a stooge and was instructed by
Victor to be sure to place himself in such a way
that Mr. Kans face was not obscured.
ICTOR KAN
WAH CHIT

the man who

would be king
BY ALAN GIBSON
31
victor kan wah chit
All photos in this article by Haide Augusta www.strangeceremonies.co.uk/photography
I think
Wing Chun
is going
downhill
all the
time. I said
this 20
years ago.
Now Wing
Chun is
even more
popular,
and the
quality is
much less.
Can you give me a short summary of your background
in Wing Chun?
I became a student of the late Grandmaster Ip Man

in Hong Kong, 1954, when I was 13 years old.
I devoted three to four hours a day, seven days a
week, learning and practising Wing Chun under
Ip Mans instruction for seven years. In the late
1950s, I practised advanced Chi Sau with over 20
students for two sessions per day, and each session
lasted over two hours without stopping. I was not
being touched even once. They nicknamed me the
Untouchable and the King of Chi Sau. Then I
became his Assistant Chief Instructor until I left
Hong Kong. I came to Europe to study in 1961,
then to the UK in 1975. I started teaching fairly
32
soon after that. I was a pioneer. Im the only

student of GM Ip Man teaching in Europe and have
branches in Italy, Belgium, Luxembourg and Hong
Kong. I keep the highest standards of authenticity
and insist on teaching Classical Ving Tsun in the
traditional way just as GM Ip Man taught me.
GM Ip Man was a legendary Wing Chun coach. Can
you say something about your time with him? For
instance, what was the training like in his class and
what was he like as a coach?
The first time I met GM Ip Man he looked at me

and said, You are rather big and well-built for your
age. I will call you Big Boy. Everybody laughed at
his remarks. I later found out that Ip Man always
ISSUE 01
in focus
You might think that Im being arrogant, but it is

the truth. Every generation loses some percentage
of quality from their Master. That is why the
generation game is so important for the Chinese.
liked to address his students by their nicknames.

He was very observant, a gentleman. He would
show you a new technique when he thought you
were ready, and then he would observe how you
developed it. He was very traditional and disliked
people rushing. In his view, you were learning his
technique as a studentnot buying them as a
client! Nowadays, people always want to rush. In
the old days, it would have been seen as insulting
to your teachers intelligence, if you asked for the
next technique. Bruce Lee came to Ip Man once
saying, What do you think of my Jeet Kune Do?
In Chinese, we have a saying for this: A son
trying to teach his father how to make a baby. He
even offered to buy GM Ip Man a flat in exchange
for teaching him the Muk Yan Jong, but Ip Man
was offended and told him to go away.
Would you say that there was much difference between
the students and training methods in Hong Kong and
the UK?
Hong Kong is the fastest city in the world; everyone

is rushing all the time. The only thing they have got
an interest in is to make a few dollars more. Like
learning Wing Chun, they think they can buy the
skillthey just want speed but not quality while
also forgetting that it takes time to digest what they
have learned. This suits instructors of Modified
Wing Chun just fine. In Europe, students tend to
be more serious and dedicated, take it as a hobby
and have more time to learn and digest. They seem
to better understand that learning Wing Chun takes
time Rome wasnt built in one day.
How do you perceive the differences between yourself
and the other surviving first generation Ip Man
students? Can you say anything specific about these
other people?
You have to make the distinction between student

and disciple. There are many different levels and
categories. Most of GM Ip Mans good disciples like
Lok Yiu and Wong Shun Leung have passed away;
the few left are too old to teach. There are a few
of his private students still out there. They can tell
what the real traditional Ving Tsun looks like. Ip
Mans oldest son just looks like his father but does
not have the skills. He is my Sidai (Junior) in the
Wing Chun family but not by age. He has to make
a living by trading on his parentage. I am the only
one left qualified to talk about Classical Ving
Tsun and to criticise the others. You might think
that Im being arrogant, but it is the truth. Every
generation loses some percentage of quality from
their Master. That is why the generation game is
so important for the Chinese. One particular Sifu
tried very hard to lie about being a student of GM
Ip Man. Eventually, the truth came out. Financially
I am well off, so I dont have to surrender to my
students monetary demands. I can afford to teach
Classical Ving Tsun in its proper traditional form,
without any modification. Preservation of
Traditional Ving Tsun is my life duty now. I am
For more information about

Victor Kan Wah Chit and
Classical Ving Tsun, you can
visit his website at:
www.victorkanvt.com.
33
victor kan wah chit
now the founder of the Traditional Ving Tsun

Association, recognised by the Hong Kong
Government. All serious Wing Chun, Ving Tsun
practitioners or schools are welcome to join.
For a man of 69 years of age, you seem in very good
shape. Do you place a great emphasis on strength
and conditioning in your coaching?
I practise Ving Tsun at least one hour a day all

year around. I like all sports: golf, skiing, particularly
tennis and horse riding. I do them all the time,
which is why I have stayed so strong, fit and healthy.
How would you define centreline theory?
Its the shortest distance between two points. It

also helps us to divide the body into the four gates.
What about the idea of structure and how this is
used in Wing Chun?
Its all in the forms Siu Nim Tau and Cham Kiu
the longer you train Siu Nim Tau, the better and
the more that you understand the ideas of structure.
How much emphasis do you put on Chi Sau in your
coaching?
The more popular Wing Chun becomes, the lower its quality
becomes. Its like fast food. You cant afford to cook good
quality roast beef every night these days.
I dont do much in the way of weights. I dont
think it is essential to lift weights and do other
training for Wing Chun. Perhaps some ancillary
training with weights, but nothing specific. I had a
student who was a champion bodybuilder, but
there comes a point where youre so big you cant
make the Wing Chun shapes properly because
your muscles get in the way!
Do you consider Wing Chun to be an internal art? If so,
what does this mean and how does it affect training?
Wing Chun does have an internal part. This is what

Siu Nim Tau is for. I tell my students to keep
practising Siu Nim Tau. At least half an hour a
day. There is no upper limit to how long you
should practise Siu Nim Tau forthe longer the
better. When I do this, I develop strength and my
Qi. During Siu Nim Tau, I visualise building and
moving my Qi around my body. I will write more
about this in my forthcoming book, which I intend
to write sometime.
What would you consider to be the core essentials of
Wing Chun?
People change things, but the core is still Classical

Ving Tsun: centreline, being scientific with your
thinking, elbow position. It is all in Siu Nim Tau.
Ving Tsun is simple to learn and yet very difficult
to master.
34
There is a lot of emphasis on Chi Sau in Classical

Ving Tsunit is the cream, the best, the most
unique part. It contains everything needed for
fighting. It teaches you to control your power. I can
strike with full force and stop just short. The
important thing is to touch arms (Chi Sau) with a
true Master. You can only learn from the way they
feel and move. The student will learn through this
feeling and develop like the Master. You cant learn
this by watching, because youre only copying the
shapes and movements, not learning the feeling
and skill.
What are your thoughts on Chi Sau?
You can train everything in Chi Sau: sensibility,

power, control, but it must be done with a Master.
Unfortunately, there are not many left now who
know how.
Can you explain whats meant by relaxing in Chi Sau
and how to achieve this?
This is about learning more skill. Developing

power is difficult; learning how to control it, is
even harder. It is hardest to become the Master of
the power.
Do you think that the current trend in martial arts
toward MMA and cross-training has benefitted Wing
Chun at all?
ISSUE 01
in focus
Can you say something about the current progression

or evolution of Wing Chun?
Everything needed is already in Classical Ving

Tsun. The danger is that the quality will reduce as
it becomes more popular. I think Wing Chun is
going downhill all the time. I said this 20 years
ago. Now Wing Chun is even more popular, and
the quality is much less. Im always constantly
trying to improve this situation, and make my
teaching of Wing Chun more and more pure.
What do you feel about the different brands of
Wing Chun?
Ninety per cent of them are their Sifus own

modified version to please their students. Its for
the show and also for the dolls. Others are copying
different DVDs and books, and then invent their
own version of Wing Chun. See it for yourself on
YouTube.com. What a BIG MESS!
Years ago, any Wing Chun Master would have
undoubtedly been Oriental in origin. Nowadays, it is
not uncommon to see large successful groups run by
Western coaches. How do you feel about this?
No, everything is already in Classical Ving Tsun.

Its just that these days people want to have
everything quickly. They want to buy techniques,
not learn them. Like I said earlier, Wing Chun is
easy to learn, but hard to master. It takes a long
time. The more popular Wing Chun becomes, the
lower its quality becomes. Its like fast food. You
cant afford to cook good quality roast beef every
night these days. These people are like cowboy
builders and their Wing Chun is like eating
McDonalds. More people come in to teach, they
change things, and the quality drops.
How do you view the Wing Chun weapons? I have a
personal interest in the way that the pole and knives
integrate with the Wing Chun fist-fighting system.
They are from a time when people needed to know

how to use weapons. Most people nowadays do it
only to complete the system. They are not so
relevant nowyou cant use them practically.
A knife will kill, but a gun is quicker and possibly
cheaper to obtain. I get very worried about this
subject. You see Masters showing how to disarm a
gunman or take a knife from someone. This is
very dangerous nonsense, and these teachers are
potentially murderers!
There is no limitation in nationality; if you are

good enough and have the correct knowledge,
then you can teach good quality Wing Chun. Like
my Italian branch in Genova. It is run by Sifu
Sandro who has over 70 regular students.
Martial arts are meant to make us better, more
humble people. Why then do we see so much
in-fighting in the general Wing Chun community?
It is a dog-eat-dog world out there, and everyone

wants a piece of the cake, so they all argue and
claim to be the best. At the end of the day, it is all
about money. The market is there and everybody
wants someand the cowboys want a piece of the
action too.
Finally, how do you see your own personal legacy
in Wing Chun?
My goal is the preservation of Classical Ving Tsun.

Mine is the only school worldwide teaching
traditional Wing Chun 100 per cent as Ip Man
taught it. I teach exactly the same as he did. I
have worked hard to build up our schools and
work with some good instructors. They will be
able to pass on skill. They are not as good as me,
of course. It is not possible to be the same as a
Masteryou cant simply copy them. If you watch
a classical piano recital of, say Chopin, do you
really think it is the same as the original?
35
chi sim shaolin weng chun
Saam
Pai
Fat
Weng Chuns Secret Bodywork
BY ANDREAS HOFFMANN
Here, in between all those different

shops, we find the Weng Chun Mecca
Dai Duk Lan, where so many famous
Grandmasters have trained and done
challenge fights. In one of the stores, two
honourable old men are doing Kiu Sao. It
looks similar to Wing Chuns Chi Sao
but these masters are doing it in a very
different manner. They are using their
whole body in every movement they do,
even if it is a little one. This makes their
movements very pliable and powerful.
Everything looks so round and my Wing
Chun-trained brain doubts this can be
effective in any way. Is it fast enough?
Isnt a straight punch the shortest distance
between my opponent and me? It was
amazing how effortlessly these old
masters combined punching, kicking,
throwing and locking.
After GM Wai Yan welcomed us, he
introduced us to his student GM Lau Chi
Long and invited me to a sparring fight
between friends. I agreed and thought
with my juvenile pride: If he knew how
good I am but I will be a little bit
careful with him because hes so old.
Andreas Hoffmann and GM Wai Yan standing
in front of the first original wooden dummy in
Weng Chun Mecca Dai Duk Lan.
IT IS 1986. I AM 20 YEARS OLD AND FULL OF DESIRE TO LEARN THE

ORIGINAL GUNG FU IN MAINLAND CHINA. MY WING CHUN TEACHER AND I
FIND OURSELVES IN HONG KONGS CROWDED WATERLOO ROAD IN FRONT
OF A MARKETPLACE. MY TEACHER WANTS TO INTRODUCE ME TO WAI YAN,
THE GRANDMASTER OF WENG CHUN GUNG FU.
36
Oh boy, was I in for a surprise! Whatever

I did, GM Wai Yan used my own power
against me and used his whole body as
lever force by doing some strange bow
movements just to throw me, to lock me,
or even when punching to have better
angles than me. My straight attacks
always went into emptiness and for GM
Wai Yan it was obviously a pleasure to
chain me.
ISSUE 01
This was the first time I felt the power

and application of Saam Pai Fat (Three
Bows to Buddha). After this meeting, I
became a personal student of GM Wai Yan.
WHAT DOES THE NAME MEAN?

For us Buddhist Chan (Zen) practitioners,
Saam Pai Fat is our basic daily Buddhist
exercise to bow for Buddha, Dharma and
Sangha. Buddha, as the symbol of the
development of our potential, Dharma,
the teachings to get there, and Sangha,
all the people who are on the same way.
The daily bowing exercise changes your
body into a power machine and it purifies
and focuses your mind. All paths of
Shaolin wisdom came together in this
one form, and so they gave it their most
important name: Saam Pai Fat.
Saam=three times, Pai=bowing,
Fat=Buddha.
The daily bowing

exercise changes
your body into a
power machine
and it purifies and
focuses your mind.
SAAM PAI FAT IN WENG CHUN

Weng Chun hero Fung Siu Ching gave
the Saam Pai Fat only to his special
students, the Lo brothers. After Fung Siu
Ching got a serious illness and was healed
by the Lo family, he chose them to be
his successors.
According to the Lo family, Saam Pai
Fat is the advanced Weng Chun set of
Sun Gam (Dai Fa Min Gam) of the Red
Boat Opera. Sun Gam only gave the
Saam Pai Fat to chosen students. The
rest of the students had to be satisfied
with the other forms and concepts.
Photo: Henrik Nilsson
The Lo family and GM Wai Yan made it

possible that the other Weng Chun/Wing
Chun lineages got access to the Saam
Pai Fat in the famous Dai Duk Lan
Weng Chun Academy in Hong Kong.
SAAM PAI FAT IN WING CHUN

It is interesting that some Wing Chun
lineages call a section near the start of
Siu Lim Tao, Saam Pai Fat. Furthermore,
a lot of moves of Weng Chuns Saam Pai
Fat can be found in Wing Chun forms in
a simplified version. Clearly, this is
evidence of the close connection between
Weng Chun and Wing Chun.
Andreas Hoffmann showing Saam Pai Fat in front of

the Head Gung Fu teacher monk of Southern Shaolin.
37
Saam Pai Fat became

the most important
form in Weng Chun,
because its concepts
became the heart and
signature of all other
movements and forms.
Andreas Hoffmann taking
lessons from GM Wai Yan.
HEAVEN, MAN AND EARTH

Saam Pai Fat teaches the advanced
Weng Chun practitioner special body
movements with whose aid the practitioner
revolutionises his/her previous Weng
Chun. With the understanding of the
mechanics of the body and with the
development of Qi, it is possible to
develop enormous power and speed,
almost effortlessly.
The previous step work is expanded by new
step work concepts in all eight directions.
This allows the practitioner to rob the
energy even from an experienced
opponent or even to prevent it from
arising at all. The characteristic feature
of this level is the rolling and swinging
movement (Wan Wun Yiu Tiet Ban Kiu)
of the body, reminiscent of someone
bowing.
38
heights: Heaven (Tien), Man (Dei) and

Earth (Yan). Awareness and sensitivity
are the basic skills to feel all directions,
and all dimensions to control the
centreline (Balance) of the attacker and
to apply a variety of tools to render him
incapable of combat (Fok).
combat the situation in which one has

contact with the trunk of the opponent.
From the height Earth there are actions
to the lower body. The Earth reference
point is the acupuncture point Qi Hai
(under navel), which builds the door to
the lower Dan Tien.
Heaven from a range perspective represents

hand and foot strikes, and in combat the
situation without contact. From the
height Heaven there are actions to the
upper body. The Heaven reference point
is taught by the Weng Chun technique
Kung Meiattack the eyebrowsand is
the upper Dan Tien.
THE FUTURE OF SAAM PAI FAT
Saam Pai Fat teaches to orientate on

Heaven, Man and Earth, which
expresses space, gravity and energy in
Shaolin Chan and martial arts.
Man from a range perspective represents

elbow and knee strikes, and in combat
the situation in which one has contact
with the opponent. From the height Man
there are actions to the middle body. The
Man reference point is the triangle, which
the throat builds with the two nipples. In
more detail, the acupuncture point Ren 17
builds the door to the middle Dan Tien.
The space between two combatants is

divided into three distances and three
Earth from a range perspective represents

head, shoulder and hip strikes, and in
Grandmaster Wai Yan taught me Saam

Pai Fat together with the underlying
concepts while telling me his vision as to
how he saw the future of Weng Chun. He
told me: We can make Weng Chun very
famous by showing the beauty and
effectiveness of the use of the third line
through bowing/waving. Today (it was
the beginning of the 1990s) there are a
large number of martial artists who can
use the first line (hands/feet) and the
second line (elbow/knees), but less
people are using the third line.
According to GM Wai Yans oral tradition
from the Lo family, Saam Pai Fat
became the most important form in
Weng Chun, because its concepts
became the heart and signature of all
other movements and forms.
ISSUE 01
THE DEBUT NOVEL FROM WRITER,

PRODUCER, DIRECTOR AND ASIAN
FILM AUTHORITY, BEY LOGAN
A famed religious leader is critically wounded by a would-be
assassin, and needs to receive a life-saving blood transfusion
within 12 hours. His sworn protector, the woman warrior Deva,
sets out to find the last possible donor, John Tremayne, a drunk
former Special Forces operative. With ruthless assassins on their
trail, this mismatched couple must survive both the dangerous
journey and each other in their bid to save the holy mans life
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PRAISE FOR THE BLOOD BOND
Action film ethosruns deep through The Blood Bond. [The book] is instantly addictive.
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Sharp dialogue, interesting characters Moves with cinematic pace

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A sequence of cinematic vignettes with stories and scenes straight out of

action cinema, giving it [a] unique quality.
Remo Notarianni, TPAG
You really feel Bey knows whereof he writes, in terms of both the locale
and the martial arts action scenes.
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To order your signed copy NOW, email Vicki Tang at vicki@bxe-productions.com
Now an exciting film directed by

and starring Michael Biehn
(Terminator, The Rock), with a cast
including Phoenix Chou (Beach
Spike!) and Simon Yam (Ip Man).
feature
DONNIE
YEN
BRINGING
IP MAN
TO LIFE
BY ERIC LILLER
What is your fighting style and background?
Well, my first style was Wushu and Tai Chi, when

I trained under my mother, who is a Gung Fu
teacher in Boston, Mass., and her name is Bow
Sim Mark. Then, when I was a teenager, and I
think kind of against her wishes(!), I went out to
study all different arts, like boxing, Karate
everything! Bruce Lee was my idol, and I knew he
hadnt just studied one style, so I wanted to learn
everything I could. And I still do!
How did you prepare mentally and physically to play
the role of Ip Man?
Mentally, I read everything I could on Ip Man, I met

his oldest son, Ip Chun, and asked a lot of questions.
I trained in Wing Chun with various teachers,
including Ip Chun, and we had a wooden dummy
at the film company offices that I could train on.
For this role, I wanted to lose weight, because
Ip Man was such a slender figure, not as muscular
as my usual kind of roles.
DONNIE YEN HAS A DEDICATED FOLLOWING IN ASIA FOR HIS
IMPRESSIVE MARTIAL ARTS SKILLS, AND HAS ACHIEVED
INTERNATIONAL CULT STATUS FOR ROLES IN ACTION MOVIES SUCH
AS LEGEND OF THE FIST: THE RETURN OF CHEN ZHEN, PAINTED
SKIN, FLASH POINT, SEVEN SWORDS, SPL, SHANGHAI KNIGHTS,
HERO AND BLADE II.
With the recent box-office success of the Wilson
Yip helmed movies Ip Man and Ip Man 2, Yen has
become one of Chinas hottest actors and is now
being offered roles outside of the action genre.
Did your investment in Wing Chun, for the role of Ip

Man, cause you to re-examine any of the other styles
that you had already learned?
Not really. I just looked at it in the context of the

character and the film. It certainly gave me a new
appreciation of Wing Chun! I have used Wing
Chun movements in some earlier films, but this
was the first time I studied it so intensely, the
dummy and the different forms.
What was the most interesting thing you learned
about Wing Chun?
I really began to appreciate the way it brings a

scientific approach to close range fighting. Of
In connection with Cine-Asias UK DVD release of course, today we have MMA and all these different
Ip Man 2, we were able to chat with Yen about
aspects of combat, but, when Wing Chun was
bringing GM Ip Man to life on the big screen and
developed and became famous, when you compare
ask him probably the #1 question on fans minds:
it with the styles of that era, like Hung Gar or
Will he reprise the role of Ip Man in a third movie? Choy Li Fut, it really was revolutionary for its time.
40
ISSUE 01
feature
What was the most interesting thing you learned

about Ip Man?
I felt like we really

hadnt seen a Gung Fu
hero like this before.
Well, it was all interesting to me, because, before

this film, all I really knew about Ip Man was that
he was the Grandmaster of Wing Chun and that
he taught Bruce Lee. Then, from reading the
script, from my own research, and from talking to
his oldest son, you get the impression of this
really skilled martial artist who is also a scholar,
a family man I felt like we really hadnt seen a
Gung Fu hero like this before.
Unlike the first film, Ip Man 2 includes more wirework.
How do you feel about both doing and watching
wirework in movies?
in China, so, again, it was the degree

of success that surprised me.
Hmm. Actually I think the wirework was about

the same in both films! Maybe we just had some
more spectacular movements in Ip Man 2, so you
noticed it more. I think its just another tool for
the action director, just like CGI. If you notice it
too much, its probably not a good thing.
Wing Chun is an art not normally

considered as flamboyant enough
for Gung Fu movies how did
you get around this with the
Ip Man films?
Whats your most memorable moment(s) working on

the Ip Man movies?
I was lucky, because that was

basically [action director]
Sammos problem! Of course, he
has made several great movies
in the past where he used Wing Chun, so we were
pretty confident he could make it look good on
screen. And he did!
I remember a scene in the first film, where a whole

truckload of Japanese soldiers drives by, and Ip
Man sees them and he realises his Gung Fu is
powerless against this kind of force. I thought that
scene was very effective, unlike the kind of action At 59, Sammo Hung is still active and directing fights,
and also stepping in front of the camera? Do you see
hero Ive played in the past.
that somewhere in your own future?
What was the toughest thing for you about working
on the Ip Man films?
To be honest, of course, it was physically

demanding, to perform the fight sequences, but
everyone worked together so well, and the
character seemed to suit me, so it was a real
pleasure to come to work each day. In terms of
the action, the hardest thing in the first film was
the last fight, with the Japanese general, because
the actor wasnt a martial artist, which is always a
challenge. He worked very hard, though. On the
second, it was the challenge matches on the table,
just because it was a lot of action shot at the same
time, and in a very confined space.
Were you surprised at the phenomenal success of
the Ip Man films?
After the first one, I knew wed made a good film,

but you never know how its going to be received. I
had a feeling it would do well, but quite how well
it did was a surprise. With the sequel, you feel
theres probably an audience, but, I dont know if
you know this, but Ip Man 2 was a huge success
You mean still being active at 59? I hope so! I mean,

whether Ill still be starring in films, I dont know,
but I think Ill be active in the industry. I dont know
what else Id do!
For films do you prefer fighting with weapons or fists?
I dont mind, I just want to find a style that suits

the character. For Flashpoint it was MMA. For
the Ip Man films Wing Chun. I did a film called
The Lost Bladesman about the Three Kingdoms
character Kwan Kung, who has a very distinctive
weapon, so we had to make that work on film.
It all comes from the story and the character.
Madame Tussauds Hong Kong now has a Donnie Yen/
Ip Man waxworkwhat was it like to meet yourself?
Well, firstly its a great honour. I should point out

that its actually a statue of Donnie Yen as Ip Man.
I dont dress that way the rest of the time! Its an
interesting process, the way they take measure
ments, and it is pretty lifelike. Im thinking of
sending the dummy out on my next press tour,
see if anyone notices!
41
donnie yen
You come from a musically talented family and play

the piano yourself. Are you ever worried about
damaging your fingers when practising martial arts?
piano, but I could get by without it. So far, so

good, though!
Hmmm. Now you mention it, I suddenly am!

Actually, piano has always been a hobby for me,
but I make my living from action movies, so Id be
more worried about an injury that might prevent
me from doing action scenes. Id miss playing the
Would you say that the musical score in the Ip Man

films portrays an important part of the story?
Oh, absolutely. For years, Ive been saying that we

need bigger orchestral scores for Hong Kong
movies, and I can say that one of the first films I
was involved with where the score really worked
was Kawai Kenjis one for Seven Swords, and so
we worked with him again on (my film) Dragon
Tiger Gate and then on the Ip Man films. The
music adds so much, and Kawai San did a great
job every time.
You have stated that martial arts are a form of
expression, and of course acting is toocan you say
something about your romantic and poignant
portrayal of Ip Man (apart from the fighting)?
I think this role came at a time in my life when I

was ready to play it. Ip Man is someone whos
obviously a Gung Fu expert, but hes also a good
husband and father. In earlier projects I think I
was sometimes portrayed pretty much as this
fighting machine and, at that stage, maybe I
couldnt have appreciated every aspect of Ip Man
the way I can now.
You have said that after Ip Man 2, you would never
ever touch any films related to Ip Man. Why?
Fans would clearly love to see you reprise the role
of Ip Man.
Did I say that? Well, maybe we can do Ip Man 3,

but first we have to wait for all the other Ip Man
films to come and go, and then we can seriously
consider it.
In earlier projects I think I was

sometimes portrayed pretty much
as this fighting machine and, at
that stage, maybe I couldnt have
appreciated every aspect of Ip Man
the way I can now.
42
You have collaborated with director Wilson Yip on

several films. What is it about his work that keeps
you working together?
Its hard to say. From our first film, SPL, there

was a definite sense that we were on the same
page. Hes very low key, you hardly ever see him
out at any events, unless its his own premiere or
something. Wilson just has a very quiet focus,
doesnt say too much and yet still he manages to
make great movies. Hes a good man and a good
director.
Whats next for you?
Im shooting Havoc in Heaven now, and Id like to

take a break afterwards, but it looks like I have
other things lined up. I dont want to talk about
them too soon, but I think Ill be pretty busy.
ISSUE 01
the inner circle
Leung Jans Kulo Wing Chun

The Foundation of Pin Sun Boxing
BY JIM ROSELANDO JR.
THE HISTORICAL ROOTS OF THE ART OF WING CHUN ARE BELIEVED TO BE

SHROUDED IN MYSTERY, BUT THE MORE ONE RESEARCHES THE LEGENDS
PASSED DOWN, THE MORE ONE REALISES THESE STORIES HOLD A GREAT
DEAL OF ACCURATE INFORMATION.
Kulo Village Entrance near Master Leung Jans home.
Sam was the Dai Sihing of the final

group, and gained access to the Gung Fu
King via family relations. Wong Wah Sam
was Master Leung Jans sisters son!
Master Wong Wah Sam taught his uncles
boxing to eight disciples over 50 years.
Of the eight, there are two still living in
Kulo as of 2011. Master Fung Chun, who
is 91 years young, and Master Fung
Chuns older brother, Master Fung Men,
who is 97!
The teaching of Master Leung during this
time period was his own refined fusion
of his lifes knowledge of Wing Chuns
Fist, Dummy and Pole skills. The empty
hand was taught via the Sup Yi Kuen
(Twelve Fists), which is also applied on
the Dummy and Pole skills via the Som
Dim Boon Gwun (Three & One Half
Point Pole).
According to the Kulo tradition, the art

of Wing Chun was originally a soft,
empty-hand internal boxing system that
later made its way to the Red Boat. It was
during this time on the Red Boat that the
Wing Chun art had an exchange with
other southern fist boxing arts. The art
of Wing Chun thus adopted the Dummy,
Long Pole, Knives and had its first
44
evolution within the empty-hand boxing

sets and theory. This is the reason for the
different sects of Wing Chun boxing.
The art of Kulo village Pin Sun Wing Chun
boxing was developed by Dr. Leung Jan.
It is known that when Master Leung
retired back to his home village of Kulo,
he took on four final pupils. Wong Wah
According to Master Fung Chun, the art

of Pin Sun Wing Chun boxing is largely
rooted in the teaching of the Yim family
(pre-Red Boat Wing Chun), and Master
Leung Jans Futshan teaching is largely
rooted in Wong Wah Bohs teaching. The
primary difference being the strict
adoption of White Cranes Square Frontal
Facing to the Wing Chun empty-hand
boxing by Wong Wah Boh. This method
was passed on by Master Leung Jan in
his Futshan Gwoon. Master Leung Jan
said this about the difference between
schools: The hands differ very little and
both come from the same source!
KIM YEUNG MA
Pin Sun Wing Chuns most basic but
ISSUE 01
the inner circle
truly essential training is the turning

Kim Yeung Ma. This turning is also known
as Pin Sun Ma (Side Body Horse) and
Ding Jee Ma (T-shape Horse). In our art,
we typically start and finish every
workout session with the turning
practice and without a doubt this will be
the first training you are taught in Pin
Sun Wing Chun.
Grandmaster Fung Chun

demostrates Pak & Jin Choi
with Jim Roselando Jr. for
Kulo and Boston students.
Mui Wai Hun Sifu says this about the

Kim Yeung Ma practice: Left, Centre,
Right! Those are the basics. Most people
are always looking to practice more
advanced training but you must train
your horse or the later training will not
be useful. The horse is the foundation!
Why is turning so important? It is essential
for the conditioning of the body. As the
body twist left and right, the hips,
shoulders and the spine begin to loosen
up so the practitioners develop a greater
range of elasticity and relaxation to their
Grandmaster Fung Chun checks Boston

students Pin Sun Ma (Side Body Horse).
Each of the Twelve

Fists are extremely
core but rich with
training and knowledge.
body. It is said, that Pin Sun Wing Chun
uses a Yau Yun (Soft Waist). This is the
result of years of conditioning and not
just leaving your hips loose. The turning
horse practice works the basic dynamics
of the art by training the force vectors
(up/down/left/right/forward/backward)
and for combat, the basic turning
practice enhances ones offensive and
defensive tactics.
Fung Sang Sifu said this about the Kim
Yeung Ma: When practising in strict
Kim Yeung Ma, you sink the waist and
drop the shoulders. The buttocks pulls in
45
the inner circle
Master Leung Jans

Kulo village Pin Sun
Wing Chun boxing
is an extremely
simple, yet profound
method of cultivation
and application.
Grandmaster Fung Chun demonstrates proper Pin Sun Ma

and Bai Jong as his wife and Kulo student watch.
and knees are a fist distance apart. The

bones of the spine must be straight and
posture erect. Always maintain the proper
three points on a line. This is the correct
horse stance!
SIU LIN TAU & DAI SIU LIN TAU

The signature set of all Wing Chun
boxing is Siu Lin Tau (Small First
Training) and it would make sense that
Master Leung Jans Kulo teaching also
begins with the same root. The first two
sets of the Twelve Fists are Siu Lin Tau
and Dai Lin Tau (Small and Big First
Training). What is not commonly known
is the second set is actually a nickname
and the proper term is Dai Siu Lin Tau.
So the first two skills of development in
Pin Sun boxing are the Siu Lin Tau and
then more Siu Lin Tau skills.
Why did Master Leung Jan choose these
skills as the foundation of his art? He felt
they were the most important aspects of
his entire classical set. Some of the
actions found within these two simple
46
sets, and its partner exercises, are: Pak

(Slap), Tan (Spread), Got (Cut), Jut
(Choke), Fook (Subdue), Huen (Circle),
Chuen (Thread), Sau (Cover), Wu
(Guard), Jing Jeung (Straight Palm),
Wahng Jeung (Side Palm), and Som Bai
Fut (Three Prayers To Buddha).
Each of the Twelve Fists are extremely
core but rich with training and knowledge.
Take a look at the list of skills and you
will see one common fact: Master Leung
Jans first two sets focus on Wing Chuns
open hand basics. Mui Wai Hun Sifu
says this about the Small & Big sets:
They are the ABCs of our art and protect
all the important parts of our body
upper and middle gates.
What we must understand is that the
key to success in developing deep
understanding, deep coordination, and
deep strength with any activity, comes
from daily practise and, of course,
repetition, repetition, repetition. Master
Leung Jan realised this and made sure
the Siu Lin Tau and Dai Siu Lin Tau

would be the right stuff needed for his
final group to build a proper foundation.
FINAL THOUGHTS
Master Leung Jans Kulo village Pin Sun
Wing Chun boxing is an extremely simple,
yet profound method of cultivation and
application. The basics of the art hit the
body in such a powerful way that it is
often said that Master Leungs teaching
will develop the practitioner at a rapid
pace. A famous Kulo quote states: Siu
Lin Tau & Dai Lin Tau, Practise Often
They Will Change You! What the quote
is talking about is the conditioning of the
muscles, tendons, sinews and joints with
your solo practice. The human body can
only move in so many ways and with a
solid foundation in the practice of the
Master Leungs basic skills (Kim Yeung
Ma, Siu Lin Tau and Dai Lin Tau)
there is no doubt the art will strengthen
and unite the entire body, which is the
essential root of Wing Chun as taught by
the Gung Fu King.
ISSUE 01
A masterful and scholarly work

I wholeheartedly recommend
this outstanding resource.
Sifu David Peterson, author of
Look Beyond the Pointing Finger:
The Combat Philosophy of Wong Shun Leung
Widely recognized as the

most comprehensive Wing
Chun books ever written.
The Wing Chun Compendium can be ordered from www.everythingwingchun.com
Wayne Belonoha is a certified instructor of the Ip Man

lineage under Sunny Tang and a triple pan-am gold
medallist with over 30 years martial arts experience. This
two-volume set contains over 1000 pages of techniques,
drills (including sticking hands), theories, applications,
pressure points, terminology, tips, philosophy, and more.
All forms of the system are covered, including the original
sword form performed by Sunny Tang. The instruction is
style independent, with valuable information and tips for
everybody, regardless of lineage. The books are filled with
wisdom and philosophies that apply to all aspects of life.
Signed copies are available from www.wingchuncompendium.com
feature
LEUNG KWOK-KEUNG
DEATH OF A HIDDEN MASTER
BY SUKI GOSAL
of carrying heavy cargos as well as hundreds of

NORTH LONDON, ENGLAND, ON A BITTERLY COLD WINTERS MORNING travellers. An apprenticeship with the opera
required sacrifice. The acting lessons were set
IN 2004. I HAD TRAVELLED 5000 MILES TO SPEND THE FINAL EVENING
against vigorous Gung Fu practice, with exercise
AT HIS BEDSIDE. WE HELD HANDS AS I FOUGHT BACK TEARS.
regimes designed to push the prospective actors
to physical and psychological limits. Between the
gruelling daily practice, there was little time for
any diversions.
MY SIFU LEUNG KWOK-KEUNG DIED ALONE IN A HOSPITAL ROOM IN
Leung became a product of this extreme upbringing,

existing in a world where Gung Fu and performance
were the activities by which the performers forged
their identities. Perhaps this explained his stoic
demeanour as he watched me fumble my way
through Gung Fu as a novice student decades later.
During his time with the opera, Leung studied
numerous Gung Fu styles including Hop Gar,
Hung Gar, Choy Li Fut, Dragon, Bagua and Tai
Chi. However, it was obvious that Hei Ban Wing
Chun Kuen (Xi Ban Yongchunquan) translated
as Opera Wing Chun Kuen held a special place in
his arsenal of styles. Some of the fondest memories
I have are of watching Leung Sifu darting around
his back garden, practising movements from
countless styles, drawing on his encyclopaedic
knowledge of Gung Fu.
I have had a number of years to reflect upon his
passing, his life and the unique line of Wing Chun
he brought to the West. I remember how I once
stood in awe as a teenager in the presence of this
great Gung Fu man who reluctantly accepted me
as a student of the Opera Wing Chun fighting
system. This is his untold story.
LEUNG KWOK-KEUNG
Leung Kwok-Keung (Liang Guo-Qiang) was born
in 1926, during war-torn times in Guangzhou,
China. He started his Gung Fu training at the
tender age of eight. In order to overcome the
hardships of life and financial constraints, the
young Leung was sent to work as an apprentice at
the Guangdong province opera troupe.
The opera troupes would travel on large mastbased ships known as Junks, which were capable
48
OPERA WING CHUN

It was said that at the beginning of the Qing
Dynasty (circa 1644 AD) an unknown Wing Chun
practitioner from Guangzhou joined one of the
opera houses. His exceptional skill impressed many,
giving rise to the popularity of this new style
aboard the Junks. The name of Opera Wing Chun
gradually became associated with this unique
system, which continued to evolve onboard the
Junks. Leung had two Opera Wing Chun
instructors: Wang Fu Huang and Liang Fu Dou.
Being one of the more physically imposing members
of the troupe, Leung found himself putting his
skills to use by fending off gangsters wanting to
extort the opera. The fight agreement would
require that if Leung beat the strongest fighter the
extortionists had to offer, then the racket would
not be able to collect a levy from the troupe.
ISSUE 01
feature
Leung was guarded about such encounters,

commenting that he did not enjoy fighting and
promoting the idea that it should be avoided
wherever possible. Additional tales recounted by
Leungs associates have been of sworn blood oaths
and the movement of secret cargo across China.
Leung Sifu retired from the opera in 1983, but
continued teaching people in a training hall in the
west of Canton, often teaching street urchins and
vagabonds for free. In the early 1990s, he moved
to England to be close to his family.
THE SYSTEM
According to Leung, all practitioners of Opera
Wing Chun commenced their basic training with
separate calisthenic-type hand and leg movements
to warm up. These movements encouraged the
development of fast strikes and good balance.
While the system drew metaphorical inspiration
from the Dragon and Crane styles of Gung Fu,
it also contained movements from Chow Gar
(Mantis) and made heavy use of the Gow Choi
(Phoenix Eye) striking method.
The two weapons of Opera Wing Chun were

introduced upon completion of the empty handsets.
The weapons consisted of the wooden long pole:
Mang Loong Goh Gong (Only the Fiercest Dragon
crosses the Bridge), and the swords: Moi Fah Wu
Dip Dao (Plum Blossom Butterfly Swords).
Footwork was a key element in Opera Wing Chun.

There were a variety of stepping movements, often
coupled with hip turns for power. Weight distribution
was generally equally balanced between the lead
and rear leg, a notable exception being the Ding
Po Mah (Cat Stance) where weight was oriented
in the rear leg.
Chi Sao (sticking hands) was a platform upon

which the attack and redirection movements of
Opera Wing Chun could be practised. The drill
consisted of two practitioners starting from an
attached forearm position and training their ability
to sense movement through touch. The drill
advanced through a number of stages, which
included Seung Huen Sau Chi Sao (Double Circling
Arm Sticking).
Siu Nim Tau (Little Idea) introduced the main

hand movements of Wing Chun. This version of the
set contained 18 classical hand techniques and
one kicking section. This kicking section was
designed to teach stepping forwards and backwards
on an angle. Chum Kiu (Searching for the Bridge)
combined footwork with hand and leg attack and
contained 14 steps.
Leung Sifu was sceptical of esoterica in Chinese

martial arts, instead focusing on the development
of power through an understanding of body
mechanics. Even during his twilight years he
maintained his strict training regime of exercising
several hours a day.
CONCLUDING THOUGHTS
Biu Tze (Finger Attacks) built on the foundation
created by the first two sets. Traditionally, some
Gung Fu instructors had a saying: Bui Tze was
not allowed to leave the room. This had two
implicit meanings: firstly, that the techniques,
which aimed at the opponents eyes and throat,
were designed to maim and should only be used in
exceptional circumstances and, secondly, that the
set was not openly taught to students. Mook Yan
Jong (Wooden Man) was a tool used to remedy
any defects in a students structure. The set was
trained with a view to precision.
Following his death, the enduring images I am left

with are drawn from a decade of studying Opera
Wing Chun. Leung Sifu was an elegant man who
not only practised and taught Gung Fu, but whose
very essence was defined by Gung Fu. Leung Sifu
was one of the last of his kind and I firmly believe
that the Wing Chun world is a poorer place, not
only because of its loss, but also because of its
failure to have recognised his presence during his
lifetime. Perhaps it was intentional, after all the
greatest martial artists also tend to be the best
kept secrets.
Leung Sifu
was sceptical
of esoterica
in Chinese
martial arts,
instead
focusing
on the
development
of power
through an
understanding
of body
mechanics.
49
the intercepting fist
The Wing Chun/JKD

Stance Connection
BY LAMAR M. DAVIS II
IN RECENT YEARS, THERE HAS BEEN MUCH TALK AMONG GROSSLY

MISINFORMED GROUPS ABOUT WING CHUN BEING OF LESSER IMPORTANCE
IN THE STRUCTURE OF JEET KUNE DO, THE FIGHTING ART DEVELOPED BY
THE LATE BRUCE LEE. THE FACT IS, WING CHUN IS THE SINGLE MOST
IMPORTANT ART IN THE STRUCTURE OF JKD.
Yi Ji Kim Yeung Ma foot position.
In Jun Fan Gung Fu, we use this position

to train several skills, including what is
referred to as rotation striking. While many
Jun Fan and Jeet Kune Do practitioners
realise the importance of this, they do not
realise just how important Yi Ji Kim
Yeung Ma is to the actual development of
the Bai Jong position. Proper training in
Yi Ji Kim Yeung Ma strengthens the Bai
Jong position, especially the legs, hips
and trunk of the practitioner.
The first form in Wing Chun is Sil Lim
Tao. This is also an important part of the
Jun Fan Gung Fu curriculum. As we all
know, the first part of the Sil Lim Tao
form involves opening the stance. In
order to do this, starting with the feet
together, you first pivot on you heels,
Jun Fan Bai Jong foot position.
JKD Bai Jong foot position.
In a series of articles for Wing Chun

Illustrated, I will not only show the
significance of Wing Chun in the Jeet Kune
Do structure, but I will also prove beyond
doubt that what I am saying is true!
There are many factors that most Jeet
Kune Do practitioners do not know about,
one being the relationship between Yi Ji
50
Kim Yeung Ma and the Jun Fan Gung

Fu/JKD Bai Jong (on guard) positions.
In Hardcore Jeet Kune Do, which is my
approach to teaching and training in
Bruce Lees original methods, we refer to
Yi Ji Kim Yeung Ma as the neutral
stance. The reason for this being that
neither foot leads, therefore you can
develop both sides equally from this position.
pointing the feet outward. Next you pivot

on the balls of both feet, so that the feet
point slightly inward. Once you achieve
the position, the feet remain this way
throughout the entire form.
Next, the knees are slightly bent and
turned inward, and the hips shovel
forward. Your thighs should feel very
ISSUE 01
the intercepting fist
solid. The upper body is erect, with the

spine straight.
Now, from this position, if you leave your
left foot right where it is and pivot
clockwise on the ball of the right foot
until it points in the same direction as
your left foot, you will find your feet in the
exact position of the Jun Fan Bai Jong
stance. Using this method to move into
the Bai Jong stance, the distance between
your feet will be perfect for the Jun Fan
Bai Jong, also often referred to as the
closed Bai Jong. The weight distribution
will be anywhere from 60/40 to 80/20,
with more weight on the rear foot.
When lining up on an opponent, the
centreline will pass directly through the
middle of the rear foot, and the toe of the
front foot will be right on the line. This
means that the centreline is closed (hence
the closed Bai Jong stance). This stance
is most often used for in-fighting purposes.
plexus, open and pointed upward, and

the lead hand to be held slightly higher
and extended more, open and in line with
the forearm. Both hands are right on the
centreline. The elbow of the lead arm is
approximately the same distance from
the body as the rear hand, with the elbow
being about a fists distance from the
lead side ribs. This is the same guard
position used in the Jun Fan Bai Jong
stance. Just another thing that Bruce Lee
took from Wing Chun!
In the JKD Bai Jong position, the rear
hand is carried high, just below the chin
Jun Fan Gung Fu Bai Jong position.
and inside the lead shoulder. It is the

primary guard hand. The lead hand is
extended further and carried slightly
lower. It is the primary attack hand. Both
hands are right on the centreline. If you
look at the hands in the JKD Bai Jong,
you notice that there are some similarities
to the Wing Chun guard, only reversed
(rear hand carried high rather than low,
lead hand carried lower rather than high).
These are just a few things that connect
Jeet Kune Do to its Wing Chun roots.
And this is just the beginning! More to
come in the next issue.
JKD Bai Jong position.
Next, starting once again from Yi Ji Kim

Yeung Ma, leave your left foot in place
and pivot clockwise on the heel of the
right foot until it points in the same
direction as your left foot. Raise your left
heel slightly and you will find your feet
in the JKD Bai Jong position. The width
between the feet should be perfect for
the JKD Bai Jong, also often referred
to as the open Bai Jong. The weight
distribution between the feet will be
approximately 50/50.
When lining up on an opponent in a right
lead, the rear (left) foot will be just to
the left of the centreline, with the heel
barely off the line and slightly raised,
and the lead (right) foot will be just to
the right of the centreline, pointed into
the line with the toe almost touching the
line. This means that the centreline is
slightly open (hence the open Bai Jong
stance). This stance is highly mobile, and
is used for offensive, defensive and
evasive manoeuvres.
In Wing Chun, the common guard
position for the hands is for the rear
hand to be right in front of the solar
51
feature
LAT SAU
JIK CHUNG
A CORE ELEMENT OF WSL VING TSUN
BY JOHN SMITH
THE LATE GREAT WONG SHUN LEUNG WAS A PERSON WHO TESTED HIS COMBAT SKILLS IN
NUMEROUS REAL-LIFE ENCOUNTERS. HE WAS REPORTED TO HAVE NEVER LOST A FIGHT IN
OVER SIXTY SUCH RECORDED EVENTS. WONG SIFU PROVED THE VALUE OF HIS COMBAT
SKILLS TO NOT ONLY HIS SIFU IP MAN, BUT ULTIMATELY TO HIMSELF, WHICH EVENTUALLY
LED HIM TO DEVELOP HIS OWN VING TSUN KUEN HOK, THE SCIENCE OF VING TSUN PUGILISM.
One skill that Wong Sifu attributed to his success

was the concept of Lat Sau Jik Chung. He used to
commence many of his seminars with the topic of
Lat Sau Jik Chung, which roughly translates as
lost hand thrust forward. The engine behind this
concept is the elbow. This is where a constant
forward pressure is applied to the adversarys
mid-sagittal plane, which in laymans terms is the
core of the person.
The whole concept of Lat Sau Jik Chung is to
trigger a spontaneous response to attack any gap
that our enemy might give us. In this way, the
errors of our enemy will hopefully ensure our
attacking victory.
Lat Sau Jik Chung is initially learnt in the Daan
Chi Sau (Single Sticking-hand) phase, where the
beginner can separate each hand at a time, and
then later drilled over and over again within Poon
Sau (Rolling Hands), where both hands are loaded
and act under their own free will, to press forward
and find an opening that will enable a non-conscious
thought-action for our hands to instantly spring
forward. Finally, within the Gwoh Sau (Crossing
Hands) stage where Chi Sau is developed and
52
more free-flowing footwork can then be added to

reinforce this concept when movement occurs
within an exchange.
Once perfected within the Chi Sau drill environment,
a free-flow of exchange is exhibited to such an
extent that a blindfold can be used to further
highlight the fact that such a concept is in constant
need. Without Lat Sau Jik Chung, the blindfolded
Ving Tsun practitioner will only introduce a freefor-all-hand-flurry movement instead of getting an
explosive set of movements to find gaps through
our opponent. Lat Sau Jik Chung gives a skilled
practitioner the ability to develop Chi Sau.
Initially, the novice finds it difficult to detect
where the intended force is generated from as
most tighten up the forearm and, if used in this
way, the sensation of the feeling of relevant force
is negated. The elbow force that is required is
unique but with constant practice can become an
essential tool.
Lat Sau Jik Chung takes out the thought-action
of the Ving Tsun fighter and when the forward
force is emanated via the elbows, it then transfers
ISSUE 01
feature
I teach
my students
that it
should be
light and
relaxed,
but when
released
should
enable
a strong,
penetrating
strike.
into a strike with the hands. It assists greatly with
Ving Tsuns autopilot drill Chi Sau. In fact, it is
the core concept that assists and promotes the
success of this drill!
A question sometime arises as to how much
forward pressure is needed. Too much and it will
lead you to overreact and overcompensate,
leading to misaligned strikes or even worse setting
yourself up to be counter hit. Too little and any

opening, or weakness, will not be felt and
flinching can result. I teach my students that it
should be light and relaxed, but when released
should enable a strong, penetrating strike. I liken
it to a motorcycle rider at the traffic lights where
he wants to almost red line his rev meter to
initiate a speedy take off, instead of waiting for
the lights to go green and then cruising forward.
In real-life fighting, Wong Sifu felt that any fighter
had a potential weakness upon the withdrawal of
the extended arm in order to re-chamber for the
other arm to hithe would detect this gap and
follow through in perfect timing to hit his opponent.
However, if there is no collision between your
arms and that of your adversarys, then no Lat Sau
Jik Chung is needed but instead a steady flow of
penetrating strikes to necessitate a speedy victory.
When used successfully, Lat Sau Jik Chung is the
light at the other end of the tunnel so to speak. It
is what guides your hand towards the intended
target, and as a result it promotes the concept of
Joi Ying (chasing or following the opponent)
instead of the erroneous ideas of Joi Sau (chasing
or following of the opponents hands) that is so
common in many other martial art systems. In
essence, we are not so much concerned as a
course of action of what the opponent shows the
Ving Tsun fighter, but for the Ving Tsun fighter to
play the game the other way and be content with
just to hit the enemy! This concept contradicts
many other mainstream martial arts, where they
want to control the adversarys arms.
This does not mean for you to be content with
throwing a blind volley of punches, but to feel
your way through the opponents bridge arms and
to finish the fight as quickly as possible.
Wong Sifu was quoted many times with regards to
such questions as to how much pressure with
respect to Chi Sau. His comments were to use
deflection and to be relaxed, but in attack to
always be penetrating. Coupled with the Lat Sau
Jik Chung concept, it gives an all-round picture
as to how he believed Ving Tsun to be used.
To summarise, using Lat Sau Jik Chung is a
concept and when used successfully it provides
less risk to a Ving Tsun fighter and will, in my
opinion, ensure a far quicker and speedier victory
within any intended confrontation.
53
reviews
IN PRINT
BY MARK PAGE
Hoffmann is the current Grandmaster of

Chi Sim Weng Chun and has the
distinction of being the only foreign student
accepted to the Weng Chun research
academy Dai Duk Lan in Hong Kong.
ENG CHUN KUNG FU:

W
ETERNAL SPRING FIST OF SHAOLIN
Author: Andreas Hoffmann
Publisher: Verlag fr Chinesische Knste
ISBN-10: 3-8334-6855-6
ISBN-13: 978-3-8334-6855-1

Wing Chun books and articles are

mostly based on interpretations of the Ip
Man lineage, so it is refreshing to read a
book describing a lesser-known Wing
Chun lineage. The objective of Weng
Chun Kung Fu: Eternal Spring Fist of
Shaolin is to provide the martial arts
novice with a sound first impression of
the system, and act as a reference manual
for existing Weng Chun practitioners.
The author certainly has the credentials
to deliver this objective. German Andreas
54
The book starts off with a comprehensive

account of the tradition and history of
Chi Sim Weng Chun. In fact, the opening
chapter (How the Dragon Arose) gives
one of the best accounts of the development
of Wing Chun I have ever heard. It starts
with the arrival of Bodhidharma at the
Chinese Shaolin monastery in the 6th
century and describes the practices of
these temples. The chapter then describes
the destruction of the Southern Shaolin
temple around the 18th century. At this
point, the book picks up the story of the
last abbot, Chi Sin Sim Si, and describes
how Chi Sim Weng Chun was born out
of the need for a close-range fighting
method with the emphasis on speed,
impulse and borrowed power. The author
then traces the system through to the
Hong Kong post-war period and finally the
setting up of The International Weng
Chun Kung Fu Association.
The book goes on to describe the principles
and concepts of the system. This section
covers the principle of Ging (gentle force
or internal power); simplicity through
principles; understanding real combat
through the concepts of Heaven, Man and
Earth; developing the powerful spirit (Shen);
and the five stages of learning Kung Fu.
Hoffmann describes the system in
incredible detail and leaves the reader
with no questions unanswered or room

for misinterpretation. Perhaps the most
interesting information in this section is
that the author views the Chi Sim Weng
Chun system as an internal Chinese
martial art. Few other Wing Chun
systems state this and are interpreted as
hard, external Chinese fighting systems.
Hoffmann continues by providing
photographs and explanations for the
sets and partner exercises of the system.
This section will provide most interest to
a Chi Sim Weng Chun practitioner, but
for the reader being exposed to the art
for the first time, it is of limited value.
Static photographs are not a good way to
learn a martial art!
The book concludes with a section about
traditional Chinese medicine and its
relationship to the fighting system, and a
series of Picture Stories showing
Hoffmann training with various Gung
Fu practitioners. Again, the quality and
detail of the content is first-class.
So does the author achieve what he set
out to do in this book? Definitely, yes.
This book is beautifully presented and
the level of detail throughout shows that
Andreas Hoffmann has put his heart and
soul into it. The only negative is that a lot
of the reference material (sets and partner
exercises) may not be of interest to all
readers. However, for the enthusiast
interested in the history and evolution
of Wing Chun, Weng Chun Kung Fu:
Eternal Spring Fist of Shaolin is a
worthy addition to their library.
ISSUE 01
reviews
Although I always try and steer clear of

questioning the authors interpretation of
the Wing Chun system (after all,
everybodys Wing Chun is different), a
real negative point for me is Belonohas
statement: Training to trap the hands
will also train to trap and stop a knife.
A knife in the hands of an unskilled
individual is equal to a three-year martial
artist, and a photographic explanation
of how to defend against a knife attack
using Bong Sau. I would urge the author
to either provide a lot more detail to
justify this belief and technique, or
remove references to Wing Chun being
appropriate for defence against a knife
(or any other weapon for that matter).
THE WING CHUN COMPENDIUM: VOL 1

Author: Wayne Belonoha
Publisher: Blue Snake Books
ISBN-10: 978-158394-129-4
ISBN-13: 978-1-5839-4129-4
Wayne Belonoha has been studying Wing

Chun for nearly 20 years in Canada under
the tutelage of Grandmaster Sunny Tang
(Ip Man lineage), and is the Founder and
Head Instructor of the Canadian Wing
Chun Academy.
The first thing that strikes you about
The Wing Chun Compendium: Volume 1
is the sheer magnitude of the book: over
500 pages! The books size reflects the
authors aim of going beyond describing
Wing Chun as merely an effective
fighting system, by giving the reader an
understanding of the philosophical and
cultural aspects of Wing Chun.
Belonoha begins by describing Wing
Chun theory. While this section describes
common Wing Chun theories such as the
centreline, he also gives his views on
Gung Fu life and the philosophical aspects

of Wing Chun. These views provide a
fascinating insight into the heart and soul
of the author. As well as solid practical
training advice, Belonoha is an inspirational
writer: my favourite line is Do not worry
about the recognition of others; worry
about your own lack of ability. A sentiment
well worth remembering.
The middle section of the book covers
the bread and butter of Wing Chun:
techniques, drills, Chi Sau and forms.
Belonoha describes his interpretation of
the Wing Chun fighting system in this
section (almost 300 pages!) using
sequences of photographs with supporting
text to describe the technique or drill,
and also, critically, why these techniques
and drills are important to the Wing
Chun system. (For example, he tells us
that drills should serve a specific
purpose and not be over complicated or
lengthy.) As a Wing Chun practitioner
myself, I really appreciate this, as it
provides context for why we train drills/
forms/Chi Sau etc.something often
omitted from Wing Chun texts. Thank
you, Wayne.
The final section of The Wing Chun

Compendium: Volume 1 gives us a
deeper insight into the knowledge of the
author by describing Pressure Point
targets and ways of improving the
practitioners health and fitness to
benefit their Wing Chun. I must confess
the detail in the Pressure Points chapter
regarding traditional Chinese medicine
meridians and how these relate to
Pressure Point targets went a little over
my head. However, this should not be
seen as a negative aspect, but instead
shows the authors passion for Wing
Chun and his belief that Pressure Point
targets may be a lot to keep in mind
during a battle but with practice, as like
anything else, it will become natural.
The chapters covering health and fitness
are a real bonus. The author looks at all
aspects that could enhance your Wing
Chun including diet, strength training,
aerobic exercise and flexibility. These
activities are often seen as supplementary
to Wing Chun, so it is great to find a
book that gives them the due attention
they deserve.
Overall, this is a great Wing Chun text.
Wayne Belonohas writing style is easy to
follow and he delivers his knowledge with
passion. And if thats not enough, theres
Wing Chun Compendium: Volume 2 as
well! More about that another time
55
reviews
SCREEN FIGHTING
SPONSORED BY www.play-asia.com
BY JAI HARMAN
The choreography is extremely crisp and

the training sequences are impressive
and quite informative throughout. Possibly
the only Gung Fu film from which you are
likely to actually learn true techniques
not that I would suggest anyone to use
the movie as a training manual. However,
anyone who has learnt Wing Chun can
clearly pick out and identify with each
technique by name and structure.
Considered to be Sammo Hungs greatest
work, we can see why modern Gung Fu
films look to The Prodigal Son for
inspiration. We should also not overlook
the fact that besides Yuen Biao, Sammo
Hung and Lam Ching Ying, there is
another great reason to watch this film:
the incredible Frankie Chan!
THE PRODIGAL SON

Language: Cantonese, Mandarin
Subtitles: English, Chinese
Format: NTSC
Region: 3
Running Time: 104 min.
NO FRILLS, no green screens, no wires,

no fancy editing, just some of the best handto-hand martial arts that youre ever likely
to see on film. Absolutely no wire-fu here!
Sammo Hungs 1981 classic The Prodigal
Son is based on the historical Wing Chun
figures Leung Jan (Yuen Biao), Leung
Yee-tai (Lam Ching Ying) and Wong Wah-bo
(Sammo Hung). In this film, we can see a
clear timeline as to when, where, and
how these historical figures met as they
pay tribute to their Peking Opera heritage
with awesome recounts of how the Red
Boat Opera Company operated while on
their travels.
The film has a plot thats leaps and
bounds above most Gung Fu films,
encompassing a brilliant blend of Gung Fu
fighting prowess and slapstick humour.
56
Chan makes for a formidable villain

although hes not quite the bad guy that
one would expect. He has respect for his
opponents, showing the audience a trueto-life account of how old school challenge
battles went down, conducted with the
utmost respect for the opponent regardless
of class or stature. This makes him a
very cool antagonist, fuelled not by anger

but a quest for knowledge.
Any good Gung Fu film requires a very
skilled villain otherwise the hero
wouldnt be able to showcase their skill.
The Prodigal Son gives us plenty of
chances to see their skill on display and
culminates in a final all-out battle using
techniques they have learned throughout
the story.
The digitally re-mastered DVD is available
in two audio languages, Mandarin and
Cantonese, providing a very authentic
feel. Subtitles are available if you wish to
read your way through the action scenes,
instead of actually watching the magic as
it unfolds. Subtitle languages include:
Traditional and Simplified Chinese, and
English. Although the English dubbing at
times is not quite accurate to the scripted
dialogue, it is enriched with good comedy.
The Prodigal Son is a quintessential bigbudget epic from the Golden Age of Hong
Kong cinema that should be in any
aspiring martial artists film collection.
LEGEND OF THE FIST:

THE RETURN OF CHEN ZHEN
Format: NTSC
Region: 3
ANOTHER BIG-BUDGET martial arts

extravaganza courtesy of director
Andrew Lau. Chen Zhen (Donnie Yen)
arrives back to Shanghai after fighting in
WWI to a brutal and growing suppression
under Japanese occupation. Eventually
he is angered into an uprising against the
bad guys, adopting an alter-ego and
taking to the night to wreak vengeance,
pitting himself against a blood-thirsty
Japanese general, whose father Chen
ISSUE 01
reviews
REIGN OF ASSASSINS IS A humorous

Gung Fu romance-thriller about a band of
cunning and skilled assassins hell-bent on
possessing the mystical powers of a longdead Buddhist warrior monks remains.
Writer/director Su Chao-Bins film boasts
a top-notch cast of well-developed
rivalrous characters, a fabulous script
and plenty of breathtaking swordplay
action that perfectly captures the classic
essence of Wu Xia cinematography.
REIGN OF ASSASSINS
Format: NTSC
Region: 3
Shot in China and set during the Ming

Dynasty, this film follows Zeng Jing
(Michelle Yeoh), an assassin trying to
retire from the world of martial arts. She
begins a quest to return an enlightened
monks remains back to their rightful
resting place, and in doing so, puts herself
in mortal danger from The Dark Stone
Gangforcing her to go into hiding and
have her appearance surgically altered.
During this quest, Zeng Jing falls in love
with Ah-Sheng (Jung Woo-sung) who is
blissfully unaware of who she used to be,
making for some very humorous scenes.
Theres quite a text-heavy preamble told
Zhen previously killed in order to avenge

his master.
Legend of the Fist: The Return of Chen
Zhen in many ways is the Chinese attempt
to craft a Batman meets Rambo-style
franchise. Chen Zhen even dons the
iconic Kato costume worn by Bruce Lee
in The Green Hornet (TV series 1966-67),
which couldnt have been more appropriate
as Lee also played Chen Zhen in the
timeless classic Fist of Fury (later remade
into a TV series starring Donnie Yen and
the inspiration behind Jet Lis role as
Chen Zhen in Fist of Legend from 1994).
Laus movie incorporates a very eclectic
blend of genres: war film, spy film,
superhero myth, buddy film and, of course,
the Bruce Leeesque Gung Fu fighting
film. Theres corruption, deceit, beautiful
dames who are nothing but trouble,

internal fighting between generals who
lead opposing factions of the Chinese
army and Japanese bad guys hell bent on
winning. Theres also a love story and
some political intrigue thrown in for
those who require more than straight-up
Donnie Yen tearing bad guys a new one.
Despite a few problems with the story, the
writing is actually quite good. Theres a
lot more substance and clever dialogue
than you would expect from your average
martial arts film and its definitely
traditional HK filmmaking at its best.
From a martial artists perspective, the
fight scenes and choreography are tip-top.
All choreography was assigned to Donnie
Yen and he added many aspects of Jeet
Kune Do into the scenes to stay true to
via some fancy faux-traditional drawings

that informs us of the existence of an
ancient monks body that was divided into
two upon his death. The intro concludes
with some flashy freeze frames, introducing
the audience to a nefarious assassin group
who seem like they jumped right out of a
comic book with little emphasis on realism.
On the flip side, each assassin has their
own very distinct weapon skill making
for some very interesting stand-offs,
notably the Drizzels water-shedding
sword technique that cuts down every
fighter she faces.
Touted as Michelle Yeohs best lead role
since Crouching Tiger, Hidden Dragon
(2000), it doesnt seem to capture that
little something that we were expecting
from Yeohs step back into the martial
arts limelight. Is this due to its lack of
visual poetry or jaw-dropping scenery?
Perhaps, but what it lacks in those areas
is more than made up for with some
wonderfully choreographed swordplay.
The film provides some good Wu Xia
nostalgia for those who miss epics such as
Crouching Tiger, Hidden Dragon (2000)
and House of Flying Daggers (2004).
Bruce Lees partthe thumb to the nose

with the incorporation of the Nunchaku
almost brings Bruce back to life. There
are also elements of MMA and of course
the utilisation of Wing Chun, which are
all clearly visible in the final scene with
Chen Zhen and the general Chikaraishi
Takeshi (Kohata Ryu), where Yen pulls off
a very one-man-army Kendo-sticks-cantharm-me performance which has all the
hallmarks of Bruces iconic fighting
stances, screams and stare-downs.
Donnie Yen does a superb job showing
off his martial arts skills while displaying
his on-screen prowess that can be
understood in any language and after
rocketing down the comeback path with
SPL, Flash Point, Ip Man 1 & 2, Yen has
definitely immortalised himself as THE
Gung Fu star of a new generation.
57
reviews
SCREEN EDUCATIONAL
BY JAMES WOODCOCK
SPONSORED BY
www.everythingwingchun.com
THE MARTIAL ARTS INSTRUCTIONAL DVD MARKET IS A LUCRATIVE ONE.

BROWSE AROUND THE INTERNET AND YOU WILL FIND A VAST ARRAY OF
MATERIAL COVERING EVERYTHING AND ANYTHING YOU COULD EVER WANT
TO LEARN. OF COURSE, JUST LEARNING FROM THE SCREEN WILL NEVER
BE A SUBSTITUTE FOR HARD GRAFT, BUT I DO BELIEVE THAT SOME DVDS
CAN BE AN EXCELLENT SUPPLEMENT TO YOUR PERSONAL TRAINING.
Weng Chun is the internal art of

Southern Shaolin and is a concept-based
fighting system based on the 18 Kiu Sau
strategies. Andreas Hoffman trained
under Grandmaster Wai Yan until 1996,
when he accepted the inheritance passed
on to him and today represents Chi Sim
Weng Chun worldwide.
My first impressions of Weng Chun Kung
Fu are very good. The production values
and camerawork are professional and the
audio is clear and precise. During the first
ten minutes, we are shown demonstrations
of some of the Weng Chun fighting
strategies, with Hoffman and his student
going through some pre-arranged
fighting sequences. We are also treated to
a brief history of the Weng Chun system
and how Hoffman came to learn it.
Although this is interesting viewing, I feel
that on a 50-minute DVD, the action and
tuition sections need to come a lot sooner.
Hoffman continues with a demonstration
on how the Weng Chun practitioner uses
the concepts of Heaven (long range), Man
(forearm distance) and Earth (fighting
on the inside) to close down their
58
opponents range, deal with their attack

and then launch an attack of their own.
Hoffman then shows us how this relates
to Chi Sau. Again, I am left a bit confused,
as there is no explanation of how this is
actually achievedjust a demonstration
of how good Hoffman and his student are
at this complex martial art (which
incidentally is very good).
The viewer is then taken through the 18
Kiu Sau strategies one by one in numerical
sequence. Although this section is
informative, we are not really shown how
to execute all the actions correctly; it is
just a performance of the concepts
shown. This would be fine if the aim of
Hoffman is to showcase the Weng Chun
system but as an instructional DVD, we
need more explanation of what we should
be doing and why.
18 KIU SAO OF WENG CHUN
Language: English, French, Spanish,
German and Italian
Running Time: Approx. 50 min.
Format: PAL
Region: 0
Number of Discs: 1
So in conclusion, Weng Chun Kung Fu is

a fantastic showcase of the Weng Chun
system, but falls short as far as instruction
is concerned. Having said that, if you
were already training in Chi Sim Weng
Chun, I believe this DVD would be a
valuable asset to your learning.
ISSUE 01
reviews
WING CHUN: GRANDMASTER JIM FUNG

Language: English
Format: NTSC
Region: 0
Number of Discs: 1
Alan Orr is a renowned teacher who has

been involved in Health, Fitness and
Martial Arts since 1985 and is the European
and Australasian Head of the Chu Sau
Lei Wing Chun Association. Orr has
trained with many of the leaders in their
own fields, including Eddy Millis from
the Shark Tank in Los Angeles. And Alan
doesnt just talk the talk, he goes out with
his Iron Wolves Fight Team and walks it.
From the stomping drums that
accompany the sparring sequences at the
start, to the focus of Alan and his student
once the learning process begins, you
know you are delving into something
serious with this DVD.
The DVD takes us through all the main
concepts of Chi Sau, starting with the
stance and then covering more advanced
Grandmaster Jim Fung should need no

introduction to the Wing Chun enthusiast.
He is renowned worldwide as having been
one of the most skilled and knowledgeable
practitioners of Wing Chun Gung Fu.
Grandmaster Fung was a top student of
Chu Shong Tin and, until he passed away
in March 2007, the Principal Instructor of
the International Wing Chun Academy
in Australia.
Chum Kiu, Bil Jee, Wooden Dummy and

weapons forms.
During the bulk of this film we are shown

the Sil Lim Tao form, broken down into
sections with applications to each
movement given first in slow motion, then
in real time. This is standard fair for most
instructional DVDs, but a highlight was the
short scenarios after each section where
we see Grandmaster Fung performing
some set pieces with his students.
At the end of the film, we are given some

hints and tips from Grandmaster Fung
himself, which is a nice touch, but does
leave me questioning why Fung didnt do
the narration himself, which would have
made for a more authentic feel.
The rest of this 57-minute title is taken

up with a very brief overview of the
The only problem I found (apart from some

of the suspect applications) was the loud
oriental music, which runs throughout
the whole programme. This music
becomes annoying when you are trying
to concentrate on what you are being
taught. Why does it need to be so loud?
All in all this is a good DVD for the

beginner, but if you are searching some
new insights into the system or you are
already well versed in Wing Chun, then
there will be nothing new here.
subjects such as power lines, correct

rolling position, kinetic linking and
rooting. The sheer amount of theory and
Wing Chun fighting skills supplied on
this DVD is overwhelming. It forces you
to sit up and take notice and you will
find yourself coming back again and
again to extract even more information.
My only criticism would be the poor
balance in sound levels between the
incidental music and Alans voice track.
I found myself turning up the volume
when he was speaking, only to be blown
away by the tribal drums in each interval.
Alan Orrs knowledge of his system is
unsurpassed and he delivers it to us with
precision and passion. If you are serious
about using your Wing Chun for real
fighting, then this DVD is a must have.
NHB WING CHUN DVD 3: BODY

STRUCTURE EXTREME CHI SAO I
Language: English
Format: NTSC
Region: 0
Number of Discs: 1
59
DIRECTORY
ASIA
WSL VING TSUN COMBAT SCIENCE MALAYSIA
Head Instructor(s): David Peterson

Lineage: Wong Shun Leung
Address: E.X. Martial Arts Academy,
56A, SS2/61, 47300 Petaling Jaya
(right above SS2 McDonalds)
Telephone: +60 12699 2094
E-mail: wslvtmalaysia@gmail.com
Website: www.wslwingchun.com
About us: Classes conducted by David
Peterson (direct student of the late Sifu
Wong Shun Leung), an instructor for over
35 years, prolific writer on WSLVT and author
of Look Beyond the Pointing Finger: The
Combat Philosophy of Wong Shun Leung.
THE WING CHUN SCHOOL
Head Instructor(s): Frode Strm

Lineage: Ip Man > Ip Ching > Garry McKenzie
Address: P.O. Box 302,
3301 Hokksund, Norway
Telephone: +47 909 42 428
E-mail: sifu@wingchun.no
Website: www.wingchun.no
About us: We give seminars and private
tuition in the Nordic countries. Ip Man style
of Wing Chun through the lineage of Ip
Ching, and the complete system is taught.
Wing Chun geared towards real combat.
UNITED KINGDOM
LONDON WSL VING TSUN GUNG FU
EUROPE
INTL. WENG CHUN KUNG FU ASSOCIATION
Head Instructor(s): Andreas Hoffmann

Lineage: Southern Shaolin Chi Sim > Wong
Wah Bo > San Gam > Fung Siu Ching >
Lo family > Wai Yan > Andreas Hoffmann
Address: Memmelsdorfer Strasse 82R,
D-96052 Bamberg, Germany
Telephone: +49 0 951 37 379
E-mail: sifu@wengchun.de
Website: www.weng-chun.com
About us: Established 1986, the Weng Chun
HQ is the home of Grandmaster Andreas
Hoffmann and is specialised in Weng Chun
Kung Fu as well as self-defence training, Sanda,
MMA, BJJ, Fu Tai Chi and Shaolin Qigong.
WING CHUN PAI
Head Instructor(s): Jan Metten

Lineage: Ip Man
Address: Bredabaan 31,
2930 Brasschaat
Liersesteenweg 314
2640 Mortsel, Belgium
Telephone: +32 471 107 522
E-mail: info@wingchunpai.com
Website: www.WingChunPai.com
About us: Wing Chun Kung Fu School for
adults and teenagers (+14 yrs). We teach
traditional Wing Chun for men and women
with respect for the old masters and the
origin but with modern attitude and training.
THE DANISH VING TSUN FEDERATION
Head Instructor(s): Morten Ibsen

Address: Tolderlundsvej 3E,
DK-5000 Odense C, Denmark
Telephone: +45 2046 5299
E-mail: moibsen@gmail.com
Website: www.dvtfederation.com
About us: The objective of DVTF is to teach
Wong Shun Leung Ving Tsun in a relaxed
and accessible manner, where emphasis is
placed on good technique and personal
development.
60
Head Instructor(s): Jason Gowan &

Scot Dearling
Address: Classes in Tooting, Stratford
and London Victoria
Telephone: +44 (0) 7970 022298
E-mail: info@londonwslwingchun.com
Website: www.londonwslwingchun.com
About us: We are a new WSL Ving Tsun
school in London looking to teach the
system in its purest form as taught to us by
David Peterson and Kevin Bell. We will be
teaching the full system as taught to David
Peterson by Wong Shun Leung.
THE WING CHUN FEDERATION
Head Instructor(s): Alan Gibson

Address: 2 Priory Rd, St Denys,
Southampton, Hants, UK
Telephone: +44 (0) 778 660 7776
E-mail: alan@wingchun.org.uk
Website: www.wingchun.org.uk
About us: Alan Gibson founded The Wing
Chun Federation with the express purpose
of concerning himself with the development
and promotion of Wong Shun Leung Ving
Tsun and creating an effective and focused
training atmosphere for his students.
PROGRESSIVE WING CHUN
Head Instructor(s): Neil Sydenham

Lineage: Ip Man
Address: South Furzton Meeting Place,
1 Blackmoor Gate,
Furzton, Milton Keynes
Telephone: +44 (0) 779 667 8632
E-mail:
enquiries@progressivewingchunmk.co.uk
Website: www.progressivewingchunmk.co.uk
About us: Wing Chun Kung Fu including
Forms, Chi Sau, techniques and traditional
hand and foot drills as you might expect. We
also include within our training, pressure
testing, free sparring and group dynamic
training (training against multiple opponents).
HAVANT WING CHUN
Head Instructor(s): Mark Page &

James Woodcock
Address: Havant Leisure Centre,
Civic Centre Rd, Havant, Hants
Telephone: +44 (0) 7920 077600
E-mail: mark@havantwingchun.co.uk
Website: www.havantwingchun.co.uk
About us: Havant Wing Chun was set up in
2009 by coaches Mark Page and Jim
Woodcock. The club teaches the Wong Shun
Leung method of Wing Chun with an
emphasis on personal protection for real-life
fight situations.
THE SCHOOL OF WING CHUN KUEN
Head Instructor(s): Ish Shah

Lineage: Ip Man / Ip Chun
Address: Sparkbrook Family Centre,
Farm Road, Birmingham B11 1LT
Telephone: +44 0 787 412 1492
E-mail: training@schoolofwingchun.com
Website: www.schoolofwingchun.com
About us: The School Of Wing Chun Kuen
is a small traditional Wing Chun Kuen school
based in Birmingham. The school runs on a
traditional closed-door private basis
therefore visits are strictly by appointment only.
UNITED STATES
HARDCORE JEET KUNE DO
Head Instructor(s): Lamar M. Davis II

Lineage: Bruce Lee > Jerry Poteet, Steve
Golden, Leo Fong, Patrick Strong, Joseph
Cowles > Lamar M. Davis II
Address: 324 1st Avenue East, Suite #06,
Oneonta, Alabama 35121, USA
Telephone: Office +1 (205) 467-9039,
Cell: +1 (205) 577-3929
E-mail: Sifu@HardcoreJKD.com
Website: www.HardcoreJKD.com
About us: Wing Chun Gung Fu, Jun Fan Gung
Fu and Jeet Kune Do. We are original Jeet
Kune Do because we only do what Bruce Lee
developed, practised and taught. We are all
about real world self-defence.
CONNECTICUT WING CHUN
Head Instructor(s): Andy DiGuiseppi

Lineage: Ip Man > Leung Sheung >
Ng Wah Sum > Chung Kwok Chow >
Kevin Becker > Andy DiGuiseppi
Address: Waterbury School: 847 Hamiton Ave.
Waterbury, CT 06706.
Danbury School: 33 Crosby Street.
Danbury, CT 06810
Telephone: +1 (203) 470-4623
E-mail: wingchunkuentao@gmail.com
Website: www.ctwingchun.com
About us: Entire system of Wing Chun. No
belts. No testing fees. No special uniforms.
No children, Age 14+. Chain Punching Drills.
Trapping Drills. Chi Sao. Chi Gerk. Weaponry,
Form Applications. KhamNa. Sweeps & TakeDowns. Earth Boxing. Also offer Kun Tao
Silat & Kali.
KULO BOXING ASSOCIATION & MIT QIGONG
Head Instructor(s): Jim Roselando

Lineage: Leung Jan (1st Gen.) > Wong Wah
Sam (2nd Gen.) > Fung Min/Fung Chun
(3rd Gen.) > Fung Chiu (4th Gen.) > Henry
Mui (5th Gen.) > Jim Roselando (6th Gen.)
Address: Boston, USA
E-mail: Info@ApricotForestHall.com
Website: www.ApricotForestHall.com
About us: Our club is dedicated to the
practice and preservation of the Chinese
Internal Arts. We privately preserve the art
of Kulo village Pin Sun Wing Chun boxing
and offer personal and group classes in
Natural Qigong.
VING DRAGON CLUB INTERNATIONAL
Head Instructor(s): Derek M. Rozanski

Lineage: Siu Lam Weng Chun
Address: Please refer to the website
E-mail: dmrbytom@yahoo.com
Website: www.shaolinwengchun.info/forum
About us: Siu Lam Weng Chun by seminars
and private lessons. The best and most
trustful source of information about the art.
LEBLANC WING CHUN
Head Instructor(s): Greg LeBlanc

Lineage: Gary Lam Wing Chun
Address: Oakland, California, USA
Telephone: +1 (510) 593-0165
E-mail: gleblanc@turningpointonline.info
Website: www.leblancwingchun.com
About us: We offer Wing Chun Kung Fu as
taught by Sifu Gary Lam.
THE MARTIAL ARTS & FITNESS CENTER
Head Instructor(s): Kelly Knight

Lineage: Ip Man > Various > Dana Wong >
Kelly Knight
Address: 4 00 East King Street,
Malvern, PA 19355, USA
Telephone: +1 (610) 640-9232
E-mail: zanshin@mafcenter.com
Website: www.MAFCenter.com
About us: Wing Chun training in a relaxed,
fun environment. Located in the heart of
historic Malvern, Pennsylvania since 2003.
Try a week for free, no obligation. We are
the one and only US school associated with
Sifu Dana Wong.
MOY YAT KUNG FU ACADEMY
Head Instructor(s): Aaron Moy 10 Tung

Vyvial (11g VT)
Lineage: Moy Yat / Moy Tung
Address: 2105 Justin Lane, Suite 111.
Austin, TX 78757
Telephone: +1 (512) 680-4535
E-mail: txkungfu@gmail.com
Website: www.txkungfu.com
About us: Real Kung Fu and self-defence
for real people, taught by an 11th Generation
Ving Tsun Disciple. Teaching the only
unmodified Ving Tsun in Austin. Training is
available at San Antonio and Houston.
No contracts or long-term agreements.
ISSUE 01
The Original Wing Chun Equipment Company since 1999

Premium HK Wing Chun Butterfly Knives
Based on a design that we were shown by an old
Wing Chun Master in Hong Kong, each knife is
crafted from stainless steel and features the traditional
blood grooves running down the top edge, and
now each pair features the distinctive Pagoda logo
etched onto the blade.
Premium Brass & Steel Wing Chun Butterfly Knives

These amazing new Pagoda Butterfly Knives have
all the hallmarks of the usual Pagoda quality with
a little bit extra. Crafted with solid Brass Handles with
a stunning dark wood inlay on the palm side of the
handle, the blade is made from stainless steel with the
traditional blood grooves running along the top
edge. These new models also feature our
new hard leather carry case.
Pagoda Hardwood Wall mounted

Wing Chun Wooden Dummy
Based on the famous Koo Sang design made famous
by the late Grandmaster Ip Man, each Pagoda Wooden
Dummy is handcrafted from the finest premium solid
European Beech timbers.
Pagoda Freestanding
Wing Chun Wooden Dummy
Finally the wait is over, and Pagoda Imports are excited to
introduce our awesome new freestanding Wing Chun Wooden
Dummy. Manufactured exclusively for us in our new factory
in China, this new design blends the craftsmanship of our
traditional wall mounted dummies with flexibility of the
ingenious freestanding base to create a truly functional piece of
training equipment that requires no fixings to the floor or wall.
www.pagoda-imports.com
LONDON
FILM & COMIC CON
JULY 8-10, 2011
Co-operating with
One Sixth Bruce
TEL: (+86)-755- 8228 8854
E-Mail: info@enterbay.com
www.enterbay.com
2011 ENTERBAY INTERNATIONAL LIMITED. All Rights Reserved.

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ONE VOICE

ALL LINEAGES ISSUE 01

Victor Kan Wah Chit

UNSUNG PIONEER OF WING CHUN IN THE UK

Leung Jans Kulo Wing Chun

Saam Pai Fat

THE FOUNDATION OF PIN SUN BOXING

WENG CHUNS SECRET BODYWORK

WEVE GOT IT COVERED

Greening the Screen

Dakota Blue Richards

Childrens film festivals

Festival reports: Antalya, London, Filmstock, Doc/Fest

Australian Cinema at the Crossroads Again

Festivals: Bradford, Deauville Asian, Hong Kong,

Festivals: Abertoir, Bram Stoker, FrightFest, Mayhem, Terror

Cinema of the Maghreb

chris Atkins on TAkiNg LiBERTiES Brent Leung on HOUSE OF NUMBERS

Festivals: american Indies, Bloody Xmas, Jihlava, London, raindance, Zlin

Festivals: BIFA, Bradford Animation, Leeds, onedotzero

Festivals: Annecy, BAFiCi, Cannes, edinburgh, Los Angeles

The Italian Key

Festivals: AFO, Bradford, Pantalla Pinamar, Plume & Pellicule,

Festivals: Artivist, Berlin, Birds Eye View, Borderlines,

DOcUMENTARiES THAT cOULD SERiOUSLY ALTER YOUR ViEW OF THE WORLD

Festivals: Aluta, Cape Winelands, Jamaica Reggae,

Festivals: Bursa, Mar del Plata, MIAAC, River to River, Thessaloniki

Festivals: Austin, Festroia, Raindance,

Once merely a footnote in the biography of Bruce Lee,

GRECO WONG WAI CHUNG

In a revealing interview, Greco Wong Wai Chung recalls his

With the success of Ip Man and Ip Man 2, Donnie Yen has

Suki Gosal celebrates the life of one of Wing Chuns best

Photo & Cover Photo: HAIDE AUGUSTA www.strangeceremonies.co.uk/photography

LAT SAU JIK CHUNG

When used successfully, Lat Sau Jik Chung provides less

ALL LINEAGES ISSUE 01

Why Body Structure and How to Develop It

Dr. Chu discusses the importance of understanding the

Saam Pai Fat:

THE INQUISITIVE HAND

Wing Chun is a system, as opposed to a style, but what does

CHI SIM SHAOLIN WENG CHUN

THE INNER CIRCLE

Hong Kong cinema expert Bey Logan recalls his experiences

The Muk Yan Jong is NOT for Dummies

GM Andreas Hoffman unravels the mysteries of Weng

MOON POINTING FINGER

The wooden dummy is a complex, multifaceted training

Adopting The Prodigal Son (Part 1)

The Path of Mastery

Improve your training by clearly understanding the purpose

08 WING CHUN AT THE MOVIES

THE HIDDEN FORMS

The punch is a critical element of the Wing Chun system

Leung Jans Kulo Wing Chun:

Master Leungs Kulo village boxing is one of the rarest

THE INTERCEPTING FIST

Find out just how closely related Wing Chuns Yi Ji Kim

this issues contributors

Eric Liller, Editor-in-Chief

[PAGE 6] DR. ROBERT CHU is internationally known in Wing Chun and

please contact Eric Liller:

and the editors. No part of this