EAGLISH BOOKS Sear WING TSUN KUEN ne Weyer se ‘st rapt a he ROOTS OF WiNeTSUN = dae i ee ‘hey OMAN He Toa ro re en se at B 1 sonar of ROUN WOODEN HAL #1 Shiota FOR fo a Sue WEREDIBLE tro gue eo Saws STE onerae pga enn ie enw nee) TSBN 962728474-2 ML SIU NIM TAU ‘THE SET, THEORY, MAIN-POINTS, MOTTOES & APPLICATIONSfer Prof Leung Ting in Hungary in 1999 A Thousand-people Siu-Nim-Tau performance led by SIU NIM TAU THE SET, THEORY, MAIN-POINTS, MOTTOES & APPLICATIONS A, Chinese, Ge and ot Published worlwide i Hungarian, la GRANDMASTER PROF LEUNG TING a hy, Guest Pres Chiot Demonstrator: Ist Edition: 1 ad Print: 20Sep¢2002 3rd Pri 0 hie Editor LEUNG WAIBUN ‘JAN HUTCHINSON www. leungting. com \ www. iwta. com Neither th sutor or te publisher asumes ay epost forthe ws or misuse of infomation contained in this book. A igh reserved No orion of his bok in any om without x te puisher Primed in Hong KongCONTENTS Inside front-cover 2 Copyright page 3 Contents 5 About Grandmaster Prof Leung Ting 6 ‘The Background and Theory of Siu-Nim-Tau 8 Little-tdea — The first WingTsun Kungfu Set 18 Application and Analysis of the Movements. ‘iossd Spliting lock 2 Pameap am. % (Chancer‘SUN'Thrsng puch, Chain punches & “Close ange pusing tack” 77 ‘Bdge Arm Lying and) % Sideward pln 0 ‘Left and Right ining ands 2 ‘Backward Pig hands ra ‘Frontal Pinning hands a Bararms & Whishing arms @ Bararm —Siking block —Palm-up Arm —Jehing Hand &Thrsing Fingers 92 High Palm spams —Double Jerking aad — Thrusingfinges— Long ide ining aad — Doel iting arms ‘From Long be Pinning hands —Doable Lifting ars 8 Sinking sem — Wiping rms — Scoping sem — High Palm. arm tot igh Paln-sp rm 105, Bong am & Revere palm 0 Am feing & Tsing paces 112 ‘About the Essential Points ‘Seng up th stance by “One-and Hal ac’ 7 ‘Aout the Carer "Two" Adduction Stance 18 Mottoes in Siu-Nim-Tau ‘Pash th Heal aunt the Sky Stn Finny on he Grund (THA) 120 Heal wp wi Horm Vison 50-44) Lak whee he Hand Goes AL #1121, ‘Conable Ces ad leased Bak (4%) 12 Saige he Wait and "Tul th Abomen (48 A) 1B ‘The Sinking how & Droping Shoulder ( 8 68) 1% ‘The Centerline Theory rt Inside Back-cover 131 4 About Grandmaster Professor Teung Ging ‘or an Tg ny rat Gannett J) Phen ak Founder of he trata Wing De een LPO soeaanstiaae arson ri nana ec ser SatpatsearCba ee eae Se prem ‘More importa, Prof Leung isthe founder ofthe Leung Ting WingTsun™ ‘System, a kung stem based on rational Chinese 4 (in English Wing Chuo’, “Ving Ton" ing Tn) bat which he has adapted and itmpoved in several ways His system ioorporates a systematic approach io teaching anda standardized gating syste. also emphasizes the application ‘of pica fighting techniques in various situations while remaining tue th authentic concept aught o him bythe late Great Grandmaser Vip Man, Leung Ting began studying Wing Chun atthe age of 13. When he was 19 yea old, he began teaching Wing Chun as apartime “Sifu” (ung insrectr), anda the age of 20, he Became the ast private student ofthe te Great Grandmaster Vip Man wn ha just “lose his door (retire fom teaching From the aged Great Grandmaster, Lea earned the mest suvanoed techniques and theories of Wing Chun, Sifu Leung son elie tat though the ehniqes looked similar to what hc had been taught bee thundering concept that he was taught the retired grandmaster expanded and greatly changed his understanding of ‘Wing Chun. T ides this ference inthe ye Leung Ting soon registered the spelling “Wing Tun” a the unig em forthe "Wing Tan Leung Ting MarialsArt Association Lt that he established in the early 7s (The mane of hs esociation was later changed 10 “Tuemational Hinge sxocation” WTA) nthe 90s a =n Tsun” Bocome the nie trademark of the Leg Ting Wing Stem) In order to rome his nw system of ngs Sift Lang Ting rind huni (fiers compete in various kgf and feigning oumarents during70'sand early 80, When most fis students won their matches by krccking ut thc appenens within on o two round, he was honed withthe rckname “Creator of Fighters”. Thousand of ive and televised Wingsun performances quickly made Lang Ting the “Gigantic Star of Wing Tsun” in Hong Kong and ‘Asia Leung Tings name was even mentioned in th September 1972 issu of Black Bel Magazine (USA) asthe "successor of Grandmaster Yip Ma {n 1976,rght after bis European rp. he became a technical director and planner for 24 episodes ofthe TV series “Real Ku fo the Redifuson Television Staton, In 1977, Me Chang Chich ofthe Shaw Brothers Film Production Company (the topmost Kungfu movie dete at hat tine) reruted ‘Lean Ting to asist wih his next sx Kungfu movies. ‘fier completing his contractual commitment with the Shaw Brier, Sif Lean Tingncreased his ff towards expanding Wing Tsun Kung in the \Westem Werld He hegan writing books an producing documentary instructional videouapeson kung for American and European martian ‘ontusiasts Inthe late 7, his English eon of Wing Tin Kuen was declared the “Best Chinese Kungfs Book ofthe decade” in the USA, In the last ‘ent years, this book hasbeen tanslated and published in Simplified and Traditional Chinese, German, French, Spanish, Hungarian, Bulgarian, Polish, Taian, and several ther languages. Toda. heInemational WingTsun Associaton isthe largest profesional kung organization in the wold with more than 4000 branches in over 63 cours Net only beginning maria-at ethusass are aac to Wing Tsun” thousands cof exper rom other martial at sles ave le thir previ school o becane ‘student in Great Grandmaster Leung Tig's schools. Some of those who have sisted were highDan instructors While ethers had already eam sin ‘tinal and word championships in diferent marial-arttourarments weed Ina tothe general WingTsun™ courses, Prof Leung desins special taining ogra fr miliary and pice onzanizaions,incading “Military Special (Operation Personne”, “Miliary ad Plie Scutiy Fores" and SWAT. He has ‘rained combat insructos fer many werd wide special forces poups: such asthe Band Marne Corps of the USA, SEK & GSG9 of Geman, NOCS of tay, GIP of Luxembourg, RAID of France, Naonal Police and Amt-Temeist Squad ‘fn, and the Special Police units of Blgum, Austria and Spin. Despite his remarkable achievement in bringing WingTsun™ worldwide popular, Prof Leung isnot sisted, Curent eis planning o re-enter the field of entertainment where he intend to further enhance the visibility of WingTsun™ wit his imovaive websites, “WWWLEUNGTING COM” and SWWAWIWTA.COM™, Because ofthe extensive use of vide, exploring these sites wil be similar o watching television shows specializing in kung and (Chinese cuture. There wil be vdeo of great martial artist as well as iterviws with famous kung ators and dirctors. There wil also be shows about Feng Shu, Chi Kung, Mandarin language lssos,pethaps Chinese ‘cooking. And for those who wish et thet own fing abilities against those ofthe grandmaster, they may soon have the chance, Grandmaster Leung Ting and his busines partner are designing a WingTsun™ fighting gare tobe included onthe websites! — ator Below: Jacko Chan was in Grandmaster Loung Tings Intemational Headquariess in Hong Kong when he gave an interview to an American TV ‘row. Could he soon be domonstating his humorous yet chalonging Kungitectniques during an intaview on LEUNGTING.COM? PinSIU-NIM)-TAU ‘THE NAME AND ITS UNDERT 4-H.) of literately wanslated as the is the fmt bar-handed kungfa sct of the WingTsun system. It was formerly known to some Wing Chun people in Foshan (4 or “FatShan” in Cantonese ) as “Saam-Bai-Fat" (= #4 ) or “Praying Thrice to Buddha" i. was so called because the set was previously composed of one Tan-sau (#4) and two Fook-Sau (KA) together with thece Wussau (4) movements which, originally known as the “Yas-Tan, Yee-Fook Saam-Bai-Fur” (—®=A= M4) orlterately translated 1 the “Tan-sau for Once, Fookesau for Twice and Praying to Buddha for Thrice” sequence, in which the hand position Tooks as if one is praying to Buddha. However, the modern version of Siu-Nim-Tau consists of ‘one Tan-sau and three Fook-Sau movements, and so would need to be called “Praying Four Times to Buddha” Using Si Nim-Ta asthe fist kunt set ia the WingTundsipline caries 4 special philosophical meaning. On a student's fst day of clas, the instucto will vaitionall say, “f you cannot even master a ‘Lite dea" correctly, you will never do anything correctly; no matter whether you are practicing Wing Tsun or in your dally life". But this statement as more than justo levels of meaning (On the simplest level, this statement refers to the fact that many of the techniques used in ChiSau (44) training and in real fighting ae ‘sctually combinations of the basic movements from the “Lie Idea” se. ‘Therefore, if a WingTsunpractiioner cannot master these basic techniques correctly it wil be ctfcult for him to master the correct techniques and he will notbe able to fight effectively ‘Another meaning behind “Little Idea” involves the beginner's state of mind. A new student who thinks “too much” may become distracted by too many ideas in his head and fail 10 understand the main point of the whole set. The name is also a caution against thinking 10 far ahead. A student who is preoccupied with what he will earn inthe future will al to lear what he is being taught inthe present. In order to achieve larger goals, one must first fully understand each “Little Idea" that is part of the larger concept. However, This does not mean thatthe student is not supposed to think a all If Student only learns the physical movements ‘of the set and not the underlying concepts expressed within it, he has not realy mastered WingTsun Kungfu. Comprehending this ternal Knowledge, not performing the external set is what makes a true WingTsun martial anist. This is why some people may practice for ‘decades yet sil fail to understand the essence of this martial an. CHANGING THE TRADITIONAL CONCEPT OF MARTIAL ARTS For a WingTsun™ practioner, “Siu-Nim-Tau” should have yet another ‘meaning. Whea first intdoced, WingTsun revolutionized the concept of the traditional fighting styles of China. Traditional kungfu styles focus on ‘sing a “patemed counteratack movement” against a “paemed tack movement” under an “imaginary siuation’. However, in a real fighting uation, you cannot foresee wha attack your opponent is going to use, and ‘once he does attack, you do not have time to stop and thnk about the appropriate counteratack Therefore, WingTsun does not emphasize attack/counterattack" patterns, but instead focuses on being able to react and adapt to whatever atack your opponent uses. “Changing according {0 the changing of the enemy” is nemo of Wing Tsun™. Therefore, the true meaning of "Lite Ide” is to advise a beginner that he must fist “totally empty his cup” (cleat his mind of preconceptions) so that he can rebuild x completely new concept starting with “litle dea DIFFERENT NAMES, Branches of some Wing Chun people who tach the same set call it by dliferent names. Some cll hee fist hung set *Sia-Lin-Tau” (2448) which means: “To practice a litle bitin the beginning". Others call it “SiucLam-Tau” (J#3H o¢ “Shaolin-Tou” in Mandarin) meaning “Do 9‘not forget that Wing Cus was originated from Shaolin”, Obviously cach school can express its eles through the name it uses; yet WingTsan™ taught in the TWTA. allover the world fis chosen to se the name “SivNim“Tau” pased dowa trom the late Grandmaster Yip Man a5 ‘rings out special philosophical meanings. 108 POINTS 1 was said thatthe tadona Su-Nim-Tau set consid of 108 points ‘About such the hearsay, Teo even remember during a teatime chat hat Great Grandmaster Yip Man once had also mentioned about he same thin Unfortunately, 1 was too reckless not to keep asking bim for a detailed explanation. Year later, when [found my nest in looking forthe ros of Wing sun 1 began searching forthe reasoning chin the 108 poi format Alter extensive research | finally discver the following explanation ‘A *Single-handed movement” — any individual movement launched by one hand — is counted as “one point. ‘A *Double-handed movement’ — any individual movement launched by both hands together atthe same time — is counted as “two points”. ‘Note: The tem “individual movement” does not refer to a whale sequence Of a certain movements started from the beginning 10 the end (es. withdrawal of the hand back 0 the lnk) but to each smal action within the ‘complete technique. Say, the whole sequence from the “Double Gave-satu” 1a the withdrawal of thefts would count as “eight points: ‘The 1st movement the Crossed Tan-sau(2 points) ‘The 2nd movement the Double Gaun-sau (2 points) ‘The 3rd moverent intemal rotation back to the chest (2 points) ‘The 4th movement: Withdrawal ofthe hands back tothe flanks (2 points) (Please refer to pg. 16 — 17, from Diagram #5 1 #10 for details) ‘THE PAST AND Pf Because the present day version of Siu-Nim-Tau has been modified aver the year, ito longer consists of exactly 108 points, For example, in the middle att of the old Siv-Nim-Tau set, there were two separate sequences of 0 movements. The fist sequence sted fom th lt Gumsa and ended op With Doobie Zan-saw movement right afer the Double Far-sau movement ‘Te second sequence sar from Double Ju-sau upto the Withdrawl of doublefias (Sactaen) However, in the middle pat of the caren! SiuNim-Tay, the to sections ate combined together to form a nonstop swecrsion of movemens sated from the Left Guna up to the Withdawal of doobe-ss. ("See pg. 38 — 49, Diagram #81 104105) ‘Undoubtedly, the version of Siu-Nim-Tas that was taught to the late Great Grandmaster Vip Man ad the version he subsucrly taught to his tens are somewhat efferent tials lear thatthe version of S-Ni Tau Great Grandmaster Yip Man taught in Fostan of Mainland China and the version that trough in Hong Kong are ot exact the same, However itis not ‘dear who achlly had msi the movements in tbe st? WHY TRADITIONAL? In studying kanghs or any oer subject, ane sould try o grup the esta concept of the material rather than dveling too mach on the origin oF Fat Tana nop on) —Homow gtan)— Sarton Me cepoes fn Bren Riso cae taqometeinetimcewoners MliBgsinry toe tat ars aes Been eaniyictins eee | a 3 c170 172 <= Note The force of palmstnkes txeted fom te slow ands fal focused trough te rate he pam 173 66 Tutsau (170 — 172) Exon te et ar dogo in orto he abdomen wih pal fxn ard Plce the pt hard ple-op aga! th ew jit of tele fam Sie the rh pam dona aog th tam whe rang fe tam ‘und tele han ets pap agate ight bow. 5 @ + 4 175176 wr 178 179 Tut-sau (continued) (173 — 174) Wt height am exended agony in font Lin-Wan Chung-kuen — Sau-sik (176 — 178) Launch ale punch along fhe abdomen, side the left pam downward along the ght am while drawing the Conletne. When the arm is ful eended imnedatly punch the right Fst ‘he ight am up unt the rptthand ress pan-up agate le ow. Side fe ‘outward along the Centertine while craving back te le fst under the ight am, ‘gh pa dowrward alan the et arm while drawing the let arm up unt the eft Lunt tis cose fo fe ches. Do ths for several tes at high speed (Lin-Wan hand foe a ftinfontofthe chest. ‘Chung-kuer).Finaly do Hven-sau as a Sausik Ending) movement. 8 e 460 181 183 6 oWw € bk EE Diagram a — h: Side views of the sequence from Tut-sau (Freeing Hands) to Linswan Chung-kuen (Chain-punches), Pease note ne distance between the ams and the body. naAPPLICATION & ANALYSIS OF THE MOVEMENTS GOU-CHA GAUN-SAU (3 £8 or Crossed Splitting-block) ‘The Crossed Gaur suis a"ouble movement inthe Sey itis cally lower Gaun sw performed the same time In praia aplication it soul be wid spacey and combined with ter appropriate terhigus. ‘The Lower Gauss womally wed in combination with the "Character SUN’ Thrstig pune” (or Thrsting pach" in short) in order 10 delet a ido loer level atack and siulaneowsycouneratack In ation, tbe Lower Gaus is general sed wih the body turing shy sideway so as to matinize its cffectiveness. For instnc, when the left Gen ais se, the body should be trea slighly to tele s0 that an attack by the opponent can be evaded. Ths sideways casio is paiclay important when deflecting bik Demonstrators: Situ Lau Ka Sun (Lett) Situ Yen Yiu Wing (Fight) + The dere ad bot ams ber stag i broad te gon ‘As isa and hands a pes too dese he ty. From mis psi be cous ot rect quickly exh otis ech fr his opponent n Example ‘At and B righ) facing each other. When B inates a right punch at A's mit-ower level, A immediately executes 2 right dagonaly downward smash ffom above B's right uch. At the same time A dissolves B's punch, A's let "Character ‘SUN’ Thrustng-punch’ has ateady landed on B's ace “4 AL- as B‘TAN-SAU (58 $ or Palm-up Arm) ‘The Rong sa, Tan sau and Fook say, commonly called “Bon, Tan and Foo!” in shor, are oletivly known asthe thre fusdametal moves in WingTus In he frst section of Si Nim-Tae, when paccing the “One Tan and Thrze Fook” sequence, the practitioner is egired to exeut the movement slowly. The Sequence should also be performed with the dep, slow and rhythmic breathing ‘Thats the essence of Ch un (Breath Trin) Tansas can be fue clasfed ito "Crossed Taso, “Mid Toms” and High Tar-iu The Crossed Tans is commonly wed a asitonal move, sch as then iis prformed at the beginning of Siw Nie Tau, before the execution of Crosed Gane. The Mid Tora is he most commonly used technigue. Ths when th em “Tar sai wed wth a modi, it sully means Mid Zeno. In Combat situation Tans an be apie nw vast vat of ways, The High a au ‘srmostly wed a cnomeratack tthe roundhouse puch o: igh roundhouse hc [EXAMPLES OF 7AN-5AU COMBINED WITH OTHER TECHNIQUES: 1. Tam sa and counterpunck from he ome “Outdoor Area") Diagram 2 Tansu and acounterpanch fromthe inside. (Ps. 76 Upper Digram) 4. Tas fromthe inside wih an “Arm pesing Punch fom the ouside. (Pq 76 Lowe Diagram) Tan-sav can be combined wih various movements such a6 palmstrites, Low Bongsu and ther poche a ik, bth Ch Saudia ea ighing Satins. Diagram a—c ‘When B (right) launches a jab to attack A et), immediately apps a right Tansau and turns his body tothe right to nulity Bs powertu! punch. At the ‘same time, A launches a left Thruting-punch to attack B sheadAbove: ‘Both Tan-sau and "Character ‘Sun’ Thrsting punch’ rom inside Below: ‘A Tan-sau from inside with an “Arm-pressing Punch" from outside 6 \YRT-GEE-CHUNG-HUEN (2 #924 or Character ‘SUN’ Thrusing Punc), LUNADAN-HUEN (st 8 or Chaln-punches) & {lK-BO-T-DA (it $8 ror “Close-Range Pursuing-Attack” Tact) ‘The “Chancer ‘Sun’ Throng punch”, aso called the “Sunight ine ‘husting neh” o just “Thresting-pnes in sors the most important punching technique of the Wingsun system. In accordance wth the principle "a raph fin is the shoret distance berween wo pons, te “Taras Pusch no oaly flows 2 ‘aight line bat also fallons the “Shortest Straight Line” (the Centerline) exween he wo opposing ies, (Pee retr P 128) ‘Almos al ther marl art styles teach people to pause between pances, so that if the opponet evades the ist punch, the aacker bas wo fist daw back his puch before making a second punch. Ths syle of fighting is similar to firing Single shot pistol (e After eck sh thepistol mas be v-coked befor it wil fre ‘pin allowing the enemy a chance to rn a) WingTsun emphasizes the ose of “Chain Punches”, a rapide tecbigae where ene continuously punches and advances toward the enemy making it impossible for bim o back out of rang ofthe tack. Tas tactic i aled “Close Range Pursuing Attack”. Thus the WingTven syle of fighieg i similar chasing flr the enemy wth a machine gs, ‘Other WingTsun techigues combine the “Thusting Punch” vith ferent han techniques sch 1 Gaaneaa Tar-say, Fook Grats ad thers in onl 10 fisolve an opponent’ aac 2d counterattack simultaneoesy, Right Diagram: Pf Leung Ting demenstating the “Close Range Pursuing tack” which continuously Presses the opponent mating it nexty ingest te cole eel,FOOK-SAU (18 or Bridge-on Arm or Lying-on Hand) Fooksou, which ierately means “one's hand i ying onthe wrist of one's ‘opponent ane the thee Fntametal ha echnioes the WingToun stem. The riioeship between Fook sau and Tarsax is that Foose isn top of Tas ving Poon Sax ($8 ot “Roling Arms" tining in Dovble armed ChiSoe dei Thus the relationship tween Fook-av and Tans is quite dette since thes to andtcingas conto each aber yet deviate from each ther under cern condi ‘When doing Fookseu dunng the Si-Aim-Tow set the action should fe tens in the fem, This eke hls Sueatin th muscles ofthe fra, so hat they will be abl to pode the bunting sagt kaown a "Long Brige-Force” "Eaplosive Powe” some other marta ais call he "Tnchpower”. This is the power ta enables a Wings exe o rode a powal peach while moving the monly an extremely shor ae In ChSau dil or in el fighting, Fook sa dos ota as performed in Sit NimTs. tis done withthe pal of one's band seking lig {o the wrist of the opponert. From this positon, the WingTsur practioner cam ‘ange the Fook sax into Cum-seu Pesing hind) movement by pressing dows on his opponents wrist ora 1a (lerking hand) movement yjekieg his opponents ‘wns pall his opponent off alee VFookax can aso be trantormed nko other techigns in der 19 respond appropriately 1 he cious ofthe opposen Say, can be chiged io a ices By ‘sng oa the arm ily 1 tack the opponent on the eye; of transforming tothe “Grappling han” to contol and tick the ppc» simlaaroe By taming he sim verily become Sansa, by tuning the palm up) become. Ta saan sofort 8 Diagram ane When B (eft launches 2 let Thrusing punch towards A's (right) mid-eve, A Immesdately counters wit a let Fooksau on the opponents it wist A then Changes ns Fook-sauto a Ju-sau movement by suey pressing down B lett Wrst Al the same time, A punches Bs chest wih aright Thrusting punch, Demonstrators: ‘Sifu Yang Kal Kwong (Right) Lee Wing Ho (Let)JAAK-CHEUNG (8 # or Sideward palm) The "Sidewardpalm” or "SidenardShppng-band” is a movement converted from a We-an posture, The Sieward-alm serves the same fuacton 36 the Slapping-hand in the Chun-Kiv set bu toa diferent direction. In a combat sitution th Sideward pais mos wed as a second line of defense. WingTsun Kungfe normally does NOT endorse the "Blok First and then Arak” Gghting method. When 2 fighter allows his opponeat to atack fist he is allowing his opponent to gin the iniaive in the Fgh Ie such 2 suation even if the figher is able to newraie the fist atack, he i still oly reacting 1 his ‘opponent's tack ad not conoling the fight. Meanie, his enemy bas probably Manche he second tac, ‘Since it i uliely tat his opponent wll stop atacking once he bathe init, the figher wil be fore to coniully defend himself and wll ce be abet auch fis own atacs. (na ral fight, nobody can withzand a series of atacks without etn ht by a est one of them. Unless, of course, he is in the mover, oF hs ‘nponet safer fram svee vision problems) This isthe reason WingTsun frases on teehsiguts where one can “Defend Using these techniques, one ean achieve the “dreaming effet” deseribed by Chinese marial ass withthe following saying "Start later, yet reach the target earlier” The following LP stare ne (Right) (et Diagram a —c Biniates a ja attack towards A's head. When the punch reaches the range of ‘As extended night arm, instead of stepping back, A advances a step lowards Fis opponent, applying a left Sideward-palm to block B's oncoming punch, ‘hile countoratackng wih aight Trusting punch o B's face. Photographs depict + simultanous defense and couateratack wing 2 Siewand palm ih a Thrsing pach aJOR YAU GUMSAU (Ae or LeM & Right Planing hand) Practicing these movements in Siu Nim Tau 0 nly improve the siking power of Stamping Fal, ita is 2 rac combat application. WT ‘acres 3 re couse fihang techie called ‘oka (A4 or"Shoulder strike’ ives ramming one's shud into th opponent's ches. However, the sou of th stikng power inthe holder sike does sot esewly come fom the bower but aber rom the Side-ep crashing ito the lps ofthe opponent though he movement comes from the sie Pianing band moverens. Diagram a—d B twist A's arm, A sudenly extends his arm domrward with 2 Sde-stp, which ruifies ne artlck and smutancousy stikes Bin te chest ‘wh he shoul. A corsnues to atk B wih 2 let Thrusing-punch ‘COMMON MISTAKE; The ams tof fom Be by, tus lcsing te meanng ofthe rope met Sher ste aHAU GUMSAU (isk 4 or Backward Pinning hand) Its the ony rearmard tack inthe WingTsun system and is epaded as a “icky movement” ora surprise tack agains nes opponent. Normally WingTeas emphasizes the “Face to Face Pursuing Attack" tactic; therefore most techniques ae formlaed for frontal atack and defense, ‘xpotng the back to the opponent is genelly considered unwise according wo WingTean principles, since exposing one's hack allows the opponent an ea opportunity to lack. However under cerain circumstance, when 2 WingTsun practioner mast expose his ick tis opponent, his movement wil be extremely ‘ffs When ones arm is being twisted backward, the Haw Gum-sau can be very ef In this situation, one sdeny turns inthe Gieton of he ewised arm ui ‘nes back is towards the opponent, thn one wis the Hau Grm-ay to strike the ‘oppones's floating sib. Tai tack wil hut he opponent seriously and force him to let go. After wing the How Gumsex, one should carn guikly 10 fae the ‘oppones and coming the attack Diagram a—e Sema ah amin A | Dp stir unsibccce 9 tocar sale Gamea ig ‘ovacs Bs owes gala Be toad ot go of AAs Thame Ari rs tack © exe poston tesing Ws et oy tb Bo sone on jacig «Tmasngpinch a BS Pa 85¢ Demonstrators: ‘Situ Ngan Tak Yo ‘itu Yan Yiu Wing 86 CHIN GUM-SAU (414 or Front Pinning hand) Since the 1ypes of Gum-saw that ae performed in the middle of the Su Nim Faw se are not frequently seen in combat situations, many Wing Chen people ignore them. Some people even thik shat thse movements sre only Faclided in rdrto develop he strength of palm-stkes, or ineease the flexibility inthe shoaders and arms. This, of couse, is a misconcepion. For eample, the fron Gum-su can be used as type of palm-strike aack generally ands in onder to inrease its desta power. Above: Professor Leung Ting demonstrates. the ferent positions of the ‘wo movements Top let) The Froat Gumsau sa ‘soubopaim sie towards the addon seal the opponent. Tereloe the pms should be hed veniealy (Top at) The Longbrisge Gumsau isa delndng lech, When he movement ' corgleted the palms shoud ie horzotaly in font othe ‘sing ath e ic » 87Demonstrators: Situ Fong Bing Yu (Lef) Assistant Instructor Bjoem Fandé (Rott) Diagram 1—3 B (let) attacks A wih a double-punch. A biocs his atlack with a Doutle su-sau, which causes B to lose his balance and fl forward A immediatly ats Bin 3 |tne atomen wth a Double Front Gumsau sie LAN-SAU (1 or Bar-arm) & FAT-SAU (4 or Whisking-arm) ‘The suength generated during the transformation from Lan-sau 1 Fars is sub, swift, and extremely powerful [is aif your arms were two ran canes being bent towards eachother. When the tension is suddenly released, the ratan anes prog. apart with an extremely ast matin because of thi eslene ‘When on swing Fete, ome i not rested to striking only ith he edge ofthe ands. Wit the comet exerion of owe, the upper arms, elbows, forearms, ‘wists, and even Fingers can Be aed o atck opponents fe practel sae, it ean Je period with one am or both ams to atch spponens om one a ot ies, Late Ie ars of he Fateou ae to hight tow or uneven, the exertion 0 Seng wil be weve, ae tey will miss the fared atackeg prsiton tears the nock of he “soerot ‘Above and Below: Two common mistakes of Fat-sau movement ote Some people witharaw the Fet-eau 100 cu, bre he tims are uly =. cena Ts teragocs| \ 2 89 beioe # reas ‘ected pedBelow: A Single Fatsau demonstrated by Grandmaster Leung Ting in application Diagram a—c ‘Ais aware that he is pestonad in the mide of two opponents, nd that both (of them atack him atthe same tie, he wil have no room to withérew. Under these croumstances, A immediately uses a Double Fa-sau to attack both of them before they can stack him. Since Fa-sau operates wit busting speed ‘and pawer, and the throat Is one of the weake! human body, once the opponents get hi. Bey ose thei abit to attack and are deteated “Attack is the Best Defense" is one ofthe concepts of WingTun fighting tact. veins oni ? Vet S 90 Demonstrators: Sifu hung ai Wing idl) Situ Ghan Yuen Wai (Len) ‘Situ Yan Yiu Wing (Right), 91{AN (ior Barsarm) — JUM (0 Sinking block) — TAN (28 or Palma ‘Arma) —JUT (Bo Jerking hand) & BIU-TZE SAU (1 2 4 oc Tarusting gers) The techsigues, Doable Larsaw - Double Jum-sau - Double High Tan-son — Double Ju-sau and Doabl Biasresox, which ae performed in sequence daring Siu Nim-Tu, ate all rpaded as “Dosble handed overeat Ina fight, the comple sequence ean be wed 38 3 combinain ack, o each individual echaigu es be sed om is ovn. The double Jaca is commonly wed in Chi-Sa dis. Whe bth of ones arms are pinned onthe "Ostdor Ars”) ofthe opponent’ wis, ane can use Js osudenly press down bth foreams fof the opponet, causing the opponent to lose balance and fall forward This preints + food opportunity to atck the opponems eyes with Bite-au. (Note Pate refer ope? Diagrams A to Fas in pg. 98 and np. 94s the application ofthe ‘one-handed movement” of the Jum-sau, Jut-sau and Blu-tze-sau sequence combined vith te Boon-Huen-sau (Half Ceding hand) and Ching-cheung (Erec-paim strike) demonstrated by Grandmaster Leung Ting and Sy Lau Ga Sun Below Let: Double Tan-sau demonstrated by the ate Grand Master Yip Man ‘Below Right Double Ju sau demonstatd by th ate Grand Master Vp Man Diagrams A —C: Application of the mile section combined with Boon Huon-sau & Eroct pam strike: B grabs A's night mist wih his right hand, A, ‘apples the Huen-sau movement to cice tis hand and rotates is forearm clockwise unt it presses. down on B's stA then uses. his let hand to press B's wrist onward with a Ju-say movement and attacks Bs eyo wih his ght thu by 2 Buze-say stike. Meanwhile A continues to contol Bs ight arm tb keep B fom exapng Diagrams D— F. Smutaneously ‘launches an Erect-palm to hit B on the ea As Bs wit tied ard fis ea Gets hurt he is ‘oradtolet go. KO TAN-SAU (& 9 or High Palm-up arms) — SHANG JUT-SAU (% 4 or Double Jerking Hand) — ‘IU-T2E-SAU (it #8 or Thrusting-fingers) — (CHEONG-KU GUMSAU (46484 oc Long: bridge Pinning hand) — SHANG TALSAU (1484 oF Double Liting-arm) The semen inthe above sequence a al ‘Dou handel morenens Howe in comb Staton is egence canbe ppl wing oly one had. Faker ech ecu an be ed inal ro fe segue depending nes. This confers ibe WingTsun mete, “No fix movement an “Changing According to the Changing of the Opponent”. The following soqece serves ss an example Diagram a— B (et Tabs As wists with both Nands. A quicky rotates hs foreams into High an sau poston, which wists B'S writs casing him tlt go. Athen uses fe ouble J-sau to press down B's ams, causing B to lose his balance and fal orwatd, A takes advantage of te fal fo Nt B in the chin wih te “Doxle Litngam’ movement Since the cin is a weak point onthe human body, B cou be knocked outstanty. 95LONGBRIDGE PINNING HANDS & DOUBLE LIFTING. AMS Inshore ridge am” movements (movements where the arm is en and cls the practitioner's ods) the foc smo xen tom the elbows. a in Jutsu (Gu so, and um sow. Wigan picttiones al is “Jarn Dub Lad” 18 8.22) or power ram the bat ofthe elbow” hich actully means, “he face eee fom the ces" (ees However, if WT pracine’ elbows are Bing ited up while his arms ate ‘oly extended, he cant exe his power fom the elbows, Under these conditions, alle canoe isthe "Longbridge Ptning Aan tesbige, This tesbnigae wes the ‘eight ofthe whole appr body focused tush the shoulders ad int the hands 10 enerate 2 suiden extremely song dowaward presse, Ths sedden downward resurecauses te oppotet ole hs lance sa fll forward No only des this allie the danger f having one's elbows ite it an tr a asin station eto wining oe. os Diagram 1 — 4: Turning a Losing situation into @ Winning one by & Recovery Movement ‘A (ng tacks B wit Double Thrusting punch ote face. but ae nlifed by 8 using Double ifing hans atthe ebews. Win bth arms fly extended, Asin an extremely disadvantageous poston. A immediately agples the Long bndge Phningtands as a recovery fecinque, causing 8 lo bse balance and fat forwards both ams in violent moton, iting Bin he chin with his wrists.Demonstratrs: ‘Grandmaster Leung Ting (Right) Situ Lau Ka Sun (Leh) 100 JUM-SAU (44.4 or Sinkng-block) — GWIAT-SAU (4 $ or {BUSA (4 or Scooping-arm) — HO TANSAU (3984 or High Tan-sau) ‘The above movemens can be sein combat ite 53 combined sequence 0 8 individual techniques. Tan-sau and Jum-sau se bth techniques for dissolving sacks tthe mid level However, Tan sau sued to dsalve sn atac coming over, one's am, Whereas, Js wed a dsove an tack comin ude e's arm Both Gwatsau and Gaun-sau are wcdigees fr disolvag atacks tothe rid Lowe Level af the bod. They lok ery simi et fern postion ad ation (Gwat-sauisprfrmedby swinging th arm down and ou ica movers ui the am stp in om ofthe oer eae ofthe high Ie smal eed to cot the roundhouse kik, adi lays combined withthe following “Lax sau” movemeat 50 25 ood the opponents eg with be am join. Gaur seis performed by moving the sum dow and out in stag dao ie Siricly speaking, Gaue sau is a “wikingbok™ movement ater than 2 saving” movement Whee corey psormedGautso4 bs the ishing ower of ck ratan cane and wil ause the oppone’ a tet da of pi, dsuoying Bis wil ‘ofigh The late Great Grandmaster Yip Man Demonstrating Gaun-sau (le) and Guat au (ght) 101Note: ‘When sparing wit Application of Gwat-sau and Lau-sau Diagram a—b A (Let) stands inthe WT pye-fghiing posture facing B, B suddenly rushes towards A ad atacks him wih a roundhousetic. Instead of stepping backwards, A dars ‘ro Bs stance, This aunque fghing stategy in WegTsun tat makes te ater riguge te stance between ise and his target. (See ote blow) an opposent whois noted for his kicking kil, the average fighter subconsciously tends to hee seni distance fom hie opponent. ‘This in fa the oppose of what one should do Since legs are longer than ams, cpg one's distance actualy ives a good Keke the most dvamageous range for aaacking Te sboold be noted that “the loser one can gat © his opponent, the harder it 's for his oppenen! to apy Wicking_atiacks’. Ar close range, He hands are alvays the most fein weapons, since the fist, pals, fingers, Stouldrs and elbows can all be aed at wl Diagram e—e (Continue) ‘A the same tme A darts into Bs stance, he tums sighty and apples a Guat Sau by wingng his fight am downward 1D delet Bs kick A immediately changes ie (Guat Sau @ Lavsas and “somps’ B's eg ont tis am fing up. At he sama time, A coumtratacks using ‘a Tibatcuting Hand Z a a Sifu Lau Ka Sun (Right) Sifu Ngan Tak Yee (Lot) 103iagram f — (Continue) ‘contines io stepin wih both ams extended towing te inured Bto he ground HO TAN-SAU (38-4 oc High Palm-up arm) Insite Cased Tansy suse ext see ate sever ae variations, f Tans nloig the Mid Ta au and the High Tan sou (Pease so eer w the sections on Bont and Reverie Pal” and “Tan sau) These two vrsns are ntl fee in both postning an ily. ‘The High Tersau is commonly wed to lock atcks such asthe Book puch, rwandhose push whipping bk is, even high roundhouse ick ands fon, The High Tans is most effective when combined wih an abacing diagonal sep owas the opponent wth sideways pte. Osea Wigan pation ha mate ts eis, he can geal dinnishthe impac his opponent's uae, ease at such lose ange his poets paces wll ]athave mach power. (No ne cam iso face it rounds punch Diagram 1 — 9: High Tan-sau used to counter a roundhouse punch (et launches aright roundhouse punch at As tame, A steps in, tus fo face Band uses a Hoh Tar sau dissolve Bs punch while atacking Bs face wih aThstng punch 10s 105(BONG-SAU (8 ce Wing-arm) 6 ONG-CHEUNG (J or Reverse -palm) pn i ge ie ea Yio Wan a Sgn iacticien drs tate easr tar Se Caen lee Y Gee ao canine Sanne, Pov nee aera ects + agi pt yp zm on tent eT Sere urns tines nya na calgon ia es Seite aoe Peat anene ee aces Srimcel oeendseant Sankt nigel E ‘ ce eae ate ad rg eccaccokase Sayer pure cents 107BONG-SAU IS NOT AN ALL-PURPOSE DEFENDING TECHNIQUE! Init ofthe impontance of Bogan it should be aed hatin most Fights itis often “no neces” or even “no suitable to aply Bong sax a the following cxampls, « WingTe ihe ca defeat his oponcet by fighting according to the tacies: "Defend and Attack Simutaneously" (Diagram 4) or Yo_counter an attack by an attack (Diagram If Bong-sau were consistently wed, would have 2 lly negative effec, an one wool undoubtedly at ht by de ‘opponent Diagram A: Defend amie straight punch snd ack wih a Tan-seu and a Thrustng-puneh simutareoly Diagram B: IF an opponent launches a jb at 2 WT fgets fe, he ny rds 0 cunratac using a Thusting punch opponent and a Scewarépalm for protection at the 108, Diagram at Wen 8 (ght) launches aieht “Tustng-punch at A, Rimmecately ‘extends his eam to reovethepunch Bs punchis so ‘ower that makes Abend is eft arm into Bang ‘au. Aredredts the force using re turing since. A turns backs tody towards B's ot ‘ik mmedlally and moblizes Bs am wit a Pnning-hand. Smuitaneously {lands a Revrse-plm a the waist of is opponent ® 09‘TUT-SAU (3.4 or Arm-freeing) & CHUNG KUEN (44 or Thrusting-punch) Tursou and Thosingpuech ae two different movements in Sia Nim-Tas However, they can be combined 1 Form a tehnigue wed to eure a gab and Tauach sn atk tthe same time In gener, To ous wot considered 3 very clever tecbigu, since it soli ‘hat opponent would be abe wo grapple a WinpTsun practitioners hand. However, it isa waltional movement, and do ao se any benefit in abandoning it Een though to escape # raping aack agsinst ore hand, all you need 1 do i puneh the opponents face withthe other hand (Une you have on one arm) pain and shock th opponent wll sot lt oof your han feinforced part of your opponent but attack his unprepared pant” ( & #4) 1 isa pity ha many maria aris ted to focus too mach on complcued sat cling shige in et gett fhe rp ofa open. Consequently, they nnn the mt lien tod of geting ot of aR grip he one hat acwaly does noc ned any brute fore. IF a combatant always bas to depend on plying brat force again his opponent the hte woukd emo Martial At, jet eat figing™ Diagrams: 1 — The Tut sau & Trusing punch sequence inthe Sum Tau set deronstad by ‘hela Great Grandraster Yip Man in 1972. A few days ltr he passed away Photos extated rom one of fhe two 8 mm movies reasured by Prof Leung TingDiagram A-E B (lt) suddenly grabs A's lft wrist wih is let hand. ignores the grip but attacks B's face wth @ right Thustng punch. B could never suspect that A vould ignore his gp and attack him onthe face without warming. Surprised and defenseless, B gets secusy hurt _ \Whie Bis in such pain that he cannot keep a firm grip on A's wisk A uses is ight hand to chop B on the wistoint of the gapping mand, rawing back his lt hand simutaneousty. Tis 's he Tutsay technique from te Siu-Nim-Tau setABOUT THE ESSENTIAL POINTS ‘SETTING UP THE “ONE-AND-A-HALF-PACE” STANCE ‘Sic pope come in diferent sis, thes no “oes fs a” stance, astead we Ive 4 formula to determine the coest a wid stance Fr each pesos For insta, inthe froma stance, the feet should be sepacted by “oe Kaha pce” This is the best poston wo mann satiliy, wile remiin ely cought move, change 1 note ace or lauch ick. The comest mend to ge into thi stance is a flows. Fis, lower the upper bay by bending the Anes (Diagram Al ‘Then, asin he hel of you fee as iva, tum het outa util hey for alos 2 sgh ie (Diagram B). Fil, sing the al of your feet pnts, tam the hel ‘vars util your et fora two sides of quiaea wiangle (Diagram C. Diagram EF Now that A has both of his arms fee, he launches a sens of Thesing punches as 2 counterattack. This is te famous ‘Ln Wan Chung ‘Kuen Chain-punctes ote WngTsun system. a : . H ws Demonstrators: Sifu Lau Ka Sun ‘Wong Wai Kin 7ABOUT THE “CHARACTER TWO ADDUCTION STANCE” ‘The “Character “Two Addusion Sane’, o Adduction Stace fr shor, i pronouced i Catonese a, "Ye GeeKim Yung Ma” (= 244 &) which implies tha he sacar fhe te shuld be Hike bo et standing onthe pound 4 (4 angle wih knees ued iva toward ech te Yee Gee" means Character =" (°=" means "TWO" in Bxglish) in Chinese ing. This cater consis ofa sha tip ontop ofa loge oe. 2 Wings Prttoner were place his eel onthe ends f the loager stip and is eso the ends fhe shot si, his et woald make an atl smart two sles of an equated triangle The words “Kim Yan shoal be rated 2 "Riding a gout and gripping it vith iar tated Ines. Tis ishow we app fre whl practicing Siar Tan, ‘When we ur our ances inward and bold them together stor. we frm a Kind of imeroching force tetwcen our legs. Bscasie of this song foe, en if an pponent suey shed us wit, for example, sweep ch, we world ot be ea che dos, Right Diagram The late Great Grandmaster Yip Man demonstrating the “Character Two! ‘Adduction Stance’ Above: A lack of interocking force causes the ower limbs ofthe practloner to relax and become more kel fo collapse when ting tacked by 2 sweeping hick Below. The inioking power locks two knees fogeher. making the lower legs ‘act ihe @ single unit, thus the center of gravy becomes very stable. oO = us ptenaincen ugNOTTOES ‘When pain he Sv Nina sei acon te pis meson in pope 14, ‘here ar sever ter motors tht ep he racine nthe sine finn stength sad comet mavemens. Push the Head against the Sky & Stand ZFrmly on the Ground (m2) Wher 2 WinTiun pone eons the Addon Sac, is Boy sol be faye shes pushing up! with lis wip thay alta, ‘tan Firmly on the Ground’ eas th pct pes owavar with i fe if ‘efx the rom wil hk fom ander, Ins stance, be shoal nt hes he dow with se nesk A practiner ‘alow is ay an ec en apa wider a ae ake nk THs {be wont posible pose nd racine caine ol ap such se Right Posture demonstrated by Grandmaster Leung Ting: His head is vp. His ody Tom the shoulders 1 the ces farms stright line. His per body oes st lea back, cr des hs ches push \ a) voy pon he st own, is tdy sags, and his feet ae sack as though be is abot to fll, This i the wont possible ose 3 120 Head up with Horieontal (iston ( 58-4.) Unlike WingTsen, be ang yes may we the “oa sane’. There he ead is comminy poston forward, an in some sis (ona) the iphers ae liberaely nef whe Bea Det down in ero ret hi hos, Ta coms, the WigTsue pacsioner nm wes “ear ste’ poste, This ference recs WingTsun pilosophy, whch does nt favor ang Brae force when Thing an opporet. The Year sae, makes it posile to achieve the purpose of seeing fore exer bythe atch Tht, os atackng ance aks he shape of ‘righ angle ianple when viewed from he side. “Te ead isthe mos importa ptf the body. ome sto he hea, ose ight be knocked ucescous and lose the ail igh. “Theres, we Kesp or Beal op, wich i eqvlet to pacing ovr Real athe Fue dtice fom ou appenent. In is wy, a WT pratoner and aber Fhe both puch at ech ober Beas simuanonsl, the ote Rgher mest punch ser inches fate than the WigTssnpaitone, dhe Wigs practioner has a bee chance 1 anid eine Hit 1 2 combat sean, if one does ot remain focused on e's opponea, o's reais wil be slugish when tat opponent ences an tack This lack of ‘coocenraton an vial contact cul a ase c's tacks 1 ms tht ak. Tis is the eson hat Wings encourages te made "he ees allow th bans Below: Bending the head forward (right) decreases the distance between ‘one's head and one’s opponent. By keeping one's head up (et), the distance between the attacking arm and one's head is increased.Contatnable Chest and ‘Plevated Back ( 194k % ) De t ignorance about he ancient academic mening of the Fist Chinese "i" (oronounced a “harm. which meas “comainal ieranging..”, a Becsse te rowuscition ofthis word very else ster Chinese weed" (rncunced 5 “han, which as there similar meaning “swallowing, caving nc consinal' he re mening of 9" is fen misinegveed as “Caving in of he ches In fac the tem *Containable Chest meses tha ose mus la the chest rach s posible in re te the“vaiae ces evi” This ther supgss hat the cbt abl be lke half aed aloe, This sae enables he ehest cavity abu the face of an tack even when oe i ing rly i Thus even foe is injure, the injury wll be sight In cua, fone tenses op his es oly sone uableto breathe fel, but when one gs ithe Boy cart swallow-ap mech of ‘he eral omer, vd he inj cel wil fe severe. ‘ue tothe misunderstanding ofthe Fist phrase of he moto, he second phrase (CR), asa. egy mismepcted as "promuing of the upper back ecanse rope hk ht once if the chest is avn in the bck shoul be proeing” wel ‘Thismakes th practioner okie he ia hancock, The second pase acelly mens “Elevated Back” which meas tone should stand wa “the back straight and elevated”, the she suing ofa one peak Comect posture demonstrated by Prof Leung (le): Please note that he is totaly relaed ytis back staight and upight (See abo p.128sdesiew of he late GOM Yip Ma, who in 8s ol age was sil able msn hs posure) Incorrect right: His chest aes in ands tacks in “tow” shape He'l have problems hth ace his wer Body aed his eaing bund ote shallow and image, ‘Straighten the Watst and "Suck-Sh' the Abdomen (4.8 H.8K ) “ie Wl Sin inde thc en no sik as ron tom) Sareuaby yes Wate ep a cma ps Ng ie vat a eye el som See x Ge pee Bap pleaded cnteens \ stent eagles a cays nar atom tone yc nate acest nlp = uta 0 ea i brah tate “hat Eonar worsen x age ‘arcana pl Stee Above Side vow ofthe Aduction Stance ofthe late Great Grandmaster Yip Man Wrong posture A: Dueto the tummy sticks outward, hence the upper body of the practioner is leaning backwar. Wrong posture B: Since the practitioner's buttocks are pushed backward, ‘causing his upper body to van forward and his heads down, 123]4 ae ye j io ae Incorect (Above: Since the practitioners butlocks are pushed backward, ‘Corect (Above): The head is natially poston athe furthest distance fram he causing his upper body to lean forward 2 sight pul by hs opponent wil cause ‘opponent us minimizing he danger ofbeng hit he is suddenly puled, ho i abe him fal foxwar. 10 keep a rightangletingula since and das no the slanoe of ts opponent Incorrect (Below): The practioner sicks out his tummy, causing his upper Correct (Below): Wih a carect font Adducton Stance, if his opponent body fo ean Decwarcs. If his opponent suddenly pushed fim, he woud fl suenly pushes hin, e can tum 45 degrees in eer drecon to defect the backward easly ower exerted by his opponent \ cA & 124The Sinking Wlbow & Drooping Shoulder ( ci At A ) As the above moto implies, when ae armechigu is being used, the elbow Should be placed atthe lowest posible postion, aad the soul toed remain lly related. one pacices Siu Nim Tay with anata behing if muscles and ‘eased shoulders, be wll not beable o gener matimum power. There is yet anter teary bend th above mot. In 3 pre ighing poste, 2 ‘WingTsun practioner places bis hands at ches level in afore and alt postion. The sn closes to the boy snot only wed for stich, Bus aod 8 Protective am, The elbow of the Prucciveare should be at waist level abost one fit leethavay from the body In thi pos the hand can pret the chest ad Beak. while the elbow can pect the was and ower aueas, Therefore, the elton ofthe Proeive am ssi ohe bumper of can IP the elbow is too high up, the , Ki reection forth mast i os ‘ ‘Above: Great Grandmaster ’ Leung Ting demonstrating the inking Elbow and Drooping Shoulder” posture, Below: The elbow of the Protective. ’ arm located about onefist distance | away trom the waist in a prefighting posture is similar to the bumper of a car. Even if the WT preciioner is surptsingly attacked by is opponent to the waist postion, the distance between the elbow and the walst sill can “absorb” most of the attacking ower before the fist touches the wast ‘TWO OF THE MOST COMMON MISTAKES Left Diagram: This man tenses his muscles, causing his. shoulders to rise. Therefore, his punches will be oak. Also, his elbow is too high, thus fails to protect his waist His defense is easly penetrated. Right Diagram: This man is launching a punch with the elbow up. He would be countorattacked if his ‘opponent hits upwards. from underneath his punching arm, i 126Correct (Above): The punch is launched along the centerline with the «elbow sinking down. The punch resembles the action ofa knife stabbing at perpendicularly towards the opponent, according to the motto of "When launching a punch, keep te elbow in the mile” Incorrect (Below): ifthe elbow is allowed to ride up, the hit wil be made at an angle. When hiting something at a slant, the powor of the strike is ‘much weaker than when hiting something ata 90° angle 128 The_Centerline_Theory open fend he lower ibs in LEVEL SN! ‘WingToue Kung bcaese itis Centerline sce voz (PA A nN ‘Aesording tthe Wing Teen Midi hea the longer the "Tine of dese the haderitisto protect. Since we do not ive rte ou lor ins, we ca concent al our ending snd ataking pve win he shut ine of defense” fom he ead th rin ny This the “Close Application of Midlevel Attack" (8 Mio LEVEL Ie is ako why the pre Fghing posure of WingTsun practioner ist place on hand te rom ofthe her lng themore quickly ha his opponent him, Ths it pcpresedin the moc: "While the others move along the back ofthe bow, we move along the bowsting” (A 3 AR) a font of be oe Right Diagram: A rg the Centorine. Tis ena - Kv