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CHOY LEE FUT WOODENDUMMIES

By Howard Choy

Choy Lee Fut kung-fu has alwaysbeen taught openly, since itsconception in the 1830s. The passage of time has resulted inmany derivative new techniques being added onto the original

as passed down by Chan Heung, the founder. It is now difficult to differentiate the techniquesthat were devised by Chan Heung and those that were created by teachers of latergenerations.

The three main branches of the system, namely, Hung Sing (Originally known as Great SageHung Sing, later changed to Heroic Victory Hung Sing), Hong Sing (Great Victory), and BukSing (Northern Victory, whose lineage can be traced to Tam Salm), feature slight variations intheir techniques.

This is especially true in the case of the wooden dummies (known as jongs in Cantonese).Since few knew about the techniques in the first place those who practiced the dummymovements did so on their own. This led to personal interpretation and experimentation. Thisgradual evolution of techniques came about because of geographical separation, difficulty ofcommunication and that each generation had its own comprehension of what went before,especially if their lineage is further away from Chan Heung and the direct teaching of theChan family.

Family Secrets Unleashed

Since the migration of Chen Yong-Fa from China to Australia 13 years ago, the originaltechniques of Chan Heung have been made public. This has introduced to the world

knowledge previously kept within the Chan family. Chen Yong Fa is the great, great grandsonof Chang Heung and has direct access to family documents, such as the Training Manual ofChoy Lee Fut, in which all the fist forms, weaponry, lion dance and wooden dummytechniques were recorded in detail as passed down by Chan Heung.

There are 184 recorded forms, in which 48 are single-person fist forms and about 20 arewooden dummy techniques.

The wooden jongs are an inherent part of the Choy Lee Fut training system. Practiced alongwith hand fighting and weapons fighting techniques, jong training in particular emphasises theuse of strong/heavy power, while also serving to sharpen the reflexes and developingaccuracy in striking pressure points.

Jong training originated in the Shaolin temple. Choy Fook, one of Chan Heungs mentors,survived the sacking of the Fukien temple and passed on this traditional Shaolin trainingtechnique to become part of the Choy Lee Fut martial arts system.

Power Plus

Chan Heung put considerable emphasis on power training, which is essential in jongtechniques because one must have a strong and solid stance and tough limbs. It is not aneasy task to send a heavy sandbag flying or to smash a solid piece of timber with a heavyweight attached swing from end-to-end like a yo-yo.

Chan Heungs son, Chan Koon-Pak, also made jong techniques one of his specialities and

received full instructions from his father. While teaching in Guangzhou, Koon-Pak wasapproached by Choy Kwai-Yuan and his two sons to teach them the wooden dummy


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techniques. They had the spacerequired for installing the variousjongs in their home. Chan Koon

Pak accepted their request and gave them the specifications to construct the jongs.

Once the construction and installation of the jongs was completed, other students of Koon-

Pak also expressed an interest in learning the techniques and would gather at Choys houseto practice every day. These students included outstanding past Choy Lee Fut Masters suchas, Wong Fook, Ngan Yiu Ting, and Tam Salm. Koon Paks son, Chan Yiu Chi also helpedhis father teach and train many of the third generation practitioners.

On Chan Koon Paks retirement, Chan Yiu-Chi became the third generation grandmaster ofthe system. He enjoyed a tremendous following and was the first to commit to chronicling thetechniques of the wooden dummies.

Chen Yong Fa started his training at the age of four under the tutelage of his grandfatherChan Yiu-Chi, and his father Chan Wan-Han. After over 40 years with Choy Lee Fut, he has adeep understanding of his family system and wants to pass down and propagate these

techniques, especially the wooden dummy.

Choy Lee Fut jongs are divided into three levels of training, each level more advanced thenthe last. The ching jong (balance dummy) is usually taught first. The rest of the jongs include:sar bow jong (sand bag dummy); chuin lung jong (penetrating dragon dummy); sui sau jong(breaking hand dummy); and ma jong (horse dummy).

Ching Jong

The ching jong (balance dummy) is the most well known of all the choy lee fut woodendummies. Its chief purpose is to strengthen the kiu sau (the bridge hand) the part of the armused for blocking. The ching jong is made of a large, heavy post fixed to the ground. It hasthree arms and a leg protruding from the front. These arms are used to train blocking, whilepads located around the post train the strength and accuracy of striking.

The distinguishing feature of the ching jong is the large moveable arm at the top that can beused to practice the well-known swinging punches of Choy Lee Fut, such as the sow chui anddat chui, along with grappling techniques. The leg fixture is used for various Choy Lee Fut legsweeps and toughening the shins at the same time.

Apart from training the kiu sau, the ching jong also helps improve the mobility of the studentshorse stance, with the arms and leg serving as obstacles that the practitioner mustmanoeuvre.

The name balance dummy can be derived from the idea that the dummy trains the student

to move from side to side, in and out. Movements alternate between high and low strikes andfrom long to short-distance techniques in line with the flux of yin and yang. A balance betweenyin and yang, soft and hard, slow and fast is essential for good kung-fu.

Sar Bow Jong

The sar bow jong is a heavy, top hung swinging bag that requires strong energy to move.Full-force strikes can be used against the dummy, which cannot be done when training with alive partner.

The movement of the bag requires the student to focus on timing and rhythm. When the bagis hit and made to swing, subsequent strikes must be made not only at the right moment, but

also with a strong horse stance. Since the bag often is heavier than the student is,undisciplined moves will be met with the practitioner landing on the floor.


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The conditioning of the arm and leg muscles and ligaments as well as the students fist is alsoa result of training with the sar bow jong. The sand and the swing of the bag absorb full-powerstrikes to the sandbag. This works the muscles and ligaments and allows the student toimprove his strength by striking the bag harder each time. Rubbing Chinese medicine (dit dajow) on the forearms hardens the bones and muscles.

Sui Sau Jong

The sui sau jong (breaking hand dummy) is another of the Choy Lee Fut primary-leveldummies. It features a swinging arm at the front of the dummy, as well as a helicopter-likearm at the top. These arms move in such a way that requires quick reactions from thestudent, alternating between striking and blocking as the dummy counterattacks.

The arms are coordinated so that striking the swinging arm causes the rotation of thehelicopter arm, which is located at head height so the student must avoid or block this arm orreceive a blow to the head.

The emphasis is on training speed and lightning reactions to your opponents counterstrikes.

As you strike the dummy harder and faster so too will the dummy counterattack harder andfaster. A formidable opponent, the mastery of the sui sau jong requires not only speed andaccuracy, but also a high level of concentration and awareness, as any break in concentrationusually results in a painful blow from the dummys arm.

Chuin Lung Jong

The chuin lung jong is designed to develop the strength of the students horse stance. Stronginternal energy and muscles are used to generate power in every move. Two heavy sandbags are strapped to the students ankles to ensure that strong footwork is used at all times.Otherwise, the player will be uplifted by the weight of the sandbags.

While strapped to these heavy bags the student must move changing between horses andkicking the side bags as well as the large centre bag. Punching must also be done with heavypower because it ensures that the horse stance is strong and firmly grounded.

The chuin lung jong thus combines both hard chi kung as well as external kung fu, to sharpenthe students internal strength (jing) through working with the jongs.

MaJong

The majong isone ofthemost

advanced dummies taught to date by Master Chen Yong-Fa to his wing sing tong instructors,although it is still relatively simple when compared with the complex tertiary-level dummies ofthe Choy Lee Fut dummy system.

Unique to this dummy is the heavy spring-loaded horizontal log shaped in the form of a horse.The log is mounted on wheels and springs in such a way that when pushed back the horse

charges forward, forcing the practitioner to defend and control the dummy.


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Power and a flexible horse stance are used to avoid and redirect the energy generated by theheavy log. The use of two interlocking spinning arms also requires a quick eye, together withfast and accurate hands to hit the targets between the rotations of the arms.

The dummy is designed to train a combination of speed, accuracy and power.

With the dummys unique moving parts, the harder and faster the practitioner attacks thedummy the harder and faster the dummy will counterattack. This ensures the dummy will be achallenge to even the strongest of students. Agility and awareness are essential in the use ofthis dynamic training tool and make this dummy effective for both offensive and defensivetraining.

The variety and uniqueness of Choy Lee Fut wooden dummies will always have an edge overother mechanical methods of training. Once the jongs are made and set up they will provide aconvenient and safe way to practice. The aim of all training is to improve power, speed andaccuracy. The jongs will give you all this and more.

MAKE USE OF YOUR STRENGTH

THROUGH WING TSUN

FOOTWORK

By Dr. Leung Ting

The correct stance can make you fast and versatile.

Footwork in WingTsun Kung Fu includes stances, steps and kicks. A stance means the

way a practitioner stands. A step means the way a practitioner moves his legs to

advance, retreat or go sideways. A kick means a move of the lower limb to attack or

defense.

Training in footwork is of prime importance, though Western martial artists do not pay

much attention to the training. Just imagine what happens to a practitioner who hasstrong upper limbs but a weak stance. He is just like "Hercules standing on a piece of

floating wood;" he can never make use of his strength.

Even if a practitioner has a stable stance, he will still be taken in by his opponent who

has fast steps and versatile movements. One who is slow in his steps is like a powerful

cannon which cannot change direction. It would be easily destroyed by the enemy if he

changes the direction of his attacking power.

Thus the use of fast and versatile steps is the best tactic against your enemy. Fast and

versatile steps will enable you to change your position, and will allow you to vary your

movements before your enemy varies his, so that you can evade his strong attacks and


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aim at his weak points.

Besides, the application of kicks in collaboration with arm movements means

increasing your attacks at your enemy. It is a superb technique of the WingTsun

practitioner that he can apply both arms and one of his legs to launch attacks at threedifferent positions at the same time, giving his enemy no chance of defense or escape.

That exemplifies the importance of kicks.

The stance adopted in the WingTsun system is called the "character two-adduction

stance," which includes three poses, namely, the frontal stance, the sideling stance and

the advancing stance.

The frontal stance

The frontal stance is posed in such a way that the feet, which are placed slightly apart,

are turned inward so that the soles of the feet and the imaginary line joining the heels

form an equilateral triangle. In this pose, the head, the trunk and the knee are on the

same straight line if seen from the side, and form a right angle with the sole of the foot.

If seen from the front, the trunk and the two legs form a structure which resembles the

Eiffel Tower.

The stance looks high, but because of the knees, and ralxation of the body, it results in

stability of the lower body and agility of the upper body, and gives the practitioner an

advantage over his opponent who is posing a low stance.

The inward turning of the knees gives rise to another effect, that is, it forms a linked

force between the knees known as the "linkage effect". It is as if the knees are linked

by a spring, which not only enables the knees to support the weight of the body, but

also prevents losing balance or falling when any of the legs is being attacked with a

roundhouse or hooking kick. In short, the stance allows any of the legs to resume the

original position when being attacked.

The turning stance

The turning stance is a technique of the WingTsun system for nullifying a forceful

attack from an opponent. There are many Wing Chun practitioners who do not

understand the concept of the turning stance, nor do theyrealize the effect of changing

from the frontal stance to the sideling stance. Some others misunderstand the theory of

applying collaboration between hand techniques and stance techniques to "evade" an

attacking force from the opponent, and have the wrong idea of countering a force with

a force. This is far from being correct in theory of the WingTsun system.

In fact all hand techniques of the WingTsun system aim at "nullifying the opponent's

force to strengthen the practitioner's counterattack." To succeed in doing this, the hand


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techniques must closely collaborate with a set of footwork which is deliberately

planned for this purpose. Otherwise the hand techniques will be just like a small sports

car fitted with four oversized wheels.

The concept of the turning stance can be explained as follows:Practitioners of most martial art systems would try to block or deflect a coming straight

punch with their hands and arms. But any martial artist who has experience of real

fights will realize that the above method of countering a fast and heavy attack will not

bring a good result. It is just like a goalkeeper trying to block a shot with his own force

and speed - the defense is not sure.

If the shot is not made with a football, but with an iron ball, can the goalkeeper block

it?

A practitioner of the WingTsun system will therefore employ a different method of

dealing which such a problem. If he were the goalkeeper, he would not block or catch

the ball, whether or not it is made of iron. He would, on the other hand, remove the

goal to one side to evade the shot, thus neglecting the force or speed of the coming

attack!

Have you ever taken notice of the turnstile at the entrance of a bank? It has no power of

itself. It is you who turns it - it turns in the direction you push it, and the power comes

from you!

The sideling stance (diagonal stance)

The sideling stance is also known as the diagonal stance, for while posing this stance,

the soles of the feet are placed on the diagonal line of two squares. And since the feet

are placed at an angle of 45 degrees away from the front direction, the practitioner

therefore stands at an angle of 45 degrees toward his opponent. At this position, the

opponent's centerline points at the practitioner's left shoulder, while the practitioner's

centerline points at the opponent's right shoulder, thus conforming to the theory of

"while trunk being turned, the centerline lies on the shoulder."

If the opponent's punching arm keeps coming forward toward the practitioner even

though the practitioner has adopted the sideling stance, the practitioner can still keepturning until he is at a right angle with the opponent. In this position, the opponent's

force, no matter how powerful, is being evaded, in the same way as a charging bull is

being evaded by a bullfighter. This is the reason why the bodyweight of the practitioner

is being shifted to the rear leg.

Today, there are too many Wing Chun practitioners who, now knowing the real effect

of the sideling stance, mix up theories of similar stances of other martial art systems

with that of the sideling stance of the WingTsun system and thus have the wrong idea

of keeping 30 percent of the bodyweight on the front leg and 70 percent of the

bodyweight on the rear leg, or even 40 percent on the front and 60 percent on the rear.


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The advancing stance (meridian stance)

The advancing stance, also known as the meridian stance, is a stance being posed insuch a way that one of the legs of the practitioner is placed in front of the other, with

both being over the meridian line.

The advancing stance can be converted from the frontal stance or the sideline stance by

advancing the front leg forward while posing these two stances.

The front leg of the practitioner, whether he is posing the advancing stance or the

sideling stance, does not carry any bodyweight, and can thus freely and swiftly execute

a kick at the opponent or perform other movements to cope with the opponent's attacks.

"WingTsun practitioners never counter force with force. Instead, thetechniques "nullify" the opponent's force, while strengthening thepractitioner's counterattack. To accomplish this, the hand and foottechniques must work in perfect harmony."

Source: 'Inside Kung Fu' (Sept. '89)

RARE PUNCHES YIP MAN FORGOT

TO TEACH

Had Bruce Lee been taught several rare wing chun punching techniques,he might not have needed to create jeet kune do.By Dave Carter

If Bruce Lee had known that there are actually two more ways of punching in the wing

chun kung-fu system, he might not have needed to look elsewhere for answers to his

fighting questions.

As the story goes, Lee was a young upstart in San Francisco when he was challenged

by an established master. Lee used his 'wing chun gung-fu', as he called it, but found it

was too limiting to do the job.

Subsequently, he entered his experimental stage which eventually led to the creation ofjeet kune do. Lees's main complaint was that while plenty of his punches landed, few


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connected with the kind of force necessary to quickly end a fight.

More than one

According to grandmaster Dr. Leung Ting's WingTsun theories, the straight punch in

WingTsun (wing chun) is the most popular attacking movement among all attacking

strikes, but it is not the only punch in the system, as many continue to believe

"The problem is that during the lifetime of grandmaster Yip Man, he rarely gave deep

explanations to his students in the common classes," Dr. Leung related. "You know,

grandmaster Yip Man was a very traditional kung-fu instructor," he added. "In his way

of thinking, if the students did not measure up to a certain standart to make him feel

that they should be taught more about the application, he would not even explain to

them the meaning or various functions of certain special movements."

"Also, the traditional wing chun concepts stressed a free-form approach to learning and

free use of the techniques so the practitioner could adapt to myriad attacks. Therefore,

wing chun instructors normally did not advocate a systematic way of teaching their

students. Most traditional wing chun instructors either adopted a personal method or

one that was accepted by their students."

Leaving out something

This method worked fine in another era when wing chun teachers accepted only a few

disciples who remained with them a minimum of ten years. However, since

grandmaster Yip Man became the first wing chun instructor to ever formally try to

make a living from teaching martial arts, discrepancies occurred over time. Because of

the "free" way of teaching, it was not uncommon for those with bigger classes to forget

what techniques already had been covered. Subsequently, some students were taught

complete sets while others only received portions of the complete curriculum.

This explains why so many top Yip Man students maintain, "I am the only one who

had even learned this secret technique. No was else was taught what I know."

One of those students was Bruce Lee, who contended since he was only taught one

straight punch that the wing chun system did not contain more. "The late grandmaster

hardly provided explanation to his students that there was more than one way of

punching," Dr. Leung Ting noted. "Further we cannot exclude the possibility that the

late grandmaster even forgot to explain to most of his students the application of the

rare punching techniques, even though they always have been part of the system's sets

as Chum Kiu and Bil Tze."

"If the student did not measure up to a certain standard to make (YipMan) feel they should be taught more about the application, he would not


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even explain to them the meaning of certain special movements."

"Even before I learned from grandmaster Yip Man, I also thought there were only two

punches in the wing chun system (e.g., the straight punch in all the three kung-fu sets

and the lifting punch in the middle section of the Chum Kiu set). It was not until Ibecame his personal student that I discovered an additional hooking punch in the Bil

Tze set."

"Due to this bad experience, when I started to teach in 1967, I felt that I had to change

some of the traditional ideas or I would not be great in the future," Dr. Leung

explained. "Actually, I did not change the traditional wing chun fighting concept; I

only modified the teaching method and created a brand new grading system. And most

importantly, I have enriched some of the techniques in the teaching courses to include

the "missing" or "secret" techniques once through only to be known by a few men."

"I have also improved a few techniques so they could be applied not only against

Chinese kung-fu opponents, but also for practitioners of any system. (Note:Before

wing chun was introduced to the Western world, its purpose was to face those who

practised only kung-fu.) to differentiate my system from the traditional varieties, I

called it 'WingTsun'," he added.

Three methods

WingTsun consists of three different punching methods: the straight punch, the liftingpunch, and the hooking punch. Since the straight punch is applied all the time, it

appears in all three kung-fu sets and is the system's most useful punching method.

The straight punch - (The character "sun" thrusting punch)

The "yat gi chung kuen" or character "sun" thrusting punch is the most important

attacking movement in WingTsun. It is unique in the exertion of force compared to the

straight punches of other martial arts. In launching a WingTsun straight punch, the

main source of power is the elbow. There is a motto for the correct way of launching a

WingTsun straight punch: "Keep the elbow at the centreline while you are launching a

straight punch."

The first is pushed outward by a kind of special force called "explosive force". A good

comparison is the firing of a cannon. The fist is the cannon ball, and the arm is like a

rope with one end tied to the cannon ball, while the other is connected to the base

(shoulder).

To make a powerful straight punch, you should also, "Not tighten up the muscles while

you're punching." Tightening up the muscles is a big mistake for anyone seeking

power. Although it may feel like tighter means of power, it is just an illusion.

According to the WingTsun theory, a powerful punch is "a punch that lands on the

opponent and causes him strong damage", so it is the opponent who feels the power


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and not the attacker.

Scientifically, it is the "extensors" (e.g., the triceps, etc.) which are responsible for

giving a straight punch its power, not the "contractors" (e.g., the biceps). Therefore, if a

man tightens up his muscles while launching a punch, it's like someone who tries toaccelerate a car by putting on foot on the gas paddle and the other on the brake.

"We cannot exclude the possibility that the late grandmaster even forgotto explain to most of his students the application of the rare punchingtechniques."

There are three ways to use a straight punch.

The chain punch. The chain punch is regarded as the most practical and best

attacking technique in the WingTsun system. A chain punch is a combination of a

series of continuous alternating single punches. Once the left punch is launched, the

right fist is held several inches in front of a WingTsun practitioner's chest waiting in an

"on-guard" or ready position. When the left punch is straight, the right punch

immediately darts out to the same position. At the same time the left hand withdraws

and is placed in the original position in front of the chest to fill the gap, ready to fire

again. This kind of alternate punching movements can be applied non-stop until the

opponent is felled.

The chain punches in WingTsun can be compared to a "machine gun" with a non-stop

attack. This is different from the single-punching way used by other martial styles,

which favour a "one-shot" pistol approach in which you have to load a new bulleteverytime.

The bouncing punch. At the end of the Chum Kiu set, there is a modified punching

method which is a continuous movement combined with a "Gum-Sao" (pinning hand)

and a straight punch. The action follows the downward Gum-Sao movement, which is

supposed to nullify a frontal kick from an opponent. The defending hand then bounces

up to form a half-arc and half-straight-line thrusting punch onto the opponent's face.

According to WingTsun theories, no matter how fast you move, "one movement is

faster than two movements". Therefore, many WingTsun techniques are set to either

use two hands to defend and counterattack simultaneously, or apply one continuousmovement which normally takes a practitioner of other styles more than one movement

to complete (e.g., first use one hand to block and then change to another hand to

counterattack).

The double-punch The double-punch is another modified punching method of the

straight punch in WingTsun. Different from the alternating chain punches, the double-

punch is applied at the same time with hands together landing separately on two

different positions.

There are two different types of double-punch. The most common is the "vertical

double-punch" in which a WingTsun man separately punches toward the upper and


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middle, or the middle and lower positions of his opponent at the same vertical midline

of the front part of his opponent. This is different than the "combined double-punch", a

double-punch using two fists close together which land on the same position (e.g., the

pit of stomach). The double-punch is a modified attacking technique converted from

the double Gaan-Sao movement in the Bil Tze set.

The lifting punch

Found in the middle section of the Chum Kiu set right after the three sideling Bong-

Sao is a rare attacking movement called the "lifting punch". It is quite similar in shape

to the uppercut in Western boxing. Unlike the uppercut, which moves from a lower

position to the middle part (e.g., stomach, abdomen, etc.) or the higher position (e.g.,

lower jaw) of the opponent along a larger arc, the lifting punch moves out along a

smaller arc from the middle level (e.g., chest) to the lower jaw position. The force of

the lifting punch is also quite different from that of the uppercut.

The main source of the force comes from the turning stance combined with the twisting

and lifting-up movement of the spine which adds in the elbow movement to "push" the

fist along a small arc from down to up toward the lower jaw. The lifting up of the

whole upperbody weight with the quick turning action is a main factor that forms a

very powerful smashing force to crash up against the lower jaw position, considered

one of the weakest body points.

The lifting punch can be applied when the opponent's head is bent forward or at theside of a WingTsun practitioner (e.g., when the opponent is dodging a straight punch).

It is difficult and ineffective for the WingTsun man to use the straight punch to

continue attacking his opponent. At this moment, a lifting punch combined with a

"neck-pulling hand" technique will become the best technique to overcome the

opponent.

The hooking punch

Other than the lifting punch, there is another rare attacking technique found in the BilTze set. It is the "hooking punch" of the WingTsun system. Although the hooking

punch looks similar to a "hook" in Western boxing, it is different in application of

force. It is the turning of the stance plus the swinging movement of the arm that

combine to create a powerful smash to the ear.

There are also other variations of WingTsun punching techniques, for instance the "nail

punch". The "nail punch" is a special punching technique which features the first joint

of the first finger springing out to stab into the weakest and softest positions (e.g.,

throat, pit of the chest, abdomen, etc.), while the attacker's fist is landing on the

opponent's body. The attack can be fatal.


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END OF THEINSIDE KUNG-FUCOVER STORYAUGUST 1994

"BOT" JOM DOH

The "Bot" Jom Doh, or "Eight" Slash Broadswords, is the secondweapons form of the system, as well as the highest level of WingChun training. Only after years of diligent study can only the mostdedicated of trainees be taught the use of this weapon. It can becalled "The Final Reward" given to the student by a proud master ofthe art. I myself did not learn this form until I had spent over fifteenyears perfecting the empty hand system know as "Wing ChunKuen".

As has been consistently noted in this series of books, each form isnamed for specific reasons which inspire the trainee to perform thesets with the correct "idea" in mind. In the case of "Bot" Jom Doh,there are three main reasons for the form's name. The first reason,is that the form consists of eight "sets" within a set, as will be seenin the pages that follow. Another very practical reason for the name,is that - contrary to names and appearences - the slashing andchopping motions of the Knives are never completely vertical orhorizontal. Instead, the Knives are whipped upward or downwardalong a diagonally angled path that resembles the shape of theChinese character "Bot", which stands for the number wight, and isseen in fig. 478. This comparison to a Chinese character for visualreference is common to many motions of the system, as the readeris no doubt by this time fully aware.The third reason for this name has to do with the many directions ofchopping, slashing and thrusting that are possible. An old Chineseidiom, "Bot Foang" - literally "Eight areas"- is taken to mean: "Alldirections."

HISTORY- Although the origins of the "Bot" Jom Doh are a bitobscure and, at times, debated by various Wing Chun masters, it is

generally accepted that the knife skills were bestowed upon thesystem by or through Master Miu Heen, one of the Five Elders fromthe Shaolin Temple.It is also highly probable that Master NG Mui herself, the originatorof WING CHUN KUEN, was well versed in the use of the shortbroadswords, having been trained in the Siu Lum Jee, (ShaolinTemple), where a very similar weapon called "Woo Deep Doh", or"Butterfly Knives", was commonly used. Even today, in the ShaolinSchool as well as many other Chinese systems that have their rootsin Shaolin, the Woo Deep Doh are used in many one- and two- manweapons forms, although in a different way than the "Bot" Jom Doh

are used in Wing Chun.


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KINFE STRUCTURE- The Wing Chun "Bot" Jom Doh has a short, stoutblade that ranges from 12" to 14" in length. It is important to useKnives made sepcifically for Wing Chun training as Woo Deep Dohcannot be safely circled inward past the upper arm and near thebody due to its extra length.

At the base of the blade is a strong hilt with a hand guard forprotection as well as close rnage punching techniques, and a shorthook on the unsharpened edge which is used for striking or trappingthe opponent's weapons with a twisting lock. As can be seen close-up in fig. 8, the sharpened side of the blade extends up and aroundthe back edge so that the first three inches of that side is alsosharp, for backward-snapping cuts.In order to facilitate the holding of both Knives in one hand, as isseen in the Hoy Sick and Sau Sick sequences of the "Bot" Jom Doh108, each Knife hilt has one flat side. The blades themselves are notflattened on one only side, however, but are symmetrically shaped.The flattened side of the hilt, besides allowing the blades to be heldtogether for concealment or to be used together in one hand, alsoprovides a better grip on a single Knife as the half-round handleconforms to the natural shape of the trainee's hand.The semicircular handguard portion of the hilt is sometimes referredto as "Do Jahng", or "Elbow of the Knife". This is due to thesubstitution of the wrist joint in Knife techniques for the elbow inempty hand motions seen in Figure 4, where this substitution isclearly seen by comparing the Boang Doh and Boang Sau positions.Because the hand serves the same function of the elbow in empty

hand Techniques, many of the "Bot Jom Doh movements areexecuted with "Long Bridge" Structure.The bottom portion of the handguard can be used in a downwardstriking motion known as "Chuo Doh", or "Hammering Knife", whilethe front part can be used in a brutal punching technique thatstrikes the opponent's nose and mouth with the handguard used likebrass knuckles while the sharpened edge of the blade strikes theforehead with a splitting action that can fracture the skull.Twisting locks of an opponent's knife, pole, club, or sword can beapplied using the short hooking extension on the hilt. This form ofWeapon Trapping is known as "Lau Doh Soh", or "Twisting Knife

Lock". The hook can also be used to jab the eye at close range aftera chopping block.The broad, flat inner surfaces of the blade that correspond with theflat sides of the hilt are also frequently used in slapping or pressingKnife motions based on Pock Sau and Gum Sau. Because of thissimiliarity in application, these surfaces of the blade referred to as"Doh Jyeung", or "Palm of the Knife". Against an opponent armedwith a throwing weapon such as a dart, knife or rock, that flatsurfaces, both inside and outside, can be used as shields to deflectthe projectile or to bat at object down in an action similiar to

swinging a short racket.The unsharpened edge of the Knife, which in actuality is sharpened


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at the last three inches near the tip can be used in backward-jerkingor other blocking motions, as well as to hook the opponent's neckwith a movement based on the Pon Geng Sau of the WoodenDummy form.The reason for having a small portion of the rear edge sharpened is

to facilitate withdrawl of the blade after penetration or to cutbackwards with an upward snap of the wrist that enlarges thevertical slit made by a direct forward thrust with the Knife tip, as issimulated by Movements 20 and 21 of the "Bot" Jom Doh form. Thesharpening of both edges at the tip also enables the point of theKnife to penetrate through clothing and skin in Biu Doh techniques.The sharpened edge of the blade is used in many forms of slashingJom Doh techniques and chopping Chahung Doh and Fun Dohmotions, as well as numerous blocking motions that are designed todeflect the opponent's weapon off the line while simultaneouslyattacking his weapon hand or caroming off his weapon into a thrust,slash or chop.The tip of the "Bot" Jom Doh is used in various thrusting andpiercing motions such as Biu Doh (Movement 20). These piercingattacks can be directed to the eyes, throat, heart or other vitalareas.

CUTTING PRINCIPLES

NO REVERSE GRIP - Most "Bot" Jom Soh thrusts, chops, and slashesare executed with a straight grip on the weapon, which allows

transfer of wrist power into the blades and provides a strongerStructure in blocking techniques without allowing any openings inthe defense that would be created by retracting the tips of theblades toward the body and away from the opponent. This is one ofthe main contrasts between the Wing Chun "Bot" Jom Doh and theWoo Deep Doh Butterfly Knives of other Gung Fu styles in which thereverse grip is commonly used.ANGULAR CUTTING- As mentioned earlier, one reason for the name "'Bot Jom Doh" is the resemblance of the path taken by the bladeswhen slashing upward or downward to the Chinese character"Eight". No "Bot" Jom Doh block or strike is ever completely level in

its sweeping path. The reason for this angular cutting swath istwofold. Firstly, a diagonal cut is much harder to block, as will beexplained shortly. Secondly, cutting upward or downward enablesthe blades to "latch onto the Motherline" by taking advantage ofprinciples of gravity and physics.To understand the logic of the diagonal cut more clearly, a simpleexperiment can be performed using a lightweight stick or baton.Have a partner stand firm as you swing the stick horizontallywithout angulation. He will find it easy to duck under or jump overmost of your swings other than at hip-level, which is not ordinarily a

prime target of "Bot" Jom Doh attack. Next, use a diagonal upwardor downward swing in place of the horizontal movement used


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earlier. Within the first few attempts, the advantage of the 45degree angle will become obvious as your partner will be unable toevade the strike without stepping backward or sideward - an actionwhich leaves him "set up" for a quick follow-up and traps him in thesense that he is too busy evading to pose any counterthreat.

The second and perhaps most importnat reason for diagonalslashing of the "Bot" Jom Doh has to do with the knives' ability to cutmore deeply into a target when that target has less margin to "give"or "go with the flow". Take for example, the case of trying to chopdown a very supple sapling tree using a slightly dull blade. If acompletely horizontal sweep of the blade is used to chop the tree,that tree will simply snap backward due to its resilience andflexibility. If instead an upward or downward 45 degree angularchop is used, the blade will penetrate the tree's surface. This isbecause in a downward cut, by "latching on to the tree to theground, which in turn gives the tree stability to withstand the forceof the blow without collapsing or bending too far in any direction. Inan upward cut, the tree is pulled and straightened to its limit, whereits roots prevent it from raising any further to defray the upwardpower of the cut. Thus, the blade penetrates its surface, and thetree is felled.These same principles apply to the body of an opponent, who willfind it much more difficule to evade an angualr strike, or to "roll"with that strike as it uses gravity and his own bone Structure to"latch onto the Motherline" for a deeper, more powerful cut.As the old Wing Chun proverb says, "Bot Jom Doh Fot Sai Moh

Syeung", which means: "The Techniques of the 'Eight Slash Kniveshave no match".

BENEIFTS OF "BOT" JOM DOH TRAINING

Although to the modern-day Wing Chun practitioner, this weaponmight seem a bit outdated or impractical, as it is hard to concealand therefore inconvenient to carry, this is not completely true. Theprinciples of Knife training benefit the student in a number of waysand can be applied to nearly any sharp-edged or pointed weapon hemight be able to pick up in a fight situation. For example, depending

ont he location, the Wing Chun fighter could execute "Bot" Jom Dohtechniques witha standard knife, straightrazor, broken bottle,screwdriver, tire iron or any of a number of implements.Another one of the main benefits of "Bot" Jom Doh training, asidefrom the obvious self-defense application of the weapon, is theadditional hand wrist strength developed through whipping, circlingand snapping the Knives at close range. Also within the text of the"Bot" Jom Doh 108, the combination Moving Stances Cheen ChongMa (Front Bracing), Ngoy Seen Wai (Outside Facing) and Hau HuenJuen Ma (Back Circle Stepthrough) are formally introduced, as are

many subtle variations on the five basic Moving Stances that areused in the transitions form one motion to another.


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The 80-20 "Ding" Jee Ma ("J" Stance), also known as the "CatStance", first seen in the "Look Deem Boon" set, once again appearsin Movement 46 of the "Bot" Jom Doh form in a slightly lowerversion. Another feature of the Knife set similiar to the Pole form isthe frequent use of retreating footwork is designed to enable the

Wing Chun Knife fighter to quickly evade a weapon strike by "givingground" and then to quickly take back the ground he has given ashe launches the counterstrike while advancing, using a form ofchasing footwork known as "Bick Ma", or "Line-Crashing Stance".The additional weight and momentum of the weapon also help toaccentuate the torque in all "Bot" Jom Doh footwork, as the trainee'sbodyweight is pulled around by the centrifugal force created bycircular whips and slashes of the blades. In this way, the student'sall-around footwork skills are "whipped into shape" and refinedthrough Knife training.

WEAPONS

After reaching a substantial level of development in the Biu Jee formand all of the additional knowledge described above, the student isready to progress to weapons training. The Wing Chun system hasonly two weapons forms - the "Look Deem Boon" Gwun ("Six and AHalf Point" Pole) and the "Bot" Jom ("Eight" Slash Butterfly Swords).These two weapons were introduced into the system by Wong ChunLineage who were performers in the Chinese opera and wereintroduced into the system by Wong Wah Co and Leung Yee Tai, two

ancestors of Wing Chun lineage who were performers in the Chineseopera and were proficient in the use of many types of swords,knives, spears and other Wing Chun Kuen, the weapons formscontain a series of 108 motions. Also like all the other forms, theweapons sets contain short sequences within the total sequencedesigned to aid flowing from one motion to the next and to suggestpossible combinations of techniques from which combinations ofprinciples can be determined. Most such fragments are made up ofthree motions, as this is the number of "flowing" in the system.Once a Wing Chun fighter has attacked, he will generally continuedto "flow" in with two more attacking motions. This "flow" is

developed and improved through forms practice. An old Wing Chunproverb says, "Som Jiu Chai Doh" "Execute three motions at onetime".In "Look Deem Boon" training, the student is taught attacking anddefending motions with the weapon. Some of these motions arecombined with footwork that the student is already familiar with bythis time, however, there is certain footwork in the weapons setsthat is unique to those sets and is rarely seen in empty handcombat. Stances and footwork in the Pole form to compensate forthe added weight and momentum of the weapon and to strengthen

the legs while the upper arms and body are strengthen the legswhile the upper arms and body are strengthened by the swing and


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snap of the Pole Certain motions of the "Look Deem Boon" formrequire the student to snap the Pole up and down or across the bodyvertically, horizontally or diagonally. The snapping action in thewrists and arms developed by such motions is called "Ngahn Ging" -"Elastic Energy" and can be applied to empty hand techniques as

well. Similarly, working with the heavy "Bot" Jom Doh develops thewrist, forearm and finger grip strength while training the basicattacking and defending motions of the Knives.

Solo Olisi: Single Stick

Eskrima training always begins with the use of the single stick. The strong hand wields a stick (approximately30" in length and 3/4" in diameter, usually made of rattan) and serves as the primary offense. The emptyhand is used mainly for defense, focusing on controlling the opponent's weapon hand. Most (but not all) ofthese techniques are similar to "espada" (sword) techniques. Twirling techniques ("amarra") are taught todevelop wrist strength and coordination, which facilitates the ability to generate power and re-angle the wristevasively at short range.

Solo olisi techniques are practiced in long ("largo"), medium ("medya") and short ("corto") ranges. The largorange (also referred to as "largo mano" range) is characterized by evasive footwork and angling, fastcontinuous strikes to the opponent's weapon hand. The medya range (also refeered to as "sumbrada" range)utilizes sophisticated checking of the opponent;s weapon hand wth simultaneous counterattacking. "TapiTapi", the highly sophisticated system of trapping and checking is taught to develop these skills. The cortorange (also referred to as "hubad" range) emphasizes curving attacks and continuous re-angling of thestrikes around the opponent's defense.

One of the most fundamental solo olisi drills is the abesedario, a comprehensive defense/counter-strike drill,the seven levels of which are designed to develop movement, angling, checking and countering in each ofthe three ranges. A variety of disarming techniques are also studied.

Doble Olisi: Double Stick

Both hands wield a stick. The sticks are used for a combination of offense and defense. The long range is themost frequently used range in this type of fighting because of the variety of checking techniques available inthat range. A wide variety of striking and twirling techniques is taught to develop power and coordination.Several drills with partner are also taght to develop these assets, known as "pinky-pinky" or "siniwali". Theskills acquired through double stick training also come into play in other types of fighting such as emptyhand striking ("mano mano"), combinations of solo olisi striking and checking and stick and knife ("espada ydaga").

Baraw: Knife

Knife fighting is strongly developed in the Philippino martial arts and a particular great variety of styles canbe found. This has a logical explanation. Eskrima was originally developed on the battlefield and containssome very realistic aspects because of that. Hence the highly developed knife fighting because it is alwayssafer to use a weapon in one's defense when a fight occurs uexpectedly. Even if that weapon is a knife.The training starts with defense techniques against different knife attacks. Many blocking and defense

techniques are taught in four ways: single, double and multiple sliding and slicing. Counterattacks areperformed simultaneously. More elaborate defence techniques contain locks, dirarms and checking and re-directing the opponent's weapon. The advanced training consists of knife-to-knife techniques taught througha variety of drills containing practical offense-, defense- and countertechniques in different combinations withcontinuous checking and re-directing of the opponent's weapon hand.

Espada y Daga: Stick and Knife

Espada y daga (also known as "punta y daga" or "olisi y bara") is one of the most complicatedand sophisticated parts of Eskrima. The strong hand wields a stick or long blade and serves as the primaryoffense. The weak hand holds the knife and is used for both offense (thrusting and sliding) and defense(blocking, checking and locking). Training starts with drills teaching coordination of the two weapons instriking and checking patterns. After that footwork and body angling are added. Drills then progress to thoseinvolving multiple attacks (usually the long weapon followed by the short weapon). Basic defenses arefollowed by transitions to the outside, that way avoiding remaining between the opponent's weapons. Finally

the complicated espada y daga locks and takedowns are added.


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Mano Mano: Empty Hand

It is told that in the Fillipino martial arts the weapon is mainly a substitute for the empty hand. Manytechniques remain practically the same with or without a weapon being used. Many empty hand techniquescome from espada y daga. Many parts of the body can serve as a weapon so empty hand fighting involvespunching, kicking, elbows, knees, headbutts etc. Locks and throws are also applied. Doce Pares Mano Manocontains a special tapi tapi-drill called kaw-it. This involves trapping and checking the opponent's attacking

hand with only a few fingers or even one finger and simultaeniously counterattacking. These controlingtechniques can be applied in armed or unarmed fighting and are also used to break the opponent's rhythm.

Dumog: Philippino Grappling

Grappling is also an important part of Eskrima training and is called Dumog. A variety of locks, throws andsubmission holds are taught that can be applied both with or without a weapon. In the traditional Filipinomartial arts grappling wasn't as developed as it is today because knives were very often used. In those casesthe fight ususally didn't continue on the ground for obvious reasons. Nowadays this has changed and dumogis a highly developed and sophisticated part of eskrima training.

Program of instructionDoce Pares' 5 year-training curriculum covers all the aspects and phases of the Filipino Martial Arts. Close,Medium and Long range styles, Espada y Daga, Knife and Blade and Mano y Mano ( Empty Hands) as

originally advocated and introduced by the founding masters and subsequently expounded,modified andexpanded through further study, research, experiment and creativeness, some salient features of theprogram are as follows:

Various types of Striking techniques

Twirling ( Amarra ) -Single and Double Olisi

Footwork and Stances in all ranges of Eskrima and Espada y Daga

Disarming with or without olisi

Sparring in traditional, progressive and tournament type

Pingki-Pingki (Sinawali) Doble Olisi

Sayaw (Form) - all the popular 12 form of Doce Pares

Baraw (Knife) - all knife defense and drill techniques Abesedario - the five types of abesedario, a comprehensive, defense/ counter strike drill, which

incorporate all the basic Principles of the various ranges of Eskrima Espada Y Daga -emphasis of footwork and body angling in coordination with Olisi and dagger and

easily connect to locks and takedown Locks and Takedowns ( Eskrido with the use of Olisi ( Stick) techniques to lock and takedown/throw

(whether the attacker is unarmed or wields a blade or olisi ) Mano y Mano using the same patterns of olisi technques, with emphasis of open palm blocks and

counter strikes, utilizing the very effective "kaw-it" technqiues. Suntok-Patid/Sikaran is part of thissubject

The highly sophisticated form of trapping and checking (tapi-tapi) with all its accompanying energy

drills- the ultimate in training methods

Lessons schedule

Frans Stroeven's time-table for Eskrima, Jeet Kune Do and knife fighting classes:

Saturday from 10:00 to 11:00 Eskrima

Saturday from 11:00 to 12:00 Pangamot (empty hands eskrima)

Tuesday from 19:30 to 20:30 Jeet Kune Do

Tuesday from 20:30 to 21:30 full contact sparring eskrima

Thursday from 20:00 to 21:00 Eskrima Thursday from 21.00 to 22.00 knife class

LEVEL 2 Requirements

After 6 months to 1 year take this test.

(Revised 11/30/98 ND)


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EMPTY HANDS

1. Any kick with a 1-2-3 hand combination2. Sungob3. Defensive moves-bob, slip, weave, duck, squat, hit the floor,

roll, shoulder roll, cover, salute, parry, catch, shoulder stop,hambak (forearm roll), pass, swim blocks.3. Advanced muay thai drills - about 6-8 combinations off ThaiPads/Mitts:

Recommendeda) foot jab, double kickb) block a hit, double kickc) pull, double knee left/right, push, double kickd) left parry off a left jab, down right elbow, pull,double knee L/R,

pull/push, double kicke) Feed left cut kick to inside of left leg, defense moves back left leg& delivers left double kick/Feed right cut kick to outside of left leg,defense shuffles back right rear leg and left leg slides back & rightleg delivers double kick to pads.f) Feed a left tap to chest, defense double parries left attack with aleft right then delivers right upward knee, push then double kick.

4. Advanced mitt drill5. Trapping - basic trapping. Hampak, Butong, Tiklod, Saggang,

hambak, palusot, saludo, dakop, ala contra, saggang sagawas,walis, pasunod, sampal, pitik, libot, dagdag, ordabis, etc...6. Entries-guntings, palusut, salute7. 5 silat takedowns & 1 finishing technique

SINGLE STICK

1. Angles 6-12 disarms- snake, strip, vine. Able to disarm with solostick and empty hands.2. Full sumbrada, 3-1-2 sumbrada, roof/1/drop/1/insidesweep/4

sumbrada.3. Figure 8 counters for angles 6-12. Includes down /up/ sunside/moonside/ horizontal/ horizontal -diagonals.4. Largo mano 1-5, meet & follow. Stationary, moving forward,moving backward, and one-for-one.5. jab takedown drills, slash, overhand, uppercut, close spacing

DOUBLE STICK

1. 8 count- both sides2. 4 count-both sides

3. upward 6 count4. All footwork with stick. Example: forward triangle, reverse,


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male/female, lateral, horseshoe, sempok/dempok, sidestep, chickenstep, heel down sidestep, eskala pattern.5. Double stick versus single stick. IE: six count versus solobaston, roof six vs solo baston, etc...6. Fraile 1-5 counters

7. Double stick dummy

KNIFE

1. Single & double knife tapping2. Attached/disattached3. Knife to knife tapping-single4. 6 finishing moves out of knife tapping. Instructor's discretion.Example: wrist lock, arm bar, return to sender, puter kapala, armdrag, figure 4, etc...

5. Basic echikite, Hubad Lubad with Knife.

PRINCIPLES

1. 2 man attack (mass)2. Coordination of hands & feet3. Familiarity of vital points4. Knowledge of FMA history

Level Three, From

The Basics To Intermediate(11/30/98)

Duration: About Two-3 Years

Requirements

Red Shirt, Pass level I & II testsOwn equipment for training (Thai pads, sticks, dagger sticks, staff,focus mitts, boxing gloves,head gear, full-contact stickfightingequipment, pipes)Prepayment of Classes

Open Hands

Western boxing/Panantukan Combinations - able to do defensivemoves with offensive moves shadow box, with mitts, and with livepartners.

-able to open with tadyak, jeet kick, cut kick, tiger block topunching

range


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-able to transition from trap to box, from boxing to trappping, fromtrapping to locking

Walking forward/backward/stationary Chut Chun Choi

Hubad Lubad with solo stick, espada y daga, daga, & empty hands:able to do switches, elbows, knees, disarms, takedowns, transitions,etc...

Footwork

Kali triangle Footwork

Muay Thai Box Stepping, Muay Thai half shuffle, back shuffle,Forward shuffle attack to a double kick.

Shuffle step

Switch Leads

Cross Step Clock System, Four Corners, Movement on your knees,Movement on the ground,fake takeoff, shuffle sidestep, horseshoefootwork, zoning footwork, eskala footwork pattern, (from foil likeweapons or whip stick)lunging, ballestra, riposte. Walking Tiger(from Harimau), Four-Stepping (from Pusaka-Dwipantara).

Kicks/SikaranFrom Level I:

Thai Roundhouse

Push Kick/Foot Jab

Tadyak/Oblique

Thai Knee

Low Side Kick/Dongab

Plus: back kick, groin flick kick, hook kick, inverted cut kick, Silatfront and back sweep, rolling tiger (from Harimau)

Traditional Wing Chun Weapons

Butterfly Swords - "Bart Jarm Dao"Predominately a southern Chinese weapon due to its short length and uses. It will differ from the butterflyswords of northern China. In the north, kicking techniques are employed with the sword. In southern China,


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close range double handed coordination is stressed. The Butterfly Swords or knives are employed in a similarfashion to empty hand techniques. Defences may vary due to the type of weapon you are countering. Forinstance, you may use the cutting edge against a pole but not against a sword due to the risk of bladedamage. Bart Jarm Dao or eight-slash sword form, deals with the defence against of many types of weapons.The construction of the swords allows rotation from the inside of the body from close range. The guardsprevent your fingers or knuckles from injury and the hook assists in capture and trapping of your opponent'sweapons. Just as the distance in Wing Chun's empty hand training is very close, so is the distance withButterfly Swords. The attacks of the short butterfly swords were predominately to the wrist, elbow, knee and

ankle. The reason for this was mainly to maim the opponent rather than kill, since the swords originatedfrom the Shaolin temple and most attacks occurred when the monks travelled around China promoting theirphilosophies. In 1644 when the Manchus invaded China, the use of the Butterfly sword changed dramatically.Abbott Jee Shin created Wing Chun Kung Fu to defend the lands from the invaders. Butterfly swords andDart knives were the main weapons employed by the monks in their endeavour to repel the invaders. Theybecame the most effective and deadly weapon of all, due to their emphasis on coordinating 2 swords,training of the eyes, wrists and footwork and utilizing the efficiency of Wing Chun footwork.

Dragon Pole - "Louk Dim Book Kwun"The pole dates back as far as 3000 BC. and were used in hunting as well as fighting. With the discovery ofbronze and iron, the staff and pole were modified into weapons such as spears and choppers. The staff wasvery popular among the monks at Shaolin. The monks used the pole to help emperor Sung establish theSung Dynasty. (960-1279 AD). During the Ching Dynasty (1644-1911), the monks also used them to defendthemselves against the Manchu's siege on the Shaolin temple.

There were many forms of staff and pole, but the most feared and efficient was the "six and half pointdragon pole form" originated by Abbott Jee Shin. The pole descended through 3 generations of Jee Shin'sfamily to Wong Wa Bo and was then reunited back to the Wing Chun system. Yim Wing Chun's husband,Leung Bok Bo, chose to find a disciple to pass on his knowledge of Wing Chun system and chose his nephew,Wong Wa Bo.

As Wong was not interested in learning Wing Chun, Leung Bok Bo challenged him to a fight. Butterfly swordsagainst dragon pole. The pole was no match for the swords and as a consequence Wong Wa Bo was defeatedand then eagerly became a Wing Chun practitioner thus introducing the dragon pole into the Wing ChunKung Fu System.

Jee Shin Wing Chun Weapons

BroadswordsThe principle of the broadsword is the foundation of all sharp edged weapons. There were 2 types ofbroadsword - one type was used by mounted soldiers, the other, employed by soldiers on foot. There are noless than 40 kinds of broadsword and the Butterfly swords, being one type, was the most efficient of all.

Ma Dao - Saber broadswordThis was the main weapon of the Cavalry. It originated in China around the Warring State period, (403-222BC). The weapon used by General Lien Po, was a big bronze Saber. Later the saber was subject toimprovement and refinement. In the period of the 3 kingdoms, Ma Teng, formed a cavalry of strong andcourageous men who were adept in the use of the Saber. His victories made the saber a very practicalweapon and many tribes adopted this weapon into their own environment. The legend of this weapon spreadto the West, where the saber became synonymous with many victories across Europe, supporting armiessuch as Genghis Khan. In Japan, the saber broadsword was passed down from generation to generation toeventually become the weapon of the Japanese Samurai. When the Manchus inveded China in 1644, theirmain weapon was the dragoon, well rehearsed in saber techniques, but towards the end of the Ching dynastythe saber was replaced by gun powder and firearms.

Dai Dao - The hand BroadswordIn ancient China, most martial artist fought on foot. Therefore, the hand broadsword was the most suited tothe Foot Soldier. The length and weight of this sword varied, dependant on the size of the user, thus it wastailored to meet the individual needs of each warrior. The hand broadsword can be used for slashing,lunging, chopping, stabbing, blocking and close-quarter fighting. There have been many masters of thebroadsword in China, the most famous being Mo Chong, a hero of the Sung Dynasty, (900-1279AD).Mo Chong was reputed to have killed a fierce tiger with his bare hands. The blood splashing hand broadswordtechniques created by Mo Chong are still exercised today.

Ch'iang/Qiang - Chinese SpearThe spear is as ancient as China. It is considered to be the oldest military weapon in China. The spear wasoriginally developed as a horse soldier weapons. Before 400BC, foot soldiers used either a nine feet spear oran eighteen feet spear. These weapons combined a thrusting point with a hooking or slicing blade. Unlike thespear that is used in other parts of the world, the Chinese spear was never meant to be thrown. Instead, a

specialized set of techniques was developed that strongly resembled the single-headed staff techniques. Inancient China, many advanced warriors knew that this pointed weapon, under the usage of a proficientplayer was usually both lethal and formidable. Two of the top spear proponents were the famous General


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Yueh Fei and the first woman warrior, Fa Mu Lan. Both warriors were considered invincible, due to theirproficiency with the spear in combat. Under the guise of warfare, the British, in the mid 19th century,concluded that the chinese spear was far superior to their bayonets. While the Chinese straight sword isconsidered to be the most difficult to learn. The spear is considered to be the next most difficult of allChinese weapons to master.

TerminologyTerminology

ANo current listings.

BBat jaam do - Eight Chopping Knives (knife form of Yip style).Bik ma - Pressing Stance. (name sometimes used for stepping stance fromChum Kiu form)Bui jee - Ajabbing motion with the fingers/Darting Fingers .Bong sau - Wing Arm/Elbow-up positionBilSao-Finger thrust block(wrist out,fingers in)

CChang Sao- Shovel Arm.Chi Sao - Crossing hands=arm clinging exercise/Sticky handsCho Ma - Sitting Stance. (name sometimes used for turning stance from ChumKiu form)Chum Kiu -Searching for the bridgeChum Ma- Seeking Bridge Horse (name sometimes used for stepping stancefrom Chum Kiu form)Chum Sao- Sinking Arm.

DDao Jong - Knife DummyDan Chi Sao-Single hands Chi SaoDai Jeung-Downward Palm strikeDing Jarn-Butting elbow

ENo current listings.

FFook Sao- Controlling Arm.Fak Sao- Whisking Arm/Sideward hands.Fuk Sao -Hooking on top positionFut Sao- Outward down blockFackSao-Neck chopping

GGaun Sao - Cultivating Arm/Splitting hands.Gok Ma- Angle Stance.Gum Sao - Push block/Pinning hands/Prohibiting Arm.Gwun Jong- Pole Dummy.Gwun Ma - Pole Stance.GamSam-Outward palm block

HHuen Ma- Circling Stance. (name sometimes used for circular advancingversion of footwork from Biu Jee form)Huen Sao- Circular motion/Circling Arm.

INo current listings.


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JJuen Ma- Turning Stance.Jueng- Palm.Jam Sao - Chopping Arm.Juk San Ma- Side Body Stance.

JutSao-Sharping jerking motionKKao Ma - Hooking Stance.Kao Sao - Detaining Arm.Kuen- Fist, Boxing.

LLan Sao- Bar Arm.Lop Sao - Deflecting arm/Grappling arm/Grasping Arm.Luk Dim Boon Gwun- Six and a Half Point Pole (pole form of Yip Man WingChun)Luk Sao-Rolling hands

MMa - Horse, Stance.Muk Yan Jong - Wooden Dummy.Mun Sao-Asking hands/Leading hands position(Inquistive arm/hand)

NNo current listings.

ONo current listings.

PPak Sao - Slapping Hand/Slapping motion.

Pien San Ma - Side Body Stance.Pie jarn-Elbow hacking

QQuanSao-Rotating hands

RNo current listings.

SSam Gok Ma- Triangle Stance.Sao - Hand, Arm.Seung Huen Sao- Double Circling Arms.

Sil Lum Tao- Small Imagination(First form of Yip Man Wing Chun)TTan Sao - Palm-up position/Dispersing ArmTok Sao-Lifting hands

UNo current listings.

VNo current listings.

WWing Chun Kuen - Praise Spring Boxing (name used by Yuen, Yip, and a few

other branches)


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Wu Sao- Guarding hand/Rear hand position/Protecting Arm(Vertical palmblock)WungJeung-Sideward palm strikeWoy Moon Choie-Vertical punch

XNo current listings.

YYee Jee Kim Yeung Ma - Trapezoid Shape Clamping Goat Stance (name ofcenter stance used in most Wing Chun branches).

ZNo current listings.

The Empty Hands of the Filipino

Martial ArtsTo most people and martial artists, the Filipino Martial Arts purely concentrate on the

use of Sticks, Knives and Edged weapons. To those who have some knowledge of the

arts they know that it contains a large section of empty hand fighting skills.

These empty hand skills are derived from the movements with the weapons and are

taught within the framework of weapons techniques. For instance, the footwork and

arm positioning used in a snake disarm would also be used in delivering an uppercut

or hook punch to the ribs.

Footwork

Footwork is one of the key things which bind all the various fighting areas together.

This is basically around a boxing format with the notable addition of the triangular

footwork patterns. As any eskrimador will tell you the footwork is the primary means

of evasion to an attack.

Male and Female footwork is based around two triangles placed on the floor in the

shape of an X. If you stand in the centre point, the triangle growing away from you is

the female triangle and the triangle going behind you is the male triangle. If you keepone foot in the centre and step out into a boxing stance to one of the points or

backwards keeping your lead foot in the centre you will gain the basic footwork.(Fig

1)

Female Triangle


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Male Triangle

fig 1.

If you add a large square around the X pattern you can then practice your step and

slide around the X then go through the X and make your own patterns up.(fig 2)

The shapes can either be made up from sticks placed on the floor or you can use tape

to mark the pattern out with on the floor. I prefer the latter method because you can

use different coloured tapes for the triangles and the square which makes it easier for

you to pick them out if you only want to practice one particular form of footwork.

Another important piece of footwork is that of the arrow. If you imagine a straight

line attack towards you, such as a right cross, is the shaft of an arrow you can step

down either side of arrowhead to avoid the attack.(fig 3)

Direction of Attack


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fig 3. Application of Female Triangle

Empty Hands(Panantukan)

The empty hand skills taught are essentially a modified boxing format with one key

difference, the fighting range. In Western Boxing the fighting range is from the end of

the punching hand to your opponents chin, the Filipino styles however have their

fighting measure from the end of the punching hand to a distance where you can

attack the attacking limb. For example, where you can elbow strike your opponentscross to prevent him from punching you again. A lot of these movements are tied in to

the use of the knife, where evasive footwork and parries followed by an attack to the

weapon hand is often preferred.

This limb destruction is also due to the fact that by applying forward pressure to your

opponent you are preventing him from hitting you as effectively and you are closing

your opponents attacking tools down, i.e. "Defanging the Snake".

Limb destruction is commonly performed with 2 tools at the upper body range, these

being the hand and the elbow. Of these the elbow is by far the more potent weapon in

terms of destructive power, the only problem is unless you are attacking the hand youhave to close the gap to employ it.

Common methods in which the elbow is employed is by using the point of the elbow

on the fingers of the fist, or driving into the bicep or pectoral. Against a side kick the

point of the elbow can also be dropped onto the side of the calf.

The major hand attacking method used in Limb Destruction is Gunting(Scissor type

motion). This is where one hand parries an attack and your other hand attacks the limb

which attacked you. For Example :


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Your opponent attacks with a Right Cross, you step to the outside of the punch, parry

to your right with your left hand and you hit the nerve between the bicep and tricep

with the knuckles of your right hand.

The Gunting can be delivered either horizontally, vertically and in either direction, up

or down. The choice of tool you use is up to you, it can be the knuckles, backfist orknife hand.

One important thing to note with the use of the Gunting is that in certain situations

you are open to very subtle counters which will probably destroy your own limb. This

is where your opponent either drops or bends his elbow as you attack. This can be

applied against you if you are attacking from the outside line or if you are attacking

vertically upwards.

There are no blocks per se but rather parry's and evasions as used in boxing, these are

often used with a limb destruction as described above. These include slapping blocks

and jams to hinder your opponent whilst you setup your own counter. Twisiting of thebody is stressed to move your vital organs out of the line of attack and to present as

small a target as possible.

The elbow can be brought up to cover the side of the face whilst the arm covers the

side of the head. If you step forwards as you do this it can also be used as a strike to

the pectoral or shoulder joint of your opponent.

The major striking tools are the fist (In the major boxing punches), hammerfist, knife

hand, knuckles and elbow.

Flowing attacks are commonplace where once you close the gap you hit and hit until

your opponent is incapacitated. Remember the art revolves around the flow, you must

be like water, moving from one obstacle to the next, you either go through it or

around it. This may well be due to the fact that most fights in the Phillipines involved

weapons and you could not afford to let your opponent gain the advantage over you.

For instance :

You counter with the gunting as desribed above, then eye jab your opponent with

your right hand, wrench the attacking arm back as you deliver a left hand elbow

strike to the bicep, then grab the head and leg sweep your attacker to the floor and

finish.

To see a sample technique click here : Technique Illustrations

Your stick striking patterns can also be applied into your empty hands, such as

Heaven 6 by replacing the sticks with hammer fists or knife hands.

Empty hand skills are also taught against the stick and the knife, in terms of a street

attack in the USA or Europe your are probably more likely to face the knife and

Eskrima has plenty or parries, evasions and tie ups for facing a knife attacker

following up with strikes or disarms. It must be stressed however that these aredesparate measures when all other options such as getting away from the area are not
http://www.home-cov.demon.co.uk/empesk2.htmhttp://www.home-cov.demon.co.uk/empesk2.htm


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available options. I recommend you see a qualified instructor if you wish to learn

these techniques.

Dumog

Dumog is the Filipino form of wrestling involving Joint locks and Off balancing

techniques. It is basically designed to keep your opponent from hitting you whilst you

hit them.

A favourite technique is to use your forearm to wrench the bicep of an opponent down

this will drag your opponents upper body down enabling you to headbutt, elbow, take

down or lock. This technique is effective no matter how big your opponent is, if they

happen to be a bit of a Goliath then step back slightly as you perform it.

Locks are usually taught in a flow during Dumog this is done to help you flow from

one technique to another as mentioned above and if your opponent is wriggling out ofa lock teach you to quickly change to a different one. The flow I was taught begins

with a basic one handed wrist lock and finishes with a figure four armlock, working

up the arm from wrist to elbow to shoulder.

Locks are generally not sought after but if there is an opening to use them you should

know how to apply them, there may also be a time when locking somebody is

preferable, e.g. if a friend or relative is drunk and behaves irresponsibly you may not

want to take their head off. A lot of the locks tend to dominate the head, this is

because if the head is moving the rest of the body will follow.

One main characteristic of Dumog throws is that they are not very easy to fall from,like Silat they often involve twisting and turning the opponents body during the throw

the aim being to cause as much damage as possible. Remember that there are no mats

out there on the street just good old tarmac and concrete so the harder your opponent

falls the worse off they are going to be when they land.

Kicking (Pananjakman/Sikaran)

The Filipino arts do not kick very high, instead they prefer to kick at waist level and

below, the primary targets being the thigh, knee, and shin. The kicks are not very

pretty to watch but are delivered with body weight behind them and usually frompunching range.

You may be asking yourself "Why from Punching Range?", this is because at this

distance you will be trying to counter your opponents attack and the kicking

techniques are used to distract your assailant, destroy his mobility and if possible take

them to the floor. You should be able to put these low level kicks in whilst punching

or locking.

Striking Tools


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The most common Kicking tools are the Knee and sole of the foot, occasionally the

ball of the foot is used. I have never seen the instep used this possibly being due to the

fact that the instep does not give you as much penetration of power.

Oblique Kick(Sipa) - This is delivered with the sole of the foot, usually from the rear

leg to the knee or the shin. This type of attack will cause instant pain and is intendedto stop the forward motion of the attacker. This kick will also keep pressure on the

opponent whilst allowing yourself time to manouver into a better position.

Front / Point Kick - The Eskrima front kick is generally delivered with the ball of the

foot or the toes. This gives more penetration to the kick. The kick can either be used

as a straight attacking tool or as a counter attacking tool.

Knee - The knee is primarily used to attack the thigh. The points to attack are the

Sciatic Nerve ("Dead Leg"), the back of the thigh (Hamstring) and the front of the

thigh. Kneeing the front of the thigh is usually done to stop your opponent moving

forwards. This is not to say that obvious targets such as the groin are not takenadvantage of. The knee is also used in pushing attacks to off balance your opponent,

this is done by pushing your opponents knee either to the outside of his body or by

pushing the knee straight back. This is sometimes done in conjunction with a foot trap

to provide a lever.

Shin - The shin is usually delivered in a roundhouse fashion, either to the side of the

thigh, similar to a Muay Thai kick, or to the front of the thigh which has to be felt to

be believed. This is usually delivered to help bend your opponent over. The kick to

the front of the thigh is delivered from the side and is done in conjunction with a

trapping move to the arm.

Feet - The feet are also used to apply trips and sweeps to the lower leg to put and

opponent down. Stamping is also another viable form of attack. As said before this is

usually done in conjuction with another form of attack to keep your opponent off

balance and confused. The heel is also used in a hooking type of kick to attack the

rear of a opponents leg, this would be to the Knee, Calf or Ankle.

The preferred targets are the knee and the shin. The knee if pushed from either side is

very easy to collapse and will result in your opponent taking a tumble. The shin is

very easy to contact and can cause a lot of pain if contacted with boots or shoes.

Sensitivity Drills

Filipino Martial Arts are one of only two arts that I know of which contain sensitivity

drills, the other being Wing Chun, the sensitivity drill of the FMA is called Hubad

Lubad.

Hubad as it is commonly called is used to train sensitvity in your limbs so you feel

how your opponent is moving, this will help you to keep contact and flow from one

technique to another.


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Hubad can be practiced in many forms and in any number of counts. The easiest

method is probably 4 count. This is difficult to explain in words but I will do my best.

1. Your partner throws a straight right punch at you.

2. You parry his wrist with your left palm.

3. Now scoop his wrist to his inside zone with the back of your right hand. This

should be in front of your left hand.

4. Slap his arm down with your left palm.

5. Punch towards him with your right fist. The sequence now reverses and your

partner has his turn.

This is only a basic Hubad but at even a slightly higher level it includes changeovers

from right arm to left arm and also changing from the outside of the arm to the inside.

If you want to learn Hubad I suggest you do so from a qualified instructor.

WING CHUN TERMS (Yale phonetic)

A-B:

BAAT-JAM-DAO : Eight-Cutting- Broadswords Techniques

BIK-MA : Pressing Stance

BIU-JEE : Thrusting Fingers Form

BIN-BO : Circle Step

BIU-JEE-SAU : Thrusting-fingers

BONG-SAU : Wing-arm

C:

CHAAN-SAU : Shovel-hand

CHANG-SAU: Spade-hand

CHAT-GENG-SAU: Throat-cutting-hand

CHI-DAB-SAU : Single Hand-clinging

CHI-DAN-SAU : single hand sticking


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CHI-KWUN : Pole-clinging

CHONG : Prefighting Posture

CHONG-SAU : Guard-hands

CHI-SAU : Sticking Hands

CHOH-BO : side sitting step

CHOH-MA : sitting horse step, basic turning stance

CHUEN-KIU : Fist over Bridge/Piercing Fist

CHUM-KIU : Sinking Bridge Form

CHUM-KIU : Seeking Bridge Form

CHUM-SAU : Sinking-hand

CHUN GING : One Inch Punch

CHUNG-KUEN : Center line punch, strike punch

CHUNG-LO : Mid-level

CHUNG-SIN : Median Line

CHUNG-SUM-SIN : Center Line

D-E:

DAI-JEONG : Lower palm strike

DAO-JONG : Knife Dummy

DING-JARN : Butting-elbow

DIU-KOK-MA : Diagonal Stance

F-G:

FAK-SAU :Whisking-hand

FUT-SAU : Buddha-hand


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FUK-SAU : Bridge-on Controlling Hand

GAM-KIU : killing bridge

GAM-SAU : Press down

GAAN-SAU : Splitting-block/Cultivating-hand

GAN-SAU : cutting down

GEE-NG-DIU-TIE-MA : Meridian Half-hanging Stance

GEE-NG-MA : Meridian Stance

GENG : neck

GEUK : foot

CHI-GEUK : sticking leg

GOK-MA : Angle Stance

GWAN-SAU : Inward Bong-Sau/Tan-Sau combination

GUM-SAU : Pinning-hand

GUNG-LIK : forward elbow energy

GWAI-JAANG : horizontal elbow strike

GWUN-JONG : Pole Dummy

GWUN-MA : Pole Stance

H:

HAAN-KIU : press bridge, strike with fist

HAU-JEONG : Rear Palm Strike

HAR-LO : Lower Level

HAU-GUM-SAU : Back Pinning-hand

HEUN-SAU : Circling hands

HOI-MA : Setting up of Stance


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HOI-MOON : Outdoor Area

HUEN-BO : Circling Steps

HUEN-GOT-SAU : Circling Cut

HUEN-SAU : Circling-hand

I-J:

JANG-JEONG : Sideways Palm

JEUN-MA : Turning Stance

JEONG : Palm

JU-JEUNG : Sideward Palm

JU-GUM-SAU : Back Pinning-hand

JIN-BO : Attacking forward step

JIK-JEUNG : Palm outward Strike, Front Vertical Palm

JIK-JENG-KUEN : attacking center punch

JUM-SAU : Hacking-hand

JUM-SAU : Sinking-hand

JU-SUN-KUEN : Sideline Punch

JU-SUN-MA : Sideline Stance/Diagonal Stance

JUT-SAU : Jerk-hand

K:

KAU-MA : Hooking Stance

KAU-BO : Puking Steps

KAU-SAU : Circle-block-hand

KIU-SAU : Bridge-arm


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KUEN : Fist, Boxing

KUEN-TO : Boxing Form

KUO-SAU : Fighting Hands

KUP-JANNG : downward elbow strike

KWAI-JAANG : Downward Elbow Strike

KWAN-SAU : Outward Bong-Sau/Tan-Sau combination; Inside/Outside hand

KWAN : elastic power

L:

LAN-BO : turning step used with lan-sau

LAN-SAU : Bar-arm

LAT-SAU : freeing hand

LAU-SAU : Scooping-hand

LIN-WAN-KUEN : Alternate-thrusting Punches

LOK-SAU : Rolling Arms

LAHP-SAU : Grasping-hand

LUHK-DIM-BOON-GWUN : Six and a Half Point Pole

M:

MANG-GENG-SAU : Neck-pulling-hand

MAN-SAU : Inquisive-hand (3rd form)

MUK-YAN-JONG : Wooden Dummy

MUK-YAN-JONG-FA : Wooden Dummy Techniques

N:


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NOI-MOON : Indoor Area

NUK-SAU : Free Hand Fighting Practice

O:

ONG-JEONG : Palm Strike

P:

PAAK-SAU : Slapping-hand

PAU-SAU : TOK-SAU

PEK-JEONG : Chopping throat palm

PIE-JAANG : Elbow-hacking, diagonal elbow strike

PIEN-SUN-MA : Side Body Stance

PO-BAI-JEONG : Double Palm strike

Q-R-S:

SAAT-KIU : Killing Bridge

SAAT-JEONG : Killing Palm

SAAM-KOK-BO : Three Side Forward Steps

SAAM-SING-JONG : Three Stars Dummy

SAAM-PAI-FUT : Praying Thrice to the Buddha

SAN-SAU : Free Hands

SAU-BEI : arm

SEI-PING-MA : Four Side Level Stance

SEUNG-CHI-SAU : Double Sticking Hands

SEUNG-HUEN-SAU : Double Circling Hands


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SEUNG-KUEN : Double Punches

SEUNG-LO : Upper-level

SIU-LIM-TAO : Little Idea

SUM-GOK-MA : Angle Stance

T:

TAN-SAU : Dispersing-hand

TAT-SAU : Cutting-down-hand

TIE-SAU : Lifting-hands

TOK-SAU : Elbow-lifting-hand

TUT-SAU : freeing-hand, contact with little finger side downward

U-V-W:

WAN-JEONG : Palm down Strike

WING CHUN KUEN : Always Spring Boxing

WU-SAU : Protective-hand

X-Y-Z:

YAN-JEONG : Stamping-palm

YAN-JEE-DAO : Converging Knives

YEE-CHI-SEUNG-DAO : Parallel Double Knives

YEE-CHI-KIM-YEUNG-MA : stationary front stance (pinching goat stance)

Wing Chun Glossary and Terms

Here I have included a list of Wing Chun terminology. Most of it came from

elsewhere on the Internet as well as terms from literature given by Dai-SifuGoldberg to his class. I am updating it as I find new words and terms in myreadings and studies.


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*****Please note that because of the diffculty in transliterating and translatingfrom Chinese to English, some terms may be spelled differently in differentplaces, or translated slightly differently.*****

B

Baht Cham Do - Eight Cutting Broadswords (Final Weapons form in Wing Chun)

Bil Jee - "Thrusting Fingers" (3rd Wing Chun hand form)

Bil Jee Sao - Thrusting Fingers

Bik Sao - Pressing Arm

Bok Jeung - Shoulder Butt (palm pushes down)

Bong Chor Sao - "Wrong" Bong (inside gate)

Bong Gerk - Wing Leg Block

Bong Sao - Wing Arm Block

Bui Do - Thrusting Knives

Bui Ma - Thrusting Stance

Bui Sao - Thrusting Arm

C

Chang Sao - Spade hand

Chi Dan Sao (dan chi) - Single Sticky Hands

Chi Gerk - Sticky Legs

Chi Kwan - Sticky Pole

Chin Tek - Front Kick

Chin Gum Sao - Front Pinning Hand

Chin Jeung - Front Palm

Chi Sao (Sheung Chi Sao) - Double Sticky Hands

Chum Kiu - "Seeking the Bridge (Arm)" Form (2nd hand form in Wing Chun)

Chung Lo - Mid Level


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Chung Si - Grandmaster of A Style

Chung Sin - Mid Line

Chung Sum Sin - Center Line (Mother Line)

Cup Jarn - Downward Elbow

D

Ding Jarn - Butting Elbow

Dip Sao - Butterfly Hand

Doy Ying - Forward Energy

Dui Kok Ma - Diagonal Stance

F

Fak Sao - Whisking Arm/Side Chop

Fook Sao - Bridge On Arm

Fung Gerk - Stomp Foot Block

G

Garn Sao - Splitting Block/Low Block Simultaneous Punch

Gee Ng Dui Tie Ma - Half Hanging Stance (Pole)

Gerk - Leg

Gnoi Moon - Outside Gate

Gum Sao - Pinning Hand

Gwai Jarn - Downward/Kneeling Elbow

H

Har Lo - Lower Level

Hau Gum Sao - Back Pinning Hand


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Hau Ma - Back Stance

Hoi Ma - Opening Of Stance

Heun Bo - Circle Steps

Heun Do - Circling Knife

Heun Got Sao - Circling cut

Heun Sao - Circling Hand

J

Jeung - Palm

Jik Chung - "Sun Punch" (Vertical Fist Punch)

Jong - Dummy/Stake

Jor Ma - Left Stance

Jum Sao - Sinking Block

Ju Cheung - Side Palm

Ju Tek - Side Kick

Ju Gum Sao - Side Pinning Hand

Ju Sun Kuen - Turning Punch

Ju Sun Ma - Turning of Stance

Jut Sao - Jerking or Cutting Hand

K

Kar Sik - Prefighting Posture

Kau Bo - Plucking Steps/Circle Steps

Kau Gerk - Half Moon Kick

Kau Sao - Circling Block

Kuen - Fist/Fis

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