Koo Sang practices a movement from the baat jaam dao.
Gaun Gwun from the luk dim boon gwun techniques is demonstrated by Master Koo Sang.
Bong sao (wing arm) is probably the trademark of Wing Chun, so unique and outstanding is its shape. In the bong sao, the forearm indicates a gradual dip and the shoulder is kept relaxed. It is the only core Wing Chun hand position in which the elbow flies outward. The technique varies in height according to the opponents attacking bridge and its variations include high, middle, and low positions. Bong sao can only be executed when there is a force sufficient to create its need. When used, it can be employed as a shield, as a transitional move, or to slow or drag an opponent’s attack. The dual nature and multidimensional aspects of the technique allow for vast differences in its interpretation. The traditional saying that “bong sao does not remain” serves to remind the practitioner that this technique must be used only in the moment of its need, then changed immediately.
Fook sao (subduing hand) is so-named after its design, which makes it ideal for subduing the force of an opponents arm upon contact. Etymologically, the Chinese character for fook signifies a dog held down by a person, and this is exactly what the fook sao does through control of an opponent’s leverage point. Fook sao, like tan sao, is also held perpendicular to the body. Its difference lies in that fook sao is an on-top-of-the-bridge position, whereas tan sao is a relatively underneath-the-bridge position. Fook sao arguably has the most transition positions and can lead into lop sao (grabbing hand), gum sao (pinning hand), pak sao (slapping hand), jut sao (choking hand), and other techniques (Figs. 1–3).
Master Hawkins Cheung squares off with his opponent (Fig. 1). As the opponent punches, Cheung Sifu moves in quickly, intercepting with his forearm (Fig. 2) and flowing straight into a counter strike (Fig. 3).
Tan sao, bong sao, and fook sao are the most important hand maneuvers in Wing Chun and are often thought of as fixed techniques. In actuality, however, they are very much alive and adaptable. The names are merely convenient terms for the ideal positions of the bridge arms in relation to an opponent. Since their feeling is alive, they only exist when in contact with an opponent and only for the time it takes to actually perform them in transition.
FORMS AND TRAINING
Yip Mans Wing Chun contains three empty hand forms that capture the core skills that define the art of Wing Chun.
It is interesting to note that while different branches of Yip Man Wing Chun all teach forms that follow the same basic principles, there is a great deal of variation in the sequences themselves. Perhaps Yip Man learned different variations from his different instructors, continuously strove to refine and improve his art throughout his teaching career, taught the sections with emphasis on conceptual points rather than fixed sequences, tailored the sets to suit each individual student, or the sets have simply been changed by current-day instructors to fit their own needs. Of course, mistakes, misunderstanding, and misinterpretation may have also led to such variation. In the end, it is not important which variation of the set is the “original,” but rather that these sets give the practitioner a feel for the systems concepts, tools, and the basic knowledge necessary for their application.
Siu nim tao (little idea), the first form, is meant to give beginners an idea of the scope of Wing Chun techniques. Broken down, siu refers to “small, efficient, without waste, or compact and economical.” Nim is “to immerse yourself in the study of a subject.” Finally, tao refers to the “head.” Together, siu nim tao can give the cryptic message of “put it in your head to study the concept of efficient, small, economical, compact motions.” It is a training form, rather than a fighting form, emphasizing awareness of the centerline and the development of stance, body structure, and hand structure. Economy of motion is stressed, no excessive movement is required to deliver power to any of the “weapons” (i.e., attacking limbs) and when striking, the limbs do not vibrate. Basic offensive and defensive movements, centerline facing, proper elbow positioning for power, forward “spring” power, hands in coordination and independent of the body, development of sensing mind intention, and hei (qi) flow are also trained through siu nim tao. During the set, breathing is natural and the eyes follow the hands while peripheral vision is used to see in all directions. The mind is calm and as the name of the set implies, “don’t have big ideas, just maintain a little idea.” Siu nim tao has different levels of training and seeks to instill in practitioners important movements that are crucial to mastering the art. It is for this reason that siu nim tao is at once regarded the most basic yet most advanced form in the system.
Chum kiu (seeking bridge), the second form, refers to the timing of entry. Through the practice of the chum kiu set, practitioners learn to “seek when to bridge the gap between themselves and their opponents.” The form teaches to close the distance with a bent arm, then to straighten the arms (e.g., strike) after entering. It requires footwork movements in all directions, with the body facing the opponent’s centerline. The key idea of chum kiu is to break the opponent’s body and defensive structure. It exemplifies the control of the bridges of the opponent and the significance of the Wing Chun body structure in motion. It shows the importance of maintaining the shifting and the turning of the stance, and rooting into the ground, not just spinning on the surface like a top. Chum kiu also develops good grounding and side stepping to cut off an opponent’s circling movements. Through chum kiu, practitioners are trained in kicking, the high, middle, and low bong sao, the lan sao (obstructing arm), the chou chui (bouncing fist), and other tactics. The form teaches how to take and change the centerline and use it while moving; how to explode one’s power with coordination between torso, waist, and stance; how to step through an opponent; and how to come into proper fighting range. In some respects, chum kiu can be considered the most advanced form in Wing Chun kuen (Figs. 4–8).
(Fig. 4) The opponent faces Master Hawkins Cheung. (Fig. 5) As the opponent begins a front kick, Cheung Sifu immediately moves in.
(Figs. 6–8) Jamming the attack with a kick of his own, Cheung Sifu sends his opponent flying.
Biu jee (darting fingers), the third form, refers to the darting or thrusting motions trained in this set. Biu jee is comprised of the words biu, to “dart in,” and jee, to “point at” (with a finger or compass needle). In essence, it means that a practitioner must “dart in at what they are facing.” Biu jee trains an exponent in adjustments of position in relation to an opponent (bien jung sien) and stance. It comprises ways to break through an opponent’s centerline, and emergency techniques which can be used to free a practitioner
