THE SCIENTIFIC 
 VING TSUN FEDERATION 

This picture was taken in the mid 1990's at one of the many seminars Wong Shun Leung gave in the UK.  In fact Sifu Doug Clark was the only student at this seminar to have his picture taken individually with Master Wong Shun Leung.  This was kindly arranged by Sifu Anthony Kan

A group picture, showing Doug Clark next to his Sifu Anthony Kan with next in line being Doug Clark's good friend and training partner Bernard Poon, another direct line student of Sifu's

Another picture of Doug Clark next to his Sifu Anthony Kan.  This photograph was shot in the mid 2000's after a training session.

Doug Clark fourth from the left as one looks at the photograph.  Next to Sigung Wong Shun Leung is Sifu Anthony Kan.

Ving Tsun's famous Butterfly Knives the Bart Chum Dao being demonstrated by Sifu Anthiny Kan to Sifu Doug Clark.  This is the final Pattern of the WSL VT System.

Photograph by http://www.carlrowlands.com/index.html

Training with one of Sifu's students in the mid 1990's.  Doug Clark is performing Kwan Sau in response to the enemy's punch.  You can see Doug Clark's punch is lined to hit and his enemy's is diverted away from the line of attack.

Once again hard training in the 1990's at Sifu Anthony Kan's

This picture is an early shot of Doug Clark learning and training the Mook Yan Jong (Wooden Dummy Pattern) at Sifu's in the 90's. 

Doug Clark showing James the Chum Kiu Pattern, note the correct positioning, angle and distance of the Lan Sau.  Note how the rear arm is pulled back.  The Dang Gerk will be extended fully, thrusting out from the knee with power. 

Some Lok Sau where I am opening up with the Yiu Ma and Yiu Lik, waist and horse as well as waist power.  I also use a lot of Jang Dae Lik (elbow down power)

A good solid palm strike to the jaw and the other palm lined to follow through with stepping from the Horse (stance)

With Todai (student) Craig Clark.  Here Sifu Doug Clark is performing a Lap Sau movement.  Note I  deliberately let my punch fall off target here other wise heavy contact would have been made.

With student Craig Clark showing centreline punches driving in combined with the Horse Stance.

Showing a Fak Sau movement from Chi Sau, note the control of the opponent's bridge.  When delivering the edge of the hand into the neck this is also called a Fung Hau motion or Neck Sealing Hand.  It is very dangerous and great care needs to be applied.

The Double Gaun Sau is traditionally used when the Ving Tsun Technician needs to cover his space against an incoming strike where the line and trajectory is unknown.  The Double Gaun Sau provides a lot of "insurance" to intercept the incoming strikes from where ever they might be coming.  The Gaun Sau can also be used as a Recovery Movement from Bong Chor Sau where an incorrect or wrong side Bong Sau has occured naturally.  In this case the Double Gaun Sau is used as a Recovery Movement.  The Upper Gaun Sau becomes a strike and the Lower Gaun Sau is used to protect one's flank.

Note the closing into the opponent so that one is in bent arm range and the control of the opponent's line whilst executing a direct punch into his jaw

Hitting within the Lap Sau drill, note the complete crossed arms position of the opponent and the way his Bridge has been controlled completely.  The strike has been landed with the correct Horse and Waist alignment to generate whole body power into the punch.

Wearing Chest Protectors allows one to train the Lut Sau Jik Chung within all drills.  Here it is within Lap Sau, where at times in this Drill Sifu Doug Clark will release one of his Bridge Arms to allow the Partner to fire in instinctively.  The Chest Protectors allow for heavy punches to be generated into the opponent.  In this photograph, however, Sifu Doug Clark has used a strong Lap Sau movement to collapse his student's Bong Sau and also hit through with the correct elbow alignment which controls his opponent's Wu Sau on entry of his punch.

Lap Sau is not a drill done routinely on the spot, there is moving within Lap Sau both forwards and backwards depending on the forces involved.  All the time one is Bridging and controlling the angle and line of delivery.  The Yiu Ma Haap Yat is important, which is Horse and Waist power combined.  Also Yiu Lik, elbow to waist connection is vital.  In Lap Sau both Partners Juen Ma (Turn Horse) but in WSL VT one does not turn back and forth.  One maintains a constant line and angle from the Juen Ma positions and from there can actively move forwards with the Horse whilst Bridging.

Taking the correct line to hit, having his guns (hands) off Sifu Doug Clark's Centre whilst having two guns (hands) lined with his Centre, whilst going in with the Horse.

Using the hands and the feet within Chi Sau.  There are methods to control the Bridge Arms of the Kicker to nullify their kicks and also one can use Kick for Kick.  Hands control Hands and Feet control Feet.  Chi Gerk Drills (Sticking Leg) are also used to train the legs in a similar manner to the arms.

Here Sifu Doug Clark is moving into an Outside Pak Sau and lining his other hand to hit.  This is also called Wong Side Pak Sau.  This Drill trains the Horse and Waist to Elbow alignment as one wants to completely control the opponent's root.  The movement shown in the picture is not complete.  I will go right into his Centre and lower my elbow position to completely pin both of his arms and from there sink my Horse to control his root, whilst hitting with the free arm.

Performing the Double Gaun Sau movement from the Jong.  Note the distance from the Jong which is important.  One only moves in when one has to and uses co-ordinated timing of the Horse to deliver whole body power with one timing.

A co-ordinated attack with the Horse moving in to deliver whole body power through one timing which collapses the student's structure completely.

Scientific Ving Tsun Federation believe in a lot of heavy training and conditioning, as this is the only way for the Ving Tsun to work properly in a real situation.  Half hearted training will get the student nowhere and will create a false sense of security.  Master Wong Shun Leung and Anthony Kan have very serious attitudes towards training, believing that only 100% effort and hard practice will result in a decent standard.  Proper tuition is very important and then one must practice, practice and practice whilst really training hard.  Here Sifu Doug Clark is using a Fak Sau into the Thai Pads and generating a lot of power

Showing a Recovery Movement after a wrong side Gaun Side has occured.  The Gaun Chor Sau, Huen Sau and Hit.

A trapping movement that arose naturally and combined with a punch into the throat.  Note a lot of care must be taken when punching or striking to the throat and neck.  The Fung Hau is a Neck Sealing Hand.

Crossing Hands or Gwoh Sau.  Here one uses the training from Chi Sau to fight off the Bridge.  This is vital training for applying one's Ving Tsun practically.  Note the line and angle Sifu Doug Clark has into the opponent and note that his heavy punching is finding its mark.

Showing a Recovery Movement found in the Mook Yan Jong Pattern.  Here one retraces one's elbow line and if the opponent's head and neck are there one makes use of it by giving a heavy slap into the base of the neck where the main nerves are, this completely disorientates the opponent and in and of itself can cause a brain stem knockout so great care must be taken. 

In conjunction with this one times a synchronised punch into the opponent's jaw.  Note one does not go searching for this movement, if the opponent's head and neck are there make use of it but if he has moved simply find the correct punching line and hit again.  This movement does make sense, in that it locks the target (the head) and sets it for a punch but if the opponent is very fast moving it is highly unlikely he will be there, so simply retrace the elbow to the correct punching position and hit! hit! hit! and hit again!

Note the speed of the punching (both hands are blurring).  Note also the line of both punches moving into target.  When punching the two elbows should be harmonising and synchronising.  In fact in all Ving Tsun motions synchronicity and co-ordinated actions are vital.  With regard to punching the punch that is retracting is as important as the one going out.  Both should be working together, like the analogy of drawing water from a well.  As one arm is pulling back the other is driving forward. 

Note the control of the opponent, his structure has been collapsed and the other arm which is lined to hit is controlling both of the opponent's hands and arms. 

From Gwoh Sau, a direct punch lined and hitting into the target, whilst the other hand is lined to strike through!

Note with Paau Bong the opponent is in front of oneself but one has turned the Horse .  In this shot Sifu Doug Clark is showing his student the Paau Bong.  This action is still not fully completed.  The picture has been captured from video.  The completion of this move sees the Bong Sau rising slightly further with elbow force to Centre and the Wu Sau held upright with fingers pointing straight up.

Sifu Doug Clark shows the formation of Biu Sau.  Note the way the Horse is hoisted in Siu Nim Tau to train the waist connection into the elbow line.  In Chum Kiu and further Patterns one does not want to hoist the Horse anywhere near as much since one needs flexibility and maneouvrability in the waist for the actions of turning the Horse.  If one hoists all the time then one will not be able to make use of the rotational force of the waist into elbow strikes and punches.  One needs to be able to delink and then link again to have complete control over one's waist and other power points.  Locking the whole unit all the time will hinder the development and release of whole body power.

Using the elbow force to Jut Sau from Siu Nim Tau.  Note in reality the Jut Sau is not used Square onto the opponent, one uses Juen Ma (Turn Horse) to perform the Jut Sau, by doing so one deflects the opponent's force away from one's own Centre.  Never use Jut Sau from a Square On position as one will only bring the opponent onto one's own Centre.  Always turn or change angle when performing the Jut Sau in a live situation.  The Siu Nim Tau is a stationary Pattern which is two dimensional.  It is for training purposes only and is likened to facing a stationary target. Ving Tsun is a conceptual System and thus just because a movement is being performed a set way in a Pattern does not mean that it is used necessarily that way in a live situatio,  In essence Siu Nim Tau is a very important fundamental pattern, it is a Young Idea, containing important basics but it is only when we move onto Chum Kiu where one is moving whilst at the same time facing and hitting a moving target, that Ving Tsun becomes three dimensional.

Sifu Doug Clark was taught to do the Double Gaun Sau from Chum Kiu, Chan Kim Man for example does Double Gaun Sau as does Sifu Anthony Kan.  However, other Generations were shown by Master Wong Shun Leung to do Double Jum Sau.  Both are correct, as long as they are formed correctly.  This movement is followed by the Chum Kiu Biu Sau.

This movement is not a finger strike to the face area or body.  It can be applied as a movement where the tip of the thumb is pressed into the eye socket of the opponent but only after control of the head has been achieved with the preceeding movements.  The concept in practice is much more important.  The Bridge Arm is the Handle and the Ving Tsun Technician can place whatever implement they want at the end, be it a palm, punch or thumb gouge.  Tradionally Master Wong Shun Leung showed the application of the Eye Gouge from this part of Chum Kiu.  But it is by no means definitve.  The concept is the important matter.

Note the dropping and relaxing of the elbow as it gets set to be torqued with the waist to fire into Pai Jarn.  Lots of rotational speed is the key to successful formation of Pai Jarn (Hacking Elbow Strikes)

Note the Rotational Speed on the formation of Pai Jarn, the arms are blurring as is the face.  The movements in this section need to be done with a lot of rotational speed and torque.

A front on  shot of a completed Pai Jarn (Hacking Elbow.) Note on the Pai Jarn the tip of the elbow has been driven into the opponent's centre.  There is a lot of rotational force in the Pai Jarn movements, creating torque in the waist.  This rotational speed, flexibility and torque in the waist can be taken into all striking movements.  The waist is a Prime Mover in WSL VT and needs to be flexible and supple so that it can compliment the hand and leg techniques.

From Chum Kiu Lan Sau into Yi Bong Sau, this Bong Sau is used when one already has contact established with the opponent.  Note the Wu Sau height covering the line into the face.

Note the elbow is (slightly) lower than the hand.  There is also good distance of the elbow away from the body.  This is NOT a Wu Sau movement.  It is Lan Sau and is often shown by a Training Partner pushing into the Bong Sau of the VT Technician and the Vt Technician then uses a co-ordinated action of the waist and legs to Horse Turn (Juen Ma).  In so doing the Bong Sau elbow drops and the Training Partner's force is off set. From this position the Training Partner punches and the VT Technician employs Yi Bong Sau by dropping the hand of the Lan Sau and forming Bong Sau whilst Horse Turning taking the Training Partner's punch off line and allowing the VT Technican to strike through with the free hand.  Note this is only a drill to teach the actions of Lan Sau to divert incoming force with a co-ordinated action of the Horse and it also teaches the VT Technician how to deploy Bong Sau when contact already exists.  It is not a prescriptive way of using Ving Tsun. 

In fact Master Wong Shun Leung was of the opinion that Bong Sau rarely neded to be applied in real situations. However Bong Sau can be used when being pulled and punched in the case of Yi Bong Sau. Or when one is out of range with one's hands down and a punch comes into one's Centre, then it becomes Paau Bong Sau(Throwing Bong Sau Action). 

It can also be applied if one's forward force is being pressurised heavily from the side, in this case the forward force can momentarily shift into a Bong Sau position, to allow the other arm to find its way to target.  This concept called Yi Wei (to shift the line) is shown in the final Bong Sau of Siu Nim Tau where the elbow rotates over and down to form a Tan Sau.  With the Bong Sau and Tan Sau forming a relationship here.  If a Tan Sau shape or position is compromised it can form a Bong Sau shape and likewise if the Bong Sau shape is compromised it can form a Tan Sau shape but only to allow the VT Technician a split second to find the line again to hit!

One important note here, Sifu Doug Clark was taught not to give way to side ways pressure too much.  In other words one should hold one's own line to hit and only if the defender's force is too much to handle should one deploy the concept of Yi Wei.  Needlessly changing line or position is not wise and anyway if one's elbow to waist connection is well trained it will be very strong and powerful, so one can easily maintain one's structure without giving way.

Note the fist being held on this Lan Sau, note the distance of the elbow from the body and note the elbow is lower than the wrist.  This Lan Sau can be used to hit an incoming opponent into the chest if they are attempting to bear hug from the front.  It prevents against grabs and can be used to create space to launch a heavy kick.  It is mainly used to "bar" the entry of an opponent into one's personal space.  In the next photograph one can see this concept being applied.  Note Sifu Doug Clark cannot emphasise enough that Ving Tsun is a concept based System but concepts need to be tested.  Using the Lan Sau to bar the entry against an attempted bear hug from the front is NOT an application as such, it is merely a possible example to allow the VT Technician to train the attributes to use the Lan Sau effectively.

A possible application from the Second Section Lan Sau within Chum Kiu.  Please note Ving Tsun is conceptual but Master Wong Shun Leung always demonstrated ways in which the movements from the Patterns could be applied without saying that was the only way of applying them.  A Ving Tsun  Technican must have examples of possible movements to counter and ways to apply his Ving Tsun Pattern movements.  However one must NEVER think of set applications or set methods to use as Ving Tsun is conceptual but getting a feel for applying one's elbow force in different ways is vital.

The Dang Gerk (Basic Ascending Heel Kick) Note the full extension of the kick and note the way the toes are pulled right back and the heel is being driven into the target area.  This kick is performed sometimes at this height for training purposes only, to stretch the ligaments and improve the balance and retention of the Horse.  However, in practical application the kick is used at lower levels of the mid section and below.

Launching a heavy kick into the opponent, driving him away!  In training the kicks in Ving Tsun the hands are often held up and back in the chambered position so as to isolate the lower unit below waist level.  This makes balancing harder as the hands and arms cannot assist the legs.  However in practice the arms are used to compliment the kicks.  Here Sifu Doug Clark is simply demonstrating how the heel should be thrust forward with a synchronised movement of the hips and waist.  The kick rises directly from the floor without chambering at the knee.  The power is supplied by the rear leg and foot.  After kicking the VT Technician steps forward thus closing the distance into the opponent.  At the same time straight line punching is normally deployed. 

The Lan Sau from Chum Kiu has been quickly grabbed, by raising the elbow of the Lan Sau and moving in  with the Horse the VT Technican can break the grip of the opponent as a simultaneous kick is applied.  The kick is never chambered, it is delivered straight from the floor and the heel is driven into the opponent.  After kicking the Ving Tsun Technician forward steps, driving the whole unit forward and striking at the same time.

One Partner steps and punches and the other "holds the baby" the crossed lower arms positioning from Chum Kiu, prior to forming Paau Bong Sau to deflect and uproot the incoming punch.  See following picture.

Paau Bong Sau being formed to divert the incoming punch.  This two man stepping drill is very important and must not be over looked.  Paau Bong Sau is a throwing or whipping action of the elbow into the Bong Sau to be used when the hands are low, it is where the elbow fires forward with a side stepping action to really knock or fly the opponent's punching arm away.  In practice it can even up root the opponent. 

However there is a wider concept which is to train the rotational speed of the elbow in conjunction with synchronised Horse Stepping.  This rotational speed of the elbow and synchronised Horse Stepping can be used in combat to create a very fast and explosive punching action whilst stepping off the line of an incoming attack.  In so doing the VT Technican avoids attacking directly up the Centre (The Inner gate) and instead steps to the Flank of the opponent (The Outer Gate) whilst at the same time cutting the opponent's incoming punch with a punch of their own at a new more favourable angle.

The Chau Kuen (Drilling or Whipping Punch) from Chum Kiu.  Note this is not an Upper Cut.  It is used to cut into the opponent and is normally used from the Outside Gate to "slice" into the Centre.  In so doing the elbow slashes through any punch or arm in its path whilst the first drives home.  This equates to the concept of Lin Sil Die Dar (simultaneous attack and defence in one.)  In fact if the elbow position of the VT Technician is correct all of the punches in Ving Tsun will clear and deflect any arm in their path, whilst striking home.

Dai Bong Sau with forward stepping from Chum Kiu.  This movement like a lot of others in Ving Tsun has a concept behind it, it teaches timing in that everything starts together and ends together.  As the Horse completes its stepping the elbows arrive on line.  Note the angle of the arms in the formation of Dai Bong Sau.  Also in WSL Lineage one's hands do not touch on this movement.

This movement is one of the closing movements of the Chum Kiu note the elbow and hand move as a unit with the Horse turn so that everything starts together and ends together.  There should be no more movement of the hand after the Horse has finalised its movement.  Everything is synchronised:

The following video shows the Chum Kiu Pattern concepts with Master Wong Shun Leung and also Chan Kim Man one of his Senior Students.  Video clips of myself and student will be forthcoming on this Site:

The opening footwork from Biu Jee contains the concepts of Huen Bo (Circle Stepping) and also Gaun Gerk (Cut back to Centre after a kick has failed to find its target).  Heun Bo is used against a fast retreating opponent to chase them and cut off their line whilst attacking them.  Gaun Gerk is where the VT Technician has kicked out fully only to find the opponent has evaded their kick and is closing in on them.  The extended kick is retracted and cuts back to centre, in the process destroying the root of the opponent and sending them crashing to the floor.  Here one can see Sifu Doug Clark deploying Gaun Gerk on Craig Clark.

This photograph and the following two photographs show the way in which the opening foot movements of the Biu Jee Pattern can be applied.  Here Sifu Doug Clark has avoided an incoming punch and has checked his opponent and applied a cutting footwork movement to collapse his opponent's stance whilst at the same time using a helping hand to cut him down to the ground.

For safety sake Sifu Doug Clark controls his training partners fall.  In reality he would be punching him in the neck whilst he is falling down!

Here Sifu Doug Clark has released the arm not on his training partner's neck to allow the camera to see the movement.  In reality the free arm is used to punch into the neck or throat of the opponent.  Then slam him into the ground to finish him.

After the opening punches the Bridge Arms raise and lower using the elbow to wiast connection called Yiu Lik.  The Upper Man Sau and Lower Man Sau Movements as well as the Crossed Man Sau Movements (Biu Sau's) can be used to intercept fast moving punches. However, the concept is to train the Cheung Kiu Faat Lik (see more information on the photograph description below this)
Interestingly the Upper Man Sau Movement shown in this photograph can be used with evasive footwork to intercept a blunt weapon attack and destroy the ability of the opponent to hold the weapon.  It literally flys the weapon out of his grasp.  Sifu Doug Clark has used this application in real life against an incoming straight bottle attack.  Evading the attack from a side angle and striking upwards with the Man Sau into the forearm of the attacker completely breaking his grip and flying the bottle away to enable him to counter.  The movement can even be used against an edged weapon attack, however, in practice it is best to run or you use an object against any edged weapon.  Or it is important to contain and control the attacking arm fully. 

The formation of Lower Man Sau.  The wider concept of these movements up and down and side to side is to teach one how to alter one's angles of attack.  One is also training the Cheung Kiu Faat Lik or Long Bridge Power.  To be able to exert force at full extension of one's arms.  Bruce Lee termed this Inch Force or Chuen Ging!  It enabled him to use the One Inch Punch.  In Ving Tsun we call this Long Bridge Power Cheung Kiu Faat Lik.  It means that even if the VT Technician has punched out fully and the opponent has dodged or slipped the incoming punch, the VT Technician does not need to withdraw their original striking limb but can hit again with the fully extended arm.  To gain functional power in this one uses the whole body and one must do a lot of supplementary training of the waist and elbow connection on the sand bags and Ving Tsun Wall Bags.  The Luk Dim Boon Kwan (Six and Half Point Pole Form) also conditions the Long Bridge Power.

In between the Kneeling Elbows called Gwai Jarn.  Sifu Doug Clark was taught for training to emphasise this movement and to use a big wheel movement whereby the two elbows synchronise and harmonise with the waist and Horse.  In practice one does not need to raise the two elbows as high but Sifu Doug Clark is emphasising the motion for his training partner and student to understand the action.

Here one can see the two elbows are harmonising.  It is not just the elbow that is arcing down that supplies the power but the other elbow by synchronising and harmonising with the torquing motion of the waist and sitting power of the Horse is also assisting the whole Gwai Jarn process.

The Gwai Jarn has been kneeled with the waist into the opponent and the head is dipped to prevent against an incoming head butt.  Although the head is dipped at an angle in line with the spine the VT Technician still looks out of the corner of their eye to see the opponent and monitor any response.  The Gwai Jarn is a very heavy hit.  Elbow strikes are very powerful, the reaon being that the nearer the striking point is to one's own body the more one hits with the whole body power.  Gwai Jarn can be used into the collarbone of the opponent. 

A note of caution a VT Technician should never deploy elbows when the opponent is at punching range!  Only use the elbow when one is close in.  One can use the Gwai Jarn if one's wrist has been held, it breaks out of the wrist grab and uses the Kneeling Elbow with stepping in to drive the elbow down and in at a forty five degree angle into the chest or collarbone of the opponent.

One can clearly see how the two elbows are synchronsing and harmonising with the Horse and Waist as one turns.  The Gwai Jarn is a very powerful move.  The way it is performed in the WSL VT Lineage is very different from other lineages.  It is NOT a Cup Jarn.  Gwai Jarn is a Kneeling Elbow and it must be "nailed" in with lots of torque from the Horse and Waist Turn.  Lots of rotational speed is used to really whip the elbow over and down.  As has been stated before the two elbows should harmonise and work as a unti together along with synchronised action of the Horse and Waist.

In this next photograph one can see the whipping and arcing down of the Gwai Jarn, prior to it being completed in the next photograph.

The Gwai Jarn being completed on the other side.  Kneeling the elbow point into the Centre.  One also sits the Horse down and in a little more as the action becomes fully completed.  All of the photographs with Craig Clark have been captured from Video and thus some of the actions have not been fully finished in the photographs captured.

Here one can see the way the Gwai Jarn is being "nailed" into the target, the head is dipped in line with the plane of the spine, one is watching out of the corner of the eye.

The beginning of a Biu sau movement from under the Bridge.  Teaching Gow Gup Sau (Emergency or First Aid Hand for or Hand Lost Recover Centre)

The following movement from the proceeding photograph, showing the recovery of the Centre when the hand had been lost.

The follow on movement from the above photograph showing the Double Biu Sau.  Note Sifu Doug Clark is emphasising driving the other Biu Sau in to join the extended one by using the hoist of the Horse. 

Sifu Doug Clark's wrist has been grabbed but his elbow is free, so he makes use of it, stepping in and using the Gwai Jarn to attack his opponent.  He is watching the opponent out of the corner of his eye. He has also punched into the throat of the opponent with his free hand. After this he can Fak Sau into his opponent's neck.

From the preceeding picture one can see that Sifu Doug Clark has opened up the Gwai Jarn into a Fung Hau or Neck Sealing Hand using the whipping and cutting motion of Fak Sau.  The Fak Sau is not fully extended at the moment but in reality the elbow will straighten out and the forearm of Sifu Doug Clark will cut into the opponent's neck.  Great care in training must be taken with these Neck Sealing Movements.

This shows a position whereby both arms are crossed and potentially trapped.  It teaches the Ving Tsun Technician how to "free" themselves from this position should it ever happen in a real situation.  Note it is highly unlikely that a Ving Tsun Man would ever find themselves in this highly disadvantageous position but Biu Jee looks at what could go wrong for the VIng Tsun Technician and considers all eventualities.  Master Wong Shun Leung likened Biu Jee to the analogy of a business man facing financial disaster.  In this situation how does one cut one's losses.  Perhaps one will have to sacrifice something to survive.  Biu Jee is not the way a VT Technician would normally conduct themselevs in a fight.  It is however, a series of concepts contained in the Pattern to enable one to think out of the box so to speak and free oneself from all patterns of combat.  To become totally flexible and at ease in one's thinking.  The Biu Jee Pattern in many ways contradicts earlier concepts of Ving Tsun.  For example in WSL Ving Tsun one is taught from the beginning of one's education never to chase hands but always to attack the opponent's centre (Jui Ying concept)  However, in Biu Jee we see and train movements which do at times chase hands. The reason being that the Biu Jee Pattern also looks at the concepts of fighting multiple opponents and in this situation it takes too long and it is too dangerous to target the Centre of our opponent for in the time that it takes to go in and defeat one opponent the others will be hitting. Thus in the way that I was taught Biu Jee by my Sifu and as he was taught by his we use an aggressive cutting back to centre movement of our Bridge Arm to destroy whatever is in its path!  In other words we take what is given and will seek to destroy the opponent on first contact, if needs be chasing limbs and in so doing damaging them.  In this way one deploys hit and run tactics, always moving and never standing still, always hitting and cutting into the opponent.  The Biu Jee Pattern also uses deadly techniques such as the Spade Hand where the edge of the hand is likened to that of a shovel.  One uses this edged hand into the throat and soft areas of the opponent.  Biu Jee also makes use of grabs to use one attacker as a shield from others or to thrust or throw an attacker into the path of the others!  One word of caution, however, Biu Jee is not to be seen as a deadly Pattern or a Pattern that contains moves that are inherently more dangerous to the opponent/s than other Patterns.  Where is the logic in stating that Biu Jee is more deadly than Siu Nim Tau or Chum Kiu?  Would our Founders have left a VT Technician in a position where they had to learn Biu Jee before they knew methods to protect themselves efficiently?  It does not make logical sense.  In fact Yip Man was often quoted as stating that he hoped that his students would never have to use the Biu Jee.  Not because it is more deadly but because if they were in a position where they had to reply on the emergency techniques of Biu Jee, then that situation must have been very very bad for the Ving Tsun Man.  In truth Biu Jee is no more deadly than any other Pattern.  Biu Jee as taught in the Wong Shun Leung lineage is a Pattern to be used when the fight has gone against us, when the VT Man is out numbered or out manouvered or if they have found themselves compromised in some way.  The reason as to why it is not taught for many years is not because of any deadliness but because it contains concepts which go against the grain of Ving Tsun.  To teach it too early in a student's education would only cause confusion.  Once the Patterns of Siu Nim Tau and Chum Kiu are well taught and embedded, with the first two thirds of the Wooden Dummy having been taught too, as well as many hours of Chi Sau being completed, then the Biu Jee Pattern can be taught.  It will then assist the VT Man to think outside of the box and to be freed from fixed expectations.  However, it is not a Pattern to be learned too early on in one's Ving Tsun education for those very reasons.

From Biu Sau open the hand and then Huen Sau to grab.  This arm then synchronises with the other as one elbow retracts the other is shot out to with a waist turn to perform the Chang Sau (Spade Hand) to the Upper Level.  Chang Sau is normally directed at the Upper Level into the throat of the opponent.  Pulling him onto the Spade Hand with a Horse Turn increases the power of this movement.

Here one sees the Spade Hand in progress with the hand shape being formed as the Horse and Waist rotate and the upper arm which has Huen Sau'd and grabbed is retracting.

Note the synchronisation and harmonising of both elbows as one retracts the other compliments it.  Note also the Horse Turning into the striking line.

Here one can see the final movement as the Spade Hand (Chang Sau) has been fully driven out and the Horse is fully turned to compliment the strike.  The rear arm as well as the Horse and Waist Turn has supplied additional power into the hand striking out.  Note the strike has been fully driven up and out and thus right through the opponent's throat.  This is a finishing strike if it connects cleanly and thus is to be used with great care in training.

The arm that is raised will be cut back to centre by using the elbow energy to arc in and down.  This movement of the arm is like a heavy chop with the whole forearm and is to used to slice into the opponent's arm should it be there.  Note one uses the concept of Lau Cheung (Control of the elbow energy on the Centre.) so this movement although having a lot of force is still controlled.

Note the cutting back of the elbow to the Centre.  It cuts down and in on a forty five degree line.  Sifu Doug Clark's chambered arm for the Pattern should be further back, in line with his chest, however, he is already lining up for the next move.

Here Sifu Doug Clark has aggressively cut back to the centre using the elbow to waist connection. 

The hands are blurring due to the rotational speed of the movements, in reality some of the Biu Jee movements have to be doen very fast with one timing because the nature of the Pattern is that one may be dealing with more than one opponent.  With this thinking in mind then the movements have to be in perfect timing with synchroncity of the lower and upper body.

In reality Sifu Doug Clark would drive right through with the Horse Stepping and extending the elbow drive the Upper Spade Hand fully into his neck.  Note the angle of attack is from the flank of the opponent.  In this case one is assuming that any other potential attackers are towards the opponent's other side, none should be behind or near Sifu Doug Clark.  One always has to have the concept in mind.  One can use the Biu Jee techniques against one opponent (they might be armed with a bottle or blunt instrument) and in this case one can chase Centre with the Biu Jee techniques.  However, if one is using the concept of being against multiple attackers then in training one must create this scenario even if only in one's imagination.  One must then take the correct line to hit and run.  Sifu Doug Clark has also done training with two or three other students all attacking at a similar time (no group attacks in exactly the same timing!!)  Against this mutliple attack training one has to use the hit and run tactics of Biu Jee plus one needs to be very aware of angling and staying away from the other attackers whilst destroying what comes into one's path!  Using one attacker as a shield is a viable strategy as his shoving one attacker into others.  All these concepts and more are to be found in the Biu Jee Pattern.

Note the way that Sifu Doug Clark's punch has been completely taken off line by the correct formation of Yi Bong Sau by student Craig Clark, whilst he is free to hit through with the other arm.

Here Sifu Doug Clark has performed a movement to control both of his opponent's arms with one of his own leaving his other hand free to hit unimpeded.  Note the elbow position of the arm that is punching.  The elbow is targetting the opponent by breaking his centre of balance, whilst the fist strikes home.  Note in Wong Shun Leung lineage Ving Tsun we do not make use of trapping movements anywhere near as much as other lineages of Wing Chun, since it is best to always have two guns firing!  However, if it is expedient to do so one can use the concept of one hand cover two.  In other words one of our Bridges (Hand or Forearm) covers the opponent's two hands or arms.  This means the opponent is at a split second disadvantage, in which the Ving Tsun Technician can capitalise by hitting with the free hand.

Showing an application of the Po Pai from the Mook Yan Jong.  Note the way the opponent's punch has been evaded and their Centre captured by the angle and line of Sifu Doug Clark.  The Po Pai will be extended through using the Horse moving in, with co-ordinated action of the waist to elblow power.

Showing Kam Gwan - Cover Pole

Training with the Long Poles (Luk Dim Boon Kwan).  Here I perform Lau Sui (Stirring The Water) to deflect my opponent's incoming strike.  I will then counter.  Training in both the Pattern and in the main applications is good practice.  The Pole Exercises and Pattern as well as the applications create a very strong structure and strenghten the whole body whilst also improving speed of movement, especially start speed of the Horse for Empty Hands. 

Here you see a picture taken in which I am showing my training partner how to use the Bart Cham Dao.  I am beginning with the basic knive exercises which are used to condition the wrist and the power in the hand.  In the Bart Cham Dao the hand becomes the elbow.  In other words the power which in WSL VT Empty Hands is located in the elbow to waist connection (Yiu Lik) is now transferred to the hand and wrist which becomes the source of the power. It is essential to use well crafted knives which are heavy and weighted so that the power flows into the tip of the knives for chopping and slashing movements.