Siu Nim Tau
This is the first Pattern within the Ving Tsun System and teaches the correct setting up of the Ving Tsun Stance or Horse called Yee Jee Kim Yeung Ma. As well it teaches the concept of the elbow force and the elbow path especially in the Tan Sau, Huen Sau, Wu Sau and Fook Sau sequence, with Tan Sau being delivered once and Fook Sau trained three times. This is sometimes called Praying Thrice to Buddha. The elbow path and force is very important in Wong Shun Leung Ving Tsun. Also strong elbow to hip connection is vital, this is called Yiu Lik.
Siu Nim Tau also teaches the three fundamental positions or seeds of Ving Tsun namely, Tan Sau, Fook Sau and Bong Sau. As well it teaches the theory of facing or Chiu Ying and of course the importance of the Centreline. Lut Sau Jik Chung or punch under no resistance is also a fundamental component of WSL VT and this Pattern introduces and cultivates this unique concept within the opening sequences. In fact the Siu Nim Tau can be divided into three sections for learning purposes, whilst in practice it is all one Pattern. It consists of 108 movements all applied in one spot i.e. there is no changing of the Horse. This in itself could be considered a form of Chi Gung or at the least strength training for the legs and waist. The Yee Jee Kim Yeung Ma provides the basis for all other stances used in Ving Tsun. Whilst this Pattern may appear to have little or nothing to do with protection of oneself, it is in fact the essence of this unique and devastating system of close quarter fighting.
The three sections of Siu Nim Tau can be expressed for training on the Tan Sau actions: These Tan Sau actions can be shown in the First, Second and Third Parts of Siu Nim Tau. Please note these are not three ways of using Tan Sau. They are used to show the way in which the elbow energy can be applied. And were explained by Wong Shun Leung in the following manner:
Lut Sau Jik Chung (Development of constant forward elbow force to opponent's centre)
Lau Cheung (Development of control of elbow force on the centre)
Yi Wei (Development of shifting the elbow to create new lines of attack or defence)
Now watch a Video of Master Wong Shun Leung performing the Siu Nim Tau Pattern
Siu Nim Tau also teaches the three fundamental positions or seeds of Ving Tsun namely, Tan Sau, Fook Sau and Bong Sau. As well it teaches the theory of facing or Chiu Ying and of course the importance of the Centreline. Lut Sau Jik Chung or punch under no resistance is also a fundamental component of WSL VT and this Pattern introduces and cultivates this unique concept within the opening sequences. In fact the Siu Nim Tau can be divided into three sections for learning purposes, whilst in practice it is all one Pattern. It consists of 108 movements all applied in one spot i.e. there is no changing of the Horse. This in itself could be considered a form of Chi Gung or at the least strength training for the legs and waist. The Yee Jee Kim Yeung Ma provides the basis for all other stances used in Ving Tsun. Whilst this Pattern may appear to have little or nothing to do with protection of oneself, it is in fact the essence of this unique and devastating system of close quarter fighting.
The three sections of Siu Nim Tau can be expressed for training on the Tan Sau actions: These Tan Sau actions can be shown in the First, Second and Third Parts of Siu Nim Tau. Please note these are not three ways of using Tan Sau. They are used to show the way in which the elbow energy can be applied. And were explained by Wong Shun Leung in the following manner:
Lut Sau Jik Chung (Development of constant forward elbow force to opponent's centre)
Lau Cheung (Development of control of elbow force on the centre)
Yi Wei (Development of shifting the elbow to create new lines of attack or defence)
Now watch a Video of Master Wong Shun Leung performing the Siu Nim Tau Pattern
Chum Kiu
Chum Kiu can be translated as Searching for The Bridge with the Bridge being a link between the WSL Ving Tsun Technician and the opponent. Note well this can be a Physical Bridge e.g. an arm or a leg or it can be a Mental Bridge created in the air through the elbow line to guide the Ving Tsun Technician's attacks to the target. In WSL VT there should not be any incorrectly formed attacks or defences, all attacks and deflections must have structure, alignment and power. Power in WSL VT is gained via structural alignment, the correct line of attack and defence as well as the correct elbow to hip connection which roots incoming energy back to the ground. Strong legs and waist are vital. There is a general Ving Tsun saying: hands like lightning, legs like a mountain. This implies very quick hand movements and also a strong connection via the legs to the ground. Of course the WSL Ving Tsun Technician must also possess nimble and fast footwork for directional change to get out of the incoming line of attack and attack along a new line which is structurally superior. Chum Kiu teaches this mobility and footwork. It combines the hand techniques and postioning of Siu Nim Tau and adds in footwork. Chum Kiu also teaches one timing (synchronicity of movements) in that everything starts together and ends together. Thus hand movements should synchronise with foot movements. This is also refected later on in the Mook Yan Jong where one can judge by listening the prowess of the Ving Tsun Technician. Even though multiple movements are performed the sound from the Jong must be as one. The Chum Kiu song or saying is:
Yiu Ma Hap Yat - Horse and Waist power combined. This two directional force is very important and adds to the rotational speed and delivery of movements. Flexibility in the waist and groin area (Kua) is vital. Again the Chum Kiu Pattern can be broken down into three sections for training although the Pattern is complete when performed as one:
The three sections for Training focus on the following aspects of Bong Sau:
Yi Bong (Shifting Bong Sau)
Paau Bong (Throwing Bong Sau)
Dai Bong ( Low Bong Sau)
Note these are not three different methods for applying Bong Sau but teach the correct path and elbow force for delivery of Bong Sau. It must always be noted that Master Wong Shun Leung did not advocate Bong Sau as a useful strategy in and of itself as it provides no direct threat to the opponent's centre. Paau Bong does have an up rooting and "shocking" force back into the opponent but in reality it is better to use hitting rather than Bong Sau or if forced to use Bong Sau combine immediately with an attack. Lap Sau teaches this principle.
Now watch a Video of Master Wong Shun Leung performing the Chum Kiu Pattern:
Yiu Ma Hap Yat - Horse and Waist power combined. This two directional force is very important and adds to the rotational speed and delivery of movements. Flexibility in the waist and groin area (Kua) is vital. Again the Chum Kiu Pattern can be broken down into three sections for training although the Pattern is complete when performed as one:
The three sections for Training focus on the following aspects of Bong Sau:
Yi Bong (Shifting Bong Sau)
Paau Bong (Throwing Bong Sau)
Dai Bong ( Low Bong Sau)
Note these are not three different methods for applying Bong Sau but teach the correct path and elbow force for delivery of Bong Sau. It must always be noted that Master Wong Shun Leung did not advocate Bong Sau as a useful strategy in and of itself as it provides no direct threat to the opponent's centre. Paau Bong does have an up rooting and "shocking" force back into the opponent but in reality it is better to use hitting rather than Bong Sau or if forced to use Bong Sau combine immediately with an attack. Lap Sau teaches this principle.
Now watch a Video of Master Wong Shun Leung performing the Chum Kiu Pattern:
Biu Jee (Biu Tse)
Wong Shun Leung likened the methodology of Biu Jee to a business man facing impending financial disaster. In this scenario sometimes the business man will have to cut his losses by sacrificing parts of the business to save his company and himself. Likewise sometimes in situations that have gone against a WSL Ving Tsun Technician, the WSL Ving Tsun Technician may well have been attacked unawares or be outnumbered, then he will have to deploy methods that go against some of the normally held concepts of the System. 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. This is important when fighting multiple opponents as one wants to destroy and cause pain to the attackers incoming limbs at the first opportunity (taking what is given) and also there is often no time to go in on Centre as to do so is too risky when there are multiple opponents. Biu Jee also teaches hit and run tactics, to cut one's losses one hits and then makes good an escape. One also deploys grabs in this Pattern to use one attacker as a weapon into other attackers or to use one attacker as a shield against other incoming attacks. Gow Gup Sau the Emergency or First Aid Hand is also used to recover the Centre when one has lost it or been forced off the centre. However, it must be stated here that we do not deliberately aim to lose the Centre in this Pattern. This Pattern teaches us what to do when circumstances have gone against us. In WSL Ving Tsun all of our previous training has shown us how to effectively maintain our Centre and dominate that of the opponent. Biu Jee does not negate that at all. Biu Jee is mainly to do with emergency situations, as has been said when the odds have been stacked against us, when we have been out numbered, caught unawares or put in an awkward position, then the survival concepts of Biu Jee come into play. Looking at the Pattern of Biu Jee one also sees that in Siu Nim Tau or Chum Kiu one is taught never to cross arms and yet in Biu Jee one actually puts one's arms into crossed positions to train oneself what to do in this worst case scenario. There are no kicks in this Pattern as the potential loss of balance is just too dangerous when facing the adversity of multiple opponents or when one is cornered or attacked unawares. However, there are low level attacks with the legs and feet similar to sweeps, which are used to take our opponent's balance. This Pattern as stated is to do with survival. The Pattern also does not have clearly defined parts to it such as Siu Nim Tau or Chum Kiu. In fact it seems to be a collection of techniques and concepts for survival.
Now watch a Video of Master Wong Shun Leung performing the Biu Jee Pattern: In the shot captured below he is performing Gwai Jarn or the Kneeling Elbow. Note the elbow strikes (Gwai Jarn) in Biu Jee form a "Big Wheel". They are large actions and the two elbows should be harmonising and synchronising. The waist is also used to "nail" the elbow strikes into the target.
Now watch a Video of Master Wong Shun Leung performing the Biu Jee Pattern: In the shot captured below he is performing Gwai Jarn or the Kneeling Elbow. Note the elbow strikes (Gwai Jarn) in Biu Jee form a "Big Wheel". They are large actions and the two elbows should be harmonising and synchronising. The waist is also used to "nail" the elbow strikes into the target.
Mook Yan Jong
The Mook Yan Jong or Wooden Dummy Pattern. This Pattern traditionally consists of 108 movements but certain teachers have expanded upon this to 116 movements. The Pattern largely consists of recovery movements. In other words seeking to best understand how a WSL Ving Tsun Technician can regain the initiative after a movement has been made which puts him or her into a compromised position. Thus movements such Gaun Chor Sau (wrong side Gaun Sau) are recovered with Huen Sau. Or equally Bong Chor Sau is recovered with Gaun Sau. Sigung Wong Shun Leung was quoted as saying that the first two thirds of the Wooden Dummy Pattern most resembled movements from the Siu Nim Tau and Chum Kiu Patterns, with the latter movements being most applicable to concepts from the Biu Jee Pattern. The key point with regard to the "playing" of the Jong is the "one sound" theory which states that one can hear if a Technician is playing the Jong properly as even though multiple stirkes are presented they should arrive as one on the Jong thus one hears "Da Da" rather than "Pitty Pat, Pitty Pat" Hard to explain but the sound should be as one not a multitude of different sounds. The Jong is to do with correcting one's angles, force should never clash with force. It is not about how hard one strikes the arms or leg of the Dummy as this would in fact be chasing hands!! It is to do with how one angles into the Jong to provide a structurally superior line of attack and defence. In fact one does not strike the trunk of the Jong from distance instead one goes in with co-ordinated foot and arm movements and then uses the "inch" force to transmit force to the Jong. The Jong conditions the whole of the WSL Ving Tsun Technician's structures since it provides a "rebound" force when struck. If the structure of the WSL Ving Tsun Technician is incorrectly aligned then the resultant force will not be transmitted back to the ground via the correct vector path and thus force into the Jong will be lost and also the Ving Tsun Technician is likely to lose their footing, especially on the kicking movements performed on the Jong. Also in WSL VT one does not stick to or adhere to the Jong's arms, in fact one creates the correct room and distance to be able to generate synchronicity of movements to enable the correct, line and structure to generate unrestrained force into the Jong.
Now watch a Video of Master Wong Shun Leung performing the Mook Yan Jong Pattern
Now watch a Video of Master Wong Shun Leung performing the Mook Yan Jong Pattern
Luk Dim Boon Kwan
The Ving Tsun Long Pole Pattern resembles the movements used by single arm empty hand fighting within the Ving Tsun System. It is a very long weapon often up to nine feet in length and being made of Redwood, it is of course very heavy. To hold the Pole at the end and to wield it with dexterity takes considerable power which improves one's elbow force and structure. The Pole Pattern also enables the conditioning of the Horse and thus improves the stepping and punching power of the VT Technician. The Horse stance used is now no longer Yee Jee Kim Yeung Ma. The Horse Stance used for the Long Pole is the Sei Ping Ma which is the same Horse Stance used in Hung Gar. For more on the Sei Ping Ma please see this:
http://www.hungkuen.net/training-basicstances.htm
The Long Pole Horse Stance can also be referred to as Gwun Ma or Big Horse. Traditionally the Technician lowered the Horse very low to the ground but now a days one knows that this causes damage to the ligaments of the knees and thus it is sensible to only go to parallel and no further. The song of the Luk Dim Boon Kwan is that "the Pole only makes one sound"
The Pattern is very short consisting of only six and a half point techniques. These are as follows:
The Six and Half Point Long Pole Technique.
Terminology:
1. 'fong lung cheung' - "releasing the dragon spearing-action"
2. 'ping cheung' - "level spearing-action"
3. 'leung yi' - "two moves" Resembles the tan Sau action in the empty hand Patterns
4. 'lau sui' - "moving/stirring the water"
5. 'kam gwan' - "covering pole"
6. 'dang gwan' - "ascending pole"
0.5 'che cheung' - "descending spearing-action" - the backward/downward action at the very end of the pole form, used to intercept the opponent's weapon (or the opponent's legs) when the attack comes in on a low line from the rear of the stance.
Prior to learning the Pole the specific Empty Hand Drill of the Pull Apart Pole Punches or Che Gwan Kuen are taught:
Now watch a Video of Master Wong Shun Leung performing the Luk Dim Boon Kwan Pattern:
http://www.hungkuen.net/training-basicstances.htm
The Long Pole Horse Stance can also be referred to as Gwun Ma or Big Horse. Traditionally the Technician lowered the Horse very low to the ground but now a days one knows that this causes damage to the ligaments of the knees and thus it is sensible to only go to parallel and no further. The song of the Luk Dim Boon Kwan is that "the Pole only makes one sound"
The Pattern is very short consisting of only six and a half point techniques. These are as follows:
The Six and Half Point Long Pole Technique.
Terminology:
1. 'fong lung cheung' - "releasing the dragon spearing-action"
2. 'ping cheung' - "level spearing-action"
3. 'leung yi' - "two moves" Resembles the tan Sau action in the empty hand Patterns
4. 'lau sui' - "moving/stirring the water"
5. 'kam gwan' - "covering pole"
6. 'dang gwan' - "ascending pole"
0.5 'che cheung' - "descending spearing-action" - the backward/downward action at the very end of the pole form, used to intercept the opponent's weapon (or the opponent's legs) when the attack comes in on a low line from the rear of the stance.
Prior to learning the Pole the specific Empty Hand Drill of the Pull Apart Pole Punches or Che Gwan Kuen are taught:
Now watch a Video of Master Wong Shun Leung performing the Luk Dim Boon Kwan Pattern:
Bart Cham Dao
From my understanding based on what I have been taught, Wong Shun Leung did not have descriptive names for each of the movements in this Pattern. The Pattern is the 8 Slashing or Chopping Knives Pattern. The name is not based on the number of sections, as there are more than 8 sections in the Pattern. The emphasis within my training has been on the application of the Knives. When my Sifu was learning from Wong Shun Leung they would often use rolled up Newspapers or magazines to practice the application which prevented injury. Wong Shun Leung was a Master of applying the knives. In fact Wong Shun leung would use the Fencing Foil to encourage students to be very fluid and flexible in using the Knives. I have completed the Bart Cham Dao Pattern and I have learnt and I am still learning the applications of the Bart Cham Dao. Some key ideas are that the hand becomes the elbow, referring to where the source of power is when using the knives. Other key ideas are that the opponent's weapon must never directly face and thus much more turning and side on facing is done when using the Knives. Also the Knives must stay well out from one's own body and must never be twirled as the dangers of cutting oneself are all too readily apparent. Positioning and sensitvity of reaction as well as new footwork (Gote Ma) is used. Attacking the attacker's arms and chopping or slashing them at the first opportunity is vital. Blade must never clash with blade. Synchronisation and dexterity of movement is called for. There are movements to deal with long weapons such as the Luk Dim Boon Kwan (Long Pole) as well as movements designed for short weapons such as the Bart Cham Dao. Note as the theories and movements of the Knives are significantly different from Empty Hands then in my opinion and judgement, I do not teach and cannot teach the Knives unless a student has near mastery of the Empty Hand System. This of course can take many years of dedicated training. Teaching the Knives too early on in a student's education can lead to problems within their Empty Hands thinking and training. However, if a student has a very good understanding of the rest of the System then the Knives can add to and complement their knowledge and understanding. Of course there are may everyday objects that can be used in the place of the Long Pole and Knives, as improvisational weapons for strategic offence.
Chi Sau
A beginner will commence training in Chi Sau in conjunction with learning the Patterns above. This education in Chi Sau will continue throughout the student's lifetime in Ving Tsun, where they will refine and hone their Chi Sau skills.
Chi Sau or Sticking Hands is similar in essence to Tai Chi Chaun's Tui Sau or Push Hands. However in Ving Tsun there is an emphasis on striking and also the speed of movements is normally a lot faster. Master Wong Shun Leung and my Sifu Anthony Kan are experts at the Chi Sau. I too am highly skilled. Chi Sau teaches one positioning of the whole body in relation to an opponent, it teaches hand and feet sensitivity to read incoming energy and make use of it, it teaches facing and the concept of always attacking Centre and never chasing the limbs (except in Biu Jee Theory).
Chi Sau has within it Lok Sau (Rolling with Forward Pressure) and in our System of Ving Tsun (Anthony Kan Lineage) we also use the word Poon Sau to denote a specific drill. The Poon Sau is a Drill in Chi Sau, where one uses Push and Pull energy. One Partner has two arms on the Inside Gate and the other Partner two arms on the Outside Gate. The Partner on the Outside Gate uses their elbow energy to draw the other Partner using a co-ordinated action of their waist and hips linked through the elbow and expressed into the Fook Sau shape. The Partner being drawn in rides the Force and performs a Kwan Sau movement to offset the Force of the one drawing them in. Once the Kwan Sau has been completed fully, the Partner who did the drawing in, now sends off the Partner who has performed Kwan Sau and so the drill continues with Pulling In and Pushing off energies involved. This drill teaches whole body unity and it teaches the ability to root and to use the ground power effectively. It is also very good cardiovascular work.
As well there are specific drills for the development of whole body power e.g. Jon Thoi Ma (Push Horse Training). These drills teach the Ving Tsun Technician to co-ordinate the Stepping of the Horse with the elbow energy which translates to co-ordinating the punching or striking with the steps to magnify the power and resultant force generated. The other Partner rides the incoming force through the correct side of their body and this translates into a moving backwards. Note well this moving backwards is not a conscious stepping but it is a response to feeling the incoming force being transferred and rooted back to the ground.
Chi Sau has within it the drill of Lap Sau which is Deflecting Hands, this drill teaches us what to do when we are being trapped by our arms being crossed. In this case one uses the Bong Sau and Wu Sau with them harmonising and synchronising to nullify the crossing. Lap Sau also teaches us what to do when we encounter Bong Sau as a reflex response. Note well in Wong Shun Lung lineage Ving Tsun, one does not seek to use Bong Sau as an opening movement since there is no direct threat to the opponent. However, there are three clear cut occassions where Bong Sau may need to be used and these have been explained in Gallery A. Suffice to say here that Bong Sau is a position that one does not activate as an opening movement and it is not a position to stay in. One wants to immediately attack from the Bong Sau position. Lap Sau teaches this. Lap Sau also teaches a fast reflex action of the elbow and it quickens up the Wu Sau. Lap Sau has a number of drills within it and includes moving and bridging within it as well as hitting with both hands, including low palm attacks whereby the other Partner being attacked with a low pam strike uses Gaun Sau to nullify the force. Changes of sides within Lap Sau are called Fan Lap. There is much more to be said about Lap Sau than one can do justice here. It is a wonderful drill that should be taught in tune with the Chum Kiu Pattern.
Chi Sau also conditions Lut Sau Jik Chung and in fact the whole 8 word idiom from the Kuen Kuit can be practised within Chi Sau. That is Loi Lau Hoi Sung, Lut Sau Jik Chung. However, in Master Wong Shun Leung's method of Ving Tsun the emphasis is definitely on the Lut Sau Jik Chung part of the equation. In fact in our System there are specific drills whereby we use Chest Protectors and then one Partner will release a Bridge Arm to allow the other Partner to train the instinctive reflex response of Lut Sau Jik Chung. Note Lut Sai Jik Chung is not simply the arm firing forward as it is released from contact, it is also the whole body filling up space with co-ordinated action from the Ving Tsun Horse.
Loi Lau = Stay with what comes
Hoi Sung = Follow through as the force retreats
Lut Sau = Hands lost
Jik Chung = Fire instinctively
Chi Sau is a wonderful system of programming the mind and body to react in the moment to what is and not to what might be. One learns to use the Bridge Arms to read and intercept energy and thus one liberates oneself from fixed patterns of combat. One learns to move and act instinctively and thus overcoming the tendency to over analyse so prevalent in some forms of combat. In a real situation there is no time to think if one does it may be too late, to quote the words of Barry Lee another outstanding exponent of Wong Shun Leung Ving Tsun (WSL VT).
In Chi Sau as in combat it is essential to chase the opponent (Jui Ying) One must never normally chase hands. Later on when training the Biu Jee and looking at the WSL Ving Tsun System from out of the box so to speak then one does and can deploy methods which chase the hands but this is for a specific reason. That is but one reason why it is best not to introduce the Biu Jee Pattern too early into a Ving Tsun student's education.
To return to Chi Sau, one must seek to chase the opponent's centre and drive home one's attacks, exploiting any weakness and contunually seeking to find a position to attack from. It is also essential to be at bent arm range when launching one's attacks and to combine attacking movements with synchronisation from the Horse. This means that whole body power is transferred to the opponent rather than localised power. The force of the strike to the opponent is magnified due to the incoming force of the Ving Tsun Technician colliding with the opponent who is effectively "walking" onto the strike/s.
After hand movements are mastered then foot attacks can be also delivered via Chi Gerk (Sticking Legs) this applies simple and direct parries with the feet to foot and leg attacks and then allows the Ving Tsun Technician to attack with their own feet or to deploy trips and sweeps to the opponent. Chi Gerk also trains the supporting leg of the Ving Tsun Technician. Balance is vital and if one can train one's supporting leg to be very strong and flexible to forces then one has a distinct advantage. Please note, however, that standing on one leg in a fight is not productive in essence one needs to be on two legs and thus Ving Tsun considers it best to use hands to win the fight. However, if one can seize the moment by applying a well timed kick direct to target then so be it. Ving Tsun even has a strategy to maximise balance in such circumstances by using one of the attackers limbs to hold on to for balance thus the attacker's limb becomes the support to assist the balance of the WSL Ving Tsun Technician whilst he launches his own kick! Once the kick has been launched it should return direct to the ground as quickly as possible. To facilitate this and to offer extra protection, WSL Ving Tsun uses a forward stepping motion to deliver the returning foot to the ground whilst at the same time attacking continously with the hands. It is a truly ingenious System of In Fighting.
Now watch a Video of Master Wong Shun Leung engaged in Chi Sau:
Chi Sau or Sticking Hands is similar in essence to Tai Chi Chaun's Tui Sau or Push Hands. However in Ving Tsun there is an emphasis on striking and also the speed of movements is normally a lot faster. Master Wong Shun Leung and my Sifu Anthony Kan are experts at the Chi Sau. I too am highly skilled. Chi Sau teaches one positioning of the whole body in relation to an opponent, it teaches hand and feet sensitivity to read incoming energy and make use of it, it teaches facing and the concept of always attacking Centre and never chasing the limbs (except in Biu Jee Theory).
Chi Sau has within it Lok Sau (Rolling with Forward Pressure) and in our System of Ving Tsun (Anthony Kan Lineage) we also use the word Poon Sau to denote a specific drill. The Poon Sau is a Drill in Chi Sau, where one uses Push and Pull energy. One Partner has two arms on the Inside Gate and the other Partner two arms on the Outside Gate. The Partner on the Outside Gate uses their elbow energy to draw the other Partner using a co-ordinated action of their waist and hips linked through the elbow and expressed into the Fook Sau shape. The Partner being drawn in rides the Force and performs a Kwan Sau movement to offset the Force of the one drawing them in. Once the Kwan Sau has been completed fully, the Partner who did the drawing in, now sends off the Partner who has performed Kwan Sau and so the drill continues with Pulling In and Pushing off energies involved. This drill teaches whole body unity and it teaches the ability to root and to use the ground power effectively. It is also very good cardiovascular work.
As well there are specific drills for the development of whole body power e.g. Jon Thoi Ma (Push Horse Training). These drills teach the Ving Tsun Technician to co-ordinate the Stepping of the Horse with the elbow energy which translates to co-ordinating the punching or striking with the steps to magnify the power and resultant force generated. The other Partner rides the incoming force through the correct side of their body and this translates into a moving backwards. Note well this moving backwards is not a conscious stepping but it is a response to feeling the incoming force being transferred and rooted back to the ground.
Chi Sau has within it the drill of Lap Sau which is Deflecting Hands, this drill teaches us what to do when we are being trapped by our arms being crossed. In this case one uses the Bong Sau and Wu Sau with them harmonising and synchronising to nullify the crossing. Lap Sau also teaches us what to do when we encounter Bong Sau as a reflex response. Note well in Wong Shun Lung lineage Ving Tsun, one does not seek to use Bong Sau as an opening movement since there is no direct threat to the opponent. However, there are three clear cut occassions where Bong Sau may need to be used and these have been explained in Gallery A. Suffice to say here that Bong Sau is a position that one does not activate as an opening movement and it is not a position to stay in. One wants to immediately attack from the Bong Sau position. Lap Sau teaches this. Lap Sau also teaches a fast reflex action of the elbow and it quickens up the Wu Sau. Lap Sau has a number of drills within it and includes moving and bridging within it as well as hitting with both hands, including low palm attacks whereby the other Partner being attacked with a low pam strike uses Gaun Sau to nullify the force. Changes of sides within Lap Sau are called Fan Lap. There is much more to be said about Lap Sau than one can do justice here. It is a wonderful drill that should be taught in tune with the Chum Kiu Pattern.
Chi Sau also conditions Lut Sau Jik Chung and in fact the whole 8 word idiom from the Kuen Kuit can be practised within Chi Sau. That is Loi Lau Hoi Sung, Lut Sau Jik Chung. However, in Master Wong Shun Leung's method of Ving Tsun the emphasis is definitely on the Lut Sau Jik Chung part of the equation. In fact in our System there are specific drills whereby we use Chest Protectors and then one Partner will release a Bridge Arm to allow the other Partner to train the instinctive reflex response of Lut Sau Jik Chung. Note Lut Sai Jik Chung is not simply the arm firing forward as it is released from contact, it is also the whole body filling up space with co-ordinated action from the Ving Tsun Horse.
Loi Lau = Stay with what comes
Hoi Sung = Follow through as the force retreats
Lut Sau = Hands lost
Jik Chung = Fire instinctively
Chi Sau is a wonderful system of programming the mind and body to react in the moment to what is and not to what might be. One learns to use the Bridge Arms to read and intercept energy and thus one liberates oneself from fixed patterns of combat. One learns to move and act instinctively and thus overcoming the tendency to over analyse so prevalent in some forms of combat. In a real situation there is no time to think if one does it may be too late, to quote the words of Barry Lee another outstanding exponent of Wong Shun Leung Ving Tsun (WSL VT).
In Chi Sau as in combat it is essential to chase the opponent (Jui Ying) One must never normally chase hands. Later on when training the Biu Jee and looking at the WSL Ving Tsun System from out of the box so to speak then one does and can deploy methods which chase the hands but this is for a specific reason. That is but one reason why it is best not to introduce the Biu Jee Pattern too early into a Ving Tsun student's education.
To return to Chi Sau, one must seek to chase the opponent's centre and drive home one's attacks, exploiting any weakness and contunually seeking to find a position to attack from. It is also essential to be at bent arm range when launching one's attacks and to combine attacking movements with synchronisation from the Horse. This means that whole body power is transferred to the opponent rather than localised power. The force of the strike to the opponent is magnified due to the incoming force of the Ving Tsun Technician colliding with the opponent who is effectively "walking" onto the strike/s.
After hand movements are mastered then foot attacks can be also delivered via Chi Gerk (Sticking Legs) this applies simple and direct parries with the feet to foot and leg attacks and then allows the Ving Tsun Technician to attack with their own feet or to deploy trips and sweeps to the opponent. Chi Gerk also trains the supporting leg of the Ving Tsun Technician. Balance is vital and if one can train one's supporting leg to be very strong and flexible to forces then one has a distinct advantage. Please note, however, that standing on one leg in a fight is not productive in essence one needs to be on two legs and thus Ving Tsun considers it best to use hands to win the fight. However, if one can seize the moment by applying a well timed kick direct to target then so be it. Ving Tsun even has a strategy to maximise balance in such circumstances by using one of the attackers limbs to hold on to for balance thus the attacker's limb becomes the support to assist the balance of the WSL Ving Tsun Technician whilst he launches his own kick! Once the kick has been launched it should return direct to the ground as quickly as possible. To facilitate this and to offer extra protection, WSL Ving Tsun uses a forward stepping motion to deliver the returning foot to the ground whilst at the same time attacking continously with the hands. It is a truly ingenious System of In Fighting.
Now watch a Video of Master Wong Shun Leung engaged in Chi Sau: