
Wing Chun Jin Kuen translates as (Eternal Spring Harmonious Fist) and the principle system taught at the UMAA.
The curriculum of the Wing Chun Jin Kuen system consists of six forms, drills and live exercises that are said to have their origins in the Shaolin Temple. Forms are sets of movements that are performed as solitary exercises which develop self-awareness, concentration, balance, relaxation, correct breathing, focus and sensitivity. Forms train the practitioner in the fundamental movements, arm structures and the correct feeling of force generation for the correct application of the Wing Chun Jin Kuen concepts. The Forms and drills of the system develop the concepts of body unity and structure through basic striking, stance development, turning and tracking and footwork. Drills teach the correct feel for bridging, changing of hand and arm positions and give the practitioner the confidence to correctly bridge to and control an opponents attacking, listening and feeling structures. As one develops the idea of listening energy, movements can become improvised and applied as the individual sees fit. Wing Chun emphasizes economy of motion and can be summed up as a system that is simple, direct and efficient. It stresses the idea of atacking on a stright line path, with the shortest distance between two points being a straight line. All attacking movements should therefore be thrown at an opponents centre of mass from the exponents centre.
There are the three empty hand forms or sets, called the Sui Lum Tao/Chum Kui and Bui Jee. One Wooden Man (Muk Yong Jong Fut) form, and two weapons forms, butterfly Knives (Baat Jam Dao) and a Long pole (Luk Deem Boon Kwun).
Wing Chun Kuen Kuit
Some schools use the kuen kuit (Rhymed Sayins) in teaching the art. These are short proverbs that outline the basic principles, concepts and rules of the system of Wing Chun. Their meanings can be a little ambiguous to the novice, however, over some years of reflection, can come to mean many things and offer great insights into the further development of the individual practitioners skill and understanding of Wing Chun. Some sayings may appear simple at first, but have a wonderful hidden depth to them. Although there are many variations on the methods, applications, order of forms and executions of techniques, most Wing Chun/Ving Tsun schools follow the same basic theory as laid out in the Kuen Kuit. These are carved blocks or chops that detail the Wing Chun system and how to be a sucessful exponent of the skill.
Sui Lum Tao (Little Idea)
Practice of this form develops the key concepts and fundamental principles which are key to the systems successful application. Stance, Balance, focused force, body unity, the deflecting and striking tools and mental attitude are all developed through the practice of this form which is considered by the majority of Wing Chun schools to be the most important of all the hand forms, as it provides the foundations upon which all the other forms principles and concepts are built on.
A significant aspect of the Wing Chun system is the development of combined defensive and offensive actions that are executed simultaneously.
Chum Kiu (Seeking/Sinking the Bridge).
This form adds motion to the actions learned at the Sui Lum Tao stage. Focus is on the coordinated movement of the exponents body weight (putting their moving mass behind the structures of the Sui Lum Tao). This lends massive force to initial intercepting and briding techniques between the exponent and opponent. This force arrives all at once and is used to take the opponents balance by crashing into them, with body mass, a strike, a deflection or a kick, destroying their ability to launch another offensive. Kicking techniques, leg trapping, elbows are also developed at the Chum Kui stage, as are the ability to use torquing power to recover centre, throw or lock up an opponent. Torque is generated through the controlled and balanced turning of the feet and torso which also develops the concept of tracking an opponent.
Bui Jee (Finger Thrusting)
This form is considered by many to be the most lethal in the Wing Chun systems arsenal. However, this may have been due to its emphasis on striking targets and these being kept hidden from the less experienced or trustworthy students, but as its concepts are found in the first 2 sets also, the Author sees no reason why this form should be considered any more deadly than the first two. Bui Jee consists of both short and long-range techniques. Advanced methods of using the elbows are employed, as are advanced changes in the hand positions and tools, leg interceptions, kicks, sweeps and locking techniques, as well as "recovery" or "emergency techniques" used to come back from a poor position or continue the fight when seriously injured, such as the saam bai fut (3 bows to buddha). When Bui Jee is understood, the 3 hands forms come together to give the practitioner a highly advanced fighting ability, back up by a vast arsenal of attacking and defensive tools.
Muk Yong Jong Fut (Wooden Man)
This forms purpose is primarily aimed at giving the practitioner a true sense of body unity (one sound) when moving and connecting to the dummy, timing, and power. At advanced stages the appendages of the Wooden man can be lightly adhered to and moved around with only the true sense of force being projected to the core of the post or torso of the Dummy. The Wooden Man can be mounted on a frame, stand, or fixed into the ground. Its purpose is to represent a strong opponent, one you cannot move, and therefore must connect to and move around. Each appendage on the dummy represents and angle and level of attack which the practitioner bridges to and engages the idea of taking the centre with therefore destroying the opponents balance and posture. Practice of the Dummy form reinforces the practitioner's understanding of angles of attack and defence, their striking power, especially when kicking or pressing, and correct use footwork. Once the form is understood, it can be opened up to free movement, with techniques from all the 3 empty hand forms being expressed on it. As in all the hand forms, the order in which it is practiced is not of great importance, as you are practicing alone and against an imagnary or static object. It is always the concepts and understanding of these principles that is important to grasp in order to successfully apply the actions against a live opponent.
After the successful absorbtion of these 4 forms is acheived and their methods are understood, the student may move onto weaponry. The weight of the weapons used is of importance. Initially, they should be of a heavier weight to develop the students strength and further advance their understanding of Chuen ging (Inch force) and Fa ging (explosive force). The idea being to develop the ability to take energy used in the execution of an empty hand technque and express it through throwing it into the end of the weapons, i.e the tips of the knives or pole/spear.
Baat Jaam Do (Eight Slashing Knives)
This form is practiced with a pair of large "Butterfly Knives", thus named due to their resemblance to a butterflies wings when the swords are crossed. The movements comprise slashing, stabbing, chopping and gouging actions. When used against longer range weapons such as a spear, emphasis on removing the opponents thumbs is applied which takes away their ability to weila a weapon effectively. The knives work in total harmony with the concepts of the empty hands sets. the idea being as one knife deflects, detains or parries the opponents weapon, the other knife delivers the injuring or fatal blow.
Luk Deem Boon Kwun (Six and a Half Point Pole)
This form uses a long (usually eightfeet) heavy wooden pole. Its purpose is primarily to further develop arm and leg strength of the exponent as well as being able to generate massive explosive force in their striking actions. the pole could be used as a weapon however its practicality is very limited.
Chi Sao (Sticking Hands)
Chi Sao is an exercise concerned with the development of listening energy and develops efficient and effective reactions to an opponents attempts to control or attack the practitioner. When two Wing Chun exponents bridge, the idea is to stick to the opponents arms and create an obstacle preventing them from lauching an attack or taking your centre. However, this does not mean sticking to the opponents arms no matter what. Only if they are attacking at your centre while defending their own, do you stick. But if they make a move that goes outside the basic theory of the system, do you disconnect to attack them. Feeling when the pressure, angle of intent, or opponents mental intent are incorrectly placed allows the Wing Chun practitioner to safely hit the opponent without comprimising themselves. Chi Sao has many comparisons similar to the Pushing Hands practice in Tai Chi Chuan (Supreme Ultimate Force) or the Kamut Lihut (empty Hands) drills of ka-li. Chi Sao is a method for developing sensitivity in the arms/hand and body, it is not sparring.
Poon Sao/Luk Sao (Rolling Hands)
These exercises are interelated to Chi Sao. They develop the idea of applying varying degrees of force, from strong prying to soft sticking and listening. These exercises also develop the correct response to force when it is being given contrary to the basic principles of the system, i.e force should always be on centre. If the opponent bridges on your Bong Sao (Wing Arm) and then presses force to the floor, you will learn to drop into a Tan Sao (dispersing hand) to deal with the force.
Chi gerk (Sticking Legs)
The practice of sticking legs develops awareness of when the knee is in danger of being pressed for control, and shows how to effectively deflect or subdue a kick while remaining balanced and still able to use the arms to effectively control the opponent.
A deeper look at Chi Sai, by Suki Wan
We are very pleased to present an article written by Suki Wan. It offers an in depth look at Chi Sau and makes for a very interesting, thought provoking read. This is essential reading for anyone who wishes to take their Chi Sau further.
To read the article, follow this link.