The Structure of Wing Chun (color): Awakening Force Flow 9780692608289, 0692608281

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THE STRUCTURE OF WING CHUN KUEN Awakening Force Flow

Alan Orr

www.TambuliMedia.com Spring House, PA USA

DISCLAIMER The author and publisher of this book DISCLAIM ANY RESPONSIBILITY over any injury as a result of the techniques taught in this book. Readers are advised to consult a physician about their physical condition before undergoing any strenuous training or dangerous physical activity. This is a martial arts book and details dangerous techniques that can cause serious physical injury and even death. Practice and training requires a fit and healthy student and a qualified instructor. We do not offer any legal advice. Any statement that may be interpreted as legal advice is the pure opinion of the author and has no basis in law, as the author is not a US-trained lawyer. In the event of an incident when using your training as a martial artist, exercise your Miranda Rights. Remain silent and consult an attorney before saying anything to the police or the people around you. Any self-incriminating statements may be used against you in court. All Rights Reserved. Copyright 2015 Alan Orr ISBN-13: 978-0692608289 ISBN-10: 0692608281 Library of Congress Control Number: 2015959350 Edited by Jody Amato Cover and graphics by Aaron Baum Photos by Rowan Sims Interior design by Summer Bonne

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The Structure of Wing Chun Kuen

For Carron and Sophie Your light takes away my dark

The Structure of Wing Chun Kuen

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ACKNOWLEDGMENTS

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ithout my teacher, Robert Chu, and my sibak, Hendrik Santo, this book would not exist. I cannot find words that do true justice to the gifts of learning and friendship I have received from these great teachers. Robert Chu has been a great inspiration to me in the martial arts, Chinese medicine, and life—and forever will be. Thank you, Sifu Hendrik Santo, who has also given me great support and advice in his teachings, which have unlocked the classical teachings of Wing Chun Kuen. I am always in awe of my teacher, Guro Mark Wiley, a true master of the Filipino arts and more. He has taught me with no limitations and I am still trying to keep up! Leo Negao, my Brazilian jiu-jitsu master, is a legend in every way. Osu, Master! Eddy Mills has had my back from the start of the Iron Wolves. Vik Hothi is my brother in arms. In wrestling, I recognize Matt Miller, and in judo, Blair Winder and Kevin Kavanagh. Among the teachers along my path, I owe thanks to Jack Kontou, Jude Tucker, Pat O’Malley, Nick Cullen, Matt Fury, and the late Derek Jones. Maria and Trevor Mercati, thank you for giving me the skills that changed my life. Kieron Deahl, thank you for your continued support and insights, as always. David Lawrence, thank you always for your encouragement and guidance. Thank you to the family LeBon for my home away from from home and broken nose x 3! Big thank you to David Parkingson, for his sharp eye and super support. My students have made me a better person through our friendships and hard work together. There are so many to thank—everyone has brought so much to the table! I have included many stories in this book of our growth together, and I hope it highlights the debts I owe you all. And I want to thank especially Simon Liste, who travelled the world with me: good times, brother. In addition to the main photos within the book, additional photo credits go to Celina Taganas-Duffy, Phil Conner, Jonnie Malachi, and Alan Orr. Photo models are Ale Moss, Ben Koubaridis, Zachary Smith, Josh Kaldani, and Dale Healy. Thanks, Michael Bark, for great note-taking. Aaron Baum for well, everything! You know brother. May our pack increase and become stronger and wiser. Acknowledgments

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PUBLISHER’S FOREWORD

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lan Orr is a force within the Wing Chun community. In the past 15 years he has risen to the apex of the community; being vocally outspoken in calling BS when he sees it, and in correcting misrepresentation of his teachers or style. He has been featured on the cover of Britain’s Martial Arts Illustrated magazine several times and is the former editor of MMA Uncaged magazine. Straddling the traditional kung-fu world while being heavily involved in the mixed martial arts sporting arena is no small feat. MMA people think Wing Chun is a useless martial art. Alan put it to the test and fully integrated it into his MMA coaching and his Iron Wolves have won many fights in the cage and ring. The proof is in the pudding. So what makes Alan’s system of Wing Chun different than any other? Well, his teacher is CSL WCK Grandmaster Robert Chu, who pushed for Wing Chun’s advancement by correcting its slanted body structures, internal rooting skills and Chinese medicine theory to the art and its movements. Alan’s sibak (martial uncle) is Hendrik Santo, lineage holder of Yik Kam Wing Chun, whose profession in engineering brought much weight to bear on his understanding and teachings of this fighting art. And of course, Alan has a natural talent for finding the best in all he does, in wanting (no, needing) to be the best in his field, and has tested himself and his students against other masters and competitors. He has developed a teaching and training method that people from around the world come to learn from him in New Zealand and the United Kingdom, and now through his online training program. Wing Chun is one of the most popular Chinese martial arts and Alan Orr is one of the most learned and talented modern masters in the world. This book, The Structure of Wing Chun, is a blueprint for mastering the martial mechanics, internal body structure, power generation, force flow and training methods of Wing Chun. It is the first book to teach these necessary skills. Without them practitioners become lost in their forms and Chi Sao practice. There are many more depths to plunge and skills to hone to fully master this art. Alan shows you these within the pages of this book. I leave additional commentary to the Wing Chun masters who have written forewords of their own, giving more credence to this book and its author with their specific endorsements and praise. I love this book and I know you will, too. —Dr. Mark Wiley Publisher, Tambuli Media December 21, 2015

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The Structure of Wing Chun Kuen

FOREWORDS

Foreword by Robert Chu Founder, Chu Sau Li Wing Chun Kuen It is my pleasure to write this foreword for my disciple, Alan Orr. Alan is a disciplined man, skilled in both martial arts and Chinese medicine. After his own study of Wing Chun for 12 years in London, in 2000 he travelled from the UK to Los Angeles to study both Wing Chun Kuen and Chinese medicine. He studied with me often and I have been able to impart the essence of my Wing Chun and the essentials of my methods of Chinese medicine and acupuncture. Over the years he has become a driving force in our family’s arts throughout the world by video, magazine articles, and this book. I am honored to have him as my European and Australasian representative to uphold our family’s practices of martial arts and medicine. I can think of no individual more capable to do such a task and shoulder such a responsibility.

Foreword by Hendrik Santo Fifth Generation, Yik Kam Wing Chun Lineage The times when information is most valuable is during change or transition, to provide direction when the facts are not clear. This book fills that need at this critical transition point of Wing Chun Kuen, where many old practices are replaced by more effective, improved, tested, and pragmatic new ones.

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This book by Sifu Alan Orr is about improvement in one’s Wing Chun Kung Fu, what it means, and how it takes place. It serves as an important reference for Wing Chun practitioners who need to grow while facing the reality of martial art practice.

Sifu Sergio Pascal Ladarola Tenth-Level Worldwide Chief instructor of the IWKA It’s a pleasure to write a brief foreword for my friend Sifu Alan Orr’s book, The Structure of Wing Chun. I have been practicing Wing Chun for almost 30 years, learning and holding master titles in four different lineages of Wing Chun and Weng Chun. I am also known as one of Wing Chun’s foremost researchers, so to write this foreword means I stand behind the info contained within its pages and furthermore respect the author for his accomplishments in the art I have dedicated my life to. If you love Wing Chun, this book should be on your bookshelf; it’s full of information that will greatly enhance your understanding. Alan Orr walks his talk and is one of the few Sifu’s that has a team of fighters that back up what they say by entering in fighting competitions worldwide. The book you are holding in your hand is without a doubt one of the few books on Wing Chun that I highly recommend.

Foreword by David Peterson Principal Instructor, WSL Ving Tsun Combat Science, Malaysia My very first meeting with Alan Orr took place in his home some 10 years ago, while I was on one of my early visits to the UK. Prior to that, we had corresponded via the Internet and Alan had very kindly helped arrange an interview for Martial Arts Illustrated magazine when I first visited the UK for seminars in 2003. As I was already on good terms with his instructor, Sifu Robert Chu Sau Lei, having met and exchanged ideas with him in Los Angeles in 1998, Alan and I hit it off straightaway and have remained friends ever since. In that first “face-to-face” meeting, we touched hands and engaged in a friendly round of Chi Sau, during which I was made immediately aware that Alan truly knew his stuff. His

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knowledge, structure, reflexes, and footwork were first class, and his strength was formidable indeed. While we are of different lineages and have differing approaches to training, at that first meeting I was left with no doubt that Alan Orr was an outstanding representative of his chosen martial art system and a credit to his teacher. Since that time, I have watched with great interest as Alan has continued to make his mark on the UK, and indeed, the worldwide Wing Chun scene, through his articles, videos, and his determined efforts to take Wing Chun into the Mixed Martial Arts (MMA) arena and prove that it is as valid in that environment as any other combat system. Time and time again, he and his students have stepped into the ring and raised the profile of Wing Chun where few others have either tried or succeeded. In doing so, Alan has proven that he is a man of integrity, putting his money where his mouth is—few others can say the same. It came as a very pleasant and humbling surprise when Alan approached me to write a foreword for his new book on Wing Chun, and I am very pleased to do just that. Knowing him and respecting him as I do, and being very aware of the depth of his knowledge on the subject at hand, I have no hesitation whatsoever in recommending this volume to all practitioners of Wing Chun as a source of excellent information on the subject of increasing and improving their power and skills in the system. Regardless of what lineage that you practice, with his years of “hands-on” experience as both a teacher and a fighter, Alan has written a book that will be of value to anyone with an open mind and a desire to improve their skill levels. Put your ego off to the side and take a look at what Alan Orr has to say—you will not be sorry that you took the time to do so.

Foreword by Vik Hothi Wing Chun Master, MMA and K1 Fighter, World Renowned Conditioning Coach Alan Orr is part of a very small list of Wing Chun practitioners who can not only teach but also apply his extensive skills in the real world. In the Wing Chun circles, it is very difficult to find someone who not only understands the system on a technical level but can also apply it. Sifu Alan Orr is one of those individuals and I have been very fortunate to have trained with and seen his uncanny teaching skills applied to his students. I have travelled Forewords

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the globe teaching seminars and giving workshops and have had the pleasure of meeting many masters of this art, but Alan and I immediately resonated, as his passion matched my own. His understanding of internal aspects and realworld application was both refreshing and impressive and I am privileged and proud to refer to him as my kung fu brother. If you’ve trained in your system to any kind of level and intensity, you will realize (if you haven’t already) how important this individual is to the Wing Chun world. Alan Orr is respected worldwide as a modern master of the martial arts, a firstclass teacher and coach. In this book he opens the doors on the traditional “street art” of Wing Chun and the dynamic flow of energy that makes even the simplest techniques practical and devastating. Alan bridges the gap between the ancient and modern in his range of courses and teaching material. He has previously made the six core elements of Wing Chun accessible to every level of practitioner. This, together with his outstanding instructional on Chinese boxing and a range of specialist courses on no-holds-barred body structures, Chi Sau, and the flow of force in forms, have made him a household name in the Wing Chun world.

Foreword by David Blackley, BSc (Hons) P.G.C.E. N.P.Q.H. Chief Instructor, University of Nottingham Wing Chun Many martial artists write books or produce instructional materials, but what sets Alan’s apart is the quality and impact they have. Alan has taught at the highest level of Wing Chun and has a stable of fighters that have competed successfully in MMA events across the globe. He has taken a traditional art into an arena where initial successes were limited and practical flaws were quickly exposed. The impact of Alan’s teaching is there for all to see; using the highest levels of learning, i.e., analysis, evaluation, and creativity, he has done what every martial artist should strive to do, by evolving his art to be successful in the modern world without losing the traditional roots that make it what it is. At a time when traditional martial arts are under pressure from their sports-based counterparts, Alan and his students are able to adapt, compete, and win. Over the last few years I have seen a change in the world of Wing Chun, with a better understanding and acceptance around how athletic training regimes improve performance, and openness between lineages, leading to the sharing of good practices and a practical view on what is realistic in the real world and 12

The Structure of Wing Chun Kuen

against tough conditioned professional fighters. Alan has been at the forefront of these changes in attitude, and one of the biggest testaments to his work is that many of his peers are now recognizing that they can enhance their own skills by following his training regimes and blueprints around dynamic structure and force flow. I have personally reviewed Alan’s work from both a martial arts and educational perspective and find the content easy to access, informative, and outstanding in impact. Wing Chun is a fast, powerful, and practical martial art with a strong but flexible structure at its core. The flow of force is not well understood but is essential to its success; this book opens the door to understanding that flow and will have impact on your practice of Wing Chun.

Foreword by James Sinclair Founder and Chief Instructor, UK Wing Chun Association I have known Master Alan Orr for a few years and have met his teacher, Master Robert Chu, too. The approach they take is based on study and effort, with a good deal of biomechanical understanding of the body structure and good, solid, inarguable fact. This approach appeals to me; the fact that Master Orr is proving his approach in the production of great athletes, MMA fighters, and Wing Chun students is testament to his methodology. Any person studying Wing Chun should listen to Master Orr. You may not like what you hear, and straight talk is not every person’s “cup of tea,” but his words ring true. Read this book and expand your understanding of the art.

Foreword by Chris Bougeard CSL WCK Instructor, Third-Degree Black Belt I first became aware of the Chu Sau Lei system around 2003 after reading an article on Chi Sao written by Sigung Robert Chu. It was the first time I had seen anyone spend more time talking about body mechanics rather than hand techniques, as was the norm for Wing Chun at that time. At that point I had been studying the art for around five years and “thought” I had some skill. However, during this period I had cause to use my skills for real on a couple occasions and found Forewords

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my stand-up Wing Chun skills woefully inadequate. Only my rudimentary ground skills saved me from a beating both times. I was questioning the validity of the art and was seriously considering giving it up for maybe a Thai boxing/Jiu Jitsu blend when I had the good fortune to make contact with Sifu Alan Orr. I had purchased and viewed all his body structure sparring tapes and was hooked on what he was teaching. He graciously agreed to teach me one-on-one and our friendship began. Prior to my first trip to his kwoon, which was in York at the time, I had told my students that I wasn’t going to take it easy on him and wasn’t prepared to pay good money if the guy couldn’t hold his own against me. On day one of my first training session with Alan he said, “Let’s do some chi sao,” and we began rolling and I performed one of my usual fast hands attacks on him. Suddenly I was on the ground looking at the ceiling! He grinned and said, “Nice, let’s do some more!” I felt like a complete beginner, I couldn’t keep my center of gravity, and was never allowed to keep any kind of structure or balance. All the fixed attacks/combinations that were normally successful for me failed miserably. But I didn’t feel bad, I felt great, as the methods being used to effortlessly control me were what I knew I wanted to learn. I believe Alan used maybe ten percent of his skills on that day and I was very grateful for that! I loved the robustness and dynamic way he expressed his Wing Chun and for the first time in a long while I could see that if trained in this manner, the art could be very effective. I lost a few guys once I began implementing a more “live“ method of training (gloved sparring, clinch fighting, pressure chi sao, etc.) but those that remained became much more confident in their abilities to protect themselves in a real situation. Dynamic structure was and is the key. Up until I first started studying Chu Sau Lei, all the Wing Chun training I had done and in all the books/tapes I had studied (a LOT) the term “structure“ only referred to static hand positions or static stances. It never fails to make me laugh these days when other Wing Chun practitioners look at what we do and say, “Yeah, we do that” when clearly they don’t. This book is a clear blueprint of what structure really refers to and its true deeper layers. This book will become the benchmark of the core of Wing Chun Kuen. I have been studying Chu Sau Lei Wing Chun Kuen for the last eleven years and consider it a privilege to have Alan Orr as a friend and Sifu. 14

The Structure of Wing Chun Kuen

TABLE OF CONTENTS

Introduction........................................................................................................................ 17 Chapter 1 – My Story......................................................................................................... 21 Chapter 2 – The Early Days................................................................................................ 25 Chapter 3 – Growing in the Arts and in Life....................................................................... 33 Chapter 4 – The Real Journey Starts: Meeting Robert Chu Sifu.......................................... 39 Chapter 5 – The Iron Wolves Are Born............................................................................... 43 Chapter 6 – Sport Fighting vs. Street Fighting..................................................................... 59 Chapter 7 – War Stories...................................................................................................... 65 Chapter 8 – Solving a Problem............................................................................................ 77 Chapter 9 – Fighter Insights................................................................................................ 83 Chapter 10 – Chu Sau Lei Wing Chun History and Yi Kam Connection........................... 95 Chapter 11 – Interview with Robert Chu ......................................................................... 107 Chapter 12 – From Structure to Architecture.................................................................... 119 Chapter 13 – Seven Bows.................................................................................................. 129 Chapter 14 – Awakening So Far........................................................................................ 141 Chapter 15 – Types of Wing Chun Physical Structures..................................................... 147 Chapter 16 – Biomechanics of Dynamic Structural Power Development and Control...... 157 Chapter 17 – The Power from Forms................................................................................ 181 Chapter 18 – The Relationship Between the Body, Mind, and Spirit................................. 191 Chapter 19 – Old School Looking at the Classics.............................................................. 197 Chapter 20 – My Story—Full Circle................................................................................. 215 Chapter 21 – Final Thoughts on How to Learn................................................................. 223 Table of Contents

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INTRODUCTION

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y objective in writing this book began as an introduction to the Chu Sau Lei Wing Chun system and exploring its role in the structural development of Wing Chun. I also wanted to compare the physical structure of the various Wing Chun methods and look at the historical development of the art in connection to its use of body structures, so that we can fully understand the way different arts affect human physical movement to produce and control power. But in order to understand the physical, one must also understand the philosophy and connection between the physical structure within martial arts and mental development. What I didn’t plan when I started this book was to share as much about my path in life and my experiences learning the art. Nor did I plan to include stories from my students about their experiences training and learning with me. But as I wrote the about the structure of Wing Chun, it became clear that the deeper layers of understanding of this skill had many more positive effects on my personal development than I realized. Also, in order to truly comprehend the path to learning structure, one must have a total view, rather than just the apex of what we now teach. The Problem Wing Chun is a martial art with the reputation of being a highly effective form of self-defense. Also, it claims to be a scientific approach to combat, using correct angles and power to align the body with its natural power. It is direct and often described as a simple martial art. As

Introduction

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Wing Chun is a principle- and concept-based martial art, many interpretations of forms and applications can be seen. In fact, what we often see is an application of Wing Chun that is not equipped to deal with real fighting, instead it is a shadow of the formidable art, which was designed with pure combat in mind. Many times what is seen is in terms of scientific explanation are just somebody’s idea of how the system works, with completely flawed mechanics and physics. Wing Chun is in some ways a simple art, but not in the simplistic way in which it is often explained. Many different views exist about the correct approach to applying Wing Chun, but most are people’s styles or own methods of application rather than a system of the art. How do we quantify the effectiveness of Wing Chun as a fighting system in a way that both demystifies it and removes it from the realms of subjectivity? Many schools of Wing Chun are now including the idea of “structure” within their teachings, a term that was made popular by Robert Chu Sifu based on this understanding and development of Wing Chun instruction from Hawkins Cheung Sifu. But what is “body structure” in terms of Wing Chun and even in general to the martial arts? Can we take this new buzzword (structure) and set out a clear and understandable method of explaining and measuring what is really correct structure, rather that just being titled as having structure? As the term is so misused, we have moved from a oneword explanation to the classical term of the Six Core Elements. Within that, “Force Flow” is an important element, which is a focus of this book. Principles and Concepts Often you will hear that martial art systems are based on principles and concepts. But in fact, what you find is that many systems are really just styles of martial arts rather than systems of training—and rather than core principles, they just have concepts of applications based on points of view, not solid-tested facts. The Chu Sau Lei Wing Chun system has based its whole approach to Wing Chun on the idea of “structure” within a system. For a time we didn’t have the terms to clearly express the depth of our system. The term “body structure” has many layers, but people focused on the “structure,” as they thought this was what we were referring to. In fact, physical structure is only one area and even within physical structure we have many layers. The “Six Core Elements” changed that by giving us a wide platform to break down the different layers of each important area that makes up the true structure of Wing Chun. With this in mind, a goal of this book is to present key components that one must have in order to comply to what we now understand as essential to Wing Chun. With this made clear, I aim to minimize subjectivity to what would be classified as a structural method, rather than just a reason for the way people perform their skill.

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My teacher, Dr. Robert Chu, inspired me to research and develop my views on the impact of his method of Wing Chun on the martial arts world. Therefore I will be referring to some of his work within this book, in order to break down and test the ideas of structure within the Chu Sau Lei Wing Chun system. Also, Hendrik Santo has been key in sharing his research from the Yik Kam 1840’s Wing Chun, which is also shared in the book. The Plan The plan is to compare the understanding of the physical structures of the various Wing Chun systems, looking at the historical development of the art, as well as comparing and contrasting other martial arts, to allow a fuller understanding of the way martial arts produce and control power. The connections to Chinese medicine and physics will be explored in terms of their relationships to the structure and function of the body. To fully demonstrate the important principles of these systems, the background to forms training within Wing Chun and the martial arts in general are used explain the importance of continuity within a martial arts system. To bring these points together within this project researching the often-misunderstood area of internal training within Wing Chun is a key area. Looking at the modern martial arts world’s direction, and Wing Chun’s place within that world in terms of self-defense and sport, will be important to validate the study and importance of structure. As MMA events have become a testing ground for many arts, the pros and cons of such competitions and Wing Chun’s place within this arena will be an area to explore. This will lead to the connection between the physical structure within martial arts and mental development. We will explore some of the classic writings within the martial arts to compare and validate my research. The aim is to discover whether Wing Chun is a progressive martial art and, with the correct understanding, can continue to be a tour de force within the martial arts. I will show that we must stay with the art’s core principles and concepts—with a view to dealing with the present environment of martial arts and self-defense—rather than just copy and repeat what has been passed on. In order for this to happen, in a way that was not just somebody’s miscellaneous ideas, we must prove true key and critical principles that are the driving concepts of the system. “Structure,” as a martial arts term, can be used in various ways. Often it is used as a throwaway word to describe merely the personal way of applying one’s physical methods. In fact, most of what we have seen is not correct in terms of body mechanics or even application. However, once someone says it, many of us believe that then it must be right. It seems to be the way people follow instruction. Often we see ideas taught that defy common sense. The true significance of this book is in fully explaining the types of structures used within the martial arts and particularly Wing Chun. Then we will look at the development of Wing Chun’s structure, as well as its misconceptions of the truth. It’s my hope that this will be a cornerstone in setting a standard of understanding within the Wing Chun community.

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In order to avoid bias, I will look at a number of the main Yip Man Wing Chun versions of Wing Chun and compare and contrast the ideas that show “structure,” from which to explore the methods that have a true systematic approach and those with a style approach. That being said, it would be best to look at these different versions of Yip Man Wing Chun without putting family names to them, again in order to avoid politics within Wing Chun. I will, however, take time to address in a general manner the effect politics and individual agendas have had and can have on the development and direction of the martial arts. The aim of this is not to argue politics, but to address how politics and individual agendas often have an effect on the direction and development of an art. It is important to note that not one approach in the martial arts—or one approach in a style of martial arts—will be perfect for everyone. That’s why we have so many styles and systems in the first place. What we will look for is consistency and continuity. This book is not intended as a study to criticize the systems of other Wing Chun schools and branches, or to testify that the Chun Sau Lei Wing Chun system is better or worse than other branches. Rather, it aims to study the body-structure relationship within the Chun Sau Lei Wing Chun system and explore how it has grown and changed into an ever-clearer approach to our teaching and development. My students have been the testing ground for the evaluation of the areas that I have set out to prove within this body of work. Other physical observations will be conducted: practical testing and analysis of the effectiveness of the system’s many styles in a scientific, controlled way; detailed mapping and analysis of the forces at work on the body; anecdotal and experiential evidence gathered through MMA contests; and an hypothesis of the sum of the collected information. That’s the goal! The Six Core Elements have unlocked the layers of Wing Chun for me and I hope they will for you, as well. Enjoy! —Alan Orr Sifu Chu Sau Lei Wing Chun: 8th Degree Black Belt – Master European and Australasian Head of Chu Sau Lei Wing Chun Kuen Black Belt in BJJ under World Champion Leo Negao Integrated Eskrima – European and Australasian Chief Instructor

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CHAPTER 1

MY STORY

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y life at times has been very tough. It’s difficult to share my story with you, as I don’t like to live in the past. But, by sharing my story with you, I may be able to help you reach your goals quicker and with less stress, and perhaps avoid some of the mistakes I made. Plus, I get asked about it all the time. As you will learn, it’s not a direct path to becoming skilled in the martial arts. And you will witness my quest to learn structure, which is something that has taken many years. Fortunately, I will shorten it for you! Where do I start? I suppose it’s a story of two halves, which in the end became a whole. Why did I start training in the martial arts and why did I choose the method I chose? Like many kids growing up, I was bullied at school and, even worse, I was bullied at home. I grew up with my mother, and stepfather after I was eight. He turned out to be a very cruel and abusive figure in my life until I turned sixteen, when I left home. A lot of bad stuff happened in that time that turned a shy kid into an angry and insecure young man, which were added to my problems at the time. I lived in an area where a local gang liked to fight with me a few times a week. At first, martial arts was something that would help me to learn to fight for my own self-protection. But once I started, it became something else. I had lost contact with my real father, as he was stopped from seeing me. As my family was so miserable, I never thought to look for him until thirty years later, but more on that later.

My Story

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It’s been a long road to where I am today. I started training in martial arts, like many, with judo, when I was ten years old. I can’t say I enjoyed, it as I got smashed a lot, but fighting was in my blood more than I realized at the time. Now at forty-four, I am still working on Judo, so it’s grown on me! At around age twelve I wanted to learn a striking art. Even then it was Kung Fu that interested me. But it wasn’t easy to find a good club back then. So the next best start I could find was karate. I loved the culture of the art, and the respect and discipline of training, which were lacking in my day-to-day world. Wado Ru was the style I learned. With a friend, I saw the Karate Kid movies, which have always been an important part of my life. I think that because I didn’t have a normal childhood, I liked to escape my world into the world of movies. I have enjoyed watching Hong Kong Kung Fu films as long as I can remember. The Star Wars movies were life-changing for me—a world where hope had a chance and a code that was worth fighting for. Added was the idea of a unique skill that could be developed and was unlimited to those who earned it. For someone who had never been handed anything on a plate, having to work hard was normal. Everyone can get good at a skill by working hard, but many do not. I think that’s what I also liked about the martial arts. I knew most people wouldn’t do what it takes to get good—and I would. It was the first step in regaining control of my life. Today I can see that I was looking for structure in my life, yet didn’t know it was structure that was the key to learning martial arts. Little did I know that I would one day master the force in my own way. My first start in Wing Chun was when I was fourteen years old. I can remember my close friend, Paul Le, and me trying to copy moves together from a Wing Chun book without great success! I was physically strong, but due to my lack of confidence I didn’t excel at sports. I just was not a team player. Maybe at the time it was too much interaction for me. So I ended up focusing on my own journey in learning the martial arts. As I was in a dark place at that age, most of the cool kids or bullies stayed clear of me. I often befriended kids that needed help or protection from others. Helping others was an important part of the healing process for me. It enabled me to care for others at a time when I didn’t care about myself so much. We became a group of Big Bang Theory nerds doing Kung Fu! This oddball group of friends would meet and try out our latest moves on the weekends. Enactments of “Enter the Dragon” were also common—as were spit lips and many cuts and bruises. These were the cherished memories of my childhood. Looking back, those school holidays hanging out in Wimbledon Common (a small forest area in an urban city) were a real escape from my life for me, a time where I could breath and just be. It wasn’t until I began writing this book that I realized how important those times were for me.

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It was then that I knew Wing Chun was for me. Was it the art itself or was it kung fu films or was it Bruce Lee? Perhaps it was all of these things, plus many more. Something was just right. At the time, most Wing Chun schools didn’t teach kids and it was also hard to find a teacher. So I decided to really check out other styles first, before I made a final decision. I trained in karate for the following two years, as well as many other styles. You name it, I tried it. A film came out, which today may seem funny and dated but at the time gave me a connection to some of the problems I faced. No Retreat, No Surrender really pushed me back to Wing Chun. The main character was an outsider and bullied and had only one friend. He leaves home and, while in a dream-like state, Bruce Lee comes to help and teach him (I did say it was dated). Anyway, he learns the wooden dummy, which was like learning to use a lightsaber in my books! My friend, Alan Barragan, who had introduced me to karate, really helped with my training at the time. He was tough and made me step up my training efforts. We spent most our time together kicking and punching each other and talking about martial arts. I knew my next step would be Wing Chun. Another friend I had at the time was my first dog, Tara. She was a true best friend and it was perhaps the first time I learned about pure love. Dogs treat you as family and are always happy to be with you and see you. Unconditional love, that’s what I learned. To give because that’s what you want to do. Some people will do things because they want something back. I decided that if I did something for someone, it would be because I wanted to do so and I would expect nothing in return.

My Story

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CHAPTER 2

THE EARLY DAYS

I

can remember getting out of school and making my way down to Paul Compton’s warehouse shop in Putney. I had found the hidden shop a few years before, when one day as I was passing I looked in and facing me was a Bruce Lee poster. I slowly walked up the steps and looked into an Aladdin’s cave of all things martial arts! Paul was in the warehouse, which doubled as a shop for the few that knew of it. I would spread the next five to six years going to the shop and chatting with Paul, who turned out to be a master of tai chi and notable publisher. I learned a lot from Paul, as he always had time to answer my endless questions and never rushed my weekly browsing. I still have many of the books and magazines I bought back

School Seminar with Jack Kontou Sifu and Michael Street Sifu

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then. Like many I was crazy about Bruce Lee and read anything and everything Bruce Lee. I knew he had learned Wing Chun, and I started to research the style. I had been training in karate for a few years, but without much contact training; when we did it was just a free fight, which I did okay with, but I didn’t know if I was using skill or not. Learning tai chi with Paul, I realized I liked pushing hands, and Wing Chun had its own sensitivity-training system called Chi Sao. It felt like the missing link for me, in terms of how I was going to gain more understanding of the skills I was looking for. Wing Chun looked like the martial art of choice for me; I had known about it for some time and it was time to start my path. I remember reading in Martial Arts Illustrated magazine about Master Derek Jones. We had no Internet back then, so it was all a bit more of a mystery. But I did as much research as I could, and I found that he was a real Wing Chun fighter. So I travelled to his school, which turned out to be a very small basement. I turned up early and Derek was there at the school. I was nervous and excited at the same time. At the time I didn’t think much about it, but I can say now how impressed I was with Derek and how well he treated me. I was only sixteen and he was happy to chat with me about all sorts of martial arts ideas and answer any questions I had. I joined his lessons and watched him Chi Sao with his senior students, and I can remember thinking, That’s the skill I want. Derek had a flow and power that I have not seen in many. It was not long afterward that Derek was killed, sadly, in a motorbike accident. After that I took a break from training in Wing Chun. I didn’t know Derek well, but he was an inspirational figure and someone who had given me time and respect, two things I had not had much of in my life. I felt I needed to maintain a self-discipline if I didn’t have the mentor I was looking for. The Japanese martial arts always made me feel a sense of calm, but I was now looking for mastery of flow and timing. So aikido became my art for the next two years or so. I put a lot of time and energy at this point to studying Buddhism and even more so in learning Zen Buddhism. During this time I had many enlightenments as to the causes of several of my problems and issues. I remember going to training one day and on the mat was a man training by himself. He was a powerhouse, practicing sword cuts over and over again. I inquired and was told he was the club ronin, Nick Cullen. “He’s a bit crazy,” I was told. Apparently he liked to drill after class for hours and nobody liked training like that. It wasn’t long before I was hanging back after class and doing my own drilling. Nick came up to me and offered pointers, which I was more than happy to take. Nick became my mentor and worked with me for hours each week. Training

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Alan Orr with Jack Kontou Sifu and Michael Street Sifu

was hard, but I was gaining a focus that was helping my day-to-day life in many ways. Nick was not just a martial arts teacher, he was a well-studied man and made me question many things. One night we were training with bokken (Japanese wooden training swords). We were practicing our sword cuts and focusing on perfect positioning when Nick turned to me and said, “Stand in front of me.” I did so and he said we were going to match cuts. Nick said we needed to cut toward each other and hit blade to blade without missing! So we started, bang, bang, bang. My mind cleared and the world disappeared. Bang, bang, bang . . . then crack! My bokken had split right down the middle! Nick was pleased, as the blows were perfect. That was the first time I had the experience of perfect structure: positioning, timing, power, correct muscle connection, relaxed mind, and good breathing. It was all automatic at that moment in time. It was then I had a breakthrough on learning in the martial arts and in general. Much of our learning is to clear away our cluttered minds. To train our minds to become clear once again, we train for hours to hone our skills, which then reproduce trained, natural movement. That’s when I knew I could become good at martial arts. I’d always been a hard worker, so I set myself on the path, always embracing the grind. Now I just needed to find the right slave masters to set me to work. Lucky enough, when I was training with Derek Jones a few names came up in our chats. Michael Street, Jack Kontou, and a few others where superhuman in my eyes at the time.

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I found out that Jack was teaching near to my work, so I went to his class. I remember walking in and feeling a bit sick from fear. Little did I know how often that would happen in the next eight years! The training was intense. Jack would drill the guys hard. Then guys would pair off and drill one thing for the next hour or so. Chi Sao was not for the faint-hearted. This was before MMA, so without a sport outlet the general level of contact was higher than what we see in most clubs now. Full body contact was normal and open-hand hits to the head were not far off! I must have been crazy, as I was “in like Flint,” (oh, maybe showing my age. Flint is a film character. Look it up if you like James Bond). I had wished for hard work and I definitely got it! I spent three years learning first form and drills before I was officially allowed to start Chi Sao! Hours of wall-bag punching and when we did roll, it was bruises all round.

Jack Kontou Sifu

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The Day in the Basement—The Power of the Mind I remember a private lesson with Jack Sifu in his basement school. It was old school with a ladder to climb down and a simple, uneven concrete floor. A wooden dummy stood on one side (that if you touched you were in a world of trouble!) and on the other, a wall bag with iron ball bearings. Jack was an intense person and even more as a teacher. We drilled and drilled and then trained the first form slowly for more than thirty minutes. Jack stood in front of me and said, “When I fight my Wing Chun fights, I step to the side and just watch.” He said this over and over. As he said it, I could see him speaking to me from the side, but he still stood directly in front of me, on guard and ready to fight. My mind put up the two images and in my mind’s eye I was seeing my experience, watching myself. It was a profound moment for me. Experiencing a trance state opened up my understanding of the power of the mind. I later when on to study Neurolinguistic Programming (NLP) and hypnosis and can now clearly see the link between classical training methods and modern approaches, something I explore later in this book. It’s funny, when we are in the grind, at the time we don’t always realize the value of experience until later in life when we look back. I look back now and I can watch my training and development as an objective observer and not reject memories of the hard times I had. We had some brutal times along the way, nothing that I would now change, but at the time I often wanted to give up. But I didn’t. Jack gave us old-school basic training, which many schools just lacked. It was like temple training for us. Many students came, but not many could keep up the pace. Jack would often call me and tell me about someone wanting to come down and test us. Again, back then we had no MMA, and it was normal for guys from other schools to come down for challenge matches. I would be worried, thinking I only knew the first form and these guys would mostly have learned the three forms and the dummy. The weird thing was, every time I rolled with these guys I would hit them with a basic punch and they would drop. Their structure would not hold up to a basic punch and basic lap sao (grab and hit). At the time I just didn’t know why. Jack always told us that good basics would beat everything, but I didn’t know why. In Wing Chun, like many arts, we are told we can’t learn the next form until we mastered the first one. So how did this all work? The story really took twenty-five years to understand and answer. It was much later, after I had learned body structure from my current teacher, Robert Chu, that it all became clear. I can remember when Robert was first teaching me and he said, “Most people only have SNT (firstform) level, if that.” At the time I was just learning from him, so everything was new and I didn’t understand a lot of our first lessons until I had the time to practice and take in the depth of his teaching. Sifu would often say, “Don’t worry, I’m unlocking your mind and setting time

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bombs of information in your head for later.” He was right, as often I would be training and have a moment where things he taught me would become clear. So I had this experience where my basics where beating most senior guys, then leaning more than twelve years later that many didn’t have SNT level. Twenty-five years after coming to America, I met a guy with thirty-five years in Wing Chun for an exchange. He was a nice guy and tough, but when we rolled I could collect and hit him at will. He was getting depressed about it and I felt badly, as he was really trying and not used to being controlled so easily. I said, “Your first-form level is good, so I have to use the second-form level to turn and move you to open the gaps.” As I said it, my teacher’s voice played in my head: “The first-form level, if that” and I had a flashback to my early days and the guys falling over from one or two punches. Most people learn the forms, but they can’t use the skills of the forms without understanding the structure and core elements. That’s why, in the early days, the guys with more forms and applications could not stand against my first form. I had better basics, which were deeper in layers. It wasn’t just a matter of knowing a form, it was what you could do with the control of the form. And as I had learned, it was only with the structural understanding that the forms actually added to your skill (more on this later in the book). After some eight years of training with Jack Sifu in the Victor Kan style, many of his senior students left and moved to other styles of Wing Chun. Even Derek Jones had moved to William Cheung. Michael Street, whom I highly respected, had moved to WSL Wing Chun. I remember a seminar we had with Michael. In addition to him being one of the toughest Wing Chun fighters I have ever met, he was showing us applications and ideas that Victor’s style didn’t cover. It caused more confusion for me at the time; I just didn’t know what I was looking for. The fact was that Victor didn’t teach many of his twenty-year students the weapons and not many had learned the dummy. At the time I didn’t know that it wasn’t just learning the forms that made you good, so it was becoming an issue for me. I didn’t want to wait ten or fifteen more years. I had been moonlighting on my Wing Chun on the weekends and learning Eskrima with Pat O’Malley and Jude Tucker and had been having fun while learning loads of new skills. I had reached a brown belt in the Rapid Arnis style, which included grappling and lots of sparring. I will share more about that in the next chapter. The point was, I was seeing a whole world of martial arts that I didn’t want to miss out on. The straw that broke the camel’s back was failing my Chi Sao test with Victor Kan for the third or fourth time. He would give you a score from one to ten. You needed a seven and I got a 6.3 or a 6.6. I would go to his class and train in the corner, then be called over for the “test,” which would be two to three rolls with no applications allowed. Then told I failed. I crossed my hands, I was too low, I was too high . . . whatever. He never gave any instruction on why, how, or when. I had been training for eight years and was one of the best in my school and 30

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knew I had reached a good level. Enough was enough. I decided to take a second break from Wing Chun and check out other martial arts to see if I could find the secret skills I had always been looking for and so far had not mastered. It terms of my training with Jack Kontou, it was very hard to leave. We had become friends and spent lots of time chatting about martial arts over food after training—some of the best memories of my development at that time. At the time Jack’s teaching style required full commitment and I didn’t feel I could do both. From Jack Kontou Sifu It’s been more than twenty-five years since Alan walked through the doors of my school looking to train. From day one Alan had all the qualities of a good student: he was polite, respectful, and disciplined. He always showed up to my classes eager to train, and he loved to learn. By no means did he get a free ride. In my school, classes were laborious and challenging. My way of teaching began with having a good base and solid foundation. Great effort was paramount in developing your skill, technique, and ability. I encouraged and pushed hard, both physically and mentally. Alan trained hard, drilled hard, and we sparred hard, bare knuckled or using the only gloves we had back then (those old fingerless bag gloves). When I pushed hard, he just got on with it. After my class was over we would go to eat and carry on discussing training and fighting. These were great times. Alan listened well, absorbed what was said, and he was driven. These are great attributes to have and I believe they played a big role in where he is today. We went to many events, shows, and seminars together, with him always representing me and my school. He and his beautiful wife, Carron, travelled far to support me when I was competing. I haven’t forgotten. – Thank You, Jack Kontou, JKWC Today I am still good friends with Jack Sifu. He taught me a lot and made me strong in body and mind. I will never forget that and I still hear him in my mind when I teach. And when I hear guys moaning about hard training, I laugh and I see Jack smiling at me as we laugh together. Little do they know!

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I would not be the man I am today without Jack Sifu’s teaching. It is part of my Wing Chun path, which I am very proud to share. I still hold him in high regard and have not seen many people with his fighting skill. So back into the wilderness I went, looking for the skill of being invisible and unmoveable!

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CHAPTER 3

GROWING IN THE ARTS AND IN LIFE

I

still lived in a rough area and, more often than not, still faced dealing with a local gang that I had grown up next to. In my early days, with a depressing home life, the fights were a release and to some point exciting. They were fuel to my anger issues, but I didn’t see that at the time. When we were fifteen to seventeen years old, the fights were just punches and cuts and bruises. As we hit our twenties, the violence was taking a turn, so not losing face was becoming an issue for the gang members. As I was now able to look after myself, I would often be facing four to eight guys or two to three with weapons. These guys were always looking for trouble

Alan with John Harvey and Jude Tucker my first Eskrmia teacher

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Guro Pat O’Malley my first teacher in the Filipino Martial Arts

and I would never back down. It was at this point when two things really changed my life for the better: I met Carron, who is now my wife, and martial arts had brought me to study Zen. Carron brought balance into my life and gave me a reason to be happy. I had been unhappy for so long and was no longer trying to be happy. I can see that now. Also, her family life was normal and I liked it. I had never had a normal family life and I started to see I had missed out. Carron became my best friend and most honest voice in my life, keeping me humble and in the present. At the same time, I received some small enlightenments from my Buddhism teacher. He was a true rock-star monk. I would walk into Dharma class and he would smile and start talking about whatever I was thinking about! He asked me, “Why don’t you want to be happy?” I remember telling him I was becoming happy, but it was also making me feel weak, as without my anger I couldn’t be ready to fight and defend myself from the local gangs. He explained that my anger was from my past, which was now gone, and encouraged me to let it go, as it was trapping me in Samsara (a repeating cycle). He advised me to move to a different area and start a new life. Seems simple now, but at the time it was a big change. Positive change requires positive action. It was time to move forward. Funny, as Carron had really shown me the same things and was always right about people every time. I made a note to listen more!

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It was around then that I started learning Chinese Medicine. I didn’t realize it at the time, but it would be a great help to my martial arts development and would also draw me to Robert Chu Sifu’s teachings. I became interested in the health benefits of training, so I started studying many types of qi gong (energy work). In terms of seeing the link between mind and body, learning Chinese Medicine diagnoses made many things clear to me. My quest to learn Chinese Medicine would become as important to me as my martial arts development. I had found through my research that Tui Na (Chinese Clinic Massage) was an important part of treatment in China. I liked the idea of having a “hands-on” skill. I found Maria Mercati, who had set up a college teaching Chinese Medicine, and Tui Na was an important focus of her teaching. I was very lucky to find Maria, as she became a very important figure in my life. She was an inspiration and super hard-working, endlessly researching and learning. Even today she still has a huge passion for Chinese Medicine and teaching. The world is a better place with people like her and her husband, Trevor. I will always be grateful to the kindness they showed me as they made me part of their family whenever I came to study. This was a parallel journey to my martial arts, which has also never ended! My Wing Chun learning was very slow, so I had been learning Eskrima and Jeet Kune Do (JKD) from Pat O’Malley and Jude Tucker to keep my interest and motivation up. It was also brutal training. These guys trained and sparred stick fighting, often with limited or no armor. My new skills in Tui Na were often put to good use. It was interesting that my new skills in Chinese Medicine afforded me a level of respect from others, as I was always ready to help

1998 Meeting and training with Master Wong Shun Leung

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Training with Paul Vunak – Alan, Simon and John

and check injuries and give treatments at classes. For the first time in many years I felt like I mattered and could have a positive impact. Travelling to class took two hours one way. Simon Liste, my brother in arms, and I would spend most of the day driving over four hours for one or two hours of class time. But it was worth the hardship to learn from teachers with so much experience. I remember turning up once to watch a grading and being told I was also grading! Before I knew it, Jude was putting me into my armor, and I was fighting! We had just drilled hard for two hours and I was not mentally prepared for a war. But a war it was. No-rules stick fighting. Punches, kicks, and head butts were all in the mix. Five fights later it was done, or so I thought! “Body armour off and go again,” I was told! These sticks can hurt through armor, but on skin they really hurt. After a lot of blood, sweat, and tears, I was given my brown belt. I felt like I had earned it! That was something I learned from my early old-school days: you needed to feel you earned or were owed it. Otherwise you would never truly believe in your skills. I try to give my students now a balance of old-school inner strength with modern, smart training. It was a good period in my martial arts development. My good friend and training partner, John Mollokwu, and I used to spend hours practicing together and drilling everything we learned. We watched every Paul Vunak video a hundred times and would train Chi Sao to the early hours in my kitchen. We trained our Eskrima in my garden, as broken light bulbs where 36

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a pain to clean up! We didn’t even consider that we would end up training with Vunak and that John would become his senior student. The world was becoming smaller and our daydreams were becoming real. The JKD groups were much more open to crosstraining, and we did a lot of grappling at a time when it wasn’t so popular. It was a love/hate thing for me, as I didn’t really understand the overall picture. It wouldn’t be long before I embraced the suffering of grappling!

A weekend review of TWC Wing Chun with William Cheung

Pat was old-school, but also one of the guys that allowed room for personal expression. Jude was super supportive and always wished the best for his students. It was around this time that I had been to America to train with Robert Chu (more on that in the next chapter). I had found “body structure” and transformed my understanding of the martial arts. The best thing about learning Rapid Arnis was that it was formed from the many styles that they had learned. But now I was system-focused and driven to see the system of an art. One of Pat’s students introduced me to the Kalis Ilustrisimo style, which had a simple approach but a lot of crossover to Wing Chun’s principles. I trained in the style for quite some time and then heard that Guro Mark Wiley was teaching a seminar on his integrated Eskrima system, which was based on the Ilustrisimo style. My teacher, Robert Chu, was in With my teacher Guro Mark Wiley

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fact already good friends with Mark and told me it was a must to meet Mark. So I went along and was blown away by his depth and understanding of the martial arts. It was the start of a great friendship and another big step in my martial arts education. I have remained good friends with Pat and Jude and am always grateful for my start in the Filipino arts with them, as well as their continued support. Mark had developed a whole-systems approach to his art and within that a structure I could now see clearly. It made learning much easier and more enjoyable for me as it linked Starting my path in Chinese my newfound insights of body structure together. Mark is Medicine without a doubt one of the best martial arts teachers in the world. I continued to be humbled by his knowledge. I became Guro Mark’s student and have continued to dedicate myself to training under him, reaching a Sixth-Degree Black Belt in his integrated Eskrima system.

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CHAPTER 4

THE REAL JOURNEY STARTS: MEETING ROBERT CHU SIFU

A

fter reading the book, Complete Wing Chun, I could see from the pictures alone that Robert Chu used a different physical structure than I had seen before. After reading this book, I knew I had to know more. I decided I would reach out and contact him. I e-mailed him and we started talking. We had a shared interest in Chinese Medicine, which we talked about. He was already improving my insights as we talked. I decided to go to LA and meet him. It was a big trip for me and one I would never forget. In our first training session, Robert tested my stance with his structural tests, which I failed. He then looked at my turning, which had no power. He stood in front of me and said, “You need to have power in your structure,” then proceeded to grab me by my forearms, pick me up and turn, lifting me off the ground and dropping me down ninety degrees to the side! Wow, I was in shock! The power he

LA 2000 My first training with my teacher Robert Chu Sifu The Real Journey Starts: Meeting Robert Chu Sifu

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UK Seminar with my teacher

had was incredible, but at the same time he didn’t look like he was even trying. Next was Chi Sao. I had not had much trouble in Chi Sao until that point. Robert made me look like I was a beginner. He was able to move and throw me around at will. I have been asked many times what it was like to feel such a lack of ability to deal with Robert’s skills; well, it was like being kicked in the groin. But right after, it was like a weight had been lifted from me. I knew I had found everything I would ever need to understand and develop my Wing Chun. Now my Chu Sau Lei Wing Chun Kuen, I was in for the long haul. Robert Chu was so open with his knowledge; he showed me the three forms in detail. My mind was exploding with an overload of information. I had maybe twelve years training at that point and nobody had taught me the whole second form, never mind the third form! I asked my new teacher why he was showing me so much. What he said stuck with me forever. He said, “You have been suffering, so why would I add to that?” He then said, “A bird in a cage, once it is free, can come and go as it wants. if you’re happy with what I teach you, then you will come back.” He was right, as he always is. Fourteen years later, after many trips by both of us, the process of learning has never changed and I’m still always happy to be back. How did I learn and get so good? That’s a question I‘m asked all the time. So time for an answer! The structure that my teacher taught me is a blueprint of how Wing Chun works. At the time we didn’t have the six core elements as terms for a checklist, but we did have each of these components. My teacher used the term “Body Structure,” which was really the understanding 40

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of the physical structure in dynamic use, the connection of breathing and Qi flow, linking, and delinking (the base of force flow, and momentum), plus use of mental methods. So we had the core elements under a less formal setting. But it was more than enough at the time to solve the problems ahead. The way my teacher taught me was to set out the understanding of body mechanics and dynamics, what we now call the core elements: flow, force, and momentum. Once you understand these elements, it all starts to be clear. Next he showed me Tan Sau from more than eight branches of Wing Chun and asked me which worked in terms of the structural mechanics he taught me. I answered and he said, “That’s our Tan Sau.” We repeated the same for all the hand shapes and my new knowledge allowed me to answer correctly each time. It was so clear what worked and what didn’t. I was exposed to a blueprint that opened my mind to a level of deep understanding, rather than just copying what I was told. This is what allowed me to excel in my learning. I could now look at any movement or application and see the blueprint in my mind’s eye. I was forever awake! For me, it was like meeting Yoda, a wise and all-powerful but humble master. I was the headstrong and hungry kid. That is how this book was born: the release of the new Star Wars film made me think about the awakening force flow and what it did for me. When I got back from my mind-bending trip, I had the tools with which to build my skills. I knew the answers; all I had to do now was train and sharpen the blade. My first training

Early days

The Real Journey Starts:Meeting Robert Chu Sifu

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partner was always my mind; I would visualise my movement and opponent and feel the changes in my body. And I was lucky to have great, like-minded friends to train with and calibrate my skills. With the blueprint we now had, we always knew the answer—we were just trying to match up to it. I have travelled many times to see my teacher and he has also travelled to see my students and me. Each time I could feel my skill improving and deepening. It has been so great to have a common language in structure or as we now term it, the six core elements. Wing Chun is not about applications and drills. These are part of all martial arts, but they are not the art itself. The point of difference with Wing Chun should be within its principles and live movement. The concept side of Wing Chun is often misused, as many just add one-step applications that would work if the opponent did this and then did that. That sort of thing never works. The principles lead the system and concepts are ways to use the principles, but they must not overstep what powers the system. Everything—from the structure of the form, to the bridge between each form, the bridge from Chi Sao to sparring—all was now clear. Wing Chun can be like a maze and you can waste a lot of time looking for the center. But when you have the map, you can move fast and smoothly with a clear mind. Later in this book I will be breaking down the core elements so you can also awaken your force flow.

At Seni in London

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CHAPTER 5

THE IRON WOLVES ARE BORN

M

y path within Wing Chun seems to be forever growing. Every day I feel a need to thank my teacher, Robert Chu, for his insightful system of Wing Chun, as without it I would have lacked the strong direction I have today—not a place I would like to be at all! First intention, then enlightenment —Buddhist maxim Over the last fifteen years I have undertaken an experiment, which is still ongoing but nonetheless it’s a good time to look at its progress so far. I have been training in Wing Chun for nearly thirty years now and within that time I have trained and explored everything that is Wing Chun. I have also read every book avidly and watched every video on Wing Chun with a keen interest, and so I have some insights into this art! Even then, it wasn’t until I first started training with my teacher, Robert Chu, that I started to understand the art that is Wing Chun. Up until that point, I realized that the key elements to make it a complete method of combat were missing! That’s why many people start with what they think is one of the best methods of selfdefense and in the end become disillusioned. However, the body structure methods in the Chu Sau Lei Wing Chun system corrected all of these problems for me, which would be enough to keep most people happy. As I started teaching Chu Sau Lei Wing Chun, my students and I started to get excited for, like me, they had what they had always wanted: functional Wing Chun!

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I had a big interest in wrestling and was following catch wrestling way before it became of interest to the MMA world. I decided to bring Matt Fury over for training. Matt turned out to be a really clever guy with a great insight Original Wolves! Charles, Neil, Alan, Simon and Aaron to catch wrestling, as he had trained with the great Karl Gotch. I learned the fundamentals of wrestling, as Matt was also a high level in freestyle wrestling, having trained at the University of Iowa under the great Olympic Gold Medalist Dan Gable and then later at Edinboro University under Mike DeAnna and two-time Olympic Gold Medalist Bruce Baumgartner. After that we learned the difference between catch and BJJ submission the hard way! Toe hold, neck cranks, spine locks, calf crushes, double wrist locks, and more fun stuff! It was just what we needed at the time. Over the years, my love for catch has continued and I have been lucky to crosscheck my catch skills with other catch teachers, from Tony Cecchine, Vik Hothi, Ian Bromley, Johnny Husky, and more.

Neil Broadbent Winning in less than 30 seconds!

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It wasn’t long before a few of them started to think (as I did) that most people in MMA competitions didn’t have a striking system that gave them genuine power without losing their base, which is necessary to avoid being countered with a takedown. Most of the best strikers had a good kickboxing or a boxing background, which was good if they were fighting other strikers, but not so much with a good wrestler.

The body structure method, on the whole, has solutions to this problem or at least makes it much harder for your opponent to shoot the takedown with confidence. It was time to put our money where our mouths were, and we started our fight team. I must point out that only ten percent of my students fight on the team, but the way we train is identical throughout the Aaron steps up and tests our system for the first time and storms his school. Everyone trains opponent hard in a safe, functional, and robustly alive way; without that you are not growing or really learning. If you understand the six core elements you have a path to follow from which you can see your destination— that’s what gives the student true confidence. The only thing I felt was missing for us as a competitive team was the fact that I came from a traditional base and didn’t have the ring experience to share with my students. I decided to find an MMA kickboxing coach from whom I could gain experience to pass on to my students. Eddy Millis I remember watching a documentary called Life in the Cage, about the MMA and its early development in LA. They profiled the Lion’s Den and The Shark Tank, which were winning a lot of fights and known for super-tough training. Eddy Millis was profiled on the documentary and they followed him around and showed him teaching and training his guys. The training looked tough for sure, but Eddy showed real insight into fight mindsets and a fighter’s confidence. I knew then that he had the

Enter the Shark Tank in LA!

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Eddy Millis giving Simon a Shark Tank Welcome!

experience and mindset that would help my guys and me. Eddy had many MMA and K1 champions at his gym and I knew it would be a challenge, but it was much more than any of us could have imagined. I looked up his gym and called him. He was super friendly and we talked about all things MMA and also our needs. A few weeks later Eddy was in London with me and the rollercoaster had started. Being an ex-Marine, Eddy had a no-nonsense style, but with a lot of heart. It was to be the start of a lifelong friendship. We drilled, sparred, and bled! We trained in my student Simon’s garage six hours a day for a week. At one of the first sessions Eddy said to me, “Put your MMA gloves on” and then he just went at me full power. I remember him having a top position of control and raining punches on my head. I thought, Okay, let’s go and escaped the position and came back at him. When the round was finished Eddy looked at me and said, “You are a tough SOB. Many bail out when I test them like that, good job Mr Orr.” I remember thinking I had no choice, as I thought he was trying to kill me (haha). The next intensive training with Eddy would be in LA at his gym—The Shark Tank—and to say it was intimidating would be an understatement! I remember walking into the gym and meeting Eddy’s top fighters and being very welcomed. Then it was down to business! It was possibly the hardest four days of my life: leg kicks for the first two hours, then wrestling drills for two hours, two more on submissions, and a round of sparring to finish off. A car-crash of a

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first day! The feedback from my students was mixed. I had twelve guys with me and only four were fighters. The others were only over to the US for a busman’s holiday. They would have been happy with a few hours of light training and a cold beer. But not being able to lift your arms and walk well was an issue after day one! A funny thing happened that evening. Eddy and I had gone to the supermarket with Simon to pick up food for a BBQ (Eddy loves to look after his friends, so he was putting on a big BBQ for the guys). I decided I needed to tell Eddy that he needed to slow down on some of the guys, as they were not all fighters. What happen next was like a comedy film. Eddy and I broke into a full-blown argument about his approach to killing the guys. As we were shouting at each other, at different counters we would stop shouting while we agreed on what cheese to buy, then continue, then stop again while we chose the meat. Simon was pushing the shopping cart and was keeping his head down unless he had to ask a question about the food. By the time we got to the checkout we had found a balance and all was well. Only Simon’s nerves were shot! Eddy said to me later that he never had someone talk to him like that or argue a point and not fall out with him or backstab him later. He had had lots of fake people let him down before. I understood that and said I had had the same problems in the past, but I really liked him and his teaching and just wanted to be honest and for everyone to get the most out of the trip. I think that was the day we knew we would always be friends. The really interesting point was he still killed the guys, but made the fighters and me train longer and harder. When training was three

Iron Wolves in after Hell Week at Shark Tank

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Eddy said clean the mats! So Peter put Simon to good use!

Clinch work then MMA sparring day.

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days in, the guys were close to mutiny! I talked to them and calmed them down—“Only one more day, guys.” After day four we finished training and all met up for a night out. A few beers in and the guys were all feeling like gods that had been to Valhalla and returned! They had overcome a great test of skill and mental and physical conditioning. They had reached higher that they could have ever thought. Eddy was now the coolest guy around and a level of deep respect had been gained. A lesson was learned. He had broken them and rebuilt them. For guys who never spar or train hard—you will never develop unless you punch though your comfort zone, no matter what you do. Hard work and pressure are key for personal development. The second trip was interesting, as the new guys were told by The Shark Tank veterans that they’d better be ready to go to hell and back! The first time has always been remembered as the hardest and how true that was! But the experience improved the guys at the time, and generations behind them as well.

Neil Broadbent – First Pro MMA Win for the Iron Wolves

Aaron Baum with his first Pro MMA win for the Iron Wolves!

I’m still training with Eddy. He visited my new gym in New Zealand this year and my guys loved the experience, which has become a rite of passage with my Iron Wolves team. After our training with Eddy, it was time to let the wolves hunt. It was a good start. My student, Neil Broadbent, became the lightweight amateur MMA

This is great picture of me with Aaron and Neil. Brothers I trust and love.

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champion with seven fights and seven wins. Many of his fights lasted no more than thirty seconds, such was Neil’s striking power. He even knocked out an opponent with body strikes! After only a year of training with our system, he was able to develop the punching power from our structure methods, which was way too much for his opponents to handle! Aaron Baum (middleweight title runner-up) also terrorized his group with his robust stand-up fighting body structure and powerful Chu Sau Lei Wing Chun striking skills. He was at the top of his table and the favorite to win his weight class. With my BJJ Master Leo Negao. A great teacher and friend In the finals he walked through his always. first two fights and in the final gave his opponent a good hard fight. When it all looked like he had it in the bag, he slowed down at the line and got caught in an arm bar with only four seconds to go. A good lesson for us all, which is what it was all about. Of course, Aaron would liked to have not made the mistake, but he will be the first to say it made him even better in his next fight. He won his first big fight in the ring at the Pride and Glory show in Catterick. He won with TKO strikes to the body,

Proud moment. Aaron Baum Bring home a MMA Championship Belt!

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Paul Doherty with his game face on. Ready for battle!

which again is not often seen in MMA, but such is the striking power unleashed by the Chu Sau Lei system. Both fighters would go on to win many professional fights, with Aaron winning a middleweight MMA title belt! I also decided that year to fight, not that it really interested me to do so at that point in my martial arts path. I was already thirty-six and to be honest was not sure how my asthma would hold up. But I thought it would be good for my students to see me fight under pressure and it would a good for the team. I won the fight, which went as I had planned. Even though I won with an arm bar, it was my striking skill and body structure that allowed me to control the fight. My opponent could not match or deal with the power and control of my strikes.

Our 3 times European MMA Champion Peter Irving

Another big win for the Team

Duane Harper, Josh Kaldani and Alan. Pro MMA Win for Josh

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Interestingly, my asthma did kick in after the fight, as the adrenaline seemed to burn my lungs. I learned that competition stress increased my adrenaline more that street fights.

Alan, Kieran ‘Roy’ Coxon and Duane. Kieran smashes a big win!

When asked about the benefits of sport training and fighting, I say it gives you a higher stress threshold for dealing with pressure, which can only help on the street.

This is the skill of our system that we wanted to test under pressure. I do have good grappling skills, which were needed for a few points in the fight, and good grappling skills should not be overlooked for MMA fighting, of course. Leo Negao A true ronin of BJJ, Leo Negao, BJJ world champion, has been another true mentor in my life. Meeting Leo was life changing on many levels. Leo is a true master who I would follow without question to the gates of Hades and back. Leo leads from the front and teaches with heart and compassion. He is one of the smartest people I know. His simple approach to every task makes him like a Zen master. The boiler room was where I first met Leo Negao. I had heard about him and had sent my student, Aaron Baum, to go train with him. I was trying to get to training, but work and life were not giving me much time. By the time I did, Aaron had done three months with Leo. Leo had been teaching Aaron takedowns and

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Master Leo Neago! Yes he is super Human!

BJJ position and so on. I came down and jumped in on Aaron’s private lesson with Leo. He was super cool and friendly and built like a superhero! I remember laughing in my head, thinking, This will be fun! I had catch wrestling skills and basic BJJ training, but as with most of the UK at the time, we were all game blue-belt levels really. Leo was a true master of his art. Do the Work, Boy! Leo told Aaron to take me down and for me to try to knock him out. It was old-school Vale Tudo-style training (anything goes). Leo was a black belt when many of the now-famous world champions were blue belts at Alliance Jiu Jitsu, a team that would become one of the best in the world under Fábio Gurgel, nicknamed the “General.” The name was given to Gurgel by Leo Negão, as his teacher Gurgel had a general-like demeanour, much like a general or great leader among the team. Leo had been training BJJ as a black belt at a super-high level for many years already. This was just a normal session for him! Leo knew I did Wing Chun, but like most fighters he was not thinking much of it. Aaron was not looking so happy, as he knew this was going to be a tough night. We put the gloves on and started sparring. Aaron looked to shoot and drive his takedowns. I had good takedown defense but also the structure of our striking meant I was able to hit with power at the same time and not lose position as much. I was also able to sweep and trip Aaron and put him on his back. Leo shouted out, “Carry on boys, ground and pound. So I’d rain punches on Aaron as Leo shouted to him, “Use your guard, boy,” but at the time Leo had a very heavy Portuguese accent and Brazilians do not say “GU,” so and he just said the “g” with no “u.” The “Gu” has a “W” sound to us. “Use your Guard.” Aaron was not responding to Leo’s instructions. So it went on and on. I was smashing Aaron and each time he got up I would drop him and ride knee on the belly, landing punches. It was then, as we were crashing into the walls, that we found one of them was not solid and we crashed though it! We were covered in plaster and Leo grabbed us both out of the wall and shouted, “Do the work, boy,” so we just carried on fighting, looking like extras from Mad Max. I put Aaron London fight night training!

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Dream Team Iron Wolves! Peter, Alan, Josh, Nathan and Duane.

down and Leo shouted once again, “GUard, GUard, pull GUard, boy.” I looked down at Aaron and said, “Guard bro.” He looked at me with a moment of enlightenment and feeling of stupidity at the same time. “F@uk guard!” he said. Aaron recycled into guard and Leo jumped around like a world-cup goal had been scored! Yes, after two months he finally got it! Leo was happy that Aaron had gotten it. But I could see he was a bit surprised that I had handled the attacks so well. So Leo put his gloves on and said, “Okay, boy, let’s see.” We sparred and Leo was impressed with our striking and base. Being very open minded, he wanted to learn our striking system, which was great, as I knew I would be spending a lot of time with my new BJJ master. We all laughed so much that night and could feel the aftermath for a good week or so. The next time we met, Neil Broadbent, one of my best fighters, sparred with Leo. Neil is 64kg wet and Leo was 90kg. It was funny, as Leo picked Neil up afterward and shook him like a bag of potatoes and said, “How much does your boy weigh, bro?” He was so shocked at the punching power our structure in Wing Chun had. Leo really changed our level of grappling skill, as I now had a world-class teacher training me privately three times a week. Eight years and a lot of blood, sweat, and tears later, I would receive my BJJ black belt from Leo, which was an honor and to be honest was something I never thought I could achieve!

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Back to the first few years of my BJJ journey. A year or so later, I started training and teaching Peter Irving, who would really help me map out more clearly our training of the crossover of our structure into high-level MMA fighting. Not long after, Duane Harper joined me and the second generation of fighters were born. Duane now leads his own group and together we have had great success. Feedback The guys did learn a lot from it, as we have from all the fights. With now more than two hundred fights and more than 10 title belts, as a team the CSL Wing Chun had been well and truly battle-tested! Interestingly, this has become predominantly the intention with which we train our system, test, test, and test. The Chu Sau Lei system of Wing Chun by its nature is a very alive way of performing Wing Chun. All fighting arts are no-holds-barred in a way; all we do is bring that to mind when training, not forgetting that on the street your opponent is not working with you but against you. You have to be conditioned to adjust to the changes within the moment and overcome any situation. Without body structure, I personally feel that a Wing Chun fighter would have a lot of problems against a good or even mediocre grappler. Others may disagree, but that is why we started to test our ideas rather than just voice them.

Ale Moss BJJ World and National Champion and CSL Wing Chun Iron Wolves fighter The Iron Wolves Are Born

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I could see that many martial arts practitioners were not physically training in the right way to be conditioned for their martial arts practice. Conditioning is 101 for all martial arts. Some will say, “Well, I just train for general health and the art,” but how can being out of condition be good for your health? Being in good condition also allows you to train at a higher level of your art. This is a very important part of the Chu Sau Lei Wing Chun system. Chin Na within Wing Chun is often not seen or is very poorly performed. The reason is that without body structure it is hard to control your opponent, therefore some branches of Wing Chun say that it’s not part of Wing Chun. That’s the easy way to get out of the fact that they don’t understand this area of training. In most stand-up fights people will try to hold onto you when they’ve been hit and you must know how to control them at this point; otherwise it may become a freefor-all grapple, which is what you want to avoid. Also, if they are trying to take you down or throw you, you will need the skills to neutralize this attack. It’s all very well to say you would just strike them, but it’s not always going to work out that way. Moreover, you may not want to simply punch someone until they fall down, as the situation may not call for that level of response. You may just need to stop them and then control them. This in fact takes a lot more skill than just hitting!

Matt, Ben Koubaridis , Alan and Shannon after Ben’s MMA big win!

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The Maxims of the Experiment ▪▪

To test our principles and concepts of the Chu Sau Lei Wing Chun system.

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To have our fight team compete and test our structure methods of the Chu Sau Lei Wing Chun system under the pressure of various types of competition.

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To test our methods of striking power in real-time competitions against other types of striking methods and grappling arts by entering MMA, boxing, and K1 events.

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To also improve our grappling arts to the level of our Wing Chun system.

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To learn and give feedback to the school and to have fun, win or lose.

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To create an arena for pressure testing within the Wing Chun systems by means of a Wing Chun tournament. (We did this via a Chi Sao event. Thirty students from different schools entered. My guys won eight golds and one silver.)

Key Points Learned from Fighting in Competitions ▪▪

You must have good structure to be able to stand your ground.

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You must understand the six core elements, as force flow and momentum control are key.

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You must know how to strike with power without giving away your base.

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You must be conditioned or you will run out of gas.

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You must have a good grappling knowledge if you wish to compete in MMA.

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You must have a fighting spirit to overcome the stress of fighting in a competition.

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You must train how you would if you were to be in a fight.

Looking at these points, you can also see why the six core elements are so important. I will cover them in a whole chapter and link them back to these key points as well.

In order to keep the art of Wing Chun alive and well, we must keep it growing. Pressure testing is a form of suffering, as it is hard on the body and mind, but necessary if we are to look toward truth; we must have no one to blame but ourselves.

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Purity is something that cannot be attained except by piling effort upon effort —Hagakure In BJJ we roll all the time, so you know what you have and what you don’t. You also know you don’t always win and you often learn the most rolling with someone better that you. Plus, helping others improves your own insights and game. These are the qualities I use in teaching my Wing Chun; many Wing Chun students miss the point of what the training really is about. The Buddhist way of understanding one’s suffering is first to investigate it. This becomes the path to awakening, which breaks the delusion that often can be holding back the path of development. It is taught in Buddhism that you must have the right understanding to have the right aspiration, therefore giving us the intelligence for reflection and contemplation.

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CHAPTER 6

SPORT FIGHTING VS. STREET FIGHTING

A warrior could not possibly leave anything to chance. He actually affects the outcome of events by the force of his awareness and his unbending intent. —Carlos Castaneda

W

hen many so-called Wing Chun ”masters” are questioned on Wing Chun vs. an MMA fighter or even a grappler, the typical answer is that Wing Chun is too deadly and not

a sport.

It seems that everybody involved in Wing Chun will tell you that it is a street art and therefore hard to use within a framework of competition rules and so on. Interestingly, they will quickly tell you that they have had lots of street fights, used the system for real, and therefore it’s a proven combat art. Now, as a statement, that’s certainly not untrue at all; many times I have had to put my skill to use and I know a few Wing Chun guys outside of our system that can use it on the street very well. But (and this is a large but!), most of the people saying these things have either not had real fights at all, or had what was a push and shove with the “hold me back” routine. A few may have even hit a guy who was drunk who could have been beaten by his own shadow. Unfortunately there are more than a few teachers out there teaching streetfighting skills without ever having been in a street fight or without even having sparred before! The result of this has caused Wing Chun to lose a lot of respect within the martial arts community. When you say you practice Wing Chun to a boxer, Thai boxer, or grappler, they give you that look. The look of, “Oh, okay, Wing Chun. Didn’t Bruce Lee start with that?” It’s a nice way of saying “whatever.” The main reason for this reaction is that a lot of Wing Chun is now becoming no more than a contrived approach to self-defense. Violence is just that . . . violent! You have to have the skill to deal with the chaos of a fight, the rush of adrenalin, the impact of force against your person. It’s not an easy day. Practicing Chi Sao and a few drills will not help you in this

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world. If you have the skills of Chi Sao and have been training in a more realistic sparring environment, then you are walking the correct line. I do believe Wing Chun to be a great art for defending yourself, if you have the correct understanding of the core elements and training methods. But, I feel it’s time for Wing Chun styles to start pressure-testing the basics rather than simply follow the “Sifu says” line. Of course, not everybody would want to do that and I did say only ten percent of my guys want Aaron and Neil ready for Chi Sao Championship Fight to take it that far. However, in doing so my whole group has become better from the feedback the guys brought back with them from competition. Bearing this in mind, I wanted to help raise the bar within the art I love and not have to explain why our Wing Chun is not the same as what they have seen before. My main idea is this: if you have a functional system, you should be able to hold you own within a competitive environment. That means that your skill should be functionally effective even when limiting your range of application and adopting the necessary control required by competition rules. It’s not just about winning; it’s about being able to play in the first place!

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▪▪

Jik Chung Chuie (straight punch)

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Chou Chuie (spring punch)

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Lien Wan Kuen (chain punches)

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Bien Chuie (whipping punch)

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Biu Chuie (dart punch)

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Chung Chuie (thrusting punch)

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Charp Chuie (piercing punch)

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to list a just a few!

Basic Chinese Boxing Skills 1 Rising – Surging / We call Spring Power / Vectoring Upwards 2 Pressing – Driving forward / Vector Forward 3 Dropping – Falling / Vector Downwards 4 Exploding – Shoulder Whirl / Any Vector

Attributes Within the six core elements, these are some of the attributes one must develop to have sound Chinese boxing skills ▪▪

Kwa (hips)

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Si Gan (timing)

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Fai (quickness)

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Jun (accuracy)

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Faat Ging (release of force)

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Lou (flow)

Aaron Baum Dominated to take Chi Sao Title

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Alan and Aaron doing the work

Chu Sau Lei Wing Chun Chinese Boxing Wing Chun is a Chinese boxing art; therefore, punching and kicking should be key strengths, but often when you look at Wing Chun practitioners, they have no boxing skills. What you mostly see is a fast chain punch and, in training, a turning punch. (I say in training because that’s the only place it’s seen, as it’s hard to use it in real fighting if you can’t control the opponent with your Chinese boxing skills.) So let’s look at some of the skills needed to become a real Chinese boxer! Boxing Sport Boxing/Old Bare-Knuckle Fighting It’s interesting to hear people’s ideas on the development of boxing from a bare-knuckle fighting art to the modern sport we see today. It is commonly thought that the old pictures of bareknuckle fighters show a stance and fist positioning of an old method of boxing, which has now been improved upon. Nothing could be further from the truth. The development of boxing into a modern sport has changed the format and methods of striking due to the change in rules and goals. In some ways you could say that they are two different arts altogether. Using large gloves and heavy hand wraps allows the modern fighters to punch at their target in a grosser manner. It you hit an opponent’s face with modern gloves, you can impact with most parts of your hand and on the whole get away without hand damage to yourself. Many boxers do in fact suffer hand problems and injuries, due to the large amount of striking in this manner. 62

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Josh and Alan working Chi Sao skills for the street. Upwards Palm can break the opponents jaw.

Alan showing the chop which can be a fight finisher in the street.

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Broken hands after a fight are not uncommon. Also with modern MMA competitions, we are seeing many hand issues arising as many fighters strike as in modern boxing, but with only 4 oz. gloves. These gloves, much smaller than used in modern boxing, highlight the difference of striking with big gloves than with small gloves. In fact, these small gloves were introduced into MMA because bare-knuckle striking left many fighters with broken and damaged hands on a regular basis. Looking at the modern boxing stance, you can see the power line of the punch. The center of gravity in this type of punch is high and projected forward in order to produce power. It is a strong punching method, but is a very committed strike. Also in terms of transferring power and recall, it takes a lot of press through the shoulder joint. The rotator cuff is, by design, not for taking direct pressure but to stabilise the joint. So packing your shoulder joint and knowing when to delink and relax your shoulder joint is key. You need to have some healthy pressure in your training in order to keep your edge and stay true to your art. Otherwise it’s easy to drift off in the wrong direction and become unrealistic in your training methods and application. I‘m not saying everyone should fight in MMA competitions, but Wing Chun does have a platform in Chi Sao for friendly and healthy development. My teacher, Robert Chu, always told me, “Let application be your Sifu” and “Let function rule over form.” You can only achieve this when you gain feedback from pressure testing and pressure training. Competition can really help that process. Also, if you’re too old for competition or physically limited in some way, you can still train in an alive manner and develop deeper insights by setting goals for your training. A simple drill is the way to start out. Put on boxing gloves and one person will hit a lead spring punch and the other will Pak Sao the punch and try to not get hit and control the distance. You can do that for a few minutes then change or change after each go. You will see right away that the timing required to catch and control the punch and not get hit is not so easy! But after even a few sessions you will see your improvement, plus you have gained experience. This simple drill can be built on and added to, and intensity can be increased. Going back to the idea of self-defense, I often tell my students there is no such thing. You can either fight or you can’t. The best way to learn is by pushing your comfort zone, not pretending that just an application will work like magic. Self-defense is only really referring to the idea of defending one’s self, but to do that you need to be able to deal with a real situation, not a drill or a one-step application. Force flow is the skill gained from layers of skill in momentum control. This only comes from doing it and doing it well. No matter what your level is and no matter to what level of pressure you do it, just make sure you are testing your skills and gaining feedback that allows you to make adjustments to your art. 64

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CHAPTER 7

WAR STORIES

I

have been blessed to have a great group around me that has helped test and push our system to its limits. I would have never have taken my skills to the levels I have without them. The key to real body structure is within the layers. The six core elements are as much a part of what we do with them as they are words that empower us.

Avengers Assemble! Duane, Aaron, Alan and Pete

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Aaron Baum At this moment, I can safely say that the person trying to write these words wouldn’t be that person if I hadn’t walked into Sifu’s hall fifteen years ago. He’s got a lot to answer for. I’ve had some of the most memorable moments of my life with Sifu. And it’s a pleasure to write some words about those experiences and all that he has taught me, but more importantly, how he has taught me to develop myself, and grow and teach myself through looking at things functionally and with an open mind. “Be the calm in the eye of the storm, as all chaos ensues around me.” Sifu gave me this mantra on the run up to my first competitive fight, and it has stayed with me to this day. I’ve used this in so many situations since then, even when I haven’t realized it. This is an example of perhaps his greatest quality (besides the obvious technical knowledge he has passed down), which is that of instinctively knowing what students need, often without students knowing it themselves.

Aaron and Alan on a movie set in LA filming

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I’ve been there since the days of the church hall, from competing in bearpit atmospheres away from home, to seeing new and young students competing in and dominating fights, to filming in LA, hosting multiple MMA shows, to teaching in Singapore, to meeting martial legends, training with celebrities, getting my ass kicked by world champions and all the other things that have happened in between. It’s

been a wonderful journey—one that I couldn’t imagine when I first met him, those halcyon days when we both had hair and straight noses. In every one of those situations, I’ve remained calm inside while chaos surrounded me. This is directly due to the fact that, even when I knew bugger all, what I did know was that I had full faith in who to work with and help look after me. The family has grown and developed, as has Sifu, but this core quality remains strong. I see it in the new guys who are competing, the people who come to class with no experience and soon grow to want to spar and test themselves, to the guys with much experience but no confidence in what they know, seeing things turn around quickly with some simple, ring-tested advice. “Aaron, you’re competing in an amateur MMA comp in three months.” “Ok, Sifu. Cool,” I replied. As the phone went down, “Oh, shit,” was all I heard in my head. I’d never considered fighting but when he said I was, I thought, If he thinks I have it, then I’ll be okay. I was one of the first wolves to fight and when he said he couldn’t be there for the fight, I thought, Okay time to man up. It taught me so much, but I only managed it because I had faith in Sifu. I remember seeing my friend and lone wolf Richie lose first and all I thought of was the mantra he gave me and that I’d go out on my shield. These were two of the fundamental things Sifu first passed on to me: be calm and don’t be a pussy. Tough love, my man, tough love. I’ve fought in Newcastle a couple times, in atmospheres that are lively to say the least. I’ve not been sure whether we’d get out alive, yet with the boys and family with me, I’ve just laughed. My main man, Neil, has stashed anything he could get his hands on along the exit, in case we needed to get out quickly. I’ve walked into venues that were a tent in a field, with the lads at the door possessing only one ear. I’ve been in the middle of fifty guys going at it with chairs flying over my head. Yet through all of this, with Sifu and my family behind me, I’ve never panicked. It’s been fun, to be fair. And this from a guy with a good upbringing, who went to a nice school and had no idea he could do these things before Sifu came along.

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Aaron Baum Ground and Pound

Through the system and his teachings, you begin to feel truly confident in what you know. It works. Now many people, in many systems, spend years wondering if what they are practicing actually works. Self-doubt plagues them. I’ve never felt that. Many WC schools only train among themselves, back-slapping each other, thinking without proof that it’ll happen eventually.

Sifu travelled across continents to find the answer, eventually finding it in Robert Chu Sigung, who I am honored to call a friend as well as an elder. When we started fifteen years ago, MMA was in its infancy, unlike like now when BJJ and MMA clubs are everywhere. Sifu went out of his way to bring people over with the necessary knowledge to help push the school to new levels. We’ve been to hell and back in The Shark Tank from LA, with Sensei Eddy Millis pushing us to the limits of what we thought we could take. But we stuck together, pushed on, and grew as a group. Then we got hammered and were chucked out of a bar, before we carried Sifu home in a human sedan chair. All put down as training, of course. He said it was good for us. In 2005, Sifu told me to go and train with a black belt BJJ guy who was new to the country, the man himself, Leo Negao. How many other WC teachers would tell their student to go train with someone else? Rather than hide what he didn’t know at the time, he went out and found the answers for us. No bullshit anti-grappling for us, just time on the mats getting smashed actually grappling. Through Sifu, I’ve ended up training and becoming friends with one of the great martial artists and fighters of our generation. I can’t thank him enough. Yes, and Sifu also, of course, earned his BJJ black belt under Leo, leading the path of learning as always. I’ve met friends for life through him. Neil Broadbent and Simon Liste have been with me all the way; we’ve experienced ups, downs, laughs, beatings,

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and they have taught me some of the most important lessons of my life. I’ve seen people come into the fold such as Duane Harper and Sai Jun Mak, brothers for life, and I’ve seen them start from humble beginnings to running a full-time school, training champions, and being the man. Sifu has always said, “I want to train you to become better than myself.” We’ve tried, oh we’ve tried, but his passion for learning never dwindles, so we are still chasing the bugger. He has given us the framework to understand things, the freedom to explore for ourselves, and the balls to take names. I’ve been scared, excited, happy, sad, grateful, angry, and every other emotion under the sun through knowing Sifu. He has taught me skill, determination, passion, dedication, and how to be stubborn as hell, but more than that he has enriched my life in more ways than I can mention. A proper teacher. Wolves forever, bro! Bless brother. I remember well when Aaron first came to train with me. He had a bad back and was out of shape and not very fast to learn. Well, that’s what he projected. In a short time we forged him into iron! He became the rock of the group. When he had his first fight I was away on a trip. I could have asked him to wait until I got back. But I wanted the team to work as a team without me. I knew the experience of having to support each other would strengthen their bond and build trust for each other. It worked on many levels. Aaron stepped up and became command master chief of the group. Teaching has many highs and lows. Students can often use and abuse your trust and not respect your hard work for them. Aaron is a different breed. He is the most loyal of friends, the most trusted, the hardest working, most good natured person I know. What is a martial arts life about? Knowing you have friends that will be there when you need them and knowing you are waiting for a call to be ready to help them. That’s a true brother and Aaron is just that. The world is a better place with him in it.

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Duane Harper I met Alan Orr after I had been learning Wing Chun for around two years. I had risen quickly in the system I had been learning and was among the top people in the class. I had come to think that Wing Chun was easy to learn and get good at, as some people in the class had been coming seven years, yet didn’t seem to be able to Duane Harper showing how it’s done! hold me back or stop me from hitting them. I had noticed people shying away from me in Chi Sao practice and then just in general. At the time I had only tried Wing Chun as a martial art and had no real experience in any other system of combat. I was completely intrigued as we attended a seminar of a prominent Sifu and it seemed like Alan and the guy taking the seminar were at odds throughout. Others at the event were muttering about people being disrespectful and whatnot, but from where I was, it seemed to just be people trying to clarify facts from hearsay. All day Alan as very keen to Chi Sao, as were his students and me. Once the Chi Sao started it became blatantly obvious that Alan and his whole group were light years in front of everyone else, and this to me was a massive wake up call. I made sure I was there front-and-center when Alan and the other Sifu Chi Saoed, as I wanted to see firsthand how they matched up and it was pretty dominant from the get-go. Alan and his students were doing things nobody, including myself and the Sifu, had felt before and nobody had a clue how to deal with it. I loved the experience and asked Alan what was different. He said simply, “Structure.” Later at a meal with everyone from the seminar (except Alan and his guys) I was shocked and disappointed that the conversation wasn’t about how great they were but nitpicking about “ bad manners” and how “ they just used force.” This was a massive turning point in my life and I had witnessed the best Wing Chun I had seen to date and the levels of denial that people were prepared to go to dismiss it. I said to the group, “We got our arses kicked” and was told it didn’t matter because he was rude. I left that club immediately after the event and started making plans to train with my new master.

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My training with Sifu started a week later with the one-and-a-half-hour journey that became my Sunday routine, training started at seven so I had to get up at five to prepare, eat, and leave by five-thirty. At that time Sifu was teaching a small group in a local church hall or his garage, as an aside to his regular classes in London. I was apprehensive, but happy to be there. My first lesson was an eye opener to say the least with kettlebells, leg kicks, and sparring, all on the first day. I knew I was in the right place. I met the others and found them to be welcoming and friendly. What also stood out that day and became a staple of our training time was the level of detail that each position and move had; nothing was left out and everything had a reason for why and when. (To this day I am staggered by the amount of people that say, “It’s just a drill.”) Wing Chun and martial arts in general quickly became all I thought about and having such a generous teacher was like being given the keys to the kingdom. I was fortunate to be able to travel to seminars and workshops with Sifu and saw how others were around him and how what we were being taught was different than what I was seeing others do. I would mention structure and people would say, “Oh yes, we do that,” but when I touched hands with them it became clear they had the structure of a wet paper bag. I would ask Sifu on the way home and he would shrug his shoulders and say, “I show them how we do things, they say they really like it, but then go back to what they used

Leo teaching Brazilian First Aid! Tape and good to go!

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to do.” I found that bizarre then and I still do today, as it is still happening exactly the same way. Over the years my weekly pilgrimage to the garage would become a highlight of my week with Chi Sao, sparring, and grappling, all covered with details and solid drilling. At the time there was little information online and few magazines to read. I often found it very frustrating driving home, knowing it would be seven long days until my next Wing Chun session. I was saying this to Sifu one day and he said, “You should start your own group,” so I did, comprised of me and a friend that was training Praying Mantis, doing Dan Chi Sao in my kitchen for hours on end. The formula came organically; I would train with Sifu and he would give me some drills to do with my friend in the week that followed, then everything would be reviewed and refined, slowly but very steadily building my skill set. Twice a year we would have training camps of two eight-hour days where all the other members from across the UK would gather and train and eat together. I remember meeting Aaron Buan for the first time, he was a very approachable and very open with his knowledge. We became great friends and training partners almost immediately and remain so today. The sessions in the garage became more about grappling and sparring as time went by. I had become a full-time teacher to a Wing Chun class and also to an MMA fight team, all from the teachings of Wing Chun for striking and clinch fighting and from Brazilian Jiu Jitsu for the grappling as Sifu had been introduced to an exciting form of BJJ via Professor Leo Negao. Sifu had previously studied catch wrestling and we had Chin Na as part of our Wing Chun curriculum, so the BJJ was like a natural fit with what we were already doing. I was asked to teach BJJ at a local MMA gym and had the

Alan and Aaron after a battle

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Duane like a boss

The Good the Bad and the Ugly! You choose who’s who! Haha

opportunity to train with professional boxers and world-class karate fighters on a daily basis. This was a turning point for me as I realized I was capable of holding my own or better with most people I sparred with. Before long I was teaching the striking classes and organizing fighters’ training schedules, all from the information that was being passed down from Sifu. I now run a successful gym of my own with a BJJ team that boasts five British champions and MMA team that has three British titles, and a busy Wing Chun class. My life changed massively after meeting Sifu and I’m very grateful for all he has done for me over the years and I am proud to also call him my friend. I remember when I met Duane at the seminar. He said he wanted to come and train with me and I recall thinking, Sure, right. The guys at the seminar we went to were very closeminded. So when he turned up the next week for training I was surprised but also pleased to see someone who was humble and wanted to learn. Duane has become an inspirational figure within our family. He is a great coach and teacher. He has led from the front and set the bar high and his students do him proud. He is one of my closest friends and trusted brothers.

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Simon Liste “Never give up, there are twenty-five million excuses and only one reason why you should do it.“ My time with Alan Sifu was always one of hard work, but with lots of fun and development. Before meeting Alan, I had been training in WCK for two years. I would say I was a stubborn young man, determined to prove people wrong, including myself. That attitude carried on into my time training when I met Alan. The training would soon address that.

Simon Liste my first student who I who I owe so much of my early development too. Thank you brother!

Alan was quick to show me that anger and stubbornness are not always of benefit, especially in the form a palm strike! We trained together constantly; Alan showed great patience in teaching me and putting up with my rather large ego!

At the time, it was not apparent that we had both embarked on a journey; in my case, development in confidence and belief, for Alan, with me as his first student, the start of a martial arts evolution. Training was hard, but rewarding. At the time, I interpreted it as torture— going to the gym at six o’clock on a Saturday morning and on some occasions on a Sunday too, for lessons in punching, kicking, Chi Sao, and sparring— most of the time with me coming to the realization that without structure there is no defense, let alone any attack! The training increased and evolved over time. Alan’s appetite and desire to improve, grow, and dissect WCK was both mesmerising and contagious. Alan was relentless; he would seek answers to questions he constantly found in the practice of WCK. We trained and tested, most of the time leading to the sharpening of the sword through pain both physical and mental! It was Alan’s desire and persistence that led us to Robert Chu Si Gung. We travelled to LA to train and grow our WCK with Si Gung. Every trip provided us with enlightenment and enrichment within the system. Alan added and began to create his own flavor, continuing to challenge himself and those around him. Sparring was common place within our training. Even on holiday in bear-infested forests within Yosemite in the US. That day I learned a valuable lesson: leave some in the tank, you never know when you 74

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have to run up a hill to get away from what you believe to be a bear—true story! I have had the fortune, pleasure, and honor to know Alan for more than twenty years. Our time together has helped me become the person I am today. The training and development has been at times been painful, but without pain there is no appreciation for what you have and there is no growth. Comfort is where those that are content reside—which is not wrong or right, it is the choice of each individual. Alan is definitely not one to be happy with mediocre or being just okay, something I absorbed and embraced. I always look back at our times with happiness and a smile. Alan’s teachings and training go beyond the physical training, beyond the techniques. His training challenges you, pushes you mentally, puts you somewhere you feel uncomfortable, and where you sometimes have to face your demons. However, you are never alone; he is always there to help, to guide, a true definition of soft and hard within martial arts. Alan has and always will be my Sifu, friend, mentor, and brother, a true gentleman of the martial arts. I am forever grateful for the unconditional patience, time, and generosity he gave and continues to give me. Although I have to say that at my age waking up at 5 a.m. is not missed! Martial Arts can be a dark place at times. Reaching to pull yourself up and out of a hole and not knowing when and if you get out, what test is waiting for you. So when you have a brother in arms like Simon, the game changes and becomes a quest and an adventure. Simon has followed me to hell and back and together we forged an unbreakable bond. They say the path has no true end and it is within the walking of the path that you reach your goals. That could not be truer. The more we walked, the more we searched, the more we pushed on, the more we learned and grew. It’s all about the grind. That was lesson number one. That’s what I taught Simon. Forget about everything else, just do the work and all will be good. We were lucky, as I knew what my teacher, Robert Chu, Simon always pushing himself out of this comfort zone. Great Wing Chun punch in action! War Stories

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had taught us was pure gold. Once you have that in your heart, then you just have to put your head down and do your humble miles. One of the reasons I had Simon come to my house at 5 a.m. on a Sunday for training was simply because he didn’t want to! The first few months he would show up with his eyes half closed and not very happy at all. But six months later he would turn up wide eyed and pumped, ready to rock and roll. That’s when I knew he was changing. As a teacher it’s that change in students’ eyes that you see first. That’s when they become wolf-lean and part of the pack. Simon became more than that, he became the benchmark gatekeeper for my guys. He was the guy you needed to hang with if you wanted to test your skills, but also the one that would lift your skills. As I have grown older, I think more about how much I leaned from teaching Simon and how hard it is to find a good teacher, but equally hard to find a good student. And also how hard to is to find true friends. Thank you, brother. One thing we can take from these stories is that the structure of our system gave us an inner strength and the confidence in what we knew and trained to achieve, much more than normal.

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CHAPTER 8

SOLVING A PROBLEM

Interview with Hendrik Santo on WCK History and Development

M

y teacher, Robert Chu Sifu, told me many years ago that as his disciples that we must preserve the heritage of the Yi Kam branch of WCK, as it is very special, and a completely rare form of WCK. So with an introduction to my Si Bak Hendrik Santo, I was lucky enough to have direct instruction from him. Many will know Hendrik from Wing Chun forums. It has always amused me, as he has often shared very deep information and many have been so stuck in ego that they could not just step back and listen and learn. Over the last few years he has set out a clear path for development, which we have integrated into our CSL Wing Chun

Hendrik Santo

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Kuen. I thought it would be great to hear directly from Hendrik on his views of Wing Chun history and development. Yi Kam Connection Mr. Santo was the disciple of Cho Hung Choy. He received a secret document passed down from Cho Hung Choy. The document was a transmission passed on to Cho Hung Choy by Cho On (曹安), a successor of Yik Kam Wing Chun from Canton. The Yik Kam Siu Lin Tau Kuen Kuit were from 1840s red-boat era, during the reign of Shun Zhi of the Qing Dynasty. Alan: Sibak, how important is the Yik Kam Siu Lin Tau Kuen Kuit? Hendrik: This Kuen Kuit is one of the oldest Wing Chun Kuen document we

have today. It describes in detail the what and how that are the art of WCK during the red-boat era. Without this document we wouldn’t know what the WCK of the 1840 era was like and couldn’t trace the art and the sources of WCK by fracture evidence. Alan: What is your view of the history of Wing Chun? Hendrik: We know today, by evidence, that Wing Chin Kuen was the martial

art of the Red Boat Opera members and Wing Chin Kuen ancestors involved in the Red Boat Opera uprising in 1850s. We also know by evidence that, the Emei 12 Zhuang and Fujian White Crane are the mother art of the Siu Lin Tao set of 1840. Wing Chun Kuen further evolve after 1860 after the Red Boat Opera lost its uprising and escape, and this evolution continues on until today. Thus, there have been many changes in these hundred years of evolution by many groups and lineages of WCners. Alan: Your development over the last few years has clearly become much

clearer and focused. What has helped from that point of view? Hendrik: Thanks to the information era today, more and more historical data

on WCK can be found and tracked. With these data from multiple sources, we can match the common denominators, we can have a very clear view on what is the core of WCK. These finding help us to understand WCK better and open up new horizon for WCK. It also leads us to have a continuous, further, and proper growth based on a solid ground.

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Alan: You stress that the Buddhist Sutras are an important part of one’s

development. What advice would you give to a student new to learning Sutras and which would be a good focus. Hendrik: The art of WCK is based on Buddhism practice. Thus, the advanced

WCK are based on both highly develop martial art skills and well-developed, mind-body balance. Thus, as an example, the following sutra will help one to further understand mind-body development. The Six Patriarch Sutra of Zen presents a razor-sharp and direct mentality, while the Medicine Buddha sutra presents a humane heart. Alan: Before I ask about the six core elements as part of the 6, 13, 3, let me

ask you about the move from the Yi Kam family to iYi Kam. Some may be aware, but you have now focused your teachings to be more one foot in the traditional skills and one foot in the modern technology. What prompted that change? Hendrik: WCK is a technology. Technology needs to continuously grow to

stay alive and useful. On one hand, Yik Kam was an 1840-era technology. Certainly there are many things that are very useful and we can learn from; however, it is not the ultimate or perfected since it is a technology. One simply cannot solve today’s problem using solely an 1840’s solution.  On the other hand, today we have a solid scientific knowledge of physics and the human body, which is much more clear and refined than the 1840 era; we can make use of this to further benefit the art. Thus, the way to proceed for continuous improvement is to fuse both the ancient and the modern.  Alan: The six core elements have become the code of understanding to learn a

complete approach to the art. When did it become clear to you that this was missing from most Wing Chun branches? Hendrik: I spent almost four decades digging into what happened with WCK,

Chinese internal martial arts, and Chinese healing arts. And I found out their common denominator: the six core elements. At that point of this finding, it was very obvious that, objectively, any art that doesn’t have a complete six core elements is partial.  Alan: Many do not have these elements. Why do you think they were lost or

not taught? Hendrik: In my opinion, there are three major causes for the loss or lack of

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1. After the loss of the 1860 Taiping uprising, China was in chaos and the traditional no longer carried on in a healthy manner. 2. Due to the unrest in China from war between 1860 and 1970, there were only a few who have in-depth literacy in the traditional ancient Chinese technology.  3. It is a fact in history that many Chinese Sifus will intentionally not teach the key core concepts for their own security or family benefit. And some passed away unexpectedly or their selected successors were not able to master the key. The art was lost. Thus, in that situation we were lucky to still be able to retrieve and track down a big, critical part of 1840-era WCK. If we had not done so, in just the next decade or so it would be much harder due to society’s cultural changes and loss of tracks from the older generation of WCners completely passing away. Alan: 6, 13, 3 has become the standard for training and the path of

development. When did you see that as the key? Hendrik: My profession is a design engineer in micro-electronics; to deal with

technology, a solid and well-define system with details are required to ensure both a qualitative and quantitative mass production.  WCK is a technology, and since the discovery of the six core elements platform, it is predictable that the technology will not work or be passed to the mass WCners well without the 6, 13, 3. Alan: The iYi Kam transformation set really opened one’s mind to the core

skills needed to have a good foundation. Why do you think some lack the natural body skills it tests and promotes? Hendrik: The iYi Kam transformation set is a solution to solve the fundamental

holistic development and root core issues. But many do not have an objective, clear view of both the platform and the details of the WCK technology, instead relying on a personal view that is very subjective. Alan: You have been researching and developing more ways to test and

confirm the approach to the six core elements. Why, with so many ways to test skills now, do you think some people do not accept what we now know and change? Hendrik: Humans resist changes. It takes time for one to face the reality and

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Alan: In terms of the aim of Wing Chun and developing health and martial

arts skill, the problems we see are in locking the channels and incorrect use of the body structures. Why did Wing Chun lose its way? Hendrik: In my opinion, if you take a look at the history of WCK evolution

from 1860 to today, most evolution focuses on solving the surface issues or using a Band-Aid to survive the situation, instead of solving the important core issue. With this type of evolution continuous on for past 160 years, it is expected to cause heavy distortion or imbalance. Alan: The Wing Chun engine, as we term, is clear with the six core elements.

Some have added Tai Qi and other internally focused training, but they do not gel with Wing Chun proper as such. What do you think of that? Hendrik: It is like any technological design, one cannot just simply mix

unrelated or unmatched or unsupportive things up and expect them to deliver magic. Alan: How do you see Wing Chun developing now? Hendrik: With the 6, 13, 3 educational platform now clearly presented, it is

expected that we are moving toward a “Wing Chun Renaissance era,” where WCners will grow WCK based on the 6, 13, 3 platform in many ways. It will be a very exciting era, where creativity is the only limit. There are many, many ways one can solve a problem to get good results. When the science is known and handled with the 6, 13, 3 platform, one can be artistic in presenting themselves. You will see many new Wing Chun lineages surface and many top grandmasters will be born in this era.  

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CHAPTER 9

FIGHTER INSIGHTS

I

thought would be interesting for readers to hear from a few of my fighters and the impact of learning the six core elements in our Wing Chun. You see, it’s not just the physical; a lot of training is in the use of the mind and with a system like CSL Wing Chun, it gives you a layered skill set. Also, you will see that everyone learns from each other. Peter Irving I met Alan in 2005, at the behest of a friend who studied Wing Chun under Alan. I was unconvinced by Wing Chun. I was beyond sceptical, in fact, having already rejected the style as weak, outdated, and impractical. I suspected all purveyors of forms and katas to be guilty of attempting to codify and arrange something of which they were afraid, with a view to claiming a theoretical mastery of it. In short, I thought they were nerds who couldn’t fight. I gave in to my friend’s demands that I meet this new master on the grounds that he was also an MMA practitioner and had knowledge of catch wrestling techniques learned in the US, but I was preparing myself to be underwhelmed. I saw Alan coming down the road to meet us, not the frail figure I had pictured, but physically imposing. The proverbial brick shithouse, in fact. He greeted us warmly, like an old friend meeting again rather than a new acquaintance. I wasn’t exactly a novice at this point; I had trained with some masters, and seen my fair share of also-rans and charlatans. I was not easily Alan and Pete stalking

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Peter Irving Magazine Cover Star!

impressed and could at least tell skill from attributes and technique from tricks. Right from the start Alan presented something new and ingenious on every subject we trained and discussed. Body punches knocked me through the wall; low kicks deadened my legs, armlocks were more efficient even than what I had learned in Brazil. And it went on, from conditioning to nutrition and healing—his knowledge seemed to know no bounds. I was hooked. At the time, MMA training was done by training the separate elements here and there at different gyms and trying to piece together the different skill sets into something coherent. I was looking for missing links, a way to plug the

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gaps between wrestling and boxing. Here it was, unbelievably, not a way to reconcile disparity and shoehorn opposing ideas from different sports, but a complete template for training real and unconstrained fighting in its entirety. My first fight with Alan in my corner was in LA on Eddy Millis’s Invincible. It was a make-or-break time for me and the pressure was on. A few catastrophes hit the fight card at the eleventh hour, and as I sat boiled down to 155 lbs, my opponent changed to American middleweight champion Reggie Cardiel. I stuffed myself with buffet food and drank quickly to make it back up to the 12 lb maximum difference between opponents allowed by the commission. In the grand scheme I was still a novice, but I was used to nerves. I had enough fights under my belt to know the feeling in the gut and legs that comes over you in the dressing room. You sit there shitting and pissing and shaking while the victorious and defeated go out and come back in, puking, collapsing in front of you with exhaustion, filling the bins up with bloody bandages. I don’t remember any of that from that fight, though. I was oblivious. All I remember is Alan talking to me in the warm-up area and feeling like I could walk through a hail of bullets without dropping. The world shifted into the background and my opponent came into sharp focus. Between rounds Alan said three things to me; I said them back, did them, and won. It doesn’t sound

Big win for Pete!

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Alan and Pete after winning a war!

Peter always 100% committed!

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like all that much when I write it down, but there was some magic in the work he did that let me perform beyond the ability I possessed. I moved to London to study with Alan and our Jiu-Jitsu teacher, Leo Negao, full time in 2012 thanks to opportunities he created for me. The combination of technical input, physical care, one-to-one sparring, and friendship provided by Alan in that era enabled me to produce some of the best performances of my career, as well as some of the happiest times in my life. I have been around the block, and I have seen a lot of practitioners at work— the good, the bad, and the downright fraudulent. I would say that Alan is a genuine master of his craft, peerless in the world of Wing Chun. Moreover, he is a master coach in the areas of strategy, athletic preparation, and in the overarching view of the student’s life. In short, he cares profoundly for his students and for martial arts. I have to say, Peter Irving is one of the most inspiring men I have ever met. Nobody is so humble, nobody is so tough, and nobody is so deep and intelligent. Coaching Pete enriched my skills more than he will ever know. Working with a high-level athlete like Pete really pushed my skills to the next level and still does. The Martial Arts are a mirror and each day you have to look into it and see what is in your eyes. It’s only when you have faced real pressure and your demons that you can look with a clear gaze. Pete has a gaze of steel. Ben Koubaridis “Fighter’s Instincts.” I began training with Alan through a series of fortunate accidents. Sleeping on my brother’s couch, struggling financially while completing the final months of my teaching degree, milking cows in the morning before heading off to unpaid internships, I counted the days before I could return to Wellington, where I had begun training in Brazilian Jiu Jitsu six months prior. With my final internship weeks away from completion, the only thing keeping me was word of the arrival of a BJJ black belt from the UK. A quick search proved that this Alan Orr trained under Leo Negao, which sparked my interest. It also showed that he was world renowned in Wing Chun. My scepticism was high at this point. BJJ black belts are common these days, varying widely to the point where the feared black belt is no longer what it once was. Still, what did I have to lose? 


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My perceptions of Wing Chun at the time were the same of many of the Eastern-style martial arts: highly flawed and impractical when dealing with trained fighters. Sure, there were elements that were useful but, ultimately, I thought my brief time to train could be better spent elsewhere. I held this perception even when I began training wrestling and learning BJJ under Alan. Despite having success in grappling tournaments, I still never showed up to Wing Chun class. That all changed when I expressed interest in competing in MMA. With a small fight a few months away, I turned up to Wing Chun more out of loyalty to Alan than Ben Koubridis a true Iron Wolves pack leader anything else. I had already begun training Muay Thai, preparing for my transition from grappling to MMA. The first session was mind blowing. Alan kicked and punched harder than I’d ever felt, with minimal effort. His ability to generate force from close range astounded me. If I wasn’t the person being stricken and manipulated in the clinch, I would have sworn it was fake. I complimented Alan afterwards on how his “Thai clinch” was far superior to those I had seen and felt elsewhere. I could see Alan was slightly insulted when he responded, “That’s not a Thai clinch.”

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My perception of the art was largely based on my ignorant view that the forms and Chi Sao were what Wing Chun practitioners considered fighting. It wasn’t until Alan likened these to a speed bag for Western boxing that I began to see the connection between the formal training and application. I realize now that they are just tools to help develop skills. This perception is not helped by the fact that many Wing Chun “experts” themselves believe this is how you actually fight. Alan and his fighters, whom I have come to know, train, and fight alongside, were not the typical Wing Chun practitioners I had envisaged. These were not out of shape, deranged men standing around in weird outfits discussing hypothetical scenarios, believing their skill couldn’t be demonstrated in a sporting environment because they were in fact too “deadly.” Rather, they pressure-tested themselves every day on the mats. Some would then go on to compete, the results speaking for themselves. The results, of course, are something Alan never stressed about—that would always be left to us. Instead Alan always maintained that martial arts should enrich your life. Competition should be only for the benefit of your personal growth, while in turn using the knowledge gained to better refine techniques and pass that knowledge on. I had accepted a fight against Alan’s wishes. An undefeated opponent in his own backyard meant only one thing: they were looking for someone to stitch up. My pride meant that once we had gotten wind of this, I wasn’t backing down. Despite no combat experience and armed only with a solid BJJ guard and a couple months of Wing Chun, I swallowed the dry, recurring lump in my throat. Four days prior to the last-minute bout, we went to work coming up with a game plan. “Ok, listen carefully; this is how you’re going to destroy this guy.“ An hour’s worth of drilling three specific areas and that was it. My confidence was low because of how easily even Alan’s beginner students played with me during sparring. I had a false sense of security before Wing Chun. I was tough, I trained hard, but I had no idea how to fight. I was a pad puncher, nothing more. Nobody was more aware of this more than Sifu Alan. Alan’s words were clear and concise, his stoic nature amplified in fight training. Alan approaches martial arts if it were business.

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No emotion, just facts. With a game plan sorted, I left the gym full of confidence. That confidence lasted right up till it was time to wrap my hands. Backstage, moments prior to the fight, I paced back and forth. Running to the bathroom after taking a sip of water, terrified thinking—no, knowing— I’m going to get destroyed. I started to doubt everything I had been taught. Thinking I was just going to be another Wing Chun guy getting smashed on YouTube for the world to laugh at. Alan pulled me aside; to this day I’m unsure of what he said. All I know is he made me repeat his words back to him. I repeated the words again, then again. It was no longer a matter of me fighting, but simply following through with the simple instructions I had been given. I had no recollection of the thirty-seven seconds that resulted in my hand being raised, the promoter, crowd, and myself stunned. Everyone, of course, but Alan. I have learned just as much beyond the cage while training under Sifu Alan. He has changed my perception of the world, opened up new possibilities, and pushed me to reach my potential. For that I am indebted, and I look forward to repaying the favor one day. I remember when Ben told me he wanted to fight MMA and thinking, Really? He was a basic BJJ guard player that didn’t feel strong and couldn’t punch. But I could see he needed to fight. What I mean by that is something I have seen a few times as a teacher. Some guys have not tested their will to win and survive in life and they need to overcome the unknown. I can see often see into the heart of a student and know what is needed. Is it just a case of will they do what it takes? I knew Ben would commit once he had seen what CSL Wing Chun had to offer him. Teaching fighters like Ben is joy. He is always on time, always ready, and always focused. I remember telling him that it’s all about the grind. I have the system, you just need to get on and do it. He trusted me and has now become the toughest guy in the gym and my command master chief, setting the bar and bring the team together. A true warrior and great friend. Josh Kaldani My brother Nathan thought it would be a good idea to talk to Alan about my MMA career, as he was a promoter of a big show and had a lot of connections and experience. Nathan does a lot to look out for me, and set up a meet with Alan. Looking back, I think Alan had a plan as he told Nathan to bring some training gear and we could have a workout. We turned up and had 90

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a chat and Alan said I was tough but not that skilled! I had won five semi-pro fights and was looking to go pro. Alan told me I had the toughness but needed to have a more skilled game in order to do well. I knew I had strong wrestling skills and at the time good power punching, so I was not sold on his comments, to be honest. Alan looked at me like he was reading my mind and said ,”Let’s have a wrestle and see where you’re at.” I remember now the look in his eyes; he knew what was going to happen. I wish I had! Josh Kaldani wining We when right into a pummel and Alan Championship Belt controlled me at will! He was able to throw me around at will while chatting to my brother and giving me pointers all at the same time! I was all over the place. I broke the clinch and started to shoot; I hit air and then the ground and was being choked! I tapped and got up and just received a repeat of the same over and over! Then Alan suggested we put on the gloves and add some striking. We started going at it and I could not hit him! But he was hitting me at will. I tried everything and it seemed the harder I tried, the worse it got. In the end I was lost for what to do. I was getting my arse kick by someone twenty years older than me and I was gassed and he wasn’t even going hard!

After Alan sat me down and asked me what my plan was. I didn’t have one; I had no answer. He told me that was the problem. Without structural skills I was lacking understanding and therefore intention. He then broke down my last two fights and told me I should have won them in the first round. I had won them, but they had gone the three rounds. He showed me all the things I missed and did wrong. Then he showed me his CSL Wing Chun structure and how he was controlling me. He improved my power and my base right away! I was really happy and couldn’t believe what I was learning. So I started training with Alan in his garage three times a week, and he completely rebuild my game. He told me I would fight pro in eight months, as I needed to gain and train these new skills. Training was so much fun and Alan not only coached me but was my main sparring partner as well!

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Josh and Alan

The time came to fight. I was a new fighter with new skills and I knew what I could do and was ready to show it. I finished the fight in under thirty seconds and my next fight in the first round. Before every fight Alan talked to me and I just felt like I couldn’t lose with him at my side. I’m now a 4-0 professional and looking to make it to the UFC. The structure of CSL Wing Chun really has really been a game changer. Iron Wolves forever! When I first watched Josh fight, it was two years before we started training. I was thinking, Wow this kid is super tough and very humble and I would love to teach him. He was a raw talent and was winning by hard work. But I knew he had more. So the day his brother called me I 92

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was excited as I had my chance to show him what the power of our system could do for him. I remember when we first trained he was shocked, but he was also excited and humble. I knew then we would be become great friends. Josh has become a machine and is now a force to be reckoned with. I am humbled to be his teacher and a part of his journey. I think it is clear to see we are strong as a team and having a system has given us common ground to build on. My Sifu Robert Chu and my Si Bak Hendrik Santo have both many times told me always keep learning and developing, never just be a copy. We can do that, as they have set us free by giving us the keys to the system.

Josh and Alan after a big KO win for the main event in big NZ show

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C H A P T E R 10

CHU SAU LEI WING CHUN HISTORY AND YI KAM CONNECTION

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thought it would provide great insights to interview Dr. Robert Chu on his personal history of the development of his Chu Sau Lei Wing Chun system. Early Involvement

My earliest involvement in WCK was with a gangster character named Cheung “Ma Chut,” who worked in a restaurant and had learned WCK from his friends in jail. Because we both loved martial arts, we shared a common interest and began to share fighting experience. He taught me the basic exercises, Siu Nim Tao, Pak Sao, Lop Da, Dan Chi Sao, and Luk Sao, and we practiced fighting. He did not know the entire WCK system, so could only teach me what he was exposed to. This was when I was fourteen. Later, another friend, Raymond Kwai, had an elder brother, Eric Kwai, who studied Dragon Form, Bak Mei, and Wing Chun. Eric began to study the system under Moy Yat, and progressed through the three forms and Jong. We had a sparring match in which I thrashed him with kicks and hand combinations, but I noticed he had scored on me in numerous exchanges in close. I felt that there was something worthwhile in studying more WCK, and began to learn under him. I learned the three sets and the Jong, as well as relearned all the Pak Sao, Dan Chi Sao, Lop Sao, and Luk Sao drills and continued with the Chi Sao in exchange for my combat experience. Hungry for more, he recommended I study under Lee Moy Shan, his senior, as he felt I might progress faster and that the younger Lee would teach more applications for fighting than the older Moy Yat.

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Modern Master Robert Chu and Hendrik Santo

Formal Training Originally, when I studied WCK under Lee, I saw that there was no particular structure involved. Sure, we were told to stand and open the stance, toes pointed in, knees bent, hold our fists by the ribs, and put our pelvis forward and sink in our chest, but there was no explanation of why. We were supposed to simply copy the form and try to get the sequence of Siu Nim Tao memorized. Not knowing any better, I simply copied what Lee Sifu and my seniors taught me. Many people learn like this, and this is how the system is propagated and passed on. And unfortunately, this is why mistakes are passed down. Lee Moy Shan, even when he gave corrections, it was mainly to the hand patterns and not the structural root of WCK, which are the core methods to getting power.

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Inspiration One of my seniors in the Lee Moy Shan School was renowned as a theorist. His name was Ru Li Ping, and he had developed deep interest in Tai Ji, Xing Yi, boxing, and other methods. Li Ping was very good in sticking hands and took me under his wing and trained me in deeper aspects of fighting. I recall his method stood out over my seniors, who seemed to be externally rooted and simply wanted to cultivate more speed and power. Because we were both Chinese, we shared a common culture and we became the best of friends. Li Ping discussed that power needed to be brought up from the root that is the heels, transferred to the ankles, knees, thighs, hips, waist, back, through the shoulders, elbows and wrist, then finally expended through the hands. As I got to know him better, I discovered that his source of information was probably Tai Ji and Xing Yi; however, he did things with the basic WCK form. In practicing with Li Ping, I could often feel my balance non-existent, and I lost my central axis all the time. Also, he would stick to me and continuously hit me, all the while unbalancing me. The power he had seemed phenomenal, always with the full power of the body, yet always loose, flexible, and supple, as well as fast. Cross Training in Xing Yi Li Ping eventually introduced me to my first Xing Yi master, Kenny Gong (Gong Duk Foon), now deceased. Master Gong was a rarity in NYC Chinatown, a Cantonese Chinese herbalist, skilled in Xing Yi Quan, a northern martial art. He romanized it as “Shing Yee Chuan.” Master Gong had many American students, and he welcomed me and spoke to me in Mandarin, which he had learned along with Xing Yi. Master Gong taught me the Xing Yi Za Shi Chui (assorted postures fist) and Wu Xing Lian Huan Chui (five elements linking fist), portions of the 12 animal fist, power stances, and push hands skills. More importantly, Master Gong taught me the theory behind the internal arts, of how to link up the body and transfer force from head to toe. Now, one would think that this would ruin my WCK, but on the contrary, I found that the forms of Xing Yi and Wing Chun to be very compatible and complementary. My senior in Xing Yi, David Chan (Chan Bong), later stated to me that Wing Chun was very much like a smaller-framed Xing Yi. A push hands match with Chan Bong showed me I had greater hand speed and combinations, but he had greater power generated from his body and with that connected power, he could easily uproot me. Doubts With this understanding, I sought to understand why WCK seemed to not have root or body linkage, so common to the internal systems. The internal systems Tai Ji, Xing Yi, and Ba Gua all have this major emphasis on body alignment and linkage. Why not with Wing Chun? Although the history of the three major internal arts is different and these are termed “Nei Jia” (inner school), I believe they are called that because the only thing they really share in Chu Sau Lei Wing Chun History and Yi Kam Connection

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common is an emphasis on body alignment and joining of vector forces to Fajing (issue force). WCK should have this emphasis too, especially since it is a soft art. Perhaps WCK was taught improperly? Since the tradition I followed was mostly from Moy Yat, who learned directly from Yip Man, perhaps this was missing or withheld from the curriculum? These would be questions I had to answer. Moving on I had a bit of a falling out with Lee Moy Shan, and I decided to leave the school. Prior to my leaving, I inquired about the power of body linkage. His only response was that one should not practice unsuitable techniques (i.e., those that do not belong to WCK proper). Left with this, I decided to find other teachers to teach me WCK. Studies with Kwan Jong Yuen One of my high school buddies introduced me to my Yuen Kay Shan and Gu Lao Wing Chun master, Kwan Jong Yuen. Kwan Sifu, when he saw my WCK, felt that I had great potential and proceeded to teach me all the forms of the Yuen Kay Shan system, Chi Sao, partner exercises, and weaponry. I practiced both WCK systems simultaneously and drilled Chi Sao with some of my friends and private students to keep sharp. Every time I learned new concepts or forms, I would experiment on my training partners, and it was that application that solidified my understanding of the form. With application as my guide, it would only lead me to efficiency in WCK. Kwan Sifu’s teachings taught me to twist my arms in confrontation with an incoming attack, break down movements from the form for dissection and analysis, align the body with hand movement, break down core concepts into the twelve key words of Yuen Kay Shan, and the twelve keywords of Gu Lao WCK. Knives were actually the movement behind the fists, and application-wise his WCK was both simpler and more sophisticated, as it advocated taking the angles of the opponent. Kwan Sifu’s movements always had an emphasis of rising, sinking, swallowing, spitting, and shifting left and right. This became characteristic of my movement. My Time with TWC In 1983, William Cheung created a stir in the WCK world by introducing his “secret” version of WCK, which was allegedly taught to him by Yip Man. I was intrigued and began to follow William Cheung and incorporated many of his concepts of footwork into my practice. His footwork wasn’t such a secret, but rather an extrapolation of the Jong footwork. I also analyzed his forms and applications and found them to be a wider frame and longer distance. Although the choreography was different, the essence remained the same.

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Over the years, I discussed differences in TWC with Rick Spain, Phil Redmond, Marty Goldberg, Terence Niehoff, and others who studied the system. In my opinion, William Cheung’s system is one of his own personal interpretation, based on what Yip Man taught him. Going to the Source In August 1987, I visited family in Hong Kong and Taiwan. I first paid my respects to Koo Sang Sifu, a student of Yip Man, and asked to be a disciple. Koo Sang accepted me and taught me all without reserve, reviewing all the forms, exercises, and weaponry of WCK. Koo Sifu also taught me his particular applications of the weaponry and applications for fighting. His methods were direct and he emphasized using the body and alignment—his key teachings were that in application all would be revealed to the student. While I visited, I paid my respects to Master Wong Shun Leung, who invited me to train with him. I also spent a delightful afternoon with Master Tsui Sheung Tien, who corrected my Siu Nim Tao and showed me methods for increasing my body strength by using alignment in the form. While in Taipei, Taiwan, I went to visit Yip Man’s nephew, Lo Man Kam, and spent an evening with him. Lo Sifu was also very open with me, and I spent the time analyzing his teaching methods and flexibility in fading with his torso. I found his forms and weaponry to be in line with most of the Yip Man WCK elders and very much enjoyed his numerous apparatus for training, including the sand-bag dummy, gerk jong, diu jong, gwun jong, and hanging paper targets. Coming Home When I returned home, Augustine Fong gave a seminar in NYC, and one of my juniors from Lee Moy Shan’s school, named Jose Grados, invited me. Augustine went through his complete system and gave us a very thorough overview of his teaching system. His forms were similar but bore his own trademarks. Augustine was generous enough to teach me his sets of the pole and knives personally, as well as a set of Hakka pole. Meeting my Master I invited Hawkins Cheung in late 1987 to come to NYC and teach a seminar for my students. He was unable to make it until April 1988. Hawkins was very much into the combat applications, and his constant reference to the term “body structure” intrigued me. We did Chi Sao in his hotel room, and I saw that his use of body connection and power was exactly what I was seeking. Although others had mentioned this aspect of WCK training, few emphasized it as much as he did. For that reason, I felt that I must continue my training under him and moved to Los Angeles in September 1988 to continue my studies under him.

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Hawkins studied with the Grandmaster Yip Man on three occasions: first as a teenager, then after he returned to Hong Kong from studies abroad in Australia: and finally after he had studied Wu Tai Ji and Japanese Goju-ryu. I believe Hawkins got the essence of WCK directly from Yip Man. First, Yip Man and Hawkins shared a similar socioeconomic background, coming from wealthy families; second, Hawkins was small in stature and Yip Man would Chi Sao with him directly; and third, because Hawkins was of a similar mentality to Yip Man in his sense of humor and practical jokes. Hawkins often gave a red packet to Yip Man, or pocket money to the old man, whether he learned something or not. In a way, this made Yip Man feel somewhat indebted and willing to help Hawkins when he had a problem. Hawkins was also both a private and public student of Yip Man. Hawkins Cheung was small in stature, while big on cockiness. But I enjoyed his directness and he always treated me as a friend and student. I always had a no-nonsense approach to learning WCK, but Hawkins very much emphasized combat using WCK tools. His teachings on structural linking and delinking influenced me greatly. Structure linking is the alignment of vector forces to maximize your power. This is something I had already learned and incorporated; however, Hawkins’ teachings were clearer and came specifically from a direct WCK basis, Yip Man. Structural delinking is to dissolve that alignment when you are in trouble, so that your structure is not disturbed and you are still in range. Most important in his teaching is that he altered my way of thinking of WCK as a form, but rather as a method of application. Most of my training with Hawkins was in a private one-on-one training and discussion. I had already studied all the tools of WCK and learned all the forms and weaponry of the system when I began with him, so my desire to study with him was based upon refining the art I learned. When Hawkins taught me, he taught me Wing Chun Kuen, not Hawkins’ Wing Chun Kuen. I note the difference because often what he said to me was, “Think of yourself as the founder.” Because Hawkins was the adolescent training partner of Bruce Lee, Jeet Kune Do had influenced his thinking and he emphasized the importance of me achieving proper timing and intercepting the opponent using Pak Da and Jik Chung Chuie. Hawkins trained in many ways, like I had taught in NYC. He used focus mitts, air shields, kicking pads, heavy bags, jump ropes, and the various heavy bags. By training on devices like these, we were able to better gauge our power. Beginning a New Group After I arrived in Los Angeles, a mutual friend had referred a student to me and I began to teach. The student was larger than me and gave me a chance to exercise my body structure, but I often found myself jammed up in my attacks. I brought this problem up to Hawkins and he suggested I learn to “turn off structure”; in other words, if I caught myself all jammed up, I should let go and delink my body and also not walk in with structure every time with guns-a-blazing. This gave me the hint I needed. I was then able to work out that a person can

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transition from hand to hand, hand to body, body to body, and body to hand. These are core teachings in my method of WCK. Application over Form Hawkins’ whole emphasis was on combat. He would often tell me, “Teaching is not what makes a system survive. Application is. If you survive while using a system, that is how a system survives.” I found his words to be true because inherently a martial arts system is a combat system, first and foremost. Hawkins was fond of telling me a famous old martial arts saying: “First courage, second power, third skill!” This summed up his approach for me, which is why I push my students to excel in application. Had I not studied with Hawkins, I would have still been complete, but to learn his mind-set, learn his approach, and model his teachings gave me an exceptional edge over my peers. He was, at that time, the ideal mentor. Being able to combine the classic with the modern and emphasize the application and not the form is what keeps WCK alive. From this understanding, my mind sprang forth my two mottos: “Let application be your Sifu!” and “Let function rule over form!” Hawkins was fond of saying, “The theory is fantastic! But can you really do it?” In answering his “Zen Koan,” I know that a student cannot rely on his Sifu to be the bridge from ignorance to wisdom. The student must cross over for himself. In doing so, a Sifu can help a student and mentor him, but the student must do the work. So I’m quite skeptical when other teachers speak of having a perfect transmission and unbroken line of a system. All must come to understanding for themselves. It is not through a Sifu’s training that guides you, but it is through his teaching that you save time. Time, of course, is the basis of kung-fu and the most precious commodity we have. Hawkins emphasized a lot of distance fighting. His Bai Jong was never in a Chum Kiu stance, but always with the right leg forward. Many people think that JKD is unique in the right-lead stance. Perhaps compared with boxing it is unorthodox, but in WCK we fight with the right lead and right leg forward for distance fighting. That is, when there is no contact with the bridges. In having no bridge, we seek to build a bridge. We close in on the opponent and force them to have contact with us. Then we can apply our skills at close distance.

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Development In teaching my own group, I had the partners and students to experiment with Hawkins’ teachings, allowing me to develop further. Since I had already studied numerous sets and systems of WCK, I did not want to mix-and-match a new conglomerate system, but rather, wanted to reengineer WCK from the basis of functional body alignment and emphasis on application. For example, let’s take the straight punch in WCK. Most people pull the hand back, but for us, upon contact, we press the opponent. This allows us to break the opponent’s balance, control his timing, and set him up for the next blow. We keep the elbow in so we may use our punches to deflect additional attacks. We cock our fist with a natural bend at a fortyfive-degree angle to further emphasize alignment. And to protect our elbows we never snap our punches, but extend them ninety-nine percent to protect the elbow. So when people ask if what we do is Hawkins’ form or Moy Yat’s form or Koo Sang’s form, I reply that we are doing it based on application. This is what makes the WCK alive in this generation. Stupid people would think they must get this information from their Sifu, but if application is their Sifu, they can get the information when they try it out. Hawkins’ legs Hawkins’ kicks were famously great. It was said in WCK circles that the “Kick does not miss” and I would say that Hawkins is exemplary in his leg methods. I painfully learned his kicking methods through first-hand experience. At one time we sparred and I threw and attacked him from a distance with different methods: Muay Thai round kick, sidekicks, long-arm punches, boxing jabs and crosses, and the like. All were countered with swift counterattacks with the legs, and despite our height difference and arm length, he was able to effectively keep me at bay or set me up with another combination to stop my attacks. Of course, in this exercise, I did not try to injure him, but I realized why Hawkins had a fondness for leather soled, hard-heel boots. My shins and knees were battered and bruised the next few days! I applied much Dit Da Jow to heal. Coauthor In 1996, Rene Ritchie approached me to write and co-author chapters in the book that would become known as Complete Wing Chun. This project was in collaboration with Y. Wu, who conceived the idea, and Rene Ritchie, of whom I developed a respect for because he was a fellow Yuen Kay Shan/Sum Nung WCK practitioner. We completed the text in about a year and had numerous contributions. The book was a gift to the WCK world so that we could all see we were one family, despite stylistic differences. The last chapter was something that editor Mark Wiley asked me to do—he said that people couldn’t come to a conclusion by themselves and needed help to sift through all the information. I think we did the best we could at the

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time. I would say the last sentence of the book is the most telling: it was my sincere desire that people would not misuse or distort history to fuel their own fantasy-based, made-up systems. The book was published in 1997 by Charles E. Tuttle Company. It has gone through three printings since then, remains a classic in the field, and avoids unnecessary politics of which system is the ultimate “true” system of WCK. Private Lessons In 1999, I began to pursue my career as a full-time alternative medicine health professional. Privately, my daughter was born in May and I was beginning to get the knack of being a new father. I began to work in different clinics to gain experience and eventually worked full time as an acupuncturist and herbalist. My time to teach dwindled and I began to teach privately, only one-on-one or in small, private group classes. Numerous people began to see me, including Mark Wiley, David McKinnon, Terence Niehoff, Benny Meng, Dzu Nguyen, Alan Orr, Simon Liste, Marty Goldberg, Jeremy Cohn, and others. I had to book the time over a weekend to teach, sometimes teaching ten hours in a day. I summarized my teachings so they could be taught in the quickest, most efficient way. This led to creating the structural tests, line drills, keywords methods, and numerous partner drills to be taught along the classical forms, wooden-man set, and weaponry. In my classes, I did not like it if we, the partners, attacked using WCK, because my philosophy was that WCK should not fight each other and on the street people would attack differently. So I always had my students attack using other systems. I guess you could say in my classes I always taught mixed martial arts and WCK side by side with a realistic look at how other systems would confront you. CSL WCK Spreads In teaching students privately and one-on-one, I took them to a high level in a relatively short period of time. They, in turn, had their own groups, partners, and students to work out with and eventually my system spread and flourished throughout the US and through Europe through the efforts of Alan Orr, my European representative. To differentiate our system from other WCK, it was named it Chu Sau Lei Wing Chun Kuen in my honor, but whereas it is a training methodology they follow that was created by me, I do not dare claim I made a new form of Wing Chun Kuen or a new eclectic system. It is simply my training methodology that they have adapted, overlaid on the classical Yip Man system, and expressed with the proper tools, principles, and concepts in the proper timing and positioning expressed by a person stylistically in a certain moment. Yik Kam Wing Chun In the book, Complete Wing Chun, several lineages are discussed, and unfortunately, some nonsense and made-up history were in the book. Some of these alleged branches were mere Chu Sau Lei Wing Chun History and Yi Kam Connection

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fabrications of these contributors. I’d prefer not to identify these individuals. But if I were to do a rewrite, I would certainly leave out numerous chapters. It was pioneering research at the time, and the last chapter, in which I wrote, “It is sincerely hoped that this work will not be misused to merely create more believable ‘ancient mythical marketing slants’ for newly formed ‘lost branches’ of Wing Chun Kuen.” That is exactly what these individuals were doing. Since that time, others have researched further into other branches of WCK, and certainly other systems have emerged. In mid-1999, a gentleman named Hendrik Santo had called to visit me in Los Angeles, and we had lunch together. He had contacted me to discuss the history of his branch, preserved in the Cho family boxing art, also referred to as Yik Kam Siu Lien Tao. This branch of WCK was new to me, but I had heard stories of the Cho family in Southeast Asia. Mr. Santo was the disciple of Cho Hung Choy, whom I knew about from an old New Martial Hero magazine from Hong Kong back in the 1980s. Mr. Santo, a tall, handsome Chinese of Fujian descent, had an impressive background; was fluent in Mandarin, Cantonese, Fujian, and Indonesian; had grown up in Indonesia; and was Cho’s disciple, to whom he passed down a secret document. He shared it with me. The document was a handwritten transmission passed from Cho Hung Choy to Sum Chum, the successor of Yik Kam Wing Chun in Poon Yee Village in Guang Dong. Cho Hung Choy, although he studied with elder relatives in Southeast Asia, returned to China to study with Sum Chum for over a decade. The young Hendrik Santo was very interested in martial arts, at age of eleven in Judo, and Venerable Sek Koh Sam’s Shaolin kung-fu. Later, he switched to Kyokushinkai Karate, and at the same time studied Wing Chun under the late Grandmaster Cho Hong Choy. Cho family martial arts was famous throughout southeast Asia and represented old-school, village-style teaching over a broad spectrum of forms, including forms from Hung Kuen, Choy Lay Fut, Lama Hop Gar, Fujian White Crane, and the treasure of the system—Wing Chun. In Indonesia, he studied Chinese Buddhist Sutras to learn the language. This foundation allowed him be very literate in Chinese, which was outlawed in Indonesia. Wing Chun became his core study after 1977, and he studied different Chinese martial arts directly or indirectly for personal research of Wing Chun. For example, he had to look into different lineages of Taiji, Fujian White Crane, Yi Quan, Emei 12 Zhuang, and other arts. Before Cho Sifu passed, he shared with Hendrik a very important document that went with the form Siu Lien Tao, and this document preserved the core essence of the Yik Kam SLT set. It was the accompanying Kuen Kuit that described the history, essence of the art, and key points.

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The Yik Kam Kuen Kuit were written in 1840s during the reign of Shun Zhi of the Qing Dynasty. If we look at that time, we understand that China was embroiled in a civil war—that of Hong Xiuquan and his Tai Ping Tian Guo revolutionaries. Hong, a Christian fanatic who failed the imperial exams, became a quasi-Christian cult leader in Southern China and wanted to overthrow the Qing Empire. The civil war lasted for twenty-one years and was responsible for an estimated twenty million to one-hundred million deaths in Southern China, extending from the Yang Zi valley all the way through Shanghai and Nanjing. A unique feature of the war was that many battles were on the waterways of Southern China, and included a group familiar to us as the King Fa Wui Gwoon—or association of fine artisans—the Opera Boat people. According to the document, many hints were given to us by the author, although not explicitly citing sources in the Western sense. China, throughout the centuries, had a very low literacy rate, and Chinese scholars did not footnote in the Western sense, yet the Chinese acknowledge who wrote or said what through famous lines. For example, we know today that, “Know yourself, know your opponent, one hundred battles, one hundred victories” is a quote from Sun Zi. With this knowledge, Hendrik Santo began a career studying the origins of WCK that stemmed from many sources, and some amazing signatures throughout many famed systems. I have always told my disciples that we must preserve the heritage of this branch of WCK, as it is very special, and a completely rare form of WCK that has been preserved until today. Over the last few years, I have authorized my top students to learn from Hendrik Santo the intricacies of this system. Present Day My current training is to cross-train using the best of classical Asian and modern methods. For example, I have actively trained in kettlebells, Chi-ishi, Shi Sou, and weighted jars, as well as medicine balls, bands, weighted vests, hammers, sandbags, and a variety of weight and bodyweight exercises to develop aerobic capacity, anaerobic endurance, flexibility, and tight, wiry muscle tone. I do not favor the blown-up body-builder’s body. I also advocate iron body, qi gong, and standing meditation drills and internal work, meditation, and yoga. Part of my work is also to preserve systems and I have inherited the mantle of the Yik Kam Siu Lien Tao system and the Gu Lao WCK systems, which I preserve separately, but teach alongside with my WCK. My methods can also be taught separately in a one-on-one personal training method without the formal training methods of forms. Alan Orr refers to this as “Chu Sau Lei Chinese boxing.” I want to help individuals grow to reach their full potential spiritually, mentally, and physically. The ancient Greeks had a thought: “Civilize the mind and make savage the body.” This is an ideal I aspire to.

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C H A P T E R 11

INTERVIEW WITH ROBERT CHU

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wanted to include this interview with Robert Chu Sifu on the history of the six core elements, thirteen states, and thee system keys and their understanding within Wing Chun. Alan: Wing Chun families have heard various versions about the history of Wing Chun. What are the common facts between most systems? Robert: As far as commonalities of Wing Chun history, one thing is certain: at one point in all the family histories, all Wing Chun men were on the Red Boat Opera junks, and this is the only definitive history we have. But there are other clues, for example: the “Chun” of Wing Chun can mean “sex” or “opera.” “Wing” means the “praise of,” so “praise of the opera boxing” is a fitting name for WCK. Alan: What can we say we know to be history and at what point does it become myth or opinion? Robert: Anything prior to the Opera is only speculation. For example, myths and folklore of the venerable five (Bak Mei, Ng Mui, Jee Shim, Fung Do Duk, and Mew Hin) are folk legends in Southern fist. The stories of the founding of the five ancestors of the Tian Di Hui and Secret Societies (also known as the Hung Mun) are also possibly fictional. A look at Qin Bowei’s and Dian Murray’s Origins of the Tian Di Hui list numerous versions of the myths and although some of the historical figures are real, it is largely a merging of history, myth, folklore, and fantasy. So prior to the red-boat opera, it is speculation; after the red-boat opera, it becomes history. Alan: What is your view of Wing Chun’s history?

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My master and mentor Robert Chu

Robert: My opinion is that Wing Chun Kuen is a fusion of different fist influences; in particular, Fujian White Crane and perhaps the Emei Snake movement found in Emei Shi Er Zhuang. It has been speculated that WCK comes from the snake and crane styles, so there is a hint of evidence here. In the Yik Kam Siu Lien Tao system that I have studied under my Sifu, Hendrik Santo, there is a direct correlation to the long set Siu Lien Tao and the Twelve Zhuang of Emei, and there is no denying the similarity in stance, hand pattern, body usage, and power to White Crane. Fujian White Crane’s five element hands and Zhao Yang Shou pattern are present in the Yik Kam Siu Lien Tao system, and even in present-day Yip Man WCK. These five seed patterns are the basis of Chi Sao and fighting applications in WCK. Aside from that, I have the writings (Kuen Kuit) passed down from Yik Kam, which show a definite connection to the writings in the Emei 12 Zhuang system. Complete passages correlate to the teachings in the Emei system, which give us complete documented historical proof that WCK is derived from Twelve Zhuang. There is no speculation here.

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Alan: When we have no written evidence, what would you say are the best methods to research Wing Chun’s past? Robert: Other systems have no written evidence and merely have conjecture and speculation, folklore, and myths. We have actual written proof and it can be cross-referenced with writings from the Emei 12 Zhuang system and Fujian White Crane. Of course, the next-best methods of researching Wing Chun’s history would be to explore the oral traditions of all the systems, then comparing and contrasting WCK with the systems I mentioned for the commonality. Alan: What would you say, from your research, is the development of the system? Robert: I believe the system has its origins in White Crane. At the fall of the Ming Dynasty and the rise of the Qing Dynasty, the last daughter of the Ming Emperor was hidden to save her life. This Zhu Gu Niang (Princess Chu) was entrusted to a general, who had her taken care of by a loyal retired soldier surnamed Fang. They fled to Fujian province, Yong Chun County, and since the local dialect was different, Zhu Gu Niang became known as Qi Niang, and she adopted the surname Fang so she would be undetected by any Qing. Her name in history is recorded as “Fang Qi Niang,” and she became the creator of Fujian White Crane, based on the battle methods of using sword and shield. One hand protected while the other hand attacked, which is basically Wing Chun’s basic principle of Lien Siu Dai Da (link defense while striking), commonly known as “simultaneous defense while attacking.” The stories of Fang Qi Niang and the alleged Yim Wing Chun are too similar. In many instances, the characters are interchangeable and although the time frame and names are different, the events are almost identical. Of course, many people have other theories. As a historian, I know many points of view, but support them with what I know. When one is scholarly, one can discuss from many points of view and not just one point of view. Alan: Where did the weapons of Wing Chun come from and how can we see the development of them? Robert: The weapons of WCK were probably local civilian weapons popular amongst the populace. The twin knives are present in the White Crane system. The twin knives were originally the double sabres of the Northern systems, but in South China were replaced by shorter, more easily concealable knives for assassination. The Small Knives Association was famous for its short twin

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knives and probably had a connection with Wing Chun. Southern systems have an affinity with the long pole, which is based on the Northern spear movements, yet used with the right-hand leading, rather than the left. Alan: The Chu Sau Lei Wing Chun system uses what was referred to as “body structure” as its main guiding principle. What is your view on why some teachers in Wing Chun use body methods and other do not? Robert: First of all, “body structure” is a terrible term. The integral part of WCK is how to generate power using the body. I once used the term “body structure” to describe that form and function merge. And as you can see, it became a buzzword in WCK, where everyone copied a particular shape or geometry. They spoke of it as part of their system, and how it looked. Every day I see copycats, so I guess I should be flattered, but in reality I am disgusted with the ignorance with which they propagate it. But over time, I felt Hendrik Santo described it best, by delineating the six core elements, delineating the thirteen states, and the three system keys. Santo Sifu’s teachings give us the keys to unlock the ancient and link it to modern training. The six core elements are the: 1) Body The physical realm is where we begin, and the first piece is to prepare and use the body correctly. We start with the equal shoulder stance, the Zi Ran Zhuang. The seven bows, combined with the muscles, tendons, fascia, and bones, are the form or structure of the body. We flexibly and freely use the body while storing potential power in our joints for the devastating inch punch or “noinch” strikes in WCK. The body states include:

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Open (Kai): The body is open, the joints are open

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Relaxed (Song): This is movement when open. There is no unnecessary tension in the body; the tendons are loose, the muscles are loose, the internal organs hang in their natural states and anatomical placement. From here, the skeleton is also relaxed and dynamic, not locked and rigid.

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Peaceful/Agile (Qing/Ling): You feel loose and lightweight. It is as if not even a feather can alight.

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Robert Chu in action

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Robert Chu in action

2) Mind There are four functions of the mind: thinking, visualizing, intention, and awareness. This core element is concerned with entering and staying in awareness. The mind states include: ▪▪

Settled (Ding)

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Quiet (Jing)

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Peaceful (An)

These three states are the stability of the mind states; they are not concerned with thinking or mind chatter. Actually, this is entering into Samadhi. 3) Breathing Breathing has four states: ▪▪

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Breathing like wind (Feng): the breathing is crude, audible, and forceful.

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Forcing breathing like panting (Chuan): the breathing is stuck, not smooth.

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Shallow breathing (Qi) is the shallow, common chest breathing

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Full-body breathing is the refined full-body, lower-abdominal breathing. Breathing in this way follows the spine’s movement with inspiration and expiration. There is lightness, like feeling “levitated.” The body has a dynamic sway due to inhalation and exhalation, like a “willow swaying in the wind.” As Zhuang Zi described: “The true men of old . . . breathing came deeply and silently. The breathing of the true man comes from his heels, while common men generally breathe (only) from their throats.“ This Zu Xi Fa (heel breathing method) is the breathing of the sages.

4) Qi Element The Qi element deals with the flow of energy in the body. We balance the body, mind, and spirit  through the Qi element’s channels and meridians, which is used for self-healing and regulation of the body. Qi states include: ▪▪

Readiness State—after the first ten states, we begin to sense qi flow without blockage.

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Qi surfaces state—in maturing with practice, we gradually sense, without blockage, the energy activity of the body.

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Qi flow handling —We manage the flow of energy to move in the twelve proper channels. One can really consider this the beginning.

5) Ging Ging is the power, or force flow, trained power, and path of power. In Yik Kam WCK, the force flow is concerned with the  trajectory and impulse of force. The force path allows us the alignment of  joints, for action and reaction forces within the body to neutralize or issue forces in defense or attack. These happen instantly through the hydraulic system of our body. 6) Momentum, Sai, or Potential, or Tendency To properly  handle the momentum—using, creating, and destroying momentum—we can sustain incoming force and neutralize it. Later, we can add momentum to our tactics and strategies in combat, such as borrowing force, float, sink, swallow, spit, and break the central axis of our opponent.

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For us, using momentum is the basis of WCK applications. We realize momentum is of the utmost importance in martial arts, not techniques— as when crossing the street we are only concerned if the momentum of an approaching vehicle can harm us, not its model or make. We differentiate Yik Kam WCK as we differ from most body-type martial arts, as we immediately go for a force-line type of delivery. Strikes must be controlled in the moment and with any part of the body. The momentum handling is the art of giving birth to (Sheng), subduing (Ke), controlling (Zhi), dissolving and neutralising (Hua), and weight or making use of weight (Su). In the five elements, Sheng is wood, Ke is fire, Su is Earth, Zhi is metal, Hua is water . . . but these will become more apparent when we explain our applications. There is a lifetime of study available with these interactions. Other teachers do not use these methods in Wing Chun. With the adoption of Hendrik Santo’s system, we have a greater, more holistic approach to WCK. Alan: In the Chu Sau Lei Wing Chun system, we have a 50/50 stance, while some other Yip Man frames have 70/30 and even some have 90/10 (we can use the second form as a reference to this). Why do you see this? Does it show the roots of Wing Chun? Robert: It is known that Yip Man taught differently at different times in his life. I think what has happened is that a fluid system has become crystallized. In other words, interpreting as a fixed body structure is, again, wrong. We are always situationally dependent, based on a person’s dealing with force at a proper time and place. People with a lack of understanding have mistaken it to be fixed. It is dynamic; hence, when ignorant students did not get explanations, they made an alive thing turn into a dead, fixed thing. So, using the term “body structure” is improper and suggests a fixed thing. Today, we can use rotating discs to determine whether people understand how to use their bodies or not. We use this to easily determine a person’s development of the six core elements. Alan: Do the differences in stance show the roots or evolution of Wing Chun? Robert: Really, 50/50 is nothing special, it is a starting point that allows you to move weight to redirect or store pressure. Of the thirteen states, we speak of the body as open, loose, agile, as if not “a feather or fly could alight.” It is always as if we are a scale in balance, and our reaction is determined by our

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feeling. The percentages change with the amount of pressure you are dealing with. We are situationally dependent, so based on the opponent’s energy toward us, at what time and place, we neutralize them accordingly. You could say that in advanced stages we have a more defined specificity in accordance with the opponent’s intentions and no fixed stance or positions. I think those who are fixed and rigid, again, have no understanding of the six core elements and unintentionally misguide their students, or simply, they don’t know how to teach. They are merely passing on the dogma of their particular system, but not teaching or emphasizing functionality. The bottom line is that they have neither the Ti (body of knowledge) nor Yong (application) of WCK. Alan: In regard to the six core elements, do the weapons used in Wing Chun use similar principles? Robert: Even the weapons in Wing Chun must be employed using the six core elements. If one does not use the body, mind, breathing, Qi, force flow,

Master Chu in London trying out Pagoda Imports excellent products

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and momentum, one cannot cut with the knives, despite how sharp the blades are, or one will have to muscle the eight-foot-long staff. Hawkins Cheung once remarked to me, “You have to use the staff as if it were a toothpick.” Without force-flow play, control of momentum, proper breathing, use of the mind, Qi handling, and using the body properly, not many can move a staff as easily as a toothpick. Alan: What would you say is the next evolutionary state or stage of Wing Chun? Robert: Wing Chun without the six core elements, the thirteen states, and the three system keys is empty. It’s merely a facsimile of a fighting system. But WCK with the six core elements, the thirteen states, and the three system keys is a holistic system that seeks to develop individuals who can reach their full potential. A person in our system can become a leader in health, in selfdefense application and, for a few, in the arena of sports. I think that, overall, we develop a person in all areas and produce well-rounded individuals, mentally and physically sound. MMA events are showcasing only martial arts that can fight and do well in that arena. However, it is a sport with its own rules and certainly limits as to

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what is acceptable in the ring or cage. I envision my WCK students crosstraining in ground fighting, and adapting modern cross-training methods with kettlebells, weights, body-weight exercises, and flexibility training to produce athletes for these sports. But this is only a small part of how we can benefit society. Diet, nutrition, classic methods of acupuncture, and herbs for optimal health and fitness—along with modern and classic martial arts training—are the areas in which I now concentrate. I think fitness and health is a gift from your parents prior to age forty, but after age forty it’s what you give yourself. Alan: So what would you say would be the reason why a lot of the older systems of Wing Chun used a slant body of weight shifting. Was that a sign of the times? Did the defense of more weapons than empty hands mean more body avoidance? Robert: Perhaps it is a lack of understanding of force-flow handling that these systems shift ridiculously and are unable to protect their central axis. These systems have an external focus of only handling a little weight and for the briefest of moments. Perhaps these individuals were physically unable to manage forces on their legs and taught and passed on their lack of knowledge to their descendants. A skyscraper is not built from the top down, but from the bottom up. So I really cannot comment favorably on these teaching methods. Alan: If that were the case, would say that you could map the development of Wing Chun from looking at the forms and the changes in the understanding of them? Robert: A system is a body of knowledge, not necessarily only a means of fighting. Since Chinese systems have various emphases at different times, they may change accordingly. The younger Yip Man in Hong Kong in the 1950s was different than the older Yip Man in the early 1970s. The numerous changes and variations he taught his students reflect different emphasis. Also, in imparting knowledge to students, you have some with wisdom and others without.

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C H A P T E R 12

FROM STRUCTURE TO ARCHITECTURE

Unmoveable But Invisible

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aving a physical structure gives you a start point. But it is by no means the end point. In fact, a fixed physical structure can be as bad as having none when used incorrectly.

“Unmovable but invisible” was what I was looking for and what I found with Robert Chu. The next steps were learning to use what I had found. This is the real alchemy of the martial arts. But once again, the point is often missed by many. This is the mastery of force flow. Like a bridge, it is designed on certain principles that must be used in terms of the engineering, but the design and look can vary greatly. The laws of physics must apply whatever the design. A structure must be able to take pressure and redirect stress, but also have ways to deal with extra pressure and external forces. Wing Chun is much the same. You learn the principles of the system, and you have conceptual applications based on the environment you’re in. But concepts are not just doing whatever you think works within the principles; they are also based on solid ideas within the principles. Not just random thoughts on a whim, as often seen. Principles 1. A fundamental truth or proposition that serves as the foundation for a system of belief or behavior or for a chain of reasoning. 2. A general scientific theorem or law that has numerous special applications across a wide field. Principles show you the frame and mechanics for controlling and mastering your own movement.

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Concept Definition: an abstract idea or notion; an explanatory principle in a scientific system. When building, it is not just the structure, but the total architecture. Everything impacts and can add or subtract. That is the dynamic flux we see in the classical teachings of yin and yang in the Chinese arts. The “unmovable” is the easy part and many have been confused by thinking that it is the answer, when it is only the starting point. Often referred to as “rooting” in the Chinese martial arts, it is the basic requirement to be able to hold one’s ground at the right time. Again, “rooting” is often misused as a demonstration of power, with someone trying to push a static person holding pressure via this skill. This is very basic and just the start of understanding your own body, but it’s not the art and it does not mean you have fighting skill. Having good understanding of body mechanics and muscle linking is basic but necessary. Once you have this skill, then linking and delinking muscles and controlling vectors are where you start learning at a higher level. The “invisible” skill grows from this point. This is where you now have the timing to make decisions so quickly and easily that the opponent cannot even tell if you are holding your own position or not. Every time that you try to press or push, they lose balance and control. This is force flow and momentum control, which are the true reasons for Chi Sao. One must learn not only to understand one’s own body but its interaction with opponents, and make decisions based on this information. Architecture Today many people try to attain a complete style of fighting without a basic mastery of a system. This means they have many techniques but no guiding understanding of when to use them. They may freeze up under pressure, as their minds have to work overtime to make a choice of which techniques to use. Sensitivity training is great for developing an understanding of flow and correct choice of movement. Testing your system: In the art of Wing Chun we have Chi Sao to test and hone our ability to make the correct decisions within our system. In grappling we use pummelling drills; when in stand-up and on the ground we roll with our partner. These methods are core systems training, as they allow you to have a template to work from. Within the rules of the system you must master the game; only then can you break free from the boundaries and make your own rules. This doesn’t mean you can’t be eclectic, but you must have a very deep understanding of the martial arts and have reached a level of mastery.

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But are these tests? Yes and no; they are good ways to develop the skills in part, but you must understand correct principles of body structures when in stand-up or on the ground. Many say they do, but when they give an explanation, it cannot be tested. It is like math: you have an equation that will work out the answer. Your system is an equation and you must understand it in order to know how the answer came about, not just be told the answer by someone else. When in stand-up fighting you must know how you correctly control your center. When on the ground, again, you must understand how to use your weight and position. So far I see a higher level of ground control on average than I do in stand-up fighting. I believe this is because in grappling we roll with partners a lot and learn to feel when things are working and when they are not. Also when they are not striking, people relax and do not tense up as much. So in stand-up you must learn to use your center and control your opponent’s center without striking and then with striking. This will allow you to relax and feel correctly if you have balance and control. It is the heart, not the art. This often means it is the individual that makes it work, not just the art. Yes, I do know guys who do not train in martial arts and you really would not want to come up against them. But equally I know guys who, because they study the arts, are in better control and have become even tougher, but the philosophy has made them calmer and more controlled. But where does the heart come from? Some, as I said, have it already. Most develop it from becoming more confident via training in their chosen art. This is a big part of why most start martial arts, but often I see that the average practitioner does not have the level of confidence to make the art work for him. Why? For any martial art to work, you need to believe in it! You have to know inside you that you have the skill. If you have a doubt in your mind, this will destroy you. The other downside to self-doubt is insecurity, which is often transferred to others. Some instructors and students will often project negative states due to this. We’ve all seen it: instructors who hold back students because they are worried that the students are learning too quickly and may out grow them. Also, bullying in its many forms holds back and damages the student’s development. I know it seems crazy that within martial arts this would exist, but it does. The way to overcome all of this is to understand the system you train in so you can develop that confidence. To understand your system, you need to know how it works, you need to know why it works, and when it works. You must also understand how the system relates to its underlining key methods. With these tools you will be able to build your knowledge to the higher levels of skill. What is a system? Style and system are often confused by practitioners of martial arts where they are told to follow, dogmatically, the actions of their teachers. They copy their teachers’ styles but fail to fulfil their potential because they lack the intellectual and practical discipline of a system. To really define systems theory would take a chapter or even a book, so what we will discuss on systems will be enough for you to see the benefit of this way of training. We will, however, concentrate on providing ideas of how to test your art and improve your methods of 122

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training. For a system to be effective, it must be clear, structured, and prove to be effective in practice. Without a true system there is no clear sense of progression, no comprehensive level of competency, and ultimately no sense of established confidence, whereby the art begins to become second nature. My good friend and student, Kieron Deahl, has had a big impact on my teaching and personal development. A psychotherapist and NLP master practitioner, Kieron introduced me to NLP and much more. Whenever I teach him I learn something new. The six core elements—body (physical), mind, breathing, qi, force flow, and momentum—all become so much more important once you start looking at the art as a system within a system. We put this next part together to help students understand more on learning. Let’s look at some key system elements that work together. A: A purpose belonging to a person (Intention) All living systems have purpose, even if it is only the purpose to survive, but people can develop consciously by knowing what their purpose is, observing its success, and learning to adapt. B: Sensory feedback Once we have intention and begin to act, we get sensory experience. This can be called feedback. We can see, hear, and feel what is occurring and what we are doing. It is feedback on our intentions. We can use it to adjust our actions and to get our intended results. At the next level we may change how we approach things if our method doesn’t work. C: An embodied set of structures When we act physically, we start to learn the different elements involved. How the different parts work together become known as a set of structures we understand. A system is formed as we learn a structure of relating the different parts into one overall whole. Throughout, our purpose becomes responsive to feedback to achieve all the sub-functions that are needed to maintain the whole. When we are mindful of the purpose of an action, the feedback comes straight back to us and we can easily adjust and maintain its function: simple actions that work become automatic. These simple functions can then link together to achieve larger, more complex functions without the need for conscious thought. If you have learned with both intention and feedback centered in yourself at each level, then it will all come together as an integrated whole. You are the system and your overall intention will make all

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the elements work automatically and responsively. You have gained intuitive skill (unconscious competence) and the whole system is “self alive.” Teachers are like parents: they must support your first steps and point the way, but simply copying them is not enough to reach the higher levels of mastery. We must use the inherent systemic learning qualities within us. Children may need to be told what is right or wrong, but later they must think for themselves. Even if your school has a style with all the answers, it will not belong to you until you have experienced trying to make each part work and bringing it all together. Otherwise, you could easily end up with an accumulated set of dead techniques with many gaps between them that require decision-making. In our system, two students at a good level will be constantly flowing during practice. Even if they are equally matched, they will not reach a clashing point or dead end. This is due to systemic awareness. In other words, their intentions to go forward and win are balanced by their acceptance of the opponent’s actions and incorporating these actions. Equally, it is not a case of switching from attack to defense, but of feeling the whole system. At one level we may be redirecting their force while at another level we are simultaneously issuing a more powerful force to control the system. The superior student has the more complete systemic awareness. This finer calibration can only exist if you own your intentions. Establishing Effective Levels of Learning Mental game plan: Let’s look at some of the methods I use to teach and check what I am teaching. If your student can clearly understand at what level they are working with, then they can work with a strong intention and receive a higher level of success. These terms come from systems modelling {note 1} and can generally be categorised as: Level 1: Procedure Performing a technique in a specific fixed way. Level 2: Process Learning to use the method to ensure it achieves a desired result. Level 3: Pattern Understanding how to achieve the desired result without any one specific method.

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Although these are essentially different, they can also exist at the same time. I will both further divide them and overlap at the same time to create more precise learning levels. Following are the ways I personally use the levels. Level 1 Procedure:

A simple mechanical action, i.e., the correct order of movement to perform a technique. This is the basic level of principles and sequence.

Practice:

Calibration of the skill. We check the effect it has. Does it do what we want it to do?

Process:

What is the outcome of the practice? We now have feedback to adjust and ensure that the result is correctly achieved.

Level 2 Mindful procedure: We have an understanding of the use in repeating a basic skill in order to teach our bodies to perform the movement. Therefore, even at this level we can iron out technical errors by repeating correct movements. Mindful practice:

At this level we can practice the skill with a finer level of understanding of procedure, therefore calibrating at a much deeper level.

Mindful process:

Our awareness within our feedback is much more layered, therefore we can now start to look at any level of training from different points of reference and see what needs to be adjusted in order to improve.

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Pattern:

We can now see and achieve the type of result we want in many different ways, as we have the skill control and the intention of our goal. This is the skill to organize principles to work and flow together.

Mindful pattern:

As we now understand fully the levels and patterns within the system, we can see beyond the patterns and start to feel and experience the pattern rather that just identifying them.

Mindfulness:

This is the level of unconscious competence. We now make multilevel choices without even having to check through our procedure or process level, as we are now self-learning. Therefore a superior student has a more complete systemic awareness. This

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idea also appears in the tai chi symbol: yin and yang, but yin within yang and yang within yin. They do not and could not exist without each other. It can only exist in the mind of the observer, not in the thing observed. This is why so much is often missed. If you do not know what you are looking at or for, you will not see. Now a student can see which level or area of learning you would like them to be working on, rather than them trying to guess or just do what they think you wanted them to do. This is very important, as I have seen students who work very hard, not knowing they are working hard at the wrong level. You may have students who have experienced some of the skill at the pattern level and think they understand it, which they may. But they may not be able to do it, as they never mastered the original procedure level, which therefore means their process level is flawed. So in learning about these ideas of structuring, we can communicate our teaching and what depth of practice is required at any time. Teachers who input knowledge and empowerment, rather than just tell you what do, are a key to success. When System Becomes Style Sound concepts and principles give life to a system. They are the laws of the system. The Chu Sau Lei Wing Chun system is based on these ideas, and that is why it stands out. All students can master it! You can see a person’s style if you have an eye for what you’re watching. Like in many sports, all the players are playing the same game, but they all have their own way of doing the same things. The game is the system and the way they play is their style. When the application of the principles and concepts of the system become personal, that becomes style. I think this is a main misunderstanding in the martial arts today. People talk about what style is the best, when in fact style is only truly a personal expression. Structure gives awareness; as you feel comfortable in the space, this gives a feeling of confidence. Having confidence allows you to express yourself more freely. This is now your style. In Chu Sau Lei Wing Chun, our “system” has a structure—or better still, from within this structure our teaching of the system also has structure. A system within a system. True architecture! Knowing your system in depth is what will ultimately free you of it, as you no longer have to learn, just do. Liberation is a feeling of oneness with the system.

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C H A P T E R 13

SEVEN BOWS

Nothing in this world is a gift. Whatever has to be learned must be learned the hard way. —Carlos Castaneda Seven Bows

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hen we look at force flow, the Seven Bows are an important component on many levels. Action and reaction force can only work if the timing for action and bow sequencing are all working together. Center of Gravity/Center of Mass Often there is confusion regarding the use of the terms center of gravity (COG) and center of mass (COM). The concept of center of mass was first introduced by the ancient Greek physicist, mathematician, and engineer Archimedes. He showed that the torque exerted on a lever by weights resting at various points along the lever was the same as what it would be if all of the weights were moved to a single point therefore—their center of mass. The center of gravity (COG) of the human body is a hypothetical point around which the force of gravity appears to act. It is the point at which the combined mass of the body appears to be concentrated. Because it is a hypothetical point, the COG can move, depending on one’s movement and action, as well as considering one’s weight, height, and body type. (COG) Center of Gravity The center of gravity can be simply described as the average location of the weight of an object. In terms of Chinese Medicine, the Dantian or, dan tien, is referred to as our center. The access point in Chinese Medicine is Ren 6 (Qihai), “sea of qi,“ which is three cun (Chinese inch)

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below the navel. The internal cavity of the pelvic area and below the diaphragm is really the Dantian area. It is often used as a focal point for meditative breathing exercises. We do not recommend that practice, as it can cause stagnation. Awareness of your center is the key, not focusing on specific points. Learning to feel your weight in movement is very important, as the COG does not remain fixed in anatomical position. The precise location of the COG changes constantly with every new position of the body and limbs. Gravity is one of the most consistent and influential forces that the human body encounters in posture and movement.  Gravity acts on your standing-still body; then the center of gravity and center of mass remain the same. Movement changes this, as the force of gravity is affected. At the point at which the entire mass of the body is assumed to be concentrated, the gravitational torque acts on the body and the origin remains the same. In a uniform gravitational field, the center of mass serves as the center of gravity. The more you lean, the more torque (turning force) this creates and the more likely you are to topple over. Therefore, turning into your center and not around your center, rather than trying to turn around it, is key. If you want to hit hard and still have control of your balance, you must understand where your center of mass and gravity is and understand how to control it and use it to produce power. To hit hard, you must impact with your body weight at speed. So you must be relaxed! If you are tense, you will punch much slower and with less power. If you tense before you hit, then you will not transfer your body weight into the impact. In order to hit hard, you must link your kinetic chain of muscles together on impact. To do this, you must be able to contract and relax your muscles very quickly. Torque is important in developing a faster whipping speed and to recruit and balance the power issued and the power feedback from impact controlled via your center of gravity. Imagine someone took a bucket of water and threw the water in your face. The result would be that you would get wet, right? But if just before that water hit you it turned to ice, what would the result be? The ice would be solid and therefore heavy. It would now hurt! Before the impact of your relaxed punch, you must feel the torque in the body and kinetic connection with control of your center of gravity, with your muscles loaded like a spring to help fire the muscles needed to direct and drive your power. And then on impact you must transfer your center of mass forward and connect the muscle contractions on impact, linking vector forces.

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“Inch power” is the term used for short-range power. This is when you cheat by not having much distance to develop your speed. Many think that it comes from wrist mechanics, but it does not. This is when you can relax and contract your muscles very quickly and transfer your body one inch forward to put maximum weight into your punch. This is why a small guy can hit hard, using total body weight and maximizing speed. And why a heavy guy who’s slow can lack power. Of course, a heavy guy with relaxed speed, good weight transfer, and muscle contraction on impact is a problem! “Song” means loose and relaxed of unnecessary tension. This is our natural state of movement, and allows Qi to move throughout the body. I tell my students: relaxed but not collapsed, spiralling the snake body, and control of toque via bow sequencing. In terms of the Seven Bows, the hip area is one of the bows. The center of gravity (COG) is only one of the bows. Many have started to copy structural ideas and talk of center and breathing and so on. They add Tai Qi to their Wing Chun practice. The Yi Kam Wing Chun has taught that WCK already has its own engine and when you understand the six core elements and Seven Bows, you do not need to add from arts with different engines. Momentum Standing is just the start. The key is in the sequence control and momentum control. Understanding momentum is one of the key core elements of deeper layers of control and mastery of movement. The real key to the COG is that with the Seven Bows and momentum control, you have seven centers, not one! Depending on which bow is in control or which sequence you are using, you are able to hide your center while controlling your opponents.

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Horizontal and Vertical Horizontal and vertical, or X and Y axis, refer to basic axis that we can track in order to direct or return force via the best vector. Also, in terms of bow sequencing and adjustment, we can ebb and flow at a micro-level to cause an opponent to stutter on a neuromuscular level or sequence each bow so smoothly they do not feel the changes, only a loss of balance and control. We already use our minds and bodies at complex levels. And we make many assumptions in movement and timing. The key to martial arts training is the deeper level of understanding the possibilities. We become masters of assumption! Catching a ball seems easy and mostly is—when you have not done it before. If you take a ball and throw it to someone to catch, most often they will just catch it. But they have made many assumptions on a subconscious level. A lightweight ball you just catch with your hand. If the ball is bigger or looks heavier, you will use your hand and elbow, or hand, elbow, and hip. An even bigger ball would require adding a release of toque in the spiral of your body movement. So you see the use of your bows and sequencing, plus the mind element being used.

Tennis ball example

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Medicine ball example

Large Medicine ball Example

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The Seven Bows

Foot

Ankle

Knee

Bow Sequencing The bow sequencing is what gives us the dynamic structure and smooth movement. Force flow and momentum control can be obvious or hidden. The higher one’s skill, the more hidden the skill becomes. Like a wave pattern, at the lower level it is easy to see that the wave (movement) is bigger. When movements become more refined, the wave pattern becomes smaller and therefore harder to see. This is why it is often hard to see when you do not have the training. Once you start using the bows, you will have more power and better control skills, but it will also be easy to see until you develop it more. Once you have trained your forms with force flow movement in mind, you will start to have calibrated layers within layers.

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Hip

Shoulder

Elbow

Wrist

The key to the lower bows is they must not be locked, so rooting for too long is not the answer. The stance must be open and loose and relaxed; the lower bow skill is all about coupling skills of the foot bow and pressure is always moving. The timing of controlling the path of force flow is key to not becoming locked or struck when using force flow.

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Wave Pattern—from Obvious Skill to Hidden Skill Wave Diagram In a wave pattern, you can see the ebb and flow of movement. As the movement becomes finer, the wave is harder to see. At a high level the wave looks like a straight line, but in fact it is just that the sequencing is so quick and smooth that it becomes invisible to see. If you were able to look at it as a wave pattern and zoom in, you would still see a wave pattern, which is what enables deeper skill and momentum control. Basic Structure Testing Testing basic structures with the Bosu Ball provides a thousand ways to train and test your balance! By standing on a Bosu Ball, you are making the ground unstable, which in turn means your control and your bows have to be much better. This is a great way to test and develop your layers of timing control.

Waveform diagram

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Neutral Position Diagram

Action Force Diagram

Reaction Force Diagram

Pulse Diagram

This is basic protocol I use when helping my students build awareness in testing. BASE Balance – Weight/Awareness Alignment –

Understanding Vectors and Distance

Stability

Positioning/Angles

–

Evaluation –

Adjustment/Force Control/Feedback

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Reaction Force – Dale pressures forward which allows Alan to take the force and return it to Dale which bounces Dale out of balance

The Bosu Ball makes the ground unstable therefore much harder to use Reaction Force. So it makes for a good test of skill. Alan uses Reaction force to pulse on and off to disrupt Dale’s balance. Bow sequencing is the key to smooth force control and the Bosu test proves you can control both your opponents and your own at the same time.

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Again the Bosu Ball makes a good test of skill as Alan has to use bow sequencing to take Dale’s balance but control his own at the same time.

The Spine as a Bow The spine is also a bow but it has so many layers we do not include it among the seven classical bows. Each part of the spine (i.e., lumber, thoracic, cervical) can link or delink as well as redirect, disperse, store, and release energy. Torque builds a rope-like strength which can become a spiral when loose and relaxed, but not collapsed.



Spine Wave Spine Wave Spine Thoracic Spine Pelvic Pump Cranial Pump

Spine Basics Forward Flexion and Extension Rotations Lateral Slide / Lateral Hoop / Forward Flexion and Extension Bow and Arrow Wave Hip Lock / Wave Neck lock/ Wave

These are some of the spine basics we use in CSL Wing Chun Kuen. However, before you can develop the spine bow you have to deepen your seven classical bows and learn how not to use tension or stiffness in the spine.

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C H A P T E R 14

AWAKENING SO FAR

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ing Chun should be a martial art undertaken with a balance of fighting and health in mind. The six core elements help set out a protocol that allows one to always be mindful of the balance of the art. Body

Mind

Breathing

Qi

Force Flow

Momentum

By now you should be getting a feel for the layers of the six core elements and how they work together to balance the art of Wing Chun Kuen. The next chapters will cover more on force flow and momentum. The interview in chapter 11 with my teacher, Robert Chu, gives a clear breakdown of the six core elements and more. This is a brief review of the key areas and also an introduction to the mental methods we use in CSL Wing Chun in combat and Chi Sao.

Body: biomechanics, seven bows, muscles, tendons, loose and relaxed (song) Mind: thinking, intention, visualization, awareness Breathing: Long, deep, and fine. Lower abdominal breathing Qi: biochemical and bioelectrical fusion leading to biomechanical efficiency Force Flow: Faith of force flow, open your seven bows, action and reaction skill, axis awareness. Coupling rather that rooting. Momentum Handling: Timing of bow sequencing, control of weight (mass) and velocity

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Chu Sau Lei Mental Methods If you look at our CSL Wing Chun mental methods, you can see the see how the six core elements are so important, as at every point of Wing Chun we use layers of the core elements. 1. Mun Fa/Yin Fa—Asking, inquiring, and enticing. Asking can be done with the hands, pressure, body, steps, and technique. In asking, you pressure the opponent and use four ounces to offset his 1,000 pounds. 2. Jou Fa—Running, avoiding pressure or running from pressure, using pressure to give rise to new situations and techniques. 3. Jeet Fa—Methods of intercepting; beating the opponent to the strike, recognizing threat and immediately shutting it off with the hands, body or steps. 4. Tao/Lou Fa—Methods of leaking and stealing, seeing an opportunity and taking it, or passively finding it. 5. Jiu/Gor Fa—Common methods of Gor Sao (crossing hands) such as Tan Da, Pak Da, Lop Da, etc., in singular and combination. Typically, it is a technician’s level of training.

Chum – methods of collapsing a person’s structure or sinking

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Dai Fa – methods of guiding, leading an opponent

Jeet Fa – methods of intercepting – beating the opponent to the strike

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6. Sim Fa—Methods of evasion with steps, body displacement, dodging, and hand movement, yet close enough to continue through. There are two major methods: using the torso to evade (small evasion) or using steps to evade (large evasion). 7. Dai Fa—Methods of guiding, leading an opponent to walls, objects, and directions other than where they wanted to go (i.e., opponent wants to attack you, but you guide him while adding on to his power). 8. Jie Fa—Methods of borrowing an opponent’s power, energy, and momentum against him; this is closely tied to pressing the opponent and leading him. 9. Fou—Methods of floating, unbalancing, and uprooting an opponent. 10. Chum—Methods of collapsing a person’s structure or sinking. 11. Tun—Methods of swallowing an opponent’s force and dissolving it; also related are methods of storing power with the body, and folding methods to absorb an opponent’s power. 12. Tou—Methods of expelling force in contact with the opponent; also methods of extending your force through an opponent.

Tao/Lou Fa – methods of leaking and stealing

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Tun – methods of swallowing an opponent’s force and dissolving it

13. Tuen Fa—Methods of breaking and delinking the body connection in an effort to preserve the body structure. 14. Jip Fa—Methods of linking up the body connection once the connection is broken. This is the opposite of Tuen Fa. 15. Chi/Mor—Methods of sticking and rubbing the bridges 16. Bik Fa—Method to close in. 17. Tor Fa—Methods of dragging the opponent. 18. Tui Fa—Methods of pushing and shoving. 19. Saat Fa—Methods of finishing. These methods give us more intention of our movement and application. Often when learning, students can be lost in learning movements and applications but not have a plan or intention to follow. As we know, if you do not have a path to use force flow, then you will be struck. So it is key to see the path and create the path.

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C H A P T E R 15

TYPES OF WING CHUN PHYSICAL STRUCTURES

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ome WCK systems have elements of structure, but many fail to understand which parts of their system are working for them and which are not. The structural frame is one part of the system, but even at this level many are not in agreement on the correct structural frame. Can we have different structural frames? Yes, we can. I have a few friends in different branches of Wing Chun that have different frames, but they do work within the principles of Wing Chun and sound body mechanics. Others teach “structure” but have no clue of even the basic requirements of sound biomechanics, never mind structural dynamics! Some WCK systems fail to recognize their strengths and weaknesses. The purpose of this chapter is to examine what makes a good structural frame.

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It is not “static,” it is “dynamic,” but the framing is a look at the structural positioning and vector alignments. Dynamic structure has both physical and mental components. You always begin in a neutral, balanced Yee Gee Kim Yeung Ma (YGKYM) stance.

Good Tan Sau Posture for Vector Control

Analyzing the Basic Wing Chun Frame Yee Gee Kim Yeung Ma • If your stance is leaning back, you place your center of gravity behind you. There is no “triangulated pressure” in front of you, because your center of gravity is dragging you backwards. • If your stance is neutral, you place your center of gravity beneath you. Therefore, gravity assists in sinking your whole structure. 148

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• In a neutral stance you start from a point of control. Wing Chun must evolve and develop with the environment around it.

Incorrect Leaning Back Leaning back to much causes a drag on the structural frame. This causes a negative vector drag so the triangle floor pattern some talk about is behind them rather that in front of them.  

“Slant Body” Wing Chun Kuen probably evolved because weapon use was much more predominant than it is today. Moving your body was more important than immediately engaging the opponent’s center. If you have a narrow stance with your knees and hips locked in, you sacrifice the ability to sequence your bows. Types of Wing Chun Physical Structures

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The tighter your hips are locked it, the less they can be fully engaged. If your hips are a little wider than your shoulders, you can move your hips freely. If you push your hips forward and lean back, your center of gravity falls behind you. If you load your body correctly, you can achieve good body structure even with a narrow stance. However, with a wider stance it is easier to receive pressure from a variety of angles. It gives you greater stability.

Leaning Back Diagram Incorrect SNT Leaning back stance - Centre Axis is not in alignment and causes a backwards drag and puts compression into the lower back

Incorrect Leaning Back Stance

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Incorrect Rounded Back Structure • In some ways a “bowed back” will give you structural power, as it can aid incoming pressure in being loaded into the hips. • The problem occurs when the subsequent pressure is not then loaded into the ground, as the knees are often too far forward. • This “rounded force” has the effect of scooping you off the ground instead of stabilizing you. • This leaves you open for “sliding.”

Incorrect Hunchback Posture Incorrect SNT Hunchback stance - Centre Axis is not in alignment and therefore causes drag on the structure

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Incorrect Hand Triangle Structures • Triangle structures are not always correct for Wing Chun Kuen. • Many practitioners assume you should create triangle structures with your arms. • Triangle hand structures can create good wedges, but they may leave you wide open for outside attacks.

Tan Sao Vector Too Low Incorrect SNT Tan Vector - Vector is to flat no angle to direct into the body

Chi Sao • Forming triangles, by keeping your wrists on the center line, in Chi Sao, gives you no structural power and allows your opponent more opportunity to attack from the outside and obtain “free hits.”

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Incorrect Knee Positioning • As well as leaning back, Wing Chun Kuen practitioners often have their knees too far forward while in YGKYM. • This causes the vector force to incorrectly stem from the knees. • Incorrect knee positioning inhibits your connection with the ground, which can result in you being pushed along the ground.

Tau So Vector Too High Incorrect SNT Tan Sao - Too High causes the Path of Force Flow to not transfer down 

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Incorrect linking—Pushing a heavy box • When you link your joints, you are making your body more connected and structurally stronger. • Unfortunately, many Wing Chun Kuen practitioners only statically tense their structure. • If you have a locked static structure, you cannot be rooted. Therefore, it will be much easier for your opponent to move you. • With a locked, tense body, you become an uprooted “heavy box” waiting to be pushed around. Incorrect Lower Body Structures It is really important to understand how triangle positions and shapes relate to Wing Chun Kuen, but Wing Chun isn’t entirely based on triangles. Many practitioners believe that having your “heels out and toes in” and projecting a triangle while performing YGKYM gives you a strong stance, but it doesn’t. It is only a position. If you sit in your stance and lean back on your heels, your center of gravity falls behind you. Your feet positioning will not give you “triangle power.”

Lan Sao Too High This puts pressure into the shoulders rather than into the body

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Incorrect Vectors in Wing Chun • A Western boxer’s attack often has strong issuing power. • Unlike Western boxing, Wing Chun Kuen is also structured to receive an opponent’s pressure in order to utilize it to an advantage. • One of the reasons you do not tense your shoulder in Wing Chun Kuen is that a relaxed, mobile shoulder allows you to have more control of incoming pressures. • If you are in a neutral stance, upon receiving pressure you can shift your center of gravity to load the pressure into your legs. By doing this you gain pressure to add to your own attack. • Your attacks should “pulse” and shoot out like a machine gun’s multiple bullets and not like a cannon’s single cannonball. • Even when you strike, you need to control your posture and your center of gravity. You always need to be in control of your momentum. We have addressed some of the issues in static structural frames. In the next chapter we will look at the correct dynamic structural frames and show the basic components of force flow.

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C H A P T E R 16

BIOMECHANICS OF DYNAMIC STRUCTURAL POWER DEVELOPMENT AND CONTROL

Force Flow

I

f you don’t have correct force flow skill, will you have confidence when facing a bigger, stronger assailant who isn’t going to go down on your first punch? It is essential to have these skills to overcome stronger opponents. With the seven bow skill you should have confidence in your ability to take advantage of a person’s balance and use force flow. Simply hitting your opponents is too simplistic. Of course that is important, but often you need to control their balance and take away their ability to use any power. This structure will give you the power to control someone who is potentially bigger. Good dynamic structure gives you the ability to read the opponent’s position. • It gives you the ability to load your weight and control the center of gravity. • It gives you an understanding of how to use your legs, how to link and delink, how to use the force flow, and how to redirect pressure. It isn’t simply bracing forward. You cannot simply brace and hold. • If you pull the opponent toward you with only your arms, you will be pushed off the ground. You do not want this. • When you pull, you need to pull with the whole body, not just with your arms. • You need to counter-load your weight so that if your opponent hits your body, you are already connected to the ground to activate reaction force or to release action force. The center of gravity is already sunk, the pressure is already coupled to the ground. WCK is a fighting art that involves striking, so your vectors are not so exaggerated. You do not want to expose your head. Biomechanics of Dynamic Structural Power Development and Control

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Chi Sao Some think Chi Sao is all about striking. If it were, then you would only need sparring skills. The ability to control at close range and take away an opponent’s strength and balance is the key. In Chi Sao, you suffocate the opponent so they have no room to strike. You come in, get close, and take control of the opponent’s center of gravity. There are many things you can do once you understand the different layers of: • How to assume structure • When to assume structure • Why to assume structure

Zac is showing the Tan Sao in Siu Nim Tao (the first form), breathing and moving with the form. The form is not static and the whole body should be connected by movement. This builds your bow sequencing skills.

The “why” varies, depending on the situation and the distance and space, as well as the pressure you are under. How much pressure have you have received and how is the opponent is reacting to it? Biofeedback is vitally important. You must relate to the moment, as well as having an overall strategy. Static structure is just a place in time. It isn’t incorrect, but you must remember that structure is dynamic. You need to understand how body mechanics work in relation to positioning. You need to understand how to adjust the positioning to make it work in a dynamic way. No one position will work all the time. Things change all the time—pressure changes, angles change. How you change your position makes a big difference. You need to understand the reasons

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behind the different shapes. Tan, Fok, Bong, and Biu all refer to different types of dynamic space. With an understanding of spatial awareness, you will have a fuller picture of the art. Your spine should be neutral; maintaining its natural curve helps you disperse pressure. Your strikes should not distort its alignment. You need to get past your opponent’s hands to control the opponent’s body. In Chi Sao, some practitioners maintain the defensive range and try to maintain their structure by tensing their muscles. This type of structure is one dimensional, it is “static,” and only presses the structure forward. With good dynamic structure, with force flow skills, this type of structure is easy to deal with. The opponent with this type of structure can be easily “floated” off balance, which removes their power. Dynamic structure ebbs and flows. It flows from forward to downward, inwards to outward. It is always changing. Key points The Tan Sao wants to be at mid-clavicle level, not in the center. The forearm angle goes down into the body. If the angle is too flat, received pressure goes through the body and pushes you back, uprooting you. If the angle is too acute, the biceps and triceps can’t hold the position, and so it can be easily collapsed. Twist the tendons of the arm, train the sinew, and “spring” of the body. Use your legs to take the pressure. Use the alignment of the elbow and hip. Observe the angular alignment of the lower leg and the forearm. You need to stabilize your Tan Sao when it is taking pressure by “packing” your rotator cuff and linking it into the body. This must all be performed in a relaxed but not collapsed state. When it isn’t taking pressure, you can “delink” the shoulder and keep it loose and relaxed. When your Tan Sao is not packed under pressure, it is very weak. You need to be relaxed, direct pressure into the body and not hold it in your shoulders. The rotator cuffs are four muscles (teres minor, infraspinatus, supraspinatus, and subscapularis). They stabilize the shoulder and allow it to drop and sink in.

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If you “wing” your scapula, your shoulder becomes very unstable. The smaller muscles take all the pressure. First Form Positioning Points Relax as much as possible and take the pressure into the hip vector. Control the pressure through your packed shoulder joint when issuing or striking. When the pressure is too much, delink. Bring your hips forward to act as a counterweight. Coupling the foot bow rather than rooting. Do not destabilize the shoulder. Find the “groove.” When you are performing SNT (first form), you are looking for that grove in your positioning. Do not tense the shoulder. Stabilize the shoulder, do not bring it forward; otherwise you will damage the joint. If you have your Tan Sao in the middle, you create a lot of tension in the shoulder AC joint. If the Tan Sao is in the middle, you also create a large opening on the side, and when receiving pressure the tight elbow uproots you. Your elbow should align with the mid-clavicle and the hip joint, creating ‘spring’ and fine movement where you can delink and release pressure to the body. If you are leaning back in your stance, or pushing your hips forward and leaning back, you are placing your center of gravity behind you. This is an incorrect neutral start point. If you lean back, gravity drags you backwards. Having your feet pointed to the apex of a triangle will not give you “triangulated” pressure in this stance. Beginning with a structurally sound, relaxed, and neutral stance is key. When you breathe in, sink. When you breathe out, rise. This gives you a connection to your force flow ebb and flow, better enabling you to couple your feet to the ground. Your feet have numerous “balance points”: toes, heels, the bridge of the foot, and two points on the balls of the feet. Don’t simply rest on one. When you take pressure, you have to adjust. There is never a weight ratio that is absolute. It is an active, dynamic situation. When you breathe in, feel your feet. 160

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Correct Tan Sau to open the Path of Force Flow

Correct Lan Sao position in order to redirect into the body

Chum Kiu Ma (the second form stance) foot is open for mobility and hips are square for structural positioning

Bong Sao should not be held but you should understand the correct flow of force through the body

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Natural Stance

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Relax and breathe with deep, lower abdominal breathing. Feel your weight spreading on your feet. When you rise, feel your weight move to the “kidney 1,” move to the balls of the feet. Your weight on your feet is always changing. It is dynamic. When receiving a push, rise to the balls of your feet. You can “issue.” When the pressure is released, you return back to neutral, back to the whole of foot bow. If you are on your heels when being pushed, there is no way you can support the weight when being pressured. This is why we have the first form! It trains the conscious and subconscious mind to become natural in movement once again. This cannot happen if you only train in static form. There is an ebb and flow of pressures. Do not brace for an undue amount of time. You need to always maintain control. You must be able to control where weight is placed on your feet. Sinking and rising, when you breathe, is the beginning of this process. When you sink and rise, do not bend your knees up and down. When you breathe in, load into your “saddle,” swaying your hips a little forward. When you breathe out, rise from the hip upwards. Your feet control the weight. This is the first stage.

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Pulse or Issuing

Ale is showing the Link and Delink of the Tan Sao Sink—Press—Rise • Gravity pulls downward; it only has one direction. • When meeting your opponent, drop your center of gravity forward into a “leaning” vector. This is not a bracing position, rather it is a hidden flow of movement. Use the body’s bows to drive the body forward and upward. • “Sink—Press—Rise” is the combination of the leaning vector, the forward pressure, and the rising vector. But it’s only needed if you need to attack the opponent’s structure first or if you end up in a clashed position in combat. It is used to teach the basic start of body control, as many people have lost the connection to natural movement. So in some ways this is a breakdown to make the skill more obvious before it becomes the hidden skill. This would start as a big wave pattern and then become an invisible. Real force flow is a flow of force, not holding or lifting. • The rising results from how you decide to use your body’s locomotion. It begins in the mind but is a natural return of force. • One part of the process is relaxing muscle tissue and dropping your weight, while another is activating your muscle tissue and driving your weight.

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Gravitational Potential Energy to Kinetic Energy As one movement it becomes an action force when delinking then a reaction force when issuing

Chi Sao example of Force flow - Reaction Force Ale presses Alan Alan delinks and guides the force Ale is now off balance and Alan returns the force Alan is able to step in while Ale is still out of balance Alan can now issue his strike while Ale has no defense as her balance is out which freezes her in place for the split second it all takes

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• There is no such thing as “just leaning” within our system. When you lean, control your posture and your center of gravity. You need to stay in control in order to drive up into the opponent. Leaning would be an incorrect brace. • The coupling of the foot bow is very important so you are connected to the force flow return. • At the higher level of flow force you can make this so hidden that it is not even seen. The opponent just bounces off you. If your opponent attacks you, it is easier to use pure reaction force flow. • Do not overuse the pressure component. Beginners often will overpress and end up in a braced lock, which is not the application. It should be smooth and hidden. Lower Triangle Power • Leg triangle power does not depend on drawing a triangle on the ground. It depends on hip placement. • If you lean back in your stance there is no way you can have forward triangle power. You are projecting your center of gravity behind you. • You may be able to succeed in your system by using other higher level skills, such as delinking the arms, but these skills have nothing to do with triangle power. • Advanced hand skills are fine, but without having good structure to accompany them, they may fail under pressure. • If you have good body structure, you have more options. Situations vary. Opponents vary. Having structure means having more choice. The more options you have, the better. • Successful lower triangle power is about projecting your weight, moving your hips forward, creating a downward vector and using your muscles to issue your force upwards. • This is why you use coupling the foot bow rather than rooting. The movement is dynamic. not fixed into a root. Advance Force Flow Hendrik Santo shared the classical Yi Kam Wing Kuen Kuit, which has the five key points to force flow 子午要中 center axis needs to be balance 拑阳落劲 using clamping yang to descent the force flow (action force) 力從地地 force rise from ground (reaction force)

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彬彬克敌 gentle subdue the enemy 分寸之中 within the split of an inch We have seen how advance force flow with bow sequencing becomes natural, smooth, and invisible. Tan Sao and Fuk Sao • Aligning your Tan Sao and Fuk Sao to the mid-clavicle point will place the hipbone behind them, thus giving them a very strong structure. • They are in neutral positions. • Attacks on the outside of can be “spread.” • Attacks on the inside can be defended with Jum Sao. Siu Nim Tao • Tan Sao and Fuk Sao remain on the mid-clavicle point. • Wu Sao remains on the center line. • All second section double hand movements concern controlling the hip and elbow. Therefore, they remain on the mid-clavicle point. • Double hand movements reinforce what you have learned in the first section. • Third section movements line up on this point too. • In SNT you are not flexing your knee joints; instead you are slightly moving your hips forward and backward. • You are forming a wave pattern by rising and sinking your hips. • You are learning to control momentum: forward, backward, upward, downward. left and right. • Coupling the ground with the foot bow, not tensing to hold the ground. • Relaxed knees. • Avoid simply flexing your knee joints up and down, as this will place your center of gravity behind you. • There is a consistency within our forms. • Lower abdominal breathing leads to breathing with the whole body and natural movement.

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Three Correct Triangle Structure and Issue/Pulse Skill • The starting stance is neutral; you are not leaning back. Allow gravity to pull you straight down. • Press your hips forward, slightly bow your body, and load pressure into your muscles. This produces a forward-downward vector force. • Using your mind, rise through your bows, activating them, and issue or pulse your power through your arm(s) into your Tan Sao (for example). • Your Tan Sao is connected to your legs. There is a solid relationship between their angles. • This is the real triangle structure of Wing Chun Kuen. It isn’t about pointing your toes; it is about controlling your weight and momentum. • This is the first stage of utilizing force flow. • When performing the neutral stance, you should have a neutral spine. • A neutral spine is one that maintains its natural “S” curve. • As the force of gravity passes down to the legs, it should pass through the pelvis and extends through your “straight” femur (thigh bone). • You do not want to stem the downward vector force from your knees; instead, you want to utilize your stance to create a “whole body bow.” • The gravity-induced downward vector should be coupled with the foot bow with your mind/muscle-induced upward vector to create an issuing force. • The seven bows are all able to control and act as individual centers as well as together to produce and release power. Tan Sao • “Tan Sao rules under heaven.” • Tan Sao’s power is created through the whole body. • Tan Sao’s power is created through force flow control, and not through static tension. Rooting is the skill of taking pressure into the body and being able to maintain your position. We do not want to be over-rooting weight, as it causes tension. We use the foot bow to couple the ground and control and release pressures. • So we actively couple to give the feeling to our opponent that we cannot be moved, “rooted,” but in fact we can still move and issue power. Structure control increases understanding of the seven bows and allows good sequencing skills. Rooting is often held too long and for no reason. As a test of structural positioning it can be shown slowly, but in use it is a dynamic flux and not meant to be slow.

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• Rooting, as such, should not be held for a long time if you want to have smooth force flow. It is not required if you control momentum all the time. You will be able to control the force flow return and therefore feel unmoveable but invisible at the same time. Momentum and Path of Force Flow Chi Sao • “Issuing” energy is usually done in one movement and it should be done to fulfil a specific purpose. • Overuse of pushing and pulling within Chi Sao doesn’t adequately teach us how to deal with momentum. It is the lower level of momentum control. We still can push and pull, of course, but it is more of a gross skill. • Rather than simply issuing you should be “pulsing,”’ which is far more subtle. • Pulsing will teach you how to use your body weight correctly, allowing you to master the flow of momentum. • With good force flow you will see guiding and floating as key skills in Chi Sao. Force Flow Return • First, you create pressure by loading with your own joints, lowering your own center of gravity, creating the correct vector, and pulsing the energy. • When somebody is pressuring you, you can load their pressure and take control of their momentum by return of release. • Action force allows you to receive pressure and use the timing within the bows of the body to release and disperse the force. • Reaction force allows you to receive the pressure and take it though the bows and return it back through the body.

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Loading and Returning Pressure • When somebody is coming toward you: • Ready yourself with good alignment of your axis • Use your arm(s) to take the pressure into your structure with good vectors or loose bridge control • Slightly drop your center of mass down • Ensure that your knee positioning is correct and that they are not too far forward • Load your muscles and joints with the incoming pressure • When returning the built-up pressure, the key is not to throw it out in one direction. • Pulsing: be more like a machine gun and shoot out your energy in multiple directions. • The notion of pushing and pulling in one direction is too simplistic. • Guide and float are the higher skills.

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Applications of Force Flow in Chi Sao In these photo sets you can see Alan is able to use Force Flow to control his opponent’s balance and then strike as the opponent is fighting to control his loss of balance. This is the higher application of skill rather than just trying to apply the hand attack without body control. When you control the opponent’s balance it is very hard for him to counter the hands as they have no power without their balance. Josh and Alan are rolling

Alan feels Josh’s forward pressure and delinks the action force

As Josh loses his balance Alan is able to guide him with inside Tan Sao and then apply inside Pak Sao and a Lan Sao control

Alan lands the strike

Alan then issues power from the reaction force which was returned in the movement as it happens so fast

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On Leaning and Bracing Chi Sao • Leaning is a part of the process of what happens in Chi Sao, but it has many more layers than is normally perceived. If a person leans, then it is easy to take his balance. • Leaning, as it is generally understood, does produce power, but the problem is that it causes you to overcommit. • When two wrestlers grapple while standing, they often lean into each other and create “a wedge.” But they also link and delink pressure. Without striking they can afford a stronger pressure. In Wing Chun we cannot lean or brace, as striking removes the time to hold on. Good wrestlers will also not in fact wrestle, they will simple make connection and you will hit the mat smoothly. This is what happens when they open the path force flow and take control of momentum, then use bow sequencing quickly and correctly. That is a super-high-level force flow.

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Low Punch to Lap Sao

Alan punches low and sinks his punch to press into Josh’s structural frame.

This causes Josh to overact and Alan delinks his upper bows to take Josh’s balance.

As Josh is now off balance and falling forward can leak a high line attack with a chopping strike

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• Within Wing Chun Kuen, you do not wedge if you can because of your need to constantly delink arms. It of course happens under pressure, but the opponent that opens the path of force flow first and activates the correct bow sequencing first will win. Center of Gravity / Center of Mass • Your center of gravity is a very important starting point, because it is what you use to control momentum. And without momentum control we do not have force flow. But at a higher level it is using all seven bows that give you the control of more centers, therefore giving you a high level of momentum control. • Each bow can be a control center and help hide your center of gravity. • The skill of being immovable is knowing how to link your bows, but as soon as it is pressured you release pressure and control timing so your center of gravity becomes invisible to your opponent. Hip Power Generation Bai Jong Striking • You want power to surge up from the ground. If your foot and knee placement are not good, it is very hard to get the kinetic chain activated. • You need to get your center of gravity to generate your power. You need to transfer your weight. • When you are striking, you should set in motion your center of gravity toward your front leg. • Gravity creates the downward vector force. Then, before impacting your target, you need to push up through your bows to create a rising vector force. This produces an upward pressure in your punches. •

When punching with the front hand, you flex forward and push up with your body.

• When punching with the rear hand, you need to flex your front leg, drop your weight, square up your hips, and “scoop” and drive up with the hit. • This creates wave patterns within your biomechanics. • One of the reasons you do not tense your shoulders in Wing Chun Kuen is that a relaxed, mobile shoulder allows you to have more control of incoming pressures. • If you are in a neutral stance, upon receiving pressure you can shift your center of gravity to load the pressure into your legs. By doing this you gain the pressure to add to your own attack.

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Structural balance control set ups Rather than just apply applications, with Force Flow you can use Bow Sequencing to take away your opponents balance, which allows striking much easier. This is not a simple push and pull, which is basic. This is using your whole body bows, which means you can apply it on a stronger opponent unlike push and pull.

Josh presses and Alan delinks and draws the action force

Now with reaction force Alan applies his inside palm attack and twists Josh off balance even more

Alan adds an extra press from the reaction force which allows him to reuse his force again. This ebb and flow of Force Flow allows him to still maintain full power and not use brute force at all

This causes Josh to over commit his defence which Alan can now start to leak an attack

Alan can now attack with ease and with full relaxed power

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• Your attacks should “pulse” and shoot out like a machine gun’s multiple bullets and not like a cannon’s single cannonball. This becomes a hidden skill, so your pulse is more like a laser! Force Flow—Direct and Spiral Direct Force Flow • As you load pressure into your neutral stance, your hip level sinks forward beyond your knees. This produces a downward, diagonal vector force. • Once loaded, you can engage your muscles to push up into the incoming force. • With this method the “force flow return” is very direct. • This is the basic force flow application level. Spiral Force Flow • This uses similar mechanics to the direct force flow method, but it allows you to load the incoming pressure into different parts of the body. For example, you can take in the pressure through the right arm and load the pressure into the left leg. • With this method you can twist and turn, loading the pressure with different angles into different joints. • This method is a higher level of force flow application. Force Flow Force is to move something, so we move force smoothly in a flow. Therefore we have force flow. Force Flow Key Points • Relaxed tailbone, not tucked • Transferring force up and down the body • Soften joints and lower structural frame, not locked down • Weight in the feet is even, in neutral positioning Keys to Force Flow • Action and Reaction Force • Time for the Action • Bow Sequencing

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Pinball machine Structural balance control set ups

Alan uses Jum (sinking) to build reaction force

Alan also guides Josh off center

Alan can now freely take the inside attack

This causes Josh fall into the strike

Alan can then pinball Josh’s balance around

Alan repeats the Jum and guide

Alan has the same strike again

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Action and Reaction Force The action force is the higher level of delinking pressure given into the body, descending the force and releasing it with smooth timing. Reaction force is the transfer of the action force back from the ground, which can be controlled from multiple bows. Time for the Action The smoothness or speed can be varied depending on the force given. Bow Sequencing This is the key to higher-level control of force given. The bow sequencing is what gives us the dynamic structure control. This is true architecture rather that the limited static structures approach that many have adopted. Each bow is a center of control; each bow can act as a false center, which allows your center of gravity to be invisible. Also, each bow can be its own control center, providing feedback and helping to adjust momentum control. Many WCK systems now use the buzzword “structure.” But these are often just static structure, some with okay vector positions and some not. Either way, adding a buzzword without adding the dynamic skill does not make it a system. It’s the difference between a picture and a movie. Static structure is just the starting point, but it is simply that. You must understand it, but it is not the art. You can have incorrect static structure or correct static structure. Correct static structure is about what works anatomically, but it is the starting point. You need to have the correct angle in your arm to transfer the force back down into the body. Not all angles will do this and at the higher level you can break some of these basics, which are why you see a few good guys that can make a style work, but not the rest of the group. Even with the correct angles you need to be dynamic; otherwise you will be stiff and stuck in position. You need to link and delink your joints, you need to use your various bows to load and unload so you can have smooth movement, which can guide and control force. Pressure needs to be guided and controlled; to guide without control will allow a good opponent to release and attack again. Your SNT (first form) should be dynamic. You sink and rise, link and delink, your arms are connected to your body. This develops the timing of smooth movement for your force flow skills.

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Benefits of Force Flow Skills All sports that involve body impact teach their players to drop their weight, driving their vectors toward the ground. That is natural. But many Wing Chun styles try to go around pressure, which is very hard to do. You use the hip positioning. You control your weight. You use vector force to transfer the pressure down through the legs into your feet. With an understanding of the basic structure and seven bows, you can load and control pressure. But even better, you can activate force flow to redirect or reuse and return the pressure to issue power.

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C H A P T E R 17

THE POWER FROM FORMS

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tructural mapping, conscious and subconscious development, plus positional referencing, many arts and cultures have used this format in various ways—such as in the widespread use of kata. This is for good reason, as it takes hours of repetition and then, when you understand the forms correctly, you have a blueprint for your success. Is Wing Chun a powerful art? Most would believe that the system is fast, yes, but not powerful. This could not be further from the truth if you understand what we call “force flow” in the Chu Sau Lei Wing Chun system. This is a myth that I would like to put to rest. The best way to truly appreciate Wing Chun is to understand the training forms of the system with the correct core elements. I hear a lot of people say that Wing Chun is good in a street fight if you finish it quickly, but not if the opponent gets hold of you or is stronger; then you will have trouble. Frankly, I would have to agree with many of these people’s comments if they have never seen Wing Chun with good structural depth. With the understanding of the structure of body alignment and how to make the structural dynamics work, you have the Wing Chun art as it has always been—a powerful, fast, and effective fighting system that allows you to control your opponent like a cat with a mouse. So why has such an effective fighting art been overlooked in modern times? A few reasons come to mind. Number one is that in the past we have seen a lot of low-level understanding from teaching within the system by so-called instructors that just repeat what was taught to them without a real understanding of why, when, and how Wing Chun can be a superior art. I have lost count of the number of times that I have met people and taught them, and who have said to me, “Now it makes sense.” Unfortunately this has been all too common in Wing Chun. I tell all my students that if they don’t understand it, then if will not work for them. You must know why, when, and how. Question everything! Then after questioning, “testing” is the most important part of The Power from Forms

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correct development. If you have never tested what you have been taught, how can you be sure it works? Test your structure against our structure methods, look at your forms and the applications, really think about the progression of the principles, and ask yourself, “Does it make sense?” Test your Chi Sao at different ranges, spar with different people of varying styles, and so on.   It was when I started training with Robert Chu in LA that all the pieces of the puzzle came together. The first thing he taught me was the correct understanding of the forms. He said, “Without the correct depth of understanding of the body structure dynamics within the forms, your Wing Chun will have no power and it will not flow as an art.” We started on form correction and with each movement he corrected I could feel the art awakening in front of me. For the first time in many years of training I understood the form at a whole different level. Wing Chun has a perfect system of progress within the forms in terms of understanding its use of power development and application. Often what you see being taught in Wing Chun are applications of techniques from the forms. Yes, the movements in the form do relate to some technical applications, but this is only the very basic understanding of the form. At a deeper level, each movement is a principle or concept as to how the system generates power within movement or neutralizes an opponent’s power within movement. This provides a much clearer understanding of how to use your own body in any given situation, as opposed to the “this technique works against this technique” style of teaching. Once you have that mental link within the system, you can fully express your power and be relaxed at the same time. What determines the power of a martial art? Real-time striking power coupled with real-time body power. Real-time striking power is the ability to deliver the power of your punch or kick to an opponent who is not just waiting to be hit. It is no good being able to break bricks if you can’t hit a live target as effectively. Real-time body power is the ability to use your body movements and skills under pressure, not just against set moves. These are my key tests for everything I teach and train. “Aliveness” was the term my teacher, Robert Chu, used when first teaching me. Other groups are also seeing it as an important term when testing their art. It is a very important component to truly knowing your art.   The first thing that comes to mind when people think about Wing Chun is trapping, as it is the most common reason people question the usefulness of Wing Chun. Wing Chun is a Chinese boxing art; therefore, we really want to strike our opponent, be it a punch, kick, knee, elbow, chop, or whatever. But that’s the bottom line, striking. Trapping is an idea, not a pure technique. For example, in wrestling if I pin you in a grapple and trap your leg with my arm, it’s not a technique to finish, it just stops you from doing what you are doing and gives me the control to make a technique happen or set up a technique. The same is true in Wing Chun. I punch, punch, punch, and you start to defend; I control you and punch, punch, punch. Now, the control can be the punch itself if you understand body structure. I can use a cutting punch

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that pins the opponent, but to make if really work, the punch must destroy the opponent’s balance at the same time. To do this you must have a full understanding of how your chosen system works. Most people say that Wing Chun is unproven in the ring and therefore not an effective art, and that it is hiding behind the “it’s too dangerous to use” excuse. I personally both agree and disagree. I think that if the art is strong within its basics of structure, it should have the power to be able to hold its own within a ring or a gloved sparring environment. It is true to say that Wing Chun is an art that, if all its tools are used, would be dangerous within real no-rules fighting, as we would hit the throat, eyes, groin, and so on. But who would like to really have to do that? I would rather have the skill to control my opponent with the power of my basics: strong stance, body control, and punching/kicking striking power. If it were a matter of life and death, then the other things may come into play, but on the whole your main training should be robust enough to deal with the raw power of any opponent, whether in the street or the ring. That’s the difference between martial arts and just plain fighting. Wing Chun is indeed an art, but what is art without expression? Great art is not painting by the numbers—that is just learning. The real art comes from within; formed from the seeds of ideas you have planted, with time cultivating your skills. Sometimes art is not understood at the time it is presented. Often it is not until later that it is seen for what it is: pure. What is pure? You hear the phrase “pure of heart”: an intention to do what you believe in your heart to be right. Having the martial art skills of a system, which grows from within, is exactly that to me. Your confidence in your skill is much higher if you know in your heart that it works! The Root of Wing Chun Power—First form (Siu Nim Tao) The first form (Siu Nim Tao) is the method of generating power within the Wing Chun system. This is achieved by the internal and external factors of the form. Without the correct structure of body alignment, you do not have the mechanics to produce and store power. This is an area of Wing Chun that is often misunderstood. The form has many layers to it and must be refined in order to unlock its power. The first form is the frame of the system and the battery of Wing Chun’s energy. Wing Chun has Qi Gong (internal training) and Gung Lik (trained strength) within the first form. Key points within the form are the correct principles of the basic centerline theories: development of stance and structure (center)—Shen Ying (body posture/alignment) and the seven bows, which help with the “spring” power, a key component of power when used with the correct reaction force; development of a sense of mind intention and Chi flow with the body and mind relaxed; and proper elbow position for power and economy of motion is an important part of learning the first form. You will also learn the basic offense and defense motions within the first form, although these are ideas rather than techniques.

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The Functional Power of Wing Chun—Second Form (Chum Kiu) The second form (Chum Kiu) is the motor of the system, as the real use of the power developed within the first form is shown and released via the second form. It is vital to have a correct understanding of this form in order to master the Wing Chun system. Chum Kiu is the most advanced form in the Wing Chun system in terms of combat application. Key points within the form are learning to step through the opponent, as well as correct body shifts, footwork, and kicks, and how to explode power with coordination between torso, waist, and stance. Within the second form you learn to Lou (flow), which adds upon the skill of the first form. An important key to good structure in Wing Chun is that Bong Sao must face the opponent squarely, not at an angle. This is all learned in the second form. Also you will find many of the concepts and principles of Chin Na (seizing and controlling techniques) are within the second form. This is an area that is often not understood or known within Wing Chun, but it is a key area because ours is a close-range art. At this level you are learning about the clinch. When you clash with your opponent, you must have the structure to hold and control your position in a split second. Often I have seen Wing Chun training in the incorrect range; therefore, when they get in close range they have not really trained the correct skills. All this means they lose control of the opponent. This should not happen in Wing Chun, as close range should be where we are happiest!

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Energetic Aspects of the System—Third Form (Biu Jee) The third form teaches you to become one with the system. You learn that the key points within the form are further development of breaking and/or regaining the centerline.  This provides an understanding of the emergency techniques, which can help you regain your structure. Then pressure-point striking becomes crucially important, as you have total body control giving you a much higher level of accuracy. From an energetic point of view, the third form—with the accumulated power from the first and second forms—will start to develop your release of power for striking with internal energy and focus. This is, to me, why the third form is within the system. It frees you from being struck in set position. It allows you to look like you’re breaking Wing Chun rules, as some would like to say. But in fact, you have become loose and relaxed and your sequencing of movement has deepened to a whole new level. Conclusion The first form is the battery power and frame of the system. The second form is the controls and functional application. The third form is the higher application of the energetic aspects of the system. Without a deep understanding of the structure of the forms, you cannot understand Wing Chun. Each form adds to the next in terms of understanding the system and use of your body power; therefore, this addition is what eliminates what you don’t need, because your mind is much clearer on what needs to be done. I have just given you a few ideas to the other side of Wing Chun’s training that’s mostly overlooked when people look at the system. I hope it gives you some areas to explore and work with. Listen to yourself. When I first began martial arts, every time I was told something that didn’t make sense, I would feel it was wrong straightaway. But I got into the trap of not questioning things, as the teacher always would tell us, “When you’re good enough you will understand.” Well, that’s not how anything works. You may not be able to do what you learn at first, but you should always have a good idea of why you are trying to do it! So, again, listen to yourself. You are right more often than you think!

 

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C H A P T E R 18

THE RELATIONSHIP BETWEEN THE BODY, MIND, AND SPIRIT

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e have covered a lot of why and how the physical and mental are so important in martial arts development. But we often hear that the body, mind, and spirit are key, but in what way? People talk about the spiritual side of the martial arts, but what is that really? I have heard all sorts of rubbish over the years. For me the most spiritual feeling to have is in Chi Sao or sparring. Being in the moment, experiencing the timeless feeling of the now with my mind clear and body relaxed. But how do we achieve that feeling? What makes it a place of comfort and not fear? As it is said, the problem is the solution.

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I always tell my guys, “The enemy has no face and no name,” which is a Spartan saying. It is important to keep a clear mind in combat and not be led by emotion. The goal under pressure is to stay in your cerebral cortex. The cerebral cortex is responsible for higher functions of the nervous system, including voluntary muscle activity and learning, language, and memory. All good things to have working well! It allows us to keep our finer motor skills and clear focus. The problem is that under stress we often go into a fight-or-flight state. Now, without training some guys are already fighters and will not give up but just swing for the fences. Others without training will go into a fight and if they can’t run they will freeze. Both are not skilled responses or ideas. So we train. But how do we stay in our cerebral cortex and not turn to fight or flight? The key is linked to our security—or you could say our insecurity. The more skills we have, the less insecure we become. Illusion—Dream World This is achieved as practitioners apply pressure to an opponent in a way that maintains a neutral state in their own body. This allows the cause and effect of feedback from the opponent. The balance is between insecurity and ego. If we train to lower our insecurities, then our ego becomes more relaxed and we can embrace the positive ego of wanting to learn and being motivated to learn more.

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It is not enough to only have awareness of yourself (ego). You must also extend your awareness beyond your own mind and body. Therefore, integrate your experience of what is happening with the cause and effect of pressure as a whole. This is to anticipate opponents’ intentions before they are even aware themselves. This way you are not too attached to the opponent, either. If you can cause the opponent to react incorrectly under your influence, then you are the leader not the follower. The enemy does not exist—you can only be your own enemy. The opponent is not the problem. Oneself is the problem, but oneself can also be the solution, as awareness of both these concepts and the correct action is the balance of yin and yang. Story from Shane Somers I’ve been with Sifu Alan Orr for fourteen years now, and it’s been the hardest but most rewarding time that I’ve had in my martial arts journey. Before meeting Alan Orr, I had already been training in the martial arts for some time (seven years freestyle kung fu, and six years kickboxing with semi- and fullcontact competitions, and karate for a couple of years prior to that), so I was under the impression that I was at an adequate level. Oh how wrong I was. I’d recently moved from one part of the country to another due to my job, and was looking for a new training art. Unfortunately, nothing local took my fancy and I was disappointed. While reading MAI I was taken in by a column entitled, “Wandering the Path“ by Alan Orr. Little did I know my life was about to change. I found the contact details and arranged a meeting with Alan at his home. He was very friendly and welcoming, and we talked for a while about what I was looking for in my training, then I was given an opportunity to try out what techniques I already knew. Needless to say, I went from experienced to zero. Nothing I tried worked. I was manipulated, twisted, and tied up in knots. I couldn’t count the amount of times that I had been hit. I just couldn’t stand up; it was like trying to stand on a floor full of marbles, I had no balance whatsoever and every move I made was manipulated with ease. After an hour or so I left, absolutely bewildered.

Alan, Shane, Robert Chu Sifu

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On the way home, I asked my friend that had driven me there what he thought. His words were, “Haha, he’s a monster, he will do to you whatever he wants and you don’t get a say in it.“ He’d never seen anything like that before, and it goes without saying that as soon as I got home I phoned Alan straightaway and arranged my first private lesson for the following week. My journey had just begun. There have been plenty of hard times when training. I can recall seeing more stars spinning around my head after some sparring sessions than there are in the night sky. On a few occasions I’ve been made to sit down for twenty minutes or so before I drove home due to intense sessions. Another memory I have is when I quit smoking. For every cigarette I had after that, Alan told me that I would get a good thigh kick. I assumed he was joking, until my next lesson when he asked how many I’d had. I thought, I’m not going to lie about it and told him I had one the night before. Low and behold I couldn’t walk properly for a couple of days. No more cigarettes for me! On a serious note, not only is Sifu Alan Orr an exceptional teacher, but also a great healer. I overdid it once by having too many energy drinks and burned myself out at a lesson with him. I literally couldn’t breathe and was struggling physically and mentally. My heart rate was racing thru the roof and Sifu had to sit me down and give me acupuncture to slow my heart rate back to its normal state. It was a truly scary time and luckily I was in good hands. I received a strict telling off and the health warning came straight after. I’ve not had another energy drink since. All in all, I can honestly say that if you are looking for realistic training to make you into the best person that you can be, you’ll never have any regrets training with Sifu Alan Orr.

Alan and Shane

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The six core elements are just as important for your development of the system as it is for the development of you as person. As a teacher, you are responsible for your interaction with students on many levels. Often students are thinking you are teaching them one thing when in fact you are teaching them something else or even pushing their personal development without them even knowing. This requires a relationship of trust, and also as a teacher you have to believe in your system and your intention has to be pure and clear.

Coaching Skills This is something I put together to help my students develop their teaching skills. ACE Assessment – Watching/seeingpatterns/habits/natural movements Communication – Listening/asking/talking Evaluation

– Corrections/feedback/plans

Archetypes These are the archetypical energies I use when teaching and feel they really help—as a coach or teacher or even as a student—to understand the impact of emotional energy in learning. King Rules/leader/guide Warrior

Sets the bar/leader/inspiration

Magician

Inspiration/skilfulness/depth

Healer

Compassion/support/comfort/guide

How do we use these? As teacher you may use one at a point in time but more often, like bow sequencing, they are used together and interact and interchange as the situation changes. Sometimes you need to be the king and lead your class or student, as well as give discipline and guidance. The warrior shows students it can be done and sets the example. The magician shows deep skill and inspires students to learn more and work harder. The healer gives support and guides the student along in a gentle way. The key is to know when to project which energy and also how to combine them when needed.

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Tala my new Iron Wolf! Having a Zen moment. Family grows.

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C H A P T E R 19

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have always been most interested in my development and learning. Over many years I have seen some Wing Chun practitioners that were not open to any changes to what they have learnt. They often want to be ‘traditional’ or ‘original’ and so on. But in fact many of these types have not always learnt the original depth of the art. What is traditional? To me it means the traditional values of the martial arts, which are development of skill and learning not copying and never improving the art. So it is very interesting to read more on insights that show rich history of structural skills in Wing Chun. Interview with Mark V. Wiley Sifu on Classical Kung Fu Structure Dr. Mark Wiley is a renowned Master in the Filipino Martial Arts but many don’t realize he is also a master and lineage holder of a traditional Chinese martial art called Ngo Cho Kun. Alan: Dr. Wiley, you have been a leading force in martial art publishing and

research and have studied many systems, both modern and traditional. What is your opinion on the use and place of structure in the martial arts? Mark: Structure is perhaps the most important aspect of martial arts in terms

of application of movement and technique. The problem seems to be that these days that essence is missing from many systems. It has been lost from the older systems and the newer ones don’t have it because the creators of these contemporary systems have never learned about it. Alan: in your travels through Asia in search of martial essence, have you

found a system that does in fact put a focus on structure? Old School Looking at the Classics

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Guro Mark Wiley, a master of the arts and respected writer and researcher

Mark: Yes. The style is called Ngo Cho Kun or five ancestor fist. Interestingly,

it has a similar root as your Wing Chun Luen. One of the five systems that comprises Ngo Cho Kun is Fujian White Crane, which is said to have been the root of Wing Chun. Alan: It is very interesting that both wing Chun Kuen and Ngo Cho Kun

stress body structure and both also are influenced by Fujian White Crane. Is structure stressed in the beginning or is it handed down to advanced students? Mark: How I came to learn about structure in Ngo Cho Kun is an interesting

story. You could say that after eighteen years in the martial arts, it wasn’t until 1997 that I had my so-called eureka moment. It was during one of my martial art research trips, this time to Taipei, Taiwan. I was travelling with my five ancestor fist master, Alex Co. It was during a spontaneous training session in our hotel room late one night in the small space between twin beds, that Co Sifu shared with me the essence of five ancestor fist: a set of “structure tests” to be performed against the movements of the qi kun opening fist salutation of the empty-hand forms. Co said, “Do your opening, but stop at each position, and I will test you.” So I did each move and Co tested. With only the pressure 198

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of two extended fingers, and against my resistance, he pushed me onto my bed, pulled me over his, raised me off my feet, and pressed me to the floor. At that moment, I realized that my current understanding of kung fu was low and that I had stepped into another world of possibilities. Co Sifu showed me the way, and I “got it.” Eureka! Alan: Why do you think you did not know this from the start of your studies

of this art? Mark: No one was teaching it. I had trained in many styles for many years

prior to Ngo Cho Kun, and yet I still did not know the importance of structure and how to develop it. And when I studied internal arts like taiji and qigong, I had not met anyone who could apply those theories in real combative situations. Alan: So you are saying that while taiji and qigong spend time discussing

structure and doing it in their forms, they are not effective for self-defense? Mark: Yes. There is a saying in Chinese martial arts: “The soft energy of

the internal arts eventually manifests as external power and force; and the hard muscular execution of the external systems over time internalizes and becomes softer.” The cycle of yin and yang, soft and hard, turns full circle, given enough time and effort. However, after decades of study and worldwide training, I have not personally found this to be a common occurrence. I have met many internal practitioners who were not able to manifest their energy externally, and many external practitioners who were not yet able to internalize their effort. The essence of everything that is experienced in the qi kun structure tests is found within internal arts: proper alignment of the dan tian energy centres, alignment of the spine, lowering of the center of gravity, rooting, absorption and redirection of energy. I practiced the Yang and Wu styles of tai ji quan in the past, but could never seem to actualize their theories in realistic application. Alan: Why do you think this is the case? Mark: The reason, I believe, is that the mechanism for such transformation

from external to internal and vice versa is missing (or has been lost) from the curriculum of their arts. In Ngo Cho Kun, that mechanism is the structure tests of the qi kun opening set. Yet, these are not widely practiced; indeed, few teachers of the art seem to know them.

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Alan: After you were taught these structure tests, did you find that you could

apply the system better? Mark: Absolutely. Prior to learning and developing my skills through these

structure tests, I found it improbable that I could apply this art in realistic combative situations. Now I have no doubt. When I experienced the structure tests for the first time, I instantly saw how the so-called esoteric concepts of the Chinese internal arts could manifest in measurable ways in an external kung fu system. The essence of structure needs to be learned, practiced, and internalized for one to truly master the martial arts. Punching and kicking the air and banging the limbs will make you strong, perhaps fast, and definitely tough. But it will not lead automatically to elevated levels of skill and increased depth of understanding of the art. The structure tests will. The essence learned from them should then be put into every movement, form, technique, and training method within the entire five ancestor fist system. The practitioner who does this will find his skill increasing by leaps and bounds. Of course, this is easy to say, but difficult to do. Alan: You mention the word master. Do you think one can master martial

arts without proper structure understanding? Mark: Definitely not, because the essence of the postures and techniques will

be missing. You know, I came across a very interesting definition of mastery that I try to keep in mind. It is from Karlfried Graf Durckheim’s 1962 classic book, Hara: The Vital Centre of Man: “One speaks of a ‘master’—whether of an outer action or inner work—only when success is achieved not only now and then, but with absolute certainty. Certainty of success presupposes more than perfected skill alone. What is this more? It is the state or condition of the performer that makes his performance infallible. However well-performed an action may be, however well-controlled a technique, as long as the man using it is subject to moods and atmosphere, unrelaxed and easily disturbed, for example, when he is being watched, then he is a master only in a very limited degree. He is a master only of technique and not of himself. He controls the skill he has but not what he is in himself. And if a man can do more than he is, his skill often fails him in critical moments. Real control over oneself can only be achieved by a special training, the outcome of which is not just technical skill, but an established frame of mind that ensures the required result.”

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So from this I believe that structure, its physical, mental, and energetic manifestations, must be present to master martial arts. If any aspect of structure is missing, mastery will not be possible in total. Alan: Did you find more arts that stress structure the way five ancestor fist

does? Mark: The only other “fighting” art that I found to focus on this is Wing

Chun Kuen. Actually, not all Wing Chun systems, but specifically the Chu Sau Lei expression of this art. The founder of that system, Robert Chu, put the structure back into the system. He has a background in so many arts, and I think his mind and curiosity led him to look for ways to express his Wing Chun more completely. I learned several methods of Wing Chun, but after meeting Chu Sifu in 1997, I because a practitioner of his method exclusively because of its emphasis on structure in movement. Alan: That’s very interesting. Can you tell us more about the testing of

structure in Ngo Cho Kun and its relevance to the system as a whole? Mark: True depth and understanding in Ngo Cho Kun is found within the

qi kun opening salutation of the empty-hand forms. These eight movements encapsulate the true essence of the art, and all skills are engendered within its sequence. Every step, block, strike, power, energy, force, principle, and strategy is found in abundance within this brief opening set. It is said that the form known as sam chien (san zhan) holds the essence of Ngo Cho Kun. This, of course, is true. Qi kun is the start of sam chien and cannot be separated from it—both are performed together. Yet, qi kun is performed before every form, thus exemplifying its significance to the whole of the art. Qi kun and sam chien each hold their own place in developing the practitioner within the art. Indeed, the first section of sam chien proper is actually a repeat and an extension of qi kun. It employs almost the same sequence, while stepping three times forward and three times backward. Qi kun is both the opening and the essential “core” of sam chien. In short, where sam chien develops the essence of techniques, qi kun is the mechanism by which one can authenticate their sam chien. Unlike the forms that teach fighting skills, the qi kun two-man set is the testing platform for forming proper body alignment, mechanics, and application of energy. It does not teach technique; it informs technique. With the help of a partner, who tests the integrity of each movement, through the course of those movements the practitioner comes to know intimately where he is lacking in the art. When pressure is placed against your movements, Old SchoolLooking at the Classics

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are you still able, while moving slowly and on purpose, to maintain posture, form, anatomical structure, and utilize proper body mechanics? At first pass, most practitioners are not. It is easy to perform the movements in the air, and to look good doing so. It is quite another thing to be able to do them with the same perfection while someone is pressing you, lifting you, pushing you, and pulling you. Being able to do this is a sign that true skill is not far behind. Alan: Are you saying that qi kun is similar to qi gong in aligning the essential

points of the body? Mark: Yes. But unlike qi gong, qi kun teaches “structure under pressure.”

Only through testing of the opening salutation will you be able to know, for certain, if every technique in every form is infused with proper body structure, proper application of the four essential concepts, and proper alignment of the six essential points, proper breath control, and proper application of force. In short, qi kun informs the fighting techniques of Ngo Cho Kun; it authenticates one’s practice.

Mark Hobbs Sifu—Interview on Yip Man Wing Chun Pre-Hong Kong Some people have commented that my teacher’s, Robert Chu’s, Wing Chun is a modern approach to Wing Chun, as he has reviewed the forms to fully integrate our understanding of body structure, which we now include as part of the six core elements since learning more of the classical teaching of Yi Kam Wing Chun. But this misses the point. The idea and principles of body structure are not new, just rediscovered; they are fundamental to all Chinese martial arts. So it was very interesting when I met Mark Hobbs, who has trained with Lun Gai Sifu, Yip Man’s first student from Foshan, in China. Mark had already trained in Wing Chun, and when he started training with his Sifu he was happily surprised to find that many of the ideas about structure that he had seen in other Chinese martial arts were part of the teaching of Wing Chun as well. Even though we have different forms, and some different approaches to application, we both believe that understanding the principles of structure and the mind are the key. With this in mind, I spoke to Mark about his martial arts background and his experiences of Yip Man Wing Chun as it was before it reached Hong Kong. Alan: Maybe first you could talk about your background in martial arts.

What would you say were the important goals for you to learn from your martial arts training?

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Mark Hobbs and Alan

Mark: I started martial srts when I was five, doing judo. I enjoyed judo and

went on to represent the Kent judo team. Also, at a fairly young age, my father started teaching me some kung fu. This is where I first became interested in kung fu. I have studied a number of different systems since then. But the main influences in my kung fu are from Wing Chun, Tai Chi, Hsing-Yi, and some Southern Shaolin. Alan: You have a thirst for knowledge about Wing Chun and for a greater

understanding of the martial arts. Mark: I do. I’ve talked to many Sifu from around the world, from many

lineages of Wing Chun, to gain insight into how they approach their Wing Chun methods. For example, I have trained in Vu Gai Tai Cuc Pai, a very rare, old system from Vietnam; the first general of the first king of Vietnam, who was King Li, was from the Vu family. I am the only Westerner to have been accepted as a member of this family. It is an interesting system as Vu Ba Qui, the last grandmaster, was the first student of Yuen Choi, the brother of Yuen Kay San, and student of Fung Siu Ching. Yuen Choi was the founder of Wing Chun in Vietnam. Only recently I was in Vietnam researching more about “Vietnamese” Wing Chun. Old SchoolLooking at the Classics

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Alan: How did you develop your Wing Chun understanding? Mark: I like its objective of maximizing efficiency. This motivates me to study

and learn with different families of the system, to gain more experience and understanding of this fascinating art. This led me to my Wing Chun Master Lun Gai. Now at my kung fu academy classes, I only teach the Wing Chun Kuen of Master Lun Gai’s Foshan family. This is the Yip Man system in its original Foshan form. Master Lun Gai taught me this method and passed on the original teachings from Grandmaster Yip Man to me. He also certified me to represent him in the UK and Australia. Alan: Wing Chun Master Lun Gai was a pupil of Grandmaster Yip Man? Mark: Master Lun Gai was the first of only six selected students to learn

under Grandmaster Yip Man in Foshan, China. That’s before Grandmaster Yip Man moved to Hong Kong, where he taught Wing Chun to many other students. Alan: And you have continued to travel in search of a greater understanding

of different systems. Mark: I lived in Australia for many years, but since moving back to the UK,

I have found other Sifu from which to gain new experience. Although the majority of my time now is spent studying and practicing Wing Chun, I have also been practicing Tai Chi, Hsing-Yi with Sifu Fei Bing, and, when in China, with my Chinese uncle Sifu Wong from the “Yang Ban Hao“ Tai Chi family. Alan: What is your opinion about the relative merits of different systems? Mark: One thing I have discovered over the years, researching and learning

Chinese martial arts, is that no single system is better than another. It comes down to an individual’s experience. This is why I have delved into the arts so deeply, in order to gain further experience. That knowledge and experience helps me understand and explain why! Certain things are done in certain ways, because everything should relate to a concept, principle, or theory. This can only be achieved through experience of many great traditional martial systems and masters, all of which have different areas of expertise. This is the reason why I have been given so many treasures over the years, from so many families. 204

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However the main focus with this article is Master Lun Gai’s method of Yip Man Foshan Wing Chun. Alan: You travelled to China to learn from Lun Gai Sifu; what was that like? Mark: It is a great trip every time I go to China to train with Sifu Lun Gai, a

trip I have made regularly for about ten years now. I am privileged to have access to the closest source available to the early teachings of Grandmaster Yip Man. Sifu Lun Gai is a walking treasure in Wing Chun, yet he remains the nicest man, very kind and humble. He said he taught me “pure” Wing Chun, as he included the method and not just the technique. I was lucky, as I was introduced to Sifu by a friend of mine who works in China; his boss knew Sifu. The best way to become a student is through introduction. Sifu is very straight; no politics or rubbish, just great kung fu from a fantastic guy who really knows Wing Chun inside out. I have learned so much from him. I am very lucky to be able to do what I do. Being a partner in Pagoda Imports, a martial arts equipment supply company, gives me a lot of opportunity to travel to the East. Some of our wooden dummies are manufactured in Foshan, for example, so I am fortunate enough to go there quite frequently. Alan: Lun Gai Sifu’s Wing Chun is different to the Hong Kong Wing Chun. Mark: The Wing Chun in Foshan from Sifu Lun Gai has to follow strict

rules that create the “Faat,“ a precise method of approach. Sifu said that Grandmaster Yip Man was very insistent about this methodology and everything he did had to follow it. There was no room for anything outside of this method. Alan: Looking at what Yip Man taught when in China and what he taught in

Hong Kong, what are the main differences? Mark: From a visual perspective the forms aren’t the same as those that Yip

Man taught in Hong Kong. Other than that, I wouldn’t want to compare differences. I will just explain what Sifu Lun Gai does and leave it to the readers to compare the differences for themselves. Alan: What are the essentials of Yip Man “Foshan“ Wing Chun?

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Mark: Yip Man “Foshan“ Wing Chun is broken down into different layers,

which creates a structured learning method. This is a massive area to cover, but it is worth just running through some of the related areas that are covered. There is body structure, body mechanics, and body energetics. Then there is bridge structure, bridge mechanics, and bridge energetics. Alongside this are principles and concepts, and strategy and tactics. Alan: What’s your view on whether structure is needed? Mark: Structure helps to achieve “displacement.” There is a famous kung

fu saying (Sei Leung Buat Tin Gun) that means, “A few ounces can move a thousand kilos.” To understand the relevance of this saying, first you need to understand how to create structure. Once you understand this, then you can begin to learn how to influence someone else’s structure, using a few ounces to move a thousand kilos. Alan: Yes, my teacher, Chu Sifu, wrote an article on just that subject. Mark: Yes, it’s a key understanding of rooting. Alan: What is your general idea behind creating structure within your system? Mark: Creating structure is about aligning the (Gwot Kwa) skeletal system to

be able to structurally maintain posture when a force is being exerted against you. This allows you to (Tun) absorb the pressure by transferring the energy against you into the ground—(Ma) to root. Using an aligned skeletal frame gives us the ability to utilize a minimum amount of strength or muscle power (Lik), creating maximum results with minimum effort. Alan: How do you do this achieve this in Foshan Wing Chun? Mark: Stand straight, aligning the three centers on a vertical line—to align

the lower center you will have to tilt the pelvis (Pun Kua) forward. Hang the weight around the spine to achieve a state of (Song) looseness in the posture; this also creates (Chum Sun) a heavy body. Sit the stance (Joor), creating (Jung Sin) central line weight distribution in conjunction with the principle of gravity (Dei Sun Kup Lik). This all brings together the Wing Chun frame (Kua). The following kung fu terms link the bridge method with the body method; these are described as: (Jeurn Jarn) turn in elbows; (Chum Jarn) sink elbows; (Lok Bok) drop shoulders; (Ho Chuan), hollow chest; and (Fo Bo), curved 206

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back. Another way to describe this is to let all the joints, including the centers, as they function as joints, hang as though suspended on string. Alan: What’s next? Mark: Continue by applying a pairing method combining 1: hands and feet,

2: Knees and elbows, 3: hips and shoulders. And the internal work of 1: sinking the breath, 2: sinking the energy, 3: projecting the energy (Pung). To create this you need to start with the intention (Yi), and this leads to the energy (Hei) by clamping, expanding, compressing, and twisting of the joints and centers, creating the power (Lik). But now we are talking in terms of manifesting tendon power as opposed to muscle strength. Next we need a Wing Chun bridge referencing method, for three-dimensional placement of our fighting tools, for correct understanding of height and width. To do this we use (Luk Mun) six gate theory, and (Chang Dyun Kil Sau) long-short bridge hands to understand structured depth. This creates an understanding of how to zone our body using an imaginary grid or matrix, so we know instinctively where the points of structure are for our tools, which in turn give us our understanding of (Ying) shapes. Shapes are expressions of (Jiu Sic) structure, so this is about how to understand our structure before trying to influence our opponent’s structure—we are still the realm of the “mass.“ This “Jong Faat” structure method is about occupying or maintaining space and by aligning your arms to avoid the collapsing or folding of your bridges. This is considered as solid energy (Gong Lik). This layer is important for the (Bi Jong) setup, (Deui Ying) facing theory which leads us to (Jit Kil) bridge interception. Alan: Now you can take the pressure? Mark: Yes. However, when an opponent releases power that is more than

we can handle then we need to have the ability to absorb it. Therefore the concept of absorb and release (Tun Tao) or the famous Wing Chun saying of (Loi Lau hoi sun - Lat sau Jik Chung) comes into play. This means to remain and receive the energy, to escort the energy and then thrust your attack when your hand is free. This is the fighting method of the spear; a lot of systems are created from the concept of the spear, Xingyiquan being one of them. This is to swallow the impact and thrust at the center. This means we have attained

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spring energy, by understanding how to separate and utilize all the joints and centers of the body. The other part of bridgework is (Sei Lik) redirection or (Chaam Kil) sinking. You attain this by taking new lines to displace the opponent’s strength by manipulating his elbow position, which allows you to eat up the space to the opponent’s center. Alan: What about dissipation of energy? Mark: The other way is to (Fa Lik) dissipate the energy. This method requires

what is known as (Teng Lik) listening or sensitivity. This is considered (Yuen Lik) soft energy, and ties in with the moment when an opponent tries to move a shape off center. To hold the shape now requires the use of excessive muscle, and so to try to hold this bridge requires effort, which means it is no longer structure, it is strength, as there’s no spine or center alignment for pressure. So if your structure is broken you need to (Fa) dissipate, fold (Faan Lik), separate (Fan Lik), circle (Huen), elbow pull (Jarn Lik), snake (Se Lik), plus lots of other energies. Dissipation (Fa Lik) is not considered a structure but transitional; therefore it is energetic based. Alan: Often it’s thought that if you use structure, then you can’t then be

mobile. This is incorrect; how do you see movement with structure? Mark: Once you attain the above information you can now start to apply the

concepts. The information above is all part of (Siu Nim Tao) Wing Chun’s first form, which teaches you about the body and bridge method. This is why the form is static in terms of footwork, as it allows you to concentrate on structural hand and body positioning and also provides you with transitional energies between the structures. This allows you to be able to begin understanding bridge angulations, providing you with the information on how to maintain your bridges while influencing an opponent’s bridge using a myriad different ways. All the ways we use in a facing position are contained by the space Wing Chun operates in, which is a semi-circle in front of you, from shoulder to shoulder. This is then split into a box within the two shoulders, plus two wings from the shoulder line to the sideline. When in application with an

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opponent, this information transforms to the three body facings, which are front body, angled body left, or angled body right. To ensure that when utilizing the angled body tactic we stay within the realms of the Wing Chun concept of simultaneous attack and defense, we have to align certain parts of our body to that of our opponent’s. This information is not exclusive to Wing Chun. All methods of kung fu should utilize this understanding, as it is a common (Kil Sau, Chi Sau) tactic. What makes Wing Chun different is that it can only use tools that reflect the concept of efficiency within this space. As Wing Chun employs fewer tools, it needs to employ concepts, strategy, and tactics to fill up this area instead. Alan: I notice that there is no footwork yet. Mark: After taking this information onboard, you can add footwork to the

knowledge you have attained so far. Foshan Wing Chun has a generic term for all the footwork—(Baat Gwa Bo) eight directional stepping—and as you can imagine from the descriptive name there is a huge possibility of creating and utilizing different body angles and lines through slight foot and body movement. However, to start with we can look at just the first three basic stances, which are parallel foot stance (Yi Ji Kim Yeung Ma), front stance (Chin Sun Ma), and side stance (Jut Sun Ma). From each foot position we can still use front or side body angle positions. So this is achieved by understanding waist (Yil) and (Yum Yuen) opposite core energy separation from the lower and middle (Dan Tien) centers. In any stance and in any of the three possible body angles we still need to be able to maintain our position by taking the power from contact point through the body and down to the feet. The amount of pressure against us when we do this will be decided by range of contact. An example of range contact could be the difference between long bridge and short bridge and what part of the arm is in contact—is it forearm or wrist? All in all, once you understand stance then the posture has to become alive and mobile, and this brings in to play the footwork. This gives rise to many possible ranges, angles, and lines for defense and attack. Wing Chun uses lots of different strategies and tactics; half are (Gong Lei) understanding-related and the other half is (Lauh) flow-related, as the only constant you can rely upon in combat is change. So we need (Bin Faat) the ability to change and influence through being alive. This again shows the

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middle path. Master Lun Gai told me that Wing Chun is the middle path and using the above information the middle path is what we are expressing. So what I have started to explain is Wing Chun the system, not Wing Chun the style. Alan: Yes, Wing Chun should be a system rather that a style. Did Lun Gai

Sifu have an opinion on why the structure principles he learned from Yip Man are only seen in some of his Hong Kong students? Mark: Sifu’s answer to me when I asked him this question was: “time.“ Many

people in Hong Kong were so busy; they simply didn’t have time. He can only presume that the way Grandmaster Yip Man taught was more commercially flavored. In other words, mainly due to time constraints, he gave the student just what they needed, as opposed to all the information. This would make sense, as environments change everything, including how Wing Chun is taught. Sifu Lun Gai did say, however, that this is only his opinion, as he doesn’t know for sure. But Sifu Lun Gai also said that, if someone specifically asked a question, it would be in Grandmaster Yip Man’s nature to give the answer. So maybe this is why structure principle is only seen in some of the Hong Kong students—they asked the right questions. Alan: Looking at the Chinese martial arts you have learned, what are the

common links between them? Mark: There is a famous kung fu saying I was taught by my Pak Mei Sifu.

And my Tai Shing Pek Kwar Sifu, who was a student of the “Monkey King,” Grandmaster Chan sau Chung: (Ng Woo Sey Hoi Gar Hing Dai) “Five Lakes and four oceans we are all brothers.” This saying has become very much the way I perceive martial arts. I will explain. The more I study the martial arts, the more I realize that when you take away the names or labels of styles, and look at the core engines that drive them, you no longer see the techniques or styles, but the system or method. That means, as I stated before, you see structure, mechanics, energetics, concepts, principles, strategy, and tactics. Otherwise, simply put, without the above information, you don’t have a game plan. The question then is: how do you know what you want to achieve and how do you expect to achieve it? The best way to do this is using a plan, and this comes back to method. So behind all martial arts there should be a

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method. If you know a method, I would say you know a system; if you don’t know a method then I would say you know a style. Alan: Why would they have differences in systems then? Mark: The reason that you see system approaches with different expressions is

normally due to tactics and strategy, and this comes down to the environment in which they were created. Some systems are perfect for a certain situation; the problem is that those situations no longer exist. Either that system stays the same, but is not as effective as it was in the environment it was created for, or the system gets modified and evolved for a new environment.. This creates the meaning for why things are different: “Five lakes and four oceans.” So when you see what really drives them, it becomes clear that all systems are related. “We are all brothers.” It really is only environment then that leads to a change in strategy and tactics, so “Five Lakes and four oceans. We are all brothers.”

Yi Kam Wing Kuen Kuit Reading the 1840s Kuen Kuit makes it clear that Wing Chun has always been an internal art. Yik Kam Wing Chun, Siu Lin Tau song kuit 斯是上乘法。通關開竅有奇功 This is an advance method. Its wonderful result is penetrating through the gates and attaining realization. 若不明攻守之道、皆失過徧，弊耳。 If you are not clear with the concept of attack and defense (center line), you will be biased. That is a mistake. Y Pre (instruction prior to the details of the set): Y Pre 1 眼要對手。 Eyes must track hands Y Pre 2 手要對心。 Hands must track heart Y Pre 3 手從心發。 Hand issue from heart Y Pre 4 一絲不苟。 One thread must not be off Y Pre 5 一伸一縮。 Every stretch, every contact Y Pre 6 柔中帶剛。 Within the soft there is hardness Y Pre 7 剛中而柔。 Within hardness is softness Old SchoolLooking at the Classics

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Note: the above expresses, for example, that when the arm is fully extended and expand, it is referred as hard; and while the arm is contracting loosely, it is referred as soft. Y Pre 8 則是靜如平波, 動如翻江。 While the movement is slow it is analogous to a calm, smooth wave. While the movement is large and fast, it is analogous to a huge violent wave, i.e. a tsunami. Part 1 Y1聚意會神平肩檔。 Focus the intention, union with the awareness, while standing the equal shoulder stance Y2兩手前起分陰陽 Two hands front raise divide into yin and yan. Y3左腿跘出有善惡。 The trip out of left leg has positive and negative effects Y4右跟屈勁緊反藏 The bending power of the right heel tightly stores in the reverse direction Y5會合丹田督脈降。 Union in the Dan tian, Du meridian sink Y6手臂鞭出橫力勁 The arm whip out the horizontal Jin Y7神寄指爪䄂底旁。 Pay attention to the finger, claw, and the side under the sleeve Y8旋迥自然順脈氣 Spiral twisting naturally, follow the breathing and the direction of the qi Y9掌背向外神意足。 Back of palm faces outward, intention is full Y10翻掌抽纏對心防 Rotating palm reeling guarding the heart Y11單橫相撐合氣運。 Single horizontal and double press handling accord to breathing Y12相抱沉身力橫分 Embracing and sinking, splits the force horizontally Y13前虛急用擒伏法。 Forward empty urgently use seize subdue methods Y14下叉飛雙插翼忙 Lower intersection, flying double, hurry piercing wings Y15合實雙掌穿心貫。 Joining the two palms drive through the heart Y16下沉關元背攻上 Sinking down to Guan Yuan area, back of the palm attacks upward Y17一任自然脈安祥。 Following naturally and spontaneously the qi will flow in a peaceful and balance way Y18企掌屈肘單昭陽 Erect palm bent elbow single zhao yang Y19上下飛花勁脈暢。 Upper and lower flying flower power channels smooth

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Y20呑吐如虹發力罡 Swallowing and spitting are like a smooth rainbow issuing force Y21下結關元參佛手。 Lower knot at guan yuan area (then turn into) Buddha counsel hands Y22一任自然氣脈長 Following natural spontaneously the breathing, zhen qi and it flow will grow (strong) Part 2 Ya1手臂鞭出橫力勁。 Hand and arm whip out horizontal Jin Ya2下旋往上企肘膀 Spiral downward then upturn into the vertical elbow wing Ya3斜身舒腰劈豺狼。 Tilted the body expand the waist axe the jackal wolf Ya4膀肘拗腰流下訪 Wing elbow bending waist visit (the opponent) under the flow Ya5旋上鷹爪擒羊忙。 Spiral upward hurry capture the goat with eagles craw Ya6袖底穿花五指插 Under sleeve penetrating flower five fingers thrust Ya7囘身中宮出手忙。 Return (recapture) to the center door the response must be in a hurry Ya8圈手擒拿左右撐 Circle hand, kam na, left right palm strike Ya9挑橋奉印印胸膛。 Pick the bridge present the seal, sealing the chest Ya10雙爪握拳脈氣爽 Both craw grasp fists the qi meridians and breathing are comfortable Ya11雙掌下沉提氣上。 Sinking both palms rise while inhale Ya12拱手提氣吐無妨 Double push hands while exhale Ya13雙掌翻出如壓頂。 Turn both palm and strike out similar to a mountain press down Ya14抽送往來如吐舌 Withdraw and send ( the finger strike) similar to (snake) spit its tongue Ya15雙掌互插分突圍。 Double palm trusting each other to break out sudden attack Ya16左右側腿勁如虹 Left and right kick support by smooth and powerful Jin Ya17右手鞭手橫中劈。 Right arm whip arm split horizontal to the center Ya18抽砍更需不誤遲 Draw and chop must be done without delay Ya19標指狠毒急可用。 Biu Jee is poison, use it at emergency Ya20囘身中宮參佛手 Return (recapture) to the center door with Buddha counsel hand technique

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Part 3 Yb1敵強孤弱封喉手。 Enemy is strong while I am weak, using seal throat hand Yb2拱手折力要均勻 Double palm breaking the incoming force in an even way Yb3左外右肘徧身發。 Left and right elbow issue with slant body Yb4右肘企肘護心旁 Erect right elbow guard the heart area Yb5撕手能破長橋法。 Tearing hands is for breaking the long bridge Yb6耕手上下有陰陽 Gang sau has yin yang within Yb7抽手鎖腿毒蛇舌。 Withdraw hand, lock leg, poison snake tongue Yb8㩹搥連環剛柔用 Concentrate stack punches strike in a hard and soft way Part 4 Yc1左右耕手分陰陽。 Left and right gang sau consist of yin yang Yc2挑橋奉印上下分 Pick the bridge present the seal with up and down split Yc3拱手用勁要平均。 Double palm Jin needs to be evenly applied Yc4圈手濺標連環吐 Circle hand splash spear concentrate spit Yc5左右撕手勁力均。 Left and right tearing hands with even Jin Yc6破碑胸肋致命喪 Broken monument target at chest ribs cause death Yc7虎手左右翻。 Fu hand left and right flip Yc8㩹搥準備用 Stack punch ready to use Yc9攤伏靜中藏。 Tan and Fok hide within silence Yc10摽指上下左右用 Biu Jee uses in the up, down, left, and right direction Yc11抽鞭砍㩹攻。 Withdraw, whip, chop, stack attack Yc12圈冚挑㩹常要用 Circle outward, inward, pick, stack are often used Yc13劍指膀肘呈英雄 Sword finger bong elbow present to the hero

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C H A P T E R 20

MY STORY—FULL CIRCLE

A

lot has happened in the last thirty years to get me where I am now. I often ask myself, “So what point am I really at?” One never stops growing and developing when being honest about the true self. For me, have I mastered Wing Chun? Yes, I would say I have. Can I improve? Yes, of course. The reason is that I have learned a true system of the art and have tested it on many levels. But more than that, I am happy and at peace with my original quest. I

Receiving my BJJ black belt from my Master Leo Negao

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Alan with his wrestling coach Matt Miller

New Iron Wolves training with Sensei Eddy Millis

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Alan teaching a joint seminar with Andreas Hoffmann

can see now that due to my stressful early life and living with fear, I have spent much of my life building myself to be physically strong and able to look after myself. Funny enough, I didn’t realize the process would push me at mental levels as much as it has the physical level. When running from stress and pressure, why would you put yourself on a path where you had to deal with being out of your comfort zone all the time? I think deep down we all know the answer: if we want to grow, we have to push ourselves and challenge our comfort zones. Like many, my confidence was lacking at the beginning, but I have reached levels that I never thought I could. And I learned so much more than that. I learned about myself, but I also learned about people. I have forged great friendships and have helped others along their paths by sharing my experiences to quicken and improve their learning. All in all, it has been a great healing process. My students often called me the “Hulk,” due to my power and ability to train all day without any negative effect to my energy. It’s possible that as I pushed my students hard, anger from them may have been in there somewhere. In the new Avengers film, when Bruce Banner is asked about not getting angry, he replies the secret is that he is always angry. I really liked that; it showed he knew the Hulk much more than they thought. The truth is we all have an inner hulk that we know only too well. When you learn good martial arts it allows you to tame your inner beast and channel an inner peace. Keeping Strong

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Iron Wolves bring home more Gold

Fight Camp Training

Iron Wolves UK and NZ coming together

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Proud of my brothers Josh, Ricky and Jordan

Ben, Ale and Zac watch this space!

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I started martial arts for reasons that have now long changed. I no longer train to protect myself or to build my confidence; these things have been put to rest. I now train for self-development—physical and mental and simply because I like it. I like having a positive impact on people’s lives and helping them reach their goals. My goal now is to be a better person for my family, which mean everything to me. Alan at the White House on a private tour!

My first magazine cover

Alan and Randy Couture having fun on a photo shoot!

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The gift of life is an amazing experience. How you live your life is the only gift you have to give. Nothing is more humbling that seeing your child born and having her handed to you. Plus the bond it builds seeing the woman you love go through nine months of change to create a new life. That is a much higher gift than anything else we can ever do. When my daughter was handed to me, I had a feeling of reincarnation. It was like my life started at that point. All the pain of my past was gone and I had a feeling of joy and happiness that I cannot even explain. What I realized was that we do not have to hold on to our past. We have choices.

It was not long after having my own daughter that I started to think of my real father, whom I had not seen for more than thirty-five years. I knew he had fought for access at the time, so he wanted to be part of my life. A lot had happened along the way that closed my mind to my past. But now, being a father myself, it had changed me and I was thinking in a different way about life. I talked to Carron, my wife, about maybe finding my father and just seeing what would happen. I was okay if didn’t work out. I think the fear of another rejection was what had also stopped me from looking before. If I found him and it worked out then great, if not I had my family now and all would still be well. So from thinking about it to talking to Carron to doing a search online took up all of ten minutes and I had found a telephone number for what seemed to my father’s business. I phoned the number and he answered! He didn’t seem shocked at all. He just said, “I have been waiting for you all these years, where have you been?” We talked like we already knew each other all our lives. I was just chatting with my

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Thailand Training Camp!

Miller Time! Matt’s wrestling camp for our Team

dad. I shared some of my past problems growing up, but only the light version. He was sad even about that. It’s the past, so it was gone now and there was no need to focus on it. I found out I had a brother and sister! A few days later we met and not long after, I met the rest of my new family. Today I have a great bond with my brother and sister. My dad’s wife is a wonderful woman and treats me as her son. Without the martial arts I would have never become whom I am today. I have gone from a lone wolf to having my own great family at home. Carron’s family, plus my newfound family. Then

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I have my martial arts family, my teachers, my students, and now their students. I have friends and family now all over the world. That is life. Thank you Pat and Alec for your unconditional support and making becoming part of your family a joy. Thank you Dad, Semra, Hussein, Esen Much Love Many people chased my teacher’s “structure” term. Now many are chasing the idea of the “Internal” term in Wing Chun. But the secret is they are one in the same and always have been. The key is the magic within the architecture of the six core elements. The next development of Wing Chun architecture will be very exciting and I look forward to sharing that with you all.

Ale after winning her first MMA Fight and Jo after winning his first Pro MMA fight. 222

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C H A P T E R 21

FINAL THOUGHTS ON HOW TO LEARN

M

ake sure you choose the right teacher. Take your time and do your research. Otherwise you can waste a lot of time and money. Not all Wing Chun is the same. When you learn martial arts, it impacts your mind as much as your body, so make sure your teacher has a balanced skill set and leads by good example. Never think you cannot achieve your goals or dreams. I was fourteen years old reading Martial Arts Illustrated magazine, reading about the late Wing Chun Master Derek Jones in an interview and was thinking, Wow, I wish one day I could be like that—a master of Wing Chun, interviewed in a magazine, and maybe traveling the world to learn martial arts. It was

Alan seminar coaching

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Teaching in Thailand

Alan with his Viking Warriors!

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Good times

Alan and Sergio Pascal Ladarola after an excellent exchange of skills Final Thoughts on How to Learn

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Duane, Alan and Reto running yearly Thailand Camps together.

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just a daydream at the time, but it set the wheels in motion. Not much later I was training with Derek, then later I was in America learning. More years passed and I was writing articles and doing interviews for the very same magazine. I have even been on the cover a few times. Another twenty years later I was the editor of MMA Uncaged magazine, the sister publication! I now have students all over the world and have reached a level I never imaged I could achieve. So please keep on daydreaming and reach out for your goals, as they are not as far as you think if you keep moving forward. If you are interested in CSL Wing Chun, check out my website for a list of instructors around the world. If you are really interested in learning good Wing Chun, traveling to a good teacher will always be worth it in the long run. If you want to learn more about what I have shown in this book, then my new online learning platform is a great resource. If you asked me if you could learn online ten years ago I would have said no. But times have changed and online learning can be a great way to gain insight and learning in ways that even face-to-face learning can lack. Of course it is always great to gain hands-on skills and I would say you should make the effort to do that as well. What my new online platform gives you is access to a great depth of understanding and you can watch over and over again. Also as it’s online, new lessons are updated and added all the time to a growing platform.

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Wing Chun Academy – www.alanorrwingchunacademy.com

DVD online courses

Full Time Gym – www.gym101.co.nz Final Thoughts on How to Learn

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