When talking about kung-fu, many people limit discussion to the performance of remarkable, but not necessarily combat-applicable fighting sets. Perhaps they have been misled by the "Martial Arts Novels" popular in Asia; or lured astray by a trickster claiming to know supernatural skills; or maybe their preconceptions are influenced by foreign fighting systems. Regardless of the source of their limited conceptions, they now believe they must practice these flashy sets in order to fully master martial arts.

Wing Chun does NOT emphasize flashy techniques

Karate and Tae Kwon Do both emphasize the practice of sets, and the more skilled that the practitioner becomes at these sets, the less likely he will be able to escape from doing them to the point of excluding other aspects of his art. Chinese kung-fu likewise embraces these so-called sets: dragon, snake, tiger, leopard, crane, lion, elephant, horse, monkey, are just a handful, based on the movement of animals. From observing these forms, some people gain an understanding of he movement, and believe that if the techniques within the set are performed correctly, then combat and fighting set become one. Furthermore, specific techniques become associated with specific arts, such as the knife-hand of the Snake Fist, the paw hand of the monkey style, or the drunken staff of drunken fist. Actually, most people associate Chinese martial arts with the performance of these sets -- and come to appreciate the practitioner's manifestation of the ferocity of a tiger, the grace of the crane, or the liveliness of the monkey.

In Wing Chun, on the other hand, fighting sets do not exist per se. Examining the structure of Wing Chun, we find that it uses the human body as a point of reference, as opposed to an animal as seen in some Chinese martial arts. The style combines an understanding of physics and geometry to form a system of forms. Actualizing the techniques depends on bringing into full play fighting principles, coordinating one's fighting position, fighting distance, and fighting rhythm. The fighter must use natural action when performing his techniques. One's opponent is alive and moving, and each action will bring about a corresponding reaction, whether it be attack, defense, or retreat.

Wing Chun eschews fancy names like Taiji's "Strumming the Lute"

Therefore, one cannot set a fixed method of attack following the motions of a fighting set, as a fight is not choreographed like in a movie. Although Wing Chun training beings with the learning of forms, as is the case in other styles, the techniques contained within teaches the student correct position and execution. More importantly, practicing the form teaches the beginner patience, as well as how to hold his focus. It is only when the mind is calm that it can fully digest what it has been fed. It is a purely scientific process: focus leads to calm, calm leads to peace. Therefore, focus is the actual beginning of correct, natural action, whether it be in normal life or in combat. One does not have to think about how to move like an animal. Wing Chun does not have fancy names for its techniques, such as "monkey steals the peach," "fierce tiger stretches," or "white crane spreads its wings." A hand, extended with the palm facing up is called a "tan sao" (palm-up hand); the rotating of the hand is a "huan-sao" (circling hand).

The Sticking Hands Exercise hones contact reflexes

One must further erase the idea of limiting oneself to a set technique as a counter to another technique, for this is "dead" kung-fu. People are alive, and a living person should use "live" kung-fu. Wing Chun makes practical use of flowing, natural motion-- the idea of "borrowing and using force." Execution must be swift and reflexive, as one does not have the time to stop and think about which technique to use after making initial contact. In the time it takes to consider a technique, the situation may have changed, and one has already fallen behind and lost the fluidity necessary for combat. In order to forget the mindset of "motion-for-motion" and "form-for-form" so that the brain does not think about the proper move, Wing Chun's founders designed the Chi-Sao exercise. Thus, the exponent, within the context of sticking hand training, will understand the flow of both his and his opponent's power. In tandem with his own well tuned techniques, he can sense oncoming power upon contact with his opponent's arms, and naturally react.

In order to help the student to both understand and use correct reactions, Wing Chun has adopted several adages: "Take what comes, follow what leaves;" "as the hands break contact, thrust forward with your own;" and "when the opponent presents and arm, use sticking hands; if he doesn't, use asking hands." These ideas are actualized at the moment of contact, and are developed through constant chi-sao practice.

Chi Sao requires continuous, natural motion

Wing Chun sticking-hands practice is like riding a bicycle, as it requires continuous, natural motion. It is like a small pebble dropped into a lake: when the pebble breaks the surface, the lake begins to generate infinite waves of ripples, circle by circle, heading toward the edge. Wing Chun's sticking hands resembles the principles mentioned above. When there is no bridge (arm contact), using an asking hands technique will produce a reaction in the opponent. If the opponent's hands retreat, one's own hands must attack. All these ideas are similar to military strategy of advancing upon a retreating enemy. Therefore, Chi-sao is the road that all practitioners must follow to develop both contact reflexes and the skill of borrowing and redirecting power. When these skills are honed to near-perfection, one's reaction will be correct in terms of simplicity, fluidity, and effectiveness. It is only then that one can avoid an opponent's sudden and otherwise unpredictable action, and in turn return damage. Because in the process of doing sticking hands, one must coordinate fighting distance before being able to effectively put into action fighting rhythm, and only the grasp fighting position, one must develop a subconscious understanding of all these aspects to reach a workable and effective level of skill in borrowing and redirecting power. With the prerequisite understanding of continuous motion, it is only when one can react upon contact, that one can subconsciously coordinate all these aspects into a fighting whole.

Seeing this as a process, someone is bound to ask how long it takes to thoroughly and completely understand this idea of contact reflexes. In reality, there is no such thing as "completing" practice; good can still be better. It is the same as if a basketball star stops practicing because basketball season is over; he will meet with failure when he returns. "Completing" is the same as giving up, and practicing kung-fu is like sharpening a knife. The more you whet the knife, the sharper it will get. Endeavored practice and constant questioning are the only ways to develop natural reaction. Otherwise, when the time comes to actually use your skills, you will invariably fail.

ABOUT THE AUTHOR

The nephew of Grandmaster Yip Man, Sifu Lo Man Kam has taught over 2,000 students from 34 different countries. He lives in Taiwan and is the progenitor of the East-West Wing Chun Association. His article, originally from Beauty and Vigor magazine, has been tranlated and reprinted here.

Find out more about Sifu Lo at: http://www.lomankamwingchun.us.