Professional Documents
Culture Documents
If skillfully applied some say this feels like the opponent is being shocked
by electricity or permeated by a shockwave of expansive force.
Say Noi Biu Ging: The Four Internally-Sup- On the other hand, Chum, a sinking action,
ported Expulsive Forces bears weight onto the opponent in a suppress-
Tun, literally meaning to swallow, redirects an ing manner. Again, this provides the practitio-
opponent’s incoming force into the ground. In ner the opportunity to capitalize on the adver-
essence, the practitioner grounds the energy of sary’s submissive state.
an attack with this action. The Principles of Tan, Tou, Fau, Cham are
Tou, or to spit, corresponds to an outward found in virtually all Southern Chinese martial
release of force away from the body. Typically, arts and their combative interpretation can
tun complements tou as a kinetic pair. range from isolated to integrated actions. Some
Fou, to float, is an uprooting force that disrupts styles translate this formula as an expression of
and displaces the opponent’s foundation. This the extremities, such as hand techniques, swal-
enables the practitioner
Cheunto take advantage Jin of lowing,
Jeetreleasing, raising,
Kaoor pressuring the
the adversary’s vulnerable
Drill • Coil state. Scissor • Shear limbs
Sawof an opponent’s
• Slice Hookattacks.
• Pluck
(Say Ging)
4 Energies
Hut
Double
Types of Ging Power
• Look Ging Hop Yat - “6 Directional Powers”:
forward/backward, upward/downward, left/right. This embodies the
potential vector of directional force from which the body can deploy
power. It is part of every motion and refers to the motion of the force.
Many reason for this are often given, most of which focus on the
aspects of political insugence. What is presented here, however,
will focus solely on the structural mechanics that relate to Martial
cultivation, Kinetic power generation, Nei Gung health practices,
and far more that is generaly unknown or overlooked.
To begin with the Bak Mei salute is one of the most heavily
encoded martial salute movements one can train, encompass-
ing not only the core fundamental energies of Float (Fou), Sink
(Chum), Swallow (Tun) and Spit (Tou), but also the primary line
facing and deployment structure neccesary for short shock power
(Gok Ging). The Bak Mei salute is a unique piece of Mass Mar-
tial communication, transmitting its knowledge to the dedicated
initiate.
The human body manifests bi-lateral cemetery, If equally divided in half from the top of
your head to your groin you have two identical halves, as a result you also have a central
axis or “center line” running through the body from top to bottom.
This center line also represents the line of resistance that the body poses against gravi-
ties pull, the body is further divided into three primary kinetic springs, a kinetic spring
is much like a Bow, (Figure A) two of the three act as natural shock absorbers against
gravity, the three springs of the body are the Legs, the Spine and the Arms.
Relaxation is the most important factor in reaping the benefits of Standing Post exercis-
es, relaxation allows the following process to occur.
This process over time transforms the practitioners spine structure from one that express-
es the shape of the letter S to one that expresses the shape of the letter C.
This level of trainig intergrates and unifies the lower lumbar section of the spine stucture
with that of the upper cervical spine stucture.
(Figure A)
Bak Mei Fundamental form coupled with forearm rotation and wrist
flexion at the salutes end.
- Jik Bo
(Straight Step set) Second are the protocols of movement
possible in the Jin Kiu Sao or Scissor
Jik Bo Keun or the Straight step fist is Bridge hands. This movement inge-
considered by White Eyebrow practi- niously builds upon the salutation while
tioners to be the most important form adding vorticular wrist and forearm rota-
of the system. This form is not only the tion that expands outward in polarized
beginning and the end of one’s training, palm positions at the apex of the shoul-
it is the encapsulated culmination of the der line boundaries. Once deployed the
system’s knowledge, nei gung, and power arms contract with the same spring power
cultivation method. This form encom- returning to a fortified bridge arm guard
passes not only the core fundamentals of on the centerline. Now with a strong
Float (Fou), Sink (Chum), Swallow (Tun) reinforced bai Jong guard the Bak Mei
and Spit (Tou) energy but also the prima- practitioner can execute the Third tacti-
ry line facing and deployment structure cal detail
necessary for short shock power (Gok The movement series known as Biu jee
Ging). Jik Bien choi da strike or, Thrusting fingers
straight whip strike punch movement.
Tactically the Jik Bo Straight ste
step form Boxing Forms of other systems that share
cultivates not only a unique and uni- many Martial and Structural details are:
fied discharge of power but a method of
bridging that does not rely on classical
sensitivity training to be effective.
This effective tactical detail is based on
several facets of movement unique in
structure to Bak Mei. In life when faced
with a real attack there is no time at all
to implement a self defense movement
based on eye sight, purposely contrived
line facing or an ABC flow of counters.
Movements designed for effective self
defense rely on two primary details to be
effective. ONE is instantaneous adaptabil-
ity for endless applications and TWO is
the ability to dischage POWER.
C
A
C
The Formula for Power in Southern the back (Hom Hon and Tan Hang) and swal-
lowing the chest, the scapula bones become
Chinese boxing
the source of and deployment point for the
arms’ striking power. This action and detail
If we look at the body’s ability to produce
of movement allows the practitioner FIRST to
power for striking, we can see that it is very
strike without the retraction of the arms that
important to access the body’s full mass.
commonly occurs in other systems.
The body has three parts that can be used as
kinetic springs—the legs, arms, and spine. In
comparison to the legs and arms, the torso or
spine contains the greatest amount of mass.
Third — T The Structure of the Arm Sphere This is only made possible through the for-
curcumferense, raise the arms up in front ward rolling, upward lift of the pelvis, to
of the chest palms facing slightly upwards, minimize the lordotic curvature of the lum-
elbows relaxing downward and form the bar spine in conjunction with pivoting on
shape of a circle with the arms. When doing the bubbling well point in the foot.
so make sure to adheir to the following It should be noted that when the arms are
guides, Arms are not to go higher than the posed in a circle the center point of that
eyebrows, Arms should not decend below the circle is acctually the Centeral Pivot Axis, and
navel, Right arm stays on right side, Left arm will extend farther from the body the farther
stays on left side. the arms are extended.
Bak Mei Martial Maxims • During sticky hands practice, the hand
which has entered beyond the elbow will
• Principle of 3D’s - win nine times out of ten.
Deflect - Displace - Destroy
((Control at first contact.) • Do not follow, force, or butt against the
opponent’s hands.
• Greet the Attacker with pain, Chase the
Attacker with death. • Destroying the opponent’s center line will
control his bridge.
• Go forward, Penetrate and displace.
• Avoid flying elbow disease (Fei Jang), Drop
• Coordinate the hands and feet. Movement your elbows, relax & sink your shoulders.
is integrated & unified. (Jang Dai Lik) Elbow sinking power makes
all of Heaven submit.
• The Yin Yang power arc principle should
be thoroughly understood. • Drop Elbows to take the center.
• Simultaneous offense and defense, use of- • A raised elbow weakens the force.
fense as defense - Lin sil dai dar
A hand used for attack serves also to parry. • The elbow root must be strong, Then you
can take on any attack. Sink the elbow and
• Persistent attack will surely gain you entry. drop the shoulders; Guarding the centerline
Staying on the defensive too long will surely to protect both flanks.
get you into trouble.
• If the opponent grasps your arm bridge, do
• Cultivate & maintain a rooted pivot axis. not oppose him with brute force. Go with
the opponent’s force and apply your Turning
• Unite the three Kinetic springs of the Body skills to control the situation.
- (Legs, Spine, Arms)
• The Say Ging “4 Energies” of Float, Sink,
• Maintain a strong Triangular displacement Swallow and Spit are the root of all skills.
bridge - (Som kwok kiu)
• Go forward, Execute 3 attacks together.
• Defend the 4 Gates - (Say Moon.)
• Soft and relaxed strength will put your Op-
• Kicking to the head is like punching to the ponent in jeopardy.
foot. Kicks lose nine times out of ten.
• Techniques come from the center
• The stance and steps are like a chariot, the
hands are a onslaught of arrows. • If you sense form/structure, ATTACK!
If there is no form/structure, ATTACK!
• Never force an opening. It must be de- When ATTAC
ATTACKING cleave the center.
veloped & found through superior sticking
& cultivated skill. When the opportunity is • Hold the head and neck straight, keep the
there, Your hands find it through sensitive tailbone tucked under, stay alert.
feeling and touch.
• Flowery techniques (Moi Fa) should not be • Practice once a day, & you gain a Day.
used in sticky hand practice. Skip a Day and you will lose ten days.
• Sink the elbows, shoulders, & the waist. • Strive to remain calm in the midst of mo-
tion; loosen up the muscles and relax the
• When pushing opponent’s elbow, beware mind.
Of being pulled.
• When entering, dominate the outside top
• Hands match hands, Kicks match kicks. Bridge reference, to control the situation.
• Jam opponent’s bridge. Bik Ging • Do not collide with a strong opponent;
with a weak opponent use a direct frontal
• Create a bridge if opponent’s bridge is not assault.
present.
• A quick fight should be ended quickly; no
• The thrusting and fast attacks are well delay can be allowed.
suited for closing in.
• Use the three joints of the arm to prevent
• Eyes bright with courage can neutralize entry by the opponent’s bridge; jam the
the situation. Eyes are level, looking straight opponent’s bridge to restrict his movement.
ahead, and watching all directions.
• Iron fingers can strike a vital point at once.
• Pull in the chest, push out the upper back,
and bring in the tail bone. • The phoenix eye punch has no equal.
• Form a pyramid with the center of gravity • Springy power and the extended arm are
in the center. applied to close range.
• Fists are placed in front of the Heart. • Power starts from the heart and shoots
towards the centerline.
• Hold the head and neck straight and keep
the spirit alert. • Power can be released in the intended
manner; use of the line and position will be
• Develop a good foundation for advanced proper and hard to defeat.
techniques.
• There is no difference in who started to
• Do not keep any bad habit. study first; the one who achieves accom-
plishment is first.
• Movements are all practical and real;
Thousands of variations can be used, aiming • When facing multiple opponents, it is easy
for practical use, not beauty. to manage the situation.
• Jik Bo turns rocks into Gold bricks. • Learning the techniques without develop-
ing the skills will never bring any accom-
• Each movement must be packed into your plishment.
Bone Marrow.
• The ideal in Martial Arts is humanitarian- • Use alterations in stepping forward and
ism. Accomplishment uses diligence as a backward. Hands and feet should be closely
goal. coordinated.
• When Wrist touches Wrist, A kick does not • Invisible posture. Invisible kick.
miss.
• As long as you are sticking to your oppo-
• Power is generated from the joints. nent, you are unlikely to lose. A well trained
Strength originates from the heels. waist can prevent loss of balance.
• Store mental energy with the mind. Move • Hand techniques must follow the Yin Yang
chi with mental energy. Exert strength with principle. Strength must be applied with in-
chi. Generate power with strength.. ner power. There is a counteraction to every
attack.
• Know the difference between Yin and
Yang, real and feigned. Take advantage of • Masters are made not born.
any available opportunity.
• The shifting of a single pillar will shake all
• Beware of brute strength when facing the beams, Attack the root of structure
someone from the same style.
• Best to bestow a single skill on a student
• Principle of Triple A (AAA) - than a thousand pieces of gold.
Accept
ccept - Adapt - Act
ccept
• Posses a single skill, and reap the benefits
• In uniting the waist with the stance, power for a lifetime.
can be generated and directed anywhere.
• Maintain your focus and you can bore
• In a match do not expect any compassion. through an army of ten thousand opponents.
• Grasping the throat is a ruthless technique. • Boldness of execution stems from superb
Once commenced, it cannot be stopped. skill.
• Storing energy resembles pulling a bow. • In the area of learning, age makes no
Releasing power is like shooting an arrow. Difference, those who know will always be
the teacher of others.
• Circular and straight accompany each
other. Bent and straight complement one • Study and Inquiry are the path to knowl-
another. Extreme softness enables one to be edge.
hard. Being extremely natural enables one to
be agile. • One Mind, One Body, One Power.
• Direct the mind to store spirit, not chi, in • Those who work with their brain rule,
the body. Otherwise it leads to sluggishness. Those who work with their brawn are ruled.
No power is obtained when occupied with
chi. • Strike first and prevail, Strike late and fail.
• In Drama skill depends on the Lips, in Mar- • Diligence is a priceless treasure, and
tial arts skill depends on the footwork. Caution is a talisman for survival.
• There is always one thing to subdue anoth- • If you don’t kill the Root the weed will
er, everything can be countered. return.
• Forced memorization is not as good as • When a Nest is overturned all eggs are bro-
natural realization, this is an organic Martial ken, When the Attacker’s balance is broken
awakening. all potential attacks are overturned.
• Unity is Strength, - Structural Unity can turn • Try anything in a desperate situation.
dirt into Gold.
• Two Attacks are one, and one attack is none.
• If you chase after two rabbits, you’ll catch For the highest probability of successful
neither. Focus on one attacker at a time. striking, deploy multiple attacks.
• Those who fail to secure more than one • The four Aims are: Shocking power, Sticky
Escape deserve to die. hands, releasing hands, and heavy power.
• A clever Animal has three burrows, A clever • Hum Hon (Collapse & Swallow the chest).
Martial artist has three forms of Back-up or
three forms of escape. • Bat Boi (Hunch back).
• Sand is minute, but it will harm your Eyes. • Yao Kiu Kiu Soi Kiu -
(Any attack is an Attack.) (If there is a bridge, then Break it.)
• Those who bully the weak are cowards • Yao Kiu Kiu Gop Kiu -
before the strong. (If there is a bridge, then Trap it.)
• Man proposes, Heaven disposes. • Lurn Sao Bot Gwai Choi Sao Juen -
(The hands don’t draw back to extend for-
• If you strike someone with your fists, ward.)
Beware of a kick in return.
• Diew Tong - “Pull Up the Tail Bone” • Zhi Qiu Jing, Bu Qiu Duo - Strive to un-
derstand Principle and concepts clearly rath-
• Dip Gwat - “Press Down the Ribs” er than simply acquiring more techniques.
• Sow Kai Bui - “Round the Back” • Xue Quan Gong, Jizhi Renshi - Study
your techniques regarding how to develop
• Hut Yee Sao - “Hands Like a Begger” REAL Martial Power, and refrain from sim-
ply acquiring more techniques for a bulk of
• Wa Tzai Ku - “Legs like a Frog” knowledge.
• Ding Bot Ding - “Stance not like letter T” • Emphasize power, speed, accuracy,
Balance, aggressiveness.
• Bot Bo Bot - “Stance not like / \ character”
• The techniques are quickly chained.
• Yat Fook Yee - “One detains, traps two”
• Seek to dominate straight from the outside
• Jahng Dai Lik - “Sink the Elbow Power” top bridge contact reference.
• The Elbows should not be seen from the • Seek to Turn & roll force from the inside
back. The Elbows must ALWAYS point bottom bridge contact reference.
down.
• At first contact the attacker must fall of
• Hands don’t rise above the eyebrows or fall their horse (Off balance).
below the knees.
• The first Strike must make the attacker taste
• Chin Gan Zwei - Lift a thousand pounds their spine. (Break the spine).
with one ounce.
• Attack until the Fist is soaked Red. (Until it
• Gee Hon Hop Yit Da - Thought and action appears covered with a crimson glove.)
must be one.
• Hide thorns for the enemy to find.
• Chan Si Jing - Power must be like reeling
silk - even and smooth, connected not bro- • Sink the Elbow to regain control.
ken from the heels to the hands
• Use Shearing force to steer the attacker.
• Contact - Control - Strike
• Face Centerline & Jam Forward, Rooting & • Use Drilling force to drive the attacker.
Attaching when Crossing The Bridge.
• Flow -
From the attributes of Timing, balance, rhythm, and speed, Flow is a factor
influencing all. Flow at its core is the ability to dovetail and mesh cor-
rectly with the attacker in a way that brings about his defeat.
The ability to benefit correctly from Flow is to train not to fight against
the attacker’s force, but to stick to and divert, displace, and dissipate the
attacker’s force.
• Checkmate -
Without fail in every fighting encounter one must defeat the attacker in as
few moves as possible. Going immediately from first contact to conclu-
sion should be the goal, and anything you train that is counterproductive
to this must be abandoned.
• Saw/Slice -
Cantonese - Jeet: This movement is the embodiment of what is known as
Lin Sil Dai Dar, to deflect & attack in one movement beat. To apply Jeet
is what sets Southern boxing apart from most martial methods, but also
on the same timing level as that of Western boxing. Jeet also at it’s core
is the application of sticking to the attacker, and cannot be extracted from
mantis techniques.
• Scissor/Shear -
Cantonese - Jin: Scissor like Jeet is the embodiment of what is known
as Lin Sil Dai Dar, to deflect & attack in one movement beat. However
scissor highlights the coordinated application of both of the arms and the
Ging power each can express and discharge. This is a very broad principle
allowing a Mantis player to deflect great force and channel it back into the
attackers skeletal frame and organs.
• Your Training -
Looking at the scope of a lifetime of training one should from the begin-
ning even to the end ask daily the question WhyW ?
Why do I train this way?
Why do we practise this movement?
What is the function and purpose of this Martial method?
It is your responsibility to constantly re-evaluate your martial progress and
address anything that impairs that progress.
• Off Balancing -
Cantonese - Chor Hoi Ma: The very moment you touch the attacker their
root and balance must be stolen. To control the attacker is to control
balance both yours and theirs, to do so undermines everything that they
could do thus circumventing all possible attacks.
This is the highest of skills.
• Bone Shield -
Bone shields encompass a level of indirect protection that utilizes the
bone structure of the practitioner. Derived from the Jin Sao & Hut yee sao
postures Bone shield assist in protecting bleeding zones of the body with
elbows, forearms and upper humerus bone segments
• Thorns -
This represents a level of indirect striking that is employed when there is
greater attack pressure from the opponent. The primary anatomical weap-
on used is the elbow, however anything may be used even Gao choi falls
into this category of striking.
• Lightning -
Although this principle is most often know of within Indonesian Silat
aspects of it can be found in many systems. When engaging the opponent
it is important that no matter how slight the contact that the attacker must
be scared, bruised and marked by the encounter. Scorched by pain the
opponents spirit is damaged and their Shen is weakened.
18 to 24 Inches Appart
Som Kwok Ma
3 Angles/Triangle Horse
18 to 24 Inches Appart
Say Ping Ma
4 Corners Horse
Biu Ma
Forward Thrust Step
Say Ping Seen Wai Ma
4 Corners Stationary Stance Pivot
Kao Bo / Heun Bo
Plucking Step, Circle Step
The Phoenix Eye Fist affords the user several
unique options in the choice of striking sur-
ch faces. (1) Striking with the frontal face of the
index finger. (2) Striking with the back face of
the index finger. (3) Striking with the frontal
face of the fist. (4) Striking with the nail or
knuckle of the thumb. Gouging the eye is the
easiest with the thumb, the strongest digit.
(5) The Whip punch surface known as Bien
Choi and Pek Choi, a Hammer fist strike,
which falls under the umbrella of Gao Choi.
(6) The Back hand punch surface known as
Gwa Choi and Bung Choi, which also falls
under the umbrella of Gao Choi.
Chong jou si gan — creating Chuun lop — moving stance- Dai au gurk — low round-
timing work between the poles in house
the mui fa jong
Chor ma — “sitting” horse Dai jing gurk — low front
stance, the basic turning Chung kiu lik — long bridge kick
stance power
Dai wang gurk — low side
Chor do — stomping with Chung kuen — straight kick
the knife handle punch
Dai jeong or haa jeong
— low level spade thrust controlling while alternating
palm strike Dit da — injuries such as punches as in pak faan sau,
bruises, sprains and strains
Dan chi sau — single sticky bue faan sau and lop faan
hands exercise Dit da jau or dit da jow sau
— herbal liniment for bruis-
Dan tien — the center of es, sprains, and strains Faan sun — to regain the
energy in the body located body position
about two inches below the Doi gok gurk — low diago-
navel in center of the trunk nal leg block or strike Faan sun jing gurk — to re-
gain the body position with a
Dang gurk — nailing kick Doi gok kuen or wang kuen front kick
— diagonal punch from out-
Dang gwan or dang kwan side across the centerline Fak do — upward deflecting
— snapping straight down block with the knives
with the pole Dok gurk Siu Lim Tau — sin-
gle leg form of Siu Lim Ta Fak sau — upward deflecting
Day har au gurk — round- block swinging the forearm
house kick on the floor Do — butterfly knives down and up, contacting
with the little finger side
Day har chi gurk — sticky Do bo — moving stances
legs on the floor with the knives of the wrist
Day har jing gurk — front Duun geng — short inches Fat do — right power in tech-
kick on the floor power niques
Day har wang gurk — side Faan dan chi sau — bounc- Faun au gurk or fong ngau
kick on the floor ing sticky hands gurk — reverse roundhouse
Day ton bok gek — ground Faan sau — continuous lop Fay jong — flying elbows
fighting sau basic attack to break
through the opponent’s struc- Fong sau sin wai — blocking
Deng or tai gurk — raising ture line
kick
Faan kuen — circling punch Fok family — a family of
Dim gwan or dim kwan either inside or outside techniques which use the
—stabbing pole palm
Hoi faan kuen — outside
Dim ma — stamping in the whip punch Fok gurk — a downward leg
pole stance to give more block or strike contacting
energy Ngoi faan kuen — inside with the muscle next to the
whip punch shin bone
Ding sau — bent wrist block
or strike contacting with the Faan kuen or faan sau Fok sau — a palm controlling
wrist area — continuous attacking with block with the elbow down
are:
Fok sut — an inward knee Gaan jaam do — simultane- 1. bau ja geng — explode
block or strike ous low sweeping bock and power
upper deflecting block with 2. chi geng — sticking power
Fong sau sin wai — blocking the butterfly knives 3. keng geng — listening
line power
Gaan sau — a low sweeping 4. juun geng — drilling
Fung ngan kuen or fung an block. There are two kinds of power
kuen — phoenix eye punch gaan sau 5. jek jip geng — direct pow-
with the index knuckle for- ergan jip geng — indirect
ward hoi gaan sau — an outward power
low sweeping block 6. yaan geng or daai geng
Fuun do — an outward or — guiding power
sidewards slash with the but- ngoi gaan sau — an inward 7. lin jip geng — connecting
terfly knives low sweeping block power
8. choung geng — aggressive
Fuun sau — an outward or Gaan sau — 5 blocking mo- power
sidewards horizontal chop tions
Gin kuen — moving side
Ga chok — bouncing tech- ngoi gaan sau — inside low punch for pole exercise
nique off of an opponent’s sweeping block
structure Goiu ying — adjusting the
tan sau — flat palm-up block body structure
Gan jip geng — indirect contacting on the thumb side
power of the wrist Goot do — cutting knife at-
tack
Gaan da— simultaneous low hoi gaan sau — outside low
sweeping block with a punch sweeping block Goot gwan — cutting down
with the pole
Gaan gurk — 3 leg blocking jaam sau — forearm deflect-
exercise with the following ing block Gor dan chi sau — attacks in
blocks: single sticky hands
wu sau — guard hand block
Dai jing gurk — low front Gor lop sau — attacks in lop
kick blocking with the calf Gee — fingers sau
muscle
Gee gok chi sau or ji or chi Gor sau or guo sau — attacks
bong gurk — shin block gok chi sau — light sticky in sticky hands
hands
jut gurk — snapping block Gour yung — guts or deter-
Gee gok geng or gum gok mination and self-confidence
Gaan jaam — simultaneous geng — feeling power to win
low sweeping block with a
forearm deflecting block or Geng or ging — energy; the Gu deng chi sau — sitting
chop 8 types of Wing Chun energy sticky hands
Gum gok geng , gee gok Gurk jong — 8 kicks to the Haan kiu chi sau — walking
geng or ji gok geng — feeling mok jong or dummy on the bridge chi sau
energy
Gurng gee kuen — ginger fist Haan sau — a long bridge
Gum jeong — low palm punch block contacting with the
edge strike little finger side of the wrist
Gwai jong — a circular
Gum sau — downward palm downward elbow block or Hau chor ma — backward
block or strike with the el- strike contacting with the bracing stance
bow turned outward forearm
Hau huen joon ma or hau
Gum ying — body feeling Gwai sut — a downward huen or hau joon —- a turn-
knee block contacting with ing stance that is executed by
Gung gek sin wai — attack- the side of the knee or shin stepping forward
ing line
Gwan or kwan — pole then turning 180 degrees to
Gung lik chi sau — heavy face the opposite direction
sticky hands to develop Gwang geng — steel-bar
power power Hau jeong — a palm strike
with the back of the palm
Gurk — leg or kick The 8 Gwat ji fat lik — bone-joint
positions of the kick are power Hay jong or tai jong — rais-
1. jing gurk —strike with the ing elbow strike or block
top of the heel just below the Gwat gwan or sut gwan
arch — opening up or blocking Hay sau or tai sau or ding
2. wang gurk — strike with the inside or outside lower sau — a raising bent wrist
the outside of the heel on the gate with the pole block or strike contacting on
little toe side the little finger side of the
3. soo gurk — strike with the Gwat sau — a circular con- wrist
inside of the arch trolling technique that carries
4. yaai sut gurk — strike with the subject across the center- Hay sut or tai sut — raising
the middle of the heel down- line to open an attacking line knee block or strike contact-
ward ing with the top or side of the
5. tiu gurk — strike with the Haa or chaap kuen — low knee
instep with the toes pointed punch
6. jut gurk — strike with the Hoi or oi —outside
lower calf and achilles ten- Haa jeong or dai jeong
don — low palm strike with the Hoi bok — outside shoulder
7. tai sut — strike with the side of the palm
top or side of the knee with Hoi faan kuen — outside
the leg bent Haan — economic motion whip punch
8. chai gurk — strike down-
ward with the knife edge of Haan kiu — walking on the Hoi hurn — outside facing
the foot bridge or forearm stance
side kick work on the plum blossom
Hoi jeorng or hau jerong
— back palm strike or block huen tiu gurk — circling Jau sau — changing lines in
instep kick attacks, going from one line
Hoi jung sin — outside line to another
Huen ma — circling stance
Hoi kwan sau — outside roll- in the pole form Jau wai — moving stances
ing hands block while changing from one line
Huen sau — circling, con- to another
Hoi ma — to open the horse trolling hand
stance Jau wai chi sau or ngou sau
Huiu ma — cat stance in the — moving sticky hands while
Hoi moon chi sau or hoi pole form changing lines
mun chi sau — outside gate
(position) chi sau Hung jai — control of power Jau wai yaai sut — moving
stances to attack with the
Hoi moon kuen or hoi mun Hung jai chi sau — control- knees
kuen — outside gate diago- ling sticky hands motion to
nal punch block the opponent Jek jip geng — direct power
Hoi sik — opening position Hung jai geng — controlling Jeong — palm strike or chop;
energy the 8 palm strikes are
Hoiu — emptiness, one of 1. jing jeong — front vertical
the major principles of Siu Jam jong — stance for chi palm
Lim Tau gung 2. choen kui jeong — long
bridge palm
Hoiu bo — empty step or cat Jaam do — a forward deflect- 3. hau jeong — back palm
stance in the pole form ing block with the butterfly 4. dai jeong — low side palm
knives 5. pau jeong — downward
Hoiu ying — empty shadow vertical palm strike
Jaam sau — a forearm de- 6. gum sau — diagonally
Huen da — simultaneous flecting block contacting downward palm strike
circling with one hand and with the little finger side of 7. chan jeong — knife edge
striking with the other the forearm palm strike to upper body
and head with palm up
Huen fok sau — circling one hoi jaam sau — outside wu 8. wang jeong — side of
hand into the fok sau posi- sau palm strike to upper body
tion and head with palm down
ngoi jaam sau— inside jaam
Huen gurk — any circle kick sau Ji gok chi sau, gee or chi gok
chi sau — light sticky hands
huen jing gurk — circling Jau ma or jou ma — combin-
front kick ing moving footwork Ji yau bak gek — free spar-
ring
huen wang gurk — circling Jau mui fa jong — stance-
Jing — front or center Jung sin — centerline or cen-
Joi geng — chasing power terline plane
Jing — quietness; one of the
major principles of the Siu Joi yin — following the ngoi jung sin — inside line
Lim Tau form shadow
hoi jung sin — outside line
Jing bok — front shoulder Joi yin chi sau — following
the shadow in chi sau; a type Jung sum sin — vertical
Jing chor ma or cheen chor of chasing chi sau motherline
ma — forward bracing stance
Joi yin jong — folowing the Juun geng — drilling power
Jing dok lop ma or jing gurk shadow on the floor
dok lop ma — front single Jut — snapping motion
leg stance Jon geng or juun geng —
drilling power Jut da — simultaneous snap-
Jing gurk — front kick ping control with one hand
Jong — elbow and striking with the other
Jing jeorng — straight vertical
palm strike Jong dai lik — elbow power Jut do — snapping the knives
produced from practicing the sideways
Jing jung — any strike on the punch
center Jut geng — snapping power
Jong gek — elbow pushing
Jing ma or yee gee kim yeung from behind Jut gurk — snapping kick or
ma — front developmental block
stance; it is not a stance to Jong sau — 1) a centerline
fight from block or strike contacting Jut sau — snapping block
with the thumb side of the contacting with the thumb
Jing meen — facing to the wrist side of the wrist
front
2) the general name for the Kau sau or kow sau — hook-
Jing ngour gurk — toe up Wing Chun fighting position ing palm control
hooking kick or control
Joong-lo — mid-level Keng geng — listening power
Jing sun — Wing Chun front-
on body structure Joong-lo kuen — mid-section Kit gwan or kit kwan —
drilling punch opening up or blocking the
Jin kuen — punches from the inside, upper gate with the
pole horse stance Juen ma — turning and cir- pole
cling stance with the pole
Jit gurk — stopping a kick Kuen — fist or punch
with a kick Juk dok lop ma or wang dok
lop ma — side single leg 8 families of Wing Chun
Jip sau — “controlling the stance punches are
bridge”; an arm break 1. chair kuen — pulling verti-
cal punch
2. chaap kuen — low punch La ma — the stable, rooting Lop da — simultanteous
3. ngoi faan kuen — inside stance in the pole form controlling and striking ; also
whip punch refers to a partner exercise
4. hoi faan kuen — outside Lan gwan or lan kwan —
whip punch horizontal long bridge pole Lop chan jeong — simulta-
5. doi gok kuen — diagonal neous palm controlling and
punch Lan gurk — horizontal leg heel palm strike
6. chour kuen — hammerfist block contacting with the
7. joong-lo kuen — drilling shin bone Lop fok — grabbing from fok
punch sau position
8. tai kuen — raising punch Lan sau — horizontal arm
block contacting with fore- Lop sau — grabbing hand
Kuen siu kuen — punch to arm and sometimes palm control; also refers to a part-
punch exercise ner exercise
Lau do — twisting the knives
Kuen to — any hand form inward to block and strike Lop sau chi sau — lop sau in
sticky hands
Kiu — bridge or forearm Lay wai chi sau — leaving
the gap sticky hands Lou gwan or low gwan — the
Kiu li — distance to the half point pole technique; a
bridge Lik — muscular strength short thrust
Kiu sau — arm bridge Lik do — the correct power Luk dim bune gwan or luk
dim boon gwan — six and
Kum la — joint locking tech- Lin jip geng — connecting half point pole form
niques power or energy
Lut sau — attacking without
Kum la chi sau — joint lock- Lin siu dai da — economy of initial contact with the oppo-
ing techniques applied in chi motion nent’s bridge; it begins with
sau fighting position
Lin wan kuen — continuous
Kwak sau — double spread- chain punching Lut sau chi sau — attacking
ing huen sau from man sau position and
Ling gung jau — muscle lini- immediately going into sticky
Kwan or gwan — pole ment hands
Kwan do — rolling knives Look sau or luk sau or gung Ma bo — moving stances
lik chi sau — heavy sticky
Kwan ma — pole stance hands Ma bo chi sau — moving
sticky hands
Kwan sau — rolling hands Lop — grabbing or control-
block ling with the palm Ma bo lop sau — moving lop
sau Oi or hoi — an alternative
Ng Mui — the Buddhist Siu spelling for “outside”
Mai jong — the correct el- Lum nun who founded Wing
bow position with the elbow Chun Pai jong — horizontal inward
inward on the elbow line elbow strike
Ng’an geng or ng’on geng—
Mai jong — closing the gap elastic power Pak da — simultaneous push-
ing palm block and punch
Man — “to ask” Ngoi — inside
Pak do — catching knives
Man gurk — asking legs Ngoi bok — inside shoulder block
where the first motion sets up
the second attack Ngoi faan kuen — inside Pak gurk — inside kick with
whip punch the sole of the foot with the
Man sau — asking hands knee bent
where the first motions sets Ngoi geng — internal power
up the second attack Pak sau — pushing palm
Ngoi gung — internal chi block or strike
Man sau chi sau — asking exercises for fighting applica-
hand within sticky hands tions Pak sut — inward knee block
or strike
Mo kiu chi sau — walking on Ngoi hurn — inside facing
the bridge sticky hands stance Pau jeong — flat palm strike
with the fingers pointing
Mo see — traditional lion Ngoi jung sin — inside line down. This is applied to the
dance lower body
Ngoi kwan sau — inside roll-
Mok lik — eye power with ing hands Pau sau — lifting palm block
emotion
Ngoi moon kuen — inside Ping haan geng — balancing
Mok jong or Mok yan jong gate diagonal punch or equalizing power
— wooden dummy also the
name for the wooden dum- Ngoi moon chi sau — inside Ping sun — side turning body
my form gate (position) chi sau structure or position; this is
not a Wing Chun position
Moon or mun — gate or door Ngoi ngau gurk — inside leg
hook Por jung — all techniques
say-i moon — dead gate that control and “break” the
which is closed Ng’on geng or ng’an geng centerline
— elastic power
soung moon — live gate Por si gan — breaking timing
which is open Ngou sau — pushing and
drilling while moving in chi Po bai or po pai — double
Mui fa jong — plum blossom sau butterfly palm strike
posts
Poon sau — regular sticky hand to emotionally trap an opponent Si Bok — your teacher’s Si-Hing
motion
Seung — double or advancing Si Dai — a male classmate who
Pun doon — determination in a joined a school after you
fight Seung bok — shoulder attacks
Si Fu — your teacher can be
Sa bau — the wall bag Seung chi sau — double sticky either male or female
hands exercise
Sam gung ma or sip ma — 3 Si Gung — your teacher’s teacher
angle stance Seung dai bong — double low
forearm block Si Hing — a male classmate who
San sau — slow attack exercise joined the school before you
Seung heun sau — double cir-
San sau chi sau — slow attacks cling block Si Jay - a female classmate who
in sticky hands joined the school before you
Seung jut sau — double snap-
Sat gwan — opening the lower ping block Si Jo — an ancestor within the
gate to inside or outside with the system
pole Seung kuen — double punch
Si ma — deflecting stance that
Say bo — retreat and step back Seung ma — front advancing braces the pole
stance to deflect in the knife stance
form Si Mo — your teacher’s wife
Seung pau sau — double upward
Say ping ma — low horse stance palm block Si Sook or si suk — your teach-
for pole er’s classmates who started after
Seung yan chi sau — double him
Say-i kuen — shooting punch sticky hands with three people
Sin — line
Say-i moon — dead gate Seung yan dan chi sau — single
sticky hands with three people jung sin — centerline
Sau — hand or arm
Seung yan jou wai chi sau — ngoi jung sin — inside line
Sau gwan — retreating the pole moving sticky hands with three
people hoi jung sin — outside line
Sau jong — retracting elbow
strike or block Seung yan lop sau — lop sau gung gek sin wai — attacking
with three people line
Sau sik or sau sic — closing posi-
tion in the forms Seung yan man sau — man sau fong sau sin wai — blocking line
with three people
Sau wuun geng — equalizing the jung sum sin — vertical mother-
point and power; wrist power Seung tan sau — double palm up line
block wang jung sin — horizontal
Seng yum geng — sound power motherline
Tai gurk — raising kick
Sing geng— raising power to Tit kiu sau — iron bridge
destroy the opponent’s struc- Tai gwan — raising pole
ture Tik gwan — opening the up-
Tai jong or hay jong — rais- per gate with the pole
Sip ma or sam gung ma — 3 ing elbow
angle stance Tiu do — snapping up knife
Tai kuen — raising punch
Siu geng — dissolving power Tiu gwan or tiu kwan —
Tai or dang sut — raising snapping up pole
Siu Lim Tau — “small idea knee block or attack
form” the first wing chun Tiu or tio gurk — jumping
form Tak gurk — low instep kick kick
Soang jong or wang jong Tan da — simultaneous palm Tiu gurk — instep kick
— outward horizontal elbow up block and punch
To gwan or to kwan — going
Soo gurk — sweeping kick Tan da gaan da — simultan- forward with the pole
teous blocking and attacking
Soor jung — sinking elbow exercise Toi dit — take downs
down to control the center-
line so the opponent cannot Tan do — locking knife block Toi dit chi sau — takedowns
move you in chi sau
Tan geng —”swallowing” or
Sor sau chi sau — trapping sucking power to duck or Toi ma — step back and turn
sticky hands control attacks stance
Soung moon — live gate Tan gurk — forward and up- Tok sau or pau sau — lifting
ward leg block palm block
Sum gwang — 3 joints in the
arm equivalent to the 3 gates Tan ma — drawing back Tong do — slicing knife at-
to pass stance from horse or cat in tack
the pole
Sun ying — body structure Tor chi si gan — delayed tim-
Tan sau — palm up block ing
Sup ji sau or sup gee sau contacting on the thumb side
— crossed arm block in all of the wrist Tor ma — step slide stance
hand forms
Tan sut — outward knee Tou geng— power that “spits
Sut — knee block or attack out” or bounces the oppo-
nent away
Taan gwan — snapping the Tang geng — a rubber- band
pole sideways like power Tou ma — advancing forward
stance in the pole
Tai — raising Teut sau or tuit sau — freeing
arm block Tui ma — jumping stance
foot block or strike Yau — to relax; an essential
Tun gwan or tun kwan — re- principle of the Siu Lim Tau
tracting pole Wu sau — guard hand block form
contacting with the little fin-
Tung ma — retreating jump- ger side of the wrist Yee gee kim yeung ma —the
ing stance in the pole form mother of all stances; the
Wu yi sun - to return the stationary front stance for
Wai ji — a good position body to a normal position developing all stances which
means two knees going in
Wan bo — crossing step Wu yi ying — to regain the stance
stance in the knife form body structure
Yee ma — transitions be-
Wan do — circling knife at- Wu yi ying bong sau — to re- tween the stances in the pole
tack gain the body structure with
bong sau Yee ying bo sau — using
Wan ma — step and circle your structure to recover your
into other stances in the pole Wu yi ying gum sau — to re- position
gain the body structure with
Wang or wan — side gum sau Yin and yang — a pair of
opposites that constantly
Wang gurk — side kick Wun geng, ngon geng, jut change. All things have both
geng — jerking power yin and yang and all things
Wang gurk dok lop ma change
— side kick single leg stance Yaai — to attack stepping
down Yin chi — energy you exhale
Wang jeong — side of palm or carbon dioxide
strike with the palm down Yaai hau gurk — to attack by
stepping down on the oppo- Ying — structure
Wang jong or pai jong — in- nent’s rear leg
side horizontal elbow Yon geng — elastic power
Yaai sut — to attack down
Wang jung sin — horizontal with the knee Yuen geng — patience en-
motherline ergy also the ability to make
Yaan geng or daai geng the opponent move they way
Won or huen gwan /kwan — guiding power you want
— following circle with the
pole Yang — everything that is Yut ge chon kuen or doi kou
strong, light, active male, etc. kuen — vertical punch
Woot ma — flexible pole
stance Yang chi — the energy you
inhale from air; oxygen
Wu do — a strike with the
knife hand guard Yap jung lou — closing the
gap
Wu gurk — blade edge of the