I would like to share with you, a few stories from our Kulo Research projects in China!

Kulo eBook 2 contains English translations, for the first time ever, of the 13 Historical Posters that are hanging in Leung Jan’s Family Estate in Kulo village, Hoksan!  Below is a couple of “sneak peaks” from a very famous “challenge match” and more!  And, there are many more “challenge” stories and much more info - Get the whole picture and all the stories in eBook 2: “Leung Jan; The Kungfu King”. “Coming Soon”

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A cleaner demo by Fung Keung sifu:

N-Joy…

With the internet at everyone’s finger tips is just too easy to do a google search for Wing Chun Kuen and come up with an extensive list of many systems of our arts, kuit and masters doing their thing! The veils of secrecy are long gone thanks to the net. But, even with all the open sharing going on one of the most common things we hear today is Mainland (older) & Hong Kong (modern) with regards to these systems. This article will directly relate to this topic and discuss why there isn’t any Old or New Wing Chun but just Wing Chun!

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Of the legends and stories stemming from the Wing Chun pai of Gu Lo village, there is one which states there are two main platforms of Wing Chun from the Red Boat. Research into this legend has provided many interesting possibilities to the cross-breeding that has occurred since the days when the junks were at their peak. This article is being written with the sole purpose of analyzing certain key aspects of the Wing Chun art and not to cause division among the lineages.

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A few months ago I found out Grandmaster Fu Wei Zhong, the 13th lineage holder of the 800 year old Emei tradition, was coming to Boston. I contacted a few of my friends who study Alchemy/Qi Gong/Martial Arts to ask if they wanted to come with me to meet the Grandmaster of this science. One of my teachers and one of my training partners decided to sign up. The event was five days, 9am-5pm, with an hour for lunch (and lunch turned out to be some of my most memorable moments). What follows is a discussion of my experiences with this exceptional man.

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Regarded as the Wing Chun Wong (King of Wing Chun), the great Dr. Leung Jan gained fame for his numerous fights and for his teaching ability. This article will discuss the concept and approach Dr. Leung Jan used to develop his final, personal synthesis of the Wing Chun art.

Dr. Leung Jan learned the Wing Chun art from Hung Suen members Wong Wah Bo and Leung Yee Tai. For many years he taught the original art he learned out of his pharmacy, most commonly referred to as Jan San Tong, on Fai Jee Street in Futshan. Much later in his life, when he reached the age of 70, he retired and moved back to his native Gu Lo in Hoksan County.

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The Yee Jee Kim Yeung Ma (Character “=” Yang Clamping Horse) has become one of the most often misunderstood structures in the martial art world today. You can go many places and usually hear the same distorted rumors but by far the most common mistake lies in this statement; It’s a training stance and not a fighting stance! The fact of the matter is the Yee Jee Kim Yeung Ma is the only stance, or all stances, in Wing Chun and the way you train is the way you fight.

Compact in design, the horse is built around certain laws. Opening of the horse differs from lineage to lineage but practitioners of Leung Jan’s Gulao Wing Chun will start with the feet together, knees bent and the heels slide outward first. Then the toe’s slide to parallel and lastly the heels slide outward again slightly past the toes to form the horse. When in the horse you should be no less than shoulder width or slightly past. Your knees are to be never more than one fist distance apart!

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As we continue to learn about our fighting system we must take a look and experience other methods, approaches, concepts and applications. During a recent sparring session I discovered how much of an emphasis many lineages place on heavy grabbing. Is this the only way to control your opponent? If you eliminated the heavy Lop (grasping) action would you still be able to fight or would you be in a world of trouble? With this in mind I would like to discuss some of the concepts of the Grasping Hand of Leung Jan’s Pin Sun Wing Chun and some of the most common applications I have felt and witnessed.

When the Pin Sun Wing Chun pupil learns any skill they are taught specific partner sets to develop it. After sufficient time is spent developing the skills they are then taught how to free them in Chi Sao/Jao SaoDduring Chi Sao (in any lineage) beginners will sometimes prefer to rely solely on Pak Sao (slapping hand), Chung Choi (thrusting fist), Bong Sao (wing hand) and of course the ever popular Lop Sao (grasping hand). As sensitivity develops many of the other methods start to appear and the programmed reactions begin to become natural responses.

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The untrained eye may think that the Pin Sun Wing Chun lacks noticeable power but when felt there is no doubt as to the what energy can be generated through its graceful and compact actions. Hopefully, after reading this article, one will understand some of the key elements utilized to developing the explosive power of Leung Jan’s art.

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