Kungfu Magazine 2008 March/April has just been released, and with it Darrell Jordan’s article 2007 World Ving Tsun Hall of Fame on page 71. So I guess the cat’s out of the bag:

Rene is the 2007 WVT Sifu of the Year!

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I had awakened from my afternoon nap. Grandfather was snoozing away in his peculiar method of inhaling through his nose and exhaling through his mouth, a little puff at the end of each exhalation. There was no television, no radio, so I decided to entertain myself with a plastic coffee can lid that I threw about the kitchen like a Frisbee. I threw it at the wall and watched it bounce off. Then I threw it at angles and watched it ricochet! I thought, in my 7-year old mind, “What would it be like if I had some real room?” I decided to go into the living room where grandfather was still napping away. “It’s pretty quiet, so I guess I can throw it and he’ll never notice,” I thought. I threw it and retrieved it once. No disturbance! “Wow! Look at it fly! Let’s try that again!”

Uh, oh! I was in big trouble. I had awakened him from his nap! “You’re a mischievous boy and now I’m going to punish you!” He grabbed me by my collar and told me to squat in the corner in a peculiar stance for a half hour. I had no choice. Grandfather had decided and so there I remained, legs quivering, hands at my sides, panting and straining and sitting in the dreaded horse stance for the next 30 minutes, which seemed like an eternity. Grandfather grinned, “That’ll teach you to wake me up!”

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First Published in Martial Arts Legends Presents Wing Chun 2, 2001

Many refer to Chi sao as “sticky hands”. I always think it is a poor translation and refer to it as “sticking hands” or “sticking bridges”. Chi sao is the main training in wing chun. It is the laboratory in which one can experiment or the clinic in which one practices. Typically in classical wing chun, there are several methods which you would progress through to develop proficiency in the art. The idea was that chi sao would bridge the gap for the beginner to the advanced levels. The levels of progression in classical wing chun include first the Dan chi sao exercises, the methods of single sticking hands as outlined in the previous chapter. From here the student moves on to Luk Sao (methods of rolling hands). Variations of the Luk Sao method with the Tui Ma (pushing horse) drill to practice the proper body structure and stepping methods.

To go further, we need to go further in more training methods. A student should be introduced in the Luk Sao platform methods of Jou Sao (running hands) and Jip Sao (capturing hands). Basically, in the jou sao drill, a student practices the changing from four gate methods into one another. Usually pitted with a senior student, the beginning Chi Sao student will learn to run away from pressure. This differs from the practice of the four luk sao positions in that each position is practiced interchangeably and smoothly. A practitioner of this drill will learn to feel at home at any position and learn to run smoothly from one position to another based on the partner’s pressure. The Jip Sao methods are methods of capturing and detaining an opponent’s attacks. In this level of practice, we learn how to slow the opponent’s incoming force and how to receive it.

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First published in Inside Kung-Fu, 91/09

Many have heard of the wing chun system of martial arts. Most articles deal with the techniques, the chi sao, the forms, the politics, and the variations, but I believe this may be the first article that deals with the wing chun mind. Master Hawkins Cheung, who has taught in Los Angeles since the late 1970s, outlines the concepts of wing chun in combat. An early student of grandmaster Yip Man, Cheung has practiced wing chun for over 30 years. Hawkins was also Bruce Lee’s training partner in the early 1950s and together they explored fighting concepts. Master Cheung stands 5-feet-5 and weighs 105 pounds. He is every inch a skilled fighter and excellent teacher.

Cheung explains the wing chun mind and the “how” and “why” of wing chun. He also explains where many wing chun men are incorrect Cheung states that the principles discussed here could be used by any system of martial arts to be applied in combat, regardless of the tools delivered. He considers stylistic differences, postures, techniques, forms and drills secondary to wing chun’s application in combat. Master Cheung’s advice here is reminiscent of Sun Tzu’s Art of War. He offers practical, straight forward advice on combat, very much like his style of fighting.

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By Robert Chu and Rene Ritchie
Originally published in Inside Kung-Fu

Ever mysterious, often misunderstood, the weapons of wing chun kuen have remained elusive over the generations for several reasons. It has been hard to find qualified instruction, and it has been even harder to find qualified instructors willing to give in depth instruction. Some instructors who did not themselves know the weapons, or did not wish to share them if they did, were careful to “protect the rice bowl” and keep them out of reach of students. Others, for the same reasons, chose to invent their own methods and/or forms, to pass along the weapons, but only superficially, to further “fill the rice bowl”. Still others knew the weapons were simple and could be given away easily, but required a firm foundation in wing chun boxing to be truly effective, thus were very careful in choosing to whom they would impart the knowledge.

For those who possess a high degree of skill in the empty hands, and obtain good instruction, the weapons can solidify the simple concepts and motions of the system and open a practitioner to the limitless applications of wing chun kuen.

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Many moons ago, a man worried about carrying a snake across the water. He worried the snake would bite him and he would die. The snake tried to assure the man — if he bit the man, the snake would drown, and they would both die. The man, fooled, picked the snake up and proceeded to swim. The snake bit the man, and the man began to die, but not before asking the snake why — why kill them both. The snake reminded the man that he was a snake, and that the man knew that when he picked the snake up.

Many moons ago, a man I will refer to as ***** appeared at my door and asked me to teach him. The man had a history of questionable conduct but I thought, perhaps, I could help make a difference, and so I opened my teachings to him.

Shortly thereafter, at a seminar I did not attend, ***** got up and introduced himself as a “Gulao Wing Chun student under Robert Chu”. I was on the Wing Chun Mailing List (WCML) at the time, and several other WCML members who were at the seminar contacted me an let me know about *****’s claims. And while I hadn’t accepted ***** as a formal or direct student (which, culturally, has more requirements than simply a lesson), he had flown out to train with me, I had tried to help him improve his Wing Chun, and he did express a great interest in continuing to train with me, so I responded simply, “if he wants to call himself my student, that’s fine.”

And continue with me he did. Since he had trained a long time but, unfortunately, didn’t have a lot of direct access to a teacher (he travelled to train), I felt it best to concentrate on his basics and especially his structure. For me, all Wing Chun Kuen “styles” are merely different teacher’s expressions of the art, and if you have a solid core structure, you can easily use (for who would want merely to collect?) any “style” and, eventually, come too appreciate them for the many perspectives and insights they allow.

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There are two types of martial artists, one who is into beating others and the other is the one who cultivates oneself. Many people have to be the best, be the top dog, or have the most followers, or make the most money. Many people say their style is the best, most original, traditional or secret, but this always causes problems. In Wing Chun, many people go around saying they are the most original. Some say that Yip Man gave so and so some important books, or recorded the original forms of the dummy, pole, or butterfly knives. Others point fingers at others saying that other masters have made up or created their own forms rather than retain what is original.

I have to say, always look at the function. As I say, “Let function be your sifu; let application rule over form.” If you think you can punch hard, let’s test it on a focus mitt. If you think you can kick hard, try it on a kicking shield. If you think you are skillful in knives, try chopping some brush or tree branches. If you think you’re great with the pole, try cracking some walnuts. If you think you have good structure, try staying balanced when people put their weight on you. If you think your footwork is effective, try it against an attacker that comes in directly on you at full speed. If you think your entry technique is so good, try it out and see if it works. If you think your timing and positioning are great, test them in practice. If you think you have great sensitivity, try practicing blindfolded. Even if these are good tests, to use all of these skills in combat are also a different matter. All in all, it’s not about words or lip service or style, theories or techniques, lineage or secrets. It’s all about you and how well you have cultivated.

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Pain is an unfortunate reality for many who train in the martial arts (and for many who don’t as well!). It is caused by the stagnation of energy and blood in the body and acupuncture seeks to eradicate pain through the balancing and movement of energy and blood, using the precise placement of hair-thin needles into specific points on the body. Acupuncture has been practiced for over 2,500 years and is part of the holistic system of Traditional Chinese medicine (TCM). The premise of TCM is that health is a balanced flow of energy and proper movement of blood. In TCM, imbalances in the natural flow of energy and blood are thought to result in disease and pain. Acupuncture aims to restore health by balancing the flow of energy and blood.

In 1971, New York Times reporter James Reston, stricken with appendicitis while in Beijing, was treated successfully with acupuncture for post-surgical pain. A story featuring the recovering Reston in the Times, led to a surge of interest in acupuncture and related modalities. Acupuncture offers people a more holistic, naturalistic approach to health care and is gaining acceptance in the Western medical community. Today, acupuncture has become a widely accepted form of treatment in the U.S., practiced by Licensed Acupuncturists who have received special training in its methods.

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Many martial artists don’t know how to teach. Some may be great fighters, great at forms, knowledge, history, champion sportsmen or even possess the deepest secret knowledge of their systems, but learning how to teach is an art unto itself. Teaching is a separate skill and requires knowledge in language, social skills, and communication. All students learn differently. Many think it’s easy to earn their “black belt” or recognition as an “instructor”, open a school and have their own students and collect tuition, but it really is not that easy when you see students drop out one by one. When you see students losing interest, words alone will not motivate them or yourself to keep them focused on the long-term gains of regular martial arts practice.

A teacher of the martial arts must possess a genuine love for their art, and not look at it as some potential moneymaker. You owe it to your students to make teaching and learning fun and successful by helping students reach their personal goals. I taught for my teachers for a long time and developed my personal style of teaching. Many teachers bestow a certificate that says a student has reached the rank of a “Sifu”, “Master”, or “Instructor”, but in my opinion, I do not think that automatically makes a person a good teacher. Teaching students and learning from teaching them is how one becomes a great teacher.

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One of the most famous sayings in Chinese is “Si liang bo qian jin” and is often poorly translated as “Four ounces can repel a thousand pounds”. This saying is so common, it resounds in literature written on Tai Ji Quan, Xing Yi and Ba Gua. Many of the practitioners of these arts say this is what makes their art “internal”. Even Chinese knowledgeable in cheng yu (common Chinese sayings) are familiar with this phrase. In this column, I hope to bring out the true meaning of this phrase and hopefully, people can reflect and see if they can indeed do “Si liang bo qian jin”.

We will start by analyzing the weights and meanings of the words. “Si liang” is a measure of 4 liang. A liang is an old standard of weight since the Tang dynasty. Many times a liang is called “a tael” in English. One liang was equivalent to 31.25 grams in the Tang dynasty. In 1979, the People’s Repulic of China set a standard of 1 liang equals 30 grams. Four times 30 grams is 120 grams. For you metric challenged individuals, that is 4.23 ounces. Not precise, but close to “4 ounces” , roughly the weight of a McDonald’s Quarter Pounder before cooking.

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