Integrated Eskrima is the type of Filipino martial arts developed by Guro Mark Wiley on the basis of Kalis Ilustrisimo and years of study with other great masters of the arnis and escrima systems here and in the Phillipines .  Many WCK’ers actively crosstrain  in the Filipino Martial Arts, and I was introduced to Pekiti Tirsia back in my college days by Leo Gaje and Greg Alland.  Throughout the years, I have met some practitioners, but not with the level of skill and passion and willingness to teach like Mark Wiley.   Since meeting Mark in person over the publication of “Complete Wing Chun” of which he was editor, it was this art that he introduced to me.  Integrated Eskrima is also the system that Alan Orr and Dave McKinnon and my other students and grandstudents have actively trained in and I wholeheartedly recommend this training.

The core of Integrated Eskrima is footwork and the various methods of offense and defense.  The art is based on Antonio Ilustrismo’s Kalis (Sword) art and is different than most contemporary forms of Arnis or Escrima, in that the main focus is the sword.  We use the stick like a sword and not vice versa.  Uniquely, the art contains major strokes that are used for both defense and offense.  Methods like the lutang footwork keep one in range to strike at all times, and the methods in many ways are taught like Gu Lao WCK - that is point by point, until mastered.  Although there is a numbering system used, the core are the 27 major motions of attack and defense, and some have no equivalent to other arnis systems.  Freestyle sparring is encouraged in this art.

It is not to say that WCK weapons are not practical - they are, and can be readily applied in all situations if trained realistically.  But one of the best ways to to develop skill in weapons is to study various weapons systems.  The Wing Chun pole and knives I have practiced for decades is a great art, but I see the similarities and universalness of timing and positioning to make the the arts practical when you train in the various ranges with weapons. 

What methods do you employ for strength and conditioning and nutrition? Most people use the forms, drills, Jong, weapons for overall health and they’re fine for overall fitness. But what other drills do you do for yourself to improve your performance, shape and health? Also, dim sum is a great treat, and having late night dinners might be the norm after a work out - but may not the best of health for you… perhaps you are gaining unwanted pounds and need to move into a functional, wiry, athletic state. Perhaps your blood pressure, blood sugar and cholesterol are up…maybe you’re battling diabetes, or have cancer in your family, or even have injuries…

As a licensed practitioner, I do specialize in giving patients health advice, and I would like to see WCK people benefit to be optimal athletes.

For example, I suggest patients take a minimum 10,000 steps a day, do 10 pushups, squats and crunches for every hour they’re awake, and may put them on a detox diet with suppplements to overall help their health. Also avoid sugars and junk food snacks, and the pounds start shedding.

For my athletes, we do KB lifts, boot camp training, and all sorts of exercises to supplement WCK - but of course, WCK needs no supplement - the pole and knives can be good weight training in themselves, and Chi Sao can be good dynamic weight training…

We are more apt to run into health issues than ever use WCK for fighting - but if we use WCK as a vehicle to help people stay healthy and fight disease, we all win. I’d like to hear from you! We can have this as a great discussion for all WCK people, no lineage issues here.

Wing Chun Kuen uses 3 points in drawing the “X” (the crossed hands, which some may see a “”V” inverted or otherwise). We primarily use Dan Tian (Ren 6) located 1.5 cun below the center of the umbilicus (commonly referred to as the bellybutton) and Ren 17 (Tan Zhong) on the anatomical midline, level with the 4th intercostal space and Yin Tang (The point between the eyebrows). These 3 points of alignment are in Daoist alchemy or Dao Yin and ecognized as the 3 dantian in Chinese cosmological or metaphysical arts.

These points demark the 3 heights, referred to as Seung, Jung, Ha (Shang, Zhong, Xia) or San Cai (aka Sam Choy), commonly referred to as Tian, Yan, Dei (Heaven, Man and Earth), in Chinese metaphysics. Tian would be the height above Ren 17, Yan would be below Ren 17 and above Ren 6, and Dei would be below Ren 6. We cross our hands in WCK at Ren 6 and Ren 17.

The term Kiu Sao is refers to the distance from the fingers to the elbow, but can also relate to bridging the gap.

Yuen Kay Shan Wing Chun’s 12 major keywords (Daap, Jeet, Chum, Biu, etc.) and Gu Lao Wing Chun Kuen’s keywords (Kuen, Kiu, Jeung, Bong, Jee) are all Kiu Sao concepts. (As are my own conceptual keywords.)

Kiu Sao, however, is a term used in virtually all Southern fist like Hung Gar, Bak Mei, Lung Ying, Southern Mantis, Choy Lay Fut, etc. For example, Hung Gar has the 12 Kiu Sao: Gong, Yau, Bik, Jik, Fun, Ding, etc.Bak Mei has Mor Kiu, Shui Kiu, Lan Yiu… Choy Lay Fut has Poon Kiu, Chuen Kiu, Pak Kiu, etc. Mantis has various Gwaat Siu, Mor Siu, etc. They are all ways to link up and join in with your opponent.

We have a saying, “Have bridge, cross bridge; no bridge, build a bridge.”

Of course, various systems have their own definitions, but this is my understanding from Southern Fist and Wing Chun Kuen.

(via Ernie on KFO)  

Coming soon to a theater near you:

Is the [Yee Jee Kim Yeung Ma] stance used in fighting?

First, I would preface this by saying that Yee Jee Kim Yeung Ma (Trapezoid Shaped Yang Pressing Horse) is not a stance, just like Tan Sao is not a pose.

We don’t just hold out a Tan Sao and hope that someone punches us in the exact way that Tan Sao will intercept. Rather, we put out an arm, and if the opponent reacts in a way that creates Tan Sao, Tan Sao is created in that moment, and the bridge is on to the next job.

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Toby asks:  

[What about] anti-grappling?

Great question!

There are four main kinds of “anti-grappling” in Wing Chun Kuen.

The first is the basic, core mechanics of almost all Wing Chun, where the paths and positions themselves make it difficult for an opponent to initiate or counter with a joint lock or throw. Keeping the elbow down and in, for example, makes it hard to lock the elbow; keeping the weight far-loaded makes it hard to sweep the closer-leg for a takedown.

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Toby asks:

Everyone here should be aware of the surface level knowledge that is taught to a white sash student.

Traditionally, Chinese martial arts (of which Wing Chun Kuen is one) do not use “sashes” to denote student level, rank, or instructor experience. They don’t use anything.

Judo began the practice of using colored belts (initially a few, later more) to designate experience levels for competition. Philosophically, Judo was trying to move away from the older practice of Jujitsu and into a modern, sport-based structure. In martial arts, you know something or you don’t; you can use it or you can’t.

But the Judo idea quickly spread to Karate and other Japanese arts, and into Tae Kwon Do, American Kenpo, and other arts. Instructors realized that belts were a motivator for students (status being desirable) and a financial incentive for themselves (desire creating demand). White, brown, black became White, yellow, orange, blue, green, brown, black, became purples and reds and half-colors and stripes and all sorts of other ways to increase the steps, increase the motivation, and (for those who instituted belt fees, testing fees, association fees, and other surcharges) increase the profits.

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I just want to ask, what would a wing chun practioner do while being on the floor in the guard position. Would you rely on chi sao skills? to controll the opponent’s hands or would you rely on grabbing him close to you to avoid getting hit?

Wing Chun Kuen tends not to chase hands.

If you’re being blitzed, you may have to worry about immediate protection, but just like standing, if all you do is engage the hands, eventually the hands will engage your face.

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