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Gu Lao Wing Chun Kuen – 40 Points

by Robert Chu


When Leung Jan retired from his pharmacy in Foshan he returned to his native Gu Lao village in the Heshan (Hok San) area of Guang Dong province. There, the renowned doctor passed along a simple yet remarkably profound style of Wing Chun, the sei sup dim (forty points) system, also known as Gu Lao Wing Chun. Leung Jan was known as the “King of Wing Chun Boxing” and the Gu Lao style of Wing Chun is his final legacy.

History and Development

Legends say that during the Qing Dynasty, Yim Wing Chun and her husband, Leung Bok Chao taught the 2nd generation of Wing Chun Kuen. These second-generation students worked undercover as a Red Boat Cantonese Opera troupe by day and Anti Qing terrorists by night. They were affiliated with many Anti Qing groups including the Heaven and Earth Society. Their goal was to overthrow the Manchurian government and restore the Chinese Ming to the throne of China. Wing Chun Kuen was their art of choice. They could hide knives in their loose fitting garments and assassinate Qing officials in the narrow alleys of Southern China. As an Opera Troupe, they moved about freely at any time without suspicion.

The second-generation students of Yim Wing Chun included Wong Wah Bo, Leung Yee Tai, Dai Fa Min Kam, Gao Lo Jung, Hung Kam Biu, and Leung Lan Kwai. Many of these Opera members had training in Shaolin Fist and pole techniques, acrobatics, and knowledge of two man sets. They were master choreographers, performing every night the Opera was in a town. Yim Wing Chun’s art consisted of simple, direct, economical moves and was conceptual in content. Training consisted of some 40 or so repetitive techniques that could be practiced solo, with a partner, or on a dummy, empty handed or with knives. It is speculated at this point in the history of Wing Chun Kuen development, there were no set forms, as it was the goal of this training to be applied immediately to serve the purpose of self defense or assassination.

Wong Wah Bo and Leung Yee Tai had a student named Leung Jan. Leung studied the original art and later studied the art in set forms after they were choreographed by the Opera members. Leung became known for his application of Wing Chun in “Gong Sao” (Talking Hands a real match) and became known as the King of Wing Chun, or the Gong Sao Wong (Talking Hands King). Leung Jan has become the famous subject of books written by the famous fiction author Au Soy Jee and today, movies. It is known that Leung Jan became an herbalist and opened an herb stop on Chopsticks street in Fut Shan. The shop was called Jan Sang Tang (Mr. Jan’s Hall). Leung Jan was a native of Gu Lao, not Fut Shan. Leung Jan went on to teach a few, select students like his sons Leung Bik and Leung Chun, Chan Wah Shun, Muk Yan Wah, Chu Yuk Gwai, and Fung Wah.

Upon reaching retirement, Leung Jan returned to his native Gu Lao. While there, he taught a few local students his synthesis of Wing Chun. Instead of focussing on teaching the Wing Chun forms, dummy set and weapon sets that were choreographed by the Opera members, he focused his training on the forty short routines and San Sao drills, pole techniques and double knife techniques. These became known as the Gu Lao Sae Sup Dim (40 points) Wing Chun system. The 40 points are the loose expression and application of Wing Chun Kuen. The forms Siu Lien Tao, Chum Kiu, Biu Jee and Muk Yan Jong sets, and the Yee Ji Cern Dao (Ba Jaam Dao) were created later. Training in Chi Sao and San Sao are emphasized, as well as practice of the 40 points on the wooden dummy. Since we consider them “points”, as opposed to techniques or postures, their applications can be limitless. Each point teaches numerous concepts, and it is the goal of the Gu Lao sifu to teach one how to combine the 40 points. I came to learn this system from my good friend and Sifu, Kwan Jong Yuen, who in turn learned the art from Leung Jan’s grandstudent from Gu Lao, Tam Yeung. I am told that one of Leung Jan’s students in Gu Lao taught Fung Sung, who created the Pien Shen Wing Chun system. The Pien Shen Wing Chun and Gu Lao systems are perhaps one and the same, with the only difference in how they have arranged their curriculum, and who have passed them down. I have also recently read an article from Mainland China that shows the existence of a 22 point Gu Lao Wing Chun system. Until further research indicated they are different, however, I will consider them the same system as the one I learned from Kwan Jong Yuen, owing only to stylistic difference or changes in curriculum.

The Forty Points 

The 40 points include classical and metaphorical names for each of the movements. In typical Chinese Cheng Wu style, this was designed so that members of other systems would not be able to understand what the movements were unless they had studied the same system. Some of these may indicate the Shaolin origin of some of the movements. Most of these names in modern Wing Chun have been replaced using modern jargon. Although few in number and perhaps not as intricate as the classical forms of Wing Chun, the forty points serve to review the Wing Chun system to the advanced practitioner, and serve as an excellent teaching tool to beginning students. They are trained in sets of repetition, alternating left and right sides. One should not simply look at the 40 points as techniques, but look at them as tactics to teach the fighting skills of Wing Chun. When the basics are mastered, a student can then look to doing combinations and permutations of the techniques while moving left and right, with high and low stances, or done high, middle or low levels, to the front and back, and while advancing and adjusting your steps. The advanced practitioner can reach the level of being able to change and vary his movements with empty hands or the double knives of Wing Chun.

The 40 points are not inseparable or different from the other forms of Wing Chun as taught today. Leung Jan simply passed on the art of Wing Chun Kuen in its San Sao (loose hands) stage when he retired to Gu Lao. Kwan Jong Yuen tells me, that in Gu Lao, when Tam Yeung was a student, it would cost a small fortune to learn one point. This included the complete application of the point while standing, with steps, during Chi Sao and with an opponent during San Sao.
Forms and Training 

Gu Lao Wing Chun’s basics are trained through the forty points outlined below:

  1. Ji Ng Chuie (Meridian Punch)- Also known as Yat Ji Chung Chuie, (Sun Character Thrusting Punch) this is Wing Chun’s signature punch with short explosive power with the vertical fist, the fists are held relaxed until impact and force is exerted with the entire body.
  2. Duen Kiu (Short Bridge)- The Short bridge is equivalent to the Cern Jum Sao (Sinking Bridge ) movements. In application, it teaches the concept of Por Jung, breaking the centerline. The hands are open and relaxed and cut down vertically to the opponent’s attacking bridge.
  3. Ba Gua Long Na (Eight Directional Dragon Grab)- Uses the double grabbing hands (Lop Sao), the lead hand held upwards in a clawing motion, while simultaneously the rear hand grabs and pulls the opponent’s bridges, setting the opponent up for a kick, throw or strike.
  4. Sae Mun (Four Gates)- refers to the four gates using the on guard stance (Bai Jong); one exercises the left and right positions of the forward stance (Ji Ng Ma) and the left and right Chum Kiu horse stance positions
  5. Siu Fuk Fu (Small Subdue the Tiger)- Uses an alternating left and right double Gaun Sao with phoenix eye fists; similar to the Gaun Sao section of the Biu Jee set.
  6. Dai Fuk Fu (Big Subduing Tiger)- This technique is basically the same as the above, but using triangle steps to enter at an opponent’s side gates
  7. Pien Shen Chuie (Slant Body Punch)- This is the Ji Ng Chuie using the Wing Chun shift. In application you may strike to your opponent’s outside gate, crossing over his attempted blow.
  8. Pien Jeung (Slant Palm)- This tactic uses palm heel with the fingers pointed to the centerline to strike the opponent. The same short explosive power is used.
  9. Biu Jee (Darting Fingers)- Although the movement implies the fingers, the technique in application utilizes the forearm when striking the opponent at the acupoints ST9 and LI 18
  10. Wan Wun Yiu/Tiet Ban Kiu (Emergency Bend at the Waist and Iron Bridge)- Trains the practitioner to bend forward or backwards at will and can be coupled with hand techniques. It is similar in application as the fade and slip in western boxing.
  11. Chum Kiu (Sinking Bridges)- Uses a double sinking bridge arm position that breaks into the centerline of the opponent
  12. Gwai Ma Chuie (Kneeling Horse Strike)- This tactic utilizes the kneeling horse and a phoenix eye fist to deliver a blow aimed at the groin. This gives an insight into Wing Chun applied at a low line level.
  13. Pien Shen Jeung (Slant Body Palm)- Uses the side palm as a slashing palm maneuver using the front/back shifting
  14. Gao/Dae Jeung (High and Low Palms)- The high and low double palms are actually horizontal butterfly palms with palms facing the opposite direction
  15. Lian Wan Fai Jeung (Linked Fast Palms)- utilize are a Tan Sao/Pak Sao combination followed with a circular Saat Jeung/Chong Jeung combination
  16. Hoc Bong (Crane Wing)- uses the arm in an upwards 90 degree or 45 degree maneuver to attack or defend
  17. Dai Bong (Big Wing)- the Big wing is a low Bong Sao position used to defend against a low attack
  18. Jung Bong (Middle Level Wing Hand)- is the standard middle level Bong Sao
  19. Noi Liem Sao (Inside Cutting Hand)- This is the inner line hand utilizing the Fuk Sao in a circular fashion
  20. Oi Liem Sao (Outside Cutting Hand)- the outer line hand position utilizes Tan Sao in an outward circular fashion
  21. Fu Mei (Tiger’s Tail)- The tiger tail is a short backward hammer-fist strike to the opponent’s groin
  22. Gua Long Jeung (Hanging Dragon Palm)- Combines the dragon claw and Ji Ng Chuie in combination similar to a Fuk Da or Lop Da
  23. Fu Biu Chuie (Darting Tiger Blow)- The darting tiger blow is the equivalent to Fuk Sao combined with a phoenix eye strike
  24. Sam Jin Chuie (Three Arrow Blows)- Is done with one hand (high, middle and low straight punches or equivalent with Lien Wan Chuie
  25. Sam Bai Fut (Three Bows to Buddha)- utilizes the Tan, Pak Sao and Gum Sao to stop multiple blows
  26. Dip Jeung (Butterfly Palm)- Is the equivalent to the Bao Pai Jeung attack and defense
  27. Siu Poon Sao (Small rolling hands)- Trains the Luk Sao or rolling hands of Wing Chun
  28. Poon Sao (Rolling Hand)- This tactic is similar to a Pak Sao/Lou Sao combination, but close to the body. It is the main transitional move in Wing Chun
  29. Juk Da (Slanting Strike)- The slant strike is equivalent to the slant body Jut Da
  30. Juk Kiu (Slanting Bridge)- The slant bridge is essentially Tan Da done with a shift
  31. Dang Jeung (Hammer Palms)- The hammer palms are the equivalent to the second section of Siu Lien Tao utilizing the Gum Sao. There are 4 positions: left, right, double frontal and double rear.
  32. Ping Lan Sao (Level Obstruction Hands)-The level bar arms is the equivalent of the Kwun Sao or Tan/Bong position
  33. Lui Kiu (Double Palms)- Utilize a double Tan Sao position to bridge the gap on an opponent
  34. Chong Jeung (Thrusting Palm)- is the equivalent of the forward palm strike of Wing Chun done to the opponents face or chest.
  35. Fan Cup Chuie (Flipping Upper Cut)- Is similar to the Chou Chuie from the Chum Kiu set
  36. Cup Da Sao (Covering Hitting Hand)- utilizes th Bong Sao immediately followed up with a Lop Sao and downward back fist (Gwa Chuie)
  37. Cern Lung (Double Dragons)- The double straight punches
  38. Pien Shen Dip Jeung (Slant Body Butterfly Palm)- alternating low palm strike
  39. Charp Chuie (Piercing Strike)- is basically a Wu Sao with a fist combined with a straight punch
  40. Bik Bong (Pressing Wing Hand)- is the Wing Chun elbow strike

Training includes the complete application of each point while standing, with steps, during chi sao (sticking hands) and with an opponent during san sao (separate hands). Also taught in the curriculum are Chi Sao, application of the Gu Lao 40 points on a wooden dummy, practicing the Gu Lao points with knives (called “Yee Ji Cern Dao”) and pole exercises collectively known as the Luk Dim Boon Gwun.
Concepts & Principles

As with all Wing Chun systems, the Gu Lao 40 point system requires that the practitioner utilize the principle of “Lai Lou Hui Soong, Lut Sao Jik Chung”.

Gu Lao Wing Chun practitioners utilize the entire body, are principle oriented martial arts as opposed to the technique oriented systems. Timing and positioning are most important, and we utilize simple, direct economical movements in self-defense. A practitioner of the Gu Lao art is expected to learn the classical point, modify the technique according to circumstances, and combine a point with another point, while utilizing footwork and foot maneuvers (Gerk Faat).

It is interesting to note that the Yuen Kay Shan Wing Chun curriculum begins with many techniques similar to those in the Gu Lao curriculum. There is also a trend of modern Wing Chun (Wing Chun Do, Jeet Kuen Do, and other arts) variations to take many of the loose or separate techniques of Wing Chun Kuen.

The Gu Lao Wing Chun Kuen is a glimpse of the teachings of Wing Chun Kuen in a San Sao format. It is an ideal system to learn quick, simple, direct, economical movements for combat purposes.


Body Structure: What Is and What Isn’t

by Robert Chu

Since I have written about WCK power and body structure for may years now, the term “body structure” has become a bit of a buzzword. Since I am now semi-retired and not often teaching WCK, I decided to part with some of the secrets that I have been holding close to the vest…

Many people think, “Because I have a body, and it is a structure, I must have body structure!”

Or they think, “Well sifu, put me in this pose, so this must be what Robert Chu and others are talking about…!”

But what is real body structure is not a form. It’s not even a body, or a structure!

What is it?

It’s energy.

Or rather, taking a person’s energy and intention into the ground to root you and allow you to manipulate it to control a person, break their center of gravity, or throw them about, or issue force on them. It also allows you to pound them at will and control their whereabouts and set up your next shots.

Many have asked me, “Do I have to stay rooted all the time?”

My answer is no, otherwise how can you move?

I often get other questions like, “What is it like?”

Its like a big spring – you press on it, it receives your force; when you let go of it, you go flying or falling down immediately.

How does one do this?

In the first step, it does require a knowing teacher to show you the way. Afterwards, it’s a matter of practice with application. Of course, proper WCK practice is required. If you have unrealistic practice and lack of knowledge here, better to seek out adequate instruction.

Many ask about the leg positions –

I tell them, there are no stances in WCK – it’s a mistranslation. It actually means steps and in WCK it means that the horse is alive, like riding a skateboard or surfboard.

But people will ask, “It doesn’t quite look the same as Yip Man or my sifu or sigung did…?”

Yip Man’s mastery of WCK was very clear. A look see at the famous picture with Bruce Lee in Luk Sao position tells it all. Also, recently, I spent some time with Mark Hobbs, a student of Lun Gai in Futshan, China, and saw the early teachings of Yip Man up close and saw the elements of structure throughout the teachings. Yip Man had it. Now if your sifu or sigung learned from Yip Man, there’s no guarantee you have structure, as Yip Man taught hundreds of students.

Often, my sifu Hawkins Cheung would appear to not have any appearance of body structure at all, appearing to only be standing. When I attacked, it was so real – he was linked from the ground up and rooted so that the direction of my force would be dissipated into the ground and neutralized.

Many mistakenly take the external shape and forms of WCK and can’t see the real teachings. Its just about the same as reading about the real teachings and not having an idea of what they are. If you have real body structure, you know exactly of what I am talking about, and if you don’t, well…perhaps its time to seek adequate instruction.


X Marks the Spot

by Robert Chu

Trapping is a core training method of Wing Chun Kuen, but it has been complicated to teach.

Over the years, I’ve searched for ways to teach the skills to my students.  I would explain, “After striking with the Tan Da, the right fist changes into aLop Sao and traps the opponent, where you strike him with a Lop Da, then you can continue on to Jut Da!”

I’d get puzzled looks – then the opportunity was lost…and it became a mess and a jammed up tangle and struggle for the students.

Recently, I’ve turned to core objectives when teaching and every training method has its skill set, tools and theme.

Perhaps its my having to read aloud to my two young ones, but a few pirate stories have inspired me.  In a good pirate story, theres always a map, then a big “X” on it to denote where the treasure is!

I simply tell the my students now, “X marks the spot!  Cross the arms, and when it looks like an “X” diagonally, horizontally, or vertically, left, right, or center, or high, middle, and low, simply strike them!”

Its worked out so beautifully, that even I am surprised.

Since martial arts skills are largely physical, we should learn them physically, rather than just intellectually or with words ad nauseum.  Words are representations of what is.  If you develop a skill set, you bypass words, which don’t have to get translated, then cause a time lag due to thought.  Thought is one of the factors for slow reaction time.  Many instructors get too technical with certain students.  Some students are more kinesthetically gifted, others auditory or visual.  That is why some students eyes glaze over when an instructor begins a long winded dissertation of their system’s superiority and terms and jargon…if you show the visually gifted, and make the kinesthetic ones feel, you’re doing your job properly as an instructor!  Of course, you have to tell the audtory gifted ones…

Some suggested I should use the WCK terms in English, rather than the Cantonese mother tongue.  I have no problem with that, since I am bilingual, however, English is multisyllballic, whereas Cantonese monosylliballic.  It just makes things longer.

If I were to teach the WCK terms in English, it would sound like this, “After striking with the combined strike and spreading hand, the right fist changes into a Grabbing Hand and traps the opponent, where you strike him with aGrab and simultaneous strike, then you can continue on to Choking bridge and strike!”


An interview with Robert Chu

Combat Journal Interview with Robert Chu by Salim Badat, first published at Combat Journal Website June 2008

1. How did you get to train in wing chun?

I started training in WCK when I was 14, after starting other systems of martial arts since age 7. I also studied Okinawan Shorin Ryu and Judo since age 10 and had some hard core training in that, so when I learned WCK, it was rather easy. A friend from the Chinese restaurant I worked in had some basic training and taught me the Siu Nim Tao set and the basic exercises Pak Sao, Lop Sao, Dan Chi Sao and Cern Chi Sao, as well as shifting from the 2nd form. I also learned basic fighting tactics with WCK. Afterwards, I decided the system was good and sought out more competent instruction.

2. Please explain the concept of body structure and it’s relevance to combat?

I am probably the popularizer of the term “body structure”. Most people think it refers to the form of WCK, whereas I refer to it as the function of WCK. Body structure in a few words is body alignment. Most people who throw around the term do not even know what it means.

Basically, I am talking about vector force alignment to maximize vector forces, or to reduce oncoming vector forces. This is all caused by proper skeletal alignment – you must be able to feel a line of force through your bones initially.

My entire system is based on body structure – you could say it is the core of my system, and it differs from other Yip Man Ving Tsun/Wing Chun systems out there in the curriculum and teaching methodology it is taught in.

In my system, one is taught how to defend your body structure, how to attack and maximize, how to protect yourself with the best anatomical positioning, how to face an opponent, how to control an opponent’s body structure, how to neutralize the opponent’s structure, how to disrupt an opponent’s body structure or lack of it, how to weaken the opponent’s structure, how to regain it if necessary, and how to reposition to it, as well as how to project it through weaponry. To my knowledge, no one has completely adopted this teaching methodology as completely as I have.

3. How does one develop body structure in wing chun?

Basically body structure is taught to a WCK practitioner by day one – how one stands, and feels his or her center of gravity and the relationship to the earth on a vertical plane, while being sandwiched between an opponent’s resisting force. This is the only way to have body structure. Originally we had 4 major tests for it, now we have hundreds of exercises in which to cultivate it. Only students of my system can adequately understand our meaning. In our system, the shoulder girdle is the equivalent to the pelvic girdle, and the width of the stance is determined by proportionate body measurement – it is not “follow me and I’ll show you…”.

4. Briefly describe some of the differences and similarities between the Yip Man, Yuen Kay San and Gu Lao wing chun?

All WCK is WCK. There’s really no good or bad WCK, just functional in the moment or non-functional in the moment. People who train realistically have it; people who train in a dead manner do not.

Yip Man WCK is the most popular system in the world. It is a good modern system, adapted to today’s society. However, there are many branches in the world taught today. Of them all, I highly regard the training I had in Hawkins Cheung system, Wong Shun Leung system (from Gary Lam) and Ho Kam Ming system (from Augustine Fong and Johnny Wong), as well as what I received from Koo Sang, Lo Man Kam and William Cheung.

The Yuen Kay Shan system is more sophisticated and includes an older training methodology, perhaps better taught one on one. The 3 forms are more similar to Yip Man’s early teaching in Fut Shan, there are 14 conceptual key words, 12 Cheung Bo training drills, and their Muk Yan Jong is longer and in some ways more sophisticated than in Yip Man system. I very much like the pole and knives training in YKS WCK. I am indebted to my sifu, Kwan Jong Yuen, and my training brother Rene Ritchie for my YKS training.

Gu Lao WCK is a great system for those who do not want to learn forms. The core of the system is freeform, and drilling is based on points. However, your mileage may vary depending on the person you study with based on their knowledge of fighting applications. One could study all the points, but without practical combat knowledge, they would simply be ugly random movements. A lot of people are coming out of the woodwork now with variations of Gu Lao WCK, but I must say that it is the skill rather than the number of points that is most important.

All WCK extends through the same source. The Yip Man and Yuen Kay Shan systems utilize forms, whereas the Gu Lao system I learned did not use sets, but individual moves. All had a strong emphasis on straight punching. In fact, I would say that the WCK straight punch is the essence of WCK. If you could just master that, most of real WCK is embodied in that.

5. Please tell us a bit about your recent U.K. visit?

I came to the U.K. on the invitation of my student Alan Orr, and by Mark Hobbs of Pagoda Imports, to the recent Seni event, Europe’s largest martial arts expo, held at the Excel Centre in London, England in April of 2008. There, I taught my first open U.K. seminar and gave the 35 attendees a problem: how would they rectify the dichotomy of study that was traditionally passed down to them and the functional manner in which I based my WCK on?

For the morning, I taught the nuances of my WCK, which included making and striking with the proper Wing Chun fist, some rudimentary structure methods for aligning and rooting the stance and issuing power, methods of using the striking methods of transitioning from hand to body and body to hand. Emphasis on striking and follow through were shown, and a question and answer period was held. My basic message was to emphasize the value of testing martial art through function, not only form and tradition.

The highlight of my trip was handing out medals to the winners of the First International Chi Sau Open in which my group won 7 gold medals and 1 silver medal in fullcontact Chi Sao competition against all different systems of WCK in the U.K. My grandstudents won in the tournament because of our structure methods.

6. You had to actually cover making a fist?

Yes, you might think its funny, but so many people in WCK don’t grip their fist properly! The thumb placement is a big deal – it never passes the index finger, and you must extend the first punch by aiming with your middle knuckle. The 3rd and 4th digits clench slightly more tight than the other fingers and the angle of the wrist is pronounced and with slight hyperextension, and the fist is rotated with a slight supination to maximize skeletal alignment. Knowing this, your martial arts study also increases your health. Of course in Chinese medicine, we recognize that finger as being the “fire” element (just like when we extend it to give people a piece of our mind), and then the bottom three knuckles hit the person incidently. We don’t extend our wrist or snap it – the extension puts it in anatomically correct position with the ulna and radius bones aligned properly to channel a force upon impact, and absorb a resultant force. Too many have malalignment of the fist upon impact, hitting with the pinky first. It’s a joke – they can break their fist immediately upon impact! But they insist it is their style’s trademark. This is what I mean when others pass on a dichotomy of form not equal to function.

7. What is the unique feature of your wing chun?

You could say my WCK is the functional version of WCK.

Even with all the training and research I have done, I don’t combine “styles” – I test it as a scientist does – look at what’s functional, have a hypothesis, test it, see if its replicable. With my studies in anatomy, physiology, kinesiology, acupuncture, Chinese medicine, physics, and modern athletics, this leads me to my conclusion. Over the years, this lead me to “Let function rule over form”, and “Let application be your guide”, and now, I can also say, “Experience beats experiment.”

8. Don’t you think speed is also a critical aspect in Wing Chun? A lot of systems stress speed as a critical component of their system.

Alertness, smoothness, mental decision making, power, and timing are more critical components rather than speed. Speed by itself is empty. One time a WCK teacher boasted that one of his students could throw 12 punches in a second. My reply was how hard could that student hit? His answer, “Well,…”

9. Isn’t there body structure in other systems as well?

Yes there is, but as I said, others think that form is body structure, but unless it is tested in the same way we do, I don’t agree they have maximised full potential of structure. Even with any skilled martial artist or WCK practitioner, I could teach them to hit even harder, control better, have a more stable and mobile root, and set up strikes to finish them at will. Its all based on the thorough study of body mechanics, velocity, momentum and power. I don’t think most WCK have done this to the extent I have. And so many over the years have boasted to me they could pass structure test one, and they can’t. For me function is the form. There has to be core skill development and objectives, otherwise its all a bunch of guys arguing that this is the way it was handed down to me, not taking into account human flaw.

10.What is the essence of wing chun?

(jokingly) Wing Chun is basically: No can stand = no can fight!

But more seriously, WCK is to learn the proper mechanics and adapt them freely in combat while breaking the opponent’s balance and working him over.

11. Has your personal expression of wing chun evolved through the years?

When I was younger, I was very aggressive and attacked my opponent’s attack. I would use strikes, kicks, body control, throws, joint locks and take the opponent down to the ground.

Of course, since I am older now, I have a tendency to be more tricky. I always break my opponent’s balance and allow him to determine what kind of beating he wants. I don’t throw it all at him.

12. What is the unique flavour of your branch of wing chun?

In my branch of WCK, we approach everything from a functional level and want to create well-rounded fighters and practitioners to have strength, endurance, flexibility, correct mindset, work ethic and flexibility in all facets of combat including striking, kicking, throwing, joint locks, groundfighting and weaponry.

I think it is important for a fighter to be well rounded in practical application, while also perfecting their major system. For those who think it is a bad thing to cross train, it shows a bit of close mindedness. For example, there’s no doubt BJJ and MMA have their impact on the martial arts now, what does a WCK person do to survive if he is placed in that scenario? Without ever testing it, one is lost. I’m not saying combining all arts, but stating what are your strengths and weaknesses under all circumstances. I put one student in the mount on top of another, and see the one on the bottom either gas out or fight his way out. Its an important drill. Another thing is many WCK people are terribly out of shape. They need to make savage the body more, instead of yapping about politics!

The emphasis on combat realism is the thing that was passed down from me by Hawkins Cheung. Hawkins Cheung’s is the inspiration to me, as I have passed my art down based on his approach. Most people overemphasis sticking hands and forms, he emphasizes combat application. One would think that to be common, but most WCK instructors emphasize forms, then drills, then even more drills in Chi Sao. My sifu is the most deceptive fighter. He doesn’t look like one, but he has a way to trick you if you fight him. Its very deceptive how hard he hits and kicks. As a teacher, he didn’t teach me “Hawkins Cheung WCK”. Instead, he taught me skills and principles WCK.

13. What are your future goals and aspirations?

I am semi-retiring from WCK teaching now, really distilling my training method to make it simpler and faster to teach. I may still take on a few disciples, but only ones who want to fully learn the art and study it from the complete perspective of martial arts and medicine. I am writing a new book on these applications and training methodologies.

I am concentrating more on the teaching of Chinese Medicine and Acupuncture of which I lecture on internationally in the U.S.A., Canada and Europe.

I am also a fulltime clinician, with an active practice, I am continuously doing battle with diseases such as Cancer, Parkinson’s, lupus, diabetes and heart disease. But I am very much into health and longevity, incorporating my Chinese medicine knowledge with Ayurveda in rejuvenation practices and herbal therapy.

I have also been developing my health through both external training enschewing modern and ancient training regiments with kettlebells and martial arts equipment, as well as Qi Gong/Yoga type training and created complete training regiments there. Kettlebells are great training devices that will help any fighter develop endurance, explosive strength and cardio without bulking up. I highly recommend the training to everyone, but people should have good detailed training through an AKC/WKC or RKC coach.

I have been very proud of my students’ accomplishments as well, especially of my disciple, Alan Orr, who created the International Chi Sau Open, unique in that all Judges and Referees would be invited each year from different branches of Wing Chun, with central idea for “Bringing Wing Chun forward together”. I think it will become a major event to follow throughout Europe. My other students Dave McKinnon and Marty Goldberg, are also taking my WCK to open competition and MMA venues, and proud of them as well.

Lastly, I will be doing more research and development in the Yik Kam Siu Lien Tao WCK, which I feel is one of the earliest forms of WCK, as there is documented proof, as well as core related forms, drills, skills and concepts taught in Fukien White Crane and Emei 12 Zhuang system to show how it was created. I think we need to preserve cultural artifacts for the next generation.


The Root of Wing Chun Kuen Power: Four Methods to Test Your Structure

by Robert Chu

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!”

The next thing I knew, Grandfather was awakened, furious! “Lao san (Number 3), why can’t you be quiet when I rest?!”

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!”

Here I am now, some twenty-nine years later writing this article to tell you the benefit of that torture, er, I mean training. Whether you practice Hung Gar, Wing Chun, Tai Ji Quan, Northern Shaolin, Xing Yi or Ba Gua – there’s no getting around it! Whether you call it Zhan Zhuang (Pile Exercise), Jut Ma (Sitting on a Horse), standing meditation, or simply, stance training, it is the same. It’s a boring, strenuous exercise that even the advanced students want to avoid. But would you believe strenuous training is one of the quickest methods of developing internal power?

For the martial artist, one of the most important quests in learning and mastery of your art is the study of power (“jing” in Mandarin, “ging” in Cantonese, and often described as “internal power” in English). The most important thing in the quest for internal power is learning body connection for issuing that power. In my studies, body connection is the first way to developing power and sadly, too many practitioners are still searching for power after 20 years or so of practice. A student of mine, Kim Eng, once remarked that when he studied a so-called “internal art”, he was waiting to get the “qi power” after 20 years of practice. I laughed. I then gave him an understanding of body connection and One of the best ways to get power: stance training. This article will focus on Wing Chun kuen as it is the principle system I teach, and a few simple tests for the practice and development of stance and power.

The way I teach Wing Chun, the body structure and connection comes first. Later the forms solidify that training with the tools becoming involved. Partner exercises are introduced to be able to get used to utilizing this body structure in combat, and weapons skills are taught later to be able to project power with the body through a weapon. Personally, having seen many magazine articles and read many books, I first look at the demonstrator’s body to see if the can express power through their torso. Just a look at their pelvis and stance, and I can get a good idea if the martial artist is skilled or not. Quite often I am amused by the lack of body usage in their demonstrations of technique, even by advanced practitioners.

Power depends upon both internal and external factors. Oral tradition states, “Power originates from the heels, travels up the ankle and knee joints, is in conjunction with the waist, issues forth from the body and rib cage, travels down the shoulders, to the elbow, to the wrist and manifests from the hands”. A proper positioning of the body, muscle relaxation and contraction, breathing and timing are also factors involved in this.

Basic Alignment

Proper body structure comes from aligning the 3 dan tian and is crucial to the development of this power. You must align the Yin Tang (an acupuncture point between the two eyebrows), Tan Zhong (Ren 17, a point located on the midline of the body, level with the 4th intercostal space) and Qi Hai (ren 6, also known as dan tian, a point 1.5 cun below the navel) points in one line. (See illustrations). With this basic alignment in place, you can easily attain the “Qi feeling” in the body – that would be first what is called “Xiao Zhou Tian” (Small Microcosmic Orbit), then later advance to “Da Zhou Tian” (Big Microcosmic Orbit) which extends awareness of Qi flow throughout the body. As the focus of this article is more on the more physical aspects and benefits of body structure and stance training, I will discuss this more in detail in a future article or advise you to look for other qualified teachers in standing meditation.

Test # 1

robert chu3With this basic posture aligned, you should try a simple test of alignment with the Yee Ji Kim Yeung Ma (Yee Character pinching goat horse), the basic stance practiced in Wing Chun. First, you should try to stand when a force or pressure is exerted upon you. For example, let’s say a person puts their palm on your chest and presses with continuous force. The pressure should not send you flying back, but should root you to the ground. You cannot develop this power if you are leaning backwards like the Leaning Tower of Pisa, or “hunchbacked” like Quasimodo of Notre Dame. You need to relax and sink and maintain the proper alignment in doing these tests. You equalize the pressure exerted by adjustmenting your balance and pushing forward with the pelvis. The buttocks and the quadriceps are brought into play and also help with this equalization. You should not be as limp as a noodle when relaxed, nor as rigid as a board. You have to have a Yin & Yang, a dynamic interplay of the soft and hard to be able to do this.

This first test often upsets people who think that the basic stance is not a fighting stance at all, and not strong in the face of frontal force. What I write here is contrary to the majority of Wing Chun practitioners’s experience. Most who lean backwards or are hunch over like a patient sick with pulmonary emphysema will fail this test. Some will have practiced Wing Chun kuen for many years and not be able to pass this simple little test. I consider this a shame. The basic stance, Yee Ji Kim Yeung Ma, is practiced about fifty percent of the time in Wing Chun training. It is used throughout the first form, as the beginning and end of every section in the second and third form, the dummy set, and the knife techniques, and and forms the basis for many partner exercises as well.

Failing this test may suggest that your lineage is stressing form over function. My motto is “stress function over form and allow application to also be your sifu”. The benefit to learning something like this is that you can see if you are actually using power with your entire body, rather than from the limbs alone. The key here is using the pelvis and making sure that the buttocks is ahead of the heels.

Whether you are standing on both legs or one, the alignment remains constant. Again, if early and advanced Wing Chun training emphasizes this basic stance, and you cannot pass this test, you really should robert chu4seek some qualified instruction.

In the beginning, I suggest that you stand in Yee Ji Kim Yeung Ma with hands held at the sides first. Later, you can do these tests with variations. Instead of pushing on the sternum, you can have hand postures of double Tan Sao position (Dispersing Arms, test one, variation 1), double Fuk Sao position (Subduing Arms, test one, variation 2), and double Gum Sao position (Pressing Arms, test one, variation 3). You can then test the structure by pushing on the arm position. With this, you can see if the arms are ideally connected with the torso. The idea is the feet grip the ground and support the legs, the legs support the knees, the knees support the thighs, the thighs transfer power to the pelvis, the pelvis to the waist, the waist to the torso and from the there, the torso connects to the shoulder. From the shoulder, the arms connect to the elbow, the elbow to the wrist, and finally to the hands. From controlling your intent and having awareness and sensitivity to adjust for changes, you should be able to easily have this feeling of being rooted.

Test #2

The second test is essentially the same as the first, however you should stand in a Bik Ma (forward stance, as illustrated), and allow your partner to exertrobertchu2 the same pressure over your sternum. If you have the proper alignment and root, your rear foot will feel as though it is sinking into the ground. If you are striking someone, you will also have this feeling of pushing strongly into the ground with your rear foot. Since my method involves this stance with a 50/50 weight distribution, people who practice with a different emphasis with weight on their rear leg may find it difficult to pass this test. Those who do may want to investigate or discover why their lineage uses a stance in that way.

Test #3

Following this, the third test also finds you in a Bik Ma and has your partner pulling your lead arm, now held in a Lan Sao (Obstruction Hand). If properly aligned, you will feel rooted
to the ground, with additional pressure on the lead leg. If you were in this stance/step, and you were pulling your opponent, you would also feel the lead foot strongly planted in the ground. For those who practice with weight emphasis on the rear leg, you now have your reasons why.

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Test #4

The fourth test has you in the Chum Kiu Ma, a turning stance also found in the second form. In the form, we typically use a Bong Sao (Wing Arms) from a straight facing position and have the weightrobert chu 7 distributed 50/50 in both legs. We test this by putting pressure on the Bong Sao and see is we can maintain the weight of our partner. If you failed test one, you probably cannot do this one. People who turn at a sharper angle may also find themselves unable to pass this test. The key, as before is to equalize pressure with the pelvis and maintain the torso in alignment. If your body structure looks like an “S” or “b” from the side (see illustrations), you probably do not have the body properly aligned.

The Purpose of Structure

My speaking of alignment in Wing Chun Kuen is similar to Xing Yi’s San Ti Shi (Trinity Stance), Tai Ji Quan’s Peng (bouyant / expansion) position and Ba Gua’s Niu Zhuan alignment (twisting power), as well as most forms of Zhan Zhuang (Standing Meditation) exercises. Wing Chun also follows this concept of alignment. Wing Chun’s oral traditions state, “Internally train a breath of air, externally train the sinew, bones and skin”. Yip Man was known to practice the Siu Nim Tao set (Little Idea, Wing Chun’s 1st form) for an hour. He was training to develop power.

I believe that power development comes to a student from day one in their training. It comes from the basics of stance, posture and relaxation. It’s just that beginner students are notrobert chu 8 coordinated, nor do they understand how to put things together, and it is often not explained why they do things a certain way. In my opinion, they are just doing things “externally”, simply mimicking a teacher’s motions without the understanding of why they are doing so. If a martial artist only emphasizes “purely external training”, they typically use weight training, stretching, and maintain an emphasis on endurance and speed. That’s fine, yet it does not tie into the rich concepts of complete body alignment, which is advanced training and provides a deeper understanding of one’s art.

One of my Wing Chun students, Gerry Pang, asked me while we had tea, “Sifu, does our art favor a larger person?” I asked why would he ask that? He said because he saw a majority of the students were bigger than him and they could make the art work. Then I told him that he must look at our core training, the core that emphasizes structure – turning it on and off, adjusting to the pressure and scientifically linking and unlinking the body at will. All of our forms emphasize structure, all of our partner exercises drill structure and all our weapons work supports it. I told him our art is designed for a smaller person to maximize his potential for power. Many teachers don’t emphasize that, so the body structure is emphasized when people are smaller than their opponent, not larger. I think he left our tea session satisfied with my answer.

My words do not only apply to Wing Chun here. They are universal for all systems of traditional Chinese martial arts. Many mimic the words “structure” and “alignment”, but without adequately testing their basic postures, they do not understand the depth of the meanings of these words.

Some may also think it is a waste of time to stand in these static postures. To be able to use power from the ground up is the epitome of all martial arts. I don’t think many emphasize the body alignment unless they, too, are looking to maximize the potential of issuing power. I have always studied other martial arts forms not for the sake of beauty or collecting systems, but for the sake of understanding their body connection concepts. Whether you be a practitioner of Hung Gar, Shaolin, Xing Yi, Tai Ji, Ba Gua, or Wing Chun Kuen, you should understand how to get power from your basic stance training.

Wing Chun people say “Yau, Shen, Ma Lik” (Waist, Body and Horse Power) and “Jang Dae Lik” (Elbow down power) to hint where the power comes from and how we should align ourselves. The Wing Chun Kuen Kuit (Fist Sayings) only hint how to develop power, however.


When you have developed one type of power very well, you begin to learn the variations of issuing power, and can manifest different forms of Ging (such as inch power, long power, and the like) by varying your timing and length of expenditure and direction of your power. You can only get this through training total body connection and coordination. If you do not have this form of training in your system, perhaps you can seek it out from other accomplished individuals in your system, or read the classics of your art, that may point the way. Perhaps my Grandfather found this as a form of “punishment”, but I was glad he gave me a head start in my journey in martial arts training and pointed the way for me to learn many great things.


6 Forgotten Pole Secrets

by Robert Chu

The more boxing became a focal point of kung-fu, the more pole sets were ignored or dismissed entirely.mikebaker1

“Gwong’s pole set movements were as ‘graceful as a flying dragon, and as powerful as a tiger.’ ”

“With the fist, fear the young adept; with the staff, fear the old master.”

I first wrote about and published an article in the Spring of 1999 in Exotic Martial Arts of South East Asia Magazine on the Flying Dragon/Tiger Gate system, also known as the Fei Lung Fu Mun. This system was brought from China to the United States by my master, the late Lui Yon Sang (Lei Ren Sheng) of Guang Zhou, China. Lui was a native of Toishan and had lived in New York City as a Traditional Chinese Medical doctor and herbalist.

Lui was 80 years old when I met him. Although practically unheard of in the West, Lui was famous throughout China during his lifetime. This was because of his knowledge presented in a long running series of articles during the early 1980′s in China’s famous martial arts magazine “Wu Lin” (“Martial World”) and articles in Sun Mo Hop Magazine in the late 1970’s. Master Lui was so famous that he was dubbed the “Southern Staff King” or “Nan Fang Gun Wang” (Cantonese: “Nam Fahng Gwan Wong).

Since my youth, I had studied the Southern Fist in New York’s Chinatown, practicing Hung Ga, Wing Chun, Lama and Bak Mei Pai. I was no stranger to the fist methods and staff methods. Most systems of Chinese martial arts have weapons, and the sets of these systems, hail amongst the best. Hung Ga has the Ng Long Ba Gua Staff and Spear (5th Brother Ba Gua Staff and Spear), Bak Mei’s pole (called “Ng Ma Gwai Cho” – Five Horses return to the stable) set is short and practical, Lama and Choy Lay Fut have their versions of the 13 spear staff (Sup Sam Cheung Gwun) and Ba Gua Gwun, and of course, Wing Chun is known for the 6.5 point pole or Luk Dim Boon Gwun (6.5. point staff) and it’s highly effective use.

Master Lui’s Fei Lung Fu Mun system primarily consists of weaponry skills. Weaponry skills are taught first, then progress to empty hand skills. His boxing and spear and staff methods derive from the old traditions, and draw many parallels to the fist and weapons arts found in Qi Ji Guang’s Ji Xiao Xin Shu and Wu Shou’s Shou Bei Lu, both famous books on ancient military arts.

In his youth, Master Lui was taught by the famous Leung Tien Chiu. Leung was a champion boxer, who at 55 years old, entered a tournament in Nanjing in the 1920′s and won 2nd place in open class full contact Lei Tai fighting (no protective gear, and winner throws the loser off the stage). Leung was famous for his mastery of many systems that included Wing Chun, Hung Gar, Choy Lay Fut and other Shaolin Fist systems. Leung Tien Chiu later created his own systems, which his disciples later passed on called “Fut Gar Kuen” (Buddhist Fist boxing), and another system called “Sae Ying Diu Sao” (Snake Form Mongoose Hands). This was the source of Lui’s boxing system.

Lui’s specialty was the spear and staff, and he studied with a Manchurian named Gwong Sai Lung. Gwong was famous for his pole and spear techniques that came from the Yang family in Southern China. Gwong’s pole set was known as the “Fei Lung Fu Gwun”, so named because the movements were as “graceful as a flying dragon, and as powerful as a tiger”.

Master Lui taught some of New York’s top masters of martial arts his spear and pole system. Lui’s art was not widespread and to learn it, one had to become a disciple. One must have performed the “Bai Si” ritual in order to gain entry. As a result, Lui only taught a select group of disciples his specialty, including Chan Bong (David Chan), Lee Gok Chung (Thomas Lee), Chan Jim, David Wong, myself, and others. Of my training brothers, I know that the men I mentioned here have complete transmission of the complete system as taught by Lui.

The Fei Lung Fu Mun uses the “Cern Gup Dan Gwun” (Single end staff, but both ends are used). The weapon varies in length with the height of the user, and it is properly measured by standing straight and extending your arm. The pole should be the length of the outstretched arm. The wood is the common Ba La White waxwood that is typically from Shandong, and common in martial arts circles. We specially treat the pole by immersing them in Tung oil for a period of six months so that the pole remains flexible and virtually indestructible.

When I met with Lui Sifu, he asked me to perform a staff form. I demonstrated the Wing Chun 6.5 point staff form him with full speed and power. Lui Sifu said I had sufficient power, but surprisingly criticized my footwork and positioning. He asked me to attack him, and I obliged with a Biu Lung Cheung (Darting Dragon Spear) maneuver. Before I completed my maneuver, I was the recipient of five blows to the hand, groin, top of the head, instep, and neck! I was disarmed as a result of the blow to the hand.

All of this was done by an 80 year old man who was only about 5 feet tall and less than 120 lbs! I recalled the Chinese saying of “Kuen Pa Siu Jong, Gwun Pa Lo lang” (With the fist, fear the young adept; with the staff, fear the old master) came to me. I had found a real master of the pole.

I became a disciple of the Fei Lung Fu Mun by undergoing the “Bai Si” (Bow to Sifu) ritual. I knelt and kowtowed three times and offered tea and a red envelope, Lui Sifu took my offering and drank it, and assisted me up. He held my hand and said in Cantonese, “I am 80 years old and will teach you all I know without reserve. You have come to me to learn, despite your being an accomplished expert, and just as I knelt to Gwong Sai Lung when he was 80, I must now teach you.”

Lui Sifu spoke to me in Cantonese, “Ah Gee, (“Chu” as he would call me in Toishan dialect) there are six principles to our system – these are the “Sam Faat” (Nature or Mental Methods), which are passed down orally and physically. You should learn them well. The first principle is the concept ofSang Sei Muhn Faat – the live and dead gates methods. Do you know what I mean?” I shook my head. Sifu explained, “The live gate is when you can still attack your opponent, and your opponent can still attack you. You must try to position yourself to be in the opponent’s dead gate.” With staff in his hands and staff in my own, he positioned and moved to my dead gate. This principle corresponded to Wing Chun’s mutual centerline facing principle and moving to the opponent’s blind side.

The second principle is the concept of the Sang Sae Gwan Faat – Live and Dead staff methods. “When your staff is constrained and you cannot move without endangering yourself, this is a dead staff. If you can move freely about, your staff is alive.” I nodded in agreement. It is best to have a live staff.

Lui continued, “You must understand your opponent’s point of power – theLihk Dim Faat (Force Methods). In a staff, you only use the last six inches, or the point. This is just like when you use a spear or a gim (Chinese two-edged sword). To understand this is to know where the focus of power comes from. You do not have to go force against force.” To know the focal point is common in all martial arts, one has to know this in issuing force and when you want to absorb someone’s force.

“The fourth point is to understand the concept of Huen Dim – the circle and the point.” Lui demonstrated by making a big arc with his pole. “This is the distance which you must be aware of. ” To illustrate the concept of the point, Lui demonstrated a series of thrusts with the pole. “We have eight major spear thrusts, you must know where and how the point is coming at you to be able to stop it.”

Lui Sifu continued, “Mastering the fifth point referred to as Keoi Lei Hing Chuk Dou Faat – the methods of distance and speed.” Lui demonstrated a series of steps called “Ng Hang Ba Gua Bo” (Five element and 8 trigrams stepping. “Stepping like this, one can enter in the circle or exit the circle with proper footwork. This is referred to as Chut Yap Huen – you need to know when you can enter the circle and when you can exit the circle. ” All of the steps were tiny and had made use of my previous systems’ training. Lui drew an illustration for me. “These directions represent Metal, water, wood, fire and earth and are so named the five elements. The eight directions are namedQian, Dui, Kun, Li, Xun, Zhen, Gen, and Kan and represent the Ba Gua.” Master Lui’s illustrations drew the Wu Xing (5 Elements) and Xian Tian (Pre Heaven) and Hou Tian (Post Heaven) Ba Gua diagrams. Lui was a scholar and was well versed in the Yi Jing, Chinese medicine, and other classics.

“The last concept is Louh nyuhn gwan faat – the concept of the old and young pole methods. The old staff is when the pole cannot move easily, but it can still move. The young staff is when your pole is nimble and quick and can move about freely. These methods concern methods of extraction and retraction of the pole. You may not understand it all now, but you will when you have trained in the staff and it’s applications.”

All of the concepts were important in that they were principles of motion in relation to an opponent. Master Lui’s staff skill was so exceptional, he exemplified the Wing Chun saying, “Gwan Mo Leung Heung” (Staff has not two sounds) – meaning in application, attack and defense are one. One does not deflect first and then attack – one strikes in the first move, then delivers a finishing blow. Too often Wing Chun people were taught to defect with pole as in Tan Gwan (Dispersion), then strike with a Biu Gwan (Spear). After understanding Lui’s methods, one knows to immediately strike and disarm the opponent with the first move, then finish them in a follow up blow.
In learning the Fei Lung Fu Mun system, it enhanced my understanding of the Wing Chun Luk Dim Boon Gwun and how it is applied. I once asked Lui Sifu, “Why didn’t Wing Chun and other Southern Staff systems preserve the fighting applications of the spear and pole?”

His reply was, “They all once had it, but as they passed down, the teachings became distorted or neglected and became secondary to their boxing.”

I wrote this article for my fellow martial artists so that they may know that real skill and knowledge exist with the pole, and if they find this information interesting, they can understand the source of the information and research more. I have also placed copies of the original source material presented in Wu Lin magazine in the 1980’s and a related article from New Martial Hero as well as a picture of my discipleship with Master Lui, and the top New York martial artists that did the Bai Si with Master Lui. Interested parties may contact the author to obtain complete copies for further research.