Drunken Monkey

and any woman in the street sticking her nails in your eyes is going to hurt...

has anyone else noticed that all of these solutions to defend against a round punch all involves a hell of a lot of training before you will be proficient in using them.

 

what i'm saying is, none of this matters if you don't actually practise.

 

cos let's be honest, we could all spout ideal scenarios and disect them with theories and techniques from the styles we study.

 

i've seen a round punch blocked and stopped dead by a simple tan sau in the right place. could i do it when i need to? not sure...

oops, didn't see the bit at the top.

 

sorry.

the line drawn by the wrist is near as much horizntal all the way (incidentally, at heart level), back and forwards.

 

even during the huen sau and the "drop" into fook sau, the wrist remains on the line.

 

another little question, when you draw back the wu sau, where do you move your elbow to?

in that case is the kwun sau considered a guard? it is damn good at what it can cover against but absolutely rubbish for anything else UNLESS you change it.

 

by saying it is a guard, you are implying that it is an all purpose covering position with your hands.

 

while you CAN receive in the guard stance, it is just for that instant/interception/receive moment.

 

in that respect it isn't something you put up for guard like you do in boxing.

 

i purposely called it the "ready stance" to point out that it is primarily for that purpose, to ready yourself. in most situations you'd probably intercept with a tan sau anyway...

so i take it your wrist drops slightly as you turn into wu sau...

 

ok

 

another variation to add the notes

just a bit of nosing about now.

 

in your first form, in the first section, where do you drop your fook sau to after you draw back your wu sau?

 

i've seen it drop to the dan tien area and i've seen it drawn to solar plexus and i've seen it remain at chest/heart level.

um, just want to point out.

 

if that's from the star newspaper in uk, you should be aware that it is probably the trashiest paper on the market...

and were all of the witnesses ed parker affilliates?

hmm, y'know when i said that this was the one i was talking about, it isn't.

 

i was thinking about the bill sienkiwicz book...

 

y'know, the slightly surreal one with the "big" shark...

just came across a page or two of hung suen wing chun history.

 

know it?

yeah i know what you mean.

 

like i said, elsewhere, money has a way of making people do things...

 

something else just came to mind, about the knife set.

 

someone please correct me.

 

what i seem to recall is that it was the knife set of miu hin who was supposed to be one of the five. he was also the father of iu chui fa who was the mother of fong sai yuk...

 

is this right?

yeah i know what you mean.

 

like i said, elsewhere, money has a way of making people do things...

 

something else just came to mind, about the knife set.

 

someone please correct me.

 

what i seem to reall is that it was the knife set of miu hin who was supposed to be one of the five. he was also the father of iu chui fa who was the mother of fong sai yuk...

 

is this right?

if i was being honest i have to say that my love began from all of them chinese heroic drama programs that we used to watch as kids, y'know, the ones written by gum yung.

 

as i got older and did a bit of research i learnt more about the real arts and the people behind the films.

 

all this lead to me doing even more research on the histories and legends, trying to tell fact from fiction.

 

somewhere along the way i met someone who was able to teach me wing chun, or at least start me on my long walk to find out how much i can learn.

sparring is great but unfortunately i don't get to spar with many people outside of our little circle. i've only ever met hands with tkd, jkd and lee gar.

 

sparring in house is so much fun. it really is just like a game; feed an arm here, trick them into moving the wrong way, nudge them into overcooking a move...

 

what we normally do is start off nice and light, just to get into the swing of things, try out some moves. as it gets on it normally gets a bit heavier, and both parties gets a bit quieter and the slapping noises from contact gets a bit louder.

 

the sounds and rhythms of the hits+blocks (pak, papa, pak, papa pak...) always draws a crowd and it feels great.

 

how many of you still remember that feeling of a perfect tan sau stopping an oncoming fak sau dead?

ooooh.

 

tai chi.

 

now this is going to get heated.

 

the problem with tai chi is the fact that there are now hundreds of people who supposedly teach tai chi on the basis of it being nothing more than a relaxation/spiritual/healing/chi/myatical/being human understanding art.

 

these people seem to have no real training in tai chi beyond the froms themselves and don't even know that tai chi is a fighting art.

 

i really can't explain my hatred for them people in a short space and i really don't want to rant too much here.

 

i'm sure you know what i mean though...

whoa whoa, i know there is no offence meant.

 

after all, you and i are brothers in wing chun.

 

but one thing though, is this the ving tsun of leung ting?

 

if it is you should be aware of the slightly dubious way in which his organisation is run.

 

as for the princess story, it smells a bit like old chinese romanticism to me...

well, his dad was trained by the great lok ah choi as well...

well, i'm sure you know what the press are like

 

especially seeing as the person they were attacking weren't even in the country at the time...

slight misunderstanding here.

 

sorry...

 

before the reign of yung cheng (1723-1736), the development of cantonese opera was very limited.

 

in the years of yung cheng, cheung ng of wu pak, also known as tan sau ng, brought his skills to fatshan and organisd the hun fa wui koon.

 

from "a study of on the history of cantonese opera"

 

by mak siu har.

 

if you believe the stories then kin lung was the one who ordered the burning of the temple and his reign was approx. 1736-1795.

well, if he has the metal back then that just means his healing factor is back to not working at 100%...

 

 

 

...so he'll be slightly easier to kill but a bit more dangerous too...

 

um...

well, the students also play a big part.

 

one who trains katas but fails to see the uses is the same as one who sees the uses but doesn't train in the other aspects.

 

in wing chun, we readily agree that in 99% of confrontations, the only things we are likely to use are tan sau, pak sau and chung chui.

 

if i spend my entire life training these three moves i will be able to defend myself quite well but i would have lost the other x% of the art that i was supposed to be studying.

i think in general, wing chun only looks good to people who wing chun cos we appreciate more the little intricacies.

 

kinda like the way that the hackers will be happy to see a semi proper hack prgram used in matrix reloaded.

 

us wing chun guys must have got a kick form the use of bong sau and lau sau and tau sau (from seraph, the only dude in white... as you know, the classic colour of the good guy)

i think wong fei hung had it relatively easy.

 

after all, his dad had organised much of the school and training already. he was only better than most because he was learning from a much younger age.

 

i feel once again that i might have trodden on a great many toes.

 

apologies in advance.

i think that was a story circulated by the press when he left for america.

 

cos when he started to teach properly (his own kung fu) he wrote a letter asking for approval from yip man to call his teachings his own.

 

it was something to do with him not wanting to bring wing chun (and yip man) a bad name. also, the chinese martial arts people couldn't question him so much if what he ws teaching was his own.