Why stand square to an opponent?

In Wing Tzun the stance called IRAS positions the practitioner with the shoulders square to an opponent. The reasons for this are quite simple and logical.

1: The body's muscle groups are all design to work at its maximum going straight forward not to the side or rear. 

2: With the body square and the arms attacking in a straight line means the arms are an equal length to the target so no rotation is required to strike with the next attack, making striking faster with the  maximum power behind each attack!

3: Standing with a lead shoulder means that it will present an opponent a greater chance to position themselves to the rear of your body where the muscles are functioning at minimum power. 

Having a lead shoulder means the need to defend three areas from attack. The front, side and rear, this would work to an advantage in a gun fight. Turning the body to the side presents a smaller target width wise, but bullets only shoot in straight lines. Humans have joints allowing us to move creating different angles and directions.

4: Standing square means only defending one area the Front. Understanding physics we know that a straight line is the shortest route between two points, so standing square and presenting all the vital organs to an opponent. By doing this the opponent is more likely to attack in a straight line, allowing the Wing Tzun wedge to intercept and deflect the oncoming attack. 

If an opponent attacks with a circular or diagonal attack then applying the Laws of Phyics and taking the shortest route the Wing Tzun wedge will arrive at its target first, and any attack coming in a straight line will be intercepted.

By Sifu Darren Wilson
3rd TG EBMAS Wing Tzun

Balance in footwork

In the martial arts world, balance in footwork is of the upmost importance. If you do not have balance with regards to footwork then you cannot strike with power and you cannot move to avoid being struck yourself.

So what to Martial Artists mean when they talk about balance in footwork?

First let's take a look at Balance.

Balance

• "A state of equilibrium or equipoise; equal distribution of weight, amount, etc."

Now let's take a look at Footwork.

Footwork

• "A martial arts and combat sports term for the general usage of the legs and feet in stand-up fighting. Footwork involves keeping balance, closing or furthering the distance."

The goal of having balance in your footwork means you need to have stability in your stance while being able to move in multiple directions without losing stability. When you have no stability you fall over and you can no long strike with power.

If we take the definition of balance having an "equal distribution of weight"  this means you need to have 50% of the body weight on the front leg and 50% on the rear leg creating stability.

Now if we take the definition of footwork being able to "Close or further the distance." This requires you to be able to move in multiple directions.

When a Martial Artist has the body weight distributed equally between both legs they have stability in their sense of balance. In order to move in any or a direction they must shift body weight  from one leg onto the other the push off the leg with the weight on it. This would mean that they are unbalancing themselves in order to move.

Having to shift the weight around means there is no mobility.

In EBMAS Wing Tzun we have 100% of the body weight on the rear leg leaving only what the leg weighs, on the front leg. When we want to move, because there is no body weight on the front leg it is free to go in any direction without shifting body weight around as the power to move comes from the muscles in the rear leg.

Therefore in having the body weight 100% on the rear leg means we have stability and mobility with no loss of balance as the shifting of weight is not required. If we divide the body weight equally between each leg then we have stability but no mobility without unbalancing first.

When Martial Artists say be balanced in your stance they are really saying be stable, but doing so if you are doing anything but 100% on one leg you are losing your mobility.

Footwork has two parts Stability & Mobility having both means being Balanced in your footwork!

By Sifu Darren Wilson
2TG EBMAS Wing Tzun

Technique and Suppressed Energy

Over the years training and teaching I have encountered a variety school of thought from various branches of Wing Tzun, WingTsun Wing Chun....  Whatever way you spell it, it makes no difference on how Wing Tzun works or should work!

The main difference I come across is the way Wing Tzun is applied, most Wing Chun Practitioners  to me are practicing Karate in a Wing Tzun suit, not Wing Tzun. The main reason I say this is that they practice techniques not Suppressed Energy. Let me explain what I mean and why this is not applying Wing Tzun to its core Concepts and Principles!

The difference between Technique and Suppressed Energy.

• Technique

 Technique requires conscious thought.

• Suppressed Energy

Suppressed Energy requires no conscious thought on techniques only conscious forward pressure.

When an attack comes at you, say a straight punch there are many techniques that can be used:

• Tan-sao,
• Bong-sao,
• Jum-sao,
• Pak-sao,
• Kau-sao.

You could also use attacks from the Biu-Tze form like Biu-Tze-sao or Kwan-Jarn, Wait you could Kick!

As you can see from above there can be a vast number of Wing Tzun techniques that could be used to defend against the straight punch and many more that are not listed here. Now imagine that punch coming at you at full speed with the intent of causing you harm. Which of the techniques you know, are you going to use?

Ok.... Say you recall the correct technique and you perform it successfully. Now you need to counter their attack with your own, to stop them attacking again.

No wait!

To late!

They already have!

The problem with this is that only in a training class does someone attack you with only one attack. In the real world that person is angry with you and wants to hit you again and again until you go down or worse!

Back to that straight punch, say the technique used was Tan-sao and was planning to counter with a Wing Tzun punch. Imagine the Wing Tzun fighter now in a Gi with a coloured belt on you can choose the colour.

This is what I mean about practicing Karate in a Wing Tzun suit. Block then counter!

Most Martial Arts block then counter. The problem with this thinking is:

• You must recall the Correct Technique to defend that attack.
• You need perfect Timing to block the attack. To Fast or Slow and you'll be hit.
• You need to be Stronger than your attacker or the attack will just crash through your defence.

Wing Tzun should be applied using the Concepts and Principles. When attacked the 1st Principle is applied pushing both arms forward in a wedge formation to attack the opponent and deflect any intercepted attack with less pressure than the wedge.

If the attacks pressure is greater than the pressure of the wedge, then the pressure of the wedge will be suppressed, which will compress the intercepting  arm deforming it into a technique.

Simultaneously the arm that has not intercepted the attack will continue free of obstruction and strikes.

By applying the concepts and principles there was no need to:

• Recall a technique, as the technique was create through an outside pressure.
• Rely on Timing, because the wedge is intercepting the attack.
• Second guess if you should block or strike.

Of course you must practice the actual geometric structure of the Wing Tzun Techniques to understand the deformation of the arm. This can be done through practicing the Wing Tzun Forms.
When performing the Wing Tzun Forms, you are consciously performing the techniques. This is to understand the position of the arm for when the arm is deformed by the compression process of the attack.

When applied the Wing Tzun techniques are not blocks or conscious movements, they are unconscious Suppressed Forward Energy!

By Sifu Darren Wilson
2nd TG EBMAS Wing Tzun

4 Fighting Principles of Wing Tzun

The Fighting Principles is Wing Tzun are a very simple concept to apply in fighting. If you understand the fighting principles & Wing Tzun "Centre Line Theory" you will be able to answer your own questions in training Wing Tzun.

The 4 Fight Principle are:

1. If the Way is FREE go forward and STRIKE!
2. Stick with what comes
3. Give way to the greater force
4. When the opponent retreats Follow through and fill the GAPS!

Let take a look at each principle separately. Starting with the 1st principle "If the way is FREE go forward and STRIKE!"

As we know from the Centre Line Theory for the Wing Tzun guard we put our arms in the in front of our body to create the geometric structure of a wedge. The rear arm Wu-sao creates the height, the front arm Man-sao creates depth and from elbow to elbow from each arm are creates the width of our wedge.

When an opponent steps forward to attack, this triggers both arms simultaneously to push forward to the opponents nose and strike. The Way was FREE. This is when we skip the 2nd & 3rd principle and jump straight to the 4th principle "When the opponent retreats Follow through and fill the GAPS!" This principle utilises the Wing Tzun footwork (Advancing Steps) & hand attacks to crash the opponent with continuous punching (Chain Punches).

Now if the opponent manages to throw an attack say a straight punch after he steps forward, because the wedge moves forward the arms will intercept the attack.

This is when the 2nd principle is applied "Stick with what comes" instead of withdrawing our arm that intercepts the attack like a boxing jab for example, the arm keeps the forward pressure from pushing the wedge forward. As the attack in being deflected along the wedge the pressure suppress the arm compressing the limb in accordance to the Laws of Leverage deforming the arm into a Wing Tzun Technique i.e. Tan-sao, Bong-sao, Pak-sao etc... 

Every Wing Tzun technique also creates a wedge so once the technique is deflected it springs forward applying the 1st principle again.

While this the 2nd principle is being applied by an arm the 1st principle is still being applied by the other arm.

Now if the attacks pressure on the limb is greater than the forward pressure of the technique or more to the point the wedge, this causes a mechanism in the Wing Tzun Stance IRAS to rotate like a turn style pushing the upper body to the side away from the attacks' direction. This is the 3rd principle "Give way to the greater force".

When correctly applied the punch will strike at the same time the technique and rotation have been completed.

Again the after the first 3 principles have happened in 1 arm and the other arm has applied the 1st principle then it is straight to the 4th principle "When the opponent retreats Follow through and fill the GAPS!"

While crashing with Wing Tzun Chain Punches and Advancing Steps each punch and step are applying the 4 Fighting Principles.

I remember the principle by thinking:

• 1st = Wedge
• 2nd = Techniques
• 3rd = Turns
•  4th = Footwork & Chain Punches

Applying the principles like a Flow Chart

Remember each arm is applying the fighting principles independently from the other and the same goes for the footwork in Wing Tzun. This is why Wing Tzun is a system NOT a style. A system applies the same concept in all areas whether it is in the arms or the legs, fighting Vertical (Standing)or Horizontal  (ground fighting) it's all the same when using Concepts & Principles!

By Sifu Darren Wilson
2nd TG EBMAS Wing Tzun

Teaching Wing Tzun Advancing Steps

Now that a student can punch and turn like a Wing Tzun Practitioner it is time to get them moving forward in my 3rd class structure.

Usually at this stage I do a small warm up / Recap on what the student has learnt so far.

Warm up

• 3 chain punches in IRAS
• 3 chain punches 90 Degree Turns
• 3 chain punches 180 Degree Turns
• 3 chain punches mixed turns

Repeat with continuos punching then once this is complete bring in the focus pads to add power and endurance.

For steps I start with the 'Crab Step'. To perform the crab step start in IRAS step lift one leg of the ground without changing the width of the stance and almost simultaneously push of the other leg onto the ball of the foot to move to the side as the student moves set the lift leg back down on the ground and squeeze the adductor muscle together to bring the pushing leg along with the step and repeat. As I get the students to practice I get them to say to themselves:

• Lift
• Push
• Squeeze

Lift the leg, Push of the planted leg, Squeeze the adductor muscle together.

Corrections that can be made here are:

• The butt sticks out like a duck
• The stance gets wider or narrower

Correct both at this start get them to keep pushing the hips forwards to stop the butt sticking out to keep the correct posture for the IRAS. The width of the stance can be cause by try to jump to the side to there is nothing stopping the pushing leg going to far or not pushing as the other leg is lifted so the time the lifted leg lands body needs to be shifted to pull the other leg with the step.

If the mistakes are made, get them to reset the stance to their correct width. This will create more muscle memory for the body, so it knows the correct position naturally.

Once the Crab step has been practiced I combine the crab step and the 90 Degree turn to make the Wing Tzun 'Advancing Step'. Simply set up IRAS and do a 90 Degree turn now in the Character 2 position with the body weight over one leg you Lift Push, Squeeze. Lift the front leg, push of the planted leg and then squeeze the adductor muscles. A little tip I use is make sure the hip of the leg that is planted is pulled round to engage the adductor muscles. It will also keep the shoulders square.
Practice the advancing step first with either arms in the Sao-Kuen (withdrawn) position or both arms extended with the palms touching to create a triangle pointing along the centre line.

After practice the advancing step add to the challenge of the steps by getting them to punch. Again use the 1,3 continuous formula.

1 punch

1. Lift the front leg and punch simultaneously
2. Push of the planted leg
3. Squeeze the adductor muscles

The challenge here is to get the student to have the leg and arm do something at the same time. Once then lift and punch their focus can be brought back to the step.

3 punches

1. Lift the front leg and punch simultaneously
2. Push of the planted leg and punch 2 more times
3. Squeeze the adductor muscles

The challenge is to not do the extra 2 punches when before the front foot lands. This add in the power of the body weight into the punches.

Continuous

1. Chain punch
2. Lift the front leg
3. Push of the planted leg
4. Squeeze the adductor muscles

The challenge here is to get the student to not stop punching while the body is moving forward and it is also coordinated in it attacking motion.

Now the student is able to step an punch I bring in the Focus pads to develop power while try to stay coordinated. Do the exact same 1, 3 & Continuous formula. In the 1 punch stage get them to but their full power into the punch. In the 3 punches stage get them to put the power into the 3rd punch with the 1st two punches being speed. In the continuos punching stage the student must punch mixing the power and speed of the punches so that they do not stop the punches at any stage.

After some sweating, practicing with the focus pads train the steps against the blocks like in the first class structure. The difference here is that when the partner blocks the punch they also take one step backwards and the Wing Tzun student takes an advancing step forward. Practice against Inside Block, Outside Block then mix the Blocks. Sometimes you can started to leave out the 1 punch part of the formula if the student has good coordination by now but if they are still having a bit of difficulty then keep it in.

I finish this class with the Wing Tzun Centre Line Concept. I start explaining this here because now they are starting to move like a Wing Tzun Practitioner and have bits of theory and information the student can now start to see how the movements revolve around the Centre Line.

By Sifu Darren Wilson
2nd TG EBMAS Wing Tzun

Teaching Wing Tzun Basic Turns for Beginners

Now that students can perform Wing Tzun Chain Punches and know the simple corrections to make if necessary, I can start building their movements with the bodies in my 2nd Class Structure.

IRAS

Starting with the feet together about 2 fingers distance apart, you bend the knees until you can only see the tips of the toes. Shifting the body weight to the heels spread the feet apart so that you are pivot on the heels and the front part of the feet move outwards keeping the knees bent. Now shift the body weight onto the toes or ball of the feet so you can pivot the heels outwards to a 60 Degrees angel. Now tilt the Hips forward straighten the entire body with the knees bend with a little squeeze using the Adductor muscles. Image the Hips is are like an accelerator petal in a car and the Adductor muscles are like the brakes being applied. There should be a little tension in the legs from these to pressures. Side on the Ears, Shoulder, Hips, Knees and Feet should be all in line with each other.
Imagine drawing a line between the heels and a line from each heel along the inside of the feet until they meet. This will create an equilateral triangle. The distance between the feet should be just outside the shoulder width. Humans are build bottle shape and if you look at bottles the base is wider that the neck. This is so the bottle has stability and does not fall over easily. It is the same principle for humans that we are applying here.

Repeat the student setting up the stance until comfortable performing the movement to a reasonable level.

Turns

There are 2 types of turns to teach at this stage:

• 90 Degree
• 180 Degree

Beginning with the 90 Degree, the student is in the IRAS stance (Centre) the student is going to turn to the left using their hips to power the rotation. As the rotation is happening the body weight is pushed onto the right leg supporting 100% of the body weight. The hips rotate until the torso has rotated to a 90 degree angle from the IRAS stance. At this point the feet should be at a 45 degree angle. Important note is that the left foot turns to 45 degrees 1st the right foot 2nd. Only 1 foot at a time moves in Wing Tzun not simultaneously, this will cause loss of balance.

To turn back into the IRAS, begin to turn the left foot back to a 60 Degree angle. This will drag the body weight forward as the turning of the foot will pull the left hip forward and back to IRAS. Now the right foot can be adjusted to the same 60 Degree angle. Repeat the entire progress to the right side.

Once the student feels comfortable turning 90 Degrees they can perform the 180 Degree turn. Everything is the exact same as the 90 Degree turn. The only difference is they do not stop in the IRAS position.

Turning with Punches

Now add the Teaching Formula:

• 1 Punch
• 3 Punches
• Continuous Punching

Continue to use this formula at this stage of learning although they might be confident with Wing Tzun punches after their 1st lesson, the punching with the turns can throw them of balance. Apply this to the 90 & 180 Degree turns.

Focus Pads

To train the turns with the focus pads it is very important for the partner to hold the focus pad in the correct position. When training the 90 Degree turns the pad when turning from the centre we be placed in line with the shoulder with a 1 inch gap. A nice test here is to hold the pad about 1/2 an arm's length away so when the student turns and punches if they hit the pad it means they are leaning forward. Turning from the left or right position back to centre the pad should be placed in line with the elbow of the extended punching arm.

Training the 180 Degree turns the Focus Pad is to held behind the students head with a 1 inch gap. Again hold to pad further away to test the student to see if they are leaning forward.

Application

Just like in the 1st class practice the punches against the blocks Inside and Outside. Have the partner stand at one of the angles 90 or 180 Degree and the student turns towards them and punches. The partner blocks the punch and the student continues with 3 more punches. Repeat and make corrections to the arm positions and body weight.

Sifu Darren Wilson
2TG EBMAS Wing Tzun

Teaching Wing Tzun Punches and Exercises

Here I want to share my teachings in Wing Tzun. I will start with my 1st class structure when teaching new students that have no or little experience in Wing Tzun. In the first class I start with Wing Tzun's 'Chain Punches'.

To begin I explain about the shoulders having to be square so that both arms are the same distance to the target in front of them. This allows for faster punching as no rotation is required due to having a lead shoulder.

Next is to demonstrate the muscles used in the Wing Tzun punch compared to say a Karate or boxer punch.

In a karate or boxer punch the muscles mainly used are:

• Deltoids
• Triceps

The Tricep is used for extending the arm making it longer and the Deltoid is used for direction.

In the Wing Tzun punch the muscles used are:

• Triceps
• Deltoids
• Pectoral
• Latissimus

Triceps and Deltoids are used in the exact same way but as the elbow is pointing down towards the floor as opposed to outwards in a Karate or Boxer punch, this engages the Pectoral and Latissimus muscles for supporting the punch. In other words more muscles more power! You can feel this by lifting your arm up like a chicken wing (Almost in the position of the Karate or Boxer punch before extending) and place the palm of your other arm under the arm pit. Now lower the arm until the elbow is pointing to the floor. You will feel the Pectoral and Latissimus muscles engage naturally due to the angle.

In Wing Tzun a Vertical fist is used instead of a horizontal fist like in a Karate or Boxer punch. This is to allow for more movement in the wrist to reduced the risk of fractures caused by ricochet when impacting with a target.

I also use a formula of 1,3 Continuous. I start by getting the student to place the right fist in the punch position (extended) and the left fist in line with the right arms elbow. Now as the left arm is thrust forward crossing over the right arm wrist. Simultaneously the right arm is withdrawn and finishes at the in line with the left arm's elbow. Now repeat for a set count.

The most common mistakes I have come across here are:

• The arm that is punching, the student pushes the shoulder forward with the punch
• The withdrawing arm, drops to the hip or is pulled back to must to the chest

It is important to correct the student each time by repositioning their arm. This is creating muscle memory for the body so its repeats the correct finish position naturally.

The next stage of the formula is to add more punches making a total of 3 punches each count.

The most common mistakes I have come across here are:

• The extended are is chambered and thrust forward as the 1st punch
• Some of the punches are crossing the extended arm underneath

Again make these corrections for the exact same reasons as before.

The 3rd step in the formula is 'Continuous' punching. Here you are trying to stamp out all the same mistakes while the student is under stress by getting fatigued. I break this into 2 parts. The 1st part is a nice steady pace, and the 2nd part is mixing the speed and power they perform the chain punching with.

• Fast and little power
• Slower and power

Once I am happy with the students progress I perform the same punching exercises using Focus Pads. This allows the student to get used to hitting something but also to push their endurance. I my experience all those corrections made earlier go out the window as they want to just hit with power and not correct form. Again make the corrections.

The last part of the class is moving the student onto application of the Wing Tzun chain punches.

The Application is broken into 3 parts:

• Inside Block
• Outside Block
• Mix Inside & Outside Blocks

For this I get the student stand in front of a partner in the start position (place the right fist in the punch position (extended) and the left fist in line with the right arms elbow).

Inside Block

• Now their partner uses their left arm to perform an inside Karate block. As soon as the students feels he arm being pushed away they thrust forward the left arm and withdrawn the right arm to be in line with the left arm's elbow. Repeat the block with the right arm. Make corrections if necessary.

After a set amount of blocks try the student with 3 punches each block.

Outside Block

• Same start position except the partner starts blocking with the right arm so the block is on the outside of the students punch. Now what should happen is the students right arm is pushed across their body and upwards, this will cause the students punch to cross underneath the right arms wrist instead of over. This is because the students left arm is simply thrusting forwarding on it individual path. If the student tries to punch over the wrist then the block will catch both arms. Start with just 1 punch and when performing 3 punches the 2nd and 3rd punch with cross over the wrist of the extended arm NOT UNDER.

Mixing Blocks

• Everything is exactly the same in this exercise as the inside and outside exercises, but to mix the blocks get the partner to block with the same arm twice. E.g. Student in the start position and their partner blocks with an 'Inside' block using the left arm and the student punches. Now the student left arm is extended. If the partner repeats the left arm block it will be an 'Outside' block.

Make all an necessary corrections in every stage of the training. It is very important not to over load the student with lots of information about Wing Tzun like Centre Line Theory, History, Concepts and Principles at this stage. You just want to get them stuck into training, but nothing too difficult.