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 September 1990/Vol. 17, No.9

66
34 The Complete Wing
The Sam Kuoha Chun Primer
Story - Part 1 For those thinking that wing chun is
His rise to prominence isn't so the answer, we offer everything
startling when you consider the you'llneed to make your decision
mountains he scaled to get to the easier.
top. By Randy Williams
By Sam Kuoha

74
Speed vs. Placement:
Which Do You Want?
Using your arms and legs to jam a
faster opponent's attack doesn't
42 meiur you won't get hit. But you
may be in a position to hit back with
Staff Training: lt's authority.
Harder than you Think! 56 By Dave Dexter
Begirming practitioners continue to Chu Gar: The Forgotten
underestimate the time and energy Mantis Style
it takes to master this weapon. Chu gar is a complete and effective
78
By Jolttt R. Allen fighting system, with both soft and Tai Chi's Straight Sword
hard aspects woven into the sqrle, This is the key that unlocks devas-
tating empty-hand techniques.
48 By Wilbur Rimes
By Robert Dreeben
Drunken Style's
Devastating Throws 62
The 18 throwing techniques of the The Challenge
drunken six hamonies system are Of lntimacy
ready to take their place among the Not everyone in the martial arts is
world's top martial arts. comfortable with the closeness that
By Riclq Pickens comes from push hands practice.
By Michael Babin

Cover pltoto by loimee ltagaki

Cover design by: Danilo J. Silverio

5 Editorial 20 Chinese 26 Martial Arts in Movies

6 Letters Connection 29 Main Events
14 lnsiders 22 The Kung-Fu Mind 83 Directory
18 Training for Lile 24 Hothrock-At-Large 90 Coming in October!

Editorial Oficcs:4201 VmowcnPl., Burbank, Califomia 91505 (818) 845-2656. Retum postage must accompany all manuwipts, drawhgs and photognPhs submittcd if thcy are to bc

or in part without wiucn pcmission fiom the publishen.

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4
 Curtis F. Wong
PuBLrsrrER

Assrmn'r Purursmn Mark Komuro tr EDITORIAL

EDITORIAT
Edltor Dave Cater
Associate Edltors Russell Maynard
One for All?
John Steven Soet, Brian Imada
Contrlbutlng Editors Glenn C. Hart,
Ric Meyers, Dr. Yang Jwing-Ming, Cynthia In about 30 days, approximately 400 of America s best Chinese martial artists and
Rothrock, Tim Tackett, Brian Wilkes, instructors will gather in Houston, Texas, for the fourth annual U.S. Chinese Martial
Doc-Fai Wong Arts Competitions. It will be a time of grcat sharing, of brotherhood, of leaming and
Contrlbutors John R. Allen, Michael Babin, experiencing.
Christophe Clark, Dave Dexter, Robert It should also be a time of $eat joy for the U.S. Chinese martial arts community.
Dreeben, Sam Kuoha, Ricky Pickens, Wilbur Each year since the toumament's incePtionin1986, the show has been getting better and
Rimes and Randy Williams. more professional. The judging, always questioned at even the most prestigious of
events, promises to be fair and representative.
ARI Promoter Jeff Bolt and his newly formed United States Martial Arts Council have
Art Dlrector Danilo J. Silverio gone to great lengths to iron out problems which have plagued the toumament in past
Assoclate Art Dlrectors Brandi Centeno, yea$. They have tirelessly worked to make this event a truly national kung-fu
Yanti Darmawan-Wong championship.
Typographer Premiere Concepts It is a admirable idea, one which will continue to receive the support of this
Photographer &l lkuta, Jaime€ Itagaki magazine. However, not everyone in the Chinese-style maftial arts community sharcs
our enthusiasm.
Several months ago, we mentioned in our "Insiders" column scuttlebutt about aplan
National Advertlslng Directors to create a sort-of Chinese-style toumurment tour. The report mentioned three West
Bob Matheney, Mark Brown Coast events that would cukninate with the U.S. Nationals. A great idea, right?
Wrong.
True, the events mentionedinpassingdrawthreeto fourtimes asmany competitors.
Book Sales Manager Beatrice M, Wong True, these events also offer prize money, trips and medals out the yin/yang. But while
Book Sales Raymond Ung they carry plenty of local prestige, they are not and never will be a "national"
championship.
Tohis credit,Bolt(who innoway suggestedtheWest Coasttouridea)hasremained
Presldent Curtis F. Wong steadfast in his goal of establishing a creditable national championship. While those on
Vice-Presldent Beatrice M. Wong the outside close their doors to outside suggestions, he has opened both his doors and
Administratlon Director Pat Henry arms to anyone and everyone willing to make the Chinese martial arts a more potent
Asslstant Administration Carrie Ogawa Wong and unified force in this country.
Public Relatlons Mary Wong It is not coincidence that since Bolt's pipedream came to fnrition five years ago, the
Subscrlptlon Servlce Kable News, lnc. numhr of regional and local All-Chinese-style toumaments have dramtically in-
Creatlve Dlrector George Foon creased. It also is no conicidence that the attendance at these events have grown to
Shtpptng Frank Wong, Bing Wong, record numhrs. Bolt won't take credit for the sudden rise in popularity. That's not his
Ming Wang sfyle. As long as it means morc people are looking to the Chinese styles for a solution
to their martial arts problems, then he can look back at the sleepless nights as time well
CFW Entelprises Inc. spent.
4201 Vanowen Place No one admires Bolt more than we do. Right now, he's the best friend the Chinese
Burbank, CA 91505 martial arts have in America; a man with a total selfless devofion to the arts, an honest
(818) 845-26s6 working stiffwho gets more pleasure from the accomplishment rather than what it will
FAX: (818) 845-7761 do for him.
In a world where we are always searching for ulterior motives, for the "I" behind the
"we," Bolt is abreath offreshair, and awelcome change from the blustery gusts coming
from other directions.

--Dave Cater
We, CFWENTERPRISFS,INC., as publisho, makes
no cndorsmcnls, represontations, gudantccs or wanan-
ties conccming thc producls and/or srviccs advcrtised
hcrcin. Wc are mercly anadvertirer for, and not a manu-
facturo, seller or distributor o{ such product.s and/or
rcrvice s. We havc madc no indcpendent cxamination of
my aspect of such product and,/or *rviccs and wc camot,
tlrrcforc. attcst to the reliability, safcty or effectiveness
of such products md/or rcrvices. Wc expressly disclaim
my and all liability arising from or relating to thc manu-
facture, salc, distribution, us, misus, or other act of any
party in regard to such producls and /or *rvices.
This publication is distributed on an intemational and
national basis. Accordingly, the sale, purchase, distribu-
tion or us of somc of thc products and,/or seniccs
advcrtisedhcrcin may be illegal in somc ofthc rcras and
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laws must bc checkcd out by purcharcr plior to thc
purcharc or ure of producls and/ or rcrvics advertircd
hcrein. Wc makc no rcprcscntations or wafantics con-
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within or without thc Unitcd Statcs ofthc products and/or
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5
 tr LETTERS
DYNAMIG Inside Kung-Fu welcontes letters from its readers. All letters should be typed and double-
spaced on one side ofthe page. Letters shouldbe signed and include name, address and
NEW daytime phone numberfor veification. Inside Kung-Fu reserves the right to edit lettersfor
clarity and spacc limitations.

RETEASE Open Mind

I would Ike to thank the editors of. Inside
Kung-Fu for having an open mind on the
will give me a burst of energy and also work on
buming the fat around my waist.
My allergies are yeast, milk and whey. I
FRllM PAUI UUNAI( origins and authenticity of the wing chun style.
You were the first and only magazine to pub-
also have a small ulcer in my lower right side
and when it becomes sore I feel like I will pass
******** Iish my article on the little-known buddha out.
hand (fut sao) wing chun sfyle, In your Janu-
"JEET KUilE DO, ary, 1987 issue, I was met with much curiosity, John Maringo
praise, inquiry and stylistic fistance. Formany Howard Beach, NY
ultimately, ,s not a years I've been teaching buddha hand wing
matter of petty chun and extolling its shaolin lineage direct We spokewith our resident herbologist,Brian
technique, but a from Mainland China. Wilkes. He suggested the best approach is to
highly developed Your article, "Uncovering the Roots of head for Canal Street in Ncw York's China-
personal spirituality Wing Tsun" (April, 1990), was exceptional town District. He said most of the tea shops
and physique. JKD and revealing. (Author) Dr. Irung Ting, have herbalists on staff, kind of like plurma-
# ls not a matter of
technology, but of
of grandmaster Yip Man's top disciples, re-
veals that Yip leamed and taught
one

a different art
cists. Their salary is paid by the store so don' t
worry about having to buy more than you
) spiritual insight and
training."
of wing chun out of Futshan, China. He also
states that he adjusted his teachings in Hong
need. Two places of interest are the Ten Ren
Tea Shop and the Pearl River Market. Both are
Kong. We of the buddha hand wing chun clan located on Canal Street. If that doesn't help,
-BRUCE LEE have been extolling this fact for years, only to check the phone book for an herbalist near
"Used properly the
martiatarts are sub- .ron "'r" have itfall on deaf ears.
Dr. l,eung Hoi is the grandmaster of the
You'
Ed.
tle forms of fitness, -$, buddha hand wing chun clan. He has taught
skillful body move-
ment, coordination, y
balance, ftexibitity %t
6 -c,
I
only a few closed-door disciples the complete
system. We of the New Yod< chapter wish to
arswer any inquiries about our style.
Motives Misstng
Icannot understand the motives behind the
article, "Uncovering the Roots of WingTsun"
and discipline. ,Brr{ Please write or call: New York Headmas- (IKF, March 1990). At a time when unity in
INOSANTO vrDf-o
-DAN ter James Cama, 8515 lSth Ave., Brooklyn, wing tsun is vital, I am sorry to see that even
NY 1 1214; (7 t8) 817 -7 662. Dr. Leung Ting is promoting the absurdity that
"lt's a familiar and tragic-comic tale: a black Yip Man taught two distinct styles. When will
beft with years of trcining a eas/y beaten in James Cama all this end?
a fight by an unschooled streetfighter. lt is Brooklyn, NY All sifu teach differently, and even the
my purpose in this tape to help you avoid same instructor will often teach somewhat
becoming a martial artist who knows techni-
ques, but cannot light with them. Don't Include Me! inconsistently. One reason for this is that wing
I would Iike to correct a statement made in chun allows the student to substitute more
r9egardless of your style, techniques do not
win a street fight. The victor is the fighler your magazine's "Insiders" column (.IKF, advanced techniques for more simple ones as
who possesses the superiq mix of at- June 1990). he progresses. Anotheris that even the greatest
tributes, the qualities of killer nstnct, sen- My toumament, the American Tai Chi masteris still human-andforthatmafter, still
sitivity, timing, reflexes, speed, power, etc. Chuan Championships, is not part of a West leaming on some level himself-and so he
This is what made Bruce Lee what he was, Coast Chinese martial art tournament tour, cannot possibly teach with absolute consis-
and this is why JKD is so difficult to convey culminating with the Houston toumament in tency through the course of his life. In view of
to the public. My previous 6 tapes were to September. I am not affiliated with Jeff Bolt or this it is hardly suqprising that Yip Man taught
serve as an overview of techniques from a his Houston Chinese martial arts toumament. differently to different people at different
visual standpoint. This tape is entirely I was not contacted by Mr. Bolt regarding times. Hence, most of uspreferto seethe many
designed for one purpose; attribute a toumament tour, making my toumament a similarities of one great system. This is closer
development. ln this tape I will share with regional contestforMr. Bolt's National Kung- to the truth, and better for friendship and unity.
you some highly specialized training Rr/lVushu Championships in Houston. There- As for original vs. modified wing tsun
methods lhat I feel have helped me grow (chun), this has never made sense. This claim
fore, how can anyone include my name in the
the most. These methods will bring your
finalization of such as tour? Had I been con- seems to be based in part on the lack of side
speed, power, and timing to entkely new
/evels. As these training methods are some tacted with a plan such as this, I would have kicks (as found in the chum kiu or second
of the very highest concepts in JKD, this chosen to retain my independent status. form) among Yip Man's Hong Kong students.
lape ls not geared for beginners; the However, side kicks are indeed found in cer-
mechanics should be taught lirst." tain chum kiu forms. And furthermore, four of
_PAUL VUNAK Doc-Fai Wong the eight kicks of wing chun are side kick
San Francisco, CA positions. So if some instructors fail to include
I 50 min Beg. $89.95 Ltd. Otter Only t69.95
I I
To Order This Extraord inary Training I
sidekicks in their second fomr, does this really
Send Check, Cash or Money Order To Help Me Please prove that Yip Man taught more than one
PANTHER PRODUCTIONS
101o CALLE NEGocIo I KF I've been a big fan of your magazine for version of the style I
Name
SAN CLEMENTE, CA 92672 years and I need some advice. Dr. Leung Ting was technical advisor for
Steel Ihave recently begun studying the arts and Yip Chun's book on the wooden dummy, in
cIv I am a bit overweight. I also lack energy when which the latter stated, "My father later said to
State Zrq _ I work out. I've tried all sorts of vilamins but others that he got a good foundation from
Check vHS EETA lnclude $3.00 Shrpping nothing helps. I am looking for something that Continued on page 8
Fr.e 1-800-332-4442
With Crsdit Card. Order roll

E
 TAI
CHI KEYS TO MASTERY
il:i::i::liliiiiiiifftfi.i:ii:iiGiH:.Iiiii:iG:H:i:U:fiN:t:::,,,.nft:lKU.fi:lV:i::H,E.6S.:.:.:.i.:.:.iii.l
-"ilitur
Yang Kuang Ping Style.
Lawrence Galante demon-
CHUAN
strates and teaches the
T'ai Chi Ch'uan he learned
i
lrom the lamous Kuo Lien- -4
ying of San Francisco.
Galante demonstrates lhe
lorm with front and rear
views and teaches the se-
quence with front and side _^",,"1| ,

views. There is repetition

of some sequences.
45 Min. VHS. $45.00
iiiiiiiii:':;:':;ill[ti;iGFti:iiEXE.H o.iSEiB'flffi Pa Kua Chang. Earle Montaigue teaches the original
i:i:i:i::li:i:l:l;
chiang jung chiao style of Pa Kua Chang that he
These chrome-plated steel balls are valuable to im-
learned from Chu King-Hung, who was also his T'ai
prove finger and hand dexterity as well as coordina-
Chi Ch'uan teacher. Montaigue also studied directly
tion, strength, and sens'rtivity. They are especially with Ho-Ho Choy of Hong Kong. There is instruction
helplul for people involved in martial arts and sports" in ch'i kung, form walking, and a fighting form. The
They are highly regarded in China, where they have lorm is also demonstrated at the end of the tape.
been used for centuries in the belief that rotatinq the Self-produced. 2 Hrs. VHS. 149.95
balls in the palm of each hand stimulates the lingers 1989 ATOC U.S. All-Taiiiquan Championships. Fea-
and acupuncture points, and improves circulation of turesforms and push hands competition at the A Taste
vital energy throughout the body. Perfectly weighted, of China 1989 championships in Winchester, VA.
the balls are rotated in the palm with the fingers and lncludes demonstrations by invited masters and a
make a pleasing chimelike sound. President Reagan demonstration of moving push hands combat applica-
and his wife were presented with a pair when they tions. There are interviews with key competitors on
visited China. Each pair, $14.95 training and mental preparation. 2 Hrs. VHS. $49.95
YANG STYLE FIcHTING APPLICATI0NS. Kumar
Frantzis demonstrates several hundred fighting appli-
i.i.'.,.;;:;:;:.;.:::.:rr,:.;.ri:rr,oniiiiKUN,G.iiv,!Dem..:rr..:i.':r:.r.;.:.r::.r,r,r,:.:.:
cations within the initial movements of the Yang style.
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CBANE STYLE CH'l KUNG. Very popular in China, it is
ied in Japan and China, shows defenses against a
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ments are taught by Dr. Daoshing Ni, son of Taoist
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CHI KUNG. Lawrence Galante teaches a ch'i kung YANG SWLE LONG FORM.
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quences that take about 10 minutes to perf0rm and movements are broken
which stimulate the ch'i meridians. Galante teaches down . There are views lrom
with verbal instruction and breathing directions. 32 a second angle and windows
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warm-ups, breathing pos-
tures and circling exercises
Send for are given. There is a demon-
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and one of the foremost teachers and practitioners.
vHS. $34.SS
0rthodor Taiiiquan, an 88-minute video lrom China
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TRAINING UIIIEI|S
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* Yang shorl form
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1-2 T*Ghl Smnl foms (2 hrs)
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8
D LETTERS
Continuedfrom page 6
grandmaster Chan Wah Shun and sophisti-
cated techniques from master l,eung Bik."
This proves that Yip Man himself viewed his
wing chun as one style. Leung Ting is part of
the Hong Kong Wing Chun Federation and
should be thinking of promoting unity and
solidarity for the style. Moreover, if he really
wishes to promote "original" wing tsun, he
certainly should not be seen performing high
kicks of any kind.
Paul Chen
Banff, Canada
$9.95
Vlhere Credit is Due
I certainly appreciate your coverage in the
July, 1990 issue concerning my sculpting of
the acclaimed "Artist of the Decade" award
statue recently presented to superstar Michael
Jackson.
$3S.S5 However, in the mention of the credits for
my work on the film China O'Bien, I would
Iike to clarify a point for your readers. I must
g69.95
fust state that there were undoubtedly many
fine and quite talented martial artists who
contributed their unique skills toward the
making of the film and its sequel.
However, farfrom my involvement as one
who "helped with the choreography," as your
$39.95 article suggests, credit as the film's "fight
choreographer" is entirely mine. I was reqpon-
sible for the choreography and no fight stunts
were filmed unless they met my approval and
that of director Robert Clouse.
S9.95 Nijel Binns
Los Angeles, CA
Ilumbllng Experlence
Iwouldlike to comment on a letterby Ron
Harris in your April, 1990 issue where it states
basically that Ineeded to be humbled, I should
$S0.95 believe in secrets and that we should exchange
ideas,
First I would like to say humbling is some-
$30.05 thing I leamed a long time ago. It is very
prevalent in Filipino families, especially
mine, where my father was a known escrima-
dore. When I was one of the instructors at the
Stockton EscrimaAcademy over 20 years ago,
Ihad alltheconfidence intheworld. Ihadbeen
steadily studying for over three years in the
serrada system, cinco tero, largo mano and
other styles where names were of no value.
Within five minutes of asking my fathertobe
my practice "dummy" for a demonstration I
was going to do, I was cleaning my wounds
andtrying to salvage my ego. He destroyedme
with no effort. In all the years I was training,
my father never told me of his fighting experi-
0F ence; I leamed it from other people, some here
and some in the Philippines. Once instance, I
was talking to an old-timer and he told me of
a story about ayoungFilipinoman who fought
a death match with a Japanese bo expert who
was intimidating the Filipinos. The death
match was fought, however the young Filipino
'.-
did not kill his opponent. He let him live
a loss of face.
this
train with ttre best in the area and the old
laughed and told me to go home and train
my father. He was the best fighterin the barrio.
He trained with a variety of styles. The
I am mentioning this is his training was con-
ceptual. He was trained to pick up everything
and use it to win. In fact, the last weapon he
learned before he completed his training was a
samurai sword.
I am sorry Mr. Harris is offended that I
don't happen to believe in secrets. AIso, that
his definition of hard work differs from mine.
My definition of hard work simply and ex-
pressly means being creative and innovative
with what you have been taught. I realize that
there are a million and one masters teaching so
Icouldnot haveleamed all the secrets, but then
I do not admit to knowing any. So, if Ipresume
that there are secrets, then mentally I have
defeated myself because I don't believe that
what I have is the best, and that there is a secret
or two that may humble me.
the all
these years which is the Filipino martial
encompass every system from the
andlabeling only tends to alienate the
arts. The key element to the Filipino arts is the
concept to make transitions from weapon to
weapon and to empty hand. The remarkable
feat ultimately unifies the Filipino martial ads.
The common denominator in the Filipino
martial arts is its concepts, not its techniques.
My goals are to preserve my cultural heritage I
by not allowing the Filipino martial arts to
so convoluted with techniques that people
forget the Filipino martial arts are more than
just techniques. Too many times I have run
across people who have trained a week here
and a week there, a little from this person and
alittle from that person, a seminar from this
guy and a certificate from this master. The
Filipino martial arts is not a "leam 15 tech-
niques and you can be a master" type of art. I
tnrly hope this is not the case with Mr. Harris.
I teach what Ibelieve to be the concept
the Filipino martial arts.
Rene
Sacramento, CA
Serrada Soul
I was most pleased to see the article,
Soul of Eskrima Serrada, Training with
GrandmasterAngel Cabales" by Khalid Khan
in the June issue. Aside from the early articles
and writings of Dan Inosanto, very little has
beenpublished about the Filipino masters who
pioneeredtheirartsinthis country. Contrary to
popular belief, the Chinese and Japanese were
not the first to bring their martial arts to the
Westem Hemisphere, but rather the Filipinos
who accompanied the Spanish.
Continued on page 84
 A C T I ON L I B R A R Y
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lrtt {l0t lnrrrr ?lrcr, Cl 1116
tr INSIDERS
lnside Kung-Fu
Wallace-Lewis
Bout to Go
Coast-to-Coast
By Dave Cater
IT'S SET: The place: Lake
Tahoe, Nevada. The date: Aug.
6. The show: Bill "Superfoot"
Wallace vs. Joe L,ewis. The
coverage: A national pay-per-
view audience which could
number in the millions.
. In one oi the most ambitious,
albeit risky undertakings of its
kind, fu ll-contact kickboxin g,
all-but-dead for much of the
I980s, could get a much-needed
heart transplant with this drean
match-up.
Promoter Karyn Tumer and
her Superfights organization has
been working months to put this
card together. However, only the
lure of a huge payday could coax
U.S. Chinese Martial
Arts Council
Established;
Dr. Leung Ting
Added to Judges'
Roster
HOUSTON, Texas The
- Martial
United States Chinese
Arts Council (USCMAC) is now
a reality. The birth of this
council has resulted from the
continuing work of the former
United States Chinese Martial
Arts Competition Committee.
The purpose of the original
committee was to begin to direct
the propagation of Chinese
martial arts on a national level,
in a dtection which promoted
quality and popularity by
emphasizing traditional as well
as arlistic values. This commit-
tee used the Houston-based, 1989
United States National Chinese
Martiat Arts Competitions as an
avenue to test rules and
regulations and to experiment
with procedures and public
opinion conceming the feasibil-
ity of a national organization.
The larger-than-expected
tumout of judges from around
the country confirmed to the
committee that a formal national
goveming body for the Chinese
martial arts in the United States
is feasible and necessary to
14
these two titans out of retire-
ment,
Wallace, unbeaten in 24
bouts, will fight Lewis, arguably
the finest fighter in the history of
the sport, in a seven-round bout.
Blll "Superfoot" Wallace
According to Tumer, the contest power is unmatched. As long as
will be more than a exhibition but both martial artists stay with the
less than a "real" fight. Trans-
lated, it's being termed an
"appearance" fight. That's
improve quality and popularity.
The USCMAC was formally
established six months ago
during a meeting attended by
many members of the former
committee as well as several
prominent Chinese martial arts
instructors from around the
country. Attenders at the
meeting included: professor
Wang Jwong and professor Wu
Cheng De of Houston, Texas;
Yang Jwing-Ming, Boston,
Mass.; Brendan Lai, San
Francisco; Chien Liang Huang,
Towson, Md.; Johnny and Carla
Lee, Shreveport, La.; John
Painter, Dallas, Texas; Nick
Gracenin, Sharon, Pa; Christo-
phe Clark, Denver, CoIo.; Mike
Sigman, Dever, Colo.; Pete
Starr, Omaha, Neb.; Jimmy
Wong, Dallas; and Jeff Bolt, Jan
Watson, Bomani Magharibi, Al-
Waalee Muhammad and Herbert
Maier, Houston.
Because there are still several
details to be discussed, the
United States Chinese Martial
Arts Council preparatory
committee has been established
to complete the organization of
the council.
The newly formed committee
is not and will not be an entity
meant to take the place of any
current organization, club,
competition or federation, but is
simply an avenue in which all
because the Nevada Boxing
Commission refused to permit a
bout pitting a pair of 4o-plus year
olds who haven't fought in more
than ten years.
However, a winner will be
declared.
"We have to make sure both
fighters remember not to knock
out each other." Tumer said of
the Nevada orders. "But rest
assured lhey're going to bang."
Tumer says Wallace will
weigh in at around 170 while
Lewis, whose normal weight is
around 195, will trim down to
185. The bout pits Wallace, one
of the finest kickers on record,
against kwis, whose punching
program, everything should come
out all right. But if one loses his
cool or gets hit too hard,
the various other groups and
styles can come together and help
establish standard procedures for
Chinese madial arts competitions
in the United States as well as
other methods of promoting and
popr:larizing the Chinese martiai
arts. Separated, the industry can
make little progress, but when
everyone is united, the possibili-
ties are limitless.
The council also supports
those competitions and other
events which promote the
Chinese martial arts but may not
use the standard rules set forth by
the council. After all, most com-
petitions cannot feasibly contain
over 30 different events.
However, it is hopeful that rules
will gradually conform more
closely to the guidelines set forth
by the council so that aryone can
attend any competition and know
what to expect.
The United States Chinese
Martial Arts Council will be
fomrally inaugurated during the
1990 United States Martial Arts
Competitions in Houston,
Thursday, Aug. 30-Monday,
Sept. 3.
The 1990 National Competi-
tions will feature approximately
32 different events as compared
to 24 last year. Additions to this
year's competitions include Wu
style tai chi chuan as a separate
form event, and lion dancing.
Joe Lewls
Commission reps will be there to
set them straight, Tumer noted.
'"These are two guys who have
been through the wars and they
have egos," Tumer added. "Each
one will try to put on a good
show. But hopefully when they
come dangerously close to doing
damage, they'll back off."
The council also has an-
nounced that this year's event
will include the presence of the
leaders of the Intemational Wing
Tsun Martial Arls Association
from Hong Kong. Joining the
group will be masters Wong
Shun Leung, Chu Shong Tin and
Dr. Leung Ting.
Also new will be the coordi-
nation of workshops and
seminars coordinated by Dr.
John Painter. Most of the
workshops will be held in the
evenings after the competition.
The 1990 United States
National Chinese Martial Arts
Competitions again will be held
at the Wyndham Hotel Green-
spoint in Houston. Discount
airfares are available through
Continental Airlines. For more
information, contact Jeff Bolt,
United States National Chinese
Martial Arts Competitions,
10528 Meadow Glen, Houston,
T exas 77 042; (7 13) 78 l- 4483.
4,800 Attend
Sabaki Challenge
By Christophe Clark
DENVER, Colo. Over 4,800
people gathered at-the Denver
Coliseum recently to witness the
excitement of the Sabaki
Challenge. The contestants
thrilled the crowd with the
 E
r9"l'p.i,ili
Dennb Alexio
(Above) Norm Rlvard (rlght) delivers a front klck tO Shlngo
Asayama of Japan at the Sabakl Challenge. Rivard was voted "best
flghter" by the crowd. At rlght, Brlan Edgen of South Africa ls swept
by Denver's Clarence Thatch in the heavywelght match.
empty-hand skills that chal-
lenged a contestant's physical
strength and technique.
The lightweight title brought
together Brett Layser and Ehsan
Hadjbian. Both fighters excelled
in the traditional enshin tech-
niques with Layser outlasting his
opponent,2-1.
In the middleweight division,
foes Norm Rivard and Yoshio
Nakagawa had the crowd
screaming for more. Of the thrce
divisions, this was definitely the
most exciting. Norm won the
bout but lost the championship
via a KO at the hands of
championship opponent Vemon
Owens of West Germany.
The hearyweight division
was captured by Clarence
Thatch, a local sabaki instmctor.
The Sabaki Challenge
brought together serious martial
artists from around the world
a no-holds-barred, fulI-contact
open toumament. Neither the
performers nor the qpectators left
disappointed.
East Meets West
AtFt. Worth
Luncheon
FT WORTH, Texas The
Asian Cultural Center-recently
performed at the Dallas-Fort
Worth Hyatt Regency during the
Also part of the three-hour
card will be a heavyweight
unification title bout featuring
Dennis Alexio vs. Darrell
Henegan, Marek Piotrowski
against Mark Longo in a battle
for the vacant superlight
heavyweight title and Kathy
Long and Denise Taylor fighting
for the vacant women's batam-
weight crown.
Next to the Wallace-l,ewis
fight, the best match-up could be
annual North Texas Commission
luncheon. Football legend Roger
Staubach, American Airlines
President Bob Crandall, and Ft.
Worth Mayor Bob Bolen, along
with 1,200 other guests attended
the luncheon honoring U.S.
Trade Representative Carla Hills.
The group's performance
included a variety of Japanese
music, songs and dances. Co-
directors Candace Bender and
Candace Bender (center) and Mike Goldberg (samural) were part of
the Aslan Culhrral Center performance at the annual North Texas
Commlsslon luncheon.
lt
for ,rii r:. :.,. ;;l .1:
.::1 . ,,.1i t;; .:.
..:l:. j
:.
Piotrowski vs. Longo,
reignin g ISKF cruiserweight
champion. Piotrowski, while not
a household name, has among his
list of conquests Don Wilson,
Rick Roufus and Bob Thurman.
Turner, former president of
the Intemational Sport Karate
Association, said any viewer
with cable will be able to pay to
see the fight show. She suggested
viewers call their local cable
company for details.
Mike Goldberg were congratu-
lated by Mayor Bolen and urged
to work together with the Fort
Worth Sister Cities program.
For information on the
group' s future perf ormances,
write The Asian Cultural Center,
415 N. Hampton, Ft. Worth,
Texas 76 102; (817 ) 87 0-1127 .
Continued on page 17
Ei
i.:
.:li
:::
15
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tr INSIDERS
Continued from page 1 5
American Wing Tsun
Reorganizes; Names
Bone to PR Post
PHOENX, Ariz. As part of
- the
its restructuring plan,
American Wing Tsun Organiza-
tion (AWTO), a branch of the
Hong Kong-based Intemational
Wing Tsun Martial Arts Asso-
ciation. has appointed Demis
Bon6 of Eureka, Calif., to the
post of national coordinator and
administrator of the AWTO's
senior citizen and women's self-
defense prograrns. His responsi-
bilities include the ongoing
development, promotion, and
implementation of these
programs for the entire U.S"
organization.
Bringing almost 20 years of
martial arts background to the
AWTO makes Bon6 a valuable
addition to the management
team. Acting upon the recom-
mendation of grandmaster l-eung
Ting, sifu Robert Jacquet,
general manager of the AWTO,
has also designated Bone as
national public relations
representative.
lnternational
Tourney
Moved Up a Year
SAN FRANCISCO
Wong has just received
Doc-Fai
- word
from the National Tai Chi Chuan
Contrlbutlng edltor Doc-Fal Wong wlll fleld a team for the D90
International Push Hands Champlonshtp ln the Republic of China.
o\
Association of the Republic of
China that its Intemational Push
Hands Championship will be
held Nov. 11-12, 1990, instead of
I99l as originally planned.
The National Tai Chi Chuan
Association, in recognizing Doc-
Fai Wong as the 1990 United
States team coach, sent him two
personalized banners to be
displayed at his 1990 American
Tai Chi Championships. They HIGH KICKS & SPLITS WITH NO WARM.UP!
also promised to send a Taiwan NO PARTNER & NO EOUIPMET.IT NEEDED!!!
team to next year's American
Championships. The 1990 U.S.
team assistant is Jane Hallander.
Teammembers are now being
selected from past winners of the
American Championships. Since
there may be spaces on the team
have expqienced a plaleau
made available by those who ptugram. I nake
I I
much d4oeased dte ol gain.
cannot go to Taiwan, anyone he one sullercd lbm similer
a @py
uriletslandably intq$led in
interested should contact either improved edition of Guide
Doc-Fai Wong at (415) 665- @mmon
', so no on€ will be able to more.
2488 or Jane Hallander a(415)
499-3503.
$3,700 Goes
To Hospital
IT COULD BE PE... to y9w.
BALTIMORE, Md. Grand- DON'T YOUR POTENTIAI
- has
master Chien Lian Huang a
WASTE
ANY TONGER!
announced the results of a lo side (rcne
demonstration held here to
benefit the Johns Hopkins achieve a
Children's Center. The demon-
stration of Chinese martial arts
instructor,
was held at Kraushaar Audito- England. Stafiotdshtre, England.
rium and raised over $3,700.
In the past, the Chinese Kung
Fu Institute has aided numerous
charities with their special
events. Among these charities
Continued on page 88
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AVAILABLE By Doc-Foi Wong

Choose lrom22 TaPes, lncluding:
No matter what your martial art, if you're
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. 1986 & 1987 Demonstrations Most people don't know the meaning of
o 1987 Competition Tapes relaxation. They think they can come home
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Relaxation is more than a state of mind,
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locked rigidly into a force-against-force pat-
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To Get ComPlete Order Form, tion.
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I few physical
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U.S. NationalChinese
the shoulders, chest and elbows. Ifyour shoul-
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tenseposition. All theseparts of youranatomy tense grip.
effeci whether your movements are stiff or Although Your fingertiPs use some
The Wing Ghun DummY Boatd strength, the rest of your body, starting-with
relaxed.
Why pay more for a dummY when You can The benefits of relaxation are many. Your the arm and shoulder, shouldberelaxed' When
pay less Jor this board? You will also receive a mind is calm and alert for any required change your shoulders are relaxed and down, your
30 minute training video tape FFEE I
of direction or movement. Your body is more treathing is natural anddeeper. You can check
. Pertect tor begrnner flexible and mobile, making it easier to escape your shoulder position by holding your hand
to expert from grabs and jointlocks. You have more Lutstretched in a fisrlike position, or by grab-
. Blocks and punches power and speed when you throw a punch or bing a friend's wrist and looking in a mirror' If
mastereo qulckiY kick. Staying relaxed while you practice tech- it looks like your shoulders are shortening the
and effectively niques or forms actually improves your ctcu- length of your neck, you probably have tense
. Tralns you to reacl lation, making relaxation better for your over- shoulders.
naturally w th all health. Your waist and hips should be relaxed for
your Wing Chun When I talk aboit relaxation,ldo not mean better stability and balance. If your waist and
techniques that you should try to make yourself as limp as hips are tense and tight. you have little or no
cooked spaghetti. That isn't relaxation. True balance and can easilY fall.
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standing meditation or old-fashioned martial
TaGll-file rll clll
supple and soft, but has a form and shape.
Anyone who mistakes limpness forrelaxation arts stance training. Standing meditation usu- il
can injure himself when he tries to punch or ally has both feet a shoulder's-width apart *
The Mogozine Of The tUorld *iih th" knees slightly bent. Stance training
kick. Aftempting to put power into a punch for
ToijiBoxing Hsso< O canbe done from any martial arts position. For
O these individuals can easily strain an elbow,
for example. both, hold your hands in front of your chest in
@eUdefence Correct relaxation while punching in- a circle with the fingertips a few inches apart
methods, nolhing mgstical no breaking
bricks with evelids, iust good fighting lvolves connectirtg the muscles and joints of and facing each other. Start at ten-to- 15 min-
techniques frbm the World's !gS4!Irg the legs, hips, waist, shoulder, elbow and wrist utes a day without moving. Gradually work up
Masteri of the Internal FIGHTING Iike a whip, without overextending any part of to as much as 60 minutes. Standing in either
ABTS from China, JaPan, Hong Kong'
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The right way touse relaxation while grab- comes uncomfortable to a tense body. Your *
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About the Author: Doc-FaiWong is a
E

TAIJT PUBTJCATIONS ingmore than a tight, force-against-force grip. 3

$
P/O Box 792 Mtrwillumbah NSW 2484 Airue, relaxed grip is like holding a live bird contributing editor of In*de Kung-Fu.
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 All New Series of
B CHINESE CONNECTION
Wing Chun
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A Toll Tole
Learn this Amazing Fighting and Self
By Glenn C. Hort
Defense System in the privacy of your
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Onceupon atime aftertheclose oftheChin
dynasty, when the great Fang-Cheng ruled in
the great halls of the Shaolin Temple, the
elephant was the king of all Asian animals. Not
only was the elephant king, he was also
vain, boisterous, big, stupid and used to get-
ting his way. The elephant at the time had a
condition known as "musth" or "must," which
was triggered by a gland located befween the
..LEARN FROM THE ear and the eye and gave off a dark and oily
BEST"
All videos are approved for training by the goo. When the elephant was in this condition,
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For ordering inlormation virit€ Wing Chun Videos
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what to do about fhis elephantproblem. Great
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Guandong and Hunan conspired to rid the land
e
rat
o
c,
<a
of the ever-present danger. Since it was
against their practices and beliefs to kjll the

,
F
vt elephant, they were at odds and disagreements

o
G =
CI
as tothe strategy. Oneby one the leaders ofthe
great kung-fu schools declined to face the praying mantis Yuen Me had placed in it the
o imposing foe. As a last resort they entered the night before began scratching his forelegs and
II cell of the famous monk Yuen Me, who was flying from side to side. The elephant's head
rrr
raa !
I busywith the insects he hadbeen studying and
training for years.
jedced back and forth.
The elephant then decidedtorun straight at

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As the monks explained their problem,
Yuen Me listened carefully and then said, "My
fellow monks,I desire to take on the challenge
Yuen Me and his brave band of monks, but
again the praying mantis tickled the inside of
the elephant's trunk. Instead of charging, the
that has been put before our temple and its elephant stood and tried to get out the tickle.
great masters." He raised his tnrnk and blew: "Woof." The
"What will you do that all of us carmot?" praying mantis continued to tickle and the
ILLUSfRAIED CAfALOC
asked one of the monks. elephant blew harder. "Foof." By this time the

Tnfii
\
ARREST Violatorsi
'1. tTear the Badge ol a "Just give me a chance," Yuen Me repJied. elephant had forgotten about the people
fASI
"You'll see." nearby.
AT
DETEGTIUE Having little choice, the monks decided to
give Yuen Me a chance. Yuen Me's plan
The praying mantis stopped tickling. And
with a contented sigh of relief, the elephant
NO PREVIOUS TRAINING NEED€O
. )o!r sp,rrt !.tadvenrure danRer. and re I involved all the monks who were brave tumed and strolled away.
relran(€ csn leed you to an .tc,r,nK care.r
oppor!unrly Solve mysrer)es bnnF.rrm, enough to face the elephant and as night feil And to this day, whenever an elephant or
ieL. to rust', P. p.ol,.1 | r c nnocenr
1tDcr," lu dF )oJ ,vcr) .rpD o. lhp *a, and the animal was asleep, Yuen Me placed any large, stupid, dumb, egocentric pachy-
V"n a^o wurp- re.d,o ro *orl rn chr,
ust enErnE situatrons. wrthsrindrnf hsrd one of his pet insects, a praying mantis, inside derm or creature sees you or any other brave
STCREI shrps. make on rhe ,pot deosrons Leern
t0urPrEiT th. letest rnyesrrrst v€ t€chnrque3 ustnS the elephant's trunk. In the moming when the martial artist in front of him, he' Il rock his head
i:r*',,rxl;:''*1.
,;;il;lli;;;'i;.c--{
l\q":.:,
I ) tr ,".
FBr.
:iiiJ:'";:;;;.",',,:it
rh.'r{
and th.
elephant awoke, he found the great monks and
Yuen Me standing in front of him displaying
back and forth. Then he'll raise his trunk and
iem.i Li.iii.ioi"i-' sp. \ F+ r..se.vr(p
s.a.r you,owr go "Woof ' and "Foof," and he'll tum and walk
lrll.l.h.clhrlr rarrntlA'
l//'rrcattrt'rcarn.r S.veul
ililll..rr t.r5i rrdmar.onal.€qu,p.
i.lr.rlrit // \,
\f menacing kung-fu stances. away...That is, of course, if you know how to
llllta.d-nt, lri
) u D- p- \.n/ ro frce derart3
l*l ro.. 5v Colil. D.pt. ol prblic lnrtrkt.
Approvd Yuen Me then shouted at the elephant: get into his trunk or head with a ticklish little
? THE R0USt SCH00L ol Socciat oGt!ctiyr Tnini n9 "You big, dumb, insensitive lout, how dare b.rg.
Cec l(F95 p6.6,25756.SadaAm.ca927B -1 you threaten our village and our temple!" O
I Rush m€ your Free 'Oetetlve' Career Klt - No salesmil witl dl
The elephant could not believe his eyes or About the Author: Glenn C. Hart is a
I rrm rjr- |
ldrltrs ears. He started to stick out his trunk, but the contributing editor of Inside Kung-Fu.
I
I Clt /
20
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widest; 20" total length; wts about 1 lb each headed round metal studds for docoration.
pc. No case. Snap to close tight & adiustable by velcros. (A) SINGLE LUI{GCHUANBROAD
Btl-SHAU)i Come in a set of 1 waist belt & 2 wrists belts.
KU574 $29.95/pr. (P + H: t5.00) SWORD (LUNGCHUAN DAN.DA
us152 $21.95 (P + H: $4.(x)) WCASE: Blade is made of excellont
GOLD.COIN WHEELS (CHIN.CHIEN. lng steol. Availabl6 lrom 233A" lo 301/."
YUEH)l Wts about 1 to 1.6 lbs. Com€s with
About 12%" total, with %" long chrome- YUNG.SHEAU.DAU)I
plated hard steel blade; wts about % lbs. bsautifully engravsd wood scabbard
hlc h psrformancB
KU578 $4.95 (P + H: pockot knlfe ol 3% " whsn brown color.
ln KU612 Reg: $150.00 Sale now: $89.95
"slgnal" rod,
GER (SHEA U-DA U B tt
- -SHO U)l h knlf6 (B)TWIN LUNGCHUANBROAO
13 Epeclal- SWORDS (LUNGCHUAN SH
stalnl6sg DAU) WCASE: Having tho sams typs
tools: bl9 fl€xible blade and the sams blad8
blsd€; sllm blads; a wood8. as in (A). This comss a sBl ol
141/2" croEs.cut saw; 2 ScrewdrlvoB; e canngd- broadswords in on€ beautifully
16% " total length;" blade length; wts %
1 1 7r food open€r; e "church-koy" bottl€ op€n€r; a
Blade is made of chrome-plated hard steel. lbs. Blade is made of chrome-plated hard wood scabbard ot brown color.
flle; a corkSc16w;
Come in pair. Wts about 1 % lbs each pc. steel. Sold per pc. alEo ths tweazera.
KUB22 Rcg:1295.fi) Sala now:
KU580 tl19.95 (P+H: $6.00) KU577 -$+FSF $8.95 (P + H: +9.95-- (P + H: $3.00) +H:
rattan
slightly burned out6r skin on. (1) Soma of tho weapons lisied on this
pag€ are not lhc commonly stockad
thin for Wush U; about 2 9/16" cir.; 5/16" diam.; 72" long; wtS about itemsl please call lo check on their
tb. Smooth body 72" of thin pole of about .9" in diam.; wts aboul 1 3/. lbs.
stock situatron lirsl bofo.e placing
KU4m $9.95 (P+H: $6/1st ono; socoa. add'l up to 4 pcs.; KU343 $21.95 (P + H: Srmo .s stafl et lott.) o.ders!
116.50 good lor 14 72" of thicker pole of about 1.1 " diam.; wls about 2 lbs. (2) Weights & measurements informa'
KU3/t2 $27.95 + H: Srmo as statl at tion on our ads are ror Your
reference gnly, and should not
taken as the absolute, for lhey do
diller lrom shipmont lo shipment!
th€y ar€ vilal to you, Pleaae alway.s
call to v€rity liGt!
{3) Shippin0 and ordedng informalron is
listed on our 2nd paos ad ol this
magaine. Pls check ac@rdingly!
(4) Wholesaling discounts aro available
About 81" total lsngth;21" hard stool blada; wts ebout 5 lbs. length about 81"; blade longth 16"; wts about 5 lbs.
to both schools and stores. Ploase
KUarT t79.95 +H: $1 KU't42 t00.95 (P + H: 112.@)
 -
tr THE KUNG-FU MIND

Diomonds
in the Rough
By Dr. Yong-Jwing tVling

MARTIAT ARTS Finding a qualified instructor has always

been the biggest problem forpeople interested

lli.
& SPI|BTING SUPPTIES
lhltnn (whrle or black) * 1 - $35. # 2' S39 * 3- 54 3
in leaming martial arts. The first thing they
#4-$47,+5-$51, #6-S55 per set Add $5 lorcamoullage usually do is search the advertisements in the
Ihl. h.a.n tmrl (black) $ 1 5 ea tci tcr. Slrtr S I 95ea Yellow Pages. Many also become interested
Itll Lcl (one size lils all) $4 95 per par Till lt!!r Long- after seeing fliers or demonstrations, and
$39.95, Shorl-S29 95 per parr Snri t h tn]tr sL.t
$5.50 per parr many others from word of mouth. Of all the
?
ll&CxrWIttllo[
t65 pr rct.
t2 c. C--
5/0 pr rct.
E-t U.ahE

Large seleclron ol ma(ral

arl supplres: Judo. Karale. PflOtmm
g. possible ways to leam about martial arts
schools and instructors, advertisements are
probably the least trustworthy.
Remember that it is the individual instruc-
tor who writes the advertisement. If you are
Kung.Fu, Tae Kwon Do
Unrlorms, Books Poslers selling oranges, you don't tell everyone your
Weapons, Prolectrve Equrpmenl and MUCH NIORE oranges are sour. It is amazing that so many
Send $2 00 lor calalogue Wholesale and club pilces
available. instructors under40years ofage advertise that
Shlpplng Chrrg.r: Orders 6der $20. add $3., Ord6rs
ov6r S20. add 1 0%. Onterlo r€sldsnts add 8% sales tax.
they are the masters of more than ten sfyles.
And that they have achieved this in only five or
GAXAD|Ail mBnfl.Annt Smlnil8 SUP?UIS ten years ofpractice. The fact is, it would take
PO Box 518 [4rllrken Post Ollrce
Mrllrken. Onlarro Canada LOH I KO anyone, even a martial arts genius, at least ten
TlIait oarh(Personal Shopprng Only) years to reach the essence of any single tradi,
?rb trlxirtrt
* 80 Nashdene Rd. *68
tional martial style. Knowing this, you should
Onr. 2S9-81 68 be wary of the wording contailed in advertise-
ments.
However, if it was a demonstration that got
you interested, then at least you have an idea of
WING CHUN thekind of training the school uses. If you have
WOODEN DUMMY a friend who has been training in a school for
several years, you can probably trust his judg-
(Muk Jong)
ment.
Authentic Hand Crafted I I would like to offer some suggestions for
Wooden Dummy evaluating instructors to those who are look-
Appro/ed by the North ing for a school to join. Remember. however,
American Wing Chun that there is no such thing as a perfect instruc-
Association tor; look for the person who is right for you.
In China it is said, "A student will spend
For Fasl Delivory or lnformation
three years finding a qualified teacher and a
CONTACT
Wing Chun/Wooden Dummy teacher will also spend three years testing a
P.O. Box 538 student." This means that you should be pa-
Bridgeton, NJ 08302 tientinlookingfora goodinstructor, instead of
(609) 4s1-7837
choosing one at random. A good instructor
will lead you to the right trainingpath, while a
bad instructor will only lead you into confu-
sion and bad habits. Naturally, a teacher must
N0 rumcs also be patient in finding a good student. It is
JUSI SENICE said. "To teach one talented student is better
o
than teaching ten bad ones."
Rank advancoment, business and instructor Conceming the following suggestions,
training, student and black belt momb€rships you will probably find it very difficult to get
(all styles). The worlds foremost independent some of this information when you first meet
martial arls organizalions. an instructor. However, keep these questions
frcc Bnchurc in mind during the course of your training, and
evaluate your experiences in light of them. In
Sponsors for Karate College 1990
a short time they should become clear to you.
Joe Lewis, Bill Wallace, The instructor's background
Jefl Smith You should always trace back to the root or
A'N'A Dr. Jerry Beasley, Fou to the essence ofthe style, especially ifyou are
P.O. 8ox 402 interested in the traditional styles. Therefore,
Chrlsllansburg, VA 24073 it is important to understand the instructor's
"*
background. Who were his teachers? Who
awarded him his rank and qualified him as an
instructor? How much does he understand
about his teacher's background? How much
does he know about the history of the style?
How long has he studied with an instructor?
Does he still have connections with his
teacher? If not, why?
If you can obtain this information, you are
surely on the right path. A qualified teacher
does not have to hide from any of these ques-
tions. Honest answers are more important than
the actual background itself. An instnrctor
who doesn'thave a strongbackgroundcan still
become a great teacher if he is sincere, humble
and honest. Morality crcates a great master,
not the background alone.
The instructor's motivations
The next thing you should check is the
motivation(s) behind the person's teaching.
We cannot deny that we need money to survive
in today's society, but what are the teacher's
other motivations? Does he intend to deepen
his understanding through teaching? Does he
continue topractice? Does he teach because he
enjoys the glory and great respect? Is the
money he makes more important than his own
training and self-cultivation? Remember, a
sincere and humble teacher is always leaming
and practicing, no matter how old he is. In
China it is said, "Live long, leam long."
The instructor's morality
In Chinait is said, "Yourmorality indicates
what kind of teacher you will be." This means
that the virtues you possess are the main fac-
tors in determining how deep you will study.
When a teacher remains humble, he can easily
bow to others, and so he will take every oppor-
tunify to leam. However, if a teacher is satis-
fied with what he has leamed, he will not be
Continued on page 84

22
 a a

*:1.

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UANAOVBNAIX WASHING
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These two exercises are used for Water and Fire (Kan and Lii) training, which produces the
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B012 Yang is the root of all Chinese Chi Kung, and it is as valid today as when it was created.
YMAA BOOK SERIES
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Chi is the Chinese word for the natural enerry of the universe. Chi Kung is the science of this energr, especially as it circulates in the human body. Ttre
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certain types ofmovement in order to improve physical and mental healttr and increase longevit5r

SH.{OI,IN

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 FLYIT{G O ROTHROCK-AT-LARGE
DRAGOT,{
MARTIAL ARTS Pushing the Pumper
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Intenral Arts 'Taekwondo 'Aikido
By Cynthio Rothrock
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owP on8 ....... .$10.00

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on training by H ....$6.00
book of the Tiger Masler
(Also in Video, and )
Send for list
Thk lVah Inc. Y 10002 My daily cardiovascular routine consists time fly. Bikes range from $180-4,000.
Fu-Jow Pai 145 Canal .Y 10002
of 30-to-60 minutes of work. If I supplement Rowing constitutes a total body exercise.
my workout with aerobics or weight training, Twenfy-to-45 minutes three times a weekwill
National Colleee I'll do 30 mirutes. Sometimes I just use the tone and strengthen the muscles of the back,
machines and then do a 60+o-90 minute pro- stomach, legs, shoulders and arms. If you

@*".ti?l
Att
OPEN TO
n.tr@ STYTES AND RANKS
gram. I must admit this type of workout can be
boring, soI'll usually vary between the stair-
suffer from back problems, the rowing motion
may stress the back muscles and aggravate or
master, treadmill, lifecycle or rowing ma- worsen your condition.
NO POLITICS
. Flank Advancement . Videos on Golu chine. A Walkman is a Iifesaver to keep my Correctly using the rower is important.
. School Charlers . Bank Testing by Video energy level intense and reading the daily Startby reaching forward with yourknees bent
. Private lnstruction . Seminars
by N4ail . lnternational Fank Recognition paper makes the work go quicker. andfirmly grip the handles. Extendyourarms
JOIN THE FASIESI OROW/NG INDEPENDENT In my last column I wrote on the benefits of straight out, with your upper torso bent 45
MARTIAL ARTS ORGANIZAilON IN fHE WORLD
AND RETAIN YOUR INDEPENDENCE the treadmill. This time I'd like to help you degrees at the waist. A common mistake is to
WIH NO HASSLES' understand the lifecycle and rowing machines. sit up straight, thereby losing all benefits of
MEMBERSHIP Cycling should be done on a regular sched- your back and stomach power. Fill your lungs
Hansht - Lau Angel
$2500 Directar-David Box. Jr ule of 20-to-45 minute segments at least three with fresh air as much as possible. Push off
* INCLUDES
. - times a week. This will strengthen the legs,
Certificate lD Card
Newsletter
CX with your legs and lean back. Your legs and
which contain the largest muscles in the body. back should do all the work in the movement.
Send Check ot Money Order Ta.
N.C.M.A.
It also gives added strength to the muscles, Exhale throughout the workout. Keep your
P.O. 8ox 3266 . Joplin, MO 64803 tendons and ligaments surrounding the fragile shoulders relaxed.
knee joints. Cycling will slim the calves, The recovery begins by extending the arms
tighten the buttocks and tone the thighs. A and pushing the upper body forward at the
lI LISI. .. . t?tlnhe dummy ti.l regular program will bring about a reduced hips. Thispushes the rowing arms forward and
r!r9o[dr lll! r rcrl rgrrrlng parlnll resting heart rate, strengthen the lower back avoids interference between the knees and the
Mounled on strono elaslrc rope. the
ttltt tltltt spnngs rnlo aclron muscles, expand the blood transport systenl hands as you pull yourselfforrrard on the seat.
as you Olmk and puoch A deceptrve- and metaboUze body fat at an accelerated rate. To achieve cardiovascular endurance on
ly mvrnq parlns 9erlecl lor honrng
your ightrno lelleres Fealules loam
For best results from cycling, pedaling is your rowing machine, you have to perform
padded arms cwered rn vrnyl. wrlh I very important. Leam to pedal in continuous hundreds of repetitions during your workout at
ta,gel balls at head and grorn level
and rhythmic circular movements smootlrly a continuous resistance.
Easrly rnslalled rn any dmrway
. lrrlraaa traaa aid lccrrlcr between 75 and 90 rpms. Developing blisters on your hands is not
. 0aralatar trnslllvltl lo
When riding don't let yourself become unusual. Your best bet is to wear cycling
Irtlar . ia.al l. l.?t 0rl llar lor lr.
dehydrated. Lackof water can cause your gloves. Expect to pay between $300-600 for
Send check o( money order lo muscles to overheat and crarrrp. Keep a water your machine.
SmiUIt oepl 1.A
l7/t.Ci (M'nn res
P C 8cx 346. Morrrs MN 56267
add 6qo taxi boftle nearby. Most bikes now come equiprped A
with a water bottle holder.
l{ame
If you have a bike at home, Iistening to About the Author: Cynthia Rothrock is a con-
Address music or watching the television will make tributing editor of Inside Kung-Fu.
Crty State Zrp

A -
-
,
THREE ilEtlll MAGAZIilES FROM C]IINA!
MARTIAL ARTS OF CHII{A HISTORICAL SOCIETY
presents three new outstandtng instructional color magazines
MARTIAL ARTS GRAI\DMASTERS CHINESE
OF CHINA MAGAZINE QIGONGMAGAZINE
On the Newsstand Now!
Back Issues Available!
Now learn from thc source! Direct from Beijing, China
this new monthly magazine features the best o1'China's
masters in living color pages with step by step instruction
ol the various styles, profiles, a martial arts dictionary,
current events, selfstudy methods and much much more!
Only this magazine can teach you the inner sccrets of
techniquc and knowledge you can't get anywhere else but
in China. For example: Qigong (chi krng) feats of
strength (all styles), Traditional martial arts including
Shaolin styles such as eagle, tiger, snake, mantis, mon-
key, drunken, etc, Wudang internal styles such as
taijiquan, baguazhang, xingyiquan, standardized forms
of competition such as Changquan long fist, nanquan
south fist, double edge swotd, btoadsword, spear, staff,
martia[ art qigong history, origins, philosophy, legend,
fact, fiction, medicine, acupunctute, herba[, bone setting,
meditation, specific instruction such as circulating and
emitting qi energy, stance training and footwork of var!
ous styles, offerrsive and dcfensive hands, kicking, sweep-
ing and takedown methods, single man and double man
empty hand and weapons forms, combat exercises and
much much more!
SUBSCRIPTIONS / BACK ISSUES NOW!
In the first issue: 80 year old Lohan Kung Master Ma
Zhenwu, Yinggong (hard qigong), Protile of the Long-
handle broadsword, 86 year old Master Mao Jiexi, Shao-
lin Five Shape Eight method, Qigong, Chen Taiji, Seng-
men (Buddhist) Boxing, Yuemen Wuxing boxing (five
form), 89 yeat old Master Lu Zijian and much much
mote! In the second issue: 85 yearoldBagua master Sha
Guozheng, profile of the Shorthandle broadsword, 99
year old Dragon weapons Master Lin Zhiping, Nanyan
palace a Taoist wudang temple, 88 year old Taoist priest
Zhu Chcngde, 18 Classical weapons, Talks on Chinese
Qigong, Zhao style boxing (heihuquan) black tiger Mas-
ter Ma Zhendai, Du style wcnjin boxing and much much
more!
T
vlsA / Mc / AMERX CALL NOW!
-'l
I
1-800-628-6552 I 1-800-628-6552
12 issues (one year) subscription
$29.00 USA ONLY!
Back issues $6.50
or send personal chec[</ money otder /
cashiers check to
NIARTIAL ARTS OF CHINA
POB 31578-IKF, San Fran, CA 94131
$3.50 Newstand price. Allow 90 days delivery.
Canada/Mexico add $18.00 per ycar USD only
Intcrnational add 922 surface, $48 airmail USD
DON'T MISS A SINGLE ISSUE !l
YOUR REQUEST NOW :rrl
Available on the
Newsstand glllg}
Direct l'rom Hong Kong, the MARTIAL ARTS OF
CHINA HISTORICAL SOCIETY brings you this non-
periodical magazine profiling 50 great Grandmasters of
Chinesc fighting arts from the early eighteenth century
to the present time. 38 Grandmasters will be chosen lbr
prolile with photographs befote 1949, and l2 will be
picked out among thc prcsent Grandmasters alier 1949.
Among those bclorc 1949 are Chcn Zhengxing (final-
izer of Chen Taijiquan), Yang Luchan (Yang Taijiquan
tbunder), Dong Haichuan (Baguazhang), Miao Xing (a
renowned monk of the Shaolin), Huo Yuanjia (founder
of the sports society of top kungfu masters) and Zhang
San the drunkard (a legendary figure). Among the 12
Grandmasters featured after 1949 will be Wang Xi-
angzhi (founder of Dachengquan), Chen Fake (descen-
dent of Chen Zhengxing) Wang Susheng (Ziranmen
boxing), Wang Ziping, Shaolin's Grandmaster Haideng,
Zhang Wenguang and Cai Yunlong. The 50 great
GRANDMASTERS will be published in 4 non-periodi-
cal issues AVAILABLE ONLY IN SINGLE COPIES,
rro subscriptionsl
ISSUE ONE
AVAILABLE NOW!
Issue one introduces ptofiles and photographs of 12
Gteat Chinese Grandmasters and their martial arts;
Chen Chengxing (1771-1853), Chen Fake, great grand-
son of Chen Chengxing (1887-1957), Feng Zhiqiang
and Chen Xiaowang (1926- ), Yang Luchan (1799-
1872), Yang Chengfu (1883-1936), Yang Zhenduo
(1926- ), Fu Zhongwen (1907- ), Dong Haichuan
(1796-1880), Sha Guozheng (1904- ), Du Xinwu
(1870-1953) and Wan Laisheng. PUBLISHED IN
SINGLE COPIES ONLYI NO SUBSCRIPTIONS
AVAILABLE! Collect this valuable and rare reference
issue! Read about the duels of the great Grandmasters I
Gain the knowledge of l2 of China's greatest GRAND-
MASTERS, reserve your single copy of issue one
r -lr
vrsA / Mc / AMERX CALL NOW!
Single copy Price 96.20
($4.sS + $1.25 s/h).
or send personal chec( money order /
cashiers check to
GRANDMASTERS,
POB 31578-IKF, San Fran, CA 94131
$4.95 Newsstand price. Allow 90 days delivery.
International single copies $9.00 airmail USD only!
RESERVE YOUR COPY
OF THIS VALUABLE
L _ nELExEl,teE_roDAY! J
Availableonthe
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Direct from Hong Kong, CHINESE QIGONG is a new
quarterly instructional magazine teaching thc various
methods of authentic daoyin and qigong fbr hcalth, lon-
gevity and martial art. The contents ofissueone includean
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of qigong, daoyin, tuna and other ancient health keeping
methtxls, Ningjianzi seven breathing lbnnulas (with seven
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iuduanjin (brocade exercises in 16 lirrrns with l6 pic-
tutes), Liuzijue lbrmulas with pictures, Taishanghunyuan
massage (with l2 photos), Wuhuiwancaiqifa three form
exercise of the emeiqijian school, Secret Taijigong basics
of Peng Tzu, Taijibang qigong club techinques with 9
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SUBSCRIPTIONS
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at the moon), Babaoruyi zhanzhuanggong (standing qig-
ong), Guishougong (longevity), Fumogong (subduing the
mind), Taoist qigong music, Daoyin in 15 forms, Zhong
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and Zhuangzi, aforumon the physiological and biochemi-
cal effects of regulating the mind, body and breath, Mt.
Wudang - Shrine of Taoism and much rnuch more! In the
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1-800-628-6552
One year subscription $19.80 (quarterly)
Single copy Price 96.20
($4.e5 + $1.25 s/h)
or send personal chec( money order /
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QIGONG Magazine,
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$4.95 Newssradd price. Allow 90 days delivery.
Canada/Mexico add $6.00 per year USD oniy
Intemational add $US $8.00 surface, g16.00 aimraii
DON'T MISS A SINGLE ISSUE
TgILQI GONG
 D MARTIAL ARTS IN MOVIES
8ilUR&Classical Sticking Hands Blind lVlon's Bluff
This video will present a step by step procedure
for mastering the classical Wing Chun sticking By Ric Meyers
hands training system, pefiormed in the style of
the early lirst generution students of Grandmas-
ter Yip Man. For the first time on video we show
male vs fenale freestyle sticking hands fighting.
Toborrow Charles Dickens' first line from I
To order, please send: $59.95 toY& R Video Productions,
P. 0. Box 5756, Stn. B, Vicloria, B. C., Canada, V8R 658,
his classic nov el, ATale of Tw o C i ti es, "It was
Phone: (604) 47-5460. Please add $5.00 shipping and han. the best of times; it was ttre worst of times."
dling. Overseas orders please add$10.00. Payments in U. S. While Golden Harvest and New Line Cinema
dollars.
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Teenage Mutant Ninja Turtles, Columbia's
Tri-Star division has buriedB/lnd Fury,
,utE D&AfiON
1fi\
..srr,r.$, sliltgoL of WIsDor,{,
7..L3.J;...1
It has only been officially released in ten
theaters on the West Coast, and Tri-Star's
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dr{ql c.Uoo hdud!. movie was playing in Manhattan but only
on 42nd Street (where films go to- die). This
TIE
Tdirtr, polbn,
afptll! ,itck , deqpite two "thumbs up" from television tas- 3
rutt.l lbnpq F[r€., temakers Siskel and Ebert, and aggressive
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huckstering from star Rutger Hauer during his
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rI R'I a--l Well, there was no question the selling of
FI
EIUJI lU this picture constituted an uphillbattle. First, it
Dancing Dragon D,eslgns - DePt KF(l was based on the Japanese Zatoichi (which
1881 FieldbrookRd Arca4 CA 95521 means "Masseur Ichi") blind swordsman se-
ries. Twenfy-six movies and dozens of televi- Second, rather than tailoring a brand new
Send $2 for full-color Dragon Catalog
sion episodes have been made since 1962, story to the idea's limitations, screenwriter
when the humble, scrungy-but anythingbut Charles Robert Camer tried to update the 16th
bumbling wandering gambler was irtro- blind swordsman film, Zatoichi Challenged
DO IT YOURSELF duced. - (1967) in which the hero attempts to extriqate

PHOTO I.D. VOUR NAME AND

Set in Japan of the 1600s, the films are
wonderful combinations of comedy, tragedy,
pxolo srRlp and stunning action as the seemingly pathetic
SPtclaL wtaP0l'15 IN PLASTIC' little blind man would wander from town to
ANY 3 KITS
town, righting wrongs with an incredibly fast,
accurate, powerful cane sword and aradar-like
3 $ sense of hearing. As the series progressed, the
an afiist from a war befween the shogun's
"vice" agents and a pomography ring (which
sells dirty pictures painted on plates). In the
U.S. version, the artist becomes a scientist
forced to create a new kind of street drug. This
doesn't really work either.
Otherwise, it's not a terrible picture. AI-

sy
14ee films became bloodier and morc outlandish
the culmination of which was the meeting -of
though everythirg from acting through
- is muchbetter in the
martial arts to scripting
hs to male tq, m
Ptuo I O ' O, kns rrctude ae.yftung
,a noad! Y@ supply only lhe pifro Any@ €n dc il - Tzrtoichi and the Shaw Brothers Studio's Cftl-
-
original series, those unfamiliar with Zatoichi
Sataslelo guaranteedr ChG€ any 3 Kils tq onry tta.q).
. SPECIAL WE.^PO'IS pEnIlI . SOUI TY tlUt{TER nese One-Armed Swordsman (Zatoichi Meets might enjoy this decidedly unusual curiosity.
. PFIY IE TaYESIICTAIOR . O€IECTIVE His Equal,L97 l) in which literally hundreds of A detailed review of the action will appear
. rlIEiltAtlOt{AL OflVEn S LlCEll3E . SECUFITY OfFIC€i
. SIATE PHOIO l.O. latr $ .
ilERC€|AFY{ bad guys get diqpatched in a virtuoso display when and if the movie is released on video.
^vdr&t
Seid .ash chfit 0 ruc, qder to of martial u.tirt.y. And qpeaking ofvideo, the kung-fu couch
FOOTHILLS FASTPRINT To see the best of Zatoichi is not to believe potato's best friend, South Gate Entertain-
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it, but to love it anyway. Fred Weintraub, ment, has released another Shaw Brothers
producer of. Enter the Dragon artd The Big Studio Production on videotape. It is also a
T',tl clll ulDCoS Brawl,tiedto get an American version made
for years, but the task was finally accom-
decidedly curious (but apt) choice for the
particular column being Bells of Death, a
Tha €rle Montoigua Vidaos Not - 1966 filmbasedon the
plished by Daniel Grodnick and Tim Mathe- baroque, bloody, quirky
AvoilobloFrom lUoytorer
5 5 son (the Animal House actor-turned-producer
and publisher of Tlre Natiorul Lanrpoon).Un-
1965 American westem Nevada Sntith, star-
ring Steve McQueen.
These vldeos are now available in the
NTSC system for immediale delivery. fortunately, when it came time to adapt the Tumabout is fair play, and the Chinese do
character, something was lost in the transla- a better job transposing the Wild West to the
T'AI CHI DIM-MAK AND COMBAT
tion. ancient Chinese countryside as three martial
WRESTLING: $55.OO- 2 Hrs.
ADVANCED PUSHING: 545-OO- 7 Hr. First and foremost, swords made sense in arts villains wipe out a wood cufter's family
ADVANCED QIGONG: $55.OO. 2 Hr. the 1600s. But our history is about excellence with ax, sword and arrow, then kidnap his
PAUCHUI/SAN-SAU, TARGE AND of aim, not fencing. So, instead of making him sister. Not surprisingly, the wood cutter
SMALL: $55-OO. 2 Hrs.{tastlorml
a blind gunfighter, Grodnick and Matheson (Simian-faced Chin Ping) swears revenge, and
Prtces lnclude Airmail Postage. simply transposed the blades into modem-day then, quite surprisingly, immediately finds a
Phone Orders: 01 l-61-66-7 21 469
Wdte For Fre Catalogue To: America. Ichi becomes Nick Parker, a soldier wandering master who teaches him perfect
MOONTA_GU BOOKS blinded in Vietnam; saved and trained in swordplay and even the iron palm technique in
?/OBox 792 Murwillumbah NSW 2484 swordplay by a mysterious group of villagers less time than it takes to read this column.
Australia for no particulax reason. Yeah, right. Continued on page 84

26
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tr MAIN EVENTS
Main Events is presented as a public seryice to martial arts prornoters, competitors and enthusiasts. Send information at least three months
in advance of event to: Main Events,420l Vanowen Place, Burbank, California 91505.

August 2nd-sth 752-44t8. Little Rock, Ark. Contact

MASTER WANG YEN-NIEN
TO VISIT CHRYSALIS
CENTER. He will conduct a
workshop in Taoist meditation.
kr Wilmington, De. Contact the
Chrysalis Center, 1008 Milltown
Rd., Wilmington, DE 19808;
(302) 994-0565.
August 4th-sth
P. GREG ALLAN PHILIPPINE
AND INDONESIAN MAR-
TIALARTS SEMINAR.
Participants will receive two
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support their training. Contact
Dennis Cormier at (404) 865-
5182.
August 12th-18th
U.S. YOSEIKANBUDO
ASSN.'S YOSEICAMP XItr. TO
be conducted by Dr. Glenn Pack,
U.S. technical director, at the
University of Alabama. Open to
all martial artists. Contact Dr.
Glenn Peck, 2 Greenbriar,
Tuscaloosa, AL 35405; (205)
August 13th-17th
KTING-zu RETREAT featuring
hsiao chuan fa (youthful fist art).
Created for young people by Rex
Eastman. Special guest instructor
willbe Heinz Rottman. Contact
Rex Eastman, Tai Chi Centre,
M4Baker St., Nelson, B.C.,
Canada VlL 5R3; (604) 352-
37 L4 or 352-2468.
August 17th-19th
WING CHIIN KLING.FU
SEMINAR with Michael
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4925Fifth Ave., 2nd Floor,
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August 18th
MYJHONG LAWHORN AND
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held in
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August l9th-25th
TAI CItr RETREAT. In addition
to the standard curriculum, guest
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Contact Rex Eastman, Tai Chi
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B.C., Canada V1L 5R3; (604)
352-37 t4 or (352) 2468.
August 25th-26th
w]NG CHTIN SEMINAR
WTTH MASTER YIP CHLIN.
eldest son of the late grandmas-
ter Yip Man. Tko-day New
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September 1st
TI{E GAMES/OPEN MAR-
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Contact the City of Costa
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September lst-6th
INTERNATIONAL
SHAOLINTEMPLE MAR-
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At the Shaolin Temple, Henan
kovince, People's Republic of
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styles, forms and weapons.
Master P. Chan of Wah Lum
Kung in Orlando, Fla., has
been invited to lead a team
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Master P. Chan, Wah Lum
Kung Fu Temple, Orlando, FIa,
(4U) 275-6177 or Golden
Tour and Travel Inc., 85 I N.
Goldenrod Rd., Orlando, FL
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TAI CHI CHUAN MASTER
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Continued on page 82

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MASTERING MASTERING MASTERING MASTERINGY;

HUNG GAR TAI-CHI-CHUAN PRAYING MANTIS WING CHUN ruiiilirric iux6irxc\c
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76e Sana Ke
Wi;,;#:iii{i!:l#r;
In nry situation, everyone assumes professor
William K. S. Cltow of the Chinese kara-
ho kempo system lws been my single most
important motivation during my rise to a
position of prominence within the mar-
tial arts community. That professor
Chow will always rcmain a shining light
in nry life is undeniable.What he taught
me both personally and through the study
of nry discipline has helped nnke me the
man I am today. However, professor
Chow's personal stamp only tells part of
the story. Through my travels there have
been several martial artists who have
assisted me infinding and learning more
about myself andmyarea of study.While
some of these ,nen may not be as famous
as professor Chow, they nonetheless
lmve provided me with valuable lessons
that helped creatc the karaJto system in
the mid-1970s. To these unsung heroes I T'
owe my gratitude and. hold a special
place in my heartfor the time and energy
they have unselfishly provided.
My training, you might say, began
during my formative years. I cannot tell
what you year or what system, but after
reading joumals and speaking with
friends, it is believed I was introduced to
karate by my uncle Joe Makahilahila and
I
his brother, Uncle Bobo. was about
kindergarten age and I remember con-
stantly being hit while we trained under
the ca.rport. Canvas was drawn down the
sides to keep away intnrders. When I was
ten, I was enrolled in judo at the Palama
Settlement in Honolulu. I hated it. As a child
was very skinny and I could not believe this art
was good forme; Iwas foreverbeing slammed
to the floorand against wallsby thebigger stu-
dents.
I remember watching a karate class in one of
34
Stooq
PART ONE
by Sam Kuoha
the otherbuildings at Palama Settlement and it
looked like the art for me . Only later did I leam
the man teaching the nearby class was profes-
sor Adriano Emperado, founder
kajukenbo system and a former student of
of
tfB
I ::' r:i
o my father was a champion of all the
I professor William K.S. Chow. Despite my
pleadings, my motherinsisted I remain in judo.
On my 12th birthday, however, she introduced
me to my next instructor and someone who
would bring me closer to professor Chow.
Sensei Charles Kuheana taught a small group
I
I
I
of sfudents (no more than six or seven at a
time). Although it was known he was a former
the
student of professor Chow, he always denied
any involvement with the arts. But we knew
better; his calloused, dark black knuckles rose a
2
a quarter-inch above normal. 5
A humble, respectful man who
tumed his home into a self-built shrine,
sensei Kuheana taught the arts 24 hours
a day, six days a week and asked for no
money in retum (our family would take
turns providing food for the students,
and since we were all Jiving modestly on
herbs and vegetables, it was inexpensive
I lived there and trained
to survive).
eighrto+en hours a day, five days a
week. On Saturdays, we trained for only
five hours, then retumed home to visit
our family for the weekends. My mother
later related that she sent me to study
there because she could see in me my
dad's "hot" tempr.
My father trained in the art of lua, a
Hawaiian mafiial art. I remember my
tutu-kane (grandfather) telling me that
islands. As I grew, so did his legend.
It would be wrong to say I studied
lua. While it was an art passed down
from fatherto oldest son, Iunfortunately
only felt the wrath of the art and not its
training aspects. Even my father was not
too fond ofknowing this esoteric style;
he hadbeen forced to use it several times
to take opponents' Iives.
Since I wanted to leam karate, my
mother introduced me to sensei
Kuheana, who was my father's second
cousin. However, he carried himself as
one who was dedicated and taught sin-
cere respect for yourself as well as oth-
ers. It was during this training period that Imet
professor Chow, who occasionally trained
with us. I observed his training fust hand, and
to be honest with you, disliked the rugged,
tough training sessions he provided. As a
young student, I found it hard to fathom that
 ."lhu

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Clockwlse from above: Sam, wlth wife Dana and daughter, Ka'lml; professor
IVllllam K.S. Chow wlth goddaughter Ka'iml, taken flve weeks before his 6
$
death; Ka'lml Kuoha wlth her slx'foot troPhy won at a tournament ln Los .:-
Angeies. She also won the title of "Miss Little Callfornia" ln D86; and
shihan
alkldo
Jolin nornU" (left) wlth son John Tokuchl Damlan' John Sr' was Sam's
lrstructor and kl princlple teacher.

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being abused would do me good in the long
run. Andbesides, I was being beaten everytime
I saw my father.
Professor Chow was a well-built, tough-
looking man who took nothing from anyone,
kindof like my dad. Even inprofessorChow's
later years, his power was such that only a fool
would have challenged him. My dislike for his
training is by no means a reflection on him as
a man or martial artist. Sensei Kuheana taught
me discipline andreqpect foreveryone, includ-
ing myself. Training then was different; the
techniques we leamed were strictly for street
defense and survival. I was asked once by a
student if I would teach him the way I was
taught. Itoldhim that if Ichosethatroute,there
would be few students who could make it
through aweek of training' No onewants to see
how tough one can be by being subjected to
brokenbones andrippedmuscles. This wasmy
training background, one that was as violent as
it was effective.
I was recommended to a shotokan instruc-
tor who was a good friend of my sensei. He
taught traditional weapons training to only a
select few. Sensei Oshiro accepted me because
ofsensei Kuheana. Because ofmy deep love of
the arts, I trained as hard and as often as I could'
Even during that time, I continued training in
kenpo. The original kenpoikempo arts had no
weapons training. I later met professor An-
drew Lum, who taught combat tai chi chuan.
He only taught full-blooded Chinese (I am
half-Hawaiian), but since he was a cousin of
my mother's, he taught me privately so it
would not cause problems. My training with
him also was very demanding, but Ively much
enjoyed leaming about intemal energy and
Chinese weaponry. I wasn't much interestedin
leaming about the power from within; like so
many young students, Ibelieved only tangible
things could be Put to use. How wrong I was!
I dreamed of becoming a police officer in
Hawaii after high school, but my small size
made it impossible. Instead, a longtime friend
requested that I help teach at the Honolulu
Police Department. At the age of 2l,I moved
to SanDiego, Calif., topursuemydream oflaw

36
 &t
{ a
e\F
>!.: -

,.{s
h.

Clockwlse from left:

professor Wllllam K.S. Chow
ln l97E; Sam Kuoha Jr., a
practltloner of the llawallan
martial art of lua; professor
Chow in D61; and master
Charles Kuheana,

I
enforcement. After several tries, was ac-
cepted to the San Diego P.D. However, f aI-
most blew it in the first year. My evaluation
report stated that I lacked aggressiveness, the
same aggressiveness I had being trying to shed
since childhood. Now my career was on the
line. I remembered my mother being worried
about my temper.
For the next three months, Ibecame a new
man. My normal personality shined through
and as much as I dislilced the way I was, I was
fast becoming an accepted cop. My aggressive
naturc eventually got me into hot water a few
times with the department, but on several
occasions it helped save my life. My beat was
a tough-as-nails crime area usually patrolled
by two officers. However, I was a one-man
unit usually working at night in the worst
- of town. Iremember enjoying the free-
section
dom of not having a partner who could be a
witness against me.
Later I transferred to the sheriff's depart-
ment because of political problems. My mar-
tial arts training was affecting myperformance
as a law enforcement officer. During my train-
ing in Hawaii, when we reactedto an attackour
techniques were devastating and flowed in
numerous sequences. Therefore, a series of
combinations would include seven-to-ten at-
tacks on vital areas of the body which would
cause great trauma to the intemal organs.
The department, however, did not consider
this acceptablerestraint on a suspect; ourcity's
fathers seemed more worried about their
standing with the American Civil Liberties
Union than with the rights the the officer or
victims. I spent nearly 11 years in law enforce-
ment before an auto accident forced an early
retirement. (A novel is being written on those
experiences and bids have been made to tum
the story into a motion picture.)
When Iwas an undercoverrobbery officer,
I heard stories of a martial arts master who
could easily diqpatch large numbers of sus-
pects. I longed to meet this man, who was
involved in law enforcement and hailed from
Hawaii. My day came when we were assisting
drug officers in several raids. I observed an
37

i
s $'
d
-##
".n
s.
d$ '
$s
-*
undercover narcotics officer who probably
made the drug dealers look good in compari-
son. This man of Hawaiian-Orienta1 looks had
long, flowing uncombed hair that reached the
middle of his back. If I ever would have ar-
rested anyone simply by appearance, he would
have been my first choice. Yet, we were on the
same side. I later learned this was the man I'd
heard so much about. He was shihan John
Damian, an aikido instructor who trained
under tohei sensei and devoted himself to his
art.
A couple of years passed and we had sev-
eral more chance meetings. A friendship de-
veloped. I finally asked him ifhe would teach
me his aikido. First he taught me ki principles,
which fascinated me so much I longed for
more. Eventually, he retired from the depart-
ment and moved his family first to Oregon and
later to Florida. After his departure I would
petition him to retum to teach all my friends
and students these amazing techniques. Only
later would I realize these were the same tech-
niques I leamed early in my life.
The teachings of shihan Damian were so
versatile that it made my techniques, kata, and
sparring 100 times more effective. While it has
38
I
*r*-
#-,
i
H
^t*#
t *\! {x
i8
J
*
.,,,,.,:r...-,,q#. -' '"-- -
i
d.;.";.1.1;,:L;:.:,;
Sam Kuoha demonstrates a defense
against the two.hand grab (1). Once the
grab has been made, Kuoha uses a
double-knuckle strlke to the tricep area
of both arms (2). He then double cross-
chops to the lnside nerves of the elbows
(3), followed by a double cross-chop to
the jugular (4). Kuoha then grabs the
halr (or ears) and jerks cross.
wise, forclng him to the ground (5). The
attacker lands hard onto Kuoha's knee,
dislodging his spine (O. Kuoha then
flnlshes off his attacker by snapplng his
neck (7-8).
been many years since those lessons, the inter-
nal energy techniques he taught me constitute
a great training tool in the kara-ho kempo
system.
After moving to Southem Califomia, I
trained and worked out with several different
"These were the best arts to further my progrcss. I obtained a black
belt in shin hsing Yee Ti kung-fu from chief
of times for me, but George Mique. I also studied tae kwon do and
butokukan karate.
the worst for Still, my mind passed back to my roots
the Chinesekara-hokempo karate system. My
-
professor Chow. mother, a good friend of Patsy Chow, the
professor's wife, made the original contact and
The poverfy he ond I traveled back to Hawaii in the midJ970s.
Even iftheprofessor only had afew students-
his wife suffered with never more than five at a time-he trained me
privately and in class. He was cautious at ftst,
lives with me tod ay ," teaching only the basics I had leamed years
before. After several sessions, he pulled me
aside and toldme Iwas different from the other
"leeches" who approached him for short-term
training and a quick ranking.
He also told me he wanted to expand his
school, but I noticed that his training had not
changed since the 1950s when only a handful
could take the rough-and-nrgged regimen he

Attacked with a rlght punch, Kuoha ducks into a low cat stance and follows wlth a rlght hook punch to the lower ribcage (1). Kuoha then traps the
arm (2) and slde chops to the base of the neck whlle hotding the hand (3). He follows with an irstep knee break to the nearest knee (4) and side kicks
to break the other knee (5), He plvots quickly and throws a back heel kick to the groln (6).
professed. Even the most dedicated students
would quit after a year to take time off. How-
ever, I was determined to survive. I would
build up considerable "comp" time from my
job and take long vacations to Hawaii to train.
I qpent as much time as I could with professor
Chow, absorbing every word and movement as
though it was to be written on a stone tablet.
These were thebest of times forme, butthe
worst of times for professor Chow. The pov-
erty through which he and his wife suffered,
the way many of his students turned their back
on him, lives with me to this day. This man
gave his wisdom, his knowledge, his life and
askednothinginretum. At onepointhewanted
to promote me to an eighth dan, but I refused.
I felt I was not ready. Later I discovered that rhy
attitude impressed me; he realized I was after
more than rank. Like him, I asked for nothing
but his knowledge and that he willingly gave
for many years. I will miss that man, but his
very breath lives within my soul.
During my conversations with the
professor's lifelong friend, personal physician
and advisor, Dr. Ronald Perry, I learned more
about professor Chow. Many times professor
would ask me to write a book for hiin, so I took
many lengthy recordings. To this day, only a
select few have heard excerpts. It is something
I do not w.mt anyone else to hear, because it
contains many negative comments about oth-
ers in the martial arts world.
Five weeks before his death, professor told
me that someday things would be good for
him. He said he appreciated the gifts I sent him
during the 1970s. Those gifts came in the fomr
of fees paid to me by my karate students.
{i
& g'e";-.
Things are good forprofessornow. Forhenow
rests in peace, a peace he deserves and a peace
for which I will always fight.
When our daughter was bom, he was the
firsttobecalled. Hopingit was aboyhewanted
the child to be named after him. However,
professor asked us to give herhis middle name
Kwai Sun. As so it is: professor Chow's
-godchild isnamed Ka'imipono (meaning
seeker of righteousness) Renaye Kwai Sun
Kuoha. Ka'imi has been in the arts since her
first birthday and hopefully will help make
professor Chow's dream a realify: he wanted
her to become head of the system. Kwai, as he
called her, met professor Chow five weeks
before his death and the smile that crossed his
face is indescribable.
He died the night I obtained a serious hand
injury working with a razor-sharp kama. In
losing over two pints of blood, I cut three-
fourths of the way through my right hand and
severed an artery. I was in surgery for the more
than six hours, never knowing of his death.
When I awoke, I noticed the area was in the
throes of a violent electrical storm. The reflec-
tions ofbright, irridescent lightning bolts shot
through my room and bounced off the walls.
Those who knew him also knew his nickname
was "Thunderbolt," because of his rapid-fre
power strikes. His symbol was alightning bolt
with a fist through it. Though I was still
goggy, I could feel an eerie sensation come
over me. The next day I leamed he had died.
Then I realized the storm was his way of saying
good-bye.
My wife, Dana, also has been a great inspi-
ration too, She and my daughter have always
-:3q.
tried tokeep me moving in apositive direction.
I owe them my saniry, especially throughout
thepast three years when I've sufferedthrough
the losses of professor Chow and my parents.
My mother served as my greatest martial arts
inspiration, because she kept me training and
made sure the rest of my family never found
out. My father taught me how to be tough and
how not only to take, but also to give out
punishment, The most valuable Iesson I
leamedfrom my fatherishowto care and show
love for others.
And last but not least, I owe a great deal to
my students who have stoodby me during the
good times as well as the bad. Those who have
stood up beside me andpracticed the teachings
of kara-ho are constantly watching over me.
Many have cracked, choosing to throw in the
towel because they could not handle the pres-
sure of controversy. They are the weak ones,
but as professor once said, "Samual, kara-ho
will teach you to be strong in spirit, mind , soul,
and body."
And do you know what'/ He was right as
usual. I'm etemally gratefuI to all my students
- white through black belts - for now they are
my teachers.
(In Part 2, Kiroha discusses how and why he
has modified and strengthened some ofpro-
fessor Chowts most potent kempo tech-
niques.)
O
About the Author: Sam Kuoha is grandmas-
ter of the Chinese karaJro kempo system.
This is his first article contibution to Iriside
Kung-Fu.
39
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iW-] l_u*d
 I

-
I
I

Staff Training:
I
I
l
I

It's Harder than

I

\
a
Beginning practitioners continue to $ro?sty underesti-
malte thelime, energy, strength and dedication a de-
manding staff set urilt require to perform well'
By John R. Allen

: .,

t. I :;

. ,l-i

ou Think
:llHil .Iil: eilJ..',f"Hilfl:
the origination of formal combat
^
I tools.
\-/ material with the staff(kwan, guan,
kun, etc.) is lost in antiquify. Certainly we can
conclude that in some form it is the oldest of
the 72 classical weapons in the impressive
arsenal of kung-fu weaponry, and along with
knives, swords and spears, doubtless evolved
naturally from implements first employed as
The staff, when used for such labor as
leverage in prying, or suspended across the
shoulder for carrying hea.'y loads, was not
solely indigenous to the Chinese culture.
Translatedmore commonly asrod or stave,
the staff is prominent in the literature of most
ancient civilizations like the Sumerian and
Egyptian, and is absolutely pivotal to many
major characters and events depicted in the
Old Testament of the Judeo-Christian Bible.
Transliterated from ancient Hebrew as maqqel
or mettah, the staff was always considered a
main symbol of power and authority, whether
figuratively (Isa. 10:24 & 14:5) or literal (it is
not often recognized that David took a staff to
meet Goliath in addition to his sling, cf. I Sam.
17:40). Likewise, many of the fabled warriors
in David's unique band of "mighty men" were
extremely skilled with staff and spear (see
.IKF, June 1989,p9.32); and startinginExodus
4:2, over 50 references regard the staff as a
continual focal point of the power of God as
manifested through Moses in his quest to re-
lease the Hebrew people from the years of
captivity in Egypt.
According to the first Chinese master
under whom I was privileged to train for 14
years, the redoubtable Yao Fei (A.D. ll00-
1200) should be credited with innovating
m:ury new techniques with both staff and
brilOirrg on a wealth of weaPons mate-
"p"*.
riathe received as a legacy oftheTang dynasty
I
during which the northem shaolin styles pro- I

liferated,
During the Medieval period in Europe, a
heavy sta-ff was the constant companion of
anyone traveling alone as self-defense situ-
atitns couldpresent themselves at any time' -In
that era, thi term used was "quarterstaff,"
especially in England where it was carried by
at all levels of society frgm th9 d
"r"ryon" no Iess than Richard
I
nobiiiw to the peasant
the Lionhearted was
-
well-known for his quar-
terstaff-rarielding expertise.
Frequently the term quarterstaff is misun-
derstood to iignify sornething less than the
average staff length (normally 5.5-to-6'5 fee$,
when-in reality this nomenclature was used
because the man-at-arms gripped it with one
hand near the center and the other hand half- k one of
way between the center and one end' This that
woiked out to a spacing ofroughly one-quarter
stalf
a high-
stafflength berween the hands, and using this of the staff
as a base, medieval combatants, especially hand, the staff
those trained forknighthood, could effectively is of thc body
protect themselves against opponents using a vertically
shorter-edged weaPons. do*n points
Since it is not unreasonable to assume at of the The staff
least 4,0OO years of development, it is not released and the
surprising that more fighting forms.exist-for vertlcal wlth th€
the staff ind its immediate derivatives than
r[ht hand
controlllng contlnues
any other weaPon, as well as that almost no up from
tlre
major kung-fu style exists that doesn't have
behlnd and
some type of material with what the Chinese down
PrePares to
regard ai the "father of all weapons- hard lnto the
Such a long evolutionary period not only strikes can circular
has led to a Breat quantity of sets, but also has route. MaJor
witnessed a variety of saff constructions, |
riglrt to the lcft
ranging from the "three-quafier staff'(gener-- freely around
aft/+.-5+o-S feet) to the Iong pole (7-to-11 a powerful strlke
feet;; from those weighing only as much as the left (4. Thk k the
the flnal
wood from which they came to those either
posltion of the
weighted on each end or made enthely of gate {9). From here the
metat: from those which are round to the hard to the
hexagonal and octagonal staffs common to much as
medieval England.
A1l these factors design, time in devel-
- emor southem division, and, correqpondingto ended staff training for a number of reasons:
opment, and quantity of forms havs rc- * First and foremost, anything done in
-
.ot"a it a great variety of advantages and spear wort,whetheran emphasis on execution
piedominantly from the right or left side; and sinele-ended staff training is found in the
benefits that intensive staff training can Pro- coitent of double -ende d sets, especially at the
duce; andthe 31 staff sets at alllevelsknown is the technique characterized by what is 1e-
ferred to ut iith"t single-ended or double- hisher levels. Since the reverse is definitely
to Green Dragon from at least 12 different .,o-t the case. this reason alone would seem to
Chinese sfyles are not only a small indication ended staff work?
With respect to the first question, your be sufficient to concentrate on the double-
of this tremendous diversity, but also provide ended staff forms (even exclusively)'
author's suggests that both north-
a definitive basis for comparing the effective- "" * In direct relationship to the first point,
ness and/or deficiencies of a wide cross-sec- em and "*P".i"t
southem styles have excellent staff
sets at their disposal, and, hence, a division on
sinsle-ended 514[f work is so named because
tion of staff techniques. oniy on" end of the staff is utilized' This
Among the 18 basic weapons in the north- this basis is inconsequential.
The second category, however, has gener- ,..iri"t, flexibility in application, the "hook
em shaolin tradition, 12 long and six medium and thrust" movement so common to elemen-
in length (knives, surprisingly, were not in- ated a good deal ofcontroversy ovel the y:ar.:
with pioponents of so-called "single-ended" tary qpear work occurring again-and.agail'
clude( and, as with everything else in the Thislimitedmethod of use determines thatthe
kung-fu arts, complete agreement as to which staffs advocating the superiority of theirmeth-
ods and those avidly in favor of "double- focus will be linear in orientation and diqpro-
*"opons were represented in the basic portionately power-dependent in emphasis'
"o".1fi"
is open to disPute). the staff was usually the ended" staff doing likewise.
1'8
As with any ryPe of combat technique, 3inc" lin"ai t"chnique works to dominate the
first weapon introduced to novice students' centerline, the techniques will certainly have
Howlhat instmction was conducted de- whether empty hand or weapons, it is what the
student can malse work in the most comPr€- force; however, that is the main benefit' Con-
pended on a number ofthings, not the least of versely, the student preferring double-ended
which were a number of general groupings or hensive circumstaoces that ultimately counts'
However, long experience has led Gre€n staff work enjoys the distinct advantages that
methods categorizing all staff material, at least using both ends unavoidably provides' The
two of which are significant: The usual north- Dragon personnel to strongly favor double-

44

latter will have pattems which are much more
complex and circular in character, adding a
great deal more versatility to the capabilities
and options of the practitioner. Understanda-
bly, the added sophistication in handling
means double-ended staff sets are more diffi-
cult to master.
* Since this writer firmly believes that the
principle of circularity in combination with a
closing down of the centerline at the earliest
opportunity is the best approach to the combat
situation (with all other things being equat),
concepts perceived in leaming double-ended
staff work will have appropriate carryover to
both empty-hand applications as well as all
other weapons training, particularly important
for smaller men and women for whom power-
dependent technique is much less effective.
Along with these considerations, over 30
years of conducting group instruction has
impressed your writer with the fact that in
initial discussion many beginners seem to
have concluded that the mechanics of staff
* E
work appear simple in design and easy to
leam,
Since it is also our experience that high-
level staff sets with a strong circular oienta-
tion are not as common as they should be (or
"Stoff work forces the body
to involve itself in woys
unmotched by either
empty-hond work
or shorter-length weopons, "
are as frequently taught by those who have
them), thevastmajorityof forms towhich said
beginners have been exposed are heavily
structured, have a linear emphasis, and do not
involve much in the way of intricate manipu-
lation (a11 karate staff or "bo" sets fit this
description as well as single-ended staffforms
of kung-fu). As such, novices have grossly
underestiinated what a demanding staff set
will require to perform well, and introduction
to a form as simple as the southem windy airs
staff often prompts a rude awakening to the
true challenge that circularity in staff work can
afford.
Likewise, the matter of weight can lead to
serious misconceptions about the demands
that complicated staff training can impose.
Unfortunately, the trend over the past decade
has been in the direction of using weapons
regardless of type -
that are not of a weight
-
and construction comparable to the real
McCoy.
If speed and ease of handling geared to
toumament competition were the only consid-
erations to be made, that would be one thing.
When you can't duplicate your performance
with the actual weapon, this is quite another
scenario,
In the case ofthe staff, dowels less than one
45
 Although common to the full value of two-mafl combat sets'

where either rcal weaPons will have to

to both staff and be
spear sets which on contacq or
utilized to prevent breaking
are not strlctlY
*fr"t" tt lack of realistic training will be
centerline'oriented "
Demeffated by cutting back on the force
gener-
and power
dependent, this L"t *d intentionally hitting with substan-
Ilnear slngle'arm tially Iess power than should be used'
-l^"a
downllne stralght on the foregoing' if we confine
thrust (1) is tYPtcal ourselves to double-ended staff
work witlt a
of single'ended ;;rl"t emphasis, and choose to train with a
staff technique. dimensions' what
riuft of tt*'a"ta weight and
Contrasted wlth a.ai"utedkung-fu student expect from
the tinear thrust ln
the flrst photo, a
i*it*o.t on classical staff forms at various
"urrin"

student ls -
levels?
work
caphrred ln one of Perhaos of greatest significance' staff
forc"s the body to involve itself in
ways
the circular
trarsitlons from unmatched by either emPty-hand *o+ ?t
whole
the windY airs shorterJength weaPons' More of the
staff set (2). uJit in action from the shoulder
"rnpioyed
ioint. This pioduces an enhanced shoulder
'roiution, und h"n"", twisting motion on the
in-
BE#
q\ J. of if," waist for greater overall body
E;
such as knives' swords
,olr"rrr"nt. Weapons
'& or batons can be controlled with dynamics
joints'
dfd"" more on the wrist and elbow
tr-Fd
,gffi't
"".rt"ri.tg
m..tr*i". *ttich tend to isolate the shoulders
€E

"Com Prehensive stoff work

r i rlr: serves os on excellent
;. :j, ,l;ll
foundotion to ony other
iiu'i.,::ria:u
;
ii
16rii;
€, LB/ ti
weopon in its closs,"

caPa-
and therefore lack the power-generatmg
ouaitaUl" to the student utilizinghis body
U;tirv
Of course' once the prin-
as possible.
,. ,rir"tt
ftrt bien conceptualized through staff
:l "iri"
irii"i.g, the tyPe of smooth movement and
body Lvolvement long-handled weaponry
else'
fosters will carry over to everything
Second, there is very little done
with any
not
tvoe of long-handled weaPon which does
-"ounterPart f manipulation;
'?.,.
,1
liir" rorn" in staf
serves as
1
therefore, comprehensive staffwork
to any otherweaPon 1n
an excellent foundation
sword'
I
{r,ir
:
- class, from sPear to kwanof developmental
its
lir)
ffrita comes- the aspect
uU"ng" previously alluded to in terms of
"t in-
strengtli e'nhancement, but which also
clude"s a positive impact on all the
other com-
Donents of fitness.
' Finolly. a point from Green Dragon's di--
t""i"*p"ii"n"" relates to our identification of
intensi^ve staff work being the best
medium to

in all
The..rC, or cross-arm position ls utilized
ohases of long'handled weapons work
both as
iransltlons and to generate power for hitting' -
iere a student is shown coming out of the '!r"
oosltlon during a 360'degree jumPlng turn
irom the highly complex combined methods
staff set of northern shaolin'
inch in diameter and weighing mere ounces
*" ,,r"d, rather than the standard one-and-
one-quarter inch hardwood' The disadvan-
tases shouldbe obvious and are three-fold:
the
tra"inine is impractical and unrealistic; a fight-
i"ti; witir the complex manipulation of
Typlcal of the dexteritY required bY advanced- use for most students as the "jumping-
tevel staff work, a stud'ent is caught in
the off'stage into two-man combat sets with
a
mlddle of a comPound move which avolds weapons.
sweeP and then emPloYs the teg
wraPPed * th" otlY benefit to be derived fromit
around the staff to generate power for *ort"rhg a variety of staff forms was that
snapplng lt back toward the opPonent' ,ro*or".- o unique quality of smooth' fluid'
'srac"fu I movenents-which differentiates the
set n ng-fo ftom all others, it would be suffi-
northern shaoliri's combined ntetltods staff ^rtt of
of repetitions is capable of i"oton for specialization in this area
Jone for hundreds "Ji?
.,roducine a substantial strength increase in
raining. 6
itr. trua""nt, particularly in the area of the
when a About the Autlror: John R' Allen is a
hands, arms and shoulders, but only
there is no carryover frequent contributor /o Inside Kung-Fu'
"real' is employed;
staff

46
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Throws
The L8 throwing techniques of the
&l *:
*-* ffi

.ii:;.iii#
r,.r gS
:,x!!

s*l
gs'I
ffi&
tffi:
";s
ffi
drunken six harmonies system H.

appear ready to take their place &

among the many great arts
u:

lw

of the world.
By Ricky Pickens
e.'
&[iw
Hffi
Effi
,tx
ffi
ffi1 eil.i#i
ffi
,.q
;*

rn ffi HT.ff';;- iijjiil,:Iffi:
I
'r'
toward his opponent. Sudcieniy. the
enemy delivers a powerful lunge
punch. The tsui pak hsien student quickly
moves outside the offending punch and Iightly
grabs the attacker's punching arm. Making
only a slight movement, the drunken stylist
hurls his opponent to the ground. The attacker
can't continue the fight because his amr is
broken; and the drunken sfylist walks away
from the confrontation without working up a
sweat. Does this scenario sound fantastic? It
shouldn't!
Several of today's martial arts possess
similar throwing techniques, including tai chi,
paqua, hsing-I, juijitsu, Chinese wrestling and
aikido. This leads to a manipulation of an
unseen energy force called chi or qi by Chinese
martial artists and ki by those under the head-
ing of Japanese, Okinawan or Korean sryles.
This unseen energy is usedby practitioners of
the throwing arts to heave about larger indi-
ffi
IIistory
The special 18 throwing techniques found
m' ffi
within the structure of the six harmonies
drunken boxing style can trace their beginning
to ancient methods of Chinesewrestling. Early
forms of Chinese wrestling were very brutal.
fi#
Bone dislocation and bone-breaking tech- &tffi
niques often were employed. The earliest tuffi
forms of Chinese wrestling, however, were
based upon raw strength. Later, new modified
versions of grappling techniques emerged that
were based upon proper manipulation of tech-
niques and energ'y. The new information was
gleaned from countless martial arts practitio-
ners over several generations. The drunken 18
throwing techniques are composed of move-
ments that represent the finest Chinese grap-
pling arts andthebest dnrnkenboxing skills, as
well as principles, techniques and concepts of
the six hamronies form of boring. According gsHll,,,,1ffi
to Dr. John Wing Lock Ng, a renowned prac-
titioner of the 18 throwing techniques, the art
:! i,: .= l!
r*..--.".
W
i$.ur
of the 18 thlows was aided in its creation by = :

viduals as though they were almost weightless.
The energy can also be used to lock and then
neutralize an opponent's energy; thus the old
saying, "Lead the energy and the body must
follow."
The drunken 18 throwing techniques make
use of the same unseen force as well as similar
physical mechanics inherent by other throw-
ing arts, yet simultaneously maintain their own
identity. Before we explore in depth the 18
throwing techniques, let's study its possible
historical development.
48
interactions which often arose between des-
potic rulers and the colnmon people.
Throughout China's history there has been W..l
a degree of containment and isolation placed'
upon martial arts practitioners. Rulers didn't
want the common people leaming any type of
pugilistic skills. The military, on the other
hand, was well-trained in skills representative
of both empty-hand as well as weapon arts. ffi
;';#lY *l
Such a convenient one-sided arrangement
made it much easier to control people of lesser
skills. Laws, therefore, were passed which

li:
liL:.'
w -
ss
Defender Dr. John Ng (rtght) checks attacker's forward arm (1). The defender then qulckly
moves his opponent's defenses and applies a turning wri5t pull to off balance the attacker (2). He
then dellvers a palm strlke to the side of the opponent,s face (3). Stepplng outslde and dropplng
hls welght, he applies a pressure-polnt attack with hls thumb and forefinger to the outslde of the
opponent's neck (4). The attacker falls to the ground where he ls placed ln a necklock (5).
forbade the practice or use of martial arts in
public. These rulers forced practitioners to
train in secrecy and this accounts for the ex-
treme mystical nature that surrounds the Chi-
nese martial arts even into the 20th century.
The drunken 18 throws were forged as a
means to neutralize an attacker through mini-
mum motion and force to hide one's mafiial
arts skills. The 18 throws became the perfect
50
:
i.
t.
15;.i.:
i$
IiEr":ilr
rtr: .l:
self-defense weapon of the six harmonies
drunken boxer because of the drunken sryle's
unorthodox, almost hypnotic methods of
combat. By using the special 18 throwing
techniques, the drunken boxer could bump
against his opponent while applying a bone-
breaking throw and everyone would think the
drunkard simply stumbled and fell against his
attacker. The demise of the victim would be
attributed to his own undoing.
Since the l8 throwing techniques were
forged from the fires of actual combat, the
qpecial techniques will always hold an hon-
ored position in society. The qpecial throwing
techniques canbeusedby anyone rcgaxdless of
style, which makes its study of grcat impor-
tance to anyone wishing to improve his infight-
ing skills.
Composltlon of the 18 throws
The 18 throwing techniques are a small, but
key segment of the six harmonies drunkard
boxing style. The 18 throws offer an axt within
an art and is taught only to the most trusted
students. The drunken 18 throwing techniques
offerboth ameans ofattack as well as defense,
and while they resemble many other throwing
arts, they are unique in application. The throw-
ing methods possess almost no over-the-body
tosses. Throws instead are accomplished by
uprooting the opponent while applying a pain-
ful jointlock, deadly palm strike, orparalyzing
technique aimed at pressure points.
External components
The style's extemal components deal with
the union ofphysical attributes, theories and
concepts. Their effectiveness is determined by
how smooth the sequences oftechniques occur
as well as proper placement of one's body to
that of his opponent. The extemal concepts
include:
* Check Stopping the opponent's strike
-
without allowing it to lose its directional en-
efgy,
* Redirection The strike must then be
redirected to illicit-further reqponse from your
opponent. Redirection is furtherbroken down
into folding, pushing, lifting, dropping, pull-
ing and leading. As the fight changes tech-
niques, it will also be necessary to mix se-
quences of redirection.
* Striking During or at the end of a
throwing technique, qpecial "poisonous"
strikes can be used to leave behind damage to
the bone, tendons, muscles or organs. Strikes
are used at the discretion of the defender.
* Jointlocking techniques Jointlocks are
-
often appliedto illicitpain, joint dislocation, or
tom ligaments and tendons.
* Physical movement Special move-
-
ments are used which close the distance to the
opponent through light rapid steps. At close
range, the qpecialist switches to low strong
stances to undermine the opponent's center of
graviry. The throwing specialist will often stra-
tegically use his body as a weapon as he heaves
his weight into the opponent to accelerate his
throw.
Internal components
Intemal components of the 18 throwing
techniques fuel and add depth to the sequences
of physical techniques, which will only be as
strong as their underlying force. To this end,
training in the intemal methods is highly
stressed. The following lists the drunken 18
throwing intemal components.
* Intent Have a strong determination to
win. -
* Focus Each technique must be applied
- with the correct amount of en-
properly and
erw,
* Be supple When the body is soft and
-
supple the chi will flow and one will possess a
greater sensitivity to the slightest movement of
the opponent.
* Have faith Believe in your throwing
- faith your opponent will
abilities and through
be defeated.
* Apply chi The unseen force must be {ffi
- t.

activated and applies against the opponent's

energy transport system to short circuit his
ffi
movements. As long as your chi is focused,
how can :myone of lesser knowledge take
charge?
The extemal and intemal components must
work together. When this is happening, the.
opponent is left with little choice on defense.
Dr. JohnNgpossesses such consummate skills
that he can throw an individual through only
slight pressure from his palms. During the
performance of a throwing technique, Dr. Ng
will look as if he is merely going through the
motions. His movements are soft and fluid, yet
the opponent is slammed to the floor.
Self-defense aspects
The 18 throws make a wonderful self-de-
fense weapon. The small number of tech-
niques, concepts and theories help keep prac-
tice time minimal. The special throwings have
been developed so they can be applied against
a wide range of situations. The use of joint-
locks, pressure points and special hand strikes
further make the 18 throwing techniques ap-
pealing. Interchangeable concepts as well as
smooth sequence flow allow the 18 throws to
change as the opponent's techniques and
movements change. For example, a technique
applied against a punch can also be used
against a clothing grab, or with slight modifi-
cation, to neutralize a kick.
Training methods
The stance work, 18 basic techniques,
jointlocks and pressure points are simply the
foundation of tsiu pak hsien's 18 throwing
methods. The concept and theory of why and
how far is more important. One must mold his
techniques around his opponent. This is some-
thing that cannot always be taught. It must
instead be felt.
Hand-on-hand training, as well as reactive
body training, are used to teach one sensitivity
and proper use of energy. The true ability
offered by the 18 throwing maneuvers comes
only after constant practice with an individual
who understands the art. Once you understand
the concept, you will discover there is no limit
to the number oftechniques that canbe applied From a ready positlon (1),
the attacker delivers a
from the basic 1.8 movements.
stralght punch (2). The
Conclusion
defender checks the strlke
The 18 throwing techniques of the drunken wlth the opposlte hand and
six harmonies boxing style, or lok hop tsui pak grabs the back of the
hsien, is a secr€t art. It is the very heart of tsui attacker's neck (3). The
pak hsien and taught only to a master's most defender then pulls the
dedicated students. The soft, casual ideology attacker's arm dnd rotates
imparted by its teaching is also beneficial to hb head to the lnslde while
everyday living, since one leams to flow with attaclidng special pressure
potnts (4). Taklng
life's ups and downs. It has taken ten years to advantage of the attacker's
bring this wonderful art to the public. Now it overdrawn posltlon, the
may be ready to take its place among the many defender llghtly pushes the
great arts of the world. opponent's htp (5-6). Thts
O sends him to the ground
About the Author: Ricky Pickens is a Ten- (7).
ne sse e -ba s ed, drunken-s ty le practiti one r and
freeJance writer.
51
 ,arce lE

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--
-
 Chu Gan
The Forgotten
Mantis Style
Ghu gar is a complete and ellective lighting
system, with both soft and hard aspecls
woven into the style.
By Wilbur Rimes
r:::aT'#'iT,'-'?il'":,il1xi'
I monk of the southem Shaotin
\-/ Temple. Tung Chan. who's layman
namewas Chu FookToo, was youngerbrother
to the Iast Ming dynasty emperor. During the
fall of the Ming dynasry, Chu escaped to the
southem Shaolin Temple and eventually be-
come leader of the sect. One day while walking
through the forest, abbot Tung Chan observed
a praying mantis fighting a bird. Tung Chan
was amazed at how the mantis, who was much
smaller in size, had the upper hand over the
larger bird. He noted the quickness, strength
and multitude of blows delivered by the limbs
of the praying mantis. This was the beginning
of southem praying mantis kung-fu.
The southern praying mantis style is di-
vided into two branches: the chu gar southem
praying mantis style and the kwang sai jook
lum style of southem praying mantis. Chu gar
southem praying mantis is the original style
developed in the Rrkien southem Shaolin
Temple. A qplinter group later left the temple
and formed its own temple in the Kwang Sai
province, which they called Jook Lum Bam-
boo Forest; thus the name kwang sai jook lum.
The southem p*yirg mantis style cannot
be compared to the more popular northem
praying mantis version. It has its own evolu-
tion. In the Erst, the style is associated with the
Hakka people, an ethnic group in Southem
China. The Hal&a kept the style among them-
selves until the last 50 years when they began
to teach the st5rle to all Chinese. OnIy in the last
15 years has the style been introduced in the
United States.
Master Sammy Wong is now teaching this
sfyle in the Chicago, Ill., area, Master Wong
began the study of chu gar southem praying
mantis at the age of nine under renowned
master Wong Yook Kong. Master Wong Yook
Kong started the study of chu gar mantis in his
formative years underthe discreet discipline of
a temple monk. Master Wong chose six stu-
dents to carry on the style, one of whom was
master Sammy Wong. Master Sammy Wong
studied with his teacher until his death at the
age of79.
For those unfamiliar with southem praying
mantis, here is a brief explanation of the basic
terms and movements:
* Praying mantis horse stance (Tong long
ma): The basic stance of the chu gar mantis
style. From this stance offensive and defensive
movements are performed. Feet are about a
shoulder-width apart, with the front foot
tumed slightly inward and the back foot
pointed forward. The weight is evenly distrib-
uted. The lead leg initiates the movement in a
semicircular motion and equal distance is
covered by the back foot in a straight-line
sliding motion. Students first are taught to
walk in a straight-line pattem forward and
backward before advancing to more angles.
From this stance all vital organs can be pro-
tected.
* Beggar's lnnd (Hut yee-jen) combined
with the praying mantis stance: This consti-
tutes the on-guard position of the chu gar
southem praying mantis style. The hand posi-
tion is based on the praying mantis having its
elbows in and its arms slightly stretched out.
For the practitioner, the arms are stretched out
with the elbows tucked in to protect the center-
line and vital organs. The hands are open and
relaxed. feeling the opponent's moves and
sticking to him. In the southem praying mantis
sfyle, all attacks and blocks come from the
elbows. There is no drawing back to the waist
as in many other kung-fu styles. Chu gar
mantis uses a variety of open-hand techniques
and has specialized hand movements such as
thephoenix eye fist, gingerfist and three-finger
 t:
:

4-
.

.,:

&

a1;156;",i .'11;1

4{#d
,i{ss
,:tl:+.i;;:
,ri:..:.6:Jii,:+
.
::
i.,. ": *
I

Master Sammy Wong working the glngerfist, Here, master Wong assumes a half.lofus This ls a front vlew of tong long ma praying
one of many chu gar open-hand technlques. posfure, which teaches the student to sucker in mantis stance, In this form the student learns
his opponent by assumlng what looks to be an how to coordinate his lnternal power with
Photos by Fred Hernandez open posltion, preclse footwork.

qpear, and bamboo slicing hand, all of which

attack thebody's vitalpoints. These stri-kescan
# causeparalysis, as well as acutting offofblood
flow and distribution ofchi to vital areas ofthe
''!4.:
body. Kicks are delivered below the waist and
::. :- always used in conjunction with hand tech-
niques.
lt $,
The beggar's hand technique goes back to
&;= the time of Chu Nan Cheh, who was the first
b-
& layman to leam chu gar praying mantis after
a
leaving the monastery. He tried to organize an
arrny to overthrow the Manchu government,
*i;]
butbefore he could formulate his plans, he was
discovered and barely escaped with his life,
Found half-dead, he was nourished back to
health by kind villagers. Once recovered, he
toured the countryside trying to collect funds
to build an anny. He approached the house of
'1,:,' avery rich man who was also extremely good
in gung-fu. When he asked for money in the
fypical manner, the rich man got very angry
and tried to beat him. Chu, using only one
beggar's hand of the praying mantis sfyle,
severely beat him.
* Tan tien (Sucking in and out cJrcst and
abdomen): Sucking in the chest and abdomen
is one ofthe majorcharacteristics ofthe south-
em mantis system. This sucking in and push-
ing out movement can be usedboth offensively
and defensively.
Chu gar southern mantis' fundamental
@* o" "#
principle ts on ton chum bil loi lau hei sung,
meaning one should immediately block and
attack from any gate. Blocking in the chu gar
mantis style means more than a movement of
the arm; the practitioner must use his body to
Southern praylng mantis students are shown demonstratlng chi sao while locked ln combat. block the attack, which includes using proper
footwork to get the correct angle andposition.
Also important is proper tan tien breathing,
58
 The defender (left)
counters a low
gate kicking attack
and mlddle gate
hand attack.

!ffi
ry

Thls ls the side view of the tong long ma

praying mantis horse stance.
which helps control your power and absorb
your opponent's. Loi lau hei sung means,
"Welcome in the guest and when wd get tted
of him we kick him out." Or, we take in the
opponent's power, neutralize it and give that
and more back to him.
Forms
* Sam bo chin (Three-step arrov,) This
is the first fomr taught in chu gar -mantis.
Within this form are all the fundamental
movements of the mantis style. A student of
chu gar mantis must train hard and diligently
for at least one-and-a-half years to get a firm
grasp of the style. Traditionally in China, a
minimum of three years was required. Along
with the solo sam bo chin form, there is also a
two-man matching set where the student gets
the feel of his techniques. There are also many
othertwo-man exercises at the heart ofchu gar
mantis. Through these exercises the student
begins to develop feeling, timing, placement,
correct balance and proper positioning, proper
breathing technique and correct striking
power. Chu garmantis also has aversion ofchi
sao (sticky hands). This is one of the key
exercises in the mantis style. The student
leams to feel the opponent, to stick to his
opponent, and to launch attacks. Through
practice, one will feel his opponent's attack,
neutralize his power and simultaneously
launch his attack.
* Say moonsan sao (F our gate single hand)
The second set of the chu gar style. In this
-set, the student learns how to attack the "four
gates" with one hand. Meanwhile, the other
hand is sticking to and feeling the opponent, as
well as opening up gates to attack. The student
leams to walk in a circular pattem both in
attack and defense. From this circular pattem
he also leams various angles of attack and
defense with hand and foot techniques. Say
moon san sao is always done with a partner.
* Tong long chut dong (Praying mantis
coming out of the cave) This is the third
form ofchu garmantis. In -this form the student
leams how to coordinate his intemal power
with precise footwork.
* Boon ben lin (HalfJotus) This is the
last empty-hand form of the chu-gar style. It is
"The root of oll
power in chu gor
proying montis
comes from troining
the ton tien,"
based on the principle of a hal-f-lotus flower
floating on the water. A full lotus flower is
evenly balanced; half a lotus flower bobs up
and down and is unevenly balanced. This form
teaches the student to suckerin his opponentby
assuming a so-called open position, but in
reality his opponent is being luredinto a deadly
trap.
* Tan tien (lnternal power) The root of
all power in the chu gar southern - praying
mantis style comes from training the tan tien,
This intemal power has both offensive and
defensive aqpects. Proper training of the tan
tien will not only increase your martial arts
power, but will also benefit your overall
health.
At the advanced levels of chu gar mantis,
devastating blows can be delivered from one
inchl seven-to-nine blows from this distance
can be made in a matter of seconds with
enough power to do deep intemal damage,
break bones, destroy blood vessels and block
vital energy flow.
Training devices
Chu gar mantis has a variety of training
devices. Each of the four forms of chu gar
mantis has its own particular type of training
dummy to develop a particular aspect of the
style. Five-pound iron rings are worn on the
arms. The number of rings wom ranges from
three-to-eight depending on the level of the
student. Forms and others exercises arc per-
fomied with iron rings to develop intemal
power, spring energy, striking power
absolption, and power and stance rooting. A
variefy of training bags also are used: wall
bags, flat bags and multiple swing bags de-
velop striking power, timing and correct body
coordination. This also helps increase proper
perception and reflex action when being at-
tacked by a number of opponents.
Chu gar southem praying mantis is a com-
plete and effective fighting system, with both
soft and hard aspects uniquely interwoven into
the style. To expose more people to the chu gar
southem praying mantis style, an instructional
video is being planned. For more infomration,
write to Wilbur Rimes, P.O. Box 21349, Chi-
cago, IL 60621:\3121752.-1462.
6
About the Author: Making his first contribu-
, tion to Inside Kung-Fu,Wilbur Rimes is a
Chicago, Illinois-based martial artist and
free-lance writer.
59
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Push Hands: The Ck
By Michael Babin

rn':i L:;,::,': ;#:,i;:;: i:::;;'; the world of the senses!"

The seniormonk spoke without break-
studying
allows
a martial art, especially one that
great deal of bodily contact (judo,

I
a

ing stride. "I put her down on the other jiujitsu, wrestling, boxing or wing chun)
y;;:,%i:;;i:;i?:;,T Tf,,r side of the water. Why are you still carry- is that it's all right to touch others with
hints at the challenge of intimacy as expe- ing her?" whom you're training. However, because
rienced during push hands. He was still carrying her for the simple you're doing so in a regimented and
reason that intimacy,
being touched, being
An elderly monk and his apprentice close to otherpeople is
were out walking when they reached a a basic human need.
narrow and shallow stream which inter- Being touched is so
sected their path. A young and attractive important espe-
- been
cially if you've
deprived of it that
"The problem of -
infants who lack noth-
ing in institutional care
intimocy in toi chi push except regular cud-
honds comes from the dling will frequently
sensuolly gentle, slow fail to thrive and may
ond "sticky" feel of doing even die.
forms with o portner, " Unf ortunately,
many individuals are
deprived, for a variety
woman was hesitating on their side of the of social, parental and
water. She was clearly reluctant to wade cultural needs of
into the knee-deep stream. touching when they
Without a word, the elderly monk most need it as chil-
swept the astonished woman into his arms dren. They-grow up
and carried her the few feet across to the being vaguely uneasy
other side. His equally surprised appren- about physical con-
tice hurried across behind them. The tact. Part of them
monk put the young woman down and she wants physical close-
hurried off, obviously grateful but embar- ness andpartofthem fe ars it because ithas physical manner, it is less ttreatening to
rassed by what had happened. not been part of their experience. yourself (and others, male orfemale) to do
The monk continued along as if noth- Many North Americans fall into this so.
ing had happened. His apprentice fol- "ambivalent" category when it comes to Theproblem of intimacy intai chipush
lowed in respectfirl silence; however, af- intimacy and nowhere is this more true hands comes from the sensually gentle,
ter a few moments he was unable to re- than in the marnal arts. Not all of us are slow and "sticky" feel of doing some
strain himself and said, "How could you capable of the maturiry shown by the old forms of push hands with a partner. It is
touch a woman so intimately, master? We monk. important to remember that many people
monks mustbeeverwatchful ofthe lure of Part of the subconscious attraction of do push hands that are rather stiff and

Not everyone in the martial

arts is comfortable with the
r-
allen ge of fntimac
overly choreographed. you,re not likely
to feel emotionally threatened by such
practice (orleam anything ofreal value).
It is also important to remember that
the Taoist theories of chi flow and the link
berween sexual energy and its cultivation
have a great deal to do with tai chi_style
energy. However, such topics are outside
the context of this article. We,re talking
about emotional complications
of the
physical practice.
The difficulty withintimacy in a tai chi
push hands context lies
in having to
"stick" to and manipulate *oih",
person's body. Some people crave being
closeness that comes from
push hands practice.
touched and may consciously or subcon- may embarrass one ormore of theplayers
sciously leave themselves open to contact into discarding such exercises for gooa.
when doing so would be counterproduc_ It is a real Catch-2} situation which is
tive from a leaming or martial context. only.partly solved by a female player
Others fear it so much (either because wearing chest protectors
they're not used to it or because ofbad ex-
or having
women train only with otherwomen. Nei_
periences) that they ther is it a solution to exclude women from
1
refuse to be such training as has been done in many
touched or to make schools since tai chi began.
contact when doing The real answer to the question of
so would be neces- intimacy in push hands (or any martial
art
sary to leam the ap- training) is for each student to examine
propriate skills. I how he or she feels about the issue of
have had parlners
start to shake, cry
and have anxiety "The dffiiculty with intimocy
attacks because of in o toi chi push honds
the feelings that context lies in hoving to
suddenly over- "stick" to ond monipulote
whelmed them as a
result ofpushhands onother person's body.,,
contact.
Such feelings
tend to surprise and physical contact with both men and
embarrass both women. To really leam about yourself and
players and can others and to develop the necessary skills,
cause those most you must accept that occasionally during
affected to give up push hands practice, there will be awk_
the use of such ward moments.
training practices. Do like the Zen monk and put ..being
Another prob- touched" down when the moment is over
lem lies simply in and don't carry your enrotional baggage
the differences berween the male and from one training
session to another.
female anatomy. If you,re a man playing If you don,t leam to accept and ignore
push hands with a woman, where do you such
transitory feelings you may stop
push? If you avoid the torso out of fear of training
or restrict its expression to the
accidental contact, you're not doing your- point where
it may not be worth doing at
selfor yourpartner any favors. Neither of all.
you will leam certain skills if one or both About
A
rD
the Author Michael Babin is an
IS unwilling to "play" without restriction.
Ofiawa, Ontario , Canada-based martial
At the sanre time, too much contact artist and'free-lance
writer
 NEW BOOKRELEASESI/

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When Japan invaded the Ryukyu Islands (Okinawa)
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iie'

i
,
THE COMPL
Wing Chun
Primer By Randy Williams
rn ffi'.il' i: i ;.Til;}; il iffi .:'
I Chinese gung-fu styles, quite simple
I ,n ,pp"*on"" wrtn a dlstmct lack ot
acrobatic leaps and extreme looping motions.
It is a system built on scientific concepts and
based on the natwal motion of the human
body, not on the motions of animals. The entire
system can be called "wholistic" in that it is
complete, the movements of one phase of
development perfectty countering those of
another, only to be countered by a third which
in tum can be overcome bv the fust. Like the
Chinese game using handpositions to simulate
paper, scissors and rock, every wing chun tech-
nique can be countered by another. An old
wing chun proverb states, "Bock gai, bock
jeet," or "For every attack there is a counterac-
tion."
The system is comprised ofonly threehand
forms, one wooden dummy form and two
weapon sets. This would appear quite simple
to those who are accustomed to gung-fu styles
which may have as many as 72 hand sets and 36
weapon sets or more. However, although the
forms are few and easy to leam, to master them
requires patience, perseverance and determi-
nation. This mastery is vilal, however, as the
forms of wing chun are considered the "keys to
the system."
Siu leem tau
The first form, called siu leem tau, or "the
little idea," teaches the student the basic hand
motions as well as many of the concepts or
ideas of the system. The concept of center-
line-the backbone of the system-is intro-
_ExcerptedwithperntissionfromWingChunGungFu,TheExplosiveArtof
Combat@l9sgbyRandyWiltiams.Thesix-votumisetisavailibtethrough"{Jniqu"puitica-
rions,420l Vanowen pl., Burbank. CA 9lS0S.
For those
I
thinking that
ETE
wing chun
-is the answer,
duced in its basic form at this stage. The trainee
simultaneously leams the basic stance to-
gether with how to relax in motion, sink the
weight, remain calm and use power correctly
as well as the principles behind each of the
attacking and defending motions from the
form. Once these qualities are developed to a
we
- offer
certain extent, the student begins leaming the
five basic foot pattems, called "moving
stance" (ma boh) and a series of drills to build
better technique, powerl timing and angle
structure. He continues practicing the siu leem
tau form and will begin developing the intemal
skills of mind clearing, quietness, weight and
energy sinking and "softness," which in wing evervthing
chun means flexibie strength. At this level the
student also begins training in chee sau or
sticky hands, called this because of the way
two people's arms cling together with forward
reciprocal energy flowing betrween them. The
trainee's first sticky hand drill is known as chee
don sau, or single sticky hand. This gives the
student a good foundation in basic wing chun
reaction and sensitivity called gum goek ging.
you'll need to
-
There are five rypes of single sticky hand to
mastet at the siu leem tau level.
Chum kiu
Once the student has achieved proficiency
in all areas described above, he then progresses
to the second hand form of the system. This
form is called chum kiu, meaning "searching
for the bridge," but can also be interpreted as
-make your
"sinking bridge," which is a homophone in
Chinese. The "bridge" referred to is taken to
mean contact between two people but more
specific ally the forearm.
CloseRange -I ^ ^. . .
OeCISIOn easIef.
67
 II a g E
Thls ls an example of the yee jce keem yeung ma, the basic stance of wing chun. Beginnlng with the feet together (1), slmultaneously retract both
fists to your ribs wlthout touchlng the body and bend both knees so that if you look down, you cannot see your feet (2). Next, plvot both feet
outward on the heels until they are on a straight llne (3). To complete the posltlon, plvot both heels outward on the balls of the feet so that your
stance forms a pyramld (4).

E E
Yutjee choong kuen,lhe baslc punch, is executed by ftrst placlng the flst knucktes out on the centerllne (1) and uslng the elbow as the source of
power to piston the flst stralght ahead (2). On completion of the punch, the flst b retracted to the inside elbow of the opPoslte Punching hand as it
extends (3-4).

In the chum kiu form, the student is for-
mally introduced to the concept of stance tum-
ing and a variety of combination stance work
exercises based on the five "moving stances"
taught at the previous level. He is also in-
stn:cted in greater detail about the centerline
theory as it pertains to the horizontal elbow-
level motherline, blocking and attacking lines.
The eyes are trainedin chum kiu to quickly
focus and there is more emphasis on the devel-
opment of power, both extemally in the form
of torquing as well as intemally through learn-
ing to flow the chi, or intemal energy,
smoothly to various parts of the body.
At this level, training in important drills
such as lop sau, mum sai and syeung chee
sau-double sticky hands-begins. The con-
cept of timing one's movements in relation to
an opponent is studied in detail. Trapping
hands of many t,?es are drilied and shalpened
by chum kiu-level practitioners in the slow
attack exercises. Pyramid concepts and yum/
yeung (yiry'yang) theories are analyzed and
discussed in a classroom atmosphere, with the
instructor sewing as lecturer, assuring that all
students have a thorough intellectual under-
standing of the logic behind these and other
wing chun concepts. During such discussions
the instructor will use a blackboard to explain
some of the theory, but might also use objects
as varied as a ball of cotton, a tack or nail, a
serving dish, an opening and closing door or
other such unlikely items to help illustrate
different points. This is no coincidence. By
chum kiu level, the wing chun student can see
that all the workings of the system are clearly
based on logical, tangible facts and principles
which ap,ply equally to many everyday objects,
occurrences and sifuations.
The student at the chum kiu level is also
trainedin some ofthekickingtechniques ofthe
system, which are characterizedby their short-
ness and speed. An old proverb about these
kicks states, "Gyeuk moh hou fot," or "Akick
never misses." Wirg chun kicks rarely go
above the waist andnever above the chest. This
is because of the economical structure of the
system and the inherent danger of raising the

68
 3

iiii=

The photos at rlght (1.5) lllustrate the

slmultaneous lnward.twlsting, forward-drilllng
reclprocal pattern used to derelop gum gock
ging or sensltlvlfy in the forearms.

l=.'::.g:
:::::::r3!:" '"
ni:,i-+=:::::',',$jr
i1=: :ri;;:l

foot duringcombat, an action which automati-

cally temporarily immobilizes the kicker.
Wing chun kicks can be executed with ablock,
strike or trap or a combination of any two. To
develop this skill, the student is instructed to
practice some of the drills taught earlier with ;
kicks inserted at strategic points in the repeti-
tive drilling cycle.
Mook yan Joang B-
By the time the student has reached a sub-
stantial mastery of the first two hand forms, he
is ready to begin formal naining on the mook
yan joang, or the wooden dummy, which he
has by now been using to train basic blocking
and kicking motions as well as toughen the
limbs to prepare them for contact with another
person in the two-man drills,
The wooden dummy is a rnan-sized post
with three arms and one leg set at strategic II E
angles and suspended by two horizontal cross tltt::
iE
beams which pass through it and are anchored
to two vertical uprights. Training in the mook
yan joang helps smoothly release one's power sl
flE
into a stationary object. Some other areas
developed during this phase are: line structure,
ability toclose, flowingfrom onemotion tothe
next and a more realistic application of hand
and leg motions. Because of the perfect angle
of the wooden dummy's structure, even the
slightest error in one's own structure tends to
be magnified and can therefore be immedi-
ately recognized and corrected.
T.he entire form of wooden dummy mo-
tions, called mook yan joang fot yut ling bot,
contains 108 techniques as do all wing chun
sets, but only the first 60 motions are taught to
the student at this level. Only aftercompleting
the next phase, biu jee, can the remaining 48
tr w
Loy fon kuen, the inslde whip drlll, teaches basic sensitivify and arm posltioning. Beginning from
motions of the dummy be leamed. This is the tan posltion-(L), the person on the left shoob ajingjyeung vertlcal palm strike at hls paitner's
because part tr of the form is made up of chest, vhlch ls deflected by a jut sau jerk block (2). The person on the ieft lmmedlately diops out
motions from that set, which have not been and whips a clrcular loy fon kuen punch, but his partner counters wtth his own boang sau (34).
introduced by siu leem tau or chum kiu. Many

69
)
kicking techniques that do not appear in the
second or thtd form are found in this half of the
wooden dummy form. Sweeping kick, hook-
ing foot, wing leg, raising knee strike and other
leg maneuvers abound in part tr.
Much is leamed by constant practice with
the mookyan joang. Students leamtoproperly
direct power, keeping the body at thi pioper
distance from the dummy and the correct angle
in relation to the centerline. Stickingenergy, or
chee ging, is developed further asis body unity
and connecting energy (gan jeep ging), while
moviag the stance in and out as the hands flow
up and down from one side of the dummy to the
other. Eye focusing power, called ngon ging,
leamed at the chum kiu level, is put intoplay as
the eyes remain constantly fixed on the ienier-
line tluoughout the many subtle and radical
changes of the line that take place during the
form.
Another training implement is introduced
to the student at mook yan joang level. Called
the mui fa joang, or "plus flower posts," it is a
set of six, five-to-eight inch diameter rounded
stakes anchored in the ground and set in a
perfectpentagonalpattem with one stake dead
center. The height oftheposts canbe anywhere
from one-to-six inches depending on its in-
tended application. Various types of footwork
can be practiced and perfected both on top of
the level horizontal surfaces ofthe posts and on
70
g school's top students to train at a higher level.
Thls ls an example (1-5) of the
di
tan sau, or palm-up block, as
shown wlth toh ma step/sllde
footwork.
the ground between the posts. The vertical
surfaces of the posts can also be kicked or hit.
Biu jee
After the first 60 motions of the wooden
dummy can be executed smoothly withpower
and proper stnrcture, the student becomes eli-
gible for consideration to be taught biu jee, or
shooting fingers form, which even in today's
modem society is still considered to be a privi-
"Mook yon joong proctice
helps the student leorn to
properly direct power,
keeping the body ot the
proper distonce from the
dummy ond the correct
ongle in relotion to the
centerline. "
lege to be shown by many wing chun masters.
As another wing chun proverb states, ..Biu jee
mm chuet moon," or "The shooting fingers
form does not gooutthedoor."This meansihat
outsiders are not to be shown its secrets.
Nowadays, more and more masters are open-
ing up in the interest of spreading the art. This
is very fortunate for those of us who would not
otherwise be able to appreciate its higtrly so-
phisticated and technical wonder. Besides
having completed the necessary prerequisites
of siuleemtau,chumkiu andpartlof the mook
yan joang forms, along with all their related
drills and techniques, the practitioner must
also be worthy of such knowledge and have
consistently displayed the sense of responsi-
bility required. This means not only self-con-
trol and trustworthiness, but patience, loyalty
to the school and the abiliry to get along with
fellow students, abstaining from fighting or
otherwise misusing the knowledge of wing
chun concepts and principles. If the instructor
feels that the student has met these criteria, he
will be invited to join a select group of the
At biu jee level, the student begins formal
training in chee gyeuk or sticky foot technique.
Sticky foot is a form ofcontrolled leg sparring
which has various set pattems to be drilled as
well as a free form version known as double
sticky foot, where spontaneous reflex action is
developed in the legs in a manner similar to the
hands.
Chee gyeuk training also encompasses
ground fi ghting- day ha chee gyeuk- which
teaches the wing chun fighter to attack and
defend when one or both fighters go to the
floor. Kicking is practiced from a supine posi-
tion, aimed up at a standing opponent. Various
jointlocking, trapping and striking motions
previously applied from an upright fighting
position are taught at the biu jee level, are
applied from the same supiae position on the
floor.
Sticky-hand training also advances further
at this level. Forexample, the gwoh sau combat
sticky-hand exercise is practiced with one or
both trainees blindfolded. Multiple-partner
sticky-hand practice by biu jeeJevel students
helps to prepare them for the possibility of
multiple attackers in a real combat situation.
More emphasis is placed on the ability to close
and leave the gap-affacking and defending
from a position where both fighters are apart
without bridge contact. This training, known
as lut sau chee sau, can be combined with chee
gyeuk techniques to create lut sau chee gyeuk,
which is wing chun terminology for free spar-
ring with the hands and feet.
Other areas of biu jee development are the
intemal and extemal exercises known as hay
goang (chi kung) and teet sa jyeung (iron
palm). The former trains and improves the
ability to circulate and direct the flow of chi,
resulting in more powerful and explosive tech-
nique, while the latter develops the bones,
muscles, tendons and blood vessels of the
hands to strengthen and toughen them. This is
important because by biu jee level, the student
generates a substantial amount of whipping
power (bau ja ging) with the hands, and they
must be strong enough to withstand the impact
of their own potential power.
Biu jee students are encouraged to delve
more deeply into the theories behind the sys-
tem and to prepare themselves to become in-
structors of the art. This implies that they must
be completely familiar witli all aspects oi wing
chun, both physical and mental, as well as

After completlng two look sau cycles (1-2), the author (left) coverts his low teft fook sau to a grab (3), pulling hls opponent into a lop/fun sau trap/
chop arhck (4), followed by a dal pock da chahng Jyeung low slap block/spade.palm attack (5), Thfs k converted tnio a pon geng sau neck trap ihat
pulls the opponent lnto a headbutt (6).
having developed spiritually. A true master of
wing chun should be compassionate, helping
the disabled, elderly and the poor. He must be
knowledgeable, humble, respectful, and non-
violent, setting a proper example to all wing
chun students.
Weapons
After reaching a substantial level of devel-
opment in the biu jee form and all of the
additional knowledge described above, the
student is ready for weapons training. The
wingchun systemhas only twoweapons forms
the look deem book gwun (six-and-a-half
-point pole) and the "bot" jom doh ("eight"
slash butterfly swords). These weapons were
introduced into the system by Wong Wah Bo
and Lrung Yee Tai, two ancestors of wing
chun lineage who were performers in the Chi-
nese opera and were proficient in the use of
many types of swords, knives, spears and other
ancient Chinese weaponry. Like all otherwing
chun kuen, the weapons sets contain a series of
108 motions. Also like all the other forms, the
weapon sets contain short sequences within
the total sequence designed to aid flowing
from one motion to the next and to suggest
possible combinations of techniques from
which combinations ofprinciples can be deter-
mined. Most such fragments are made up of
tfuee motions, as this is the number of "flow-
ing" in the system. Once a wing chun fighter
has attacked, he will generally continue to
in with two more attacking motions. The flow
is developed and improved through forms
practice. An old wing chun proverb states,
"Som jiu chai doh"- "Execute three motions
n:,
at one time." Stances and footwork in the pole form are gen-
In look deem boon training, the student is erally lower than those of the hand forms to
taught attacking and defending motions with compensate for the added weight and momen-
the weapon. Some of these motions are com- tum of the weapon and to strengthen the legs
bined with footwork that the student is already while the upper arm and body are strengthened
familiarwith; however, there is some foofwort by the swing and snap of the pole. Certain
in the weapons sets that is unique to those sets motions of the look deem boon form require
and is rarely seen in empty-hand combat. the student to snap the pole up and down or
Although across the body vertically, horizontally or
wing chun diagonally, The snapping action in the wrist
ls com. and arms developed by zuch motions is called
prlsed of ngahn ging----elastic energy-and can be ap-
only three plied to empty-hand techniques as well. Simi-
hand forms, larly, working with the heavy "bot" jom doh
one wooden
develops the wrist, forearm and finger grip
dummy
strength while training the basic attacking and
form and
defending motions of the knives.
two weapon
Both weapons forms are comprised of
sets, to
master motions based largely on the same principles
them as the empfy-hand forms, with iertain adjust-
requires ments made for the stnrcture of the weapons
patlence, and the transference and focusing of power
PerseYer- into a smaller area such as the tip of the pole or
ance and
the edge of the knife.
determlna-
During the period in which training with
tlon.
weapons is introduced, the student is also in-
stmcted in the use of the rattan ring, which can
be placed over the forearms during shadow-
boxing practice, encouraging the student to
apply smoother circtrlar rolling motion to his
technique and also enhancing the ability to
flow flow smoothly from one motion to another._
O
About the Author: Afrequent contributor to
Inside Kung-Fu, RandyWilliams works and
teaches wing chun in Singapore.
71
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 Speed vs.
Placement:
Which Do You Want?
Using your arms and legs to iam a
faster opponent's attack doesn't mean
you won't get hit. But you may be in a
position to hit back with authority.
By Dave Dexter
Wrs,*'plt*i:i*l#
gories: who is quicker, who is stronger, and
which style has the best techniques. My opin-
ion on the subject tnay raise a few eyebrows
from die-hard traditionalists in thevarious arts.
Looking good can be "skin deep," but the
reality of combat is to the bone. Good combat
techniques are not leamed only by "touch
sparring" (light contact); going all out with
protective gear occasionally will serve to test
your skills in the extemal world that exists
independently of perception.
If your style is basically offense with very
little defense, you'd better hope that your first
two strikes land with authority, because if
you're up against agood defensivefighterwith
proper hand/armfleg placement techniques,
you could be in for a painful experience. The
term "placement" has several meanings.
Proper utilization of one's legs have both a
-
solid stance yet remaining flexible while al-
lowing ease of movement is only one piece
-
of the puzzle. Using your arms and legs to jam
and block your opponent's punches and kicks
help position you defensively when you are up
against a faster opponent. This will cause him
some pain without you having to throw the
initial punch or kick. The argument in this
situation will be, "If he's faster than me, how
can I block his punch or kick'I"
Let's clarify that fighting defensively,
leaming jamming and intercepting techniques,
doesn'tmean thatyou can'tbe hitijust that you
will survivetheconfrontation. Trying tomatch
your opponent's movements by coun-
terpunching (only) isn't practical either. Hold-
ing your hands near your face, keeping your
elbows in tight, deflecting punchesTkicks
down or to the side away from the centerline
makes you a much harder target to hit with
authority.The idea is to slow your opponent's
punches and kicks with some well-placed
defensive blocks, while still protecting your
centerline.
74
When an opponent squares off, your initial
stance is important. If the techniques men-
tioned here are to be effective, your defensive
position must be solid. Ifyour style causesyou
to carry your hands too low or too high and
your stance is wide with most of your weight
on the rear leg, an indirect attack by your
opponent could fake you out of position. This
can cause you to be hit or knocked down
because of poor positioning and/or balance
(instead of his technique). A good stance is the
classical on-guard position. Your lead leg is
tumed slightly inward at the knee to Protect the
groin area, feet are a natural step apart, weight
should be equally distributed (no more than
60-40 rear-to-front), and right and left lead
forward (your choice). The forearms are
tucked in vertically directly in front of you,
with your hands protecting your face. This
creates a good, solid defense, yet the stance
allows for quick advance or retreat and ease of
lateral movement.
Example: As your opponent begins to
throw a straight kick, you anticipate his move
by shuffling forward with a raised lead leg
(shin). You're hoping to jam his attack in
midmotion and cause him some pain in the
exchange. (Remember, your weight at the
moment of contact must be directed slightly
forward and down to counteract his incoming
force.) This jamming and/or blocking effect
helps you nulLify an opponent who is quicker
and possibly more skilled. If he makes contact
too soon with your incoming leg, his balance
can be disnrpted and he could be felled from
meeting early resistance and/or from the force
of the block alone. When your shin or foot hits
his shin/knee/thigh, the block can be painful to
one orboth figlrters, but ifdone correctly, your
opponent should bear the brunt of the blow.
Using your elbows to block and/or jam your
opponent's intended strikes will not only slow
him up, but give you an edge because he has
experiencedpain and his concentration maybe
broken.
Further emmples: You are in the on-guard
position as your opponent attempts an over-
 Author Dave Dexter (right) assum€s a ready
posltion (L). He then turns out hls elbow to
meet the lncoming blow (2). Bone-to-bone
blocks can end most confrontatlors with the
# first exchange (3). Photos 4 and 5 show a
variation on blocklng with the elbow. Thb
works well agalnst hooks and looplng punches.

hand straight right or right hook (note: your right hand should be protecting the left side of
arm/elbow position will change slightly, de- your face, while your palm should be open for
pending on his angle of delivery). You move use in blocking, deflecting or parrying. As
your arm from the vertical on-guard position, your left lead foot plants, your left-hand lead
tuming your left elbow out and slightly up and should make contact with either your
placing it in the direct path of his incoming "The key opponent'sbody orface. Whetheryouland the
punch orhe affempts tocounter,block, parry or
strike. The desired result is for your elbow to
fade backward, it's wise to carry your rear (or
meet his wrist or hand, at least causing him is defense, defensive) hand in the above-mentioned posi-
discomforl and possibly breaking some bones.
This principle also works well with incoming proper use tion. If he's faster than you, the result may be
in your favor because more often than not his
side kicks. Your elbow makes friends with his
ankle, calfmuscle orkneejoint by dropping or of ongles follow-up hit will be directed either at the left
angling your arm at the point of contact (de- side of your face (his overhand right or right
pending on whether he throws a side kick, ond conserving hook) oracounter to the right side ofyourribs.
And your right arm can partially deflect the
round kick or hook kick). Proper distancing is
most important when using intercepting
your energy. " strike. When he throws a left cross, hook or
blocks because to be effective you may have to straight left (assuming your position hasn't
shuffle forward to jam or lean backward for changed), your right hand should be close
bone-to-bone contact. enough to yourhead to protect your face. Also,
"Whytake achance intercepting a strike or your right arm and elbow generally cover your
kick when it might be easier to lean, shuffle or rib/chest areas, guarding against a left-hand
move away from a hit altogether?" you may counterbody punch or kick.
ask. For those who are quick and light on their
feet, movement may be the best weapon. By
comparison, .rn average practitioner who may
not be as quick with the hands or feet can
certainly benefit from a strong defensive
block-and-counter style.
ln terms of hand placement, using stop-hits
and/or jamming techniques are just two of the
many available options. If the opponent is
faster, keeping your hands in the on-guard
position as much as possible is a necessity.
When closing the gap, your defense must be
tight tokeep a clear shot from penetrating. For
example, if you aftempt a straight left lead as
you shuffIe forward, slightly raise yourleft leg
(to guard against a low counterkick). Your
76
 From an on-guard position (1), the attacker
attempts a left lead punch. Dexter, havlng the
better angle, uses a parry/deflection to negate
the opponent's incoming blow (2). He lands a
straight right counter (3). Note: If an opponent
had kept hb rear defensive haod up to the left
side of hls face, the counterpunch could have
been parried. Photos 4 and 5 show the correct
hand position and counter optlons for the
opponent. He could not land a punch in the
first sequence but could have avoided the
counterstrike with prop€r hand positioning.
Knowing how to shuffle in and to the side
while disguising your intentions (without
overlelegraphing) wil aid you in setting up
good placement blocks and give you more
angles from which to use yoru techniques.
Proper hand/arm positioning becomes the
nucleus of your techniques. Example: How
many times have you seen an orthodox fighter
facing a southpaw stylist repeatedly hit and/or
knocked down with a straight right or a right
hook over the orthodox fighter's left jab? Too
many martial artists andboxers carry theirleft
lead hand or both hands too low to defend
against a strong-angled right lead attack. They
rely on neck movement and/or leaning back at
the waist to avoid a punch or kick. This places
them in a retreat mode, which limits the power
and effectiveness of their retum strikes. Think
interms of usingyourentirebodywhenpunch-
ing, blocking or jamming an opponent's
punches or kicks. It's like going fishing. First
you bait the hook. Then you draw the opponent
::
:
in with what appears to be an open defense,
keeping in mind your objective to meet his
incoming limbs with your fist,-elbow, knee,
foot, or in some cases the top of your head.
Don't laugh. Many fighters have broken their
"Too mony mortiol hands on an opponent's skull and it only takes
one misdirected punch to accomplish this.
ortists ond boxers The use of stop-kicks and punches inter-
cepting your opponent's strikes in midmotion
corry their left leod justbefore he makes contact is anotherform of
honds too low to proper placement; not only are you striking
him, but with his forward velociry, he is strik-
defend ogoinst o ing himself. This causes pain and confusion.
Of course. it doesn't hurt to have a Mike
strong-ongled right Tyson-like right and the reflexes of an early-
day Ali, but for those of us who are less
leod ottock," fortunate, solid defense mixed with feints and
jarring blocks will make sparring with you no
picnic. The technically trained martial arlist
who thinks the opponent in front of him is
slow, awkward and lacking sufficient skills
could find himself getting frustrated, tired and
{1), the opponent beaten (because of the unconventional tech-
Th€ defender then niques) by the less-experienced fighter.
forward using a raised The keyis defense, properuse ofangles and
rightJead-shin to Jrm and cause pain the conserving your energy. If your opponent
charges in throwing a flurry of punchesTkicks,
deflecting or jamming the fust exchange will
set the tempo of the fight. Your patience,
coupled with his inability to solidly hit you,
will make him hesitate and disnrpt his concen-
tration. Once his speed of delivery is offset,
you have gained the advantage.
/.\
t
About the Author: Dave Dexter is a Southern
Califurnia-based martial artist and frequent
contributor /o Inside Kung-Fu.
77
 \
&

s
ffi

i\\i

\\.
.:i
\-\\
.
.rtr\\i,
N.ii

M
 Tai Chi's
Straight Sword
The Key that Unlocks
D evastating Empty-Hand Techniques
By Robert Dreeben
rn l:Jfr,;Tj'trf i^[ii..."."r"a1:
I ;:lJilT;j, 3ilil",lt";,'h::'J"
many sifu don't know the saber, qpear, staff
and rare whip tai chi weapons forms. Some
people who have never practiced tai chi may
mistakenly get the impression that the straight
sword is a flowery, dance-like form with few
combat techniques.
However, nothing could be further from the
truth.
The gim form contains a fu1l array of prac-
tical fighting techniques: close range, long
range, slashes, cuts, thrusts and empty-hand
applications. It is important to remember,
however, that all swordfighting has one main
objective: to stop the opponent by disabling or
kilJing him in a bloody and bn:tal fashion.
While the saber or dao accomplishes this by
deep cutting lacerations or by body-part dis-
memberment, the gim employs precise liga-
ment and artery slices combined with vital area
thrusts.
Students of the gim will notice the emer-
gence of the classical tai chi postures such as
slant flying, brush knee and push as well as
others with the sword form. However, there are
other movements like the advancing leap,
footsweep and meridian strikes that also
double for empty-hand techniques. Most prac-
"lVost kung-fu stylists use
only obout 50 percent of
the secrets ond opplicotions
contoined within their
forms. "
titioners, though, don't look any deeper into
the form and see only the blade work. Because
kung-fu is a dynamic, multifaceted art, many
empty-hand and weapons movements are in-
terchangeable. In the Filipino arts, for ex-
ample, students leam that stick, knife, sword
and hand fighting are interchangeable. A
combat strike usedfor acircular attackwith the
arm remains the same regardless of whether
you are holding a knife, club staff, sword or no
weapon at all. It is the principles of combat
physics that transcend all technique. From a
different perspective, look at the beginning of
wing chun' s bil gee form. The form opens with
the traditional straight punch followed by
osci-llating pivots of the hand and fingers at the
wrist. This is not just for practicing wing
chun's superb bil finger qpears, but also for
using the wing chun butterfly sword to deftly
and economically slice the opponent's wrist.
Even in karate, most sai and tonfa kata use
motions identical to empty-hand karate blows.
For tai chi students, thoroughly leaming the
sword and its practical applications is benefi-
cial as it fills in empty gaps of technique in the
tai chi solo form. The secret is to know which
movements are strictly sword cuts while rec-
ognizing the empty-hand strikes.
Combat applications
In the traditional Yang style gin.r form, the
forward leap is repeated several times during
79
 Using a tal chi the course of the form's sequence. Often dur-
palm strike and
push, the
ing a combat encounter, it becomes necessary
author sends to "chase" the opponent. Afteryou've admini-
his attacker stered a push, kick or other powerfuI move-
backward (1- ment that sends your oPPonent flying back-
2). To cover the ward, you want to maintain "sticking" contact
distance, the withhim sothat asheis goingbackyoucan still
defender then apply follow-up strikes to complete your ini-
uses the tal chl tial affack. To successfully accomplish this,
leap from the you may need to take long, leaping stePs to
sword form to
keep up with the opponent's backward fall or
finlsh off the
attacker (3). retreat. The sword leap trains you to perfomr
this most efficiently. Although the sword leap
uses a circular parry then straight thrust with
the blade, empty-handed you are unlimited in
your choice of technique.
Iland sword
A main feature that distinguishes most
kung-fu sword forms from other styles is that
the rear empty hand is actively engaged in all
the sequential movements and postures' The
reason is often threefold: to augment the chi
extension through the emPry hand into the

"Torget oreos
in the gim form
fovor the throot,
behind the eor,
eyes, nostrils, select
spots on the torso
ond especiolly
under the jow."

hand with the sword. Thus energy flow is

amplifiedby assisting with the fingertips of the
free hand; in certain techniques the rear arm
::
wilI act as a counterbalance to help transfer
more power extension in the strike; and, the
empty hand is used to strike, block or grab in
l
different directions. This is where many pres-
sure-point strikes will be found. The sword
hand is formed by extending the middle and
index finger together, curling the last two and
pressing against them with the thumb. The
theory behind this configuration is that by
having out only two fingers, the chi that would
normally diqperse to the other fingers now
concentrates into the middle and forefinger
and creates a more powerful weapon.
Target areas in the gim form favor the
ffi throat, behind the ear, eyes, nostrils, select
spots onthe torso andespecially underthejaw.
Strikes veering diagonally upward under the

80
 The defender
on the rlght ls
grabbed (1).
Uslng the tal
chl flnger
sword (2), he
strlkes the vltal
area under the
opponent's Jaw
(3). The sword
hand is formed
by extending
the middle and
lndex ftnger
together,
curling the last
two and
pressing
against them
with the
thumb.

Shown above are trvo classlcal posfures from

the tai chi sword form. A main feature that
distlnguishes most kung-fu sword forms from
other styles ls that the rear empty hand ls
actively engaged ln all sequentlal movements
and postures,

jaw are effective because they instantly uproot

the enemy and weaken his power.
Weapon disarm i:
At the end of the gim form is a curious
movement thathas you transferthe sword from
one hand to the other. The hidden application
to this is used for disarming the opponent's
weapon, be it a sword, stick or knife. This
valuable technique works well at a variety of
angles. The mechanics are that you first seize
the bottom end ofthe opponent'sweapon, then
sharply twist it back around his hand to break
his grip while securing your own. In some
cases you can follow the disarming mofion
with an immediate cut or stab with his weapon.
Foot sweep
The tai chi footsweep in the gim form is
dynamically used to simultaneously cut and
sweep the opponent. The sword action in this
movement employs body torsion to enhance
the slicing effect. Empty-handed, this tech-
nique works well against an arm grab or any
attack aimed at the opponent's leg.
These sword principles help reveal one
simple truth: Most kung-fu practitioners only
:aji+
use about 50percent ofthe secrets and applica-
tions contained within their forms. The only :i.I
limits are your own. .ln
6 i .i!:1

About the Author: Robert Dreeben is a kung-

fuinsh-uctor andfreeJance writer living in
Yonkers, New York.

81
 -
MAIN EVENTS 3311. Princeton, NJ 08540; (@9) 452' Waterloo, Ia. Covered will be
Contiruredfront page 29 September 14th-16th 2208. Jun Fan trapping hands, FiliPino
separate workshops at the United ST. LOUIS CHINESEMAR- September 15th-16th kali, (espada y daga and single
States Martial Arts ComPetitions TIALARTS ASSOCIATION JEET KUNE DO SEMINAR IN knife) and pentjak silat. Contact
in Houston, Texas. Workshop WORKSHOP ON WING IOWA. Barry Yedwabnick, Wetoskey Academy of Martial
No. 1: the tai chi classics. CHUN. Basic punches, basic certifi ed apprentice instructor Arts, P.O. Box 65, Kendallville,
Workshop No. 2: The song of footwork, ma kuen, sil lum tao, under Paul Vunak, will be IN 46755; (2t9) 837 -7 454.
pushing hands. Contact Vemon kick defense, one-hand fighting, teaching a two-day seminar to September 29th-30th
Petersen. 1418 Juliet Ave., St. two-hand fighting and self- cover trapping with stick, dagger WING CHUN SEMINAR.
Paul, MN 55105; (612) 699- defense techniques. Training and empty hand. Stick and Presented by the East Provi-
3865. will be headed by Robeft dagger training and graPPling dence, R.I., study group
Septemtrer 8th McFieid. Contact the St. Louis also will be taught. Contact division of the North American
KALIIEET KTINE DO SEMI- Chinese Martial Arts Associa- Langley J. West, School of the Wing Chun Association. ToPics
NARINNEWYORK. Barry tion, P.O. Box32Ll4, St. Louis, Combative Arts, 1201 Oakwood include streetwise self-defense
Yedwabnick, apprentice instruc- Mo., 63132. Village, Coralville, IA 52241; tactics, translating chi sao
tor under Paul Vunak, will teach September l5th-16th (319) 354-5798. exercises into a practical
a one-day seminar on flowing LARRY HARTSELL SEMI- September 22nd fighting tool and understanding
and sensitivity. Stick, knife and NAR. A two-day seminar in jeet NORTHWESTPMAS the wing chun system. Contact
empty-hand methods will be kune do concepts at the ESCRIMA SEMINAR WTIH Keith Allan or Paul Hoover at
covered. Contact School of the Princeton Academy of Martial RENE LATOSA. Open to all (401) 438) 9847 or the
Combative Arts, 8800 Shore Arts. Contact Rick or Amy beginning and advanced madial NAIVCA Headquarters, P.O.
Front Pkwy., Suite 95, Rocka- Tucci, Princeton Academy of artists. Will cover basic and Box 538, Bridgeton, NJ 08302;
way, NY 11693; (7 L8) 634- Mafiial Arts, 14 Farber Rd., advanced principles of combat (609) 45r-7837.
escrima. Contact Dave Eng- September 30th
strom, 31713-50th Ln. SW, APt. THE25THANNUAL
PUT SOME PUIIICH IIII YOUP READII'IG! X-304, Federal Way, WA NORTHEASTTOURNA-
( 98023; QaO 8$-224L MENT OF CHAMPIONS. At
September 22nd-23rd the Hamburg Fieldhouse, 14
CHAI SIRISUTE ON MUAY miles north of Reading, Pa., on
THAI BOKNG. At McElroy's Rte. 61 atl-78. Contact George
Martial Arts Academy, P.O. Box A. Dillman, R.D. 1, Box 7780,
22243,H:lton Head, SC 299251 Reading, PA 19607-9744; (215)
(803) 68 1-6538. 777-8444.
hy: WILLIAM HEilDEnSOil September 22nd-23rd A
O
DAN INOSANTO SEMINAR in
WING CHUN EXPERT

FEATUBING:
, THE CON\R1VERSIAL FtGHr BEMEEN
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The World Wing Churt Kung Fu Association
, BACK FIST VS. STRArcHT PUNCH
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THE SIZE 0F THE B00K lS 81/t" X 7" , CHI GERK ISTICKY LEGSI , TRAPPING HANDS
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82

tr DIRECTORY
Listed below are some of the finest martial arts schools in the world. For information on how to be listed, write
Inside Kung-Fl, 4201 Vanowen Place, Burbank, CA gI 505 or call (81 8) B4S -2656.
ARIZONA
Ircon Fong's Wing Chun A€demy
920 S. Craycroft 8571 I (602) 747-9553 in*.
Augutine Fong
Scolbddle Fong's Wing Chun Aademy
2200 N. S@ttsdale Rd.
S@ttsdale. AZ 85257
inst.: Manny Vdgueu
fascor Karate Mart and Supply
2501 N. Campbell Ave. 82719
(602) 326-9319
CALIFORNIA
E/ Calo, Kung-Fu San-S@
155 Jamacha S1.92020 (619) 446-5600
inst. m6ter R. Gater'@d
Long BeachProgresive Fighring Systems Inc. JKD
Coo@pb/Filipino MA Box 33-233 90801
(213) 439-2805 inst. Paul Vunak
Ios ftge1es Shaolin Kung-Fu
2847 Wchingron Blvd. 90018 (213) 737-9644
Ranc}o Rancho Calif. Martial Arts
421 I I B Avenida Alvarudo 92390 (7 14) 6'16-"t 5t1
sifu: Stoney Lre
RichmondPa Kta Chtng/Kung Fu
I l10l Midlothian Tumpike 23236
inst. Sifu Bok Nam Park
RrTgecrest Ridgecrct Aademy of Martial Atr
Progr6i\e Fighling Sy.rems. Inc. J.K.D.
Concepts/Filipino Manial
733 tnyo Kern Rd. 93555 (619) 446-5600
inst. Mike Patke
San Francilco Choy La\ Ful Kung-Fu lnslilute
6152 California St. 94121 (.415) 752-0791
Mster Tat-Mau Wong
San Fruncisco'fat \Nong Kung Fu Aedemy
2901 Clement St. 941 2 l Claremont Clatefront National lnst. of Modern
Simi Valley Wing-Chun Choy-Lai Fu! cung-Fu
Aw.
1486 E. Los Angelo Ave.
Simi Valley, CA 93065
(805) 527-217r
inst. Frank Spangler
CONNECTICUT
GindallWaldorf Canrer's Whire Swan Srudio
2704 Grindall, CT 20602 (301) 685-2633
inst. Roy Canter, Jr.
FLORIDA
Jacksowille Chinese Boxing Aedemy & Supplia
1537 N. University Blvd.322tt (904)'1434543
Sifu Jack Garcia
Taapa Wah Lum Kung-Fu
8602 Greenwood Ave. 33617 (813) 980-0237
inst. Arthur D'Agostino
GEORGIA
Maietta Ph@ntx Drugon Kung-Fu Aodemy
I 178 Jill Lane 30060 (404) 427-5864 sifu
G. Torres
ILLINOIS
Chicago Chiqgo Center for Tai Chi & Chi KF
505 N. Lakehore Dr., Ste.2206,
(312) 472-2220 inst. Gary Clyman
Cr?iago Chu Gar Sourhern Praling Vanri.
Kung-Fu P.O. Box 21319,60621 (312)'152-1462
Milter Sammy Wong. inst. Wilbur Rime
Chicago Green Dragon Kung-Fu
P.O. Box 2888971,60628-8971 (312) 995-0710
Gerald Warren
C,h rZago Tsai's Kung-Fu lnremational
Teny O'Conner
Crr.ago Tsai's Kung-Fu International
1639 W. Belmont 60656 (312) 3,18-3322
inst. Mster Tsai
Clrcago Tsai's Kung-Fu International
inst. M6ter Tsai
Chicago Master Tsai's Shaolin Kung-Fu
Headquarters
7211 W. Irving Park Rd. 60634 (312) 589-0700
Chicago Chinese Martial Ans Associarion/Bak
Shaolin Eagle Claw Wushu lnstirute. 4356 N.
Milrvaukee Ave., 60641 (.312) 202-9254
Grandmster Fu Leung./lnstructor: Sifu Cardona
Weil ChicagoTaiChi Chuan Shaolin Chuan Assn.
940-42 E. R@sevelt Rd. 60185 (.'108) 231-2222
Master/inst.i Joseph Podaro
MARYLAND
Balaaole Goh's Kung-Fu
6315 Harford Rd. 21214 (3Ol) 426-5515
Bahimore Livingstot Kung-Fu Fitnes Center
224 S. Haven St. 21224 (.301)732-4890
sifu Edgar Livingston
BabimoreTao ChtanPo KF Club
801 Back River Neck Rd.
BarmoreWing Chun Kung Fu Schmlof Maryland
209 W. Mulberry St. 21201 (301) 685-2633
sifu John Clayton
Gaithersburg Chin*e Kung-Fu Institute
2l I N. Frederick lsr Flmr (301) 921-0003 sifu
Joe Dunphy
Raadal/slown Goh's Kung-Fu
8727 Libenv Road 21133 (301) 426-5515
frrio, Chinse Kuf,g-Fu Insrirure
8801 Orchard Tree Lane 2120.1 (301 I 823-8818
sifu Chen Laing Huang
WaldorfCantet \ \\'hite Swan Srudio
270:l Grindall Cr. 20602 (301 ) 615-0954
insl. Rov Can!er. Jr.
ll heaton \ia Kung Fu Schml
I 1223 Gerogia Are 20902 (301 )
9,16-,121
insr. Tai I im
MASSACHUSETTS
Spnngleld 28 lsland Pond Rd. 0l I I 8
(,113) 737-2707 inst. Keith Ro1
MICHIGAN
Bunon Hsing-l K.F. & Pekiti Tirsia Kali
4168 S. Saginav St.,18529 (313) 743-1450
MISSISSIPPI
Hailie$urg Ame|@n Kenpo Karare Asociation
109 S. 27th Ave. 39401 (601) 264-51 I I
MISSOURI
Leha) Lenay Mattial Atr Center
9025 S. Broadway 63125 (314) 544-3370
sifu lke Eichholz
NEW HAMPSHIRE
\,lanixl Atr
J Treftonr Sr. 03743 (603) 192-2t65
ins!. Sidne] Autin'Angei! S!uc!
NEW JERSEY
Elcaberh Iat Chi \\'u Shu Cenrer
215 Broad Srreer 07:01 {:01 I 992-867E
rns!. Sidne\ Au(lin {ngela Souci
I reehold Zen Combar ]nsurure. \'adha E8t Indian
Karare 1:01) 5r-i{5+9 insr Len \{al6e
Si.,t1enr7le Sun Center \{Nn Fir Ging Fu
,116 Sickler \illage Cenrre 0E0El i609) 728-6632
insL John \'leEge.. Siiu Perage(r
NEW MEXICO
Cedar Crest Lee's Cuns Fu Insrirute
t2,ll8 \ Hqr I-1 \-0u^ .0.. i.t-:n,o,...
Stere Lee Johnson
NEW YORK
-Brootl7z Buddha Hand \\'ine Chun Kung,Fu
1305 86rh Sr. 11228 (718):59-l:5r
.F-
',1,
/ Ne'| Bruwwick Dnnn's Wing Chun K.F. A€demy
Mmter Jams Cama
Btooklln ChewgWah 7-Srar Praying Manris
584 Bushwick Ave. (718) 455-8026 sifu
Cheung Wah
Brooklyn MichaelMiliaoo Wing Chun Kung-Fu
4925 5th Ave. 11220 ('118) 435-1661
Michael Militano/Danny Reys
Broolrtr No(hem Shaolin Temple Seven Star
Praying Mantis Kung-Fu
8l Parl St. ll20l (718) 522-2595 sifu
Raymond E. Nelson
Deer Parl Luis Hunado
84 Wrigt Ave. I1729
Nonh Bab;,lonYlP Aedemy of Self Defense
765-6 Deer Park Ave. I 1703
Memc,lc Ling Nam Siu Lum Kung-Fu Aedemy
2205 Memick Road I 1566 (516) 378-3707
sifu Michael A. Mangoniello
I
New York Mo,y Yat Wing Tsun Kung-Fu Schooi
45 E. Broadway (Chinatown) 10002 (212) 964,
2306
inst. Salmon Cohen
New yorL Pn.\$p Vanri\ Van,al Aro Insulule
58 We$ 3lst Srreer 10001 (216) 889-6686 sifu
Tony Chuy
ly'ew I'or,t Ye's Hung-Ga Kung-Fu Aademy
145 Grand St. 3rd Fl@r 10013 (212) 226-1695
inst. F.ank Y€
Westbur) Ketsngen Karate lnstitute
c/o W6tbury PBL 346 Poil Road t 1590
(516) 333-5080 inst. Sensei Renfro Banetr
Woodheaven \eu York Wing Tsun & Eqcrima
96-18 Jamare Are. r7181 712-6140 insr.
Chris Ward
OHIO
Cucrrnan Chinee Kung-Fu Institute
660 E. McMitlan 45206 (513) 841-1094
Shih-Fu Keoneth Ware
ClerelendMadial Arts & Firne$ Center
4835 Turney Rd.44125
(216) 429-2636
Clerelakd Cleleland Tai Chi Self Defense School
4524 Supe.ior Ave. 44103
(216) 229-3042
inst.: Ray McCloud
Unionro'|n OhioWing Chun Aedemy
12033 Cleveland Ave. North 44685
(216) 699-4555 sifu David M. Grago
OKLAHOMA
,/Reno Martial Arts A@demy School of MiKwof,
& Ko .112 S.W.27th 73036(.405)262-2664
Oktahoru Ciry Choy-Li-Fut Ku.g-Fu
923 Straka Terae 73139 (405) 632-5534 ins.
Dave Carr
t
) Searle Satrle Wing Chun Schml
?
I
MooroTwit Dragon Studio Choy-Li-Fut, Tai Chi
Intemational Federation
627 N. Broadway 73169
inst. R.J. Williams
OREGON
Dalm Herb's Manial Arts CIub
l22l Southffit codsey Rd. #7
Dal6, OR 97338 (503) 623-9538 inst. Herb Bland
Lincoln City Litcolo Ciry Tai Kwon Do & Kung
Fu School
2150 NE Oar Plae 97367 (503) 994-5448 inst.
Herben Bland
SOUTH CAROLINA
Greenville Mlke Sanden Okinawan Karate Sch@l
1 83 1 Wade Hamption Blvd. 29609 (803) 292-3455
inst. Mike Sandem
Hilton HeadMcEhoy's Manial Arts Aqdemy
P.O. Bor 2234 29q25 (803) 68 I -6538 insr.
Rick McElroy
TEXAS
,1612 River City Martial Arts
6800 W6t Gate Blvd. #l 10 78745
(5t2) 447-5425
Dal/as Shaolin Hung-Gar Tiger Crane, USA Texm
Braoch. P.O. Box 741112 75311
sifu Philip Ng
El Pao Filipino Amerien School of Combat Atr
1717 Hondo Pss Hc 79904 (915) 755-7955 in$.
grandmtrter and founder Gaudiosa Ruby
Garland W t Hsin Kuen A@demy of Martial Arts
Kali, Wing Chun, Thai Boxing
1753 Plaa Drive (2141279-3629 ot
(214) 272-0'186 inst. Jon Riste. Valentine
Espiricftta
Garlard Kuen Wu Hsin Aedemy
1153 Plaa Dr.15040 (.214) 2'79-3629/2't2 0'786
inst.: Jon Riste-Valentine Espisicueta
lloastor Tigc's Den
9l 1 Federal Rd. ste R 77015 (713) 4534618
Plaro Shaolin Hung-Gar Tiger Crane
P.O. Box 261382 75026 sifu Philip Ng
UTAH
Orez Wing Chung Kung Fu Council
320 S. Stare Ste. 19
Orem. UT 84058
VERMONT
Brattlebord Tai Chi & Kttg Ft
4 High Street 2nd Fl. 0s301 (802) 257-5599 (802)
245-9278
inst.: Cheuk Fai Yuen
VIRGINIA
-Falr/ar Tai Yim Kung Fu School
3853A Picketr Rd. 22031 (703) 323-9209
inst.: Tai Yim
Richnond Moy \aty ing Tsun Kung-Fu Aedemy
#l E. Broad Street 23219 (804) 783-2738 inst.
Anthony Moytung
Winchester Shennndoah Tai Chi Chuan Scietv
I I t Shirley St. 2260 I (.703) 66'l -7595
inst.: Steve Rhodes/Pat Rice
Richmond PaKv Chang Kung Fu
1 I 101 Midlothian Tumpike 23236 (804:)794-8434
inst.r sifu Bok Nam Park
WASHINGTON
Searle Sattle Kung-Fu Club
656u, S. King Sr. q8104 (206) 624-3818
inst. John Leong
Phinney Neigtrborhood Center
6532 Phinrey Ave. N. 98103
(206) 183-9262 inst. Roy Undem
Seale S%tle Wing-Chun Sch@l
7332 Earl Ave. NW 981 l7
(206) 783-9262
inst. Roy Undem
CANADA
6 Prine St., Moncton EIC lN8 (506) 389-1323
inst. J@ Boychuck
Onrano the Ny'anral Atu fitnes Centrq
I 106 Deamess Dr. inst. Ken Tallack
Scarborough Dunn r Wing Chun Kung-Fu
Aedem!, Uoit B27 Winm BNiness Parks.
Midland & Pitfield (416) 463-5669
PUERTO RICO
-ly'agraro Escuela de Artistd Marciles Chien Tao-
Shou Kung-Fu Ada Relampago Carr. 196 K I 6
(809) 874-3985 inst. Juan R. Burgos Rivera
E3
)
MARTIAL ARTS IN MOVIES
Distributors and Continuedfrom page 26
Publishers of Then it's one fight after another, all filmed
martial arts. in sucha way that the "mise en scene" is more
meditation, inner important than the martial arts. "Too much
power, and other rain," says the second killer just before the
growth books and hero attacks. "It cramps my style...and sfyle is
materials. important to me." It's as if the dtector, Yueh
Fung, was talking. He tried to be like intema-
Send $1.00 for a tionally renowned filmmaker King Hu, who
catalog to: saw all kung-fu as dance, not fighting.
LIGHT Even so, the movie is epic and exciting,
WARRIORS and South Gate has been good enough to
P.O. Box 26183 release it in letter-box format; so not a move is
Los Angelcs, missing or chopped offby the edge of the TV
Califomia 90O26 screen. Still, it's strange that they keep choos-
ing to distribute these admittedly fascinating
chestnuts, rather than grab up any of the more
recent action-crammed phantasmagoricals
A{ODERN featuring Shaw superstar actors (Kuo Chiu or
Liu-chia Hui) and directors (Sun Chung or
GLADNA']TOR. Liu-chia Liang).
Bells of Death is fine...beggars can't be
JOURNAL choosers, any portin the storm, and so on...but
"THE BIBLE OF KICKFIGHTING" why not jump on the Turtles' colorful comic-
book bandwagon with the likes of Shaw
Worldwide coverage o, Muay Thai, W.K.A.,
and Kickfighting Championship matches, Brothers' astonishing, eye-bashing Beach of
,ighters, coaches, and training methods. the War Gods (starring Jimmy Wang Yu, aka
_ SEND $5 FOR SAMPLE ISSUE _ the One-Armed Swordsman), Holy Flame of
tlte Martial World, Opium and the Kung-Fu
Master,Tlrc Bastard Sv,ordsman or Return of
A,{G"n the Bastard Swordsnnn (the fiIms which in-
P.O. BOX s619 qpired Blg Trouble in Liule China)? Now
cHtcAGo, tLLtNots those stunning successes would truly be some-
thing to see.
60680-5619 A
r
I
---- T About rlte Autltor; Ric Meyers is a con-
tributing editor of Inside Kung-Fu. Hls
('
D I
I
c olumn appear s m onthly.
The use of such terms as amis, kali,
eskrima, etc,, only seryes to confuse the
average reader because writers tend to give
them a distinction they do not achrally have:
they are all terms for systems of sticldighting
or Filipino martial arts and not sfyles. That
there are styles within amis, eskrima and kali
no one can deny.
Largo man (large orlonghand) is notreally
a style; itis aprinciple, aconcept, that all styles
must address in the moment of truth. Most
martial artists make the mistake of thinking
largo mano in a horizontal manner and com-
pletely neglect the vertical dimension.
However fascinating the geometry of foot-
work, the triangle becomes an "x" and the "x"
becomes a diamond. These forms are infinite.
In a triangle formation, you can stand at the
apex or the base. It all depends on your mind-
set.
Likewise, the geometry of attack and de-
fense is infinite, and many styles focus on
specific motions and targets or qpecial angles,
sometimes making needless complications
and complexities.
The "C" hand mentioned in the article is
known as the "Filipino" hand(s) in amis and
silcaran (Filipino footfighting) and is more
important as the article points out. It is the
basis of many, if not all, empty-hand disarms
and parries.
Halford E. Jones
Claremont, NH
Ark's Students
I've read every issue of. Inside Kung-Fu
since it came out and I still feel the same way

-
it's excellent.
Thanks forthe article, "Ark WongLives in
I his Grandson" by Alexander Holub in the
LETTERS
January, 1990 issue. I'm glad someone looked
g, Can you hit a man 11 times I Continuedfront page 8 in on Ark's school to see and write about
in one second? l It was good to see arl articie on grandmas- what's going on. [n the early '60s, Ark Wong
W Can rcu kick him before he I ter Cabales, whose serrada system has many taught his first group of non-Chinese students
sees your foot move? points in common with amis Lanada. Like so and I was in that group. Two of us (to my
I
,F VOU CANT, YOU'D many grandmasters, including Lanada, grand- knowledge) are still teaching, Jim Anastasi
BEff ER CH ANGE'flS7RUC7OPS' I master Cabales has been ignored or only andme. Jim andlweretalking aboutthe article
SPEED TRAI]II}IG I vaguely acknowledged by his followers, many and to ourknowledge, Jimmy H. Woo, Bnrce
her thcrc tecrutt end much morcl I of whom have taken advantage of the knowl- lre and David Carradine did not study kung-
FREE DEr ltS-Cell (so3) 5o$31s8 edge gained to promote themselves, usually fu from Ark Wong.
I for commercial gain. It is refreshing to see Irememberwhen Se-Ming Ma came over
I articles being represented in Inside Kung-Fu from China. Ark Wong was happy when Se-
on the masters of these arts and less articles Ming took up the art. Se-Ming is a good
written by those who take a few lessons and teacher and has a great attitude,
%ery eao* w,.*
consider themselves instant experts.
However, author Khan should realize that Ron Shewmaker
K&a.?-flw , i in Pakistan there is a rich history of martial Long Beach, CA
7'S64hfa "{dt weapons and still a few teachers, rare indeed,
of these arts. And he is quite right in seeing the After speaking with Holub about your com-
.0NLY $9.95 (Plus $3 S&H) Islamic influence in Filipinofindonesian ments, we stand by our story.
. weaponry that can also be seen in some styles
COMES IN ALL SIZES -4d.
(sM, MED., LRG., X-LRG.)
.50/50 COTTON . BLUE OR RED
of Chinese kung-fu. The Arabs carried various
arts and weapons from Asia to Africa and c
PLEASE SPECIFY much research needs to be done in this area. THE KUNG.FU MIND
SEND CHECK OR MONEY ORDER TO:
Nevertheless, there are some points in Mr. Continuedfrom page 22
ORIENTAL ARTS Khan's article that need tobe clarified. Strictly humble and so he cannot bow and leam. The
405 TARRYTOWTI RD., STE. 351
qpeaking, kali is not a style; it is a system which Chinese say, "Satisfaction loses and humility
WHITE PLAINS, ]IY 10607
is composed of several styles, and though the gains."
CERTIFIED CHECKS WILL BE PROCESSED FIRST. ALLOW
debate rages over the origins of this term, kali As long as a teacher remains humble, he
4.6 WEEKS FOR PERSONAL CHECKS.
CANADIAN & OVERSEAS ORDERS, PI..EASE ADD $8.00. can be traced to Hindu-Indian or zubcontinent will continue to leam and ponder. As he does
NY RESIDENTS ADD APPROPRIAIE SAI..ES TII, origins. Continued on page 91
84
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Mind ike Water

Master Kubota contbines the
with ancient and modern in
innoaatiue composition for
the spirit, Master Kubota in
zoater "
of the bell with chanting,
tlrc music of Nature in an
to calm the mind and soothe
GON MIZU NO KOKOTRO,
of the Shogun bell. This
power of the " mindlike
), wltich tener may repeat as an actiae

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The Art and Philosophy of Bruce Lee
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 INSIDERS stretches, stances, hands exercises
Continuedfrom page 17 to develop the tiger claw,
techniques and how to apply
are the Muscular Dystrophy them for self-defense. It is
Association and March of imperative to train extremely hard
Dimes, as well as several other when studying the tiger claw
local charities. system because you need to have
Among the participants were endurance, speed, strength, agliry
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Grandmaster Wai-Hong is the
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Volume III - MO0( YAN J0ANG AND MUI FA l0ANGr The famous Wing Chun Dummy form with complete explanations of pnnciples and theones for irs usage. AIso the rarely seen "Plum

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Volume V - WEAPONS AND IRON PALM: The two weapons of Wing Chun; the "Look Deem Boon G* un (Long Pole) and the "Bot Jom Doh" (Butterfly Kniveg. Complere forms, each

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Volume VI - COMBAT THEORY AND DRILLS: An Inslructors manual - In-depth study of advanced Wng Chun conceprs wirh many inrricate drills which condition and strengthen

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 a

G m ln
On Yo ur
Yan Dammers r4ner Passlotr
Ifith two new films set for
release, Jean Claude Van
Damme contLrues fo be driven
by a fire buming within.
By lohn Steven Soet
Bruce Lee's l-Inch Puach
Leam what made this possibly
the most-powerful, yet least-
understood technique in his
arsenal,
By lnmar M. Davis II
ober
The Dyramic Whd Pales
OfPaqua Chang
Nine dragon paqua chang
consists of a series of eight
postures and eight stances, each
corrreqponding with the eight
mother kua of. the I I hing
trigrams. By Dr.Iohn Painter
Trauma Targets of the Arm
It is often easy to forget that the
arm ean be a target to injure,
break or cut.
By fames Hanna

llfT'L SHUAI CHIAO PR0DUGTI0]'|S Al{D GREEiI DBAG0]{ SIUDI0 FEATUBE:

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NAME MS. f]
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I
THE KUNG-FU MIND
Continuedfrom page
this, he will
M sources, such as books and videotapes? Does
see even greater depths
in his art,
and he will be even more humble and bow
even lower. "The more bamboo grows, the
lower it bows." When one has reached this
kind of morality, how can he be proud of
himself and easily criticize others? He would
always reqpect others, since he knows that
there are other people who have something
which is higher than his. "Beyond heaven is
another heaven, beyond talent is another tal-
ent."
Another side is that the more a teacher
leams, the more he will respect his teachers.
He would always be as concemed for his
teacher's health and happiness as he would for
his own father's. You can tell what kind of
teacher you are talking about by how much he
rcqpects his teachers.
How does he teach?
When an instnrctor teaches his students,
which is given a higher prioriry, training for
fi ghting or training for self-cultivation? Train-
ing for self-cultivation develops your pa-
tience, perseverance and willpower, and will
benefit you the rest of your life. Training for
self-cultivation also develops humility, re-
qpect and obedience, which wilI help you build
a deep relationship with your teachers and
friends, However, if the training is only for
fighting, then it is oriented toward temporary
glory and satisfaction. If you have training in
nrorality, the art you leam will be deep and
long. However, if you are training only for
temporary satisfaction for your dignify, then
you ought to forget trying to leam-you'll just
be wasting your money and your instructor's
time.
His personal lifestyle
The instructor's personal lifestyle has
always reflected his morality and philosophy
of life. For example, if an instructor abuses
drugs or alcohol, howcan he teach his students
to be upright and moral? If an instructor does
not have this basic moral virtue, then he is not
worthy of being followed.
Is he wllllng to share?
The next thing you should check is how
much the instructor is willing to share. Fre-
quently, instructors who have studied with a
master for only a few years are reluctant to
teach, because their understanding just isn't
very deep. A good instructor will not hesitate
to teach, as long as the shrdent has good
morality and has reached an appropriate level
in his hrt. A good instructor always expects his
students to surpass his level of expertise. Of
course, if the instructor is also leaming intelli-
gently, it will be difficult for the srudenr to
catch up with him. This usually happens after
the student has completed his training ancl has
studied by himself for more than ten years.
His attitude toward learning
If aninstructorishumble, he will alwaysbe
Iooking for new sources ofknowledge. You
can evaluate a teacher by whether or not he
joins seminars offered by others, and whether
he brings knowledgeable instructors to the
studio for seminars andworkshops. Also, does
he train with the students or is he ashamed
because of his dignify and pride? Does the
i-
instructor continue to leam from gther
he tell the students the truth about where he
i TIAND CRAFTED RATTAN
gained the new material? The most feasible FI LI P I NO FI G I{TI NG STI CKS
FOR
way to leam, if an instructor does not live
KALI-ARNIS-ESCRIMA
where there are many qualified masters, is
through books and videotapes. He must make
FIRE HARDENED
These are Hard Rattan Sticks wilh the skin intact.
sure that he is leaming accurately, and most Customed made by skilled craftsmen with over ten
impodant, he should be honest with his stu- years of experience in traditional methods of
Kali/Escrima stick tinishing and tempering.
dents. The students in tum will appreciate his Don't be fooled by commercial immitations. Our
honesfy. This kind of behavior encourages sticks are hand crafted and we have sold sticks to
hundreds of satisfied Filipino Martial Artists
students to continue to look for the essence of vears.
their art. $25 Professronat set
$20 pe, oa,, 2 Long strcks & 2 short slicks
(DAGAS)
Unless specrr'ed. st,cks w .,De 28" n tength. ptease specrly rl a
cuslom ienglh rs pretefted rup ro 3d' I Oiders paro by castirers
chec{ or money o.der gven mmedtate altenl,on. personar
checks allow 3 weeks lo clear. please rnclude $2.50 postage &
handling per pair or sel & g1.OO 1or each addilional one ilew
York State residenls add 7olo sales tax.Wholesale bulk prices
avarlable to schoots and groups
Send to: East/Vvest Seminars
RD#1, Soshinsky RD.
McGraw N.y. 13101
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"The instructor's
personol lifestyle hos
olwoys reflected his
morolity ond
philosophy of life,"
Sell-llefense
lnstruction Dy
a Boulcct in a
Biker Bar
lve s6€n dozens ol @ple
stomped (some ol them black belts) and I can tell you,
real lights iust don't 0o down like you s€e in th€ movi€s,
or train lor in the Dojo.
Hls philosophy of life The twenty+ yeas t spent studying and instructing rnartial
arts was real useful to rIE wtEn I was attacked by {ists,
A good instructor, after he has endured boots, pool cu€s, and KNIVES. That's because training
more than ten years of training in self-cultiva- is usetul, its iust that it is no substitute ,or EIpEilEICg
tion and martial arts, should have a well- Give your martial art$training a chance t0 wo* for you
developed sense ofmorality, and should also in a real fight. this is no art, people, this is slriclly
application.
have an independent and unique philosophy of
life. You should leam many things from your Sell-llelense
instnrctor, which may lead you to a higher Against the
spiritual existence. In ancient China, a student \ Sucker Puncher
would live with his master and serve him like
his own father. iI V
The rnost likdy attack pu will ever face
is thar of th6 sucKER PUN0HER. Learn
In conclusion, remember that the instructor 2 HR VHS how lE op€ratcs; his stmg poinb (dont
und€r€stimate fhis guy!) and his basic waloess (laidy
youchoosewillprobably notbe a greatmaster. easy to eryloit once'you see tnw). I know these del$sos '
However, as long as he is humble and studies, uork because lle LEed them, not once 0r twice, hjt rnily
ponders and practices. he will soon become a times in etual fhhts.
good one. You should also understand that a
well-known instructor is not necessarily a llefending
better choice. A teacher can become well- The Blade
known if he is willing to share his knowledge
L€m something abox hih
delenses lrcm someme who
and teaches many people. He can also become has actually bm atacked with
well-known because of a bad reputation. As
long asyou keep youreyes and ears open, then
carefully ponder and analyze, you should find practices.
the diamonds in the rough.
e
About the Author: Dr. Yang Jwing-Ming,
who has a Ph.D in mechanical engineering,
qq- fl1.05 ;a rr dilr ti. r ird 345 h. f r
is a contributing editor oflnside Kung-Fu.
GURUE-IK zrEt srr sr, il1t8. B*, c0 8tn0r
91
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/
* Move objects with Chi Fowerwithouttouch-
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.* i'* ,t
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Your body is powered by electrical en-
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The power described in these Chafts
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