Showing posts with label Chi Sao. Show all posts
Showing posts with label Chi Sao. Show all posts

Thursday, December 05, 2013

James W. DeMile - Why Train Chi Sao?



WHY TRAIN IN CHI SAO

In classical Wing Chun teaching of Trapping, Chi Sao and Phon Sao were the same thing and it took many years to develop a defined skill. There was no distinction between the two, they were one art. Which in China, was OK, because training was a way of life and one would devote many years to develop even a basic skill.

At 18, Bruce Lee was still a student, not a teacher and wanted to continue his training in Wing Chun. He became frustrated after arriving in America, because there were no masters to train under. So, he decided to train training partners. This decision created two major problems. First, Chinese was his first language and it was hard to give English definitions to Chinese concepts. Second, since he was still just a student and learning trapping himself, he found it extremely difficult to communicate the innumerable option of motion without totally confusing his students. He solved both problems by simplifying the process of teaching Trapping by reducing the information into two distinctly separate levels, Chi Sao (an exercise) and Phon Sao (the application)

I have read, over the years, that Bruce Lee said that Chi Sao was not necessary to learn, that Trapping skills could be developed without it. Easily said, since Bruce already knew Chi Sao and its relationship to Trapping. It is like a millionaire telling you that money is not really important. Let me share my thoughts on reflecting what Bruce told me in my early years of training with him.

Bruce said it would be like trying to run before you can walk or trying to solve math problems before you can count. Phon Sao is totally spontaneous and relative to responding to the non-structured actions and reactions of your opponent. In application, it requires an extreme high level of skill in reading and controlling your opponents motion. You can use your hands, wrist or arms and there is no set starting position. You can attack or absorb an attack or do both. Although, there are people who have a natural talent for learning Trapping, most do not and I mean 98% of the population.

This is why Chi Sao is a critical step to evolving spontaneous trapping skills. Chi Sao is only an exercise and teaches you to walk or count. It allows students of different sizes and strengths to become equal. Chi Sao establishes physical guidelines of motion that are very efficient and effective, both offensively and defensively. But most important, it offers a set procedure to learn how to control the opponents actions and reactions within a defined area. This area is known as the Upper/Outer perimeter, where most attacks occur. This set procedure defines the stance (for stability/mobility and natural spring load base), centerline foundation ( for creating and maintaining two weapons), basic arm and hand positions (for natural defense), the rotation procedure (for defining the range of motion), blending (which enables the student to train any student, regardless of size) and attack options (creating and/or filling the holes of the opponent). By having a set procedure it allows the student to repeat, repeat, repeat his moves until he has a clear understanding of all the basic concepts of trapping.

Quite different, Phon Sao does not have a specific or required engagement structure. You can engage with your hands/wrist/arms in any manner allowing you to contact and control your opponent. The type of contact will determine the degree of Trap. Three defined methods of traps. Minor is checking. Closing of one angle with (three escape potentials). Major is closing three angles with (one escape potential ).
Maximum is restricting all angles (no escape potential).

Unlike Chi Sao, which you can do for an hour, Phon Sao is done in quick, short bursts of one to three moves. The majority of Phon Sao moves are done in less than 5 seconds. The types of actions and reactions will be different with each student and dependent on many factors, a few of which are, methods of engagement, amount of opposing energy, angles of energy, single or multiple energy, positive/negative energy flow, speed of motion and positions relative to the centerline. It is almost impossible for the teacher to teach a proper response when the student is reacting only to the “moment”. What might be the proper response of the teacher may not be the best response for the student. This is why a foundation is necessary so the teacher and student have a common language to explore the different potential for each encounter.

Addition, Division and multiplication are all applied aspects of numbers, but you first must be able to count the numbers from one to ten. The same logic is applied in Trapping. Chi Sao is learning to count from one to ten . Phon Sao is all the applied, from addition to Quantum Physics.




Posted to Facebook Sep 6, 2013

You can contact Sijo James W. DeMile via his Wing Chun do Site or Facebook.


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Friday, November 29, 2013

Jeet Kune Do Secrets by Jerry Poteet

Today marks the 77th birthday of Jerry Poteet. I'm going to post the first of 2 articles today in his honor. 2nd article can be found here:


Happy 77th Birthday Poteet sifu!

Enjoy!





First Generation Disciple Reveals Little-Known Bruce Lee Teachings on Self-Defense

   I first met Bruce Lee in 1964. At the time, I was one of Ed Parker's top kenpo black belts, and I had accompanied him to San Francisco to arrange the first International Karate Championship. While we were there, we decided to visit James Lee in nearby Oakland, California. His brother, Bruce, was staying with him.

The goal of jeet kune do is to stop an attack before it's launched. If that's not possible, it should be intercepted as early as possible during its execution.
   James had a wooden dummy, and while we all stood around socializing, Bruce walked over and suddenly started hitting it. He exploded like a machine gun, and the power of his blows shook the house to its foundations. After everyone else backed away, I approached the dummy. Even when I put all my weight into moving it, it didn't budge. I wondered, Who is this little guy who can generate so much power? I couldn't wait to train with him.

   Less than two years later, I became Lee's second student at his school in Los Angeles. He remained my teacher until he went to Hong Kong to make movies at the end of the 1960's. The fighting techniques and strategies I learned during that time were invaluable.

Throw the First Punch

   One day, after five of us had finished a session with Lee, he blurted out, "Jeet Kune Do is an offensive art rather than a defensive one."

   I was startled and confused by his declaration. "Do you mean," I asked, "that we should throw the first punch?"

Recreating Bruce

   Having trained with Bruce Lee
for nearly three years made
Jerry Poteet a logical choice to tutor Jason Scott Lee for his
role in Dragon: The Bruce Lee Story. Much of their time
together on the set entailed going over Bruce Lee-style basic
moves and footwork, as well as hours during which Poteet's
wife Fran drilled the actor in the best methods for wielding
the nunchaku. That did not present much of a challenge,
Jerry Poteet says, because Jason was so naturally athletic
that he ended up performing all his own martial arts scenes
except those that involved front flips and back flips.

   The jeet kune do instructor also reminisced about the legend's martial arts philosophies to help the young star understand the essence of the man he was portraying. "I told him that Bruce's attitudes and the integrity of the individual, and that Bruce was as good as his word," Poteet recalls.

   For example, Lee believed that many people who do the martial arts just execute a kick or a punch without becoming one with the technique, Poteet says. "He called it the difference between doing-where if you're kicking, you're just kicking-and being-where you are that kick. Once I got that across to Jason, he fit right into the role."

   -Sara Fogan




Jerry Poteet (left) faces his opponent (1). As soon as the man draws his fist back for a punch, Poteet blasts him with a backfist to the face (2-3). He immediately follows with a cross to the chin (4).



A grappler (right) accosts Jerry Poteet (1). When the man lays his right hand on the keet kune do expert, he prepares his plan of attack (2). When the assailant opens himself up by reaching out with his left hand, Poteet unleashes a punch to the groin (3). He rises to a more upright stance to deliver a barrage of palm heels to terminate the aggression.

Audio Awareness

   In addition to visual- and tactile-awareness drills, Bruce Lee employed audio-awareness training methods to quicken his students' reflexes. He would stand behind one of us while holding a set of clickers or sticks. Then he would hit them together, and we would execute a predetermined string of techniques as long as we heard a sound. Then he would stop the noise-usually in the middle of a sequence. If we didn't immediately halt our actions, we knew we had a lot of work to do.

   -J.P.



Jerry Poteet (left) focuses his visual awareness on his opponent and senses an impending attack (1). When the man extends his right arm, Poteet uses his tactile awarenss and responds with a punch to the chin (2). He follows up with a palm to the jaw (3) and a sweep to the floor (4).
   Lee shook his head. He explained that the JKD practitioner must strike while the opponent is preparing to attack or when he indicates his intention to attack.

   Noticing the perplexed look on my face, Lee motioned for me to come forward so he could demonstrate the principle. He had me chamber my fist to deliver a rear punch, and as I drew back, he hit me.

   He then instructed me not to telegraph my techniques. "Just assume the posture you would be in prior to throwing the punch," he said.

   I decided to try again. I shifted my weight from one foot to the other and clenched my fists. Once again, he hit me. "This time, I intercepted your attitude," he said.

   Lee explained that you should always strive to intercept your opponent's attack before he launches it-or at the very latest, while he's doing it. Intercepting is the jeet in jeet kune do, he said. Sadly, this principle and the training methods needed to master it are rare today. I sometimes see JKD practitioners wait for their opponent to attack before countering the technique. At at that point, it's often too late.

   To fully appreciate this concept, which I call ATA, or attack-the-attack, imagine allowing an assailant to shoot at you before starting to defend yourself. You may get lucky and avoid the bullet, then be able to incapacitate him. Then again, you may end up dead. Not only does this passive fighting strategy violate the cornerstone principle of jeet kune do, which is to always intercept the attack, it also puts you at least a full beat behind your opponent. Unless you're blessed with superhuman speed and are facing an unskilled opponent, this is an unwise course of action because you're forced to play catch-up. (Note, however, that it's acceptable to use a passive move to attack by drawing as you jockey around your opponent to find a position to score.)

   The goal of jeet kune do is to close the distance between yourself and your opponent and smother his attack with your own. It isn't complicated, but it requires a high level of visual and tactile awareness to master.

Open Your Eyes

   Visual awareness facilitiates medium- and long-range fighting. It requires you to be aware of every gesture or motion your opponent makes, such as shifting his weight from one foot to the other, bending his knees or drawing his hand back. According to Lee, any of those movements can be precursors to an assault. If you can see what he intends to do, you can head him off at the pass. Furthermore, you won't be distracted by an aggressor who feints or tries to nail you with a sucker punch.

   Unfortunately, many martial artists fail to train to improve their visual awareness. Even practitioners with extremely fast kicks and punches often get bested by a slower opponent because the lack visual speed, and they're too slow to react to him, let alone intercept his strikes.

   To help us develop visual awareness, Lee would stand in front of the class and make a variety of gestures. Every time he moved, we had to say, "Ooh." At first, his movements were obvious-such as a punch or a kick-but over time, they became more subtle-like a shift in balance or a twitch of a finger. We learned to become aware of even the slightest motion our opponent made, and that served as our cue to intercept the incoming technique. Since everybody telegraphs his attack, Lee told us, the ability to spot these motions can keep a martial artist at least a half-beat ahead of his opponent.

See With Your Hands

   Another important component of the ATA principle is tactile awareness, or touch. Utilized at close-contact range, it refers to the pressure that develops as the other person attacks you and to your ability to use it to find an opening in his defenses. The uncanny ability of Lee and other skilled JKD practitioners to employ this method to detect and stop an assault in its tracks can make them seem psychic.

   Lee advocated chi sao (sticky hands) drills to make tactile awareness more reflexive. Such training is done primarily by crossing hands with your opponent so you learn what happens if you exert too much or too little pressure.

   "In the softness, you want to give without yielding," Lee would say. "Hardness is like steel that is hidden in silk." If you're too strong, the other person will dissolve his movement and attack. If you're too soft, he'll run right over you.

   Many other fighting styles, including Greco-Roman wrestling, employ similar sensitivity drills. While this training method has great implications for neutralizing grappling attacks, you should never let skill in it convince you to play the grappler's game and voluntarily go to the ground. As he tries to close the distance and grab your legs to take you down or get you in a lock, you should stop his onslaught with a straight blast.

   Sensitivity drills are also a staple of old-time boxing, and they form the core of JKD's modified boxing techniques. You should practice blocking and parrying jabs and combinations to get used to them. As you become more advanced, however, you should try to intercept your partner's jab and cut through his block with your own-in true jeet kune do fashion.

Enjoy the Advantages

   As you can see, the ATA principle can be used against any type of offense. For example, if an assailant attempts a punch or kick, you can intercept his technique with your own attack. If he tries to take you down, you can hit him or kick him before he succeeds. Don't waste precious time blocking, parrying and slipping when you can beat him to the punch.

   When Bruce Lee named his art the "way of the intercepting fist," he meant it. And who are we to argue with the master?



About the author: Jerry Poteet is a free-lance writer and jeet kune do instructor based in Los Angeles. For more information, call (818) 981-1986 or visit http://www.jerrypoteet.com.

Published in Black Belt, July 2004.
Copied from http://www.fighttech.com/articles/bbm_0704/.

Saturday, February 02, 2013

ARTICLES: Wong Shun Leung - What I Have Learnt Through "Beimo"




The following article is a personal account of what the late Wing Chun master, sifu Wong Shun Leung felt were the main lessons he had learnt about combat through his experiences of “beimo” or skill comparison, a somewhat subtle way of naming the many full-on fights he had with practitioners of literally dozens of Chinese and other fighting systems during his forty plus years as a Wing Chun devotee. The “beimo” is a long established tradition in the Chinese martial arts and in the Hong Kong of the 1950′s and 1960′s, one name shone out like a beacon when “beimo” was the topic of discussion. That name was Wong Shun Leung, student of Wing Chun patriarch Yip Man, classmate and trainer of Bruce Lee, and the man who became known in martial art circles as “Gong Sau Wong”, the “King of Talking with the Hands”. During these celebrated “contests”, which took place on rooftops, in back alleys, behind closed doors, in the countryside and anywhere else that was found to be convenient, sifu Wong is said to have never lost a fight, and most witnesses claim that the majority of exchanges took no more than three techniques to determine his victory. Quite a few of these “contests” were arranged by a journalist who was keen to conduct these “tests of skill” so as to obtain exclusive articles for his newspaper, “The Star”. Unlike the tournaments of today, these were real fights where rules and protective clothing were unknown, where serious injuries could and, occasionally, did take place, and where there was absolutely no room for “martial magic”. The “beimo” sorted out the martial artists from the bullshit artists. 

From these experiences, and with much discussion with his teacher, grandmaster Yip Man, sifu Wong developed his skills to what can only be described as an incredible level, and in doing so, brought the Wing Chun system to the attention of the Hong Kong martial arts community. He is even credited with modernising the way in which the system is taught, even to the point of convincing Yip Man himself to rethink some concepts or techniques and actually change them or delete them from the Wing Chun forms and drills. To put it simply, Wong Shun Leung helped revolutionise what was already a highly effective fighting form and raised it to an even higher level of efficiency. He has influenced many people over the years, the late Bruce Lee being an obvious example (his art of Jeet Kune Do utilising many of the concepts Wong put forward during the time that the two were training together and then later corresponding), and he continued to “spread the word” about his very practical approach to developing combat proficiency right up to the time of his recent death. This article first appeared in the February 1995 issue of ‘Inside Kung-fu’ magazine, and was translated from the original Chinese by his Australian student, David Peterson, a speaker of both Mandarin and Cantonese dialects, and a teacher of the “Wong Shun Leung Way” at the ‘Melbourne Chinese Martial Arts Club’ which he founded in 1983 following his “discovery” of sifu Wong’s method after more than 10 years of less efficient Wing Chun training.

******

The kind of fighting that I am referring to in this article is not that which one might see in the boxing ring because this kind of fight has been restricted by all kinds of rules and regulations, turning it into a game or sport which is far removed from real combat. What I am referring to here is the “real fight”, free of rules and restrictions whether it be as the result of a conflict, or by mutual agreement. Because fighting is relative, the opponents’ build and strength can and will directly affect the result of the conflict, therefore it is difficult to assume to know the outcome. The classic Chinese ‘Art of War’ by Sun Zi states, “In warfare, first lay plans which will ensure victory, and then lead your army to battle; if you will not begin with stratagem but rely on brute strength alone, victory will no longer be assured”. Each of these approaches can affect its counterpart in terms of cause and effect. Indeed, when it comes to the business of fighting, I fear that in an article of this size there is still much that cannot be adequately dealt with. But now I would like to discuss the most common mistakes made by Wing Chun practitioners in order that we can learn to avoid them.

1. CHI SAU

The Chi Sau (“sticky hands”) exercise is a reflex training drill that must be practised repeatedly in order to develop skilful, quick and alert responses so as to satisfy the basic, essential requirements of the Wing Chun system, ie. “Intercept what comes; pursue what departs; when the hands are freed of obstructions, attack instinctively”. These are basic but profound principles which, when properly understood and drilled through Chi Sau, prepare the Wing Chun practitioner both mentally as well as physically for what should take place when one engages with the enemy and so, one gets into the contact condition from the very start. If detailed explanations are not given to the novice student, he or she will tend to over indulge the skill of Chi Sau, inventing their own interpretations until they end up following a totally incorrect form of Chi Sau which leads them straying from the intended path. For example, too much emphasis on the idea of “sticking to the hands” will cause such bad habits as “chasing the hands” of the opponent and thus totally contradict one of Wing Chun’s most basic fighting principles.

At the beginning of the “Young Idea” (Siu Nim Tau) form, one is taught the concept of “Chiu Ying”, or facing the opponent square-on, to facilitate favourable positioning even before the fight has commenced, allowing punches to be thrown along the shortest possible line with the most direct attack being able to be made on the opponent prior to contact being made with each other. Never is one asked in the basic form to consider doing “sticky hands” with the enemy as the range of motion possible by the hands is so wide that if one goes about “chasing the hands” the result is like a children’s game; you go left because he makes a sudden turn left, then you go right as he does, and so on. The result is that you always allow your enemy to dictate your actions, ending up in a passive position and unable to attack your intended target. As shown in photos fig.1, fig.2 and fig.3, by chasing the hands of the opponent in this way, like the man who puts the cart in front of the horse, you will end up at the mercy of the opponent. So, when fighting, one should fix one’s eyes firmly on the target with only one idea in mind, that of attacking the enemy most simply and directly. It is only if your attack meets with an obstruction that you have to change to attain your goal and this is where “sticky hands” comes into play, as a means to an end, that end being the winning of the fight.

2. GIVING THE ENEMY THE OPPORTUNITY TO STRIKE FIRST

To win or lose a fight often depends on who watches for his chance to attack the enemy first when both sides are fighting. As Sun Zi said, “When an invading force crosses a river in its onward march, it is best to let half the army get across, and then deliver your attack.” You will reap twice the result with half the effort if the attack is launched with such favourable timing as the opponent’s intention, developments and movements can all be readily determined. Should this strategy be applied, the opponent will find it especially difficult to co-ordinate his body, making advance or retreat virtually impossible and the loss of the fight by him inevitable. A common error made by inexperienced Wing Chun practitioners is to throw their punches from too far away, leaving a lot of distance between their opponent and themselves. As one can see from the pictures fig.7, fig.8 and fig.9, such a clumsy and rash move gives the enemy the opportunity to attack first.

Therefore, when engaged in combat with an opponent, never be impatient. Do not launch an attack until there’s a distance of one step between you and your enemy, then launch a sudden attack so as to force the enemy to be caught totally unprepared. Launching a sudden attack in this way, one gains the advantage of an extra step towards the enemy, making it extremely difficult for him to react in time, the result normally being a feeble attempt to move half a step to the right or left, or else retreat straight backwards. This makes it very easy to remain in contact with the enemy, maintaining control of the situation by affecting the enemy’s balance and positioning. You therefore avoid giving him the chance to attack first and take away his opportunity to manage the situation.

3. GIVE UP EXCESSIVE IDEALS

Having excessive ideals with regard to fighting will cause one to be far too nervous. Wing Chun theory is flawless indeed if one can accomplish it absolutely, but a theory is only just a theory, never can a person reach such a state of perfection, human beings are all apt to make mistakes at some time or another. In normal combat situations, most opponents are of more or less equal size and strength. Everyone has two hands and two feet, strengths and weaknesses, and so on. Each is subject to the same conditions and so each has to fight hard. The most determining factor overall is the level of skill each fighter possesses.

If the possibility of your winning is 70%, there is still a 30% possibility of being attacked. If we look at World Championship boxing contests, even the winner of the match has to take many blows from his opponent in order to finalise the competition. Nowadays, however, many Wing Chun coaches make exaggerated boasts and purposely turn simple things into mysteries, misleading their students with “fairy tales”. They deceive others and themselves. This is the height of shame. It would be a far better idea to prepare the student both mentally and physically before fighting, informing them of the realities of fighting, especially that it is expected that one may have to in fact take one or more blows upon one’s own body in the course of the fight. Thus, when engaged in fighting, you will not be full of misgivings and be at a loss as to what to do.

4. AVOID HESITATION AT ALL COSTS

In order to fight, both parties must be within the distance whereby they can attack each other. Both have equal opportunity to attack, yet there is no time to think of the fight in terms of punches and kicks. The skills and experiences brought about by routine training will be brought into full play at this time. The question of victory or defeat is more or less an open one, to be determined by what one has within. No matter what happens, one must never hesitate once the engagement has begun. To do so will bring about many unnecessary troubles. The high kicks that one often sees in the movies that are performed continuously with consummate ease are, in reality, without foundation. If applied in a real fight, it is difficult, if not impossible, to land a second such kick should the first one be successful.

Whether the enemy falls down or not, he will be out of position for any follow up kicking technique to be effective. Perhaps, if the enemy is hit by a side kick and retreats backwards in a straight line, you may have the opportunity to kick continuously, but the Laws of Physics make such a situation highly unlikely. If the enemy is fearful of the fight, he will draw back quickly and your second kick will surely fail since your first kick would have also failed to find its mark, the timing rhythm being all wrong, just as in dance and music. Only those who hesitate will be punched. One must retreat or advance as the situation dictates, or else the chance to control the situation will disappear in the twinkle of an eye.

The above points will not teach you how to win, but will enable you to decrease your mistakes as much as possible. In fact, if you want to win, it will depend on whether or not you practise hard and persistently, your will to win the fight, perseverance, the development of physical power, confidence, and so on. As for the supreme state of “calm heart and refined breathing” (ie. the ability to fight calmly and with total control of mind & body), attaining that will be on the basis of all the above conditions.




*** Published 'Inside Kung-fu' magazine, Vol.22/No.2, Feb 1995 ***

 

Photo Credit:  Source pic www.dvtfederation.com



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