consistent with my apolitical position, I must add that I do not have any desire to enter into debates about which are the authentic Wing Chun weapons forms that have been passed down from the sacred mountain of martial-art knowledge by the messengers of the gods if not by the gods themselves! These debates about origins are incapable of scientific or historical resolution as the primary data is typically not available for scrutiny, and what is available is usually controversial in itself. My concern again, is only with that which is a rational and scientific aid to effective combat and self-defense.
It is my aim to show that in the age of the gun, the Wing Chun weapons are still relevant for an overall self-defense education in combat arts—not only as weapons in themselves, but also through the more general combative principles embodied in their use and the many physical benefits derived from training with them.
The Wooden-Dummy Form
THE POINT OF THE WING CHUN WOODEN-DUMMY
The Wing Chun wooden-dummy is a symbolic training tool. It consists of a thick round post mounted on a supporting frame that allows the post to vibrate to some degree when struck. From the top part of the dummy two smooth arms protrude and another single arm protrudes from the middle. These arms represent high- and middle-range attacks. There is also a forward leg with a bend in it which represents the knee of the forward leg. The lower stem of the dummy represents the back leg.
The Wing Chun wooden-dummy form concludes the empty-hand forms of Wing Chun. It may be wondered why an entire form, especially an advanced one, should be based upon a training tool? It is because there are a number of benefits that can be derived from wooden-dummy training, such as:
1. The use of a dummy that can be struck adds realism to training and a dummy is hardier than a training partner!
2. The dummy form can improve chi sao as the movements of the form involve sticky-hands and not the violent banging of the dummy arms. The dummy is not the best possible conditioning tool for toughening the arms. Rather it is a convenient way to practice the smooth transition between hand forms as well as the application of inch-force to hand strikes such as the palm-strike.
3. This form contains more kicks than the Chum Kil form; it may be called Wing Chun’s kicking form.
4. There are many excellent sequences of techniques in the form that can be extracted and applied in combat.
5. Above all, the wooden-dummy form is a way of training footwork. Too often, concentration is focused upon the hand movements of the form without much thought being paid to entry techniques or how to get in and out of an opponent’s guard.
ANALYSIS OF THE WOODEN-DUMMY FORM
Section One. The first section of the wooden-dummy form opens with some subtle moves. There is a lift of the left hand typically used as a defense against fast jabs. This is followed by a right palm-strike through the center-line and a thumb gouge that symbolically represents an eye gouge. From this, the neck-pulling technique follows. In the form, the dummy’s arm is pulled and its neck jerked down. In real combat, an opponent’s neck is pulled down upon a punch.
Apart from the above techniques, one other important technique in section one of the wooden-dummy form is the following sequence: against a straight punch, defend with a rear bong sao, then take a step forward moving the lead leg first approximately 45 degrees to the opponent’s center-line and then walk into the side of the opponent, maintaining contact with his attacking arm at all times, locking up his leg with what was previously your back leg. The bong sao is glued to his arm, and then changes to a taun sao as you move and strike the head or body. This type of footwork illustrates perhaps one of the most important fighting principles of Wing Chun: attempt to get into an opponent on his side, lock up his leg, press on one arm, and use his body to block the use of his other arm.
Section Two. This section is identical to section one, except that it is performed first on the right-hand side, so that both the hand positions and the footwork are reversed.
Section Three. This is a very rich section containing many excellent techniques. The section opens with three parries. These are of interest because they do not involve moving the entire arm in parrying, but only the wrist. The use of the entire arm in parrying theoretically leaves the center-line momentarily open, which is a weakness. After the last wrist parry, an ordinary parry is performed with a 90-degree pivot and chop. Then the arm is drawn down and a punch is forced into the opponent’s abdomen at solar plexus level.
The next important technique is unique in the Wing Chun system. You step in at an angle as in sections one and two, only this time step in with the right foot, leaving the left stationary, and deliver a body chop with the right hand while parrying with the left. This means that for an instant you are in quite a wide stance. After springing in to deliver an attack, move out by moving only the right leg back. As a simultaneous defense and attack, a heel-kick to the side of the opponent’s body is launched by the right foot and a wrist-flicking bong sao is delivered with the right arm. This bong sao has as its primary purpose the defense of the head, but like so many Wing Chun hand moves it also has an offensive use: the flicking fingers of the bong sao are directed toward the opponent’s eyes. This sequence of movements is repeated on the right-hand side of the dummy with an exchange of the hands and kicking leg.
Section Four. This is a complicated form with a simple training purpose. The bulk of the hand moves in this form are concerned with moving around the opponent’s guard, opening it up, and striking. The opening movement for example, consists of a double taun sao with both arms outside the dummy’s arms and a double haun sao to get into its center-line, followed by a double palm-strike to the solar plexus, and a double palm-strike to the face. Both palm-strikes are delivered with inch-force; that is, they are jarring strikes. In addition, the sequence of bong sao and taun sao performed on the top two arms is an excellent way of developing the ability to swim your hands around an opponent’s guard.
Another kick occurs in this section. This time, in moving to the left, you perform a right taun sao, left palm-strike, and right knee kick. This is repeated, but reversed on the right-hand side of the dummy.
Section Five. The theme of this section is the use of the double palm-strike. As can be seen from the photographs, the double palm-strike can be used for an attack on both the inside and outside position. When on the inside, the opponent’s guard is forced open for a strike. When on the outside, the opponent’s guard is closed up and the double palm-strike is forced over the top of the guard.
There are two other important movements in this section that merit discussion. In the opening section, there is another example of the economical use of the wrist in deflecting punches. Here the hand is held like a snake ready to strike, the fingers together and straight, the palm down, and the wrist slightly bent. Deflection occurs by moving the wrist from side to side, like a snake moving its head. This is a very safe form of deflection that does not endanger one’s own center-line and that allows a ready strike with the fingertips.
Following the above move, there is a new type of bong sao, a downward brush, or scoop-away, bong sao. The idea behind this technique is to get your palm on the top of a straight punch and then to pat it down and away. As this is done, the body pivots to the side so that your body is‘ outside’ of the punch and so that the punch can sail past, while you retaliate with a punch or palm-strike. This is a good defense technique to use against chest level punches.
Section Six. Two new skills are introduced in this section; both skills are very simple but surprisingly effective. The first is a defense against a straight punch. Defend against the punch with a bong sao, pivoting to your side. If the opponent is facing you and punches with his right hand, pivot so that you face your left and perform a right bong sao. Now simultaneously pull the attacking arm down with the hand which previously formed a defensive bong sao, as you chop with your other arm and simultaneously pivot back. Chances are that the pivot and pull alone will throw the opponent to the floor, while the chop to the throat is a finishing technique.
In this section, there is also a variation upon the kicking and grabbing skill