Inside Kung Fu - February 2008 - Grados Wing Chun : Street Combat

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Sum of all Parts Tai mantis
rich in history, smart in technique
and directly applicable to fighting
multiple opponents.
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sr.fu Jose Grados blocks a left punch with a slapping btock (1). He grabs the right hand when
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with
(2). Grados delivers a low palm strike to the ribs (3). He follows
There are several versions as to why grandmaster Yip Man
never taught Bruce Lee the biu gee form. One story says that
Lee advanced so fast in his skills and knowledge of wing chun
that some of the older kung-fu brothers resented it. The other
story says he had to move to America and simply ran out of
time to learn the third form. Years later, when Lee returned to
Hong Kong to make movies, grandmaster Yip Man still would
not teach him biu gee. He finally learned the form later on, but
only through his former training paftner, Wong Shun-Leung,
and kung-fu brother Cheung Cheuk-Hing
Biu gee literally means "darl" (biu) "finger" (gee) lt is said
that Ng Mui, the sifu (teacher) of Yim Wing Chun (in whose
honor the system is named), developed the techniques by
watching a snake and a crane fight. ln biu gee, the lightning
strikes of the snake and the powerful flapping of the crane
wings come to the fore. The form also emphasizes, aside from
the clarling fingers (snake) and the verlical elbow (crane), the
circular leg stance (huen ma), the high/low splitting block (gan
jum sau), spade hand (wang jeong), searching or asking hand
(man sau), circular block (kau sau) or phoenix hand, double
insidekung-{u"com
grappling hands (seung lop sau), diagonal hooking punch, ginger punch and the Buddha Palm.
Biu gee is used mainly to regain control of the centerLine
This is a more positive statemeni of its purpose, as opposed
to the one claiming that biu gee is simply an escape technique
to correct an error and recover from a position of loss.
Why is it such a guarded secret and why was grandmaster
Yip Man very selective in his choice of students to teach the
form? Furthermore, why are students admonished to use biu
gee only when all other technlques fail? The underlying reason
has to be more significant than it appears.
To simply say that biu gee is an escape technique would
diminish its powerlul and devastating attacking capability The
techniques, if used improperly and mindlessly, can inflict serious, if not fatal, damage, Thus, learning biu gee imposes a
burden of moral responsibility on the practitioner' The moves
may seem simple enough, but they will require dedicated
practice to master and the guidance of a knowledgeable
teacher who can imparl a deeper understanding of the
exploding power and the subtleties and use of the moves
FEBFUANY2OOS 57
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Grados slips and
the opponent is quick to take
advantage of the situation (1). To recover,
Grados execufes the Buddha Hand as he r.ses
up (2), He follows with a front kick (3) and a
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vertical elbow to the jaw
(4). He finishes
with a devastating knifehand
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THE BIU GEE FORM
1. Opening
Down crossed hands (Sup Gee Sau)
left over right. Up crossed hands, right
over left. Pull back fist until their chambered at their sides. Open stance into
wing chun basic stance (yee gee kim
yeung ma). Some schools open with a
hook horse stance.
jong). Your right fist remains in
chamber. lmagine an angry crane
flapping its wings powerfully to discourage
invaders into its territory.
Then apply a snapping turn to the left to
execute a right verlical elbow. Left fist pulls
back to chamber. Snapping turn to the right to
execute a left vertical elbow, as the right
pdm moves under the left elbow. lmagine a snake hiding in the grass ready to
strike.
2. Thrusting Fingers
Left vertical punch with body
angling to the right. Thrust out fingers
veftically. Bend your wrist down and up three times.
Bend your wrist horizontally out and in three times. Circle hand (huen sau)" Close fist and pull back to chamber
Repeat movements on the right side.
3. Vertical Elbows
Open the left hand, raise the elbow to head level and do a
snapping turn to the right to execute a left vedical elbow (gwai
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The right hand shoots out a bil
sau straight toward the eyes of
an imaginary opponent, followed immediately by a left bil
sau. Step up into closed stance
as the left bil sau shoots out.
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Both palms turn into circling hands
and pull back into their chambers. Face
front with a left, right circling stance (huen ma). Note that other
schools use a left, right, left stance (three times). Repeat
moves on the right side.
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4. Stepping Vedical Elbows
Open the left hand, raise your elbow to head level as you
execute a snapping turn to the right to execute a left vertical
elbow (gwai jong). Your right fist remains in chamber. Right
step slide simultaneously with a right vertlcal elbow (tor ma
gwaijong). Your left fist is in chamber. Right step slide with a
left vertical elbow, as the right pdm moves under the left
elbow. Your right hand shoots out a bil sau straight toward the
eyes of an imaginary opponent, followed immediately by a left
bil sau. Step up into a closed stance as the left bil sau shoots
out. Both palms turn into circling hands (huen sau) and pull
back into their chambers. Face front with a left, right circling
stance, huen ma. Repeat moves on the right side.
5. High/Low Splitting Block (Gan Jam Sau)
High/low splitting block (gan jam sau) to the left, body
(san
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hand (man sau), right hand remains in chamber. Left hand turns
to bridge hand in front. Right pdm up on left arm in ready position. Right hand straight punch down to solar plexus, left hand to
chamber. Right circle hand (huen sau). Pull back to chamber.
Repeat moves on the right side.
8. High Palm Strike
Open the left hand, raise elbow to ear level as you do a snapping turn to the right to execute a left vertical elbow (gwai jong).
Right pdm simultaneously positions itself under the left arm
ready to strike. Right shooting fingers (bil sau), as left pdm up
pulls back to side in ready position. Left high palm strike to the
chin, right hand to chamber. Left palm swings down and up to
left side turning into a searching hand (man sau), right
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schools use a chop to the neck. Right circling
hand (huen sau) pur hand back to
Repeat moves on the risht
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6. Searching or Asking Hand (Man Sau)
Left searching hand (man sau) to the front with right guarding hand (wu sau). Right searching hand/guarding hand to the
right side, Left searching hand/guarding hand to the left side.
Left bridge hand to the front, right hand to chamber. Left circling block (kau sau) with body angling to the left. Left bridge
hand to the front. Left circling block (kau sau) with body
angling to the left. Left bridge hand, Left circling block (kau sau)
with body angling to the left. Left bridge hand with right pdm up
on bridge ready to strike. Right-hand straight punch down to
solar plexus, left hand to chamber. Right circling hand (huen
sau), pulls back to chamber. Repeat moves on the right side.
(Note: Circling hand (huen sau) is a movement and completes
a circle. Circling block (kau sau), as the name states, is a hooking block and usually goes only half-circle. Also, because the
hand position has similarity to the beak of a bird, it is referred to
sometimes as a phoenix hand.
7. Low Palm Strike
Open the left
hand, raise elbow
to head level as
you do a snapping
turn to the right to
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execute a left vertical elbow (gwai
jong). Right pdm
simultaneously posi-
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left arm ready to strike.
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Right shooting fingers
(bilsau), as left palm up
pulls back to side in
ready position. Left low
tions itself under the
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pdm strike (daijeong)to the side, right hand to chamber, Left
pdm swings down and up to left side turning into a searching
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,,n,1*oo;ffi$J:?l;x,ililJ:ff:ll"1'tr;under the right arm ready to strike again, Left shooting finger
strike (bil sau) with right palm underneath the left arm ready to
strike. Snapping turn to the right as left bil sau turns into an
upturned neck chop (chan jeong), right hand pulls back to
chamber, Left pdm swing down and up to the left turning into a
searching hand (man sau). Left pdm continues to the front, turning into a bridge hand. Right palm-up positions itself on the left
arm ready to strike. Right-hand straight punch down to solar
plexus, left hand to chamber. Right circle hand (huen sau). Pull
back to chamber. Repeat moves on the right side.
10. Double Grappling Hands (Seung Lop Sa)
Long bridge double grappling hand $eung lop sau). Pullto the
left side with body turning. Return to front with a left hooking
punch, using ginger fist, right hand to chamber, Left lifting palm.
Lifting pdm strikes downward, Circle hand. Pull back to chamber. Repeat moves on the right.
11. Pull Down Strike
Long bridge left grab/right slap hands (pak lop sau). Pull down
diagonally to the left. Return to front with a left hooking diagonal
flst. Left bridge arm, right remains in chamber. Left circle hand,
Pull back to chamber. Repeat in the other side.
12. Buddha Hand
Bend at the knee and waist as if you lost your balance. As
you rise, put two guarding hands (wu sau) together as in
prayer (Buddha hand) above your head. Do this three times.
(Optional) left kick and right side kick. Close.
S
Gilbert M. De Los Reyes studied maftial arts with naster Alan Lee at his Kung-Fu
Wu'Su Association in New York Cily and ying jow pai (eagle claw), Wu style and Yang
style tai chi with master Leung Shun. He has been studying wing chun with sifu Jose
Grados since 1 998. To view nore wing chun techniques as taught by sifu Grados,
visit his Web site at http://www.sifugrad0s.c0n.
FEBRUARY2OOE 59