Inside Kung Fu - October 2006 - Grados Wing Chun : Street Combat

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38
Features
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Women of "DoAnn
A martial arts game comes to life, thanks to four
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32
Compiled by Dave Cater
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86 rne Wooden Man of Southern China
Once the sole properry of wing chun practitioners, srylists are
now discovering the muk jung is a dummy for all seasons'
patients. By Dave Cater, with Pat Griffith
By Curlis Kautzman
48
94 l"t
oeaOly Wing Chun Ghin Na Fa
The wing chun system has chin na techniques so well
integrated into its system
that hardly anyone refers to
them as chin na fa. BY Gilbert M.
De Los Reyes
54 on the Gutting Edge
Training with traditional kung-fu weaporrs malr,hq
survive a real-life street encounter. ByAdrian
60 ur"v Thai Special
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Li discusses rumors of his
retirement, his movie plans
with Jackie Chan and why
the villain doesn't always
have to be tJre bad guy.
Mewrs
,
,FY.f!
Cane Mutiny
oulii$' aking a comeback
as a
new generation of
Section
Profile'"Dodffi
6f
'1':i"
:l:lrri
64
Sifu shi
shitu Shi
before-seen,
martial atts
and into another person's body. By Robert Blum
76 l" Case of Emergency
Kun Tao's cross-legged sitting stance: sempok-depok.
By Amada Alcantara
80
124 Coming Next Month!
128 Profile
J
P
K
S
secrets of Shaolin
The techniques of the ng hang kuen or "five elements
form" are fundamental to the nature of kung-fu.
By Paul Koh
T
A
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ZI INSIDE KUNG-FU
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Double-Thumb Grab
The attacker threatens to strike. Sifu Jose Grados (black shirt) prepares to meet the attack (1). Grados dlsso/ves the attack (2)
with a double tan sau (palm-up block). Grados grabs the attacker's wrists and pulls him off balance (3). In a swift move, Grados
s/ides hrs hands and grabs the attacker's thumbs (4). He then brings the opponent's arm to the center for better control and
raises the opponent on hrb toes by lifting the grabbed thumbs. He kicks the attacker in the midsection (5) and quickly follows with
a devastating kick to the knee (6).
he winq chun system has chin
na techniques so well integrated
into its system that hardly anyone refers to them as chin na fa,
nor would anyone recognize
them as other than wing chun techniques. For example, the huen sau (circling hand) in the wing chun siu lim tao
(little idea form) is used to set up finger
and wrist chin na holds. Jip sau (arm
break) in the mook yan jong (wooden
man) form is a chin na fa in itself. The
kwan sau (rotating arm) and tok sau
(uplifting hand) can lead into chin na
Shaolin l\lonastery taught different martial arts systems within it walls, chin na
brecame integrated into most of these
systems. lt is not surprising, therefore,
that Ng Mui, the Shaolin Buddhist nun
who developed wing chun, incorporated
chin na techniques into her system.
The universality of chin na extended
to marlial ans systems of other countries, such as Japan, Korea, the Philippines, lndonesia and Brazil. Some even
refer to chin na fa as the father of ludo,
jiu-jitsu and aikido. The Philippine arnis
de mano system uses sophisticated fin-
gerlocks to control the enemy in armed
and unarmed combats.
One can assume that in the archives
of Shaolin monasteries there are documents describing the teaching of chin na
fa to monks in the past centuries. One
of the later vintages of books on the
technique is "Chin Na Fa: Skill of Catch
and Hold," published in Shanghai in
1936, and recently translated into English. The book was written by Liu Jin
Sheng and Zhao Jian as a manual for
Lhe Police Academy of Zhenjiang
province in China.
holds.
Chin in Chinese means "catch," na
means "hold" or "control," and fa means
"technique." Thus, to say "chin na fa
techniques" would be redundant. Chin
na fa, as can be noted from its name, is
not a system in itself -although it should
be-but a set of techniques. Because
of its deadly nature, chin na was among
the most carefully guarded secrets of
the Shaolin Monastery. lt was taught
only to disciples with the most advanced
kung-fu and who, with virtue, had
earned the right to learn the techniques.
UNIVERSAL APPEAL
The history of chin na antedates most
martial arts systems. To its credit, chin
na has universal application. Since the
Forefinger Grab
The attacker punches to the face. Grados dr.sso/ves the attack (1) with a pak da
(simultaneous slap block combined with
strike). In a continuous move, Grados
grabs the attacker's forefinger and
bends it backward (2). Grados finishes
off the attacker with an elbow strike to
the chin
(3).
ocToBER
2006 zr9
D
s
T
in
o
b
In a face-toface con-
frontation,
if ls best fo
make the
first move to
seize control.
Close the
gap in one
breath and
dominate the
opponent
m
"d
d
p
o
with speed
and forcefulness (1). Sifu
John Grados
c/oses the
gap quickly
and attacks
with a lop
sau (grabbing hand),
Groin Strike With an Arm Break
Grados disso/ves a right punch with a
Ieft pak sau (1). The opponent follows
with a left punch. Grados deflects it
with a bong sau (wing arm block) as he
steps to the outside gate (2). The wu
sau (guarding hand) turns into a lop
sau. He grabs the opponent's left hand
and strikes the groin with his right hand
(3). Grados completes the attack with a
shoulder chin na, using his body as a
fulcrum to break the arm (4).
50
]NS DE
KUNG-FU
grabbing the
opponent's
left arm and
right punching him on
the chin (2).
The opponent blocks
the punch
with a right
tan sau (palm-up block). Grados runs his
blocked right punching hand with a huen
sau (circling hand) move to the inside gate
(3). In one caunt, he then switches hands
with his Ieft hand now holding the opponent's right wrist with a lop sau, and steps
in with a right elbow strike to the chest that
shocks the opponent and destroys his balance. Grados runs his right leg behind the
opponent's right leg, wraps his right arm
around the opponent's right arm and executes a chin na lock. I'Ie simultaneously
strrkes again with a devastating elbow to
the chin (4).
Back Elbow
Grab
Grados blocks a
right punch with
a
left inside tan
sau (1). Immediately sliding forward, he strikes
the opponent
with a cutting
hand to the
neck with his
same blocking
hand, while
grabbing the
right hand with
his left lop sau.
The opponent is
now off-balanced (2). Grados then wraps
his right arm
around the
opponent's Ieft
arm, Iocking it
between his
arm and his
body (3). Grados snaps his right palm
upward to complete the lock (4).
pr
gr
di
la
gu
th
S
an
di
in
ar
no
gr
Cr
ca
Triceps Grab: Separating the musc/es
Double Thumb Grab: Tear off
sinews
the
Forefinger Grab: Tear off Neck Lock: Suffocation
the sinews and dislocating the bone
The chin na techniques were grouped
I'I/FIAT'S IN
A NAME?
into:
1. Feng Jing (Separation or tearing
of the muscles and sinews)
2. Yu Gu (Dislocating or breaking of
bones and joints)
3. BiQi (Suffocation)
4. Dian Xue (Striking the veins). A
more familiar term for the last group is
"dim mak," in Cantonese, which
describes pinpointed hits on pressure
points that can cause instant paralysis
or death.
"fihiil
rtd ilJd$ taught
Suffice it to say that this classification
is useful because it lends itself to an
easier visualization and understanding
of the total chin na concept. For example, groundfighting involves controlling
arm and leglocks that are simply
referred to as grappling techniques. Dim
mak, the striking techniques on pressure points along the meridians of the
body, has come into its own and rarely
referred to as chin na. The descriptive
Shoulder Muscle Grab: Separating the
muscles
Front and Back Below Armpit Muscles
Grab: Separating the muscles
mlq,to disciples uith
fhe mosl advanttu lru Ilu-ftl."
w
ks a
with
tan
medi-
for-
ikes
nt
ng
is
ng
e
with
It should be noted that China is comprised of hundreds of diverse ethnic
groups with distinctive languages and
dialects. The two most widely spoken
languages are Mandarin, the otficial language of China, and Cantonese. Then
there are the Shanghai, Fukien, Hunan,
Szechuan, Yunan, Kwantung, Nanking
and hundreds of other lesser-known
dialects. Chinese words are translated
into English according to sound, and so
are the Anglicized spellings. Thus, terminology may vary according to the geographical origin of the madial ads.
classification provides a more complete
picture of the techniques.
Feng jing is used to attack the fingers
by separating them sufficiently to cause
pain or even Lo Lear olf the sinews.
Grabbing and squeezing the muscles
on the front or the back of the armpit
can cause numbness or excruciating
pain. Other targets are the shoulder
muscle right alongside of the neck; the
muscle on the back of the neck; the
muscle on the side of the throat underneath the ear; and the muscle on the
waist near the liver area.
sau.
nt is
Elbow Lock: Dislocating the joint
Vein Press With Eye Gouge: Stop the
flow of blood to the brain and damage
the eyes
ra-
aps
m
left
it
s
m
Crossed-Arm Lock: Dislocating the ioint
Throat Grab: Suffocation Vein Strike: Stop the blood
Neck Strike With Wrist Attack: Dislocate joint and stop the flow of blood
oGTOBER 2006 sl
M
Throat Grab
Neck Lock
Vein Grab
f
Vein Strtke
V
CLOSE CONTACT
Finger Grab
Wrist Grab With Arm Break
Arm Break
Wing chun is a close-contact fighting system. Chum kiu
(searching the bridge), the second form of wing chun, develops the skill to search the bridge-that is, to connect to the
arm of the opponent. The arm contact will act as a sensor to
detect any movement made by the opponent. Once connected, the wing chun man will adhere to his opponent
regardless of the technique. He can strike and block from this
position. lf the opponent can disconnect, the wing chun man
will automatically strike to maintain control of the situation.
With the close contact and adhering technique of wing chun
the use of chin na becomes more natural to execute.
A wing chun principle states that one should create a bridge
if the opponent's bridge is not present, Since an attack generally commences from a distance, creating a bridge at this
point is not possible. Miyamoto Musashi, a 16th-century
Japanese samurai, wrote about three initial attacks in the
"Book of Five Rings":
"fl pill
Yu gu attacks the joints, such as the finger, wrist, elbow
and shoulder. This involves twisting or bending the joints in the
wrong direction to the degree necessary to cause extreme
pain, tear off the ligament and even pull the bones apart.
While classification distinguishes yu gu from feng jing in actual
application, particularly in attacking the fingers, these two are
used most often together.
Bi qi attacks the breathing apparatus and air passages to
prevent the opponent from breathing until he passes out. The
most direct approach is to grab the throat in a choking hold. A
finger strike to the base of the throat will seal the windpipe
and air passage. A pdm strike to the solar plexus will cause
the lung muscles to contract and interrupt breathing. The
same effect can be accomplished by striking the side of the
chest with the fist or a finger.
Dian xue or dim mak attacks the arteries to stop the flow of
blood. Striking the artery can cause temporary paralysis. Striking the arteries on the sides of the neck will stop the flow of
blood to the brain. lf the flow of blood is prevented for a long
time, it can cause death. Dian xue or dim mak should be practiced with care, and only in the presence of someone who has
the knowledge to apply relief.
52
INSIDE
T(UNG-FU
$rles
Attack First
ln initiating attack, quietly get into position
your intention. Then in an instant pounce on
revealing
without
your opponent like a ferocious tiger mercilessly devouring its
quarry. Close the gap in one breath and dominate the oppo-
nent with your speed and forcefulness. Musashi advised to
push your way into the space of the opponent with as much
strength as possible and hit his body, causing him to bounce
off. Take care, however, not to expend your energy totally in
case your opponent is able to retaliate.
The Opponent Attacks First Calmly stand your ground.
When the opponent is almost close enough to strike, take one
step back, feigning weakness. When the opponent slackens,
close the gap in one breath and attack with more ferocity than
he attacked you.
The Opponent ln-itiates and You Await Where You
Stand: lf the opponent is coming in fast, stand quietly. Sink
your chi, a wing chun master would remind one. Musashi said
to tense your legs between the knees and the toes and tighten
the abdomen. As soon the opponent is close enough, attack
with speed and ferocity. lf he comes in slow, make a feinting
move to test his reaction and force him to reveal his plan.
The wing chun system prefers making the first move and
ch
liv
"T
is
th
se
re
us
Tz
re
an
sh
te
th
m
rh
ex
m
be
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sa
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str
inc
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If
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Vein Grab With Eye
u
velhe
to
this
man
un
ridge
ener-
Gouge
Wrist Grab With Elbow Strike Muscle Grab
charging into the opponent to have control. Sun Tzu, who
lived in China around the 4th century 8.C., wrote in his book,
"The Arl of War," that when torrential water tosses boulders, it
is because of momentum. However, if the opponent initiates,
the wing chun kuen kuit says one "must retain what comes in,
send off what retreats and rush in on loss of contact." lt also
reminds one not to collide with a strong opponent. Wing chun
uses deflections to redirect the energy of the opponent. Sun
Tzu said that he who knows the art of the direct and the indirect approach will be victorious.
Wing chun chin na techniques have to be properly set up
and executed with speed. Preliminary strikes calculated to
shock the opponent, unsettle his balance and destroy his centerline will facilitate the application of chin na. Musashi wrote
that there is a rhythm in everything. To achieve victory, one
must ascertain the rhythm of the enemy and strike with a
rhythm that he does not anticipate. He goes fudher by
explaining the "strike of a single
moment," which is timing the blow
before the opponent can decide to
retreat, parry or strike. A wing chun
saying advises one to strike when you
should; do not strike when you should
Arm Break
. Double Thumb Grab
. Forefinger Grab
. Grab the Muscle
. Crossed-Arm Lock
. Front Elbow Lock
. Back Elbow Lock
. Bear Hug
. Arm Break With Groin Strike
. Seal the Breath
. Strike the Vein and Stop the Blood
o Stop the Blood and Gouge the Eye @
Gilberl M. De Los Reyes studied maftial afts with master Alan Lee at his Kung-Fu
Wu-Su Association in New York City, and ying jow pai (eagle claw), Wu style and
Yang style tai chi with naster Leung Shum. He has been studying wing chun with
sifu Jose Grados since 1998. Sifu Jose Grados is from the Yip Man lineage of master
Moy Yat and master Augustine F1ng. For more information, visit his Web site at
www.sifugrados.con.
not.
n
on
its
The wing chun chin na techniques
contained in this arlicle were demonstrated by sifu Jose Grados. They
include:
poo
ch
nce
in
nd.
one
ns,
than
k
aid
hten
ck
g
d
Crossed-Arm Lock
The attacker is coming in fast. As soon as he is c/ose enough to strike, Grados surprises the attacker by wresting the initiative
by slapping the attacker's man sau (asking hand) to the side and simultaneously punching to the face (1). The attacker quickly
recovers and throws a left punch to the chin. Grados dr.sso/ves the punch with a huen sau (circling hand), stepping to the outside
gate and fotlowing up with a blow to the elbow joint (2). The attacker turns and counters again with a right punch. Grados blocks
with a right outside high gaun sau (sweeping hand) and pushes the left arm upward and under the opponent's right arm (3). Grados pults down the attacker's right arm and locks the left arm underneath the right (4). Grados then pushes the off-balanced
attacker against the wall for total control (5).
oGTOBER2006 53