WING CHUN TECHNIQUES FOR BEGINNERS PDF

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result from practicing the techniques and/or following the instruc- We dedicate this book to our Wing Chun ancestors who passed Basic Movements. By using techniques in instructional multimedia, the website “Wing Chun Kung I learn Wing Chun Kung Fu under the Wing Chun sifu John. Wing Chun Kung Fu Complete Manual - Free ebook download as PDF File .pdf) or read book online for free. injury that may resule from practicing the techniques and/or following the instruc- tions given within, Basic Wing Chun Training.


Wing Chun Techniques For Beginners Pdf

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Wing Chun: Introducing Basic Wing Chun Kung Fu Using. 89 Pages·· MB·2, Complete Wing libtutynupa.ml Wing Chun Dummy libtutynupa.ml Phe Wing Tsun Dummy Techniques is the name of a book being planned for ILLUSTRATIONS OF THE WOODEN DUMMIES Yip Chun P. THE The basic open stance in Wing Chun is based on the theory of the center line. Wing Chun is a soft style with many neutralizing techniques that require you to.

Pros Helps to cultivate self-confidence, determination, humility, etc Useful for women, men, and children Highly interesting Get Detail On site 6. Wing Chung Kung-Fu The Wing Chung Kung-Fu is a complete guide that explains the basic forms and principles, weapons, advanced techniques, and grappling and fighting. It contains more than black and white photos. All these techniques are explained in step-by-step illustrations.

The book offers clear, authoritative, and straightforward instructions about the Wing Chun Kung-Fu. You will also get a deep idea regarding the theory behind each move. So, you will get a deep understanding of the theoretical and practical application of this martial art. The chop is very useful for causing pain as you defend. The exercises included in this lesson progressively show how correct body positioning allows you to be ready for any attack.

Aim for near your opponents wrist to cause pain. As soon as you have chopped, use your other hand to grab your opponents wrist.

Exercise 29 Chop Defense and Counter Practice using the chop to defend and counter. If after the first strike your opponent throws a second punch take a small step back and use the same arm to defend against it. Exercise 30 Chop Defense and Counter Extended Add defense against this follow-up strike to the previous exercise.

If your opponent then uppercuts bring your elbow down to defend against it. Ensure you move out of the way or you will get hit. Also, if you are too close you will not have enough room to defend.

Exercise 32 Chop Defense and Counter with Hook Defense Replace the uppercut from the previous exercise with a hook and defend accordingly. Exercise 33 - Chop Defense and Counter with Alternating Uppercut and Hook Defense Do the chop defense and counter exercise and randomly alternate between the hook and uppercut defenses.

Using a pad means you can focus on applying power to your techniques without hurting your training partner. As your partner punches use tan sau to defend then bring your other hand over and pin your opponents punching hand down. Grab it and force it down. Chop the pad. Dont try to bring your arm back to generate power.

It just gives your opponent time to hit you. Use your waist. It is faster and more powerful. The picture on the right is the incorrect way to do it. In reality you would aim for the neck. Exercise 34 Chop the Pad Practice the chop on a pad.

Lesson 17 Uppercut Defense In the previous lesson defending against the uppercut with your elbow was demonstrated. Heres a way you can defend against the uppercut using the chop. Use your whole body to chop. Exercise 35 Uppercut Defense Practice defending against uppercuts left and right using the chop. After the chop you can counter by attacking straight into your opponents neck. Exercise 36 Uppercut Defense and Counter Add a counter-attack after defending against the uppercut.

Lesson 18 Triple Defense This lesson shows how the tan sau, pak sau and the chop can work together to defend against common boxing attacks. The exercise is good for practicing the shifting of your body weight as your body must turn after each technique. Your opponent throws a straight punch.

Defend with pak sau.

Defend against it with pak sau on the other side. Use tan sau to defend. Finally your opponent throws two uppercuts. Chop them accordingly. Exercise 37 Triple Defense Practice defending against the six attacks in order.

Exercise 38 Triple Defense Random Have your partner throw straight punches, hooks and uppercuts at random. Defend against them accordingly, with or without counters. Lesson 19 - Three Kicks The stomp kick, side kick and front kick are fundamental foot techniques in Wing Chun. This lesson teaches how to do these three basic kicks on a single spot. It helps to improve balance, body position, leg strength and technique.

Basic Wing Chun Training : Wing Chun For Street Fighting and Self Defense

Raise your rear leg so your knee is parallel to the floor. Angle your foot out slightly as you kick your foot out. The sole of your foot is what would be hitting the target. The target is your opponents thigh or knee.

Do not straighten your leg fully i. This is the stomp kick. Bring your leg back to the position where your knee is parallel to the floor. Angle your foot slightly in so you can do a side kick. The side kick which strikes at an imaginary shin target.

Thrust it straight out into a front kick.

The target would be the gut of your opponent. Your foot is vertical. Bring your leg back and then down to the ground. As you do so, adopt the half squat position. Turn to your other side and repeat the three kicks with your other leg. Finally, do the three kicks to the center, i.

Exercise 39 Three Kicks Practice the three kicks.

As you increase speed it will get easier to balance. Three Kicks Application This demonstrates application of the three basic kicks. It also teaches a technique using the same hand to deflect and grab in a fluid motion and emphasizes on correct distancing. As your opponent punches use a variation of the tan sau where your palm is facing away from you. This will enable you to grab your opponents arm as you defend. This first kick must be very fast. Bring your leg back and then thrust a side kick into your opponents thigh.

Bring your leg back again and then apply the front kick to your opponents torso under the armpit. When applying these kicks if your distancing is incorrect or you are not stable you will have problems, e. Exercise 40 Three Kicks Application Practice the three kicks application on both sides of the body. The grabbing technique is hard to apply in a real life scenario since it takes very fast reflexes.

For now just do it slowly to get the movement right. We will revisit it later with speed. Lesson 20 - Stepping Side Kick The stepping side kick is useful for attacking low knee level or below while closing ground.

It combines basic stepping with the side kick. Begin in your fighting stance. Step forward a couple of times. When ready, as your rear foot comes up plant it firmly into the ground so you can do the side kick with your lead leg.

Glossary of Wing Chun terms

Drop your foot back to the ground and then repeat the process. Do this a few times and then use switching sides to turn around so you can do it using your other side. Here is the view from the front so you can see the line of the body with the hands. Exercise 41 Stepping Side Kick Practice the stepping side kick on both sides of your body.

Step forward two or three times and then kick. Lesson 21 Punch Roll The punch roll is a basic Wing Chun drill which is beneficial for many things such as increasing speed, honing reflexes, understanding the line of the body, trapping, distance etc.

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The punch roll can be broken down into four movements; defend, under, cover and punch. Your partner punches at you and you defend with pak sau. It forces it down. Finally, you punch and your partner uses pak sau to defend.

You repeat this defend, under, cover and punch routine between you and you partner. Although it is presented here in four separate movements the punch roll is fluid. There should be no discerning pause between the movements. They roll into each other. The punch roll can also be done without the pak sau. Instead, you use the under as the initial defending maneuver. When you first begin to practice the punch roll you have to make sure you are ready.

Every time your partner punches you must be ready to react. After some practice, it will become instinctive. Practice the punch roll on both sides. Punch Roll Change Once confident with doing the punch roll on both sides of your body you can advance to changing sides while doing the punch roll, as opposed to stopping, changing sides and then restarting. It allows you to change from left to right or vise-versa very quickly. The movement needed to change can be broken down into four stages; chop, under, cover, punch.

Like the punch roll, these four movements are done with no pause between the movements. Begin by doing the punch roll as normal. When you are ready to change, instead of punching, chop the hand that your partner would usually use to intercept your punch.

From here continue the punch roll on this new side.

In reality the chop would go to the neck. Exercise 43 Punch Roll Change Practice the punch roll with this change. Practice the punch roll often. You want it to be instinctive so you no longer need to think about what your hands are doing. Your mind will then be free to think ahead. Lesson 22 Trapping Trapping is an important concept in Wing Chun. Many defensive techniques, grabs, holds, pressing etc. Greet what arrives, escort what leaves and rush upon loss of contact.

Yip Man. It is important to note that in a real fight or fast paced sparring it is the simple traps that work best, e. Here is a basic method of trapping both of your opponents hands.

It relates extremely closely to the punch roll and helps you learn to feel your opponents movements. Your opponent strikes and you deflect with tan sau. As you pin the arm down you punch. As you punch your opponent defends. In training hit the body.

In reality, hit the throat. When you punch remember to keep upright and generate power from the waist. Your first punch is bait for your opponent to defend against so you can trap the second hand. The reason you do not just hit your opponent the first time is because you could also be hit. You will just be trading punches.

Exercise 44 Trapping Practice this method of trapping both of your opponents arms. Exercise 45 Trapping Complications Practice trapping and have your partner throw another one or two random attacks for you to defend against. Once you are comfortable with this lessons initial method of trapping you can add in more attacks such as repeating punches. Trap and punch as previously explained.

You can continue punching with alternating hands in this manner. After every punch your opponent will move back a little. Use foot work to maintain distance. Do not lean in. Exercise 46 Trapping Multi-Punch Trap both your partners arms and then do three punches. Trapping Elbow This replaces the punch with an elbow. Trap your opponents hands as in the previous exercises. Keep your elbow in line and move forward with your body upright. Create power with footwork. Force your body into the strike.

Do not lean in or try to go too high, you will lose balance and power. Exercise 47 Trapping Elbow Practice trapping and then attacking with the elbow. Do not go too hard on your training partner. When practicing trapping and attacking with pads you can apply more power than if just using a body pad but you can only trap one hand.

In he was a weight lifter for the Oakland YMCA team and held the lifting record in his weight division for North- ern California, He has also been an amateur boxer. He also practiced sil lum kung-fu in San Francisco for three and a half years before studying wing chun and jeet kune do under Bruce Lee in , Only two other instructors have been personally instructed by Bruce Lee: When time allows, he teaches certain aspects of wing chun and, occasionally, jeet kune do to a small class of less than 10 students, Lee is seriously thinking of opening a physical conditioning center for middle-aged businessmen.

Yin can represent anything in the universe; negativeness, passiveness, gentleness, femaleness, moon, darkness, night. The other half of the circle, yang, can represent positiveness, activeness, firmness, male n ess? But yin-yang co-exist as one inseparable force of an unceasing interplay of movement. They are neither cause nor effect but should be looked on as sound and echo, light and shadow. When 1 say the heat makes me perspire, the heat and perspiring are just one process because they are co-existent— the one could not exist but for the other.

If a person riding a bicycle wishes to go somewhere, he cannot pump on both pedals at the same time, In order to go forward, he has to pump on one pedal and release the other. So the movement of going forward requires this "oneness" of pumping and releasing. Firmness is concealed in softness and softness in firmness.

Activity includes inactivity and inactivity includes activity. This is what the black and white in the figure are meant to represent. Yip Man of Hong Kong, renowned leader of the wing chun style. May his tribe increase. Although Yim Wing Chun learned from another, she is still considered the founder of the wing chun system. She felt that too much emphasis was placed on the "hard horse" and "hard style" so evident in the other systems, and being a woman, she believed that a wiser course of action should be taken to compliment the "hard" way.

In order to apply energy more efficiently, she devised the chi sao practice, a unique feature of the wing chun style in which one flows with the opponent instead of trying to dominate him explained in detail in the chapter on the sticking hand. Since structurally this style compliments opponent strength rather than trying to dominate it, wing chun is ideal for women. It is an aggressive style with very compact, economical attacks and defenses.

Yip Man, the foremost authority of the wing chun art today, is responsible for bringing the style from behind the bamboo curtain to Hong Kong, 13 Right Square Stance To assume the square stance, dis- tribute your weight equally on both feet and bend your knees.

Posftion your hands at the centerline joan sien p placing your right hand for- ward of the left. Remain in the square stance, but place your left hand forward of the right hand.

Left Square Stance Right Stance To assume a right stance from the square stance, move your right leg forward, but distribute most of your weight on the rear leg. Con- tinue to guard the centerline. The left stance is the reverse of the right stance. Left Stance Right Sitting Horse Stance From the square stance assume the right sitting horse stance J or mah by turning your body toward the right.

Keep most of your weight on the rear foot. Lower your left hand, turn your palm toward the floor, and bring it across your body until it is in I in e with the right hand.

The left sitting horse is just the opposite. It is the nucleus on which the defenses and attacks of wing chun are based.

The centeriine influence can be seen in all wing chun stances, hand positions, shifting of horses, advancing and retreating. A In a square facing stance place your right hand forward and your left hand at the center of your chest. B When you change the position of your hands, regardless of the stance, never leave the centeriine unprotected.

IB This series illustrates how to guard the center!

8. Wing Chun Warrior

Start the fmger jab from the middle of your chest so the jab protects the center I ine as it travels forward, 1 From the completed left finger jab position, 2 begin a right finger jab by retracting your left hand as you shoot out your right hand. Theoretically, it works like a hurricane, The eye of a hurricane is always still, but its periphery is constantly moving and exerting tremendous force.

The immovable elbow works similarly. The hand and forearm can move in any direction, but the elbow never moves. It remains about three inches in front of the body. Abo, the hand and forearm should never pass the imaginary perpendicular Line that intersects the elbow. If the arm is pressed too hard, it is better to give way with the whole body than to give way with the elbow or violate the boundary line.

The distance between the thumb and little finger on the left hand is the correct distance that the elbow should be from the body. Iii the immovable elbow theory, boundary lines limit the sideward and up-and-down movemert of the hand and forearm.

The height of the boundary is the eyebrows, and the lowest boundary line is the groin area, although the elbow must never dip below the nave. The width of the boundary extends just past the shoulders. The four corners are divided into four equal areas, or gates. Attacks to the inside gate will be blocked inward.

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Within each gate there are also two separate areas as seen in the side view: Any attack to the forward area will be blocked by the forward arm. Attacks to the rear area will be handled by the hand that is back. One hand is high and the other is low. Outside High Rear Here is a rear, outside high block slap block executed with the left hand.

Inside High Forward An example of the forward, high inside gate block is the left palm-up block. Inside High Rear A rear, inside high block can be performed with 3 right slap block and a left straight punch. Outside Low Forward A forward, outside low block can be accomplished by exe- cuting a low, ouier wrist block with the right hand.

Outside Low Rear The rear, outside low block can be executed with a low, left slap block. Inside Low Forward The forward, inside low block can be accomplished with a right slap block. Inside Low A rear, inside low block is exe- cuted with a left slap block. Any style which blocks and attacks simultaneously will be structurally faster than a style which incorporates a block and then an attack.

The Chinese call the simultaneous block and attack lin all die dar. Figures 1 through 4 show the wasted movements that I am expending to counter my oppo- nent's technique. This is not an example of lin sil die dar. Remember to keep your hand within the boundary line. The block is too extreme and the movement is wasted.

Notice how the right hand is guarding the centerline joan sien. Con- 2 , I preserve my centerline sequently, all my opponent has and make it inviolate, I am able to do is come in at an angle to block my opponent's left and my centerline is useless, punch because I am facing him.

Retreat 1J In the retreating movement just reverse the direction of the ad- vance. From the right stance 2 slide your left foot backward, and 3 then bring your right foot back halfway.

Step to the Right 1 Assume the right stance. This foot movement is used mainly for attacking to both the inside and outside gate. The positions in Photo Nos. Stop the right foot when you are in a left stance.

Place your left hand forward. The entire sequence of positions, 1 through 9, can be executed in a continuous motion as an exercise. Since sil lim tao is a station- ary form, you will practice all of your defensive blocks and offensive attacking tools with- out taking a single step. The hand movements will later be put to good use in the practice of chi sao sticking hands.

Sil lim tao is also applied effec- tively in a combat situation, Sil lim tao plays such an important part in wing chun training that you should start each practice session with this form before going on to more advanced techniques.Chest You can follow up with a series of finger jabs or vertical fists. In this lesson biu saus use is demonstrated against the common jab-cross combination.

The chop is very useful for causing pain as you defend. Still, this isn't the most preferred method of learning Wing Chun. To move backwards just do the opposite of what you did when stepping forward, i.

Open is where the muscles and joints relax and unwrap themselves. P1 rotates her right elbow up, keeping the wrist in towards her centerline. As your opponent punches use a variation of the tan sau where your palm is facing away from you.

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