up yee sik (shi er shi, twelve forms), sometimes referred to as the sup yee san sao (shi er san

shou, twelve separate hands) or sup yee san sik (shi er san shi, twelve separate forms), descend from the san sik teaching of Cheung Bo and Yuen Kay-San and were integrated and formalized into the system by grandmaster Sum Nung. Compact in structure, yet containing many of the elements essential to a good wing chun foundation, the sup yee sik are ideal for early training. They can be loosely grouped into three broad categories. The first four focus on building body structure through basic punching, stance and step drills. The next four work fundamental arm cycles, firmly ingraining the cardinal tools for interception. The last four include sensitivity training and combination techniques that help bring the art to life. Although perhaps not as detailed as the classical boxing sets proper, these same attributes make them quite valuable as a sort of crash-course in wing chun self-defense. For those who require simple skill, yet do not have the time or desire to delve more deeply into the art of wing chun, the sup yee sik can serve as great starting point. The sup yee sik vary in order and terminology among the students of grandmaster Sum Nung but usually include the meridian punch/three star punch, side punch, single dragon punch, arrow punch, triangle palms, yin & yang palms, inside join/disperse/grasp, outside join/disperse/graps, wing arm, detaining joining arm, flapping wing palms, single sticking bridge, circling arms, and white crane seizes the fox, etc.

By Ren Ritchie Marital Arts Illustrated, December 1998 Excerpted from Yuen Kay-San Wing Chun Kuen: History & Foundation Corrected April 1999 The man stood, threatening, before the young boy, holding his knives tightly. They were large blades, the kind employed to chop watermelons and the man was obviously skilled in their use. In an instant he attacked swinging the knives savagely. The boy, in grave danger, did his best to avoid the blades' sharpened edges. The stinging in his arms and wet trickle of blood told him he was not entirely successful. When his chance came, however, he struck back with lightning speed and thunderous power, using all the skills he had acquired in his short time of Wing Chun training. The man's watermelon choppers were sent flying by the skilled attack, spinning through the air and forcing the gathered onlookers, including the boy's teacher, Cheung Bo, to scatter for safety. When it was over, Cheung Bo approached the young boy, Sum Nung, congratulating him on his success. he sup yee sik (twelve forms), sometimes referred to as the sup yee san sao (twelve separate techniques), were organized by Grandmaster Sum Nung based on the san sik of both his teachers, Cheung Bo and Yuen Kay-San.

Meridian, Side, Single Dragon, and Arrow Punches

History Dr. Sum Nung (Cen Neng) was born in South America in 1925 but returned to China with his family as an infant. Settling in Foshan, Sum Nung took a job at Tien Hoi, a restaurant off Kuaizi (Chopstick) alley, in order to help support his family during the tough times under Japanese occupation. Sum Nung had always been interested in the martial arts and in 1938 had begun training in Wing Chun kuen under Cheung Bo. Cheung Bo, known as Dai Ngao (Big Bull) Bo was a large and powerful man with a formidable reputation as a fighter who worked as a chef at Tien Hoi restaurant. Cheung Bo had learned the art from Nationalist Army doctor Wai Yuk-Sang who had been a student of Ngau Si of the Kuaizi Street Meat Market. Ngau had learned the art from the renowned Guangzhou marshal Fung Siu-Ching (a disciple of Red Junk Opera performer Painted Face Kam). Seeing great potential in the young boy, in 1940 Cheung Bo arranged for Sum Nung to continue his studies under his good friend Yuen Kay-San. Yuen Kay-San was a highly skilled master who had learned Wing Chun kuen as a youth from the Foshan Imperial constable Fok Bo-Chuen (a student of Red Junk Opera performers Wong Wah-Bo and Painted Face Kam). Later, Yuen had completed his studies of advanced application and close-body fighting under Fung Siu-Ching. Sum Nung studied under Yuen Kay-San intensely for many years and achieved a profound understanding of Wing Chun kuen's methods. In the late-1940ss he moved to the nearby provincial capitol of Guangzhou to establish his medical practice, but continued to visit his teacher until Yuen passed away from illness in 1956. In Guangzhou, Sum Nung combined and refined some of the san sik he had learned from Cheung Bo and Yuen Kay-San to help in the early training of his students, developing in them a powerful foundation.

Triangle Palms on the Wooden Dummy: Dispersing, Supporting, & Cultivating

The Nature of the Sup Yee Sik Compact in structure, yet containing many of the elements essential to good Wing Chun kuen development, the sup yee sik are ideal for early training. They can be loosely grouped into three broad categories. The first four focus on building body structure through basic punching, standing, turning, and stepping drills. The next four work fundamental arm cycles and changes, firmly ingraining the cardinal tools for interception and adaptation. The last four include sensitivity training and combination techniques. Although perhaps not as detailed as the techniques of in the three classical Wing Chun Kuen boxing sets proper, these same attributes make them quite valuable as a sort of crash-course in Wing Chun kuen selfdefense. For those who require simple skill, yet do not have the time or desire to delve more deeply into the art of Wing Chun, the sup yee sik can serve as great starting point. Each point in the system helps attribute development (building relaxation, flexibility, body alignment, refined muscle use, etc.), defense (reducing possible an opponent's possible angles from the outset, intercepting bridge in motion, restricting extended bridges, etc.), offense (striking, locking, throwing, etc. with all parts of the body), and the concepts of the art (meridian line, flanking, etc.). Training is accomplished through the solo forms, drilling with equipment (including the sandbag, rattan ring, wooden dummy, etc.), and practicing with a partner in both san sao (loose hands) and chi sao (sticking hands). Each point is trained individually and in combination, to be used in application as circumstances dictate.

Closing the center with the Inside Joining arm and countering

The Twelve Forms The twelve forms sometimes vary slightly from branch to branch, although the essence remains the same. The list below represents the

version learned and practiced by the author, organized to help their presentation in written form.
1. The jee ng choi (meridian punch) trains the fundamental yee jee

2.

3.

4.

5.

6.

kim yeung ma (trapezoid shaped groin clamping horse) and introduces the primary chung choi (thrusting punch) of the style, which pounds explosively along the jee ng sien (meridian line). Its extensions include the concussive lien wan choi (linked chain) punches and the sam sing choi (three star punches). The meridian punch teaches alignment on the meridian line, attacking the opponent's meridian line, and the domination of the mutual meridian line. Pien choi (side punch), also known as pien san choi (side body punch) adds pien ma (side horse) turning to the thrusting punch and works on developing the connected power of the body. The side punch also trains the facing posture and side body or flanking methods of Wing Chun kuen. Its extensions include the kwai dei pien choi (kneeling side punch), also called gwai ma choi (kneeling horse punch). Duk lung choi (single dragon punch) combines elements of the previous forms training them in a complementary manner. It alternates a side projecting punch from the front stance and a front projecting punch from the side stance. It also integrates the linked chain punch and introduces the fundamental bong sao (wing arm) movement. In addition, the single dragon punch helps train the reflexes to intercept and counter attacks from the side and back, completing the four directions of basic training. Jin choi (arrow punch) adds linear front and side stepping to the pattern of the single dragon punch, integrating footwork with body structure. This also trains the lower body in both defense (quick rooting, changing the meridian line, etc.) and offense (striking, uprooting, controlling, etc.) Sam pan jeung (triangle palms) drills tan sao (dispersing arm), chang jeung (supporting palm), and gaun sao (cultivating arm) movements that cover basic interception inside, outside, and downward. It also helps illustrate the triangular structure behind Wing Chun kuen bridges. This set is usually matched in application with a partner performing linked high and low punches. Loi lim yum yeung jeung (inside/outside yin & yang palms), also known as tan fook sao (dispersing & controlling arms), weaves two of the primary Wing Chun intercepting tools into a short but densely packed set. Concentrating on the smooth changing of the

bridges, this technique can also be expanded into the jao da (run and hit), poon tan bong (half-dispersing-half-wing), etc. 7. Noi dap (inside join) also sometimes referred to as noi lim sao (inside sickle arm), the first of two related sets, trains the reflexes to close the meridian line from the outside in. It consists of a cycle of interior controlling arm and outside circling arm. Its variations include the noi tan (inside dispersing) and noi lop (inside grasp). 8. Ngoi dap (outside join), also sometimes referred to as ngoi lim sao (outside sickle arm), the complement of the inside join, combines a basic exterior controlling arm movement with the inside circling arm. The ngoi tan (outside dispersing) and ngoi lop (outside grasp) are variations of the outside join. 9. Kao dap sao (detaining joining arm) utilizes a Cheung Bo style wide detaining arm along with a vertically dominating kwa choi (hanging punch) and suffocating structure. This form can also be extended into the kao lop sao (detaining & grasping arm). 10. Pok yik jeung (flapping wing palms) combines turning power with horizontal palm attacks to strike or uproot an opponent. It is trained in a variety of manners, both inside and outside, and while stationary or in conjunction with yee ma (moving horse). 11. Na dan kiu (sticking single bridge) cycles a chum kiu (sinking bridge) technique with a horizontally controlling punch in a set typically trained with a partner to develop the dissolving of heavy force. Some branches practice the seung huen sao (double circling arms) instead. 12. Bak hok kum wu (white crane seizes the fox) uses chasing steps to maintain control of an opponent and saat kiu (killing bridge) and gok ma (angle stance) like scissors to cut them down. White crane seizes the fox also helps develop the use of three bridges at once.

Inside Joining, Detaining Joining Arm, Flapping Wing Palms, & White Crane Seizes the Fox

Conclusion Over the last 50 years, teaching only those he felt were trustworthy, Grandmaster Sum Nung has gone on to train many outstanding students. Due to his tireless efforts, and those of his students and descendants,

Yuen Kay-San Wing Chun Kuen has gained a great reputation in China and has spread to Hong Kong, South East Asia, the United States, Canada, South America, Australia, and around the world. Among those fortunate enough to learn from Grandmaster Sum Nung is a man named Ngo Lui-Kay (Ao Leiqi) who followed him from the mid 1960s until he relocated to Canada in 1982. As the twelve forms were passed from Cheung Bo to Dr. Sum Nung, and from Dr. Sum Nung to Ngo Lui-Kay and his many classmates (with apologies, far to many to list here), so has Ngo Lui-Kay employed them to train his own students. It is hoped that by introducing these techniques in the west, it will help preserve the rare and unique style of Yuen Kay-San Wing Chun kuen, and the teachings of Grandmaster Sum Nung for future generations.

White Crane Seizes the Fox followed up with Kneeling Side Punch

About the Author Ren Ritchie has been studying the Yuen Kay-San style of Wing Chun under the guidance of Ngo Lui-Kay since 1990. This article is excerpted, in part, from his book, Yuen Kay-San Wing Chun Kuen History & Foundations. Ren Ritchie is also co-author, along with Robert Chu and Y. Wu, of the book Complete Wing Chun: The Definitive Guide to the Historical Traditions of Wing Chun Kung-Fu and has written articles for Martial Arts Masters, Martial Arts Illustrated, and Martial Arts Legends magazines and the Wing Chun Today newsletter. Creator of the Internet WingChunKuen.Com website, he works and practices in Eastern Canada.

iu lien tao (xiao lian tou, little first training) is the first linked long form of wing chun kuen. A stationary exercise practiced in the yee jee kim yeung ma (er zi qian yang ma, trapezoid shaped clamping groin horse) throughout, it concentrates on training stability and balance, basic arm movements, linking the structure, and the development of duen ging (duan jing, short power). Siu refers to little or small. Lien encompasses training, practice, or drilling. To this is added tao, meaning beginning, first, or head. Thus, it can be theorized that the siu lien tao begins the practitioners training with the little elements- the yiu dim (yao dian, conceptual points). This includes both the physical work the body must go through, the mental development of intention, and the linking of the two. In modern times, continuing this concept, the set is also commonly referred to as siu nim tao (little idea).

hum kiu (chen qiao, sinking bridges), follows the siu lien tao in the curriculum. Similar to side punch and arrow punch that follow the meridian punch of the sup yee sik, this set integrates the basic motions with

turning and stepping and works on developing attack and defense in all four directions. While the name of the form can refer to sinking (rooting)and bridging (joining), it is also relates to the concept of sinking the (opponents) bridge, or, in other words, destroying their structure. The chum kiu form itself introduces kicking techniques such as heart piercing kick and side nailing kick. It also contains several different versions of the wing arm, both sweeping and throwing, performed at high, middle, and low levels, as well as versions of the barring arm, neck detaining arm, and other techniques. As with the siu lien tao, this set is also commonly known by the name chum kiu (xun qiao, seeking bridges).

iu jee (biao zhi, darting fingers), the third and final fist form, develops more advanced tactics. Biu jee can be interpreted as darting with fingers, in that it works to develop a penetrating, exacting force. It can also be taken as pointing in that, like a compass, it always returns to the center even when in tricky situations. Footwork in the biu jee includes the moving horse, and major sections consist of covering elbows, killing bridges, cultivating arms, and saving body, among others.

uk yan jong (mu ren zhuang, wooden dummy) is perhaps the most famous of the wing chun training aids. It is constructed to match the size of its intended user and is composed of a body post, two high-level arms, a single mid-level arm, and a low-level leg. When originally developed, the dummy was buried quite deeply in the ground and surrounded by loose earth. As apartments grew more common, this arrangement became impractical, if not impossible (especially if one lived above ground level), so the wooden dummy was redesigned to incorporate a solid metal base with heavy-duty springs. Although a set form is taught at more advanced levels, a wing chun practitioner can use the wooden dummy right from the beginning to train almost any motion. Drilling on the wooden dummy helps to develop the bridges and body structure, build precision and accuracy in movements, and aid in the development of short-range, explosive energy. Grandmaster Sum Nung is said to have combined elements of Cheung Bo's dummy into the first half of the set. The rest contains movements from the three forms and introduces motions such as butterfly palms, half-dispersing-half-wing, tiger tail kick, and rising knee.

The form itself is also practiced as hong jong (kong zhuang, air dummy). This is simply the dummy form practiced on its own, without the actual physical dummy construct.

an hei gwai yuen (shen qi gui yuan, kidney breathing returns to source) were passed down to grandmaster Sum Nung by Cheung Bo's teacher, Wai Yuk-Sang, who late in life converted to Taoism. The exercises consist of a sequence of hei gung- (qigong, breathing work) like movements. They are typically practiced both before and after training to reenergize and revitalize the body, and to make sure healing prefaces and follows martial activity. The kidney breathing sets include exercises like yielding breath, side-to-side waist, single hoof, expanding chest, and dropping power, among others.

By Ren Ritchie Martial Arts Legends Presents Chi Power, April 1999 Excerpted, in part, from Yuen Kay-San Wing Chun Kuen: History & Practice Corrected May, 1999 Sum Nung had already been learning wing chun kuen for many years when Dr. Wai Yuk-Sang called him. Dr. Wai had been in service of the Nationalist Army. He had learned wing chun kuen from the classmate of the young man's current teacher, Yuen Kay-San, had taught the art to the young man's first teacher, Cheung Bo, and had taught medicine to the young man personally. He had been famed for his skills as a doctor and his skills as a fighter, especially his amazing talent with the gold coin darts. That was then. Now, the old man had had a change of heart, a change of life. He had shed his former existance, embraced the teachings of the Tao, and become a priest. When Sum Nung answered Dr. Wai's call, he found his martial grand-teacher deeply concerned. Dr. Wai had come to regret having taught the martial arts. He felt that what he had passed on may be used to harm or even kill others and that thought his new-found faith could not bear. Sum Nung tried to reasure his grandteacher, saying he had never, nor would he ever, gravely injure, let alone kill anyone. Dr. Wai knew this and took a measure of comfort in it, but pointed out that as his art was passed down and more and more people learned it, it became impossible to know what may eventually happen. Although Dr. Wai knew he could not unteach what he had already taught, he did think that perhaps he could help balance the scales. Hence, Dr. Wai taught Sum Nung the kidney breathing returns to source set and instructed him to perform it both before and after his wing chun kuen practice, so that the art of fighting would always be contained by the art of healing. un hei gwai yuen (shen qi gui yuan), are a seldom seen part of the wing chun kuen passed down by grandmaster Sum Nung. Sun refers to the kidneys. Hei (qi/chi) is a deep character covering breathing and intrinsic

energy. Gwai yuen can be translated as invigoration, returning to the source, or recharging the source. Origins The origins of the Sum Nung system proper are well known. It was handed down from Fine Jade Flower Union (King Fa Wui Goon) Opera performers Wong Wah-Bo and Painted Face Kam (Dai Fa Min Kam), through Imperial constables Fok Bo-Chuen and Fung Siu-Ching, to Yuen Kay-San of Foshan. Known as Yuen the Fifth (Yuen Lo Jia), he in turn passed his knowledge on to Sum Nung (Cen Neng), who had previously learned the separate form (san sik) based wing chun kuen of Tien Hoi restaurant chef Cheung Bo, a student of Dr. Wai Yuk-Sang. The kidney breathing exercises are rumored to have come originally from the Emei mountain temples of Sichuan province (where fables also link back the system as a whole to the legendary White Crane nun, Ng Mui). In modern times, they were passed down by Dr. Wai Yuk-Sang. Formerly a doctor in the service of the Nationalist Army, Dr. Wai learned wing chun kuen from Ngau Shi of the Kuaizi Street Meat Market, a student of Fung Siu-Ching. Late in life, Dr. Wai became a Taoist priest and passed along the kidney breathing exercises to his grand-student, Sum Nung. Wing Chun Hei Gung It is said in wing chun kuen that one must "eat well and moderate lust; quiet the heart and conserve the hei ". While these ideals are all fairly typical in the Chinese martial world, and the first three are pretty selfexplanatory, one may wonder how does wing chun kuen specifically go about working hei? Wing chun hei gung (qigong, breathing/intrinsic energy work) is not a singular phenomenon. Different branches of wing chun kuen, as may be expected, view hei gung and its training in different ways. Some, like the Sum Nung branch have forms in addition to the usual boxing, dummy, and weapons sets to train hei gung. Others prefer to focus exclusively on the sets and see no need for separate hei gung forms. Neither approach is in and of itself better then the other, but by knowing the differences, practitioners can make up their own mind, based on their own needs.

In the boxing sets, it is often thought that the slow movements are especially good for hei gung. An example would be the little first training's (siu lien tao) three prayers to Buddha (saam bai faat) section which focuses on the slow extension and retraction of bridges through dispersing (tan), controlling (fook), and protecting (wu). In the end, however, it could be said that all movements of all forms provide some benefit in this area. Why, then, are there separate hei gung forms in some branches? Simply Protecting arm from siu lien tao and expanding chest from sun hei gwai yuen shows the difference because, to achieve its great results as a between the boxing and hei gung positionings. martial art, wing chun makes use of certain specific body structure ideas and methods of motion. The kidney breathing exercises give the practitioner a way to step outside this model and perform movements not contained in the forms, but desirable from a hei gung standpoint. It also means a practitioner does not have to alter the structure nor sacrifice the reflexes they develop within the forms simply to gain some extra hei gung benefit. Kidney Breathing In Traditional Chinese Medicine (TCM), the kidneys are important for several reasons. They store the body's jing (prenatal qi), governing birth, growth, and development. They produce marrow, nourish the brain, and control the bones. They govern water passage and receive the qi (as in breathing). They open into the ears, manifest in the hair and house zhi (will power), They are the gate of ming (vitality) and the source of the original qi and fire of all the internal organs, warming the lower burner, and harmonizing sexual function. It is this importance that leads to exercises like the kidney breathing. A form of yit gan (yi jin, tendon changing), the kidney breathing exercises put a practitioner through a good range of motion in order to improve health. In terms of martial benefit, it is know that when Sum Nung trained the exercises, he achieved a form of body resilience. Yuen Kay-San pointed out, however, that even an iron hammer, struck repeatedly, would wear down and the body was far more valuable than a hammer. Thus, while present, the already effective fighting concepts of

wing chun kuen as a whole lend the health aspects of the kidney breathing a greater import than any martial benefits. The kidney breathing exercises are composed of a sequence of a halfdozen or so short forms intended to be performed both before and after wing chun kuen training, to replenish and re-vitalize the practitioner. In terms of their place in the system as a whole, the author and his classmates learned them following the wooden dummy and prior to weapons. As with most things in wing chun kuen, there are some variations in transmission of the kidney breathing exercises. Some perform all of the exercises separately. Others prefer to link the exercises into one long form and practice them together in that manner. Names and orders also sometimes vary from time to time and teacher to teacher. With that in mind, the following is a list of the sun hei gwai yuen as the author remembers learning them. Rising arms begins by expanding the whole body vertically, from toes to fingers. Yielding breath works on stretching the whole body in a slightly different way, bending the wrists backwars. This form is often used to link the others together when practiced in sequence. Side-to-side waist turns the hips and torso of a practitioner, working the waist (an important component trained for power in the boxing system) in a horizontal manner. Side diaphram bends, works the waist and also involves stretching the intercostal muscles (used heavily in the sinking and rising methods of wing chun kuen). Single hoof, so named because it focuses on one hand at a time, is almost identical to the threading exercises seen in systems like baguazhang. This helps work the flexibility of the bridges and the balance in conjunction with the backwards and forwards movement of the waist. Expanding chest serves to fortify the chest which is often "sunken" in wing chun kuen boxing, stretching through the pectorals and shoulders, and continues the whole body work of the yielding breath. Dropping power is also seen in the hei gung of other arts. The skyward reaching of the arms, combined with a complete squatting and rising of the legs, works the entire body and end the series with the practitioner feeling fully invigorated. Overturning arms completes the body of the exercises, reaching out and over in the horizontal plane. Following this, both the back and the dan tian are usually stimulated. Single Hoof Exercise The single hoof is one of the most interesting of the kidney breathing exercises. Primarily involving the arms and waist, it takes the practitioner

through an extensive range of motion, twisting, stretching, and revitalizing the area. Begin with the feet shoulder width apart, arms down at the sides, and the body and mind relaxed and centered. The feet should be connecting the horse firmly into the ground through the kidney-1 point (approximately 1/3 of the way down from the toes), with the toes slightly gripping the ground. The joints bend naturally, free from tension. The anus should be tucked in and the tongue lightly pressed against the roof of the mouth to complete the body's hei connection. Breathing is deep but natural Although not vital to the exercise, typically an item like a teacup or small bowl full of liquid can be used to aid in keeping the palm level and the eyes focused. The bowl should be allowed to rest on one extended hand (in his case the right), while the other arm stays retracted to the waist.

1. To begin the exercise, the right hand moves forward and outward in a smooth circle. The eyes begin with, and maintain their gaze on the bowl (or the hand if no bowl or cup is used). The waist turns slightly with the motion and the other hand remains at the waist. The body stays rooted, and the breathing natural. 2. The hand continues its path around the body, moving backward. The waist bends back to keep the eyes focused on the hand and the palm remains level (so as not to drop the item resting upon it, if one is used). Balance should be kept throughout. 3. The arm keeps twisting, moving forward and outside again, this time with the elbow inverted. The arm is bent both at the elbow and the wrist, keeping the palm in position. 4. The hand then rotates inward toward the waist, bringing the fingers in at hip level. Breathing remains steady and the eyes focused. 5. The arm completes its journey by circling through to resume its initial position, extended from the waist. The exercise is repeated with the alternate (in this case left) hand.

Typically, 7 repetitions are done for each exercise. When training is completed, the hands are again lowered to the sides. Preserving the Legacy Among the better known individuals fortunate enough to have learned from grandmaster Sum Nung (with apologies, far too many to list here completely) are Sum Jee, Leung Dai-Chiu, Ngo Lui-Kay (Ao Leiqi), Kwok Wan-Ping, Lee Chi-Yiu, Wong Wah (Tom Wong), and many others. Ngo Lui-Kay followed grandmaster Sum Nung from the mid-1960s until he relocated to Canada in 1982. As the kidney breathing exercises were passed from Yuen Kay-San to grandmaster Sum Nung, and from grandmaster Sum Nung to Ngo Lui-Kay and his many classmates, so have Ngo Lui-Kay and his classmates begun to share them with their own students and descendants. It is hoped that by introducing these exercises in the west, it will help to preserve the rare and unique system of Sum Nung Wing Chun Kuen, and the teachings of grandmaster Sum Nung for future generations.

uk dim boon gwun (liu dian ban gun, sixand-a-half-point-pole) teaches the concepts of a long handled, single ended weapon. The single headed pole used in wing chun is 7'2" in Chinese measure, and is thinner at the striking end. It is held with the hands shoulder-width apart and is never spun nor twirled but employs motions that require the practitioner to send power from their structure, through the wood, out the striking point, and into the target.

Rather then the standard wing chun postures, pole training incorporates horses like the quadrilateral level horse and T shaped horse. Pole techniques include six-and-a-half simple points like dispelling, spearing, whipping, two-motion, water-dripping, circling & pointing, and barring, and several extrapolations such as side-to-side, blind-man-walks-alley, fanning, etc. that cover all basic angles for both offense and defense. These are trained in form, using training devices such as balls suspended on string, small objects scattered on the floor and later with partners in drills, both structured and free-style.

ee jee seung do (er zi shuang dao, parallel shape double knives) train the use of twin short weapons. Their name is derived from the fact that they alternate in a yin & yang manner, never crossing near a practitioners own arm (a dangerous practice in application). In wing chun, the hands work like knives and the knives like hands. When applied, the wing chun knives intercept or bar and cut the first available target, then move quickly to finish an opponent. This finality of usage has also led them to be called by the more brutal name of dit ming do (life-taking knives), or the longer yee jee kim yeung dit ming do ("yee" character yang clamping life-taking knives). Wing chun knives are distinguished by their simplicity. They are never twirled, nor spun about and are always held with the blades extended out towards the opponent rather then folded backwards across the forearm. With the fundamental drill of cultivating knives, a practitioner learns to wield, control, and change the two knives economically and efficiently while stationary and while moving in all directions. Subsequent motions introduce slicing, stabbing, barring, dispersing, cross shape, wing, protecting, stealing & leaking, and other simple, elegant, yet frighteningly effective techniques.

ik si (li shi, the history) of the system, beyond the early legends, dates back to Red Junk opera performers and anti-Qing rebels Wong Wah-Bo and Painted Face Kam, and passed down from constables Fok Bo-Chuen and Fung Siu-Ching to their disciple Yuen Kay-San of Foshan, who taught it to the modern day grandmaster, Dr. Sum Nung of Guangzhou (who had previously learned from Cheung Bo).