The Second Form of Wing Chun.
Chum Kiu (Cham Kiu), or “Seeking the Bridge” is Wing Chun’s second weaponless form. The Chum Kiu form builds upon the skills developed from the first form Siu Nim Tao.
It is important to continue practicing the first form for it is the foundation of your entire Wing Chun. Chum Kiu, although it has fewer sections as the Siu Nim Tao, its performance is longer and demands additional skills.
As in all Wing Chun lineages, there are different ways to perform the Chum Kiu. None of them are incorrect. All are different interpretations of the knowledge and experiences in the art of Wing Chun.
The Difference to Siu Nim Tao
In the Siu Nim Tao form, the Wing Chun practitioner learns to stand stable in his/her “Yee Ji Kim Yun Ma”, (Character two, goat clamping, horse stance), or IRAS (Inner Rotating Abduction Stance).
In the Chum Kiu form, the practitioner now moves his/her body. The Wing Chun practitioner shifts his body, rotates, turns, steps, kicks, and attacks at one angle while moving in another.
These skills are further supported in “Lat Sao” (fighting techniques) drills to learn the proper use of them.
Bridging the Gap
In the Chum Kiu, the student learns to “bridge the gap” between himself and the attacker. Use of the Lap Sao – Kuen, or Lap-Da, as well as the Bong Sao / Wu Sao, or Bong-Wu position come into play.
The student learns to defend and counter-attack in fluid movements while paying close attention to body mechanics.
The Lap Sao drills and use of Bong-Wu are further supported in the first section Chi Sao (Pon Sao) drill with the first attack and defense.
The 45-degree Angle
The important use of the 45-degree angle is first introduced in Chum Kiu and has to be closely paid attention to. Most students overestimate the size of the 45-degree angle. It is smaller than what most think.
This angle of attack and defense has proven time and again of its effectiveness and strength without one having to be strong physically.
This, along with the use of the triangle, is invaluable to your Wing Chun technique.
The 3 Main Kicks of Wing Chun
For the first time (until the Wooden Dummy form) are kicks of Wing Chun are introduced in the Chum Kiu form.
These kicks are; the front kick, the “Bong-Kick” (sidekick), and “Tan-kick”.
Note: Ip Man used only the front and “Tan-kick” in his Chum Kiu form. His student, Leung Ting added the “Bong-Kick”, into the form for the mere reason that otherwise, the kick would not appear until one learned the Wooden Dummy form.
Performing the Chum Kiu strengthens your stance, tests your balance, schools your coordination of simultaneous hand and body movements.
There are so many things to learn in the Chum Kiu that is a good reason why some much time (in the lineage I practice, from the 2nd through 12th student degrees) is spent learning and perfecting it.
As in the practice of all forms, it is necessary to perform them at first slow in sections. Then continue on paying close attention to alignment and body structure. Finally, power is applied.
The Chum Kiu form is an essential step toward understanding and improving one’s technique, skills, and understanding of the Art of Wing Chun.
Here is a video of the Chum Kiu form once performed by Grandmaster Leung Ting.
Ng Mui is regarded as the creator of the Wing Chun system and is often said that Wing Chun is the only martial art invented by a woman. This article hopes to bring more light on the issue of Ng Mui and the art of Wing Chun.
As legend has it, Ng Mui was born out of a noble household, the daughter of a general in the Ming imperial court. Because of this noble position she had access to the finest education and finest Kung Fu teachers at the time.
Over the years it has been said that she had mastered several Shaolin arts, Wudang fighting arts, as well as Yue Jia Quan. She has also been credited to have founded Wu Mei Pai, Dragon Style, White Crane, Five Pattern Hung Kuen and Wing Chun Kuen.
In the Wu Mei Pai tradition, Ng Mui—the daughter of a general in the Ming imperial court—fully developed her practical style in the Forbidden City. To develop balance and leg strength she trained on upturned logs, in a pattern she invented. She was traveling when her parents were killed in the Manchu capture of the Ming capital. She took refuge in the White Crane Temple (which this legend locates in Kwangsi Province), and became an anti-Qing rebel, teaching her style only within the Temple. The style uses instantaneous counters, and slower movements from Bodhidharma and Qigong.
Modern Dragon style historians relate that the Shaolin nun Ng Mui, who is said to have originated the Dragon style, was one of the last members of the temple before its first destruction.
According to the genealogy of Tibetan White Crane, “Ng Mui” is the Chinese name of the Tibetan monk Jikboloktoto, who was the last generation of transmission before Sing Lung, who brought the art to Guangdong. This account is most different from the others, with a male Ng Mui, the absence of a Manchu menace to flee from and, given the dating of Sing Lung’s relocation to Guangdong to 1865, a 19th-century setting.
It is believed that the Five-Pattern System was jointly created by the Buddhist nun Ng Mui, and Miu Hin, an unshaved disciple of the Siu Lam Monastery. Through careful observation, and imagination, these two kung fu experts imitated the movements of the creatures—how they jump, how they paw, and how they use their wings, beaks, jaws, or claws, how they coil up, how they rush forward and retreat, and finally they created this kung fu system consisting of movements modified from those of the named creatures, and adjusted the techniques to suit human limbs. — Leung Ting, Five-Pattern Hung Kuen, Part I. (1980)
According to the Wing Chun master Yip Man, Ng Mui was Abbess at the Henan Shaolin Monastery and managed to survive its destruction by Qing forces during the reign of the Kangxi Emperor (1662–1722). She fled to the White Crane Temple. (which this account locates in the Daliang mountains between Yunnan and Sichuan) where she met a girl of fifteen named Yim Wing-Chun whom a bandit was trying to force into marriage. Ng Mui taught Wing-Chun how to defend herself by distilling Shaolin martial art knowledge into a system that Wing-Chun could learn quickly, and use without developing great strength.
When we look at these other styles, we notice there is practically NO resemblance to Wing Chun nor to each other! Each style and Ng Mui’s contribution to each shows a development in her own personal kung fu skills. It would be prove to be interesting to investigate further.
It is said that Ng Mui’s new system exploits the weaknesses of the traditional Shaolin Kung Fu styles.
Such”weaknesses” would be;
1 – relying on strength to win a battle
2 – low horse stances, although strong but terribly inflexible
3 – high kicks which usually sacrifice a solid stance and balance
4 – long, circular moves which in close range is much too slow
This is just a short list.
We all know how the rest of the story ends. Yim Wing Chun won the battle against the bandit and married her promised husband Leung Bok Chow. Wing Chun taught the system to her husband and it was his idea to name the art after Ng Mui’s first student, his wife, Yim Wing Chun.
Over several decades the Wing Chun System continued to develop and change. Weapons were added, training methods added and deleted, etc.
Today, we have a colorful array of Wing Chun flavors. Neither system is more “correct”, “authentic” nor “traditional” as the other. Many instructors call their system “traditional” or use Ip Man’s image as a marketing tool. Others claim to have “updated” the system and call it “Modern” Wing Chun or “Street” Wing Chun. Even Bruce Lee’s Jeet Kune Do is nothing other than a flavor of the Wing Chun system. Many will argue against that last sentence, and that’s okay. That is my observation. Yours may be different.