Learning from Master Wong’s Knife Defence

Master Wong is very entertaining. Some of his videos on emptyhand techniques are not bad. Then he put out videos on the Wing Chun weapons and I was kinda like meh…..

Yesterday, I saw his video on defending against a knife attack. He is still entertaining.

His explanations sound so convincing too. It even looked effective and could work against someone who does not know how to use a knife and just thrust without any idea of follow up.

However, I am more worried about the attacker who knows how to use a knife or an attacker who repeatedly thrusts and slashes with speed.

I have seen different techniques against the basic thrusting / stabbing attack in Master Wong’s video. One of the more recent ones is from Master Yang Jwing Ming.

Whether dealing with emptyhand technique or weapon attack the problem is always the unknown factor i.e. I don’t know what the attacker will do or not do.

In this example, if the attacker just thrusts with the knife and leave his arm there you can get away with anything. Similary if he thrusts and slowly withdraws his knife for another attack.

The problem starts when the attacker thrusts fast, withdraw as fast (including stepping back). Then its not easy to do the technique Master Wong showed.

Add to it the possibility of the attacker slashing as a follow up to the thrust whether when he is in forward position or does so when he withdraws his blade and you have a different dimension to the problem.

Shall I then add the possibility of the attacker using his other arm to fend off your attempts to defend against his knife?

How about if the attacker switches hand?

When you consider these few points you will see the loopholes in the responses that Master Wong demonstrated.

He may have more effective techniques that he did not show to the public (most masters do) but for the ones he showed the following pictures below are the things that come to mind when I looked at what he showed. I am not even an expert in defending against a knife attack but the problem areas below are what I spotted with a beginner’s eyes.

Example A
Example B

Example A and B – Master Wong showed this as the first movement in deflecting the knife thrust. The problem I see with this response is that the neck is wide open to a slashing counter. However, as seen in Example E Master Wong has anticipated this. This is good as long as the opponent is not able to flow with your deflection and take advantage of it to insert his slashing attack in between the timing required for you to move your hands up as shown in Example E.

Example C

Example C – before Master Wong secured the hold in Example F he ended in this hold first. This is not a secure hold and by twisting the blade to face up, the opponent can slash upwards as he step back. But once you get to the one palm down, one palm up position in Example F then the hold is secure. The problem is before you get to this secure position.

Example D

Example D – Master Wong does foresee the possibility of a follow up slashing counter as shown here.

Example E

Example E – a question I like to ask is if I can foresee the attacker trying to slash me as shown in Example D then would the attacker be smart enough to anticipate my response and have a counter ready to both my hands coming up to protect my throat. If the opponent has experience using a knife then bring both hands up to protect myself is an invitation for the attacker to slash my stomach. Because I am reacting to his attempt to slash my throat first it means that the attacker is ahead of me on the attacking beat and the moment my hands come up and he quickly lowers himself to slash my stomach I will not be fast enough to counter the follow up attack.

Example F

Example F – good response from Master Wong. If there is a weakness in this counter it is that the attacker can still get out of the control. If he can do this he can easily switch knife hand and re-attack Master Wong. This time Master Wong will be way behind the attacking curve since both his arms are attached to the attacker’s right arm but Master Wong does not have any hand to check the attacker’s left hand with the knife now.

I do this analysis as part of my own study in how to defend against knife attacks rather than a post to take down Master Wong. By understanding what not to do I gain a better understanding of what to do.

Dealing with a knife attack or any types of attack is not so much a case of I am right, you are wrong. Instead, it is a case of given this response what can I do to avoid getting stabbed or slashed, and at the same time be able to counter effectively.

Effectively in this sense means how to prevent the attacker from continuing his attack and take away his weapon. In this regard I need to eliminate his ability to move and change.

This is why in Kali our study of how to handle knife attacks is based on knowing both sides of the equation – the defender and the attacker. We learn how to defend including how to take away the knife, and then initiate our own knife attack. When the glove is on the other hand (or blade in our hand) how can we use the knife and prevent the attacker from being able to defend himself.

The Cult of Ip Man

Every now and then someone takes a colorized black and white photo of Ip Man, posts it to a FB forum and then proceeds to heap praise and gushes over him.

Other folks would follow with more praises. There’s no attempt to explain to explain why Ip Man is being praised.

I find this rather bizarre. If you write something about Ip Man’s contributions to the art of Wing Chun and praises his effort I can understand it.

But praising Ip Man for the sake of it?

The first thing I thought of is why is the writer praising Ip Man. Is Ip Man his grandmaster or great, great…. grandmaster? Or is he praising Ip Man because he likes Ip Man the actual person or Ip Man the semi-fictional movie character played by Donnie Yen.

Depending on which teacher I had learned from Ip Man is either my grandmaster or great grandmaster. However, my relationship to him is kinda like I know him but I know him not. Yes, I know who Ip Man is but I don’t really know him, and what I know of him is through 2nd hand or maybe even 3rd, 4th, Xth hand news.

Pre-Donnie Yen Ip Man movies some of these teachers would just refer to Ip Man as Sifu. Some might refer to him as Bloody Old Man; depending on the context.

The person referring to Ip Man in this way is either complaining about Ip Man or is using “bloody old man” as a term of endearment (if you are a Cantonese Chinese this would make sense to you otherwise you will probably be bewildered).

As example, one of my Wing Chun teachers was once on a trip with one of the top 5 disciples of Ip Man. During the trip this teacher complained that this “bloody old man” never taught much. In this context the term is used to express frustration.

In the next example, when there was a rumor that Ip Man might have a third son out there someone said that Ip Chun allegedly commented that since the bloody old man was randy, he would not be surprised if it was true. In this context, the term was one of amusement.

To me, such stories and rumors of Ip Man whether true or not, humanizes him. To me Ip Man is not a deity, a god whose tablet or photo you hang on the wall, bow and worship him.

From the stories of how Ip Man taught it sounded to me that he was a teacher who taught the traditional way in that he didn’t teach as much, preferring to let each student to practice and find his own answer.

Ip Man also did not discourage questions nor did he give absolute answers. He encouraged students to test out the art to find out for themselves if his (Ip Man) teachings were valid.

Ip Man was not above changing the art or teaching each student differently depending on what the student needed. This is unlike the diehard attitude of some of today’s students who insist on being traditional, unchanged teachings whatever the hell this really means.

Though Ip Man may sound like an undefeated superman of a master he was probably not. I read he was challenged by a Choy Li Fut school but nothing came of it. I read two sides of this story as to why the challenge never happened. I have no idea who is correct. I do know that this CLF school defeated a number of Ip Man’s students in a full contact tournament. I had lately read that Wong Shun Leung (one of those who lost in this tournament) was frustrated that the tournament format as not suitable for the use of Wing Chun techniques.

I was also told a story that Yuen Kay San (if you don’t know who he is, google – one of my WC great grandmasters from China said that Ip Man also learned from Yuen, hence Ip’s version of Wing Chun resemble Yuen’s version in many ways) was not happy with Ip Man’s flirty behaviour with his (Yuen) wife and sent Sum Nung to teach him a lesson in Hong Kong. Sum Nung apparently came but the fight didn’t happen. Why? No idea.

Then came the Donnie Yen movies. Suddenly, the name of Ip Man became a cash cow. Anyone who wanted a piece of the pie had to kowtow and play politics to be on the right side.

Overnight, Ip Man the person became synonymous with Ip Man the movie character. Ip Man, the Sifu of Wing Chun suddenly became referred to even by some of his disciples as Ip Man, Zhong-Si.

Previously, Wing Chun was found in Hong Kong, USA, Australia, New Zealand, some parts of Europe. But today, Ip Man’s version of Wing Chun is the MacDonalds of the Wing Chun world. Practitioners are found everywhere including India, Africa, Middle East and many parts of Europe.

More bizarre, Ip Man’s Wing Chun has exported back into China where it is sidelining the other more traditional versions of Wing Chun. I foresee that Ip Man’s Wing Chun DNA will even infect the traditional versions, changing their practice, and not necessarily for the better.

It is unfortunate, but this is what happens in a world where people are overwhelmed and bombarded with the same information over and over again, until fiction can become fact. The ease of information access also means research can be done by googling it instead of actually going to the ground to do it. The constant brainwashing results in failure to think, hence the cultish behaviour of wanting to deify, to worship, to praise blindly.

If you love the art of Wing Chun open your eyes wide and not throw the baby out with the bath water. No, sorry learn to see the baby first. Otherwise, once the older knowledge is lost it will be lost and then Wing Chun will be nothing but a shell of an art once great, its characteristics distorted in the face of ignorance.

Another Tragedy

A tragic attack occurred this week. A student was murdered by another with an axe in school. Details at present are scarce.

We can never be vigilant enough in today’s climate. However, being vigilant is not enough. We have to be able to respond to the situation if we are forced to do so.

In Kali we are taught that the attack that we don’t see is the attack that gets you. As such, if you didn’t see the attack coming then no matter how skillful you are there’s nothing you can do.

But if you do see the attack coming then the question is how much time do you have to react. Can you run? Or do you have to fight? And there’s not a lot of time to think about it. This is why we train, to learn how to decide, to know how confident we are if we have to act.

We don’t train a lot of techniques because it is self defeating if you don’t have enough time to be proficient in all of them. We train enough techniques, that limited they may be, they enable us to mix and match to come up with more. The more you train the same technique the better you will be, and the more confident you are to use it.

The most common attack whether using an axe, a machete, a box cutter would be the Angle 1 slashing strike. Some people refer to this as the caveman strike because even people who never trained martial arts will instinctively use it. I see ladies use the Angle 1 slap naturally in fights. They would grab and pull the hair to pull the head down and slap away.

Knowing how the Angle 1 strike works, knowing how to use it ourselves whether when using a stick, a sword or knife is part and parcel of learning how to deal with it. We learn to not just disarm the training partner of the weapon. Instead, we learn to take it away from them so that we know have a weapon if we don’t have one already.

Having a weapon gives you an advantage. How you use this advantage whether to stop with minimal damage, or inflict punishing strikes or even life taking techniques is something you have to decide. This is what Japanese samurai mean by the blade that takes life is also the blade that gives life.

Again, if there is a situation we would like to call the police but this is not always an option. When an attack is upon you suddenly and you instinctively reach for your phone then you are reacting to the situation. If you drop your phone or suddenly realize that the weapon is about to strike you and you change your reaction it will be too late. We don’t like it but in such situations sometimes your life is really in your own hands depending on your reaction and the attacker’s reaction to your response

Being Relevant

At a certain time in one’s teaching career or even in one’s personal practice an important question will surface. The question is do you maintain, that is keep the status quo or do you evolve, change with the times. Or perhaps have a bit of both.

A traditionalist will insist on the status quo, keep everything unchanged. That’s admirable, however, such thinking ignores the fact that no system existed unchanged from Day 1 in the first place. If anything, every system started from the seed of an idea, an experience, a need which over time the compiled, tested, and consolidated knowledge was organized to become a system.

Even then chances are this system did not become encased in stone, unchanged intact as it was. To claim that this is so ignores the fact that it is impossible to learn everything that a teacher passed down or even if it is possible, to learn it with the same understanding and this is true even within the same family over several generations. This is due to the fact that each person’s intelligence, physical attributes and life experience will differ. You can approximate a similar level of understanding but never an exact understanding. Well, maybe if you have a clone of yourself this might be possible.

Because of this a system will change. Whether for better or worse is a different question. Take for example, an art that is steeped in tradition – Hung Gar. Can you say that the art has remained unchanged? From what I read the famous Wong Fei Hung added in the Tiger Crane form. Wong taught a number of disciples, one of the most famous is Lam Sai Wing. I read that Lam added in more knowledge to the system and also changed the basic stance. Despite changing the transmitted knowledge Lam’s version of Hung Gar is widely disseminated.

So whether changes are a bad thing or a good thing would depend on how we look at it. I think one question we can ask is whether the changes can help a student learn better and learn faster. I mean what good is tradition if you get stuck in the knowledge and take too long a time to master it. I am not saying that you can master an art without spending time to practice. You can’t. But it is not uncommon to see practitioners spend a long time with a system and end up still not getting it. Then we have to ask whether this is due to lack of practice or a problem with the teaching.

Sometimes a system has to change whether it wants to or not. Every system is a by-product of the founder’s need to address a problem. For example, if arts such as ground grappling, handguns or knives were common back then in China perhaps the system of say, Wing Chun, that we see today will look different, feel different and have techniques that are different. A “traditional” Wing Chun practitioner may argue that facing an opponent squarely is best but I wonder if this opinion will still hold once he faces an attacker with a live blade. Similarly, no Wing Chun practitioner today, or at least, those in their right mind would fight an MMA fighter facing squarely because that is a surefire recipe to be taken down to the ground.

So arts can evolve. When a famous master does it we praise him for being enlightened and forward looking. But when a student adapts it to his needs he is condemned instead. The message here is that every practitioner who wants to be able to use his chosen art would look to those techniques and principles that can work for him given his limitations, time and place. Certain principles are the same or similar regardless of style, system or the times that we live in. But others are relatable to the situation at hand.

For example, when you are faced with an attacker slashing and thrusting a knife at you facing him squarely is suicidal because you just gave him a huge area to attack. If you get a Wing Chun practitioner telling you that this is not true then ask him to try it against a 1-year FMA practitioner and see the outcome. It is common to be blinded to our own weaknesses because we have never see how the picture is from the other side. This is why every art has its strong points and weaknesses that makes it workable against certain type of attacks but not to others. Understanding what you lack or not seeing is what elevates your ability to use your art if you ever need it.

Back to Basics

After years of learning, practice and researching one truth stands out – you can never run away from the basics.

Basics can look simple, un-sexy, not worthy of our long term attention. However, in a well designed system you can never get enough of the basics because once past the initital stage of learning if you keep on working on the basics you should find that there is more to what you thought you knew or assumed.

Basics are like the pieces that make up a puzzle. You need to put them together to see the whole picture. You also need to fit them in the right place.

When you first learn the basics you are likely to keep stopping as you struggle to remember the sequence of movements. The more you practice, the more familiar you will be and the less likely you are to stop or hesitate.

After you can remember the movements and be able to do them without pausing you should continue to practice. Being able to do the movements without stopping is only the beginning. You still need to get the nitty gritty details down. This is the part in which you learn to express the distinctive flavor of the movements of the style.

This is also the part where you will discover that without the fine details you will struggle in your attempt to use the movements. At this point you should redouble your training efforts. Keep on pushing until you can bring forth the essential principles and attendant characteristics even as you move quickly amidst a blurry flow of movements.

Then reconcile the learning with the application. When you use the movements that’s when you are verifying if you are moving properly. Use and refine, use and refine.

In our SKD training the first double arm swinging exercise may seem that it has nothing to do with the 6-blocks but they do. If not, then we would have wasted our time learning the double arm swinging.

The initial 6-blocks sequence that we learn is just the beginning. Later we add another three movements until we can doing 9 movements. But we don’t call it 9-blocks because its just 6-blocks plus 3 add-on movements to handle unexpected responses that don’t fit the template of the 6-blocks.

When we can flow not just in sequence but out of sequence we should then try to implement the movements in partner training. Just let the arms move and see if you can keep your control of your space using the 6 blocks in whichever sequence that is appropriate to the attacks that your training partner is feeding you.

After this you can add the up or down swinging movement of the arm to follow up on your use of any of the 6-blocks. If you have been training your arm swinging properly you will find that you can move your arms like a whip, with speed and power.

This is an example of how we can acquire speed, power, change and flow even with a few months training as long as we are willing to put in the effort.

P.S. – we can actually accelerate our learning of the arm swings by picking up the first stick movement in iKali but that’s another story for another time.

Embedding the Skill

Learning any combative art is about practicing until you get it, know it and can sleep walk it.

Someone recently told me that doing CMA should be as easy as walking. He is not talking about the practice being easy. Instead, he is saying that one should practice the chosen skills until it is as natural and as easy as walking.

More than two decades ago my Wing Chun senior was talking about being formless. But what does it really mean, to be formless?

If you look to the art world particularly to the modern masters you may note that even abstract art masters have to study classical painting before they evolve into abstract art. In the context of CMA this means that to be formless you first have to master form.

In Tai Chi we normally just work on one form for years before learning another. This is not saying that you can’t learn another form after you finish learning the first form. You can.

However, you end up with cursory understanding of the form. You need to move your practice from surface scraping understanding to beneath the skin understanding, before you ultimately reach bone level understanding. So the more forms you have to practice the less time you have to focus, to specialize.

Of course, you can also learn many forms but just work on less rather than more. The more you understand the one form the more you know its nooks and corners, not just remembering the sequence but how different parts of the form can be used to form new sequences.

In the end, your form may have say 10 sequences but by understanding how it works you can easily form another 20 sequences by combining different techniques. Normally, an easy way to help understand this learning process is by doing push hands because when you learn to apply the techniques you are forced to confront what you don’t know.

Its not just in CMA that we learn to be formless. In Kali what is termed free flow is similar to what we call formlessness. Basically, free flow is the ability to take your basics and move through them freely to make whatever meaningful combinations you want to in response to an imaginary attack.

The study of free flow in Kali begins with the study of drills, of sequences of techniques. First you embed the habit through 10,000 repetitions. Then when you thought you got the habit down you are taught to break out of the habit with ironically more drills.

From Kali we can see that more forms (not kata but predetermined sequences made up of different techniques, example an Angle 1 fluid strike + Umbrella + ……….) are necessary to break up earlier learned forms of movements. Conceptually, the learning is not difficult to understand. But when you try it it feels awkward, just like when you first learn to cycle. You get on the bicycle, you wobble a bit, then you start to move, slowly then you try going faster.

The more you cycle the more familiar you are with the act of cycling. In the interim, its not unusual to lose your balance and fall. The first time I took one hand off the handlebar I fell into a drain. Another time I took a corner really fast and ended up sliding on the road which left a scar on my knee. But its these learning pains that eventually allowed me to master the act of cycling till I could take both hands off the handle as I cycled.

Awkwardness gives way to familiarity the more you practice. When we mention the word practice we think of the act of doing. However, practice can also be in the form of thinking about how to do it. This is the mental part of practice. Its a way to embed the process into your mind. Another way is to call out what you are doing. Anything that works for you is fine.

The more I practice the Tai Chi form the more I start to see the component movements clearly. At a certain stage you can easily change the sequences around, rearrange them even as you practice. Just last week someone came to see me about learning Tai Chi and said he didn’t have the room to practice. I stood between a wall and two bicycles and showed him I could practice a long sequence within that square area. I didn’t change the hand movements, just changed the stepping to adapt to the small area.

If you keep on practicing at a certain stage you can practice the form without even practicing the form any more. You can take one technique and work it in different ways. You can string two techniques as well and do the same. This is when you can say that the skill of moving has been embedded in you, when you move “it” moves you, thus fulfilling the principle of first in the mind, later in the body, enabling you to move as easily as walking.

This is one part of the learning. The second part is to work with a partner to help you learn how to apply what you know. True flow is when you can keep moving even as your training partner tries to stop your flow by putting up resistance and fighting back. This is when you discover something interesting about attachment and detachment of the mind and body in being able to flow.

Interested to learn Kali in person for free? The iKali branch of Pekiti-Tirsia System of Kali has an excellent training method for teaching the basics that eventually allows you to free flow. The best part is that it does not take years to learn. Contact me here.

Lunch Practice

This week I have to put in practice every day to prepare for my iKali test.

The hot weather is not helping. I take my tests seriously so weather be damned.

So we have a long sequence to go through to test how well we have learned how to handle the sticks, blade and move in empty hand techniques.

It wouldn’t have been that bad if we are going slow and easy. But no, to raise the bar we have to do it fast and furious. After all, how we train is likely to be how we actually move.

In a warm room at mid-day trying to go fast, trying not to stop too long, but keep the pace moving along is tough. I am breathing hard but I don’t want to stop. My doctor once told me to exercise the heart through brisk walking to pump it harder. Nothing like killing two birds with one stone.

This blade exercise is what beginners learn. Well, maybe a total beginner won’t move as fast initially. But with a little practice anyone can move fast.

This is another knife counter exercise. Its the last exercise in the sequence.

Doing this and the rest made me sweat so much I felt like I just went to the sauna.

These blade counters are kinda cool. Yeah, I’ll say they are cool but they are really practical and deadly. Wish I could post our training videos to show you the applications then you will see what I see in them.

If you live in SG and have the interest to learn drop a line in the comment below.

Basic Kali Punches

In Tai Chi I normally strike at a slower pace. In SKD we strike a lot faster with the arms moving like a whip. In iKali we use evasive body movements and punch fast.

Punching the Kali way works the legs since I stand in a lower stance to facilitate the body evasive movement. Moving the body this way helps to train the hip and waist. And punching is good to work the lungs especially when doing it many times non-stop with power and speed. If I have a punching bag that would add another dimension to the training.

I like the body evasion. Its a nice complement to what I do in Ngok Gar Kuen which uses body evasion also, albeit in a different manner.

Actually, what this body movement is making me feel like dancing though I am terrible at it. But hey, an old dog can always try learning a new trick or two. Never say never, till you really can never.

Questions & Improvement

Did you know that a fast way to make improvement in your own learning of Tai Chi or any other arts is by asking the right question at the right time.

It is my experience that students do not take the opportunity to ask questions or have many questions. In the old days it is difficult to ask a teacher a question because some teachers are not approachable and some will give you painful physical answers.

Today such teachers are rare. So if you don’t ask questions then you are basically telling the teacher that :-

a) You didn’t really practice so you have no questions

b) You did practice but you are the type of “monkey see, monkey do” learner so if the teacher does not tell you then you will not ask

c) You don’t need to ask because you already got it

Below is a clip of Jordan Rudess, the keyboardist in Dream Theater. I listen to DT but never really appreciate Rudess until I watched this clip. What struck me is Rudess’ enquiring mind.

In fact, in asking questions whether of his teachers or of himself he has discovered and learned new skills. Just by watching this clip I learned something that I could teach my SKD students.

I had previously mentioned one way to do the 6-Blocks but not seeing anyone demonstrate the flavor that comes from understanding this tells me that either they did not practice or they did but can’t get it and did not pursue it. Plus if no one asked this could also mean that they are not interested to improve their 6-Blocks.

So on top of the way I had brought up in one lesson what Rudess talked about from 4:04 – 5:00 can be used to improve our arm movement. In fact, if I add in one more teaching from an old Wing Chun style then any student who really practice the 6-Blocks will be able to develop soft, willow-like flavor in the way they move their arm.

Not asking questions for starters is a great learning tragedy. I used to have a list of questions for my Tai Chi teacher. He expected me to ask questions. He would teach and then ask if I have questions. But it was not just questions about what he just taught. He was also interested to know if I have questions from my practice of what he taught previously.

This was an indicator of whether I had practiced, thus demonstrating that I was a serious learner and worthy to be taught more. In case you are thinking of just asking questions for the sake of showing that you have practiced, don’t do it. A teacher can tell from your questions whether you are just putting on a show or got the questions from your own practice. Practice sincerely and ask the questions that come from it is the way you should do it.

Certain things in Tai Chi can only be taught to you if you are ready to receive it. Otherwise, you will find yourself in over your head. In SKD I arranged the training sequence such that the most important fundamentals come first. So if you didn’t practice you will not be able to understand even the most basic of CMA principles especially those from the internal arts.

I can explain until my mouth is dry but it wouldn’t make a difference to the person hearining it. Its just a lot of words, a lot of noise. To those who practice a single word or line of explanation can be like a drop of water to the thirsty person in the desert.

For example, I see clips that my fellow students in Kali put up for feedback. Asking for comments indicates that they don’t have any idea of where their own problem area might be. So while they do get feedback which hopefully can lead to improvement, in general I don’t see as much improvement as I know they potentially could make.

If I have any advice to give them it would be to not ask for general advice but just pick two areas that they think they have a problem with and ask how to fix what they think is the problem. Then evaluate all the comments, try them out and come back to show that they have tried. If there are improvements then good and they are on the way to better skill. If not, then ask why for help.

Many times the learning road map is very clear but not knowing how to read the map or understanding what the map is telling them is the obstacle. I know that sometimes too many details can be a problem to a person starting out. So no more than three suggestions should be the norm.

If let’s say a student has a problem executing Entry 4 with power a suggestion for improvement would be for each practice session to :-

a) Practice Broken Strike in stationary position for at least 50 times

b) Next practice Fluid-Reverse for 50 reps

c) Put the above two together and practice Broken-Fluid-Reverse for 50 reps

d) Now try Entry 4; you should see and feel a visible improvement

I had a look at the clips of five students before I wrote this. I could post my comments there but they may not necessarily believe what I say so I decided to write here for a wider audience. I gave my friend Paul the same advice and this is his performance of Broken-Fluid-Reverse on our 14th Zoom lesson :-

Before that this is Paul doing Entry 4 on the 6th lesson :-

By the 11th lesson Paul has improved so that his strike at least looks like it could hit with some force :-

In summary, to progress in your training remember to practice a lot and ask the questions.

Long Pole Body

In SKD our body posture is in many ways similar to the way we use a long pole.

I am currently stitching together the drills I have taught so far into a sequence. I would prefer not to have any forms so having a sequence is a compromise.

In this video I am explaining how to position the rear hand properly. I am going through this in relation to the long pole as it provides an easy way to self-check the posture.

I am expanding on my explaining of using the long pole to align the body here :-

Finally, here’s a picture of Master Leong using the long pole to thrust :-