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Malaysia International Ip Man Wing Chun Carnival & World Wing Chun Championship 2010
Date: 20th - 23rd May 2010.
Venue: 1 Utama Shopping Centre, Petaling Jaya, Selangor. Malaysia.
Main Event & Programmes:
1) Malaysia International Ip Man Wing Chun Carnival & World Wing Chun Championship.
2) Wing Chun Kung Fu Demonstration.
3) Exhibition on Chinese Weapon System.
4) Exhibition on Bruce Lee Memoribilia & Jeet Kune Do Demonstration.
5) Malaysia International Ip Man Wing Chun Carnival Grand Dinner.
6) The Guinness World Record - Thousand People One Inch Punch Board Breaking.
7) Meet & Greet with the casts of "The Legend is Born: Ip Man", featuring Grandmaster Ip Chun, Sammo Hung, Yuen Biao, Dennis To Yu Hang, Fan Siu Wong, Rose Chan, Bernice Liu & Hins Cheung.
Competition Categories:1) Wing Chun Open Championship
2) One-inch-punch Board Breaking Championship
3) Wing Chun Weapon Form Championship
4) Chi Sao Championship
5) Wing Chun Empty-Handed Form Championship
For more information on this upcoming event, log onto: http://www.worldwingchunchampionship.blogspot.com/
The "Ving Chun Kuen" Way
When studying Ving Chun, one should not think about weight lifting, about competition, about self-defense or about the other styles. This is going off the Ving Chun path or way. The training will take much longer if you do this.
Firstly, one must understand and study the proper Ving Chun concepts, then think about self-defense later. Learn how to apply the skills. Ving Chun applications are very important. Most fighting is too fast for some to realize what is going on. One should feel what is going on first. Every action in Ving Chun should produce a result. Don't just move in random ways. Don't just play with your hands. Understand the principles, study the forms, know what both hands and legs in Ving Chun are use for through each forms, and learn it step by step. However, don't be restricted by your forms. Combine the techniques and skills together and apply in correctly, the "Ving Chun" way.
It doesn't matter how much time and training you put into it if you do not understand on how to apply it. Movement should not be too excessive, hurried and big. Ving Chun is not an externally powerful style. Don't think about beautiful forms, power and speed. Learn the applications first and learn how to do combinations too.
In Ving Chun, one is always ready to fight. No warm ups, no taking off glasses, no fighting pose. Pack in your Ving Chun skills then worry about defense. A Ving Chun practitioner is always on a standby-by mode and should always be ready at all times. Automatic reactions will kicks in once you have understand the "Ving Chun" way.
'A good martial artist does not become tense - but ready. Not thinking, yet no dreaming. Ready for whatever may come.' - Bruce Lee
Tony Leung's surgery disrupts filming for The Grand Master
It is a series of unfortunate events for renowned film director Wong Kar-wai's upcoming martial arts flick, The Grand Master. Filming continued to be delayed for the umpteenth time due to a previous injury sustained by actor Tony Leung.The Hong Kong star broke his left arm in July last year while training with a Wing Chun master. He was ordered to take a break for six months, but only recently discovered that his broken bones were not healing properly. To rectify the problem, the 48-year-old will undergo corrective surgery to realign the bones.
Production for The Grand Master finally began last year after Leung trained for seven years under Wing Chun expert Ip Man's son, Ip Chun, and other martial arts instructors.
Chinese actress Zhang Ziyi's screen time in the film will also be greatly reduced. The 31-year-old was recently embroiled in a donation fund scandal for not giving the full amount of one million yuan she promised to remit to the Sichuan earthquake.
And that is not the end of the development hell for the film project. The crew was not given the green light to shoot in Foshan, China, and had no choice but to relocate to Shenyang. As filming conditions in Shenyang were undesirable, the schedule got further pushed back.
The Grand Master is scheduled for a 2010 release, however, the movie's opening date might be postponed depending on how fast Leung's injuries take to heal. (Source: Xin.sg)
Ip Man 2 (May 2010) - The Most Anticipated Semi-Biography Martial Arts (Wing Chun) Movie of the Year.
Cast:
Donnie Yen as Ip Man
Sammo Hung as Hung Kar Master
Darren Shahlavi as Twister
Fan Siu Wong as Jin Shan Zhao
Lynn Hung as Zhang Yong Cheng
Lam Ka Tung as Li Zhao
Huang Xiao Ming as Bruce Lee
Dennis To as Student from Hung Kar
The Legend is Born: Ip Man (The Prequel) - Official Trailer
The Legend is Born: Ip Man (The Prequel) trailer, (the last installment of the Ip Man Trilogy), with really awesome intricate, blazingly-quick Wing Chun exchanges between Sammo Hung, Yuen Biao, To Yu Hang as Ip Man, Fan Siu Wong and Ip Chun, courtesy of action director Leung Siu Hung. And it appears that martial arts philosophy plays quite a big part in the film, based on the conversations in the film.
The production recently celebrated the completion of the film, attended by the main cast To Yu Hang, Yuen Biao, Huang Yi, Bernice Liu, Rose Chan, Xu Jiao, Lam Suet and Ma Sai, as well as Gold Typhoon's Paco Wong.
The production recently celebrated the completion of the film, attended by the main cast To Yu Hang, Yuen Biao, Huang Yi, Bernice Liu, Rose Chan, Xu Jiao, Lam Suet and Ma Sai, as well as Gold Typhoon's Paco Wong.
Coming soon in May 2010.
Ving Chun Kuen Gung Fu Power Training
In Ving Chun Kuen Gung Fu there is a saying "First courage, second power and then technique", this reflects a greater importance put on the willingness to fight and on an ability to make techniques profitable. Power development in Ving Chun Kuen Gung Fu is not primarily based on muscular strength but rather on knowledge of body mechanics, joint or tendon strength and using the opponent's own committed power against them. This joint or tendon-based power is termed structural power and is the key to understanding how to transmit power using Ving Chun Kuen footwork and in the old days was one of the inner circle secrets of Ving Chun Kuen. In Ving Chun Kuen power comes from a joint supported alignment with the ground, or is derived from the motion and speed of the body (momentum). Power in Ving Chun Kuen also depends on strong emotion creating an explosive, vicious attack. The type of power used against the target also can be different, usually taking the form either of a penetrating or percussive force. Regardless of the type of power and its implementation, power must be trained and applied in a controlled, automatic and natural way.
Ving Chun Kuen Gung Fu was designed to provide a direct and powerful answer to the fast paced and unpredictable realities of hand-to-hand combat. Its system was built on fundamental concepts that can be found at all levels of training, making the outward appearance of its techniques secondary to it's inner structural standards. Sifu Oliver Lee describes the journey of Ving Chun Kuen Gung Fu training as going from the simple to the complex and in the end back to the simple again; advanced Ving Chun Kuen develops not from it's outward form but rather from a deepening of the essential concepts, structure and skills.
Ving Chun Kuen Gung Fu not only reflects the qualities of a high standard traditional Chinese martial art, but also adapts as part of the changing modern world of fighting arts.
Ving Chun Kuen Gung Fu was designed to provide a direct and powerful answer to the fast paced and unpredictable realities of hand-to-hand combat. Its system was built on fundamental concepts that can be found at all levels of training, making the outward appearance of its techniques secondary to it's inner structural standards. Sifu Oliver Lee describes the journey of Ving Chun Kuen Gung Fu training as going from the simple to the complex and in the end back to the simple again; advanced Ving Chun Kuen develops not from it's outward form but rather from a deepening of the essential concepts, structure and skills.
Ving Chun Kuen Gung Fu not only reflects the qualities of a high standard traditional Chinese martial art, but also adapts as part of the changing modern world of fighting arts.
Wing Chun Extends Its Wings Across Chinese Cinema
Whether it is fuelled by the success Wilson Yip's Ip Man or not, Wing Chun is fast becoming a popular kungfu onscreen, with many Wing Chun-themed movies being produced.First off is the production of 《功夫咏春》 Kungfu Wing Chun announced on November 4 by producer Ng See Yuen at a press conference at his Beijing UME Cineplex. The cast includes Bai Jing, Yu Shao Qun, Kara Hui, Ngai Sing, Yuen Wah and Xiao Jian.
While Liang Bo Chou and Yan Yong Chun are married young, they are often at odds with each other. However, they feelings for each other grow amidst their constant squabbling. As Yan Yong Chun develops a tight fighting style, her husband naturally becomes the first to be taught. And he names this style Yong Chun Quan (Wing Chun Fist) as a tribute to his wife.Bai Jing will play Yan Yong Chun, who under Elder Nun Wu Mei's guidance, founds Wing Chun. While Bai Jing isn't a professional martial artist, she has a good foundation in dancing and has been training Wing Chun for a year to prepare for this role. She was discovered Ng See Yuen who cast her as the female protagonist. Ng See Yuen says that she has been living up to expectations.
Opera performer Yu Shao Qun is playing Liang Bo Chou. While he was born with a silver spoon, he is an upright, benevolent and responsible person. Yu Shao Qun, who's been eager to do kungfu films, has been training beforehand.
On being asked about Ip Man, he replies, "Donnie Yen's a senior in martial arts cinema, he is a genuine martial artist. I can't be compared to him. His image and disposition is wonderful, and his kungfu too, I am envious of him. But our film is different from Ip Man, it's a teen romance actioner, so its theme is not as serious."
Kungfu Wing Chun, which has been in pre-production for 2 years, is directed by Cheung Tung Cho, with Stephen Tung Wai and Kong Tao Hoi providing the martial arts direction, while Yip Chun is lending a helping hand as the film's consultant.
Meanwhile, director Wong Jing has turned Fan Siu Wong into an effeminate Wing Chun fighting cop Donnie Yuen as he works undercover as a makeup artist to protect a witness and his cop-in-disguise colleague Charlene Choi in 《美丽密令》 On Beauty's Secret Service, that has been in production since last month.
Next, there is a 20m yuan budget 《永春白鹤拳》 Wing Chun White Crane Boxing, which revolves around the form's founder Fan Qi Niang and her disciple Zheng Li, in the making.
And finally, about to begin production soon is 《少年叶问》 Young Ip Man, that is fully endorsed by Yip Chun. To Yu Hang, Fan Siu Wong, Huang Yi and Xu Jiao are set to star.
The Legend is Born: Ip Man (May 2010)
It had long been the wish of Sin Kwok Lam, a longtime martial arts practitioner and shrewd businessman and capitalist who is a major player in Hong Kong financial sector and has even published a controversial book on big corporations swallowing up small firms last year, to bring the account of his grandmaster Ip Man to screen, but he couldn't find any filmmakers willing enough to take the risk as Ip Man was little known.
Once, Sin Kwok Lam was flying to Mainland with producer Raymond Wong, and he took the opportunity to propose the idea to him and even analysed the market for him, saying that there were millions of Wing Chun disciples worldwide, and as long the the majority of them supported this film, he would at very least not incur any losses. So, in a month, Wilson Yip was appointed the director and Donnie Yen was cast as the lead actor for this project, while Sin Kwok Lam was responsible for coaching Donnie Yen Wing Chun, as well as steering the direction of the martial arts sequences by giving Sammo Hung advices and Wing Chun demonstrations.
However, Wong Kar Wai, who had consultancy c
ontract with Ip Chun was outraged over the matter, believing it was a copyrights violation. So, Wong Kar Wai's representative met with Ip Chun and Sin Kwok Lam, and the astute and experienced businessman Sin Kwok Lam remained adamant and was quick to point out, "A person's life is not copyrighted. Besides, if you keep dragging your heels over it, should master Ip Chun not be in the best of health, when would he ever have the chance to see Grand Master on the silver-screen?"
They eventually came to a truce and each would work individually on his own films, and promised not disparage each other. Following the success of Ip Man film, Sin Kwok Lam took the opportunity to push for the sequel and prequel to be made.
Once, Sin Kwok Lam was flying to Mainland with producer Raymond Wong, and he took the opportunity to propose the idea to him and even analysed the market for him, saying that there were millions of Wing Chun disciples worldwide, and as long the the majority of them supported this film, he would at very least not incur any losses. So, in a month, Wilson Yip was appointed the director and Donnie Yen was cast as the lead actor for this project, while Sin Kwok Lam was responsible for coaching Donnie Yen Wing Chun, as well as steering the direction of the martial arts sequences by giving Sammo Hung advices and Wing Chun demonstrations.
However, Wong Kar Wai, who had consultancy c
ontract with Ip Chun was outraged over the matter, believing it was a copyrights violation. So, Wong Kar Wai's representative met with Ip Chun and Sin Kwok Lam, and the astute and experienced businessman Sin Kwok Lam remained adamant and was quick to point out, "A person's life is not copyrighted. Besides, if you keep dragging your heels over it, should master Ip Chun not be in the best of health, when would he ever have the chance to see Grand Master on the silver-screen?"They eventually came to a truce and each would work individually on his own films, and promised not disparage each other. Following the success of Ip Man film, Sin Kwok Lam took the opportunity to push for the sequel and prequel to be made.
Sin Kwok Lam, who studied Wing Chun under Ip Chun for 7 years, states that the number of people learning Wing Chun has doubled since the release of Ip Man, "As a Wing Chun practitioner, I hope there would be more films on Wing Chun, so that more people would understand Wing Chun, and more people would learn Wing Chun, this would help propagate Wing Chun. While I no longer teach Wing Chun, my disciples can teach, I believe there would be even more people learning it."
Perhaps, the biggest sensation of The Legend is Born - Ip Man is the appearance of Ip Man's eldest son Ip Chun, as Ip Man's 2nd mentor Leung Bik, in his one and only film. During the set visit, the production was shooting the final scene in which the geriatric Leung Bik, propped by Zhang Yong Cheng (Betty Huang Yi), observes Ip Man (Dennis To Yu Hang), who has now become a master in his own right, teaching disciples, who are at the wooden dummies. And it takes seasoned Wing Chun practitioners to be able to train comfortably with a wooden dummy, as your arms and legs would get hurt easily if you don't have a good grasp of Wing Chun movements, much less a big group moving in unison.
In The Legend is Born: Ip Man, To Yu Hang, Huang Yi, Fan Siu Wong and Rose Chan share complicated relationships. Fan Siu Wong, as Ip Man's senior Tian Ci, is in love with junior Rose Chan while she likes Ip Man, who in turn falls for Huang Yi later. Asked about how he feels about this, Ip Chun says, "I only know that my part in the film is real, for it's the same as the version I heard when young. I'm not clear about other parts. My father didn't tell me, neither did I ask about his relationships. How was I supposed to be asking about my parents about their romances? But my mother came from an official's family, they were very rich, and had high social status, while my father was from a big family too, he didn't have any title, and peoples at that time were very particular about status and there was quite a gap between their social standings. How did they get married, I have no idea. I'm curious myself how things would turn out it the movie."
Hoping that The Legend is Born: Ip Man would become an instructional video for Wing Chun, Sin Kwok Lam hires mostly martial arts-trained actors for the film, and minimises the use of special effects. The film might not have A-list stars, but director Herman Yau is undaunted, "We may lack the celebrity factor, but we have real martial arts stars like Sammo Hung, Yuen Biao to ensure realism in the martial arts sequences. Moreover, we have master Ip Chun backing us up, so this film is still highly watchable."
The film will not only showcase fisticuffs but also Wing Chun weapon play like 6 1/2 point long pole and Baat Cham Dou. Each take would last up to 15 seconds, with at least 10 to 20 moves exchanged. The film will see Wing Chun being used to counter various martial arts like Brazilian Jujitsu, Karate, Chin Na, etc.
As a newcomer playing the title role, To Yu Hang, who has six years of training in Wing Chun, introduces himself, "I was the Wing Chun consultant for Ip Man, and played Sammo Hung's disciple in Ip Man 2, and have a fierce fight with Huang Xiao Ming. We'll be doing mostly long takes in this film, and we have more romantic plotline in The Legend is Born: Ip Man.
"I'm on pretty good terms with Donnie Yen and he taught me how to grasp the character. Big brother Sammo Hung is playing my master, and he has been taking care of me, he got me a movie Sugata Sanshiro, and hope that I would act without too much exaggeration. Rather, I should convey the feelings of one with passion for and persistence in wushu from the bottommost of my the heart."
Huang Yi, who sacrifices two hours of sleep to study Wing Chun under Sin Kwok Lam and To Yu Hang, reveals that she often bullies To Yu Hang on the set. Huang Yi would try to provoke him, but he remains unaffected and courteous, "If you do not know him well, you won't be able to tell he is a martial arts practitioner. He is introverted and taciturn, and has a mild temperament. He is really like Ip Man himself, very poised, cultured."
Yuen Biao plays Ng Chung Sok, Ip Man's senior who coached him Wing Chun. He says that due to the level of realism of the film, injuries are common occurrences on the set, such as the demand for each hit to be heard. Yuen Biao, who has most exchanges with Fan Siu Wong and Sammo Hung, who plays their master Money Changer Wah, hurt his rib so badly that he had to return to Hong Kong to recuperate, while both Fan Siu Wong and To Yu Hang have had their shares of bruises, especially in the arms and legs during their Wing Chun duel, as a result of the degree of contact. And earlier on, Fan Siu Wong got slashed on the head by Bernice Liu's katana on the first day she arrived, requiring three stitches. 
Yuen Biao says that To Yu Hang is more experienced in Wing Chun compared to Donnie Yen, but his acting skills still need polishing. Yuen Biao adds that the script for Seven Little Fortunes movie, that he has been working on for some time, has been completed and it should begin production in the middle of the year.
Fan Siu Wong, who spent a month shedding 8 pounds to portray a more genial image in the film, says that the production is near completion, and they have finished the final showdown, involving Fan Siu Wong, Yuen Biao, Bernice Liu, who plays a Japanese master, and later To Yu Hang, which took them 9 days to shoot. Fan Siu Wong would soon be facing Bernice Liu again when she challenges their school.
The Legend is Born: Ip Man, which traces the early parts of Ip Man's life, dealing with his training under Chan Wah Shun, Ng Chung Sok and Leung Bik, as well as his romances and resistances against foreigners, is wrapping up at end of January for May Day release. (Source: Southern Metropolis Weekly, Guangzhou Daily, CRI, Sohu, Sina)
Back to Basics: The 'Siu Nim Tao' Form
As an instructor and communicator of the Ving Chun Kuen, specifically from the "Ip Man Ving Chun Lineage & Method", it is very important to be able to explain the art and present its concepts in detail a way as possible. This is of course to ensure that each and every student can gain a deep and practical understanding of what the system offers them, and how best to use this tool for self-improvement and personal protection. Clearly, one can get into very detailed discussions on all aspects of the system, but sometimes this can cause more confusion and lead to greater misunderstanding than clarification. Especially for the less experienced students, too much detail can inhibit rather than enhance their development.
For students to find it easier to understand the system, I have to find ways of simplifying the presentation of information, and providing simple summaries of various aspect of the system. This brief information here takes that approach with reference to the first (1st) of the three (3) basic empty-handed forms of Ving Chun Kuen. Hopefully, the ideas presented here are also relevant to practitioners of other lineages and will add as an additional advantage to enhance the development of their skills.
SIU NIM TAO (Little Idea Form)
This would be define into 3 sections of the Siu Nim Tao form:
1st Section - Structure
2nd Section - Recovery
3rd Section - Coordination
The 1st Section is primarily about "Lat Sau Jik Chung", that constant desire for the hands to attack when free of obstruction, the hallmark of effective Ving Chun combat, but there is much more than just that one concept being examined. It is the very structures that are involved in that, and in footwork, kicking, simultaneous attack & defense, power generation and a host of others, hence all this is define as Structure.
The 2nd Section concerns the various ways in which we might understand the concepts, techniques and strategies required to overcome situations where we have lost control of the Centerline and are unable to face our adversary. In short, it provides ways of being able to face our opponent when placed in a compromised position such as armlocks, bear hugs or grappling situations. Hence all this is define as Recovery.
The 3rd Section shows us various combinations of movements, applied with one hand, to emphasize the importance of realizing that we are capable of using one hand for more than one motion at a time. In other words, just because I have just used my left hand to attack or defend does not presuppose that it cannot be used again immediately, rather than relying upon the other hand first in a typical "one-two" action. In addition, it helps us to ass flow to our actions, to develop natural motions that move easily from point to point. It is important to note that at no time is this section suggesting that the combinations utilized MUST be done in exactly those sequences. They are merely linked together for ease of practice and improvement, NOT as set motions. Therefore, the main aim of the 3rd section is the development of one of the key attributes for combat success is Coordination.
For students to find it easier to understand the system, I have to find ways of simplifying the presentation of information, and providing simple summaries of various aspect of the system. This brief information here takes that approach with reference to the first (1st) of the three (3) basic empty-handed forms of Ving Chun Kuen. Hopefully, the ideas presented here are also relevant to practitioners of other lineages and will add as an additional advantage to enhance the development of their skills.
SIU NIM TAO (Little Idea Form)
This would be define into 3 sections of the Siu Nim Tao form:
1st Section - Structure
2nd Section - Recovery
3rd Section - Coordination
The 1st Section is primarily about "Lat Sau Jik Chung", that constant desire for the hands to attack when free of obstruction, the hallmark of effective Ving Chun combat, but there is much more than just that one concept being examined. It is the very structures that are involved in that, and in footwork, kicking, simultaneous attack & defense, power generation and a host of others, hence all this is define as Structure.
The 2nd Section concerns the various ways in which we might understand the concepts, techniques and strategies required to overcome situations where we have lost control of the Centerline and are unable to face our adversary. In short, it provides ways of being able to face our opponent when placed in a compromised position such as armlocks, bear hugs or grappling situations. Hence all this is define as Recovery.
The 3rd Section shows us various combinations of movements, applied with one hand, to emphasize the importance of realizing that we are capable of using one hand for more than one motion at a time. In other words, just because I have just used my left hand to attack or defend does not presuppose that it cannot be used again immediately, rather than relying upon the other hand first in a typical "one-two" action. In addition, it helps us to ass flow to our actions, to develop natural motions that move easily from point to point. It is important to note that at no time is this section suggesting that the combinations utilized MUST be done in exactly those sequences. They are merely linked together for ease of practice and improvement, NOT as set motions. Therefore, the main aim of the 3rd section is the development of one of the key attributes for combat success is Coordination.
The Center-Line Theory of Ving Chun
• The shortest distance between two points is a straight line.• If you are face to face with an opponent, the shortest distance to the opponent is a straight-line path from your center to the opponent's center.
• If you put your palm toward your opponent's vertical axis you occupy the center line. Two physical objects can't occupy the center at the same space at the same time. So if one person occupies the centerline the other person doesn't. If a straight-line punch comes toward your face and you stick your hand in the center then that punch will be deflected away from the centerline.
• There is a vertical centerline which runs parallel to the vertical central axis of the body. There is also a horizontal centerline which runs from your vertical centerline to the opponent's vertical centerline (if you are facing your opponent).
• In Ving Chun we try to always face our opponent's central axis. We don't let the opponent get to our side. This is called proper facing. In a fight we can't always maintain this facing, so then we are in recovery mode to get back to that way of facing.
• When face to face with arms in contact, we have a saying that none takes our arms off the centerline. If you point towards the opponent's central axis and they push or deflect your hand (arm) away from the centerline, then you are in recovery mode and return back to the centerline just like when pushing on a springy twig or pushing on a ball floating in water.
• When an opponent's arms drift off the centerline, they have a structural weakness in their defense. A hole is created and they'll be hit because a straight-line attack will come in so fast there won't be enough time to recover from such a mistake. If the opponent's arm disengages, we hit straight forward, along the shortest distance path, since that would be our best chance against an opponent with a slight timing advantage from moving first.
• When you have a perfect center position, as taught in sticking hands, it's difficult for an opponent to penetrate this position with any kind of attack.
• If an opponent disengages to do a circular hit, he'll be hit first with a straight-line hit.
• If an opponent tries to grab, he'll cross himself and be trapped.
• If an opponent uses brute strength to break down the center, he'll be stiff and can be pushed, pulled, jerked or easily unbalanced. The other option is that the opponent's strength will encounter emptiness from your relaxed, soft feeling. Or when their hard force comes we pivot or shift so the hard force is redirected. The opponent will face the wrong way and we will point at their central axis.
• If an opponent attempts to kick, this attempt can be felt in the hands and a pushing/pulling force or stepping in will unbalance them.
• If an opponent retreats we chase in such a way that arm contact is maintained. Once in contact it's difficult to shake off a person with good sticking skills without destroying your own good center position.
• In sticking hands/rolling hands we try to detect when the opponent has deviated from the centerline position. As soon as this deviation occurs we hit. When an opponent's centerline position is good, we may try to destroy that good position with a variety of pushing, pulling, jerking tactics, but these create defects in our own defense which can be taken advantage of. A beginner is too slow to react and can't accurately sense centerline mistakes, so anything works against them.
• Some Ving Chun people try to blast their way through the center, which works well against an inferior opponent. Against an advanced opponent he will either be counter-blasted, if the opponent is stronger, or more ideally will encounter sudden emptiness and be hit.
• Since we are human, mistakes are made, so we lose because of thousands of kinds of mistakes. Mistakes include:
- unstable stance
- off center to the left
- off center to the right
- hands too high
- hands too low
- hands too stiff
- hands too soft
- not sensitive
- slow reactions
- contact between the arms too loose
These mistakes and hundreds more are studied so they can be countered instantly.
• When two people are in double-arm contact, nearly everything can be defended by maintaining a good stance and smothering the opponent's attacks by sticking to their arms. However, when the opponent goes off the centerline we don't stick, but attack in a straight line or else we'll be open to attack. The idea is not to stick with and chase arms wherever they may go.
• The first form of Ving Chun teaches ideal positioning. The positions taught in the first form are mathematical ideal positions or structures, when you are face to face with an opponent. Since we are all built differently, we can only approach these ideal concepts and have to compensate in other ways if we can't physically apply the math concept. E.g. if you aren't flexible enough to keep the elbows on the centers you can compensate by being more sensitive with the hands or forearms, or by shifting more.
• When our force limits have been exceeded then body shifting is used to redirect the force. So ideally, either we stay put, shift (turn) or step forward. In reality we sometimes have to back up or even duck. The second form of Ving Chun teaches the mechanics required to coordinate the hands with the feet. This means we learn when to turn or advance depending on what we feel.
• In real fighting nothing is ideal. Our good mathematical centerline positions may be totally destroyed. An opponent may have our elbow pushed off to the side, or grabbed us or have us bent over, or pinned us to a wall, or there's not one opponent to face but several. In this case your perfect center-facing position against a single opponent has been lost and you are therefore in recovery mode to regain a good position. The third form of Ving Chun teaches how to regain the centerline or how to get back into a good position as taught in the first and second forms or dummy forms. Because of this it makes no sense to learn the third form of Wing Chun before having mastered the others. How will you know what position to recover to if you don't understand the subject of positions and structures?
• The wooden dummy is a device which forces you to have correct position because the arms of the dummy are in fixed locations. So the wooden dummy is like a teacher who forces you to have correct angles. The wooden dummy is used for secondary reasons to enhance speed, power and to condition the arms. It also doesn't make much sense to study the dummy before having learned the first form, because you won't understand what a correct position is. And the wooden dummy movements can't be applied without an understanding and adeptness in sticking hands skills.
• In Ving Chun we try to gain a correct position based on centerline concepts. From hundreds of hours of rolling hands/sticking hands (Chi Sao) practice we can detect when an opponent's position is off. We must be relaxed and sensitive to detect these things, and then we must have the timing to attack with speed and power.
• When close range skills are mastered there is no fear of arm contact with an opponent. After that, total concentration can be given to how to make contact with the opponent. This involves the study of structure and entry methods, and most of all, timing. The second form of Ving Chun, the wooden dummy and free style sparring teach how to enter properly so the sticking hands skills of Ving Chun can be applied.
• From a few simple concepts, such as "the shortest distance between two points is a straight-line" and the concept of economy, quite an elaborate art has evolved.
These are just a few quick thoughts which are in no way a complete or hole-proof theory. Another topic not discussed is the location of hitting targets along the vertical center line. Also, in fact, there are many lines of balance which are used, as explained above, even during sweeping, off balancing and while ground fighting. Different Ving Chun lines may have different viewpoints on this subject.
• If an opponent attempts to kick, this attempt can be felt in the hands and a pushing/pulling force or stepping in will unbalance them.
• If an opponent retreats we chase in such a way that arm contact is maintained. Once in contact it's difficult to shake off a person with good sticking skills without destroying your own good center position.
• In sticking hands/rolling hands we try to detect when the opponent has deviated from the centerline position. As soon as this deviation occurs we hit. When an opponent's centerline position is good, we may try to destroy that good position with a variety of pushing, pulling, jerking tactics, but these create defects in our own defense which can be taken advantage of. A beginner is too slow to react and can't accurately sense centerline mistakes, so anything works against them.
• Some Ving Chun people try to blast their way through the center, which works well against an inferior opponent. Against an advanced opponent he will either be counter-blasted, if the opponent is stronger, or more ideally will encounter sudden emptiness and be hit.
• Since we are human, mistakes are made, so we lose because of thousands of kinds of mistakes. Mistakes include:
- unstable stance
- off center to the left
- off center to the right
- hands too high
- hands too low
- hands too stiff
- hands too soft
- not sensitive
- slow reactions
- contact between the arms too loose
These mistakes and hundreds more are studied so they can be countered instantly.
• When two people are in double-arm contact, nearly everything can be defended by maintaining a good stance and smothering the opponent's attacks by sticking to their arms. However, when the opponent goes off the centerline we don't stick, but attack in a straight line or else we'll be open to attack. The idea is not to stick with and chase arms wherever they may go.
• The first form of Ving Chun teaches ideal positioning. The positions taught in the first form are mathematical ideal positions or structures, when you are face to face with an opponent. Since we are all built differently, we can only approach these ideal concepts and have to compensate in other ways if we can't physically apply the math concept. E.g. if you aren't flexible enough to keep the elbows on the centers you can compensate by being more sensitive with the hands or forearms, or by shifting more.
• When our force limits have been exceeded then body shifting is used to redirect the force. So ideally, either we stay put, shift (turn) or step forward. In reality we sometimes have to back up or even duck. The second form of Ving Chun teaches the mechanics required to coordinate the hands with the feet. This means we learn when to turn or advance depending on what we feel.
• In real fighting nothing is ideal. Our good mathematical centerline positions may be totally destroyed. An opponent may have our elbow pushed off to the side, or grabbed us or have us bent over, or pinned us to a wall, or there's not one opponent to face but several. In this case your perfect center-facing position against a single opponent has been lost and you are therefore in recovery mode to regain a good position. The third form of Ving Chun teaches how to regain the centerline or how to get back into a good position as taught in the first and second forms or dummy forms. Because of this it makes no sense to learn the third form of Wing Chun before having mastered the others. How will you know what position to recover to if you don't understand the subject of positions and structures?
• The wooden dummy is a device which forces you to have correct position because the arms of the dummy are in fixed locations. So the wooden dummy is like a teacher who forces you to have correct angles. The wooden dummy is used for secondary reasons to enhance speed, power and to condition the arms. It also doesn't make much sense to study the dummy before having learned the first form, because you won't understand what a correct position is. And the wooden dummy movements can't be applied without an understanding and adeptness in sticking hands skills.
• In Ving Chun we try to gain a correct position based on centerline concepts. From hundreds of hours of rolling hands/sticking hands (Chi Sao) practice we can detect when an opponent's position is off. We must be relaxed and sensitive to detect these things, and then we must have the timing to attack with speed and power.
• When close range skills are mastered there is no fear of arm contact with an opponent. After that, total concentration can be given to how to make contact with the opponent. This involves the study of structure and entry methods, and most of all, timing. The second form of Ving Chun, the wooden dummy and free style sparring teach how to enter properly so the sticking hands skills of Ving Chun can be applied.
• From a few simple concepts, such as "the shortest distance between two points is a straight-line" and the concept of economy, quite an elaborate art has evolved.
These are just a few quick thoughts which are in no way a complete or hole-proof theory. Another topic not discussed is the location of hitting targets along the vertical center line. Also, in fact, there are many lines of balance which are used, as explained above, even during sweeping, off balancing and while ground fighting. Different Ving Chun lines may have different viewpoints on this subject.
Ving Chun Kuen for Today
Today, Ving Chun is confronted with many questions. Questions such as the originality, the lineage or the training system in today's world of Ving Chun. There are so many answers given by these practitioners but I believe the answers to these questions is not as important as the "art" itself.
Before I begin to share my personal opinions, firstly, we should look into one of the main questions, "Which Martial Arts should I learn ?". Of course, there are so many martial arts available now around the world. Currently, we could see that the biggest hype in Asia and some other countries is Ving Chun, lately because of the late Great Grandmaster Ip Man's biography movie released last year in December 2008 and also because of the art learn by the late martial art superstar Bruce Lee. There is a choice for us to make and to consider on what actually do we want to get out of it at the end of the day in the martial art's world.
To me, I do not believe that all martial arts are equal, nor do I believe all methods of training martial arts are equal. Maybe some methods is well suited for some individual's specific wants and needs but they are not suitable for objectives, black and white answers to the questions of combat and self-defense.
I come across many questions and answers by other fellow pratitioners of Ving Chun and also practitioners from other martial arts. One would say this art is better than that art or vice-versa. To me, every martial arts have their own styles, strengths and weaknesses, advantages and disadvantages and so on. The first thing again we must ask, "what do we want ?". Is it for the purpose of self-defense ? for combat fighting ? for competition ? or just for fun. There are many questions and answers however, there is only one person who can answer these quesions and that person is basically "yourself".
Definition of Ving Chun
Having said that, the first question for someone who wants to start off with Ving Chun must asked, "What is Ving Chun, really ?" Here is my definition:
Ving Chun is a "concept based" martial arts. This means concepts and principles govern how to move, fight and train. Nothing in Ving Chun is done without applying these "concepts" and they are the reasoning behind all techniques, methods and strategies.
Ving Chun is physics. The law of physics govern everything in the natural universe. Therefore, the best martial artist, and likewise the best Ving Chun practitioner, will follow principles of sound body-mechanics, timing and force, consistent with the laws of the physical world. This means training in a realistic manner.
Principles of Self Defense
And just what are these principles that need to be observed ? What methods are there to train these principles ? Here are 2 good points that can be made and discussed.
1. Do I train for a fight or self-defense ?
In order to train ourselves properly, we must first define our goals. Our first goal to define should be why we are training in the first place. Is it because I love the Art ? Do I train simply because I enjoy the techniques and idea of doing Kung Fu ? is it for physical fitness ? A hobby to channel energy into ? Is it to be in competition ? Is it to be able to fight really well ? Or is it to defend myself ?
2. How do I know if what I am training will actually work ?
The next question should be asked immediately after the first, will this actually work in the environment I am training for, and how do I know if it works ?
We must train with a sense of realism, which means we must actually apply the techniques as often as possible. And if not, we must create the best environment to simulate actual application as possible. We must apply our strikes in such a way as to exhibit this, which means using heavy force and contact sometimes. While there is immense value in soft and slow moves, a realistic perception cannot be gained from training exclusively this way. If students do not strike in such a way as to move a partner and be moved themselves, they shortchange themselves as well as their partner.
We must also ask ourselves if we are likely to encounter certain energies from opponents in the real world. If we are using training techniques that serve no purpose, we need to train them differently. And if there are techniques we may encounter that we do not train against, we must do so in a realistic way.
Above all else, we should not fool ourselves. We need to actually fight against certain techniques to see if what we are doing actually works. In other words, we must spend more time in sparring sessions which is as close as to actual fighting.
By doing this, by questioning ourselves and our own training, we begin to shape the culture of our Ving Chun. Will my culture be effective and innovative ? Will it be traditional and artistic ?
Before I begin to share my personal opinions, firstly, we should look into one of the main questions, "Which Martial Arts should I learn ?". Of course, there are so many martial arts available now around the world. Currently, we could see that the biggest hype in Asia and some other countries is Ving Chun, lately because of the late Great Grandmaster Ip Man's biography movie released last year in December 2008 and also because of the art learn by the late martial art superstar Bruce Lee. There is a choice for us to make and to consider on what actually do we want to get out of it at the end of the day in the martial art's world.
To me, I do not believe that all martial arts are equal, nor do I believe all methods of training martial arts are equal. Maybe some methods is well suited for some individual's specific wants and needs but they are not suitable for objectives, black and white answers to the questions of combat and self-defense.
I come across many questions and answers by other fellow pratitioners of Ving Chun and also practitioners from other martial arts. One would say this art is better than that art or vice-versa. To me, every martial arts have their own styles, strengths and weaknesses, advantages and disadvantages and so on. The first thing again we must ask, "what do we want ?". Is it for the purpose of self-defense ? for combat fighting ? for competition ? or just for fun. There are many questions and answers however, there is only one person who can answer these quesions and that person is basically "yourself".
Definition of Ving Chun
Having said that, the first question for someone who wants to start off with Ving Chun must asked, "What is Ving Chun, really ?" Here is my definition:
Ving Chun is a "concept based" martial arts. This means concepts and principles govern how to move, fight and train. Nothing in Ving Chun is done without applying these "concepts" and they are the reasoning behind all techniques, methods and strategies.
Ving Chun is physics. The law of physics govern everything in the natural universe. Therefore, the best martial artist, and likewise the best Ving Chun practitioner, will follow principles of sound body-mechanics, timing and force, consistent with the laws of the physical world. This means training in a realistic manner.
Principles of Self Defense
And just what are these principles that need to be observed ? What methods are there to train these principles ? Here are 2 good points that can be made and discussed.
1. Do I train for a fight or self-defense ?
In order to train ourselves properly, we must first define our goals. Our first goal to define should be why we are training in the first place. Is it because I love the Art ? Do I train simply because I enjoy the techniques and idea of doing Kung Fu ? is it for physical fitness ? A hobby to channel energy into ? Is it to be in competition ? Is it to be able to fight really well ? Or is it to defend myself ?
2. How do I know if what I am training will actually work ?
The next question should be asked immediately after the first, will this actually work in the environment I am training for, and how do I know if it works ?
We must train with a sense of realism, which means we must actually apply the techniques as often as possible. And if not, we must create the best environment to simulate actual application as possible. We must apply our strikes in such a way as to exhibit this, which means using heavy force and contact sometimes. While there is immense value in soft and slow moves, a realistic perception cannot be gained from training exclusively this way. If students do not strike in such a way as to move a partner and be moved themselves, they shortchange themselves as well as their partner.
We must also ask ourselves if we are likely to encounter certain energies from opponents in the real world. If we are using training techniques that serve no purpose, we need to train them differently. And if there are techniques we may encounter that we do not train against, we must do so in a realistic way.
Above all else, we should not fool ourselves. We need to actually fight against certain techniques to see if what we are doing actually works. In other words, we must spend more time in sparring sessions which is as close as to actual fighting.
By doing this, by questioning ourselves and our own training, we begin to shape the culture of our Ving Chun. Will my culture be effective and innovative ? Will it be traditional and artistic ?
Remember - Your training is in your own hands - Sifu Oliver Lee.
"Yee Chi Kim Yeung Ma" and The Powers of Ving Chun Kuen
The basic stance is the first thing we learn but it is often neglected. Many students tend to overlooked their posture and stance during training session or during combat. "Yee Chi Kim Yeung Ma" in cantonese, (Character Two Adduction Stance), also known as the pigeon-toed horse stance, is one of Ving Chun most important source of power. An obvious benefit of training the stance is strengthening the legs, knees, ankle joints, and also to improved kicking ability. Being able to understand this posture, it also helps a Ving Chun practitioner to develop their 'Chi Gong' and balance.The 'Chi Gong' development in Yee Chi Kim Yeung Ma expresses itself in several ways. Principle among these expressions is the cultivation of an effortless deep-rooted or embedded (both feet on the ground) when facing the incoming force of an aggressor or opponent. To the aggressor, the Ving Chun practitioner is seemingly able to absorb his attack as if immoveble. The flip side of deep-rooted or immovable energy, is explosive energy or also known as "Lik" in cantonese. As training progresses, the Ving Chun practitioner is able to convey increasingly effective power through seemingly small gestures, both to strike or shock the aggressor. The one-inch punch and explosive jerking of the wrist and arm to disrupt the balance are examples of "Lik" (Power).
Complementary to this stance and posture of Ving Chun is the sensitivity movements (with tactical awareness) to transition from one posture to another in response to any threat against his/her center of gravity or the opportunity to attack the center of gravity of the aggressor. Sensitivity must come with pure speed and reacts instantly when an aggressor attempts to attack you. In fact, the faster or harder he tries to attack, the quicker and more explosively he is hit himself. Again, a Ving Chun practioner should not fight with brute force but should use your opponent force to counter-attack, the touch is as explosive.
Training the stance for long periods will help considerably when moving onto turning stance such as Juen Ma, Biu Ma or Huen Ma, helping to make the movements more precise and decisive. The stance also encourages body unity (co-ordination between the upper and lower half) which is important defensively and offensively.
Fundamental to the realization of this level of skill is the diligent training of the "Yee Chi Kim Yeung Ma" and its application in footwork. Without the stance, there is no Ving Chun. While the hands may perform Ving Chun movements, there really is no Ving Chun if without proper and understanding of the stance.
Remember, 'A house is only strong as the foundations it's built upon'. - Sifu Oliver Lee
The Difference Between Ving Chun Kuen & Other Martial Arts
Unlike many martial art system, Ving Chun Kuen Gung Fu was created to be fully combative in all aspects. Its theories, principles and concepts are based on the structure and limitations of the human body. These limitations are highly exploited in Ving Chun by angular strikes, forward and regain stepping and last but not least, centerline application. The many concepts in Ving Chun utilize our mental capacity in comprehending the idea of doing just enough to get the job done. The principles of Ving Chun are based on one's character in practise, teaching and combative application. The theories in Ving Chun are based on the possible outcomes in any given scenarios. This means one may have an idea of how a combatitive situation may be, and what techniques they may use to exercise application of their techniques. The only way to prove this theory is the use of it in actual combat.It is save to say that through the development of Ving Chun Kuen Gung Fu, in light of the full comprehension of one's theory, concepts and principles, mastery of this sytem would not take too long to achieve. This reason being is the method it was created for. To actually recognised this method, one must take into consideration, size, structure, and ability of the person who had originally refined its techniques.
Since a woman had refined these techniques, she saw high kicks, low stances, and extreme forward energy would allow her to get hurt more than protecting herself. Ng Mui, being this woman, had left out the unnecessary motions of some of the most well-known movements in the Shaolin Martial Arts. Seeking a more effective manner to protect oneself, she took on ideas of centerline protection, centerline attack, simultaneous attack & defense, and last but not least, the idea of utilizing lower kicks to maintain a rooted posture while in combat.
It is well known that the many martial arts in existense are seemingly fancy, using large motion to express attack & defense. The various styles are very pleasing to the eye, especially to the novice. Therefore, to an untrained eyes, Ving Chun Kuen Gung Fu would look ugly and ineffective when compare to the flashy, acrobatic methods of these aforementioned martial art system. In actual, the acrobatic and flashy movements cannot be used in combat effectively, unless practised for many years. Ving Chun Kuen on the hand, can be used effectively in a shorter period of time.
Like many martial arts, there are unlimited benefits to reap with Ving Chun Kuen Gung Fu. Yet, these benefits will only manifest if the proper tools are in place and set for each individual conditions. There is a truth in Ving Chun that states simplicity is the key to all combative expression. Following this truth in everyday living, one sees that the way they walk, think and communicate will change. Cultivating mind and movement with simplicity, the limitations of the human body become nonexistent.
The usual benefits of physical well being, healthy living and a clear mind, will manifest due to proper guidance, participation, patience, and will of both the teacher and student.
Always makes your Defense Offensive
The Ving Chun practitioners develops reflexes within the searching of unsecured defenses through use of sensitivity. Training through Chi Sao with a partner, one practises the trapping of hands. There is no limitation in practising Chi Sao. The numbers of hours and effort that each practitioner puts in, is not the most important. A Ving Chun Kuen practitioner needs to understand the concept and the system behind it, and also by studying each application until every single movement (attack & defense) turns out naturally. Then, when you know how to trapped your opponent, he or she becomes immobile.
Chinese Philosophy:
"Greet what arrives, escort what leaves and rush upon lost of contact" - Ip Man
Footwork in Ving Chun Kuen Gung Fu
The footwork in Ving Chun very simple and direct. The is no fancy footwork in Ving Chun. The reason is that when fighting, you must conserve your energy because if you have no energy, you can't fight and your techniques will become useless. In Ving Chun, the footwork mostly consists of small rapid steps forward, side stepping to the left or right and less back movement. There is no hopping and jumping, rather the Ving Chun footwork consists of short rapid steps and quick slides while maintaining good balance.
The use of footwork enables the Ving Chun practitioner to remove his body totally from the path of the force or by following the direction of the opponent's force. It allows the practitioner to move to a more strategic position from which to counter-attack while keeping the body weight at a distribution of 10:90, having the lead leg at 10%, while about 90% is on the rear leg. The feet are always contacting to the ground. With this weight distribution, the practitioner is able to fire off a rapid number of punches when moving. This is because the rear leg provide a stable base for the Ving Chun practitioner to launch his punches and kicks.
The use of footwork in Ving Chun has other purposes too. Not only to neutralize but also closing the gap, chasing or sticking close to the opponent's movement in all direction. At the same time, the opponents constantly finds his movement being cut off or restricted without being able to strike back. Footwork enables you to come into range of your opponent and hit them. Footwork also allows you to generate more power into your striking techniques.
Again, the footwork in Ving Chun aims to conserve energy. It is trained mainly in the Chum Kiu form, but also in the Biu Jee form and the Wooden Dummy form. You will begin to understand more on the importance of footwork once you engage in Chi Sao.
The Legendary Bruce Lee once said, "Your application of an effective technique depends on your footwork".
Relaxation - The Fundamental to Ving Chun.
Softness (via relaxation) and performing techniques in a relaxed manner, is fundamental to Wing Chun.Tension reduces punching speed and power. Muscles act in pairs in opposition to each other (e.g. biceps and triceps). If the arm is tensed, maximum punching speed cannot be achieved as the biceps will be opposing the extension of the arm. In Wing Chun, the arm should be relaxed before beginning the punching motion.
Unnecessary muscle tension wastes energy and causes fatigue.
Tense, stiff arms are less fluid and sensitive during trapping and chi sao.
A tense, stiff limb provides an easy handle for an opponent to push or pull with, whereas a relaxed limb provides an opponent less to work with.
A relaxed, but focused limb, affords the ability to feel "holes" or weaknesses in the opponents structure. With the correct forwarding these "holes" grant a path into attacking the opponent.
Muscular struggle reduces a fight to who is stronger. Minimum brute strength in all movement becomes an equalizer in uneven strength confrontations.
3 Great Grandmaster Ip Man's biopics to start filming soon !!!
Both Wilson Yip's Ip Man 2 and Wong Kar Wai's The Great Master are slated for production next month.
Budgeted at 100m yuan, Ip Man 2 traces Yip Man's life as he arrives in Hong Kong. Raymond Wong reveals that Donnie Yen's pay has doubled since the first film, commanding around 15m to 20m yuan. Ip Man 3 is currently in the process of being written, and it will have bigger focus on Bruce Lee.
Budgeted at 100m yuan, Ip Man 2 traces Yip Man's life as he arrives in Hong Kong. Raymond Wong reveals that Donnie Yen's pay has doubled since the first film, commanding around 15m to 20m yuan. Ip Man 3 is currently in the process of being written, and it will have bigger focus on Bruce Lee.
Bruce Lee casting call is concluding soon, and 12-year old 潘润康 Pan Run Kang (video) from Harbin, who not resembles Bruce Lee but is also trained in martial arts, stands a very good chance of playing the child Bruce Lee. Huang Xiao Ming will join the film as Sammo Hung's disciple, while, this time around, To Yu Hang returns and takes on another role - Donnie Yen's disciple. The dispute between the disciples of Hung Gar and Wing Chun leads to their masters' eventual confrontation.
According to Yip Chun, production of Wong Kar Wai's The Great Master is expected to begin "on schedule", as Tony Leung's arm fracture won't affect or delay filming. Young Ip Man/Ip Man the Prequel (unrelated), which explores the early parts of Yip Man's life, is expected to begin production in November, with Herman Yau directing, and tentatively, To Yu Hang would be playing the eponymous kungfu master, while Yip Chun would be making his debut as Leung Bik.
Kungfu Star Bruce Lee's new movie to be shot !
Bruce Lee's older sister and younger brother have authorized a Chinese company to make a series of biographical films about the late kung fu icon, saying they want to produce a historically accurate account of their brother's life.Thirty-six years to the day after martial-arts film legend Bruce Lee died, a Beijing-based movie company announced Monday, that it would work with Lee's family to produce a movie portraying "the truest Bruce Lee" for his fans worldwide.
Robert Lee, Lee's younger brother, will be the movie producer and his older sister, Phoebe Lee, will also help in making the movie, a news Web site Zhejiang online reported Monday.
It is the first time that Lee's family has authorized a movie about the legendary star.Last year, a Bruce Lee's 40-part television series was aired on the Chinese mainland. The latest movie about the star was made 16 years ago in United States.
"The movie will have three episodes describing the star's youth, his martial-arts film time, his great success and unexpected death," Robert Lee said at the movie's kick-off ceremony held Monday here.
"There are many books or movies about my brother, but I think they are not even close to truth. I want to make the movie of a true Bruce Lee and then I have no more regrets in my life," 70-year-old Phoebe Lee said.
The first part of the series will be shot next year, which will premier November 27, Lee's birthday.The production company says it has prepared four years for the movie. It did not reveal any candidates of the movie director and actor.
Producer Manfred Wong said the company plans at least three installments, with the first to tackle Lee's teenage years, adding he wanted to focus more on the late actor's personality.
"There will be kung fu ... But more importantly, we want to portray the real Bruce Lee. What is the real Bruce Lee like? He was very humorous. He was very obedient to his parents. He was very kind to his family," Wong said, according to footage of the ceremony on the Chinese news Website.
Born in America in 1940, Bruce Lee had his first performance onscreen during childhood. He then became an outstanding martial artist and star of Kung fu movies, bringing Hong Kong films worldwide attention in the 1970s.
Lee made 46 Kungfu movies. He died at age 32 in 1973, while starring and directing the movie "Game of Death" in Hong Kong.
Casting for young 'Bruce Lee' for Ip Man 2
The producers of "Ip Man 2" have started a talent search for two Bruce Lee-like actors for the sequel to last year's kung-fu film hit, according to a report on Sina.com. The two selected actors will appear in "Ip Man 2", the new biopic about Bruce Lee's master. An 8-to-12 year-old is expected to play a young Bruce Lee when he first met Ip Man, and an 18-to-22 year-old will play the kung fu star as a young adult when he started studying under his master. "Resemblance in appearance will be considered first and foremost, and then the resemblance of manners, and last martial arts and acting skills," said Wilson Yip, the film's director.
Actors can apply for an audition through Henan Satellite TV and BTV-8.
Ten finalists from each age group will vie for the roles on the martial arts television show "Wu Lin Feng" on Henan Satellite TV at the end of July.
"Ip Man 2" is scheduled to start filming in August.
Ten finalists from each age group will vie for the roles on the martial arts television show "Wu Lin Feng" on Henan Satellite TV at the end of July.
"Ip Man 2" is scheduled to start filming in August.
Yip also said that a third installment is under preparation, which would contain more about Bruce Lee. If the actor who portrays the superstar in his early adulthood proves to be a success in the second sequel, he will probably get the role again, Yip said.
Ip Man 2 (2010)
At 12th Shanghai Film Festival, Raymond Wong announces that Ip Man 2 would begin production in Shanghai this August 2009. He says that the script has been completed by his son, Edmond Wong. And he's very happy that his son can write such a great script as Ip Man.Bruce Lee would be making brief appearances in the film after all. The production is currently on a worldwide talent scout for a 10-year old Bruce Lee, who first became acquainted with Ip Man, and an 18 year-old Bruce Lee, who formally studied under the latter.
Wilson Yip confirms, "Bruce Lee would definitely show up. Otherwise, it won't lead to Ip Man 3."Wilson Yip adds, "I hope to find someone who looks very much like Bruce Lee, who would be acknowledged by the audience. And he must possess bravery, and is a youth with great disposition."
And Ip Man 2 is expected to scale even greater heights, Donnie Yen elaborates, "The martial arts scenes must tie in with character development. I will act according to the script. Ip Man just arrived in Hong Kong, how did he turn into a great master of his times, what were his sentiments? It's up to Sammo Hung to choreograph the martial arts sequences, I'll do my level best in delivering the drama and action scenes. "Initially, some said I won't be able to bring out the air of grandmaster, but I felt that, whether we are actors or not, as long as we put our mind to it, nothing is impossible. I spent a great deal of time on portrayal of Yip Man, I'm glad to have attained today's results.
"What worried me most was my physical conditions, I have sustained multiple injuries, especially when filming Yip Man, I couldn't even lift my right arm. "Everyone knows that big brother Sammo Hung is very demanding, so I hope I can approach Ip Man 2 in a relaxing mood. This time around, I would be taking up the cudgels against brother Sammo Hung, we hope to shoot the most archetypal fight scene, so everyone is very nervous.
"Sammo Hung has been telling me that he's facing great pressure because of Ip Man's success. Not only is he serving as the martial arts choreographer, but also has a significant role in the Ip Man 2. Both of us are under pressure, I believe stress is good for us, it gives us the impetus to improve even further."
"What worried me most was my physical conditions, I have sustained multiple injuries, especially when filming Yip Man, I couldn't even lift my right arm. "Everyone knows that big brother Sammo Hung is very demanding, so I hope I can approach Ip Man 2 in a relaxing mood. This time around, I would be taking up the cudgels against brother Sammo Hung, we hope to shoot the most archetypal fight scene, so everyone is very nervous.
"Sammo Hung has been telling me that he's facing great pressure because of Ip Man's success. Not only is he serving as the martial arts choreographer, but also has a significant role in the Ip Man 2. Both of us are under pressure, I believe stress is good for us, it gives us the impetus to improve even further."
The World Wing Chun Union Convention 2009
Dates：6, 7, 8 November 2009 (Friday, Saturday, Sunday)
Locations： Hong Kong and Foshan, China
Activities：
1) Public Performance at Hong Kong Harbour Front
2) Autumn Carnival of the Foshan Cultural Festival (Performance of Wing Chun Techniques)
Itinerary：(Preliminary)
6 November (Friday)
3:00PM – 5:00PM： Arrival at Camp
6:30PM – 7:30PM： Dinner
8:30PM – 10:30PM： 1/ Reception 2/ Performance Rehearsal or 3/ Group Exchange
7 November (Saturday)
6:30AM – 7:30AM： Breakfast
8:00AM – 9:30AM： Assembly at Tsimshatsui East Harbour Front
10:00AM – 11:00AM： Wing Chun Public Performance11:30AM – 12:30AM： Light Lunch
1:00PM – 4:00PM： Travel to Foshan
5:00PM – 6:00PM： Arrival at own Hotel
6:30PM – 7:30PM： Dinner8:30PM – 10:30PM： 1/ Reception 2/ Performance Rehearsal or 3/ Group Exchange (organized by Foshan)
8 November (Sunday)
6:30AM – 7:30AM： Breakfast
8:00AM – 9:30AM： Assembly, Rehearsal
10:00AM – 11:00AM： Autumn Carnival
12:00PM – 1:00PM： Lunch
2:00PM – 5:00PM： Travel to Hong Kong, End of Convention
Charges for Meals & Board：Total Cost: MYR2,500 (Depending on booking dates)
Number of Participants：800 – 1000 persons
Ip Man wins Best Film
(Donnie Yen receiving the awards for best film)
A biopic of the late Great Grandmaster Ip Man won best picture at the 28th Hong Kong Film Awards held on 19th April 2009. Ip Man, a profile of the martial arts teacher by the same name starring Donnie Yen, took top honours at the annual awards ceremony. The action-filled Ip Man describes how the kung fu master resisted Japanese rule in his southern Chinese hometown during the World War II – era. Ip’s most famous disciple was Bruce Lee.
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