Siu Lim Tao I--Movement 1-3

Fig 1. Ready Stance	Fig 1a. Hands to Waist Level	Fig 1b. Double High Tan
Fig 2.Clench Fists	Fig 3. Pull Back Elbows & Sink	Fig 3a. Jockey Position

MP4 Movie of Movement 1-3 Front View	MP4 Movie of Movement 1-3 Sideview.

QuickTime Movie of Movement 1-3 Front View (684KB)	AVI Movie of Movement 1-3 Front View (724KB)"	QuickTime Movie of Movement 1-3 Sideview (632KB)"	AVI Movie of Movement 1-3 Sideview (792KB)"

For this section, I've included movies in MPEG-4, QuickTime and AVI formats, for your convenience. However, I will exclude AVI files in the other lessons as it is time consumming to convert and include so many video files. Additionally, AVI files (Windows based) are very large yet poorer in quality than QuickTime files. To view Quick Time or MPEG-4 movies, you will need to download QuickTime 6 Player. Note that QuickTime downloads are available for Windows and several other operating systems. The downloads are free at http://apple.com/quicktime/. Note that QuickTime 6 "PRO" cost $29.99, but the "Player" is free. QuickTime is used more than any other formats for movie playing on the internet. Although MPEG-4 will deliver the best quality and compression, not all browsers will open it. So, if your browser does not automatically load the MP4 files, click the links for the QuickTime movies instead.

1. Begin breathing with your diaphragm. (See Breathing Lesson )
2. Remember to curl your tongue up, and press it against your mouth's upper palate.
3. Shut your mouth.

NOTE: There are various ways of executing the first movement of Wing Chun. I had shown it differently in the first web page upload. However, after analyzing and discussing the different movements with various other Wing Chun sifus, I have come to the conclusion that this one I'm now showing makes the most sense and is the most practical.

1. Bring your feet together from your natural stance. (This picture shows both of Sifu Chan's feet turned slightly towards his right. We're not symmetrically built and certainly not perfect. As we get older, our body changes from close to perfect to close to wreck. So, ignore this point in the picture, and keep your feet together pointing straight.)
2. Relax; especially your shoulders, as they tense up in most cases.
3. Keep your eyes semi-opened or opened fully.
4. Focus your eyes on a point that is eye-level . If you are looking in a mirror, focus on your own eyes in the reflection. This trains you to look into your opponents eyes. You will detect his moves best when you look into his eyes. When you look straight, your head is in a strong and balanced position. A common and bad habit to avoid is looking down at your opponent's or your own limbs.

1. Raise your hands to your waistline in a smooth and relaxed manner.
2. Keeping your elbows close to your sides as they were when your arms were hanging down.
3. Turn your palms up to the sky

4. Shoot your hands (palms facing up) to your eye level.
5. Extend your elbows fully without tension.

As I had mentioned in another section that there are various SLT startup taught by Wing Chun teachers. While some teachers have explanations for their startup moves, others see theirs as just preparation for the SLT set, particularly a prep move for the stance. However, knowing Wing Chun as I know it, every move is valid and significant. I figured that Siu Lim Tao, being the root of Wing Chun, must begin with a very important move. All martial arts teaching begin with stances. All styles must have stances that are compatible with their fighting style. Wing Chun has a unique stance, and introduces it in it's first set. Wing Chun has one thing that it considers more important than the stance or anything else ... that is, the Centerline concept.
Wing Chun is based on strong principles. There are many principles; they are based on natural and human science. However, the Centerline principle is the nucleus of Wing Chun concept. Thus, the first movement, is the introduction to your centerline, and the Centerline principle. You are shown a very important and effective movement--the Tan (pronounced "Thaan") movement. Many Wing Chun practitioners do it wrong, therefore find it ineffective and use it seldom. The wrong way is to use the hand and forearm to "block" an incoming attack in a lateral path. That is the way of many other styles, but not in Wing Chun. The Tan movement follows only one path--i.e. forward. Ideally,forward along your own centerline, but could extend to the side gate (shoulder-line) of the same side of the Tan hand.
I've been asked a million times ... well a few times at least, how to defend against a roundhouse punch or kick. I've seen this question posted many times on the web as well. Many have answered that a lateral moving Tan would do the trick. My opinion on that is that Wing Chun teaches one to react on a situation in the most natural and efficient way. There is no one situation similar to another. Every minute degree of angle, distance, speed of the attack, timing, and position of the opponent, makes that situation unique. Traditional Wing Chun training did nothing but sticky hands and free-sparring for training for this purpose. Situation or choreographed training did not exist. New Wing Chun teachers incorporated them into their training from other training styles. A lot of training styles were adopted from early publications of martial arts books, particularly Karate. Karate has the situation training, where one practitioner punches at another, and the other counters the attack with some moves. This type of illustration became the standard for other books that followed. This also became a standard format for exhibitions. These demonstrations have become as silly as seeing 15 counter-strikes to one attack (as if the attacker would remain in one position and not react to such massive counter-attacks.
Back to the Tan business. "Tan" not only refers to the hand position, usually open palm facing up, but the forward movement, driven by the elbow, widening of the angle formed by the upper arm and forearm, and the path the arm and hand follows. I say "usually open palm facing up" because it can face sideways or downward. Although they are named differently, they are nevertheless the Tan movement, or a variation of the Tan movement.
As for the lateral Tan movement (moving the hand sideways to block inwardly or outwardly) that others speak of, there is no such thing in Wing Chun. There is a lateral movement in Wing Chun which accompanies the Tan or other movements. That lateral movement is the shifting of the upper and lower torsos, generated by the pelvis, and spinning on one's heels. In executing the Tan with the lateral movement, the Tan shoots out straight simultaneously with the shift. I will get back to this serious topic later on.
And as for defending a roundhouse punch or kick using the Tan, there are different moves one may apply depending on each unique situation. In my humble opinion, using the Tan hand laterally (generated by the hand alone) would be too weak and penetrative; and shifting the torso with the proper Tan movement would be too slow and clumsy. Having said this, and before you jump on my case, aaaaaaaaaaand, if I may add, I'd take my hat off for those who can do them successfully.
Note that I do not refer to Tan as a block, but a movement. Wing Chun almost never sees a movement as a block. Every movement should be an attack or potential attack. In other words, "the best defense is a good offence." The Tan movement in Chinese is called Tan Sao. In my experience with different teachers, they have used different Chinese characters for the Tan, as well as other words in Wing Chun, including the words "Wing Chun". This is so because Wing Chun was a laymen style, unlike Taiji, which was practiced in the royal court. Taiji was extensively documented from it's early days by court documenters. Even when it went to the laymen and was reformed, it was documented and guarded by the reformers under their families' names. Wing Chun was never documented until recently by GM Yip Man's students. Wing Chun was built by traveling acrobats, shop-keepers, and simple laymen. Most of them were not educated. The fighting style passed on verbally, from family members to friends. In the process, the names of the movements were misinterpreted, misunderstood, or simply changed. Chinese language has many homophones--words that sound the same, but have different meanings, represented by different characters. Not only that, but there are words that sound similar, but have different meanings because of the different intonations. Tan has been represented by the character meaning "spread out" as well as "spring out" and "explore". Well, it could be any one of them or all of them for all I care. The important matter is understanding the movement and usage of the Tan. I'll let the Wing Chun historians figure out which is the correct Tan character.
As for the Chinese character "Sao," there is no mix up there. The simple translation is "Hand." However, I prefer not to use the term "Tan Hand" because it sort of implies a hand action. However, when I use the term, it is to describe a particular hand position for a given Tan movement. Students tend to think of the hand when the word "hand" is used. Chinese language has a way of representing a picture, concept or idea, by using only one character. The Hand here means "the way of the hand." To put it in one English word, I use the word "movement". A Wing Chun student, must not think of the hand alone when Tan Sao is mentioned, but think of the whole movement in terms of hand and arm position, directional path and power source.
Back to the topic of the first SLT movement--Double-Tan. Consider this: One of Wing Chun's principles of efficiency is to immobilize an opponent's two limbs with one of yours; never two of yours against one of the opponent's. Makes good sense? Then why is SLT's first movement executed with two limbs? Those of you who have already studied SLT know that there are quite a few moves in it that calls for double-limb action. What's the reason? Do you know? Have you thought about it? If not, think about it. I will explain the reasons in a few sections after.
All Chinese martial art forms have hidden context. The purpose was to safeguard the essence of the style from those who ought not to know. It also took the pretense of simple exercise when martial art was banned by the ruling Manchu government to prevent revolution by the common Chinese people. So what appears obvious in a form is not necessarily what it is suppose to be. I've seen books and videos explaining the purpose of a Wing Chun movement that insults the intelligence of a 10-year old. For example, in the second section of SLT, there is a movement that calls for both hands to simultaneously extend (strike) horizontally across the chest level to each sides. The purpose I've seen explained for this movement is to strike two opponents (in the throat) standing at your sides. Golly, that'll be great, if your opponents would be kind enough to stand just where you instruct them to, so both your hands would reach their throats right on! So, here again, is an ideal situation demonstration that is not practical or realistic. Have you ever scrapped with someone? If you did, you'd know how difficult it is to defend yourself, let alone getting a punch in. So, don't even bother training to fight two opponents. Wing Chun trains you to fight one person, not two. The reality is that when you have two or more opponents, you will be dealing with them individually. It is just as difficult for two opponents to strike you simultaneously as it is for you to strike two of them simultaneously. Two fellows charging at you simultaneously will be like them trying to run simultaneosly through a door that is your shoulders' width. Three fellows? Remember the Three Stooges? Even in the movies, you seldom see Bruce Lee or Jackie Chan strike two at the same time. It is even difficult to choreograph. Remember when Bruce Lee was cornered in the dungeon (in Enter the Dragon), and a whole slew of men came out of the elevator. He took on the gang one at a time using simultaneous divert and strike method practiced in Wing Chun. However, in his first movie, Big Boss, there is a scene where he knocks two guys standing beside him with double back-fist strikes. The scene was comical; so was the reality of it. You really couldn't generate much power to back-fist punches targeted behind you, especially if you employ both hands. For that matter, there isn't much power to double front back-fist strikes or double forward punches. This is because it will lack opposite reaction force. Single punch will produce more power because of concentrated force. When both your arms are employed to strike the same direction, the force is split. The impact of each strike is only 50%. They do not combine to 100% strike, although they will combine to 100% in a push.
So, you want to know what that double-knife hand strike is for, if not for striking two idiots standing at your sides, I'll explain that when the movement comes up in Siu Lim Tao II section. However, if you are lucky enough to have two opponents standing at your sides at the ideal distance, unarmed, and unprepared ... nothing prevents you from attempting a double-knife hand strike to their throats; but then again, you really don't need to learn Wing Chun or any martial art to figure that out, do you? Even the Three Stooges figured that out, as evident in their skits.

There is a simple purpose (not the hidden one) for the double Tan movement of SLT. The Siu Lim Tao was designed to teach you the basic, as well as get you to defend yourself in the street if necessary. Actual footwork does not start until the second form, Chum Kiu. However, most teachers will teach you footwork before that. Traditionally, students didn't move on to footwork until Chum Kiu. The thinking is that SLT will establish a student with a strong stance. He will deal with his opponents in one position. While he is unable to chase his opponent or stick his legs, he will be able to deal with his opponent when he comes to the fighting range. No matter what style of fighting he does--long, short, high, low, or just good old street fighting--he will need to come close enough to strike you with his foot, knee, hand or elbow. At that range, you are able to contact and strike him as well.
So, here's the simple purpose of the double-Tan movement. One of the most common questions asked by new martial art students is what to do when someone standing in front of you, throws a punch at you suddenly. As I said earlier, every situation is unique, so there is no ideal defense. However, if you insist on an answer, and if there is an ideal defense, it is the double-Tan. With no experience in martial arts, and no experience in detecting the direction of the attack, and excluding hooks and leg attacks, the double-Tan will do a pretty good job of preventing penetration. When executed correctly, it will deflect a straight punch, left or right side, ranging from waist to face level. In the process, you may even poke his eyes, nose or throat, then grab his hair, neck or ears. What do you do after that? You can ask Tyson about the fine art of nibbling ... or continue learning Wing Chun.
Now that I've covered one tenth of Tan details, let's move on to the next step.

Note: At the end of this lesson, if you wish to read more details on Movements-1, please contact the author for payment and password. If you already have your password for Siu Lim Tao I, click Movements 1-3 continued.

1. Clench your fists, while keeping your elbows fully extended.
   As simple as this movement sounds, many of you, even those experienced in other styles will have it wrong. Some of you will have it correct right away, because it IS as simple as it sounds. Wing Chun teaches the most natural way of clenching a fist. The most common error done by girls and children is closing the fingers over the thumb. The likelihood of dislocating the thumb is high when the punch lands with an impact.
2. Make sure that the inside wrists are flushed with your inside forearms; that the backfists are slightly bent backward/downward. (More details in the extended lesson.)

Let me explain. Watch your palm carefully while you roll your fingers and knuckles to close your fist. What's wrong with the picture? You will notice that your fingers don't fit in your palm well. In fact it doesn't feel so firm. There is a gap between the upper knuckles and the two inner mounds of your palm, as shown in yellow in the next picture on the left. In other words, this fist is not compact. There is a leeway that will push the knuckles back at point of contact. The next picture on the right shows the ring finger pushed in when pressure is applied. All the fingers will cave into the palm well at point of contact if the fist is formed by rolling the fingers and knuckles. The punch that was suppose to deliver 100% force is now 80% or less. In fact the more force you apply, the more the force will rebound. Consequently, if you are hitting a hard surface that doesn't give or break, you are likely to damage your knuckles.

Now try clenching your fist using the method shown below. Fold your fingers over the palm. Using your finger tips, drag the flesh of your palm so you are holding them with your fingers. Now close your thumb over the first two fingers. Feel the difference? You've got a compact fist now.

In the old days, Boxers used to cheat by holding a palm-size rod to create a compact fist. In essence, you've done the same with this method of clenching. If you are not sure of the difference, clench one fist using the roll fingers method and the other one using the grab flesh method. If you are still not convinced with the difference, then do fist pushups clenching one fist one way, and the other fist the other way. If I am correct, then you should feel pain in your finger joints, of the hand that you rolled the fist. If you insist that it doesn't hurt and that is the best way of forming a fist, then hats off for you. Do what you feel is most comfortable. If you feel pain like I said you would, then I have gotten my point across to you.
The purpose of this movement is Wing Chun's introduction to Wing Chun's method of clenching the fist.

1. Drop down your elbows. (Very Important; more details in extended lesson.)
2. Keep your elbows close to your sides.
3. Make your fists follow the path of your elbows.
4. Do not drop fists perpendicularly. Let it go down in an acute angle following the path of the forearms and elbows.
5. Do not let the fists drop below the elbows in the movement.
6. Draw fists back using the elbow. Think of the elbows pulling the fists back, rather than the fists pushing the elbows back.
7. Reduce the angle formed by the inner upper arm and the forearm in a gradual and steady manner.
8. Do not create circular motion in the withdrawal.
9. Drop your upper torso and lower torso (pelvis) perpendicularly down (as if you had your back against a wall) by bending your knees.
10. Drop down in time with the elbows drawback.
11. Do not sway your pelvis forward or backward.
12. Do not bend forward or backward.
13. Do not look down or up. Look straight.
14. Do not hunch or slouch.

1. Drop your upper and lower torsos to a comfortable maximum level, that allows you to maintain a perpendicular posture.
2. Keep elbows and forearms close to the side of your body. (Sifu Chan's elbows protrude out slightly in the picture. This shot was extracted from video. It is inevitable to make errors, due to camera angle or movement by the performer. No one (cameraman or performer) can perform perfectly every time. Keeping this in mind, do according to instructions rather than following the pictures 100%. The shots of the cyborg that I have included show elbows closer to the body).
3. Pull elbows back as far as they will go without lifting your shoulders or tensing them.
4. Pull elbows back far enough so that your fists are in line or behind your vertical chest line.
5. Keep forearms slightly sloped--with the elbows higher than the fists.
6. Flush inside wrists with inside forearm.
7. Relax your shoulders, relax your shoulders, and relax your shoulders. I repeat because this is the most common mistake a student makes in this movement, and many other movements. (More details in extended lesson.)

For more details on Movements 1-3, please contact the author for payment and password. If you already have your password for Siu Lim Tao I, click Movements 1-3 continued.

O.K., let's look at what you've learned in Siu Lim Tao Movements 1, 2 and 3. You've learned:

1. Something about your centerline.
2. Something about the Tan movement.
3. About the limitations of Tan movement.
4. Something about Qi.
5. How to form a solid fist.
6. How to optimize a pull.
7. What is the optimum angle of a pull.
8. What is the strongest path of a pull.
9. What are the best muscles to use for a pull.
10. How to isolate your muscles for a pull.
11. How to utilize gravity to your advantage for a pull.
12. Something about body unity, and how to apply it to your advantage.
13. A slew of other factors that are directly and indirectly related to the three movements.

For more details on Movements 1-3, please contact the author for payment and password. If you already have your password for Siu Lim Tao I, click Movements 1-3 continued.