The literal translation
of Siu Lim Tao as I understand it, is "Little Idea", and over
the years I have come to realize just how powerful a concept it embraces.
I have heard many other explanations, some reasonable, some bizarre,
to the extent that some people say that there is a secret form that
goes beyond Siu Lim Tao and that is the "BIG Idea" form. The
are no secrets in Wing Chun only people who wish the hide their ignorance
behind a pretence. If you are told that "You will learn the secrets
when you have trained long enough and shown your dedication.",
you can usually translate this into "When I find out myself I will
tell you but in the meantime carry on giving me your money or I will
slap you."
The point is that you
must have no 'little' or small ideas in your head when you practise,
this means that you are concentrating on your moves and energies and
not worrying about unrelated 'little' thoughts, such as "How
much did I spend last night?" or "I wonder if they would
like to go on a date?". To learn to concentrate on yourself is
a difficult thing to do as we are not accustomed to doing it, it is
not since being small children that our brains have had to consider
co-ordinating new body movements and so we have to learn once more
to focus on our movements so that we can correct ourselves. It is
not a problem if you are constantly making mistakes, if you are aware
of them you can put them right, but if you are unaware of the errors
you will continue to reinforce them through repetitive practise until
they become bad habits.
In learning to be self-critical
you will begin to appreciate and understand yourself in a different
light, criticism is not only a negative thing, you must also take
it on board to realize when you are doing something right, essentially
we are talking about a form of meditation, not the mystical heart
stopping levitation type, but an intense internalization of body movements
and how they controlled and used.
1 OPENING THE
STANCE, stand upright and relaxed with your feet together and
your arms by your side, eyes looking straightforward horizontally.
It is at this point that you remove any distracting thoughts or “Little
Ideas” from your mind and concentrate solely on the movements
and energies of the form.
2 Lift your
arms up, the hands close as and are held at the side of the chest,
the fists do not protrude in front of the chest. The elbows are pulled
back and kept in so that they are not visible from the front view,
wrist and forearm are in line and held horizontal.
3 Sit down slightly
until the toes are only just visible over the knees. It is important
not to bend over too far as this will result in an incorrect stance,
as well as stressing the knees too much which could lead to health
problems later.
4 Maintaining the
same level, pivot on the heels pushing the toes out without lifting
them off the floor.
5 The balance is
now shifted so that the feet pivot on the balls of the feet not on
the toes, the heels are pushed out into a completed basic stance.
The centre of gravity is over the heels and this brings the correct
tension throughout the muscles of the legs. Hips are slightly pushed
forward to create a straight line from knees through the hips to the
shoulders. Knees are held one fist distance apart.
6 Bring the arms
out, forward and down into a CROSSED GAUN SAU position. Cross the
forearms just above the wrist and always left over right. The point
where the arms cross describes a lower point on the centreline.
7 Maintaining the
elbow position turn the hands so that the palms face up, while lifting
the forearms to a CROSSED TAN SAU position with the wrists still in
contact. The hands should now be at shoulder level and the left hand
on the inside. A higher point on the centreline is now defined.
8 This is not a
technique or practical fighting move, it dates back to the days when
mirrors were not readily available and a pole was placed in the ground;
then when the stance was lined up using the CROSSED GAUN SAU and CROSSED
TAN SAU the pole was a point of reference to equate to the centreline.
9 Both elbows are
now pulled back simultaneously into the rest position. Check that
the forearms are horizontal, elbows in, fists level with the front
of the chest and the wrists correctly aligned.
10 Bring the left
fist into the centreline one fist distance from the chest in front
of the solar plexus, the elbow should be in a relaxed natural position
at the side of the body, too far off the body and it destroys the
alignment and projection of energy.
11 The left fist
is now extended out as a straight-line punch. When the fist begins
its movement the arm is relaxed, this allows maximum speed production;
tension in the early stages brings the antagonistic muscles into play
slowing the movement. Tension is applied only in the last six inches
to give the correct energy. The fist is vertical, connecting with
the bottom three knuckles. You must be precise and certain that the
knuckles are on the centreline.
12 The fist is brought
into the centreline relaxed, due to the whole arm being relaxed the
fist drops slightly at the wrist, though it is very important that
the back of the wrist is in line with the forearm. When in the last
six inches the fist snaps into the punch with total tension, the knuckles
not only drive forward but also slightly up; this unique extra lifting
energy from the wrist is the essence of Wing Chun’s close range
punching, it is not restricted to the extended arm it can be used
close to the body, the important point is in understanding the expression
of energy over a maximum of six inches.
13 Keeping the arm
extended open the hand palm up with the fingers straight.
14 It is important
to keep the elbow locked out and to pull the wrist and fingers back
as far as possible so that the fingers are pointing towards the body.
Slowly rotate in a clockwise direction with total tension; correct
positioning is essential if you are to build maximum wrist strength
and hence energy through HUEN SAU, or “circling hand”.
15 The slow rotation
continues with the concentration focused on the tension and control
of the movement.
16 Maintain the
tension in the HUEN SAU until the hand reaches the horizontal. It
is at this point that the rotation cannot continue without involving
a lift in the shoulder. The arm now relaxes and immediately snaps
closed as a fist held horizontally with the back of the hand facing
up.
17 The left arm
returns to the rest position by pulling the elbow back with energy
being expressed in the last six inches. Check that the forearms are
horizontal with the wrists flat, elbows in, fists level with the front
of the chest and the shoulders relaxed.
18 Bring the right
fist into the centreline held one fist distance from the chest in
front of the solar plexus, elbow at the side of the body with the
whole arm relaxed, just held in position.
19 Extend the right
arm out, fast though relaxed. It is important to have the correct
alignment throughout the arm movement with awareness that it is the
elbow that is behind pushing the fist out along the centreline.
20 In the last six
inches tension is applied in the arm resulting in the energy being
expressed in the vertical fist with the bottom three knuckles on the
centreline.
21 Open the hand
palm up, keeping the elbow locked so the arm is straight.
22 Keeping the fingers,
straight bend at the third joint while bending also at the wrist,
pull back until the fingers point back toward the body. Tension will
be felt mostly in the wrist and forearm, as this is an exercise designed
to strengthen the wrist rather than a practical application, the importance
of which will be covered further later.
23 Slowly rotate
the hand in an anticlockwise direction as a HUEN SAU, keeping the
elbow locked with the arm straight. Continue the rotation with tension
until the hand reaches the horizontal then relax. The point where
the HUEN SAU stops varies with the individual flexibility of the practitioner,
using the hand becoming horizontal is merely a point of reference
that gives a uniformity to the form as it passes down the generations.
24 As the arm relaxes
the hand quickly closes as a fist held horizontally with the back
of the hand facing up.
25 Pull the arm
back to the rest position checking for elbow, forearm and wrist alignment
along with your stance and posture.
26 Open the left
hand, palm up and feed it in toward the centreline and as the hand
is travelling out along the centreline the elbow follows, coming out
also onto then out along the centreline.
27 The arm is pushed
out along the centreline until the elbow is one fist distance from
the chest. This is the TAN
SAU position, the hand is held horizontally about throat level,
fingers pointing forward. The whole movement from the hand opening
to finishing in the TAN
SAU is done with tension and very slowly. As a guide it should
take about one minute to complete the move.
28 Maintaining the
tension bend at the wrist while keeping the fingers straight and pointing
toward the body. Slowly rotate the hand as a HUEN SAU.
29 The rotation
continues slowly with tension until the hand comes to the horizontal
and then the wrist tension is relaxed.
30 The arm is quickly
brought back into tension with the hand vertical, fingers straight,
locking the wrist and the thumb bent. The energy expressed in the
arm when it returns to tension is JUM SAU ENERGY. As the HUEN SAU
is executed the elbow moves out naturally from its position on the
centreline. When the tension is applied correctly it focuses mainly
on exercising the muscles on the outside of the forearm.
31 The hand returns
toward the body by pulling the elbow back to the side of the body.
It is important to keep the fingers straight and upright with the
wrist on the centreline. The hand is drawn back until the wrist is
one fist distant from the chest, maintaining the fingers straight
and vertical with the thumb bent, this is the WU
SAU position or “protective hand”, not so much an active
technique but one of the most important in the reality of fighting.
Once more moving very slowly with total tension is important using
the guide of one minute the start of the return to the body to finishing
in the WU
SAU.
32 Keeping the wrist
on the centreline bend at the wrist relaxing the hand down. The thumb
is placed on the second finger with the other fingers grouped around
while keeping them straight, the fingers are pulled back toward the
body, this is a FOOK
SAU position. Bring the arm into total tension feeling the muscles
on the inside of the forearm being exercised. Slowly begin to push
the wrist out along the centreline with the elbow following it onto
the centreline.
33 As you push the
wrist out think also about how your elbow travels through the movement,
remembering what you understand of correct position and technique.
The arm moving out in tension until the elbow is one fist distance
off the chest while the wrist stays on the centreline.
34 When you have
completed the push out into the FOOK
SAU , taking about one minute, separate the fingers from around
the thumb while maintaining the tension and execute the HUEN SAU,
relaxing only when the hand reaches the horizontal.
35 Bring the arm
quickly back into tension with the fingers straight and vertical,
as the wrist stays locked and on the centreline.
36 Using the elbow
as a focus of energy draw the arm back until the wrist is one fist
distance from the chest resulting in a WU
SAU position. Take care that the fingers are vertical throughout
the movement and the wrist keeps its position on the centreline. Particular
attention should be paid to the energy expressed in the fingertips,
thumb, wrist and elbow.
37 Relax the hand
down into the second FOOK
SAU , wrist bent, fingers pulled back and grouped around the thumb
with the hand held horizontally and the wrist on the centreline. Return
the arm to total tension and slowly push the wrist out along the centreline,
remembering that the elbow also comes onto the centreline.
38 Push the FOOK
SAU out very slowly until the elbow is one fist distance from
the chest, taking about one minute to complete the movement. When
the hand stops separate the fingers and begin a HUEN SAU rotation.
39 The HUEN SAU
finishes with a JUM SAU energy being expressed in the arm. The wrist
is locked with the fingers vertical, thumb bent and the arm in total
tension.
40 Draw the arm
back very slowly into the WU
SAU position one fist distance off the chest. Check that the fingers
are still vertical and the wrist is on the centreline as the elbow
returns to a natural position at the side of the body.
41 Relax the hand
down into the third and final FOOK
SAU , wrist bent, fingers pulled back with the second finger on
the thumb and the rest of the fingers grouped around, while the wrist
stays on the centreline. Concentration should be intense throughout
all of the movements and energies, you must learn to remind yourself
of this constantly otherwise you will never know correct position
or achieve maximum energy.
42 Push the wrist
out along the centreline with the elbow following from its position
of rest at the side of the chest, initially staying in contact with
the body until it also comes onto the centreline and then following
out along the centreline to a position one fist distance from the
chest.
43 Separate the
fingers and execute a HUEN SAU rotation.
44 Throughout the
rotation tension should be maintained.
45 Tension in the
HUEN SAU continues until the hand reaches the horizontal.
46 The arm relaxes
and the hand is brought into the vertical position with JUM SAU energy.
47 For the last
time with the left arm draw the wrist back along the centreline by
focusing on the elbow as it returns to its natural position at the
side of the body. Fingers are kept vertical, the thumb bent and held
off the palm, while the wrist is locked and finishes one fist distance
from the chest.
48 From the relaxed
WU
SAU position the hand is thrust out sideways to be level with
the shoulder as a PAK SAU or “slap hand”. The energy is
expressed in the last six inches; as the fingers are kept vertical
with the thumb bent.
49 Return the hand
back relaxed to the centreline as a WU
SAU.
50 Move the hand
out with the palm facing forward along the centreline; the arm should
be relaxed.
51 In the last six
inches thrust the hand out as a vertical palm strike.
52 Flatten the hand
palm up.
53 It is important
at the end of all of these moves to hesitate for a moment; this punctuates
the form and allows not only the practitioner but also the instructor
to see clearly the precision of the movement and the correctness of
the energy.
54 Keep the fingers
straight, bending at the third joint bend also at the wrist so that
the fingers point back toward to body. The elbow is kept locked out
and with the arm in total tension the HUEN SAU is initiated.
55 Maintain the
tension throughout the HUEN SAU rotation.
56 Continue the
rotation with tension until the hand reaches the horizontal then the
arm relaxes.
57 Snap the hand
closed as a fist with the back of the hand up.
58 Pull the arm
back to the rest position using energy through the elbow. Check the
alignment of the elbow, forearm and wrist, along with the position
of the fist in relation to the chest.
59 The moves are
now repeated with the right arm. The words describing the movements
of the left side have been repeated for the right so you can follow
them as a distinct, separate sequence. To start the right hand opens
palm up and is fed in toward the centreline, as the hand travels out
the elbow is in touch with the body until it comes to the centreline,
then it begins to move out along the centreline.
60 The arm is pushed
out along the centreline until the elbow is one fist distance from
the chest. This is the TAN
SAU position, the hand is held horizontally about throat level,
fingers pointing forward. The whole movement from the hand opening
to finishing in the TAN
SAU is done with tension and very slowly. As a guide it should
take about one minute to complete the move.
61 Maintaining the
tension bend at the wrist while keeping the fingers straight and pointing
toward the body. Slowly rotate the hand anticlockwise as a HUEN SAU.
62 The rotation
continues slowly with tension until the hand comes to the horizontal
and then the wrist tension is relaxed.
63 The arm is quickly
brought back into tension with the hand vertical, fingers straight,
locking the wrist and the thumb bent. The energy expressed in the
arm when it returns to tension is JUM SAU energy. As the HUEN SAU
is executed the elbow moves out naturally from its position on the
centreline. When the tension is applied correctly it focuses mainly
on exercising the muscles on the outside of the forearm.
64 The hand returns
toward the body by pulling the elbow back to the side of the body.
It is important to keep the fingers straight and upright with the
wrist on the centreline. The hand is drawn back until the wrist is
one fist distant from the chest, maintaining the fingers straight
and vertical with the thumb bent to the WU
SAU position or “protective hand”. Once more moving
very slowly with total tension is important using the guide of one
minute the start of the return to the body to finishing in the WU
SAU.
65 Keeping the wrist
on the centreline bend at the wrist relaxing the hand down. The thumb
is placed on the second finger with the other fingers grouped around
while keeping them straight, the fingers are pulled back toward the
body, to a FOOK
SAU position. Bring the arm into total tension feeling the muscles
on the inside of the forearm being exercised. Slowly begin to push
the wrist out along the centreline with the elbow following it onto
the centreline.
66 As you push the
wrist out think also about how your elbow travels through the movement,
remembering what you understand of correct position and technique.
The arm moving out in tension until the elbow is one fist distance
off the chest while the wrist stays on the centreline.
67 When you have
completed the push out into the FOOK
SAU , taking about one minute, separate the fingers from around
the thumb while maintaining the tension and execute the HUEN SAU,
relaxing only when the hand reaches the horizontal.
68 Bring the arm
quickly back into tension with the fingers straight and vertical,
as the wrist stays locked and on the centreline.
69 Using the elbow
as a focus of energy draw the arm back until the wrist is one fist
distance from the chest resulting in a WU
SAU position. Take care that the fingers are vertical throughout
the movement and the wrist keeps its position on the centreline. Particular
attention should be paid to the energy expressed in the fingertips,
thumb, wrist and elbow.
70 Relax the hand
down into the second FOOK
SAU , wrist bent, fingers pulled back and grouped around the thumb
with the hand held horizontally and the wrist on the centreline. Return
the arm to total tension and slowly push the wrist out along the centreline,
remembering that the elbow also comes onto the centreline.
71 Push the FOOK
SAU out very slowly until the elbow is one fist distance from
the chest, taking about one minute to complete the movement. When
the hand stops separate the fingers and begin a HUEN SAU rotation.
72 The HUEN SAU
finishes with a JUM SAU energy being expressed in the arm. The wrist
is locked with the fingers vertical, thumb bent and the arm in total
tension.
73 Draw the arm
back very slowly into the WU
SAU position one fist distance off the chest. Check that the fingers
are still vertical and the wrist is on the centreline as the elbow
returns to a natural position at the side of the body.
74 Relax the hand
down into the third and final FOOK
SAU , wrist bent, fingers pulled back with the second finger on
the thumb and the rest of the fingers grouped around, while the wrist
stays on the centreline. Concentration should be intense throughout
all of the movements and energies, you must learn to remind yourself
of this constantly otherwise you will never know correct position
or achieve maximum energy.
75 Push the wrist
out along the centreline with the elbow following from its position
of rest at the side of the chest, initially staying in contact with
the body until it also comes onto the centreline and then following
out along the centreline to a position one fist distance from the
chest.
76 Separate the
fingers and execute a HUEN SAU rotation.
77 Throughout the
rotation tension should be maintained.
78 Tension in the
HUEN SAU continues until the hand reaches the horizontal.
79 The arm relaxes
and the hand is brought into the vertical position with JUM SAU energy.
80 For the last
time with the right arm draw the wrist back along the centreline by
focusing on the elbow as it returns to its natural position at the
side of the body. Fingers are kept vertical, the thumb bent and held
off the palm, while the wrist is locked and finishes one fist distance
from the chest.
81 From the relaxed
WU
SAU position the hand is thrust out sideways to be level with
the shoulder as a PAK SAU or “slap hand”. The energy is
expressed in the last six inches; as the fingers are kept vertical
with the thumb bent.
82 Return the hand
back relaxed to the centreline as a WU
SAU.
83 Move the hand
out with the palm facing forward along the centreline; the arm should
be relaxed.
84 In the last six
inches thrust the hand out as a vertical palm strike.
85 Flatten the hand
palm up.
86 Keep the fingers
straight, bending at the third joint bend also at the wrist so that
the fingers point back toward to body. The elbow is kept locked out
and with the arm in total tension the HUEN SAU is initiated.
87 Maintain the
tension throughout the HUEN SAU rotation.
88 Continue the
rotation with tension until the hand reaches the horizontal then the
arm relaxes.
89 Snap the hand
closed as a fist with the back of the hand up.
90 Pull the arm
back to the rest position using energy through the elbow. Check the
alignment of the elbow, forearm and wrist, along with the position
of the fist in relation to the chest.
91 This completes
the first section of SIU LIM TAO, as a method of developing muscle
energy it is the best way to build the muscles of the arm in the correct
manner with actions that mimic how you will be using the muscles in
the two main expressions of energy from the shoulder unit, the elbow
moving away from the body as in a punch or palm strike and the elbow
pulling back as a LAP SAU or JUT SAU.
92 Another important
aspect of this section is that it provides practise for proper breathing
technique. By keeping the mouth closed, the teeth together and the
tongue pressed to the roof of the mouth, with the breathing natural
through the nose and not forced, using the diaphragm to inhale and
exhale rather than the chest and keeping the rate of breathing independent
from any arm or body movement so that it is relaxed and continuous.
All of these things when practised together lead to improving various
health aspects in general, from mental to dental.
