We keep hearing about Hung Fa Yi and wanted to learn more about the lineage. Which is why we sat down and managed to get a written interview with Sifu Savi Kruich, a Hung Fa Yi practitioner.
Since we are a politically neutral site inviting all types of lineages to tell us what they are all about, we are really glad that Sifu Kruich was willing to explain what Hung Fa Yi is all about.
1. Can you tell us how you started training Kung Fu and Wing Chun?
My family has several of its generations who served in the military, both in the Cambodian Royal Navy and Army. My father, a naval veteran, was very influential to me. He felt that it would be good for me to learn about certain disciplines in life. When I was very young, he taught me what he learned from Buddhism, and I would practice with him daily. In my teens he enrolled me into a local kung fu school in 1993. There I began the study of Yang Tai Chi Chuan and also Shaolin Five Animals Kung Fu in St. Charles, IL. I learned a variety of open hand and weapons forms and combat applications. I was entirely captivated by kung fu since childhood. During those years I became so enamored with martial arts, eventually I participated and assisted in local demonstrations. My studies in those arts concluded in 1997 when I moved to Arizona.
My formal introduction into Wing Chun was through Master Richard Loewenhagen in November 1998. He is a very gifted, highly analytical, hands-on master of the art. I recall thinking in my first year with him, that through his scientific conveyance the art of Wing Chun, my understanding of kung fu greatly surpassed the accumulated breadth and depth of my previous training. Unfortunately for several years I was unable to enjoy martial arts movies once I saw the efficiency in Wing Chun. In my second year of Wing Chun study I spent an average of 40+ hours per week training with my Sifu and sihingdai regularly, thus completing my first full run through of the Moy Yat Ving Tsun curriculum by 2000.
Master Loewenhagen also introduced me to Hung Fa Yi Wing Chun Kuen in 2000; thereby training me in two branches of Wing Chun simultaneously. He spent a great deal of time teaching me about true leadership, and that expressing myself through martial arts was also an expression of character, integrity, and honor. To put it simply, he became my mentor and inspiration. Master Loewenhagen officially completed my studies in Moy Yat Ving Tsun Kuen in 2008, granting to me Sifu level upon his retirement.
Currently, I am being mentored in Hung Fa Yi Wing Chun Kuen and WuDong Fu style Tai Chi by Grandmaster Garrett Gee who is the head and leader of the Hung Fa Yi Wing Chun Pai. He possesses an unbelievable wealth of high level knowledge and wisdom in Chinese philosophy, history, culture, martial arts, and so many other things about life and human nature. I believe he is in a league of his own to be quite truthful; a die-hard, living breathing, 24/7 genuine kung fu man, of real traditional culture. Grandmaster Garrett Gee is very compassionate and a true professional in every sense of the word.
2. Where does Hung Fa Yi originate from?
Hung Fa Yi Wing Chun Kuen traces its origins to one person common to both the Red Boat Opera and the Hung Fa Yi Wing Chun Pai, namely Cheung Ng/Taan Sau Ng. Cheung Ng was prolific mover and shaker in China during the 1730’s, and is also identified as the first of the protectors within the HFY lineage tree. According to the HFY traditions, Cheung Ng’s real name was Cheung Hin, and was from the Ming Dynasty military. He was an expert fighter and teacher of Wing Chun, highly educated in military and classical arts, and a member of the Red Flower Society (Hung Fa Wui). In the 1730’s he founded the Beautiful Flower Society (King Fa Wui Kwoon) in order to achieve greater influence for the anti-Ching movements. The King Fa Wui Kwoon later gave rise to the Red Boat Opera Troupe of the 1850’s.
Jung Yi Tong (Loyalty Righteous Hall) of the Hung Gun Wui (Red Bandana Boxer Society)
The name “Hung Fa Yi” (Red Flower Righteousness) actually comes from our fourth generation inheritor and protector, named Hung Gun Biu. “Hung Gun” means Red Bandana, which is a high level title/rank within the Red Bandana Boxer Society (Hung Gun Wui). Biu was a nickname. His given name is Chu Tien Jow, who commanded the Red Bandana Boxer Society against the Ching regime’s forces during the mid to late 1800’s. The tong for which the Hung Gun Boxers came from was the Jung Yi Tong (Loyalty Righteous Hall). Hung Gun Biu also carried with him the art of Hung Fa Yi Wing Chun, which was passed down to him ultimately three generations before by Cheung Ng.
So there are essentially three main points:
a) the Red Boat Opera Troupe (Hung Suen Hei Baan, 1850’s) are descendants of the Beautiful Flower Society (King Fa Wui Kwoon, 1730’s)
b) the Red Flower Society (Hung Fa Wui, early 1700’s) is the predecessor/ancestor group to the Red Bandana Boxer Society (Hung Gun Wui, 1850’s)
c) both the Red Boat Opera Troupe and the Red Bandana Boxer Society come from one common ancestor: Cheung Ng/Tan Sao Ng, member of the Red Flower Society (Hung Fa Wui) also founder of the Beautiful Flower Society (King Fa Wui Kwoon, 1730’s).
3. Who were the Red Boat people and what effect did they have on Wing Chun and/or Hung Fa Yi?
The members of the Red Boat Opera Troupe most likely consisted of several walks of life, from civilians/actors, freedom fighters, to movers and shakers, of society. Arguably, the most notable people from Wing Chun history are Wong Wah Bo and Leung Yi Tai. Their approach to achieving their goals was to continue the King Fa Wui Kwoon’s history/traditions of using operatic messages to inspire the Chinese people away from any sense of atrophy and/or apathy [to government subjugation]. Their troupe called out to its many audiences to take action and fight for their cultural and national identity. This group comprised of people with a common cause, and with many different martial backgrounds. Not everyone was a Wing Chun practitioner, but their unified focus was to engage the public sector for various forms of support.
While there are people who point back to Wing Chun’s time on the Red Boats in the 1850’s, that is actually the timeframe where Wing Chun began to change as it spread to various groups. This in turn created a domino effect from the Red Boats onward, changing with each transmission as we can still see happening today. However, in tracing back one or two generations before the 1850’s, Wing Chun was not so diverse or even publicly known, and the further back you go it would most logically (and ultimately) lead to one source – less than a handful of people at most and even more less known.
The Red Bandana Boxer Society did not carry out its focus through public support or public activities like the Red Boat Opera Troupe, despite sharing in the common goal to restore the country’s identity. This group, along with countless other groups throughout China, battled their oppositions head-on through actual warfare. Historical documentations, many of which can be found online, show there were literally tens of thousands of these men involved in the combat of war. This was historically known as the time of the Boxer Uprising/Rebellion. The height of the Red Bandana Boxers’ battles was carried out between 1862 and 1874. It was in that final year where the Boxers were overwhelmed and defeated by the Ching and their international allies who supported the Ching rule.
Afterwards, Hung Gun Biu retired from active duty in the Boxer Society and settled back into the public, albeit privately, eventually passing on his knowledge and expertise of Hung Fa Yi Wing Chun Kuen to his family relative. Keeping the art inside family lines ensured the preservation of the art, its history and traditions, philosophy, and equally important the culture. For HFYWCK, it continued to remain out of public awareness for four more generations until Grandmaster Garrett Gee officially revealed it to the world on 15 April 2000 at Master Loewenhagen’s original kwoon in Chandler, AZ where many different Sifu attended and experienced the historic presentation.
To my knowledge, it would be highly unlikely that there was any interaction between the Red Boat Opera and the Red Bandana Boxer Society due to their respective natures, activities, and more importantly the existing conditions within society and the country on the whole. If there was any interaction between them at all, and I am only speculating, it would not have been for any reasons involving the promotion and/or preservation of martial arts.
4. What is the difference between Wing Chun and Hung Fa Yi Wing Chun Kuen?
I’ve thought about this question for quite some time actually. While I could probably write several dissertations on the technical/mechanical/systematic, historical, cultural, and philosophical, uniqueness of Hung Fa Yi Wing Chun Kuen, I think it would quite honestly not be the most efficient way to answer to your question. So, I can best answer your question by sharing a memory I have of Master Richard Loewenhagen’s personal experience. Before I begin sharing this story, let me present a bit of background information to enrich the perspective for this particular anecdote.
Master Richard Loewenhagen is recognized as a Senior Instructor by the Government of China and the Ving Tsun Athletic Association (VTAA), earning their highest level of Ving Tsun certification. He has been certified and witnessed by seven grandmasters of Ving Tsun: Yip Ching, Yip Chun, Moy Yat, Chu Shong Tin, Moy Bing Wah, Mak Po, and Hawkins Cheung, in achieving his certification. To further his students’ martial experiences, Master Loewenhagen leveraged his military education and field proven experiences to the forefront of his teaching methods to Wing Chun, and into today’s atmosphere of martial practice.
He has also stated many times over that the United States government maintained interests in the pursuit of an open hand to hand combat system that mirrors the strategic and tactical logistics of the military. He is unwavering in his belief that he found precisely those qualities in the Hung Fa Yi Wing Chun Pai, and with that his vision was to create a physical university for HFYWCK in the southwestern region of the USA. Due to his military expertise and education in Warrior Spirit and warfare, he recognized all its potential benefits for the modern day warrior. He was also awarded “Researcher of the Year” by the International Society of Logistics Engineers in 1982, ultimately leading to his many literary publications on Wing Chun. Here is why I think this information is important.
Sometime between 1999 and 2000, Grandmaster Garrett Gee introduced Master Loewenhagen to the Hung Fa Yi Wing Chun Formula. The HFY Wing Chun Formula is unique to this branch of Wing Chun. It describes matters of reading the values of Time Space and Energy as it applies to the interactions of the human form to three dimensional spaces. The HFY Formula accomplishes this through a collective set of fundamental concepts and theories. It also serves as a cornerstone of the art, where it describes precisely how to maintain consistency and functionality. As such, the HFY Wing Chun formula defines the “maximum efficiency concept” where nothing further can be added or subtracted from it. There are certainly some components of the HFY Wing Chun Formula that can be found throughout other Wing Chun branches, but not in its formulaic totality as found in HFY. It was sometime during that afternoon of training with Grandmaster Gee where Master Loewenhagen had his epiphany.
He immediately identified the essence and the impact of this knowledge from Grandmaster Garrett Gee. Never before in his tenure in martial arts had he encountered something as profound as this. Where Master Loewenhagen used heuristics to define things that fell beyond the parameters of his extensive Wing Chun knowledge, Grandmaster Gee explained and demonstrated that the concepts and theories inherent in HFY like the HFY Wing Chun Formula seamlessly replaced those heuristics.
He realized there was something truly unique and profound in Grandmaster Gee’s teachings of HFY that simultaneously enhanced his education of Wing Chun Kuen exponentially. To the point of his realization, the HFY Wing Chun Formula takes into great consideration and detail, combat in three dimensional spaces, strategically and tactically, and very much in accord with his military training and education. From that moment onward, Master Loewenhagen immersed himself into the study of Hung Fa Yi Wing Chun. That decision led to his formal acceptance as a disciple of the HFY lineage by Grandmaster Gee.
- 5. Who is Grandmaster Garrett Gee and what effect has he had on your Kung Fu training?
That in itself is also a big question, and one with a lot to the answer! Anthropologically speaking, Grandmaster Garrett Gee (Chu King-Hung) comes from a highly privileged family in Chinese Society. There are generations of warriors and philosophers in his family, and I would like to highlight a few of the most prominent figure heads.
Within his genealogy is one of the 45 most influential persons of the last 1000 years, Chu Hsi, the great Neo-Confucian scholar of the Song Dynasty. This prestigious recognition came from Life Magazine in recent years. Chu Hsi’s extensive works on Confucianism, in particular on the “four books” (the Great Learning, the Doctrine of the Mean, the Analects of Confucius, and the Mencius), have helped to shape Chinese culture and many societies over several countries such as Japan, Korea, Southeast Asia, and the Western World, over the span of the last 900+ years. Grandmaster Gee is the 33rd generation descendant of the Chu Hsi family tree.
His grandfather, Chu Jun-Bak, spent much of his life serving his community and country. As an accomplished military and political leader during the early to mid-1900, he served as a chief instructor alongside Chiang Kai-Shek at the Wong Po Military Academy also known as the Kuomintang Army Officer Academy. When the Japanese invaded China circa 1940, Chu Jun-Bak heroically protected and ultimately saved a town from being razed to the ground. There were several hundred people within the town about to be massacred by the Japanese battalion. He accomplished this by speaking directly to the commanding officer in Japanese. During their conversation, the officer realized that Chu Jun-Bak actually held a higher station/seniority than he, for they both were educated in Confucianism, military and political studies. Upon his acknowledgement that Chu Jun-Bak was also a descendant of Chu Hsi, the Japanese officer decided to defy his own orders, instructing his troops to not touch the town! After those turbulent times, Chu Jun-Bak fulfilled the position of Police Commissioner of Fatshan at the same time the late Grandmaster Yip Man served in that very police force. Thereafter, he was elected as Deputy Mayor of Fatshan.
Grandmaster Peter Kim-Ho Chu (son of Chu Jun-Bak and father of Chu King-Hung) is an accomplished and renowned kung fu grandmaster. Grandmaster Chu was responsible for bringing Fu Style Tai Chi, Sun Style Tai Chi, Leung Yi Kuen, Sei Cheung Kuen,Lightning Palm Kuen and Dragon Style Pak Qua to the United States in 1975 which are considered lost arts in the traditional world, yet preserved through his lineage. His education in martial arts is extensive and far reaching. Thousands of students have studied under Grandmaster Chu in China, Hong Kong, and the United States.
Grandmaster Peter Kim Ho Chu with legendary Chinese actor Kwan Tek-Hing
One of his students and personal friend is Bruce Lee’s sister, Phoebe Lee. She has been a longtime Tai Chi student of Grandmaster Chu over the years. Her mother, Grace Lee, was also a very close friend to the Chu family, and had wished to arrange for her grandson, Brandon Lee, to learn Wudong Kung Fu from Grandmaster Chu. Frequently, they would have dim sum at the Golden Dragon Restaurant in San Francisco’s Chinatown. These kinds of private stories are not well known to the public, but are quite true!
Grandmaster Garrett Gee (Chu King-Hung) carries the legacy of his family and teachers. He was born into a family of martial artists and scholars. In 1985, both Grandmasters Peter Kim-Ho Chu and Garrett Gee have written many works for the Chinese Times and Jing Boa Newspaper in San Francisco. In 1987 they were the first martial artists to become contributing editors to a major Chinese newspaper. They have promoted and spread martial arts knowledge into Cantonese speaking communities for many years. Over the course of his life he has also preserved the 40+ complete martial arts systems taught to him by his father, WuDong Grandmaster Peter Kim-Ho Chu, and through his second Sifu, Wing Chun Grandmaster Wang Ming. Grandmaster Garrett Gee is the Gate Keeper and protector of his family’s arts. Over the last thirty years he has received many awards for his numerous contributions to society and from various peoples. He is also the head and founder of the World Hung Fa Yi Wing Chun Kung Fu Association and the Kung Fu Tong Research Team.
Currently he continues his tireless mission to preserve, promote, and pass on martial arts history, culture, philosophy, and the arts to the world. He offers greater opportunities for people to seek out the richness of real and authentic traditional martial arts. He is the first person to ever publicly discuss real combat in terms of Time Space and Energy. The demands for Hung Fa Yi Wing Chun continue to grow, as now there are members training across several continents under the World Hung Fa Yi Wing Chun Kung Fu Association’s Long Distance Instructor Program.
Back in August of 2007, several of my kung fu brothers and I went on an incredible journey into the real life culture of traditional warrior training with Grandmaster Garrett Gee on a multi-city excursion to Europe. For over 175 nonstop hours (which is just over one continuous week), we lived and breathed the kung fu life as Grandmaster Garrett Gee guided us. The twenty-four hour clock became irrelevant as training in history, philosophy, culture, and combat took place at all hours of the day and night. Sometimes two in the afternoon felt like four in the morning. Grandmaster Garrett Gee was a machine giving us a real lesson into warrior hood on an average of 20 solid hours each day.
In between our travels from Chicago, Washington DC, Dublin, Amsterdam, London, Berlin, and Paris, training took place everywhere: in various cities, on the airplanes, buses, and hotel rooms! We would sleep for two to three hours at a time, and resume or recap on lessons. One time we only got a 30 minute nap in an entire day! This particular experience taught me the importance of the “art of education” and how the culture of training carries on knowledge from generation to generation. I am entirely captivated by Grandmaster Gee’s teachings holistically. His rich knowledge and wisdom extends far beyond the combative application of Wing Chun, and into the realms of Eastern Philosophies, Human Nature, and beyond. My world view has been greatly shaped and guided by his and Master Loewenhagen’s example.
6. When and how was the style passed onto GM Gee?
Back in the early 1970’s, Garrett Gee attracted the attention of the seventh protector and inheritor of Hung Fa Yi Wing Chun Kuen, Grandmaster Wang Ming. They had met through their daily trainings at a local park. Soon after they became acquainted with each other, he began teaching Garrett Gee the art of his Wing Chun through the cultural and traditional Buddhist practice called Hou Chyun San Sau (direct teaching, body experience). In 1975 Garrett Gee accomplished his full training in Hung Fa Yi Wing Chun Kuen before moving with his family to live in the United States. Upon his arrival in the states he also began teaching martial arts privately. Since 1975, he has taught approximately seven different generations of students through his WuDong and Wing Chun arts.
7. I’ve managed to watch one of your youtube clips of you doing Hung Fa Yi Sil Lim Tao. Although I was unable to find any more forms on the internet, what is the main emphasis of this form? For example you hold the Tan Sau very high and Wu Sau much higher than mainstream Ip Man forms.
Yes, the video you found is a demonstration of the Hung Fa Yi Siu Nim Tao Advanced Form . As you mentioned there are presentational differences and there are also sound and scientific reasons why. Overall the form is quite long with over 200 total actions. As it is commonplace with many Siu Nim Tao forms, there are also three sections to this one. The form will be very difficult to decipher upon examination without being familiar with its inner workings. We can have a discussion about it on many levels, from the mechanical, technical, philosophical, to the scientific. However to keep this simple, I can try to shed some light on the nature of the form and some key ideas.
Hung Fa Yi Wing Chun Bai Jong
The first layer of the system, called Hung Fa Yi Wing Chun Siu Nim Tao, was designed to help practitioners learn about the laws of Harmony by “separating” our Reality in each of its components: Time, Space, Energy, and Gravity. The system progressions/applications were constructed to reflect the focus of these ingredients and the HFY Saam Mo Kiu (Three Connecting Bridges) philosophy. That baseline in itself is very complicated, so much to the point that you could start your studies anywhere with respect to this focal point. However, in order to begin we must identify and define several fundamental ideas.
The philosophy of Hung Fa Yi Wing Chun Kuen represents the underpinnings in all that we do. So we must first understand how something must occur from nothing. This is called Saam Mo Kiu (Three Connecting Bridges), and is the result of several factors: Taoism, Buddhism, Confucianism, and the culmination of differing experiences from warriors and philosophers. The application of the knowledge from Saam Mo Kiu engages a variety of facets due to its basis in universal truths. Saam Mo Kiu teaches us how to go from “nowhere to somewhere”, such as having no structure to having it or not having facing to obtaining it. It exists as a great consideration for all actions involving the mind and body. This philosophy is interwoven to such a degree that it can even describe matters of structural precision to the quality of Wing Chun in application, live or otherwise.
The HFY Wing Chun Formula is the “defining line” between that which is infinite and finite spaces. The concept of Maximum Efficiency comes from defining finite space. As it pertains to the human body, those boundaries of space are identified vertically, horizontally, diagonally, and in all directions. There are six major components to it, and each component contains several supporting concepts and its own set of drills. Furthermore, each one entails a lot of requisite sub-components to qualify as HFY in signature. Here is a description of the six major components:
a) Centerline Theory defines one’s original position and orientation to target.
b) Two-Line Defense Theory allows one to measure time and distance to target.
c) Three-Reference Points Theory is used to target and measure vertical height and track center points.
d) Four Gates Theory define the upper body zones in quadrants and is range specific for medium and close quarter combat.
e) Five Lines Theory separates the body’s width dimension into four equal increments with five vertically dividing lines: shoulder line, yin line, center line, yin line, and shoulder line.
f) Six Gates Theory includes the upper four gates mentioned plus two lower gates from the waist down to the ground. With a total of six gates to entirely encompass the human body, we can assess strategies and tactics for long range combat.
Lastly, there is another layer. A second HFY Formula, called the “HFY Three Connecting Bridges Heaven Human Earth Time Space Energy Law” (Hung Fa Yi Saam Mo Kiu Tien Yan Dei Si Hung Lung Faat) that governs more of the inner workings within the Siu Nim Tao level. As with the previous formula, there are six components to this formula which I will just mention here:
a) Three Points One Line, Heaven Human Earth (Saam Dim Yat Sien Tien Yan Dei)
b) Arm Structure, Heaven Human Earth (Jong Sao Tien Yan Dei)
c) Equatorial/Meridian Bridge, Heaven Human Earth (Gee Ng Kiu Tien Yan Dei)
d) “Universe” Structure, Heaven Human Earth (Kin Kuan Jong Tien Yan Dei)
e) Four Gates, Heaven Human Earth (Sei Muhn Tien Yan Dei)
f) Six Gates, Heaven Human Earth (Luhk Muhn Tien Yan Dei)
Conclusively and collectively, these three aforementioned ideas function as part of the HFY Siu Nim Tao level and the HFY SNT Advanced form’s operating system, although there are several other concepts as well which are crucial and intrinsic to HFY. As I am cross-trained in more than one branch of Wing Chun, I conclude that (for any instance) once you change the idea behind an action it will not only change your experience of the action itself, but in a lot of cases the mechanics of the tools and how it is implemented into the spaces before you must also change. The differences you observed in the video are reflections of the three ideas shared above.
8. Are there any training drills unique to Hung Fa Yi?
With consideration for the information presented in question seven, there is also a lot of other aspects unique to the methodologies within Hung Fa Yi because of it. To contrast what I have learned between my education in the Moy Yat and Hung Fa Yi branches of Wing Chun, I can say that the training drills are incomparable. Each branch of Wing Chun stands on its own, as the drills, exercises, and applications are reflective of the ideas of their respective sources. Being that Hung Fa Yi Wing Chun has unique principles, concepts, and theories, so too would the construct of drills and applications reflect those ideas.
9. I’m under the impression Hung Fa Yi Wing Chun dates back before the time of Ip Man. Chi Sau as we know it today was developed by Ip Man or at least somewhat close to the time period he was alive. Being that Hung Fa Yi predates Ip Man Wing Chun, is the Chi Sau similar? Different?
The short answer is yes to being similar and different. Hung Fa Yi Wing Chun Chi Sao is comprised of three extensive (multi-layered) categories: Kiu Sao/Chi Sao, Chi Kiu/Chi Sao, and Tan Bong Fuk/Chi Sao. Each category is enormously comprehensive, but what does it mean to Chi Sao? To many people, it takes on many different faces, many different meanings.
Through the context and content of the HFY Wing Chun technology shared in this interview, it is logical to reason that Chi Sao is an extension of line control, close quarter domination, and zone interactions. The statement holds true with and without contact. Before looking at Chi Sao as the interaction of Taan, Bong, and Fuk Sao techniques, let us examine things at the system level below the surface.
The Centerline Theory must be established first and foremost. This is your gauge to directly measure up your opponent via triangulated structures and forward energy. If the opponent violates any stipulation of Wing Chun’s requirements, this is causation for an instant attack to their kill zone. Structural defects and/or improper energy are indicators of compromised defenses, easily detectable by one with properly calibrated structures and energy. Upon the violation there is no more condition to Chi Sao; no more sticking, only a direct and immediate assault on their balance and center of gravity whilst maintaining/embodying the Wing Chun discipline. All these potential consequences must become evident at the establishment of the Centerline before examining the tactics of Taan/Bong/Fuk Sao techniques.
In HFY, the arm bridging technology, as well as the body structure and total body mechanics, function by the two HFY Formulas mentioned in question seven. These concepts are inherent within all aspects of the use of the human form and in relation to three dimensional spaces. Chi Sao responses are predicated upon the harmony and disharmony of these relationships. In order for Chi Sao to become a practical survival response, the opponent must express/present the right conditions of Time, Space, and Energy, to initiate the sticking energy. This is why each occurrence of Chi Sao must be earned, because if the opponent cannot or does not abide by the HFY Wing Chun Formula in any capacity, its mode of operations demands the combat requirements to be fulfilled without hesitation. Know when to stick and when to hit. Know when to move and when to stay. The laws of motion and gravity are not without consideration!
Taan, Bong, and Fuk Sao, are simply tools. Yet, more than that, they are vessels that carry out ideas. Wing Chun itself, is based on an idea. The idea of Maximum Efficiency in combat is paramount and ever present in all actions of Wing Chun, and therefore all things Wing Chun must be subject to its influence. The ultimate function of Chi Sao is to harmonize. Without establishing harmony there is no Chi Sao; only destruction and disharmony. This is the law of Yin and Yang. HFY Wing Chun Chi Sao abides by these combat parameters.
Essentially, without the correct ideas in place, Taan Bong and Fuk become meaningless in the realm of combat. Without a clear reference to combat and the context to provide an environment to understand and experience it, how can Chi Sao ever be fully combat functional? From the point of view presented through the Hung Fa Yi Wing Chun formula, one can see that if we understand how we approach combat itself, then it becomes clearer on how Chi Sao is merely a tactical extension of the science. In purpose, Chi Sao only occurs if the opponent presents specific conditions for its deployment at the bridge. The transformation begins with the idea, and that idea gives rise to many more which affect a person’s behaviors, understanding, and overall value system.
10. What is the “Kung Fu Tong Research Team” and how do you conduct research?
The Kung Fu Tong Research Team was founded by Grandmaster Garrett Gee. It serves to recognize the genuine persons among the world for their selfless acts of compassion, commitment, and contributions, toward others. In addition to recognizing the “every day” and “unsung” heroes, the Kung Fu Tong exists as a stage for the community in an effort to offer and share their research/findings in all areas of history, philosophy, culture, and martial arts. By aiding in the preservation and promotion of artifacts such as writings, photos, and videos, related to the documentation and preservation of all martial arts, the Kung Fu Tong aims to help in the improvement and enrichment of the world around us. It is the goal of the Kung Fu Tong to help spread and promote positivity inside and beyond the kung fu community.
11. Any final words of wisdom?
Thank you very much for this fantastic opportunity to bring Hung Fa Yi Wing Chun more into the public awareness. I would like to say that there are amazing individuals out there keeping Wing Chun strong and alive for present and future generations to come. I admire those willing to stand up for the system and dedicate their lives to something as great as our art and its heritage.
Grandmaster Garrett Gee has taught me that there are three things that can help a person to do what is right in this world: Compassion, Commitment, and Contribution. With an open and genuine heart, I believe we can empower each other by doing good and great things in the service of our communities and those we care for. It takes education and a strong moral compass to do what is right, and with the application of the Wing Chun science in our hearts we can accomplish that. I am hopeful during these times, as I see many efforts to strengthen the unity of the Wing Chun Community at large. There are a lot of great people out there, and with groups like Wing Chun Geeks and Wing Chun Masters for example, I think that the future is very bright for Wing Chun.
Do you train Hung Fa Yi? Do you have any experiences training with the style?