Taekwondo Equipment and Facilities A taekwondo student typically wears a uniform, often white but sometimes black (or other colors), with a belt tied around the waist. White uniforms are considered the traditional color and are encouraged for use at formal ceremonies such as belt tests and promotions. Colored uniforms are often reserved for special teams (such as demonstration teams or leadership teams) or higher-level instructors. There are at least two major styles of dobok, with the most obvious differences being in the style of jacket: (1) the cross-over front jacket (ITF style), (2) the V-neck or Y-neck jackets (no cross-over) typically worn by Kukkiwon/WTF practitioners. White uniforms in the Kukkiwon/WTF tradition will typically be white throughout the jacket (black along the collars for dan grades), while ITF-style uniforms are trimmed with a black border along the bottom of the jacket (for dan grades). The belt color and any insignia thereon indicate the student's rank. Different clubs and schools use different color schemes for belts. In general, the darker the color, the higher the rank. Taekwondo is traditionally performed in bare feet, although martial arts training shoes may sometimes be worn. When sparring, padded equipment is worn. In the ITF tradition, typically only the hands and feet are padded. For this reason, ITF sparring often employs only light-contact sparring. In the Kukkiwon/WTF tradition, full-contact sparring is facilitated by the employment of more extensive equipment: padded helmets called homyun are always worn, as are padded torso protectors called hogu; feet, shins, groins, hands, and forearms protectors are also worn. The school or place where instruction is given is called the dojang (??, doh'-jang). Specifically, the term dojang refers to the area within the school in which martial arts instruction takes place; the word dojang is sometimes translated as gymnasium. In common usage the term dojang is often used to refer to the school as a whole. Modern dojangs often incorporate padded flooring, often incorporating red-and-blue patterns in the flooring to reflect the colors of the taegeuk symbol. Some dojangs have wooden flooring instead. The dojang is usually decorated with items such as flags, banners, belts, instructional materials, and traditional Korean calligraphy. The grandmaster of the dojang is called a gwanjangnim (???, gwon'-jong-nim); the master (senior instructor or head of dojang) is called sabeomnim (???, sah'-bum-nim); the instructor is called gyosannim (???, gyoh'-sah-nim); and the assistant instructor is called jogyonim (???, joh'-gyoh-nim).

Wooden Dummy Design and Close Look #woodendummy

Wooden dummy practice in china #wooden #dummy #woodendummy #china

Wooden Dummy Practice #woodendummy #dummy #wingchun

Aikido Training In aikido, as in virtually all Japanese martial arts, there are both physical and mental aspects of training. The physical training in aikido is diverse, covering both general physical fitness and conditioning, as well as specific techniques. Because a substantial portion of any aikido curriculum consists of throws, beginners learn how to safely fall or roll. The specific techniques for attack include both strikes and grabs; the techniques for defense consist of throws and pins. After basic techniques are learned, students study freestyle defense against multiple opponents, and techniques with weapons. Fitness Physical training goals pursued in conjunction with aikido include controlled relaxation, correct movement of joints such as hips and shoulders, flexibility, and endurance, with less emphasis on strength training. In aikido, pushing or extending movements are much more common than pulling or contracting movements. This distinction can be applied to general fitness goals for the aikido practitioner. In aikido, specific muscles or muscle groups are not isolated and worked to improve tone, mass, or power. Aikido-related training emphasizes the use of coordinated whole-body movement and balance similar to yoga or pilates. For example, many dojos begin each class with warm-up exercises (???? junbi tais??), which may include stretching and ukemi (break falls). Roles of uke and tori Aikido training is based primarily on two partners practicing pre-arranged forms (kata) rather than freestyle practice. The basic pattern is for the receiver of the technique (uke) to initiate an attack against the person who applies the technique—the ?? tori, or shite ?? (depending on aikido style), also referred to as ?? nage (when applying a throwing technique), who neutralises this attack with an aikido technique. Both halves of the technique, that of uke and that of tori, are considered essential to aikido training. Both are studying aikido principles of blending and adaptation. Tori learns to blend with and control attacking energy, while uke learns to become calm and flexible in the disadvantageous, off-balance positions in which tori places them. This "receiving" of the technique is called ukemi. Uke continuously seeks to regain balance and cover vulnerabilities (e.g., an exposed side), while tori uses position and timing to keep uke off-balance and vulnerable. In more advanced training, uke will sometimes apply reversal techniques (??? kaeshi-waza?) to regain balance and pin or throw tori. Ukemi (???) refers to the act of receiving a technique. Good ukemi involves attention to the technique, the partner and the immediate environment—it is an active rather than a passive receiving of aikido. The fall itself is part of aikido, and is a way for the practitioner to receive, safely, what would otherwise be a devastating strike or throw. Initial attacks Aikido techniques are usually a defense against an attack, so students must learn to deliver various types of attacks to be able to practice aikido with a partner. Although attacks are not studied as thoroughly as in striking-based arts, sincere attacks (a strong strike or an immobilizing grab) are needed to study correct and effective application of technique. Many of the strikes (?? uchi?) of aikido resemble cuts from a sword or other grasped object, which indicate its origins in techniques intended for armed combat. Other techniques, which explicitly appear to be punches (tsuki), are practiced as thrusts with a knife or sword. Kicks are generally reserved for upper-level variations; reasons cited include that falls from kicks are especially dangerous, and that kicks (high kicks in particular) were uncommon during the types of combat prevalent in feudal Japan. Some basic strikes include: 1. Front-of-the-head strike (???? sh?men'uchi?) a vertical knifehand strike to the head. In training, this is usually directed at the forehead or the crown for safety, but more dangerous versions of this attack target the bridge of the nose and the maxillary sinus. 2. Side-of-the-head strike (???? yokomen'uchi?) a diagonal knifehand strike to the side of the head or neck. 3. Chest thrust (??? mune-tsuki?) a punch to the torso. Specific targets include the chest, abdomen, and solar plexus. Same as "middle-level thrust" (???? ch?dan-tsuki?), and "direct thrust" (??? choku-tsuki?). 4. Face thrust (???? ganmen-tsuki?) a punch to the face. Same as "upper-level thrust" (???? j?dan-tsuki?). Beginners in particular often practice techniques from grabs, both because they are safer and because it is easier to feel the energy and lines of force of a hold than a strike. Some grabs are historically derived from being held while trying to draw a weapon; a technique could then be used to free oneself and immobilize or strike the attacker who is grabbing the defender. The following are examples of some basic grabs: 1. Single-hand grab (???? katate-dori?) one hand grabs one wrist. 2. Both-hands grab (???? morote-dori?) both hands grab one wrist. Same as "single hand double-handed grab" (?????? katatery?te-dori?) 3. Both-hands grab (???? ry?te-dori?) both hands grab both wrists. Same as "double single-handed grab" (????? ry?katate-dori?). 4. Shoulder grab (??? kata-dori?) a shoulder grab. "Both-shoulders-grab" is ry?kata-dori (?????). It is sometimes combined with an overhead strike as Shoulder grab face strike (?????? kata-dori men-uchi?). 5. Chest grab (??? mune-dori or muna-dori?) grabbing the (clothing of the) chest. Same as "collar grab" (??? eri-dori?). Basic techniques The following are a sample of the basic or widely practiced throws and pins. Many of these techniques derive from Dait?-ry? Aiki-j?jutsu, but some others were invented by Morihei Ueshiba. The precise terminology for some may vary between organisations and styles, so what follows are the terms used by the Aikikai Foundation. Note that despite the names of the first five techniques listed, they are not universally taught in numeric order. 1. First technique (?? (?) ikky??) a control using one hand on the elbow and one hand near the wrist which leverages uke to the ground. This grip applies pressure into the ulnar nerve at the wrist. 2. Second technique (?? niky??) a pronating wristlock that torques the arm and applies painful nerve pressure. (There is an adductive wristlock or Z-lock in ura version.) 3. Third technique (?? sanky??) a rotational wristlock that directs upward-spiraling tension throughout the arm, elbow and shoulder. 4. Fourth technique (?? yonky??) a shoulder control similar to ikky?, but with both hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient's radial nerve against the periosteum of the forearm bone. 5. Fifth technique (?? goky??) visually similar to ikky?, but with an inverted grip of the wrist, medial rotation of the arm and shoulder, and downward pressure on the elbow. Common in knife and other weapon take-aways. 6. Four-direction throw (???? shih?nage?) The hand is folded back past the shoulder, locking the shoulder joint. 7. Forearm return (???? kotegaeshi?) a supinating wristlock-throw that stretches the extensor digitorum. 8. Breath throw (???? koky?nage?) a loosely used term for various types of mechanically unrelated techniques, although they generally do not use joint locks like other techniques. 9. Entering throw (???? iriminage?) throws in which tori moves through the space occupied by uke. The classic form superficially resembles a "clothesline" technique. 10.Heaven-and-earth throw (???? tenchinage?) beginning with ry?te-dori; moving forward, tori sweeps one hand low ("earth") and the other high ("heaven"), which unbalances uke so that he or she easily topples over. 11.Hip throw (??? koshinage?) aikido's version of the hip throw. Tori drops his or her hips lower than those of uke, then flips uke over the resultant fulcrum. 12. Figure-ten throw (???? j?jinage?) or figure-ten entanglement (???? j?jigarami?) a throw that locks the arms against each other (The kanji for "10" is a cross-shape: ?). 13. Rotary throw (???? kaitennage?) Tori sweeps the arm back until it locks the shoulder joint, then uses forward pressure to throw. Implementations Aikido makes use of body movement (tai sabaki) to blend with uke. For example, an "entering" (irimi) technique consists of movements inward towards uke, while a "turning" (?? tenkan?) technique uses a pivoting motion. Additionally, an "inside" (? uchi?) technique takes place in front of uke, whereas an "outside" (? soto?) technique takes place to his side; a "front" (? omote?) technique is applied with motion to the front of uke, and a "rear" (? ura?) version is applied with motion towards the rear of uke, usually by incorporating a turning or pivoting motion. Finally, most techniques can be performed while in a seated posture (seiza). Techniques where both uke and tori are standing are called tachi-waza, techniques where both start off in seiza are called suwari-waza, and techniques performed with uke standing and tori sitting are called hanmi handachi (????). Thus, from fewer than twenty basic techniques, there are thousands of possible implementations. For instance, ikky? can be applied to an opponent moving forward with a strike (perhaps with an ura type of movement to redirect the incoming force), or to an opponent who has already struck and is now moving back to reestablish distance (perhaps an omote-waza version). Specific aikido kata are typically referred to with the formula "attack-technique(-modifier)". For instance, katate-dori ikky? refers to any ikky? technique executed when uke is holding one wrist. This could be further specified as katate-dori ikky? omote, referring to any forward-moving ikky? technique from that grab. Atemi (???) are strikes (or feints) employed during an aikido technique. Some view atemi as attacks against "vital points" meant to cause damage in and of themselves. For instance, G?z? Shioda described using atemi in a brawl to quickly down a gang's leader. Others consider atemi, especially to the face, to be methods of distraction meant to enable other techniques. A strike, whether or not it is blocked, can startle the target and break his or her concentration. The target may become unbalanced in attempting to avoid the blow, for example by jerking the head back, which may allow for an easier throw. Many sayings about atemi are attributed to Morihei Ueshiba, who considered them an essential element of technique. Weapons Weapons training in aikido traditionally includes the short staff (j?), wooden sword (bokken), and knife (tant?). Some schools incorporate firearm-disarming techniques. Both weapon-taking and weapon-retention are taught. Some schools, such as the Iwama style of Morihiro Saito, usually spend substantial time with bokken and j?, practised under the names aiki-ken, and aiki-j?, respectively. The founder developed many of the empty-handed techniques from traditional sword and spear movements. Consequently, the practice of the weapons arts gives insight into the origin of techniques and movements, and reinforces the concepts of distance, timing, foot movement, presence and connectedness with one's training partner(s). Multiple attackers and randori One feature of aikido is training to defend against multiple attackers, often called taninzudori, or taninzugake. Freestyle practice with multiple attackers, called randori (??) or jiy?waza (???), is a key part of most curricula and is required for the higher level ranks. Randori exercises a person's ability to intuitively perform techniques in an unstructured environment. Strategic choice of techniques, based on how they reposition the student relative to other attackers, is important in randori training. For instance, an ura technique might be used to neutralise the current attacker while turning to face attackers approaching from behind. In Shodokan Aikido, randori differs in that it is not performed with multiple persons with defined roles of defender and attacker, but between two people, where both participants attack, defend, and counter at will. In this respect it resembles judo randori. Injuries In applying a technique during training, it is the responsibility of tori to prevent injury to uke by employing a speed and force of application that is commensurate with their partner's proficiency in ukemi. Injuries (especially those to the joints), when they do occur in aikido, are often the result of tori misjudging the ability of uke to receive the throw or pin. A study of injuries in the martial arts showed that the type of injuries varied considerably from one art to the other. Soft tissue injuries are one of the most common types of injuries found within aikido, as well as joint strain and stubbed fingers and toes. Several deaths from head-and-neck injuries, caused by aggressive shih?nage in a senpai/k?hai hazing context, have been reported. Mental training Aikido training is mental as well as physical, emphasizing the ability to relax the mind and body even under the stress of dangerous situations. This is necessary to enable the practitioner to perform the bold enter-and-blend movements that underlie aikido techniques, wherein an attack is met with confidence and directness. Morihei Ueshiba once remarked that one "must be willing to receive 99% of an opponent's attack and stare death in the face" in order to execute techniques without hesitation. As a martial art concerned not only with fighting proficiency but with the betterment of daily life, this mental aspect is of key importance to aikido practitioners.

Bruce Lee Life Early Life Bruce Lee was born on November 27, 1940, at the Chinese Hospital, in San Francisco's Chinatown. According to the Chinese zodiac, Lee was born in both the hour and the year of the Dragon, which according to tradition is a strong and fortuitous omen. Bruce's father, Lee Hoi-chuen, (李海泉) was Han Chinese, and his mother, Grace Ho (何愛瑜), was of half-Chinese and half-Caucasian descent. Grace Ho was the adopted daughter of Ho Kom-tong (Ho Gumtong, 何甘棠) and the niece of Sir Robert Ho-tung, both notable Hong Kong businessmen and philanthropists, and was a reportedly a half-German Catholic. Bruce was the fourth child of five children: Phoebe Lee (李秋源), Agnes Lee (李秋鳳), Peter Lee (李忠琛), and Robert Lee (李振輝). Lee and his parents returned to Hong Kong when he was three months old. Lee's Cantonese birth name was Lee Jun-fan (李振藩). The name homophonically means "return again", and was given to Lee by his mother, who felt he would return to the United States once he came of age. Because of his mother's superstitious nature, she had originally named him Sai-fon (細鳳), which is a feminine name meaning "small phoenix". The English name "Bruce" is thought to have been given by the hospital attending physician, Dr. Mary Glover. Lee had three other Chinese names: Li Yuanxin (李源鑫), a family/clan name; Li Yuanjian (李元鑒), which he used as a student name while he was attending La Salle College, and his Chinese screen name Li Xiaolong (李小龍; Xiaolong means "little dragon"). Lee's given name Jun-fan was originally written in Chinese as 震藩, however, the Jun (震) Chinese character was identical to part of his grandfather's name, Lee Jun-biu (李震彪). Hence, the Chinese character for Jun in Lee's name was changed to the homonym 振 instead, to avoid naming taboo in Chinese tradition. Family Lee's father, Lee Hoi-chuen, was one of the leading Cantonese opera and film actors at the time, and was embarking on a year-long opera tour with his family on the eve of the Japanese invasion of Hong Kong. Lee Hoi-chuen had been touring the United States for many years and performing at numerous Chinese communities there. Although many of his peers decided to stay in the United States, Lee Hoi-chuen returned to Hong Kong after Bruce's birth. Within months, Hong Kong was invaded and the Lees lived for three years and eight months under Japanese occupation. After the war ended, Lee Hoi-chuen resumed his acting career and became a more popular actor during Hong Kong's rebuilding years. Lee's mother, Grace Ho, was from one of the wealthiest and most powerful clans in Hong Kong, the Ho-tungs. She was the niece of Sir Robert Ho-tung, the Eurasian patriarch of the clan. As such, the young Bruce Lee grew up in an affluent and privileged environment. Despite the advantage of his family's status, the neighborhood in which Lee grew up became overcrowded, dangerous, and full of gang rivalries due to an influx of refugees fleeing communist China for Hong Kong, at that time a British Crown colony. After Lee was involved in several street fights, his parents decided that he needed to be trained in the martial arts. Lee's first introduction to martial arts was through his father, from whom he learned the fundamentals of Wu-style t'ai chi ch'uan. Wing Chun The largest influence on Lee's martial arts development was his study of Wing Chun. Lee began training in Wing Chun when he was 16 years old under the Wing Chun teacher Yip Man in 1957, after losing several fights with rival gang members. Yip's regular classes generally consisted of the forms practice, chi sao (sticking hands) drills, wooden dummy techniques, and free-sparring. There was no set pattern to the classes. Yip tried to keep his students from fighting in the street gangs of Hong Kong by encouraging them to fight in organized competitions. After a year into his Wing Chun training, most of Yip Man's other students refused to train with Lee after they learned of his mixed ancestry, as the Chinese were generally against teaching their martial arts techniques to non-Asians. Lee's sparring partner, Hawkins Cheung states, "Probably fewer than six people in the whole Wing Chun clan were personally taught, or even partly taught, by Yip Man". However, Lee showed a keen interest in Wing Chun, and continued to train privately with Yip Man and Wong Shun Leung in 1955. Wan Kam Leung, a student of Wong's, witnessed a sparring bout between Wong and Lee, and noted the speed and precision with which Lee was able to deliver his kicks. Lee continued to train with Wong Shun Leung after later returning to Hong Kong from America. Leaving Hong Kong After attending Tak Sun School (德信學校) (several blocks from his home at 218 Nathan Road, Kowloon), Lee entered the primary school division of La Salle College at the age of 12. In around 1956, due to poor academic performance (or possibly poor conduct as well), he was transferred to St. Francis Xavier's College (high school) where he would be mentored by Brother Edward, a teacher and coach of the school boxing team. In the spring of 1959, Lee got into yet another street fight and the police were called. Until his late teens, Lee's street fights became more frequent and included beating the son of a feared triad family. Eventually, Lee's father decided his son should leave Hong Kong to pursue a safer and healthier life in the United States. His parents confirmed the police's fear that this time Lee's opponent had an organised crime background, and there was the possibility that a contract was out for his life. The police detective came and he says "Excuse me Mr. Lee, your son is really fighting bad in school. If he gets into just one more fight I might have to put him in jail". — Robert Lee In April 1959, Lee's parents decided to send him to the United States to stay with his older sister, Agnes Lee (李秋鳳), who was already living with family friends in San Francisco. New life in America. At the age of 18, Lee returned to the United States with $100 in his pocket. After living in San Francisco for several months, he moved to Seattle in 1959, to continue his high school education, where he also worked for Ruby Chow as a live-in waiter at her restaurant. Chow's husband was a co-worker and friend of Lee's father. Lee's elder brother Peter Lee (李忠琛) would also join him in Seattle for a short stay before moving on to Minnesota to attend college. In December 1960, Lee completed his high school education and received his diploma from Edison Technical School (now Seattle Central Community College, located on Capitol Hill in Seattle). In March 1961, Lee enrolled at the University of Washington, majoring in drama according to a 1999 article in the university's alumni magazine, not in philosophy as stated by Lee himself and many others. Lee also studied philosophy, psychology, and various other subjects. It was at the University of Washington that he met his future wife Linda Emery, a fellow student studying to become a teacher, whom he married in August 1964. Lee had two children with Linda Emery, Brandon Lee (1965–93) and Shannon Lee (born 1969).

Empty hand 1. Siu Nim Tao (小念頭/小念头; xiǎo niàn tóu; Yale Cantonese: síu nihm tàuh; "little idea" or "little imagination") or Siu Lim Tao (小練頭/小练头; xiǎo liàn tóu; Yale Cantonese: síu lihn tàuh; "little practice"). The first, and most important form in Wing Chun, Siu Lim Tao, is the foundation or "seed" of the art from which all succeeding forms and techniques depend. Fundamental rules of balance and body structure are developed here. Using a car analogy: for some branches this would provide the chassis, for others this is the engine. It serves basically as the alphabet for the system. Some branches view the symmetrical stance as the fundamental fighting stance, while others see it as more a training stance used in developing technique. 2. Chum Kiu (尋橋/寻桥; pinyin: xún qiáo; Yale Cantonese: cham4 kiu4; "seeking the bridge". Alternately "sinking bridge" pinyin: chen qiáo; Yale Cantonese: sám kìuh;). The second form, Chum Kiu, focuses on coordinated movement of bodymass and entry techniques to "bridge the gap" between practitioner and opponent and move in to disrupt their structure and balance. Close-range attacks using the elbows and knees are also developed here. It also teaches methods of recovering position and centerline when in a compromised position where Siu Nim Tao structure has been lost. For some branches bodyweight in striking is a central theme, whether it be from pivoting (rotational) or stepping (translational). Likewise for some branches, this form provides the engine to the car. For branches who use the "sinking bridge" interpretation, the form takes on more emphasis of an "uprooting" context adding multi-dimensional movement and spiraling to the already developed engine. 3. Biu Tze (鏢指/镖指; pinyin: biāo zhǐ; Yale Cantonese: bìu jí; "darting fingers"). The third form, Biu Jee, is composed of extreme short-range and extreme long-range techniques, low kicks and sweeps, and "emergency techniques" to counter-attack when structure and centerline have been seriously compromised, such as when the practitioner is seriously injured. As well as pivoting and stepping, developed in Chum Kiu, a third degree of freedom involving more upper body and stretching is developed for more power. Such movements include very close range elbow strikes and finger thrusts to the throat. For some branches this is the turbo-charger of the car. For others it can be seen as a "pit stop" kit that should never come in to play, recovering your "engine" when it has been lost. Still other branches view this form as imparting deadly "killing" and maiming techniques that should never be used if you can help it. A common wing chun saying is "Biu Jee doesn't go out the door." Some interpret this to mean the form should be kept secret, others interpret it as meaning it should never be used if you can help it. Wooden dummy Muk Yan Jong (木人樁/木人桩; pinyin: mùrénzhuāng; Yale Cantonese: muhk yàhn jòng; "wooden dummy") The Muk Yan Jong form is performed against a "wooden dummy", a thick wooden post with three arms and a leg mounted on a slightly springy frame representing a stationary human opponent. Although representative of a human opponent, the dummy is not a physical representation of a human, but an energetic one. Wooden dummy practice aims to refine a practitioner's understanding of angles, positions, and footwork, and to develop full body power. It is here that the open hand forms are pieced together and understood as a whole. Forms Both the Way Yan (Weng Chun) and Nguyễn Tế-Công branches use different curricula of empty hand forms. The Tam Yeung and Fung Sang lineages both trace their origins to Leung Jan's retirement to his native village of Gu Lao, where he taught a curriculum of San Sik. The Siu Lien Tao (Little First Training) of Cho Ga Wing Chun is one long form that includes movements that are comparative to a combination of Siu Nim Tao, Chum Kiu, and Biu Jee of other families. The other major forms of the style are Sui Da ("Random Striking"), Chui Da ("Chase Striking"), Fa Kuen ("Variegated Fist"), Jin Jeung ("Arrow Palm"), Jin Kuen ("Arrow Fist"), Joy Kuen ("Drunken Fist"), Sup Saam Sao ("Thirteen Hands"), and Chi Sao Lung ("Sticking Hands Set"). Also, a few family styles of Wing-Chun (especially those coming from the "Hong Sun Hay Ban Tong" (Red Boat/Junk Opera Society) have a combination advanced form called; "Saam Baai Fut" (3 Bows to Buddha) which includes many flow/leak techniques from all of the first 'standard' 6 forms. Weapons Once correct force generation in the open-handed forms is achieved, the student is ready to progress to weapons. With the open hand forms delivering force to the end of the finger tips, the idea is to be able to extend that force further to the end of a weapon as an extension of the body, using the same principles. Also, these weapons forms can be used as an exercise to strengthen the forearms and wrists even further. 1. Known as Yee Jee Seung Do (二字雙刀/二字双刀, pinyin: èr zì shuāng dāo, "Parallel Shape Double Knives") and Baat Jaam Do (八斬刀/八斩刀, pinyin: bā zhǎn dāo, "Eight Chopping/Slashing Knives"). A form involving a pair of large "Butterfly Knives", slightly smaller than short swords (Dao). Historically the knives were also referred to as Dit Ming Do ("Life-Taking Knives"). 2. Luk Dim Boon Gwun (六點半棍/六点半棍, pinyin: liù diǎn bàn gùn, "Six and A Half Point Pole"). "Long Pole"— a tapered wooden pole ranging anywhere from 8 to 13 feet in length. Also referred to as "Dragon Pole" by some branches. For some branches that use "Six and A Half Point Pole", their 7 principles of Luk Dim Boon Gwun (Tai-uprooting, lan-to expand, dim-shock, kit-deflect, got-cut down, wan-circle, lau-flowing) are used throughout the unarmed combat as well. The name six and a half point pole comes from these 7 principles, with the last principle:Lau, or Flowing counting as half a point. Chi Sao Chi Sao (Chinese 黐手, Cantonese chi1 sau², Mandarin chǐshǒu) or "sticking hands" is a term for the principle and drills used for the development of automatic reflexes upon contact and the idea of "sticking" to the opponent (also known as "sensitivity training"). In reality, the intention is not to "stick" to your opponent at all costs, but rather to protect your centerline while simultaneously attacking your opponent's centerline. In Wing Chun, this is practiced by two practitioners maintaining contact with each other's forearms while executing techniques, thereby training each other to sense changes in body mechanics, pressure, momentum and "feel". The increased sensitivity gained from this drill helps a practitioner attack and counter an opponent's movements precisely, quickly, and with appropriate techniques. Chi Sao additionally refers to methods of rolling hands drills (Luk Sao). Luk Sao participants push and "roll" their forearms against each other in a single circle while trying to remain in relaxed form. The aim is to feel force, test resistance, and find defensive gaps. Other branches have a version of this practice where each arm rolls in small, separate circles. Luk Sao is most notably taught within the Pan Nam branch of Wing Chun where both the larger rolling drills as well as the smaller, separate-hand circle drills are taught. In some lineages (such as the Yip Man and Jiu Wan branches), Chi Sao drills begin with one-armed sets called Dan Chi Sao which help the novice student to get the feel of the exercise; each practitioner uses one hand from the same side as they face each other. Chi Sao is a sensitivity drill to train and obtain specific responses and should not be confused with actual sparring or fighting though it can be practiced or expressed in a combat form. Chi Geok Chi Geok or "Sticking-legs," is the lower-body equivalent of the upper body's Chi Sao training, aimed on developing awareness in the lower body and obtaining relaxation of the legs. Mook Wan "Wooden Ring", is another, somewhat rare training-tool in some families of Wing Chun. An approximately 10 inch to 14 inch ring made of bamboo or rattan (some schools use a metal ring), the Mook Wan is used for training the wrists and forearms, and to instruct the student in "flow" from technique to technique. Some schools set up a form for this technique, while other schools train techniques and strategies without a formulated pattern.

Wing Chun Curriculum Forms and san sik Forms are meditative, solitary exercises which develop self-awareness, balance, relaxation and sensitivity. Forms also train the practitioner in the fundamental movement and the correct force generation of Wing Chun. San Sik (translated as Separate Forms) are compact in structure. They can be loosely grouped into three broad categories: 1) focus on building body structure through basic punching, standing, turning, and stepping drills; 2) fundamental arm cycles and changes, firmly ingraining the cardinal tools for interception and adaptation; and 3) sensitivity training and combination techniques. It is from the forms and san sik that all Wing Chun techniques are derived. Depending on lineage, the focus, content and intent of each form can have distinct differences which can therefore have far reaching implications. This also means that there are a few different ideas concerning what constitutes progression in the curriculum from form to form, so only a general description of overlap between different schools of thought is possible here. What's commonly seen are six Wing Chun forms: three empty hand forms, one "wooden dummy" form, and two weapons forms.