Wing Chun Magazine

As a new student to Wing Chun in 1993, I assumed based on what I observed that I had chosen a hand art. I was amazed by the lightning fast trapping and sticking movements of the hand techniques and didn’t understand why everyone insisted on this Pigeon-toed stance. One month later, as I drove home from class with legs shaking from fatigue so badly I had trouble shifting the clutch in my car, I was illuminated. I know I’m not alone. Many students are surprised to find that Wing Chun is a leg art, or to be more precise, a horse art. Kim Yeung Mah, the pigeon-toed horse of Wing Chun and primary Chi Gong posture, is the source of Wing Chun’s power, and the misery of burning legs for new Wing Chun students.

The Chi Gong development in Kim Yeung Mah expresses itself in several ways. Principle among these expressions is the cultivation of an effortless rooted-ness when facing the incoming force of the aggressor. To the aggressor, the Wing