IWKA WING TJUN - kUNG FU

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IWKA Wing Tjun is a unique form of Wing Tjun based on THREE TESTS of Chinese Martial Arts: PHILOSOPHY, HEALTH, and MARTIAL ART. Maintaining the balance of these three aspects is of crucial importance and in many well-known Wing Chun branches is lacking.

Sifu Sergio Pascal Iadarola has intensely studied Wing Tjun over the last 25 years. In the last 10 years, he spent almost all of his time on research into the history of the art, the philosophy, its’ concepts and principles. This was a tough job, but it made all the difference, that is, the rediscovery of precious gems that form the basis of the IWKA Wing Tjun System - and lay the foundations for the learning curriculum. Putting together the pieces of various lineages found in China, by placing them in a systematic order to preserve a piece of Chinese culture, and at the same time, prepare the student for modern needs in a realistic personal road of self defence - with a particular emphasis on the development of their body, mind and energy at a more high level, compared to the average humans.

The depth of IWKA Wing Tjun is the part that surprises most people who come into contact with Sifu Sergio's work. This depth was only possible through intensive study of the following lineages (as well as access to certain materials that could not enter Sifu Sergio's hands except through the help of its Sifu and contacts in China) some of which had definite connections with secret societies.

The lineages responsible for the creation of the complete IWKA Wing Tjun System are:

- Ip Man Wing Chun in various shapes

- Chan Wha Sun Wing Chun

- Gu Lo Wing Chun (System Leung Jan)

- Family Wing Chun

- Wing Chun of the Tang Family

- Knowledge from secret societies

- Yuen Kay San Wing Chun

- Wing Chun of 1700 and Snake Crane Wing Chun since 1854

- Fukien Wing Chun Cap Hok (Fujian Yong Chun Baihe)

- Tai Zo and Lohan several different internal systems connected with Wing Tjun

What is most important to note is that studying the different lineages has also greatly helped in the complete recovery of certain forms. To give an example, not many realize that the shape of the Long Pole of the Ip Man System (Luk Dim Poon Kwan) is just a small part of the original Luk Dim Poon Kuan that we find in Tang Yick's Wing Chun System. In addition, the study of all the lineages was necessary to systematize and regenerate all the concepts and principles once found in the system, and now scattered into multiple lineages.

The Wing Chun System is a system based on ancient Chinese wisdom; distorting them from the main system, by the concepts and formulas of time, space, energy and sky, man, earth, creates an imbalance and a loss of maximum efficiency.

 

Below are some of the features of the IWKA Wing Tjun System, which required years of effort and personal energy to search and refine:

1) Song knowledge (a special relaxation mode to get rid of unnecessary tension).

2) Deep understanding of the Wing Chun Dim period of the South Shaolin Temple.

3) Knowledge of Yeet Gang King (change from muscle to tendon) and Su Gang King (Bone Marrow Whashing).

4) Correct positions thanks to the knowledge of the time, space and energy formula.

5) Correct angles that can occupy three-dimensional space.

6) Full use of the three figures: the triangle, the circle and the straight line, instead of using only two.

7) Knowledge of detachment and separation of body, mind and energy.

8) Understanding the basic body concepts of Wing Chun.

9) Knowledge of Ham Hong (Empty Chest), Look Bok (Droppping Shoulder) and Cham Jarn (Sinking Elbows).

10) Avoid stiff locking your shoulder blades or keeping your busts too tight to relieve the opponent's strength and return it. 

11) Transfer strength with the use of the whole body and not using only arm techniques.

12) Disconnecting our breath from our movements when required. Separation and detachment of energy.

13) Knowledge of Faat Ging (Shock Impulse Power) while we are in contact with the opponent, such as in Chi Sao.

14) Fault Ging (Shock Impulse Power ) knowledge while we are in transition to look for contact with the opponent, such as in Kiu Sao and Lat Sao.

15) Use the Faat Ging (Shock Impulse Power) instead of a push. In fact, according to the ancient Kuen Kuit there is no thrust in Wing Chun.

16) Using the tendon force instead of the muscular one.

17) Knowledge and practice of specific stretch exercises of Wing Chun's ancestor forms.

18) Borrow the opponent's strength using the entire body by bouncing it from the Bubbling Wells through your fingers instead of deforming only using the base hand techniques.

19) Concentration on reflex training in "Bridging" and the use of the eyes instead of focusing only on the training of contact reflexes.

20) Using the original position Yee Gee Kim Yeung But based exactly on the founder's specifications since the mid-1700s. 

21) Understanding the true meaning of "glued" and ability to cut off the opponent's roots through "sticking".

22)   Real understanding of the meaning of "following" instead of thinking that following either run behind the opponent with chain fists.

23) Use of fluidity and spontaneity.

24) Understanding the elements and how they relate to forms by making them alive and actually useful for training.

25) Knowledge of the Kiu Sao training method in Wing Tjun, in managing energy from "no contact" to "contact".

26) Special forms of Chi Kung to develop internal energy and health.

27) Special Wing Chun San Chong exercises to develop internal energy (Yi) and Chi.

28) Many systems lack important parts and details, and sometimes whole forms because they blindly followed the famous master who did not have the chance to learn the full system in his lifetime (as illustrated above by Luk Dim Poon Kuan).

29) Many systems lack some of the traditional Wing Chun training tools such as Kwan Chong (stick puppet) because they blindly followed the famous master who had no chance in his life to learn the complete system (traditionally Wing Chun has two wooden men: one for the disarmed part and one for the stick).

30) Understanding the Fifteen Knowledge of Wing Chun Dim of the South Shaolin Temple.

31) Knowledge of secret societies that formed after the destruction of the South Shaolin Temple.

32) Knowledge of the concepts of heaven, man, earth and time, space and energy.

33) Knowledge of Yi and how it relates to Chi and various types of Ging.

34) Understanding the concept of "sinking".

35) Knowledge of whirlwind, meridians and "Bubbling Wells".

36) Understanding the meaning and purpose of some of the forms and movements that came, for various reasons, poorly interpreted. One of these is the inability of poor-poor people in Fatshan who were mostly illiterate and unable to read the characters (one must remember that Cantonese is a tonal language with nine different tones, the same words used in a tone slightly different have a completely opposite meaning).

37) Understanding Yin and Yang (Yam and Yeung) in many techniques.

38) Real time, space, and energy control (for example, the need for space to release force through the strike).

39) Use of the Kiu Sao winds (bridge arms) of Wing Chun Dim.

40) Understanding the "Cotton Body" and the "Wheel Bearing Body".

41) Knowledge of "Iron Palm" and "Red Palm".

42) Knowledge of the true origins of Siu Nim Tao before the division took place in 1854 in three different forms.

43) Exact knowledge of "Snake Tecnology" by EMEI to handle the joints and inner art of developing the "EMEA 12 Zaung".

44) Exact knowledge of "Fujian White Crane Tecnology" for central line theory and many forms (this combination of "Snake" and "Crane" Tecnology is also known as "Snake Crane Body Limbs" with Snake Tecnology as a motor art and White Crane Tecnology as the application of art.

After all, these are not all the differences between IWKA Wing Tjun and other lineages. It is important to note that however some of the lineages have a portion of the 44 points listed above, it is only that no lineages have them all.

It's thanks to the immense sacrifice, work and research of Sifu Sergio, which in this way has put his association, his person and his credibility many times at risk, that all 44 points listed above can now be found and learned in a single IWKA "State of the Art Curriculum". Derived from the two branch sisters of Wing Chun "Eternal Spring" and "Radiosa Primavera" and also by the Fujian ancestors Yong Chun Pai He (Fujian White Crane) and Emei responsible for the unique "Snake Enginge" - especially in its sluggish sliding movement of the second set of ancient and first Siu Nim Tao in the middle of 1700.

Following recent research by Sifu Sergio, other elements have finally come to light and show clearly the creation of the "Radiosa Primavera" lineage that has evolved from Emei and White Crane, while the "Eternal Spring" lineage is based entirely on the White Crane engine. In addition, according to the deep study of Chinese history papers, it is highly likely that the Spring Room was actually a room of a Tien Tee Hui group.

Let's look at the following points:

1- From the point of view of Buddhism Chan, "Eternal Spring" is a wrong term to use, the essence of Buddhism Chan is "nothing is permanent", so there are no eternal things in Buddhism, so call an Eternal Spring Room in a Buddhist Shaolin Temple represents violating the essence of Buddhism Chan.

2- The term Chi Sim exists in the teachings of Chinese Confucianism. So using a wrong term in a Buddhist Temple and using a term of Confucianism as the name of a Buddhist monk shows a contradiction to the true Buddhism. We know that Tien Tee Hui mixed Buddhism, Taoism and Confucianism under the Qi Dynasty, so we also know that the "Spring Room of Eternity" and "Chi Sim" are Tien Tee Hui's signatures instead of being really connected with Buddhism.

3- The Fujian White Crane is the art of Tien Tee Hui and as in the Chinese studies on "South Shaolin" it is more likely that South Shaolin is the pseudonym of Tien Tee Hui.

4- So all the references of the Spring Room would in fact be a room of the Tien Tee Hui group and not a real Buddhist Temple, but there was somehow a room where there was a certain kind of "White Crane" or Martial Art traced back to Fujian.

In 1855, Cantonese Governor Yp Ming Shun led the Qing army to destroy the Jungle Red Union, killing members, and burning the "Fine Jade Hall." This destruction of the Jade Hall's Red Joke Hall later became a pseudonym the destruction of the Shaolin Temple by the hands of the anti-Qing or the Secret Society Hung Moon, after that, the Cantonese Opera was banned for the next fifteen years, fifteen years later, the "Eight Harmony Hall" of the Cantonese Opera today.

 

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