A noted Atlanta, GA, wing chun instructor found his students gained a better understanding of the human body when kali weapons techniques were added to the training.

As they gathered to watch his footwork, blades flashing, the seminar participants stood amazed. His motions were light, crisp, exact. After several abortive attempts at imitating his footwork, many of the students resigned themselves to practice the footwork later in solitude, choosing instead to admire the dancelike motions of their instructor. At this time they understood what noted wing Chun expert Francis Fong was teaching them. Fong admonished the students: "No matter what you do in the martial arts, you've got to understand the human body. Even if you're training with weapons, the main thing is still the body motion."

At his martial arts academy in Atlanta, Ga., Fong teaches three arts - Wing Chun, kali, and muay Thai. In his instruction, Fong emphasizes different aspects of the styles. "Wing Chun is excellent for developing timing and sensitivity; kali for weapons and extending sensitivity to weapons; muay Thai for conditioning and its powerful techniques."

Francis Fong's background
Francis Fong's primary style is wing Chun, which he began studying in Hong Kong at age 15. "I had studied a little bit of judo, northern Shaolin, and karate before, but when I saw Wing Chun I fell in love," he said. Wing Chun is so beautiful its directness and principles drew me toward it. And it's extremely practical for close-range fighting, a necessity in Hong Kong."

Fong came to the United States in 1973, and eventually settled in Atlanta, where he has taught wing Chun since 1975. He began teaching at the Chinese Community Center and opened his own school the following year.

One key event for Fong was meeting JKD/Kali expert Dan Inosanto in 1981 on the set of the Burt Reynolds' movie, Sharkey's Machine. "The father of Lun Syn (one of Fong's top students and currently an instructor under Fong) was Burt Reynold's doctor. It turned out they needed someone to do a stunt for one of the scenes. Lim told them about me, and I was called in for the scene."

Meeting Inosanto had a profound effect on Fong. "It really opened my mind to a lot of things. I had been looking for something, and kali was it." Yet, exposure to kali was not the most important result of this encounter. "I respect everything about Dan. His personality, his teaching ability, and his seemingly neverending desire to learn have all left a mark on me. He knows so much, but he still wants to learn more."

After this meeting, Fong introduced Inosanto to his Atlanta academy, where Dan has conducted frequent seminars since 1982. In 1984, kali became a regular course of instruction at his academy. "Wing Chun and kali work together beautifully it's easy to flow from one to the other."

The wing chun/kali connection
At first superficial glance, Wing Chun and kali may not seem related. After all, Wing Chun is noted for developing close-range, empty handed fighting skills, while kali is known for developing skills in the use and understanding of weapons. There are, however, definite connections which enable the two styles to work together in a synergistic fashion, producing a martial artist capable of extending his knowledge over a variety of situations, rather than being limited by what he has been taught.

These photos exemplify the methods used to categorize attacks. The photo at left shows part of the numbering system used to classify angles of attack in kali. The photo on the right depicts the gate structure from wing chun.

I. Structuring methods
According to Fong, the systems work so well together because they are both structured (i.e., they provide a conceptual framework which a martial artist may use to categorize fighting knowledge.) The link between the two systems is the human body, where wing chun divides the body into sections defined by gates, kali classifies attacks by angle and their intended target on the body. The wing chun practitioner will spend years learning body positions, some so intricate they differ only by minute changes in the bundle of muscles that make up the forearm. In a similar fashion, even though the emphasis in kali is on weapons, knowledge of the human body is essential in understanding the art. One need look no further than the name of the art: the name "kali" is derived from two words which mean "hand motion," thus, "kali" may be interpreted as the study of body motion.

Every aspect of kali has a different numbering system to classify attacks. Some systems have as few as five numbers, while others have well over 100. The following example uses the first five numbers in the system taught at the Francis Fong Academy. The "number 1" strike is a downward diagonal blow to the opponent's left side, aimed in the vicinity of the temple, neck and collarbone; a "number 2" strike is analogous to the "number 1- strike, but aimed toward the opponent's right side; A "number 3" strike is a horizontal blow directed toward the opponenfs left rib cage or elbow; a "number 4" strike is the identical blow to the right side; finally, a "number 5" is a thrust to the opponent's center.

The boundaries of wing chun's gates are defined using the practitioner's arms. The point where the wrists cross above the chest form the upper gate-middle gate boundary, while the point formed where the wrists cross at a downward angle defines the boundary between the middle and lower gates.

The wing chun categorization divides the body into sections: each section is marked by boundaries called "gates." Each section is determined by the practitioner's body. The boundary between the high and middle gate is found by positioning the elbows in front of the body a loose fist away, then extending the arms with the fingers pointing up at a 45-degree angle so the wrists are crossed. Similarly, the middle gate/lower gate boundary is determined by crossing the wrists with the fingers pointed down. There is also an inside gate and an outside gate. Any attack going outside the arm is an outside gate (oi

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The attacker on the right swings (1-2) toward Fong's neck and temple region. Fong steps to the side and counters with bil da, and simultaneous bil sao (thrusting hand) with the left hand and da (punch) (3) with the right hand.

Fong encourages his students to understand both systems. "That way I can call an attack to the opponent's high outside gate on the left side a number 1. It's simpler. It's still the same attack regardless of what it's called."

"Exercise set 1" is a method Fong uses to train gates and angles of attack for empty hands. The attacker (person A), dons focus mitts to allow his partner (person B) to counterattack with force. The counter used in this particular set is called a bil da. Bil sao means thrusting hand, and da means hit; thus, a bil da is a simultaneous bil sao with one hand and punch with the other.

To correctly execute the technique the practitioner must meticulously learn many details associated with body position. According to Fong, "Wing chun is an incredibly intricate art. In the first form, one doesn't move the lower body at all. A lot of people misunderstand this, and say in wing chun there is no body movement. The purpose is to train the tan den. (According to Chinese theories of body energy, the tan tien is the body's center of energy, located approximately two or three inches below the navel.) If you can understand your tan tien, then any movement becomes easier, because you're using the body's natural center to move."

Several details of body movement are shown in the accompanying photos. As the attack comes in, the hips twist sharply in a downward corkscrew motion, driven by the tan tien, leaving a major percentage of the body weight sunk on the right side. This shift also is accompanied by a shuffling step to the left. Thus, the right knee ends up pointing at the attacker's center. A poorly executed shift will result in loss of overall body leverage and in the practitioner being overpowered by the force of the blow.

The arm should be slightly bent at the elbow. If the arm is too straight, the elbow can be dislocated quite easily. If it is bent too much, the force of the blow will collapse the position.

If the shift is correctly executed, and the arm leverage is correct, the body will form one unit. Person B should pick up his left leg without losing his position. Person A can push as hard as he can, but if the leverage is correct, B will not budge.

Here, Fong demonstrates details of the positions required to perform this technique. The photo at left depicts the stance, while the photo at right depicts the angle of the forearm.

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This is an example of an incorrect forearm angle and what can happen. Here the angle of Fong's forearm is not sufficient to provide optimal leverage (1). Therefore, the position collapses (2).

II. Footwork
Both wing chun and kali use triangles as conceptual templates for the purpose of teaching footwork. At close range, one may use triangular footwork to intercept or trap an opponent's attack. At weapons range, wider triangular motions are used to evade, or "zone away" from the full force of the blow.

Fong demonstrates an incorrect shift. Rather than "sinking" his weight into the ground, he has merely turned his body. As a result, he has lost his body leverage and iwll be unable to support his position.

The main triangle used in wing chun is based at the practitioner's feet. The first stance taught in wing chun, yee jee keem yeung ma, is pigeon-toed, with a distance of two fist lengths between the knees. The point of the triangle is formed at the convergence point of imaginary lines beginning at the heels and extending forward from the feet. Much of wing chun's aggressive footwork follows the lines of this triangle. A great deal of wooden dummy practice trains the application of this triangular footwork.

In kali, the wing chun triangle is known as the "male triangle." There is another triangle in kali known as the "female triangle." It comes to a point directly between the feet, and opens at a 45-degree angle from this point. One application of this triangle is to zone away from the maximum power of a strike. For example, imagine a strike arriving at your "number 1" angle. Following the female triangle to the right will help you avoid the power of the blow, while setting you up for a potential counterattack.

There are numerous other triangles used in kali. Noted Fong, "I like for my students to learn kali, because it is a wonderful complement to wing chun. With empty hands, you don't really have to move too much. Weapons automatically increase the range and necessitate that you move more. I like for my

In "exercise set 2," the footwork ultimately determines the success of the counter. The attacker (person A) attacks with a knife using the "number 1" angle, with the blade pointing downward. (Note: this downward inclination of the blade is necessary for the illustrated technique to work.) "Knife-fighting is more intense than empty-handed fighting, in that you're almost certain to get cut," Fong said. "Better to get cut on the outside of the forearm than the inside!" In an ideal situation, the forearm should be jammed up near the base of the blade, in contact with the flat of the blade. If there is too much distance between the forearm and the blade, B will have no control, and A can retaliate easily. Here, A slashes B's hand and disengages, free to attack again.

The footwork is responsible for determining the leverage of the technique; it serves to gain leverage and to zone away from a potential counterattack.

"Footwork is really important," Fong noted. "A lot of people have the misconception that wing chun doesn't have any

The top photo depicts the triangle used for close-range fighting in wing chun; it is also known as the "male triangle" in wing chun. The photo above depicts the female triangle from kali.

III. Emphasis on skills rather than strength
Many styles rely on strength for the success of their techniques. From its inception, wing chun has been skill-oriented rather than strength oriented. According to legend, the style was founded by the Buddhist nun Ng Mui at the Shaolin Temple in the 17th century. She was dissatisfied with the low stances and strength oriented strikes of the styles in vogue at the time, so she developed a new system based on rapid, efficient strikes, with power arising from the body's natural leverage. Successful execution of techniques is a matter of timing and sensitivity, both of which are cultivated over a long period of time by means of specially developed exercises. One such exercise is the famous sensitivity exercise called chi sao (sticky hands.)

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This set shows a defense against a knife attack following the "No. 1" set. As the attack begins (1-2), Fong steps to the side, jamming his forearm beneath the flat of the blade (3). He then steps around, twisting the knife and forearm of the attacker (4). He follows by grabbing the attacker and returning the blade to him (5-6).

The nun's first student was another female, Yim Wing Chun, after whom the style was named. Thus, wing chun is equally suitable for men and women. Kali is also quite suitable for both genders. The typical kali weapon, the stick, is extremely light and capable of many quick, rapid strikes, similar to the philosophy behind the empty-hand strikes in wing chun. Women have also played a major historical role in the development of kali. According to an excerpt from The Filipino Martial Arts by Dan Inosanto, one of kali

This photo shows a close-up of the placement of Fong's forearm relative to the blade and the attacker's forearm. Note: Fong's forearm is jammed up beneath the blade, with the forearm in contact with the flat of the blade for control.

IV. Flow
Perhaps the single largest common denominator, and the subtlest to the outside observer, is the emphasis on flowing techniques. Flow is a necessity for the type of combat situations from which the arts originated. In combat, there are far too many variables and possible situations to prepare for, making it impractical to rely on a set of rehearsed techniques. Both kali and wing chun practitioners are trained to flow from technique to technique, with no abrupt stoppages while attacking or defending.

There are several flowing drills for which wing chun is renowned. The most famous is chi sao, in which

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Should the distance be too great between the attacker's blade and Fong's forearm (1), the attacker can hook Fong's forearm with the knife (2) and easily follow-up.

The general name for flow drills in kali is sumbrada, from the Spanish "sumbra" meaning "shadow." Sumbrada means "shadow-forshadow" or "counter-for-counter." In a sumbrada, one practitioner attacks his partner with one of the numbered angles of attack; the partner defends, then counterattacks. This back-and-forth attacking and defending will continue until the particular drill (or the participants) is exhausted. There are both predefined sumbrada and free-flowing sumbrada. There are a variety of sumbrada. Regardless of the variables,

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The footwork is essential to the execution of the technique. Here Fong does not step to the side; he merely tries to "catch" the knife, rather than intercept the angle (1). As a result, he cannot control the attacker (2).

Conclusion
There is something for everyone who studies both Kali and Wing Chun; each style brings out something in the other. Wing Chun practitioners begin training with empty hands and progress to weapons (Wing Chun's butterfly swords and long staff are taught at the most advanced level of Wing Chun). Kali practitioners do the reverse, training with weapons from the outset. Wing Chun training promotes a tremendous understanding of close-range combat, while training in kali promotes understanding and familiarity with a variety of weapons. Finally, wing Chun and kali are equally suitable for practitioners of both genders.

Relating many seemingly unrelated arts has earned Fong the reputation as a consummate teacher and a popular seminar instructor. He said, "Once you understand yourself, then you can understand a wide variety of martial arts without too much trouble. If you never understand yourself, then there won't be any connection between the arts.

"It's my job to teach, and to do so successfully. I have to continue to grow and learn," he added. "I've been criticized by some of my peers for stepping outside Wing Chun, but as long as I gain more knowledge, it doesn't bother me. Life is too short to argue and fight with each other. I'd rather see everyone open minded, trying to help one another learn."

Copyright © 1999 Francis Fong Martial Arts Academy. ©. All rights reserved.