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Wing Chun

200px A wing chun front kick (right) against a turning kick. This illustrates the principles of centerline and simultaneous attack and defence.
Also known as	Wing Chun, Wing Tsun, Ving Tsun
Focus	Striking, Trapping
Country of origin	China
Creator	Ng Mui
Famous practitioners	Sum Nung,[1] Yip Man,[2] Bruce Lee,[3]

Wing Chun (Chinese: 詠春; pinyin: yǒng chūn; literally "spring chant"), also romanised as Ving Tsun or Wing Tsun, (and sometimes substituted with the characters 永春 "eternal springtime"^[4]); (also known as Snake-Crane style); is a concept-based Chinese martial art and form of self-defense utilising both striking and grappling while specialising in close-range combat.

The alternative characters 永春 "eternal spring" are also associated with some other southern Chinese martial arts, including Weng Chun Kungfu and White Crane Weng Chun (Yong Chun).^[5][6]

History[link]

Part of the series on Chinese martial arts
List of Chinese martial arts
Terms
Kung fu (功夫) Wushu (武術) Qigong (氣功)
Historical places
Shaolin Monastery (少林寺) Wudang Mountains (武當山) Mount Hua (華山) Mount Emei (峨嵋山) Kunlun Mountains (崑崙山)
Historical people
Yue Fei (岳飛) Yim Wing-chun (嚴詠春) Hung Hei-gun (洪熙官) Fong Sai-yuk (方世玉) Dong Haichuan (董海川) Yang Lu-ch'an (楊露禪) Wu Quanyou (吳全佑) Ten Tigers of Canton (廣東十虎) Chen Fake (陳發科) Chan Heung (陳享) Wong Fei-hung (黃飛鴻) Sun Lu-t'ang (孫祿堂) Huo Yuanjia (霍元甲) Yip Man (葉問) Wang Zi-Ping (王子平)
Famous modern actors
Bruce Lee (李小龍) Jackie Chan (成龍) Sammo Hung (洪金寶) Yuen Biao (元彪) Jet Li (李連杰)
Legendary figures
Bodhidharma (菩提達摩) Zhang Sanfeng (張三丰) Eight immortals (八仙) Five Elders (五祖)
Related
Hong Kong action cinema Wushu (sport) Wuxia (武俠)
This box: view talk edit

The earliest known mentions of Wing Chun date to the period of Red Boat Opera.

The common legend as told by Ip Man^[7] involves the young woman Yim Wing-chun, (Wing Chun literally means 'forever springtime' or 'praising spring',) at the time after the destruction of the Southern Shaolin Temple and its associated temples by the Qing government:

After Wing-Chun rebuffs the local warlord's marriage offer, she says she'll reconsider his proposal if he can beat her in a martial art match. She soon crosses paths with a Buddhist nun--Ng Mui, who was one of the Shaolin Sect survivors, and asks the nun to teach her boxing. The legend goes that Ng Mui taught Yim Wing-Chun a new system of martial art that had been inspired by Ng Mui's observations of a confrontation between a Snake and a Crane; this then-still nameless style enabled Yim Wing Chun to beat the warlord in a one-on-one fight. Yim Wing-Chun there-after marries Leung Bac-Chou and teaches him the style, which is later named after her.

Since the system was developed during the Shaolin and Ming resistance to the Qing Dynasty, many legends about the creator of Wing Chun were spread to confuse enemies, including the story of Yim Wing Chun. This perhaps explains why no one has been able to accurately determine the creator or creators of Wing Chun.^[8]

Characteristics[link]

This unreferenced section requires citations to ensure verifiability.

Balance, structure and stance[link]

Some Wing Chun practitioners believe that the person with better body structure will win. A correct Wing Chun stance is like a piece of bamboo, firm but flexible, rooted but yielding. This structure is used to either deflect external forces or redirect them.^{[citation needed]}

Balance is related to structure because a well-balanced body recovers more quickly from stalled attacks and structure is maintained. Wing Chun trains the awareness of one's own body movement derived from muscular, tendon, and articular sources. Performing Wing Chun's forms such as Chum Kiu or the Wooden Dummy form greatly improve proprioception. Wing Chun favours a high, narrow stance with the elbows kept close to the body. Within the stance, arms are positioned across the vitals of the centerline. Shifting or turning within a stance is carried out variantly on the heels, balls, or middle (K1 or Kidney 1 point) of the foot depending on lineage. All attacks and counter-attacks are initiated from this firm, stable base. Wing Chun rarely compromises structure for more powerful attacks because this is believed to create defensive openings which may be exploited.

Structure is viewed as important, not only for reasons of defense, but also for attack. When the practitioner is effectively "rooted", or aligned so as to be braced against the ground, the force of the hit is believed to be far more devastating. Additionally, the practice of "settling" one's opponent to brace them more effectively against the ground aids in delivering as much force as possible to them.^[9][10]

Relaxation[link]

Softness (via relaxation) and performing techniques in a relaxed manner, is fundamental to Wing Chun.

• Tension reduces punching speed and power. Muscles act in pairs in opposition to each other (e.g. biceps and triceps). If the arm is tensed, maximum punching speed cannot be achieved as the biceps will be opposing the extension of the arm. In Wing Chun, the arm should be relaxed before beginning the punching motion.
• Unnecessary muscle tension wastes energy and causes fatigue.
• Tense, stiff arms are less fluid and sensitive during trapping and chi sao.
• A tense, stiff limb provides an easy handle for an opponent to push or pull with, whereas a relaxed limb provides an opponent less to work with.
• A relaxed, but focused, limb affords the ability to feel "holes" or weaknesses in the opponent's structure (see Sensitivity section). With the correct forwarding these "holes" grant a path into attacking the opponent.
• Muscular struggle reduces a fight to who is stronger. Minimum brute strength in all movement becomes an equalizer in uneven strength confrontations. This is very much in the spirit of the tale of Ng Mui.

Centerline[link]

While the existence of a "central axis" concept is unified in Wing Chun, the interpretation of the centerline concept itself is not. Many variations exist, with some lineages defining anywhere from a single "centerline" to multiple lines of interaction and definition. The most commonly seen interpretation emphasizes attack and defense along an imaginary horizontal line drawn from the center of the practitioner's chest to the center of the enemy's chest. The human body's prime striking targets are considered to be on or near this line, including eyes, nose, throat, solar plexus and groin.

Wing Chun techniques are generally "closed", with the limbs drawn in to protect the central area and also to maintain balance. In most circumstances, the hands do not move beyond the vertical circle that is described by swinging the arms in front, with the hands crossed at the wrists. To reach outside this area, footwork is used. A large emphasis and time investment in training Chi Sao exercise emphasizes positioning to dominate this centerline. The stance and guard all point at or through the center to concentrate physical and mental intent of the entire body to the one target.

Wing Chun practitioners attack within this central area to transmit force more effectively, since it targets the "core center" (or "mother line", another center defined in some lineages and referring to the vertical axis of the human body where the center of gravity lies). For example, striking an opponent's shoulder will twist the body, dispelling some of the force and weakening the strike, as well as compromising the striker's position. Striking closer to the center transmits more force directly into the body.

Punches[link]

Because of the emphasis on the center line, the vertical fist straight punch is the most common strike in Wing Chun. However, the principle of simultaneous attack and defense (Lin Sil Die Dar) suggests that all movements in the Siu Nim Tau with a forward execution flow into a strike if no effective resistance is met, without need for recomposure. Other explicit examples of punches can be found in the Chum Kiu and Bil Jee forms, although these punches may appear to be superficially different they are simply the result of the punch beginning from a different origin position while following the same fundamental idea, to punch in a straight line following the shortest distance between the fist and the opponent.

The vertical punch is the most basic and fundamental in Wing Chun and is usually thrown with the elbow down and in front of the body. Depending on the lineage, the fist is held anywhere from vertical to horizontal (palm side up). The contact points also vary from the top two knuckles, to the middle two knuckles, to the bottom three knuckles. In some lineages of Wing Chun, the fist is swiveled at the wrist on point of impact so that the bottom three knuckles are thrust forward adding power to the punch while it is at maximum extension.

The punches may be thrown in quick succession in a "straight blast" or "chain punching". When executed correctly, it can be used as a disorienting finisher.

Wing Chun is often criticized for encouraging weaker punches that do not utilise the whole body^{[citation needed]}. However, as per the formal name of the punch (which is translated as "The Sun-character Rushing Punch (or Hammer in Cantonese)")^{[citation needed]}, a practitioner typically would thrust his full body weight towards his opponent, with the fist as the "nail", and his body as the "hammer". With each successive punch, the practitioner would step in closer and closer to the opponent, driving the fists forward as a hammer drives a nail.

Wing Chun punches are delivered using Fa Jing, a short burst of energy in which the arm is momentarily tensed at the conclusion of the strike. This concept is similar to impact loading in engineering.

Wing Chun favours the vertical punch for several reasons:

• Directness. The punch is not "loaded" by pulling the elbow behind the body. The punch travels straight towards the target from the guard position (hands are held in front of the chest).
• Protection. The elbow is kept low to cover the front midsection of the body. It is more difficult for an opponent to execute an elbow lock/break when the elbow occupies this position. This aids in generating power by use of the entire body structure rather than only the arm to strike. Also with the elbow down, it offers less opening for the body to be attacked while the forearm and punch intercept space towards the head and upper body.
• Strength and Impact. Wing Chun practitioners believe that because the elbow is behind the fist during the strike, it is thereby supported by the strength of the entire body rather than just a swinging fist, and therefore has more impact. A common analogy is a baseball bat being swung at someone's head (a round-house punch), as opposed to the butt end of the bat being thrust forward into the opponent's face (wing chun punch), which would cause far more damage than a glancing hit and is not as easy to evade. Many skilled practitioners pride themselves on being able to generate "short power" or large amount of power in a short space. A common demonstration of this is the "one-inch punch", a punch that starts only an inch away from the target yet delivers an explosive amount of force.
• Alignment & Structure. Because of Wing Chun's usage of stance, the vertical punch is thus more suitable. The limb directly in front of the chest, elbow down, vertical nature of the punch allows a practitioner to absorb the rebound of the punch by directing it through the elbows and into the stance. This is a desirable trait to a Wing Chun practitioner because it promotes use of the entire body structure to generate power. Whereas, the rebound of a horizontal punch uses only the arm to strike. In this elbow-out position the hinge-structure directs force outwards along the limb producing torque in the puncher's body.

Kicks[link]

Kicks can be explicitly found in the Chum Kiu and Mook Jong forms, though some have made interpretations of small leg movements in the Siu Nim Tau and Bil Jee to contain information on kicking as well. Depending on lineage, a beginner is often introduced to basic kicking before learning the appropriate form. Traditionally, kicks are kept below the waist. This is characteristic of southern Chinese martial arts, in contrast to northern systems which utilize many high kicks.

Variations on a front kick are performed striking with the heel. The body may be square and the knee and foot are vertical on contact (Chum Kiu), or a pivot may be involved with the foot and knee on a plane at an angle (Mook Jong). At short distances this can become a knee. A roundhouse kick is performed striking with the shin in a similar manner to the Muay Thai version with most of the power coming from the body pivot. This kick is usually used as a finisher at closer range, targeting anywhere between the ribs and the back of the knee, this kick can also become a knee at close range. Other kicks include a stamping kick (Mook Jong) for very close range and a sweep performed with the heel in a circular fashion.

Every kick is both an attack and defence, with legs being used to check incoming kicks or to take the initiative in striking through before a more circular kick can land. Kicks are delivered in one movement directly from the stance without chambering/cocking.

Uncommitted techniques[link]

Wing Chun techniques are uncommitted. This means that if the technique fails to connect, the practitioner's position or balance is less affected. If the attack fails, the practitioner is able to "flow" easily into a follow-up attack. All Wing Chun techniques permit this. Any punches or kicks can be strung together to form a "chain" of attacks. According to Wing Chun theory, these attacks, in contrast to one big attack, break down the opponent gradually causing internal damage. Chained vertical punches are a common Wing Chun identifier.

Trapping skills and sensitivity[link]

The Wing Chun practitioner develops reflexes within the searching of unsecured defenses through use of sensitivity. Training through Chi Sao with a training partner, one practices the trapping of hands. When an opponent is "trapped", he or she becomes immobile.

Chinese philosophy:

"Greet what arrives, escort what leaves and rush upon loss of contact"- Yip Man^{[attribution needed]}

Close range[link]

Wing Chun teaches practitioners to advance quickly and strike at close range. While the Wing Chun forward kick can be considered a long range technique, many Wing Chun practitioners practice "entry techniques"—getting past an opponent's kicks and punches to bring him within range of Wing Chun's close range repertoire. This means that theoretically, if the correct techniques are applied, a shorter person with a shorter range can defeat a larger person by getting inside his range and attacking him close to his body.

Curriculum[link]

Forms and san sik[link]

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.

The most commonly seen Wing Chun generally comprises six forms: three empty hand forms, one "wooden dummy" form, and two weapons forms.

Empty hand[link]

Wooden dummy[link]

木人樁	Muk Yan Jong (木人樁; 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.	The Hong Kong wall mounted version of the Wooden Dummy

Forms[link]

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[link]

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.

The Yuen Kay-San/Sum Nung branch also historically trained throwing darts (Biu). According to Sum Nung, his skill with them could not compare to Yuen Kay San's, so they are not part of the current curriculum.

Chi sao[link]

Chi Sao (Chinese 黐手, Cantonese chi¹ sau², Mandarin chǐshǒu) or "sticking hands". Term for the principle, and drills used for the development of automatic reflexes upon contact and the idea of "sticking" to the opponent. In Wing Chun this is practiced through 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". This increased sensitivity gained from this drill helps a practitioner attack and counter an opponent's movements precisely, quickly and with the appropriate technique.

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 relaxed. The aim is to feel forces, test resistances and find defensive gaps. Other branches do a version of this where each of the arms roll in small separate circles. Luk Sao is most notably taught within the Pan Nam branches where both the larger rolling drills and the method where each of the arms roll in small separate circles 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 obtain specific responses, it should not be confused with sparring/fighting, though it can be practiced or expressed in a combat form.

Chi gerk[link]

"Sticking-legs," is the lower-body equivalent of the upper body's Chi-sao training. Chi-gerk is first experienced by way of various strength and conditioning drills, and a great deal of strength and conditioning is experienced prior to continuing. Because the legs are stronger, they are usually harder to relax during drills. Also, because students are busy concentrating on upper body movements, many will usually not place the emphasis required in the lower body.

Mook Wan[link]

"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 ratan (some schools use a "metal" ring (progressively)), the Mook-Wan is used for training the wrists and forearms, and to instruct the student in "flow" from technique to technique. An actual "form" set-up in some schools, other schools just train techniques and strategies without a formulated "set" pattern. Also Jook Wan Huen (bamboo link ring).

Southern martial art[link]

Wing Chun, together with Hung Gar and Choi Lei Fut, is named as one of "The Three Great Martial Art Schools of the South", which originated and became popular in Southern China.

Global spread[link]

Wing Chun is practiced globally, in over 64 countries.^[18] It is the world's most popular form of Southern Kung Fu.^[19]

In popular culture[link]

Donnie Yen has also caused tremendous impact in the martial arts world through his various films. Yen is widely credited by many as the person responsible in popularizing the traditional martial arts system known as Wing Chun. Donnie Yen played the role of Wing Chun Grandmaster in the 2008 movie, Ip Man, which was a huge box office success, re-defining the genre of action films. This has led to a tremendous increase in the numbers of people taking up Wing Chun, allowing hundreds of new Wing Chun schools to be opened up in Mainland China and other notable parts of Asia.^[20] Ip Chun, the eldest son of Ip Man even mentioned that he is grateful to Donnie Yen for making his family art popular and allowing his father's legacy to be remembered.^[21]

Branches[link]

See also[link]

• Wing Chun terms
• List of Movies Featuring Wing Chun

References[link]

Sources[link]

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Bruce Lee (born Lee Jun-fan; 27 November 1940 – 20 July 1973) was a Chinese American^[3] Hong Kong actor,^[4] martial arts instructor,^[5] philosopher, film director, film producer, screenwriter, and founder of the Jeet Kune Do martial arts movement. He is widely considered by many commentators, critics, media and other martial artists to be the most influential martial artist and pop culture icon of the 20th Century.^[6][7][8] He is often credited with changing the way Asians were presented in American films.^[6]

Lee was born in San Francisco to parents of Hong Kong heritage but was raised in Hong Kong until his late teens. Lee returned to the United States at the age of 18 to claim his U.S. citizenship and receive his higher education.^[9] It was during this time that he began teaching martial arts, which soon led to film and television roles.

His Hong Kong and Hollywood-produced films elevated the traditional Hong Kong martial arts film to a new level of popularity and acclaim, and sparked a major surge of interest in Chinese martial arts in the West in the 1970s. The direction and tone of his films changed and influenced martial arts and martial arts films in Hong Kong and the rest of the world, as well.^[10] He is noted for his roles in five feature-length films: Lo Wei's The Big Boss (1971) and Fist of Fury (1972); Way of the Dragon (1972), directed and written by Lee; Warner Brothers' Enter the Dragon (1973) and The Game of Death (1978), both directed by Robert Clouse.^[11]

Lee became an iconic figure known throughout the world, particularly among the Chinese, as he portrayed Chinese nationalism in his films.^[12] He initially trained in Wing Chun, but he later rejected well-defined martial art styles, favouring instead the use of techniques from various sources, in the spirit of his personal martial arts philosophy, which he dubbed Jeet Kune Do (The Way of the Intercepting Fist).

Early life[link]

Part of the series on Chinese martial arts
List of Chinese martial arts
Terms
Kung fu (功夫) Wushu (武術) Qigong (氣功)
Historical places
Shaolin Monastery (少林寺) Wudang Mountains (武當山) Mount Hua (華山) Mount Emei (峨嵋山) Kunlun Mountains (崑崙山)
Historical people
Yue Fei (岳飛) Yim Wing-chun (嚴詠春) Hung Hei-gun (洪熙官) Fong Sai-yuk (方世玉) Dong Haichuan (董海川) Yang Lu-ch'an (楊露禪) Wu Quanyou (吳全佑) Ten Tigers of Canton (廣東十虎) Chen Fake (陳發科) Chan Heung (陳享) Wong Fei-hung (黃飛鴻) Sun Lu-t'ang (孫祿堂) Huo Yuanjia (霍元甲) Yip Man (葉問) Wang Zi-Ping (王子平)
Famous modern actors
Bruce Lee (李小龍) Jackie Chan (成龍) Sammo Hung (洪金寶) Yuen Biao (元彪) Jet Li (李連杰)
Legendary figures
Bodhidharma (菩提達摩) Zhang Sanfeng (張三丰) Eight immortals (八仙) Five Elders (五祖)
Related
Hong Kong action cinema Wushu (sport) Wuxia (武俠)
This box: view talk edit

Bruce Lee was born on 27 November 1940 at the Chinese Hospital in Chinatown, San Francisco. According to the Chinese zodiac Lee was born in both the hour and the year of the Dragon which in this cultural tradition is considered a strong and fortuitous omen.^[13] His father, Lee Hoi-chuen, was fully Chinese, and his mother, Grace Ho (何愛瑜), was half Chinese and half Caucasian.^[14] Grace was the daughter of Ho Kom-tong and the niece of Sir Robert Ho-tung, both notable Honk Kong businessmen and philanthropists.^[15] Lee was the fourth child of five children: Agnes, Phoebe, Peter, and Robert. Lee and his parents returned to Hong Kong when he was three months old.^[16]

Names[link]

Lee's Cantonese birth name was Lee Jun-fan (李振藩).^[17] The name homophonically means "return again"; it was given to Lee by his mother, who felt he would return to the United States once he came of age.^[18] Because of his mother's superstitious nature, she originally named him Sai-fon (細鳳), which is a feminine name meaning "small phoenix".^[19] The English name "Bruce" was thought to be given by the hospital attending physician, Dr. Mary Glover.^[20]

Lee had three other Chinese names: Li Yuanxin (李源鑫), a family/clan name; Li Yuanjian (李元鑒), 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[link]

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 Cantonese 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 a number of his peers decided to stay in the United States, Lee Hoi-chuen decided to go back to Hong Kong after his wife gave birth to Bruce Lee. 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,^[15][21] of Eurasian descent and patriarch of the clan. As such, the young Bruce Lee grew up in an affluent and privileged environment. Despite this advantage of his family's status, the Hong Kong neighborhood Lee grew up in became over-crowded, dangerous, and full of gang rivalries because of the mass number of people fleeing communist China to Hong Kong, :^[19]

Post-war Hong Kong was a tough place to grow up. Gangs ruled the city streets and Lee was often forced to fight them. But Bruce liked a challenge and faced his adversaries head on. To his parents dismay, Bruce's street fighting continued and the violent nature of his confrontations was escalating.

After being involved in several street fights, Lee's parents decided that he needed to be trained in the martial arts. Lee's first introduction to martial arts was through his father. He learned the fundamentals of Wu-style t'ai chi ch'uan from his father.^[22]

Wing Chun[link]

The largest influence on Lee's martial arts development was his study of Wing Chun. Lee began training in Wing Chun at the age of 13 under the Wing Chun teacher Yip Man in 1954, after losing a fight 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.^[23] There was no set pattern to the classes.^[23] Yip tried to keep his students from fighting in the street gangs of Hong Kong by encouraging them to fight in organized competitions.^[24]

After a year into his Wing Chun training, most of Yip Man's other students refused to train with Lee after they learnt of his ancestry (his mother was half Chinese and half Caucasian) as the Chinese generally were against teaching their martial arts techniques to non-Asians.^[25][26] 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".^[27] However, Lee showed a keen interest in Wing Chun, and continued to train privately with Yip Man and Wong Shun Leung in 1955.^[28]

Leaving Hong Kong[link]

After attending Tak Sun School (德信學校) (a couple of blocks from his home at 218 Nathan Road, Kowloon), Lee entered the primary school division of La Salle College in 1950 or 1952 (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.^[29] From all the way to his late teens, Lee's street fights became more frequent and included beating up the son of a feared triad family. Eventually, Lee's father decided for him to leave Hong Kong to pursue a safer and healthier avenue 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^[19]

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[link]

At the age of 18, Lee returned to the United States with $100 in his pocket and the titles of 1957 High School Boxing Champion and 1958 Crown colony Cha Cha Champion of Hong Kong.^[13] 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, Seattle).

In March 1961, Lee enrolled at the University of Washington, majoring in drama according to the university's alumni association information,^[30] not in philosophy as claimed by Lee himself and many others. Lee also studied philosophy, psychology, and various other subjects.^[31][32] 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 (b. 1969).

Jun Fan Gung Fu[link]

Lee began teaching martial arts in the United States in 1959. He called what he taught Jun Fan Gung Fu (literally Bruce Lee's Kung Fu). It was basically his approach to Wing Chun.^[33] Lee taught friends he met in Seattle, starting with Judo practitioner Jesse Glover, who later became his first assistant instructor. Lee opened his first martial arts school, named the Lee Jun Fan Gung Fu Institute, in Seattle.

Lee dropped out of college in the spring of 1964 and moved to Oakland to live with James Yimm Lee (嚴鏡海). James Lee was twenty years senior to Bruce Lee and a well known Chinese martial artist in the area. Together, they founded the second Jun Fan martial art studio in Oakland. James Lee was also responsible for introducing Bruce Lee to Ed Parker, royalty of the U.S. martial arts world and organizer of the Long Beach International Karate Championships at which Bruce Lee was later "discovered" by Hollywood.

Jeet Kune Do[link]

The Jeet Kune Do emblem is a registered trademark held by the Bruce Lee Estate. The Chinese characters around the Taijitu symbol read: "Using no way as way" and "Having no limitation as limitation" The arrows represent the endless interaction between yang and yin.^[34]

Jeet Kune Do originated in 1967. After filming one season of The Green Hornet, Lee found himself out of work and opened The Jun Fan Institute of Gung Fu. A controversial match with Wong Jack Man influenced Lee's philosophy about martial arts. Lee concluded that the fight had lasted too long and that he had failed to live up to his potential using his Wing Chun techniques. He took the view that traditional martial arts techniques were too rigid and formalistic to be practical in scenarios of chaotic street fighting. Lee decided to develop a system with an emphasis on "practicality, flexibility, speed, and efficiency". He started to use different methods of training such as weight training for strength, running for endurance, stretching for flexibility, and many others which he constantly adapted, including fencing and basic boxing techniques.

Lee emphasised what he called "the style of no style". This consisted of getting rid of the formalised approach which Lee claimed was indicative of traditional styles. Lee felt the system he now called Jun Fan Gung Fu was even too restrictive, and eventually evolved into a philosophy and martial art he would come to call Jeet Kune Do or the Way of the Intercepting Fist. It is a term he would later regret, because Jeet Kune Do implied specific parameters that styles connote; whereas the idea of his martial art was to exist outside of parameters and limitations.^[35]

Long Beach International Karate Championships[link]

At the invitation of Ed Parker, Lee appeared in the 1964 Long Beach International Karate Championships^[36] and performed repetitions of two-finger push-ups (using the thumb and the index finger of one hand) with feet at approximately a shoulder-width apart. In the same Long Beach event he also performed the "One inch punch",^[37] the description of which is as follows: Lee stood upright, his right foot forward with knees bent slightly, in front of a standing, stationary partner. Lee's right arm was partly extended and his right fist approximately an inch away from the partner's chest. Without retracting his right arm, Lee then forcibly delivered the punch to his partner while largely maintaining his posture, sending the partner backwards and falling into a chair said to be placed behind the partner to prevent injury, though his partner's momentum soon caused him to fall to the floor. His volunteer was Bob Baker of Stockton, California. "I told Bruce not to do this type of demonstration again", Baker recalled. "When he punched me that last time, I had to stay home from work because the pain in my chest was unbearable".^[38]

It was at the 1964 championships where Lee first met Taekwondo master Jhoon Goo Rhee. The two developed a friendship – a relationship from which they benefited as martial artists. Rhee taught Lee the side kick in detail, and Lee taught Rhee the "non-telegraphic" punch.^[39]

Lee appeared at the 1967 Long Beach International Karate Championships and performed various demonstrations, including the famous "unstoppable punch" against USKA world Karate champion Vic Moore.^[36] Lee told Moore that he was going to throw a straight punch to the face, and all he had to do was to try to block it. Lee took several steps back and asked if Moore was ready, when Moore nodded in affirmation, Lee glided towards him until he was within striking range. He then threw a straight punch directly at Moore's face, and stopped before impact. In eight attempts, Moore failed to block any of the punches.^[40][41]

Fight history[link]

Lee defeated three-time champion British boxer Gary Elms by way of knockout in the third round in the 1958 Hong Kong Inter-School amateur Boxing Championships by using Wing Chun traps and high/low-level straight punches.^[42]

The following year, Lee became a member of the "Tigers of Junction Street," and was involved in numerous gang-related street fights. "In one of his last encounters, while removing his jacket the fellow he was squaring off against sucker punched him and blackened his eye. Bruce flew into a rage and went after him, knocking him out, breaking his opponent's arm. The police were called as a result".^[43] The incident took place on a Hong Kong rooftop at 10 pm on Wednesday, 29 April 1959.^[44]

In 1962, Lee was challenged by a man who had been holding a grudge against Lee while the two were practicing at a YMCA in Seattle.^[45] The man was described by Jesse Glover as a karate man who also had a blackbelt in judo, though Glover, who was a brown belt in judo at the time, claimed to be better than the man in judo.^[45] After weeks^[46] or months^[47] of provocation by the man, Lee agreed to fight the man for three two-minute rounds, with the winner being the one who knocked the opponent down or out in two out of three rounds.^[48] The match took place at YMCA's handball court, with Glover as the referee and Ed Hart as the time keeper.^[48] Lee wore street clothes and used a Wing Chun stance while his opponent wore a gi and used a karate stance.^[48] According to Glover, Lee used his right forearm to deflect an initial kick from the man and simultaneously landed a left punch to the face.^[48] Lee deflected more punches using the forearm, controlling the center line and landed more punches to the man's face until he was against the wall.^[48] The man attempted to grab Lee's arms, which Lee responded by a double fist punch to the face and chest, followed by a kick to the nose, which produced a nosebleed and a knockout, at which time Glover stopped the fight.^[48] Taki Kamura said the fight lasted 10 seconds.^[49] Ed Hart stated "the fight lasted exactly 11 seconds – I know because I was the time keeper – and Bruce had hit the guy something like 15 times and kicked him once. I thought he'd killed him".^[46]

In Oakland, California in 1964 at Chinatown, Lee had a controversial private match with Wong Jack Man, a direct student of Ma Kin Fung known for his mastery of Xingyiquan, Northern Shaolin, and T'ai chi ch'uan. According to Lee, the Chinese community issued an ultimatum to him to stop teaching non-Chinese. When he refused to comply, he was challenged to a combat match with Wong. The arrangement was that if Lee lost, he would have to shut down his school; while if he won, then Lee would be free to teach Caucasians or anyone else.^[43] Wong denied this, stating that he requested to fight Lee after Lee issued an open challenge during one of Lee's demonstrations at a Chinatown theatre, and that Wong himself did not discriminate against Caucasians or other non-Chinese.^[50] Lee commented, "That paper had all the names of the sifu from Chinatown, but they don't scare me".^[51]

Individuals known to have witnessed the match included Cadwell, James Lee (Bruce Lee's associate, no relation), and William Chen, a teacher of T'ai chi ch'uan. Wong and witness William Chen stated that the fight lasted an unusually long 20–25 minutes.^[50] According to Bruce Lee, Linda Lee Cadwell, and James Yimm Lee, the fight lasted 3 minutes with a decisive victory for Lee. "The fight ensued, it was a no-holds-barred fight, it took three minutes. Bruce got this guy down to the ground and said 'do you give up?' and the man said he gave up" – Linda Lee Cadwell.^[43]

Wong Jack Man published his own account of the battle in the Chinese Pacific Weekly, a Chinese-language newspaper in San Francisco, which contained another challenge to Lee for a public rematch.^[50] Lee had no reciprocation to Wong's article, nor were there any further public announcements by either, but Lee had continued to teach Caucasians.

Lee's eventual celebrity put him in the path of a number of men who sought to make a name for themselves by causing a confrontation with Lee. A challenger had invaded Lee's private home in Hong Kong by trespassing into the backyard to incite Lee in combat. Lee finished the challenger violently with a kick, infuriated over the home invasion. Describing the incident, Herb Jackson states,

One time one fellow got over that wall, got into his yard and challenged him and he says 'how good are you?' And Bruce was poppin mad. He [Bruce] says 'he gets the idea, this guy, to come and invade my home, my own private home, invade it and challenge me.' He said he got so mad that he gave the hardest kick he ever gave anyone in his life.^[52]

Bob Wall, USPK karate champion and Lee's co-star in Enter the Dragon, recalled one encounter that transpired after a film extra kept taunting Lee. The extra yelled that Lee was "a movie star, not a martial artist," that he "wasn't much of a fighter". Lee answered his taunts by asking him to jump down from the wall he was sitting on. Wall described Lee's opponent as "a gang-banger type of guy from Hong Kong," a "damned good martial artist," and observed that he was fast, strong, and bigger than Bruce.^[53]

This kid was good. He was strong and fast, and he was really trying to punch Bruce's brains in. But Bruce just methodically took him apart.^[54] Bruce kept moving so well, this kid couldn't touch him...then all of a sudden, Bruce got him and rammed his ass with the wall and swept him up, proceeding to drop him and plant his knee into his opponent's chest, locked his arm out straight, and nailed him in the face repeatedly". – Bob Wall^[55]

Acting career[link]

Bruce Lee in The Kid.

Lee's father Lee Hoi-chuen was a famous Cantonese opera star. Because of this, Lee was introduced into films at a very young age and appeared in several films as a child. Lee had his first role as a baby who was carried onto the stage in the film Golden Gate Girl. By the time he was 18, he had appeared in twenty films.^[13]

While in the United States from 1959 to 1964, Lee abandoned thoughts of a film career in favour of pursuing martial arts. However, a martial arts exhibition on Long Beach in 1964 eventually led to the invitation by William Dozier for an audition for a part in the pilot for "Number One Son". The show never aired, but Lee was invited for the role of Kato alongside Van Williams in the TV series The Green Hornet. The show lasted just one season, from 1966 to 1967. Lee also played Kato in three crossover episodes of Batman. This was followed by guest appearances in three television series: Ironside (1967), Here Come the Brides (1969), and Blondie (1969).

At the time, two of Lee's martial arts students were Hollywood script writer Stirling Silliphant and actor James Coburn. In 1969 the three worked on a script for a film called The Silent Flute, and went together on a location hunt to India. The project was not realised at the time; but the 1978 film Circle of Iron, starring David Carradine, was based on the same plot. In 2010, producer Paul Maslansky was reported to plan and receive fundings for a film based on the original script for The Silent Flute.^[56] In 1969, Lee made a brief appearance in the Silliphant-penned film Marlowe where he played a henchman hired to intimidate private detective Philip Marlowe, (played by James Garner), by smashing up his office with leaping kicks and flashing punches, only to later accidentally jump off a tall building while trying to kick Marlowe off. The same year he also choreographed fight scenes for The Wrecking Crew starring Dean Martin, Sharon Tate, and featuring Chuck Norris in his first role. In 1970, he was responsible for fight choreography for A Walk in the Spring Rain starring Ingrid Bergman and Anthony Quinn, again written by Silliphant. In 1971, Lee appeared in four episodes of the television series Longstreet, written by Silliphant. Lee played the martial arts instructor of the title character Mike Longstreet (played by James Franciscus), and important aspects of his martial arts philosophy were written into the script.

According to statements made by Lee, and also by Linda Lee Cadwell after Lee's death, in 1971 Lee pitched a television series of his own tentatively titled The Warrior, discussions which were also confirmed by Warner Bros. In a 9 December 1971 television interview on The Pierre Berton Show, Lee stated that both Paramount and Warner Brothers wanted him "to be in a modernized type of a thing, and that they think the Western idea is out, whereas I want to do the Western".^[57] According to Cadwell, however, Lee's concept was retooled and renamed Kung Fu, but Warner Bros. gave Lee no credit.^[58] Warner Brothers states that they had for some time been developing an identical concept,^[59] created by two writers and producers, Ed Spielman and Howard Friedlander. According to these sources, the reason Lee was not cast was in part because of his ethnicity, but more so because he had a thick accent.^[60] The role of the Shaolin monk in the Wild West, was eventually awarded to then-non-martial-artist David Carradine. In The Pierre Berton Show interview, Lee stated he understood Warner Brothers' attitudes towards casting in the series: "They think that business wise it is a risk. I don't blame them. If the situation were reversed, and an American star were to come to Hong Kong, and I was the man with the money, I would have my own concerns as to whether the acceptance would be there".^[61]

Producer Fred Weintraub had advised Lee to return to Hong Kong and make a feature film which he could showcase to executives in Hollywood.^[62] Not happy with his supporting roles in the United States, Lee returned to Hong Kong. Unaware that The Green Hornet had been played to success in Hong Kong and was unofficially referred to as "The Kato Show", he was surprised to be recognised on the street as the star of the show. After negotiating with both Shaw Brothers Studio and Golden Harvest, Lee signed a film contract to star in two films produced by Golden Harvest. Lee played his first leading role in The Big Boss (1971) which proved to be an enormous box office success across Asia and catapulted him to stardom. He soon followed up with Fist of Fury (1972) which broke the box office records set previously by The Big Boss. Having finished his initial two-year contract, Lee negotiated a new deal with Golden Harvest. Lee later formed his own company, Concord Productions Inc. (協和電影公司), with Chow. For his third film, Way of the Dragon (1972), he was given complete control of the film's production as the writer, director, star, and choreographer of the fight scenes. In 1964, at a demonstration in Long Beach, California, Lee had met Karate champion Chuck Norris. In Way of the Dragon Lee introduced Norris to movie-goers as his opponent in the final death fight at the Colosseum in Rome, today considered one of Lee's most legendary fight scenes and one of the most memorable fight scenes in martial arts film history.^[63] The role was originally offered to American Karate champion Joe Lewis.^[64]

Bruce Lee's star at the Avenue of Stars, Hong Kong.

In late 1972, Lee began work on his fourth Golden Harvest Film, Game of Death. He began filming some scenes including his fight sequence with 7'2" American Basketball star Kareem Abdul-Jabbar, a former student. Production was stopped when Warner Brothers offered Lee the opportunity to star in Enter the Dragon, the first film to be produced jointly by Golden Harvest and Warner Bros. Filming commenced in Hong Kong in February 1973. One month into the filming, another production company, Starseas Motion Pictures, promoted Bruce Lee as a leading actor in Fist of Unicorn, although he had merely agreed to choreograph the fight sequences in the film as a favour to his long-time friend Unicorn Chan. Lee planned to sue the production company, but retained his friendship with Chan.^[65] However, only a few months after the completion of Enter the Dragon, and six days before its 26 July 1973 release,^[66] Lee died. Enter the Dragon would go on to become one of the year's highest grossing films and cement Lee as a martial arts legend. It was made for US$850,000 in 1973 (equivalent to $4 million adjusted for inflation as of 2007).^[67] To date, Enter the Dragon has grossed over $200 million worldwide.^[68] The film sparked a brief fad in martial arts, epitomised in songs such as "Kung Fu Fighting" and TV shows like Kung Fu.

Robert Clouse, the director of Enter the Dragon and Golden Harvest revived Lee's unfinished film Game of Death. Lee had shot over 100 minutes of footage, including out-takes, for Game of Death before shooting was stopped to allow him to work on Enter the Dragon. In addition to Abdul-Jabbar, George Lazenby, Hapkido master Ji Han-Jae and another of Lee's students, Dan Inosanto, were also to appear in the film, which was to culminate in Lee's character, Hai Tien (clad in the now-famous yellow track suit) taking on a series of different challengers on each floor as they make their way through a five-level pagoda. In a controversial move, Robert Clouse finished the film using a look-alike and archive footage of Lee from his other films with a new storyline and cast, which was released in 1978. However, the cobbled-together film contained only fifteen minutes of actual footage of Lee (he had printed many unsuccessful takes)^[69] while the rest had a Lee look-alike, Kim Tai Chung, and Yuen Biao as stunt double. The unused footage Lee had filmed was recovered 22 years later and included in the documentary Bruce Lee: A Warrior's Journey.^[70]

Apart from Game of Death, other future film projects were planned to feature Lee at the time. In 1972, after the success of The Big Boss and Fist of Fury, a third film was planned by Raymond Chow at Golden Harvest to be directed by Lo Wei, titled Yellow-Faced Tiger. However, at the time, Lee decided to direct and produce his own script for Way of the Dragon instead. Although Lee had formed a production company with Raymond Chow, a period film was also planned from September–November 1973 with the competing Shaw Brothers Studio, to be directed by either Chor Yuen or Cheng Kang, and written by Yi Kang and Chang Cheh, titled The Seven Sons of the Jade Dragon.^[71] Lee had also worked on several scripts himself. A tape containing a recording of Lee narrating the basic storyline to a film tentatively titled Southern Fist/Northern Leg exists, showing some similarities with the canned script for The Silent Flute (Circle of Iron).^[72] Another script had the title Green Bamboo Warrior, set in San Francisco, planned to co-star Bolo Yeung and to be produced by Andrew Vajna who later went on to produce First Blood.^[65] Photo shoot costume tests were also organized for some of these planned film projects.

Physical fitness and nutrition[link]

Physical fitness[link]

Lee was renowned for his physical fitness and vigorous, dedicated fitness regimen to become as strong as he possibly could.

After his match with Wong Jack Man in 1965, Lee changed his approach toward martial arts training. Lee felt that many martial artists of his time did not spend enough time on physical conditioning. Lee included all elements of total fitness—muscular strength, muscular endurance, cardiovascular endurance, and flexibility. He tried traditional bodybuilding techniques to build bulky muscles or mass. However, Lee was careful to admonish that mental and spiritual preparation was fundamental to the success of physical training in martial arts skills. In Tao of Jeet Kune Do, he wrote

Training is one of the most neglected phases of athletics. Too much time is given to the development of skill and too little to the development of the individual for participation. ... JKD, ultimately is not a matter of petty techniques but of highly developed spirituality and physique.^[73]

The weight training program that Lee used during a stay in Hong Kong in 1965 placed heavy emphasis on his arms. At that time he could perform single biceps curls at a weight of 70 to 80 lb (about 32 to 36 kg) for three sets of eight repetitions, along with other forms of exercises, such as squats, push-ups, reverse curls, concentration curls, French presses, and both wrist curls and reverse wrist curls.^[74] The repetitions he performed were 6 to 12 reps (at the time). While this method of training targeted his fast and slow twitch muscles, it later resulted in weight gain or muscle mass, placing Lee a little over 160 lb (about 72 kg). Lee was documented as having well over 2,500 books in his own personal library, and eventually concluded that "A stronger muscle, is a bigger muscle", a conclusion he later disputed.^[75] Bruce forever experimented with his training routines to maximise his physical abilities and push the human body to its limits. He employed many different routines and exercises including skipping rope, which served his training and bodybuilding purposes effectively.^[76]

Lee believed that the abdominal muscles were one of the most important muscle groups for a martial artist, since virtually every movement requires some degree of abdominal work. Mito Uyehara recalled that "Bruce always felt that if your stomach was not developed, then you had no business doing any hard sparring". According to Linda Lee Cadwell, even when not training, Lee would frequently perform sit ups and other abdominal exercises in domestic living throughout the day, such as during watching TV. She said of Lee, "Bruce was a fanatic about ab training. He was always doing sit-ups, crunches, Roman chair movements, leg raises and V-ups".^[77]