RELAX AND LEARN TRADITIONAL
WING CHUN'S SHIL LIM TAO FORM
By Si Fu Robert Shores Student of Grand Master William Cheung

Relax and learn. This statement seems so simple, yet it is difficult for most people. Since I have been teaching Wing Chun I have found that a great deal of time is generally spent with each student teaching correct body alignment and correcting poor postural habits. In general this can be attributed to laziness, injuries or low self esteem. Whatever the case, improper posture causes undue tensing of muscles in turn retarding the development of the student.

Traditional Wing Chun is an Internal System of martial art. At the core of all Internal Systems is posture. Correct anatomical alignment with the earths gravitational pull when still or in motion. "Movement in Stillness and Stillness in Movement". We see this applied in Shil Lim Tao form. Shil Lim Tao is the first form of Wing Chun Kung-Fu and the foundation upon which all technique is built. Whenever a practitioner has a question regarding Wing Chun the answer can he found in the form.

When Shil Lim Tao is performed with correct breathing, alignment and at the proper speed it teaches the student how to draw power from the ground through the center of ones being and into an opponent with lethal accuracy and minimal effort! Relaxing is essential to achieve this end. Tensing of muscles restricts speed and diminishes tactile sense. Touch or Contact Sensitivity is an integral part of the Wing Chun System that is refined in Chi Sao practice yet the movements are learned in Shil Lim Tao. Nearly all of the hand movements for Chi Sao training come from Shil Lim Tao. Shil Lim Tao (the little idea form) is generally acknowledged as the basics. Although this is true, Shil Lim Tao goes far beyond mere basics, like a deep well of fresh water, this form defines and refines the basis of the entire system. Mind/Body unity are taxed for the beginner as they learn how to focus the mind on more than one thing at a time developing independent movement of the limbs.

Shil Lim Tao begins by standing straight and focused with the teeth closed together and the tongue touching the upper palette. Now both hands swing upward to eye level, the palms are facing down. Next the the fists are closed by curling the fingers tightly together and placing the thumbs over the first finger of each hand. Then the hands are turned palm up and drawn high and back to the sides of the body, being careful not to touch or rest on the body. Next the center of gravity is lowered by bending the knees. The Neutral Stance is introduced at this point. The stance is performed by first transferring the weight to the right foot and circling the left foot forward in a semi circle and back to parallel with the right foot slightly wider than the shoulders. Then the weight is transferred to the left foot and the right foot makes semicircle by moving to the left foot and then continuing forward and back to it's original position completing the commencement.

This Neutral stance is maintained throughout the form without moving in order to train habitually correct posture and strengthen the legs. The Neutral Stance is the basis for all footwork in Wing Chun. The circular movements in the commencement teach the practitioner how to transfer weight properly when moving and can be used defensively to protect against low kicks or sweeps. This stance stimulates the Chi flow of the legs from the pressure points in the feet. Weight is maintained at a 50/50 distribution providing both stability and mobility in any direction. The torso is upright with the head balanced between the shoulders. The shoulders are directly above the hips. The knees are are bent and pulled in slightly. The stance is slightly wider than the shoulders. The feet are parallel. This brings the practitioner in line with gravity, balanced and loaded like a spring. The posture is very stable and reminiscent of the Eiffel Tower.

As the hands come into play the first order of business is to describe the Central Line. The Central Line is an area defined by the ability of the practitioner to cross the wrists at the lower, middle and upper gates without moving the waist. Where this can be done the practitioner has the ability to use two hands simultaneously for attack and defense.

After describing the Central Line the fists are closed by curling the fingers tightly together and placing the thumb over the first finger. Next the hands are pulled high and back with the fists closed. The fists are held palm up and not touching the body, this requires focus. Now one hand is moved at a time yet focus is maintained on both. Always starting with the left first and then the right since most people are right handed this insures ambidextrous training. It is vital to correct Wing Chun to be equally skilled both left and right.

The next movement is the Wing Chun punch. Starting with the left hand the Wing Chun punch is performed by bringing the left fist to the center line. Next the elbow is brought to the center behind the fist, this is the starting position for the punch. From this position the punch is driven out from the tricep maintaining a linear path to the target. Once the punch has been fully extended a locked elbow Lao Sao ( slipping hand ) is performed by opening the hand palm up, bending at the wrist and rotating the wrist 360 degrees. As this is done the wrist makes a small circle approximately 4 inches in diameter. This circulation of the wrist is very important. If only the hand rotates and not the wrist the Lao Sao will not work. This technique completely disengages contact with the opponent as it circles around the arm, unlike a Huen Sao which maintains contact and pushes the arm to another position. After the Lao Sao the fist is closed again and drawn back to the side while these movements are repeated on the right side.

The next section of Shil lim Tao is performed very slowly. Starting with Tan Sao (palm up block). Tan Sao is performed by first opening the hand ( left of course) once the hand is fully open the fingers are held packed together with the thumb tucked in. This packing of the fingers insures there safety as all the fingers reinforce each other. Now the hand is brought out slowly crossing the center with the palm and then moving up and forward along the center line as the elbow comes in behind. Tan Sao is complete when the palm is about face level the humorous bone is parallel to the ground and the forearm is held at a 45 degree angle upward from the elbow. A common error is to bend the wrist so the palm is parallel with the ground. When Tan Sao is performed correctly the forearm and hand are in line from the elbow to the fingers. This technique is used to defend the upper gate against straight or round punches, front, side and round kicks, and is a basic hand position for single and double hand Chi Sao training.

Tan Sao is followed by a bent elbow Lao Sao to a Wu Sao (protecting hand) position. The Wu Sao is drawn back along the center line slowly until the hand is just in front of the face. It is important to keep the elbow out away from the body during Wu Sao, this allows an opponents energy to escape. If the elbow is held in, any force against the Wu Sao will be directed into the body. The Wing Chun Guard position is comprised of two Wu Sao's one extended while the other is held near the elbow of the lead hand.

Next we prepare for Fook Sao ( bridge on arm ) by relaxing the wrist and hand over the center line and lowering them to about solar plexus height. The thumb is placed against the first and second finger as the hand is pushed forward along the center line the elbow comes in behind the wrist along the center. The angle of the hand is extremely important here. If the hand is held little finger side parallel to the ground, an opening is created for an opponent to get through. It is imperative to hold the hand at an angle keeping the elbow in as far as possible. When this is done correctly it creates a channel directing force away from the practitioner. The Fook Sao continues out until the hand is approximately chin level. Fook Sao is also a basic hand position for single arm Chi Sao parallel arm, and double arm Chi Sao.

Fook Sao is followed by a Huen Sao which pushes the arm to another position and then returns back to Wu Sao, Fook Sao, and again Huen, Wu, Fook .

After the third Fook Sao, Huen Sao and Wu Sao a Pak Sao ( slap block) is delivered at face height 45 degrees across the body. This Pak Sao is used to defend the upper gate against straight or round punches, it can also be used against high kicks but generally is supported by a Tan Sao or Fut Sao (swinging arm) when this is done.

The Pak Sao technique is followed by a (vertical palm) Wu Jeung , which is performed by pivoting the forearm from the elbow's position upon completion of the Pak Sao back to the center and then driving out from the tricep. This is followed by a locked elbow Lao Sao and then the hand is drawn back to the side. Now the process is repeated on the right side. Each of these techniques is used in Chi Sao as well as combat.

The next section begins with a left Gum Sao ( pinning hand ), which remains in place while executing a right Gum Sao. This technique is used for defense against a kick. Then both hands are drawn back and behind for a rear Po Pai Jeung ( double palm strike). Next both hands are brought up in front of the body for a forward Po Pai Jeung. This is used for a defense against a bear hug although the order of the technique is reversed in application.

Now both arms bend at the elbow as the hands move in toward the body left over right with the forearms parallel to the chest preparing for Double Fut Sao (Swinging hand ). , followed by double Tan Sao. Double Jut Sao (jerk hand), Double Bil Gee ( thrusting fingers) , double Gum Sao in the center and double Tarn Sao (bounce off arm) all of these techniques can be used in Chi Sao, as well as actual combat.

The next set begins with a variation of Pak Sao in close to the shoulder and Wu Jeung performed on both sides. Next we have Tan Sao, Gan Sao, Tan Sao, Huen Sao, Wu Jeung and locked elbow Lao Sao performed on each side. This set works against combinations of high and low attacks either hands or feet.

The next set teaches Bon Sao, Tan Sao and reverse palm strike and locked elbow Lao Sao performed on each side. This rotation between Bon Sao and Tan Sao is used in Single hand Chi Sao parallel arm, Double hand Chi Sao and actual combat.

The last sequence is for defense against wrist grabs using four low Bil Sao's starting with the left, followed by three punches left followed by a right and the right remains out as another left is delivered. Now we perform simultaneous locked elbow Lao Sao's close the fists and bring them back to the high tucked back position. From this position the left foot is brought to the right while the knees remain bent and the hands are opened and turned palm down. Last the hands are pressed downward as the legs are straightened. Completing Shil Lim Tao.

Through out Shil Lim Tao breathing is performed through the nose both in and out as the tongue is held against the pressure point on the ridge of the upper palette with the teeth closed together. The saliva is swallowed which nourishes the body and keeps the throat wet. Breathing should be normal. As when eating, the body will adjust the breath naturally to meet its needs.

The focus of the eyes is straight ahead. The eyes are intimately connected to the Chi, therefor proper focus of the eyes aids in directing the Chi flow to each technique. The techniques of Wing Chun are Driven from the elbow, so Shil Lim Tao trains the student to direct Chi out to the elbow. As stated earlier even when retracting a hand as in Wu Sao the energy is still directed out and forward through the elbow. The Fingers are always supporting each other with the thumb tucked in at all times this both protects the fingers and helps focus the energy to its target.

In closing I want to point out that the greatest benefits of Shil Lim Tao come from prolonged practice on a daily basis. Often martial artists tend to put form on the back burner and desire what appears to be the meat. The more elaborate, intricate, flashy, or fun moves. This is truly a mistake no matter what style you may practice. In Wing Chun in particular the art stems from the form. Shil Lim Tao, is more than a form, it's a way of life for the Wing Chun practitioner.