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MOOK
JONG HISTORY
According
to legend, the Shaolin Temple had a tunnel or hallway filled
with 108 wooden dummies. Graduating monks had to pass through
this hall accomplishing specific sets on each dummy as their
final test before leaving the Temple.
When
the Manchus raided and destroyed the Temple, the Nun Ng Mui
escaped with the pooled knowledge of the Grandmaster’s. She
is credited with developing the Wing Chun system and in honor
of the Temple she developed a single dummy training set containing
108 combat techniques.
The
historicity of this legend has been, and continues to be a
topic of debate. Since history can never amount to more than
a high degree of probability based on the information available,
the choice of belief or disbelief becomes an individual matter.
Whether this story is fact or fiction is irrelevant to the
proven fact, which is the value of wooden dummy training!
The
wooden dummy or Mook Jong we see today is different in appearance
from its predecessors. When the late Grandmaster Yip Man was
ready to teach this aspect of Wing Chun to his first students
there was no dummy available. The prototype for all the Wing
Chun dummies seen today was built in Hong Kong in the basement
of Grandmaster Cheung and his two brother’s boyhood home.
When
the dummy was completed it was brought to Yip Man, but it
was not built the same as the dummies of the past. Appreciating
the effort of his young students, Yip Man decided to make
due with the dummy they had built. Since that time countless
dummies have been built after this same pattern.
DUMMY
TRAINING BENEFITS
As
stated before there are 108 combat techniques for the wooden
dummy as well as 16 training techniques for kicks and leg
blocks in the wooden dummy training sequence. The techniques
of the wooden dummy will develop timing, accuracy, mobility
through proper footwork, speed, correct application of force,
correct understanding of distance and coordination while enhancing
reflexes and toughening the forearms and striking weapons
for punishing blocks and strikes.
Footwork is improved by moving in and out, and laterally around
the leg of the dummy. Since Wing Chun does not fight force
with force, this aspect of the footwork training is an essential
element to avoiding force and obtaining a position of advantage.
Speed is developed through repetition of the techniques imbedding
them in the neural path so that they become natural reflex
actions. This also improves timing and aids in the development
of power through the proper application of force. Accuracy
is enhanced through proper body position. While using the
dummy the hand movements trained in Shil Lim Tao, Chum Kil
and Bil Jee are employed affording the practitioner the ability
to use both arms simultaneously for attack and defense.
Since
all of the combat techniques of Wing Chun come from the wooden
dummy set, this aspect of Wing Chun training is an essential
element for the correct understanding of the system and application
of techniques. One benefit that should not be overlooked when
considering dummy training is the availability of practice
partners. The average martial artist will spend at least 80%
of their practice time alone. Practice on the wooden dummy
is one excellent way to maximize the benefits of solo training.
METHODS
OF DUMMY SET TRAINING
There
are three methods of training the techniques of the wooden
dummy, each an essential part of the students acquisition
of skill.
- Training
the techniques on the dummy developing the proper form and
use of footwork, eye hand co-ordination and balance.
- Practicing
the individual techniques with a partner in order to learn
to use them for both combat and sparring application.
- Practicing
in the air as a form. This is an excellent way to practice
when a dummy is not available. And also improves balance,
coordination and flow.
TECHNIQUE
SETS OF THE WOODEN DUMMY
Wooden
dummy training is for intermediate to advanced students. In
Traditional Wing Chun students from grade 5 to grade 10 are
tested on their knowledge and ability to perform the prescribed
technique sets of the wooden dummy. The wooden dummy set is
comprised of 13 sub- sets; each of these sets except one end
with a kan sao and arm break sequence.
One
important point to note is that although each of the techniques
in the dummy set has a specific application, the dummy set
is representative. There are many ways to employ each of these
techniques. For example set 6 begins with right jut sao to
right bil sao and another right jut sao. This technique specifically
deals with a right, left, right combination, however without
changing the technique it would work just as well against
a left jab, left hook, right cross combination.
The
1st set trains entry technique with the opponent
stationary followed by huen sao, lop sao, jut sao and high
palm, simultaneous fook sao, low palm and stomp to the knee.
Followed by kan sao, bon sao, tan sao and low palm, kan sao
huen sao, high palm and arm break.
The
2nd set is a mirror of the first with 4 small changes.
The first set trains the entry technique with the opponent
stationary. This set trains the entry with the opponent retaliating
with a cross. The knee stomp is omitted in this set and in
place of the bon sao a quan sao technique is used. The last
change is jut sao and low palm strike instead of high palm
before the arm break.
The
3rd set begins with right pak sao, left pak sao,
right pak and fut sao, jut sao, tsuen sao, lop sao, side palm,
jut sao and low punch. Then moving to the other side with
pak and fut sao, jut sao, tsuen sao, lop sao and side palm,
jut sao low punch ending with a kan sao, palm strike and arm
break sequence.
The
4th set begins with right low bon sao, pak sao,
bil jee, right side kick, left kan sao, left low bon sao,
pak and bil jee, left side kick, right kan sao palm strike
and arm break sequence.
The
5th set begins with double upward tan sao’s, followed
by three huen sao’s, right jut sao and low wu jeung. Now the
sequence is repeated with a high wu jeung followed by double
huen Sao’s, po pai jeung low and high, double jut sao and
double upward palms. This is the only set that does not end
with the kan sao and arm break sequence.
The
6th set begins with right jut sao, bil sao jut
sao, huen sao and left wu jeung, right quan sao, po pi jeung,
left kan sao, left bon sao, po pi jeung ending with kan sao,
palm strike and arm break sequence.
The
7th set begins with three-kan sao’s in a left right
left succession. Upon completion of the third kan sao a left
sweep kick is delivered to the side of the dummy leg. Next
we have double upward palms and left front kick, a left gum
sao and left stomp to the knee. Now the process is repeated
on the other side with one kan sao and a right sweep kick,
double upward palm and right front kick, gum sao and right
side stomp kick, kan sao, huen sao, palm strike and arm break
sequence.
The
8th set begins with a right bon sao; right lop
sao and left elbow strike followed by left side palm strike,
left jut sao and low punch. Next we execute a left kan sao,
left bon sao, left lop sao and right elbow strike, right side
palm, right jut sao and low left punch. The set ends with
a right kan sao; huen sao, palm strike and an arm break sequence.
The
9th set begins with three low bon sao’s in a left
right left succession followed by left tan sao, left huen
to jut sao and right low palm strike. Next is a right lop
sao left side palm to the throat followed by left jut sao
while executing simultaneous right high palm strike and right
leg sweep. The entire sequence is repeated this time beginning
with two low bon sao’s left then right. After the left palm-strike
and foot sweep the set concludes with a right kan sao, huen
sao, palm strike and arm break.
The
10th set begins with a left gum sao to a left tarn
sao, huen sao, jut sao and right low palm. Next is right lop
sao and left side palm followed by left jut sao and right
high palm strike. The entire sequence is repeated on the right
side and ends with a right kan sao, huen sao palm strike and
arm break.
The
11th set begins with three bil sao’s in a left
right left succession followed by right tsuen sao, right jut
sao and left side-palm, left jut sao and high right palm-strike.
The sequence is repeated on the other side beginning with
two bil sao’s starting with the left. After the high left
palm strike the sequence is completed with a right kan sao,
huen sao palm strike and arm break.
The
12th set is a mirror of set 6 ensuring ambidextrous
skill, which is a must in Wing Chun.
The
13th set is similar to set 7. The set begins with
three kan sao’s in a left right left succession followed by
double upward palms and a left front kick, left gum sao and
a left scrapping kick to the shin. The techniques are repeated
on the other side with a right kan sao, double upward palms
and right front kick, right gum sao and right scrapping kick
to the shin. The set ends with a right kan sao, huen sao,
palm strike and arm break. Completing the 108 wooden dummy
training sequence of Traditional Wing Chun.
In
closing I would like to say that without the aid of a competent
instructor learning the intricate details of this set is an
impossible task. It is one thing to mimic the movements and
give intellectual ascent to the techniques. It is quite another
matter to truly grasp in depth the profound merit of this
unique training set!
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