LUK DIM POON KWAN

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by
MOYYAT
 Copyright© 2000
MQYYAT

All rights reserved. No book may not be reproduced in

whole or in part, or transmitted in any form, without
written permission from the publisher, except by a
reviewer, who may quote brief passages in a review;
nor may any part of this book be reproduced, stored in
a retrieval system, or transmitted in any form or by
means electronically, mechanical, photocopying,
recording, or other, without written permission of the
publisher.

Published by MoyYat Ving Tsun Kung Fu

45 East Broadway 6th Floor
New York, NY I 0002

First Edition
Aug. 2000

Library of Congress Catalog Card Number: #

ISBN

Cover design: William Moy

Photos: King Ng
Text design and layout: Winners Sports®

J
 DEDICATION

Helen, I have been so stubborn to continue my

career. I make this book with your love and your time.
If the readers wish to give any credit, it should belong
to you. Forgive me for using my name as the author. I
will feel guilty just as much as I will enjoy the book.

Love Always,
YourMoyYat
1999 June 28
HELEN MOY MOYYAT
CONTENTS
CHAPTER

ACKNOWLEDGMENTS

FOREWARD II

1. HISTORY OF
THE LUK DIM POON KWAN 1

2. LEARNING
THE LUK DIM POON KWAN 5

3. HOW TO PERFORM JIN TSUI 8

4.BIUKWAN 12

5.CHIKWAN 17

6. NATURE OF
LUK DIM POON KWAN .24

CONCLUSION 35
 ACKNOWLEDGEMENT

My deepest appreciation to the following people who

contributed, directly or indirectly, to this book: my family,
Helen, Vieven, William, and Viva, for their love and support;
my past and present students, who helped me more than they
will ever know; my disciples, for their friendship and support;
and my teacher Yip Man who lit the way and on whose
shoulders I stand.
Special thanks to Kevin Martin, whose persistence and
dedication to this book made it possible to complete.
Deep appreciation to Elizabeth and William Moy for
designing the cover, King Ng and John Tsang for all the
photography, Chi Nam Kwong for his continuous assistance in
my projects art work, Dr. Raymond Yau for his graphic design
input, Carlo J. Punturiero for long hours of typing and revising
each edition with care and patience. Also, Students who
volunteered their time and effort in editing: Miguel Hernandez,
Kevin Martin, Blaine Bereket, S. King Ng, Philip and Karen
Vedova; assistants, Pete Pajil, Leo Imamura, Thomas Kagan,
Frederick P. Glenn, Dicky Chau and Joseph Rizzotto.
Finally, every book I write reflects the support,
patience, and advice of my senior students: Jeffrey Chan,
Sunny Tang, Henry Moy, Lee Moy Shan, and Micky Chan.
I also want to thank the following people who helped
me produce this book.

Alex Bruskin
Jim Chen
Joseph Rizzoto
Joseph "J.P." Hayes
Kevin Martin
Leo Imamura
Miguel Hernandez
Pete Pajil
Tom Kagan
序言

，須具天時，地利，人和等
。天是指天時，時機，
：點半棍的師父傳授幸l
h 確切完成詠春基本
，如套路小念頭，尋橋和標
具備了上述條件，是為天時巳

曾紹基打字－九九年九月吉且
 FOREWARD
"Master the art o/Ving Tsun Luk Dim Poon Kwan and even a
worthless stone can be transformed into pure gold!"

A VING TSUN practitioner always seeks a complete

knowledge of the style. For the first two years or so, the
student builds a foundation by learning the three forms, Sil
Nim Tao, Chum Kiu, and Bil Jee. Then, to refine the hand
positions and make the techniques more precise, one studies
the wooden dummy (Muk Yan Jong). Also, Chi Sao is
practiced during this period, introducing many new techniques
as well as improving sensitivity and balance. As this training
continues, the student practices often and begins to enjoy a
relaxed mastery of the basic forms and exercises, hoping to
advance further and ultimately, to learn everything about the
Ying Tsun system.
This desire increases as the student continues playing
the forms and the wooden dummy resultirig in the forms,
techniques and exercises becoming easier to perform. As we
refine our kung-fu, we develop sensitivity and relaxation
which are the beginnings of what is often called inner power.
To enhance this quality, the practice of Sil Nim Tao must be
given further attention. However, the concept of inner power
and its relationship to the amount of kung-fu one has, are
general concepts.
At some point a student will ask, "how do I make my
punch stronger?" The only way is to practice a technique
called Biu Kwan (thrusting pole). But Biu Kwan is not a

ii
supplementary exercise, which exists only for this ulterior
purpose. Instead, it is part of a four-phase study of the Ving
Tsun weapon known as Luk Dim Poon Kwan (6 Yi points
pol~). Luk Dim Poon Kwan, like other elements ofVing Tsun,
needs to be studied completely and for its own sake, not as a
means to some other end. Since every serious student of Ving
Tsun will want to obtain this complete understanding of the
Luk Dim Poon Kwan, I have written this book as a guide.
No one officially appointed me to write this book, and
in fact, I have waited many years for someone else to provide
this knowledge for the Ving Tsun students; however, no one
has come forward. Although knowledge of the Luk Dim Poon
Kwan probably exists in some quarters, I feel it is necessary to
share my knowledge in order to communicate it to the Ving
Tsun family.
I write this book not to prove others incorrect, and not
to raise myself up as an authority on this topic. On the
contrary, I am only one step ahead of you on the Ying Tsun
road. If this book helps you, the credit is yours, because only
you, who have trained hard and well, are ready to fully benefit
from this book. Again, I have waited a long time hoping that
someone with adequate knowledge and the necessary material
resources would provide you with the book you deserve. Now
I offer you this book without a golden cover, confident that you
will recognize and profit from the treasures that are contained
within the binder.

Moy Yat
LUK DIM POON KW AN

1
HISTORY OF THE LUK DIM POON
KWAN
"Understand the roots and you will understand all of its
blossomings!"

The origin of the Kwan is shrouded in legend. Like

many legends, these stories probably contain a kernel of truth.
According to tradition, the old masters of Ying Tsun traveled
up and down the Yangtze River performing operas. These
grandmasters were proficient singers, dancers, fighters and
acrobats. They also became expert bone doctors fixing the
numerous fractures which were sustained during their
performances.
The grandmasters traveled in red boats, propelling
them with a long pole that they pushed against the river
bottom. The pole had to be thick on one end so it could be
grasped firmly, and thin on the other end so that it would bore
into the river bottom and not slip. The smoothness of the
Kwan prevented the pole from getting stuck in the mud. Thus,
the essential features of the Luk Dim Poon Kwan, its length,
tapering shape and smooth surface, were born of necessity on
the Yangtze River. However, the grandmasters would not have
adopted the Kwan for use in their system had it not been
perfectly suited for such use. Only by training with the Kwan

1
HISTORY

can the punch be made truly powerful and only a pole of

considerable length can fully protect the center-line.
Another legend seeks to explain the peculiar stance
known as Jin Ma, which is used in certain phases of training
for the Luk Dim Poon Kwan. This stance is squarer and lower
than the other Ying Tsun stances, prompting the notion that Jin
Ma was borrowed from another style. There may well have
been an exchange, with Ying Tsun obtaining the new stance Jin
Ma, and another style incorporating Sil Nim Tao into their
system.
The Grandmasters reached out to enrich the Ying Tsun
system. By borrowing an implement from their daily lives (the
Kwan) and perhaps sharing with their kung-fu cousins, the
grandmasters fused these components into the complex
movements and exercises pertaining to the Luk Dim Poon
Kwan. Despite its eclectic origins, the Luk Dim Poon Kwan
phase of training fits seamlessly with the rest of the Ying Tsun
system, a credit to the genius of the grandmasters. Sometimes
however, these pioneers of the Ying Tsun style were reminded
of the Luk Dim Poon Kwan functional origins. For instance,
no one could play the Kwan better than Leung Yee Tai, simply
because no one was as capable as he was of propelling the red
boat with powerful strikes using the Luk Dim Poon Kwan.
During Yip Man's day, almost no one practiced the
Luk Dim Poon Kwan. Usually Yip Man taught it on a tea table
with chopsticks. In 1966 Moy Yat and Yip Jing practiced Chi
Kwan on Lung Chang Road in front of many spectators. This
was an extremely rare exhibition of an exercise few had ever
seen, and fewer understood.
The following anecdote should illustrate how scarce
knowledge of the Kwan is, even in Ying Tsun circles. In 1966,
in Tsui Shiang School, we had a meeting to organize the Ying
Tsun Association. Someone placed a Kwan in the middle of
the hall and at first, no one would touch it. Then someone
picked it up and cautiously began performing what he thought
to be the correct form. Actually it was a basic exercise. In a
2
 LUK DIM POON KWAN

' short while many began to come up and imitate what they had
seen, not wanting to be thought ignorant. Before long, almost
everyone in the hall had demonstrated his ignorance of the Luk
Dim Poon Kwan, much to the amusement of the handful who
actually possessed this knowledge.

HOW TO MAKE THE KWAN

AND CARE FOR IT

''Although a sword is sharp, without frequent use on the grind

stone, it will become dull!"

To make the Kwan, first you have to find the best

wood, Kwan Dean wood from Singapore. The wood for the
Kwan should be eight and a half feet long and two inches
square in width. When you finish shaping the Kwan, it should
be round and tapered, like the tail of a mouse. Hence, the
nickname for the Kwan "shie mei kwan" (m()use tail pole). The
head of the Kwan should be one and a half inches in diameter
and the narrower end should be one inch. The best way to store
the Kwan is to hang it vertically. This preserves its straightness
much better than if it is laid on its side on the ground.

~ ..~.,~.f·:~n...-::-:~.~::wi.._

Usually the best person to make a Kwan is also a dim

ching yan (scale maker), preswnably because their craft
demands precision and accuracy. Yip Man had a pair of Luk
Dim Poon Kwan made by aching maker and later, Yip Jing
gave the Kwans to Moy Yat. When Moy Yat moved to the
United States, he left the two Kwans with his students in Hong
3
HISTORY

Kong. Some final words: Make sure to hang the Kwans

indoors on a surface that is very smooth. You should always
make the Kwans in sets of three: two for practicing Chi Kwan
with a partner, and one good Kwan to play the Luk Dim Poon
Kwan form.

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4
LEARNING

2
LEARNING THE VING TSUN LUK DIM
POON KWAN
"The journey is to be exalted, not the treasure at the end!"

A student of Ying Tsun kung fu learns to use two

weapons, the Long Pole and the Knives. The intent of this
book is to explain the correct way of learning and playing the
first of these weapons, the Luk Dim Poon Kwan (Long Pole).

The use of the Luk Dim Poon Kwan is learned in four

phases:

Phase 1: Jin Tsui (battle punches)

Phase 2: Biu Kwan (thrusting pole)

Phase 3: Chi Kwan (sticking pole)

Phase 4: Luk Dim Poon Kwan (6 Yi Points Pole Form)

However, few ever reach this level of Ving Tsun

training or have studied the Luk Dim Poon Kwan to know how
to play it in the correct manner. One reason so few possess this
knowledge is that Yip Man moved frequently during his years
in Hong Kong (1949-72). Given their busy lives and the
5
LUK DIM POON KWAN

difficulties of transportation, many of Yip Man's students had

to postpone or abandon their training as he moved from Yau
Ma Ti to Sham Shui Po and from there to Mong "Kok. Today
the same problem exists. Even though a Sifu may stay in one
place for some time, the training of many students succumb to
such pressures as career, education and family.
Thus, for those who have not attained a solid
foundation, the study of Luk Dim Poon Kwan would not be
possible. A firm understanding of the three forms and the
wooden dummy is essential prior to studying the Luk Dim
Poon Kwan. Those who have been fortunate enough to build
such a foundation and to actually study the long pole encounter
another difficulty. Because few such individuals exist, they
often had trouble finding others of equal skill with whom to
practice. As in other phases of Ying Tsun training, without a
partner one cannot learn to play the Luk Dim Poon Kwan
correctly.

THE CORRECT STEPS IN LEARNING THE

LUK DIM POON KWAN
"Rome was not built in a day!"

Even though Ving Tsun is a very simple system and

can be learned in a relatively short period. It still takes time to
develop and master your Kung-Fu!
First, finish the three forms and the wooden dummy.
Then play Jin Tsui. The student should wait at least six months
after finishing the wooden dummy form before beginning to
play Jin Tsui. The student should not stop practicing the three
forms and the wooden dummy once the Jin Tsui training has
started.
Training the Jin Tsui should continue for about two
years. After this, one begins Biu Kwan and practices it for six
months. Chi Kwan follows and should be played for at least
one year. One must find a partner at the same level with whom
to play Chi Kwan. It should be stressed that at no point should
6
LEARNING

one discontinue practicing the three forms or the wooden

dummy.

''Always remember, the advance techniques are simply the

basic techniques mastered!"

Finally, play the Luk Dim Poon Kwan form until it

becomes second nature and overall proficiency is attained.

7
 3
HOW TO PERFORM JIN TSUI
(BATTLE PUNCHES)
"When facing your opponent with your side,
your shoulder becomes your centerline!"

The use of the Luk Dim Poon Kwan is

learned in four stages. The first of these stages is
called Jin Tsui, which means "Battle Punches". The
purpose of Jin Tsui is preparation for the Luk Dim
Poon Kwan.
Jin Tsui is performed without the kwan, but is
crucial in learning to use it properly. This exercise
employs the Jin Ma stance, which combined with Biu
Kwan, allows one to deliver a powerful strike to an
opponent's mid-section. This is because as the Jin Ma
stance is low, the kwan will also be aimed low despite
the fact that it is thrusted (Biu Kwan) at shoulder level.
Also, Jin Tsui provides the stance training needed to
deliver Biu Kwan with unwavering focus. Unless
one's Jin Ma is strong, one cannot deliver a
concentrated strike with the heavy kwan without a
solid foundation.
To perform the exercise, adopt a Jin Ma
stance and face right. Generally speaking, one
advances and retreats along the same line, always
facing to the right (in the direction one advances)
whether one is advancing or retreating.

8
PERFORMING TIN TSUI

{side view)

Simultaneously, one delivers alternating right

and left punches, which are carefully coordinated with
the stepping. It should be noted that punching power
is not generated from the arm, which is punching, but
from the alternate arm as it is simultaneously pulled
back to a chambered position. The object is to punch
with maximum power without disturbing one's
balance. To begin Jin Tsui, the practitioner advances a

9
LUK DIM POON KWAN

full-step forward with the right leg, assuming the Jin

Ma stance, and punches to the right with the right
hand. Next, punch with the left hand, (while
chambering the right hand) simultaneously advancing
a half-step with the left rear leg. Then punch with the
right hand while chambering the left hand. Repeat
this cycle by stepping forward with the right foot and
then punching with the left hand (chambering the
right) simultaneously advancing a half-step with the
rear leg, then punching with the right hand while
chambering the left hand. Continue repeating these
steps to advance your position.
Jin Tsui is rather unique in that it is the only
Ying Tsun exercise in which retreating is an inherent
feature. To retreat, reverse the motions described
above in the following manner. After ending your
forward advancing with the right hand extended, you
then must punch with your left hand (chambering your
right) before beginning to retreat backwards. To begin
retreating, take a step back with your left foot and
punch with the right hand (chambering the left)
simultaneously retreating a half-step with your right
foot. Now punch with the left hand (chambering the
right). To continue retreating, repeat the steps as
described above. Remember to face and punch to the
right at all times.

JIN TSUI'S RELATIONSHIP TO BIU KWAN

"Kung-Fu power comes up from the ground, is generated

by the legs, directed through the hips, magnified by
torque and alternate arm pulling motions, enhanced
with forward momentum from stepping, released out of
the hands into your weapon and delivered through your
opponent!"

10
PERFORMING JIN TSUI

Proficiency in Jin Tsui is the prerequisite for

Biu Kwan. That is why it is said that its purpose is
preparation for the Luk Dim Poon Kwan. Jin Tsui
must be correct to develop a good Biu Kwan. In Jin
Tsui, you first learn the Jin Ma (Square Horse Stance)
and then footwork to perform Biu Kwan. While
training in Jin Tsui, you develop a solid foundation
with which to Biu Kwan with accuracy and
unwavering focus. You need to establish a strong Jin
Ma to deliver a concentrated strike with the heavy 8 Yi
foot Kwan. In Jin Tsui you learn to punch with
maximum power without disturbing your balance.
This is how you develop a solid foundation in Jin Ma
for Biu Kwan.
During Jin Tsui training you learn to generate
energy from the ground up and enhance that energy
with torque from twisting your hips and waist. Next,
you learn to generate power into your arms from the
alternate arm as it is simultaneously pulled back into a
chambered position. Later, you extend this energy out
of your hands and into the Kwan as an extension of
yourself. Finally, the energy that is acquired in Jin
Tsui is used to send out a strong and powerful thrust
with the Kwan in Biu Kwan. One of the keys to
generating power into your Biu Kwan strike is in the
rear left arm. The rear left arm is just as, if not more,
important in generating power into your Biu Kwan
strike. This energy is first developed in the rear left
hand punch in Jin Tsui!
The secret to all of this is total body unity.
This can only be achieved through many years of hard
work in Kung-Fu training under a qualified Sifu.
There are actually no secrets, stunts, or tricks. If
trained correctly and developed properly, the result
will simply be Ging. True Kung-Fu power!

11
BIUKWAN

4
BIUKWAN
"Luk Dim Poon Kwan uses the shoulder as the centerline!"

After training in Jin Tsui, the next phase of training is

Biu Kwan (Thrusting Pole), which is a very important part of
the four phases of training in Luk Dim Poon Kwan. You need
to train in Biu Kwan for at least 6 months. As previously
stated, only by training in Biu Kwan can your punch be made
stronger and truly powerful. Biu Kwan is not only used to
strengthen your punch, but it is also the main offensive
technique in the use of Luk Dim Poon Kwan. At least half of
the Luk Dim Poon Kwan form consists of Biu Kwan. Each
Biu Kwan makes one point, and all six points of the Luk Dim
Poon Kwan form are accomplished by performing Biu Kwan,
only the Y2 point is not. This alone should tell us how very
important the Biu Kwan technique really is. In Biu Kwan,
most important of all, is that you learn to strike properly and
accurately! Also v.ery important is that Biu Kwan trains you
to occupy the centerline. Other styles of Martial Arts use the
side of the pole when striking, but Ving Tsun practitioners only
use the tip of the pole to strike. When other styles of Martial
Arts use the spear, they thrust only with the rear arm, but in
Ving Tsun, the power from the long bridge of the two arms is '
12
LUK DIM POON KWAN

concentrated into one point to make a stronger and more

powerful strike!
A high level of skill in Biu Kwan is a prerequisite for
the third phase of Luk Dim Poon Kwan training, Chi Kwan.
You just can not have good Chi Kwan play without good Biu~·
Kwan. If your Biu Kwan is not correct, you will not be on the
centerline in Chi Kwan training. It is in Biu Kwan training that
you learn to make sure your Kwan is always inside the
centerline, which is extending out in front of the right shoulder.
Without proper Jin Tsui and Biu Kwan training you won't have
the strength or the necessary stamina and endurance to perfonn
Chi Kwan.

HOW TO PERFORM BIU KWAN

"!can teach you the way. but you must travel the path,
only you can experience and feel it for yourself,
only then will you fully understand it!"

What follows is a description of how to perfonn Biu

Kwan. First, one should hold the Kwan properly: The left
hand should grasp the butt end so that no wood is visible below
the hand, the right hand should be separated from the left on
the Kwan by an arms length. The correct distance between the
two hands is ascertained by tucking the butt of the Kwan under
the right armpit, extending the right arm along the Kwan and
grasping it firmly at full extension.
To begin Biu Kwan, the practitioner adopts a stance
called Kwan Jong.

13
BIUKWAN

In this stance the weight is entirely on the back leg,

with the lead leg bent at the knee and the ball and toes of the
foot touching the ground (the foot being arched). To begin, the
Kwan should be slightly raised, covering the centerline. Next,
you move into Jin Ma (Square horse stance) and thrust the pole
to the right, at shoulder level tucking the end under the fully
extended right arm.

The butt of the Kwan should be nestled

close to where the right arm meets the shoulder. This
movement is called Biu Kwan. After Biu Kwan, one returns
to Kwan Jong with the Kwa11 slightly raised and chops down
(Dim Kwan) and then up (Teal Kwan) along the centerline.

THE DETAILS OF BIU KWAN

"Little details make the difference!"

As stated earlier, you should train your Biu

Kwan for six months and perfect your technique.
Here are 12 detailed pointers to help you perfect your
technique:

1) The rear left hand should completely cover the

butt end of the Kwan, so that no wood is showing.
Only half of the hand holds the butt end of the
Kwan.

2) Lock both arms straight out in Kwan Jong. The

front right arm must remain straight throughout the
Biu Kwan movement.

14
CHI KWAN

5
CHI KWAN
"Two objects cannot occupy the same space at the same time!"

Chi Kwan (sticking pole) is the 3n1 phase of

training in Luk Dim Poon Kwan and is an exclusive
training method of Ving Tsun Kung Fu. Actually, Chi
Kwan is an advanced two-man sticking pole training
exercise where two Ving Tsun practitioners attack and
defend their centerline with their kwans. One should
train in Chi Kwan for at least one year.
The nature of Chi Kwan is to occupy and
control the centerline at all times. In other words, one
must prove that their Kwan is in the centerline, very
simply, if there is no noise from hitting the other
Kwan, you or your partner are not on the centerline.
17
LUK DIM POON KWAN

The main idea is to put one's Kwan on the centerline,

making one's partner go off the centerline. Take the
space of the centerline by knocking your partner's
Kwan off the centerline and then Biu Kwan. ·
Chi Kwan is extremely rare, few have ever
seen it performed, even fewer understand it. Some of
the reasons why Chi Kwan is so rare are that many
instructors just do not possess the knowledge of Luk
Dim Poon Kwan. Some never completed the Ying
Tsun system and in some cases, their Sifu' s did not
even know it! As a result, not many people have been
able to build a solid foundation, making the study of
Luk Dim Poon Kwan impossible.
Not many individuals exist that have actually
studied Luk Dim Poon Kwan and know how to play it
in the correct manner. Few ever reach this advanced
level of Ying Tsun Kung Fu training. Another reason .
is that not many Ying Tsun students are willing to do
the Jin Tsui (Battle Punches) training because of its
extreme difficulty. Those that were fortunate enough
to build a solid foundation and study the Luk Dim
Poon Kwan had the problem of finding others of equal
skill to practice with, for without a qualified training
partner one cannot learn to play Chi Kwan correctly.
As stated earlier, you need a good Biu Kwan
skill in order to play Chi Kwan. It is in Chi Kwan that
one finds out whether his or her Biu Kwan is correct
or needs to be developed further. One of the common
mistakes of Ying Tsun practitioners is to under train in
Biu Kwan, thereby beginning Chi Kwan training with
a poor quality ofBiu Kwan. In many cases, Ving Tsun
practitioners begin Chi Kwan only to discover that
their Biu Kwan is not good enough and that they must
go back to first perfect their Biu Kwan. 'Ultimately,
Chi Kwan is literally Bil Kwan in practical
application!
Chi Kwan enhances and refines your
understanding of the centerline theory. In Chi Kwan,
18
CID KWAN

you must concentrate on moving your Kwan inside the

centerline at all times. While attacking and defending,
each practitioner tries to control the centerline. The
centerline that the two Kwans are fighting for in Chi
Kwan can actually be as small as only two inches. In
Chi Kwan, only one Kwan can be on the centerline at
any given time, hence when the Kwans hit, only one
Kwan is left on that small centerline.
When you observe two skilled and
experienced Chi Kwan practitioners, you will note that
the two Kwans stay close together, moving
economically while chopping up and down the
centerline. One will also notice that there will be
continuity throughout the movements. This gives an
appearance of a constant, smooth, and rhythmic action
that flows. Each practitioner will pany the other's Biu
Kwan while it is being performed and Biu Kwan
without a pause in between, unlike beginners who
parry only after Biu Kwan is completed. Ultimately,
defense and counter attack appear as one motion.

WHY WE PLAY LUK DIM POON KWAN

ONLY TO THE RIGHT SIDE
"How ingenious, the ingenuity of the grandmasters, the entire
Ving Tsun system is vitally linked together, it connects,
interrelates, assists, reinforces, prepares, refines, complements,
enhances, proves, and reveals itself! The system fits together
andfonns one connected whole!"

We have a nickname for Luk Dim Poon

Kwan. We call it "Right Hand Kwan" (Yau Sau
Kwan). Since most people are right handed, we play
Chi Kwan only to the right side, just as we play the
entire Luk Dim Poon Kwan form. This was chosen as
the standard way of playing the form and sensitivity
exercise of Chi Kwan. By following this right hand
standard, the appropriate symmetry is established so
that players of equal skill can effectively practice Chi
19
LUK DIM POON KWAN

Kwan. In comparison to the left hand, most people's

right hand is always stronger with better coordination.
We trust the right hand more and place it in front of the
left hand, and use it as a hinge to execute techniques
with the Kwan, while the left hand simply works as an
assistant to the right hand. You can see the same
concept illustrated by the way a pair of hair cutting
scissors are only designed for a right handed person.
Since most of the other Vmg Tsun forms start their
movement on the left hand, the right hand movement
of Luk Dim Poon Kwan creates an overall balance in
the practice ofVing Tsun Kung Fu.
Ying Tsun Kung Fu is a complete, balanced
system. The entire system must be together, as one
whole. You can not take out one part and try to use it
alone, because it just won't work correctly and you
won't end up with the correct result. All the Kung Fu
has to develop together equally. Ying Tsun was
designed and developed as an entire system, a
complete package! It is not necessary to go outside the
system for any answers. It is not the different parts of
the Kung Fu that make up the system, but rather what
comes from all the different parts that make up the
system, ultimately this gives you the correct result-
"Ving Tsun manner", which will forever transfofm. you
into a living, walking, talking Ving Tsun Kung Fu!

HOW TO PERFORM CHI KWAN

"Knowing the Ving Tsun weapons forms and their usage,

is like inheriting Ving Tsun 's Martial Arts treasure!"

In early Ving Tsun history, very few

individuals were skilled in Luk Dim Poon Kwan.
Today, we are blessed to have more qualified Sifus
along with instructional videos, books, and many
qualified Kung-Fu brothers and sisters to practice Chi
Kwan with. This should result in a better quality Luk
20
CHI KWAN

Dim Poon Kwan, greater development in the Ying

Tsun weapons, and an even deeper understanding and
appreciation for the Ying Tsun system. Hopefully, as
a result of this, knowledge and skill of the Luk Dim
Poon Kwan will no longer be scarce. Many Ying Tsun
Kung Fu enthusiasts will benefit from and enjoy the
3rd phase of Luk Dim Poon Kwan training, Chi
Kwan! I

When beginning Chi Kwan, be very careful to

practice safety first Measure the Kwans to determine
the proper distance apart, this ensures that being too
close to one another does not carelessly injure the
practitioners.
Chi Kwan is a very strenuous exercise.
Therefore, one must first have a solid foundation and
be in excellent physical condition before commencing
the training.
What follows is a description of how Chi
Kwan is played. To begin, the two practitioners
should face each other in the Kwan Jong stance at a
distance of two Kwans apart. To measure their
distance, the two partners should be apart then slowly
come towards one another and touch the two Kwans
together on the centerline. Form an X in the air with
no more than two feet of pole extending out from the
X. Then lower the Kwans and form an X right above
the ground and finally come back up again to form
another X in the air. This should be repeated
throughout the exercise to ensure that proper distance
is maintained at all times!

21
LUK DIM POON KWAN

MEASURE DISTANCE UPWARD

MEASURE DISTANCE DOWNWARD

REPEAT UPWARD MEASUREMENT

22
CID KWAN

BIUKWAN

DERN KWAN

BIUK.WAN TEAL KWAN

23
6
THE NATURE OF LUK DIM POON
KWAN
AND HOW TO PERFORM THE FORM
"Occupy. turn, and recover the centerline.
The essence of the Luk Dim Poon Kwan!"

The nature of the Luk Dim Poon Kwan is to occupy

the centerline at all times. The grandmasters redefined the
concept of the centerline to fully utilize the special features of
this weapon. Unlike Siu Nim Tao and the other two forms,
which presume a frontal centerline, Luk Dim Poon Kwan is
based on a side centerline, from ear to shoulder to hip and so
on. The length of the Kwan permits the practitioner to protect
the entire centerline from head to toe. The side-facing stance
presents a narrow target to the opponent. All striking and
parrying techniques are performed in this narrow zone.
Luk Dim Poon Kwan literally means six (Luk) and a
half(Poon) point (Dim) pole (Kwan). The points of the Kwan
form are loosely analogous to the points on a compass, since
the practitioner shifts direction several times in playing the
form. Furthermore, the points are distinguished by different
techniques associated with each point. What follows is a
description of how the Luk Dim Poon Kwan form is played.
The first three points of the form aim in the same
direction with the practitioner facing to the right along his or
her centerline. First, one should hold the Kwan properly: the
left hand should grasp the butt end of it so that no wood is
visible below the hand, the right hand should be separated

24
NATURE

from the left on the Kwan by an arms length. The correct

distance between the two hands is ascertained by tucking the
butt of the Kwan under the right arm, extending the right arm
along the Kwan and grasping it firmly at full extension.
To begin the form, the practitioner adopts a stance
called Kwan Jong.

In this stance the weight is entirely on the back leg, with the
lead leg bent at the knee and the ball and toes of the foot
touching the ground (the foot being arched). To begin, the
Kwan should be slightly raised, covering the centerline. Next,
the practitioner moves into Jin Ma (square horse-stance) and
thrusts the pole to the right, tucking the butt end (always held
by the left) under the fully extended right arm. The butt of the
Kwan should be nestled close to where the right arm meets the
shoulder.

1bis movement is called Biu Kwan. After Biu Kwan, one

returns to Kwan Jong with the Kwan slightly raised, and chops
down and up along the centerline. This entire sequence is
repeated three times, completing the first three points of the
Luk Dim Poon Kwan form. Each Biu Kwan makes one point.

25
LUK DfM POON KWAN

The practitioner then shifts twenty-five degrees to the

right, holding the pole upward at a slight angle.

26
NATURE

This technique is called Tan Kwan. To complete the

fourth point of the form, the practitioner performs Biu Kwan
as described above, (step into Jin Ma, thrust pole to the right,
return to Kwan Jong, chop down and up with the Kwan).
Next, the practitioner pivots to the left, twisting the
pole under and around in a small clock-wise circle

(this technique is Huen Kwan). The shift is fifty degrees,

leaving the practitioner twenty-five degrees to the left of the
first three points. Note that the Kwan Jong stance permits one
to shift easily on the rear left leg. Again, this point (the fifth)
is closed by executing Biu Kwan.
The sixth Dim (point) is commenced by another
leftward shift of twenty-five degrees accompanied by Fuk
Kwan.

27
LUK DIM POON KWAN

To perform this technique the practitioner rotates the

pole over and around in a tight counter-clockwise circle
(opposite Huen Kwan). The circle need not and should not be
large, since it is magnified by the length of the pole. That is to
say, a small circle at the base of the Kwan becomes a much
larger one at its tip. Biu Kwan concludes the sixth point of the
form, leaving the practitioner in Kwan Jong facing fifty
degrees to the left of the first three points.
In the next shift, the practitioner moves fifty degrees
to the right, returning to the original position.

Then assume the Jin Ma stance and raise the Kwan up

across the chest pointing to the right. Next fully extend the
Kwan in front of your chest.

28
NATURE

Next, thrust the Kwan to the right out in front of your

right shoulder.

Now pull the Kwan back across the chest. Then,

lower the Kwan with both hands straight down across the chest
to the waist. Remember to keep the Kwan parallel to the
ground pointing right throughout all the movements that come
after returning to the original position.

29
LUK DIM POON KWAN

The form is now complete. Poon Dim (112 point) is

the entire group of movements that follow after returning to
the original position. By lowering the Kwan with both hands
straight down across the chest to the waist, you are cutting the
centerline from top to bottom. The tip of the Kwan traces a
semi-circle going down which forms a C-shape in the air. This
movement forms the Poon Dim Y2 point C-shape.

ei 1
e2
~3
2

t 3

5
'~
E
6

30
NATURE

THE DETAILS OF
THE LUK DIM POON KWAN FORM
"It's not the quantity, but the quality that matters!"

Like most of the Ying Tsun system, which is easy to

learn, but very hard to master, the Luk Dim Poon Kwan form
can be learned in as short as one day to no more than one
week. It is a very short and simple form, but don't let that fool
you. There is much to be mastered in it. Here are a few
details that will help you gain mastery of this simple but very
rich form. Previously we covered the details ofBiu Kwan in
chapter IV; here we will address the details of the various
parries in the Luk Dim Poon Kwan form, along with the Luk
Dim Poon Kwan footwork.

31.
LUK DIM POON KWAN

TAN KWAN- In the first parry, Tan Kwan, raise your

right forearm parallel to the ground with your elbow against the
body, then twist and curl your wrist over clockwise to the right
and shift twenty-five degrees to the right holding the pole
upward at a slight angle.

HUEN KWAN- In Huen Kwan, first raise your right

forearm parallel to the ground, and maintain this position with
your right arm. Then with your left arm raise the Kwan above
your head allowing the Kwan to swivel in your right hand like
a hinge joint, twisting the pole under and around in a small
clock-wise circle. Then bring the left hand back down, level
with the right, and twist and curl up with your right wrist. You
should shift fifty degrees to the left while doing Huen Kwan.

32
NATURE

FUK KWAN- In Fuk Kwan, first raise your right

forearm parallel to the ground and shift twenty-five degrees to
the left, then rotate the pole over and around in a tight counter
clock-wise circle technique called cover or hide the pole.

POON DIM (1/2 POINT)- Poon Dim is the entire

group of movements that follow after returning to the original
position. During these movements remember to keep the pole
parallel to the ground pointing to the right at all times. The very
last movement in the form makes Poon Dim Yz point C-shape.
When doing this movement the pole must go straight down
across the chest, actually touching the body from the chest to
the waist. Your elbows should also shoot backwards while the
pole is cutting the centerline from top to bottom in a rapid
downward movement!

33
 Luk Dim Poon Kwan Footwork

·'The root and.foundation of all Kung-Fu techniques, including

weapons is a strong, stable horse stance with good mobile footwork!"

A dynamic horse stance is the root of Kung Fu's explosive

energy and power. Without the ability to balance your body in
motion, you will be incapable of using your Kung-Fu effec-
tively to protect yourself. Balance is imperative when it comes
to weapon use due to the higher degree of. difficulty involved.
Because of the added weight of the weapon, and the necessary
control required to execute techniques there is a higher level
of development needed in the horse stance to be truly effec-
tive!
You directly begin training your Luk Dim Poon Kwan foot-
work, Diu Tai Ma (hanging leg horse), as early as the Chum
Kiu and Bil Je forms in Ying Tsun. Later, you begin to train Jin
Ma (Square Horse stance) in Jin Tsui (Battle Punches). The
main training of footwork is however, in the Luk Dim Poon
Kwan form, where you use the kwan to practice the two horse
stances (Diu Tai Ma and Jin Ma). What follows is description
of how to perform the Luk Dim Poon Kwan footwork

DIU TAI MA- Pivot on the ball and toe of the front right arched
foot to various angles of positions. The Diu Tai Ma stance per-
mits one to shift easily on the rear left leg to different posi-
tions.

JIN MA- When you are in the Kwan Jong stance, step out for-
ward with your front right leg to get down into Jin Ma (Square
Horse stance). Then when you Bil Kwan, slide your rear left
foot forward a half step. After you Bil Kwan, step back with
your rear left leg and return back into Kwan Jong.

34
CONCLUSION

"When using the Kwan, don't expect two sounds!"

Mastering the Luk Dim Poon Kwan, takes patience,

hard training, time, perseverance, and a qualified Sifu!
Remember, Luk Dim Poon Kwan does not train you to use a
weapon, it is training for the development of your punch to
make it strong and powerful. But, not only that, it is also a part
of the Art of Ving Tsun. Although Luk Dim Poon Kwan does
not train you to use a weapon, in the hands of a skilled
practitioner, it can be devastating! The Luk Dim Poon Kwan
is very powerful and therefore very dangerous. This is why the
Ving Tsun idiom states, "when using the Kwan don't expect
two sounds." Luk Dim Poon Kwan is unforgiving, in that, no
one can withstand one hit from the Kwan! You can even hit
any part of the body with the Kwan once, making only one
sound and it's all over! Luk Dim Poon Kwan, like other
elements ofVing Tsun, needs to be studied completely and for
its own sake, not as a means to some other end. The Luk Dim
Poon Kwan training also serves to further refine one's empty-
hand skills. In studying Luk Dim Poon Kwan, you will find
that it expands your understanding of the Ving Tsun system
and particularly the centerline theory. Ultimately, Luk Dim
Poon Kwan enhances your overall Kung Fu. Before learning
Luk Dim Poon Kwan you must develop your Kung Fu to a
high level. First, finish and reach a high skill level in the three
forms, wooden dummy, and Chi Sao before commencing to
learn Luk Dim Poon Kwan. At least six months after finishing
the wooden dummy, begin Jin Tsui training. In learning and
training the Luk Dim Poon Kwan, the most important thing is
to learn to strike properly and to practice intensely with a
partner. When you train in Luk Dim Poon Kwan you become
transformed from a human being to more like a machine:
precise, accurate, strong, and powerful. Also, like a machine,

35
in that you are doing the same movement many times with the
same timing and position. Because it must be done very exact,
intensive Kwan practice must be done with a Kung Fu partner
whose level of skill is similar to one's own. It can not be done
correctly if the two brothers' or sisters' level of Kung Fu are
very different. This is because the centerline, which the two
Kwans are fighting for in Chi Kwan, is very small. The Luk
Dim Poon Kwan is not well known, but I think that it would
be exaggerating to say the art is being lost. In fact, my wish is
that this book will ensure that it is preserved from now until
eternity!
Finally, this book is in no way a substitute for training
under a qualified Si:fu in the Luk Dim Poon Kwan. My hope
is that you will recognize and profit from the treasures
contained within it, and that it will serve as an invaluable guide
and helpful reference! Taste and enjoy,
(Grandmaster) Moy Yat

LUK DIM POON KWAN PHOTO SESSION PARTICIPANTS

Kevin Martin, Hemy Moy. Sifu Moy Yat, Miguel Hernandez. William
Moy. and Tom Kagan. Picture taken by King Ng.

36
"When using the fist, do not stand on ceremony.
When using the kwan, don't expect two sounds."

Stone craving by sifil Moy Yat and Kwong Chi Nam

37
 MARTIAL ARTS/ YING TSUN

This unique book by Master Moy Yat explores the learning

and nature of the Ving Tsun Luk Dim Poon Kwan.

Moy Yat is a highly accomplished

master of the traditional Chinese
martial art of Ving Tsun, with over
forty years experience and training.
He is the inheritor of a private
tradition that is outlined in this book,
and has many students and followers.
An accomplished artist and seal maker ~-----___.
of traditional Chinese stone engraving, Master Moy was
featured in Inside Kung Fu and Shaolin Kung Fu
Qigong/Wushu in 1996 and 1999 respectfully, where he
gave astounding recounts of Ving Tsun history, traditions,
and personal accounts of how the Luk Dim Poon Kwan
was passed down from the grandmasters.

38