Pictured is MJ doing the V-Variation from the Crip Walk dance, which involves the same moves as the opening of a neutral stance (Yi Ji Kim Yeung Ma) in Wing Chun Kung Fu

The 2-part opening of the neutral stance is ideal for beginners to practice. From standing up straight with feet together, pivot on your heels to turn your toes out at 45 degree angles. Then pivot on your toes to turn your heels out, until the distance between your heels is greater than the distance between your big toes. Feet should now be about shoulder-width apart.

If you feel top-heavy when your feet are about shoulder width apart, it’s probably not because your stance is too narrow but because your knees aren’t bent enough. Much wider, and you won’t be able to block a fast rising kick between the legs, or step quickly in any direction without first leaning onto one leg.

By practicing the opening of the neutral stance, including the bending of the knees (causing angle changes in the ankles) and then sliding of the feet, one can become familiar with the basic elements of the moonwalk.

MJ in neutral stance & closing gap between knees as if blocking a kick

If they start to bend their kicking knee, then a different defence will be required; but so long as their leg is straight and rising directly upwards, and on target to land between your legs, then this is the way to block it.

Pictured above is Michael Jackson, in neutral stance, from insuccessive shots in his Black Or White video. This is the general idea, although bear in mind that he’s only dancing.

In reality, both karate and kung fu use all types of stances.

And the only major difference between the stance with the weight on the back leg, and the stance with the weight on the front leg, si the position of the back leg. The front leg, front hand and upper torso stay in about the same position between both stances.

Karate literally means “empty-handed” and kung fu means “hard work”, so if you’re working hard in practicing empty-handed combat, then you’re doing both karate and kung fu.

He was able to make realistic choreography, largely thanks to having studied a great martial arts system (Wing Chun Kung Fu) under a good teacher (Yip Man); and then Bruce looked beyond the techniques of his teachers.

I share the same philosophy, but I am not as energetic as Bruce Lee was. This may mean that the sitting-on-the-back-leg style of Wing Chun Kung Fu is more suited to me than it was to Bruce Lee, and the springy stance that Bruce developed in his Jeet Kune Do may be not so suitable for me. But some of my Wing Chun teachers are more energetic, outgoing and assertive than me, so I don’t look to their style as the ideal example. I can only try to imagine what the woman who invented it was thinking.

My choreography

My choreography is meant to represent the “perfect” style. I’m not personally a good actor, and I can’t nearly do what Bruce Lee or Michael Jackson could, but my choreography would be based very closely on their style of moves, which would also be my style of moves if I were strong, flexible and energetic enough.

Michael Jackson didn’t invent the moonwalk, neither did the Shaolin Nun who founded Wing Chun Kung Fu; but it’s an integral part of both the dancing of the black-or-white man and the fighting of the chinese woman.

I believe that if Bruce Lee lived much longer, he would have finished practicing the stretchy, springy stuff and went back to something less rowdy, more conservative, and more like Wing Chun & MJ’s style.

With endless resources I’d make a movie starring MJ or an excellent dance tribute artist of very similar style; incorporating classic martial arts techniques based on the slick dance movements that the dancer would have already mastered. Simple but sophisticated, conservatively powerful, real martial arts techniques.

Documentary and movie producers

Film producers are welcome to email dan@birminghampr.co.uk for help creating realistic martial arts choreography on screen. All enquiries welcome.

Most martial arts scenes in action movies are based on slow rhythm, from one abrupt move to the next, quite unrealistically. Some directors may think that fast, broken rhythm would not look good on screen. But playback can be decelerated and accelerated these days to make things easy for viewers to follow; and even if they miss a lot, they will appreciate the realism in what they do see, and there will be added value with every further viewing.

After 30 minutes of talk & drama, a 10 second fight scene can make or break an action hero’s persona.

Michael Jackson, moonwalking. RIP since 25/06/2009.

Moonwalking (travelling with both feet flat on the ground at all times) is a very useful, advanced practice in martial arts; whereby one adjusts to compliment the position of their opponent, without leaning to any side at any time, and without compromising the stability of having two anchors (feet on the ground) at all times.

Running & Walking

Walking races are judged on the basis of always having at least one foot on the ground. If you ever jump, whereby both feet are off the ground for a fraction of a second, then it’s running, and you’d be disqualified from a strict walking race.

Walking & Moonwalking

If moonwalking is similarly defined by traveling with both feet on the ground at all times, then this is actually the first thing practiced (the opening of Yi Ji Kim Yeung Ma) in the first form (Siu Nim Tao) of Wing Chun Kung Fu, as practiced by about a million people around the world.

The opening of the basic, neutral, Wing Chun stance (Yi Ji Kim Yeung Ma / Yee Gee Keem Yeung Ma…etc) in the first form (Siu Nim Tao / Sil Lim Tao…etc, “the little idea”) is essentially an efficient way of practicing the bare necessities of the moonwalk.

Why is this such an essential part of martial arts?

How is the moonwalk ideal for martial arts? Well, the moment you lift one foot off the ground, you could be pushed, and you’re likely to stumble. Similarly, if you have one foot off the ground and you want to instantly punch or kick, you may need to wait until you drop your second foot before you have the ability to strike with the strength of the earth beneath your feet. Every force has an equal, opposite reaction; and if you push something hard, you’ll find yourself being pushed back just as hard.

But if you walk with both feet always on the ground, and both legs bent to the ideal angles at all times, and the back always straight, and the posture always generally ideal for martial arts… Then you can strike or block, push or pull, punch or kick, spin or flick, in an instant with maximum stability, without first needing to reposition, chamber or telegraph your move.

How the Shaolin practiced the Sideslide Moonwalk

The sliding open of a neutral martial arts stance, from feet together to feet apart, for example as is done in Wing Chun Kung Fu, is an efficient way of practicing the bare necessities of the moonwalk.

From an upright stance, bend the knees, turn the knees & toes out 45 degrees, then turn the heels out until the feet & legs are slightly triangulated, pointing forwards.

Try to keep both feet completely flat on the ground at all times. Most people, teachers included, are quite rusty at this, and can be seen lifting toes and heels, bobbing up and down, and wobbling a bit.

This is the very first part of the very first form of Wing Chun Kung Fu, as developed by Shaolin Nun, Ng Mui, and passed on for generations, to reach Yip Man, and then Bruce Lee. This is how kung fu grandmasters since Shaolin days have been practicing knee bending, leg-angling & foot-sliding, the bare necessities of the moonwalk, especially the sideslide. The remaining major component of the backslide moonwalk is practiced in Wing Chun’s second form, Chum Kiu (watch this space for evidence, coming soon).

And I’ve recently been interested in bodyguarding, which seems like a logical career, being a martial arts expert; so when I stumbled across this book being prominently advertised online by a bodyguarding company which seemed to be heavily endorsed by the government’s new mandatory academic programs… I was quick to order a copy.

And here’s my personal review of how good it is in general, and how relevant it is to me.

About the Foreword & Introduction

It’s a nice forword & intro, with some good advice & tips for the reader about the book and the industry, and a strong wakeup call for those who think it’s an easy job.

But I didn’t totally agree with the bit that said you can’t learn self-defence from a book. I think the author should have actually said something like this… “I can’t personally teach self defence as good as I can teach bodyguarding, and as both are so hard to learn from books, I won’t waste time writing about self defence.”

Chapter One: Who & What is the Close Protection Operative

This chapter was an interesting read, which is very complimentary for me to say, given my lack of bookwormability.

The chapter continues the theme of the intro, by debunking glamourous misconceptions and giving important, down-to-earth advice for anyone considering working as a bodyguard.

While I would recommend this chapter for others to read, I would only do so with caution. Indeed, I should stress that I don’t agree with the bit at the start about SIA licensing & increased red tape being a good thing for the industry. But the author, Kevin Horak, works a lot for royalty so it’s no surprise he endorses the concordant dictatorship. Don’t get me wrong; I have no major problem with decent accreditation schemes. But taxing & threatening to imprison those who would do their own thing is a step to far. See what I wrote about SIA licensing here, and what other people think, like those here.

Chapter Two: Desirable Characteristics

That’s well worded. These characteristics are desirable. They are able to be desired. But they are not always desired. There’s some great insights in this chapter about what a bodyguard is typically expected to be like; but with regards to my style, which is quite rare but still exists, I refuse to follow some of the tips in this chapter.

I refuse to dress up in a suit and shave my facial hair. So most people won’t employ me, but don’t forget all that stuff in this book about blending in and being a “grey man”. Looking lower-class, I’m unlikely to be perceived as a VIP bodyguard. This may mean I should generally stay out of sight, but hand-in-hand, it’s a huge advantage for covert protection duties, ready to step in when the shit really hits the fan, not to suck up to the paparazzi. Who would employ a bodyguard like me? Only those who put their security before their vanity. I have no interest in working for 24/7 showoffs anyway.

Summary

The book gets a lot more technical, and I’m looking forward to reading the rest of it. But I think we’ve already seen the direction in which this book is heading. I really do recommend it, for someone like me, who’s considering working in the close-protection industry and wants a readable guide from an experienced pro like Kevin Horak. But bear in mind, there are some tips in this book which I refuse to endorse. So just take it with a pinch of salt.

See Bruce Lee and Michael Jackson sitting in very similar stances. This is the defensive side stance. Michael Jackson in a classic stance, as one of the trademarks of his dance routines; and Bruce Lee in a classic “arrow stance” from Wing Chun Kung Fu.

MJ & Bruce Lee, in similar stances

Each has a slightly different application, though. MJ’s front foot is on tip-toes and his hands are dealing with something high, where as Bruce has 2 flat feet and is dealing with something of mid-height; but both are classic forms of the same real martial art defensive side stance.

Michael Jackson in Smooth Criminal video

Tips

• All or nearly all of the body’s weight should be on the back foot. This lets you kick your front leg at any time, in an instant, without needing to chamber and telegraph your movement.
• The front knee should be slightly bent and angled for protecting between the legs and deflecting any stomp to the front leg. The front foot can be flat or on tip-toes depending on application.

MJ has an excellent Defensive Side Stance

This stance is low enough for stability but high enough for quick steps, and angled in a way which generally enables your body to pivot and deflect oncoming force most efficiently.

This is the balanced, defensive side stance; as found in the best martial arts as well as the best dancing.

Bruce Lee's One-Inch-Punch

When Bruce was on The Pierre Berton Show, in Dec 1971, he was asked:

You talk about Chinese boxing… How does it differ from our kind of boxing?

Well, first, we use the feet, and then, we use the elbow… You name it man, we use it all.

You have to, you see, because, I mean, that’s the expression of the human body. Everything, you know, not just the hand. And when you’re talking about combat… Well, if it is a sport, now you’re talking about something else, you have regulations, you have rules. But, when you’re talking about fighting, as it is, with no rules, well then baby you better train every part of your body. And when you do punch, you gotta put the whole hip into it, and snap it, and get all your energy in there.

Can you block punches, coming fast and random, when blindfolded?

Sticking Hands (Chi Sau, from Cantonese), is practiced natively in Wing Chun Kung Fu and some schools of Jeet Kune Do; and at the highest level, it’s practically the same as top-level Pushing Hands (Tui Shou, from Mandarin). Sticking hands is about as important for the hands as is moonwalking for the feet.

Bruce Lee said…

Bruce Lee once described sticking hands as the basic method of defence in Jeet Kune Do, alongside “alive hands” in attack. But shortly before his death, Bruce was reported to have ditched this exercise.

Taky Kimura reportedly said that Bruce Lee phoned him to say “Chi Sau is out”. And Dan Inosanto reportedly said that the last time they sparred, Bruce never engaged in close-quarter combat, only moving around the outside and setting up precise shots.

Grandmasters Ip Chun & Ip Ching

Grandmasters Ip Chun and Ip Ching are sons of Grandmaster Ip Man (Yip Man, under whom Bruce Lee studied Wing Chun Kung Fu for some years). Man died in 1972, Bruce in 1973.

Shaun Rawcliffe has studied for some years under Ip Chun. Samuel Kwok has studied for some years under Ip Chun, and then for some years under Ip Ching. As you can see from the videos above, they have different styles of sticking hands. Ip Chun’s style is more direct, with lots of pausing; whereas Ip Ching’s style is more circular in defense. On the one hand, it’s better to circle around a heavy Fook Sau (Buddha hand, bridging arm…etc) than to resist with a strong Tan Sau (palm-up) or Bong Sau (elbow up); but on the other hand, it’s better to be simple so as to not provoke an escalation in the fight.

Sticking Hands Classes

The best way for a small class, of about 10 people, to practice sticking hands, is for them to line up into pairs, with everyone moving like a conveyorbelt after every few minutes, so that each person gets to train for a few minutes each with every other person. They can move around the room a lot more at other times, but in main class time, order them like this, which helps to teach them how to stand their ground against any attack.

Training with different people like this, helps to defeat habits that develop when someone trains only with their best friend, and also gives the teacher a chance to ensure that every student gets a few minutes of priceless 1-on-1 time with the teacher.

The prop should absorb impact like a crash test dummy.

I don’t know how much it would cost, or where it’s been done before, but in order to achieve the very best effects in on-screen combat, there should be a prop like this.

Maybe it’s only suitable for hollywood blockbuster budgets…

The prop is basically a crash test dummy, which can get beaten up just like a man can, but with a face that looks realistic. A crash dummy, dressed up like a man; with a latex mask to look like the actor, like something from Mission Impossible.

Integrating real moves, with realistic victims; rather than compromising real moves to avoid injuring the actors. The dummies can be cut in between moves with live people, but the impact of the heaviest moves can be filmed using a crash dummy victim.

If you’re working in the screen combat choreography & film production industry industry, you might want to look into getting one of these. Just an idea, for giving screen fighting a bigger & more realistic impact.