The Glossary below provides the Cantonese terms along with their meaning in English, plus the simplified Chinese characters.

It is broken down into segments, such as Forms, Power, Stance etc which I find useful for categorisation. Remember, if you are looking for a specific term, just click on CTRL+F – which will bring up your Browser search bar. Simply then type in the term and scroll down through any matching terms.

I have also included the category ‘Concepts’, which includes the principles and sayings that are used in Cantonese to explain elements of Wing Chun that are not usually captured elsewhere.

Family Lineage

Cantonese	Character	Meaning (English)
Gauu Lin	教练	Instructor or coach.
Si Dai	师弟	Junior Kung Fu brother.
Si Fu	师父	Master.
Si Gung	师公	Master’s Master.
Si Hing	师兄	Senior Kung Fu brother.
Si Je	师姐	Elder Kung Fu sister.
Si Jo	师祖	Founder or Ancestral Master.
Si Mui	师妹	Junior Kung Fu sister.
Sit Aai Gung	师太公	Master’s Master’s Master.
To Dei	徒弟	Student / disciple.
Tung Moon	同門	Fellow student.

The Forms

Cantonese	Character	Meaning (English)
Sil Lim Tao (also Siu Nim Tau)	小念头	Little Idea Method (way of the small idea).
Chum Kiu	寻桥	Seeking The Bridge.
Biu Jee (also Bil Jee, Biu Ji or Biu Gee)	镖指	Darting Fingers.
Muk Yan Jong	木人桩	Wooden Dummy.
Luk Dim Boon Kwun	六点半棍	Six and a Half Point Pole.
Baat Cham Do	八斩刀	Eight Cutting Knives.

Drills

Cantonese	Character	Meaning (English)
Lin	林	Drilling.
Chi Guek	黐脚	Sticky Feet – Chi Sau of the feet.
Chi Sau Lye Bye Muk	綁眼黐手	Blindfold Chi Sau (meaning both eyes closed).
Daan Chi Sau	单黐手	Single Sticking Hands – single arm Chi Sau.
Luk Sau or Poon Sau	碌手	Rolling Arms.
Seung Chi Sau	双黐手	Double Sticking Hands – double are Chi Sau.
Tui Ma		Pushing Horse – testing body structure and steeping.

Power / Energy

Cantonese	Character	Meaning (English)
Bau Ja Lik	爆炸力	Explode power.
Chun Ging (or Chuen Geng / Duun Geng)	寸勁 or 短勁	Inch power – the ability to use the body to deliver a massive force through an attack delivered over a very short distance.
Chang Ging	张勁	Long power.
Chaam Geng	沉勁	Sinking power.
Duun Geng	短勁	Short power.
Fa Ging	發勁	Release Energy, as per the second section of Sil Lim Tao.
Ging	勁	The ability to cultivate the use of Internal Power by effectively using ‘Li’.
Gung Lik	刚力	Energy produced as a result of hard work and effort over a long training period.
Jut Geng	窒勁	Jerking or snapping power – as used in the Jut Sau technique to unbalance the opponent or deflect a limb from its course towards the centreline.
Li		Un-cultivated raw power.
Qi (or Chi)	氣	Internal energy and the internal awareness of this within the body.
Yau, Shen, Ma Lik		‘Waist, Body and Horse Power’ – referring to the whole-body connectedness and application of structural power.
Yui Ma	麻衣	Waist turning stance / hip Power.
Jang Dae Lik / Jarn Dai Lik	㬹底力	Meaning ‘Elbow Down Power’ – bypassing shoulder muscles through a stable, sunken elbow. This term is indicative of where the power comes from and how we should align ourselves using relaxed structure.

Concepts

Cantonese	Character	Meaning (English)
Bong Sau But Lau Kiu	膀手不留橋	Bong Sau Never Stays. This concept helps the developing student understand the continuous flowing nature of moving between techniques using relaxed structure and the natural weight of gravity between positions to avoid the artificial use of muscle tension to hold limbs in a fixed place.
Běipài	北派	Referring to the Northern school or style of Chinese martial arts. See also: Nánpài.
Cai		The concept of whole-body uniformity and synchronicity; with the joints opened, working together to deliver outgoing power through attack and absorb incoming force.
Chui Sun Mo Chui Sau	追身莫追手	Chase body not hands. This is an important principle of watching where the opponent moves their centre of gravity and remaining focused on attacking this, rather than watching the arms.
Dai Fa	低發	‘Method of Guiding’ to redirect the opponent into an unfavourable position.
Doa lo yut cheung hung		Meaning ‘being empty, (i.e. lacking substance) when you get old because you were empty from the beginning’.
Fan Sau		Fan Sau (or returning hand) is an important concept in Wing Chun.  It describes the follow up techniques used to continued controlling and attacking an opponent where one technique is blocked or completed. Fan Sau involves training a reflex response to respond without thinking, flowing between techniques.
Hing Kiu Hui Sau; Chung Kiu Lau Chung	輕橋去手 重橋留中	Meaning ‘Collapse the weaker attacking arm but detain the stronger attacking arm’.
Hing mui dom se		Meaning being relaxed and effortless in mind and body.  Redirecting the force and attack, disguising your intent.
Ging Chong Gwut Gun Faat, Lik Chong Geek Jang Sheng		Meaning ‘Power comes from bones and tendons, strength originates from the heels’.
Jeet	杰特	To intercept by proactively recognising the opponents attack and cutting off their ability to continue.
Jui		Chasing the opponent to pursue positional advantage and maintain optimal fighting distance.
Kuen	拳	A fist – formed by the hand with fingers and thumb closed into the palm.
Kwan Dai Gerk	裙底腳	Meaning ‘Under skirt kick’ – the Wing Chun principle requiring a motionless upper body when the kick and low kick is used.
Lik Chung Dei Hei	力從地起	Power generated from the ground.
Loi Lau Hui Sung	來留去送	Come keep leave escort. The Wing Chun principle meaning ‘As he comes, receive him; As he leaves, escort him’.
Lin Siu Dai Da	連消帶打	The fundamental Wing Chun principle meaning all techniques simultaneously act in both defense and attack.
Lin Wan Kuen	连环拳	This describes the action of a rapid delivery of straight punches from the centerline, also referred to as ‘chain punching’.
Lap Nim	拉念	‘Establish an idea in the mind’ – used by Grandmaster Ip Man to explain grasping the ‘simple idea’ in Sil Lim Tao.
Lut Sau Jic Chung	甩手直衝	Meaning ‘Hand lost, springs forward’ – the concept of constant forwarding energy. This also includes the principle of if there is no contact (and the space is clear) then punch straight or thrust out a limb (such as the Maan Sau) to make contact or strike the opponent.
Mo Gui But Sing Gerk	無拐不成腳	Meaning ‘All Kicks Go with Hand(s)’ i.e. the Wing Chun practitioner should not kick in isolation of also used a simultaneous arm attack.
Nánpài	南派	Referring to the Southern school or style of Chinese martial arts. See also: Běipài.
Nèijiāquán	内家拳	Referring to the ‘internal’ style of Chinese martial arts. See also: Wàijiāquán.
Nim Lik	念力	Meaning ‘Force of Idea / Intent’ – unifying mental focus and relaxed structure behind forwarding / spring into the opponent.
Por (or Puo) Chung (or Jung) Sien	破中	This is generic term that covers all techniques which control and “break” the centerline. Breaking (Por/Puo) the centre (Chung/Jung) of gravity / centreline in order to leave opponents structure vulnerable to attack. This is the opening double (Sheung) Gaan Sau technique within the Sil Lim Tao form.
Sam Yi Hop Yat	心意合一	Harmony of mind and body.
Sil Lin Di Da		Meaning to ‘simultaneously attack and defend” is the action of learning how to attack and defend with both sides of our body, or a single limb. A shifting punch, for example, can block an incoming attack whilst also attacking the opponent.
Sim Fa		‘Displacing Body’ – moving the body out of the way by shifting (small evasion) or stepping (large evasion).
Sung Lik	鬆力	Meaning to relax.
Taam Da Chung Bei Da	貪打終被打	Too greedy on hitting will render being hit.
Ting Geng	聽勁	Listening power / feeling power. This refers to the action of feeling energy from the opponent.
Wàijiāquán	外家拳	Referring to the ‘external’ style of Chinese martial arts. See also: Nèijiāquán.
Wu Wei	無爲	Meaning ‘Doing without Doing’ – the fundamental Taoist concept of action from an empty mind; following natural energy without ego or agenda.
Yee Ying Bo Sau	以形補手	Using your structure to recover your position. This is a fundamental concept developed within the Biu Jee form.
Yee Ying Da Ying; Sei Gei Chung Yan	以形打形 捨己從人	Meaning to use your our own structure to collapse an opponent’s structure, or to follow an opponent’s flow of energy.
Yi Jik Kau Kan; Yi Kan Kau Fai	以直求近 以近求快	A foundational concept of striking in a straight line in order to attain the shortest distance, and using the shortest distance to get speed and strike faster than an opponent.
Ying Siu Bo Fa; Ying Fu Sung Yung	形消步化 應付從容	To use body structure to neutralize and footwork to dissolve, one will handle the opponents easier.
Yuk Ding But Yuk Luen	欲定不欲亂	To move steadily rather than erratically in order to maintain the centreline.
Yuk Jui But Yuk San	欲聚不欲散	To use the body mass properly; converging rather than spreading out resources inefficiently.
Yuk Shun But Yuk Yik	欲順不欲逆	Meaning to move in harmony with, rather than against the opponents flow of force.
Yuk Yau But Yuk Keung	欲柔不欲強	Meaning to yield rather than resist the opponent through the use of muscular strength.
Yun Kiu Lok Bok	引橋落膊	Redirecting the opponent’s attacking force away from the centreline to the shoulder line.

Stance and Structure

Cantonese	Character	Meaning (English)
Bai Jong	敗桩	Transitory ‘on guard’ position body placement relative to the opponent with a mental readiness for the attack / defence.
Bai Ying	敗形	The action of losing body structure or the loss of balance.
Bik Ma	迫馬	Forwarding stance.
Biu Ma	標馬	Thrusting forward stance.
Chiu Ying	朝形	Meaning to face straight, and in particular to remain facing the opponent. This means targeting the extended Man Sau and Wu Sau along the centreline at the opponent, for example whilst in the Yee Gee Kim Yeung Ma stance.
Chor Sun	坐身	Lowering body. This is the action of using the natural weight of gravity to allow the body to sink so as to be able to absorb incoming energy into the ground.
Chung Lo	中羅	Middle Gate extending from the collar-bone to the solar-plexus (where the elbow joints hang).
Chung Sin	中線	The centre line extending horizontally through the centre point of the chest outwards towards opponent.
Chung Sum Sim		The centre line extending vertically through the body from the head down to the floor.
Chum San	寻散	The action of evading by sinking the body.
Dung Tao	登頭	Head erect. The feeling that the head is held up as if pulled by string as a result of the structural straightening of the spine and the neck relaxing into shoulders without tension.
Har Lo		The lower gate extending from the solar plexus (where the elbow joints hang) down to the groin (where the wrist joint hangs).
Hoi Ma	马海	The action of opening the stance – meaning to transition from a conventional stance position into a Wing Chun stance.
Gno Moon (or Oi Moon)	外門	The outside gate where the wrist is positioned in Man Sau.
Gwun Ma	棍馬	Pole stance. Stance used in the Luk Dim Boon Kwun (Long Pole) form.
Faan Sun	x身	The action of regaining the body position.
Jee Ng Sin	子午線	Centre line. This is a line that extends out of the centre of the Wing Chun practitioners body and connects to the centre of the opponent.
Jic Seen	直线	The action of moving in a straight line.
Juen Ma	轉馬	Turning stance. This is the process of turning the side stance introduced in the Chum Kiu form when transitioning into the Sheung Lan Sau.
Jor Ma		Chum Kiu stance.
Kim Sut	鉗厀	The action of the hips and knees being drawn together to create a triangular lower structure in the legs as a result of relaxed structure on the stance.
Lok Bok	落膊	The action (and feeling) of the dropping shoulder as a result of a relaxed, isolated shoulder.
Lok Ma	落馬	The action of lowering the stance downward (through gravity), sinking through the knees. This is where “rootedness” is developed.
Ma Bo	馬步	Natural stance. This is our normal standing position.
Mai Jiang	埋肘	The ‘forwarding’ action of the elbows moving inward and forward without using force through a relaxed forearm and hand.
Noi Moon	內門	The inside gate where the wrist is positioned in Wu Sau.
Sae Ping Ma	四平馬	The low horse stance (also named quadrilateral stance) used in the Luk Dim Boon Kwun (Long Pole) form.
Seung Ma	上馬	Front Advancing Stance. This is the stance used directly after Jic Gerk stepping in section 3 of the Chum Kiu form whilst steeping with Dai Bong Sau (Double low Bong Sau).
Sheung Lo	上路	The upper gate extending from the top of the head to the base of the neck.
Ting Yu	挺腰	The action of straightening the lumber area of the spine so that each vertebrae is stacked is stacked one on top of the other.
Tei Gong	我會	The action of ‘pulling up’ the muscles around the anus focused towards the head – a key part of straightening the spine.
Yee Sun Ma	移身馬	Body transition stance. This stance includes the characteristic sunken Lok Ma triangular position but retains the hands retracted at the sides of the body in Chamber position. This is a transition stage to Yee Gee Kim Yeung Ma.
Yee Gee Kim Yeung Ma	二字拑羊馬	The Sil Lim Tao stance. This uses the basic Yee Sun Ma (body transition stance) but includes the extended Maan Su and Wu Sau arms.
Yiu Ma Hop Yat	腰馬合一	Meaning the coordinate use of the waist and the stance (legs).

Stepping and Kicking

Cantonese	Character	Meaning (English)
Biu Bo	標步	Stepping.
Chai Gerk	踩腳	Stamping kick. The Front Stamping Kick, Ching Chai Gerk (正踩腳) is used in Section 3 in combination with a low punch to the trunk of the dummy and a Taan Sau to the upper dummy arm. The foot is angled outwards and the heel impacts the top bridge of the dummy leg. This would equate to a kick to the knee of an opponent.
Chut Sun Jic Gerk		Opposite (cross stamp) kick.
Chang Gerk	撐腳	Low front thrusting kick. This is used in the Muk Yan Jong (Wooden Dummy) form as part of the Tan Dao Dai Chang Gerk (攤打低撐腳) simultaneously using Taan Daa and low front thrusting kick. This is used in Section 5 and has the foot kicking the main trunk of the dummy at waist height with the knee raised above this.
Dung Toi (or Hay Gerk/Tek Gerk)		Lifting or Straight leg kick introduced in section 2 of the Chum Kiu form.
Jic Gerk (or Ching Gerk)	正腳	Straight front kick introduced in section 3 of the Chum Kiu form. This is immediately followed by Jut Gerk.
Jut Gerk	窒腳	The downward snapping leg action applied after the Jic Gerk kick in section 2 of the Chum Kiu form.
Kau Gerk	扣腳	This involves the action of taking circling steps to knock the opponent off balance. The step in introduced in the Biu Jee form.
Kau Sau	扣手	The Huen Sau motion of turning the hips. This technique is found in the Biu Gee and Muk Yan Jong (Wooden Dummy) forms.
Pak Gerk	拍腳	Slapping kick.
Sam Kok Bo	三角步	Triangular (advancing and retreating) steps or footwork.
Soo Gerk	掃腳	Sweeping kick. This is used in the Muk Yan Jong (Wooden Dummy) form in section 7. This is delivered simultaneously with Sheung Lap Soo Gerk (雙擸掃腳). The sweeping action involves the foot sweeping in to strike the lower part of the dummy leg.
Tor Bo	拖步	Dragging step. This is used in Chum Kiu for three steps whilst the body is at 45% and completes the arm techniques interchanging between cross-body Taan Sau / inside Pak Sau with one arm and Taan Sau / Bong Sau on the other.
Wang Chai Gerk	橫踩腳	Side stomp kick. This is used in the Muk Yan Jong (Wooden Dummy) form. This uses the outside edge of the foot to stomp down the front part of the dummy leg.
Wang Dang Gerk	橫釘腳	Side nailing kick. This is a kick used in the Section 2 of the Muk Yan Jong (Wooden Dummy) form. It is used as part of the Kwan Sau Wang Dang Gerk 捆手橫釘腳 simultaneous usage of Kwan Sau and side nailing kick The centre of the outside of the foot is used to kick the top ‘bridge’ part of the dummy leg that corresponds to the knee position on an opponent.
Wan Tan Gerk	环摊腳	This is Jic Gerk (a straight front kick), but applied at an angle (135 degrees) to the centerline. This is the final kick introduced in section 3 of the Chum Kiu form.
Wu Ma	护馬	Meaning ‘Retreating Step’ to strategically adjust positional advantage to Bai Jong and regain the centreline.
Yil Ma (or Yiu Ma)	腰馬	The action of turning – shifting the bodyweight from one leg to another in stepping and kicking.
Yuet Gerk	月腳	Slanting kick. This is used in the Muk Yan Jong (Wooden Dummy form) as part of Tan Da Boon Yuet Gerk (攤打半月腳). This is in section 3 of the form which uses the Taan Daa and front thrusting kick simultaneously. The angle of the foot is turned 45% with the foes pointing up, impacting the top middle part of the leg (equivalently around the knee).

Hand Techniques

Cantonese	Character	Meaning (English)
Biu Sau	镖手	Thrusting hand. This is one of the many Wing Chun moves which can be use as a block and a strike. It is used to deflect any attack around the shoulder height or above. It can be used to strike an opponent’s eyes and throat.
Bong Sau	膀手	Wing arm. This is a complex movement that is introduced in the Sil Lim Tao form. It is a deflective technique formed when other techniques structure (such as Taan Sau) are compromised by a punch crossing the centreline or when the wrists are being controlled.
Chang Sau	张秀	Cutting hand / spade hand.
Chao Chong Kuen	抽撞拳	Whipping hand / rising punch. This is a technique introduced in the Chi Sau form and has the action of a low upper cut.
Chin Gum Sau	前撳手	Front pressing hand. This technique is introduced (and used exclusively) within the Sil Lim Tao form. This is used in Section 2 of the form and follows the use of Hau Gum Sau (backward pressing hand).
Chung Jeung	中掌	Straight vertical palm. This technique is introduced in the Sil Lim Tao form. The strike action is to the face with palm of the hand forward facing and fingers upwards.
Dai Bong Sau	低膀手	Low wing arm. This technique is the application of the Bong Sau (introduced in the Sil Lim Tao form to cover the high-gate) used lower to cover the mid/low-gate.
Dai Jeorng	底掌	Low palm strike. This technique is introduced in the Sil Lim Tao form. It is used in section 3 of the Sil Lim Tao form following the Taan Sau, Huen sau and retraction of the arm the Dai Jeorng is a strike to the lower ribs.
Dai Kuen	底拳	Low punch. This is used in the section section of the Muk Yan Jong (Wooden Dummy) form. It is a straight punch to the main trunk of the dummy central between the two top and single centre arm.
Fak Sau	拂手	Whisking arm. This is a chop technique introduced in the Sil Lim Tao form. It can be used as a block or a strike and is useful for defending and attacking an opponent or opponents who is /are to the side, not in front of the practitioner.
Fook Sau	伏手	Controlling hand / bridge on hand. This technique is used to bridge on an opponents arm. It is relatively simple but effective movement that is first introduced in the Sil Lim Tao form. It is used in extensively in Chi Sau but can be applied as a deflection or block, or to control an opponents limb after the execution of a striking technique.
Gaan Sau	耕手	Low block / splitting arm. This is used to block attacks to the mid section. Gaan in Cantonese means to ‘plough’ – so in Wing Chun the term relates to the action of ‘ploughing’ or ‘splitting’ through the opponents incoming arm.
Gum Sau	撳手	Pinning hand. Gum in Cantonese means to press. This technique is introduced in the second section of the Sil Lim Tao form and is used as a block or to pin an opponents arm. It is often used in Chi Sao.
Hau Gum Sau	後撳手	Back Pressing Hand(s). This double handed technique is introduced and used exclusively in the Sil Lim Tao form. This is used to break out of a rear bear-hug.
Huen Sau	圈手	Circling / rotating hand. This technique is introduced in the Sil Lim Tao form but is also used in Chum Kiu, Biu Gee and the Muk Yang Jong (Wooden Dummy) forms. It is used to change position whilst still controlling your attackers arm. It is also used to remove an obstacle that is stopping you striking your target.
Jeung Sau	掌手	Changing arms.
Jing Jeung / Chaange Jeung / Jing-Journ	正掌	Vertical palm strike, with the palm flat and the fingers pointing directly up. This is first used in section 1 of the Sil Lim Tao form. The application is used for driving the palm into the nose and driving the nose bone up into the brain. ‘Jeung’ in Cantonese translates to palm. ‘Chaange’ translates to the action of propping and describes the single continuous motion of this technique.
Jum Sau	枕手	Sinking block. This double-handed technique is introduced in the Sil Lim Tao form but is also used in Chum Kiu, Biu Gee and in the Baat Cham Dao (Butterly Knives) form as a Jum Dao.
Jut Sau	窒手	Jerk hand.
Jut Sun Kuen	窒身拳	Turning punches.
Kau Sau	扣手	Scooping hand.
Kwan Sau	綑手	Rotating arms.
Lap Sau	拉手	Deflective hand / pulling arm. This technique is introduced in the Sil Lim Tao form but is also in the Muk Yang Jong (Wooden Dummy) form. It is used to destroy the balance and structure of an opponent through the application of a short sharp pull. It has many uses most of which will are accompanied by a simultaneous strike to deliver devastating force.
Lan Sau / Larn Sau	拦手	Bar arm. In Cantonese this means to block or obstruct. This is a lifting block / bridging technique which is introduced in the Sil Tim Tao form. The forearm(s) is / arm level with the shoulders and more or less parallel to the body.
Lut Sau	甩手	This technique is used in section 3 of the Sil Lim Tao form. In Cantonese Lut means to get rid of or wipe away.
Man Geng Sau	问勁手	Neck pulling hand.
Man Sau	问手	Inquisitive arm.  This technique is introduced in the Sil Lim Tao form and, combined with Wu Sau forms the basic structure of the Yee Gee Kim Yeung Ma ‘Ready’ state. It is used to gain contact with the opponent but it can also be used to block and deflect incoming attacks.
Noi Kwan Sau	內捆手	Inside rolling hands. This is a double arm technique used to open Section 5 of the Muk Yang Jong (Wooden Dummy) form. Taan Sau and Dai Bong Sau arms are used simultaneously.
Pak Sau / Park Sau	拍手	Slapping hand / block. This is a simple yet effective deflecting technique introduced within the Sil Lim Tao form. Jut Pak Sau – this is the first Pak Sau used in the Sil Lim Tao form. Here ‘jut’ refers to the snapping (really quick) motion of the hand crossing the body to the mid-point between the centreline and the shoulder. Teui Pak Sau – this Pak Sau is not the same as the quick, whipping Jut Pak Sau. This one is forceful. Teui in Cantonese means to push.
Po Pai	破排	Double palm strike. This is a complex double palm motion found in the Dummy form. It should be applied as a push or to aggressively advance whilst maintaining positioning and controlling the opponent / centre line.
Sheung Tok Jarn	雙托㬹	Double elbow lifting block. This is used to open Section 3 of the Muk Yang Jong (Wooden Dummy) form.
Sheung Tok Soi	雙托腮	Double jaw strike. This is used is Section 3 of the Muk Yang Jong (Wooden Dummy) form. The application involves both arms striking at the head level of the wooden dummy trunk which would equate to a strike of the jaw on an opponents head.
Tan Sau / Tarn Sau / Taan Sau	摊手	Palm up hand. This is one of the main basic positions in Wing Chun which is introduced in the Sil Lim Tao form but also used in the Chum Kiu and Mok Yang Jong (Wooden Dummy) forms. In translation the meaning is ‘receiving hand’ and the technique requires keeping the correct elbow position and alignment relative to the opponent whist having forward movement so that it meets and deflects an attack. In Cantonese Tan / Taan / Tarn means to open – in application the opening of the hand is likened to the delicate opening of a flower, unfurling its petals. Ping Tan Sau – this is the first Tarn Sau used in the first section of the Sil Lim Tao form. ‘Ping’ in Cantonese means flat. Biu Tan Sau – this is the second Tan Sau used in the Biu in Cantonese means to short forwards. This does not have a flat hand (as in Ping Tan Sau) but has the hand parallel to the elbow (in the same way as Biu Sau). Bien Tan Sau. Bien in Cantonese means to whip. Here the whipping motion of the Bien Tan Sau is used for redirection.
Tie Sau	提手	Rising arm. This technique is introduced in, and used exclusively within, the Sil Lim Tao form. It uses long-bridge energy (extended arms) to block from low to high / high to low without bending the elbow or retracting the arm.
Tok Sau	托手	Lifting hand.
Tor Jarn Jut Sau	托㬹窒手	This is the arm breaking technique in Chum Kiu form that uses an upwards thrusting palm up to hit an opponent’s elbow which the other hand at the same time snapping down and breaking the arm at the elbow using Jerking Hand.
Tuet Sau	脫手	Freeing hand. This technique is introduced in the Sil Lim Tao form and is the action of wiping driving one wrist down and the other up simultaneously to break free from a wrist grab by an opponent.
Wan Jeung / Wang Journ	环掌	Side palm. This is the second palm strike used in section 3 of the Sil Lim Tao form. In Cantonese Wan / Wang means sideways and Jeung / Journ means palm.
Wang Kau Sau	橫扣手	Side detaining hand. This technique is introduced in the Sil Lim Tao form. Rather than the palm facing technique this has the hand at a 45% angle or rotation and turn to attack the cheek and the thumb to gauge the eye.
Wu Sau	护手	Protective hand / guard hand. This technique is used alongside the Mann Sau to form the basic ‘Ready’ state in the Yee Gee Kim Yeung Ma stance. The Wu Sau or guard acts as a cover of the defensive line (near the body) whilst the Mann Sau or other attacking techniques operate on the attacking line (away from the body). The Wu Sao forms the ‘launch’ position of relaxed, forwarding structure meaning that it is always in the perfect position to be launched forward as a block or strike.
Yat Chi Kuen / Yut-Jee Chung-Cheu	日字拳	Character ‘sun’ thrusting punch. This is a straight front punch. Yat / Jut refers to the Cantonese Day / Sun symbol. Chung means to rush forward. Cheu is another way in Cantonese to hit.

Elbow Techniques

Cantonese	Character	Meaning (English)
Chair Pie	斜排	Diagonal elbow strike.
Cup Jarn	蓋掙	Vertical elbow strike.
Gwoy Jarn	过掙	Horizontal elbow strike.
Pie Jarn	批掙	Hacking elbow. It is a horizontal hacking elbow strike that can be performed turning towards the target or away from the target. This is introduced in the Chum Kiu form.

Weapon Use Terms

Cantonese	Character	Meaning (English)
Biu Dao	镖刀	Thrusting knives.
Cham Dao	八斩刀	Chopping knives.
Chark Dao		Stabbing knives.
Cup Dao	蓋刀	Downward knife.
Gaap Dao		‘V’ shape knives.
Gang Dao		Splitting knives.
Kau Dao	扣刀	Scooping knife.
Kwun Dao	棍刀	Rotating knives.
Mun Dao		Asking knife.
Tan Dao	摊刀	Dispersing knife.
Tor Dao	拖刀	Dragging knives.
Wu Dao	护刀	Protective / guard knife.
Yat Cham Dao	一斩刀	Character ‘1’ knife.

Other Terms

Gung Fu – ‘Kung Fu’ – the developing of advanced skills through hard work.

Kwoon – Kung Fu school where training takes place.

Mo Duk – ‘Martial Morality’ – upholding virtue, honour, courage, respect and discipline.

Siu Lum – ‘Shaolin’ in Mandarin – meaning small forest.

Wing Chun – roughly translated as ‘Forever Springtime’.

Gor Sau – 过手 – roughly translated as ‘Free application’, meaning the freedom to explore rather than being constrained within the routine of a drill .