History of the ring

Rattan and iron rings have a distinguished place in Chinese martial arts. The rattan ring has been an integral part of the Wing Chun system since the days of Shaolin. Pugilist monks formed rattan into rings, to practice the hand techniques of the various Kung Fu systems studied at the temple.

Wing Chun being a direct branch of Shaolin, has inherited these training methods.

There are no written records pertaining to the self defence applications of either the rattan or iron rings. It is known, however that the rattan ring was used prior to the first century AD.

Original paintings on the walls of the Shaolin temple show the fighting monks using the iron rings offensively. In an early painting of Chang Tao Ling riding his tiger, the rattan ring is clearly shown along with a sword held aloft. These two depictions of the rings are sufficient in their acknowledgment of their use both prior to and during the time of the famous Shaolin monks.

Using the ring

When training with the ring it is important to maintain a constant flow between hand shapes. Constant forearm structure is imperative, with attention being paid to "closing the centerline."

Correct posture, back straight, pelvis forward and constant stance width, along with a smooth, regulated breathing pattern all aid continuity when training with the ring. The shoulders should always be relaxed and down.

When combining the hand techniques with footwork patterns, a dynamic "form like" routine appears, punctuation in "performance" is critical.

Most movements with the ring are defensive and therefore circular in nature, however sudden striking actions accompanied by a single defensive hand (lin sil dai dar) demonstrate the offensive capabilities of this apparatus.

Training structure

There are four main sets for rattan ring practice.

Set number one is primarily to develop flow and an understanding of the ring's dynamics relative to stance changes and footwork. Rotating and flipping the ring through a limited number of hand shapes promotes a basic understanding of the structure for the subsequent three sets. The double rotations contained in this set develop the flow and continuity between movements.

Sets two, three and four, are designed to develop suppleness and flexibility in the shoulders. By the time a student commences training with the ring, the basics of stance, footwork and arm/hand positions have been mastered and the transition from open hand to ring technique is quickly achieved.

While sets two and three use the "hands through the opposite direction" through the ring, set four introduces "hands through the same way".

Half way through the set four, the hands again switch to the opposite way through a grabbing and rotating manoeuvre. This set in particular gives the practitioner the greatest understanding of the rattan ring.

After mastering the four basic sets freestyle application with the ring is encouraged, students may experiment with a variety of stances and hand shapes. Constant flow is the goal with careful attention being paid to maintenance of the structural integrity of the hand shapes.

The Iron Ring set

The training benefits of the ring are obvious to all Wing Chun practitioners, directional energy transmission combined with tight centerline control being the most obvious advantages. By substituting the conventional rattan with the added weight of iron increases the potential of the ring.

Iron rings vary in weight from one to ten pounds. Lighter rings may be used in pairs to increase the weight and provide more challenging training methods. Keeping two or more rings together by correct forearm structure is no mean feat, however constant practice can prove beneficial both from an increased strength perspective and a deeper level of focus.

The iron ring places immense strain on the arms, shoulders and upper back. Only when proficiency in the four basic rattan ring sets is achieved should the iron ring be attempted.

The set itself is a combination of the rattan ring sets two, three and four, the order being, four, two and three respectively, with "joining" movements to tie them all together. Correct structure should be maintained throughout all positions, should this not be possible at first, more practice should be done with the lighter, rattan ring.

Meditating with the ring

Extended practice with the ring places one in a semi meditative state. Focus on the ring reduces outside distractions and a constant flow of energy is achieved. A balance of mind and body follows, and the practitioner achieves a "no mind" state, this "zone" allows the contemplative self to evolve and meditation begin.