IWKA Wing Tjun is a special type of Wing Tjun which takes its philosophy from the Three Treasures of Chinese Martial Arts; Health, Philosophy and the Martial Part. The IWKA Wing Tjun system does well to balance these three treasures unlike the other systems that doesn’t take this with all seriousness.

    For over a period of 25 years, Sifu Sergio Pascal ladarola learnt all there is to know about Wing Chun. Over 10 years of this period were channelled into studying the art’s history, concept, philosophy and principles. This devotion made the IWKA system a very special one. All the recovered gems are used to develop the curriculum of IWKA Wing Tjun system aided by properly combining the knowledge of the different lineages in Southeast Asia and china.

    Sifu Sergio is doing everything possible to preserve the legacy of the Chinese culture while encouraging students to build their Mind, Body and Energy in order to overcome the challenges they might encounter on the street.

    People are often amazed at how deep the IWKA Wing Tjun system is after encountering the work of Sifu Sergio. This depth is due to his devotion to study various lineages and also the opportunity he had to come in contact with some materials given to him by his Sifus and people from a highly secretive society in china.

    The IWKA Wing Tjun system is complete because it has its root in the following lineages:

    •  Various forms of Ip Man Wing Chun.
    •  Lo Family Wing Chun.
    •  Chan Wha Sun Wing Chun
    •  Information from the secret societies
    •  Gu lo Wing Chun; Leung Jan System
    •  Wing Chun (1948)
    •  Yik Kam Wing Chun
    •  1700’s Snake Crane Wing Chun and Wing Chun (1854)
    •  Tai Zo, Lohan and other systems based on Wing Tjun
    •  Yuen Kay San Wing Chun
    •  Fukien Wing Chun Bak hok; Fujian Yong Chun Baihe.
    •  Tang Family Wing Chun

    The study of these lineages has helped in recreating the complete forms of most systems. For example, the Ip Man system’s Long Pole form is only a portion of the real Luk Dim Poon Kwan as seen in Tang Yick Wing Chun system.

    The study of these lineages also helps to bring back all the principles and concepts that were in the original system and now shared among numerous lineages.

    The following are some of the characteristic of the Wing Chun which could also be seen in Wing Chun System that was around during the period of the uprising of Tai Ping until when it was created and which also form a part of the curriculum used in IWKA system:

    1.  Song: a way of removing unwanted tension, making the body livelier and realising the path of force flow.
    2.  Using the whole body to absorb and issue unlike hand techniques such as Fook Sau, Tan Sau, Bong Sau that makes use of arms or elbows. The combination of Fujan White Crane engine (7 Bows, and other ones) and Emei 12 Zhuang engine (snake engine) guides the use of the whole body system.
    3.  Concentrating on the use of the three shapes; the circle, the triangle and the straight line as opposed to concentrating on just the straight line and the triangle.
    4.  Knowledge of separating and detaching of the mind, body and energy which is necessary when one wants to issue the different types of the Jin and momentum handling,
    5.  Having a proper understanding of concepts of Lok Bok (dropping shoulder), Ham Hong (empty chest) and Chum Jarn (sinking elbows) and knowing that failure to adhere to these concepts have its own adverse effect.
    6.  Understanding of the fact that shoulder blades should not be rigid and torso shouldn’t be too tensed.
    7.  Allowing force to be generated from the whole body rather than just hand techniques.
    8.  The proper way lower abs whole body breathing should be done.
    9.  The understanding of Chi (the bioelectric/biomechanical energy of the body and how it flows through the meridians)
    10.  Expertise in Fa Jin handling (force flow handling) as against the use of brute force.
    11.  Avoiding the use of brute muscular power and making use of energy transfer, joint and tendon power.
    12.  Understanding use of bridge and eyes as against using only contact reflex training.
    13.  Having the proper knowledge of Yee Gee Kim Yeung Ma as related to its ancestor arts’ writing and what 1848 Kuen Kuit writer specify.
    14.  Knowing what following and sticking really means as opposed to the general meaning given to them which is following is chasing opponents with chain punching while sticking is moving very close to the opponent.
    15.  Use internal sinking to cut opponent’s root.
    16.  The use of spontaneity and flow.
    17.  Making use of Kuen Kuit to proper understand the forms and also make ut easer to lean and use of Kung.
    18.  The learning the gradual transition from no contact to contact while being equipped with the proper training method of Kiu Sao Wing Chun.
    19.   The building of internal power and health is aided by making use of Chi Kung.
    20.  Building internal power by making use of certain Wing Chun San Chong, also known in Mandarin as Zhan Zhuang.
    21.  Full understanding of Human, Heaven and Earth.
    22.  Understanding of opening and closing.
    23.  Understanding of sinking.
    24.  Knowledge of Fou, Tan, Cham and To (meaning float, Absorb, Sink and Spit respectively).
    25.  Understanding of the Dan Tian, bubbling wells and meridians.
    26.  Knowledge of YIN YANG (YAM Yeung) in most of the techniques.
    27.  Knowledge of Cotton Body.
    28.  Knowledge of the Three Rings
    29.  Proper usage of Kwa
    30.  Understanding the snake technology from EMEI (under the sleeve Jin, and the snake slide worm move, etc.) for energy and joints transfer handling.
    31.  Understand the Fujian White Crane Technology for the external shapes, center line theory and 7 Bows.
    32.  The Two types of force flow.
    33.  Four types of Jin release.
    34.  Five methods of carrying out Fa Jin through detachment.

    The differences between IWKA Wing Tjun system and other lineages are not limited to the ones stated above. Though some of the other lineages may have some of the above mentioned features, none of them can boast of having everything. This is due to the sacrifice and the hard work that Sifu Sergio put into research and enabling him to create a special curriculum for his association IWKA. The curriculum is based on the two sister branches of Wing Chun namely; Beautiful Spring and Eternal Spring and also on the Fujian Yong Chun Bai He ancestor (Fujian White Crane) and EMEI (credited for creating the special snake engine, especially snake slide worm moves which was wide known in first and ancient Siu Nim Tao, 1700).


    We are going to careful analyse the following:

    1.  As pointed out by Chan Buddhism, Eternal spring is not right in Chan. “Nothing is permanent” is the major philosophy held by Chan Buddhism. So how could anything be eternal when they don’t believe that anything can last forever? The essence of Chan Buddhism would be ridiculed if a spring hall in Shaolin temple is named hall eternal spring.
    2.  The term Chi Sim is actually a Confucius term since it can be found in Chinese Confucius teachings. So it would be a wrong thing to this terms for a Buddhist monk and a Buddhist hall. However, it is known that the Tien Tee Hui mixed Daoism, Buddhism and Confusism in Qi dynasty. Therefore, the Chi Sim and eternal spring hall is a representation of Tien Tee Hui as against being related to Buddhism.
    3.  White crane of Fujian is a Tien Tee Hui art, It is only reasonable that southern shaolin is a pseudonym of Tien Tee Hui.
    4.   It is highly possible that certain Tien Tee Hui sector or group owns the Eternal spring hall. It is definite that a special type of Fujian or white crane related martial art is being practiced in a hall somewhere which is not related to Chan Buddhist Shaolin temple.

    (Several troupers were killed and the Fine Jade hall was burned down when a Qing army led by Yip Ming Shun, governor of Canton, attacked the Red Boat opera Union in 1855. This act was later referred to as a deliberate act by Hung Mun secret society or Anti Qing to destroy the Fine Jade Hall, the Red Boat Opera. The Cantonese Opera was banned for a period of 15 years following the incident of Fine Jade hall. After fifteen years, the Eight Harmony hall of Cantonese opera was opened and it has being in operation till this day).

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