Doveroso rispondere.
Lo stralcio di filmato di cui si parla:
1) E’ tratto esclusivamente dall’intervento di Roberto; è stato fatto ad uso esclusivo degli allievi di Roberto, è stato utilizzata la piattaforma di you tube per renderlo privatamente visibile anche a allievi geograficamente distanti. Il montaggio dello stesso è esclusivamente dovuto al fatto che, come ben sanno i partecipanti, la telecamera era fissa. Sono stati scelti esclusivamente i pezzi ove Roberto compare a figura intera. Questa è stata l’unica discriminante.
2) Roberto ed io non ci sappiamo spiegare come il filmato possa essere stato pubblicato da terzi. Ci dispiace , e ce ne dispiace perché la sua destinazione voleva essere diversa. Nel filmato si identificano chiaramente e luoghi dello svolgimento, di mia proprietà, e partecipanti . Il master e l’edit successivo sono al momento nella disponibilità di uno studio legale, cui è stato dato compito di verificare se possa sussistere reato di pirateria informatica,danno di immagine ed azioni in contrasto con la legge sulla privacy, il tutto basato chiaramente sull’intenzione iniziale di assoluta visione privata. Lo studio legale deve altresì darmi una motivata opinione a proposito della proprietà intellettuale e materiale del bene.
3) I master relativi ai filmati ripresi verranno al più presto distrutti. Vedremo come comporre i verbali di distruzione.
4) Qualunque persona renderà pubblico il filmato in oggetto, dovrà risponderne davanti ad un tribunale, quando e qualora vengano identificati estremi di reato.
Vi chiederete perché rispondo con questi toni:
1) Sono estremamente incavolato, poiché questa problematica non è venuta alla luce finora, e ci è stata taciuta a bella posta.
2) Sono estremamente incavolato, e dispiaciuto, per come si sono svolte le cose e per insulti diretti alla mia persona.
3) Sono maggiormente incavolato poiché sono stato additato come la mente malvagia dietro a quello che mi è stato riferito essere stato definito un inganno da parte mia.
4) Sono ultra incavolato poiché terzi hanno fatto uso di un bene che a me appartiene, per scopi meramente strumentali.
In sé il filmato, come detto più e più volte, non è nulla di che, una mera introduzione allo stile da noi praticato. Chiedo gentilmente a tutti di piantarla con questa storia, e per tutti coloro che hanno disponibilità del filmato, sappiate che non vi appartiene, e se è vero che tutti i partecipanti devono dare il loro benestare alla pubblicazione, Roberto ed io siamo i primi a non concedere assolutamente nessun tipo di “Semaforo verde” .
Ridicolo che delle persone bannate su un forum si debbano ridurre a rispondere tramite un blog.
Roberto e Michele
mercoledì 15 settembre 2010
lunedì 6 settembre 2010
Pensieri in libertà... ovvero "Roberto mi dai la tua benedizione per insegnare? Sai com'è, le bollette incalzano..."...
Quale è il senso…
A volte, vorremmo aprire una scuola, in realtà vi sono persone che amerebbero aprirne una, due…tre.
Un’ ottica di franchising, che, applicata al concetto di “Vendita di Beni”, trova la sua massima realizzazione: io vendo un bene all’affiliato, e questi, seguendo un “Manuale del Franchisee”, vende il bene. Il che vuol dire avere una singola insegna, rispettare le offerte proposte dall’Autorità Centrale, seguire dei corsi per diventare ottimi venditori, conoscere perfettamente il prodotto e tenere in modo perfetto le locazioni.
Seguire addirittura il modo di esporre la merce, gestire gli ordinativi e tutto il flusso di dati che confluiscono alla “Centrale Acquisti”…significa avere innate capacità di comunicazione con la Clientela e carisma…il carisma dell’imprenditore. Che c’entra con il Wing Chun? Uno potrebbe dire “Nulla! Che senso ha questo discorso?”. Eppure ha senso, a volte si fanno degli errori, si sceglie un partner sbagliato, uno che non ha seguito i Corsi che Tu gli hai proposto e preparato. Uno che “Fa da sé” mescolando le Sue esperienze a quanto gli viene offerto ed imposto dall’Autorità Centrale. Orbene, bisogna disfarsi di queste persone, se non sono adeguate. Se poi sugli scaffali mettono il tuo prodotto, mescolato ad altri prodotti della “Concorrenza”, è perfettamente inutile avere a che fare con loro.Va a scadere il contratto, si elimina il concetto di “Responsabilità Biunivoca”.
Quindi, cosa c’entra con il Wing Chun? Se la pratica del Wing Chun si annichilisce in una Organizzazione contraddistinta da un’Ottica Federativa, ove la massimizzazione del profitto sia divenuta uno degli assi portanti, se il rapporto con il Maestro diventa Lasso, lontano, se non si è dotati della necessaria capacità di autocritica (Ho i numeri per gestire un Kwoon? Ho una didattica comprovata? La mia tecnica e le mie capacità sono tali per cui posso pensare di avere qualcosa di ben interiorizzato da insegnare? Ho tempo per seguire i miei allievi, oppure dedicherò a loro solo 4/5 ore alla settimana), cosa sarò mai in grado di fare?
Risposta: “Ah, ma ogni due mesi viene il mio Maestro a verificare la mia preparazione e quella dei miei allievi…”. Questa è una risposta assolutamente tipica. Mi nasce una domanda….Voi mangiate una volta ogni due mesi, oppure fate parte del genere umano, quindi siete costretti ad assumere alimenti almeno due volte al giorno? E questo, al di là del fatto che vi alleniate o meno con persone provenienti da esperienze diverse. Quello, è un bene, ma non credo che si possa confondere il dilettante o peggio, il turista marziale, con un Maestro.
Il Maestro, Vi prende per mano, il dilettante Vi prende per il culo.
Michele
A volte, vorremmo aprire una scuola, in realtà vi sono persone che amerebbero aprirne una, due…tre.
Un’ ottica di franchising, che, applicata al concetto di “Vendita di Beni”, trova la sua massima realizzazione: io vendo un bene all’affiliato, e questi, seguendo un “Manuale del Franchisee”, vende il bene. Il che vuol dire avere una singola insegna, rispettare le offerte proposte dall’Autorità Centrale, seguire dei corsi per diventare ottimi venditori, conoscere perfettamente il prodotto e tenere in modo perfetto le locazioni.
Seguire addirittura il modo di esporre la merce, gestire gli ordinativi e tutto il flusso di dati che confluiscono alla “Centrale Acquisti”…significa avere innate capacità di comunicazione con la Clientela e carisma…il carisma dell’imprenditore. Che c’entra con il Wing Chun? Uno potrebbe dire “Nulla! Che senso ha questo discorso?”. Eppure ha senso, a volte si fanno degli errori, si sceglie un partner sbagliato, uno che non ha seguito i Corsi che Tu gli hai proposto e preparato. Uno che “Fa da sé” mescolando le Sue esperienze a quanto gli viene offerto ed imposto dall’Autorità Centrale. Orbene, bisogna disfarsi di queste persone, se non sono adeguate. Se poi sugli scaffali mettono il tuo prodotto, mescolato ad altri prodotti della “Concorrenza”, è perfettamente inutile avere a che fare con loro.Va a scadere il contratto, si elimina il concetto di “Responsabilità Biunivoca”.
Quindi, cosa c’entra con il Wing Chun? Se la pratica del Wing Chun si annichilisce in una Organizzazione contraddistinta da un’Ottica Federativa, ove la massimizzazione del profitto sia divenuta uno degli assi portanti, se il rapporto con il Maestro diventa Lasso, lontano, se non si è dotati della necessaria capacità di autocritica (Ho i numeri per gestire un Kwoon? Ho una didattica comprovata? La mia tecnica e le mie capacità sono tali per cui posso pensare di avere qualcosa di ben interiorizzato da insegnare? Ho tempo per seguire i miei allievi, oppure dedicherò a loro solo 4/5 ore alla settimana), cosa sarò mai in grado di fare?
Risposta: “Ah, ma ogni due mesi viene il mio Maestro a verificare la mia preparazione e quella dei miei allievi…”. Questa è una risposta assolutamente tipica. Mi nasce una domanda….Voi mangiate una volta ogni due mesi, oppure fate parte del genere umano, quindi siete costretti ad assumere alimenti almeno due volte al giorno? E questo, al di là del fatto che vi alleniate o meno con persone provenienti da esperienze diverse. Quello, è un bene, ma non credo che si possa confondere il dilettante o peggio, il turista marziale, con un Maestro.
Il Maestro, Vi prende per mano, il dilettante Vi prende per il culo.
Michele
lunedì 30 agosto 2010
Ma 9x9 farà poi 81??
Ecco qualche altro video didattico per chi è interessato al wing chun non modificato.... si lo so vi sto viziando... golosi & ingordi che non siete altro...
martedì 17 agosto 2010
giovedì 12 agosto 2010
MICHELE E' MIO ALLIEVO E PREZIOSO AMICO... MA COME SPESSO CAPITA NEL VERO E RARO RAPPORTO INSEGNANTE/ALLIEVO QUEST'ULTIMO DIVENTA MAESTRO DEL PRIMO E VICEVERSA... ECCO UN SUO PENSIERO DA CONDIVIDERE CON VOI...
Il Wing Chun ed il tappo di Ceres.
In sé stesso, il wing chun è difficoltoso da definire. Cosa dovrebbe essere? Uno stile di combattimento forse? Uno strumento da mettersi nel grosso calderone della “Difesa personale”? Un’espressione di un periodo storico dominato dalle Triadi e dai movimenti Anti Qing? Un qualcosa creato da una donna a partire da stili di combattimento più antichi? Quello che sappiamo di come dovrebbe essere questo stile, lo dobbiamo ai “Kuen Kuit”, i motti del wing chun. Ed eccone alcuni:
Loi lau - hoi song - lat sau jik chung: Attaccati a ciò che viene - manda via ciò che va - in caso di perdita del contatto, attacca in modo diretto
Lik yau geuk gan saang: La forza nasce dai piedi
Baak gaai baak jit: Ad ogni attacco c'è una risposta
Chiu min jeui ying saam jiu chai dou: Fronteggia l’avversario direttamente. Esegui tre movimenti insieme
Bo lei tau, min fa tou, tit kiu sau: Testa di vetro, pancia di cotone, mano di ferro
Gong Sau Bat Gong Ching:In combattimento, non avere pietà
Dik yat yi dung, jung sam yi hung: Quando l’avversario si muove, perde il suo centro di gravità
Siu Da Tong Bo :Attacco e difesa simultanei.
Ying Siu Bo Fa, Ying Fu Sung Yung: la struttura neutralizza, il footwork dissolve, in questo modo puoi affrontare gli avversari spendendo meno energie.
Yuk Shun But Yuk Yik: muoviti in armonia con la forza dell’avversario.
Curioso. Conosco pochissime persone che riescono ad applicare uno o due di questi motti, una sola persona che li applica tutti, e nella maggioranza dei casi le persone sono “Scimmie Automatiche” che ripetono pedissequamente esercizi stupidi, che sono in netta contrapposizione con i principi del Wing Chun.
Quindi no, probabilmente non state praticando Wing Chun, ma state masticando gusci vuoti. Un altro esempio, avete una bottiglia di Ceres, ed avete sete. Purtroppo non sapete come aprirla, che cosa fate?
a) Leccate il tappo, illudendovi che particelle del liquido prezioso ne fuoriescano.
b) Date una mazzata al collo della bottiglia, voi volete bere ora ed adesso, e chissenefrega se rischiate di rendere inutilizzabile il contenuto.
c) Cercate qualcuno che abbia un apribottiglie, o che sia capace ad aprirvela in sicurezza.
La maggioranza delle persone risponde 3), poiché è la risposta corretta, ma si comporta come 1) o 2), o con un mix divertente di entrambe le risposte sbagliate.
Il Wing Chun è uno stile difficoltoso da imparare, il vostro avversario è raramente la persona con cui potreste trovarvi a combattere, il vero avversario siete voi stessi: all’inizio della pratica, provate ad eliminare dall’equazione il concetto “Combattimento”, soprattutto nel primo anno il Wing Chun agirà sottilmente su di voi, insegnandovi a superare i vostri limiti mentali, a recuperare l’abilità che avevate da piccoli di utilizzare indifferentemente la destra e la sinistra, a concentrarvi meglio e più a lungo sui compiti quotidiani. Vi stupirà, ed alla fine vi insegnerà il concetto “Massimo risultato con minimo sforzo”.
Ovvero, l’apoteosi dell’intelligenza.
Michele
In sé stesso, il wing chun è difficoltoso da definire. Cosa dovrebbe essere? Uno stile di combattimento forse? Uno strumento da mettersi nel grosso calderone della “Difesa personale”? Un’espressione di un periodo storico dominato dalle Triadi e dai movimenti Anti Qing? Un qualcosa creato da una donna a partire da stili di combattimento più antichi? Quello che sappiamo di come dovrebbe essere questo stile, lo dobbiamo ai “Kuen Kuit”, i motti del wing chun. Ed eccone alcuni:
Loi lau - hoi song - lat sau jik chung: Attaccati a ciò che viene - manda via ciò che va - in caso di perdita del contatto, attacca in modo diretto
Lik yau geuk gan saang: La forza nasce dai piedi
Baak gaai baak jit: Ad ogni attacco c'è una risposta
Chiu min jeui ying saam jiu chai dou: Fronteggia l’avversario direttamente. Esegui tre movimenti insieme
Bo lei tau, min fa tou, tit kiu sau: Testa di vetro, pancia di cotone, mano di ferro
Gong Sau Bat Gong Ching:In combattimento, non avere pietà
Dik yat yi dung, jung sam yi hung: Quando l’avversario si muove, perde il suo centro di gravità
Siu Da Tong Bo :Attacco e difesa simultanei.
Ying Siu Bo Fa, Ying Fu Sung Yung: la struttura neutralizza, il footwork dissolve, in questo modo puoi affrontare gli avversari spendendo meno energie.
Yuk Shun But Yuk Yik: muoviti in armonia con la forza dell’avversario.
Curioso. Conosco pochissime persone che riescono ad applicare uno o due di questi motti, una sola persona che li applica tutti, e nella maggioranza dei casi le persone sono “Scimmie Automatiche” che ripetono pedissequamente esercizi stupidi, che sono in netta contrapposizione con i principi del Wing Chun.
Quindi no, probabilmente non state praticando Wing Chun, ma state masticando gusci vuoti. Un altro esempio, avete una bottiglia di Ceres, ed avete sete. Purtroppo non sapete come aprirla, che cosa fate?
a) Leccate il tappo, illudendovi che particelle del liquido prezioso ne fuoriescano.
b) Date una mazzata al collo della bottiglia, voi volete bere ora ed adesso, e chissenefrega se rischiate di rendere inutilizzabile il contenuto.
c) Cercate qualcuno che abbia un apribottiglie, o che sia capace ad aprirvela in sicurezza.
La maggioranza delle persone risponde 3), poiché è la risposta corretta, ma si comporta come 1) o 2), o con un mix divertente di entrambe le risposte sbagliate.
Il Wing Chun è uno stile difficoltoso da imparare, il vostro avversario è raramente la persona con cui potreste trovarvi a combattere, il vero avversario siete voi stessi: all’inizio della pratica, provate ad eliminare dall’equazione il concetto “Combattimento”, soprattutto nel primo anno il Wing Chun agirà sottilmente su di voi, insegnandovi a superare i vostri limiti mentali, a recuperare l’abilità che avevate da piccoli di utilizzare indifferentemente la destra e la sinistra, a concentrarvi meglio e più a lungo sui compiti quotidiani. Vi stupirà, ed alla fine vi insegnerà il concetto “Massimo risultato con minimo sforzo”.
Ovvero, l’apoteosi dell’intelligenza.
Michele
mercoledì 11 agosto 2010
WX? NO GRAZIE, IL DOTTORE ME LO HA PROIBITO... MIA MAMMA NON VUOLE... LA MIA RELIGIONE ME LO PROIBISCE... IL BIMBO PIANGE CARA... TOCCA A TE ALZARTI STAVOLTA... DOMANI MI ALZO PRESTO PERCHE' HO LEZIONE DI UNA COSA CHE MI DICONO SIA IMPARENTATA ALLA LONTANA COL WING CHUN...
Diciamo la verità, sudare fa bene...
Pardon, meglio specificare... sudare studiando wx no.. tanto è come regalare i petardi all'ottimo wasp nero OBAMA... ci sono mille ragioni per le quali il wx non funziona... ma, venendo incontro alle capacità mentali di chi generalmente lo studia con (scarso) profitto tanto da non essersene mai reso conto da solo, e formati nel Tuo Divino insegnamento (o Signore) osiamo dire, Padre Nostro che sei nei Cieli... perchè non ti accorgi dell'errore e non poni rimedio col martello (in fiamme possibilmente...) della Tua misericordia? Perdona loro perchè non sanno quello che praticano... e visto che non lo sanno che dici Signore? Glielo diciamo?
1) Non fate wing chun
2) Imparate bene il punto precedente
3) Il chi gerk serve meno, ma molto meno della sabbia del gatto (specie se avete un dobermann...)
4) Il chi gerk nel wing chun non esiste, se fosse servito a qualcosa qualcuno lo avrebbe inventato già da mo'... però alle sagre paesane fa tendenza...
5) La blitz defence serve ad arricchire chi la insegna... ma se non siete ricchi è solo perchè c'è la crisi...
6) La soluzione universale servirebbe se dipinta sulle volte della Cappella Sistina, ma visto che essa è già mirabilmente occupata dal giudizio universale di un certo (Si) Fu Buonarroti... indovina indovinello...
7) Non rubare... pardon volevo dire le sezioni di chi sao divertono i pugili... e ricorda che i puggni a catena nel wing chun non esistono...
8) Credete di avere footwork ma footlocker la sa più lunga di voi
9) Se avete le mani le braccia e le gambe morbide vuol dire che usate troppo coccolino quando vi lavate... ma una tibiata di un thai potrebbe dare del lavoro extra al vostro ortopedico.
10) Non piangete sul latte versato, buttateci i biscotti
11) Le forme che studiate sono prive del 70% del sistema...
12) Il sistema che studiate è privo del 70% del wing chun, ma tranquilli non lo sa nessuno, quindi niente panico... "amici" ricomincia ogni settembre...
13) Essere cedevoli e morbidi significa, in realtà, che dovete picchiare come fabbri... ma fate finta di niente così nessuno se ne accorgerà mai...
14) Non rimandate a domani quello che potete rimandare a dopodomani ancora... soprattutto l'allenamento con un pugile serio...
15) Il tuo SIFU non conosce il wing chun, altrimenti non te lo insegnerebbe...
16) Il wing chun non conosce il tuo Si Fu, altrimenti lo prenderebbe a ciabattate nel coccige a due a due fino a quando non diventano dispari...
17) Yp Man era oppiomane...
18) Yp Man ad HK ha preso in giro quasi tutti perchè l'oppio è il padre degli hippies...
19) Leung Ting è stato allievo part time di Chong Pei e da questi ha appreso ben metà del wing chun che Yp Man ha insegnato a tutti quelli che voleva prendere in giro... ma non diteglielo se no si offende...
20) Se il wx non funziona è anche un po' colpa tua...
21) Non sai come prendere l'angolo cieco, ma un cieco lo sa eccome...
22) Non sai la differenza tra centro e linea centrale, ma per farcire il tacchino a Natale non ti serve saperlo...
23) Pieghi il polso nei pugni, nel tan sao, nel bon sao ecc... ecc... perchè tanto non li dovrai mai usare davvero... e se ti manca una ragazza può tornar utile avere i polsi snodati...
24) Il peso sulla gamba dietro è una vaccata micidiale inventata per impedirti di muoverti... ma a te non interessa muoverti perchè così perdi il posto...
25) Se combatti sempre di fronte all'avversario vuol dire che lo vuoi baciare e a lui potrebbe non piacere... e se è più alto e pesante di te potrebbe anche diventare violento...
26) La vita è una malattia genetica degenerativa mortale a trasmissione sessuale, quello che studi anche visto che quando paghi la lezione te lo stanno picchiettando sullo sfintere... ma a te piace...
27) La maggior parte dei rappresentanti italiani di un Si Fu cinese, il si fu in questione lo hanno visto in media tre volte in tutto...
28) Per strada se finisci a terra sei morto ecco perchè nel wing chun non si studia la lotta a terra...
29) Se ti piace tanto il chi sao sappi che comunque in quello che studi ne manca un buon 50% e che va allenato sia con la destra che con la sinistra
30) comincia da questi 29 e poi se ne riparla...
Pardon, meglio specificare... sudare studiando wx no.. tanto è come regalare i petardi all'ottimo wasp nero OBAMA... ci sono mille ragioni per le quali il wx non funziona... ma, venendo incontro alle capacità mentali di chi generalmente lo studia con (scarso) profitto tanto da non essersene mai reso conto da solo, e formati nel Tuo Divino insegnamento (o Signore) osiamo dire, Padre Nostro che sei nei Cieli... perchè non ti accorgi dell'errore e non poni rimedio col martello (in fiamme possibilmente...) della Tua misericordia? Perdona loro perchè non sanno quello che praticano... e visto che non lo sanno che dici Signore? Glielo diciamo?
1) Non fate wing chun
2) Imparate bene il punto precedente
3) Il chi gerk serve meno, ma molto meno della sabbia del gatto (specie se avete un dobermann...)
4) Il chi gerk nel wing chun non esiste, se fosse servito a qualcosa qualcuno lo avrebbe inventato già da mo'... però alle sagre paesane fa tendenza...
5) La blitz defence serve ad arricchire chi la insegna... ma se non siete ricchi è solo perchè c'è la crisi...
6) La soluzione universale servirebbe se dipinta sulle volte della Cappella Sistina, ma visto che essa è già mirabilmente occupata dal giudizio universale di un certo (Si) Fu Buonarroti... indovina indovinello...
7) Non rubare... pardon volevo dire le sezioni di chi sao divertono i pugili... e ricorda che i puggni a catena nel wing chun non esistono...
8) Credete di avere footwork ma footlocker la sa più lunga di voi
9) Se avete le mani le braccia e le gambe morbide vuol dire che usate troppo coccolino quando vi lavate... ma una tibiata di un thai potrebbe dare del lavoro extra al vostro ortopedico.
10) Non piangete sul latte versato, buttateci i biscotti
11) Le forme che studiate sono prive del 70% del sistema...
12) Il sistema che studiate è privo del 70% del wing chun, ma tranquilli non lo sa nessuno, quindi niente panico... "amici" ricomincia ogni settembre...
13) Essere cedevoli e morbidi significa, in realtà, che dovete picchiare come fabbri... ma fate finta di niente così nessuno se ne accorgerà mai...
14) Non rimandate a domani quello che potete rimandare a dopodomani ancora... soprattutto l'allenamento con un pugile serio...
15) Il tuo SIFU non conosce il wing chun, altrimenti non te lo insegnerebbe...
16) Il wing chun non conosce il tuo Si Fu, altrimenti lo prenderebbe a ciabattate nel coccige a due a due fino a quando non diventano dispari...
17) Yp Man era oppiomane...
18) Yp Man ad HK ha preso in giro quasi tutti perchè l'oppio è il padre degli hippies...
19) Leung Ting è stato allievo part time di Chong Pei e da questi ha appreso ben metà del wing chun che Yp Man ha insegnato a tutti quelli che voleva prendere in giro... ma non diteglielo se no si offende...
20) Se il wx non funziona è anche un po' colpa tua...
21) Non sai come prendere l'angolo cieco, ma un cieco lo sa eccome...
22) Non sai la differenza tra centro e linea centrale, ma per farcire il tacchino a Natale non ti serve saperlo...
23) Pieghi il polso nei pugni, nel tan sao, nel bon sao ecc... ecc... perchè tanto non li dovrai mai usare davvero... e se ti manca una ragazza può tornar utile avere i polsi snodati...
24) Il peso sulla gamba dietro è una vaccata micidiale inventata per impedirti di muoverti... ma a te non interessa muoverti perchè così perdi il posto...
25) Se combatti sempre di fronte all'avversario vuol dire che lo vuoi baciare e a lui potrebbe non piacere... e se è più alto e pesante di te potrebbe anche diventare violento...
26) La vita è una malattia genetica degenerativa mortale a trasmissione sessuale, quello che studi anche visto che quando paghi la lezione te lo stanno picchiettando sullo sfintere... ma a te piace...
27) La maggior parte dei rappresentanti italiani di un Si Fu cinese, il si fu in questione lo hanno visto in media tre volte in tutto...
28) Per strada se finisci a terra sei morto ecco perchè nel wing chun non si studia la lotta a terra...
29) Se ti piace tanto il chi sao sappi che comunque in quello che studi ne manca un buon 50% e che va allenato sia con la destra che con la sinistra
30) comincia da questi 29 e poi se ne riparla...
TUTTO QUELLO CHE DOVETE SAPERE SUL WENG/WING MA NON AVETE MAI OSATO CHIEDERE CON CENNI STORICI E GEOGRAFICI... IN 100 COMODE USCITE SETTIMANALI (SENSAZIONALE PREZZO DI LANCIO 12,90 EURO...!)... SI LO SO E' IN INGLESE MA NON TI VERGOGNI ALLA TUA ETA' DI CONOSCERE SOLO IL VERNACOLO DEL TUO TRISTO PAESE?? P.S. DA NON FARE TRADURRE ASSOLUTAMENTE DA QUALCUNO DELLA WTO!!!!! TI DIREBBE CHE CHU CHUNG MAN E' STATO ALLIEVO DI LEUNG TING!!!!
"Having reconciled Ou (Au Hong ) and Rumian (Yu Min), Feng (Fung Siu Ching) found out that hardly anyone knew about the fight between them. Feng then thought about organising a social gathering among all Weng Chun practitioners to boost team spirit. He talked to Liang Zan (Leung Jan) and proposed to have the function held on the birthday of Bodhidharma (達摩祖師) which fell on the fifth day of the tenth lunar month. Bodhidharma was the founder of Shaolin martial arts. When he got to the Shaolin Monastry, he noticed that the monks dozed off and were in low spirits when he was preaching Buddhism. So he designed the shi ba lou han quan (十八羅漢拳) [the fist-fighting skill of Eighteen Buddhism Arhat]. He taught the monks about it and therefore became the founder of Chinese fist-fighting. The skill was passed on from generation to generation. All martial arts school of the Shaolin style would celebrate Bodhidharma’s birthday. As the Weng Chun martial arts was passed down by Master Zhi Shan (Chi Sim), it was genuine Shaolin style. Taking into account the large number of Weng Chun practitioners in Foshan at that time, Feng suggested holding a grand ceremony. It was proposed that a banquet be organised so that Weng Chun practitioners of different branches could come and meet one another. By that time, Liang Zan was already an elderly man. His two sons, Liang Chun (梁春) and Liang Bi (梁璧) had no intention to develop in the field of martial arts. As Chen Hua was chosen as his successor and had taken a large number of students, Liang Zan asked Feng to discuss the issue with Chen. With the blessing of Liang, Feng found Chen and told him about his thinking. Chen had always supported the idea that Weng Chun practitioners should be one big family and with the approval of his sifu, he was willing to lend a helping hand. They chose San Pin Lou (三品樓) as the venue for the banquet and urged their own students to pay for the tickets for the occasion".
The second part of the gathering:
Lian’s stall at Lian Hua Di was just opposite Chen Hua’s earthenware shop cum martial arts school. Chen knew that Lian was also a Weng Chun practitioner and was very friendly with him. For that same reason, Chen made it a point to invite Lian and his students to join the banquet for celebration of the birthday of Bodhidharma. On the day of the big event, San Bao Lou was bustling with noise and excitement. A painting of Bodhidharma was hung at the central hall. On both sides of the painting were an antithetical couplet (對聯). The content of the couplet was on how Bodhidharma practised Buddhism and his accomplishment. A burner was placed in front of the painting. Only incense was burnt but no joss sticks or candles were used. Above the painting was a horizontal scroll with the words fo guang pu zhao (佛光普照) [radiance of the Buddha shed in all directions and illuminate all things]. Those who took part in the ceremony had to bow three times to the painting on their arrival. Among all the participants, Liang Zan was the most senior. After him came Feng Xiaoqing, Chen Hua, Ou Kang and Paohua Lian. For their students, Chen Hua got Wu Xiaolu (吳小魯), He Hanlu (何漢侶), Lei Ruji (雷汝濟), Li Kao (黎攷), Chen Xihou (陳錫侯), Wu Zhongsu (吳仲素), Li Houpei (黎厚培), He Jian (何建), Chen Rumian (陳汝棉) who had all acquired good skills. Among Feng Xiaoqing’s students were Dong Zhi (董植), Dong En (董恩), Luo Yinnan (羅蔭南), Luo Qiteng (羅啟騰), Deng Suan (鄧算), Lin Zuxing (林祖興), Jian Dexing (簡德興), Ma Zhongru (馬仲如) and Huang Shiyi (黃十一). Although Ou Kang had the most students, the really accomplished one was Xian Yujie (冼玉階). He was Ou’s assistant teacher at that time. As for Paohua Lian, he only got about ten students.
When everybody had arrived, they were led by the sifus to pay homage to the painting of Bodhidharma. Hoping to bring together the different branches of Weng Chun, Feng Xiaoqing briefed the assembly about the origin of the different branches of Weng Chun in Foshan. It was verified that all martial arts were handed down by Master Zhi Shan. As Master Zhi Shan first taught the Shaolin monks in the Weng Chun Hall (永春殿) of the Shaolin Monastery, the martial arts was named thus. When Feng finished, each branch sent a few able students to demonstrate martial arts as entertainment. Definitely all demonstrations were of the Weng Chun style. Liang’s student demonstrated three sets of fist fighting skills, which were xiao nian tou (小念頭), xun qiao (尋橋) and biao zhi (標指). These were in fact similar to Feng’s Weng Chun Kuen (永春拳), san bai fo (三拜佛) and quan zhuang (拳樁). Liang’s er zi qian yang stance (二字箝羊馬) was identical to Feng’s qilong stance (騎龍馬) and san jiao (三角). Movement and style for the liu dian ban gun (六點半棍) was the same for all the different branches. The demonstrations only differed in the technique of the performer and the length of the pole. Among Feng’s students, Dong Zhi was most skilful in fist fighting and Deng Suan was most skilful in pole fighting. Deng used a pole of nine feet two inches (Chinese measurement) long as his sifu. For Feng learnt the skill from Xin Jin on the red boat and they practised with the wooden dummy. That explained why the pole they used was longer than normal. Deng Suan had Feng’s direct teaching and he was an assiduous student. Those were the bases for Deng’s accomplishment. The great ceremony was a success since it brought together the different Weng Chun branches and the followers became united
"Since then, Wang Laozuo became even more famous and many people came to learn martial arts from him. Popularity of Weng Chun Kuen was almost comparable to that of the Mo Jia style. At that time, a wu ju ren [a successful candidate in the imperial examinations on martial arts at the provincial level] called Gao Houci was sent to the Wu Dou Si Yamen [government office in feudal China] at Foshan as bazong . His duties were to be in charge of all work related to suppressing bandits in the area. The armed force under him was made up of about a thousand man who were sent to station in different villages to guard the granaries. Wu Dou Si Yamen was situated at Da Wan (大灣) where a lot of Dongguan (東莞) natives lived, and together they formed a united force. For although Foshan belonged to the Nanhai County, people moved in from different places but apart from the Dongguans, other natives’ dwellings tended to scatter. Therefore Da Wan was also known as the ‘land of the Dongguans’ (東莞地). The Dongguans living in Da Wan were mainly vegetable farmers and vegetable farms and melon patches could be seen spreading for miles. Nevertheless, the biggest business there was manure pits. For manure was used as fertilizer at that time and farmers had to buy excrement and urine. Such bought items required some treatment before they could be used. Urine could be easily stored for all farmhouses had places for such storage. Dungs, however, must be stored in pits and chaff had to be added to turn it into manure. There were merchants running big businesses by setting up manure pits in the open space in Da Wan and selling manure to farmers to make profit.
The Dongguans living in Da Wan were very united and always helped one another. If one person was in need, others would render assistance and protection and they became a powerful force. Gao was a typical Dongguan. He favoured using Dongguans to work for him. As he was head of the Wu Dou Si Yamen, many in the armed force were Dongguans. In fact, there was another important reason for employing them as members of the armed force. Dongguans were renowned for being able to bear hardships and work assiduously. Their fierce temperament, bravery and excellent fighting skill also render them suitable to suppress the bandits in the area. Gao also thought about employing a martial arts coach from Dongguan. Gao knew that Wang Laozuo was a master in Weng Chun and intended to invite him. However, Wang was engaged in numerous teaching duties and did not have time. He therefore picked one of his students, Ou Kang (區康), to take his place. Ou had been Wang’s student for seven to eight years and had attained very good standard. As he had no job, Wang considered him the most suitable person to take up the duty. When he talked to Ou about it, Ou was delighted and agreed. So Wang wrote a recommendation letter and Ou took that to see Gao at the Wu Dou Si Yamen. Gao was not at all pleased to see Ou. For though Ou was a husky fellow with a strong build, he had red lumps all over his face which made him look very much like a leper. But since Ou was recommended by Wang and he was a Dongguan, Gao finally employed him as the martial arts coach in the yamen and taught the armed force Weng Chun Kuen. People called Ou ‘Fa Feng Kang’ (發瘋康) [Kang the leper].
At this time, Liang Zan was also teaching Weng Chun Kuen at Zan Sheng Tang. He taught xiao niantou, xunqiao and biaozhi. Ou heard that Liang’s Weng Chun Kuen was divided into three sets, which was different from what he learnt, and that his teacher was Liang Guoan while the founder of the school Ou followed was Liang Boaliu. Based on all such differences, he pointed out that what Liang Zan taught was not legitimate Weng Chun. After some time, his remarks reached Money Exchanger Hua (Chen Hua) who, considering it a malign statement, was rather provoked. However, Chen dared not challenge Ou for Ou was the martial arts coach in the Wu Dou Si Yaman and was backed-up by Gao. Chen discussed with Liang Zan and proposed to declare that their style was Yong Chun (詠春), in memory of Yan Yongchun (嚴詠春). Liang Zan agreed that the name marked a memorial fact but it should only be taken as a branch of Weng Chun."
Xin Jin (新錦) helped Feng Xiaoqing (馮小青) hand in his resignation to Xiao Quan (蕭權) and took him back to the red boat*. From then on, Xin kept Feng as a personal attendant and when he played on stage, Feng would help at the back stage taking up jobs like tidying up Xin’s costumes and put back in the chests. As Feng worked carefully and systematically, he won the favour of Xin who would not hesitate to teach him what he knew. No matter where the red boat went, Xin always took Feng along. At that time, Xin was a very famous Cantonese opera actor but he continued practising martial arts assiduously. On the red boat, facilities like the wooden dummy, the movable dummy and sandbags were installed. Xin told Feng that those were bases for practising Weng Chun Kuen as handed down by Master Zhi Shan (至善襌師). Because of his anti-Manchu sentiment, Master Zhi Shan was closely watched by the Qing (清) government after the Shaolin Monastary (少林寺) was burnt down. Since he wanted to pass his martial arts skills to people in the southern part of China, he disguised himself as a cooking staff in the red boat. During that time, he secretly took in two students. The students were Huang Huabao (黄華寶) and Liang Erti (梁二娣). The former played Da Hua Mian (大花面) [strong male character] in the troupe. The latter was the boatman known as Du Shui Guai or Water Ghost Duk (篤水鬼). He steered the boat by pushing a long bamboo pole against the riverbed.
Master Zhi Shan taught students according to their aptitude. The Shaolin fist-figthing skill (少林拳) was based on the five forms (五形拳). Nevertheless, due to the lack of space on the red boat, Master Zhi Shan could not teach Huang and Liang the five forms which required long bridge and big stance (長橋大馬). He taught them short bridge and narrow stance (短橋窄馬) instead and modified the big stance to the er zi qian yang stance (二字箝羊馬) [a pair of pliers on a goat]. In practice, the two feet were about a foot apart and the two knees were but a few inches apart. In such a position, the feet would be like a pair of pliers (箝), and if you were riding on a goat’s neck, it would not be able to free its head and escape because of the force of your feet and that was why it was so named. Qiao shou (橋手) can be catergorized as tan shou (攤手), fu shou (伏手), geng shou (耕手), ze shou (責手), lan shou (攔手), and shi shou (拭手). Palm fighting skill (掌法) can be catergorized as zheng zhang (正掌) [the hand is held perpendicular to the wrist], heng zhang (橫掌) [the ridge-hand] and di zhang (底掌). Stance is simple with alteration from horse style (馬式) to bow style (弓式). The bow style stance is characterized by having the foot behind as the dominant weight anchor while the foot in front played subordinate. The Weng Chun training focused on practising with the wooden dummy. The stance for practising is to turn the body from sideways to front while engaging the hand and elbow at the same time with the elbow and palm striking simultaneously, fist-fighting with elbow, strike with the palm when the body is sideways. La jiao (辣腳) [sweeping feet] and geng shou are heavy blows. [埋樁的時候,步馬採用側身轉正,手睜並用,睜掌齊施,拳是用踭,側身用掌,辣腳,耕手,都是側重的.] Chi shou (黐手) [adhesive hand], practising with the wooden dummy and the sandbags are functional skills. While the latter two skills could be practised individually, the first one will require a partner and is similar to the push-hands (推手) of the Taijiquan (太極拳). As short bridge and narrow stance is adopted and there is little stepping, space required to complete a full set of fist-fighting skills for combating will be only a few square feet, which made it suitable to be practised on the red boat. "For pole-fighting skill, it’s called the liu dian ban gun (六點半棍). The liu dian are ti (提) [lift], lan (攔)[block], dian (點)[point], jie (揭)[tilt], ge (割) [cut], yun (運)[manoevre] and the ban dian is lou gun (漏棍) [parry?]. Apparently simple, these basic skills involved a lot of modifications when put in real practice. As Liang Erti was a boatman and familiar with working with a pole, Master Zhi Shan trained him on such skills in particular. A pole for steering a boat is long and so Liang practised with a pole of 9 feet 3 inches long (Chinese measurement). Since Master Zhi Shan and his two students often had their lessons on the red boat, sandbags, movable dummies, wooden dummies were installed. The sandbags were hung between the walls. The wooden dummies, however, could not be partially buried in the ground as they were placed on solid ground and had to be stabled by large stones instead. Under such condition, when practising with the wooden dummies, it was inevitable that they would sway a bit, and that’s why they were called ‘movable dummies’ to differentiate them from the static dummies partially buried in the ground. The wooden dummies were made of wooden frame measuring 8 feet in square and they resembled the Chinese character ‘田’. There was a one-foot pole shooting out at each of the four corners and a longer one shooting out at the centre. The dummy was hung on the wall and the height came to the chest of a man. For persons who practised with the dummy, they should take the five ‘shooting out’ poles as poles held by imaginary enemies and practised the liu dian ban gun skill as instructed. Master Zhi Shan spared no effort in teaching Huang and Liang and after a few years, both of them attained very good standard. Huang was skillful at fist-fighting skill while Liang became an accomplished pole-fighting master. Master Zhi Shan told them that he had also passed these skills to two other students, namely Yan Ergong (嚴二公) from Jiangxi (江西) and Liang Boliu (梁博流) from Dongguan (東莞). Weng Chun Kuen (永春拳) Chapter 3
Huang Huabao was Xin Jin’s sifu [teacher in martial arts] in Weng Chun Kuen and they had their lessons on the red boat. At one time, Liang Erti was the boatman on the same boat and Xin took the opportunity to learn the liu dian ban gun from Liang. Xin was eager and persistent and practised with the wooden dummy whenever he found time. He therefore got great advancement.
Having taken Feng as his student, Xin taught him Weng Chun Kuen on the red boat for six years. During that period, Feng was keen in his martial arts practice but he showed no interest in the performing arts of Cantonese opera. He did not succeed in singing, walking techniques, hand movements or distinctive facial expressions. He could only play some low status warrior characters and came on stage when fighting scenes were on. However, Xin was fond of him. KnoWeng Feng’s aspiration and interest, he and would not force him to learn opera. He continued to teach him Weng Chun Kuen and let him work as his attendant. Feng would help at the back stage folding Xin’s costumes and played unimportant warrior roles when required. He earned only very little. It was a rule on the red boat that students who learnt performing arts were to undertake a contract. They would learn their skills for three years and after that, their teachers would take them on stage. They would then work for three years to repay their teachers and to complete the contract. After that, they would be free to work for themselves. In Feng’s case, he achieved very little in performing arts as he spent most of his time in learning martial arts. He was devoted to Xin, worked diligently and carefully and had no complaint about the low wages. Xin nevertheless knew that Feng had little chance of developing a career in the troupe. On the other hand, Feng had achieved very high standard in martial arts and could become a master in such area. Xin did not want to stifle Feng’s real talents and told him what he thought and persuaded him to leave the red boat so that he could develop his career in martial arts. Xin also urged Feng to carry forward the Weng Chun Kuen skill. Feng agreed with his teacher and took his advice. He left the red boat and looked for chances in the field of martial arts.
Feng’s hometown was Nanhai (南海). At that time, the Qionghua Guild (瓊花會館) [the association established by Cantonese opera artists] at Foshan (佛山) was burnt down and Ba He Guild ( 八和會館) was not yet set up in Guangzhou (廣州 ). The red boats usually anchored at Foshan and Feng had been there many times. He became a friend to Dong Yeqing (董業卿), the owner of Lian Chang Hua Hong Shop (聯昌花紅店) at Hua Hong Street (花紅街). Having left the red boat, Feng decided to pay Dong a visit. Dong had two sons, namely Dong Zhi (董植) aged 18 and Dong Lun, (董倫) aged 16. The two brothers loved martial arts and their father sent them to a teacher who taught Hong Quan (洪拳) at Anning City (安寧市). They spent three years with the teacher and could master a complete set of ‘five form fist-fighting skill’ (五形拳). They told their father that they could easily fight against two to three average-looking guys on the street.
When Feng arrived at Lian Chang Hua Hong Shop, he found Dong Yeqing and told him that he had left the red boat and his teacher wanted him to develop the Weng Chun Kuen. He therefore intended to set up a martial arts school in Foshan. When Dong Yeqing heard this, he said, ‘You are also a Weng Chun Kuen practitioner? At present, there is a teacher of Weng Chun Kuen in Foshan and his name is Liang Zan (梁贊). He learnt his skill from his uncle Liang Guoan (梁國安) whose wife was Yan Yongchun (嚴詠春). Yan was the daughter of Yan Ergong of Jiangxi who was the student of Master Zhi Shan. When Liang Guoan went to Jiangxi, he married into Yan Yongchun’s family and lived there and had the advantage of learning Weng Chun Kuen skill from both his father-in-law and his beloved wife. After the death of Yan Ergong, Liang took his wife back to Guangdong and taught Liang Zan the skill. Liang Zan is running a Chinese medicine shop called Zansheng Tang Chinese Medicine Shop (贊生堂藥材店) and he practises as a doctor. He does not teach Weng Chun Kuen openly. Apart from his two sons, he has another student called Chen Hua (陳華). Chen has a money exchange stall outside Zansheng Tang and people used to call him Money Exchanger Hua (找錢華). There is nobody teaching martial arts officially here.’ The story continues. Obviously the Master in the past were unlike those in modern days. They do not have Internet. They do not have Facebook to advertise. They are more local and hence would not have hundreds and thousands of "students". Those days Sifu and Todais are more of a life time relation and not like today that one could hop from one to other and claim that one could be expert in every area and turn their back against their teacher easily. Today Kung Fu teaching is, a lot of cases, more "Business Transaction" than "Teaching and Learning". The good tradition of Martial Art Ethnics is taken over by Entrepreneurship. Martial art teaching is a means to get good money with good advertising techniques if one can buy in a "Spokesman" to establish a "brand".
Weng Chun Kuen (永春拳) Chapter 4
Dong Yeqing’s remarks reminded Feng about what his sifu told him, that Yan Ergong was a student of Master Zhi Shan. He knew that Liang Zan’s martial arts skill was of the same school as his own and as nobody had yet set up a martial arts school in Foshan, it would be an opportunity for him to do so. While he was talking to Dong Yeqing, Dong Zhi and his brother came home unexpectedly. Their father introduced them to Feng and mentioned that Feng was a distinguished student of Xin Jin and could master Weng Chun Kuen very well. He also told them that Feng had left the red boat and intended to teach Weng Chun Kuen in Foshan.
Dong Zhi was practising Hong Quen at that time and his sifu always openly criticized Weng Chun Kuen as not functional for its short bridge and narrow stance. Dong Zhi therefore did not believe in Weng Chun Kuen and had been trying to find a chance to combat with someone practising Weng Chun. When he heard what his father said, he replied, ‘I heard that the Weng Chun style is handed down by Master Zhi Shan to opera artists while he lived on the red boat. The aim was to facilitate their performance on stage. However, this means the skill is only good for visual delight and not functional. That’s why Liang Zan and Chen Hua who are reputable Weng Chun masters wouldn’t dare set up a martial arts school in Foshan. Even if Master Feng would like to teach Weng Chun Kuen, I’m afraid nobody would like to learn it.’
On hearing his remarks, Feng understood that Dong Zhi looked down on the Weng Chun style and decided to display his skills to convince Dong Zhi otherwise. So he smiled and said, ‘This could be your sifu’s perspective. In fact, the Weng Chun style, with its short bridge and narrow stance, could guard the body very well. Moreover, it’s good for both attack and defence. Your sifu is prejudiced by saying that it’s not functional. You have practised Hong Kuen for a few years and should be good at it. If you wish, we can have a contest to prove what I have said.’ Dong Zhi was just too happy to hear Feng’s suggestion. His sifu always praised his achievement in Hong Quen and said that he could fight any martial arts master. He had been looking for a match for a long time and Feng’s proposal was exactly what he had been waiting for. He would also take the opportunity to show his father what he had attained. So he replied without any hesitation, ‘You are right. I’d very much like to take your suggestion and see which martial arts skill is more functional.’
The inner building of Lian Chong Hua Hong Shop was very spacious and Dong Zhi and his brother always had their practice there and so it’s an ideal place for the contest. Feng posed a er zi qian yang stance and displayed the tan shou. He then said to Dong Zhi, ‘You can attack me with Hong Quen at full force. Don’t hold back or we won’t be able to tell the weak from the strong.’ Dong Zhi saw that Feng’s stance was just like standing and quickly dismissed it as superficial and not steady. He therefore took a step forward and applied the jin long xian zhao (金龍獻爪) [the golden dragon showed its claws] of the five form fist-fighting skill under Hong Quen. With his left hand supporting the right elbow, his right hand was in the form of claws and he adopted a feint to attack Feng’s face but in fact, he intended to change the left hand into claws and attack Feng’s body. Feng saw his real intention and used fu shou to subdue Dong Zhi’s left wrist, blocked his advance and lifted his right palm with his own, so as to undermine his force. As Dong Zhi’s right side of the chest was exposed, Feng applied shuang tui shou (雙推手) [push with both hands] and pushed Dong Zhi at the front. Dong Zhi fell back to more than seven feet away, hit the wall with a big bang and then fell to the ground. As his waist hit the wall, he slipped and fell on his buttocks, which hurt so much that he could not stand up again. At that moment, Dong Zhi knew that his skill was far behind that of Feng. After all, he had hit Feng with all his might, yet with hardly any effort, Feng had overpowered him. Dong Zhi was won round completely. He knelt down in front of Feng, acknowledged his far more superior skill and asked to become his student. Seeing this, Dong Yeqing asked Feng to stay and teach his sons Weng Chun Kuen. Weng Chun Kuen (永春拳) Chapter 5
As the Dongs were sincere in their request, Feng was happy to consent. Dong Yeqing therefore took some money to install all the basic practising equipment, such as sandbags, wooden stake and wooden dummy (木樁,棍樁) Dong Zhi had a friend named Deng Suan (鄧算), whose hometown was Nanhai as well. He learnt Hong Quan from the same sifu as the Dong brothers. Deng’s father was a master in fist-fighting skill and the family had a long tradition of learning martial arts. Deng learnt fist-fighting skill at a very small age and when he grew up, he married the daughter of a master in fist-fighting skill. Their happy marriage was praised far and wide. His intention of learning Hong Quan was for advanced training and he became very good friend of the Dong brothers. Dong Zhi told Deng about Feng’s skill and persuaded him to learn Weng Chun Kuen from Feng and Deng agreed. At that time, Feng had a few other students, all introduced by Dong Zhi. However, as the Dong brothers and Deng had solid foundations in fist-fighting skill, Feng regarded them with respect.
Dong Yeqing was a wealthy businessman in Foshan and loved to make friends with people practising martial arts. He was an acquaintance of Liang Zan. Since Feng took up the teaching role at Lian Chong Hua Hong Shop, Dong had talked to Liang and told him about Feng’s background. Liang Zan knew that Feng’s skill and his own were of the same origin and was happy to make friends with him. Dong therefore introduced them and they had a good talk on fist-fighting skills. Liang told Feng that his skills was learnt from his uncle Liang Guoan. His aunt Yan Yongchun had also coached him. Liang Guoan taught him three sets of fist-fighting skill and each set was practised in a different way. The first set was called xiao nian tou (小念頭), and practised with the face looking to the front. One should pose the er zi qian yang stance and stand still. The feet only move twice in the course of practising the full set of xiao nian tou. For the hands, they got tan shou, fu shou and bang shou (榜手). It’s very good for defence and the body was well protected. The second set was xun qiao (尋橋) and practised with the body turned half sideways, i.e. about 45 degrees. To practise this set of skill, the stance would have to shift from the horse style to bow style. The bow style would centre on the foot behind which will be assisted by the foot in front, another saying being ‘arrow in front of the bow’ (前箭後弓) which was its main difference from bow style stance in other schools of martial arts which adopted ‘bow in front of the arrow’ (前弓後箭). For the hands, emphasis was on bang shou and lan shou. Bang shou was further classified as shang bang (上榜), zhong bang (中榜) and xia bang (下榜). Other hand movements were similar to that of xiao nian tou. The third set was biao zhi (標指) which was the foundation for practising with the wooden dummy. The stance would be turning from sideway to the front. As both the hands and feet would be used simultaneously, the full set of biao zhi would adopt la jiao and geng shou. The fist would be assisted by the heel, and the palm would be used when turning sideways. The flow of the movement was to prepare for practising with the wooden dummy. The wonder of these three sets of skills was that it was all embracing.
In exchange, Feng expounded on what he knew about Weng Chun Kuen. The fist-fighting skill that Xin Jin taught him included ‘Weng Chun Kuen’, ‘Shaolin Quan’ (少林拳), Fo Quan (佛拳) and Zhuang Quan (樁拳). Weng Chun Kuen was the foundation of the Weng Chun style. Shaolin Quan was also known as Zhi Shan Quan (至善拳) to honour Master Zhi Shan. Fo Quan was so called because it originated from the Shalin Monastry. As for Zhuang Quan, it was mainly for practising with the wooden dummy. Wooden dummies for the Weng Chun style were classified as tian pan zhuang (天盤樁) and di pan zhuang (地盤樁). Though the name of the set of skills differ, the stances were the same. When one was facing the front, the er zi qian yang stance was adopted. The bow style was ‘arrow in front of the bow’. Practice for the hands included tan shou, fu shou, bang shou, ze shou, shi shou, geng shou and lan shou. For the palm, zheng zhiang, heng zhiang and di zhiang were the same. Both schools emphasized practising with the wooden dummy. Having practised fist-fighting, they would practise chi shou. The movement and functions were all the same. Although the order for the practise differ, when it came to chi shou, the methods were compatible thus making it possible for them to practise chi shou with one another.
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The second part of the gathering:
Lian’s stall at Lian Hua Di was just opposite Chen Hua’s earthenware shop cum martial arts school. Chen knew that Lian was also a Weng Chun practitioner and was very friendly with him. For that same reason, Chen made it a point to invite Lian and his students to join the banquet for celebration of the birthday of Bodhidharma. On the day of the big event, San Bao Lou was bustling with noise and excitement. A painting of Bodhidharma was hung at the central hall. On both sides of the painting were an antithetical couplet (對聯). The content of the couplet was on how Bodhidharma practised Buddhism and his accomplishment. A burner was placed in front of the painting. Only incense was burnt but no joss sticks or candles were used. Above the painting was a horizontal scroll with the words fo guang pu zhao (佛光普照) [radiance of the Buddha shed in all directions and illuminate all things]. Those who took part in the ceremony had to bow three times to the painting on their arrival. Among all the participants, Liang Zan was the most senior. After him came Feng Xiaoqing, Chen Hua, Ou Kang and Paohua Lian. For their students, Chen Hua got Wu Xiaolu (吳小魯), He Hanlu (何漢侶), Lei Ruji (雷汝濟), Li Kao (黎攷), Chen Xihou (陳錫侯), Wu Zhongsu (吳仲素), Li Houpei (黎厚培), He Jian (何建), Chen Rumian (陳汝棉) who had all acquired good skills. Among Feng Xiaoqing’s students were Dong Zhi (董植), Dong En (董恩), Luo Yinnan (羅蔭南), Luo Qiteng (羅啟騰), Deng Suan (鄧算), Lin Zuxing (林祖興), Jian Dexing (簡德興), Ma Zhongru (馬仲如) and Huang Shiyi (黃十一). Although Ou Kang had the most students, the really accomplished one was Xian Yujie (冼玉階). He was Ou’s assistant teacher at that time. As for Paohua Lian, he only got about ten students.
When everybody had arrived, they were led by the sifus to pay homage to the painting of Bodhidharma. Hoping to bring together the different branches of Weng Chun, Feng Xiaoqing briefed the assembly about the origin of the different branches of Weng Chun in Foshan. It was verified that all martial arts were handed down by Master Zhi Shan. As Master Zhi Shan first taught the Shaolin monks in the Weng Chun Hall (永春殿) of the Shaolin Monastery, the martial arts was named thus. When Feng finished, each branch sent a few able students to demonstrate martial arts as entertainment. Definitely all demonstrations were of the Weng Chun style. Liang’s student demonstrated three sets of fist fighting skills, which were xiao nian tou (小念頭), xun qiao (尋橋) and biao zhi (標指). These were in fact similar to Feng’s Weng Chun Kuen (永春拳), san bai fo (三拜佛) and quan zhuang (拳樁). Liang’s er zi qian yang stance (二字箝羊馬) was identical to Feng’s qilong stance (騎龍馬) and san jiao (三角). Movement and style for the liu dian ban gun (六點半棍) was the same for all the different branches. The demonstrations only differed in the technique of the performer and the length of the pole. Among Feng’s students, Dong Zhi was most skilful in fist fighting and Deng Suan was most skilful in pole fighting. Deng used a pole of nine feet two inches (Chinese measurement) long as his sifu. For Feng learnt the skill from Xin Jin on the red boat and they practised with the wooden dummy. That explained why the pole they used was longer than normal. Deng Suan had Feng’s direct teaching and he was an assiduous student. Those were the bases for Deng’s accomplishment. The great ceremony was a success since it brought together the different Weng Chun branches and the followers became united
"Since then, Wang Laozuo became even more famous and many people came to learn martial arts from him. Popularity of Weng Chun Kuen was almost comparable to that of the Mo Jia style. At that time, a wu ju ren [a successful candidate in the imperial examinations on martial arts at the provincial level] called Gao Houci was sent to the Wu Dou Si Yamen [government office in feudal China] at Foshan as bazong . His duties were to be in charge of all work related to suppressing bandits in the area. The armed force under him was made up of about a thousand man who were sent to station in different villages to guard the granaries. Wu Dou Si Yamen was situated at Da Wan (大灣) where a lot of Dongguan (東莞) natives lived, and together they formed a united force. For although Foshan belonged to the Nanhai County, people moved in from different places but apart from the Dongguans, other natives’ dwellings tended to scatter. Therefore Da Wan was also known as the ‘land of the Dongguans’ (東莞地). The Dongguans living in Da Wan were mainly vegetable farmers and vegetable farms and melon patches could be seen spreading for miles. Nevertheless, the biggest business there was manure pits. For manure was used as fertilizer at that time and farmers had to buy excrement and urine. Such bought items required some treatment before they could be used. Urine could be easily stored for all farmhouses had places for such storage. Dungs, however, must be stored in pits and chaff had to be added to turn it into manure. There were merchants running big businesses by setting up manure pits in the open space in Da Wan and selling manure to farmers to make profit.
The Dongguans living in Da Wan were very united and always helped one another. If one person was in need, others would render assistance and protection and they became a powerful force. Gao was a typical Dongguan. He favoured using Dongguans to work for him. As he was head of the Wu Dou Si Yamen, many in the armed force were Dongguans. In fact, there was another important reason for employing them as members of the armed force. Dongguans were renowned for being able to bear hardships and work assiduously. Their fierce temperament, bravery and excellent fighting skill also render them suitable to suppress the bandits in the area. Gao also thought about employing a martial arts coach from Dongguan. Gao knew that Wang Laozuo was a master in Weng Chun and intended to invite him. However, Wang was engaged in numerous teaching duties and did not have time. He therefore picked one of his students, Ou Kang (區康), to take his place. Ou had been Wang’s student for seven to eight years and had attained very good standard. As he had no job, Wang considered him the most suitable person to take up the duty. When he talked to Ou about it, Ou was delighted and agreed. So Wang wrote a recommendation letter and Ou took that to see Gao at the Wu Dou Si Yamen. Gao was not at all pleased to see Ou. For though Ou was a husky fellow with a strong build, he had red lumps all over his face which made him look very much like a leper. But since Ou was recommended by Wang and he was a Dongguan, Gao finally employed him as the martial arts coach in the yamen and taught the armed force Weng Chun Kuen. People called Ou ‘Fa Feng Kang’ (發瘋康) [Kang the leper].
At this time, Liang Zan was also teaching Weng Chun Kuen at Zan Sheng Tang. He taught xiao niantou, xunqiao and biaozhi. Ou heard that Liang’s Weng Chun Kuen was divided into three sets, which was different from what he learnt, and that his teacher was Liang Guoan while the founder of the school Ou followed was Liang Boaliu. Based on all such differences, he pointed out that what Liang Zan taught was not legitimate Weng Chun. After some time, his remarks reached Money Exchanger Hua (Chen Hua) who, considering it a malign statement, was rather provoked. However, Chen dared not challenge Ou for Ou was the martial arts coach in the Wu Dou Si Yaman and was backed-up by Gao. Chen discussed with Liang Zan and proposed to declare that their style was Yong Chun (詠春), in memory of Yan Yongchun (嚴詠春). Liang Zan agreed that the name marked a memorial fact but it should only be taken as a branch of Weng Chun."
Xin Jin (新錦) helped Feng Xiaoqing (馮小青) hand in his resignation to Xiao Quan (蕭權) and took him back to the red boat*. From then on, Xin kept Feng as a personal attendant and when he played on stage, Feng would help at the back stage taking up jobs like tidying up Xin’s costumes and put back in the chests. As Feng worked carefully and systematically, he won the favour of Xin who would not hesitate to teach him what he knew. No matter where the red boat went, Xin always took Feng along. At that time, Xin was a very famous Cantonese opera actor but he continued practising martial arts assiduously. On the red boat, facilities like the wooden dummy, the movable dummy and sandbags were installed. Xin told Feng that those were bases for practising Weng Chun Kuen as handed down by Master Zhi Shan (至善襌師). Because of his anti-Manchu sentiment, Master Zhi Shan was closely watched by the Qing (清) government after the Shaolin Monastary (少林寺) was burnt down. Since he wanted to pass his martial arts skills to people in the southern part of China, he disguised himself as a cooking staff in the red boat. During that time, he secretly took in two students. The students were Huang Huabao (黄華寶) and Liang Erti (梁二娣). The former played Da Hua Mian (大花面) [strong male character] in the troupe. The latter was the boatman known as Du Shui Guai or Water Ghost Duk (篤水鬼). He steered the boat by pushing a long bamboo pole against the riverbed.
Master Zhi Shan taught students according to their aptitude. The Shaolin fist-figthing skill (少林拳) was based on the five forms (五形拳). Nevertheless, due to the lack of space on the red boat, Master Zhi Shan could not teach Huang and Liang the five forms which required long bridge and big stance (長橋大馬). He taught them short bridge and narrow stance (短橋窄馬) instead and modified the big stance to the er zi qian yang stance (二字箝羊馬) [a pair of pliers on a goat]. In practice, the two feet were about a foot apart and the two knees were but a few inches apart. In such a position, the feet would be like a pair of pliers (箝), and if you were riding on a goat’s neck, it would not be able to free its head and escape because of the force of your feet and that was why it was so named. Qiao shou (橋手) can be catergorized as tan shou (攤手), fu shou (伏手), geng shou (耕手), ze shou (責手), lan shou (攔手), and shi shou (拭手). Palm fighting skill (掌法) can be catergorized as zheng zhang (正掌) [the hand is held perpendicular to the wrist], heng zhang (橫掌) [the ridge-hand] and di zhang (底掌). Stance is simple with alteration from horse style (馬式) to bow style (弓式). The bow style stance is characterized by having the foot behind as the dominant weight anchor while the foot in front played subordinate. The Weng Chun training focused on practising with the wooden dummy. The stance for practising is to turn the body from sideways to front while engaging the hand and elbow at the same time with the elbow and palm striking simultaneously, fist-fighting with elbow, strike with the palm when the body is sideways. La jiao (辣腳) [sweeping feet] and geng shou are heavy blows. [埋樁的時候,步馬採用側身轉正,手睜並用,睜掌齊施,拳是用踭,側身用掌,辣腳,耕手,都是側重的.] Chi shou (黐手) [adhesive hand], practising with the wooden dummy and the sandbags are functional skills. While the latter two skills could be practised individually, the first one will require a partner and is similar to the push-hands (推手) of the Taijiquan (太極拳). As short bridge and narrow stance is adopted and there is little stepping, space required to complete a full set of fist-fighting skills for combating will be only a few square feet, which made it suitable to be practised on the red boat. "For pole-fighting skill, it’s called the liu dian ban gun (六點半棍). The liu dian are ti (提) [lift], lan (攔)[block], dian (點)[point], jie (揭)[tilt], ge (割) [cut], yun (運)[manoevre] and the ban dian is lou gun (漏棍) [parry?]. Apparently simple, these basic skills involved a lot of modifications when put in real practice. As Liang Erti was a boatman and familiar with working with a pole, Master Zhi Shan trained him on such skills in particular. A pole for steering a boat is long and so Liang practised with a pole of 9 feet 3 inches long (Chinese measurement). Since Master Zhi Shan and his two students often had their lessons on the red boat, sandbags, movable dummies, wooden dummies were installed. The sandbags were hung between the walls. The wooden dummies, however, could not be partially buried in the ground as they were placed on solid ground and had to be stabled by large stones instead. Under such condition, when practising with the wooden dummies, it was inevitable that they would sway a bit, and that’s why they were called ‘movable dummies’ to differentiate them from the static dummies partially buried in the ground. The wooden dummies were made of wooden frame measuring 8 feet in square and they resembled the Chinese character ‘田’. There was a one-foot pole shooting out at each of the four corners and a longer one shooting out at the centre. The dummy was hung on the wall and the height came to the chest of a man. For persons who practised with the dummy, they should take the five ‘shooting out’ poles as poles held by imaginary enemies and practised the liu dian ban gun skill as instructed. Master Zhi Shan spared no effort in teaching Huang and Liang and after a few years, both of them attained very good standard. Huang was skillful at fist-fighting skill while Liang became an accomplished pole-fighting master. Master Zhi Shan told them that he had also passed these skills to two other students, namely Yan Ergong (嚴二公) from Jiangxi (江西) and Liang Boliu (梁博流) from Dongguan (東莞). Weng Chun Kuen (永春拳) Chapter 3
Huang Huabao was Xin Jin’s sifu [teacher in martial arts] in Weng Chun Kuen and they had their lessons on the red boat. At one time, Liang Erti was the boatman on the same boat and Xin took the opportunity to learn the liu dian ban gun from Liang. Xin was eager and persistent and practised with the wooden dummy whenever he found time. He therefore got great advancement.
Having taken Feng as his student, Xin taught him Weng Chun Kuen on the red boat for six years. During that period, Feng was keen in his martial arts practice but he showed no interest in the performing arts of Cantonese opera. He did not succeed in singing, walking techniques, hand movements or distinctive facial expressions. He could only play some low status warrior characters and came on stage when fighting scenes were on. However, Xin was fond of him. KnoWeng Feng’s aspiration and interest, he and would not force him to learn opera. He continued to teach him Weng Chun Kuen and let him work as his attendant. Feng would help at the back stage folding Xin’s costumes and played unimportant warrior roles when required. He earned only very little. It was a rule on the red boat that students who learnt performing arts were to undertake a contract. They would learn their skills for three years and after that, their teachers would take them on stage. They would then work for three years to repay their teachers and to complete the contract. After that, they would be free to work for themselves. In Feng’s case, he achieved very little in performing arts as he spent most of his time in learning martial arts. He was devoted to Xin, worked diligently and carefully and had no complaint about the low wages. Xin nevertheless knew that Feng had little chance of developing a career in the troupe. On the other hand, Feng had achieved very high standard in martial arts and could become a master in such area. Xin did not want to stifle Feng’s real talents and told him what he thought and persuaded him to leave the red boat so that he could develop his career in martial arts. Xin also urged Feng to carry forward the Weng Chun Kuen skill. Feng agreed with his teacher and took his advice. He left the red boat and looked for chances in the field of martial arts.
Feng’s hometown was Nanhai (南海). At that time, the Qionghua Guild (瓊花會館) [the association established by Cantonese opera artists] at Foshan (佛山) was burnt down and Ba He Guild ( 八和會館) was not yet set up in Guangzhou (廣州 ). The red boats usually anchored at Foshan and Feng had been there many times. He became a friend to Dong Yeqing (董業卿), the owner of Lian Chang Hua Hong Shop (聯昌花紅店) at Hua Hong Street (花紅街). Having left the red boat, Feng decided to pay Dong a visit. Dong had two sons, namely Dong Zhi (董植) aged 18 and Dong Lun, (董倫) aged 16. The two brothers loved martial arts and their father sent them to a teacher who taught Hong Quan (洪拳) at Anning City (安寧市). They spent three years with the teacher and could master a complete set of ‘five form fist-fighting skill’ (五形拳). They told their father that they could easily fight against two to three average-looking guys on the street.
When Feng arrived at Lian Chang Hua Hong Shop, he found Dong Yeqing and told him that he had left the red boat and his teacher wanted him to develop the Weng Chun Kuen. He therefore intended to set up a martial arts school in Foshan. When Dong Yeqing heard this, he said, ‘You are also a Weng Chun Kuen practitioner? At present, there is a teacher of Weng Chun Kuen in Foshan and his name is Liang Zan (梁贊). He learnt his skill from his uncle Liang Guoan (梁國安) whose wife was Yan Yongchun (嚴詠春). Yan was the daughter of Yan Ergong of Jiangxi who was the student of Master Zhi Shan. When Liang Guoan went to Jiangxi, he married into Yan Yongchun’s family and lived there and had the advantage of learning Weng Chun Kuen skill from both his father-in-law and his beloved wife. After the death of Yan Ergong, Liang took his wife back to Guangdong and taught Liang Zan the skill. Liang Zan is running a Chinese medicine shop called Zansheng Tang Chinese Medicine Shop (贊生堂藥材店) and he practises as a doctor. He does not teach Weng Chun Kuen openly. Apart from his two sons, he has another student called Chen Hua (陳華). Chen has a money exchange stall outside Zansheng Tang and people used to call him Money Exchanger Hua (找錢華). There is nobody teaching martial arts officially here.’ The story continues. Obviously the Master in the past were unlike those in modern days. They do not have Internet. They do not have Facebook to advertise. They are more local and hence would not have hundreds and thousands of "students". Those days Sifu and Todais are more of a life time relation and not like today that one could hop from one to other and claim that one could be expert in every area and turn their back against their teacher easily. Today Kung Fu teaching is, a lot of cases, more "Business Transaction" than "Teaching and Learning". The good tradition of Martial Art Ethnics is taken over by Entrepreneurship. Martial art teaching is a means to get good money with good advertising techniques if one can buy in a "Spokesman" to establish a "brand".
Weng Chun Kuen (永春拳) Chapter 4
Dong Yeqing’s remarks reminded Feng about what his sifu told him, that Yan Ergong was a student of Master Zhi Shan. He knew that Liang Zan’s martial arts skill was of the same school as his own and as nobody had yet set up a martial arts school in Foshan, it would be an opportunity for him to do so. While he was talking to Dong Yeqing, Dong Zhi and his brother came home unexpectedly. Their father introduced them to Feng and mentioned that Feng was a distinguished student of Xin Jin and could master Weng Chun Kuen very well. He also told them that Feng had left the red boat and intended to teach Weng Chun Kuen in Foshan.
Dong Zhi was practising Hong Quen at that time and his sifu always openly criticized Weng Chun Kuen as not functional for its short bridge and narrow stance. Dong Zhi therefore did not believe in Weng Chun Kuen and had been trying to find a chance to combat with someone practising Weng Chun. When he heard what his father said, he replied, ‘I heard that the Weng Chun style is handed down by Master Zhi Shan to opera artists while he lived on the red boat. The aim was to facilitate their performance on stage. However, this means the skill is only good for visual delight and not functional. That’s why Liang Zan and Chen Hua who are reputable Weng Chun masters wouldn’t dare set up a martial arts school in Foshan. Even if Master Feng would like to teach Weng Chun Kuen, I’m afraid nobody would like to learn it.’
On hearing his remarks, Feng understood that Dong Zhi looked down on the Weng Chun style and decided to display his skills to convince Dong Zhi otherwise. So he smiled and said, ‘This could be your sifu’s perspective. In fact, the Weng Chun style, with its short bridge and narrow stance, could guard the body very well. Moreover, it’s good for both attack and defence. Your sifu is prejudiced by saying that it’s not functional. You have practised Hong Kuen for a few years and should be good at it. If you wish, we can have a contest to prove what I have said.’ Dong Zhi was just too happy to hear Feng’s suggestion. His sifu always praised his achievement in Hong Quen and said that he could fight any martial arts master. He had been looking for a match for a long time and Feng’s proposal was exactly what he had been waiting for. He would also take the opportunity to show his father what he had attained. So he replied without any hesitation, ‘You are right. I’d very much like to take your suggestion and see which martial arts skill is more functional.’
The inner building of Lian Chong Hua Hong Shop was very spacious and Dong Zhi and his brother always had their practice there and so it’s an ideal place for the contest. Feng posed a er zi qian yang stance and displayed the tan shou. He then said to Dong Zhi, ‘You can attack me with Hong Quen at full force. Don’t hold back or we won’t be able to tell the weak from the strong.’ Dong Zhi saw that Feng’s stance was just like standing and quickly dismissed it as superficial and not steady. He therefore took a step forward and applied the jin long xian zhao (金龍獻爪) [the golden dragon showed its claws] of the five form fist-fighting skill under Hong Quen. With his left hand supporting the right elbow, his right hand was in the form of claws and he adopted a feint to attack Feng’s face but in fact, he intended to change the left hand into claws and attack Feng’s body. Feng saw his real intention and used fu shou to subdue Dong Zhi’s left wrist, blocked his advance and lifted his right palm with his own, so as to undermine his force. As Dong Zhi’s right side of the chest was exposed, Feng applied shuang tui shou (雙推手) [push with both hands] and pushed Dong Zhi at the front. Dong Zhi fell back to more than seven feet away, hit the wall with a big bang and then fell to the ground. As his waist hit the wall, he slipped and fell on his buttocks, which hurt so much that he could not stand up again. At that moment, Dong Zhi knew that his skill was far behind that of Feng. After all, he had hit Feng with all his might, yet with hardly any effort, Feng had overpowered him. Dong Zhi was won round completely. He knelt down in front of Feng, acknowledged his far more superior skill and asked to become his student. Seeing this, Dong Yeqing asked Feng to stay and teach his sons Weng Chun Kuen. Weng Chun Kuen (永春拳) Chapter 5
As the Dongs were sincere in their request, Feng was happy to consent. Dong Yeqing therefore took some money to install all the basic practising equipment, such as sandbags, wooden stake and wooden dummy (木樁,棍樁) Dong Zhi had a friend named Deng Suan (鄧算), whose hometown was Nanhai as well. He learnt Hong Quan from the same sifu as the Dong brothers. Deng’s father was a master in fist-fighting skill and the family had a long tradition of learning martial arts. Deng learnt fist-fighting skill at a very small age and when he grew up, he married the daughter of a master in fist-fighting skill. Their happy marriage was praised far and wide. His intention of learning Hong Quan was for advanced training and he became very good friend of the Dong brothers. Dong Zhi told Deng about Feng’s skill and persuaded him to learn Weng Chun Kuen from Feng and Deng agreed. At that time, Feng had a few other students, all introduced by Dong Zhi. However, as the Dong brothers and Deng had solid foundations in fist-fighting skill, Feng regarded them with respect.
Dong Yeqing was a wealthy businessman in Foshan and loved to make friends with people practising martial arts. He was an acquaintance of Liang Zan. Since Feng took up the teaching role at Lian Chong Hua Hong Shop, Dong had talked to Liang and told him about Feng’s background. Liang Zan knew that Feng’s skill and his own were of the same origin and was happy to make friends with him. Dong therefore introduced them and they had a good talk on fist-fighting skills. Liang told Feng that his skills was learnt from his uncle Liang Guoan. His aunt Yan Yongchun had also coached him. Liang Guoan taught him three sets of fist-fighting skill and each set was practised in a different way. The first set was called xiao nian tou (小念頭), and practised with the face looking to the front. One should pose the er zi qian yang stance and stand still. The feet only move twice in the course of practising the full set of xiao nian tou. For the hands, they got tan shou, fu shou and bang shou (榜手). It’s very good for defence and the body was well protected. The second set was xun qiao (尋橋) and practised with the body turned half sideways, i.e. about 45 degrees. To practise this set of skill, the stance would have to shift from the horse style to bow style. The bow style would centre on the foot behind which will be assisted by the foot in front, another saying being ‘arrow in front of the bow’ (前箭後弓) which was its main difference from bow style stance in other schools of martial arts which adopted ‘bow in front of the arrow’ (前弓後箭). For the hands, emphasis was on bang shou and lan shou. Bang shou was further classified as shang bang (上榜), zhong bang (中榜) and xia bang (下榜). Other hand movements were similar to that of xiao nian tou. The third set was biao zhi (標指) which was the foundation for practising with the wooden dummy. The stance would be turning from sideway to the front. As both the hands and feet would be used simultaneously, the full set of biao zhi would adopt la jiao and geng shou. The fist would be assisted by the heel, and the palm would be used when turning sideways. The flow of the movement was to prepare for practising with the wooden dummy. The wonder of these three sets of skills was that it was all embracing.
In exchange, Feng expounded on what he knew about Weng Chun Kuen. The fist-fighting skill that Xin Jin taught him included ‘Weng Chun Kuen’, ‘Shaolin Quan’ (少林拳), Fo Quan (佛拳) and Zhuang Quan (樁拳). Weng Chun Kuen was the foundation of the Weng Chun style. Shaolin Quan was also known as Zhi Shan Quan (至善拳) to honour Master Zhi Shan. Fo Quan was so called because it originated from the Shalin Monastry. As for Zhuang Quan, it was mainly for practising with the wooden dummy. Wooden dummies for the Weng Chun style were classified as tian pan zhuang (天盤樁) and di pan zhuang (地盤樁). Though the name of the set of skills differ, the stances were the same. When one was facing the front, the er zi qian yang stance was adopted. The bow style was ‘arrow in front of the bow’. Practice for the hands included tan shou, fu shou, bang shou, ze shou, shi shou, geng shou and lan shou. For the palm, zheng zhiang, heng zhiang and di zhiang were the same. Both schools emphasized practising with the wooden dummy. Having practised fist-fighting, they would practise chi shou. The movement and functions were all the same. Although the order for the practise differ, when it came to chi shou, the methods were compatible thus making it possible for them to practise chi shou with one another.
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SE PENSI DI STARE STUDIANDO WING CHUN PROBABILMENTE TI SBAGLI DI GROSSO, MA NON DIRLO A NESSUNO...
Come primo post tecnico comincio, secondo mia natura, a mettere subito le carte in tavola... Innanzitutto, come da titolo, se il wing chun che studi proviene direttamente o indirettamente da Yp Man, preoccupati seriamente. E visto che praticamente tutto o quasi ciò che puoi trovare (comodamente) in giro quà e là, da Yp Man proprio deriva, allora è il caso che cominci a valutare la possibilità di coltivare pomodori & altri frutti dell'orto.
Se pensi che Wing Chun = Ym Man sia una uguaglianza testata e fondata nella verità storica (e tecnica) allora comincia a comprare una buona scorta di semi, procurati una vanga ed un appezzamento di terra e dacci dentro... non ti preoccupare del concime, visto che ne disponi di una quantità direttamente proporzionale agli anni di pratica spesi nell'apprendimento di ciò che hai comprato (wing chun o wx ad libitum)... spesso a caro prezzo... Cimentandoti nell'attività agreste & bucolica di cui sopra, inoltre, scoprirai che coltivare la terra è infinitamente più duro (ma al contempo appaggante) che studiare anni e anni di sezioni & controsezioni in palestra a unico profitto del mercante di turno. Il tuo sangue trarrà beneficio dalla iperossigenazione, i tuoi muscoli diverranno resistenti e tonici e, nell'improbabile eventualità che tu ti debba difendere da un altro villico iracondo & ferino, scoprirai che nulla è meglio di una roncola o di una zappa propulsa da un guizzo energico dei tuoi muscoli e percheggiata tra moccio & bava del tuo sventurato & ostyle villano...
Orbene dove veniva praticato il wing chun (che poi è weng chun che poi però non è wing tsun/tjun/tschun/txun/xun/mammamiaquateso'...) all'epoca degli arcaici Padri fondatori di coloniale memoria? Ma nelle campagne mio caro! Ed ecco quindi che, con tutta evidenza, il wing chun (o wx ad libitum semper...) trova i suoi massimi espressione & fulgore nel nobile, antico, dimentico & perduto esercizio di indagine della zolla grassa, nel dissodamento del podere, nel raccoglimento del tubero aulente dopo sapiente attesa... Ma diciamocelo, suvvia, il wing chun non ha mai rubato il lavoro a noi del Nord (e del Sud), semmai ce lo ha dato... onoriamolo come si conviene...
segue...
Se pensi che Wing Chun = Ym Man sia una uguaglianza testata e fondata nella verità storica (e tecnica) allora comincia a comprare una buona scorta di semi, procurati una vanga ed un appezzamento di terra e dacci dentro... non ti preoccupare del concime, visto che ne disponi di una quantità direttamente proporzionale agli anni di pratica spesi nell'apprendimento di ciò che hai comprato (wing chun o wx ad libitum)... spesso a caro prezzo... Cimentandoti nell'attività agreste & bucolica di cui sopra, inoltre, scoprirai che coltivare la terra è infinitamente più duro (ma al contempo appaggante) che studiare anni e anni di sezioni & controsezioni in palestra a unico profitto del mercante di turno. Il tuo sangue trarrà beneficio dalla iperossigenazione, i tuoi muscoli diverranno resistenti e tonici e, nell'improbabile eventualità che tu ti debba difendere da un altro villico iracondo & ferino, scoprirai che nulla è meglio di una roncola o di una zappa propulsa da un guizzo energico dei tuoi muscoli e percheggiata tra moccio & bava del tuo sventurato & ostyle villano...
Orbene dove veniva praticato il wing chun (che poi è weng chun che poi però non è wing tsun/tjun/tschun/txun/xun/mammamiaquateso'...) all'epoca degli arcaici Padri fondatori di coloniale memoria? Ma nelle campagne mio caro! Ed ecco quindi che, con tutta evidenza, il wing chun (o wx ad libitum semper...) trova i suoi massimi espressione & fulgore nel nobile, antico, dimentico & perduto esercizio di indagine della zolla grassa, nel dissodamento del podere, nel raccoglimento del tubero aulente dopo sapiente attesa... Ma diciamocelo, suvvia, il wing chun non ha mai rubato il lavoro a noi del Nord (e del Sud), semmai ce lo ha dato... onoriamolo come si conviene...
segue...
sabato 7 agosto 2010
COLTELLI A FARFALLA BART CHAM DAO FORGIATI A MANO....
Come modello per la progettazione e la realizzazione è stato preso un autentico "coltello a farfalla" del diciannovesimo secolo, le cui misure e proporzioni sono completamente diverse da quelli moderni. Questi ultimi, infatti, sono perlopiù realizzati (oltre che in leghe scadenti) con fini merametne "estetici", ma assolutamente non funzionali al combattimento... Nel nostro, quote, dimensioni, pesi e bilanciamento sono molto vicini agli originali e improntanti al "battle ready". E si vede, prima ancora di brandirli...
dati tecnici:
High carbon steel 1%
Weight: 935g
blade length: 32cm.
full length: 48 cm.
blade thickness on guard 0.6 cm
blade thickness on blade tip 0.4cm
blade width on guard 60mm
blade width on tip: 34 mm.
handle width: 2.9 cm
handle thicknes 2cm
balance point 6cm from guard
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