***I hope that the following guest post will be the first entry in a new occasional series here at Kung Fu Tea. While I am neither a linguist or historian of ancient China, I have found myself regularly attending the Cornell Chinese Classics Colloquium (CCCC) over the last couple of years. This fascinating series of workshops typically invites a visiting graduate student or junior professor to present a reading and translation of an ancient Chinese text of their choosing. The presenter highlights some puzzles that arise out of their text, either linguistic or historical in nature. This sets the stage for what is often a lively, and always enlightening, discussion.
The only drawback of the CCCC series is that none of the various scholars have yet presented a reading of a martial or military text. This group typically looks at political, literary, religious or even medical documents. Still, the growing interest in the reconstruction of various Chinese martial arts classics suggests that perhaps we could benefit from a similar effort. Students who are working on their own translation or reconstruction projects should feel free to submit a guest post. Ideally their essay will introduce both a translation of a specific section of text, and discuss either the linguistic, historical or technical issues that it presents. Hopefully this will inspire some good discussion. Given that there are very few academics who have translated these sorts of texts professionally, I would suspect that most contributions will come from amateur scholars, graduate students and individuals working on side projects. As with the CCCC, everyone is coming here to learn, and (charitable) feedback is always welcome. Enjoy!***
The poetry of motion: Qi Jiguang in verse
By Chad Eisner
When discussing Chinese martial arts classics it is often observed that, for a considerable period, the norm was to render technical information in verse form. Sometimes these verses are even called “songs” by modern martial artists. While this tradition has been kept by some, others have explicitly shunned the practice in favor of more straight forward instructions. Still, the fact remains that a sizable number of martial arts texts from the historical record are written in verse.
Proponents of the verse method of recording martial arts knowledge cite their ability to communicate more than just sequences of movement, or a specific response to an action. Properly understood they may also provide a framework for interpreting the technique in different contexts. Of course, verse also serve as a very convenient mnemonic for the memorization of traditions that may have been passed down orally. The issue with that method is that by keeping the language vague and open to interpretation, you make the act of understanding the technical information more difficult. When attempting to translate these poems to another language scholars face a large number of possible readings and reaching a consensus may be difficult.
Translation versus Interpretation
My background is as a (former) professional interpreter. Therefore I am coming at the act of translation from a specific place. Most people do not know the difference between interpretation and translation or that there is a difference between them at all. In the general sense, translation is the art of finding the equivalent words or phrases and interpretation is the act of discerning their meaning within their context. Professionally, “interpretation” happens live with little to no preparation or foreknowledge of what is being said. Translation is the act of transmitting information about things that are unchanging, as in being written down or recorded.
These two process are related, of course. Translation is a part of interpretation but because interpretation happens live, there are certain methods one must follow in order to ensure that the information and intent of the speaker are being communicated. In translation, since the text exists in a static form, the translator has access to all of the linguistic information during the entire process. This allows a translator to formulate solutions to problems more carefully and thoughtfully.
The result is that each profession approaches the translation of any text in a slightly different way. The translator looks for (in general) the most accurate and similar translation of each concept, including structure and word choice. The interpreter is more concerned with “equivalency” within the target language rather than a “word for word” approach. This may take the form of restructuring sentences, using different words, or finding completely unique idioms in the target language that serve the same function as the ones being used in the source language. A simple example of this is the greeting in Chinese “Nihao ma?” (你好嗎). Literally, this phrase means “Are you well?” But it is used much more frequently and in a wider context than the English phrase. It is therefore most often translated (or interpreted)as “hello” as it is used as a generalized greeting in Mandarin the same as the word “hello” functions in English. These are generalizations and there are several schools of thought for both translating and interpreting that take harder or softer stances on these issues.
Expansion and Contraction
When attempting to translate anything, there are certain issues which must be considered as many languages have different solutions to the same problems. One of these is the issue of linguistic expansion and contraction. This is when a single word in the source language cannot be expressed with a single word or “gloss” in the target language. It is necessary then to explain the concept in as concise language as possible to communicate the meaning and intent of the original text. This is a common occurrence in any language, but in written Chinese it happens with considerable frequency and can have lasting effects on the understanding of terms and concepts.
When translating and interpreting poetry and verse, the job becomes that much harder. Not only does one have to contend with almost intentionally obscure literary allusions and aesthetic styles, but one must now also render it in a similar fashion for the target language. This makes it necessary to approach the task with more of an interpreter’s mind set, being willing to alter things to make them adhere to the same type of experience for the reader, in which ever language there are experiencing it. There are concerns regarding meter, rhyme, structure, devices used and many many more things that are indicative of poetry and verse beyond what is found in prose.
These factors come together with the nature of poetry and verse to create a very difficult scenario for the translator. There will be numerous ways to translate the same text and none of them will really be more correct than some of the others. In “19 Ways of Looking at Wang Wei”, Eliot Weinberger looks at 19 different translations of a four line Chinese poem. Just among the English translations one can find distinct and unique takes on the simple verse. This underscores the fact that there are many ways to interpret what is being said and therefore, many correct translations of any text in verse.
This is not to say the effort is wasted. It is absolutely possible to render excellent verse to verse translations of songs, poems, and other forms of expressive writing. A good example of this is the song “Les Tomber les Filles “ written by Serge Gainbourg and performed by Franz Gall and translated and performed by the musician April March in 1995. March’s translation of the ’60’s era French pop song displays many of the techniques needed for translation of these types of texts:
Original by Gainsbourg:
Laisse tomber les filles, laisse tomber les filles
Un jour c’est toi qu’on laissera
Laisse tomber les filles, laisse tomber les filles
Un jour c’est toi qui pleureras
Oui j’ai pleuré mais ce jour-là, non je ne pleurerai pas
Non je ne pleurerai pas
Je dirai c’est bien fait pour toi, je dirai ça t’apprendra
Je dirai ça t’apprendra
Translation by March:
Hang up the chick habit
Hang it up, daddy,
Or you’ll be alone in a quick
Hang up the chick habit
Hang it up, daddy,
Or you’ll never get another fix
I’m telling you it’s not a trick
Pay attention, don’t be thick
Or you’re liable to get licked
You’re gonna see the reason why
When they’re spitting in your eye
They’ll be spitting in your eye
The first thing one notices is the title of the song. “Les Tomber les Filles” literally means “let the girls fall” or “drop the girls”. March’s translation of “Hang up the Chick Habit” does some fairly impressive things. First, it takes account of time period and chooses a phrasing with ’60 era flavor in the slang term “chick” used as an adjective. This immediately places the language in time and gets the listener into the right mindset. The idiom used in the French is reversed, conceptually, in the English translation. Where in the French we are told to “drop” the girls, the same sentiment is expressed by “hanging up” the habit of womanizing. Because of the nature of idioms and of course musical styles and concerns, finding equivalent phrases based on what they mean rather than the words they use is essential.
Without going into too much detail on each the lines and their translation, a quick glance at the selection above will reveal that there is a significant difference in the literal meaning of the French and the transition by March. Again, due to the confines of music, restructuring, rephrasing, and finding equivalent words and phrases, not directly translated ones, is necessary. It is the underlying meaning that needs to be addressed and since verse is often used as a tool for delivering information, it is this meaning that needs to be understood before a translation can be rendered.
Image of a Taiji Boxer. Source: Burkhardt, 1953.
The question is then brought up, what value is there in the effort to translate and render these verses into Western equivalents? Besides the scholarly and linguistic value that such an exercise provides, it may also be important to the modern practitioner who is purely interested in the content of these texts rather than their academic discussion. Martial artists often take inspiration from these works in their teaching and practice. Making them accessible to more people would seem to be a laudable goal.
Verse emphasizes form over function, sacrificing clarity. Modern attempts to not only understand the original message but then render it in verse form in the target language is a laborious, but ultimately rewarding, process. I have tried to keep the changes in my own project to a minimum, or in service of the verse structure. I have used my prior experience in Chinese martial arts, specifically Taijiquan, as a base for my interpretation of the techniques. I offer them only as an example of a single interpretation and do not claim authority on the matter.
In translating the verses of Qi Jiguang into English rhyme, some linguistic and interpretive liberties have been taken. A certain amount of linguistic expansion and contraction is necessary to achieve a proper meter and rhythm that remains internally consistent throughout the text. The form of the verses has also been changed to find an equivalent structure in English that can encompasses the several metrics in the original.
Verse structure
The verse structure I have chosen for these translations is based on U.S. armed Forces “Cadences” or marching rhymes. I have chosen this form as it is related to the military context, of which the text is a part, and for it’s simplicity. I have imagined (or rendered) it as if these verses were used as a call and response drills for large groups of provincial soldiers. As such I have kept the language on the courser side, although still giving nods to Qi Jiguangs practice of poetry. Although I have little knowledge of classical Chinese Poetic forms, Qi and his fellow military people were often criticized on their writing as being overly simple and naive. Although some did find Qi’s poetry to be pleasing, writers like Shen Defu claimed their success was due to their uneducated audience and the low brow environment of the frontiers and borderlands .
Settling on the military cadences, I used two forms; a quarter note version and an eighth note version. Most fit better into the eighth note form but there are several that are in the quarter note cadence.
Quarter note: Ta Ta Ta Ta Ta Ta Taaa
Eighth note: Ti-Ti Ta Ti-Ti Ta Ti-Ti Ta Ta
Rhyme scheme
The Rhyme scheme I have chosen is a simple AA,BB structure to reflect the simplicity the succinct and brief nature of the originals. The simple rhyme scheme also is a feature of nemonic rhymes to facilitate their memorization. The simple paired scheme is a one that is intuitive to most languages and cultures.
Voice
At times in the text, the first person is used. At other times the second person being given instructions is used. And at still other times it is unclear on whether the passive or active voice is being used. I have attempted to keep it as consistent as I can. The particulars of Literary Chinese grammar make it sometimes difficult to determine the subject and/or object in the sentence. Again, these factors are in addition to the already mounting factors when the target translation is to be in verse.
Examples
What follows is a sampling of my attempt. I have chosen the first four entires as they relate to modern Taijiquan practice and are often seen as antecedents of present day techniques. I do not attempt to draw lines of origin or make authoritative statements into the connection between modern naming conventions and Ming Dynasty ones. While the names and many of the positions are similar, the nature of the drawings and the text make it difficult to discern the original intent. Still, these are iconic techniques and positions that form the foundation of many practices today.
These four entries also provide a good sampling of the various types and flavors of techniques presented. Qi’s text has a few basic structures and approaches. Some are straight forward, step by step instructions. Others are explained in general terms as responses to situations and changing variables. Lastly, Qi ends each verse with a superlative, often making statements of prowess that seem right out of kung fu movies or modern professional wrestling.
My first attempt tried to take all linguistic information contained in the lines. The resulting translations were in my opinion, too verbose stylistically and did not match the succinct and brief nature of the originals:
Lazily Tie Your Coat and come to stand outside,
Sink into single whip, with single sudden stride
Without the courage to attack, when your enemy is caught,
The sharpest eyes and the fastest hands will both be all for naught.
While far more skilled and expert translators, like Douglas Wile, have produced excellent translations, I hope to add a small amount of depth by offering a glimpse into what these lines would sound like in verse form. I feel that having them rhyme in this way can give a little extra flavor, and maybe foster more thought about the content of the text. Either way, I accept any and all criticism and know that there will be many errors in my work. These errors are mine but I have tried to accommodate alternate perspectives when available.
1.
Tie your coat and come outside,
Single Whip with sudden stride,
With out the courage to advance,
Sharp eyes fast hands will have no chance.
懶扎衣出門架子
變下勢霎步單鞭
對敵若無膽向先
空自眼明手便
“Lazily Tie the Coat” begins the set.
Lower your stance and lightly step into Single Whip.
If you lack the courage to attack when facing an enemy,
Your sharp eyes and fast hands will be for naught.
The first verse. The verse is about the technique called “Lazily Tie the Coat”. It states that this is an opening move to the “set” or form (架子 JiaZi). The poetic liberties taken should be obvious. Reframing the same information as a command brought about a more literal yet figurative relationship in the sentence. “Come and stand outside” is used to mean a beginning relating to 出門- literally “out the door”. While it probably means ‘to begin’, keeping the poetic nature of the phrase offers a good equivalent in English.
The interpretation of the passage seems to be more general in its scope. The first two line describe the technique “Lan Zha Yi”-Lazily Tie the Coat and the step into “Single Whip”. Any practitioner of Taijiquan, especially Chen Style, should be able to picture this move in a particular way. The grappling of Lan Zha Yi and the step into Dan Pian (single whip) are ubiquitous in the various styles. Although the illustration of Qi’s move shows a standing position with feet together, a difference from the current practices in Taijiquan, it is reasonable to assume that the name of this technique is focused mainly on the upper body. Very much like Single Whip, Lazy Tie the Coat is an image or mime of an action of tying a long belt around a coat as was done in old China.
The last two stanzas give general advice for fighting. Essentially, take the initiative in an encounter and do not let up. Violence tends to favor the aggressor and if you lack the courage or fortitude to press your attack, it will fail no matter how good your other attributes are. Qi has put an number of these general axioms for combat amongst the verses.
2.
Golden Rooster stands on top,
Present your leg then sideways chop,
Rush in low and trip the bull,
They cry to heaven loud and full.
金雞獨立顚(顛)起
裝腿橫拳相兼
槍背卧牛雙倒
遭着叫苦連天
Jīnjīdúlì diān (diān) qǐ
zhuāng tuǐ héng quán xiāng jiān
qiāng bèi wò niú shuāng dào
zāozhe jiàokǔliántiān
Golden Chicken Stands Alone rises up.
Brandish the leg and cross the fists together.
Thrust forward and turn the back in “Reclining Bull” to throw them.
Those that encounter this move will cry of their hardship to heaven.
This verse differs a bit from the first in that it is more akin to step by step instructions or “plays” denoting martial application. The instructions are for its application in fighting, one assumes in a one on one encounter. Modern practitioners may be more comfortable thinking of this technique as a solo exercise or mime of a combat technique.
However, the verse contains another named technique “卧牛” or “Reclining Bull”. Which seems to indicate a throw where the opponent’s legs are in the air. Essentially hitting the ground supine. One possible interpretation of this technique is a standard “fireman’s carry”. Coming in low and scooping the opponent up and throwing them over your shoulders. I have chosen to translate this technique as “trip the bull” to stay with in meter and rhyme.
3.
Testing Horse was Song Taizu’s,
Stances all can drop and move,
Advance attack, retreat to dodge,
Come in close with a fist barrage.
探馬傳自太祖
諸勢可降可變
進攻退閃蒻生強
接短拳之至善
Testing Horse was taught by Taizu.
Several stances can drop down and change.
Enter to attack and retreat to dodge with full vigor.
Come in close range where the fist’s reach is best.
This verse seems fairly straight forward as well. The first line is worth examination in a few aspects. First the name of this technique “Tan Ma” (探馬) is similar to the Taiji posture, “Gao Tan Ma” 高探馬 often translated as “High Pat on Horse”, it is more likely referring to testing a horse to see if it is able to be saddled. The high outstretched arm being the testing hand and the other arm folded but he side as if holding a saddle. Although like most of the illustrations, it is difficult to match them to real world actions.
The first line makes the claim that this technique was taught by “Taizu” the Emperor of the Song and a frequent figure in martial arts. The intent here seems to be to give the technique a sense of antiquity or lineage. This plays into the idea that traditional martial arts should have long histories. While that is a common idea in modern days, it held true in the Ming Dynasty as well. Several authors bemoan the loss of martial traditions, arts, and methods during their time. And while writers like Mao Yuanyi set out to preserve these traditions in works like the Wubei Zhi, the actual partitioners of the techniques, i.e. the military, were seeing firsthand the power of firearms and gunpowder based weapons. Qi, himself, wrote of the superiority of firearms and later built tactics almost solely around such weapons. Our present text is found in the Jixiaoxinshu, and was intended as a manual for the training of mercenary troops in provincial armies. Even in the introduction to this section, Qi states that “Barehanded fighting is all but useless on the battlefield”, and that he included the fist routines as a kind of exercise for troops. It may be that these troops responded to long histories and lineages more so than the upper classes and hereditary military families.
There is a liberal dose of restructuring in the first line. Trying to encapsulate the idea of antiquity and prestige I opted to go out on a limb. “Testing Horse was Song Taizu’s” seems to fulfill those requirements. This was done entirely for structural reasons and I was able to keep all information intact.
4.
Crossed Single Whip firmly pries it’s way in,
When finding it hard from their kick to defend,
Rush in with continuous, liftings and chops,
Knock down Tai mountain into low stances drop.
拗單鞭黃花緊進
披挑腿左右難防
槍步上拳連劈揭
沉香勢推倒太山
Crossed single whip advances with tight circles.
When you find it difficult to defend kicks from either side,
Rush in with continuous downward and upward chops.
Sink low into the posture, Pushing Mount Tai.
“Ao Dan Bian” or “crossed Single Whip” is a common name and familiar again to practitioners of Taijiquan. The illustration provided by Qi shows the familiar stance of one hand held up in front as if in a chop and the rear hand made into a fist or hooked shape with arms stretched out straight from each other. “Ao” or “crossed” refers to the position of the forward leg to the forward hand which are opposing each other. So, if the right hand is forward the left leg will be forward.
An opera performer holding a bian during a performance.
“Dan Bian” or “single whip” refers to the upper body position and the arms. The arms are stretched out from the body and turned so that one hand is behind (often held in a hook gesture) and the other in front. The image is most likely of a mounted rider, holding the reigns with the front hand and the riding crop (bian 鞭) behind. It is a familiar position in opera indicating when the characters are riding in the narrative. In opera too, a long stick called a “bian” is used. The whip in this instance being a riding crop or short stick.
The rest of the verse explains the basic use of the technique. While there are many ways in which to interpret the movements explained, the logic of them seems salient. Qi advocates that his readers be aggressive with their intent and rush in with downward and upward strikes with which to disrupt, or otherwise interfere with, the opponents kicks. Once done, the practitioner sinks low into the stance “pushing Mt. Tai”. Essentially, it appears as if the technique comes in aggressively and then drops low to attack the legs, presumably for a knock down.
oOo
About the Author: Chad Eisner is a martial arts practitioner and instructor in Ann Arbor Michigan, teaching Ma She Tongbei and Taiji Quan. His experience in Chinese martial artsand as a professional interpreter have naturally lead to a fascination with the translation of Ming dynasty martial arts texts. He is also the co-founder of Terra Prime Light Armory which uses historical based weapon arts to create lightsaber and fantasy martial arts for use in competition, performance, and learning.
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Everyone knew that the situation was deteriorating, and recent events had sensitized government officials to the growing threat of extremist groups within the area’s largest martial arts networks. Local immigration and a shift in the neighborhood’s religious complexion had brought tensions in one community to a boiling point. Groups of previously reliable citizens were protesting outside of a newly constructed place of worship shouting both racial and religious epitaphs.
Law enforcement wasn’t sure whether to move against the protesters or to just try and keep the groups separated until their anger burnt itself out. From their perspective it was difficult to know if either side actually deserved any sympathy at all. The supposed “victims” of these violent abuses had been filling the local courts with petty crimes and nuisance lawsuits for years.
Still, the public safety officials all agreed that it was a bad sign when a group of aggressive martial artists appeared right at epicenter of trouble just to conduct some “public workouts.” The group had recruited a new leader, a regionally famous fighter with a reputation for protecting “the people.” They claimed it was all necessary. Someone had to protect the community from these “outsiders.” That is when the torches were lit.
The Problem of Violence
The still fledgling field of martial arts studies has recently turned its attention to the problem of extremist political violence and its potential connections to the martial arts. Given that so many groups train explicitly to deal with the reality of violence (either to prevent it, or to enact it more efficiently), its odd that this topic is only now gaining visibility. In the 2017 Martial Arts Studies meetings in Cardiff my good friend Sixt Wetzler delivered a paper laying out a carefully constructed framework for considering the intersection of these issues. And pointing to the rising prominence of public groups training for violent street battles within the West’s increasingly polarized political atmosphere, I ended my own keynote with a plea for more scholars to take up these issues.
That is not to say that this is easy subject matter. In many cases our research reflects our personal interests and backgrounds. People write papers about embodied training in their favored styles, or address discursive issues in popular films or TV programs. And it is generally good advice to “write what you know.” Yet in moments of social upheaval that advice can lead to a strange myopia. Few of us are members of extremist organizations, on either the right or the left. And only a handful of martial arts studies scholars have any direct experience in law enforcement or intelligence work. I suspect that (with a few notable exceptions) studies of the intersection of martial arts training and social violence in the modern world lagged behind as it was a research topic without a sizable audience within the field.
It was the appearance of multiple news stories linking the spread of white nationalist hate groups and certain MMA training facilities, fashion labels and fight promotion companies which finally broke this stalemate. Little of what these outlets printed was actually “breaking news.” In February of 2018 Mother Jones published an article titled “The Terrifying Rise of Alt-Right Fight Clubs.” So as to not undersell the story the editor helpfully subtitled the piece (authored by Bryan Schatz) “White nationalists are learning martial arts to prepare for race war.” Much of the same material would later appear in an extended piece in The Guardian titled “Fascist Fight Clubs: How white nationalists use MMA as a recruiting tool.”
The implication of elements of the ever growing MMA community in these recruitment efforts inspired some sustained engagement. This unfolded on Facebook groups and blogs, and Paul Bowman has provided a nice summary of these debates here and here. Following the lead of the reporters in these pieces, much of the discussion has so far focused on how we should conceptualize the mixed martial arts and their connection to these efforts. Are they truly violent sports? Is there something about them that makes them particularly useful to extremist groups at this moment in history? And perhaps most intriguingly, is there an inherent conceptual connection between the sorts of “violence” that one sees in the octagon, and that which has appeared on the streets.
These are all interesting questions. Yet in this essay I would like to outline another set of concerns that is likely to take this discussion in several different directions. And that leads us back to the account of a single violent encounter in the preamble to this essay. When and where did this happen? And in what respects is knowing the answer to that question important? What aspects of community violence are historically and culturally bounded, and when do we cross over into the realm of institutionally or structurally determined behaviors?
It would not be hard to come up with several historical incidents that fit the events I outlined above. Some could be as old as the classical world, while others might appear in the headlines of a contemporary European paper. In point of fact, the “regionally famous martial arts teacher” in my account is none other than Zhao San-duo, a late 19thcentury Plum Blossom master who, while not directly involved in the Boxer Uprising, helped to light the fuse of anti-foreign and anti-Christian violence that would bring Imperial China to its knees.
This is not to say that the sort of xenophobia that was seen in late 19th century China, and the Western ideology of racial supremacy seen within groups like the California based Rise Above Movement (RAM, a violent extremist group profiled in both of the previously cited newspaper articles) are in any way identical. While both sets of ideas focused on the need to “protect” a community from perceived racial or religious threats, the historical, cultural and social framing of these ideologies are quite distinct. That is critical to remember, especially as government or local communities seek to address the spread of violent ideologies.
Yet the ease with which one might fit this outline to several cases suggests that there may also be structural and institutional issues that need to be taken into account. The association of martial art training with political or social extremism is not a new phenomenon. Nor is it restricted to only one side of the political spectrum. For every alt-right MMA club that one finds in California, I suspect that one will be able to locate a Marxist boxing gym in France or Italy.
Nor, when examined in historical terms, does there seem to be a very strong correlation between the sort of martial art being practiced and the probability that it will be radicalized by an anti-systemic group. In Japan it has always been the traditional Budos, with their strong associations with a (mostly imagined) Samurai past, that are the most likely to appeal to both violent ultra-nationalist groups and organized crime syndicates. Yet I doubt that many American MMA practitioners would look at these judo, kendo or aikido schools and find their practices to be notably “violent” by the standards of televised UFC bouts.
One challenge that we face is that since many of us are directly involved in the practice of the martial arts, it can be difficult to see beyond the boundaries of our own experiences and communities. In effect, we have a difficult time perceiving our communities as an outsider with different goals might. This is a distinct disadvantage when it comes to understanding why a particular extremist group might be interested in infiltrating a practice or what their goals might actually be.
To gain some clarity on these issues we might begin by taking a step back from the martial arts themselves and considering what we know about the ways that violent extremist groups typically operate. This is a subject that has been studied extensively by both social scientists and law enforcement personal. While students of martial arts studies have a unique perspective to bring to the table, we should note that there is already a well developed body of empirical observation and theoretical literature that we can draw from.
One of the first things that a student of terrorism might point out, for instance, is that we should carefully consider both halves of the phrase “extremist organization.” While we tend to put a lot of mental emphasis on a group’s views or ideology (often because they are horrifying), if we wish to understand what they actually do on a day to day basis we must remember that they are basically a voluntary social organization. To survive in the short run they must solve immediate problems like generating a funding stream, recruiting personal, managing their public image and coordinating with other actors. Any extremist organization that fails at these tasks will not be a problem for every long.
To better accomplish these basic goals radical organizations occasionally insert themselves into a wide range of social movements, many of which do not appear to have anything to do with violence. Sports organizations, on-line communities, new religious movements, musical sub-cultures and international charity organizations have all proved to popular targets for ideologically motivated violent groups. Each of these provides opportunities for extremist organizations to craft communities in which they can radicalize members. In some cases these cover organizations also help to raise money, operate across international borders or improve the group’s “brand.”
When seen in this light it is not at all surprising that violent organizations, either in the current era or in 19thcentury China, would be interested in hand combat schools. Yet I suspect that the actual martial arts skills gained are not the most critical aspect of their organizational calculus. In modern society martial arts clubs are ubiquitous to the point of being almost invisible. Whether an ultranationalist judo club in Japan, or an MMA school in the United States, both organizations provide groups with a chance to cultivate marginal and dissatisfied individuals in an environment that is likely to generate little suspicion.
From a social scientific perspective these recruitment drives are actually quite enlightening. As martial artists we tend to mentally divide our actives into the serious business of physical training and “everything else” that goes along with being a member of an organization. This second category might include such banal interactions as chatting in the locker room, carpooling to a local tournament or meeting up at the gym for strength training. The friendships we create, the on-line media we consume, the social community that we build, all of these things are typically seen as “secondary” to the serious business of physical training.
Yet when trying to understand the function and social value of a martial arts school, we need to be willing to reverse this way of thinking. In actual fact, it is within the realm of the secondary where we find these practices’ greatest value. As any martial arts teacher can attest, it is the friendships that are made in a training hall that keep many students coming back week after week. It is there that they are exposed to the media that their fellow classmates consume. And it is largely through these “secondary” social channels that martial arts communities articulate what their practices mean, and hence what their identity actually is. Embodied experience is never self-interpreting, which is precisely why so many political, national and social groups have found the martial arts to be useful over the last hundred years or so.
Again, trends within the Boxer Rebellion help to illustrate this basic relationship between a group’s seeming primary purpose (to impart individual skills) and its actual social utility (to reinforce group bonding). Historical and eyewitness accounts suggest that relatively few Chinese Christian were killed with the sorts of hand to hand combat techniques that were taught by the local martial arts communities that the Yihi Boxers drew from. Instead we find accounts of execution squads rounding up local Christians, locking them in their own churches, setting the building on fire and shooting anyone who tried to leap out. Paul Cohen noted that fire, rather than Kung Fu, was the Boxer’s weapon of mass destruction. While we tend to fixate on their claims to magical invulnerability in hand to hand combat, it is often forgotten that much of their magic dealt with the control of fire as they sought to burn entire neighborhoods to the ground.
Does this then indicate that their martial arts training was useless on the battlefield? Not at all. It was on the boxing grounds of Shandong that the Boxers who would terrorize Beijing were welded together into a somewhat cohesive, radicalized, social unit. It was these “secondary” aspects their martial arts training that laid the necessary social foundation for the tragedy of 1900.
Likewise, when reviewing the footage of recent riots that can be found online, it seems unlikely that a few months of BJJ or MMA (or HEMA) training is going to make the average skinhead that much more effective in a messy brawl with Antifa or law enforcement. I am as much an advocate of martial arts training as anyone, but the most important function that these clubs serve is likely to organize their members into a somewhat disciplined unit, to coordinate with other likeminded cells, and then to get their guys onto the streets. Certainly strength training and a basic familiarity with fighting might help. But at the end of the day individuals are motived to fight for communities, not training styles.
Diverse students at a kickboxing seminar held in Ithaca NY.
Implications
All of this may seem obvious. I hope that it does. Yet approaching extremist groups from an institutional perspective reveals important strategies for understanding and deterring their spread. Perhaps the first of these is that there need not be any direct ideological correlation between the types of venues that groups use for recruitment and their ultimate political or social goals. For instance, modern MMA, 19thcentury Plum Blossom and traditional European Longsword are three very different martial arts both in terms of cultural background, social structure and patterns of imagined violence. Yet each has proved to be an attractive target for radical groups looking to recruit members and coordinate their agendas.
We commit a grave error by treating MMA as some sort of “gateway” to the world of social extremism due to its inherently “violent” or competitive nature. While conceptually interesting, debates as to whether we might legitimately call what happens in the octagon “violence” in the same ways as a deadly political street fight misses a critical point. There is little violence in Scandinavian new religious movements, yet they too have become, at times, a site of extremist recruitment. There are good reasons why groups might want to recruit members from charities or other organizations that have no visible connection to violence at all. I am sure that if we looked closely enough we would also find some level recruitment happening at Wing Chun training halls, karate dojos and Kali schools. What is critical is the way these activities can be discursively framed and deployed, and not necessarily anything inherent in their embodied practice.
At the current moment MMA is probably attractive to extremist groups simply because it is so popular with young males generally and is aligned with several trends in popular culture. Its most important assets may not be the brutality of its practice, but the fact that it has crafted a fashionable pop culture aesthetic. Indeed, it may simply be the practice’s “soft power” that make it an attractive target for subversion. Its highly networked structure also make it both commercially flexible and a decent platform for the sorts of networking that extremist groups may seek to engage in.
If these social characteristics make martial arts organizations attractive to extremist groups (on both the left and right), they also suggest some options for deterring their spread. Consider, for instance, the role of social capital in this type of institutional framework. “Social capital” refers to the decentralized bonds of trust and reciprocity that are created within small communities that can then be applied to larger networks.
All group interactions create social capital to one degree or another. Yet they do not always create equal amounts of trust, (bonding capital) nor are they equally good at extending this radius of community (bridging capital). When we look at the specific MMA schools and fight promotions implicated in the news articles cited earlier, it becomes apparent that they are in many ways pretty marginal cases. This makes sense as, once created, communities rich in social capital tend to be somewhat conservative in character (even if very supportive of their members). My prior research looking at religion and terrorism suggested that communities which were rich in social capital were more resistant to radicalization attempts. Relatively disconnected and marginal groups tended to be low hanging fruit for extremist organizations both because they had less to lose, and less ability to resist corrosive social discourses.
This suggests that one important strategy for containing the spread of extremist ideologies in the martial arts is to focus more attention of building healthy communities with many points of intersection, both with other hand combat groups and the community at large. Such organizations are much harder targets for radicalization. However, containment strategies that focus on state surveillance, or anything else that corrodes trust (and therefore social capital) within the community, might backfire in unexpected ways. If we weaken the bonds of reciprocity either within martial arts groups or between them, social capital theory suggest that we might actually increase the probability that these movements are captured by anti-systemic actors. [Incidentally, efforts by the late Qing dynasty to monitor and suppress its own hand combat schools seems to support this hypothesis, but that is an argument for a different post.]
The modern martial arts function as a type of social machinery. Like any machine they perform work, the normative implications of which have more to do with the hand at the controls than any inherent property of the practice itself. It is the fundamental amorality of the martial arts that allows them to be co-opted by both nationalist forces and advocates of regional identity, often at the same time. Likewise, the same embodied experience of kickboxing or rolling might be used to support discursive structures that emphasize a sense of the profound human equality in some circles, or radical hierarchies of difference in others. What really matters is the supplementary forces that construct and give meaning to these experiences.
An institutional approach to the problem of extremism not only suggests viable strategies for containing these movements (a topic that I hope to return to in a future essay), but it also reveals something critical about modern hand combat groups. It is often the secondary and seemingly supplementary aspects of our practice that have the most profound impact on the community around us. We neglect them at our peril, both as scholars and concerned martial artists.
Welcome to “Chinese Martial Arts in the News.” I recently finished the heavy lifting on my draft chapter, so I am now returning to a normal posting schedule. Thanks for your collective patience! A (long overdue) news update seems like the perfect way to ease back into things.
For new readers, this is a semi-regular feature here at Kung Fu Tea in which we review media stories that mention or affect the traditional fighting arts. In addition to discussing important events, this column also considers how the Asian hand combat systems are portrayed in the mainstream media.
While we try to summarize the major stories over the last month, there is always a chance that we may have missed something. If you are aware of an important news event relating to the TCMA, drop a link in the comments section below. If you know of a developing story that should be covered in the future feel free to send me an email.
Its been way too long since our last update so let’s get to the news!
News from all Over
A number of this month’s news items highlight the varied intersections between the martial arts and politics. As such, it seems appropriate to lead off with recent developments at the Shaolin temple. The venerable Buddhist monastery (and spiritual home of the Chinese martial arts) has once again found itself at the center of controversy. Seeking to get ahead of new government policy directives designed to limit the independence of Chinese religious movements from the state and Communist Party, the temple’s leadership have decided to take a much more visible and proactive role in promoting “patriotism” (rather than simply Buddhism) in the monks’ public performance. This is actually a somewhat nuanced topic as Chinese Buddhist monasteries have never been truly independent of the state and Shaolin, in particular, already carries a patriotic reputation. Still, the move has inspired some controversy and much discussion. A good overview of all this can be found in the South China Morning Post article titled: “Red flag for Buddhists? Shaolin Temple ‘takes the lead’ in Chinese patriotism push.”
Here is a sample of the sort of pushback that has been encountered:
Tsui Chung-hui, of the University of Hong Kong’s Centre of Buddhist Studies, said Buddhist scripture already required its followers to respect the state.
“The government does not need to take pains to promote [this] and monasteries also do not need to pander to politics,” Tsui said on Tuesday. “They should let monks dedicate themselves to Buddhism and not waste their time performing various political propaganda activities.”
China has recently come under the spotlight for its efforts to clamp down on minority religions including Islam and Christianity, which it associates with foreign influence or ethnic separatism. Mosques and churches flying the national flag have become an increasingly common sight in China amid the crackdown.
From questions of patriotism and political interference, we now turn to controversies over animal welfare. Certain martial artists in Jiaxing, in the eastern province of Zhejiang, have recently been making waves with their own brand of “bull fighting.” While various types of bull sacrifices and worship can be found across the ancient world, this particular practice seems to be a mix of the old and new. Discursively attributed to the Hui Muslim minority, the practice (which actually resembles steer wrestling minus the horses) was first demonstrated nationally in the 1984 Ethnic Minority Games, and was recognized as a martial art only in 2008. As with so many other “rediscovered” martial arts, the hope seems to be that the practice will increase tourism in the region.
While a seemingly odd story, the more I think about this one the more important it becomes. On a purely theoretical level, it raises questions about the boundaries of what we might consider the “martial arts,” and how they are constructed and negotiated. I suspect that in the West common sense would dictate that the martial arts are a social activity between humans, rather than humans and animals. And yet this story also reminds me that countless Chinese language books and articles on the martial arts (even scholarly one’s) start off with a straight faced assertion that the Chinese martial arts were created in the distant past so that people could defend themselves from wild animals. I always dismissed these lines as boilerplate, but now I am starting to wonder what their relationship to the Chinese cultural vision of the martial arts actually is.
Of course, no one is actually being called upon to defend themselves from these bulls. The animals seem to be very tame and have been trained to tolerate humans throwing them to the ground without putting up much of a fight. While no bulls are killed in the practice of this “martial art,” it would seem to be open to all of the same ethical questions as North American rodeos. And yet Western readers are assured that any appearance of cruelty is simply a result of their inability to grasp the “deep cultural significance” of the activity.
Our next article, from the English language version of a Chinese tabloid, is more mainstream. It provides an account of all the ways that a Wushu performance has managed to “Wow US Audiences.” Being a press release by a provincial government’s information office, the most interesting aspect of this article is its total transparency about the organization and purpose of shows like this.
“We hope that our show will serve as a bridge for martial arts lovers overseas to learn more about Chinese culture and appreciate the beauty of China,” said Huang Jing, director of the international communication department of China Intercontinental Communication Center.
The center presented the event, together with the Chinese Wushu Association and the Information Office of Henan Provincial People’s Government.
Over 400 people including representatives of members and students from Chin Woo athletic federation branches at home and abroad as well as members of other martial arts groups participated in the worship ceremony. (PRNewsfoto/Publicity Department of Xiqing)
From Virginia we jump back across the Pacific to Tianjin. While Huo Yuanjia (the titular founder of the Jingwu Association) is often remembered for the phase of his career that occurred in Shanghai, his hometown roots have also made him a popular figure in Tianjin. The city just marked his 150th birthday with a major event.
Established on June 30, 1990, the Tianjin Chin Woo Athletic Federation has over 70 branches worldwide. The event aims to leverage the global influence of Huo Yuanjia and the club to strengthen local town’s leading role as the birthplace of the Chin Woo culture. It will help display the city’s profound history and culture as well as carrying forward the Chin Woo spirit to promote solidarity.
“Kung fu helps build road to success, strength.” So claims an article in the English language edition of the China Daily. The story provides an overview of a network of Shaolin associated schools in the United States. It tends to focus on adolescent students and the benefits that they derive from dedicated martial arts training. As always, its all about the discipline.
What would happen when Chinese kung fu meets Brazilian martial art capoeira?
As a part of the Open Digital Library on Traditional Games, the documentary Capoeira meets Chinese Martial Arts was screened on Monday in Beijing and showed the sparks between the two traditional cultures.
The 10-minute film, co-produced by the embassy of Brazil and Flow Creative Content, in partnership with UNESCO and Tencent, presents the meeting of Brazilian capoeira masters with Chinese martial arts masters in Beijing and Hangzhou.
Through his legendary films, Bruce Lee bridged cultural barriers, upended stereotypes and made martial arts a global phenomenon. Biographer Matthew Polly joins us to explore the life of this ambitious actor who grew obsessed with martial arts.
Its been a while since we discussed a martial arts film, but there is a new project on the horizon that looks interesting. I like Ip Man films, and I like Michelle Yeah, so its good to hear that she is going to star in an Ip Man spinoff. In addition to the typical movie Wing Chun, this also looks like its going to be a sword/gun-fu movie. I don’t see any butterfly swords in the trailer, but I think I spotted a couple of kukri. I have no idea how those knives show up in the storyline, but as a long time kukri collector, I approve.
Finally, an update from the lightsaber combat community. Ludosport (originally an Italian group which has since expanded globally) recently held their first US National Championship in Elmira NY, not far from Cornell. They were kind enough to let me hang out and do some fieldwork with them for couple days. And there was even some nice press coverage of the event by the local news. Check it out. Hopefully I will be blogging about this event in the near future.
Martial Arts Studies
Summer is typically a slow time for academic news, but a lot has been happening in the Martial Arts Studies community. We have conferences, journals and even facebook discussions to talk about. But I am afraid that we aren’t going to get to any of that in this update as we have to deal with a deluge of new books.
Risk, Failure, Play illuminates the many ways in which competitive martial arts differentiate themselves from violence. Presented from the perspective of a dancer and writer, this book takes readers through the politics of everyday life as experienced through training in a range of martial arts practices such as jeet kune do, Brazilian jiu jitsu, kickboxing, Filipino martial arts, and empowerment self-defense. Author Janet OâShea shows how play gives us the ability to manage difficult realities with intelligence and demonstrates that physical play, with its immediacy and heightened risk, is particularly effective at accomplishing this task. Risk, Failure, Play also demonstrates the many ways in which physical recreation allows us to manage the complexities of our current social reality. Risk, Failure, Playintertwines personal experience with phenomenology, social psychology, dance studies, performance studies, as well as theories of play and competition in order to produce insights on pleasure, mastery, vulnerability, pain, agency, individual identity, and society. Ultimately, this book suggests that play allows us to rehearse other ways to live than the ones we see before us and challenges us to reimagine our social reality.
Chinese martial arts have a long, meaningful history and deep cultural roots. They blend the physical components of combat with strategy, philosophy and tradition, distinguishing them from Western sports.
A History of Chinese Martial Arts is the most authoritative study ever written on this topic, featuring contributions from leading Chinese scholars and practitioners. The book provides a comprehensive overview of all types of Chinese martial arts, from the Pre-Qin Period (before 222 BC) right up to the present day in the People’s Republic of China, with each chapter covering a different period in Chinese history. Including numerous illustrations of artefacts, weaponry and historical drawings and documents, this book offers unparalleled insight into the origins, development and contemporary significance of martial arts in China.
Signs and images of Chinese martial arts increasingly circulate through global media cultures. As tropes of martial arts are not restricted to what is considered one medium, one region, or one (sub)genre, the essays in this collection are looking across and beyond these alleged borders. From 1920s wuxia cinema to the computer game cultures of the information age, they trace the continuities and transformations of martial arts and media culture across time, space, and multiple media platforms.
Today we are witnessing the global emergence and rapid proliferation of Martial Arts Studies – an exciting and dynamic new field that studies all aspects of martial arts in culture, history, and society. In recent years there have been a proliferation of studies of martial arts and race, gender, class, nation, ethnicity, identity, culture, politics, history, economics, film, media, art, philosophy, gaming, education, embodiment, performance, technology and many other matters. Given the diversity of topics and approaches, the question for new students and researchers is one of how to orientate oneself and gain awareness of the richness and diversity of the field, make sense of different styles of academic approach, and organise one’s own study, research and writing.
The Martial Arts Studies Reader answers this need, by bringing together pioneers of the field and scholars at its cutting edges to offer authoritative and accessible insights into its key concerns and areas. Each chapter introduces and sets out an approach to and a route through a key issue in a specific area of martial arts studies. Taken together or in isolation, the chapters offer stimulating and exciting insights into this fascinating research area. In this way, The Martial Arts Studies Reader offers the first authoritative field-defining overview of the global and multidisciplinary phenomena of martial arts and martial arts studies.
This is the first long-term analysis of the development of Japanese martial arts, connecting ancient martial traditions with the martial arts practised today. The Historical Sociology of Japanese Martial Arts captures the complexity of the emergence and development of martial traditions within the broader Japanese Civilising Process.
The book traces the structured process in which warriors’ practices became systematised and expanded to the Japanese population and the world. Using the theoretical framework of Norbert Elias’s process-sociology and drawing on rich empirical data, the book also compares the development of combat practices in Japan, England, France and Germany, making a new contribution to our understanding of the socio-cultural dynamics of state formation. Throughout this analysis light is shed onto a gender blind spot, taking into account the neglected role of women in martial arts.
The Historical Sociology of Japanese Martial Arts is important reading for students of Socio-Cultural Perspectives in Sport, Sociology of Physical Activity, Historical Development of Sport in Society, Asian Studies, Sociology and Philosophy of Sport, and Sports History and Culture. It is also a fascinating resource for scholars, researchers and practitioners interested in the historical and socio-cultural aspects of combat sport and martial arts.
Raúl Sánchez García is Lecturer in sociology of sport at the School of Sports Science, Universidad Europea Madrid, Spain and President of the Sociology of Sport working group within the Spanish Federation of Sociology (FES). He has practiced diverse combat sports and martial arts and holds a shōdan in Aikikai aikidō.
I should note that Professor Garcia published the first chapter his book as an article in the latest issue of the journal. Read it here for free.
Chinese martial arts is considered by many to symbolise the strength of the Chinese and their pride in their history, and has long been regarded as an important element of Chinese culture and national identity. Politics and Identity in Chinese Martial Arts comprehensively examines the development of Chinese martial arts in the context of history and politics, and highlights its role in nation building and identity construction over the past two centuries.
This book explores how the development of Chinese martial arts was influenced by the ruling regimes’ political and military policies, as well as the social and economic environment. It also discusses the transformation of Chinese martial arts into its modern form as a competitive sport, a sport for all and a performing art, considering the effect of the rapid transformation of Chinese society in the 20th century and the influence of Western sports. The text concludes by examining the current prominence of Chinese martial arts on a global scale and the bright future of the sport as a unique cultural icon and national symbol of China in an era of globalisation.
Politics and Identity in Chinese Martial Arts is important reading for researchers, students and scholars working in the areas of Chinese studies, Chinese history, political science and sports studies. It is also a valuable read for anyone with a special interest in Chinese martial arts.
A lot has happened on the Kung Fu Tea Facebook group over the last month. We watched vintage guoshu performances from the 1930s, read about new exhibits in Hong Kong, and discussed the problem of extremist political groups in the martial arts! Joining the Facebook group is also a great way of keeping up with everything that is happening here at Kung Fu Tea.
Cantonese Opera Performers in San Francisco, circa 1900. Chinese Opera and Popular entertainment has been linked to the martial arts since at least the Song dynasty. Even in the Han dynasty military performances were a central part of the “Hundred Events.”
***After a quick return to the blog earlier this week, I have directed my attention back to my other ongoing project. The good news is that this manuscript chapter just a couple of days from completion. There is a definite light at the end of the tunnel! The other good news is that we will be revisiting a fun essay I wrote back in 2013 in the mean time. I should be resuming my normal posting schedule very soon. And that is a good thing because essay ideas are starting to literally pile up on my desk. In the mean time, please enjoy this meditation on the Wing Chun/opera connection.***
Introduction
In September of 1850 a Major in the Imperial Army stationed in Guangdong took his own life. Records indicate that he was older and struggling with a chronic illness. Given the state of medicine in the middle of the 19th century one can only guess that he was probably in substantial pain when he died.
In the grand scheme of things this individual tragedy was of no historical consequence. Yet when I first ran across records of it in the index to the old Guangdong Provencal Archives (seized by the British Navy during the Opium Wars and taken back to London) it had a profound impact on how I thought about the origins of Wing Chun.
A Major is an important figure in the provincial military, but they are far from irreplaceable. The archives are full of notices regarding the promotions, retirements, punishments and training of various military officers. Clearly these people came and went, and the replacement of a single Major was basically routine. As such, it was fascinating to read how much attention this unfortunate event generated.
On September 24th there was a flurry of activity at the Yamen. The first item of business was a report filed by Hsu Kuang-chin (the archive index still uses the Wade-Giles Romanization system so I have kept it here) of the Major’s death. Next a number of other recommendations for promotion were filled to fill the now vacant post.
The only thing outwardly odd about these reports was the identity of their author. Hsu Kuang-chin was the Imperial Commissioner of Southern China. One would not normally expect such an important civil official to be taking on questions of human resource management. The reason for such high level involvement would become clear three months later.
On December 19th of 1850 Hsu Kung-chin and Yeh Ming-chen (the Provencal Governor, and one of the most important individuals anywhere in the Chinese civil service) filed a joint report to the imperial household following up on the Major’s death. It would seem that in the intervening months they (or their staffs) had been conducting a more detailed investigation into events surrounding the suicide.
This was a tense time in southern China. Civil and international battles had already been fought, and more (including the Red Turban Revolt) were expected in the future. The influence of rebel factions and organized crime were growing. Apparently there had been some fear that the Major’s suicide had not been what it seemed. What if he had been compromised? What if he took his own life to prevent himself from being blackmailed or used against his will?
With notable relief the report concluded that no outside factors were implicated in these tragic events. The suicide was what it had initially appeared to have been, the death of an old sick man. One can almost imagine the relief in the final report.
Yet what do these events tell us about the state of governance in southern China? There was certainly tension, and a number of imminent security threats. Large scale international and civil war were on the horizon and both the Governor and the Imperial Commissioner knew this.
Yet this was not an uncontrolled frontier. When you skim over the notes in the archive, it becomes clear that the government and its security apparatus was immensely watchful. Any major crime committed in an urban area was investigated immediately, and even seemingly mundane events, such as the death of an old sick man, could trigger a long and detailed investigation.
I find it useful to keep events such as this in mind when thinking about the folklore of the southern Chinese martial arts. Many of these systems tell stories that describe an almost “wild west” situation. We are told of mysterious masters who killed multiple opponents in market-place challenge matches, or wandering Shaolin rebels bent on the assassination of local officials. But how plausible are any of these stories? Not very.
Killing someone in a challenge fight was very explicitly against the law. There were no exceptions to this, and no contract could be signed that would actually relieved the other party of responsibility. Such actions would lead almost inevitably to one’s own arrest and execution for murder. In a few extraordinary cases the sentence might be commuted to years of imprisonment. Kung Fu legends notwithstanding, this was behavior that the state did not tolerate.
Likewise, if the suicide of a single military officer who suffered from a known chronic illness could touch off a three month counter-intelligence investigation led by the two highest ranking Imperial figures in the province, is it really realistic to assume that there were packs of Shaolin trained revolutionaries prowling around the capital, carrying out assassinations, and no one noticed?
The home of Wing Chun as we like to imagine it. The Cantonese Opera stage on the grounds of Foshan’s Ancestral Temple.
Wing Chun and the Red Boat Opera Rebels
If one is to believe the folklore that is popular in many Wing Chun schools the answer is a resounding yes. Wing Chun (like all other Cantonese arts) claims to originate at the Southern Shaolin Temple. The monks of the Temple were opposed to the Qing, especially after they burnt their sanctuary to the ground and scattered the few survivors. Some of these individuals (in the case of Wing Chun the Abbot Jee Shim and the nun Ng Moy) are said to have passed on their fighting arts along with a solemn charge to “oppose the Qing and restore the Ming.”
The standard Foshan/Hong Kong Wing Chun lineage states that the teachings of both Ng Moy (via Yim Wing Chun) and Jee Shim ended up being transferred to (and united by) members of the “Red Boat Opera Companies” in Foshan. These individual made a living by traveling from temple to temple, performing Cantonese language operas during village holidays. These performances often required great martial skill. Then as now Kung Fu stories were popular with audiences. Nevertheless, the opera singers themselves were members of a low status caste and were often marginalized and ignored by the more powerful members of society (at least when they were not on stage).
According to Rene Ritchie (1998) their highly transient lifestyle, combined with extensive training in costuming and disguise, made the Red Boat Opera singers the perfect revolutionaries. Robert Chu, Rene Ritche and Y. Wu (1998, here after Chu et al.) also noted that the compact boxing style of Wing Chun could well have evolved in the cramped quarters of a ship. These nautical origins notwithstanding, it would have been the ideal system to carry out revolutionary activities in the only slightly more spacious alleys of Foshan and Guangzhou. (For a summary of much of this literature see Scott Buckler “The Origins of Wing Chun – An Alternative Perspective.” Journal of Chinese Martial Studies. Winter 2012 Issue 6. pp. 6-29)
Of course there is one big problem with all of this. There is a total lack of evidence to support any of it. There is no concrete evidence that anyone did Wing Chun prior to Leung Jan, and while second hand accounts state that he studied with a couple of retired opera performer (probably during the ban following the Red Turban Revolt) he did not give us a detailed accounting of their prior activities or political involvements. In fact, all of the more detailed accounts of the lives of the opera singers that we now have come from individuals who were active during the Republic era (1920s-1940s), at the earliest. Other accounts date from the 1950s or even the 1990s.
This actually makes a lot of sense. Other important elements of the Wing Chun mythos (such as the character Ng Moy) either emerged or underwent significant transformation in the Republic period. The chaotic word of political intrigue and street assassinations which the opera rebels are said to have participated in actually sounds much more like the 1930s than it does the relatively stable late 19th century (say 1870-1890).
Of course, Wing Chun was never actually taught as a public art until the Republic era. Almost by definition this is when most of the discussions of its origins and history would have been produced and packaged for public consumption.
Nor would this be the first time that we have discovered that some landmark of southern China’s martial arts culture may be more of a product of literary innovation than history. There is a growing consensus among scholars that the Southern Shaolin Temple itself never existed, at least in the form that most Kung Fu legends claim. The entire theme of the Red Boat Rebels is actually something of an appendix to the larger Shaolin myth complex.
If there really had been packs of killer theatrical agents plying the waters of southern China, fomenting local revolts and assassinating Imperial officials, the government would have taken notice. The proper reports would have been filed followed by extensive investigations and more reports. That is simply the reality of how the Imperial government worked. The fact that there is no mention of a campaign to foment revolution or conduct political killings in southern China during the relevant decades is pretty strong evidence that 1) such a thing never happened or 2) the Opera Rebels were stunningly ineffective. While silence in the historical record can never really rule out any hypothesis, the first alternative seems to be the much more likely scenario.
I do not mean to imply that martial artists were never involved with political violence. They certainly were. That is one of the reasons why I find their history to be so interesting. And there were rebellions and targeted political killings throughout the 19th century. But historians have a pretty good grasp on the forces behind most of these (the Taiping Rebellion, the Eight Trigram Rebellion, the Boxer Uprising) and their narratives have little in common with the myth of the Red Boat Rebels.
“Chinese Stage Shows.” Cigarette Card. Source: Digital Collections of the NY Public Library.
Violence and Radical Politics in the Cantonese Opera Community, 1850-1911.
In most cases I would be content to treat such accounts as examples of “local folklore” and move on. Yet in this instance some caution is in required. To begin with, the plays staged by various Cantonese Opera troops often focused on heroic feats that required their actors to be highly skilled martial artists. Opera troops actually competed with one another to be the first to demonstrate a new style, or to stage the most spectacular battles. As such, they really were an important source of innovation in the southern Chinese martial arts.
While the mythology of Red Boat Rebels may be highly historically implausible, the earlier (and less embroidered) account of Leung Jan studying Wing Chun with two retired performers in the wake of the Red Turban Revolt is actually somewhat plausible. We may not be able to confirm the existence or life histories of Leung Yee Tai or Wong Wah Bo to the same degree as Leung Jan, but there is nothing about their involvement with the martial arts that challenges credulity. While a little shadowy, it is entirely possible that such individuals did have something to do with the development of Wing Chun and, truth be told, quite a few other southern martial arts.
It is also hard to simply dismiss the tradition of the Red Boat Rebels out of hand. Opera companies in the Pearl River Delta did occasionally involve themselves in local political controversies. Some of these events even assumed a stridently anti-government and violent character. While these actions never actually took the form of anything described in the Wing Chun legends, it is pretty clear that later story tellers and “historians” had a lot of good material to work with.
I propose that our current tradition linking Cantonese Opera singers to both the creation of Wing Chun and to the prosecution of a violent anti-Qing revolutionary campaign came about through the fusion of two separate half-remembered historical episodes. These were brought together by later storytellers during the middle of the 20th century. The older of these two traditions focused on the role of the Cantonese Opera companies in the siege of Guangzhou and conquest of Foshan during the Red Turban Revolt in 1854-1855. I suspect that many of my readers will be at least somewhat familiar with these events. They have been mentioned in the Wing Chun literature for years, though they are rarely treated in the depth that they deserve.
The best historical discussion of the Red Turban Revolt available can still be found in Frederic Wakeman’s classic text, Strangers at the Gate: Social Disorder in South China, 1839-1861 (California University Press, 1966). It would not be hard to write a book on these events, but they are usually overshadowed by the larger, more destructive, Taiping Rebellion which was happening further to the north at the same time. At some point I hope to do a series of posts focusing on the Red Turban Revolt, but I have yet to find the time get started on that project.
It is often assumed that the uprising in Guangdong was simply the local expression of the larger Taiping Rebellion which was gripping much of central China. That is certainly what local officials in Guangzhou argued as they sent reports back to the throne. But as Wakeman and others have demonstrated, this was not the case. The Red Turban Revolt was for the most part an independent uprising that resulted from local mismanagement. It actually started as a simple tax revolt which spiraled badly out of control.
One of the dozen or so main leaders of this group was an opera performer named Li Wenmao. He managed to put together a large fighting force that had at its core a number of the region’s many traveling opera societies. Li is remembered for entering the fight in full costume, something that B. J. ter Harr reports in a number of other uprisings in the middle of the 19th century. As Holcombe has already pointed out, the moral and political rhetoric of the theater proved to be an effective means of rallying the masses in more than one late Qing uprising.
The image of costumed opera singers fighting the government evidently left a great impression on the local countryside. It also made a real impression on the Governor who promptly banned the performance of public vernacular opera and ordered the rebel opera singers to be arrested and executed. The survival of the local government seemed in doubt in 1854. Yet following their eventual victory the political and economic elite of the province unleashed a white terror that saw the execution of nearly one million rebels, secret society members, bandits and opera singers.
It took decades for the Cantonese Opera community to recover from Li Wenmao’s disastrous and ill planned revolt. Still, these events help to frame some of the facts that we do know. Leung Yee Tai and Wong Wah Bo may have been living with Leung Jan and teaching him martial arts precisely because Cantonese Opera performances were illegal and it was dangerous for former performers to be out and about. The very fact that they survived the revolt (and did not follow the retreating opera army to their new “Taiping kingdom” in the north) would also seem to be pretty strong circumstantial evidence that they had never really been swept up in the violence (the repeated assertions of modern folklore not withstanding).
Still, the Cantonese Opera community demonstrated that they were quite dangerous as a group and capable of impressive levels of violence. In retrospect these individuals have been remembered with something like awe. Yet at the time they were probably best remembered for the immense destruction and loss of life that they helped to foment.
One of the most important things about the Red Turban Revolt that modern Wing Chun students usually overlook is its spontaneous and almost apolitical nature. In retrospect it is easy to see this event on the horizon. The government’s revenue collection tactics (Guangdong’s taxes were the only funds available to finance the Qing’s war with the Taipings) along with other sociological forces had turned southern China into a veritable powder keg. Still, it was impossible to know when the explosion would occur or the form that it would take.
Unsurprisingly mounting taxes turned out to be the spark that ignited the bomb. The violence started by pitting secret society members involved in the gambling trade against the government. It quickly spread through a series of bloody reprisals and counter-strikes to include more or less every secret society chapter and bandit group in the country. These groups coalesced into loose armies intent of sacking various towns and cities, and in the process they recruited tens of thousands of desperate peasant “soldiers” who were looking for economic relief and a change in management.
Kim (“The Heaven and Earth Society and the Red Turban Rebellion in Late Qing China.” Journal of Humanities & Social Sciences. Vol. 3, Issue 1. 2009) provides a good overview of the various major “chiefs” of the movement. However the one thing that really stands out about the revolt is their relative lack of coordination, or even a common purpose. Some elements of the rebellion were driven by a familiar brand of peasant utopianism, while others seem to have been in it mainly for the money. While the secret society chant “Oppose the Qing, Restore the Ming” was heard throughout the uprising, no one appears to have had any plan for actually fulfilling the second half of the couplet.
While we see Cantonese Opera performers resorting to violence and lashing out against the government in the Red Turban Revolt, they are not the politically motivated, highly dedicated, undercover organization described in the Wing Chun creation story. This was an outbreak of community violence more in the mold of Robin Hood than James Bond.
This would not be the last time that the Pearl River Delta would see opera performers taking an interest in radical politics and the promotion of revolution. Opera companies were commercial undertakings and they succeeded by telling the sorts of stories that people were willing to pay to hear. Most of these scripts focused either on martial heroics or love stories with happy endings. For reasons that I cannot fathom popular sentiment seems to have demanded that love stories in novels end in tragedy but those on the stage must resolve into a haze of bliss.
Nevertheless, opera companies would occasionally find some success by running a politically motivated play that tapped into an important public conversation. The anti-opium and anti-gambling crusades of the late 19th and early 20th century found expression in new Cantonese plays that went on to enjoy some popularity.
In the last decade of the Qing dynasty a group of young revolutionaries and students took note of this phenomenon and decided to use it to their advantage. With the backing of the Tongmenhui, Sun Yat Sen’s revolutionary group, about two dozen new “political” opera companies were formed to spread the gospel of nationalism and revolution throughout southern China.
Historians from both the nationalist and communist parties have tended to valorize the efforts and success of these groups. They certainly did help to raise the consciousness of the masses in southern China. While very few of their techniques were totally unique they did help to popularize certain innovations, such as singing librettos in modern vernacular Cantonese and they experimented with the staging of western style spoken plays. The best short discussion of this movement can be found in Virgil K. Y. Ho’s volume Understanding Canton: Rethinking Popular Culture in the Republican Period(Oxford University Press, 2006).
Like other sorts of opera companies these “revolutionary troops” traveled from place to place. Often this happened in Red Boats. While traditionally associated with Cantonese Opera in the popular imagination, the iconic Red Boats were actually something of a late innovation. B. E. Ward (“Red Boats of the Canton Delta: A Chapter in the Historical Sociology of the Chinese Opera.” Proceedings of the International Conference on Sinology. Academia Sinica: Taipei, 1981.) notes that the first reports of specially constructed Red Boats do not occur until the 1850s.
Given the decades long prohibition of Cantonese Opera in the middle of the 1850s, they cannot have become common until the more peaceful late 19thcentury. Ho indicates that the boats actually reached the peak of their popularity in the 1920s, and then rapidly declined in the middle of the 20thcentury. On those grounds alone it is clear that the strong association between Wing Chun and the Red Boat Opera singers is more likely a product of the 1920s-1930s than the 1820s-1830s as it does not appear that this symbolic complex would have meant as much to individuals from the earlier period.
The revolutionary opera companies of the early 20th century were a very short lived, if memorable, phenomenon. Most of these companies seem to have appeared around 1905, and few survived much past the actual 1911 revolution. Going to the opera was a popular form of diversion, and audiences (quite reasonably) expected to be entertained in the fashion to which they were accustomed. This meant loud music, vulgar lyrics, predictable plots and impressive costumes. What they did not want was to pay good money to listen a political lecture.
The revolutionary troupes had another problem. The Cantonese Opera Guild in Guangzhou refused to accept them as members. This appears to have mostly been a reflection of their chronic inability to attract large audiences or sell tickets. As a result they were actually prohibited from playing on any stage associated with the Opera guild. Of course this included most of the venues that could raise a decent crowd.
Lastly, while these individuals were “revolutionary” in their politics and ideological orientation (many of the companies explicitly backed Sun Yat Sen) they were much more conservative in their methods. These troops were dedicated to the pen rather than the sword. They sought to spread the revolution by educating peasants, not by assassinating local officials. They were drawn to the stage because of its propaganda value, not its association with costumes, disguises, gangsters or ducking out of town under the cover of darkness.
Again, this is not to say that secret societies were never involved in the revolutionary project. After all, Sun Yat Sen’s Tongmenghui itself was a secret society. Nor do I want to imply that political killings never happened. The late Qing and early Republic eras saw an uptick in assassinations and political murders. But once again, these attacks were carried out by terrorist, mercenaries and government agents using very modern guns and bombs. Revolutionary opera companies were not either side’s weapon of choice.
A temporary stage erected for the Monkey God Festival, 2006. Almost all operas at temple festivals were traditionally performed on temporary stages like this one. Source: Photo by Samuel Judkins.
The Red Boat Revolutionaries: Creating a Legend
A very interesting picture has emerged from the preceding conversation. There are at least two periods in the late Qing and early Republic era when factions within the Cantonese Opera community became very visibly involved in radical politics. Both of these eras were short, but highly visible. In fact, they were exactly the sort of thing that was likely to imprint itself on the popular imagination.
The first of these occurred in 1854-1855 when Li Wenman led a large number of companies into an open uprising against the government (and helping to lay siege to Guangzhou) in the midst of the Red Turban Revolt. Far from being covert, most of this violence occurred on the battlefield. The political motivations of the major leaders of the uprising were far from unified. One group escaped the government’s victory in Guangdong to establish their own Taiping Kingdom in the north. Other factions, including many of the bandit and secret society chiefs, appear to have been motivated mostly by the promise of spoils. The tens of thousands of peasant recruits who filled out the various armies were motivated mostly by physical hunger and economic desperation. While highly destructive and dedicated to the overthrow of the local government, the Red Turban Revolt was in some respects surprisingly apolitical, especially in comparison to the ongoing Taiping Rebellion in central and northern China.
If you skip forward 50 years another group of radical opera singers appears. These individuals are dedicated political revolutionaries. They are ideologically and politically sophisticated, and they seek to spread their radical agenda through the many small theaters and stages that they visited. Like everyone one else along the Pearl River Delta they journeyed by boat, often in the Red Boats that signaled the arrival of a traveling opera companies. While never very commercially successful, they made their presence known throughout southern China and then they disappeared, almost as rapidly as they had emerged.
We now have all of the pieces to begin to build a new theory of origins of Red Boats Revolutionaries in the Wing Chun creation myth. I should point out that this is just a theory and one that probably needs additional refinement and revision. Given the nature of the discussion I can only marshal circumstantial evidence in its favor, but it may be an idea worth considering.
As Wing Chun started to gain popularity in the late 1920s and 1930s it became necessary to repackage discussions of the art’s history and origins in ways that were compatible with the basic pattern of the Hung Mun schools (all of which claimed an origin from Shaolin) and the expectations of potential students (who wanted a story to tell them what this new art was all about). Story tellers in the 1930s and 1940s (individuals like Ng Chung So) would have been alive during the final years of the Qing dynasty and may have remembered the revolutionary opera companies on their Red Boats, spreading radical ideology in their wake. Most of their students, however, would have been too young to have any firsthand knowledge of these events.
In an attempt to bring the story of Leung Yee Tai and Wong Wah Bo into conformation with the highly popular Shaolin ethos, the distant memory of the violent 1854 uprising may have been conflated with the more recent revolutionary opera companies to create the vision of a group that sought to use violent means to overthrow the government while “staying undercover” in their daily lives. Stories of such groups, often with reference to various secret societies, were rife in southern Chinese folklore and were particularly common in the martial arts tales of the “rivers and lakes.” In fact, given the fading memories of these two sets of radical opera performers, it seems rather natural that they would fall into this commonly available archetypal pattern.
Adopting this new synthesis would also have the added benefit of giving both Wong Wah Bo and Leung Yee Tai (and hence modern Wing Chun) some real revolutionary credibility. This could only be helpful given how popular “revolutionary” rhetoric was in the 1930s. It might also have helped to provide Wing Chun with some rhetorical cover since anyone who examined the art would immediately discover that it was dominated not by the working class (like the more popular Choy Li Fut) but by wealthy property owners and conservative right-wing political factions.
A model of a Red Boat of the type that carried Cantonese Opera companies in the late 19th and early 20th century.
Conclusion
The provincial archives of southern China contain no evidence that would point to a campaign of targeted political killings and other subversive activities by revolutionary Cantonese opera companies because such groups did not exist. Most opera companies were more concerned with eeking out a living, and those that may have been associated with secret societies appear to have been smarter than to go around murdering local leaders.
This does not mean that these groups ignored politics. In fact, there were two very notable periods when they became involved in the political process. The current myth of the Red Boat Rebels may be a mid 20th century conflation of these two memories into a single event. This new construction allowed Wing Chun to connect itself more fully to the revolutionary rhetoric of the southern Chinese martial arts even though the system has a history of reactionary associations and behaviors. It also provides additional evidence that the Republic era (from the 1920s-1940s) was a critically formative period in the creation of the modern Wing Chun identity and mythos.
Oggi è il compleanno del Gran maestro Zhu Tiancai! Auguri da tuttli gli allievi e gli amici italiani! 今天就是朱天才老师生日！意大利学生朋友都祝生日快乐! Today’s Grandmaster Zhu Tiancai birthday! All Italian disciples and friends wishing a happy birthday!
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白猿偷桃 WHITE APE STEALS A PEACH 順德黃漢勛編述 by Huang Hanxun [Wong Honfan] of Shunde 山東蓬萊羅師光玉授 as taught by Luo Guangyu of Penglai, Shandong 攝影者：黃子英 photographed by Huang Ziying 校對者：黃翔 text proofread by Huang Xiang [published 35th year of the cycle, 10th month, 10th day (Nov 20, 1958)]
[translation by Paul Brennan, June, 2018]
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白猿偷桃 White Ape Steals a Peach 黃電明題 – calligraphy by Huang Dianming
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目錄 CONTENTS
第一式：中平雙蓄勢 Posture 1: STANDING STABLY, BOTH FISTS STORING POWER 第二式：入環單臂爪 Posture 2: KNEELING STANCE, SINGLE CLAW-ARM 第三式：提步右挫捶 Posture 3: LIFTING LEG, RIGHT SUBDUING PUNCH 第四式：穿手右統捶 Posture 4: THREADING HAND, RIGHT THRUST PUNCH 第五式：登山右挫捶 Posture 5: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH 第六式：扭步左黏肘 Posture 8: TWISTING STANCE, LEFT STICKY ELBOW 第七式：劈圈右仰膀 Posture 7: CHOPPING SWING, RIGHT PRESSING FOREARM 第八式：囘身刁踢腿 Posture 8: TURN AROUND, HOOKING HAND, SNAPPING KICK 第九式：圈捶連環腿 Posture 9: SWINGING PUNCH, CONTINUOUS KICK 第十式：入環右仰膀 Posture 10: KNEELING STANCE, RIGHT PRESSING FOREARM 第十一式：撤步掛統捶 Posture 11: WITHDRAWING STEP, HANG & THRUST PUNCH 第十二式：登山右劈軋 Posture 12: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP 第十三式：蹤步穿梭式 Posture 13: LEAPING STEP, SENDING THE SHUTTLE THROUGH 第十四式：封手雙飛腿 Posture 14: SEALING HANDS, FLYING DOUBLE KICK 第十五式：登山掛統捶 Posture 15: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH 第十六式：登山右劈軋 Posture 16: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP 第十七式：橫圈大擺蓮 Posture 17: SWINGING PUNCH, LARGE SWINGING LOTUS KICK 第十八式：登山掛統捶 Posture 18: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH 第十九式：蹤步右統捶 Posture 19: JUMPING STEP, SEALING, THRUST PUNCH 第二十式：登山番車式 Posture 20: MOUNTAIN-CLIMBING STANCE, ROLLING PUNCH 第二十一式：登山掛統捶 Posture 21: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH 第二十二式：封手右撐腿 Posture 22: SEALING HANDS, RIGHT BRACING KICK 第二十三式：囘身掛統捶 Posture 23: WITHDRAWING BODY, HANG & THRUST PUNCH 第二十四式：跨虎挑統捶 Posture 24: SITTING-TIGER STANCE, CARRY & THRUST PUNCH
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螳螂國術學院第十一屆畢業禮 SPEECH FROM THE 11TH GRADUATION CEREMONY OF THE MANTIS MARTIAL ARTS ACADEMY 黃院長漢勛演詞 受業黃漢超節錄 by director Huang Hanxun (recorded by your student, Huang Hanchao):
五七年十月廿三日，螳螂國術學院第十一屆畢業典禮於東方體育會禮堂舉行，是晚，特級並高中初三級畢業同學四十餘人，曁新舊同學於會後舉行聯誼，會前，院長致詞，勗勉諸生，語多切中近來國術界之弊病，指出國術衰落之原因，並提出救正之方法，其言亟宜錄出以作改進國術者之參考，以下是院長演詞之節錄： On Oct 23, 1957, the 11th Graduation Ceremony for the Mantis Martial Arts Institute was held in the assembly hall of the Far East Athletic Club. On that evening, there were more than forty students graduating, from the beginner, intermediate, and advanced levels, as well as the special instructor level. At the close of the event, students old and new joined in camaraderie to give a demonstration. At the beginning of the event, the director of the school gave a speech to encourage all the students, in which he particularly discussed the problems currently facing the martial arts community, pointing out the causes of the decline of martial arts and putting forward methods of rescuing them. His important words should serve as a reference for how to improve the state of martial arts. Below is an excerpt from his speech:
國術衰落之原因 Causes for the decline of martial arts:
（一）病在學者好為人師，以致師道不尊： 1. There is a problem of students trying to be teachers, resulting in real teachers no longer being respected.
由於靑年多缺乏正確的練習國術認識，在未習拳以前，已懷有為人師的念頭，這不是說學者不應為人師，乃是說不應好為人師。蓋習拳者、日久功深，所謂三年一小成，十年一大成，未嘗無理，然在小成大成之期間，若不能大殺（苦練也）一番，功力必不進；苟無良師益友，技亦停滯不前，蓋拳技之道，泳涵愈久，功力愈精到。有習拳三年五年者，卽自視甚高，以為可以應世致用，為人師表；實不明拳理，不諳武術之興替。家法不明，而沾沾以將為人師而喜。懷此輕浮之心，國術何得不衰？ Young people typically lack proper martial arts knowledge, and yet before they have even begun training in a boxing art, they already have it their heads that they want to teach it to others. I am not saying that students should not become teachers. What I am saying is that they should not be using the art just to have something to teach. Practicing boxing arts requires a long time for skill to deepen, hence the expression “three years will give you a small achievement, ten years a large achievement”. This is not an unreasonable plan, but in the time between the small achievement and the large achievement, if you cannot fight your way through it (i.e. endure bitter training), your skill will most assuredly not progress the rest of the way. Or if you are without a close mentor, your skill would again stagnate and cease to move forward. It is the way of any boxing art that the longer you swim in it, the more refined your skill will become. Those who have practiced a boxing art for three to five years think highly of themselves and believe that they can function for others as a model teacher. But actually they still do not understand the boxing theory and are not experienced in the ups and downs of martial arts. Even though the methods of the art are not yet fully understood, they are nevertheless steeped in their happy plans of teaching these methods to others. With this kind of frivolous attitude, how could our martial arts not be in decline?
（二）雜誌、報章、電影、武俠小說之過事渲染： 2. Magazines, newspapers, films, and martial arts novels do a lot of exaggerating.
以上諸出版物並電影，本可以作復興國術之用，以前精武體育會就有此等組織，迺使國術一道，風靡全國，以實事求是，非投機取巧。可惜今日所見所聞，多以奇技相標榜，以異術相眩博，言過其實，描寫一人，務以出神入化之筆以吸引讀者觀衆。觀者不知，誤認天下間竟有如此奇人，學技之心隨之而興，以為自己亦可致此也。彼纔入學，則所親炙者多平平無奇，與傳聞所說大異，尋轉他學，亦復如此。輕蔑國術之心亦因之而起，彼習技之一股勇氣，化為子虛烏有，國術界因此而喪失不少人才。空腹高論，其不俾實際如此，國術何得不衰？ All of these forms of media have the potential to rejuvenate our martial arts. When the Jingwu Athletic Association made use of these kinds of media to make martial arts fashionable throughout the nation, they did so in order to show the reality of these arts and were not seeking to make a profit. Unfortunately what we see and hear nowadays is usually the flaunting of bizarre skills and the glorifying of crazy stunts. Depictions of individuals are exaggerated caricatures, and the writing is pushed to be as exciting as possible in order to attract audiences. Spectators do not understand and mistakenly think that people with such strange abilities exist. They are then inspired to learn those skills in the belief that they themselves can achieve them. Once they join a school, they discover that what they are being personally taught is average and unremarkable, vastly different from what they had heard about, and so they seek out other teachers to learn from in the hopes that it will be more like what they had expected. Then in their disappointment, they will consequently start to have contempt for martial arts, going from being mesmerized by the thought of the training to realizing it was all a hoax. Because of this, the martial arts world has lost many talented people. To have such “lofty dreams on an empty stomach” and not be able to make any of it come true, how could our martial arts not be in decline?
（三）不願公開獨到的拳術： 3. There is an unwillingness to publicly share unique boxing arts.
習拳技者知拳技易學難精，學者幾經苦練而後有所得，故任敎後，每想及得技非易，苟輕易以之授徒，心有不甘。的確，如果無心向藝，目拳術為交易之物者，自不應以高深之法理授之，然百人中豈無好學者？故不以獨到之技傳粗心浮意者可，不以獨到之技傳好學深思者則失之矣。俗謂說：「求師難，求徒更難。」若人人存有不傳獨得之技的念頭，而持之以終老，亦老死而矣。懷此自私之心，國術何得不衰？ Those who practice boxing arts know that these arts are easy to learn but difficult to master. Students have to go through a great deal of hard training in order to make any gains. Once practitioners start teaching, they constantly fret over how difficult it is to achieve skill, and so they sour to the idea of teaching just anyone. Indeed if a student does not care about the degree of craftsmanship involved and looks upon boxing arts as easy things, it seems natural that he should not be given instruction in advanced theories. But it’s a numbers game: among a hundred people, there is bound to be one who appreciates knowledge. Therefore while it is reasonable not to teach unique skills to those who are indifferent or impatient, it is a mistake not to teach these skills to those who love learning and contemplating. There is a common saying: “It’s hard to find the right teacher, but even harder to find the right student.” However, if everyone decided to keep their art to themselves and hold onto it until they die, it would also die with them. With this kind of selfishness, how could our martial arts not be in decline?
院長又提出救正國術衰落的幾點意見，他說： Director Huang then put forth these suggestions for rescuing our martial arts:
（一）敎者應以身作則，應有實在之經驗及拳術修養： 1. Teachers should set an example by actually going through the training process and mastering a boxing art.
濫竽充數者不論，有名師授受矣，如彼自以為名師而輕視他人，不屑與後生小子羣，授技只敷衍了事，不能做到學不厭，敎不倦，學者受此影響，亦會走上其師的老路，轉相授受，敎者卒不能以身作則，立定規模以示後學。故在為師者言，應有學不厭，敎不倦的精神，期以收默化潛移之效；另一方面言，本身亦應有實在之經驗及拳術修養，始能肩師道之任。故救正國術之病，不得不從為師者之以身作則起。 It means nothing to just fill up teaching positions. There are “famous teachers” giving instruction. If an instructor considers himself to be a famous teacher and looks down on other people, disdaining to be in the presence of the students, the instruction he gives will be barely mediocre. He has not been able to achieve the condition of [quoting from the Lun Yu, 7.2:] “learn insatiably, teach tirelessly”. Students will be influenced by this and instead only learn how to behave like that teacher. Such a teacher ultimately cannot set an example and ceases to be a good model for the students. Therefore to be considered a teacher, one should have the mindset of “learn insatiably, teach tirelessly”, which will have the effect of subtly influencing the students. On the other hand, he should also have actually gone through the experience of mastering a boxing art, and then he will be able to shoulder the responsibility of being a teacher in the first place. Thus rescuing our martial arts has to start with teachers setting an example.
（二）學者應走鈍的一路，不應走巧的一路： 2. Students should tread the boring path, not the exciting one.
心躁氣浮，為練拳術者之大忌，此一點使學者好為人師外，更阻碍拳術之進步。常見初習拳術者，每見老同學之演習，輒嘖嘖稱羨，彼不知練者費幾許精神時間，始克至此。於是每多蹈蠟等之弊，一技未了，又見異思遷，以巧的方法去獵取；不肯勤練，以鈍的方法去涵泳。拳術之道，易得易失，不經體驗，不知其中痛癢，而臨淵羨魚，不如退而結網，是待學者之善學而後國術有救正之可言。 A boxing arts practitioner is not allowed to have an impetuous mind and distracted temperament. That kind of thing is an even bigger hindrance to making progress than wanting to hurry up and be a teacher. Often when we see beginners watching their older classmates practicing, we hear them express their envy. But they do not understand how much determination and time was required to attain such a level. Therefore they tend to make the error of skipping steps. Before they have developed even a single skill, they see something different and their attention shifts, always in pursuit of exciting material, never willing to put in the hard training, which involves wading through the boring stuff. Boxing arts methods are easy to obtain and easy to lose. Unless you go through the experience, you will have no idea of the ordeals within the training. [from the Books of Han, bio of Dong Zhongshu:] “To stare at the water and wish for a fish is not as good as stepping back and making a net.” Only when the student has learned how to learn will he then be of use in rescuing our martial arts.
（三）應不畏艱難，多發明前人所未發的拳術眞理： 3. We should not shy away from the hard work of expressing boxing arts knowledge that previous generations did not.
欲使國術成為一門學，非要找出其能成為學的關鍵不可，是則有待於國術界同人之努力，而撰著專籍，尤為切要。從來拳術授受，多憑口耳，載籍實不足，而晚近有關國術之書籍，以排比編纂，鈔襲陳言為多，能有眞正經歷其境而登其堂而筆之於書者，實不多覩，以今日論，欲救正此等風氣，非用大心力以從事研究不可。發明前人所未發，實為當前國術界應有之責任，是亦為救正國術之一大方針也。 If we wish for martial arts to become a field of learning, we cannot do it unless we find out what the keys are to such knowledge. It then depends on the hard work of our colleagues in the martial arts community to carry out the crucial task of putting all that knowledge into specialized books. However, learning martial arts always requires some personal instruction, for books themselves are insufficient. In recent years, martial arts books have been getting systematically compiled, but they are usually just the copying of arcane texts. To be able to actually go through the training that those texts describe and then write books that are also based on one’s own experience of that training is something that is rarely seen. If we wish to fix this current trend, it cannot be done without a great deal of effort. To express what earlier generations did not is a duty of the martial arts community, and is also a major guiding principle in rescuing our martial arts.
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自序 PREFACE
余自出版螳螂拳術叢書以來，經十餘年之努力，至今已二十三種矣，惟不論拳與械均在數十式之間者，此拳僅得二十四式，得毋太短乎？曰：此拳原本如是，實無能使之為長也。螳螂拳是以一氣呵成見稱於世者，拳式長，動作多固然使練之者增加氣力於不知不覺間，但勿以拳式短，動作少而輕視其用氣用力必少也，苟能每拳俱認眞用力發勁亦頗使練之者大費精神矣。 此拳與「白猿出洞」正如牡丹之與綠葉互為襯托乃有益彰之妙也。卽亦如「螳螂出洞」「螳螂偸桃」之並重，故余以之緊隨白猿出洞之後而出版者，意卽使之易於相生相成之效也，余將賡續努力於螳螂拳之著述，成敗利鈍固所非計矣，幸海內外同道時錫南針為幸。 黃漢勛螳螂樓 戊戌年重陽 Since starting to publish the “Mantis Boxing Art Book Series”, I have given it more than a decade of effort, and there are now twenty-three volumes in it. Regardless of boxing set or weapon set, all of the sets contain a large number of postures, except the boxing set in this book, which has only twenty-four. If this seems too short, I can only say that this is the way the set was originally designed, and so I have no right to lengthen it. Mantis Boxing is consistently regarded as being comprised of boxing sets that are long and have many movements. Practitioners take it for granted that working on such sets will increase energy and strength, and they then think that one should not bother with boxing sets that are short and have few movements, dismissively assuming that they must be of little use for the training of energy and strength. But if we can wholeheartedly exert ourselves and express power in all of the sets, we will gain enormously in the development of spirit. This set and White Ape Leaves the Cave are as intimately connected as a peony tree and its leaves, benefiting each other wondrously, which is likewise true of Mantis Leaves the Cave and Mantis Steals a Peach, and for this reason the publication of this book follows close upon the publication of White Ape Leaves the Cave [although it actually ended up getting published before it], in hopes that this will more easily produce the effect of the two sets developing and fulfilling each other. I will continue to put effort into writing about Mantis Boxing, ignoring all thoughts of success or failure, for my hope is only to provide material that will serve as a guide for my fellow practitioners both within the nation and overseas. - Huang Hanxun at the Mantis School, 35th year of the cycle, Double Ninth Festival, [Oct 21, 1958]
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第一式：中平雙蓄勢 Posture 1: STANDING STABLY, BOTH FISTS STORING POWER
說明： Explanation: 假如我以東方作起式，則應是右東，左西，面北，背南矣。雙足合攏直立，雙拳收束至胸平齊以蓄中平之氣，目向左視，以俟拳式之展閉焉。 If you begin in the eastern part of the practice space, then the east should be to your right, the west to your left, north in front of you, south behind you. With your feet together, stand straight, your fists pulled up to chest level in order to store a balanced power. Your gaze is to the left, and you are ready to begin the boxing postures. See photo 1:
功用： Application: 螳螂派各拳多為中平作起式者，其次為四平式及背轉式，所謂中平，四平，背轉等皆是方向之區別耳！其雙拳之蓄勢則一，中平開始者是表示敵方將由我左方而來，因此要注視左方。四平則敵自我正面來故向前面視。背轉是敵由我右攻來，故亦向右注視焉，三式之區別處在此，祈留意及之。 The boxing sets in the Mantis system usually begin with this posture of “standing stably”, but sometimes there is the “four-level posture” and also the “back-turning posture”. They are different in terms of the direction they are facing, though they are the same in that the fists are storing power. When beginning in the posture of standing stably, I am showing that there is an opponent who is about to attack from the left, and thus I should be looking to the left. In the four-level posture, an opponent is attacking from in front of me, and thus in that case I should be looking forward. In the back-turning posture, an opponent is attacking from my right, and thus in that case I should be looking to the right. These are the distinctions of these three postures. Take note of them.
第二式：入環單臂爪 Posture 2: KNEELING STANCE, SINGLE CLAW-ARM
說明： Explanation: 循上式，左脚向西開出，右脚曲而跟進以成入環式，右拳化刁手，左手化掌隨步由下橫斜而出，如『定式』。 Continuing from the previous posture, your left foot steps out to the west and your right foot follows it forward, the leg bending, to make a kneeling stance, as your right fist changes to a hooking hand and your left hand becomes a palm, your hands going along with your feet by going across diagonally from below. See photo 2:
功用： Application: 彼自我中部攻來一拳，我撥消來手，右手反爪直取其下陰部，斯手極毒輕易不可用之，有人以為此式何必捨拳不用而用爪，此正是其妙處所在也，蓋襠下位置是下濶上窄者，若用拳旣勢不順而又出發點與終點大相逕庭，用爪則自下而上恰如彼特異之位置，斯為此式之妙處所在也。 An opponent attacks my middle area with a punch, so I deflect his incoming hand while my right hand goes out as a reverse claw [i.e. using the back of the wrist] to attack his groin. This technique is very cruel and so you must not use it rashly. Some people wonder why this posture requires a claw-hand rather than using a fist, but this is in fact the key to the technique. The area below the crotch is wider below and narrower at the top. Using a fist will not work as well going from the previous posture into this posture, but a claw-hand coming upward from below will fit just right into that particular place, and this is why it is key to the posture.
第三式：提步右挫捶 Posture 3: LIFTED LEG, RIGHT SUBDUING PUNCH
說明： Explanation: 循上式，先提右後脚以成獨立式，左掌向前由上封下，右拳從內穿出乃成挫捶如『定式』。 Continuing from the previous posture, your right foot lifts to make a one-legged stance as your left palm goes forward, sealing downward from above, and your right fist threads out from the inside with a subduing punch. See photo 3:
功用： Application: 彼以我低馬沉手取其下路，立卽轉取我上路，我乃提步使高，先封去來手，再用挫捶法自下逆抽而上，耑擊其頷下，登山挫捶為螳螂拳極普遍之拳法，提步挫捶不單是使勢高己也，譬諭我剛封來手而欲挫捶之俄頃，彼勉强軋我一脚以求解圍，我亦已捉住來手勢難縱之者，因亦提步卸去來脚而强用捶挫之。 The opponent takes advantage of my low stance and low hands attacking to his lower body by immediately changing to attack my upper area, so I lift a leg to make my stance taller while sealing off his incoming hand, then counter by sending a subduing punch upward from below to strike to his chin. A subduing punch in a mountain-climbing stance is a very common technique in Mantis Boxing, but a subduing punch with a lifted leg happens just this once. In the moment that I firmly seal off his hand to then do a subduing punch, the opponent does an emergency crushing kick to my leg to try to keep me from reaching him, so when I grab his incoming hand to make it difficult for him to get away, I also lift my leg to avoid his incoming foot and can then powerfully apply the punch.
第四式：穿手右統捶 Posture 4: THREADING HAND, RIGHT THRUST PUNCH
說明： Explanation: 循上式，左捶自下穿出，至右拳鋒外為止，時右拳亦可收回腰部矣，右脚落下以成騎馬式，右拳乃自腰部直統而出，左掌則貼於右肩之上如『定式』。 Continuing from the previous posture, your left fist threads out from below, and once it is to the outside of your right knuckles, your right fist can then withdraw to your waist. Then your right foot comes down to make a horse-riding stance as your right fist thrusts out from your waist, your left palm touching at your right shoulder. See photo 4:
功用： Application: 彼手來搭我之挫捶，我先用左手穿去之，乘勢落馬用統捶法反攻其中部，此式驟視之旣似「黑虎偸心」或「馬式補捶」，其練時固不必以右拳擦過左掌而出也，此式比平常之統捶更能增高其力道之處，厥惟由提步踏下標馬之勢，旣有居高臨下之佳妙，又有如波浪之滾進也。 The opponent blocks my subduing punch, so I first use my left hand to thread out and take it aside, then come down into a horse-riding stance to attack his middle area. This posture resembles BLACK TIGER STEALS THE HEART or HORSE-RIDING STANCE, FILLING PUNCH. When practicing it, it is not at all necessary for your right fist to scrape past your left palm as it goes out, and thus this posture can be a better means of increasing your power than with the ordinary thrust punches. Due to the lifted leg coming down darting into a horse-riding stance, this technique has the elegance of descending from a height and also has the quality of rolling forward like an unstoppable wave.
第五式：登山右挫捶 Posture 5: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH
說明： Explanation: 循上式，撑直左後脚以成右登山式，左手向前由上封落，右拳收近腰部，再反拳由下抽上如『定式』。 Continuing from the previous posture, your left leg presses straight to make a right mountain-climbing stance, your left hand going forward, sealing downward from above, as your right fist withdraws almost to your waist and then goes out upward from below with the fist turned over. See photo 5:
功用： Application: 彼招去吾統捶後，另以一手打來，我卽以左手封住來手，右拳由下逆衝而上，專擊其下頷，第三式提腿之功用已述之如上，登山之特長是進退之間旣靈活而又穩健，且由騎馬轉為登山步之間，亦標進同具有衝擊之無比力道也。 The opponent deflects my thrust punch, then sends his other hand to strike, so I use my left hand to seal off his incoming hand, and my right fist turns over and thrusts upward from below, striking to his chin. The application is the same as in Posture Three, in which it is performed with a lifted leg, but the advantage of performing this technique in a mountain-climbing stance is that within the nimbleness of advance or retreat there is also more firmness, and furthermore, the switch from horse-riding stance into mountain-climbing stance darts you forward to make this thrusting strike overwhelmingly powerful.
第六式：扭步左黏肘 Posture 6: TWISTING STANCE, LEFT STICKY ELBOW
說明： Explanation: 循上式，原步往右方一扭卽成扭步之勢，右拳改為刁手，往後一拉，左拳自下曲肘而上，與「崩步之第二十二式相同」如『定式』。 Continuing from the previous posture, your feet twist to the right to make a twisted stance as your right fist changes to a hooking hand and pulls to the rear, your left fist going upward from below with the elbow bent, the same as in Posture 22 of the Avalanche Steps set. See photo 6:
功用： Application: 彼欲以手來挑高我之挫捶，我食住其手刁之，往後一拉，左手自下曲肘托上以斷其臂部，此是合兩手之勢與力及上下分勢之法去應付對方一隻手乃佔有絕大優勢也，若對方見機則不俟合力分勢之成而先曲肘卸去之，乃可脫離險境也。（見領崩步法） The opponent tries to send out a hand to carry my subduing punch upward, so I receive his hooking hand and pull it to the rear, and my left forearm goes upward from below, elbow bent, to break his arm. This is a method of both hands working together to apply force upward and downward [i.e. your right hand bracing downward as your left elbow props upward], against a single arm, thus putting you in the superior position. If the opponent notices an opportunity, you will not have time for your hands to apply force together to make this technique, and you will instead have to pull your elbow back to keep yourself out of a dangerous situation. (It is the same technique as in the Avalanche Steps set.)
第七式：劈圈右仰膀 Posture 7: CHOPPING SWING, RIGHT PRESSING FOREARM
說明： Explanation: 循上式，先進左脚，右拳自後劈前向下如「過渡式圖」， Continuing from the previous posture, first your left foot advances as your right fist chops forward and downward from the rear [your left hand now touching the elbow area]. See photo 7a:
再進右脚以成入環步，手自右向左轉，復由內反出推前，右拳曲肘而向內，左拳貼於右腕之下如『定式』。 Then your right foot advances to make a kneeling stance as your [right] hand arcs to the left and then turns over from inside to push out forward, the center of your right fist facing inward, elbow bent, your left fist now touching below your right wrist. See photo 7b:
功用： Application: 彼沉肘避過我黏肘，再漏手攻我肘之下，我乃先劈去來勢，再進馬用仰膀法緊貼而傾跌之。 The opponent sinks his elbow to evade my sticky elbow and then slips the hand through to attack under my elbow, so I first chop away his incoming attack, then advance while using a pressing forearm technique to crowd him and make him topple.
說明： Explanation: 循上式，自左轉身，先收右拳於腰部，左刁手與左脚同時向後東方而出，如『定式』。 Continuing from the previous posture, your body turns around to the left, your right hand withdrawing to your waist, as your left hooking hand and left foot go out in unison to the east behind you. See photo 8:
功用： Application: 彼閃身過我後方，自我頭上劈來一捶，我若俟轉身迎架則失去主動與時間矣，因此乃用手腿合一之法破之，卽是以刁手搭去來手，脚則取其下路也。 The opponent dodges around behind me and attacks with a chopping punch toward my head. If I wait until I have turned around to block it, then I will have missed the moment, so I use a technique of sending out a hand and a foot in unison to defeat it, using a hooking hand to connect to his incoming hand while sending a foot to attack his lower area.
說明： Explanation: 循上式，不俟左脚落地，卽全身凌空踢出右脚，同時右拳亦自腰部橫圈過左方，如『定式』。 Continuing from the previous posture, without waiting for your left foot to come down, your whole body leaps into the air and your right foot kicks out, your right fist at the same time going from your waist and swinging across to the left [to strike against your left palm]. See photo 9:
功用： Application: 吾不俟彼招迎躱避卽以右脚繼出，使彼無從容應付之時間也，且恐威力不足更以右圈捶同時使用，以便威脅其上路也。 此法受之者固然認為險着，且用之者亦同具有冒險性之存在，是以非必用此法之時則以避免為佳。 Before the opponent has a chance to deflect or evade my kick, I immediately continue into sending out my right foot, causing him to have no time to deal with it. The power of this kick may be insufficient, so I add a right swinging punch at the same time into order to threaten his upper area. A training partner on the receiving end of this technique will consider it to be very dangerous, and the one performing it will also feel that it is too risky to apply. Therefore when it is not necessary to actually use this technique, it may be better to avoid doing so.
第十式：入環右仰膀 Posture 10: KNEELING STANCE, RIGHT PRESSING FOREARM
說明： Explanation: 循上式，落下踢出之右脚，拉埋左脚以成入環步，手則按照圈捶之勢不變，轉歸內復轉推出，如『定式』。 Continuing from the previous posture, your right foot comes down and your left foot pulls forward to make a kneeling stance, your hands staying in their swinging-punch position as they arc inward and turn over to push outward. See photo 10:
功用： Application: 彼欲以手來捉我脚，我不俟其捉卽落步用仰膀力推之，使解我危。 上式是絕高及全身凌空出擊之法，此式則是極低之法，合兩式卽成如波浪之形矣，絕高與極低俱不可能連續數式者乃勢之所然與必然之理也，仰膀是合兩手分壓推之勁道為用其勢至强也。 The opponent tries to send a hand to grab my foot, but I bring it down before he has the chance and use a pressing-forearm technique to strongly push forward, thereby keeping myself from falling into danger. The previous posture is very high, involving the whole body leaping into the air while sending out an attack, whereas this posture is very low. The two postures combined make an effect of a wave crashing down. Alternating between very high and very low cannot be continued through many postures, or what you are doing would become predictable to the opponent. The pressing forearm is a very powerful technique as it involves the pushing power of both hands combined.
第十一式：撤步掛統捶 Posture 11: WITHDRAWING STEP, HANG & THRUST PUNCH
說明： Explanation: 循上式，兩脚左右不變，往後一撤便成右登山式矣，右拳橫架於頭上，左拳直衝而出，如『定式』。 Continuing from the previous posture, without switching your feet, withdraw smoothly to the rear and make a right mountain-climbing stance as your right fist blocks across higher than your head and your left fist thrusts straight out. See photo 11:
功用： Application: 彼避過我仰膀，再自我頭上劈來一捶，我卽撤步以成登山勢，右手橫架來手，左拳直取其中路，忽進忽退，飄忽無定，使敵難於捉摸，斯為拳術之為拳術也，倘呆板進擊又有何術之可言哉！標前撤後，左右橫跨等均為攻守上不可缺小之法。 The opponent evades my arm and then does a chopping punch toward my head, so I withdraw a step to make a mountain-climbing stance as my right hand blocks his incoming hand and my left hand attacks straight to his middle area. By suddenly advancing as I suddenly retreat, I appear to be acting without any pattern, causing him to have difficulty understanding what I am doing. This is a primary technique in the art, but if you attack stiffly, it will be no technique at all. Seek forward while withdrawing to the rear, your feet stepping evenly so that your offense and defense will leave no gap.
第十二式：登山右劈軋 Posture 12: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP
說明： Explanation: 循上式，原步不變，僅全身向前一標約有半步之遙，右上手由上向前劈落，將至定點時與左掌相碰，而有「必卜」之聲如『定式』。 Continuing from the previous posture, with your stance not changing, your whole body shifts forward about a half step with your right hand going forward, chopping down from above, your left hand striking against it with an audible crack just before it reaches its final position. See photo 12:
功用： Application: 彼漏手殺落我左手處，我隨卽以上手反劈其手，其勢至快而力猛也，上式是倒撤而退後，此式是標前而進，退進之間純賴步法之精純方克置之於實用，若欲求進退迅速之法必先瞭解其原理，然後力行之乃克有成。 The opponent sends out a hand to smash down onto my left hand, so I then use my upper hand to chop down at his hand, an action that is fast and fierce. The previous technique involved withdrawing and now this one involves shifting forward. The switch from retreating to advancing depends entirely on skillful footwork in order for it to be effective. If you wish for your advancing and retreating to be done swiftly, you must first understand this principle, and then you will be able to succeed at performing these techniques with vigor.
第十三式：蹤步穿梭式 Posture 13: LEAPING STEP, SENDING THE SHUTTLE THROUGH
說明： Explanation: 循上式，小跳進前仍為登山式，先左後右兩手刁自上刁下，如「過渡式」甲、 Continuing from the previous posture, hop forward to again make a mountain-climbing stance as both hands, your left hand still behind your right hand, hook downward from above. See photo 13a:
再右前刁手不動，左後手化成兩指直向前揷出，作取眼法，如「過渡式」乙， With your right hooking hand not moving, your left hand changes to a double finger position and shoots out forward to do an eye attack. See photo 13b:
再原步不變，左指復化成刁手往後一拉，右刁手順手撞出如『定式』。 With your stance not changing, your left fingers than switch back to being a hooking hand, which pulls to the rear as your right hooking hand strikes out [with the wrist area]. See photo 13c:
功用： Application: 彼欲作撤退之勢，我追踪跟之，先以兩手封閉其手，然後用取眼法搶攻之，彼必以手來招吾之險着，我卽順手刁之，再以撞爪法攻其肋內肺腑焉。 The opponent tries to retreat, so I follow him, first using my hands to seal off his hand, then doing a snatching attack to his eyes. He is sure to send out a hand to deflect my dangerous technique, so I use my hands to hook onto it, then use a crashing claw-hand maneuver to attack his ribs and thereby his lungs underneath them [although the photo seems to show that the throat may be the target instead].
說明： Explanation: 循上式，先原步不動，右前手化作封手，由前陽手封後，左後手由後往前以陰手封落，如「過渡式圖」， Continuing from the previous posture, with your stance not changing, your right hand goes to the rear as a sealing hand, the palm facing upward, while your left hand goes forward and downward, also as a sealing hand, the palm facing downward. See photo 14a:
再全身往前跳起，當蹤之至高時右脚亦隨之撑起，但兩手仍不變原來狀態，如『定式』。 Then your whole body jumps forward [kicking out with your left foot] and your right foot goes out with a bracing kick when the jump is reaching its peak of height, your hands maintaining their position. See photo 14b:
功用： Application: 彼擬自我中下路攻來，我卽分陰陽手封閉之，彼以手為我控制，於是極力謀解脫，且欲退馬避我，我乘其退馬之際，空卽全身騰起用雙飛腿襲之。 The opponent tries to attack my middle or lower area, so I perform a sealing action with the palm of one hand facing downward, the other facing upward. Realizing I will now have control over his arm, he does his utmost to pull it back, trying to retreat away from me, so I ride along with his retreating by jumping into the air and surprise him with a flying double kick.
第十五式登山掛統捶 Posture 15: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH
說明： Explanation: 循上式，將踢起之脚由原位置着地，以成右登山式，右拳曲肘橫架於頭上，左拳向前統出，如「定式』。 Continuing from the previous posture, your kicking leg comes back down to make a right mountain-climbing stance as your right fist blocks across higher than your head, the elbow bending, and your left fist thrusts our forward. See photo 15:
功用： Application: 彼避過我仰膀，再自我頭上劈來一捶，我卽撤步以成登山勢、右手橫架來手，左拳直取其中路，忽進忽退，飄忽無定，使敵難於捉摸，斯為拳術之為第術也，倘呆板進擊又有何術之可言哉！標前撤後，左右橫跨等均為攻守上不可缺小之法。 The opponent evades my arm [leg] and then does a chopping punch toward my head, so I withdraw a step to make a mountain-climbing stance as my right hand blocks his incoming hand and my left hand attacks straight to his middle area. By suddenly advancing as I suddenly retreat, I appear to be acting without any pattern, causing him to have difficulty understanding what I am doing. This is a primary technique in the art, but if you attack stiffly, it will be no technique at all. Seek forward while withdrawing to the rear, your feet stepping evenly so that your offense and defense will leave no gap.
第十六式：登山右劈軋 Posture 16: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP
說明： Explanation: 循上式，原步不變，僅全身向前一標約有半步之遙，右上手由上向前劈落，將至定點時與左掌相碰，而有「心卜」之聲如『定式』。 Continuing from the previous posture, with your stance not changing, your whole body shifts forward about a half step with your right hand going forward, chopping down from above, your left hand striking against it with an audible crack just before it reaches its final position. See photo 16:
功用： Application: 彼漏手殺落我左手處，我隨卽以上手反劈其手，其勢至快而力猛也，上式是倒撤而退後，此式是標前而進，退進之間純賴步法之精純方克置之於實用，若欲求進退之迅速之法必先瞭解其原理，然後力行之乃有成。 The opponent sends out a hand to smash down onto my left hand, so I then use my upper hand to chop down at his hand, an action that is fast and fierce. The previous technique involved withdrawing and now this one involves shifting forward. The switch from retreating to advancing depends entirely on skillful footwork in order for it to be effective. If you wish for your advancing and retreating to be done swiftly, you must first understand this principle, and then you will be able to succeed at performing these techniques with vigor.
第十七式：橫圈大擺蓮 Posture 17: SWINGING PUNCH, LARGE SWINGING LOTUS KICK
說明： Explanation: 循上式，先右拳不動，左掌化刁手往後刁去，如「過渡式圖」 Continuing from the previous posture, with your right fist not moving, first your left palm becomes a hooking hand and hooks away to the rear. See photo 17a:
再起右後脚至直橫向前掃去，同時右後捶則橫圈而前，以成如『定式』。 Then your right foot lifts and sweeps across in front of you as your right hand goes forward and across with a swinging punch. See photo 17b:
功用： Application: 彼自我腦後襲來一捶，我不待轉身卽先以手刁之，再乘全身轉過之勢疾起右脚用擺蓮腿法，橫掃彼腰脅之間也。 An opponent suddenly punches from behind, so without waiting to turn my body, I send a hand to hook onto his attack, then spin my whole body around with the action of quickly lifting my right foot into an [inward] swinging lotus kick to sweep across to his rib area.
第十八式：登山掛統捶 Posture 18: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH
〔說明：〕 [Explanation:] 循上式，先將擺起之脚轉過左方至正後方為止，身再從左轉便成為左登山式矣，左捶橫上曲肘架於頭上，右拳直統而出，如『定式』。 Continuing from the previous posture, your swinging kick arcs all the way through to the left and comes down behind you, your torso at the same time spinning around to the left, and you make a left mountain-climbing stance, your left fist blocking across higher than your head, the elbow bending, your right fist thrusting straight out. See photo 18:
功用： Application: 與第十一及第十五式相同。 Same as in Postures 11 and 15.
說明： Explanation: 循上式，全身往前小跳，着地時仍為左登山式，兩手同時作雙封勢由上封下，如「過渡式圖」， Continuing from the previous posture, your whole body goes forward with a hop to come down into another left mountain-climbing stance, your hands at the same time sealing downward from above. See photo 19a:
再直統出右拳如『定式』。 Then your right fist thrusts out. See photo 19b:
功用： Application: 彼往後小跳，並出手攻我，我卽跟入先封來手，然後用統捶法攻之。 The opponent hops away to the rear and sends out a hand to attack me, so I follow him while first sealing off his incoming hand and then use a thrust punch to attack him.
第二十式：登山番車式 Posture 20: MOUNTAIN-CLIMBING STANCE, ROLLING PUNCH
說明： Explanation: 循上式，原步不動，右拳向上拉起，左拳由面前曲肘而出，如『定式』。 Continuing from the previous posture, with your stance not changing, your right hand pulls upward and your left fist goes out from in front of your face, the elbow bending. See photo 20:
功用： Application: 彼手來招，我卽順手一扣，再以左捶迎面打去。崩步拳之番車式為跨虎步。十八叟拳之番車式乃七星步，三套之同一手法而以步區別之，如要分別其佳劣，余曰：各擅勝場而已。跨虎是虛式隨時俱可出脚者，七星則易於變化換步，此式之登山步是穩健之步法也。 The opponent deflects my incoming hand, so I cover his hand and then use my left fist to strike to his face. (The rolling punch in the Avalanche Steps set is in a sitting-tiger stance. The rolling punch in the Eighteen Elders set is in a big-dipper stance. These three sets use the same hand technique in different stances. If you want to know which version is best, I say that each is the best for its particular situation. A sitting-tiger stance is an empty stance and is thus easy to kick from, a big-dipper stance is an easy position for switching into another position, and the mountain-climbing stance is a stance of solidity.)
第二十一式：登山掛統捶 Posture 21: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH
說明： Explanation: 循上式，原步不變，左拳轉上曲肘橫架於頭上，右拳轉至腰部再直統而出如『定式』。 Continuing from the previous posture, with your stance not changing, your left fist arcs upward to block across higher than your head, the elbow bending, as your right fist arcs to your waist and then thrusts straight out. See photo 21:
功用： Application: 與第十一，十五，十八等式同。 Same as in Postures 11, 15, and 18.
第二十二式：封手右撑腿 Posture 22: SEALING HANDS, RIGHT BRACING KICK
說明： Explanation: 循上式，原步不變，兩手同時化成封手，分右陽左陰向左封去，如「過渡式圖」， Continuing from the previous posture, with your stance not changing, your hands both switch to sealing, your right hand with its palm facing upward, left hand with its palm facing downward, sealing away to the left. See photo 22a:
再撑起右脚，如『定式』。 Then your right lifts and does a bracing kick. See photo 22b:
功用： Application: 彼漏手攻我腰部，我卽用封手緊扣其腕肘之間，再以撑腿擊之。 The opponent evades my hand and attacks my waist, so I use sealing hands to close off his forearm, then attack him with a bracing kick.
第二十三式：囘身掛統捶 Posture 23: WITHDRAWING BODY, HANG & THRUST PUNCH
說明： Explanation: 循上式，先將撑起之脚往左後轉，轉至後方然後着地仍成左登山式，左拳橫架於頭上，右拳直統出，如『定式』。 Continuing from the previous posture, your kicking foot arcs to the left rear [with your body spinning leftward], coming down to again make a left mountain-climbing stance, as your left fist blocks across higher than your head and your right fist thrusts straight out. See photo 23:
功用： Application: 與第十一、十五、十八、二十一等式同。 Same as in Postures 11, 15, 18, and 21.
說明： Explanation: 循上式，拉起左前脚以成左跨虎步，右拳自前化掌撇落右大腿之上，然後轉往頭上斜斜架起，左拳轉去腰部再統出，如（揷捶之收式）如『定式』。 Continuing from the previous posture, your left foot pulls back to make a left sitting-tiger stance as your right fist becomes a palm, swings down against your right thigh, then arcs upward higher than your head to block away diagonally, and your left fist arcs to your hip and then thrusts out. It is the same as in the closing posture of the Charging Punches set. See photo 24:
功用： Application: 彼以脚撩陰，我先用掌拍消之，然後架於頭上以資掩渡，左拳直取中上路。 （全拳完） The opponent does a raising kick toward my groin, so I first use my [right] palm to slap it away, then bring it up to guard my head as my left fist attacks to his middle or upper area. (This completes the entire set.)
白猿偷桃 WHITE APE STEALS A PEACH 順德黃漢勛編述 by Huang Hanxun [Wong Honfan] of Shunde 山東蓬萊羅師光玉授 as taught by Luo Guangyu of Penglai, Shandong 攝影者：黃子英 photographed by Huang Ziying 校對者：黃翔 text proofread by Huang Xiang [published 35th year of the cycle, 10th month, 10th day (Nov 20, 1958)]
[translation by Paul Brennan, June, 2018]
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白猿偷桃 White Ape Steals a Peach 黃電明題 – calligraphy by Huang Dianming
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目錄 CONTENTS
第一式：中平雙蓄勢 Posture 1: STANDING STABLY, BOTH FISTS STORING POWER 第二式：入環單臂爪 Posture 2: KNEELING STANCE, SINGLE CLAW-ARM 第三式：提步右挫捶 Posture 3: LIFTING LEG, RIGHT SUBDUING PUNCH 第四式：穿手右統捶 Posture 4: THREADING HAND, RIGHT THRUST PUNCH 第五式：登山右挫捶 Posture 5: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH 第六式：扭步左黏肘 Posture 8: TWISTING STANCE, LEFT STICKY ELBOW 第七式：劈圈右仰膀 Posture 7: CHOPPING SWING, RIGHT PRESSING FOREARM 第八式：囘身刁踢腿 Posture 8: TURN AROUND, HOOKING HAND, SNAPPING KICK 第九式：圈捶連環腿 Posture 9: SWINGING PUNCH, CONTINUOUS KICK 第十式：入環右仰膀 Posture 10: KNEELING STANCE, RIGHT PRESSING FOREARM 第十一式：撤步掛統捶 Posture 11: WITHDRAWING STEP, HANG & THRUST PUNCH 第十二式：登山右劈軋 Posture 12: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP 第十三式：蹤步穿梭式 Posture 13: LEAPING STEP, SENDING THE SHUTTLE THROUGH 第十四式：封手雙飛腿 Posture 14: SEALING HANDS, FLYING DOUBLE KICK 第十五式：登山掛統捶 Posture 15: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH 第十六式：登山右劈軋 Posture 16: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP 第十七式：橫圈大擺蓮 Posture 17: SWINGING PUNCH, LARGE SWINGING LOTUS KICK 第十八式：登山掛統捶 Posture 18: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH 第十九式：蹤步右統捶 Posture 19: JUMPING STEP, SEALING, THRUST PUNCH 第二十式：登山番車式 Posture 20: MOUNTAIN-CLIMBING STANCE, ROLLING PUNCH 第二十一式：登山掛統捶 Posture 21: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH 第二十二式：封手右撐腿 Posture 22: SEALING HANDS, RIGHT BRACING KICK 第二十三式：囘身掛統捶 Posture 23: WITHDRAWING BODY, HANG & THRUST PUNCH 第二十四式：跨虎挑統捶 Posture 24: SITTING-TIGER STANCE, CARRY & THRUST PUNCH
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螳螂國術學院第十一屆畢業禮 SPEECH FROM THE 11TH GRADUATION CEREMONY OF THE MANTIS MARTIAL ARTS ACADEMY 黃院長漢勛演詞 受業黃漢超節錄 by director Huang Hanxun (recorded by your student, Huang Hanchao):
五七年十月廿三日，螳螂國術學院第十一屆畢業典禮於東方體育會禮堂舉行，是晚，特級並高中初三級畢業同學四十餘人，曁新舊同學於會後舉行聯誼，會前，院長致詞，勗勉諸生，語多切中近來國術界之弊病，指出國術衰落之原因，並提出救正之方法，其言亟宜錄出以作改進國術者之參考，以下是院長演詞之節錄： On Oct 23, 1957, the 11th Graduation Ceremony for the Mantis Martial Arts Institute was held in the assembly hall of the Far East Athletic Club. On that evening, there were more than forty students graduating, from the beginner, intermediate, and advanced levels, as well as the special instructor level. At the close of the event, students old and new joined in camaraderie to give a demonstration. At the beginning of the event, the director of the school gave a speech to encourage all the students, in which he particularly discussed the problems currently facing the martial arts community, pointing out the causes of the decline of martial arts and putting forward methods of rescuing them. His important words should serve as a reference for how to improve the state of martial arts. Below is an excerpt from his speech:
國術衰落之原因 Causes for the decline of martial arts:
（一）病在學者好為人師，以致師道不尊： 1. There is a problem of students trying to be teachers, resulting in real teachers no longer being respected.
由於靑年多缺乏正確的練習國術認識，在未習拳以前，已懷有為人師的念頭，這不是說學者不應為人師，乃是說不應好為人師。蓋習拳者、日久功深，所謂三年一小成，十年一大成，未嘗無理，然在小成大成之期間，若不能大殺（苦練也）一番，功力必不進；苟無良師益友，技亦停滯不前，蓋拳技之道，泳涵愈久，功力愈精到。有習拳三年五年者，卽自視甚高，以為可以應世致用，為人師表；實不明拳理，不諳武術之興替。家法不明，而沾沾以將為人師而喜。懷此輕浮之心，國術何得不衰？ Young people typically lack proper martial arts knowledge, and yet before they have even begun training in a boxing art, they already have it their heads that they want to teach it to others. I am not saying that students should not become teachers. What I am saying is that they should not be using the art just to have something to teach. Practicing boxing arts requires a long time for skill to deepen, hence the expression “three years will give you a small achievement, ten years a large achievement”. This is not an unreasonable plan, but in the time between the small achievement and the large achievement, if you cannot fight your way through it (i.e. endure bitter training), your skill will most assuredly not progress the rest of the way. Or if you are without a close mentor, your skill would again stagnate and cease to move forward. It is the way of any boxing art that the longer you swim in it, the more refined your skill will become. Those who have practiced a boxing art for three to five years think highly of themselves and believe that they can function for others as a model teacher. But actually they still do not understand the boxing theory and are not experienced in the ups and downs of martial arts. Even though the methods of the art are not yet fully understood, they are nevertheless steeped in their happy plans of teaching these methods to others. With this kind of frivolous attitude, how could our martial arts not be in decline?
（二）雜誌、報章、電影、武俠小說之過事渲染： 2. Magazines, newspapers, films, and martial arts novels do a lot of exaggerating.
以上諸出版物並電影，本可以作復興國術之用，以前精武體育會就有此等組織，迺使國術一道，風靡全國，以實事求是，非投機取巧。可惜今日所見所聞，多以奇技相標榜，以異術相眩博，言過其實，描寫一人，務以出神入化之筆以吸引讀者觀衆。觀者不知，誤認天下間竟有如此奇人，學技之心隨之而興，以為自己亦可致此也。彼纔入學，則所親炙者多平平無奇，與傳聞所說大異，尋轉他學，亦復如此。輕蔑國術之心亦因之而起，彼習技之一股勇氣，化為子虛烏有，國術界因此而喪失不少人才。空腹高論，其不俾實際如此，國術何得不衰？ All of these forms of media have the potential to rejuvenate our martial arts. When the Jingwu Athletic Association made use of these kinds of media to make martial arts fashionable throughout the nation, they did so in order to show the reality of these arts and were not seeking to make a profit. Unfortunately what we see and hear nowadays is usually the flaunting of bizarre skills and the glorifying of crazy stunts. Depictions of individuals are exaggerated caricatures, and the writing is pushed to be as exciting as possible in order to attract audiences. Spectators do not understand and mistakenly think that people with such strange abilities exist. They are then inspired to learn those skills in the belief that they themselves can achieve them. Once they join a school, they discover that what they are being personally taught is average and unremarkable, vastly different from what they had heard about, and so they seek out other teachers to learn from in the hopes that it will be more like what they had expected. Then in their disappointment, they will consequently start to have contempt for martial arts, going from being mesmerized by the thought of the training to realizing it was all a hoax. Because of this, the martial arts world has lost many talented people. To have such “lofty dreams on an empty stomach” and not be able to make any of it come true, how could our martial arts not be in decline?
（三）不願公開獨到的拳術： 3. There is an unwillingness to publicly share unique boxing arts.
習拳技者知拳技易學難精，學者幾經苦練而後有所得，故任敎後，每想及得技非易，苟輕易以之授徒，心有不甘。的確，如果無心向藝，目拳術為交易之物者，自不應以高深之法理授之，然百人中豈無好學者？故不以獨到之技傳粗心浮意者可，不以獨到之技傳好學深思者則失之矣。俗謂說：「求師難，求徒更難。」若人人存有不傳獨得之技的念頭，而持之以終老，亦老死而矣。懷此自私之心，國術何得不衰？ Those who practice boxing arts know that these arts are easy to learn but difficult to master. Students have to go through a great deal of hard training in order to make any gains. Once practitioners start teaching, they constantly fret over how difficult it is to achieve skill, and so they sour to the idea of teaching just anyone. Indeed if a student does not care about the degree of craftsmanship involved and looks upon boxing arts as easy things, it seems natural that he should not be given instruction in advanced theories. But it’s a numbers game: among a hundred people, there is bound to be one who appreciates knowledge. Therefore while it is reasonable not to teach unique skills to those who are indifferent or impatient, it is a mistake not to teach these skills to those who love learning and contemplating. There is a common saying: “It’s hard to find the right teacher, but even harder to find the right student.” However, if everyone decided to keep their art to themselves and hold onto it until they die, it would also die with them. With this kind of selfishness, how could our martial arts not be in decline?
院長又提出救正國術衰落的幾點意見，他說： Director Huang then put forth these suggestions for rescuing our martial arts:
（一）敎者應以身作則，應有實在之經驗及拳術修養： 1. Teachers should set an example by actually going through the training process and mastering a boxing art.
濫竽充數者不論，有名師授受矣，如彼自以為名師而輕視他人，不屑與後生小子羣，授技只敷衍了事，不能做到學不厭，敎不倦，學者受此影響，亦會走上其師的老路，轉相授受，敎者卒不能以身作則，立定規模以示後學。故在為師者言，應有學不厭，敎不倦的精神，期以收默化潛移之效；另一方面言，本身亦應有實在之經驗及拳術修養，始能肩師道之任。故救正國術之病，不得不從為師者之以身作則起。 It means nothing to just fill up teaching positions. There are “famous teachers” giving instruction. If an instructor considers himself to be a famous teacher and looks down on other people, disdaining to be in the presence of the students, the instruction he gives will be barely mediocre. He has not been able to achieve the condition of [quoting from the Lun Yu, 7.2:] “learn insatiably, teach tirelessly”. Students will be influenced by this and instead only learn how to behave like that teacher. Such a teacher ultimately cannot set an example and ceases to be a good model for the students. Therefore to be considered a teacher, one should have the mindset of “learn insatiably, teach tirelessly”, which will have the effect of subtly influencing the students. On the other hand, he should also have actually gone through the experience of mastering a boxing art, and then he will be able to shoulder the responsibility of being a teacher in the first place. Thus rescuing our martial arts has to start with teachers setting an example.
（二）學者應走鈍的一路，不應走巧的一路： 2. Students should tread the boring path, not the exciting one.
心躁氣浮，為練拳術者之大忌，此一點使學者好為人師外，更阻碍拳術之進步。常見初習拳術者，每見老同學之演習，輒嘖嘖稱羨，彼不知練者費幾許精神時間，始克至此。於是每多蹈蠟等之弊，一技未了，又見異思遷，以巧的方法去獵取；不肯勤練，以鈍的方法去涵泳。拳術之道，易得易失，不經體驗，不知其中痛癢，而臨淵羨魚，不如退而結網，是待學者之善學而後國術有救正之可言。 A boxing arts practitioner is not allowed to have an impetuous mind and distracted temperament. That kind of thing is an even bigger hindrance to making progress than wanting to hurry up and be a teacher. Often when we see beginners watching their older classmates practicing, we hear them express their envy. But they do not understand how much determination and time was required to attain such a level. Therefore they tend to make the error of skipping steps. Before they have developed even a single skill, they see something different and their attention shifts, always in pursuit of exciting material, never willing to put in the hard training, which involves wading through the boring stuff. Boxing arts methods are easy to obtain and easy to lose. Unless you go through the experience, you will have no idea of the ordeals within the training. [from the Books of Han, bio of Dong Zhongshu:] “To stare at the water and wish for a fish is not as good as stepping back and making a net.” Only when the student has learned how to learn will he then be of use in rescuing our martial arts.
（三）應不畏艱難，多發明前人所未發的拳術眞理： 3. We should not shy away from the hard work of expressing boxing arts knowledge that previous generations did not.
欲使國術成為一門學，非要找出其能成為學的關鍵不可，是則有待於國術界同人之努力，而撰著專籍，尤為切要。從來拳術授受，多憑口耳，載籍實不足，而晚近有關國術之書籍，以排比編纂，鈔襲陳言為多，能有眞正經歷其境而登其堂而筆之於書者，實不多覩，以今日論，欲救正此等風氣，非用大心力以從事研究不可。發明前人所未發，實為當前國術界應有之責任，是亦為救正國術之一大方針也。 If we wish for martial arts to become a field of learning, we cannot do it unless we find out what the keys are to such knowledge. It then depends on the hard work of our colleagues in the martial arts community to carry out the crucial task of putting all that knowledge into specialized books. However, learning martial arts always requires some personal instruction, for books themselves are insufficient. In recent years, martial arts books have been getting systematically compiled, but they are usually just the copying of arcane texts. To be able to actually go through the training that those texts describe and then write books that are also based on one’s own experience of that training is something that is rarely seen. If we wish to fix this current trend, it cannot be done without a great deal of effort. To express what earlier generations did not is a duty of the martial arts community, and is also a major guiding principle in rescuing our martial arts.
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自序 PREFACE
余自出版螳螂拳術叢書以來，經十餘年之努力，至今已二十三種矣，惟不論拳與械均在數十式之間者，此拳僅得二十四式，得毋太短乎？曰：此拳原本如是，實無能使之為長也。螳螂拳是以一氣呵成見稱於世者，拳式長，動作多固然使練之者增加氣力於不知不覺間，但勿以拳式短，動作少而輕視其用氣用力必少也，苟能每拳俱認眞用力發勁亦頗使練之者大費精神矣。 此拳與「白猿出洞」正如牡丹之與綠葉互為襯托乃有益彰之妙也。卽亦如「螳螂出洞」「螳螂偸桃」之並重，故余以之緊隨白猿出洞之後而出版者，意卽使之易於相生相成之效也，余將賡續努力於螳螂拳之著述，成敗利鈍固所非計矣，幸海內外同道時錫南針為幸。 黃漢勛螳螂樓 戊戌年重陽 Since starting to publish the “Mantis Boxing Art Book Series”, I have given it more than a decade of effort, and there are now twenty-three volumes in it. Regardless of boxing set or weapon set, all of the sets contain a large number of postures, except the boxing set in this book, which has only twenty-four. If this seems too short, I can only say that this is the way the set was originally designed, and so I have no right to lengthen it. Mantis Boxing is consistently regarded as being comprised of boxing sets that are long and have many movements. Practitioners take it for granted that working on such sets will increase energy and strength, and they then think that one should not bother with boxing sets that are short and have few movements, dismissively assuming that they must be of little use for the training of energy and strength. But if we can wholeheartedly exert ourselves and express power in all of the sets, we will gain enormously in the development of spirit. This set and White Ape Leaves the Cave are as intimately connected as a peony tree and its leaves, benefiting each other wondrously, which is likewise true of Mantis Leaves the Cave and Mantis Steals a Peach, and for this reason the publication of this book follows close upon the publication of White Ape Leaves the Cave [although it actually ended up getting published before it], in hopes that this will more easily produce the effect of the two sets developing and fulfilling each other. I will continue to put effort into writing about Mantis Boxing, ignoring all thoughts of success or failure, for my hope is only to provide material that will serve as a guide for my fellow practitioners both within the nation and overseas. - Huang Hanxun at the Mantis School, 35th year of the cycle, Double Ninth Festival, [Oct 21, 1958]
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第一式：中平雙蓄勢 Posture 1: STANDING STABLY, BOTH FISTS STORING POWER
說明： Explanation: 假如我以東方作起式，則應是右東，左西，面北，背南矣。雙足合攏直立，雙拳收束至胸平齊以蓄中平之氣，目向左視，以俟拳式之展閉焉。 If you begin in the eastern part of the practice space, then the east should be to your right, the west to your left, north in front of you, south behind you. With your feet together, stand straight, your fists pulled up to chest level in order to store a balanced power. Your gaze is to the left, and you are ready to begin the boxing postures. See photo 1:
功用： Application: 螳螂派各拳多為中平作起式者，其次為四平式及背轉式，所謂中平，四平，背轉等皆是方向之區別耳！其雙拳之蓄勢則一，中平開始者是表示敵方將由我左方而來，因此要注視左方。四平則敵自我正面來故向前面視。背轉是敵由我右攻來，故亦向右注視焉，三式之區別處在此，祈留意及之。 The boxing sets in the Mantis system usually begin with this posture of “standing stably”, but sometimes there is the “four-level posture” and also the “back-turning posture”. They are different in terms of the direction they are facing, though they are the same in that the fists are storing power. When beginning in the posture of standing stably, I am showing that there is an opponent who is about to attack from the left, and thus I should be looking to the left. In the four-level posture, an opponent is attacking from in front of me, and thus in that case I should be looking forward. In the back-turning posture, an opponent is attacking from my right, and thus in that case I should be looking to the right. These are the distinctions of these three postures. Take note of them.
第二式：入環單臂爪 Posture 2: KNEELING STANCE, SINGLE CLAW-ARM
說明： Explanation: 循上式，左脚向西開出，右脚曲而跟進以成入環式，右拳化刁手，左手化掌隨步由下橫斜而出，如『定式』。 Continuing from the previous posture, your left foot steps out to the west and your right foot follows it forward, the leg bending, to make a kneeling stance, as your right fist changes to a hooking hand and your left hand becomes a palm, your hands going along with your feet by going across diagonally from below. See photo 2:
功用： Application: 彼自我中部攻來一拳，我撥消來手，右手反爪直取其下陰部，斯手極毒輕易不可用之，有人以為此式何必捨拳不用而用爪，此正是其妙處所在也，蓋襠下位置是下濶上窄者，若用拳旣勢不順而又出發點與終點大相逕庭，用爪則自下而上恰如彼特異之位置，斯為此式之妙處所在也。 An opponent attacks my middle area with a punch, so I deflect his incoming hand while my right hand goes out as a reverse claw [i.e. using the back of the wrist] to attack his groin. This technique is very cruel and so you must not use it rashly. Some people wonder why this posture requires a claw-hand rather than using a fist, but this is in fact the key to the technique. The area below the crotch is wider below and narrower at the top. Using a fist will not work as well going from the previous posture into this posture, but a claw-hand coming upward from below will fit just right into that particular place, and this is why it is key to the posture.
第三式：提步右挫捶 Posture 3: LIFTED LEG, RIGHT SUBDUING PUNCH
說明： Explanation: 循上式，先提右後脚以成獨立式，左掌向前由上封下，右拳從內穿出乃成挫捶如『定式』。 Continuing from the previous posture, your right foot lifts to make a one-legged stance as your left palm goes forward, sealing downward from above, and your right fist threads out from the inside with a subduing punch. See photo 3:
功用： Application: 彼以我低馬沉手取其下路，立卽轉取我上路，我乃提步使高，先封去來手，再用挫捶法自下逆抽而上，耑擊其頷下，登山挫捶為螳螂拳極普遍之拳法，提步挫捶不單是使勢高己也，譬諭我剛封來手而欲挫捶之俄頃，彼勉强軋我一脚以求解圍，我亦已捉住來手勢難縱之者，因亦提步卸去來脚而强用捶挫之。 The opponent takes advantage of my low stance and low hands attacking to his lower body by immediately changing to attack my upper area, so I lift a leg to make my stance taller while sealing off his incoming hand, then counter by sending a subduing punch upward from below to strike to his chin. A subduing punch in a mountain-climbing stance is a very common technique in Mantis Boxing, but a subduing punch with a lifted leg happens just this once. In the moment that I firmly seal off his hand to then do a subduing punch, the opponent does an emergency crushing kick to my leg to try to keep me from reaching him, so when I grab his incoming hand to make it difficult for him to get away, I also lift my leg to avoid his incoming foot and can then powerfully apply the punch.
第四式：穿手右統捶 Posture 4: THREADING HAND, RIGHT THRUST PUNCH
說明： Explanation: 循上式，左捶自下穿出，至右拳鋒外為止，時右拳亦可收回腰部矣，右脚落下以成騎馬式，右拳乃自腰部直統而出，左掌則貼於右肩之上如『定式』。 Continuing from the previous posture, your left fist threads out from below, and once it is to the outside of your right knuckles, your right fist can then withdraw to your waist. Then your right foot comes down to make a horse-riding stance as your right fist thrusts out from your waist, your left palm touching at your right shoulder. See photo 4:
功用： Application: 彼手來搭我之挫捶，我先用左手穿去之，乘勢落馬用統捶法反攻其中部，此式驟視之旣似「黑虎偸心」或「馬式補捶」，其練時固不必以右拳擦過左掌而出也，此式比平常之統捶更能增高其力道之處，厥惟由提步踏下標馬之勢，旣有居高臨下之佳妙，又有如波浪之滾進也。 The opponent blocks my subduing punch, so I first use my left hand to thread out and take it aside, then come down into a horse-riding stance to attack his middle area. This posture resembles BLACK TIGER STEALS THE HEART or HORSE-RIDING STANCE, FILLING PUNCH. When practicing it, it is not at all necessary for your right fist to scrape past your left palm as it goes out, and thus this posture can be a better means of increasing your power than with the ordinary thrust punches. Due to the lifted leg coming down darting into a horse-riding stance, this technique has the elegance of descending from a height and also has the quality of rolling forward like an unstoppable wave.
第五式：登山右挫捶 Posture 5: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH
說明： Explanation: 循上式，撑直左後脚以成右登山式，左手向前由上封落，右拳收近腰部，再反拳由下抽上如『定式』。 Continuing from the previous posture, your left leg presses straight to make a right mountain-climbing stance, your left hand going forward, sealing downward from above, as your right fist withdraws almost to your waist and then goes out upward from below with the fist turned over. See photo 5:
功用： Application: 彼招去吾統捶後，另以一手打來，我卽以左手封住來手，右拳由下逆衝而上，專擊其下頷，第三式提腿之功用已述之如上，登山之特長是進退之間旣靈活而又穩健，且由騎馬轉為登山步之間，亦標進同具有衝擊之無比力道也。 The opponent deflects my thrust punch, then sends his other hand to strike, so I use my left hand to seal off his incoming hand, and my right fist turns over and thrusts upward from below, striking to his chin. The application is the same as in Posture Three, in which it is performed with a lifted leg, but the advantage of performing this technique in a mountain-climbing stance is that within the nimbleness of advance or retreat there is also more firmness, and furthermore, the switch from horse-riding stance into mountain-climbing stance darts you forward to make this thrusting strike overwhelmingly powerful.
第六式：扭步左黏肘 Posture 6: TWISTING STANCE, LEFT STICKY ELBOW
說明： Explanation: 循上式，原步往右方一扭卽成扭步之勢，右拳改為刁手，往後一拉，左拳自下曲肘而上，與「崩步之第二十二式相同」如『定式』。 Continuing from the previous posture, your feet twist to the right to make a twisted stance as your right fist changes to a hooking hand and pulls to the rear, your left fist going upward from below with the elbow bent, the same as in Posture 22 of the Avalanche Steps set. See photo 6:
功用： Application: 彼欲以手來挑高我之挫捶，我食住其手刁之，往後一拉，左手自下曲肘托上以斷其臂部，此是合兩手之勢與力及上下分勢之法去應付對方一隻手乃佔有絕大優勢也，若對方見機則不俟合力分勢之成而先曲肘卸去之，乃可脫離險境也。（見領崩步法） The opponent tries to send out a hand to carry my subduing punch upward, so I receive his hooking hand and pull it to the rear, and my left forearm goes upward from below, elbow bent, to break his arm. This is a method of both hands working together to apply force upward and downward [i.e. your right hand bracing downward as your left elbow props upward], against a single arm, thus putting you in the superior position. If the opponent notices an opportunity, you will not have time for your hands to apply force together to make this technique, and you will instead have to pull your elbow back to keep yourself out of a dangerous situation. (It is the same technique as in the Avalanche Steps set.)
第七式：劈圈右仰膀 Posture 7: CHOPPING SWING, RIGHT PRESSING FOREARM
說明： Explanation: 循上式，先進左脚，右拳自後劈前向下如「過渡式圖」， Continuing from the previous posture, first your left foot advances as your right fist chops forward and downward from the rear [your left hand now touching the elbow area]. See photo 7a:
再進右脚以成入環步，手自右向左轉，復由內反出推前，右拳曲肘而向內，左拳貼於右腕之下如『定式』。 Then your right foot advances to make a kneeling stance as your [right] hand arcs to the left and then turns over from inside to push out forward, the center of your right fist facing inward, elbow bent, your left fist now touching below your right wrist. See photo 7b:
功用： Application: 彼沉肘避過我黏肘，再漏手攻我肘之下，我乃先劈去來勢，再進馬用仰膀法緊貼而傾跌之。 The opponent sinks his elbow to evade my sticky elbow and then slips the hand through to attack under my elbow, so I first chop away his incoming attack, then advance while using a pressing forearm technique to crowd him and make him topple.
說明： Explanation: 循上式，自左轉身，先收右拳於腰部，左刁手與左脚同時向後東方而出，如『定式』。 Continuing from the previous posture, your body turns around to the left, your right hand withdrawing to your waist, as your left hooking hand and left foot go out in unison to the east behind you. See photo 8:
功用： Application: 彼閃身過我後方，自我頭上劈來一捶，我若俟轉身迎架則失去主動與時間矣，因此乃用手腿合一之法破之，卽是以刁手搭去來手，脚則取其下路也。 The opponent dodges around behind me and attacks with a chopping punch toward my head. If I wait until I have turned around to block it, then I will have missed the moment, so I use a technique of sending out a hand and a foot in unison to defeat it, using a hooking hand to connect to his incoming hand while sending a foot to attack his lower area.
說明： Explanation: 循上式，不俟左脚落地，卽全身凌空踢出右脚，同時右拳亦自腰部橫圈過左方，如『定式』。 Continuing from the previous posture, without waiting for your left foot to come down, your whole body leaps into the air and your right foot kicks out, your right fist at the same time going from your waist and swinging across to the left [to strike against your left palm]. See photo 9:
功用： Application: 吾不俟彼招迎躱避卽以右脚繼出，使彼無從容應付之時間也，且恐威力不足更以右圈捶同時使用，以便威脅其上路也。 此法受之者固然認為險着，且用之者亦同具有冒險性之存在，是以非必用此法之時則以避免為佳。 Before the opponent has a chance to deflect or evade my kick, I immediately continue into sending out my right foot, causing him to have no time to deal with it. The power of this kick may be insufficient, so I add a right swinging punch at the same time into order to threaten his upper area. A training partner on the receiving end of this technique will consider it to be very dangerous, and the one performing it will also feel that it is too risky to apply. Therefore when it is not necessary to actually use this technique, it may be better to avoid doing so.
第十式：入環右仰膀 Posture 10: KNEELING STANCE, RIGHT PRESSING FOREARM
說明： Explanation: 循上式，落下踢出之右脚，拉埋左脚以成入環步，手則按照圈捶之勢不變，轉歸內復轉推出，如『定式』。 Continuing from the previous posture, your right foot comes down and your left foot pulls forward to make a kneeling stance, your hands staying in their swinging-punch position as they arc inward and turn over to push outward. See photo 10:
功用： Application: 彼欲以手來捉我脚，我不俟其捉卽落步用仰膀力推之，使解我危。 上式是絕高及全身凌空出擊之法，此式則是極低之法，合兩式卽成如波浪之形矣，絕高與極低俱不可能連續數式者乃勢之所然與必然之理也，仰膀是合兩手分壓推之勁道為用其勢至强也。 The opponent tries to send a hand to grab my foot, but I bring it down before he has the chance and use a pressing-forearm technique to strongly push forward, thereby keeping myself from falling into danger. The previous posture is very high, involving the whole body leaping into the air while sending out an attack, whereas this posture is very low. The two postures combined make an effect of a wave crashing down. Alternating between very high and very low cannot be continued through many postures, or what you are doing would become predictable to the opponent. The pressing forearm is a very powerful technique as it involves the pushing power of both hands combined.
第十一式：撤步掛統捶 Posture 11: WITHDRAWING STEP, HANG & THRUST PUNCH
說明： Explanation: 循上式，兩脚左右不變，往後一撤便成右登山式矣，右拳橫架於頭上，左拳直衝而出，如『定式』。 Continuing from the previous posture, without switching your feet, withdraw smoothly to the rear and make a right mountain-climbing stance as your right fist blocks across higher than your head and your left fist thrusts straight out. See photo 11:
功用： Application: 彼避過我仰膀，再自我頭上劈來一捶，我卽撤步以成登山勢，右手橫架來手，左拳直取其中路，忽進忽退，飄忽無定，使敵難於捉摸，斯為拳術之為拳術也，倘呆板進擊又有何術之可言哉！標前撤後，左右橫跨等均為攻守上不可缺小之法。 The opponent evades my arm and then does a chopping punch toward my head, so I withdraw a step to make a mountain-climbing stance as my right hand blocks his incoming hand and my left hand attacks straight to his middle area. By suddenly advancing as I suddenly retreat, I appear to be acting without any pattern, causing him to have difficulty understanding what I am doing. This is a primary technique in the art, but if you attack stiffly, it will be no technique at all. Seek forward while withdrawing to the rear, your feet stepping evenly so that your offense and defense will leave no gap.
第十二式：登山右劈軋 Posture 12: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP
說明： Explanation: 循上式，原步不變，僅全身向前一標約有半步之遙，右上手由上向前劈落，將至定點時與左掌相碰，而有「必卜」之聲如『定式』。 Continuing from the previous posture, with your stance not changing, your whole body shifts forward about a half step with your right hand going forward, chopping down from above, your left hand striking against it with an audible crack just before it reaches its final position. See photo 12:
功用： Application: 彼漏手殺落我左手處，我隨卽以上手反劈其手，其勢至快而力猛也，上式是倒撤而退後，此式是標前而進，退進之間純賴步法之精純方克置之於實用，若欲求進退迅速之法必先瞭解其原理，然後力行之乃克有成。 The opponent sends out a hand to smash down onto my left hand, so I then use my upper hand to chop down at his hand, an action that is fast and fierce. The previous technique involved withdrawing and now this one involves shifting forward. The switch from retreating to advancing depends entirely on skillful footwork in order for it to be effective. If you wish for your advancing and retreating to be done swiftly, you must first understand this principle, and then you will be able to succeed at performing these techniques with vigor.
第十三式：蹤步穿梭式 Posture 13: LEAPING STEP, SENDING THE SHUTTLE THROUGH
說明： Explanation: 循上式，小跳進前仍為登山式，先左後右兩手刁自上刁下，如「過渡式」甲、 Continuing from the previous posture, hop forward to again make a mountain-climbing stance as both hands, your left hand still behind your right hand, hook downward from above. See photo 13a:
再右前刁手不動，左後手化成兩指直向前揷出，作取眼法，如「過渡式」乙， With your right hooking hand not moving, your left hand changes to a double finger position and shoots out forward to do an eye attack. See photo 13b:
再原步不變，左指復化成刁手往後一拉，右刁手順手撞出如『定式』。 With your stance not changing, your left fingers than switch back to being a hooking hand, which pulls to the rear as your right hooking hand strikes out [with the wrist area]. See photo 13c:
功用： Application: 彼欲作撤退之勢，我追踪跟之，先以兩手封閉其手，然後用取眼法搶攻之，彼必以手來招吾之險着，我卽順手刁之，再以撞爪法攻其肋內肺腑焉。 The opponent tries to retreat, so I follow him, first using my hands to seal off his hand, then doing a snatching attack to his eyes. He is sure to send out a hand to deflect my dangerous technique, so I use my hands to hook onto it, then use a crashing claw-hand maneuver to attack his ribs and thereby his lungs underneath them [although the photo seems to show that the throat may be the target instead].
說明： Explanation: 循上式，先原步不動，右前手化作封手，由前陽手封後，左後手由後往前以陰手封落，如「過渡式圖」， Continuing from the previous posture, with your stance not changing, your right hand goes to the rear as a sealing hand, the palm facing upward, while your left hand goes forward and downward, also as a sealing hand, the palm facing downward. See photo 14a:
再全身往前跳起，當蹤之至高時右脚亦隨之撑起，但兩手仍不變原來狀態，如『定式』。 Then your whole body jumps forward [kicking out with your left foot] and your right foot goes out with a bracing kick when the jump is reaching its peak of height, your hands maintaining their position. See photo 14b:
功用： Application: 彼擬自我中下路攻來，我卽分陰陽手封閉之，彼以手為我控制，於是極力謀解脫，且欲退馬避我，我乘其退馬之際，空卽全身騰起用雙飛腿襲之。 The opponent tries to attack my middle or lower area, so I perform a sealing action with the palm of one hand facing downward, the other facing upward. Realizing I will now have control over his arm, he does his utmost to pull it back, trying to retreat away from me, so I ride along with his retreating by jumping into the air and surprise him with a flying double kick.
第十五式登山掛統捶 Posture 15: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH
說明： Explanation: 循上式，將踢起之脚由原位置着地，以成右登山式，右拳曲肘橫架於頭上，左拳向前統出，如「定式』。 Continuing from the previous posture, your kicking leg comes back down to make a right mountain-climbing stance as your right fist blocks across higher than your head, the elbow bending, and your left fist thrusts out forward. See photo 15:
功用： Application: 彼避過我仰膀，再自我頭上劈來一捶，我卽撤步以成登山勢、右手橫架來手，左拳直取其中路，忽進忽退，飄忽無定，使敵難於捉摸，斯為拳術之為第術也，倘呆板進擊又有何術之可言哉！標前撤後，左右橫跨等均為攻守上不可缺小之法。 The opponent evades my arm [leg] and then does a chopping punch toward my head, so I withdraw a step to make a mountain-climbing stance as my right hand blocks his incoming hand and my left hand attacks straight to his middle area. By suddenly advancing as I suddenly retreat, I appear to be acting without any pattern, causing him to have difficulty understanding what I am doing. This is a primary technique in the art, but if you attack stiffly, it will be no technique at all. Seek forward while withdrawing to the rear, your feet stepping evenly so that your offense and defense will leave no gap.
第十六式：登山右劈軋 Posture 16: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP
說明： Explanation: 循上式，原步不變，僅全身向前一標約有半步之遙，右上手由上向前劈落，將至定點時與左掌相碰，而有「心卜」之聲如『定式』。 Continuing from the previous posture, with your stance not changing, your whole body shifts forward about a half step with your right hand going forward, chopping down from above, your left hand striking against it with an audible crack just before it reaches its final position. See photo 16:
功用： Application: 彼漏手殺落我左手處，我隨卽以上手反劈其手，其勢至快而力猛也，上式是倒撤而退後，此式是標前而進，退進之間純賴步法之精純方克置之於實用，若欲求進退之迅速之法必先瞭解其原理，然後力行之乃有成。 The opponent sends out a hand to smash down onto my left hand, so I then use my upper hand to chop down at his hand, an action that is fast and fierce. The previous technique involved withdrawing and now this one involves shifting forward. The switch from retreating to advancing depends entirely on skillful footwork in order for it to be effective. If you wish for your advancing and retreating to be done swiftly, you must first understand this principle, and then you will be able to succeed at performing these techniques with vigor.
第十七式：橫圈大擺蓮 Posture 17: SWINGING PUNCH, LARGE SWINGING LOTUS KICK
說明： Explanation: 循上式，先右拳不動，左掌化刁手往後刁去，如「過渡式圖」 Continuing from the previous posture, with your right fist not moving, first your left palm becomes a hooking hand and hooks away to the rear. See photo 17a:
再起右後脚至直橫向前掃去，同時右後捶則橫圈而前，以成如『定式』。 Then your right foot lifts and sweeps across in front of you as your right hand goes forward and across with a swinging punch. See photo 17b:
功用： Application: 彼自我腦後襲來一捶，我不待轉身卽先以手刁之，再乘全身轉過之勢疾起右脚用擺蓮腿法，橫掃彼腰脅之間也。 An opponent suddenly punches from behind, so without waiting to turn my body, I send a hand to hook onto his attack, then spin my whole body around with the action of quickly lifting my right foot into an [inward] swinging lotus kick to sweep across to his rib area.
第十八式：登山掛統捶 Posture 18: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH
〔說明：〕 [Explanation:] 循上式，先將擺起之脚轉過左方至正後方為止，身再從左轉便成為左登山式矣，左捶橫上曲肘架於頭上，右拳直統而出，如『定式』。 Continuing from the previous posture, your swinging kick arcs all the way through to the left and comes down behind you, your torso at the same time spinning around to the left, and you make a left mountain-climbing stance, your left fist blocking across higher than your head, the elbow bending, your right fist thrusting straight out. See photo 18:
功用： Application: 與第十一及第十五式相同。 Same as in Postures 11 and 15.
說明： Explanation: 循上式，全身往前小跳，着地時仍為左登山式，兩手同時作雙封勢由上封下，如「過渡式圖」， Continuing from the previous posture, your whole body goes forward with a hop to come down into another left mountain-climbing stance, your hands at the same time sealing downward from above. See photo 19a:
再直統出右拳如『定式』。 Then your right fist thrusts out. See photo 19b:
功用： Application: 彼往後小跳，並出手攻我，我卽跟入先封來手，然後用統捶法攻之。 The opponent hops away to the rear and sends out a hand to attack me, so I follow him while first sealing off his incoming hand and then use a thrust punch to attack him.
第二十式：登山番車式 Posture 20: MOUNTAIN-CLIMBING STANCE, ROLLING PUNCH
說明： Explanation: 循上式，原步不動，右拳向上拉起，左拳由面前曲肘而出，如『定式』。 Continuing from the previous posture, with your stance not changing, your right hand pulls upward and your left fist goes out from in front of your face, the elbow bending. See photo 20:
功用： Application: 彼手來招，我卽順手一扣，再以左捶迎面打去。崩步拳之番車式為跨虎步。十八叟拳之番車式乃七星步，三套之同一手法而以步區別之，如要分別其佳劣，余曰：各擅勝場而已。跨虎是虛式隨時俱可出脚者，七星則易於變化換步，此式之登山步是穩健之步法也。 The opponent deflects my incoming hand, so I cover his hand and then use my left fist to strike to his face. (The rolling punch in the Avalanche Steps set is in a sitting-tiger stance. The rolling punch in the Eighteen Elders set is in a big-dipper stance. These three sets use the same hand technique in different stances. If you want to know which version is best, I say that each is the best for its particular situation. A sitting-tiger stance is an empty stance and is thus easy to kick from, a big-dipper stance is an easy position for switching into another position, and the mountain-climbing stance is a stance of solidity.)
第二十一式：登山掛統捶 Posture 21: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH
說明： Explanation: 循上式，原步不變，左拳轉上曲肘橫架於頭上，右拳轉至腰部再直統而出如『定式』。 Continuing from the previous posture, with your stance not changing, your left fist arcs upward to block across higher than your head, the elbow bending, as your right fist arcs to your waist and then thrusts straight out. See photo 21:
功用： Application: 與第十一，十五，十八等式同。 Same as in Postures 11, 15, and 18.
第二十二式：封手右撑腿 Posture 22: SEALING HANDS, RIGHT BRACING KICK
說明： Explanation: 循上式，原步不變，兩手同時化成封手，分右陽左陰向左封去，如「過渡式圖」， Continuing from the previous posture, with your stance not changing, your hands both switch to sealing, your right hand with its palm facing upward, left hand with its palm facing downward, sealing away to the left. See photo 22a:
再撑起右脚，如『定式』。 Then your right lifts and does a bracing kick. See photo 22b:
功用： Application: 彼漏手攻我腰部，我卽用封手緊扣其腕肘之間，再以撑腿擊之。 The opponent evades my hand and attacks my waist, so I use sealing hands to close off his forearm, then attack him with a bracing kick.
第二十三式：囘身掛統捶 Posture 23: WITHDRAWING BODY, HANG & THRUST PUNCH
說明： Explanation: 循上式，先將撑起之脚往左後轉，轉至後方然後着地仍成左登山式，左拳橫架於頭上，右拳直統出，如『定式』。 Continuing from the previous posture, your kicking foot arcs to the left rear [with your body spinning leftward], coming down to again make a left mountain-climbing stance, as your left fist blocks across higher than your head and your right fist thrusts straight out. See photo 23:
功用： Application: 與第十一、十五、十八、二十一等式同。 Same as in Postures 11, 15, 18, and 21.
說明： Explanation: 循上式，拉起左前脚以成左跨虎步，右拳自前化掌撇落右大腿之上，然後轉往頭上斜斜架起，左拳轉去腰部再統出，如（揷捶之收式）如『定式』。 Continuing from the previous posture, your left foot pulls back to make a left sitting-tiger stance as your right fist becomes a palm, swings down against your right thigh, then arcs upward higher than your head to block away diagonally, and your left fist arcs to your hip and then thrusts out. It is the same as in the closing posture of the Charging Punches set. See photo 24:
功用： Application: 彼以脚撩陰，我先用掌拍消之，然後架於頭上以資掩渡，左拳直取中上路。 （全拳完） The opponent does a raising kick toward my groin, so I first use my [right] palm to slap it away, then bring it up to guard my head as my left fist attacks to his middle or upper area. (This completes the entire set.)
Taijiquan Evolution 6 – Taijiquan returns to Chen Village | 太极拳回到陈家沟
Tuesday, 12 June 2018 17:00
1970’s Chenjiagou Taijiquan returns
The sixth entry in the coverage of Taijiquan styles development. As our Taijiquan history section denotes, Xi’an is the home of our Taijiquan (inclusive of Zhaobao and Chen Style) , in addition to the Beijing (Chen Style). The reasons for this are understood in the context of history and how Taijiquan became almost extinct in its homes of origin. We therefore outline the important return of Taijiquan to Chenjiagou (Chen Family Village).
Tang Hao visits Chen Family Village
In 1932, Tang Hao together with Chen Ziming journeyed to Chenjiagou. Chen Ziming was Chen Xin’s nephew and used to teach in Shanghai at the time. Tang Hao (1887-1959) was from humble beginings but worked hard in practising Six Harmonies Boxing (Liuhe Men, 六合门) and becoming a Lawyer. Tang Hao also studied many other martial arts including Chen Taijiquan, and Japanese styles during his time there. He was one of the editors of the publication department of the Nanjing Guoshu Academy.
When they arrived to the Chenjiagou, Chen Chunyuan (the nephew of Chen Xin) had a copy of a set of manuscripts that were written by his uncle over the course of 12 years. This text [Taijiquan Illustrated, 陈鑫陈氏太极拳图说] was published in 1933 and whilst it outlined the practice of Chen Style Taijiquan in the past (today it is known as Small Frame Taijiquan), it became a classic for all Chen Style Practitioners. At the time the practice of Taijiquan in Chenjiagou was still flourishing and the expression that almost everyone in Chenjiagou could practice some martial arts was evident. After just a few years little did people expect chaos an catastrophe to hit Chenjiagou.
The disasters of the 1940’s across the western areas of Henan Province
In 1938, Henan province was the centre of an ongoing effort by the Nationalist Government (Guomingdang, KMT) to stop the advance of the Japanese troops. Many local young men were conscripted into the army. The combination of natural and human factors ravaged Henan proivince. In 1941, locusts plagued Wen county and the Guomingdang (KMT) had taken controls over the area. Henan province was divided into the eastern half (under Japanese occupation) and the western half which was supposed to be under the Nationalist Government (based in Chongqing after fleeing Nanjing).
In 1942, the seasonal rains failed, causing severe drought. Combined with the ongoing locust plagues the harvests were destroyed and there was little food supply. The culmination of no local produce and the inability to obtain supplies from elsewhere during the conflict led an unfathomable situation of famine that started to cause great grief to the people during the winter of 1942. The famine caused significant tragedies with rising starvation and ongoing rise in diseases. In such dire situations families would sell their children in the hopes that would have a better chance elsewhere and some starving people had to resort to cannibalism or eating bark of the trees to try to survive. During the time an estimated 2 to 3 million people died from starvation or disease, and over 4 million people fled Henan province. Chenjiagou was in the centre of this drastic situation and of the 4,000 or so residents many suffered and over 800 fled (typically to Xi’an). During those years, many people left Chenjiagou (e.g. to Xi’an), many passed away in the wars, disease and famine.
Chen Family members and their demise through affiliation with KMT
After those years the situation improved ever so slowly in terms of famine and sino-japanese war, but the civil war between the CCP and the KMT continued. Since Chenjiagou was a part of the early movement into the area by the KMT, many of the villagers were associated with the KMT and reprimanded by the CCP. Some examples include Chen Zhaoxu (1912-1959) was the second son of Chen Fa’ke. Since Chen Zhaoxu was connected to the local militia affiliated with the KMT, he was jailed in 1955 and eventually passed away. Chen Zhaohai (1899-1950) was Chen Zhaopei’s brother. Chen Zhaohai fought in the nationalist army under Fan Tinglan. Later he relocated to Zhengzhou. In 1949, he was imprisoned and then under the Repression of Anti Revolutionists movement in 1950 was executed.
The New Large Frame of Taijiquan returns to Chenjiagou
Today’s what he could call mainstream Chen Style Tajiquan is derived mostly from the teachings of two key teachers that originated at Chenjiagou but resided elsewhere. These were Chen Fa’ke (1887-1957) who brought Chen Style Taijiquan to Beijing in 1928 and Chen Zhaopei (1893-1972) brought Chen Style Taijiquan to Nanjing in 1930 (originally was in Beijing then invited Chen Fa’ke to take over) and taught for over eight years.
In 1958, Chen Zhaopei whom resided in Zhengzhou at the time visited Chenjiagou for Chinese New Year. It was his first time back in decades. Chen Zhaopei whilst advanced in years (65) felt that it was a shame that there were no longer any practitioners in Chenjiagou. He was saddened that there were no successors in the birthplace of Taijiquan and no serious practitioners left in Chenjiagou. It was a difficult decision because at the time both his wife (second wife) and son (whom had a good job and family in Zhengzhou) were against him returning to Chenjiagou. He also had to retire from his work (Flood Control Committee) earlier foresaking an increase in his pension. Chen Zhaopei however against all odds felt a sense of responsibility and returned to the Chenjiagou during his retirement years. Unfortunately this was not going to be an easy quest for there were still a number of CCP initatives that impacted the ability to propagate and teach Taijiquan during those years. The Great Leap forward was distracting and in 1966-1976, The Cultural revolution saw the repression of traditional teachings including martial arts. Facilities were closed down and practitioners were prosecuted. Chen Zhaopei was said to have been persecuted by the red guards and even attempted suicide during those years. His legs were injured for almost two years and had to use a stool/walking assistance during the time. Much of the training had to be conducted in secret and many elements (eg weapons) a challenge to practice in confined space so mostly only the laojia yi lu was taught. After Chen Zhaopei’s death, Chen Zhaokui (Chen Fa’ke’s youngest son) continued teaching at Chenjiagou. The local secretary of the CCP for Wen County, Zhang Weizhen also invited Feng Zhiqiang to teach. Feng Zhiqiang visited three times for short intensive teaching sessions.
As a result the teachings at Chenjiagou were distinguished into the old (Chen Zhaopei’s) and the new (Chen Zhaokui’s) frame of practice. The Taijiquan practiced by the older generations would find a new home in Xi’an and become known as Chen Small Frame Taijiquan. Whilst the descendants of Chen Fa’ke would derive a number of different versions of Taijiquan practice (sometimes called Beijing Chen Style Taijiquan) including Li Jingwu, Lei Muni, Tian Xiuchen and Feng Zhiqiang amongst others.
In 1938, Henan province was the centre of an ongoing effort by the Nationalist Government (Guomingdang, KMT) to stop the advance of the Japanese troops. Many local young men were conscripted into the army. The combination of natural and human factors ravaged Henan proivince. In 1941, locusts plagued Wen county and the Guomingdang (KMT) had taken controls over the area. Henan province was divided into the eastern half (under Japanese occupation) and the western half which was supposed to be under the Nationalist Government (based in Chongqing after fleeing Nanjing).
In 1958, Chen Zhaopei whom resided in Zhengzhou at the time visited Chenjiagou for Chinese New Year. It was his first time back in decades. Chen Zhaopei whilst advanced in years (65) felt that it was a shame that there were no longer any practitioners in Chenjiagou. He was saddened that there were no successors in the birthplace of Taijiquan and no serious practitioners left in Chenjiagou. It was a difficult decision because at the time both his wife (second wife) and son (whom had a good job and family in Zhengzhou) were against him returning to Chenjiagou. He also had to retire from his work (Flood Control Committee) earlier foresaking an increase in his pension. Chen Zhaopei however against all odds felt a sense of responsibility and returned to the Chenjiagou during his retirement years. Unfortunately this was not going to be an easy quest for there were still a number of CCP initatives that impacted the ability to propagate and teach Taijiquan during those years. The Great Leap forward was distracting and in 1966-1976, The Cultural revolution saw the repression of traditional teachings including martial arts. Facilities were closed down and practitioners were prosecuted. Chen Zhaopei was said to have been persecuted by the red guards and even attempted suicide during those years. His legs were injured for almost two years and had to use a stool/walking assistance during the time. Much of the training had to be conducted in secret and many elements (eg weapons) a challenge to practice in confined space so mostly only the laojia yi lu was taught. After Chen Zhaopei’s death, Chen Zhaokui (Chen Fa’ke’s youngest son) continued teaching at Chenjiagou. The local secretary of the CCP for Wen County, Zhang Weizhen also invited Feng Zhiqiang to teach. Feng Zhiqiang visited three times for short intensive teaching sessions.