The images in this post are taken from Daniel Mak and Alex Jung’s excellent documentary “The Origins of Macau Wing Chun.” Its well worth watching and you can read more about it here.
Guoshu in the Pearl River Delta
In a recent post I attempted to move away from the triumphalist rhetoric that accompanies many popular discussions of the Guoshu movement and ask how its institutional limitations (rather than its strengths) shaped the spread of Northern martial arts styles in the Pearl River Delta region during the 1920s and 1930s. That essay addressed events in one small region as in my research I have found that to really understand any social movement it is often necessary to move away from national level narratives. While helpful in understanding a movement’s goals, such discussion can obscure the reality of how reforms were actually implemented (and co-opted) at the local level. That can, in turn, lead to the uncritical acceptance of politically inflected historical narratives and a bad case of selective memory.
For instance, while investigating attempts to establish “official” Guoshu chapters in the Guangzhou area, we discovered that the success of these efforts were very much dependent on the support of the governor’s office. Yet in an era characterized by unstable and quickly shifting politics, such political alliances often proved to be a liability. Ambitious efforts to rebuild Guangdong’s martial arts culture through legislative fiat were doomed by the KMT’s constant internal upheavals. Northern masters found considerably more success in spreading their styles once they were freed (partially) from political patronage structures and able to establish commercial schools that could compete in the economic marketplace.
This essay expands on that discussion by asking two additional questions. First, Andrew Morris has noted that all sorts of modernizing groups (New Wushu, Jingwu, Guoshu), while typically successful in China’s major cities, tended to have trouble penetrating the countryside. That was a significant problem as the vast majority of China’s martial artists lived far from the large cities. Given the geographic limitations of the Republic era’s hand combat reform movements, what do we see in the Guangdong case? Was the Guoshu movement able to establish branches outside of the sophisticated and well-connected provincial capital of Guangzhou? If so, how did these organizations function?
Our second question is closely related to the first. Given that Guangdong had a vibrant martial arts subculture prior to the importation of the Guoshu movement in the late 1920s, in what ways did local martial arts groups attempt to resist or co-opt this new expression of Chinese identity through martial practice? Elite reformers saw the Guoshu movement not just as a way to promote mundane public health goals. They sought to use a single, centrally controlled, program of physical training and competition to increase nationalism, militarism and loyalty to the party. Yet the Chinese martial arts had traditionally been a vehicle for the expression of much more local and regional identities. How were local groups able to capitalize on the weakness of the Chinese state to use such centrally sponsored reform efforts for their own ends?
The following essay begins by shifting our focus away from Guangzhou to Foshan, a nearby market town and manufacturing center. It examines the rise of the Zhong Yi Martial Arts Athletic Association. Perhaps the second most important regional martial arts organization between the 1920s and the 1940s, a close examination of developments in Foshan suggests that while the Guoshu movement looked quite strong on paper, in actual fact its unifying and centralizing agenda faced stiff opposition. Ironically, the Guoshu label was even used to empower the sorts of local, traditional, secretive and sectarian identities which its national level rhetoric vocally opposed and claimed to have supplanted.
Foshan
Given Guangzhou’s status as the political capital and cultural center of Guangdong Province, it is only natural that the Central Guoshu Institute would concentrate their reform efforts there. But how far out into the countryside did these measures penetrate? The case of Foshan, an economically vibrant market town only a short distance from the capital, suggests the level of complexity that may have been encountered. Still, given Foshan’s wealth, rapid economic modernization and long history as a center for hand combat development, one would think that if the Guoshu movement could succeed anywhere, it would surely find a foothold here.
The development of Foshan’s “Guoshu” related efforts (and we must use that term carefully) began shortly after the failure of the Liangguang Guoshu Institute in Guangzhou (discussed here) in the 1929-1930 period. Yet rather than importing a group of distinguished Northern instructors, as the Governor did in Guangzhou, Foshan moved in a radically different direction. Instead of creating a new organization, the locally prominent network of “Yi” schools, whose teaching curriculum focused almost entirely on Hung Gar and Wing Chun, were reorganized into something more official with closer ties to the local KMT party structure.
While much has been written about the history of both Wing Chun and Hung Gar, the social significance of the Yi network has been largely neglected in favor of more traditional lineage and instructor specific biographies. That sort of rhetoric is historically problematic as it both lends itself to hagiography and obscures the ways in which martial arts groups interacted with the larger community. In fact, even before their formalization at the end of the 1920s, the Yi network of martial arts schools were an important force in the local community and the increasingly violent debates that accompanied the emergence of an independent labor movement.
Still, it was not the largest alliance of schools and instructors in Foshan at the time. That honor was held by the various Choy Li Fut schools organized through the Hung Sing Association. We previously discussed the creation and significance of this group at length in our volume on the history of the Southern Chinese martial arts. For the purposes of the current argument it is enough to note that by the 1920s the Hung Sing Association was recruiting much of its membership from the ranks of Foshan’s handicraft sector and the newly emerging industrial working class. In addition to hand combat training Hung Sing also provided a means for workers to network, organize and look for employment. All of this quickly drew the association into relationships with more radical elements of the local labor movement including trade unions and organizers from the Community Party.
In contrast, the Hung Gar and Wing Chun schools organized by the Yi network often (though not always) recruited their membership from the ranks of skilled local workers or small business owners. Such individuals were better positioned to benefit from the global shifts in trade, investment and economic structure that typically threatened the livelihoods of less skilled workers. It should not be surprising to discover that many of the Yi schools were financially backed by the region’s more conservative “yellow trade unions” who opposed the types of the demands that the more radical (“red”) labor movement was making. Indeed, the Yi Schools and the Hung Sing Association clashed (sometimes violently) throughout the 1920s. Much of what has been preserved in lineage histories as “ancient rivalries” between competing martial arts styles should probably be reframed as local expressions of the sorts of class conflict that gripped the entire industrialized world during the 1930s. But how did the Yi Schools first emerge?
That question has proved difficult to answer as, after 1949, the Communist government classified the Zhong Yi Martial Arts Athletic Association as a violent right wing group with a “special historical background.” As such local society went to some lengths to suppress not just the membership of the group but its historical memory as well. Nevertheless, two local historians, Xiao Hai Ming and Zou Wen Ping, have been able to reconstruct some key facts about the organization.
During the final years of the Qing dynasty a resident of Zhangcha Village (now a part of Foshan’s urban sprawl) named Zhao Xi organized the “Xing Yi” martial arts school. Sadly, Xiao and Zou were not able to discover much about Zhao’s background. But it is clear that he was a Hung Gar instructor and his schools were the first in the Foshan area to bear the “Yi” suffix. We might also surmise that Zhao was a talented businessman and he found ways to franchise and leverage his personal reputation. Eventually six schools appeared (Yong Yi, Xiong Yi, Qun Yi, Ju Yi, and Ying Yi) all associated with the initial Xing Yi location. This set of schools is said to have constituted the core of the larger “Yi” martial arts system. Xiao and Zou noted that both Hung Gar and Wing Chun were taught within this network, though they were not able to reconstruct a full list of instructors.
As is typically the case, things are most opaque during the early years of the Yi network. We have more information on events which occurred in the 1920s and 1930s. But our best information stems from the 1940s, just prior to the victory of the CCP. As we review this period Wing Chun students may even begin to spot some familiar names. Jiu Chao (1902-1972) taught Wing Chun at the Zhong Yi Association branch located at Kuai Zi Lane after 1945. Like Ip Man, he came from a wealthy local family. He learned Wing Chun from Chan Yiu Min, the son of Chan Wah Shun (Ip Man’s first instructor). Jiu also opened another martial arts school in Zhongshan and is said to have had over 100 students between his two schools. Perhaps his best-known disciple was Pan Nam.
Jiu’s career might also offer us some insight into the relationship between Wing Chun and Hung Gar within the Yi network. While an acknowledged Wing Chun master, Jiu appears to have been most famous within the local community for his excellence with a wide variety of weapons that are more typically associated with Hung Gar. These included the multiple varieties of iron chains, single and double swords, sabers and the eyebrow staff. That certainly suggests a degree of cross-training.
Cheung Bo (1899-1956) may also have taught for the Zhong Yi Association. Rene Ritchie notes that Cheung Bo’s lineage is not totally clear and that he likely learned both Wing Chun and bone setting from Wai Yuk Sang, who was a doctor employed by the Nationalist Army. Cheung became a chef at the Foshan Tien Hoi Restaurant and was close friends with Yuen Kay San. In addition to his “restaurant class” he may also have taught at the “Hui Yi” martial arts school. Cheung was responsible for the early training of Sum Num who he later introduced to Yuen Kay San.
It was during the 1920s that the Yi schools more closely aligned themselves with local business interests, “yellow” trade unions and the rightwing of the provincial KMT leadership. They clashed repeatedly with the more radical Hung Sing Association over the various strikes and pickets promoted by the leftist organization. It appears that at times they may even have been used as strikebreakers.
As Guoshu activity began to accelerate in Guangzhou, only a short distance away, the Yi schools decided to formally unite and organize themselves as the Zhong Yi Martial Arts Athletic Association. The new group had about a dozen branches (all in Foshan) during the early 1930s. Its official membership has been estimated at about 1000 individuals, making it about one third the size of Hung Sing at its 1927 peak. It should be remembered that this later organization was closed by the KMT during the crackdown on Communists that followed the Northern Expedition and the Shanghai Massacre in the same year.
Of the many ways of expressing “martial arts,” the Zhong Yi Association adopted the term “Guoshu.” Still, it remains unclear what sort of relationship (if any) the group had with the Central Guoshu Institute. There is no evidence that they adopted the standardized Nanjing curriculum meant to unify the Chinese people behind a single set of (mostly Northern) practices. Nor did this group attempt to pursue the sorts of radical ideological reforms of the martial arts sectors that the short lived Liangguang Guoshu Institute had demanded. Indeed, the Zhong Yi Association was composed of exactly the sorts of regional, traditional, sectarian and secretive styles that national Guoshu reformers so desperately sought to eliminate. It is thus reasonable to ask whether, or how, this group functioned as an extension of the Guoshu movement.
Perhaps the clearest answer to this comes when we look at the organization’s leadership flowchart. The first thing that we see is that its president was none other than Zhang Qi Duan, the KMT Party Secretary for Nanhai County. Indeed, prominent local citizens and KMT functionaries filled all of these leadership roles. While there is no evidence that the Yi schools adopted any of the substance of the national Guoshu reform movement, it does appear that local elites consciously decided that they were more interested in having political control over the local martial arts community (particularly at a time when it was embroiled in frequent violent clashes with the labor movement) than the details of what styles were to be taught. It was easier and more efficient for local leadership to co-opt a preexisting group, rebranding it as part of the Guoshu movement, than to create yet another competing school staffed with imported martial artists.
If this interpretation of the historical facts is correct, the choice to simply work with the Zhong Yi Association represents a telling concession to the realities of the local martial arts marketplace. Given the intensely local nature of most schools, it seems that the top-down, state centric, model of martial arts reform promoted by the Central Guoshu Institute during the 1930s was doomed to fail. Even a few miles outside of a provincial capital it proved almost impossible for the state to assert its control over the vast networks of private schools and associations that had grown up since the end of the Boxer Uprising. Such an undertaking was only possible when the local political and military leadership was strongly committed to the project. But in Foshan it was precisely these officials who instead decided to rebrand a preexisting network that they already depended on and exercised some control over. Rather than the Guoshu banner being one that united a common (and progressive) national culture, in Foshan it was a tool for local martial artists to express an entirely different (and more conservative) vision of how modern China should function.
Conclusion
One lesson to be drawn from this is that historians must approach the written sources (policy statements, manuals, yearly reports, newspaper articles, etc…) generated by reformist groups with a fair degree of caution. This material is relatively easily accessible to us today as one aspect of the Republic era modernizing agenda was to establish a robust written record, thereby combating the popular perception that the martial arts were practiced only by rustic illiterates. Yet the substantive claims made by these organizations about the state of the Chinese martial arts were often deeply misleading.
In their public statement during the 1920s and 1930s they constantly claimed that the Chinese martial arts were dying, that they had become irrelevant, corrupted or ignored. They proposed various schemes for the resurrection of these arts through a process of purification, modernization and state sponsorship. The irony was that the local martial arts were not dying, certainly not in Guangdong, and probably not in most other areas of the country. New commercial schools and organizations were growing at a dizzying rate, so much so that outside regulatory efforts found it essentially impossible to control the local supply of martial arts instructors. While there were starts and stops, the interwar years saw a steady rise in interest in the martial arts.
Newspapers in Guangzhou, Foshan and Hong Kong all began to carry serialized novels glorifying local martial artists from the recent past. New radio programs, and later early films, hyped martial strength. Urban individuals became involved in these traditions in record numbers. The simple reality is that the Chinese martial arts were more popular, and practiced by a wider range of groups, in the 1920s and 1930s than ever before. The Guoshu movement was never going to “save” the Chinese martial arts as, in reality, these arts and the social structures that supported them, were doing quite well on their own. Rather, the various reform movements of the 1920s and 1930s are better understood as attempts to get out in front of trends that were already highly developed and threatening to pass by a relatively small group of elite activists and their backers in the government.
The situation in Foshan is instructive as it suggests two issues which probably slowed the substantive spread of the Guoshu movement. While there was an immense demand for martial arts training in this period, local martial artists expressed little enthusiasm for the centralized reforms, training regimes and tournament structures that a handfull of national level reformers sought to promote. Instead martial arts groups continued to focus on local issues, identities, power structures and conflicts.
Secondly, with the help of local government officials, the Guoshu name and framework could be appropriated to promote exactly the sorts of parochial, traditional and sectarian martial arts practices that the national reform movement was actively preaching against. Rather than weakening these groups, the expansion of the Guoshu program actually provided them with a platform from which to promote their own, radically different, vision of what “New China” should be. While Foshan’s Zhongyi Martial Arts Athletic Association has been all but forgotten by modern Hung Gar and Wing Chun practitioners, this short discussion suggests that it still has much to teach students of martial arts studies.
How did Taijiquan, now ubiquitous, establish itself in Southern China? What about the other northern Shaolin systems? I would think that the lion’s share of the credit must go to the Jingwu Association which introduced and popularized several systems throughout the 1920s. Still, the institutional structure of the modernist Jingwu Association tended to absorb sets from various arts rather than presenting them as distinct, self-contained, lineages. The other actor, frequently noted in this equation, is the Guoshu (National Arts) movement.
Guangdong province established its own branch of this national organization relatively early on. I recently heard the assertion that all of the “traditional” practices of southern China could be classified into three categories. First, one had the local Cantonese arts (Hung Gar, Choy Li Fut, etc..), next there were the Hakka styles (White Eyebrow, Dragon) and finally there are the northern arts (Taijiquan, Northern Shaolin). The argument went that it was ultimately the Central Guoshu Association, and their program to promote national unity through martial arts training, that should receive the credit for disseminating these styles to the south.
This particular assertion was made much too quickly, and the author was speedily on to other topics. Still, I think it would be worth our time to go back and parse these events more carefully. Guoshu, as both a term, idea and a historical movement, seems to be enjoying a mini-renaissance at the moment. Speculation as to why this is, and what it ultimately suggests about contemporary Chinese martial arts culture, will need to wait for a separate blog post. Yet, at least in the case of Southern China, it is interesting to note that many of the organization’s greatest contributions to martial culture are rooted in its institutional failures, rather than success. The following meditation on these questions is based largely on research conducted for my co-authored volume (with Jon Nielson) on the social history of the Southern Chinese martial arts. If you are interested in chasing down a more complete account of Guoshu in the Pearl River Delta (or my footnotes) take a look at chapter three.
In a certain sense the prior assertion by the unnamed author is absolutely correct. Even if the Jingwu Association whetted the public’s appetite, the Guoshu movement was directly responsible for the export of many important styles and lineages to the south. Still, if we succumb to a type of easy romanticism about this process, we risk misunderstanding both the nature of the Southern Chinese martial culture and the severity of the challenge that it posed to a program consciously designed to displace regional traditions with a more universal set of practices and identities. Yes, national reformers were able to use the martial arts to shape debates about what the “New China” should be. Yet local society could also turn to these practices in launching their own broadsides against outside forces.
A group photo of organizers and athletes at the 1928 National Guoshu Examination.
A Governor Goes North
The first common misconception that casual readers might have is that the Guoshu organization was truly national in scope. Andrew Morris has noted that the movement’s pretensions to universality and sectoral dominance never materialized in real life. Indeed, it would have been practically impossible for any organization to fully integrate itself into Chinese life, in both the city and the countryside, in only a few years during the turbulent 1930s. China was just too large and complex for this to happen. Further, many of the specific challenges that Guoshu faced stemmed from the group’s unapologetically partisan nature.
Unlike the Jingwu Association, the Central Guoshu Institute was not dedicated to vague notions of Chinese nationalism. Its goals were much more statist in orientation. While encouraging patriotism was important, the group received enthusiastic government backing as it also sought to indoctrinate its practitioners with loyalty to the KMT, and to Chiang Kai-shek in particular. This became an issue as, his victory in the Northern Campaign notwithstanding, not all of the KMT’s notoriously independent cliques and generals were equally enthusiastic about aligning themselves with Chiang and his program. As such, many regions of China actually resisted the spread of the Guoshu. Or, to be more precise, while they may have enthusiastically embraced the name Guoshu, and certain philosophical notions about national strengthening through the reform of the martial arts, they were not about to turn local “paramilitary” assets over to Chiang and his allies.
Morris asks us to consider the case of Shanxi Province in the 1930s. Long a stronghold of traditional boxing, readers may be surprised to learn that it had no official Guoshu chapter. This fact may not at first be evident. The province actually boasted over 500 registered martial arts societies in the 1930s, and many of them using the term Guoshu in their names (evidence of the fashionable nature of the word). Yet the entire area was administered by the independent warlord Yan Xishan who carefully avoided any contact with a program that was (quite correctly) perceived as a tool of Chaing Kai-shek’s close backers.
A very similar pattern could be seen in Fujian and Guangdong. Both provinces were formally administered by the KMT, yet in the post-1927 era their leadership was sometimes protective of their local autonomy. This institutional weakness within the KMT impeded the expansive vision of the Guoshu Institute.
That is not to say that the new movement didn’t have important allies. In October of 1928, General Li Jinshen (governor of Guangdong and an important military figure at the time) visited the first national martial arts examination hosted by the newly organized Central Guoshu Institute in Nanjing. He was so impressed with what he saw that he decided to commit substantial resources to promoting the Guoshu program in Guangxi and Guangdong. He invited Wan Lai Sheng (a Six Harmonies and Shaolin Master) and Li Xian Wu (Taijiquan and a native of Guangdong), to return with him to Guangzhou.
Li quickly drew up plans that were approved by the local government. Wan Lai Sheng was formally appointed the head of the new provincial organization by General Li’s Eighth Army. Given the ambitious nature of Li’s plans, Wan then went about recruiting a number of high-profile instructors. These included Fu Zhensong, Li Xian Wu, Wan Laimin and Gu Ru Zhang (who many readers will already be familiar with). Gu would go on to become the central figure in the promotion of Bak Shaolin (Northern Shaolin) in Guangdong province. These instructors, and Wan, were known in the press as the “The Five Southbound Tigers.”
Li’s Lianguang Guoshu Institute first opened its doors in March of 1929, hosting three sets of two-hour classes a day. The organization had an initial enrollment of 140 students, which quickly increased to close to 500. Still, a closer examination revealed something odd. Rather than filling its ranks with local martial artists looking to get on board with the new national program, almost all of these students were low ranking civil service personal. Still, there was enough “official” demand to both expand the class structure and to begin to offer off-campus instruction at any business or office which could meet the financial requirements and guarantee at least 20 students. Chinese sources note that, once again, it was government offices that dominated the off-campus study program.
Despite these initial struggles to penetrate the local martial arts sub-culture, or perhaps because of them, Governor Li pressed ahead with an ambitious agenda for the Lianguang Guoshu Institute. This was aided through the efforts of the local government. First, an ordinance was passed mandating registration and licensing of all martial arts organizations or schools in the province. Second, the creation of any new martial arts school or organization not administered by the institute’s (mostly Northern) staff was banned. Finally, money was set aside for the creation of a regional publication dedicated to advancing the nationalist and pro-KMT “Guoshu philosophy.”
Backed by the full might of the Eighth Army, the provincial government, and an enthusiastic governor, such a set of reforms could have had stifled Southern China’s vibrant martial culture. Indeed, that seems to have been precisely the goal of their effort. General Li Jishen was quite sincere in his desire to bring the local martial arts community to heel, effectively transforming it into a tool to be exploited by the state. While it remains unclear to me whether these sorts of orders could have been enforced in the countryside, their impact on urban Choy Li Fut or Hung Gar schools would have been disastrous. Deep pools of local knowledge and experience were about to be sacrificed on the altars of “national unity.”
It is interesting to speculate on whether, and how successfully, the local martial arts sector would have resisted these efforts. Fortunately, historians have no answer to that question as Li’s ambitious plans fell apart almost immediately. Indeed, the great weakness of Guoshu’s rapid expansion was that its success depended not so much on popular demand as the political calculations of often unpredictable leaders.
In May of 1929, General Li Jishen took the spectacular step of resigning as governor and traveling to Nanjing with the intention of mediating a truce between Chiang Kai-shek and the “New Guangxi Clique.” This was, to say the least, a serious strategic miscalculation. Negotiations went badly and Chiang (quite predictably) was furious. He had General Li arrested and held until his eventual release in 1931, after which he drifted towards the Communist Party. This left Guangdong in need of a new governor. They received one in the form of Chen Jitang, who is still remembered for his social reforms (the creation of a very basic social safety net) and building programs (he paved the streets of Guangzhou).
One of Chen’s first acts upon taking office was to disband the Guoshu Institute. It is likely that Chen saw this organization as a potential political threat. After all, he did not create it, and many of the individuals within it were loyal to his predecessor. It is also likely that Chen did not want to be that closely associated with a group that was so much under of the influence of Chiang’s most ardent supporters. Whatever the actual reason, budget concerns were cited as the precipitating factor. With a total budget of 4,500 Yuan a month, the Institute was a notable undertaking. But that figure hardly seems outrageous given Li’s expansive vision for the organization. All told the Lianguang Guoshu Institute closed its doors after only two months, and without making any progress towards its ambitious goals.
That is where its story ends. The initial attempts to establish Guoshu in Guangzhou immediately fell victim to internal politics within the KMT. In retrospect it is almost too predictable.
All of which is great, because what happened next had an actual shaping effect on the development of Southern martial culture. The surprising collapse of the Lianguang Institute left a number of extremely talented Northern martial arts exponents unemployed (and more or less stranded) in Guangzhou. This seeming setback created new opportunities that spread the Northern arts more effectively than anything that Li had envisioned. After all, most of the instruction that had been provided in these initial months was directed at a relatively small group of government employees. Chen’s forced dissolution of the organization allowed its instructors to enter into a much broader (and truly competitive) marketplace for martial arts instruction. It was within these smaller commercial schools that arts such as Bak Siu Lam and Taijiquan really took off and came to be accepted by the general public.
Following the breakup of the Guoshu Institute, Li Xian Wu was hired by the Guangdong branch of the Jingwu Assocation as its new director of academic affairs. He later published a well-known guide to taijiquan. Gu Ru Zhang proved to be among the most influential of the remaining staff. Attempting to capitalize on the work that was already accomplished, he sought to create the Guangzhou Guoshu Institute (formally established in June of 1929). Gu was selected as its president, Wang Shaozhou was named its vice president and Re Shen Ku, Li Jing Chun and Yang Ting Xia (the wife of Wang), were all hired as instructors.
This new, smaller, organization enjoyed a measure of official backing and was housed in the National Athletic Association building on Hui Fu East Road in Guangzhou. That said, the new institute never subscribed to the grandiose policy objectives of its predecessors. Rather than regulating Southern China’s martial arts sector, it essentially entered the economic marketplace as one school among many.
And as fate would have it, Gu’s new efforts found some real success. In 1936 the Guangdong Province Athletic Association sponsored a martial arts exhibition at the Guangzhou Public Stadium. Gu’s Guangzhou Guoshu Institute performed for an enthusiastic crowd and received an award from the local government. Still, like most of the other local martial arts organizations it was forced to shut its doors in 1938 during the Japanese occupation. Yet it was due to the more private efforts of Gu and his fellow instructors, rather than the grandiose machinations of General Li, that the Northern arts established long lasting schools and lineages in Southern China. They did so by entering the marketplace and providing a good that consumers actually wanted.
An image of a now famous postcard that Gu Ruzhang sent to his students.
Martial Arts and the Weakness of “Established Churches”
It would be impossible to tell the story of China’s twentieth century martial arts without carefully reviewing the political opportunities, alliances and entanglements that presented themselves in each era. Still, as we review this material it quickly becomes evident that political sponsorship is a double-edged sword. More than one martial arts organization was destroyed by the capricious winds of change blowing through China’s political history. Political alliances proved to be a pathway to rapid growth, but also rapid obsolesce.
Leaders have repeatedly sought to use the martial arts as one element of larger campaigns to shape society more to their liking. In the short-run this creates funding and promotional opportunities. But it also creates martial arts institutions that are more responsive to the demands of political elites than the public who must actually attend classes and pay their sifu’s rent. Such a bargain is rarely good for the martial arts in the long-run as it prevents them from establishing the type of relationship with consumers that is necessary to survive periods of rapid social change.
The story of the Lianguang Guoshu Institute offers a critical insight into the strengths and weaknesses of “established” martial arts (to borrow a term of religious studies.) As a government backed institution, the only students it seemed capable of recruiting were individuals already dependent on the governor for their paychecks. Yet when its instructors were released into the competitive marketplace, they created popular schools and practices that quickly spread the northern styles across southern China. That has had a lasting impact on Guangdong’s martial culture.
Its official, holiday madness is upon us. Still, I wanted to comment on some of the more interesting stories that have been floating around. 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!
Keeping kung fu relevant. Source: South China Morning Post.
English language tabloids continue to discover the newly “rediscovered” tradition of Chinese “bull fighting.” This is basically the latest attempt to parlay martial arts exhibitions into a local tourist attraction.
It seems that every year has that one story that just won’t die. If you had asked me at the beginning of the year whether that would be the “ancient art” of kung fu bull fighting, I would blinked in disbelief and asked if you were thinking of Mas Oyama. But here we are!
Calling this an art, or somehow more “real” than Spanish bull fighting, seems like a stretch. But the sudden appearance of this practice (unknown to the international press just last year), suggests that it would make a great case study on the “invention of tradition” in the Chinese martial arts. Or perhaps you could use it to delve into the evolving construction of masculinity within the martial arts. Calling all graduate students…
Shalini Singh’s skill with a broadsword earned her a gold medal last month at the Pan American Wushu Championships in Buenos Aires, Argentina. The San Jose teen is an eighth-grader at Stratford School Raynor in Sunnyvale.
Shalini Singh’s skill with a broadsword earned her a gold medal last month at the Pan American Wushu Championships in Buenos Aires, Argentina. The San Jose teen is an eighth-grader at Stratford School Raynor in Sunnyvale. (Photo courtesy of the Singh family)
She was 7 years old when started at Wushu Central on Coleman Avenue in San Jose and loved it immediately. In 2016, after four years of intense study, she earned a first-degree black belt. Now, she has been practicing Wushu for almost seven years, and currently trains about 18-20 hours per week at Elite Kung Fu Academy in Fremont.
“I really like the focus and discipline that Wushu has instilled in me,” Shalini said. “Wushu has taught me that failures are an opportunity to learn and improve yourself. I used to lose in all of my initial tournaments, and at first, it made me upset and dejected. But the advice of my coaches helped me identify where I was weak, and helped me improve my performance.”
For whatever reason, quite a few authors decided to delve into the history (or supposed history) of the Asian martial arts over the last month. Without a doubt the most sensational of these pieces was provided by the Fox Sports network. Its offering was modestly titled “4 Asian Martial Arts that teach you to end the fight with one strike.” This one is too funny (by which I mean bad) not to delve into.
Martial arts have become a means to deliver discipline, commitment and fitness into the practitioner’s life in the modern day scenario. Yes, one does learn how to defend oneself effectively also but they have largely turned into sport. But as recently as in the first half of the 20th century – the whole focus of martial arts was different. It wasn’t just used to imbue good values and equip someone for self-defence, but in those war-torn times, martial arts was an active engagement strategy against the enemy.
In that time, the focus of learning martial arts was to grievously maim or even kill your enemy in the battlefield.
In case you were wondering what these four deadly venoms are, we begin with Dim Mak (which is apparently now a single martial art invented by Bodhidharma, rather than a set of techniques), Silat (enough said), Ikken Hissatsu (which, judging by the provided video, is basically point karate highlight reel), and Varna Kali. All in all, the article is a font of joyful misunderstanding and myth-making. But in an era when everyone seems intent on tearing down the utility of the traditional martial arts, it stuck me as almost quaint. As I read it I couldn’t helping thinking, “So was this what 1968 felt like?”
The Abbot of the Shaolin Temple chimed in on Xu Xiaodong, the Chinese MMA fighter who has gained notoriety through his challenge matches with various traditional “masters.” Apparently Shi has his back.
“He’s a good guy, even though he’s a totally amateur MMA fighter,” said Shi, adding that “a hundred people in Henan province alone” could defeat Xu.
But Shi concluded: “Xu is doing the right thing by fighting fake kung fu.”
Ok, maybe that wasn’t a ringing endorsement. Still, I didn’t expect that level of engagement with Xu’s quest. Given his reputation with the Wushu establishment (not to mention the Chinese government) there doesn’t seem to be a lot of political upside for abbot Shi Yong Xinin here.
If you’ve ever been to the UFC Performance Institute in Las Vegas, chances are you’ve been wowed by the facility. Well, there is a new PI being constructed in Shanghai that will be three times the size of the one in Sin City.
‘Cultural Exchange Will Strengthen Bonds Between China & Africa.’ So proclaims a “Kung Fu Diplomacy” article in the Liberian Observer. This one discusses the close cooperation between local diplomatic staff and branches of the (ostensibly academic) Confucius Institute in using traditional Chinese culture to further the state’s public diplomacy objectives.
The Embassy of the People’s Republic of China near Monrovia in collaboration with the Confucius Institute at the University of Liberia (UL) on Saturday, November 10, hosted the traditional Chinese Arts performance, with some of the main performers coming from the Hunan University of Chinese Medicine in China.
The event, which was hosted at the Monrovia City Hall, was intended to strengthen China-Liberia relationship, highlighting culture exchanges between the two countries. Some of the performances comprised a series of China’s traditional sport-oriented health maintenance practices, including Martial Arts, Tai Chi, Qigong (a popular Chinese song) about unity, and some Chinese folk dances.
There have been a couple of interesting photo essays in the last couple of weeks. The first follows the career of Huo Jinghong, a 5th generation descendent of Huo Yunjia and an inheritor of his system. That article hits all of the notes that one might expect.
Li Zhujun makes a decorative sword at his studio in Tiejiangzhuang Village of Xingtang County, Shijiazhuang, north China’s Hebei Province, Nov. 14, 2018. For centuries, Tiejiangzhuang Village has been famed for its skillful blacksmiths and prosperous steel making industry. Li Zhujun is one of the village’s top steel makers. Based on the skills inherited from his father, Li gained an expertise in the steel-making technique “refined pattern welding”, which adds complicated patterns to the swords and knives during forging. The technique has been listed as an intangible cultural heritage by the city of Shijiazhuang. In recent years, the 47-year-old blacksmith has devoted himself to the renewal of this technique. His decorative swords, thus forged with more alternative patterns, show the enhanced aesthetics and exquisite product quality. (Xinhua/Chen Qibao)
Filipinos’ fascination for martial arts comes alive as more than 200 martial arts experts across the globe converge in Manila on Nov. 24 to celebrate the 80th founding anniversary of the Kong Han Athletic Club, the country’s premier martial arts school.
Abbot Chang Ding of Quanzhou City’s Shaolin Temple, and some 30 monks and members of the International South Shaolin Wuzuquan Federation, will lead participants on the occasion.
Did you hear about Marvel’s ambitious new superhero film project featuring Shang-Chi, a son of Fu Manchu. As you might have guessed, that last plot point is not going over well in China (where Marvel films are decently popular). Why? Fu Manchu, the villain of many ‘yellow peril’ novels is still widely remembered as an offensive symbol of Western anti-Chinese discrimination.
Anyone out there interested in martial arts and politics? If so, Malaysian Silat has been in the news quite a bit over the last few weeks. This article, titled “Silat alliance submits memo on ICERD, Malay issues at Istana Negara,” is a good place to get your orientation.
KUALA LUMPUR: Members of a silat coalition, known as Gabungan Silat Pertahan Perlembagaan, submitted a memorandum to the Yang Di-Pertuan Agong today, expressing their protest over International Convention on the Elimination of All Forms of Racial Discrimination (ICERD) and other issues….Apart from the ICERD issue, Shahruddin said the note also highlighted the group’s other demands which included calling for the protection and upholding of Malay rights, Federal Constitution and the royal institution.
Typically I structure the MAS section of these news-updates around conference announcements and book updates. This time we are going to look at some new articles and papers instead. The first is a piece that I really enjoyed by Colin P. McGuire. You have all heard the song. Now its time to delve into what it really tells us about Cantonese martial culture!
Wong Fei-hung was a Cantonese martial arts master from southernChina who became associated with a melody called ‘General’s Ode’. Since the 1950s, over 100 Hong Kong movies and television showshave forged the link by using this melody as Master Wong’s theme.During fieldwork in a Chinese Canadian kung fu club, I observed several consultants claiming this piece as a Cantonese nationalanthem—a hymn for a nation without a sovereign state. Virtualethnography conducted online showed that this opinion is heldmore widely, but that the piece also inspires broader Chinesenationalist sentiment. My analysis of speech-tone relationships tomelodic contour in Cantonese and Mandarin versions of the song,however, has revealed a tight integration with the former that thelatter lacked. By sharpening Anderson’s concept of unisonance, I explore how this song has become an unofficial transnationalanthem for Cantonese people, arguing that Master Wong’s themeauralises an abstract sense of imagined community.
I chose the next paper as a representative of the rapidly growing literature on the South East Asian martial arts. And it seemed to offset some of the previous discussion of Silat.
The paper introduces Silat Tua, a traditional Malay martial art, and its relationship to the tropics of the Malaysian Peninsula and Singapore through the imagery work of the four Elements: Earth, Water, Fire, and Wind. In a world of increasing disconnect between Humans and Nature, the Silat Tua practice is a traditional martial art for bringing harmony and healing, as well as an understanding of how the building blocks of Nature can harmonise, complement and resonate with the natural resources of the human mind, body and spirit. Through recounting the legend of the art’s origin, the first proponent of Silat Tua is shown to have gained inspiration and lessons from the inhabited environment. Examples of how a Silat exponent may explore and come to understand the Elements are discussed before venturing into the practical application of the Elements in cultivating mindfulness and influencing behaviour. The physical environment thus, is not only a source of inspiration for movement but indeed an impetus for leading a harmonious and virtuous life. The paper concludes with the connection and implications of the Elements training in Singapore and its potential in navigating oneself through the constant changes inevitable in life.
I have not yet had a chance to read the following paper by George Jennings. But it looks fascinating and brings the conversation around to the martial practices of Latin America (a topic that deserves more discussion).
There are numerous ways to theorise about elements of civilisations and societies known as ‘body’, ‘movement’, or ‘physical’ cultures. Inspired by the late Henning Eichberg’s notions of multiple and continually shifting body cultures, this article explores his constant comparative (trialectic)approach via the Mexican martial art, exercise, and human development philosophy—
Xilam. Situating Xilam within its historical and political context and within a triad of Mesoamerican, native, and modern martial arts, combat sports, and other physical cultures, I map this complexity through Eichberg’s triadic model of achievement, fitness, and experience sports. I then focus my analysis on the aspects of movement in space as seen in my ethnographic fieldwork in one branch of the Xilam school. Using a bare studio as the setting and my body as principle instrument, I provide an impressionist portrait of what it is like to train in Xilam within a communal dance hall (space) and typical class session of two hours (time) and to form and express warrior identity from it. This articledisplays the techniques; gestures and bodily symbols that encapsulate the essence of the Xilam bodyculture, calling for a way to theorise from not just from and on the body but also across body cultures.
Finally, Paul Bowman has circulated a draft of this paper for comment and discussion. Looks fascinating!
this paper seeks to broach the complex relations of pleasure and violence in martial arts, in relation to their practice, performance and forms of consumption. It does so first by setting out the broad contours of the discursive status of both violence and pleasure in current debates about martial arts, before going on to deconstruct the implications of two short media texts: a controversial 2006 French Connection TV advert known as ‘Fashion versus Style’, and an uncontroversial music video for the 2015 song ‘Be Your Shadow’ by The Wombats.
An assortment of Chinese teas. Source: Wikimedia.
Kung Fu Tea on Facebook
A lot has happened on the Kung Fu Tea Facebook group over the last month. We looked at antique weapons, reviewed some Republic era TCMA manuals, and learned how to defend ourselves with nothing but a bicycle! (Yeah, apparently that was actually a thing in 1900). Joining the Facebook group is also a great way of keeping up with everything that is happening here at Kung Fu Tea.
Horse races are strongholds of pageantry and tradition, but when it comes to medieval texture, few can compare with the Palio di Siena. Oddly, any footage of the event reminds me of a critical issue within martial arts studies. I suppose that is an occupational hazard. Pretty much anything can remind me of some aspect of the martial arts.
Still, a few words on the Palio may be in order before setting out to explore what is “traditional” in current martial practice, and what this term should denote in academic writing. Hopefully exploring one of Europe’s oldest (and probably most dangerous) horse races will help us to distinguish between the notion of “tradition” as a rhetorical posture within the modern discourse on the martial arts, and the critical ways in which pre-modern martial arts activities diverge from their modern counterparts. Even if the physical movements and uniforms are indistinguishable from what was seen in the past, the actual activity that individuals are engaged in are always a response to contemporary events and conditions.
If one types “Palio” in a YouTube search bar, you will find numerous clips of horses and jockeys racing at breakneck speeds through Siena’s wonderful architecture, cheered on by an enthusiastic crowd. If you watch a little longer a few oddities will begin to appear. To begin with, traditional Italian architecture was never really designed with horse racing in mind. Indeed, it was probably more interested in slowing down mounted charges than facilitating them. It is not uncommon for horses to go down or riders to be unseated. That tendency is multiplied by the fact that the jockeys race bareback.
Even more interesting is the crowd itself, packed into every space surrounding the designated race course. The term “throng” is thrown around rather loosely, but no other word comes to mind as you survey the pulsing sea of humanity. Yes, tourists come to see the race. But the only way to achieve that density would be if a sizable proportion of the local neighborhoods showed up as well. Which of course thy do.
The Palio di Siena is much more than a horserace to the 17 wards that make up the city. It is a time of rivalry in which each neighborhood conspires to host banquets, celebrations, religious processions and demonstrations in an attempt to impress and outdo their neighbors. The race itself (run only by horses representing 10 of these wards, selected by lot) is the climax of a cycle of preparation that spans much of the year. Bands must be maintained, flag throwers trained, and one suspects that quite a bit of expense goes into maintaining Siena’s rather large population of urban race horses. In rare instances a special race is even commissioned to celebrate important city events or to mark critical anniversaries.
Each race is a festival, and the best party in town. It also appears that for many members of the local neighborhoods, the party is a requirement. One simply does not root for a horse from a neighboring ward simply because it has a better chance of winning. Everyone knows which team they are on, because it was the team that they were born into. While tourists watch the race, they do not, and cannot, experience it in the same way as those whose lives are interwoven with it. For them the party seems mandatory.
A depiction of kicking and unarmed fighting traditions in the traditional Italian martial arts.
The Italian Martial Arts Renaissance
While spectacular, the Palio di Siena is not unique. Italy’s famously independent cities and regions have generated countless festivals. Many of them have a distinctly martial character. The history of the Palio is fairly well known. It seems that seasonal boxing and jousting tournaments gave way to bull fighting and horse-racing at the end of the medieval period. The modern Palio (reorganized and consolidated in an attempt to reduce accidental injuries) dates to the early 1700s. Many of these Italian contests pit neighborhoods against each other. Sometimes the contests are good natured. In other instances, things look more like organized brawling held under the guise of some sort of sporting contest. But no matter the specific object of the festival, there are always parties.
It was actually the parties that caught my attention. Recently I have had the good fortune to observe small pieces of what might be called the modern Italian martial arts renaissance. Increasingly I am finding Italian martial artists in all sorts of unexpected places. Traditional Italian martial arts, including various styles of knife and stick fighting, have established footholds in North America and countries like Germany, France and Russia.
While something like Sicilian knife fighting is among the most visible of the Italian martial arts, this material has not traveled alone. Italian systems of boxing and wrestling are also being re-popularized. And the explosion of interest in HEMA has provided a ready-made outlet for many schools of Italian historical fencing. Indeed, a colleague in the Bay Area (and specialist in Italian stick fighting) recently told me that in his view the “traditional” Italian martial arts are united by a shared inheritance of embodied knowledge preserved within, and then borrowed from, these older fencing practices.
This view, while historically interesting, also reminds us of something else. There is a lot going on in the world of the Italian martial arts that does not fit within the self-identified realm of “tradition.” Italy has several interesting boxing traditions firmly rooted in the 20thcentury. Judo, BJJ and MMA are all popular pursuits. In fact, Ludosport, one of the largest lightsaber combat schools, was founded in Milan in the 2000s. It has since established branches all over Europe and North America. While I wonder whether some local stick fighting techniques made their way into the Ludosport curriculum, no one would think to call this a “traditional Italian martial art.”
That is where the puzzle begins to unfold. How do we know a “traditional” art when we see one? What specific practices, identities or expectations set these apart from their modern cousins?
In the 20thcentury “traditional Asian martial arts” declared their presence in a number of ways. They tended to introduce unique, nationally defined, training uniforms. Elaborate, usually invented, histories were taught to students as a way of defining their new identity as members of the schools and emphasizing a shared set of values. Movements were stylized in unique and aesthetically pleasing ways. New modes of personal address were introduced. Sometimes students were even expected to master a new language (whether Japanese, Korean or even Portuguese) if they wished to really “understand” their chosen martial practice. This differs from the ethos of the modern combat sports (boxing, wrestling and MMA) which embrace contemporary society, rather than throwing up symbolic barriers.
In these specific respects Ludosport actually comes off as a very “traditional” martial art. It strictly maintains its own codes of dress, address and behavior. Indeed, it tends to be a rather closed community at least partially because of these strategies. One is also expected to learn at least of bit of Italian to take part in classes. Yet its engagement with Italian culture goes well beyond that. I recently had the opportunity to watch students in southern New York counting down drills, naming techniques and going through entire tournament matches without a word of English being spoken. At least within Ludosport, Italian has become the universal language of the lighsaber. One suspects that a degree of fluency and affinity for Italian culture would be a practical (if not formal) prerequisite for actually mastering this system.
I think that the love of a good party is probably also necessary to flourish within the Ludosport community. Its organizers have devoted substantial energy to creating a yearly cycle of tournaments, each with its own period of preparation, and each followed by a period of celebration. Indeed, one of the things that has been most surprising about this community is distances that individuals are willing to travel (and the economic resources they will spend), to participate in these gatherings. The parties almost feel mandatory, and they are clearly the sort of community strengthening exercise that Emile Durkheim would have delighted in.
This global export of Italian culture is not unique to Ludosport. I asked what sort of student was most likely to take up the traditional Italian martial arts (knife and stick) while interviewing another instructor who moved to the Bay Area some time ago. He noted that when he began to teach, he expected only limited interest from the local community. Given the extent to which these practices are tied directly to Italian culture he guessed that his students would mostly be Italian Americans looking to reconnect with their heritage. Instead he discovered a huge amount of interest and a student body that closely mirrored the demographics of the local universities. While Italian-Americans occasionally take an interest in Sicilian knife fighting, or the Shepard’s stick, most of his students have no direct connection to Italy and many are Asian Americans.
When asked why these sorts of students stayed, or what they got out of traditional stick fighting, my friend concluded, after a moment of thought, that it was probably the community. They loved learning the language. They loved the dinners and the parties. He noted, with some surprise, the number of American university students who are now taking time to travel to Italy specifically to study with other martial arts instructors there.
On a technical level Ludosport is engaged in a very different exercise than that of my friend in the Bay Area. He pursues the study of “traditional” arts while they are intent on developing a “hyper-real” one. He wields a stick or knife, while they opt for the lightsaber. He teaches a skill-based classes to local university students, while Ludosport (which also supports a skills based curriculum) seems more interested in organizing itself as an international athletic league.
Yet for all of their differences, both organizations strike me as playing a fundamentally similar role within the Italian martial arts renaissance. Each presents a set of skills embedded within a distinctly Italian cultural framework. This rich web of understanding is conveyed not just through embodied knowledge (which obviously constitutes the core of actual practice), but also through the promotion of media, social networks, language acquisition, travel and an emphasis on the intensive socialization of new students. What sorts of models exist for understanding this behavior (or in the case of Ludosport, creating it from the ground up)? One suspects that examining Italy’s long history of neighborhood festivals (often structured around quasi-military contests) might be a good place to start.
A less traditional Italian martial art.
The Mandatory Party?
Still, the more we look at festivals like Palio di Siena, the more paradoxes appear. Can a raging, multi-week, period of intensive community preparation, practice and partying really be made mandatory? What sort of social sanctions could convince people who don’t like the traffic (or who find the injuries to horses and riders disturbing) not to take that long-awaited vacation to Canada? Or on a more philosophical level, if the community mandates that you go out and have fun, isn’t that really a type of work? Sure, there may be loud music and lots of alcohol, but if one is required to be there, aren’t you really performing a civic or organizational duty?
This was one of several important questions that the anthropologist Victor Turner asked in his 1974 essay “Liminal to Liminoid, in Play, Flow and Ritual: As Essay in Comparative Symbology.” His answer is particularly important for understanding the gradations of “tradition” that we might find in the martial arts. Yet on an even more basic level, he attempts to provide insights about the nature of the modern world, and the ways that industrialized and post-industrial societies tend to reposition “play” as “leisure” and “work” as “labor.”
The brief version of Turner’s answer would likely be that the existence of a “mandatory party” is possible in certain times and places, but not in our current situation. The advent of industrialization brought a fundamental transformation to how we understand concepts like “leisure” and “free time.” As such, when we see something that resembles, or postures, as a mandatory party, its important to consider what social work it is attempting to accomplish within a modern social context. What set of personal or psychological needs are being fulfilled by something that is, in reality, almost certainly a voluntary consumption decision?
Turner begins by observing that in truly traditional communities, characterized by extensive face to face interactions, the line between transformative ritual (whether seasonal in nature or a rite of passage) and the world of normal daily work was often not what we would think. Agricultural or physical labor was necessary to prepare material for religious sacrifices which would then ensure the productivity of one’s work in the coming year. An individual ritual action might be hedged about with symbolic cultural markers, demarcating it as “sacred space.” Yet the cycles of the calendar itself tended to unite things into a single whole. It dictated when work would happen, when times would be lean, and when festivals could be celebrated. Regulating the success of this system (thus ensuring the survival of the group) monopolized the resources of the community.
It is not a surprise, then, to read about entire communities coming out to cooperatively plant in the spring or gather crops later in the year. That sort of work was an economic and social necessity. Yet Turner went on to note that the sorts of feasts and festivals that occurred in these communities were also mandatory and a type of social work, rather than being an optional event or an example of modern “leisure.” Just as one had a responsibility to work in the community fields, or defend the community’s boundaries in its militia, one also had a responsibility to take part in the festivals and rituals that ensured fecundity, or attempted to ward off disease or natural disaster.
Certainly, these times were marked with celebration and creative play. Yet they were also instances of very intense social work. The notion of true leisure (meaning a realm of voluntary activity chosen by the individual and financed by the fruits of their personal labor) could only come into existence once economic markets had been developed in land and labor, a process that Karl Polanyi called “The Great Transformation.” Turner had much to say about this distinction, but perhaps we can summarize simply by noting that even if a given ritual might be preserved across this cultural barrier, its nature and meaning would be utterly transformed. To call on a seasonal example, wassailing in 16thcentury England was quite different, and implied a very different set of social structures and responsibilities, then singing Christmas carols today. The latter is strictly a voluntary (and modern) activity. The former was very much a “mandatory party” which wealthy landowners could not easily opt out of.
I think that one can see all of this illustrated in our modern confusion over the definition of Chinese martial culture. Did these practices originate in the changing social conditions (urbanization) of the Song dynasty, the coastal military crisis of the Ming, or ritual attempts to control disease, flood and famine in the Qing? The answer, of course, is “yes.” Both practice and performance have been deeply implicated within the development of the Chinese martial arts. The 16thcentury piracy crisis necessitated the reform of martial training to counter a new threat. Yet the four horsemen of the apocalypse always ride together. Famine and disease do not exist separately from military conflict. They are closely associated with it. Wars lead to hunger, and hunger leads to social violence.
This relationship was clearly understood by Chinese scholars, community leaders and military officers, all of whom had ample opportunities to study the subject in great detail. Thus martial rituals (lion and dragon dancing, several types of temple processions, the staging of community operas) carried out to address these more existential threats cannot ever be fully separated from the practical business of “real” martial arts training. Our constant attempts to do so, to fracture the overall unity of martial culture, tells us much more about the ways that economic and social specialization shape our own culture than anything about what happened in pre-1911 China. In 1840 both training with the militia and celebrating the New Year with the lion dance company were examples of “kung fu” because both were types of social work that certain young men were expected to render to the larger community. At times there was a ludic aspect to this work, but again, the party was mandatory.
None of this is the case today. Indeed, the party itself seems to have largely vanished. While conducting interviews I often hear the old timers talk about the wonderful socialization that happened after training at Chinese martial arts schools during the 1970s and 1980s. They relate stories of the hours spent in restaurants, or the group expeditions to grindhouse theaters to watch kung fu films. It all sounds wonderful. But I have never actually seen anything like it within my own experience. Instead, it is always framed as something “we used to do.”
When I ask about the change inevitably I hear that people grew-up, had families and got too busy. I suspect that this also signals the dramatic loss of social capital within American society that Putnam and other social scientists have written about. Still, the very fact that one can make a choice about this, that the party can even go out of fashion, suggests that these sorts of activities are very different from their pre-modern forbearers. What had been social work, necessary to maintaining the community, came to be experienced as a type of leisure, one consumer good among many which individuals used to fill their free time. It was this prior transformation that allowed it to become too expensive or unfashionable to continue.
All of this should lead to a moment’s reflection on what we mean when using the term “traditional” to discuss the martial arts. I am not suggesting that anyone change their terminology, but we should be aware that two very different possibilities are always at play. Logically, “tradition” would seem to refer to the practices and social structures of the pre-modern era. It was at this time that one might find a truly “mandatory party,” or martial arts practice understood as a necessary aspect of community service. Yet that is almost never what practitioners or scholars actually mean when using the term today. Instead they are referring to a group of modern practices which emerged in the late 19thor 20thcentury, almost all of which attempt to convey an ethno-nationalist body of knowledge through a type of physical training defining itself in opposition to “modern” (read, universally available) sports. This is “tradition” as a label that is chosen within a very modern marketplace of ideas, rather than something that predates or rejects a modernist understanding of the world. While the label points back to an imagined past of “essentialist” and immutable national identities, such a usage can exist only within a contemporary context.
“Local Militia Shandong.” 1906-1912 by Fr. Michel de Maynard.
Conclusion
So why would some communities (either kung fu schools in the 1970s, or Italian martial arts today) attempt to replicate the tradition of the mandatory party? Again, rather than an actual return to the past, one suspects that this is a response to proximate concerns found within recent trends. Over the summer I had a chance to attend Ludosport’s first national tournament in the USA and was surprised by the number of athletes that they assembled. It must have been a sizable percentage of the organization’s entire American student body. One can only wonder at the economic costs of making something like that happen.
As the tournament went on the attraction became more evident. Certainly, the matches and workshops were interesting, but the party was fantastic. It was the primary means by which old friendships were reinforced and new relationships forged. It was there that the basic social values of the group were hashed out. Indeed, these social gatherings were so important they were not left to chance. Ample time for “spontaneous” socialization was actually built into the events schedule. Further, the organizer’s habit of repeatedly scheduling important business meetings for school owners and instructors as “break-out sessions” during the main parties meant that for the professional within the group, the “mandatory party” was not just a metaphor. You really did have to be there. That was actually rough on many of the more jetlagged attendees.
Creating a martial arts group that can impose these sorts of costs on its member is not easy in the current environment. The higher the barriers to entry, the lower one’s potential student base will be. Still, it is not hard to see the attraction in all of this. Social and economic changes within the American economy have, over the last few decades, hollowed out its once vibrant community and associational life. Individuals crave a sense of intense, authentic community, something that, in an increasingly chaotic world, you can build a life around.
Creating those sorts of institutions is no easy task. It is one that goes well beyond looking for a time to schedule a couple of weekday classes. Still, the recent success of the Italian martial arts (whether traditional or hyper-real) in North America suggests that there is an immense appetite for this more intensive community experience.
This also raises questions for students of martial arts studies. When you look at the “clan structure”, cyclic yearly calendar and “mandatory parties” of Ludosport, it is easy to be reminded of the pre-modern traditions of something like the Palio di Siena. Indeed, one suspects that these sorts of social institutions served as a model for the construction of this more modern organization. Yet if we forget that the world that structures these demands is actually quite different from the one that gave rise to an earlier generation of community traditions, that modern leisure is not the same thing as peasant’s play, we will misunderstand the social work that the martial arts perform today.
Bernard the Kung Fu Elf riding Shotgun with Santa. (Source: Vintage American Postcard, authors personal collection.)
I am not going to lie. The annual Christmas list is my favorite post of the year. So welcome to Kung Fu Tea’s seventh annual holiday shopping list! Not only are we going to find some cool gift ideas, but hopefully this post will inspire you to make time for martial arts practice during the festive season. Training is a great way to deal with the various stresses that holidays always bring. And Christmas is the perfect excuse to stock up on that gear that you have been needing all year.
This year’s shopping list is split into four categories: books, training equipment, weapons, and (for the first time) “gifts for the martial artist who has everything”. This last category will focus on experiences rather than objects. I have tried to select items at a variety of price points for each category. Some of the gift ideas are quite reasonable while others are admittedly aspirational. After all, Christmas is a time for dreams, so why not dream big!
Given the emphasis of this blog, many of these ideas pertain to the Chinese martial arts, but I do try to branch out in places. I have also put at least one Wing Chun related item in each category. Nevertheless, with a little work many of these ideas could be adapted to fit the interests of just about any martial artist.
As a disclaimer I should point out that I have no financial relationship with any of the firms listed below (except for the part where I plug my own book). This is simply a list of gift ideas that I thought were interesting. It is not an endorsement or a formal product review. Lastly, I would like to thank my friend Bernard the “Kung Fu Elf” (see above) for helping me to brainstorm this list.
Books to Feed You Head
This has been a good year for books. Nowhere is the growth of martial arts studies more evident than in the explosion of new publications. Things have been so busy this year that I have been forced to restrict myself to new releases. Still, the first item on this list is both reasonably priced and outstanding reading….
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.
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.
You can find my review of this book here. While I am a bit disappointed that the author failed to engage with the recent English language scholarship on the Chinese martial arts, this book is sure to show up in many future bibliographies.
Now for something a little lighter (err, easier to read…at 500 pages this book is actually quite heavy…)
The most authoritative biography—featuring dozens of rarely seen photographs—of film legend Bruce Lee, who made martial arts a global phenomenon, bridged the divide between Eastern and Western cultures, and smashed long-held stereotypes of Asians and Asian-Americans.
Forty-five years after Bruce Lee’s sudden death at age thirty-two, journalist and bestselling author Matthew Polly has written the definitive account of Lee’s life. It’s also one of the only accounts; incredibly, there has never been an authoritative biography of Lee. Following a decade of research that included conducting more than one hundred interviews with Lee’s family, friends, business associates, and even the actress in whose bed Lee died, Polly has constructed a complex, humane portrait of the icon.
Polly explores Lee’s early years as a child star in Hong Kong cinema; his actor father’s struggles with opium addiction and how that turned Bruce into a troublemaking teenager who was kicked out of high school and eventually sent to America to shape up; his beginnings as a martial arts teacher, eventually becoming personal instructor to movie stars like James Coburn and Steve McQueen; his struggles as an Asian-American actor in Hollywood and frustration seeing role after role he auditioned for go to a white actors in eye makeup; his eventual triumph as a leading man; his challenges juggling a sky-rocketing career with his duties as a father and husband; and his shocking end that to this day is still shrouded in mystery.
Polly breaks down the myths surrounding Bruce Lee and argues that, contrary to popular belief, he was an ambitious actor who was obsessed with the martial arts—not a kung-fu guru who just so happened to make a couple of movies. This is an honest, revealing look at an impressive yet imperfect man whose personal story was even more entertaining and inspiring than any fictional role he played onscreen.
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.
The practice of capoeira, the Brazilian dance-fight-game, has grown rapidly in recent years. It has become a popular leisure activity in many cultures, as well as a career for Brazilians in countries across the world including the US, the UK, Canada and Australia. This original ethnographic study draws on the latest research conducted on capoeira in the UK to understand this global phenomenon. It not only presents an in-depth investigation of the martial art, but also provides a wealth of data on masculinities, performativity, embodiment, globalisation and rites of passage.
Centred in cultural sociology, while drawing on anthropology and the sociology of sport and dance, the book explores the experiences of those learning and teaching capoeira at a variety of levels. From beginners’ first encounters with this martial art to the perspectives of more advanced students, it also sheds light on how teachers experience their own re-enculturation as they embody the exotic ‘other’.
Embodying Brazil: An Ethnography of Diasporic Capoeira is fascinating reading for all capoeira enthusiasts, as well as for anyone interested in the sociology of sport, sport and social theory, sport, race and ethnicity, or Latin-American Studies.
You don’t need very much gear to practice the Chinese martial arts. But that doesn’t mean it isn’t nice to have a couple of things on hand, particularly when you start to get bruised up from partner work or dummy drills. While researching the history of a prominent family of martial arts practicing pharmacists in Foshan I came across the story of this particular brand of Dit Da Jow. I should probably dig some of that research out of my notes and turn it into an essay. But ever since then, I have kept a bottle of it around. You can usually find this brand at your local Chinese pharmacy, or even a good sized grocery story. Barring that, you can always just order it from Amazon.
This style of striking pad that was popularized in Muay Thai training, but I use it all the time in my Wing Chun practice. Honestly, I can’t think of the (striking) school that couldn’t use a few more pairs of these. Best of all, the size is always right! The perfect inexpensive gift for the Sifu in your life.
Having the right gear is good. But having the perfect bag to haul it all around in is (as they say) priceless. That is particularly true if the gear you are hauling is heavy, awkwardly shaped, or likely to freak people out if you were just walk down the sidewalk with it on your shoulder. These bags can be pricey at $150. But after having destroyed a few lower quality, non-purpose built bags over the last year, I am gaining a renewed appreciation for how easy a good gear bag can make life. Particularly when swords and lightsabers are involved.
Everyone seems to be talking about bringing more competitive style sparring into traditional Chinese martial arts training. And that means thinking about the right gear. I like my Hayabusa boxing gloves, but something like this might be great for those who want a little more dexterity for grabs, laups and paks.
And now for some “affordable” luxury. In the last couple of years a number of my kung fu brothers have bought (or switched to) iron body training dummies. These are a lot cheaper than nicely made wooden dummies, and they can easily be stuck in the corner of room that might not otherwise accommodate a hanging dummy (which I still think is the way to go if you have a chance). But while the quality of the Jong’s body and base is often great, I have noticed several (and I mean lots) of complaints about broken legs and rough workmanship on the arms. Lets face it, these are the parts of the dummy that we actually come into contact with the most frequently. So why not upgrade that part of your Jong to something a little more reliable and nicer to the touch?
At $120, is this the perfect jian for basic skills training and forms work? I have had a couple of longtime practitioners make that argument recently, based not just on the price point but the weight of this sword. Given my continuing exploration of Wudang Jian, I have a feeling that this is one item that might be making its way onto my personal shopping list.
There is no denying that the dadao is hot. I am seeing lots of interest in this weapon. The social scientist in me thinks that we need to take a step back and ponder what this all means. But my more practical side just wants to grab one of these trainers and work on some sword vs. bayonet drills. This particular trainer is available with either a disk or “S” guard. Also check out Purpleheart’s nylon jian trainers.
If you would prefer a sharper (and more historically/ethnographically significant) knife at a decent price point, why not consider an antique Nepalese military kukri. I have been collecting these for years, and have always found it ironic that the originals are so cheap compared to the latter British and Indian copies that were mass produced during the World Wars. Once you get your kukri be sure to check out this guide and discover your knife’s history.
There are lots of high quality butterfly swords out there, but I have been partial to these as their slim construction is much closer to most of the antiques that have survived than the sorts of “chopping” swords which became more popular after the early 20th century. And lets be honest, nothing say’s “Christmas” to the Wing Chun student/instructor in your life more than discovering a set of these in their stocking.
For the Martial Artist Who Has Everything….
I have long believed that many people are attracted to the martial arts as a type of virtual tourism. By practicing these arts we find a way to visit, contemplate and experience aspects of a time or place that we might not otherwise be able to visit. That is an important point to stress as survey data suggest that increasingly consumers value unique experiences more than the acquisition of objects. As such, the last section of our holiday list provides a different take on what the martial arts have to offer.
Lets begin with a destination that one can only visit through martial arts training. Have you (or the Star Wars fan in your life) ever wanted to learn to wield an elegant weapon from a more civilized age? If so, consider joining the Terra Prime Light Armory. Its a free, open-source, lightsaber academy run by experienced martial artists (mostly Kung Fu/Taijiaqan guys, but you will find some other stuff in there as well). If there is a brick and mortar club in your area they will be more than happy to point you in the right direction, and if not they offer an extensive database of on-line learning tools with individualized feedback mechanisms. Best of all, a voyage with the “Learners in Exile Corps” will not cost you a thing as these guys are in it for the love of the game. Sometimes the best things in life really are free!
No matter what aspect of the martial arts, and their interaction with popular culture, you are interested in, you are likely to find it at Combat Con. Held annually in Las Vegas (August 1-4, 2019), this event is unique in that it brings together a wide range of armed and unarmed martial arts instructors, while also hosting a variety of tournaments, performances, workshops for writers and game developers, cosplay contests and yes, even a full contact lightsaber tournament ($15 entrance feee). So if you are a social scientist who studies the martial arts in the modern world, the only question you have to ask yourself is why aren’t you already planning on going?
Its hard to estimate the cost of this one. Obviously you will need to fly to Vegas in August (which, in all honesty, is not the best time of year to visit this desert oasis). The public can visit the event for free, but if you want to do all of the workshops, tournaments and events you will probably end up paying in the $200-$300 range.
Left to Right: Doug Farrer, Scott Phillips, Paul Bowman at the Farewell Dinner of the 2015 Martial Arts Studies Conference in Cardiff.
Its not hard to find cheap plane tickets to LA, and this is the premier event of the Martial Arts Studies community. I can’t say enough about how much I have enjoyed these meetings over the years. The sense of community is really unlike anything I have ever seen at a conference before. An advanced registration would make the perfect gift for either yourself or the erudite warrior/scholar in your life.
A still from Come Drink With Me. Classic martial arts cinema at its best.
This is the part of the list where we dream big. It goes without saying that China is full of places where you can spend a few months studying the martial art of your choice (including Wing Chun). I selected this school as Chengdu is on my bucket list of places to stay for a few months, and one of my friends studied with Master Li for years when he lived in the area as a journalist. This would be a very authentic/rustic experience, rather than the sort of school catering to the “glampers” out there. And Chengdu has a great martial arts history that needs more exploration in the English language literature.
Prices for extended live-in training start at just under $1000 USD (not including airfare). Of course the real cost of this this sort of “Kung Fu Pilgrimage” is taking a few months off from work. But this is the stuff that dreams are made of!
That is it for this year’s Christmas shopping list. If you have other suggestions for items that might be of interest to the Kung Fu Tea community tell us in the comments!
Bernard the Kung Fu Elf riding Shotgun with Santa. (Source: Vintage American Postcard, authors personal collection.)
I am not going to lie. The annual Christmas list is my favorite post of the year. So welcome to Kung Fu Tea’s seventh annual holiday shopping list! Not only are we going to find some cool gift ideas, but hopefully this post will inspire you to make time for martial arts practice during the festive season. Training is a great way to deal with the various stresses that holidays always bring. And Christmas is the perfect excuse to stock up on that gear that you have been needing all year.
This year’s shopping list is split into four categories: books, training equipment, weapons, and (for the first time) “gifts for the martial artist who has everything”. This last category will focus on experiences rather than objects. I have tried to select items at a variety of price points for each category. Some of the gift ideas are quite reasonable while others are admittedly aspirational. After all, Christmas is a time for dreams, so why not dream big!
Given the emphasis of this blog, many of these ideas pertain to the Chinese martial arts, but I do try to branch out in places. I have also put at least one Wing Chun related item in each category. Nevertheless, with a little work many of these ideas could be adapted to fit the interests of just about any martial artist.
As a disclaimer I should point out that I have no financial relationship with any of the firms listed below (except for the part where I plug my own book). This is simply a list of gift ideas that I thought were interesting. It is not an endorsement or a formal product review. Lastly, I would like to thank my friend Bernard the “Kung Fu Elf” (see above) for helping me to brainstorm this list.
Books to Feed You Head
This has been a good year for books. Nowhere is the growth of martial arts studies more evident than in the explosion of new publications. Things have been so busy this year that I have been forced to restrict myself to new releases. Still, the first item on this list is both reasonably priced and outstanding reading….
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.
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.
You can find my review of this book here. While I am a bit disappointed that the author failed to engage with the recent English language scholarship on the Chinese martial arts, this book is sure to show up in many future bibliographies.
Now for something a little lighter (err, easier to read…at 500 pages this book is actually quite heavy…)
The most authoritative biography—featuring dozens of rarely seen photographs—of film legend Bruce Lee, who made martial arts a global phenomenon, bridged the divide between Eastern and Western cultures, and smashed long-held stereotypes of Asians and Asian-Americans.
Forty-five years after Bruce Lee’s sudden death at age thirty-two, journalist and bestselling author Matthew Polly has written the definitive account of Lee’s life. It’s also one of the only accounts; incredibly, there has never been an authoritative biography of Lee. Following a decade of research that included conducting more than one hundred interviews with Lee’s family, friends, business associates, and even the actress in whose bed Lee died, Polly has constructed a complex, humane portrait of the icon.
Polly explores Lee’s early years as a child star in Hong Kong cinema; his actor father’s struggles with opium addiction and how that turned Bruce into a troublemaking teenager who was kicked out of high school and eventually sent to America to shape up; his beginnings as a martial arts teacher, eventually becoming personal instructor to movie stars like James Coburn and Steve McQueen; his struggles as an Asian-American actor in Hollywood and frustration seeing role after role he auditioned for go to a white actors in eye makeup; his eventual triumph as a leading man; his challenges juggling a sky-rocketing career with his duties as a father and husband; and his shocking end that to this day is still shrouded in mystery.
Polly breaks down the myths surrounding Bruce Lee and argues that, contrary to popular belief, he was an ambitious actor who was obsessed with the martial arts—not a kung-fu guru who just so happened to make a couple of movies. This is an honest, revealing look at an impressive yet imperfect man whose personal story was even more entertaining and inspiring than any fictional role he played onscreen.
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.
The practice of capoeira, the Brazilian dance-fight-game, has grown rapidly in recent years. It has become a popular leisure activity in many cultures, as well as a career for Brazilians in countries across the world including the US, the UK, Canada and Australia. This original ethnographic study draws on the latest research conducted on capoeira in the UK to understand this global phenomenon. It not only presents an in-depth investigation of the martial art, but also provides a wealth of data on masculinities, performativity, embodiment, globalisation and rites of passage.
Centred in cultural sociology, while drawing on anthropology and the sociology of sport and dance, the book explores the experiences of those learning and teaching capoeira at a variety of levels. From beginners’ first encounters with this martial art to the perspectives of more advanced students, it also sheds light on how teachers experience their own re-enculturation as they embody the exotic ‘other’.
Embodying Brazil: An Ethnography of Diasporic Capoeira is fascinating reading for all capoeira enthusiasts, as well as for anyone interested in the sociology of sport, sport and social theory, sport, race and ethnicity, or Latin-American Studies.
You don’t need very much gear to practice the Chinese martial arts. But that doesn’t mean it isn’t nice to have a couple of things on hand, particularly when you start to get bruised up from partner work or dummy drills. While researching the history of a prominent family of martial arts practicing pharmacists in Foshan I came across the story of this particular brand of Dit Da Jow. I should probably dig some of that research out of my notes and turn it into an essay. But ever since then, I have kept a bottle of it around. You can usually find this brand at your local Chinese pharmacy, or even a good sized grocery story. Barring that, you can always just order it from Amazon.
This style of striking pad that was popularized in Muay Thai training, but I use it all the time in my Wing Chun practice. Honestly, I can’t think of the (striking) school that couldn’t use a few more pairs of these. Best of all, the size is always right! The perfect inexpensive gift for the Sifu in your life.
Having the right gear is good. But having the perfect bag to haul it all around in is (as they say) priceless. That is particularly true if the gear you are hauling is heavy, awkwardly shaped, or likely to freak people out if you were just walk down the sidewalk with it on your shoulder. These bags can be pricey at $150. But after having destroyed a few lower quality, non-purpose built bags over the last year, I am gaining a renewed appreciation for how easy a good gear bag can make life. Particularly when swords and lightsabers are involved.
Everyone seems to be talking about bringing more competitive style sparring into traditional Chinese martial arts training. And that means thinking about the right gear. I like my Hayabusa boxing gloves, but something like this might be great for those who want a little more dexterity for grabs, laups and paks.
And now for some “affordable” luxury. In the last couple of years a number of my kung fu brothers have bought (or switched to) iron body training dummies. These are a lot cheaper than nicely made wooden dummies, and they can easily be stuck in the corner of room that might not otherwise accommodate a hanging dummy (which I still think is the way to go if you have a chance). But while the quality of the Jong’s body and base is often great, I have noticed several (and I mean lots) of complaints about broken legs and rough workmanship on the arms. Lets face it, these are the parts of the dummy that we actually come into contact with the most frequently. So why not upgrade that part of your Jong to something a little more reliable and nicer to the touch?
At $120, is this the perfect jian for basic skills training and forms work? I have had a couple of longtime practitioners make that argument recently, based not just on the price point but the weight of this sword. Given my continuing exploration of Wudang Jian, I have a feeling that this is one item that might be making its way onto my personal shopping list.
There is no denying that the dadao is hot. I am seeing lots of interest in this weapon. The social scientist in me thinks that we need to take a step back and ponder what this all means. But my more practical side just wants to grab one of these trainers and work on some sword vs. bayonet drills. This particular trainer is available with either a disk or “S” guard. Also check out Purpleheart’s nylon jian trainers.
If you would prefer a sharper (and more historically/ethnographically significant) knife at a decent price point, why not consider an antique Nepalese military kukri. I have been collecting these for years, and have always found it ironic that the originals are so cheap compared to the latter British and Indian copies that were mass produced during the World Wars. Once you get your kukri be sure to check out this guide and discover your knife’s history.
There are lots of high quality butterfly swords out there, but I have been partial to these as their slim construction is much closer to most of the antiques that have survived than the sorts of “chopping” swords which became more popular after the early 20th century. And lets be honest, nothing say’s “Christmas” to the Wing Chun student/instructor in your life more than discovering a set of these in their stocking.
For the Martial Artist Who Has Everything….
I have long believed that many people are attracted to the martial arts as a type of virtual tourism. By practicing these arts we find a way to visit, contemplate and experience aspects of a time or place that we might not otherwise be able to visit. That is an important point to stress as survey data suggest that increasingly consumers value unique experiences more than the acquisition of objects. As such, the last section of our holiday list provides a different take on what the martial arts have to offer.
Lets begin with a destination that one can only visit through martial arts training. Have you (or the Star Wars fan in your life) ever wanted to learn to wield an elegant weapon from a more civilized age? If so, consider joining the Terra Prime Light Armory. Its a free, open-source, lightsaber academy run by experienced martial artists (mostly Kung Fu/Taijiaqan guys, but you will find some other stuff in there as well). If there is a brick and mortar club in your area they will be more than happy to point you in the right direction, and if not they offer an extensive database of on-line learning tools with individualized feedback mechanisms. Best of all, a voyage with the “Learners in Exile Corps” will not cost you a thing as these guys are in it for the love of the game. Sometimes the best things in life really are free!
No matter what aspect of the martial arts, and their interaction with popular culture, you are interested in, you are likely to find it at Combat Con. Held annually in Las Vegas (August 1-4, 2019), this event is unique in that it brings together a wide range of armed and unarmed martial arts instructors, while also hosting a variety of tournaments, performances, workshops for writers and game developers, cosplay contests and yes, even a full contact lightsaber tournament ($15 entrance feee). So if you are a social scientist who studies the martial arts in the modern world, the only question you have to ask yourself is why aren’t you already planning on going?
Its hard to estimate the cost of this one. Obviously you will need to fly to Vegas in August (which, in all honesty, is not the best time of year to visit this desert oasis). The public can visit the event for free, but if you want to do all of the workshops, tournaments and events you will probably end up paying in the $200-$300 range.
Left to Right: Doug Farrer, Scott Phillips, Paul Bowman at the Farewell Dinner of the 2015 Martial Arts Studies Conference in Cardiff.
Its not hard to find cheap plane tickets to LA, and this is the premier event of the Martial Arts Studies community. I can’t say enough about how much I have enjoyed these meetings over the years. The sense of community is really unlike anything I have ever seen at a conference before. An advanced registration would make the perfect gift for either yourself or the erudite warrior/scholar in your life.
A still from Come Drink With Me. Classic martial arts cinema at its best.
This is the part of the list where we dream big. It goes without saying that China is full of places where you can spend a few months studying the martial art of your choice (including Wing Chun). I selected this school as Chengdu is on my bucket list of places to stay for a few months, and one of my friends studied with Master Li for years when he lived in the area as a journalist. This would be a very authentic/rustic experience, rather than the sort of school catering to the “glampers” out there. And Chengdu has a great martial arts history that needs more exploration in the English language literature.
Prices for extended live-in training start at just under $1000 USD (not including airfare). Of course the real cost of this this sort of “Kung Fu Pilgrimage” is taking a few months off from work. But this is the stuff that dreams are made of!
That is it for this year’s Christmas shopping list. If you have other suggestions for items that might be of interest to the Kung Fu Tea community tell us in the comments!
I have just arrived back in Ithaca after spending Sunday driving rather than typing. Still, I have two items that I want to share. The first is a short interview I did with the Rochester Review after The Creation of Wing Chun was released by SUNY Press. I thought it came out rather well, so enjoy!
Second, have you submitted your proposal for the upcoming Martial Arts Studies meetings in California? If not, time is running out fast. Lets get those proposals sent in before Friday. Abstracts are easy to write, all you need is 200 words and a dream!
***I am off visiting family over the holiday weekend, so we are headed back to the archives. Since our (American) readers have just celebrated Thanksgiving, I though it would be appropriate to revisit an essay that asks what we should be grateful for as martial artists and students of martial arts studies. Spoiler alert, the answer is Bruce Lee.***
Introduction: Bruce Lee at 75
Yesterday I celebrated Thanksgiving with my family. As is customary on this day of remembrance I took a few moments to think about the last year and review the many things that I had to be grateful for. The year has been an eventful one.
In the professional realm I had a book published on the social history of the southern Chinese martial arts. I also delivered a keynote address at the first annual martial arts studies conference in the UK and, just recently, saw the publication of the first issue of our new journal on that same topic. I have had opportunities to meet and share my interests with all sorts of fascinating people from all over the world, and have started a number of other projects that should be bearing fruit months and years down the road. As the old Chinese saying goes, a wise man thinks of the source of the water that he drinks, and as I did so it occurred to me that I owe a profound debt of gratitude to Bruce Lee.
Today is the 75th anniversary of Lee’s birth in San Francisco. Born in California and raised in Hong Kong before returning to the West Coast at the end of the 1950s, Lee had a profound effect on the worlds of film, popular culture and the martial arts. While many claims about his career are exaggerated (one should treat with a certain degree of suspicion any assertion that someone was the “first” to do anything) there can be no doubt as to his ultimate impact on the public perception of the martial arts in America, as well as their rapid spread and popularization in the post-1970 era.
For anyone wondering what the point of Kung Fu was, Lee had a very specific answer. It combined a laser like focus on the problems of practical self-defense with a need to find personal and philosophical meaning in practice.
Like others who came before him, Lee argued that the martial arts were ultimately a means of self-creation. Yet drawing on the counter-cultural currents of the time he freed this discourse from the ideological chains that had linked such quests with ethno-nationalist projects for much of the 20th century. He instead placed the individual student at the center of the process. For Lee the martial arts went beyond the normal paradigms of personal security and self improvement and became a means of self actualization.
His own image on the silver screen promised that through these disciplines and their philosophies one could craft a “new self,” one that was fully fit for the challenges of an age of global competition and strife. It was promised that this “new self” would grow out of the process of self expression which the martial arts facilitated. Of course one had to first understand the true nature of these systems to free oneself from their stultifying structures. Individuals might agree or disagree (sometimes violently) with Lee’s assertions, but its hard to underestimate the impact that he had on the ways in which the martial arts are discussed in the West today.
Does this mean that in the absence of Bruce Lee I would not have written my book, or that we would not currently be reading a blog about martial arts studies? Ultimately those sorts of counterfactuals are impossible to answer, and they may cause more confusion than light. Japanese teachers had been promoting their arts in the West since the dawn of the 20th century. Sophia Delza knew nothing of Bruce Lee when she introduced Wu style Taijiquan to New York City. And the Korean government’s heavy support and promotion of Taekwondo had more to do with their own post-colonial struggles with the memory of the Japanese occupation than anything that came out of China.
I suspect that even in a world in which Lee had never existed the martial arts would still have found a respectable foothold in the West. A demand for these systems existed as part of larger cultural trends following WWII, Korea and the Vietnam War. Lee’s genius lay in his ability to understand and speak powerfully to the historical moment that existed.
Following his own advice he bent with the flow of history rather than fighting against it. Certainly some things would remain the same. That seems to follow from the structural nature of 20th century modernization and globalization. Ultimately our theories about the history of the martial arts are very much stories about these two forces (among others).
Yet would I be a student of Wing Chun, a somewhat obscure fighting system from the Pearl River delta region, without Bruce Lee’s rise to fame? Would I have had an opportunity to convince a university press to publish a book whose central historical case was built around a detailed, multi-chapter, biography of Ip Man, Bruce Lee’s teacher? And what of those individuals who study the martial arts? Would this body be as diverse (and sometimes radical) in the absence of Lee’s striking ability to speak to African and Latin-American martial artists (as well as many women and Asians) in the volatile 1970s?
Anthropological studies of the martial arts and social marginality remind us that people who are the most attracted to messages of resistance and individual empowerment are precisely those who have also been disempowered by the dominant social systems of the day. While the globalization of the East Asian martial arts would have come in one guise or another, its clear that I do have a lot to be grateful for when thinking about Lee’s contributions as a film maker, teacher and popularizer of the Chinese martial arts.
Birthdays are also important times for looking to the future. There can be no doubt that Lee’s image has retained a remarkable grip on the public imagination. Decades after his death he still frequently appears on magazine covers and in video games. Books bearing his name (either as an author or in their title) are found in every bookstore with a martial arts section. And Lee’s impact on the realm of martial art films can still be detected with ease. Countless allusions to his more iconic fight sequences can be seen on both the big and small screen. Ninjas may come and go, but even in the age of MMA it seems that Bruce will always have a home on the cover of Black Beltmagazine.
Still, one wonders if we are not starting to see changes in some aspects of how Lee is remembered and discussed. AMC recently aired a new series titled “Into the Badlands.” I have been following the advertising efforts around this project with great interest. The show’s creators have prided themselves in their extensive use of the martial arts. In fact, much of their advertising copy focuses on the fact that they are bringing “real” martial arts to the American small screen for the first time. Of course to make this claim with a straight face it is first necessary to seriously downplay, explain away or “forget” quite a bit of equally revolutionary TV that has come before, from Bruce Lee in the Green Hornet to Chuck Norris in Walker Texas Ranger.
A lot of discussion has also focused on Daniel Wu, the lead actor of this project. The show’s promoters have discussed the supposedly revolutionary nature of his role and the many ways in which he is changing the portrayal of Asian males in the entertainment industry. Yet if one drills down into this rhetoric very far what quickly becomes apparent is that Wu is seen as revolutionary in many of the exact same ways that Lee was seen as exceptional in his own era. The one real difference that stands out is that Wu’s character has the potential to develop a truly romantic story-line, where as this was something that was usually not seen with Lee’s films.
While the blame for this is often put on Hollywood (and there is no doubt that much of that is justified) one must also remember that Lee’s heroes came out of a genera of Cantonese storytelling and filmmaking in which romantic and martial leads tended to be somewhat segregated for important cultural reasons (see Avron Bortez for an extensive discussion of the construction of masculinity in the world of Kung Fu). While I applaud Wu for being able to pursue the sorts of roles that he finds interesting, I worry that his revolution is simultaneously erasing some of the traditional conventions of Chinese film and literature rather than challenging Western audiences with something unfamiliar. This is essentially the same discussion of hybrid borrowing vs. hegemony that seems to emerge in so many discussions of the globalization of popular culture. But whatever the ultimate resolution to this debate, it seems that there is an effort on the part of certain advertisers to retool and downplay Bruce Lee’s achievements in an effort to create a new moment of “revolution” in the current era.
Readers interested in looking at this specific discussion can see a number of the links that were included both in the most recent news update and on the Facebook group (in particular the Slate article titled “Daniel Wu is the Asian Action Hero that Bruce Lee Should have Been.”) Actually resolving the specific questions raised by all of this might take some time and far exceeds the space available in this post. Yet reviewing it led me to ask whether Bruce Lee is still the revolutionary figure that he once was. In our current moment do we still need Bruce Lee and his message of radical self-creation through the martial arts? Can he still act as a force for the popularization and spread of these fighting systems? Or is he becoming too culturally remote from modern students, readers and audiences? Is it likely that the public will remember his 100th birthday with the same enthusiasm that is greeting his 75th?
Ip Man and his best known student, Bruce Lee.
Bruce Lee and the Tao of Gung Fu
As I thought about these questions over the last couple of days I found myself turning to Lee’s unpublished “manuscript” The Tao of Gung Fu. In some respects this may seem like an odd choice. This book was never published in Lee’s lifetime, and as such most of this material had a rather limited impact on the way that people discussed either him or the martial arts in the 1970s and 1980s.
Nor is it always clear to me the degree to which this collection of chapters can be considered a true “book.” From the editor’s (John Little) description it appears that Lee abandoned the project before a complete manuscript was pulled together. A number of the early chapters were in place (they even make internal references to each other) but after that there may only have been an outline. This has been flushed out with notes, drawings and other pieces that Lee wrote over the years. Some pieces are in a more finished state than others, but none of it was ever intended to be made public during Lee’s life. In fact, it must be remembered that he made the rather conscious decision to walk away from the project. As such we can only speculate as to what would have made it into the final version had Bruce decided to actually pursue publication.
One of the things that bothers me about this particular book, as it was posthumously published by Tuttle and the Lee estate, is that it attempts to seamlessly weave this mass of material together into a coherent whole rather than letting the individual pieces, written over a range of years, stand on their own. Nor does it attempt to label what the original documentary sources of the various “chapters” actually were and how they fit into the larger body of Lee’s papers.
Obviously this is an annoyance for other historians working on Lee. And it is especially problematic when one realizes that a number of these essays were originally composed as papers for Lee’s classes at the University of Washington. While clearly bright and interested in philosophy (as well as its application to the martial arts) Lee is the sort of student who likely gave his teachers heart burn. As multiple other scholars (including John Little and James Bishop) have pointed out, Lee was guilty of plagiarizing a number of passages and key ideas throughout these essays.
In a few cases he simply borrowed text while dropping the quotes and footnotes, while in others he followed his sources much too closely (a problem known as “patchwriting”). In a number of other cases he appropriates ideas or insights without proper citation, or plays fast and loose with his sources. For a student of philosophy a surprising number of very detailed arguments are simply attributed to “Taoism” with no further support.
Worst of all, some of Lee’s best known personal stories, such as his exchange with his teacher Ip Man about the problem of relaxation, turn out to have been lifted from other sources (in that particular case the important popularizer of Zen, Allen Watts who had a striking similar exchange with his Judo teacher). James Bishop seems to be the best source currently available on the extent of Lee’s plagiarism and the sources that he was actually drawing on. Of course Lee never intended that these essays be published, let alone to be printed on t-shirts.
Given this list of problems and cautions, one might wonder why I would even discuss such a book. Simply put, the Tao of Gung Fu is a critical work not because the material in it is in any way original, but because it does a great job of clarifying the issues that were being discussed among a certain type of Chinese martial artist at a specific moment in time, and the sorts of sources that they had available to them (both in terms of technical manuals, but also cultural and philosophical resources) to make sense of all of it. While fans might be crushed by some of the instances of Lee’s patchwriting and plagiarism (which varied from unintentional to egregious) the transparent nature of these problems is actually a great blessing to cultural historians and students of martial arts studies.
Lee often starts by outlining questions that a wide variety of readers in his era would have found interesting, and with only a few minutes of googling you can figure out exactly what resources a young, somewhat educated martial artist would have had access to in both the Chinese and English language literatures. In short, for anyone interested in the specific steps by which the Chinese martial arts were culturally appropriated by the West, this book is a remarkable resource.
If you want to better acquaint yourself with the sources of Lee’s philosophy on the martial arts, this is the book that I would recommend. And for Wing Chun students it has the additional bonus of providing critical insight into how (at least some) individuals were discussing that system during the late 1950s and 1960s.
What then is the ultimate root of Lee’s philosophy of the martial arts? What ideas did he turn to in order to both make sense of these fighting traditions and to provide them with increased social meaning (and status) against the backdrop of Chinese culture and thought?
The Tao of Gung Fu provides an embarrassment of riches on these sorts of questions. Students of Wing Chun will likely find Lee’s discussions of Chi Sao (some of which is quite philosophical) to be the most interesting. And readers of history will no doubt want to pay close attention to Lee’s understanding of the subject as discussed in the book’s closing chapters.
Yet perhaps one of the most important themes in Lee’s thinking is set down in the very first chapter before being expanded upon throughout the rest of the manuscript. Here we see Lee outlining a three step process (one that he attributes to Daoism) in which something progresses from 1) the “primitive” stage 2) the stage of “art” 3) the stage of “artlessness.”
Most often this progression is applied to the martial arts themselves. Lee sees in this pattern the meta-history of the Chinese martial arts as a whole. They progressed from a simple, but natural, system to a more sophisticated but stultifying understanding. Finally, after years of hard work Chinese martial artists practiced, experimented and realized what non-essential material could be stripped away, leaving a set of systems what was both sophisticated but once again natural in its execution.
In other places Lee appears to apply this same process to the life history of individual styles. It can also be viewed as the stages that any given martial artist must progress through. In fact, Lee’s iconic “Liberate Yourself from Classical Karate” article is premised on this idea, as well as Lee’s contention that most Western martial artists at the time were stuck in stage two.
Yet Lee’s use of this basic framework extended far beyond the martial arts. At times he seems to have seen it as a more general lens by which we could examine the struggle of humans with both the natural and social worlds. Note for instance that Lee attempts to explain this teleology to his readers by using it as an explanation of the evolution of Chinese grammar between the classical and modern periods. And grasping its logic seems to be a precondition for the introduction of his later discussion of the nature of Yin and Yang in both the martial arts and Asian philosophy.
Given the centrality of this idea to Lee’s thought, it might be useful to ask where it originates. Lee himself claims that the idea is indigenous to Daoism and, at other points, Zen. This later claim may be bolstered by the observation of some Japanese stylists that their own systems suggest a similar progressive understanding of katas (or forms) in three progressive stages.
At the same time it must be remembered that Lee was a philosophy student when much of this material was written, and the resonances with some of the western thinkers he would have been introduced to is noteworthy. The system Lee is proposing seems to be somewhat in debt to Hegel and his progression from “thesis,” to “anti-thesis” and ultimately “synthesis.” We have already seen that Lee was very familiar with the works of Allen Watts, and its possible that this idea may have found its genesis in his writings. Indeed, this might be why Lee sometimes claims that he was outlining a “Zen” theory of progress.
While I suspect that this element of Lee’s thought reflects his study of Western writers and sources, once established it is the sort of thing that you can begin to see everywhere. We know, for instance, that Lee was influenced by the ideas of the mystic and writer Krishnamurti. While I have yet to find an exact statement of this idea in his writings, once it has been established in your mind it’s the sort of thing that will find easy parallels and support in some of Krishnamurti’s statements. Much the same goes for the Dao De Jing. I suspect that this theory of “becoming” struck Lee with such force, and became a cornerstone of his thought in this period, precisely because it seemed to find support in so many sources. The ease with which both Eastern and Western (and possibly even Marxist) sources could be used to illustrate aspects of this theory must have made it seem both universal and self-evident.
I suspect that this idea was also critical to Lee because while it facilitated a rejection of stultifying forms, it also argued that these things could only be overcome through study, experimentation and exhaustive practice. When we look at Lee’s workouts in this period (also provided by John Little) we see that Lee was drilling himself in basic techniques at the same time that he was advocating empirical verification and freedom from pointless tradition. There has always appeared to be a fundamental tension here, between what is necessary to learn a technique, and the desire to transcend it in the search of something more natural or personal. This three step teleology spoke directly to that dilemma, and claimed that the way forward was not a return to a primitive state that rejected scientific advances, but rather through a long and arduous process of additional practice, refinement and (most importantly) experimentation.
Bruce Lee sketching on the set for Game of Death. Photograph: Bruce Lee Estate. Source: The Guardian.
Conclusion: Walking On
While interesting on a technical level, its also important to think about the social implications of all of this. The claim that the only true knowledge which is possible is self-knowledge, gained through extensive practice and experimentation, is most likely to be attractive to individuals who feel themselves to be alienated from other sources of social power or meaning. Indeed, the basic ideas about self-actualization that Lee draws on have their origins in China’s martial arts sub-cultures which often acted as an alternate means of self-creation for marginal individuals within Chinese society.
As I have argued at length elsewhere, this would have been the context in which Lee first saw the martial arts being taught in Ip Man’s school to a generation of often angry, surprisingly alienated, young men in the Hong Kong of the 1950s. Lee’s contribution was to take this basic pattern and to combine it with the philosophical and counterculture currents of his own day in such a way that westerners could access this same technology of self-creation.
The 1970s, when the Chinese martial arts first exploded into popular consciousness, was a volatile decade. Globalization in trade markets was causing economic pain and increased income inequality at home at the same time that some western nations faced both security challenges and open conflict abroad. Nor did the gains of the civil rights movement in the US ensure the spread of racial harmony. Everywhere one looked traditional social institutions seemed to be under attack and society was struggling to produce new ways of understanding and coping with these challenges. Given these structural factors, it is not surprising that Lee’s onscreen presence and martial arts philosophy (to the extent that it was known at the time) had a profound effect on a generation of seekers looking for a new set of tools in their quest for self-production.
In many respects we seem to be entering a similar era. Clearly the situation today is not identical. The Cold War is gone, and an information and service based economy has replaced the manufacturing one (at least in the West). Yet many of the more fundamental concerns remain the same. Economic insecurity, militarism abroad and social conflict at home are once again challenging basic notions of what our nations stand for. Levels of public trust in a wide range of institutions has reached an all time low, and social organizations that once supported vibrant communities in past eras are struggling to survive.
Indeed, many of these factors are directly challenging the economic health and social relevance of the traditional martial arts today. Yet where large schools might falter one wonder’s if we are not seeing a renewed opportunity for the expansion of Lee’s ethos of individual struggle, experimentation and practice. If nothing else the recent discussion of Daniel Wu by the advertisers at AMC could be seen as evidence that there is a hunger for the renewal (and expansion) of the sort of revolution that Lee originally introduced to the West in the 1970s.
As the needs of students and audiences change I fully expect that the ways in which we see Bruce Lee will continue to evolve. That is the sign of a healthy discourse, and it suggests that Lee might be just as important for understanding the current situation within the martial arts community as its mid-twentieth century history. Given the cultural moment that we now find ourselves in, Lee’s promise of self-creation and his basic philosophy seem more important than ever. And as long as his achievements continue to be the yardstick by which each new “revolution” in the martial arts is measured, it seems likely that the memory of the Little Dragon will indeed live to see its 100th Birthday.
“London Sees Thrills Of Japanese Sport.” A self-defense demonstration by a female martial artist, choreographed to as to be humorous for the audience. Vintage Newsreel. 1932.
Doing the Homework
Students of Martial Arts Studies are the fortunate few. As research areas go, ours is pretty interesting. Yet as I review the literature (even recent publications from big name academic presses), it is clear that many of us are not making the most of our good fortune. There seems to be a tendency to approach the literature in narrow slices and not to look for the sorts of insights that are frequently turned up in broader, more comparative, explorations. The pie can be sliced in a variety of ways. Students of Japanese martial studies rarely deal with concepts and theories laid out in works on the Chinese styles. The literatures on combat sports and traditional arts often seem to run on parallel tracks. And there is always room for a more substantive engagement between the theoretical and historical wings of the literature.
So here is my pre-Thanksgiving public service announcement: When offered pie, always eat more than one slice. Bringing multiple lens to an investigation leads to more insightful conclusions. Beyond that, it makes the process of doing research richer and more intellectually fulfilling.
Still, we all have blind spots. As I was reviewing folders of research materials, it occurred to me that I may have created the mistaken impression that the English language treaty port newspapers in cities like Shanghai or Beijing only discussed Chinese fighting systems. Over the last few years we have examined dozens of articles in which Chinese hand combat systems were presented to a global audience during the 1920s and 1930s. Doing so is helpful as it problematizes the often-heard trope that the Chinese martial arts were unknown to Westerners prior to the 1960s, or that everything about these arts has been shrouded in impenetrable secrecy. In fact, both KMT officers and private instructors worked (with mixed success) to publicize China’s reformed and modernized physical culture as a way of demonstrating to the world the reformed and modernized nature of the Chinese state.
Focusing on these conversations has been valuable. Yet it must be remembered that all of this was only one aspect of a much larger exploration of the martial arts and combat sports which one could find in these same newspapers. While it is easy to focus only on the guoshu or taijiquan articles, in truth these pieces need to be read in conjunction with the frequent discussions of the Japanese martial arts, accounts of vaudeville style strongmen acts, and articles on western style boxing events which also appeared in the same pages. It is all too easy to inadvertently create a siloed vision of cultural history in which boxing, kung fu and judo all existed in their own isolated spheres. In truth they all competed for exposure within the pages of China’s treaty port press.
In an effort to correct this bias I would like to introduce one of the more interesting Republic era articles on the Japanese martial arts that I have come across. Judo is frequently mentioned in these pieces. We can even find several glowing accounts of judo exhibitions in Shanghai in this era. Likewise, Chinese martial arts reformers often turned to judo as a symbolic foil for their rivalry with Japan. The following article, on the other hand, is interesting as the Japanese origins of judo have been almost totally erased. Indeed, the Western appropriation of judo as a means of self-defense is so complete that the Japanese are barely mentioned, while cities like New York and Paris are looked to as centers of martial excellence.
Nor is this the only transformation which readers will detect. While Kano Jigoro opened his practice to women fairly early, the vast majority of Japanese judo students in the 1930s were men. Indeed, these were men often bound for service in the Japanese military. They had well developed ideas about cultivating a certain sort of masculinity which would be placed in the service of the state. In contrast, the current article goes to great lengths to present judo as an exclusively female practice. More specifically, it was framed as a tool of urban self-defense and a bulwark against a new “masher” panic. The dojo as a training space, white uniforms, colored belts and other aspects of Kano’s now globally famous practice are totally missing from this discussion. Instead we find a slightly updated take on the pre-war American usage of “jiu-jitsu” to basically signify “dirty fighting.”
All of this is even more interesting as one suspects that these were not errors emerging from ignorance. By the early 1930s judo was a well-established practice in the West. It had been featured in newsreels, books and extensively debated in the sporting press. Just to give us the proper perspective, the current article “introducing” judo was written more than 30 years after Theodore Roosevelt had famously promoted the same practice from his residence in the White House. Well educated Chinese and Western readers living in Shanghai (The China Press’core audience) had ample opportunities to see Japanese demonstration teams as they visited the city on a regular basis. Indeed, the Japanese invasions of Manchuria (1931) and Shanghai (1932) had sparked renewed public debate as to the role of physical education in a state’s battlefield success.
I suspect that this article never dropped Kano’s name, or mentioned black belts, as there was simply no need. All of that was already part of the public consciousness during the 1930s. It instead focused on the topic of women’s self-defense as that was both timely (note the repeated references to Vivian Gordon’s murder in New York City), and front-page images of petite women throwing men around like rag dolls was sure to sell papers.
It is important to take note of a few other topics that are missing from this article as well. To begin with, The China Presswas a pro-KMT newspaper with a liberal editorial line. It ran more (glowing) stories about the guoshu, and China’s martial practices more generally, than any other Republican era paper that I have studied. Its editors never missed an opportunity to note that China was the true home of jiu jitsu, or to publicize the latest Jingwu demonstration. It is thus remarkable that there is no mention of the Chinese martial arts anywhere in this piece.
While the photographs and writing style suggests that this may have originally been a newswire article intended for an American audience, I doubt that this is the entire story. Given the levels of outrage directed at the Japanese in 1931 and 1932, it probably would have been impossible to run an article that lauded any practice with Japanese roots in such a “patriotic” paper. Yet by completely erasing Japanese culture and martial values from the discussion of judo, effectively transforming the art into a primarily female, and Western practice, the editors may have gotten the best of all possible worlds. On the one hand they could run a sensational front-page article that would sell lots of papers. At the same time, they could appropriate an important marker of Japanese masculinity and militarism, presenting it as a cosmopolitan and almost exclusively feminine practice. One can only guess how thrilled the Japanese military officers and government staff in Shanghai were to see this treatment of their national art.
Still, this was by no means a negative portrayal of the art. One of the things that struck me as I read this piece was the extensive “how to” section at the end. Such discussions are so common in Western martial arts conversations that they are easy to dismiss. Yet they were quite rare in the pages of China’s English language treaty port press.
While these papers ran hundreds of articles on the Chinese martial arts, I don’t think I have once seen them undertake a detailed discussion about a specific Chinese technique. Instead demonstrations or systems were discussed in general terms for the edification of the reader, but not their education. While there was some training of foreign students in martial arts classes in China in the 1930s, buy in large this didn’t seem to be something that many people (either Western or Chinese) were interested in. Yet this article clearly suggests that judo is something Western women can (and should) learn. That seems to be a frank admission that while Chu Minyi and other reformers had hoped to make the Chinese martial arts a modern and cosmopolitan practice, it was Japan that had actually succeeded. Nevertheless, we as readers are left to ask if the following vision of judo remains in any way Japanese?
Here’s “Judo”, the Newest Art of Self-Defense Against Mashers
The China Press, Feb, 3 1932. Page A1
Curious Details of the Smashing Surpise Receptions American and English Girls are Planning for “Catch-as-Catch-Can” Masculine Admirers.
“Wreck the necker!”
This warlike cry has gone up on both sides of the Atlantic since judo, an improved version of Jiu Jitsu, was perfected recently. Jiu Jitsu has always been primarily a man’s sport but judo is for women only. It enables the frailest flower of femininity to throw and knock out a burly assailant with ease and dispatch.
Women’s judo clubs are being formed in New York and other American cities. In England enthusiastic feminine exponents of the method of self-defense against the Mashers have formed a team that is touring France, Germany and other European countries, giving exhibitions of this tricky and fascinating new art of self-defense.
Slight pressure of the fingers applied at the right moment, combined with sudden twists of the body by a judo expert, often results in broken limbs for the assailant. There is no question that if judo’s popularity continues to increase at its present rate the obnoxious masher species may soon entirely disappear. Certainly nothing yet devised discourages the male flirt so quickly as a dislocated arm, or a broken head followed by several months in a jail or hospital.
Any close student of the subject will tell you how easily not only serious injury, but death, may come to the unwary roughneck who chooses to inflict his unwanted attentions upon a girl schooled in the far from gentle craft of judo. A single lightening quick arm thrust from a girl who “knows her stuff” is sufficient in most cases to discourage any masher. The young lady trained in Judo tactics may be outweighed by a hundred pounds and look as defenseless as a fawn but when she goes into action Mt. Necker had better run.
A famous Japanese wrestling champion once said that homicide committed by jiu jitsu provides “a lovely death, no pains from bullets, knives or violence, You just fade out in a pleasant dream—and don’t know that perhaps you will never wake again.” The newly-perfected science of judo is equally effective in producing lethal effects although the physical instructors who teach it are careful to exclude the death dealing holds from their curriculum.
Unlike most forms of combat, judo’s effectiveness depends ironically enough on the strength and intensity of attack of one’s opponent. The more powerful he is and or furiously he falls upon his intended victim, the more serious his injuries are going to be.
Certainly no more astonishing surprise could be imagined. Instead of screaming and shrieking the young woman who knows judo outdoes the masher at his own game. With a minimum of effort, she can throw the strongest “he-man,” laugh at his efforts to embrace her and continue on her way, unmolested and at her leisure.
The underlying principal of this science is balance. In judo it is vastly more important to control perfectly one’s posture than to have building muscles and enormous energy. Japanese physical culturalists tell us that a “man without balance has no strength.” This is particularly true in jiu jitsu and judo. The very first thing the beginner learns is to change an opponent’s posture while maintaining her own. This is done by maneuvering him to his heels and toes, which enables one to throw him with little exertion.
As a typical example of the judo science, let us take a girl weighing about 110 pounds and say a husky 190 pound man has seized her throat in both hands. Now the ordinary young woman, unschooled in judo, would naturally concentrate her efforts on attempts to tear his hands from her throat. The judo adept, however, would waste no time and strength on such a futile task.
Her technique, though simple, would be amazingly effective. Her first move would be to take a short step backwards with her left foot. This will bring the attacker’s balance to his toes, naturally weakening his equilibrium.
Next, she would quickly swing her right arm sharply across his left arm, pivoting her right toe and bringing her right shoulder forward. Her arm would pass close to her face until her right shoulder touches her chin. In that position she would exert irresistible leverage on the man’s wrist with her shoulder. This will break any grip, no matter how powerful, with the result that her assailant must fall slightly forward with face unguarded, leaving him a ready target for an elbow jolt to the face or a paralyzing cut on the back of the head.
If Vivian Gordon, the New York girl who was strangled to death in a taxi cab some time ago, had known such elementary judo moves she might have outwitted her slayer and escaped a gruesome fate.
The larger picture in the upper right half of the page shows a young woman swinging a husky male over her hip. The uninformed may well ask how this slight girl could carry a powerful man off his feet and throw him to the ground.
The answer is judo and a perfect sense of timing and balance. You will notice that the girl in the photograph is bending forward. The man had come up behind her and seized her by the throat. But she shot her head and shoulders sharply forward, throwing his weight on his toes and off balance. Seizing his shoulders, she adroitly rolled him over her hips. The picture was snapped just as she was about to throw him to the ground.
Perhaps you have seen one acrobat on the stage holding three or four partners on his shoulders. Ordinary men cannot do this, of course, because they have not studied the science of balance and timing. The acrobat has learned to distribute the weight of his companions evenly, to assume a posture that enables him to lift and hold an enormous number of pounds and to time his efforts so that his powers are never overtaxed. Strength is vital, but alone it is not enough. Until he has mastered these twin sciences his efforts at great weight-lifting will fail.
The same holds true of the judo students. The two photographs in the half center of this page demonstrate the ease with which a judo expert can disarm and knock down a stick-wielding assailant. In one picture you see her catching his arm just above the elbow. Her judo instructors have taught her that holding an arm above the shoulder greatly weakens the arm’s powers of resistance. Placing her knee behind his right leg she pushes his arm backwards until he is off balance. With this accomplished, she finds sending him backwards over her extended knee is child’s play.
Another photo on this page illustrates another effective judo maneuver that can be used when the assailant comes up behind his intended victim and seizes her by the throat. Instead of trying to wriggle from his strong grip, the girl merely grasps his elbows and bends quickly forward, catapulting him over her head and shoulders. This is called the shoulder throw.
Brutal attackers often use the chancery hold, which consists of encircling the victim’s neck with one arm and battering her face with the other fist. Judo teaches girls how to break easily this painful hold. If the assailant has gripped her neck in his left arm and strikes her face with his right fist, she reaches quickly up his back and over his right shoulder with her right hand and places the inner edge of her finger under his nose, where there is an extraordinarily sensitive nerve center. Pressing on this diagonally towards the back of the head will quickly cause the fellow to release his grip.
The next move is to extend the pressure backwards and downwards. If at the same time the girl grips him under the knee, raising him upward and forward, the gentleman will soon be spilled upon the ground with much violence.
The photograph depicting the young woman jamming the heel of her hand against the man’s chin demonstrates the perfect counter offensive against the mashers who sieze women about the waist. You can be sure when the roughneck caress is returned in this manner the likelihood of a repetition of the Casanova tactics is very small.
Possibly the most spectacular of the group of extraordinary photographs is the one which portrays the young woman lying on the ground and kicking her surprised assailant in the stomach. In this case the girl has fallen backwards to the ground, pulling the man into a flying fall. As she fell, she drew up her foot and, on reaching the ground, she sent him sprawling over her head with a powerful and well-directed kick to his abdomen.
This startling defense should only be employed by experts who have been adequately instructed in the science of relaxing. Like football coaches, the teachers of this new art and fascinating study teach their students to go limp when falling. A limp body does not strike the ground with half the violence that a stiff one does.
When Benny Leonard was the world’s Lightweight Boxing Champion he often attributed much of his extraordinary punching powers to his knowledge of anatomy. He exactly knew what spot to hit and consequently opponents crumpled up before what seemed likely fairly light punches. A knowledge of anatomy is even more necessary to girl judo experts than it is to boxers.
The new judo vogue began by a woman who saw in it a chance to reduce the ever-growing number of fatalities and injuries suffered by girls attacked in lonely sections of towns and cities. Certainly it equips young women with an excellent defense against the cave-man tactics of roughneck admirers.
Chinese soldier photographed by Harrison Forman. While part of a series of issues distributed in 1938 captions indicate that these images were probably taken in the early 1930s. Source: The Forman Collection in the University of Wisconsin Milwaukee Digital Archives.
Deciphering an Icon
Recently I came across a few of Harrison Forman’s wartime photos, probably taken in the early 1930s, but circulated to newspapers and (re)published in 1938. While his photos of militia groups following the 8th Route Army (discussed here) remain less well known, these particular images have gained a quasi-iconic status. I suspect that they, and other similar images, helped to define popular Western notions of China’s struggle during the late 1930s. This also makes them of interest to students of Martial Arts Studies as they prominently feature swords and what appears to be a display of China’s traditional military culture.
Still, as I reviewed these photos I found myself wondering what was really going. Were these images actually taken in the field? Or were they composed by Forman himself? And if latter, how were such images of martial masculinity meant to be read? Why do so many of Forman’s photographs, as well as other images from the period, go to such great lengths juxtaposing the coexistence of “modern” military weapons with “traditional” martial culture, squeezing both elements into ever more complex symbolic frames? Lastly, what does this suggest about the ways in which the Republic era revival of the martial arts was used to shape China’s image on the global stage?
To fully answer these questions, we may need to compare Forman’s photos to some less well-known images of Chinese soliders collected and distributed in the late Qing and early Republic period. Doing so suggests the existence of certain key symbols which quickly gained a remarkable degree of stability in the popular imagination. Yet while the image of a Chinese soldier or martial artists holding an oversized blade has been stable, its social meaning has varied greatly. Many players, both within and outside of China, have deconstructed and contested these images. Controlling the visuality of the martial arts has been a key tool in a series of debates about the nature of the Chinese state and nation. A few of the ideas of the theorist Rey Chow may help to launch this investigation.
The Eternal Swordsman
Few images within the Chinese martial arts have proved more durable than the traditionally trained swordsman openly practicing his trade in the age of the gun. He can be seen everywhere, from Japanese postcards to Hong Kong kung fu films. But what sort of “person” is this individual?
In an attempt to negate both views he relates to his readers a curious incident of “War Dancing” (what we would term the performance of a solo martial arts set) in the middle of a fire fight which he observed as both rebel troops (who held the city) and imperial soldiers contested control of a graveyard outside of Shanghai. Meadows set the scene by describing the artillery and armaments of both sides. By this point in the war both parties were armed primarily with Western cannons, state of the art European made muskets and a surprising number of revolvers. He described the order of battle as being similar to that seen in the Crimean War with heavy volleys of fire being exchanged between groups of soldiers who were either sheltered behind the city’s walls, or moving between “rifle pits” and the sorts of cover that the graveyard landscape afforded. All of this was very similar to what one might have observed in a European conflict of the time.
Yet similar should never be confused with identical. While playing no part in the actual siege, Meadows notes that “cold weapons” were evident on the battlefield. One Imperial spearman, having nothing to contribute to an exchange of gun fire, took shelter behind a building with Meadows and other Chinese onlookers. Another soldier, armed with a sword and rattan shield, approached the battle differently. He walked out into an open area (where a companion was firing a musket at rebel forces) and proceeded to demonstrate his sword set, all while shouting insults at the enemy, slashing at imaginary opponents and tumbling over his shield.
On a substantive level he contributed little to the battle. Indeed, one suspects that most such skirmishes were actually decided by the artillery. Nor was this individual the lone exception. Meadows told his story because he believed it would convey something about the nature of the conflict to his readers back in the UK. Very similar reports were also lodged by British soldiers involved in the First and Second Opium Wars in Southern China, and much later by units participating in the costly march on Beijing during the Boxer Rebellion. It is an often overlooked fact that by 1900 the Imperial Chinese troops had weapons just as advanced as any of the Western nations that came to save the Legation. Yet battlefield martial arts displays, usually attributed to “possessed Boxers,” remained fairly common. All of this seems to bear an uncanny resemblance to Forman’s much later photograph.
Accounts such as these are why so many Westerners became obsessed with the image of the sword wielding Chinese boxer, soldier or pirate. The basic image might be labeled in a variety of ways. Yet in each case it seems to have invoked the same combination of fascination and disgust. It would be more difficult to think of a better example of Rey Chow’s critique of “visualism,” in which modernity functions by reducing people or ideas into two dimensional depictions, than the early 20th century explosion of photographs of Chinese men wielding swords.
Such images facilitated the mental, and then political, classification of China, justifying its imperial occupation. A close reading suggests that many of these classifications rest on seeming contradictions. While focusing on men, their subjects are emasculated through an association with obsolete technology, poverty or backwards superstitions. Chinese territory is potentially dangerous, yet in need of Western protection and guidance. And when modern weapons occur in an image, rather than focusing our attention on the breakneck speed of social change, the existence of traditional tools subconsciously reinforces the notion that China is somehow eternal. A land without history can never change. It is a country without a future.
Late Qing portrait of the Changtu Prefect and his personal guard. Photographer unknown (at least by me).
Such notions would likely have been projected onto this image by early 20thcentury Western viewers as well. Once again, notice the prominent juxtaposition of modern (Western) weapons with their traditional (Chinese) counterparts. Judging from the legible inscriptions in this photograph, Douglas Wile has concluded that it is a portrait of the Prefect of Changtu (now part of Liaoning Province) and his personal guard. Obviously, such an image would have been taken prior to the 1911 revolution.
At that time the long Mauser rifles with WWI era “roller-coaster” sights seen in this photo would have been state of the art. And having a couple of guys with halberds standing at a door or gate would also have made a lot of sense. Yet one suspects that rather than a well-armed bodyguard, post-Boxer Rebellion viewers would likely have seen one more piece of evidence of a nation incapable of change. In certain quarters such images (invoking fears of beheadings for minor offenses) were taken as powerful justifications for the preservation of Western legal privileges (such as extra-territoriality) and even colonial “guardianship.” The observation and dissemination of images of the “traditional” martial arts was often coopted by the forces of imperial discourse. That is vital to remember as it strongly suggests that there was nothing inevitable about the reemergence of similar images in the post-WWII era as anchors of the post-colonial discourse. Bruce Lee probably would have played quite different to audiences in 1901.
The production and widespread dissemination of such images in the early 20thcentury opened Chinese society to conflicting social pressures. On the one hand there was immense pressure to “modernize,” making the nation equal to the Western powers. This would mean discarding much or all of China’s traditional culture. Yet Chow has also warned her readers of another danger in these situations. As “ethnic” individuals in colonial situations grapple with the meaning of their identity, perhaps by trying to find domestic sources of pride or strength necessary to resist imperialism in their own autobiographies, they risk internalizing the dominant critique of their culture and performing an increasingly two dimensional act of what was once an authentic culture as they respond to a set of critiques that were likely based on (malicious) misunderstandings.
A vintage Japanese postcard showing images (likely taken in the late teens or twenties) of “Big Sword Units training their bravery.”
Perspective matters. And it is interesting to think about the role of both bodily experience and cultural expectations in shaping one’s perspective. Meadows wrote in an era when it was increasingly evident swords had little utility on the battlefield, but they were still very much part of Western 19thcentury military life. By the Republican era that had changed. The Japanese situation was more complicated.
Our next image was taken from a Japanese postcard, probably produced during the 1920s, which shows Chinese soldiers, dressed in smart civilian clothing, demonstrating their sword forms. We have already read numerous accounts of demonstrations such as these (particularly those staged by General Ma), but it is interesting to see that Japanese publishers decided that there was an market for such an image at home.
The Japanese discourse towards China in the 1920s and 1930s was much more belligerent than anything seen in the West. One need not carefully analyze their literature or trade practices for hints of imperialist discourses. You only needed to watch where their armies marched or read their formal diplomatic declarations. This is not to say that their popular culture was not of immense interest. Japanese youth literature of the period tended to portray China as a land of adventure where adventurous boys could not just serve the nation, but prove their worth. And the increasing militancy of government mandated martial arts practice in Japanese schools helped to ensure that the nation’s youth would be prepared to do just that.
It goes without saying that within this internal nationalist discourse the sword (or more properly, the katana) meant something entirely different from what it signaled on the pages of the North China Herald or New York Times. While a traditional symbol, it did not denote national backwardness. Rather, it was a symbol of national identity. And it became the vessel for much more positive cultural content. It represented the notions of sacrifice, spiritual determination and individual physical strength placed in the service of the nation. It represented that aspect of primoradial Japanese identity that both made it distinct, but also well suited for global competition among its national peers.
One byproduct of mandating years of state sponsored kendo or judo training was the creation of a large number of individuals who were bound to be at least somewhat curious about Chinese martial practice. One suspects that the young men who collected these postcards may have been intrigued by images of solo-forms practice (rare in modern kendo), and the different sabers favored by the Chinese. Yet it is highly unlikely that such an image would have struck them as a symbol of national backwardness. Indeed, the Chinese soldiers in this image were dressed much more “progressively,” and in a more Western manner, than Japanese Kendo students.
Such an image, while highlighting differences in national martial practices, likely would have suggested the existence of the sort of cultural affinities that supported the logic of Japan’s desired “co-prosperity” sphere. Once again, images of the Chinese martial arts might be used to undermine notions of China’s national independence, but now for very different reasons. Rather than pointing to the backwardness of these practices, the Japanese could instead claim to be best positioned to promote their future development.
A second angle of Forman’s iconic photo, this time with an improved and more dynamic composition. Source: The Forman Collection at the University of Wisconsin Milwaukee library.
All of this may be part of the answer to our initial question. Yet we still have not considered the evolving Chinese interpretation of this key image, or what they might gain from cooperating in its reproduction and global distribution. The Japanese postcard is important as it suggests that such images did not actually undermine one’s claim to modernity, or legitimacy within the nation state system, in an absolute sense. Even more important than the production of these images was how their interpretation was negotiated, destabilized, contested and claimed on the world stage. This was a project that an increasing number of Chinese reformers would turn their attention to in the 1920s and 30s, re-entering a space that had been largely dominated by outside voices since the Boxer Uprising.
Much like the Japanese architects of Budo, Chinese social reformers carefully searched their history and culture for the tools to resist imperialism. Part salvage project, and part nation building exercise, such impulses had given rise to the “self-strengthen” movement in the late 19thcentury which saw in the martial arts strategies for resisting the West through “Yin power.” Later (in the 1920s and 30s) similar impulses would be promoted by the “national essence” and guoshu reformers.
Yet just as Chow warned, the harnessing of Yin power was first premised on the acceptance of often skewed externally inspired narratives of national weakness. It is well worth remembering that it was Chinese journalists and intellectuals who harped on the image of “the sick man of Asia”, not their counterparts in New York or London. The promotion of China’s “traditional” martial arts seemed a ready-made cure for this self-imposed cultural syndrome.
Many of China’s more liberal reformers disagreed with these prescriptions. Accepting that superstition and backwardness were at the root of China’s weakened state, the May 4th Reformers favored a much more enthusiastic embrace of Western social, economic and cultural institution. They were inherently suspicious of attempts to save China’s future by reimagining what its past practices had been. The disastrous events of the Boxer Uprising were still too fresh in their minds to embrace Jingwu’s (or later guoshu’s) promises of a modernized and reformed martial art placed at the disposal of the nation. Chow’s work on the various strategies involved in the construction of “ethnic images” would seem to be a fruitful place to begin to untangle the debate between these two factions as to what role (if any) the martial arts should play in the creation of New China.
All of this suggests a new perspective from which to view Forman’s original photograph. KMT officials and the guoshu reformers embraced the traditional martial arts because they saw in them a chance to disrupt Western expectations about Chinese society. Yes, domestic unity and nation building were their primary goals. Yet the KMT constructed a public diplomacy campaign around guoshu (foreshadowing in significant ways the PRC’s current wushu strategy) because they perceived an opening to demonstrate-through staged spectacle and newspaper story-that China was in fact strong, courageous, and modern. Better yet, it possessed a unique culture capable of making important contributions to global discussions.
It is interesting to read Forman’s photograph within the framework of that ongoing contest of ideas. The old and new are contrasted not just within the right and left side of the frame, but even within the two halves of the swordsman’s body. In one hand he holds a dadao, China’s now iconic sword. In the other we see Mauser 88 rifle (either a Chinese produced copy or an imported German model). While it is often claimed that the dadao was issued only because the Chinese were too poor to produce modern rifles, this photo problematizes such statements.
While genetically descendent from the Mauser rifles carried by the private bodyguards seen above, it should be noted that these examples have been altered in significant ways. The barrels are shorter, carbine length, conversions and the complex WWI era sights have been replaced with something simpler and lower profile. In short, the Chinese small arms seen in this photo are more or less identical to the modified bolt action rifles then being issued by countries like Japan, Germany, the USSR and the UK. Clearly this soldier does not cling to his dadao out of sheer necessity. In this photograph it serves another purpose.
The fact that this image exists in two forms (one with two soldiers, the other with three) confirms our initial suspicions that the composition is an artificial one arranged by Forman, rather than a spontaneous display of Chinese martial culture. As such we must begin to consider how its creator meant for this image to be read by the public.
The University of Wisconsin Milwaukie archives (which holds the original version of this image) have also preserved three of the original captions that it was distributed with. Editors who bought the image through a newswire service were free to choose any of these when they ran the photo. Interestingly, each of captions reads slightly differently. The first view is the most negative, placing the sword within the symbolic realm of backwardness and superstition. In many ways it is a continuation of press traditions from the turn of the century.
Caption 1: “The ‘big sword man’ as the symbol of the warrior of traditional China. He was brave, agile, and fought his enemy hand-to-hand. He lasted into the twentieth century, gradually accepting the rifle as a weapon for modern warfare. The Japanese invasion of China in 1931 finally convinced the Chinese to discard the outmoded ‘big sword,’ even as a secondary weapon as here shown in the invasion of Manchuria.”
These observations notwithstanding, the dadao remained common throughout WWII. Produced in large numbers by innumerable small shops, they were issued both to second line militia units as well as to fully equipped professional troops who carried them as the Chinese answer to the Japanese Katana or the British/Indian/Nepalese Kukri (a topic near and dear to my own heart). Given that American newspapers were full of headlines about China’s “big sword troops” in 1938, I am not sure how many editors would have decided to run this caption.
The second possibility reads as follows: “’The Spirit of Ancient China.’ Big Swordmen -great hand-to-hand fighters, in the old traditional manner – with a modernly equipped trooper of Chiang Kai-shek’s famed 88thDivision. (Photographed in North Station).”
This caption is interesting as it begins the process of presenting the dadao to the Western reader in a “spiritualized” fashion. Yet it is still fit within the Western motif of romanticism for “vanishing China.” Regardless, it is difficult to accept that this individual is fully representative of that past as he too carries a rifle identical to that possessed by the “modernly equipped trooper.”
Finally, the third and most interesting caption reads: “The Spirit of Ancient China! – The fellow with the big sword. In the crook of his arm is modern China – the trooper with the steel helmet and modern rifle. Together they oppose Japan.”
Here we begin to see what Forman may have intended with the curious composition of this photograph. Rather than invoking the historical memory of accounts like that by Meadows, his meaning was more symbolic. One soldier, representing the national essence, spread a protective arm (holding a highly symbolic weapon) over the head of his comrade busily taking aim at an (imaginary) opponent. This photography was never intended to be a historical, let alone an ethnographic, document. Rather it was a symbolic argument about the relationship between the Chinese nation and the state. In the great debate over the shape of “New China,” Forman was making clear his sympathies with the national essence position.
Soldiers demonstrating a dada set before a crowd celebrating the donation swords and helmets to the war effort.
Conclusion
This global rehabilitation of the Chinese sword in the Republic era suggest that the government’s “Kung Fu diplomacy” efforts paid off. Once a symbol of backwardness within an imperialist discourse, by 1938 it was at least possible to see a sword wielding soldier as a symbol of national strength. Of course Westerners were also fascinated with the Japanese katana, and that seems to have provided a mental map for bringing the dadao back into the political lexicon.
The fact that three possible captions were circulated with this iconic image is an important reminder that symbols are never self-interpreting. Each image holds many possible meanings, some of which overlap, while others may even contradict. While the Chinese swordsman has proved to be surprisingly resilient, his meaning has been far from stable. Various political and social reformers (not to mention martial artists) have attempted to destabilize, contest and renegotiate this figure. While the reproduction of “ethnic images” was conserved, the political implications that they have carried over the 20th century has varied drastically.
Likewise, the meaning, values and goals of the martial arts are not set in stone. While certain bodily techniques may be stable over a period of 100 years or more, their social function and meaning has changed. They too have been subject to successive rounds of destabilization, negotiation and interpretation. If surveyed over a period of one or two centuries, a wide variety of period practitioners would likely agree on the appearance of the Chinese martial arts, but would hotly debate their meaning or purpose. Chow’s theories of ethnicity and visuality suggest some of the reasons why that would likely be the case.
