STAFF VERSUS SPEAR

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棍進槍
STAFF VERSUS SPEAR
蘭晉如
by Lan Jinru
[Chapters 7–10 of An Authentic Description of Shaolin Staff Methods, published Jan, 1930]

[translation by Paul Brennan, Nov, 2018]

第七章 棍進槍
CHAPTER SEVEN [CHAPTERS 7–10]: STAFF VERSUS SPEAR

開門式 第一動作
OPENING POSTURE / MOVEMENT 1

甲方。(卽持棍人)雙手持棍。右手持棍尾在胸前。手心向下。左手抓棍身。在身後。手心向裏。使棍斜伏於左脇。站於練習場一端起點之左方。(指甲方所在任何一端正中為起點乙方亦然)左足在前。兩足距離約一尺餘。兩膝蓋微曲。左足踵提起。足尖觸地。全體重點。移於右腿。胸向右方。(起點右面)兩目注視乙方。(卽持槍人)微停。右足向前開一步。左足向前開一步。仍是足尖觸地。足踵提起。同時右手棍尾。左手棍頭。初在右足開步之際。各貼身傍畫一大圓圈。(棍尾經後向下旋轉棍頭經前向上旋轉)復於原處。其姿式與前同從略。同時乙方。(卽持槍人)雙手持槍。右手抓槍樽。曲肘。使槍樽緊貼右脇後方。手心向裏。左手抓槍身下端。胳膊向前伸直。手心向上。兩手距離約二尺餘。使槍尖橫向甲方。站於練習場另端之右前方。(起點右前面)右腿站直。左足在前。足踵提起。足尖觸地。兩足距離約一尺四五寸。胸向起點左方。兩目注視甲方。微停。雙手將槍舉起過頂。左手鬆開。沈下。同時右足向左前方。(起點左前面)橫開一步。(觸地後足尖向起點左前方)左足再向起點右前方開一步。原地再向右轉。使全體由右方轉一小圈。前胸仍向原方。(唯此時右足已在前方)右膝弓曲。左腿在後伸直。成前弓後箭步。同時右手及槍。落於胸前曲肘。使槍樽伏於右脇後方。手心向裏。同時左手在胸前接槍。手心向上。朝裏擰勁。擰至手心向下。同槍尖向外一叩。兩手距離約二尺餘。槍頭仍向甲方。其式如第一圖。
Person A (holding the staff), hold your staff with both hands, your right hand holding the tail of your staff in front of your chest, the center of the hand facing downward, your left hand grasping the body of your staff behind you, the center of the hand facing inward, causing your staff to be making a diagonal line against your left ribs. [Presumably due to the different authorship of this section, the “head” and “tail” of the staff are reversed to the tail being the thicker end and the head being the thinner end, something to keep in mind while studying these movement descriptions.] Your position in the practice space is in the southeast. (The orientations in these descriptions are assigned according to A’s perspective [in his initial position], even those for B.) [Being a clumsy way to establish orientations for a set in which two people switch places, I have replaced them with simple compass directions, same as for the Staff Versus Staff set (Chapters 2–6). However, in this section Person A instead begins on the left side of photo 1, causing the compass for the photos to be reversed. Also, the photos the Staff Versus Staff section maintain their orientations, whereas in this section there are several reverse views, causing the compass to flip again. Therefore for most of the photos, there is this compass:

S
E    –↑–   W
N

South is the back of the photo, north being the photographer, west on the right side, east on the left side. But for photos 15, 17, 25, 30, 38, 46, 47, and 49, there is the same compass as for all of the Staff Versus Staff photos:

N
W   –↑–    E
S

North in these cases is the back of the photo, south being the photographer, east on the right side, west on the left side.] Your left foot is forward, your feet just over a foot apart, both knees slightly bent, your left heel lifted, toes touching down, the weight on your right leg. Your chest is facing toward the north, your gaze toward B, and you slightly pause in this position.
  Your right foot takes a step forward, then your left foot takes a step forward, toes again touching down, heel lifted. At the same time, your hands draw a large circle with your staff (your right hand holding the tail of your staff, your left hand holding the head of your staff), keeping it close to each side of your body, the tail of your staff arcing downward to the rear [on your right side] as the head of your staff arcs forward and upward [on your left side], then returning to the same position as before.
  Person B (holding the spear), at the same time as A’s movement, you are holding your spear with both hands, your right hand grasping the end of your spear, the elbow bent, putting the end of your spear close behind your right ribs, the center of the hand facing inward, your left hand grasping the body of your spear toward the forward section, the arm straightened forward, the center of the hand facing upward, your hands just over two feet apart, the tip of your spear pointing toward A with the blade horizontal. Your position in the practice space is in the northwest, your right leg standing straight, your left foot forward, heel lifted, toes touching down, your feet about a foot and a half apart. Your chest is facing toward the south, your gaze toward A, and you likewise slightly pause in your position.
  Your hands lift your spear above your head, your left hand letting go and sinking down, while your right foot takes a step sideways toward the southwest (coming down with the toes pointing toward the southwest) and then your left foot takes a step toward the northwest [thereby moving you farther away from A], turning you to your right from your original position with a small turn of your body toward the south, your chest still facing the same direction as before (except that now your right foot is forward), your right knee bending, left leg straightening behind, making a stance of front leg a bow, rear leg an arrow. At the same time, your right hand lowers in front of your chest, the elbow bending, bringing the end of your spear close behind your right ribs, the center of the hand facing inward, as your left hand grabs your spear in front, the center of the hand facing upward, and twists inward until the center of the hand is facing downward, sending the tip of your spear outward with a snap, your hands just over two feet apart, the tip of your spear again pointing toward A. See photo 1 [each of these photos indicating 甲者 Person A (Chen Fengqi, who was also Person A in the Staff Versus Staff section) and 乙者 Person B (Liu Junling)]:

第二動作
MOVEMENT 2:

乙方承式向前進步。挺槍照甲方頭額直刺。(進步多寡以場之大小而定)同時甲方。亦向前進步。(兩方集於場之中間)待乙槍刺來。兩手托棍。向頭上猛架乙槍。左足在前。膝蓋伸直。右腿微曲。兩足距離約一尺五六寸。腰部微向後縮。左手朝上。伸直。微向前方。手心向起點右前方。五指伸開。伏於棍之兩旁。右手向上伸。肘微曲。使棍頭向身左前下方。胸向起點右前方。兩目注視乙方。乙方刺槍時。右手用力猛砍左手。在胸前扶之。右手砍至離左手約四五寸為止。左足在前。膝蓋弓曲。右腿伸直。成小前弓後箭步。兩足距離約一尺七八寸。上身微向前探。兩目注視甲方。其式如第二圖。
B, continuing from the previous posture, advance, (the number of steps you advance depending on the size of the practice space) and extend your spear with a stab toward A’s forehead.
  A, you are also advancing (so that the two of you are now more toward the middle of the practice space). When you see the stab coming, your hands prop up over your head, fiercely bracing away B’s spear, your left foot forward, the knee straightening, your right leg slightly bending, your feet about a foot and a half apart, your waist slightly shrinking back. Your left arm is straightening upward and slightly forward, the center of the hand facing toward the northwest, fingers extended and supporting on the side of your staff, your right arm extended upward, the elbow slightly bent, the head of your staff pointing downward toward the southwest. Your chest is facing toward the northwest, your gaze toward B.
  B, when stabbing, your right hand forcefully shoots out, your left hand supporting in front of your chest, your right hand finishing about half a foot away from your left hand. Your left foot is forward, the knee bending, your right leg straightening, making a small bow & arrow stance, your feet about a foot and three quarters apart. Your upper body is slightly reaching forward, your gaze toward A. See photo 2:

第三動作
MOVEMENT 3:

甲方將乙槍架出。承乙方下部空虛。甲方雙手持棍。左手仍在前由左向右。照乙方足部猛踏。同時乙方見棍踏來。兩足急向後跳一大步。該時右手槍樽。亦隨向後縮。至右脇。左手仍在胸前。手心向上。與前姿式不變。此時乙方。復進步挺槍。照甲方頭額直刺。左手不變。右手仍向前直砍。至離左手約四五寸為止。左足在前。仍成前弓後箭步。胸向起點左後方。兩目注視甲方。同時甲方。見槍刺來。乃由身之右方。使棍頭向左猛掛。右膝微曲。左足在前。足尖觸地。足踵提起。兩足距離約一尺餘。全身重點。移於右腿。棍頭向上。左肘彎曲。右手沈下。左手心向前。胸向起點。前方。兩目注視乙方。其式如第三圖。
A, after bracing away B’s spear, take advantage of the gap at B’s lower body by using both hands to send your staff from left to right, your left hand staying forward, with a fierce smashing action toward B’s [front] foot [as your shift your weight forward onto your own front foot].
  B, when you see A’s staff smashing toward you, suddenly jump back a large step with both feet as your right hand draws back the end of your spear to your right ribs, your left hand still in front of your chest, the center of the hand facing upward. Then finish in the same posture as in the previous movement, advancing and stabbing toward A’s forehead, the position of your left hand not changing as your right hand again shoots forward, finishing about half a foot away from your left hand, your left foot forward, again making a stance of front leg a bow, rear leg an arrow. Your chest is facing toward the southeast, your gaze toward A.
  A, when you see the stab coming, send the head of your staff from right to left with a fierce hanging action, your right knee slightly bending, your left foot in front with its toes touching down, heel lifted, your feet just over a foot apart, the weight shifting onto your right leg. The head of your staff is pointing upward, your left elbow bending, your right hand sinking down, the center of your left hand facing forward. Your chest is facing toward the west, your gaze toward B. See photo 3:

第四動作
MOVEMENT 4:

甲方將槍掛出。遂卽雙手舉棍。由頭上至腦後。(此時左手鬆開下降右手單手持棍)右足向前開一步。同時右棍在腦後經身之右方。猛向乙方足部打一掃蹚。該時兩足距離約二尺。兩膝弓曲。成騎馬式。然腰部亦向前弓曲。胸向起點左方。兩目注視乙方。同時乙方見棍掃來。兩足猛向高跳。右手槍樽速縮至右脇後方。左手仍在前。手心向上。槍尖直向甲方。右膝彎曲。左足在前。膝亦微曲。足尖觸地。足踵提起。兩足距離約一尺餘。全身重點移於右腿。胸向左方。(起點左面)面向起點後方。兩目注視甲方。其式如第四圖。
A, after sending away B’s spear with a hanging action, raise your staff over your head with both hands and bring it behind your head (your left hand in this moment letting go and lowering, your right hand alone holding your staff). Then as your right foot takes a step toward the west, your right hand sends your staff from behind your head, passing the right side of your body, and suddenly attacking B’s foot with a “sweeping the hall” action, [your left hand correspondingly rising up,] your feet about two feet apart, both legs bending, making a horse-riding stance, but with your waist bending forward. Your chest is facing toward the south, your gaze toward B.
  B, when you see A’s staff sweeping toward you, your feet suddenly jump up high and your right hand quickly withdraws the end of your spear behind your right ribs, your left hand still forward, the center of the hand facing upward, the tip of your spear pointing toward A. [When you land,] your right knee bends, your left foot forward, the knee also slightly bent, toes touching down, heel lifted, your feet just over a foot apart, the weight shifted onto your right leg. Your chest is facing toward the south, your face toward the east, your gaze toward A. See photo 4:

第五動作
MOVEMENT 5:

乙方復跟步進前。(跟步云者卽左足向前開一步右足緊隨左足之後跟步也)照甲方右肩直刺。右手仍止於左手之後。約四五寸。其姿式。與前刺甲方之動作相同。該時甲方見槍刺來。遂用雙手持棍。左手在前。手心向外。反把將棍扣住。右手及棍尾緊伏於左脇之下。左手用力向身之右後方猛搜。槍尖全身微向右轉。同時右足向後縮半步。使胸向後方。(起點後面)左膝弓曲。右足在前。足踵提起。足尖觸地。兩足距離約一尺餘。身之重點。移於左腿。面向起點後方。兩目注視乙方。其式如第五圖。
B, advance with a follow step (meaning that your left foot steps out and your right foot closely follows behind it), stabbing straight toward A’s right shoulder, your right hand stopping about half a foot behind your left hand. This action of stabbing toward A is the same as in the previous posture.
  A, when you see the stab coming, hold your staff with both hands, your left hand going forward, the center of the hand facing outward, grabbing your staff with a covering grip, your right hand and the tail of your staff hiding below your left ribs, and your left hand forcefully goes toward your body’s right rear, fiercely seeking the tip of B’s spear, your body slightly turning to the right. At the same time, your right foot withdraws a half step, your chest facing toward the west, your left knee bending, your right foot in front, heel lifted, toes touching down, your feet just over a foot apart, the weight on your left leg. You are facing toward the west, your gaze toward B. See photo 5:

第六動作
MOVEMENT 6:

乙方。將槍仍縮回。兩足不動。復挺槍。照甲方右膝下部直刺。同時甲方見槍刺來。右足向身後猛撤一步。同時右手棍尾。急轉至右脇。使棍頭橫斜。朝下猛捕。使棍頭觸地。向左前方。(起點左前面)右膝曲。左腿伸直。兩足距離約二尺。兩足尖均向起點左方。前胸亦向起點左方。腰部微向前曲。兩目注視乙方。其式如第六圖。
B, again withdraw your spear, your feet staying where they are, then extend your spear, stabbing toward A’s right shin.
  A, when you see the stab coming, your right foot quickly withdraws a step behind you as your right hand draws an arc with the tail of your staff until it is at your right ribs, causing the head of your staff to go across diagonally, and fiercely seize downward, sending the head of your staff to touch the ground toward the southwest [northwest], your right knee bending, left leg straightening, your feet about two feet apart, the toes of both feet pointing toward the south [north]. Your chest is also facing toward the south [north], your torso slightly bending forward, your gaze toward B. See photo 6:

第七動作
MOVEMENT 7:

乙方左手前移。手心向上。右手縮回脇部後方。兩足不動。復照甲方頭額直刺。此時左手後移。右手向前直砍。止於左手後方約四五寸。同時甲方。見槍刺來。雙手執棍。猛向上托乙方之槍。左手朝上伸直。微向前。低於右手約五六寸。手心向右。(起點右面)五指伸開。伏於棍之旁。右手朝上。肘微曲。兩腿與前姿式不變。唯腰部抬起垂直。兩目注視乙方。其式如第七圖。
B, your left hand is shifted forward, the center of the hand facing upward, as your right hand withdraws behind your ribs, your feet staying where they are. Then stab toward A’s head, your left hand being shifted to the rear as your right hand shoots forward, stopping about half a foot behind your left hand.
  A, when you see the stab coming, your hands fiercely prop up B’s spear, your left hand going upward and slightly forward, the arm straightening, the hand about half a foot lower than your right hand, the center of the hand facing toward the north, fingers opened, supporting the side of your staff, your right hand going upward, the elbow slightly bent. Your legs do not change their position from the previous posture, but your torso lifts to become upright. Your gaze is toward B. See photo 7:

第八動作
MOVEMENT 8:

甲方將乙槍架出。同時左足尖朝外撇。使向起點左方。右足向前橫開一步。觸地。後足尖向起點左方。膝蓋伸直。右膝曲。兩足距離約二尺餘。全身重點。移於左腿。在右足開步之際。左手沈下。右手執棍。在腦後。使棍由身後經右方。猛向乙方左足部打一掃蹚。同時乙方。左手微鬆。姿式與前不變。右手急仍縮囘右脇後方。同時見甲方照足部掃來。兩足猛向高跳。落地後。左足仍在前。兩足距離約一尺餘。兩膝微曲。胸向起點右前方。槍尖橫向甲方。兩目注視甲方。同時甲方承打掃蹚之際。原地向左轉。使胸向起點後方。卽時右足在左足後方。向前開一步。左足再由右足後方。又向前開一步。膝蓋弓曲。右腿在後伸直。成小前弓後箭步。兩足距離一尺餘。在右足開步之際。右手棍。由右方。經前方。畫一大圓圈。折回。斜伏於左脇下部。棍頭向起點。前下方。離地約四五寸。棍尾與眼眉相平。左手在後伸直。手心向裏。右肘橫曲。手心向下。面目由左方。隨棍頭同時轉向起點前方。兩目注視乙方。其式如第八圖。
A, after propping away B’s spear, your left toes swing outward toward the south, then your right foot steps forward, the foot coming down sideways, the toes pointing toward the south, the knee straightening, your right [left] knee bending, your feet just over two feet apart, the weight shifted onto your left leg. As your right foot steps out, your left hand sinks down and your right hand sends your staff past your head, behind your body, through the area to your right, and fiercely sweeping toward B’s left foot.
  B, your left hand slightly loosens, but your posture remains the same as your right hand withdraws behind your right ribs. When you see A’s staff sweeping toward your foot, your feet suddenly jump up high and come down to the rear, your left foot still forward, your feet just over a foot apart, both knees slightly bent. Your chest is facing toward the northwest, the tip of your spear pointing toward A, your gaze toward A.
  A, continuing from the sweep, turn around leftward so that your chest is facing toward the east, your right foot at the same time stepping forward from behind your left foot, your left foot then stepping forward from behind your right foot, the knee bending, your right leg straightening behind, making a small stance of front leg a bow, rear leg an arrow, your feet just over a foot apart. As your right foot steps out, your right hand sends your staff from your right side and across in front of you, thereby completing a full circle, and bending in to point your staff diagonally downward below your left ribs. The head of your staff is pointing downward, about half a foot away from the ground, the tail of your staff at eyebrow level, your left arm straightening behind, the center of the hand facing inward, your right arm bending across, the center of the hand facing downward. Your face turns to the left as the head of your staff arcs toward the west, your gaze toward B. See photo 8:

第九動作
MOVEMENT 9:

乙方趁勢進步。追擊甲方。同時甲方。見乙方追來。以原式向起點後方退走。(開步之多寡以場之大小而定)乙方追至場之一端。挺槍直刺甲方頭部後腦。甲方見槍刺來。乃由右方。向後轉身。用棍經上方。掄起。照乙方頭部連封帶劈。同時左腿站直。足尖向起點右方。右足提起足尖下垂。伏於左膝裏外端。使右腿成三角形。胸向右方。(起點右面)同時隨右棍停於頭部上方。五指伸直。並攏。手心向上。面向起點前方。兩目注視乙方。該時乙方用槍直刺甲方。忽見甲方用棍劈來。乙方右足向後急退一小步。膝蓋曲。左足緊隨。兩足距離約七八寸。左足在前。足踵提起。足尖觸地。同時兩手緊抓槍樽。猛向上騰過頂。胳膊微曲。槍尖微低。向起點右後方。胸向起點左後方。兩目注視甲方。其式如第九圖。
B, take advantage of the opportunity by advancing, chasing to attack A. A, when you see B chasing, continue stepping toward the east to retreat away from him (the number of steps depending on the size of the practice space). B, once you have chased A all the way across the practice space [both of you finishing with your left foot forward], send your spear stabbing straight to the back of his head.
  A, when you see the stab coming, turn around rightward and roll your staff over, passing above you and continuing into a sealing chop toward B’s head. At the same time, your left leg straightens, the toes pointing toward the north, and your right foot lifts, the toes hanging down close to the inner side of your left knee, causing your right leg to form a triangle shape. Your chest is facing toward the north [south]. By the time your staff is over B’s head, [your left hand has raised,] the fingers straight and together, the center of the hand facing upward. You are facing toward the west, your gaze toward B.
  B, when you see A’s staff suddenly chopping toward you, your right foot quickly retreats a small step, the knee bends, and your left foot closely follows until your feet are about three quarters of a foot apart, your left foot in front, the heel lifted, toes touching down. At the same time, fiercely send the end of your spear upward over your head, your arms slightly bent, the tip of your spear slightly lower than the end and pointing toward the northeast. Your chest is facing toward the southeast, your gaze toward A. See photo 9:

第十動作
MOVEMENT 10:

乙方。雙手沈下。同時將槍向下一扣。左手順槍桿。向前移。手心向上。右手貼於右脇後方。手心向裏。兩手距離約二尺餘。該時左足抬起。向前開一大步。右足緊隨半步。左膝曲。右腿伸直。成小前弓後箭步。同時右手猛向前伸。使槍尖照甲方直刺。右手仍停於左手後方。胸向起點後方。兩目注視甲方。同時甲方。見槍刺來。右足向前開一步。足尖朝外撇。右手棍由裏向上一裹。左足再向前開一步。成騎馬式。同時右手下沉。伏於右脇下方。手心向裏。使棍斜貼胸部。棍頭斜向上方。棍頭高於頭頂約一尺弱。在右棍向裏裹時。左手接棍中段向外猛科。手心向起點右方。胸亦向起點右方。面向起點前方。兩目注視乙方。其式如第十圖。
B, your hands sink down, sending your spear covering downward, your left hand shifting forward along the shaft of your spear, the center of the hand facing upward, your right hand close behind your right ribs, the center of the hand facing inward, your hands just over two feet apart. Your left foot now lifts and takes a large step forward, then your right foot follows with a half step, your left knee bending, right leg straightening, making a small stance of front leg a bow, rear leg an arrow, as your right hand suddenly extends forward, sending the tip of your spear stabbing toward A, your right hand again finishing just behind your left hand. Your chest is facing toward the east, your gaze toward A.
  A, when you see the stab coming, your right foot takes a step toward the east, the toes swinging outward, as your right hand wraps the inward and upward. Then your left foot takes a step toward the east, making a horse-riding stance, as your right hand sinks down to be close below your right ribs, the center of the hand facing inward, making your staff diagonal near your chest, the head of your staff pointing diagonally upward just under a foot higher than your headtop. While your right hand wraps your staff inward, your left hand grabs the middle section and sends your staff knocking outward, the center of the hand facing toward the north. Your chest is also facing toward the north, your face toward the west, your gaze toward B. See photo 10:

第十一動作
MOVEMENT 11:

乙方之槍。被棍科出。同時將槍縮回。兩足不動。右膝微曲。全身亦隨微向後縮。左手姿式不變。唯稍向前移。右手仍伏於右脇後方。同時右足猛登。膝蓋伸直。右手又猛向前伸。照甲方頭額直刺。其姿式與第十圖相同。詳見前。同時甲方見槍刺來。猛向左轉。使胸向正前方。(起點正前面)右足在原地轉。膝蓋微曲。左足向後收回一小步。膝蓋亦曲。足踵提起。足尖觸地。兩足距離約一尺餘。全身重點。移於右腿。在原地向左轉時。右手姿式不動。左手持棍。猛向左帶。面向起點前方。兩目注視乙方。其式如第十一圖。
B, once your spear has been knocked aside, withdraw it, your feet staying where they are, your right knee slightly bending, your body slightly shrinking back, your left hand maintaining its position but slightly shifting forward, your right hand again hidden behind your right ribs. Then your right foot suddenly presses, the knee straightening, and your right hand suddenly shoots forward, stabbing toward A’s forehead, your posture the same as in photo 10.
  A, when you see the stab coming, suddenly turn to the left, causing your chest to be facing toward the east, your right foot staying where it is and pivoting, the knee slightly bending, your left foot withdrawing a small step, the knee also bent, the heel lifted, toes touching down, your feet just over a foot apart, the weight shifting onto your right leg. As you turn to the left, mostly staying where you are, your right hand maintains its position and your left hand suddenly sends your staff to the left with a dragging action. You are facing toward the west, your gaze toward B. See photo 11:

第十二動作
MOVEMENT 12:

承上式不停。甲方左足急向前開一小步。同時右足在左足後方。再向前開一步。兩膝均曲。成騎馬式。在右足開步之際。右肘提起。彎曲在胸前。使棍尾直向乙方之左腿之部猛戳。左手姿式不變。唯用力向下垂。兩手心均向下。胸向起點左方。兩目注視乙方腿部。同時乙方。見棍尾照腿部戳來。在足急退一小步。右足再向前開一步。同時左手移抓槍之中段。使槍尖向上。右手亦微向上移。使槍樽猛抵甲方棍尾。兩膝蓋曲。成騎馬式。右手心向下。左手心向上。胸向起點右方。兩目注視甲方棍尾。其式如第十二圖。
A, continuing from the previous posture from pausing, your left foot quickly takes a small step forward, then your right foot takes a step forward from behind your left foot, both knees bending, making a horse-riding stance. As your right foot steps out, your right elbow lifts and bends in front of your chest, and you send the tail of your staff poking toward B’s left leg, your left hand maintaining its position but forcefully dropping, the centers of both hands facing downward. Your chest is facing toward the south, your gaze toward B’s leg.
  B, when you see the tail of A’s staff poking toward your leg, your [left] foot quickly retreats a small step and your right foot then takes a step forward. At the same time, your left hand shifts its grip to the middle [forward] section of your spear, sending the tip of your spear upward, your right hand also slightly shifting upward, and you send the end of your spear to brace away the tail of A’s staff, both knees bending, making a horse-riding stance, the center of your right hand facing downward, the center of your left hand facing upward. Your chest is facing toward the north, your gaze toward the tail of A’s staff. See photo 12:

第八章
(CHAPTER EIGHT)

第十三動作
MOVEMENT 13 [switching places]:

甲方棍尾。托乙方槍樽向上絞。同時右足向起點左方。橫移一小步。足尖向外撇。左足向起點前方。開一步此時乙方。與甲方動作相同。該時右足亦橫移一小步。(向起點右放)足尖亦向外撇。左足亦開一步。(向起點後方與甲方相背)此時甲方已轉至乙方所站之地點。胸向起點。右方。而乙方則轉至甲方所站之地點。胸向起點左方。此時乙方將槍樽縮回。提高。右足向後撤一步。使槍尖朝下。向前照甲方右腿下部直刺。兩手用力下垂。左肘伸直。手心向上。右肘微曲。手心向下。胸向起點前方。兩目注視甲方腿部。甲方照腿刺來。右足猛向後撤一步。左手用力向右前方(身之右前方)猛推。使棍頭上方。急抵乙方之槍尖上端。胸向起點左後方。兩手心均向下。左肘伸直。右肘曲。使棍斜伏於腹部右方。面向起點後方。兩目注視乙方。棍尖。其式如第十三圖。
A, use the tail of your staff to prop up the end of A’s spear in an arc [going clockwise] as your right foot shifts a small step across toward the south, the toes swinging outward, and your left foot steps out toward the west.
  B, as A moves, your right foot also shifts a small step across (toward the north), the toes also swinging outward, and your left foot steps out (toward the east, going around A [as he is going around you]). You have both now switched places. A, your chest is facing toward the north. B, your chest is facing toward the south. B, withdraw the end of your spear raised high as your right foot withdraws a step and then send the tip of your spear stabbing forward and downward toward B’s lower body, your hands forcefully dropping into place, your left elbow straightening, the center of the hand facing upward, your right elbow slightly bending, the center of the hand facing downward. Your chest is facing toward the west, your gaze toward A’s leg.
  A, when you see the stab coming, your right foot withdraws a step as your left hand forcefully pushes to your forward right, sending the head of your staff to quickly brace away the tip of B’s spear. Your chest is facing toward the southeast, the centers of both hands facing downward, your left elbow straightening, your right elbow bending, causing your staff to be positioned diagonally, close to the right side of your belly. You are facing toward the east, your gaze toward the tip of B’s staff [spear]. See photo 13:

第十四動作
MOVEMENT 14:

乙方原姿式不動。將槍縮回。復照甲方左膝下部猛刺。甲方見槍刺來。左足向裏橫移一小步。足尖向外撇。同時右足再向前開一步。左手用力一帶。使棍頭將槍尖向外撥出。左肘曲。使棍頭向後上方。右肘向下。伸直。使棍尾向前下方。在右足進步之時。右手用力。使棍尾順槍桿直向上磕乙方左手。此時兩足尖均向起點左方。胸亦向起點左方。兩膝曲。成騎馬式。唯上身微向起點後方探。面向起點後方。兩目注視乙方。同時乙方。見棍尾照左手磕來。左手猛向後。移至右手所在之處。同時右足不動。左足猛向後撤半步。足尖觸地。足踵提起。槍尖亦在前觸地。兩肘彎曲。使兩手縮於胸部下方。兩手心均向上。胸向起點前方。兩目注視棍尾。其式如第十四圖。
B, without changing your posture, withdraw your spear, then fiercely stab toward A’s lower left leg.
  A, when you see the stab coming, your left foot shifts a small step across inward, toes swinging outward, and your right foot then takes a step forward. Your left hand is forcefully dragging, sending the head of your staff to deflect the tip of B’s spear outward, and your left elbow bends, sending the head of your staff upward behind you, your right elbow straightening downward, sending the tail of your staff forward and downward. As your right foot advances, your right hand forcefully sends the tail of your staff upward to be parallel with the shaft of B’s spear and knock against his left hand, the toes of your feet now pointing toward the south. Your chest is also facing toward the south, both knees bending, making a horse-riding stance, your upper body slightly reaching toward the east, your face toward the east, your gaze toward B.
  B, when you see the tail of A’s staff coming to knock your left hand, your left hand suddenly shifts to the rear to be next to your right hand. At the same time, your right foot stays where it is, but your left foot suddenly withdraws a half step, toes touching down, heel lifted, the tip of your spear touching the ground in front, both elbows bending, causing your hands to withdraw below your chest, the centers of both hands facing upward. Your chest is facing toward the west, your gaze toward the tail of A’s staff. See photo 14:

第十五動作
MOVEMENT 15:

乙方右足。同時向後撤一大步。左足亦隨右足撤半步。膝蓋微曲。右膝伸直。上身前探。成小前弓後箭步。同時左手向前移。伸直。右手握槍樽。縮回右脇之後方。復猛向前砍。照甲方頭部猛刺。同時甲方見槍刺來。左足不動。膝蓋彎曲。右足猛向後退半步。膝蓋微曲。足踵提起。足尖觸地。兩足距離約一尺餘。全身重點移於右腿。同時右足原地向右轉。右手棍尾向下沉。左手棍頭向上。左手用力。經胸前向身之右方推磕乙方之槍尖。此時右手伏於腹部左端。手心向裏。左手伏於膀肩旁。手心向前。胸向起點後方。兩目注視乙方。其式如第十五圖。
B, your right foot withdraws a large step, and your left foot follows, withdrawing a half step, the knee slightly bending, your right knee straightening, your upper body reaching forward as you make a small stance of front leg a bow, rear leg an arrow. At the same time, your left arm shifts forward, the arm straightening, and your right hand withdraws the end of your spear behind your right ribs, then shoots forward, suddenly stabbing toward A’s head.
  A, when you see the stab coming, your left foot stays where it is, the knee bending, and your right foot suddenly retreats a half step, the knee slightly bending, heel lifted, toes touching down, your feet just over a foot apart, the weight shifting onto your right [left] leg, your right [left] foot pivoting rightward. At the same time, your right hand sinks down the tail of your staff, your left hand sending the head of your staff upward, and your left hand forcefully pushes out to your right, knocking away the tip of B’s spear. Your right hand is now close to the left side of your abdomen, the center of the hand facing inward, your left hand close beside your [right] shoulder, the center of the hand facing forward. Your chest is facing toward the east, your gaze toward B. See photo 15 [reverse view]:

第十六動作
MOVEMENT 16:

同時乙方。右手復縮囘脇部後方。左手姿式不變。右手復向前猛砍。轉向甲方右膝下部直刺。甲方右足猛向左足後方撤一大步。膝蓋弓曲。左足亦隨撤半步。左膝伸直。足尖橫向起點左方。同時右手復於右脇後方。左手向下按。使棍頭由前直下。捺乙方槍尖。左手。左手伸直。手心向下。右肘微曲。手心向裏。上身向起點左方。微曲。胸向起點左方。面向起點後方。兩目注視乙方。其式如第十六圖。
B, your right hand withdraws behind your ribs, the position of your left hand not changing, then your right hand fiercely shoots forward with a stab toward A’s right knee.
  A, your right foot suddenly withdraws a large step behind your left foot, the knee bending, and your left foot also withdraws a half step, the knee straightening, the toes pointing across toward the south. At the same time, your right hand goes behind your right ribs and your left hand pushes downward, sending the head of your staff downward from in front of you, pressing down the tip of B’s spear, your left arm straightening, the center of the hand facing downward, your right elbow slightly bending, the center of the hand facing inward, your upper body slightly bending toward the south. Your chest is facing toward the south, your face toward the east, your gaze toward B. See photo 16:

第十七動作
MOVEMENT 17:

乙方復將槍縮回。照甲方頭部直刺。其姿式與前式相同。詳見前。故從畧。同時甲方雙手握棍。橫向上架乙方槍尖。同時將槍架出。使棍經腦後。(此時右手沈下)右手單手抓住棍尾。由身右方。橫向乙方腿部打一掃蹚。同時左足向右足後方猛撤一步。原地由左方向後轉。右足復向起點前方開一步。(此時胸已向起點前方)在右足開步之際。右手持棍橫掄。經右方。由前方斜伏於左脇之下。(在棍掄至面前時左手已接棍抓住)棍頭向起點。後下方。離地約五六寸。左肘向下斜方伸直。手心向裏。右肘橫曲。手心向下。右膝弓曲。左腿伸直。成前弓後箭步。唯此時胸向起點左方。面向起點後方。兩目注視乙方。當甲方打掃蹚時。同時乙方。將槍縮回。兩足高跳。落地後。其姿式與前不變。詳見上。胸向起點前方。兩目注視甲方。其式如第十七圖。
B, withdraw your spear, then stab toward A’s head, your posture still the same as in the previous movement.
  A, with both hands holding your staff horizontally, prop up the tip of B’s spear, and once the spear has been propped away, your staff passes behind your head (your right hand sinking down), your right hand now grasping your staff on its own, holding the tail of your staff, bringing it across from your right to attack B’s leg with a “sweeping the hall” action. At the same time, your left foot suddenly withdraws a step behind your right foot, arcing behind you from your left, then your right foot takes a step toward the west (your chest now facing toward the west). As your right foot steps out, your right hand has swung your staff across from the right and brings it in front of you to be a diagonal line close below your left ribs (your left hand now grabbing your staff), the head of your staff pointing downward toward the east, about half a foot away from the ground. Your left arm is straightened diagonally downward, the center of the hand facing inward, your right elbow bent across, the center of the hand facing downward, your right knee bending, left leg straightening, making a stance of front leg a bow, rear leg an arrow. Your chest is now facing toward the south, your face toward the east, your gaze toward B.
  B, when A attacks with “sweeping the hall”, withdraw your spear, jumping high with both feet, and then after you land, your posture is again the same as before. Your chest is facing toward the west, your gaze toward A. See photo 17 [reverse view]:

第十八動作
MOVEMENT 18:

甲方姿式不變。直向起點前方走。兩目仍回視乙方。同時乙方亦挺槍開步。直追甲方。(甲方開步之多寡視練習場之大小而定)甲方走至練習場之另一。端乙。方照甲方腿部後方直刺。同時甲方見槍刺來。右手不動。左手曲肘。將棍向後提起。再向前猛搏槍尖。同時左足在後。橫向右方。(起點右面)移半步。膝蓋伸直。右膝弓曲。兩足距離約二尺弱。成前弓後箭步。胸向起點左方。兩足尖均向起點左方。面向起點後方。兩目注視槍。同時乙方左足在前。膝蓋微曲。右足在後。伸直。成小前弓後箭步左。手仍向前伸直右。手槍樽。仍停於左手裏面。胸向起點前方。兩目注視甲方腿部。其式如第十八圖。
A, without changing your posture, walk toward the west with your gaze turned to look toward B. B, step out to pursue A. A, with the number and size of your steps depending on the practice space, walk to one end of the space. B, stab to the back of A’s [left] leg.
  A, when you see the stab coming, your right hand stays where it is as your left elbow bends, lifting your staff behind you and then suddenly sending it forward to smack away the tip of B’s spear. At the same time, your left foot shifts a half step across toward the north, the knee straightening, your right knee bending, your feet just under two feet apart, making a stance of front leg a bow, rear leg an arrow. Your chest is facing toward the south, the toes of both feet pointing toward the south. You are facing toward the east, your gaze toward B’s spear.
  B, your left foot is forward, the knee slightly bent, right foot behind, the leg straightening, making a small stance of front leg a bow, rear leg an arrow. Your left hand is again extended forward, your right hand again finishing with the end of your spear near the inside of your left hand. Your chest is facing toward the west, your gaze toward A’s leg. See photo 18:

第十九動作
MOVEMENT 19:

乙方復將槍縮回。兩足不動。唯身亦向後縮。又照甲方頭部直刺。同時甲方。右手棍尾沈下。左手將棍頭抬起。向上用力。向左猛扣乙槍。此時右足不動。半面向左轉。同時左足縮回一小步。足踵提起。足尖觸地。全身重點。移於右腿。胸向起點後方。左肘橫曲。手心向起點右方。右手心向起點右方。面向起點後方。兩目注視乙方。其式如第十九圖。
B, withdraw your spear, your feet staying where they are, your body also shrinking back, then stab toward A’s head.
  A, your right hand sinks down the tail of your staff as your left hand forcefully lifts up the head of your staff and then goes to the left, fiercely covering B’s spear. At the same time, your right foot stays where it is but does a half pivot to the left, and your left foot withdraws a small step, heel lifted, toes touching down, the weight shifting onto your right leg. Your chest is facing toward the east, your left elbow bending across, the center of the hand facing toward the north [south], the center of your right hand also facing toward the north [south]. You are facing toward the east, your gaze toward B. See photo 19:

第二十動作
MOVEMENT 20:

同時甲方。將乙槍扣住。右足向起點後方開一步。棍尾由身後。經頭上向乙方直劈。同時右手順棍下沈。距離左手約七八寸。手心向下。同時左肘曲。成三角形。上段緊伏左脇下段。成水平線。手心向下。使棍頭緊伏下段底面。棍頭與肘尖相齊。棍頭與棍尾成水平。上身微向前探。面向起點後方。兩目注視乙方。同時乙方。見棍尾劈來。將槍縮回。右足向後撤一步。左足亦隨右足向後撤一步。方向仍不變。同時右手槍樽提起。左手向前微推。架住棍尾。左手朝裏裹勁。使槍桿上端。裹至棍尾在下。槍桿在上。胸向起點右方。兩目注視棍尾。其式如第二十圖。
A, after covering B’s spear, your right foot steps out toward the east as you send the tail of your staff from behind you, over your head, and chopping toward B, your right hand sinking down [i.e. sliding inward along your staff] to be about three quarters of a foot away from your left hand, the center of the hand facing downward. Your left elbow is bent, making a triangle shape, the upper arm near your left ribs, the forearm making a horizontal line, the center of the hand facing downward, the head of your staff lowered to be level with the elbow, the head and tail of your staff making a horizontal line [diagonal according to the photo]. Your upper body is slightly reaching forward. You are facing toward the east, your gaze toward B.
  B, when you see the tail of A’s staff chopping toward you, pull back your spear as your right foot withdraws a step, your left foot following by also withdrawing a step, your orientation remaining the same. Then your right hand lifts the end of your spear and your left hand slightly pushes forward to brace away the tail of A’s staff, your left [right] hand also wrapping inward, causing the shaft of your spear to be angled upward, resulting in the staff being underneath and the spear being on top. Your chest is facing toward the north, your gaze toward the tail of A’s staff. See photo 20:

第二十一動作
MOVEMENT 21:

甲方兩足不動。右手向棍尾處移。抓住棍尾端。(此時左手鬆開)使棍頭經上方。直向乙方猛劈。上身向前探。左手隨棍停於頭部上方。五指伸開並攏。手心向上。右胳膊伸直。棍頭與棍尾相平。胸向起點右方。面向起點後方。兩目注視乙方。同時乙方。右足微向起點右後方撤一小步。左足亦隨撤一小步。足踵微提起。足尖觸地。兩膝伸直。同時右手槍樽。微隨左手。左手抬高。使槍尖向身右前上方。左手用力向外擰勁。使槍尖猛扣甲棍。手心向左方。(起點左面)右手心向下。其式如第二十一圖。
A, with your feet staying where they are, your right hand shifts to the tail of your staff (your left hand letting go), sending the head of your staff over you and chopping toward B, your upper body reaching forward, your left hand following your staff to finish above your head, the fingers extended but together, the center of the hand facing upward, your right arm straightening, the head and tail of your staff level with each other. Your chest is facing toward the north, your face toward the east, your gaze toward B.
  B, your right foot withdraws a small step slightly toward the northeast and your left foot also withdraws a step, the heel slightly lifted, toes touching down, both knees straightening. At the same time, your right hand at the end of your spear slightly follows your left hand as your left hand lifts, sending the tip of your spear upward to the forward right of your body, your left hand forcefully twisting outward, causing the tip of your spear to suddenly cover A’s staff, the center of the hand facing toward the south, the center of your right hand facing downward. See photo 21:

第二十二動作
MOVEMENT 22:

甲方不停。卽向起點前方開步進行。左手仍在頭部上方。胸向起點右前方。面由右方。轉向起點後方。兩目注視乙方。同時右手及棍。在身後隨胳膊伸直。棍頭觸地。向起點正後方。胳膊與棍成直線。同時乙方姿式不變。向前開步。(甲乙兩方開步多寡視場之大小而定)甲方走至場之另一端。乙方用力照甲方頭部直刺。乙方左足在前。甲方見槍刺來止步。左足在前。右手用力使棍之中段向上猛托。右手朝上伸直。微向起點後方。手心向上。棍頭向起點左後下方。同時右足向後退回一小步。足踵微提起。足尖觸地。胸向起點右後方。左手仍在頭上不變。兩目注視乙槍。其式如第二十二圖。
A, without pausing, advance [retreat] toward the west, your left hand still above your head. Your chest is facing toward the northwest, your face toward the east, your gaze toward B. At the same time, your right hand and your staff follow your body back, the arm straightening, the head of your staff touching the ground toward the east, the arm and staff together making a straight line.
  B, maintaining your posture, chase toward the west as A walks to that end of the practice space (the amount of steps for both of you depending on the size of the practice space), and forcefully stab toward his head, your left foot again going forward.
  A, when you see the stab coming, bring your feet to a halt with your left [right] foot forward, [left foot behind], as your right hand forcefully sends the middle section of your staff propping upward, the arm extending upward and slightly toward the east, the center of the hand facing upward, the head of your staff pointing downward toward the southeast. At the same time, your right foot retreats a small step, the heel slightly lifted, toes touching down. Your chest is facing toward the northeast, your left hand still positioned above your head, your gaze toward B’s spear. See photo 22:

第二十三動作
MOVEMENT 23:

乙方將槍縮回。兩足不動。復照甲方右腿下部猛刺。同時甲方。右足向起點前方猛撤一步。膝蓋弓曲。左足不動。原地向右擰。使足尖向起點左方。膝蓋伸直。兩足距離約三尺。(然隨身之高矮而定)使全身重點。移於右腿。同時右手用力擰。使棍頭向後旋轉。經頭上朝下猛捕。左手亦抓棍之中段。用力向下按。胳膊伸直。手心向下。右手心向裏。肘微曲。腰部微向前曲。胸向起點左方。兩目注視乙方。此時乙方姿式。左足在前。膝蓋微曲。右腿在後。伸直。上身微向前探。左手在前伸直。手心向上。右手持槍樽。在左手之後。距離左手約五六寸。胸向起點前方。兩目注視甲方。其式如第二十三圖。
B, withdraw your spear, your feet staying where they are, then fiercely stab downward toward A’s right leg.
  A, your right foot suddenly withdraws a step toward the west, the knee bending, your left foot staying where it is and pivoting to the right so the toes are pointing toward the south, the knee straightening, your feet about three feet apart (depending on your own height), the weight shifting to your right leg. At the same time, your right hand forcefully twists, sending the head of your staff arcing behind you, passing over your head, and fiercely seizing downward, your left hand also grasping the middle section of your staff and forcefully pushing it down, the arm straightening, the center of the hand facing downward, the center of your right hand facing inward, the elbow slightly bent, your torso slightly bending forward. Your chest is facing toward the south, your gaze toward B.
  At this time, B’s posture is thus: your left foot is forward, the knee slightly bent, your right leg straightened behind, your upper body slightly reaching forward, your left hand forward, the arm straight, the center of the hand facing upward, your right hand holding the end of your spear about half a foot behind your left hand. Your chest is facing toward the west, your gaze toward A. See photo 23:

第二十四動作
MOVEMENT 24:

乙方不動。將槍縮回。復照甲方頭部直刺。甲方見槍刺來。右足不動。原地向左轉。使足尖向起點後方。左足縮回半步。足踵提起。足尖觸地。膝微曲。兩足距離一尺餘。同時左手持棍抬起。使棍向身之左方猛帶。手心向起點後方。胸亦向起點後方。右手棍尾伏於右脇下部。面向起點後方。同時乙方。復將槍縮回。兩足不動。又照甲方左腿下部猛刺。同時甲方。左足向起點左方橫移一小步。足尖向外撇。右足在左足後方。向起點後方開一步。兩膝均曲。成騎馬式。右手棍尾在右足開步之際。使棍尾向前猛抵乙槍。兩足尖均向起點右方。胸向起點右方。面向起點後方。兩目注視乙槍。其式如第二十四圖。
B, staying where you are, withdraw your spear, then stab straight toward A’s head.
  A, when you see the stab coming, your right foot stays where it is and pivots to the left so the toes are pointing toward the east, your left foot withdrawing a half step, heel lifted, toes touching down, the knee slightly bent, your feet just over a foot apart. At the same time, your left hand lifts the [head] of your staff, fiercely dragging to your left, the center of the hand facing toward the east, as is your chest, your right hand holding the tail of your staff hidden below your right ribs. You are facing toward the east.
  B, again withdraw your spear, your feet staying where they are, and then fiercely stab downward toward A’s left leg.
  A, your left foot shifts a small step across toward the south, toes swinging outward, and your right foot takes a step toward the east from behind your left foot, both knees bending, making a horse-riding stance. As your right foot steps out, your right hand sends the tail of your staff forward, fiercely bracing away B’s spear, your feet pointing toward the north. Your chest is also facing toward the north, your face toward the east, your gaze toward B’s spear. See photo 24:

第二十五動作
MOVEMENT 25:

乙方左足。在右足前。向起點後方撤一步。同時左手抬起。使槍尖向上。左手移抓槍之上段。右手亦向上移。隨向前推。使槍樽直搗甲方右腿下部。右肘伸直。手心向下。左肘曲。手心向上。右膝曲。左腿伸直。成前弓後箭步。胸向起點左方。面向起點前方。兩目注視甲方。同時甲方見槍樽搗來。左足向起點後方開一步。右手抬起。曲肘。使棍尾向上。左手沈下。肘伸直。使棍頭向下。左手向前速推。使棍頭猛抵乙方槍樽。兩膝均曲。兩足尖均向起點左方。成騎馬式。胸向起點左方。面向起點後方。兩目注視乙槍。其式如第二十五圖。
B, your left foot withdraws a step toward the east from in front of your right foot, your left hand lifting, sending the tip of your spear upward and shifting its grip to the forward section of your spear. Your right hand also shifts upward, then pushes forward, sending the end of your spear pounding toward A’s lower right leg, your right elbow straightening, the center of the hand facing downward, your left elbow bending, the center of the hand facing upward, your right knee bending, your left leg straightening, making a stance of front leg a bow, rear leg an arrow. Your chest is facing toward the south, your face toward the west, your gaze toward A.
  A, when you see the end of B’s spear pounding toward your leg, your left foot takes a step toward the east and your right hand lifts, the elbow bending, sending the tail of your staff upward, your left hand sinking down, the elbow straightening, sending the head of your staff downward, and your left hand quickly pushes forward, sending the head of your staff to be bracing away the end of B’s spear, both knees bending, the toes of both feet pointing toward the south, making a horse-riding stance. Your chest is facing toward the south, your face toward the east, your gaze toward B’s spear. See photo 25 [reverse view]:

第九章
(CHAPTER NINE)

第二十六動作
MOVEMENT 26:

同時乙方槍樽。同甲方棍頭向上絞。(槍樽在上棍頭在下)絞至與頭平。乙方槍樽向回提高。同時右足向後撤一步。左手沈下伸直。使槍尖朝下。在身之左方。左手猛向前推。右手用力下垂。使槍尖直刺甲方左腿下部。其姿式與上式不變。唯此時右足在後。而胸已轉向起點右方。同時甲方。左手棍頭。與槍樽相絞。見槍照腿部刺來。右足猛向前開一步。左肘曲。棍頭向上。右手下沈。使棍尾向下。右手向前一推。使棍尾猛抵乙槍。兩膝均曲。仍成騎馬式。其姿式與前相同。唯此時右足在前。胸已轉向起點右方。其式如第二十六圖。
The end of B’s spear and the head of A’s staff are coiling upward (spear on top, staff underneath).
  B, once they are at head level, withdraw the end of your spear by lifting it high, your right foot withdrawing a step behind you, your left hand sinking down, the arm straightening, pointing the tip of your spear downward to your left, and then your left hand fiercely pushes forward, your right hand forcefully dropping downward, sending the tip of your spear stabbing toward A’s left lower leg. The posture is the same as before [Movement 24], your right foot behind, your chest turned to be facing toward the north.
  A, your left hand is holding the head of your staff as it coils with the end of B’s spear, and then when you see the stab coming toward your leg, your right foot suddenly takes a step forward, your left elbow bending, sending the head of your staff upward, your right hand sinking down, sending the tail of your staff downward, and your right hand pushes the tail forward, fiercely bracing away B’s spear. Both knees are bending, again making a horse-riding stance, the posture the same as before [Movement 24], your right foot forward, your chest turned to be facing toward the north. See photo 26:

第二十七動作
MOVEMENT 27:

甲方不停。同時將槍抵出。左手鬆開。右手抵住。用力使棍頭經上方向前直劈。上身亦向前探。左手隨棍停於頭部上方。五指伸開並攏。手心向上。兩足不動。及一切姿式與前不變。同時乙方見棍照頭部劈來。右足向起點右後方猛撤一小步。左足亦隨撤一小步。足踵微提起。足尖觸地。兩膝伸直。上身向右方微斜。同時將槍縮回。右手在右脇後下方。微隨左手。左手向外擰勁。使槍尖向外猛扣甲棍。左手心向起點左方。胸向起點左前方。面向起點前方。兩目注視甲其。方式如第二十七圖。
A, without pausing after bracing away B’s spear, your left hand lets go and your right hand forcefully sends the head of your staff upward and chopping forward, your upper body also leaning forward, your left hand following your staff to stop above your head, fingers extended but still together, the center of the hand facing upward, your feet staying where they are, your stance not changing from the previous posture.
  B, when you see A’s staff chopping toward your head, your right foot suddenly withdraws a small step toward the northeast, then your left foot also withdraws a small step, the heel slightly lifted, toes touching down, both knees straightening, your upper body slightly leaning toward the south. At the same time, your spear withdraws, your right hand going behind and below your right ribs, and your left hand slightly twists outward, sending the tip of your spear outward to suddenly cover A’s staff, the center of your left hand facing toward the south. Your chest is facing toward the southwest, your face toward the west, your gaze toward A. See photo 27:

第二十八動作
MOVEMENT 28:

甲方不停。卽向起點前方開步進行。姿式左手仍在頭部上方。胸向起點右前方。面由右方轉向後。兩目注視乙方。同時右手及棍。在身後。胳膊伸直。棍頭觸地。向起點正後方。胳膊與棍成直線。同時乙方姿式不變。向前開步。(起點前面)直追(甲乙兩方、開步多寡、視場之大小而定)甲方走至場之另一端。乙方用力照甲方頭部直刺。乙方左足在前。甲方見槍刺來。止步。右足在前。左足在後。右手用力使棍之中段。向上猛托。右手朝上伸直。微向起點後方。手心向上。棍頭向起點左後下方。同時右足向後退回一小步。足踵微提起。足尖觸地。胸向起點右後方。左手仍在頭上不變。兩目注視乙槍。其式如第二十八圖。
A, without pausing, advance [retreat] toward the west, your left hand still above your head. Your chest is facing toward the northwest, your face toward the east, your gaze toward B. At the same time, your right hand and your staff follow your body back, the arm straightening, the head of your staff touching the ground toward the east, the arm and staff together making a straight line.
  B, maintaining your posture, chase toward the west as A walks to that end of the practice space (the amount of steps for both of you depending on the size of the practice space), and forcefully stab toward his head, your left foot again going forward.
  A, when you see the stab coming, bring your feet to a halt with your right foot forward, left foot behind, as your right hand forcefully sends the middle section of your staff propping upward, the arm extending upward and slightly toward the east, the center of the hand facing upward, the head of your staff pointing downward toward the southeast. At the same time, your right foot retreats a small step, the heel slightly lifted, toes touching down. Your chest is facing toward the northeast, your left hand still positioned above your head, your gaze toward B’s spear. See photo 28:

第二十九動作
MOVEMENT 29:

乙方將槍縮回。兩足不動。復照甲方右腿下部猛刺。同時甲方。右足向起點前方猛撤一步。膝蓋弓曲。左足不動。原地向右擰勁。使足尖向起點左方。膝蓋伸直。兩足距離約三尺。(隨身之高矮而定)使全身重點。移於右腿。右手用力擰。使棍頭向後旋轉。經頭上。至面前朝下猛捕。同時右手亦抓棍之中段。用力向下按。胳膊伸直。手心向下。右手心向裏。肘微曲。腰部微向前曲。胸向起點左方。兩目注視乙方。此時乙方姿式。左足在前。膝蓋微曲。右腿在後伸直。手心向上。右手持槍樽。在左手之後。距離左手約五六寸。胸向起點前方。兩目注視甲方。以上姿式。與第二十三圖動作相同。其式如第二十九圖。
B, withdraw your spear, your feet staying where they are, then fiercely stab downward toward A’s right leg.
  A, your right foot suddenly withdraws a step toward the west, the knee bending, your left foot staying where it is and pivoting to the right so the toes are pointing toward the south, the knee straightening, your feet about three feet apart (depending on your own height), the weight shifting to your right leg. At the same time, your right hand forcefully twists, sending the head of your staff arcing behind you, passing over your head, and fiercely seizing downward once in front of your face, your right [left] hand also grasping the middle section of your staff and forcefully pushing it down, the arm straightening, the center of the hand facing downward, the center of your right hand facing inward, the elbow slightly bent, your torso slightly bending forward. Your chest is facing toward the south, your gaze toward B.
  At this time, B’s posture is thus: your left foot is forward, the knee slightly bent, your right leg straightened behind, [your left hand forward,] the center of the hand facing upward, your right hand holding the end of your spear about half a foot behind your left hand. Your chest is facing toward the west, your gaze toward A. This posture is the same as in photo 23. See photo 29:

第三十動作
MOVEMENT 30:

乙方將槍縮回。使右手向後伸直。左手移抓槍之上段。同時左足尖向外撇。右足在左足後方。向起點前方開一步。此時胸已向起點左方。左手沈下。右手由後向前。(此時右手移抓槍之中段)使槍樽照甲方頭部猛劈。左手曲肘。手心向上。右手在前。肘微曲。手心向下。胸向起點左方。面向起點前方。兩目注視甲方。同時甲方見槍樽劈來。兩足向前猛進一小步。雙手持棍。猛向上架。右手向上伸直。左肘微曲。向前上方伸。兩手心均向起點左後方。使棍尾高於棍頭約一尺五六寸。棍頭向起點右後下方。胸向起點左後方。右膝彎曲。足尖向起點左方。左膝在前。伸直。足尖向起點左後方。面向起點後方。兩目注視乙方其式如第三十圖。
B, withdraw your spear, your right arm straightening behind, your left hand shifting its grip to the forward section of your spear. At the same, your left toes swing outward and your right foot takes a step toward the west from behind your left foot. With your chest now facing toward the south, your left hand is sinking down and your right hand comes forward from behind (shifting its grip to the middle section), sending the end of your spear fiercely chopping toward A’s head. Your left elbow is bent, the center of the hand facing upward, and your right hand is forward, the elbow slightly bent, the center of the hand facing downward. Your chest is facing toward the south, your face toward the west, your gaze toward A.
  A, when you see the end of B’s spear chopping toward you, your feet both advance a small step forward as you fiercely prop up your staff with both hands, your right arm straightening upward, your left elbow slightly bent as it extends forward and upward, the centers of both hands facing toward the southeast as you put the tail of your staff about a foot and a half higher than the head of your staff, the head of your staff pointing downward toward the northeast. Your chest is facing toward the southeast, your right knee bending, the toes pointing toward the south, your left knee straightened in front, the toes pointing toward the southeast. You are facing toward the east, your gaze toward B. See photo 30 [reverse view]:

第三十一動作
MOVEMENT 31:

甲方左手沈下。右足在左足後面。向起點後方開一步。右手向前按。使棍尾照乙方頭部直劈。左肘彎曲。手心向下。使左肘緊挾棍頭。於左脇上端。右手在前。肘微曲。手心向下。斯時右膝在前彎曲。左腿伸直。成前弓後箭步。胸向起點右後方。面向起點後方。兩目注視乙方。同時乙方右足猛撤一步。右手抬起。復移抓槍樽。使槍樽向上。同時左手伸直。向上托。使槍中段。猛架甲棍。此時右手向上。手心朝起點右前方。左手在前伸直。向起點左前上方。手心向上。槍樽高於槍尖約一尺七八寸。槍尖向起點左前下方。右腿在後伸直。左腿亦伸直。唯足踵微提起。足尖觸地。上身向後微閃。胸向起點右前方。面向起點前方。兩目注視甲方。其式如第三十一圖。
A, your left hand sinks down as your right foot takes a step toward the east from behind your left foot, your right hand pushing forward, sending the tail of your staff chopping toward B’s head. Your left elbow is bent, the center of the hand facing downward, the elbow wrapping the head of your staff to your left ribs. Your right hand is forward, the elbow slightly bent, the center of the hand facing downward. Your right knee in front is bent, left leg straight, making a stance of front leg a bow, rear leg an arrow. Your chest is facing toward the northeast, your face toward the east, your gaze toward B.
  B, your right foot suddenly withdraws a step, your right hand lifting, shifting its grip to the end of your spear, and sending it upward, your left hand at the same time extending and propping up, sending the middle section of your spear to fiercely prop away A’s staff. Your right hand is now above, the center of the hand facing toward the northwest, your left hand forward, the arm straight, pointing toward the southwest, the center of the hand facing upward, the end of your spear about a foot and three quarters higher than the tip, the tip pointing downward toward the southwest. Your right leg is straightening behind, your left leg also straightening, the heel slightly lifted, toes touching down, your upper body slightly dodging back. Your chest is facing toward the northwest, your face toward the west, your gaze toward A. See photo 31:

第三十二動作
MOVEMENT 32:

同時乙方。左手向裏擰。使槍尖向裏裹。棍尾裹至乙槍在上。棍尾在下。甲方兩足不動。左手鬆開沈下。復伸至頭部上方。五指伸直並攏。手心向上。右手用力。使棍頭由後經上方。照乙頭部直劈。上身微向前探。同時乙方。左手向左用力。使槍向左猛掛。右手槍樽在後。微隨。使槍尖向上。兩方其餘姿式。與前不變。其式如第三十二圖。
B, your left hand twists inward, causing the tip of your spear to wrap inward, wrapping around the tail of A’s staff until the spear is on top and the staff is underneath.
  A, with your feet staying where they are, your left hand lets go and sinks down, then extends until above your head, the fingers extended but together, the center of the hand facing upward, as your right hand forcefully sends the head of your staff behind you, passing over you, and chopping toward B’s head, your upper body slightly reaching forward.
  B, your left hand forcefully goes to the left, sending your spear across with a sudden hanging action, your right hand at the end of your spear slightly following, causing the tip of your spear to go upward. The rest of the posture is the same as before [Movement 21]. See photo 32:

第三十三動作
MOVEMENT 33:

甲方。右手持棍。在前。左手抓棍尾。用力向乙方左腿下部打一掃蹚。同時乙方高跳。右足先觸地。由左方旋轉一圈。使胸復向起點前方。左足再向前觸地。此時雙手挺槍。復照甲方腿部猛刺。右腿在後伸直。左膝彎曲。成小前弓後箭步。左手在前。手心向上。右手在後。距離左手約五六寸。胸向起點前方。兩目注視甲方。同時甲方。左足不動。右足微向起點左方。橫移一小步。膝蓋伸直。左膝微曲。左手鬆開。置於頭部上方。五指伸開並攏。右手持棍。使棍頭在前觸地。不動。胳膊伸直。向起點右方猛撥。右手反背。使手心向起點左方。胸向起點右方。棍尾直向上。胳膊橫平。面向起點後方。兩目注視乙方。其式如第三十三圖。
A, with your right hand still holding your staff, your left hand comes forward to also take hold of the tail section and you forcefully do a “sweeping the hall” attack toward B’s lower left leg.
  B, jump high, your right foot coming down first, [your torso] turning from the left so that your chest is facing toward the west as your left foot comes down forward and you extend your spear with both hands, fiercely stabbing toward A’s [right] leg, your right leg straightening behind, left knee bending, making a small stance of front leg a bow, rear leg an arrow. Your left hand is forward, the center of the hand facing upward, right hand behind, about half a foot away from your left hand. Your chest is facing toward the west, your gaze toward A.
  A, your left foot stays where it is as your right foot slightly shifts across a small step toward the south, the knee straightening, your left knee slightly bending. Your left hand lets go and is placed above your head, the fingers extended but together, as your right hand puts the head of your staff firmly onto the ground and the arm straightens, suddenly deflecting toward the north, the hand turned over so the center of the hand is facing toward the south. Your chest is facing toward the north, the tail of your staff pointing upward, your [right] arm horizontal. You are facing toward the east, your gaze toward B. See photo 33:

第三十四動作
MOVEMENT 34:

甲方將槍撥出。右手用力。使棍頭由身後。經頭上向乙方頭部直劈。其餘姿式。與前不變。唯該時上身向前探。右膝彎曲。左腿伸直。成前弓後箭步。同時乙方復將槍縮回。全體隨向後縮。左手將槍抬起。朝上猛向左帶。其姿式與前第二十一圖相同。其式如第三十四圖。
A, after deflecting B’s spear away, your right hand forcefully sends the head of your staff from behind your body, over your head, and chopping straight toward B’s head. The rest of the posture is the same as before [Movement 21], except that this time your upper body is reaching forward. Your right knee is bent, left leg straight, making a stance of front leg a bow, rear leg an arrow.
  B, withdraw your spear, your body also withdrawing, your left hand lifting your spear, the hand facing upward, and fiercely drag to the left. This posture is the same as in photo 21. See photo 34:

第三十五動作
MOVEMENT 35:

甲方不停。卽向起點前方開步。進行姿式。左手仍在頭部上方。胸向起點右前方。面由右方轉向起點後方。兩目注視乙方。同時右手及棍。在身後。隨胳膊伸直。棍頭觸地。向起點正後方。胳膊與棍成直線。同時乙方姿式不變。向前開步。(起點前面)直追(甲乙兩方、開步多寡、視練習場之大小而定)甲方。走至練習場之另一端。乙方用力照甲方頭部直刺。乙方左足在前。甲方見槍刺來。止步。右足在前。左足在後。右手用力使棍之中段。向上猛托。右手朝上伸直。微向起點後方。手心向上。棍頭向起點左後下方。右足向後退回一小步。足踵微提起。足尖觸地。胸向起點右後方。左手仍在頭上不變。兩目注視乙槍。以上姿式及動作。與前第二十二圖相同。其式如第三十五圖。
A, without pausing, advance [retreat] toward the west, your left hand still above your head. Your chest is facing toward the northwest, your face toward the east, your gaze toward B. At the same time, your right hand and your staff follow your body back, the arm straightening, the head of your staff touching the ground toward the east, the arm and staff together making a straight line.
  B, maintaining your posture, chase toward the west as A walks to that end of the practice space (the amount of steps for both of you depending on the size of the practice space), and forcefully stab toward his head, your left foot again going forward.
  A, when you see the stab coming, bring your feet to a halt with your right foot forward, left foot behind, as your right hand forcefully sends the middle section of your staff propping upward, the arm extending upward and slightly toward the east, the center of the hand facing upward, the head of your staff pointing downward toward the southeast. At the same time, your right foot retreats a small step, the heel slightly lifted, toes touching down. Your chest is facing toward the northeast, your left hand still positioned above your head, your gaze toward B’s spear. The posture and movement is the same as for photo 22. See photo 35:

第三十六動作
MOVEMENT 36:

乙方將槍縮回。兩足不動。復照甲方右腿下部猛刺。同時甲方。右足向起點前方猛撤一步。膝蓋弓曲。左足不動。原地向右擰勁。使足尖向起點左方。膝蓋伸直。兩足距離約三尺。(然亦隨身體高矮而定)使全身重點。移於右腿。右手用力擰。使棍頭向後旋轉。經頭上朝下猛捕。同時左手亦抓棍之中段。用力向下按。胳膊伸直。手心向下。右手心向裏。肘微曲。腰部微向前曲。胸向起點左方。兩目注視乙方。此時乙方姿式。左足在前。膝蓋微曲。右腿在後伸直。上身微向前探。左手在前伸直。手心向上。右手持槍樽。在左手之後。距離左手約五六寸。胸向起點前方。兩目注視甲方。其姿式動作。與前第二十三圖相同。其式如第三十六圖。
B, withdraw your spear, your feet staying where they are, then fiercely stab downward toward A’s right leg.
  A, your right foot suddenly withdraws a step toward the west, the knee bending, your left foot staying where it is and pivoting to the right so the toes are pointing toward the south, the knee straightening, your feet about three feet apart (depending on your own height), the weight shifting to your right leg. At the same time, your right hand forcefully twists, sending the head of your staff arcing behind you, passing over your head, and fiercely seizing downward, your left hand also grasping the middle section of your staff and forcefully pushing it down, the arm straightening, the center of the hand facing downward, the center of your right hand facing inward, the elbow slightly bent, your torso slightly bending forward. Your chest is facing toward the south, your gaze toward B.
  At this time, B’s posture is thus: your left foot is forward, the knee slightly bent, your right leg straightened behind, your upper body slightly reaching forward, your left hand forward, the arm straight, the center of the hand facing upward, your right hand holding the end of your spear about half a foot behind your left hand. Your chest is facing toward the west, your gaze toward A. This posture is the same as in photo 23. See photo 36:

第三十七動作
MOVEMENT 37:

乙方不動。將槍縮回。復照甲方頭部直刺。甲方見槍刺來。右足不動。原地向左轉。使足尖向起點後方。左足縮回半步。足踵提起。足尖觸地。膝蓋微曲。兩足距離約一尺餘。同時左手持棍抬起。使棍向身之左方猛帶。手心向起點後方。胸亦向起點後方。右手棍尾。伏於右脅下部。面向起點後方。同時乙方。復將槍縮回。兩足不動。又照甲方左腿下部猛刺。同時甲方。左足向起點左方橫移一小步。足尖向外撇。右足在左足後方。向起點後方開一步。兩膝蓋彎曲。成騎馬式。右手棍尾。在右足開步之際。使棍尾向前猛抵乙槍。兩足均向起點右方。胸亦向起點右方。面向起點後方。兩目注視乙槍。其姿式與前第二十四圖相同。其式如第三十七圖。
B, staying where you are, withdraw your spear, then stab straight toward A’s head.
  A, when you see the stab coming, your right foot stays where it is and pivots to the left so the toes are pointing toward the east, your left foot withdrawing a half step, heel lifted, toes touching down, the knee slightly bent, your feet just over a foot apart. At the same time, your left hand lifts the [head] of your staff, fiercely dragging to your left, the center of the hand facing toward the east, as is your chest, your right hand holding the tail of your staff hidden below your right ribs. You are facing toward the east.
  B, again withdraw your spear, your feet staying where they are, and then fiercely stab downward toward A’s left leg.
  A, your left foot shifts a small step across toward the south, the toes swinging outward, and your right foot takes a step toward the east from behind your left foot, both knees bending, making a horse-riding stance. As your right foot steps out, your right hand sends the tail of your staff forward, fiercely bracing away B’s spear, your feet pointing toward the north. Your chest is also facing toward the north, your face toward the east, your gaze toward B’s spear. The posture is the same as in photo 24. See photo 37:

第十章
(CHAPTER TEN)

第三十八動作
MOVEMENT 38:

同時乙方槍樽。與甲方棍頭向上絞。槍樽在上。棍頭在下。絞至與頭平。乙方槍樽縮回。提高。同時右足向後再撤一步。左手沈下伸直。使槍尖朝下。在身之左手。猛向前推。右手用力下捶。使槍尖直刺甲方左腿下部。其姿式與前不變。唯此時右足在後。而胸已轉向起點右方。同時甲方。左手棍頭與槍樽相絞。見槍刺來。右足猛向前開一步。同時左肘曲。棍頭抬起。向上。右手下沈。使棍尾向下。右手向前一推。使棍尾猛抵乙槍。兩膝彎曲。仍成騎馬式。唯此時。右足在前。胸已向起點右方。以上姿式。與前第二十六圖相同。其式如第三十八圖。
The end of B’s spear and the head of A’s staff are coiling upward, spear on top, staff underneath. B, once they are at head level, withdraw the end of your spear by lifting it high, your right foot withdrawing a step behind you [your left foot following], your left hand sinking down, the arm straightening, pointing the tip of your spear downward to your left, and then your left hand fiercely pushes forward, your right hand forcefully dropping downward, sending the tip of your spear stabbing toward A’s left lower leg. The posture is the same as in the previous movement, your right foot behind, your chest facing toward the north.
  A, your left hand is holding the head of your staff as it coils with the end of B’s spear, and then when you see the stab coming, your right foot suddenly shifts a step forward [your left foot following], your left elbow bending, sending the head of your staff upward, your right hand sinking down, sending the tail of your staff downward, and your right hand pushes the tail forward, fiercely bracing away B’s spear. Both knees are bending, again making a horse-riding stance, your right foot forward, your chest facing toward the north. The posture is the same as in photo 26 [which is itself a repeat of photo 24 and was just reused for Movement 37]. See photo 38 [in this case a reverse view]:

第三十九動作
MOVEMENT 39:

甲方不停。左手鬆開。移抓右手後方棍尾。右手在前。兩手用力。使棍頭經上方向前。照乙方左肩斜劈。同時上身亦向前探。兩足不動。其餘姿式與前不變。乙方右手槍樽。縮回右脅後下方。左手用力。將槍抬起。向身之左方猛帶。左肘曲。手心向起點後方。右手沈。同時右足不動。膝蓋彎曲。左足向後退回半步。足踵微提起。足尖觸地。胸向起點正前方。兩目注視甲方。其式如第三十九圖。
A, without pausing, your left hand lets go and shifts its grip to the tail of your staff behind your right hand, your right hand now forward, and both hands forcefully send the head of your staff forward from above, chopping diagonally toward B’s left shoulder, your upper body reaching forward, your feet staying where they are. The rest of the posture remains the same as in the previous movement.
  B, your right hand withdraws the end of your spear below and behind your right ribs as your left hand forcefully lifts your spear into a sudden dragging action to your left, the elbow bending, the center of the hand facing toward the east, your right hand sinking. At the same time, your right foot stays where it is, the knee bending, your left foot withdrawing a half step, heel slightly lifted, toes touching down. Your chest is facing toward the west, your gaze toward A. See photo 39:

第四十動作
MOVEMENT 40:

甲方仍雙手持棍。右手在前。將棍抬起。復照乙方左腿下方打一掃蹚。同時乙方。雙腿高跳。此時棍已轉甲之左方。甲方兩足不動。復將棍抬起。又照乙方頭部直劈。右膝在前彎曲。左腿伸直。成前弓後箭步。胸向起點後方。面亦向後方。兩目注視乙方。同時乙方雙手持槍。向上猛托。兩手朝上伸直。右足在前。膝蓋彎曲。左足在後伸直。成前弓後箭步。胸向起點右前方。面向起點前方。兩目注視甲方。其式如第四十圖。
A, still with both hands holding your staff, your right hand forward, lift your staff, then attack B’s lower left leg with a “sweeping the hall” action.
  B, jump high with both legs, letting A’s staff arc through toward the north.
  A, with your feet staying where they are, lift your staff and then chop toward B’s head, your right knee bending forward, left leg straightening, making a stance of front leg a bow, rear leg an arrow. Your chest is facing toward the east, your face also toward the east, your gaze toward B.
  B, your hands send your spear fiercely propping up, your arms straightening upward, your right knee bending forward, your left leg straightening behind, making a stance of front leg a bow, rear leg an arrow. Your chest is facing toward the northwest, your face toward the west, your gaze toward A. See photo 40:

第四十一動作
MOVEMENT 41:

乙方雙手沈下。挺槍照甲方頭額直刺。其姿式與前不變。同時甲方見槍刺來。右足向左足後方。猛撤一步。同時雙手縮回。使棍頭朝上。猛向右帶。此時左膝微曲。右足在前伸直。足踵微提起。足尖觸地。胸向起點後方。兩目注視乙方。其式如第四十一圖。
B, your hands sink down and you extend your spear with a stab toward A’s forehead, the [rest of] your posture remaining the same as in the previous movement.
  A, when you see the stab coming, your right foot suddenly withdraws a step behind your left foot [withdraws a half step in front of your left foot] as your hands also withdraw, sending the head of your staff upward and fiercely dragging to the right, your left knee slightly bending, your right leg straightening in front, the heel slightly lifting, toes touching down. Your chest is facing toward the east, your gaze toward B. See photo 41:

第四十二動作
MOVEMENT 42:

乙方復將槍縮回。姿式不變。又照甲方左腿下部直刺。同時甲方。左足向起點右方橫移一小步。兩手擰勁。使棍頭在上。朝下猛捕。右足不動。膝蓋向下曲。左足向起點右後方伸直。足尖向起點左後方。腰部向前曲。此時右手在前。手心向下。左手在後。手心向上。兩胳膊成斜十字架。右手在上。左手在下。兩手距離約五六寸。棍頭向右後方。觸地。胸向起點左後方。面向起點後方。兩目注視乙方。其式如第四十二圖。
B, withdraw your spear, your posture not changing, and then stab downward toward A’s left [right] leg.
  A, your left [right] foot shifts a small step across toward the north as your hands twist, sending the head of your staff from above to fiercely seize downward, your right foot now staying where it is, the knee bending downward, as your left leg straightens toward the northeast, the toes pointing toward the southeast, your upper body slightly leaning forward. Your right hand is now in front, the center of the hand facing downward, your left hand behind, the center of the hand facing upward, your forearms making an X shape, right arm above, left arm below, your hands about half a foot apart. The head of your staff is touching the ground toward the southwest [northeast]. Your chest is facing toward the southeast, your face toward the east, your gaze toward B. See photo 42:

第四十三動作
MOVEMENT 43:

乙方姿式不變。將槍縮回。復照甲方頭額左端直刺。同時甲方站起。雙手持棍。與前不變。向上猛托。兩胳膊均向上伸直。棍頭向起點右後下方。胸向起點左後方。面向起點後方。兩目注視乙方。其式如第四十三圖。
B, without changing your posture, withdraw your spear, then stab toward the left side of A’s forehead.
  A, rise up with both hands holding your staff, their position not changing, and fiercely prop up B’s spear, your arms straightening upward, the head of your staff pointing downward [upward] toward the northeast. Your chest is facing toward the southeast, your face toward the east, your gaze toward B. See photo 43:

第四十四動作
MOVEMENT 44 [switching places]:

承上式。甲方將槍托出。左足向起點左方橫移一小步。足尖向外撇。右足在左足後方。向前開一步。雙手持棍。與前不變。用力使棍頭。經後旋轉。由右方橫向乙方腰部。攔腰一棍。(此時胸已由左轉、向起點右方、左足轉向前右足在後)在攔腰之際。同時左足。再由右足前方。向後撤一步。右膝在前彎曲。左腿伸直。成前弓後箭步。胸向起點正前方。雙手在前抓棍伸直。右手心向上。左手在後向下。面向起點前方。兩目注視乙方。同時乙方見棍照攔腰打來。左手抬起。使槍尖向上。右手下沈。左足向起點右方橫移一小步。足尖向外撇。右足在左足後面。向前開一步。及時原地向左轉。使胸向起點後方。(此時左足轉向前、右足在後)同時左足在前。向右足後方撤一步。右膝在前彎曲。左腿伸直。成前弓後箭步。胸向起點右方。在右足向前開步之際。兩手用力。使槍中段。猛抵甲棍。面向起點後方。兩目注視甲方。其式如第四十四圖。
A, continuing from the previous posture, having propped away A’s spear, your left foot shifts a small step across toward the south, toes swinging outward, and your right foot takes a step forward from behind your left foot, your hands not changing their position on your staff as they forcefully send the head of your staff arcing behind you and then swinging across toward B’s waist from your right. (In this instant, your chest is turning leftward to be facing toward the north so that as your left foot is turning in front of you, your right foot is momentarily becoming the rear foot.) Then as you swing across to his waist, your left foot withdraws behind your right foot [causing you to fully switch places with B], your right knee bending in front, your left leg straightening, making a stance of front leg a bow, rear leg an arrow. Your chest is facing toward the east, your hands extending your staff forward with the center of your right hand facing upward, your left hand behind, the center of the hand facing downward. You are facing toward the west, your gaze toward B.
  B, when you see A’s staff swinging toward your waist, your left hand lifts, sending the tip of your spear upward, your right hand sinking down, as your left foot shifts a small step across toward the north, toes swinging outward, and your right foot takes a step forward from behind your left foot. (In this instant, your chest is turning leftward to be facing toward the east so that as your left foot is turning in front of you, your right foot is momentarily becoming the rear foot.) Then your left foot withdraws to be behind your right foot [causing you to fully switch places with A], your right knee bending in front, your left leg straightening, making a stance of front leg a bow, rear leg an arrow. Your chest is facing toward the north. As your right foot steps forward, your hands forcefully send the middle section of your spear to suddenly brace away A’s staff. You are facing toward the east, your gaze toward A. See photo 44:

第四十五動作
MOVEMENT 45:

乙方右足向後撤一步。同時右手槍樽。後縮。左手沈下。挺槍照甲方頭額右端直刺。同時甲方。仍雙手持棍。向上猛托。兩手朝上過頂。使棍頭向起點右前下方。右足退回半步。足踵提起。足尖觸地。上身微向後縮。胸仍向起點前方。兩目注視乙方。其式如第四十五圖。
B, your right foot withdraws a step as your right hand withdraws the end of your spear, your left hand sinking down, then extend your spear, stabbing toward the right side of A’s forehead.
  A, still holding your staff with both hands, fiercely prop up, your hands going higher than your headtop, the head of your staff pointing downward toward the northwest, your right foot withdrawing a half step, heel lifted, toes touching down, your upper body slightly withdrawing. Your chest is again facing toward the west, your gaze toward B. See photo 45:

第四十六動作
MOVEMENT 46:

乙方將槍縮回。復照甲方腿部下方直刺。其姿式與前不變。甲方見槍刺來。同時右足。向起點左方橫移一小步。足尖向外撇。左足由右足後方。向前開一步。雙手持棍。用力使棍頭。由後經上方。向前猛捕。棍頭在前觸地。右手在前。手心向下。左手在後。手心向上。兩手成斜十字。右手在上。左手在下。兩手距離約五六寸。左腿在前伸直。右足曲膝。上身向前撲。使全身重點。移於右腿。胸向起點右前方。面向起點正前方。兩目注視乙方。其式如第四十六圖。
B, withdraw your spear and then stab downward toward A’s [right] leg, the rest of your posture remaining the same as in the previous movement.
  A, when you see the stab coming, your right foot shifts a small step across toward the south, toes swinging outward, and your left foot takes a step forward from behind your right foot, as your hands forcefully send the head of your staff to the rear, continuing over you, and then fiercely seizing forward, the head of your staff touching the ground. Your right hand is in front, the center of the hand facing downward, your left hand behind, the center of the hand facing upward, your forearms making an X shape, right arm above, left hand below, your hands about half a foot apart. Your left leg is forward and straightened, your right knee bending, and your upper body is leaning forward, the weight on your right leg. Your chest is facing toward the northwest, your face toward the west, your gaze toward B. See photo 46 [reverse view]:

第四十七動作
MOVEMENT 47:

同時乙方。復將槍縮回。又照甲方頭額直刺。姿式與前相同。此時甲方全身提起。左足退回一小步。足踵提起。足尖觸地。雙手原處不動。抬起。向上使棍中段。猛抵乙槍。棍頭向起點左前下方。胸向起點前方。兩目注視乙方。其式如第四十七圖。
B, withdraw your spear and then stab toward A’s forehead, the rest of your posture remaining the same as in the previous movement.
  A, your body rises and your left foot retreats a small step, heel lifted, toes touching down, as your hands lift, not changing their position, sending the middle of your staff upward, fiercely bracing away B’s spear, the head of your staff pointing downward [upward] toward the southwest. Your chest is facing toward the west [northwest]. Your gaze is toward B. See photo 47 [reverse view]:

第四十八動作
MOVEMENT 48:

甲方左足向起點右方橫一小步。足尖向外撇。右足由左足後方。向前開一步。同時雙手持棍。經右方。照乙方左腿下部猛掃。兩手在前伸直。右足在前。膝蓋彎曲。左腿伸直。成前弓後箭步。胸向起點左前方。面向起點正前方。兩目注視乙腿。同時乙方。左足向起點左方橫移一小步。足尖向外撇。右足在左足後方。向前開一步。同時右手沈下。左手抬起。使槍尖向上。右手上移向前推。猛抵甲棍。右足在前曲膝。左腿伸直。成前弓後箭步。胸向起點右後方。兩目注視甲棍。其式如第四十八圖。
A, your left foot shifts a small step across toward the north, toes swinging outward, and your right foot takes a step forward from behind your left foot as your hands send your staff swinging through on your right side and fiercely sweeping toward B’s left leg, both hands going forward, your arms straightening. Your right foot is forward, the knee bending, your left leg straightening, making a stance of front leg a bow, rear leg an arrow [although the photo shows A in a horse-riding stance]. Your chest is facing toward the southwest, your face toward the east, your gaze toward B’s leg.
  B, your left foot shifts a small step across toward the south [steps back toward the east], toes swinging outward, and your right foot takes a step forward from behind your left foot [shifts forward, toes swinging inward]. At the same time, your right hand sinks down and your left hand lifts, sending the tip of your spear upward, your right hand then shifting upward, and you push forward, fiercely bracing away A’s staff. Your right foot is forward, the knee bending, your left leg straightening, making a stance of front leg a bow, rear leg an arrow [although the photo shows B in a horse-riding stance]. Your chest is facing toward the northeast, your gaze toward A’s staff. See photo 48:

第四十九動作
MOVEMENT 49:

乙方右手槍提起。縮回右脅後方。同時右足向後撤一步。左手下沈。挺直照甲方頭額直刺。左腿在前曲膝。右腿在後伸直。成小前弓後箭步。胸向起點後方。兩目注視甲方。同時甲方。見槍照頭部刺來。兩足不動。上身向後縮。使右腿伸直。左腿弓曲。成左弓右箭步。同時雙手持棍。向上猛托乙槍。胸向起點左前方。面向起點前方。兩目注視乙方。其式如第四十九圖。
B, your right hand lifts your spear, withdrawing it behind your right ribs, your right foot withdrawing a step behind you, your left hand sinking down. Then extend, stabbing toward A’s forehead, your left leg bending in front, right leg straightening behind, making a small stance of front leg a bow, rear leg an arrow. Your chest is facing toward the east, your gaze toward A.
  A, when you see the stab coming, your feet stay where they are, your upper body withdrawing, your right leg straightening, left leg bending, making a stance of left leg a bow, right leg an arrow. At the same time, your hands send your staff upward, fiercely propping away B’s spear. Your chest is facing toward the southwest, your face toward the west, your gaze toward B. See photo 49 [reverse view]:

第五十動作
MOVEMENT 50:

同時乙方。見槍托出不停。復將槍縮回。又照甲方腿部直刺。(此時右手單手直砍、左手鬆開、停於頭部上方、五指伸開並攏、手心向上)右手挺槍之際。左足向後撤一步。膝蓋彎曲。右腿伸直。成前弓後箭步。胸向起點右後方。面向起點正後方。兩目注視甲方。同時甲方不停。右足經左足前面。向起點後方橫開一步。左足亦向起點後方橫開一步。同時右手持棍。向裏擰勁。(左手鬆開)使棍頭朝裏向外猛掛。左手停於頭部上方。五指伸開並攏。手心向上。此時左足曲膝。右腿伸直。成前弓後箭步。胸向起點左前方。面向起點正前方。兩目注視乙方。其式如第五十圖。
B, when you see A’s staff propping up, do not pause, instead withdraw your spear and then stab toward A’s [right] leg. (This time, your right hand works alone, your left hand coming away and finishing above your head, fingers extended but together, the center of the hand facing upward.) As your right hand extends your spear, your left foot withdraws a step and the knee bends, your right leg straightening, making a stance of front leg a bow, rear leg an arrow. Your chest is facing toward the northeast, your face toward the east, your gaze toward A.
  A, also without pausing, your right foot takes a step toward the east, passing in front of your left foot, then your left foot also takes a step toward the east. At the same time, your right hand holds your staff (your left hand letting go), twisting inward so that the head of your staff goes inward, then it fiercely goes outward with a hanging action, your left hand finishing above your head, fingers extended but together, the center of the hand facing upward. Your left knee is bent, your right leg straightened, making a stance of front leg a bow, rear leg an arrow. Your chest is facing toward the southwest, your face toward the east, your gaze toward B. See photo 50:

2018 Christmas Shopping List: Martial Arts Equipment and Long Reads to Get You Through the Winter Months

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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….

 

Martial Arts Studies Reader. Edited by Paul Bowman ($38 USD)

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.

 

Politics and Identity in Chinese Martial Arts by Lu Zhouxiang ($78 USD HC Routledge)

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…)

Bruce Lee: A Life by Matthew Polly (paperback $18 USD)

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.

You can find my interview with Polly where he got into a more detailed discussion about researching a book like this one here.

 

 

 

The Historical Sociology of Japanese Martial Arts  by Raul Sanchez Garcia ($43 USD Kindle)

 

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.

Sound interesting?  You can read the first chapter of this book here.

 

 

Embodying Brazil: An ethnography of diasporic capoeira ($ 49.95 USD Paperback) by Sara Delamont, Neil Stephens, Claudio Campos.

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.

 

Still don’t see what you are looking for?  I have heard about this great book on the history of Wing Chun and the Southern Chinese martial arts (now out in paperback, $25 USD)….

 

 

 

 

Training Gear

Five Photos Brand Dit Da Jow ($20 for 7.5 ounces)

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.

 

 

 

Flexzion Kicking Strike Shield ($18 USD)

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.

 

 

The perfect sword/HEMA gear bag ($150 USD)

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.

 

 

Hayabusa T3 Kanpeki 7oz Hybrid Kickboxing MMA Gloves ($129 USD)

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.

 

 

A set of wooden dummy arms and legs ($333 USD, but totally worth it)

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?

 

 

 

 

 

Weapons

Hanwei Practical Tai Chi Sword ($120 USD)

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.

 

 

 

Purpleheart Armory Dadao Trainer ($45.99 USD)

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.

 

 

 

Kris Cutlery Wood Training Knives ($25 USD)

Yeah, rubber is always a safer option for partner drills, but these trainers, made of ebony are really beautiful. At $25 I just can’t say no.

 

 

Antique late 19th(early 20th) century Nepalese Kukri ($99 USD)

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.

 

 

Handmade, traditional style, butterfly sword from the Philippines. ($350 USD).

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.

 

 

For the more academically inclined, why not give the gift of a conference registration to the inaugural North American session of the annual Martial Arts Studies meetings?  These will be held May 23-24, 2019, at Chapman University in sunny California.  Best of all, the registration is free if you email the conference organizers in advance and ask for tickets (click the link for details).

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.

 

How about visiting a martial arts film festival in a destination city in 2019?  Most major cities host one or more Asian film festivals a year. These are often a great place to see new and classic martial arts films, and if you are lucky you might find a festival dedicated just to classic Kung Fu films.  We are still a little early in the year to have confirmed dates (these events are generally announced a month or two in advance), but New York City is a great destination for these sorts of festivals.  And if you are going to be in Manhattan in June or July, there is an excellent chance you will find something you are interested in at the 2019 Asian Film Festival hosted by the Film Society of Lincoln Center.  But keep an eye out as you can often find smaller film festivals in a city near you!

 

 

Study with Master Li Quan (teaching Emei Style Southern Kung Fu and Wing Chun) in Chengdu, one of the most beautiful cities in China.

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!

 

oOo

Need more gift recommendations?  Why not check out some of the previous lists?

oOo

2018 Christmas Shopping List: Martial Arts Equipment and Long Reads to Get You Through the Winter Months

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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….

 

Martial Arts Studies Reader. Edited by Paul Bowman ($38 USD)

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.

 

Politics and Identity in Chinese Martial Arts by Lu Zhouxiang ($78 USD HC Routledge)

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…)

Bruce Lee: A Life by Matthew Polly (paperback $18 USD)

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.

You can find my interview with Polly where he got into a more detailed discussion about researching a book like this one here.

 

 

 

The Historical Sociology of Japanese Martial Arts  by Raul Sanchez Garcia ($43 USD Kindle)

 

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.

Sound interesting?  You can read the first chapter of this book here.

 

 

Embodying Brazil: An ethnography of diasporic capoeira ($ 49.95 USD Paperback) by Sara Delamont, Neil Stephens, Claudio Campos.

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.

 

Still don’t see what you are looking for?  I have heard about this great book on the history of Wing Chun and the Southern Chinese martial arts (now out in paperback, $25 USD)….

 

 

 

 

Training Gear

Five Photos Brand Dit Da Jow ($20 for 7.5 ounces)

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.

 

 

 

Flexzion Kicking Strike Shield ($18 USD)

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.

 

 

The perfect sword/HEMA gear bag ($150 USD)

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.

 

 

Hayabusa T3 Kanpeki 7oz Hybrid Kickboxing MMA Gloves ($129 USD)

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.

 

 

A set of wooden dummy arms and legs ($333 USD, but totally worth it)

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?

 

 

 

 

 

Weapons

Hanwei Practical Tai Chi Sword ($120 USD)

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.

 

 

 

Purpleheart Armory Dadao Trainer ($45.99 USD)

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.

 

 

 

Kris Cutlery Wood Training Knives ($25 USD)

Yeah, rubber is always a safer option for partner drills, but these trainers, made of ebony are really beautiful. At $25 I just can’t say no.

 

 

Antique late 19th(early 20th) century Nepalese Kukri ($99 USD)

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.

 

 

Handmade, traditional style, butterfly sword from the Philippines. ($350 USD).

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.

 

 

For the more academically inclined, why not give the gift of a conference registration to the inaugural North American session of the annual Martial Arts Studies meetings?  These will be held May 23-24, 2019, at Chapman University in sunny California.  Best of all, the registration is free if you email the conference organizers in advance and ask for tickets (click the link for details).

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.

 

How about visiting a martial arts film festival in a destination city in 2019?  Most major cities host one or more Asian film festivals a year. These are often a great place to see new and classic martial arts films, and if you are lucky you might find a festival dedicated just to classic Kung Fu films.  We are still a little early in the year to have confirmed dates (these events are generally announced a month or two in advance), but New York City is a great destination for these sorts of festivals.  And if you are going to be in Manhattan in June or July, there is an excellent chance you will find something you are interested in at the 2019 Asian Film Festival hosted by the Film Society of Lincoln Center.  But keep an eye out as you can often find smaller film festivals in a city near you!

 

 

Study with Master Li Quan (teaching Emei Style Southern Kung Fu and Wing Chun) in Chengdu, one of the most beautiful cities in China.

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!

 

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Need more gift recommendations?  Why not check out some of the previous lists?

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The Modern Roots of ‘Ancient’ Martial Arts

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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!

Click here for all of the details

 

 

Click here for a link to the web version (hopefully easier to read).

 

Bruce Lee: Memory, Philosophy and the Tao of Gung Fu

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Bruce Lee with his favorite onscreen weapon.
Bruce Lee with his favorite onscreen weapon.

 

***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.
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.
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.

 

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If you enjoyed this post you might also want to read: Two Encounters with Bruce Lee: Finding Reality in the Life of the Little Dragon

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Research Notes: Judo’s Triple Transformation in The China Press (1932)

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“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.

 

oOo

If you enjoyed this article you might also want to read: Addiction, Wellness and Martial Arts

oOo

Swords, Visuality and the Construction of China

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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?

Thomas Taylor Meadows, a British officer stationed in China during the Taiping Rebellion, was among the first to reflect on this question as he observed numerous skirmishes and battles.  In one section of his best-known work, The Chinese and Their Rebellions, he sought to rebut the commonly held Western beliefs that 1) all Chinese individuals have similar personalities 2) that as a group they are more cowardly than Europeans and shied away from combat.

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.

 

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If you enjoyed this essay you might also want to read: Yim Wing Chun and the “Primitive Passions” of Southern Kung Fu

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The Last Shall be First: Finding Meaning in the Martial Arts

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A foreign martial arts teacher practices at Wudang. Source:

 

 

Barnum’s Daughter

 

I was recently watching the news when I saw a brief segment on “the last” Japanese swordsmith.  The whole things is a little overwrought as there are lots of individuals making swords in Japan today, and (multiple) government offices in place to make sure that they will continue to do so for the foreseeable future. While alarmist, I am no longer surprised by this sort of rhetoric. For better or worse, it has become a defining feature of the modern martial arts and all of the other cultural practices that are associated with them. I usually just brush it off. Yet it can be jarring to those who have less experience with it.

By any metric Heather* is a pretty worldly individual.  A Hollywood veteran and longtime producer of reality TV shows (touching on everything from home improvement to dating contests), she could only be described as a modern daughter of P. T. Barnum. She can regale one with tales of writing room misbehavior or the wholesale fabrication of budget numbers on those home renovation shows that dominate the American dream.  She had recently “retired” and moved to Ithaca to take up a teaching position, and at the time of this conversation we lived in the same apartment complex.

Heather approached me on her bike as I was working through a new jian (double edged straight sword) set. “Hey, I didn’t know you were a martial artist!” she proclaimed. “That is what finally chased me out of TV.”  Asking for clarification it turned out that it was not actually Wudang Jian that had done her in.  Rather, she had been working on the project titled “The Last Samurai”* when she finally decided to retire.  I asked her to explain, which she did at length, finally concluding

“Look, I don’t know anything about the martial arts, but I know a racket when I see one. That guy wasn’t “the last Samurai.” What does it even mean to be a “Samurai” in Japan today? And God only knows how any of this could have been significant to the poor kids we dragged over there to meet him.”

After pausing to ruminate she continued, “That was how I knew it was time to get out.  Sure, the dating shows are all staged, and no one has yet pulled a dish out of the oven that actually looks like it does on the Food Network.  I could do all of that. But when it came to martial arts documentaries, it was a sign. I just knew I couldn’t do this anymore.  That’s when I knew it was time to do something real, and finally put my MFA to good use.”

I had never heard this part of Heather’s story before and stood there at an actual loss for words.  After a career spent fabricating the budgets of home improvement shows, it was martial arts mythmaking that finally brought down a jaded Hollywood producer.

 

A trip to any public park in China would seem to indicate that the average of traditional martial artists is increasing. At the same time these individuals may have a greater need for strong social networks and more resources to devote to finding them.

 

The Last Masters

 

As I reflected on the recent story of the “last” Japanese swordsmith (who, I suppose, is responsible for outfitting the aforementioned “last” Samurai) it occurred to me that that these were not just any random lineage myths or poorly researched newspaper articles.  Rather, they were widely shared stories that lamented or prophesized the end of the martial arts altogether.  Indeed, they have acquired the status of cultural touchstones. Both practicing martial artists and the mainstream media seem to relish stories promoting some teacher, or school, as either the first or (more commonly) the last of their kind.

All sorts of practices and institutions come to an end, and yet the media rarely remarks on their passing.  The martial arts are, if nothing else, survivors. While the end of the Chinese martial arts has been regularly prophesized since the end of the Ming Dynasty in the 17thcentury, they are still going strong. Given their frequently predicted demise, on some level I think it would be appropriate to conceptualize the Asian martial arts as a community that exists in a state of perpetual revival (understood in the Religious Studies sense of the word). Yet what makes the image of the end of Kung Fu, the last Viking or the final Samurai so appealing?  Where do these images get their emotional appeal, and why are they embraced with seemingly equal enthusiasm by those both within the traditional martial arts community and those who only know these practices through their mediatized image? As we unravel the puzzle of the perpetual demise of the martial arts, we may gain additional insight into the modern social functions which these practices perform.

 

Yang Style Taiji in Shanghai, 2005. The traditional Chinese martial arts are always forced to create a sheltered space within the larger community. Source: Wikimedia.

 

 

“Tradition” as Fetish in the Martial Arts

 

As we review the various historical essays within Kung Fu Tea’s archive, one might be forgiven for concluding that the Chinese martial arts are not so much a smoothly transmitted system as an assortment of stochastic discontinuities held together by the fervent belief that they ought to be (or at one point in the distant past were) a cohesive whole.  I find it useful to sit back and consider how much (or rather, how little) my Wing Chun training (a product of the 1950s) has in common with either the Dadao clubs of the 1930s, or the Red Spear village militias of the 1920s. These two distinct visions of the Chinese martial arts were among the largest social movements of their day. Collectively they trained and organized many millions of people.  And yet the Red Spear militias that once rules China’s northern plains seem to have had little impact on the surviving martial arts.  If this is true for huge social movements that existed less than 100 years ago, how much further removed is my understanding of the Chinese martial arts from one of Qi Jiguang’s Ming era soldiers, or an ancient scholar-warrior welding a bronze sword?

Nevertheless, the threads of culture provide continuity that bridges our personal, localized or purely internal, experience of reality. It is here, rather than in embodied practice, that scholars might start their search for a more stable understanding of the Chinese martial arts.  More specifically, it is within their long tradition of shared stories, literary references, venerated figures, imagined geographies and even values (though these do tend to shift from era to era) that Chinese martial culture finds (and contests) its central coherence.  It is within this most basic stratum that our search must begin.  And it is here that we first encounter the uniting fear of the “end” of martial practice.

Within a Confucian lineage system intergenerational transmission, whether genetic or social, is the great responsibility. Fathers must have sons to inherit the land, and in turn they must provide sacrifices to the ancestors. Knowledge, which existed in perfect clarity in the past, must be faithfully transmitted. The martial arts, understood as systems of military defense at both the local and imperial levels, was no exception.  Driven by the importance of the military examination system, archery manuals became one of the most successful genres of popular literature in the late imperial period. Likewise, the act of boxing is irreducibly social.  Neither teacher nor student can exist without the other.

It is thus interesting to note that within the very first stratum of existing Chinese martial arts manuals (16thcentury) we find authors like Qi Jiguang and Yu Dayou already concerned that the nation’s hand combat practices are in decline and in need of revival.  Cheng Zhongyou likewise undertook his important study of the Shaolin pole method both because he wanted to make it available to other members of the gentry seeking to train village militias, but also because he was worried that their “original” method would be lost in a deluge of second-rate imitators.  Already within the oldest stratum of printed (sometimes commercially distributed) works on the Chinese martial arts, we see a concern with their end.  This is truly remarkable as these same authors (and many other nameless instructors within their generation) were responsible for laying the foundation of the martial arts that we now enjoy today.

This basic complex of social values largely survived the transition to ideological nationalism, and market-based methods of transmission, during the late Qing and early Republic period.  In the period of “self-strengthening” (1860s-1890s) the entire nation was seen as under threat, and the martial arts came to be understood by some individuals as a way of preserving what was essential within Chinese society to resist the West. Thus fears about the disappearance of boxing could be mapped directly onto a larger historical dilemma. Likewise, Republic era reformers sought to place the traditional martial arts at the disposal of the nation building project, and (drawing on the Japanese example) saw within them the tools necessary to forge China into a single, modern, people.  When individuals foresaw or debated the end of boxing, they were at the same time ruminating on the nature of the modern Chinese state, its values, and relationship with society.

Yet such discussions still emerge with some frequency in the Western media and martial arts circles. And it goes without saying that the cultural values that underlay these discussions are quite different from traditional Confucianism’s concerns with faithful transmission on the one hand, or the sorts of all-encompassing nationalisms that characterized the 1930s on the other. Is there a single theoretical lens which we might apply to the narrative of the vanishing Kung Fu master which both explains the popularity of the story today, while still (within reason) shedding some light on its previous manifestations?

Martial arts historians and social theorists alike would probably begin by pointing out that it is quite significant that the West encountered these hand combat systems during the great period of imperial expansion in the late 19thcentury, and then again during the era of the consolidation of the global financial order in the immediate aftermath of WWII.  This suggests that we cannot separate the social function of the martial arts from the emergence of late capitalism and modern consumer culture.

Indeed, modern capitalism plays the pivotal role in the post-WWII dissemination of the Asian martial arts.  It gave rise to a set of economic, social and personal insecurities which came to define Western culture, and then promised the delivery of goods, ideas and practices that could solve these same issues.  The first two of these issues are perhaps the easiest to understand. The rapid opening of markets to global trade flows always creates sets of winners and losers as the increased flows of new types of goods eliminate some jobs and threaten the fabric of traditional communities. While most individuals will be better off (in the long run) as the national economy expands, they will now be forced to deal with the basic existential questions of life (who am I, what is my purpose) without the support of the types of traditional communities and institutions that sought to provide those answers in the past.

The surplus of goods which modern capitalism facilitates seems to always be accompanied with a deficit in social meaning.  Increasingly individuals are left to their own devices to determine what makes them unique, which groups (if any) they are part of, and what larger purpose they are meant to fill. Unsurprisingly individuals seek to find meaning within the sorts of goods and experiences that they consume.  For instance, I might signal, and develop, a certain type of identity through the clothing that I wear, the type of car that I drive (or don’t drive), and the hobbies that I fill my free time with.

Yet in a world where everything can be purchased, and any individual with the same set of means might purchase a similar set of goods, how secure is such an identity? The perfectly interchangeable and anonymous nature of markets threatens the ability of these institutions to provide answers for the terrible existential questions of human existence that are always looming in the darkness.  One logical response to this is to remove certain goods from the universal marketplace, thus preserving their cultural power by providing a non-economic gateway to their use.  This strategy has been seen many times in history, but in the current era it seems to most closely approximate our current anxiety over cultural appropriation.

Several theorists have noted that we respond to the anxieties and threats of the modern consumer society by seeking something that exists beyond mere economic exchange with which to anchor identity.  Given their importance to the counter-culture movement of the 1950s-1970s, Asian philosophies, religions and modes of aesthetic expression were often adopted as strategies for resisting the commercialization and hollowing-out of Western life.  Chinese Daoism, Japanese film and, of course, the martial arts all exploded into the popular consciousness as a new generation sought to find a better set of values to anchor their lives in a rapidly changing post-War West.  Strictly speaking, none of these things were actually “new.” Most of these images and ideas had been available to Westerners since the 1920s.  The supply was already present.  It was the post-war reevaluation of modern life that provided an explosion of demand.

Nevertheless, one must think carefully about how individuals, from the late 1940s to the early 1960s, actually encountered these ideas and practices.  The old standby is to assert that Judo or Karate was popularized by vets returning from the occupation of Japan (or perhaps a stint in Taiwan). There is certainly some truth in this statement.  And yet most of the vets who took up martial arts in the 1960s had never been stationed in Okinawa, Japan or Taiwan.  Some key individuals and future tastemakers had.  Don Draeger and R. W. Smith are both important examples of how a certain vision of the Asian martial arts was exported to the West.

Yet the vast majority of individuals who followed in their virtual footsteps had neither the life experience or financial means to travel East and South East Asia, documenting the martial arts.  Some may have encountered aspects of these systems as “dirty fighting” in boot camp. Yet for the most part they came to Judo, Karate and later the Chinese martial arts through newspaper and magazine articles, TV specials and commercial transactions carried out in strip mall dojos dotting the American post-war landscape.

The central paradox of consumer culture is now laid bare.  It promises to sell us goods, ideas and practices that can substitute for the loss of older types of community.  Yet the very fact that such goods can be purchased by anyone leads us to question their authenticity and efficaciousness. If personal-transformation and escape from the woes of late capitalism can really be purchased for $60 a month, and I hand over my $60, what exactly have I escaped?

Once we have reached this point a variety of thinkers, from Slavoj Zizek to Jean Baurdrillard, could be invoked to help. Zizek’s work on “Western Buddhism” is in many ways particularly relevant here.  But I would like to turn to a different source as it brings the discussion back to the frequent appearance of the words “last” and “first” in our discussions of the martial arts.  Specifically, Amanda Fernbach’s 2002 Fantasies of Fetishism: From Decadence to the Post-Human (Rutgers UP) deserves consideration.

Specifically, the logic of Fernbach’s argument suggests that procumers (consumers who simultaneously produce Western martial arts culture through their participation in these systems) seek to solve the essential dilemma of counter-culture consumerism by reformulating their practice as a type of fetish.  While the martial arts will continue to be distributed through a competitive marketplace this move relieves the latent anxiety about the authenticity of these goods. Specifically, discourses focusing on the origins or ending of an art serve to form a relationship between the practice and its students in which the now fetishized art becomes a powerful tool of its own marketing as well as a symbol of its own legitimacy.

Fernbach notes that the origins of the notion of “fetish” seems to lie in the colonial trade that occurred between Portugal and West Africa.  Fetish goods were spiritually powerful, culturally defined, objects which could not be traded.  Their exchange lay outside of normal economic channels, and they were believed to have a transformative effect on individuals or communities.  Given our attempt to apply all of this to a discussion of the martial arts in the early and mid-twentieth century, it is important to note that the core concept of the fetish really derives from imperialist discourse and denotes an area that is somehow insulated from socially corrosive market forces.

This notion (focusing on the object which resisted exchange) would go on to inform the basic anthropological definition of the fetish which saw them as otherwise mundane objects thought to be endowed with tremendous spiritual powers (often used in worship). More specifically, they could grant great strength or ability to someone with the proper knowledge of their use. Freud took this basic notion and instead focused on the absence, or the fear, that might cause one to seek out a fetish in the first place.  Fernbach finds his treatment of the concept wanting in a number of respects.

Karl Marx, on the other hand, found modern fetish goods within the Western economic marketplace. Here the good most certainly exchanges hands through trade.  Yet some aspect of its value (perhaps its prestige, or ability to act as a status symbol) might outstrip its actual utilitarian worth.  The fetish is thus a second good, encoded in the value of the first, which we might purchase within a marketplace.

Each of these definitions of the fetish are related to the others. Yet the original notion of an area (seemingly) protected from the corrosive effects of trade seems most relevant to what we see-or seek-in modern martial arts.  Still, Freud’s very different take on the problem reminds us that what is often most important in understanding human behavior is the fear of the thing that is lacking.

Nor is the Marxist interpretation without some merit. As with any good in the marketplace, one must increase the demand for your product through advertising. Creating discourses that fetishize aspects of the martial arts communicates to consumers that they will receive value that goes above and beyond the simple instruction that we are outwardly paying for. For instance, when I put my child in a Taekwondo class she doesn’t just learn the basic kicks and punches that I am paying for.  Undoubtably there will be a brochure in the school’s lobby informing me that she will also gain “self-confidence,” “discipline” and the ability to “work with others.” These are all core social values and a good example of the Marxist theory in action.

Still, I suspect that there is a more primal layer of myth creation that underlies all of this, one better explored through the older anthropological understanding of the fetish. As adult consumers look for a tool of self-actualization, guided perhaps by latent Orientalist notions about a “purer” East, they build a belt of protective fetish fantasies around the martial arts precisely to “save them” from the taint of the mundane. Perhaps the easiest of these fantasies to construct (and hence the most widespread) is that of origins and endings.

Such stories effectively sperate the martial arts from the world of endlessly repeatable consumer consumption by positing the existence of temporal discontinuity.  It is time itself (or what Eliade might have called “sacred time”) that places the martial arts beyond the reach of “mere consumerism,” but not actual consumers. That which has vanished from the world can no longer be sold, even if I feel that I can access some aspect of this shared sacred past in my weekly Kung Fu classes.  To be on the verge of disappearance is to also to be on the verge of having the sort of cultural surplus that we always bequeath of the long lost masters.  To be the “last master” is to be remembered. At least in our more romantic imagination. One suspects that in real life practices vanish precisely because no one cares to remember them at all.

Likewise, something on the verge of extinction is also a candidate for revival. Ip Man became the “grandmaster” not because he was the first, or the best, Wing Chun practitioner. Rather, he was venerated by generations of students in Hong Kong and the West for “saving the art” from extinction. Whether that was actually the case is a topic for another day. But I don’t think that anyone doubts that Ip Man has come to be seen as an epochal figure in the Southern Chinese martial arts that the “generation” of most modern Wing Chun students is now counted from.  His career is interesting precisely because it illustrates how closely linked the death and rebirth of an embodied identity can be, not just in historical practice but also in the stories that we come to tell.

 

 

Taijiquan teacher and students in a park. Source: http://english.cntv.cn

 

 

Conclusion

 

To be a member of the last (or first) generation of an art is find a place in history that appears to be beyond the whim of market forces. As witness to historical events it is hoped that one gains a sense of identity and purpose.  Indeed, one may even wish for a bit of immortality.  Given the universal appeal of these outcomes it is perhaps not surprising that media markets, in both the China, Japan and the West, have fetishized the imminent death of the martial arts. This often functions as a democratizing move. Lamenting their passing, or attempting to spark their revival, have become critical modes by which countless students experience these practices.  And many more media consumers are exposed to the same feelings (often in a more nationalistic or cultural guise) as they consume news stories about the disappearance of these once great cultural artifacts. When these fetishes are exposed (throwing us back into the “desert of the real”), the result can be the sort of destructive feeling of disillusionment that Heather experienced upon actually coming face to face with Japan’s “last Samurai.”

Any student of martial arts history can illustrate, in great detail, that we are not the first generation to read premature obituaries of Kung Fu’s passing.  Nor, through the simple process of extrapolation, are we likely to be the last. Yet when examined through the lens of Fernbach’s theory of the fetish it quickly, becomes apparent that the sorts of popular narratives that we tell about the death and rebirth of the martial arts are very important. The process of fetishization which she outlines (and is particularly amenable to the study of physical or embodied practices) suggests not just a mechanism by which these practices yield real transformative influence on the individual level, but also suggests much about the social ills that they seek to respond to. A theoretically informed examination of the martial arts suggests much about the terrain that lays behind us, and what we might yet become.

 

*All names and program titles have been changed to protect the innocents.

 

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If you enjoyed this discussion you might also want to read: Bruce Lee: Memory, Philosophy and the Tao of Gung Fu

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Performance Ethnography and the Martial Arts Studies Reader

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As the indomitable Professor Farnsworth would say, good news everyone! The long anticipated Martial Arts Studies Reader (Rowman & Littlefield, 2018) is now shipping.  Weighing in at 244 pages, and featuring articles by over a dozen of the most respected names in the field, this volume is sure to be referenced for years to come. Its timely chapters can easily be integrated into a wide variety of course reading lists. And if you look closely, you may even find my latest paper on the lightsaber combat community. This book will be of interest to both scholars and practitioners seeking to understand the evolution and social meaning of the modern martial arts.  Featuring articles by Peter Lorge, Douglas Wile, Meaghan Morris and D. S. Farrer, it is sure to find a place on all of our holiday gift lists.

 

Speaking of which, D. S. Farrer has been kind enough to post the text of his chapter on performance ethnography. His paper opens a window onto the sorts of content that one will find in the Martial Arts Studies Reader. It also provides students with a great discussion of one of the most important research methodologies being employed in the field today.  Take a look at the volume’s table of contents, read Farrer’s chapter, and order your copy today!

 

Table of Contents
Introduction: “What, Where and Why is Martial Arts Studies?” Paul Bowman
2. “Early Chinese Works on Martial Arts” Peter Lorge
3. “The Battlefield and the Bedroom: Chinese Martial Arts and Art of the Bedchamber” Douglas Wile
4. “Martial Arts by the Book: Historical European Martial Arts” Daniel Jaquet
5. “The Phone Book Project: Tracing the Diffusion of Asian Martial Arts in America Through the Yellow Pages” Michael Molasky
6. “Martial Arts, Media, and (Material) Religion” Esther Berg-Chan
7. “Liminoid Longings and Liminal Belonging: Hyper-reality, History and the Search for Meaning in the Modern Martial Arts” Benjamin N. Judkins
8. “‘He’s an Animal’: Naturalizing the Hyperreal in Modern Combat Sport” Janet O’Shea
9. “Martial Arts as a Coping Strategy for Violence” Sixt Wetzler
10. “Performance Ethnography” D. S. Farrer
11. “Martial Arts Studies and the Sociology of Gender: Theory, Research and Pedagogical Application” Alex Channon
12. “Masculinities, Bodies, and Martial Arts” Dale C. Spencer
13. “Martial Arts as Embodied, Discursive, and Aesthetic Practice” Tim Trausch
14. “Carnival of the Drunken Master: The Politics of the Kung Fu Comedic Body” Luke White
15. “Learning from Martial Arts”  Meaghan Morris and Paul Bowman

 

Chapter 10: Performance Ethnography
DS Farrer
The human mind is apt to perceive many things, and more so according as its body can be disposed in more ways. —Spinoza, Ethics IIP14 (1977: 52)

 

Performance ethnography, where the researcher sets out to learn a martial art, or other skill, is a somatic extension of participant observation where the body may become both subject and object of research.  This chapter traverses essential features of ‘how to do’ performance ethnography in martial arts research, thereby introducing a methodological toolkit to a new generation of ‘fighting scholars’ (García and Spencer 2013). Perfor-mance ethnography itself, however, is an open quarry for further research. Hence, in addition to a discussion of practical, methodological concerns, this chapter aims towards a fresh theoretical understanding of performance ethnography in terms of ‘immanence’ and ‘emergence’, where the method facilitates creative outcomes, knowledge or theory to surface from within a community of martial artists, dancers or other skilled practitioners (Deleuze 1988, 76).

 

 

 

Of Pens and Swords: Jin Yong’s Journey

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In recent years Louis Cha’s novels have become subjects for comic book artists.

 

 

The Loss of Heroes

The Chinese martial arts community has lost two giants.  The death of Rey Chow (who was instrumental in jumpstarting Bruce Lee’s martial arts films) and Louis Cha (who wrote under the name Jin Yong) comes as a double blow. Granted, neither man is remembered primarily as a practitioner of the martial arts.  Yet as story tellers they had a huge impact on the development of the shared web of signs, meanings and desires that would shape the development of the Chinese martial art community from roughly the 1950s until the present. As scholars we need to pay close attention to this cultural web as it is the software that structures the human experience.  While not strictly determinative, none of us will strive to accomplish that which we cannot imagine.

Both of these figures are deserving of an essay. Yet at the moment I find myself drawn to reflect on Cha. His stature as a literary figure, and frequent forays into modern Chinese politics (both from the editorial page and his service on various governmental committees) are fascinating in their own right. Yet I will admit to having some ambivalence regarding the cultural impact of his novels. To put the question simply, I find myself wondering what Hong Kong’s martial culture would look like today had “Jin Yong” accepted a newspaper job in Taipie in 1947 rather than Hong Kong.

Simply asking such a question smacks of heresy. In many ways Loius Cha is synonymous with Hong Kong, his adopted home. He was the co-founder, and long-time editor, of the Ming Pao daily, a major publication. While Cha is still remembered for his blistering anti-Beijing editorials during the Cultural Revolution, he became the first (non-Communist) Hong Kong resident to meet with Deng Xioping as he sought to steer China on a more open path.  And with over 100 million copies sold (not counting untold pirate editions), as well as derivative films, TV programs, radio dramas, comic books and video games too numerous to count, Cha’s novels are quite possibly Hong Kong’s most important cultural export within the Chinese cultural zone. Yet his impact on the Southern Chinese martial arts has been complex.

Perhaps the best way forward would be to review the contours of a remarkable career as we ask how it was that Cha, and a generation of immigrants like him, came to call Hong Kong home.  This may suggest something about Cha’s impact on the development of Southern Chinese martial culture in the post-1949 era, as well as the continuing echoes and reverberations of his legacy today.

I should state for the record that I do not claim to be an expert in the analysis, or criticism, of Cha’s work, and have only read a few of his in novels in translation. I am sure that there are others who are better qualified to write an essay such as this.  Nor is that admission an artifact of false modesty.  The immense popularity of Cha’s novels have actually sparked the creation of an entire academic subfield (some of which even appears in English) dedicated to the study of his legacy. Still, his influence on the world of actual Chinese martial arts practitioners has been so great that I cannot leave his passing in silence. The complexity of his relationship with this community seems to stretch far beyond the platitudes that we encounter in his many newspaper obituaries.

 

 

Jin Fong reviewing a copy of his own work. Source: BBC

 

 

Making a Hero

Like so many others, Cha first arrived in Hong Kong as a way station as he was headed somewhere else. He was born as Zha Liangyong in 1924 in Zhejiang province.  His family had deep, multigenerational, scholarly credentials and it was only natural that Liang would also find a career in literature. But his pathway was far from straight. He exhibited his trademark penchant for fiery political rhetoric as a youth and was expelled from high school in 1941 after publicly denouncing the KMT’s government as “aristocratic”.  Indeed, he would continue to identify himself as “anti-feudal” and “liberal” throughout his life.

After graduating from (a different) high school in 1943, Cha was accepted at the Department of Foreign Languages at the Central University of Chongqing.  His initial plan was to become a foreign service officer or diplomat.  However, he quickly dropped out of this program, and applied to study international law at Soochow University.

To help finance his studies Cha took a job in journalism with a major British owned paper. Fortuitously his company transferred him to the Hong Kong office in 1947. Things did not go well for all of Cha’s family who stayed behind after the Communist takeover in 1949.  His father was arrested as a counterrevolutionary and executed in the early 1950s. Critics, like John Christopher Hamm (who has written one of the best English language studies of Cha’s work), note that his early novels are marked with a profound awareness of the plight of exile, alienation and loss.  Like so many others who had come to Hong Kong for business or work, it quickly became apparent that there was no going home. Cha would be forced to build a new life in a largely Cantonese city under British colonial rule.

In the early 1950s Cha befriended Chen Wentong, a fellow journalist, who worked at the same paper.  He encouraged Cha’s interest in writing and in 1955 (writing under the pseudonym Jin Yong) he began to produce the first of the serialized wuxia novels that would make him famous.  In English this story’s title is typically rendered The Book and the Sword.

In 1959 Cha and his high school classmate, Shen Baoxin, established the Ming Pao daily newspaper with Cha serving as editor. The small paper started off as a home for “Jin Yong’s” increasingly popular novels, but it has since grown to be on the largest Chinese daily papers.  In its first two decades Cha was responsible for writing not just the serialized novels but also the daily editorials and many small features.  It is reported that at times he was publishing more than 10,000 characters a day.

In total Cha produced 14 novels and a single short story under the Jin Yong pseudonym. Then, in 1972, he retired and announced that he would concentrate on consolidating and editing his already extensive literary legacy.  This was a complex undertaking as these novels had first appeared as serialized newspaper columns, which operated under their own set of literary conventions. In 1979 Cha released the first “complete and definitive” set of novels, many of which had been streamlined or slightly reworked in the editorial process.

The 1970s-1990s were a period of increased political activity in Cha’s life. He had always maintained an interest in politics (often understood through a more traditional Chinese cultural lens focusing on “the national interest”). Initially this led Cha to make many enemies on the left when he forcefully denounced the Cultural Revolution. Still, his reputation as someone capable of bringing together complex competing perspectives led to an invitation to meet with Deng Xiaoping and his subsequent appointment to the committee drafting Hong Kong’s Basic Law.  Cha resigned that position in 1989 in protest over the Tiananmen Square Incident. Yet in 1996 he was once again working on the important Preparatory Committee, prior to the 1997 handover.

Not content to rest on his literary or political laurels, Cha pursued his lifelong fascination with Chinese history by pursuing a Doctorate in Oriental Studies at Cambridge University.  His degree was awarded in 2010 when he deposited his dissertation focusing on imperial succession in the early Tang dynasty.  Cha remained an important public figure throughout his life and his works have remained popular. A highly publicized English language version of his Condor Heroes series released its first installment in 2018. Cha died on October 30th2018, at 94, after a long period of illness.

 

A recent English language translation of one of Louis Cha’s classic Wuxia novels.

 

 

Contextualizing a Life

John Christopher Hamm has argued that it is impossible to understand Jin Yong’s meaning or social significance without thinking very carefully about the environment that this literary phenomenon emerged in.  Hong Kong’s newspapers were already well acquainted with the notion of serialized martial arts novels well before Cha’s arrival in the city.  Indeed, the region had a rich, well-established, tradition of Kung Fu novels stretching back through the 19th century.  Many of these were firmly rooted in Cantonese colloquialisms and local heroic figures.  While one must be careful not to draw what were always shifting social borders too strictly, these stories typically appealed to the transient workers and merchants who came to Hong Kong to do business before returning (either at the end of a season or a career) to some other location in the Pearl River delta.

With the national upheavals of the late 1930s and 1940s, the city’s complexion began to change quite rapidly. Increasing numbers of displaced persons made their way to Hong Kong in an effort to escape the turmoil elsewhere in China. Since these Northern immigrants had the means to travel, they were often better off financially and more educated than much of the local population. Following the 1949 liberation of China by the Communist Party, they streamed in, effectively overwhelming the Guangdong culture that had dominated Hong Kong since its inceptions. It is interesting to note, parenthetically, that Ip Man and Louis Cha arrived in the city within a year and a half of each other, though they represented different cultural currents.

Like Cha these individuals slowly came to the realization that the 1949 crisis was not a limited event like the others that had marked China’s tumultuous 20thcentury. Rather than a temporary haven, Hong Kong had become their home for the imaginable future.  Cultural clashes were common.  Local Cantonese residents referred to these newcomers as “outlanders.”  For their part the Northern refugees tended to see Hong Kong as a cultural wasteland. Cantonese culture was dismissed as backwards and new radio stations, theater groups and even newspapers quickly sprang up to cater to these northern “outlanders” who brought their own ideas about what modern Chinese life should be.

The Ming Pao daily was one of these institutions. And as Hamm notes, Jin Yong’s novels were a clear departure from the local kung fu tales that had previously dominated Hong Kong story telling. Acutely self-aware, his stories focused not on local heroes, but epic tales of contests for control of the Central Plains during periods of foreign occupation. When the heroes suffered their inevitable defeats, they retreated to the fringes of the empires and went into exile, just as Jin Yong’s readers had.

This is not to say that Jin Yong’s work didn’t have immense appeal, or that it was incapable of reaching a cross-over audience. As so many writers have recently noted, his novels have proved to be culturally enduring precisely because they speak to individuals across the geographic, ideological and economic lines that have traditionally divided the Chinese cultural area. They have managed to do so in large part by advancing an appealing, nuanced, vision of Chinese nationalism.  Self-determination and cultural identity seem to rest at the heart of Cha’s understanding of patriotism.  And in his later works he goes to lengths to praise China’s many ethnic minorities (particularly the ones that have contributed to its martial arts traditions) advancing a more open and liberal vision of what Chinese nationalism might be.

All of this is combined with a reverence for traditional Confucian values, particularly when they order the relationship between teachers and students, family members or leaders and followers.  Yet the feudal past, in which all of his stories are set, is not accepted uncritically.  Cha remained deeply suspicious of the feudal and aristocratic, and so his characters can be seen to wrestle with, and critically examine, practices that no longer work in the “modern” world of the 14thor 15thcenturies.

A lack of Cantonese colloquialisms notwithstanding, these themes were likely to have a broad appeal within Hong Kong society. Cha made sophisticated discussions about identity, belonging and the nation available to those with a variety of educational and cultural backgrounds.  Yet these stories always originated from a specific place, or point of view. Nor can one help but wonder what other vision of martial arts culture they displaced, or pushed to the margins, as Jin Yong attained a sort of hegemonic dominance within the Wuxia genre.  In my own research I frequently run across accounts of martial arts students in the 1960s and 1970s who, while enthusiastic to learn the southern martial arts, carried with them different visions about the values or identities that motivated these systems.  Generational conflict over such matters is not unique to this case. Though as I read one testimonial after another as to how critical Cha was to defining the world view of a generation of Southern martial artists, I cannot help but wonder what he displaced, and to what degree he helped to shape the disjointed expectations of the period.  Indeed, in my own account of Wing Chun’s history during the post-war era, Jing Yong’s novels are more likely to play the role of “loyal opposition” than protagonist.

 

Cha, second from left, in 1960, with the cast of the film “Return of the Condor Heroes.” Source: The New Yorker

 

The Journey North

The burgeoning hostility of local Hong Kong residents towards Northern visitors or residents is nothing new. It is easy to find recent newspaper articles and editorials referring to Northerners as “locusts” who sweep in to consume not just cheap goods, but increasingly the best real estate and jobs, pushing long-time residents ever further from the center. In the wake of his death some individuals openly wondered whether a figure like Cha could succeed today given the open hostility to immigrants.  The great irony, of course, is that the majority of Hong Kong’s “legitimate” residents today were once northern transplants themselves, and Cha’s stories helped their parents to negotiate an environment that was not always friendly, familiar or welcoming.

By becoming the quintessential Hong Kong storyteller (a lack of Cantonese roots notwithstanding) Cha is once again acting as a cultural bridge. Amidst all of the anxiety about the death of the Hong Kong film industry, and the future of the Southern Chinese martial arts (which are being priced out of the city by skyrocketing rents), it is easy to forget that in some ways the Cantonese martial arts heroes are now more popular than ever throughout the PRC.  Ip Man has become a household figure (and his art has exploded in popularity) not just because of his association with Bruce Lee. Rather, Wilson Ip’s 2008 film and its many successors have been key in spreading this bit of Southern culture throughout the mainland.

It has been noted (by myself and others) that the vision of Ip Man that these films conjure does not bear a close resemblance to the real life (and rather well documented) figure. In the place of the undeniably mercurial and modernist Ip Man, what do these films present?  A figure that in many ways splits the difference between the traditional Kung Fu genre and one of Cha’s stories.  Yes, the action is still gritty and “realistic” with minimal wire work.  But we now have a hero who exemplifies martial virtue, who demonstrates Confucian values in his relationships, who is a patriot who fights for China, and in defeat he retreats in exile to the edge of the empire. Does that sound familiar?

The flavor of these films is undeniably influenced by the Hong Kong tradition. Yet the mold that shapes the stories bears an uncanny resemblance to the ideal hero (a patriot who endures rather than wins) as laid out in Cha’s many novels.  Where as Ip Man and Louis Cha had once existed as contemporary historical figures, whose lives ran on parallel tracks, their legacies now interact in complex ways.  Rather than simply displacing the Pearl River Delta’s traditional Kung Fu narrative, Cha seems to have provided a pattern by which its heroes can travel North, testing their own fortunes in the Central Plains.

 

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If you enjoyed this essay you might also want to read:  Lives of Chinese Martial Artists (14): Ark Yuey Wong—Envisioning the Future of the Chinese Martial Arts

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