E’ accaduto un evento eccezionale l’altro giorno, perché – almeno da quanto mi risulta – mio fratello maggiore Cheung Yee Keung non aveva mai dimostrato in pubblico il nostro “filo di ferro”. Lo ha fatto pochi giorni fa in occasione della serata di commemorazione del maestro Chan Hon Chung, a cui non ho potuto partecipare perché impegnato con l’evento di Accordo che si svolgeva nello stesso weekend.
Compio in questi giorni di fine 2016 i 40 anni esatti di pratica dell’Hung Kuen. Ho cominciato nel 1976 a Milano con “Benjamin” Fung Hon, fratello di “George” Fung Kyu, allievo prediletto prematuramente scomparso del maestro Chan Hon Chung. Benjamin mi ha insegnato le prime posizioni e Mui Fah Kuen.
In spite of some technical inaccuracies, the article “Exit the Dragon? Kung Fu, once central to Hong Kong life, is waning” (Charlotte Yang, The New York Times, August 22, 2016) describes the profound – not to say epochal – social, economical and cultural changes I recently found returning to Hong Kong 20 years later. From the Lantau airport to the new creative dimsum recipes, from the spread of Korean fashion to the gigantic shopping malls grown everywhere, Hong Kong is not anymore the town I left in the Nineties. Leggi tutto “Keeping the Dragon alive in spite of the Hong Kong Millennials”
“This is a great fact that I am sharing now, for the benefit of whoever wants to get it: in our family’s Hung style breathing in never happens while contracting the muscles or even worse executing a technique. For this reason we do not breath in while pulling the hands, as many people of other schools do.” This phrase written in a previous article produced a significant quantity of messages from students interested in a more exhaustive explanation of the matter.
“In fact, the author seems to make a very pointed argument that Hung Gar is in its essence not a technical system of physical movements, but is instead an expression of culture. He doubts the ability of anyone who was not born within the Chinese language and society to genuinely master the art, let alone teach it. In fact, one cannot help but escape the impression that for him the Chinese martial arts are “authentic” precisely because they emerge from (and ultimately reduce to) an expression of Chinese culture. Still, reading between the lines it seems that he felt that being immersed within his network of Kung Fu Brothers was enough to give him access to some of the inner aspects of the art, and make up for his own lack of deep cultural background.”
In every martial art the forms are basically a symbolic (if not “metaphoric”) way to avoid any contamination, aimed to keep and hand down the set as pure as possible. But every student should know that – albeit in a full respect of the tradition – a significant quantity of realism must be kept in the practice. Master Chan Hon Chung granted a great importance to this realism, that was part of his teaching starting from the stances, the actual pillars of the whole system. Our master always pushed us to keep realism in our practice of the forms, explaining that the Hung style is not about dancing or showing off, but it’s about fighting, for real.
A few words about the “one finger bridge” and the “three extensions”. Back in the days in the Hon Chung Gymnasium in Hong Kong this gesture – so peculiar to Hung Kuen and a significant symbol in the Chinese secret societies tradition – was held in great consideration and trained with care.
“Check out one of the best Hung Ga Kyun books I had pleasure to read in years (and download a free sample here). Hung Ga Story is a memoir of Alberto Biraghi and his martial arts journey. Alberto studied the traditional Hung Ga Kyun in Hong Kong with the late Grand Master Chan Hon Chung, spending with him more than a month per year from 1977 until the closing of his historic gym at 729 of Nathan Road” (Pavel Macek).
I had the honor to learn Tit Sin Kuen, the ultimate form of the Hung Kuen school, 30 years ago from master Chan Hon Chung, in his country house and to refine it with my elder brother Cheung Yee Keung. I kept a daily written trace of what I learned and spent a few hour asking question to master Chan with the help of my elder brother Chan Kwoon Kwok. In my old paper notebook I still have pages of pages of notes, memories, drawings, comments.
Ho scritto un commento in un thread… a rischio (infatti è stato rimosso) su una pagina di appassionati di karate. Lo salvo qui, perché mi piace.
Il problema, Flavio Daniele, sta soprattutto nel verbo che lei usa: “credere”, che nel variegato e pittoresco mondo delle arti marziali cinesi ha troppo spesso una forte connotazione fideistica. Leggi tutto “Il kungfu cialtrone”
In questo thread ho postato due commenti che mi piacciono, quindi li edito un po’ per per decontestualizzarli e integrarli tra loro e li salvo come nota. Sostanzialmente rispondo a chi sostiene la superiorità delle arti marziali cosiddette “antiche” nei confronti di quelle cosiddette “moderne”. Smitizzo il fine bellico delle arti marziali cosiddette “antiche” e sostengo che le arti marziali si sono sempre evolute con l’uomo e devono continuare a farlo se vogliono sopravvivere.
Westerners who follow the Chinese martial arts, especially those who make a life out of them, are in big troubles with the inflation of the definition “master”. The problem: if you accept that any muscled poser who learned three moves on YouTube or has been photographed in front of a dim-sum calls himself “master”, then you have to find new categories and new hyperboles to define the true masters or even the not-so-bad ones.