Incursioni e riflessioni di Alberto Biraghi – online dal 7 febbraio 2001
In the days of the COVID-19 pestilence, after a long reflection, I decided to share with the world in a series of 27 videos the Tit Sin Kuen form that I received from my master Chan Hon Chung in 1984. I gave the reasons in . . .
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Ho conosciuto il fratello 溫雄 nel 1977, in occasione del mio primo soggiorno a Hong Kong. Dopo l’emozione iniziale l’Hon Chung Gymnasium cominciava a diventarmi familiare. E dopo la diffidenza iniziale i ragazzi della Hon Chung Gymnasium Stdent Union diventavano sempre più cordiali e accoglienti.
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Tra tante degenerazioni subite in Italia dalle arti marziali cinesi, una delle più sgradevoli è quella che riguarda gli appellativi tradizionali. Usati in Cina per indicare le relazioni di parentela marziale (come in una famiglia: tipo nonno, zio, fratello, nipote…), sono stati arbitrariamente trasformati da . . .
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In my 47 years (ouch!) of constant practice, my perception of the martial arts evolved. But the trigger that launched the reflection that brought to these considerations was meeting Dorillo Rota, an awesome martialist of great human value, who has devoted his enormous experience to . . .
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Hung Kuen stances: a correct execution is the most important assumption for the serious student. In every martial art the forms are basically a symbolic (if not “metaphoric”) way to avoid the contaminations, aimed to keep and hand down the set as pure as possible. But every student . . .
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This post is about how I got hold of this original picture taken in 1969 at the fist official meeting of the “Hong Kong Chinese Martial Arts Association Ltd” (renamed “Hong Kong Chinese Martial Arts Dragon and Lion Dance Association Ltd.” in 2006), inspired and . . .
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Ricevo un inaspettato numero di richieste da persone interessate a imparare l’Hung Kuen che ho appreso da Chan Hon Chung e perfezionato con il mio “fratello maggiore” Cheung Yee Keung dopo la chiusura dell’Hon Chung Gymnasium al 729 di Nathan Road.
Continua a leggere“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 . . .
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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 . . .
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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 . . .
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