Ricevo un gran numero di richieste di insegnare l’Hung Kuen appreso negli anni ’70 e ’80 a Hong Kong nella palestra del maestro Chan Hon Chung al 729 di Nathan Road. La cosa mi fa molto piacere, anche se sono sempre stato restio a farlo, visto che ho molta stima del termine (oggi inflazionato) “maestro” e non mi considero tale. D’altro canto capisco di essere custode di un bene raro e non ritengo giusto continuare a non condividerlo.
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Tag: hung kuen
A priceless Hung Kuen secret revealed
Again with this great Hung style performer. In the previous article I explained as this video confirms my theory of of a few movements added by my brother Cheung Yee Keung to Chan Hon Chung’s Tit Sin Kuen just before the first unicorn step. But there’s much more in this performance. Leggi tutto “A priceless Hung Kuen secret revealed”
Il Tit Sin Kuen di Chan Hon Chung
I found a YouTube channel with a few videos of a guy performing the Tit Sin Kuen and some other forms of the Hung Kuen style. His kung fu is 95% similar to the one that my master Chan Hon Chung taught in the late Seventies and early Eighties in the iconic 729 Nathan Road gymnasium in Hong Kong. Leggi tutto “Il Tit Sin Kuen di Chan Hon Chung”
Cheung Yee Keung e il Tit Sin Kuen
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.
Chan Hon Chung: è ora di tramandare quello che mi ha insegnato
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.
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Hung Kuen: the salute unlocks the breathing secrets
“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.
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A great review of my book
“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.”
Hung Kuen stances: how to avoid pollutions
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.
Tips for a pure “one finger bridge”
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.
Master Chan Hon Chung, the good masters and the bad masters
Back in the days – late Seventies to late Eighties – when I was spending most of my free time in Hong Kong to learn the Hung style from master Chan Hon Chung, there was no the “lineage” thing, nor there was the rivalry that creates a climate of suspicion and a somehow wary atmosphere in today’s Hung Kuen world. Master Chan was the undisputed noble father of our style and – in many terms – of the Honk Kong Chinese martial arts world. No one questioned his role, after all he was Lam Sai Wing’s best known student and a respected bonesetter, had a four pages business card crammed with “chairman” and “president” titles, a prestigious martial curriculum. And – most of all – to no other kung fu master had been offered the honor of receiving the Medal of Glory and being introduced to Elizabeth II, queen of the British colony of Hong Kong, oddly not hated, if not respected, by the Hong Kong people.
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