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Tuesday February 7, 2012 @ 11:18am
 
Will the Real Wing Chun Please Step Forward! (cont.)
Articles by
Richard Loewenhagen
Can Ving Tsun meet the challenge of tomorrow
The Trek to the Meca of Ving Tsun has just begun
The VTM Preserves History
Moy Yat - The Art of the Tradition
Unraveling the history of Wing Chun's Butterfly Swords
The Truth About Wing Chun's Past
Understanding the Wing Chun Punch
First World Ving Tsun Conference
Do Secret Societies Give Kung Fu a Bad Rep?
Are you training a Martial Arts "Style" or a "System"?
Jeung Ngh - The Father of Hung Fa Yi Wing Chun
Will the Real Wing Chun Please Step Forward!
Hung Fa Yi Wing Chun's Two Track Approach to Combat Training
Museum Participates In Two Great Events Honoring Wing Chun Kung Fu Roots
The Holy Land Of Martial Arts
Southern Shaolin Temple
The Three Treasures of Shaolin
Seven Military Criteria
 
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New Wing Chun organization based out of Hong Kong - and a special event in November of 2009. Click Here, for details!

 

Luk Dim Boon Kwan - Wing Chun Long Pole by Sifu Benny Meng is available in our Gift Shop.

 

 
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Revolutionaries Picture

For the next century, both Chi Sim and Hung Fa Yi Wing Chun fighters were trained and employed secretly to support continued revolutionary efforts. By the mid-19th century, the fervor for return of the Ming family to the throne had dissipated. The Qing Dynasty (chìng chìuh) was firmly established and public dissent was focused more on political corruption and fighting the Western Imperial expansion. The largest revolution occurred in 1844 - 1850 AD. The Qing successfully suppressed it and the Red Opera, along with many other Opera societies supporting the revolution, was destroyed during the Qing victory. This opened the doors for opera refugees to begin disseminating the art in modified versions and variations to the general public.


The Red Junk

The second phase of Wing Chun development, Modification and Public Awareness, arose and flourished over the next 100 years. During this era, Wing Chun went through its third period of major change in form, footwork, and structure. Environmental and cultural factors such as exposure to life on boats in the southern coastal regions of China for over 100 years may have heavily influenced stances and training methodologies. The art began a transition from military employment to civilian use and support. As a result of this transition, Wing Chun outside the Hung Fa Yi tradition began to discard its scientific orientation and revert back to a focus based on individual expressions and personal experience. Likewise, students were no longer required to endure hours of initiation ceremonies and blood oaths to fight to the death for a specific cause. Nevertheless, Wing Chun's fighting effectiveness continued, as repeatedly demonstrated in challenge matches with other styles and individual opponents. The majority of today's most popular lineages stem from roots in this era. Two of those lineages stem from one man alone: Yip Man and Gu Lao (gú lòuh). Both originated from Dr. Leung Jan (lèuhng jaan), who learned his Wing Chun directly from Red Opera members. Others lineages include Pao Fa Lien (pàauh fà lìhn), Yuen Kay San (yún kèih-sàan), Pan Nam (pàahng nàahm), Nanyang (nàahm yèuhng), Cho family (chòuh ga), and numerous subsystems practiced throughout Southeast Asia.


(representations of) Leung Jaan and Fung Siu Ching

 

The legends of Wing Chun's roots also flourished during this period. The famous story of a young woman trained by a Buddhist nun creating and disseminating the art through the Red Boat Opera became quite popular. Ex-revolutionaries distancing themselves from the secret societies and governmental persecution most likely promoted the popularity of this legend. Many popular Chinese fictional books and magazines were written and published at the turn of the century. Many fables about martial arts orientation resulted from the stories in these works, including the legend of Yim Wing Chun (yìhm wihng cheùn). It is important for all students of history to note that these were purely fictional works, not historical treatises. Nevertheless, they still fueled legends.

The Commercialization Phase of Wing Chun represents its rapid expansion in modern day. This stage in the mid-20th century with the flight of Wing Chun teachers from Mainland China resulting from political instability during China's civil war. Its popularity quickly spread across the globe, due primarily to the renowned fighting success of Yip Man's gong sau (talking hands) fighters and the movie-making success of Bruce Lee (léih síu lùhng). Today, the Ving Tsun Athletic Association (wihng cheùn tái yuhk wúih) in Hong Kong serves as a nexus for the Yip Man lineage. Along with rapid growth came the politicization of the art in the form of arguments over 'Who' inherited the real Wing Chun and the resultant rights to control its commercialization through franchises, certifying associations, publications, videos, internet entities, etc.

The real prize of this journey was the realization that Wing Chun has not yet been lost to commercialization. Practitioners can still find all the pieces of the art and its history spread across all three stages of historical evolution. Collectively, they represent Wing Chun. Practitioners need to begin the return to a harmony reminiscent of the one emphasized by its original creators - the Shaolin monks. The system itself should enable its practitioners to seek and achieve that harmony in an atmosphere free from the corrupting effects of politicization. If the focus becomes perfection of learning and practicing the complete art, Wing Chun's survival can be assured. The countless unselfish efforts of Sifu Benny Meng and his museum staff throughout their incredible journey reflect a beginning move in that direction of harmony for all of us. A message ushers forth here for martial art traditionalists of other styles as well. The pieces of the myriad styles of Chinese Kung Fu are alive and intact. If traditionalists are willing to take on journeys such as this one, they too can trace the true roots of their arts and lay myths to rest.

Sifu Meng attributes the museum's success throughout this journey to his insistence on maintaining a continuous desire to learn and an open attitude that permitted it. He emphasizes four key elements that turned an impossible quest into successful reality. The first is the Chan (Zen) approach to Wing Chun instilled in him by Sifu Moy Yat. The second was the tireless and unselfish efforts of his Wing Chun disciples and the museum's operations manager, Sunmi Meng. The third key element to success was the sincere cooperation of many Wing Chun Masters spread across every major lineage of the art, especially Yip Ching of the Yip Man system and Andreas Hoffman of the Chi Sim system. The final element to success was born out of the courageous trust and confidence placed in Benny Meng by the inheritor of Hung Fa Yi Wing Chun System, Sifu Garrett Gee through the detailed, scientific knowledge he strove to share. Benny Meng became one of the first insiders of this rare, scientific system.

The trail for the journey is now forged. Doors are open for Wing Chun practitioners to undergo similar sojourns of learning. As has happened throughout history, others will follow that same trail and it will widen into a road and eventually become a super highway. In the words of trailblazer Benny Meng, "On with the Quest!"


 
About the Author: Sifu Richard Loewenhagen is a full time teacher and director of Wing Chun Kung Fu at Meng's Martial Arts of Arizona. He is the first disciple of Sifu Benny Meng to complete discipleship training in the Yip Man system of Wing Chun and is currently engaged in a discipleship training program of Hung Fa Yi Wing Chun. Sifu Loewenhagen was the Vice Chairman of the Ving Tsun Museum Founding Committee and today serves as the Museum's West Coast Director. He is also the co-author of the most comprehensive Wing Chun history book (soon to be published) ever undertaken. He can be reached at: Meng's Martial Arts of Arizona, 3029 N. Alma School Rd, Ste 218, Chandler, AZ 85224, (480) 820-2428, email: sifu@mengsofaz.com. The Ving Tsun Museum can be contacted at: Ving Tsun Museum, 5715 Brandt Pike, Dayton, OH 45424, (937) 236-6485, email: host@vtmuseum.org

 
 
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