kENNETH cHUNG ON "PAW JOONG JICK LAWK": dESTROY THE CENTER BY DESCENDING STRAIGHT DOWNWARD7/16/2019
3 Comments
AS GRANDMASTER IP MAN'S FIRST DISCIPLE IN HONG KONG, MASTER LEUNG SHEUNG, WHO PLACED A STRONG EMPHASIS ON ACCURATE POSITION, STRUCTURE AND RELAXATION TO GENERATE ENERGY, WAS ONE OF THE MOST RESPECTED IN HIS DAY. ALL IP MAN'S STUDENTS LOOKED UP TO HIM DUE TO HIS SUPERIOR SKILL, MENTORSHIP. INSIGHT AND KNOWLEDGE.
Early Life Leung Sheung was born in 1918 in Ah Yiu, Nan Hoi County, Guangdong Province. By the time of his early youth, he was in the Macau area, a Portuguese Colony at the mouth of Pearl River, located near Hong Kong. From age 14 he began studying a variety of martial arts such as White Eye-Brow, Choi Lee Fut and Dragon Style. Leung Sheung became a restaurateur and would relocate frequently because of his work. This gave him the opportunity to learn from many well-known Martial Artists, but he was never able to study long under any of these instructors. By 1949, Leung Sheung had developed quite a reputation in several areas, one as a restaurateur, another as a lion dance performer, and as a martial artist. As A Restaurateur By 1949, Leung Sheung had been in the restaurant business for some time. In recognition of his abilities in the restaurant business, Leung Sheung was elected as an officer in the Restaurant Workers Union in Hong Kong. The Union owned a flat in the city of Kowloon. They used the flat as an office and for lodging for people coming from main land China. As an officer in the Restaurant Workers Union, Leung Sheung had some level of influence in the use of this flat. It is important to remember that, at this time, lodging in Hong Kong was extremely scarce. Typically, the Restaurant Workers Union would provide the flat as a place to stay for their restaurant workers, cramming 40 to 50 people into this small, one-room flat. So, when daylight approached, residents would then depart to their various restaurant jobs in and around the city of Kowloon and Hong Kong. As A Lion Dance Performer Leung Sheung was very fond of the Lion Dance. During this period in Hong Kong, merchants would extend a collection of vegetables from their second-floor balcony for the Lion Dancers. Attached to the vegetable bundle would be a red envelope containing "lucky money." Toward the conclusion of the Lion Dance, the "lion" would take the vegetable bundle and money. The performers, usually a three-man team, would be required to climb upon each other so that the "lion" could take the money in his mouth. All the lion dancers wanted Leung Sheung, a big man, probably 5'10" to 5'11" and weighing around 200 pounds, as the base. As A Martial Artist Leung Sheung was well respected for his proficiency in Dragon Style. He taught White Eyebrow in the flat. As workers left for work on shifts, there was room to teach and practice during the day and night. Leung Sheung had heard about Wing Chun since he was quite young, but as Wing Chun was quite secretive and well protected, he had never seen it; but, this martial art intrigued him, as did the stories about one of its instructors, Ip Man. Training Under Grandmaster Ip Man The thought that he would take Wing Chun at his first opportunity was beginning to emerge as a prominent thought in the back of his mind. Lee Man, also an officer in the Restaurant Workers Union, in 1949, found out that Ip Man was currently in Hong Kong. Knowing Leung Sheung's interest in Wing Chun and Ip Man, he informed Leung Sheung that Ip Man was in town. Leung Sheung urged Lee Man to introduce him to Ip Man. By the time they met, Leung Sheung had already decided that he wanted to learn Wing Chun from Ip Man. Being greatly impressed by Ip Man's Wing Chun skills, Leung Sheung urged him to accept the teaching position. He would provide the flat for Ip Man to teach in. Leung Sheung promptly introduced Lok Yiu and Tsui Sheung Tin to Ip Man, and the three of them became the first batch of Wing Chun students in Hong Kong. Leung Sheung then relinquished all his previous martial arts training to study seriously under Ip Man. It was therefore under Yip Man's guidance that Leung Sheung perfected his Wing Chun arts. Both Leung Sheung and Lok Yiu resided at the Restaurant Workers Union's flat during this time. Ip Man would now live in the flat, having no place to stay, and from 1949 until 1955, Leung Sheung and Lok Yiu trained under Ip Man intensively. Leung Sheung and others were very supportive of Ip Man and encouraged him to teach the arts publicly. This is how Wing Chun was established in Hong Kong in the 1950’s and developed to its present worldwide popularity. Public Teaching In 1956, Leung Sheung began to teach Wing Chun publicly, along with Lok Yiu, Tsui Sheung Tin, and Wong Sheung Leung. They formed the first generation of instructors from Ip Man's class and were widely recognized as the best students Ip Man ever produced. From 1956 through 1978, Leung Sheung taught Wing Chun continuously. During his entire teaching career, he maintained a very low profile, never advertising his school. His famous saying from this period was, "You find me, you are lucky." Teaching Philosophy Leung Sheung's teaching philosophy in Wing Chun was to think of students as driftwood. As an instructor, figuratively, he lived on the bank of a wide river, and from time to time, driftwood came up on the bank in front of his house. Occasionally he inspected the driftwood, and from time to time, he'd find a piece that interested him. He'd drag the select piece up the bank a bit, so it wouldn't wash away. As the pieces accumulated higher on the bank, he would find one piece that interested him enough to take it into his shop and begin to shape it. As with all things, the external appearance does not always show what lies beneath. Some driftwood will not be molded, either because of too many knotholes or other various failings. However, he would keep the driftwood that molded at the master's hand. Deeming a student as appropriate, a piece of driftwood to be kept, Leung Sheung would then become very demanding on that student. It was back into the river for those students with "too many knots." Leung Sheung is worthy of note among history's famous instructors. He was widely acknowledged for his achievement and high skill in Wing Chun. Leung Sheung was further praised for his innovative experimentation, enabled by virtue of his prior training and experience, and a firm belief that only practical application can verify theory. His persistent and patient teaching process molded many skillful students. In those days, it was often said that one learning from Leung Sheung was certain to develop good skill in sticking hands (chi sau). Such compliments further demonstrated confidence in Leung Sheung's ability and excellence in passing down the arts. Later Years In 1968, when Bruce Lee returned to Hong Kong to shoot a movie, he attempted to have a daily and friendly dialog with Leung Sheung. Bruce Lee always paid him "high respect" during their meetings. Bruce Lee referred to Leung Sheung as his older brother. In 1970, Leung Sheung had a kidney stone removed. After the stone's removal, Leung Sheung's health began to degrade steadily from that point onward. Leung Sheung passed away in 1978. Despite only limited historical materials and stories, Leung Sheung’s spirit has nonetheless continued to pass down the arts. Leung Sheung's contributions were instrumental in Wing Chun's worldwide growth, and the art's continuing growth for generations to come. 梁相的傳記 梁相作為葉問宗師在香港最優秀的弟子,他不僅是最資深的而且是最備受尊敬的人之一。梁相強調精確的位置,結構和放鬆以產生能量,全因為他的高超技巧、指導方法,洞察力和知識,令所有同門景仰。 早期生活 梁相生於1918年,原籍廣東省南海縣,雅瑤市人氏。他年輕的時候居住在澳門。14歲時,他開始進行正式的白眉、蔡李佛和龍形摩橋武術訓練。梁相從事飯店業,因工作關係經常搬遷,這讓他有機會向許多著名的武術家學習,但他從來沒有機會能夠長期在任何這些老師的指導下學習。到了1949年,梁相在幾個領域建立了很高的聲譽,一個是飲食業經營者,另一個是舞獅愛好者,還有一個是武術家。 飲食業經營者 到1949年,梁相已經營飯店生意一段時間了。為了表揚他在飯店業務方面的能力,梁相被選為港九飯店職工總會的理事長。港九飯店職工總會在九龍市區擁有一套公寓。他們用公寓作為辦公室之外,並為來自中國大陸逃難的人提供暫時住宿。作為港九飯店職工總會的理事長,梁相在使用這個單位方面有一定程度的影響力,最重要的此時在香港的住宿非常稀少。在通常情況下,港九飯店職工總會將公寓作為飯店工人的臨時住宿地點,將40至50人擠進這間小型公寓,解決飯店工人住宿的難關。因此,當天光時,臨時住宿的飯店工人便會離開,然後前往港九各區飯店工作。 舞獅愛好者 梁相非常喜歡舞獅。在香港的這段時間裡,商人會從二樓陽台為舞獅者高掛一串蔬菜,並捆上一個裝有“幸運錢”的紅包。舞獅表演完將完結時會進行採青儀式,“醒獅”以採青為主,將採摘捆綁著的蔬菜和利是。表演者,通常是一組三個人,被要求相互攀爬而上,以便“醒獅”可以把利是拿到嘴裡,所有舞獅的人都希望梁相可以做椿腳,因為他是一個大個子,大約5英尺10英寸到5英尺11英寸,重約200磅,有足夠下肢力量控制馬步。 武術家 梁相因其對龍形摩橋武術的熟練程度而備受尊敬,他亦在公寓裡教授白眉武術。當飯店工人輪值上班時,白天和晚上都可以騰出空間教學和練習。梁相從小就聽聞過詠春,但由於詠春非常隱秘,並受到很好的保護,所以他從未見過詠春功夫;但是,這個武術引起了他的興趣,就像其中一位老師葉問的故事一樣。 追隨葉問宗師 他希望學習詠春的想法開始在他腦海中浮現。1949年,港九飯店職工總會的秘書李文發現葉問正在香港,知道梁相對葉問的詠春甚感興趣,他告知梁相,葉問正在香港,梁相敦促李文介紹葉問給他認識。當他們見面那刻,梁相已經決定跟隨學生學習詠春,梁相對葉問的詠春技巧印象深刻,因此敦促他接受教學職位。他會為葉問提供教學的地方。梁相即時將駱耀和徐尚田介紹給葉問,三人成為葉問香港第一批詠春學生。梁相然後放棄了他以前的所有武術訓練,在葉問指導下認真學習詠春拳藝。在此期間,梁相和駱耀均居於港九飯店職工總會的公寓內。葉問在1949年至1955年間住在公寓內,梁相和駱耀因而接受葉問的集中訓練。梁相和其他人非常支持葉問,並鼓勵他公開教授詠春,這就是詠春拳藝在1950年代在香港發展的過程,以至全球知名。 公開授徒 1956年,梁相、駱耀、徐尚田和黃淳樑一起公開教授詠春。他們組成了葉問班底的第一代詠春導師,被廣泛認為是葉問最好的徒弟。從1956年到1978年,梁相繼續教授詠春。梁相在整個教學生涯中,他保持低調,從不刊登廣告。他的名言是:“你找到了我,你就很幸運。” 教學理念 梁相在詠春的教學理念是將學生視為浮木。作為一名導師,比喻說,他住在一條寬闊的河邊,不時,浮木在他家門前的河邊漂過。偶爾他會檢查浮木,並且不時會找到一件符合心意的,將它拖到岸上,以免它被水沖走。當這些浮木在岸上堆積起來時,他會發現一件他感興趣的,而足以將它帶入他的工埸內加以塑造。與所有事物一樣,外觀並不總是顯示出內涵,因為太多的枝節或其他各種缺陷,一些浮木不會被雕塑。然而,他會保留可雕塑的浮木。放諸教學上,梁相會對那些可雕塑的學生提出非常苛刻的要求,那些“結太多”的學生會再被放棄。梁相是歷史上著名的導師,他因在詠春的成就和高超的技巧而受到廣泛認可。梁相因其先前的訓練和經驗,以及祗有實際應用才能驗證理論的堅定信念,才能進行創新實踐,因而備受讚揚。他持續而耐心的教學過程塑造了許多技藝絕倫的學生。在那些日子裡,人們經常說,跟隨梁相學習的學生肯定會發揮良好的黐手技巧,這些稱讚進一步證明了梁相在傳承拳藝方面的能力和卓越表現的信心。 晚年 1968年,李小龍回到香港拍攝電影時,他保持每天與梁相進行對話。李小龍在對話期間總是敬稱梁相為大哥,向他表示“高度敬意”。1970年,梁相切除了腎結石後,身體健康從那時開始逐漸逆轉,最後於1978年辭世。雖然祗有寥寥可數的歷史資料和故事,但梁相的貢獻有助於詠春拳藝的全球發展,梁相的精神仍然繼續傳承下去。 Check out this recent Wing Chun Podcast featuring Dr. Jack Ling, "The Sifu's Stories, Episode 22 - Sifu Jack Ling and Using Wing Chun for Self-Defense and Therapy."
By Kathy Jo Connors with Kenneth Chung In earlier times before Yip Man opened Wing Chun to Hong Kong and the world, the wooden dummy, which is also known as the mook yan jong, was traditionally planted in the ground. This made the dummy quite stable, yet it also limited the dummy's movement. Yip Man’s arrival in Hong Kong sparked an evolutionary change which resulted in the wooden dummy mounting we enjoy today. During Yip Man’s time, space in the huge city was at a premium, and outdoor ground area for planting the dummy was difficult to come by. In order to establish a wooden dummy for training indoors, Yip Man had to innovate. He chose to have the dummy mounted against a wall, suspended in an entirely new way by two horizontal and flexible wooden slats, or wang dam. This new mounting method situated the wooden dummy a slight distance from the wall behind it. Combined with the flexibility of the wang dam, this spacing enabled the dummy to move and respond with a different kind of energy when in play, and provided Yip Man with a sensation that the older way of mounting could not. This new way of supporting the dummy allowed him to capture an opening and closing sensation, and a newfound resilience when working with it. When the dummy is bounced back and forth, this resilience is similar to the springiness of rattan. This was mentioned by Leung Sheung and others many times in relation to chi sau, and how the ligaments and flexibility of the human arms also have a rattan-like characteristic. Synthetic plastics were not available until after wider distribution of oil, nor was rubber readily available in southeast Asia. Therefore careful selection of wood for the wang dam was important for allowing the dummy to properly yield. Yip Man conveyed his fresh observations and his newly captured sensation with precision to his early students, Leung Sheung, Lok Yiu, and Tsui Sheung Tin, who in turn passed it to others. Kenneth Chung often reflects on the importance of this innovation and how, despite the distance of time, it is as though Yip Man still uses the wang dam to convey a specific idea about energy to us today. Though Yip Man’s earlier students in Fatsan would not have experienced this rattan-like energy through the wooden dummy, we can nonetheless reason that they would have appreciated the new sensation, while recognizing the same old principles within it. On the surface, today’s work with the wooden dummy might seem quite different from its earlier form. However, it is not different in its essence. We still work with the same rattan-like energy and its interpretation, though that sensation is now enhanced for us through the dummy. The tool we enjoy today was improvised based on circumstances of the time, rather than due to any shortcoming of the dummy itself. The new mounting and its rattan-like movement gave Yip Man a new feeling in his work, while at the same time remaining true to the concepts of Wing Chun. He ensured that his innovation did not sacrifice principles or resiliency. Yip Man gave us the same energy through a new medium. Ken reminds us that, for this reason, Yip Man was and remains the singular Grandmaster of Wing Chun. Connors, K. J. B. (2017, January 22). Personal interview with Kenneth Chung. Yip Man on the Wooden Dummy
Ken Chung (center) and Ben Der (center left) enjoying tea with the Doungguan Wing Chun group in May 2017.
Here is the next blog installment from Lau Yip of the Houston Wing Chun group, sharing observations on the Wing Chun stance, including some insightful vintage photos.
houstonwingchun.wixsite.com/home/single-post/2017/01/30/The-Bedrock-of-Wing-Chun Many thanks to Ben Der, San Jose Wing Chun, and The Bay Area Wing Chun Student Association for sharing this vintage essay and photos of Leung Sheung and Lok Yiu demonstrating Wing Chun sets and practice.
The full set of images can be found on Facebook at: http://bit.ly/2ilTAKB |
Archives
July 2019
Categories |