Martial Spirit 2, Part 2 of 2 (English Subtitles)

Lei Chun Lam: -There are many different steps in Unicorn Dance. -Whereas Kung fu, for example our Hakka Kung fu does not contain a lot of stances. -We have the Triangle Stance and the Bow Stance and that is about it. -However, the unicorn has the Unicorn Step, Hanging Stance. Then there is the Nail Kick and the Turning Kick. -Some of the kicks uses both legs when kicking, and then there is the bow stance. -In Unicorn Dance there is a great variety of steps. -There are many kinds of Unicorns. -Unicorn Dance requires the dancer to have strong arms, legs and hands. The waist needs to be bent when dancing, the hands should not be weak. -In the beginning the practitioner needs to learn how to do the Unicorn Dance, -when the practitioner has learn to dance only then can he or she can continue to practice Kung fu. -Then a practitioner learns two-man weapon sparring sets, when a practitioner has learned all these aspects, -then they can be called master. -This is the characteristic of the Hakka Kung fu and Unicorn Dance. -The combination between Kung fu and Unicorn Dance is absolutely necessary. Narrator: -Hakka Green Dragon Pool Hung Kuen, belongs to what is called Lou Hung Kuen (Old Hung Kuen). -One disciple of this style, master Lui Hok Keung has his school in Shau Kei Wan. -Every year on Tam Gung festival, held on the fourth month and eighth day of the lunar calendar, -Master Lui and his students dance Unicorn Dance and Pei Yau (another mythical creature that people have imitated and made a costume in its resemblance). Master Lui Hok Keung: -Our master Luo Chun, came to Hong Kong in the early 60s. -He stayed for a while on Cheung Chau, Peng Chau and Stanley and he finally settled down in Shau Kei Wan. -The characteristic of our Hakka Green Dragon Pool Hung Kuen is that we use triangle stance and low horse stance a lot. -We also use our voice in the forms, we have a special kick called Quaking Kick, and we also emphasise explosive power and a lot of uppercuts. -We have a pole form, that contains a pole technique called Hoi Kau Da which is a Hakka specialty. -Hoi Kau Da means that the pole does not have more than three sequences, -as soon as the tip of the pole dips it must evade the opponent’s attack. Narrator: -Lam Ga Gao (Teachings of the Lam Family) is a famous martial art from Huizhou in Guangdong province. -The creator of Tung Kong Dragon Style, Grandmaster Lam Yiu Gwai learned this style from his father Lam Hing Yuen, -and his paternal uncle Lam Hap. -Lam Ga Gao was passed on from master Lam Hap and found its way to Hong Kong. Master Cheung Cheung Hing: -My knowledge comes from Grandmaster Lam Hap’s grandmaster, -this grandmaster taught his son. -Because in those days the teachers of martial arts often came from another village to teach. -So this grandmaster ended up in a place called Ma On. -Where he taught my master. After our master came to Hong Kong, he only taught those who were interested, -he did not teach openly. -Which means that we were quite few students. -Our master wanted us to sink the shoulders and lower our upper arms, like the wings of a cicada and the back of a turtle, when we practiced Lam Ga Gao. -We use triangle stance a lot in our forms. -Our forms are called Jan Kiu (Pillow Bridge), Sui Kiu (Breaking the Bridge), -and one form is called Chung Chuih (Uppercut). Narrator: -Chinese martial arts have always been passed down orally from a master to a student. -The disciple of Lam Ga Gao, master Cheung Cheung Hing has kept an old martial arts manual. -Although the book is photocopied the content is very valuable. Cheung Cheung Hing: -Although the drawings are quite simple, the content is good. -The characteristic of Lam Ga Gao can be understood from its movements, -as well as from the practitioners of the style. Narrator: -The Dragon Style of Hong Kong started with grandmaster Lam Yiu Gwai, -he was born in Boluo, Huizhou in Guangdong province. -After some time he went to Guangzhou and finally, further south, to Hong Kong. -In the beginning he taught in a village in Tai Po, with a big Hakka population. -The Dragon Style has also been added to the list of intangible cultural heritage of Hong Kong. Master Wong Yiu Kau: -The Dragon Style imitates the appearance of a dragon. -For example this technique: -These kind of techniques are dragon techniques, they imitate the appearance of a dragon. -Now, how can we use this technique, let me explain for a bit, if the opponent strikes me. -I will meet his strike like this, using a Tau Kiu (Stealing Bridge), what I just did can also be called to “cross the bridge”. -When “crossing the bridge” you use his hand when striking. One more time… -Strike just like this, -This is called “crossing the bridge”. Narrator: -Master Wong Yiu Kau started following his Dragon Style master in 1972, -his master was grandmaster Lam Yiu Gwai’s oldest son master Lam Wun Gwong. -Master Wong started practising the Dragon Style, -except from empty-handed forms, -this martial art also has weapon forms. Wong Yiu Kau: -In the Dragon Style we have a form called Sei Moon Ji Mou Seung Do (four door mother and son double knives). Narrator: -The double knives are easy to conceal, today most martial artists use them for performance. -This double knife form uses the empty-hand techniques, -body movements and stances of the Dragon Style while holding knives. -This knife form combines the strength of the mind and the body. -It is said that Pak Mei Pai (School of the White Eyebrow), was created by a Taoist priest called Pak Mei (White Eyebrow), -and that the style originates from Emei mountain in Sichuan province. -Grandmaster Cheung Lai Chuen was the fourth generation of Pak Mei disciples, -he developed this martial art in Guangdong province and in Hong Kong. -Except from being the sixth generation of Pak Mei disciples, -Master Lee Shek Lin is also first chairman of the Hakka Kung fu and Culture Research Association. Master Lee Shek Lin: -Our master was Kwok Ji Cheung, he trained under Cheung Lai Chuen. -Our style emphasises the principles of Tan (to retract), Tou (to spit out), Fou (to inflate), Cham (to sink). -When we practice our forms we always use internal power, when we practice a form it is quite… -The way that I perform is quite different compared to the martial arts of old, -how come the martial arts of today use soft- and hard power? Not like before when they used conditioning. -This exercise is called the “grinding hands” of Pak Mei. -When he pushes over here, then I inhale. -I inhale and push back, and when I push towards him I exhale. Then we repeat. -Your waist needs to be agile, your shoulder and upper arm also need to be agile. -Only then are you able to give him a good push. Narrator: -Years ago, the Hakka people were mostly farmers, -if they came to a disagreement then they would often settle the dispute by force. -Sometimes they would even use weapons. -The practitioners who can perform these kinds of weapons today are becoming fewer and fewer. Lee Shek Lin: -In the villages of old, the villagers often used to argue about fields and water. -These arguments used to end up in fights. -The most important feature was to have power and strength, -if you had these features, then you were powerful. -If you were powerful, then you were able to control the tiger fork in a good way. Narrator: -The cultural research association, consists of Hakka kung fu disciples. They do not exclude any style, they are united. -They want to pass Hakka kung fu forward to future generations. -They also wish to promote the tradition of Hakka culture. Li Tin Loi: -I hope that we are able to start preserving our heritage through this meeting, -every master have had time to introduce his style. -We have searched a lot, to find one or two practitioners that can show and explain the characteristics of our Kung fu. Hing Chao: -Our aim and our hope, when establishing this association, is of course to declare these styles as intangible cultural heritages, -and especially on a national level. -By doing this everybody will become acquainted with each other, -and thereby we also wish to get the support from the outside world. -We also wish to include the government support through funding. -With this kind of support, the job of safeguarding martial arts culture will be done even better. Narrator: -Actually, many people within the martial art sphere, feel that they have a mission. -They wish to pass everything they have learned to the future generation. -They want to pass on the hard work of the previous generation, -so that the next generation is able to develop and promote the martial arts. -They wish to be able to hand down the teachings of their grandmasters to their students. Hing Chao: -We are currently preparing a general survey into the martial arts of Hong Kong, -and we hope to be able to come in contact with more rare styles of kung fu, and for them to contact us. -Hopefully, they will give us a chance to visit them. -I believe there are many hidden styles and skilled martial artists in Hong Kong, -and there are still many who we do not know about. Narrator: -Actually, the martial art treasure of Hong Kong still have many styles to be listed as intangible cultural heritages. -Currently there are 30 styles on the list. -Their wish for the future, is to get to know even more disciples of kung fu, -in order to pass on and preserve the martial art culture of Hong Kong. -In addition, another hope is to promote martial arts, -and to maintain the spirit of Chinese traditional martial arts. Hing Chao: -The current value of traditional martial arts, lies mainly in its cultural value. -Its value is also on a kind of spiritual level, -through martial arts or as we also call it: Guoshu, we can promote it, -practice it and participate in it. -So that young people becomes aware of the important aspects of traditional Chinese culture, -these aspects include important concepts of ethics and virtue, -they include a firm belief in how a person should behave, -it includes bravery, willpower, persistent determination and so on…

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