Shang-Chi is here! And Brad Allen dead at 48

We stand on the cusp of a major new martial arts movie release – Shang-Chi and the Legend of the 5 Rings. On it’s own this should be something I write about, but it’s also the last film that Jackie Chan’s prodigy, Brad Allen worked on before his untimely death at 48.

Australian choreographer, performer and stunt coordinator, Brad Allen, was the first non-Asian member of Jackie Chan’s stunt team. He was incredibly skilled – here’s a short sample of his wushu and athletic ability:

It’s not clear how Brad Allen died, but 48 is very young. RIP.

I haven’t seen Shang-Chi yet, but by all accounts it’s a Kung Fu film done right, that avoids all the usual stereotypes, and a good chunk of the film’s dialogue is spoken in Mandarin Chinese, which is then translated into English subtitles for audiences.

“As an Asian (Taiwanese) Australian, it is so obvious that the film was written through the lens of those who have a lot of love for Asian culture and have lived through the Asian experience,” wrote kabutocat on Reddit, starting a fascinating discussion about the English-language translations of Mandarin dialogue in the movie. “The Chinese lines are written so well that a lot of the times the English subtitles actually failed to convey the nuances behind each line.”

Den of Geek article.

Shang-Chi’s origins lie in Marvels answer to the Kung Fu boom of the 1970s, with various Kung Fu-powered superheroes emerging, with perhaps Iron Fist being the post famous. The Shang-Chi comic was a product of its time and you can see orientalist tropes in its styling:

Shang-Chi was the first of the Kung Fu superheroes, and was designed to be the most gifted martial artist anyone had ever seen. He was trained in espionage, infiltration, assassination and more. But when he went on his first mission for his father, he broke his conditioning and dedicated himself to destroying his father’s criminal empire.

Here’s a breakdown of the film (warning SPOILERS).

Shang-Chi was the last film Brad Allen worked on, so let’s end with his excellent live performance with Jackie Chan on Saturday Night Live:

You can find out more about Brad Allen here.

Daniel Mroz on defining Chinese martial arts – a podcast conversation

Daniel Mroz

After battling hard through various technical challenges I’ve finally managed to create a Tai Chi Notebook podcast with humans on! (Previous episodes of my podcast have been a robot voice reading my blogs). I’m pleased to have my good friend Daniel Mroz on board for my first real episode where we have a conversation about what Chinese martial arts might be.

You can find it on all the usual places you find podcasts – search for The Tai Chi Notebook on Apple podcasts, Spotify, etc.. or here’s a link:

Spotify: https://open.spotify.com/episode/6tuptU … c1bb1b468f
Apple: https://podcasts.apple.com/gb/podcast/t … 0530576920
Web: https://anchor.fm/graham47/episodes/Ep- … /a-a68h1lv

What is the relationship between Chinese martial arts and Chinese theatre, religion, mime, serious leisure activities and military tactics? How do all these factors intermingle and produce the arts we have today? In this wide ranging discussion between Graham Barlow of the Tai Chi Notebook Podcast and Daniel Mroz, Professor of Theatre at the University of Ottawa we tackle all these subjects and more. As well as being a professor of theatre, Daniel is also a Choy Li Fut and Taijiquan practitioner and has spoken at the Martial Arts Studies conference and contributes articles to various journals including the Martial Arts Studies journal.

Podcast Notes

1)
That Daniel Mroz quote in full:


“By ‘Chinese martial arts’, I refer to folkways that began to assume their present forms from the mid 19th to the early 20th centuries, at the end of the Imperial, and the beginning of the Republican periods of Chinese history. These arts train credible fighting abilities through exacting physical conditioning; through partnered, combative drills and games; and through the practice of prearranged movement patterns called tàolù  套路 (Mroz, 2017 & 2020). For millennia, up end of the Imperial period in 1912, China explicitly understood itself as a religious state (Lagerwey 2010). Communities across China not only used their martial arts to defend themselves, they performed them as theatrical acts of religious self-consecration, communal blessing, and entertainment in an annual calendar of sacred festivals (Ward, 1978; Sutton, 2003; Boretz, 2010; Amos, 2021). Modernization, and secularization at the end of the Imperial period removed the original context of these practices. The Chinese martial arts were transformed over the course of the 20th century by both their worldwide spread, and by their ideological appropriation by the Chinese Republic of 1912, and the Communist state that succeeded it in 1949 (Morris, 2004). Their religious heritage forgotten in many social, and cultural contexts within greater China, and internationally, the arts we practice today combine a legacy of pragmatic combat skill, religious enaction, participatory recreation, competitive athleticism, and performed entertainment.”

2)
THE STRENUOUS LIFE PODCAST WITH STEPHAN KESTING
334 – Ten Guru Warning Signs with Dr Dr Chris Kavanagh
https://kesting.libsyn.com/334-ten-guru … s-kavanagh

3)
Peter Johnsson
http://www.peterjohnsson.com/higher-und … reckoning/

Peter Johnsson – long video: https://www.youtube.com/watch?v=J6N3x_4 … 3gQGXHpgSG

Peter Johnsson – short video: https://www.youtube.com/watch?v=FiSoLMx3v0I

Everybody was Kung Fu Citing

A glorious analysis of Carl Douglas’ smash no.1 hit around the world, Everybody was Kung Fu Fighting, by Prof. Paul Bowman, proving once again that things do not need to be beyond a certain level of complexity to be an important cultural document.

You can get this on audio too, but you really need to watch the video as a lot of this is relying on visual performance of the song.

The repurposing of Kung Fu postures

I really liked this video by The Wandering Warrior on Instagram:

True or not, he makes a good case for the move not being the backfist or punch it is usually shown as, and being a throw instead. In a way, there’s no right answer – the move is whatever you use it for.

But it made me think a lot about how Kung Fu postures are repurposed and reused through the years.

If we go back to one of the earliest written descriptions of Kung Fu by General Qi Jinguang in his “Boxing Classic” of 1560 we can see that all he’s showing are a series of still postures with written verse about the move in question.

You can see that the first posture shown, “Lazily pulling back the robe” shares some similarties with the posture discussed above.

Lazily pulling back the robe, Qi Jinguang, 1560

A Confucian cuture of respect for tradition and elders would naturally lead to respect for older kung fu postures, and you can see how they would get reused and repurposed to fit new needs over the generations.

I bet the current Yang style Single Whip posture is not chosen because it’s the optimal way of pushing forward with a single palm. Instead, it’s more likely a posture that has been passed down from older generations. Maybe it’s original meaning (if it had one) has been lost, over the years. Maybe it was once a Suai Jiao throw? Maybe it was once a posture from Chinese theatre or religious ritual? Who knows.

The important thing is, as always, what can you do with it now?

Kung Fu 2021

The classic TV series is back! This time the lead is female and the cast is almost all Asian. I’m looking forward to seeing what they’ve done with it. I thought the trailer was pretty good. Not sure how I watch this in the UK though…?

Kung Fu and firearms

“Western enthusiasts often feel impelled to strip away these religious trappings and construct a version of the martial arts that is neither simple gymnastics nor religion, but emphasizes true hand-to-hand combat skills. The question remains, is this an authentic understanding of the martial arts?”

Charles Holcombe, Theater of Combat (1990)

I think it’s important to bear in mind Charles Holcombe’s classic article, Theater of Combat, when thinking of Chinese martial arts.

One recurring trope that I encounter from, as Holcombe puts it, “Western enthusiasts”, (a label I would apply to myself) is the idea that the Chinese martial arts styles evolved as effective fighting systems in a purer time, before the use of firearms became widespread, and that they gradually went out of favour as practical self defence arts in the face of modern weapons, and turned their attention instead to the more lofty goals of attaining physical fitness, health and spiritual enlightenment.

The idea gives credence to the original version of these arts being purely pugilistic. It follows that once the evil West showed up with their firearms the martial arts needed to find some other way to survive, so it tended towards gymnastic displays or spiritual attainment. It’s a neat idea, but it doesn’t really hold sway with reality.

People forget that China is credited with inventing gunpowder and that the ‘older’ version of its martial arts was intricately embedded within a culture whose religious expression was revealed through performance at festivals and ceremonies, often officiated by a priest performing a ritual with a sword or a troupe of performing martial artists acting out conversations with the gods. 

Also, I think the “whiff of ancient mysticism” (as Judkins calls it) around the martial arts makes people think of them as being  incompatible with modern methods of warfare, like the gun. A popular theme within marital arts films, for example, is that of the introduction of guns destroying the old order, usually involving the death of an old master at the hands of a less skilled and resentful disciple who only had to pull the trigger. 

But, as Judkins explains, these media perceptions have twisted the truth:

“Historically speaking, this is totally backwards.  First the guns came, and then the modern martial arts developed.  What we see in China is quite similar to the puzzle that made life difficult for Perrin when he discussed Japan.

Firearms have been a fact of life in China since the 1300s.  At first they were difficult and expensive to manufacture, but the government employed large numbers of hand cannons, field artillery pieces and even massive rocket launchers from an early period.  If you are curious about what early military gunnery looked like you should check out the Fire Dragon Manual.  At the start of the Ming dynasty Chinese firearms were probably the most advanced in the world.  So what happened?”

Clearly there is more to this story of Kung Fu and firearms than we are aware. I’d recommend reading Ben’s full article: Forgetting about the Gun: Firearms and the Development of the Southern Chinese Martial Arts. and also his other article: Tools of the Trade: The Use of Firearms and Traditional Weapons among the Tongs of San Francisco, 1877-1878.

Enjoy!

Weapons of Chinese highbinders. 1900

The invention of martial arts

An excellent video by Prof. Paul Bowman to promote his new book, The Invention of Martial Arts: Popular Culture Between Asia and America.

This presentation looks at how martial arts arrived in the UK and when the concept of being a martial artist first entered into the popular consciousness. Along the way he covers Bartistu, the Avengers, James Bond, Bruce Lee, Kung Fu the TV series, Ninjas, the Wu-Tang Clan and the UFC.

Kung Fu work out with David Rogers

Michael Rook posted about an online course in Hap Gar that’s starting in January, so I thought I’d check it out and had a go with one of the free videos as my morning workout. The teacher is David Rogers of Rising Crane, and the workout is a nice, not too heavy, way to start your day while learning some Kung Fu. Plus it’s free, so give it a go! I really enjoyed it. After a warm up you’ll work on the first 5 basic punches of Hop Gar and some stances.

Richard is a teacher of Tai Chi and Hap Gar Kung Fu through the Rising Crane. David only takes one or two student groups a year for online learning, and it’s a very interactive, personalised training session so a whole group can move through it together, getting feedback as they go.

Registration is open for the next 7 days at Rising Crane Kung Fu Virtual Academy. He also has a Rising Crane Tai Chi Virtual Academy course starting this year as well.

I haven’t done Hap Gar before, but I’ve done a lot of Choy Lee Fut, and to my eyes there appears to be very little difference between the two. Hap Gar looks like a version of Choy Lee Fut to me, even the same names are used for the moves, so it was great to experience a Kung Fu style I was already familiar with, but from a slightly different perspective. I also liked his thoughts on fighting strategy for these long range styles that he gives at the end, around the 35 minute mark, plus I liked his thoughts on MMA.

That is one mean looking crane. Photo by Pixabay on Pexels.com

The Taiji principle didn’t work well. 4 oz could not defeat 1000 lb.

Here’s an interesting post, complete with pictures, by David Ross of NY Sanda about the Lei Tai tournaments in China in the 1920s. These were supposedly the first organised national martial arts championships. They would have been part of the GuoShu movement of the Republic as they set about using martial arts to strengthen the nation.

The following are some quotes said about the tournament, from his post. I’m just providing them here without commentary. I leave it up to the reader to draw their own conclusions.

Some quotes said about the tournament:

– 这次比赛没有看到高深的内功,没有发人于丈外的场面
You don’t see high level internal power, and Faijin that send people flying 10 feet away in this tournament.

– 太极打法毫无建树,四量难拨千斤
The Taiji principle didn’t work well. 4 oz could not defeat 1000 lb.

– 也就是说号称以巧取胜的中国功夫 实际上也是在跟人拚勇力比高大
The taller, heavier, stronger guys won in that tournament.

– 要学打擂台的拳术
After this tournament, people wanted to learn the style that can be used on the Leitai.