Newsgroup: it.sport.arti-marziali
Titolo: [KF] Hakka Chuan

Info su questo stile?! Links o altro...
Thanks, Eden

 Thanks, Eden
YYYYUUEEEEEEEEEEEEEEEENNNNNN MMIIIIIIIIIIIIIIINNNGGG!
Jack.
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Beccate sta' pappardella....
[CIT ON]
The story of traditional Chinese martial arts:
           Southern Style During the Qing Dynasty (2)
           ++++++++++++++++++++++++++++++++++++++++++
By Salvatore Canzonieri, Boonton, New Jersey
     Some other southern Shaolin derived styles, the Mok Gar, and
the Lau Gar styles have similar forms to Hung Gar, because both
these styles were developed from the Fujian Five Animals system
also. Whereas Hung Gar emphasized the Tiger forms, the Lau Gar
style (developed by Lau Soam Ngan) placed an emphasis on the Crane
forms in their Five Animals style. It was a middle range fighting
style. The Mok Gar style (developed by Mok Ching Giu) was also Five
Animals based, and it placed more of an emphasis on the Snake
forms. It is a short range style, with heavy kicks.  Besides these
two styles, there was also the Li Gar style (developed by Li Yau
San), which was a middle range fighting style, with emphasis on the
Leopard forms. Finally, there was the Choy Gar style (developed by
Choy Gau Yee), which was a long range fighting style, with emphasis
on the Dragon forms. Also related are the Choy Mok style, which is
of fairly recent origin (over 50 years ago) and is composed of
small circular movements and short range fist attacks that combine
elements of the Choy and Mok Gar styles;  Hung Fut, developed
around Hung Hei Kwun`s time, and of which combined elements of the
Hung Gar and Fut Gar styles in a uniquely left-hand oriented
manner. It was developed by a monk named Chit Sin, who was a
student of monk Loy Yuen, who in turn had been a student of Hung
Hei Kwun.
     Before the final closing of Shaolin, the White Eyebrow style
was created by a Shaolin Monk named Bak Mei (who is falsely accused
in legends derived from fictitious novels to have betrayed his
follow monks by siding with the Ching). The style passed on
eventually to Chueng Lai Chuen, the first non-monk who learned the
style and became grandmaster of it. It is a highly internal, short
range fighting style based on the movements of the Tiger. It uses
soft power that suddenly hardens on impact and is characterized by
a hunched shoulders effect in order to better concentrate force
that is to be sharply expelled, using pressure point strikes, and
a loping gait that has whip-like waist generated power behind it.
     Related to the White Eyebrow style and developed soon after
was the Lung Ying or internal Dragon style. It was founded by monk
Tai Yuk, who passed it to Lam Yiu Kwai, who was friends with the
grandmaster of White Eyebrow. It is a very strong internal/external
style that relies on swift and unrelenting chains of attack, with
gripping strikes. It too uses the concave chest, rounded shoulders
stance of White Eyebrow. It was a slide stepping walk that appears
to slide or shuffle sideways towards an opponent. It is also famous
for its terrific Dragon claw.
     The Southern Mantis style has an interesting history. It was
originally a collection of techniques used by the Ming royal
family, who fled south after the Manchu invasion in 1644 AD.  The
style was originally called Jew Gar (Royal Family) style, and was
changed to Southern Mantis to hide it from the Manchu spies. After
the Shaolin temples were closed down, the surviving Mings went to
the Juke Lum (Bamboo Forest Temple) and others went to areas just
outside the Chinese border, where they were known as the Hakka
(northern guests) and their style became known as Hakka Quan. Those
that stayed at Juke Lum taught their style to monk Sam Dart, who
developed the forms that are now known as Southern Mantis. This
style is a close range fighting style, with rapid phoenix eye fist
attacks to the pressure points. They maneuver from a back leaning
stance that shuffles with a sliding step, and don`t withdraw their
strikes after completion.  It relies heavily on speed of execution
and much deep internal power through chi circulation.  There are no
blocking movements, nstead redirection is made to set up the
opponent for a barrage of strikes.
     In the late 1700s, Feng Keshan developed the Mei Hua Quan or
Plum Flower Boxing style.  This style was strongly based on
internal chi circulation and large external circular movements.  It
was developed out of the Shaolin system.  In 1814, Feng recruited
members for the Eight Diagrams Sect (Ba Qua Jiao) and participated
in an anti-Ching uprising.  He was caught by the Ching Court, found
guilty, and executed by dismemberment.  The Mei Hua style was
attributed to Wu Mei (also called Ng Mui), who was a legendary
figure - a Shaolin nun, in order to disguise Feng Keshan`s
underground activities.  The style was essentially a condensing of
Shaolin`s best techniques into one system and with its own footwork
patterns (five directions) unifying the techniques.
     Another major style that was practiced at the Fujian Shaolin
Temple (and which it is most famous for really) is the Fujian Crane
(He Quan) boxing style.  This style arose from the Five Animals and
concentrated on the movements of the Crane wings and well balanced
stances.  It featured many open palm techniques that resemble chi
sao techniques.  The style contains long range and close range
fighting aspects, and much chi gung work to power it. The style
continued to develop during the Ching Dynasty until there was five
main divisions in the style, each with different techniques and
methods.  Essentially, this style is what Shaolin developed into,
as it was worked on by the remnants of the Shaolin Temple, while
those that left the temple went on to start many other styles (such
as Hung Gar, Choy Li Fut, etc.).  The five divisions are: Jumping
Crane Boxing, Crying Crane Boxing, Sleeping Crane Boxing, Eating
Crane Boxing , and Flying Crane Boxing.  Many other temples from
the area had input into this system of styles (since Shaolin was
now gone), including Taoist ones.
     From the roots of Five Animals, Fut Gar, Fujian Crane, and
other styles taught at the Fujian Temple, arose another major
southern style known as Wing Chun. This style has its roots in the
Fujian area also. There are many versions and legends of its
origins (and this one is one that I subscribe to until I am shown
otherwise and then a will make adjustments accordingly): After the
closing of the Fujian Shaolin Temple, in 1803 AD, Abbot Chi Zin
escaped and hid disguised as an actor in the Guandong Opera.  The
opera traveled on boats called Junks, and Abbot Chi Zin received
protection from the Red Junk boatmen, who were called Hung Suen
men, and who were secretly part of the Hung Men secret society.
While at Shaolin, he worked with other Shaolin monks who were in
hiding to develop a style that could be quickly mastered in a very
short amount of time, and that would be able to fight other martial
artists (such as the Manchu Guards and spies.  The styles being
explored were the Shaolin Five Animals style and the Fujian Crane
style.  From this exploration, Feng Keshan developed the Mei Hua
style.  Then suddenly, the temple was attacked and they were forced
to scatter and flee.
     Around this time, a non-monk Shaolin boxing master named Yan
Si, was from Guanzhou in Fujian Province, left the city to escape
the Manchu Ching government spies that were looking for any martial
artists involved in the rebel conspiracy.  He lived quietly at
Liancheng city and practiced martial arts, he passed on his Fujian
Temple martial arts, such as forms from the Five Animals, Fujian
Crane, and Fut Gar.  His daughter, Wing Chun, years later married
Liang Batao of Jianxi Province, who was also trained in the Shaolin
martial arts.  They began to teach their arts, making many new
innovations in technique as they worked to revise their style.
     They later moved to Guandong Province, after her father died
and the restriction to practice martial arts was removed by the
government in 1813. In 1815,  Ling Botao met actor and martial
artist Huang Baohua at an opera performance in Zhaoqing.  Together,
they all worked to simplify all they knew and distilled the Wing
Chun style out of the techniques that they were experimenting with.
They took out all the duplication and slight variations of the
Shaolin techniques and kept only the most effective an effecient
moves. They made a style that was able to be used in close range
combat and that was both linear and circular, with hard and soft
techniques and good chi circulation work behind them. The style
relies on a well balanced stance (that would work equally well if
used on land, on the Junk boats, etc.  Also, the techniques could
be used very well in the dark, since their was a strong emphasis
put on the southern marital arts uses of sticky handsž techniques,
redirection, speed, and trapping.
     The Choy Li Fut style is another famous southern style derived
from the Southern Shaolin Temple, although arising a bit later than
Hung Gar and the other Five Families Styles.  Choy Li Fut is a
mixture of the Choy Gar style, the Li Gar style, and the various
other monk styles practiced at Shaolin (such as Fut Gar, Five
Animals, Lohan, etc.). The Choy Li Fut style is both a long range
and middle range fighting style, composed of fast and balanced
techniques that are hard and soft, with powerful extended
movements.  It was developed in 1836 by Chan Heung. Chan had
learned Southern Shaolin martial arts from his uncle, Yuen Woo.
After he became proficient at this, in 1823, he was introduced to
Li Yau San, founder of the Li Gar style. Li taught Chan his style
of fighting. Later, Chan was sent to study with Choy Fok in 1827,
who came from the Northern Shaolin Temple originally and practiced
a long range fighting style, some think it was related to the
Dragon style.
     After coming back from Lau Fu Mountain in 1834, where he was
studying, Chan went back to his village of King Mui and reviewed
all he had studied. He began teaching his Choy Li Fut style in the
village. Shortly after, he enlisted in the army and went to Canton
to fight the British in the Opium Wars. China was defeated in 1842,
and he returned home. He joined the anti-Ching rebellion and his
schools taught many of the rebels his Choy Li Fut style for use
against the Manchu. (His students finally succeeded in 1894, when
they helped the revolutionary forces of Sun Yat Sen successfully
fight against the government and made it possible for the Republic
of China to come into being.)
[SNIP]
cerca con Hakka "quan" oppure "kuen" oppure "style"
 -- 
lü dongbin
(BGZ,TJQ)

Aiut'... Praticamente la storia del KF!!! ;-)
Me lo leggo in questi giorni con calma... Rincaro perň la dose con una
domanda nella domanda:
Mi č caduto l'occhio sullo stile "Mei Hua": il tuo amico fabbricante di
spade lo dava per stile antico, e le pagine internet confermano questa idea.
In questo testo invece si parla del Mei Hua attribuito a una donna, come del
resto sapevo anch'io (anche se non da Ng Mui!!! Bof).
Ma allora ci sono piů stili Mei Hua o?
Grazie per le info, Eden