Bruce Lee, Ip Man and The Anxiety of Influence – Kung Fu Tea
Lee Jun-fan known professionally as Bruce Lee (Chinese: 李小龍), was a Hong Kong-American . Yip tried to keep his students from fighting in the street gangs of Hong Kong by encouraging them to fight in organized . The controversial match with Wong Jack Man influenced Lee's philosophy about martial arts. Learn more about martial arts grandmaster and Bruce Lee's teacher Yip Man, at francinebavay.info And there are photographs of Lee training with his teacher, Ip Man. It is not as if Ip Man put up ads capitalizing on his relationship with Bruce Lee; in fact, Ip Man.
Drawing on Freudian psychology, Spanish Kabbala and a close reading of the Romantics, Bloom proceeds to outline six strategies by which new creators seek to deal with the legacies of their predecessors. This process can take on several different basic forms, but certain fundamental strategies seem to be dictated by the laws of human psychology and the basic structure of effective rhetoric.
On the surface this is not immediately evident.
Obviously he was engaged in an explicitly textual study in which he examined the dependence of one poem upon another. Drawing his conclusions to their natural endpoints, Said notes that for Bloom the poem as the traditional object of critical analysis a stable text with a knowable interpretation produced by a single author in response to documented personal or social events vanishes, and all one is left with is a genealogy of literary relationships, both positive and antagonistic in nature, streaming through the generations of writers.
It goes without saying that hand combat is not poetry though in China many classic martial arts manuals were accompanied by extensive poetic discussions.
It is also clear that by the early 20th century at least some martial artists were starting to see their performance styles as a type of identity work. In many cases their promotion of a style of physical culture was meant to argue for a specific definition of either regional or national identity.
Bruce Lee discussed this notion at length, and the work of other contemporaneous Chinese martial artists, actors and fight choreographers suggests that he was not alone in this understanding. Thus there are both structural and social reasons to expect that the literary strategies that Bloom noted may find important parallels within the modern Chinese martial arts.
The second issue that must be addressed is the potential scope of this model. In the initial drafts of this argument Bloom seemed to suggest that these anxieties were a modern phenomenon hence their association with the Romantics. This position has since been revised and he now claims to finds traces of the same process in the early modern period as well. I suspect that a full investigation would reveal something similar within the Chinese martial arts.
It would not be hard to argue that individuals like Jet Li, Bruce Lee or even Ip Man exhibited many of the tendencies that Bloom has noted. Both of these individuals also suffered visible anxieties about their dependence on such low class individuals as prior generations of boxing masters even if some of those masters might be found at the Shaolin Temple and employed very predictable rhetorical strategies to deal with it. Still, my personal research interests lay mostly in the first half of the 20th century.
Lee would seem to be the obvious case of a Chinese martial artist who sought to establish himself as a master by adopting the trappings of the Chinese tradition, while simultaneously reacting against it.
Lee performed his basic filial duties towards his father no matter how strained the relationship and, according to his wife, continued to hold Ip Man in great respect.
Perhaps the true target of his anger was not an individual teacher per se, but an entire system of martial development that had become inward looking and failed to keep pace with global developments. Yet he shows less cultural confidence or chauvinism in his search for solutions. He or she tends to claim that the masters were on he right path until they made a fatal mistake, leaving them a spent artistic and cultural force.
On a psychological level he had exhibited problems with traditional models of authority from a young age. Indeed, his parents encouragement to start over in America should probably be understood as a tacit acknowledgement of that fact.
He progressed and evolved as a martial artist, but increasingly this was in dialogue with the theories, techniques and practices that were commonly available in post-war America. Ip Man was a much more traditional person that Bruce Lee in a purely cultural sense. Yet the myth-making that surrounds him mostly a product of the many films that have come out in recent years tends to obscure the fact that when it came to the martial arts, much like his most famous student, Ip Man was very much a modernizer.
He believed, and explicitly stated in his interview with R. Clausnitzer, that Wing Chun was fundamentally a modern combat system. In that sense its not surprising that Lee and Ip Man maintained their master-student relationship. Ip Man also sought to innovate and express himself through his own understanding of hand combat. Still, the older master was more limited in his rhetoric.
He was also likely influenced by the ideals of the Guoshu movement. For instance, Ip Man abhorred secrecy within schools and always spoke out against legendary tales of wandering monks with fantastic powers. One can only guess what he would make of his ever more fantastic resurrections on the big screen. Yet he also lived in an environment where people actively linked the local martial arts with both regional identity and Chinese nationalism.
Ip went to live with Kwok Fu during the Second Sino-Japanese War and only returned to Foshan after the war, where he continued his career as a police officer. He moved his school twice: By then, some of his students had attained proficiency in Wing Chun and were able to start their own schools.
Some of his students and descendants sparred with other martial artists to compare their skills and their victories helped increase Ip's fame. Ip Chunthe eldest son of Ip Man, is as passionate and relentless in keeping his father's Wing Chun kung fu legacy alive and in Ip Chun was selected to represent Wing Chun as the inheritor of the legacy of Wing Chun-style kung fu.
The film takes a number of liberties with Ip's life, often for dramatic effect. Ip's eldest son Ip Chun appears in the film and served as a consultant on the production, which focuses on Ip's life during the s to the s during the Second Sino-Japanese War.
- Bruce Lee vs. Wong Jack Man: Fact, Fiction and the Birth of the Dragon
The film is the first to be based on the life of Ip. Ip Man and Bruce Lee. Ip Man has taught many other people. He stated, "I would never ever touch any films related to Ip Man.
Bruce Lee - Wikipedia
This will be my final film on the subject. Whenever something becomes a success, everyone would jump on the bandwagon, this is very frightening. The style had a reputation for being results-oriented, and on the streets postwar Hong Kong, that was a crucial distinction.
He came down to show off some hands, and tried to say to us that Wing Chun was the best. So our sifu threw him out. Instantly then, Bruce had gotten off to a bad start within Chinatown. These tensions would only build over time as he increasingly became a vocal critic of traditional approaches to the martial arts, which—in his minimalist Wing Chun mindset—he saw as heavy on flair but short on effectiveness.
Bruce Lee & William Cheung - The Early Years
In many ways, his style appeared to be an inverse of Wing Chun: Chinatown was quickly impressed with Wong Jack Man, and embraced him in every manner that they had shunned Bruce. Notice his one white student Noel O'Brien on the top right, who followed Al Novak in a steady stream of non-Chinese students that TY taught throughout the s.
This theory, which was rendered in heavy-handed fashion in Dragon: The Bruce Lee Story, has always been completely void of details as far as who exactly took exception. Yet, there is not only scant evidence to support this, but developments at the time prove highly contrary to this perspective. In Hung Sing, Lau Bun was training a Hawaiian named Clifford Kamaga, and also showing no open opposition to his senior student Bing Chan, who was accepting all types of students at his own newly-opened school just a couple blocks away in Chinatown.
Lau Bun's Los Angeles colleague and noted kung fu master Ark Wong 2nd from top right would eventually give a formal interview to Black Belt Magazine in expressing that he was open to teaching all types of students, regardless of race.Ip Man 3 - Bruce Lee Scene (1080p)
Photo courtesy of UC Berkeley Of course, the situation was not without nuance. And the Chinese-only martial arts code was a very real policy that existed for decades, and one that had surfaced against Bruce at various early points in his life.
Yet the code was in its final throes by the s. One of the styles he liked to perform and then dismiss was Northern Shaolin, and he began to air these viewpoints to some very large and qualified audiences. As longtime karate teacher Clarence Lee remembers it: This brought them to the Sun Sing Theater, in the heart of San Francisco's Chinatown where Bruce's demonstration and critical lecture would infuriate the neighborhood's martial arts practitioners.
Yoichi pursued him for weeks. When the two finally fought, Bruce obliterated Yoichi with a rapid series of perfectly places punches and a knockout kick in an second fight that left him unconscious with a fractured skull. Oddly enough, the entire affair tends to get shrugged off as meaningless; when really, it should be seen as a case study. An earlier formal location on Broadway Avenue—where the Wong Jack Man fight took place—proved to be short-lived.