The “Wing Chun Rules of Conduct”: Rediscovering Ip Man’s Original Statement on the Philosophy of the Martial Arts.
part 4
The Hung Sing Association: Three Exclusions and Ten Rules for Behavior
From the turn of the century to the late 1920s the single most important martial arts association in Foshan (the home of Wing Chun before Ip Man brought it to Hong Kong in 1949) was the Hung Sing Association. This school, originally established in the middle of the 19th century, taught Choy Li Fut, then the most popular and widespread martial art in the region.
By the 1920s the Hung Sing Association literally boasted dozens of branch locations and claimed thousands of members between its many schools and Lion Dance Associations. Foshan was a hot bed for martial arts development, and the local area was home to many competing styles. But in terms of sheer size, none of them could come close to the Hung Sing Association.
Size was not Hung Sing’s only advantage. It was also the first (more or less) public martial arts school in the region. Established in the second half of the 19th century, many of the later schools modeled their public face and business plans on the successful example established by Choy Li Fut. As a result some of the specific norms of the Choy Li Fut school became quite widespread in the local marketplace. Other instructors either adopted these expectation, or they were forced to react against them. Wing Chun (which really started to expand in the 1920s and 1930s) was no exception. It emerged out of a dialogue that was dominated by these larger and more successful styles.
Of course one can debate whether Hung Sing was really a public school at all. Late in the 19th century Chan Ngau Sing (an important leader in the history of the institution) established two doctrines. The first was the famous “Three Exclusions Policy” and the second was a ten point code of conduct.
The three exclusions appears to have been an interesting attempt to bridge the esoteric world of secret societies with the more profitable aspects of commercial boxing instruction. Chan claimed that there were three classes of individuals he would not teach. These were high government officials, gangsters or local bullies and individuals without respectable employment. If one wished to join the school they had to be sponsored by an existing member, and their application had to be approved by the organization’s chairman (Chan himself). These exclusions were promoted as a way of ensuring the moral righteousness of the school.
The end result of this policy is that even though Hung Sing became a very large institution, it maintained the feel and appearance of an exclusive club. This was sheer marketing brilliance. But how “exclusive” were they?
It seems unlikely that any “high government officials” from Beijing would travel to Foshan only to petition a distinctly working-class martial arts school for admittance. While the first exclusion played to anti-government and anti-Manchu sentiment, it never really cost the school any students. One could tell a similar story about the second exclusion. The Triads already had their own much more exclusive secret societies and martial arts teachers. Aside from the Lion Dance Associations, it is not clear they ever actually had any interest in Hung Sing.
Lastly, Chan Ngau Sing was running a commercial school. Students had to pay for their tuition either in cash or in bags of rice. Of course not all of southern China’s economy was fully monetized at this point. The only individuals who would be able to pay these fees would be the semi-skilled artisans who were employed in Foshan’s many workshops. The Hung Sing Association acted as a place where workers could network, find out about new jobs and create a rudimentary social safety net.
This was the real genius of the “Three Exclusions” policy. While outwardly elitist, all the policy actually did was make the association more appealing to its primary market demographic, young semi-skilled workers in Foshan. For that reason I have always treated Hung Sing as the areas first true public martial arts school. It showed that public commercial teaching was possible and in that way Hung Sing really altered the development of the southern Chinese martial arts. It is not hard to understand how this school was able to create expectations of what a “real” martial arts association should look like.
Chan Ngau Sing’s Ten point code of behavior for the Foshan Hung Sing Association
Three Exclusions
Refusal to teach government officials.
Refusal to teach local bullies (gangsters?)
Must have respectable employment.
Ten Points
Seek the approval of your master in all things relative to the school.
Practice hard daily.
Fight to win (but do not fight by choice).
Be moderate in sexual behavior.
Eat healthy.
Develop strength through endurance (to build a foundation and the ability to jump).
Never back down from an enemy.
Practice breathing exercises.
Make the sounds (“Yik” for punches, “Wah” for tiger claws, “Tik” for kicks).
Through practice you cannot be bullied.
Chan also introduced a ten point list of rules that became standard in the local branches of the Hung Sing Association. My translation of this list (and the Three Exclusions) comes from Ma Zineng Foshan Wu Shu Wen Hua (2001). Comparing this set of rules to Ip Man’s Jo Fen reveals some interesting parallels.
It quickly becomes apparent that the Wing Chun Jo Fen are modeled directly on Chan’s Ten Rules. Note for instance that a number of Ip Man’s rules not only appear to be based on Hung Sing, but are in a similar place in the list. For instance, the admonition against sexual excess (seen as damaging to one’s martial virtue) appears in the fourth slot on both lists. Likewise both lists begin with an appeal to authority and obedience.
The creation of these written behavioral codes is yet another area where Hung Sing was able to exercise its first mover advantage and shape the development of other regional styles. I suspect that Hung Sing’s code was a reflection of earlier Qing era guild practice, but that is a topic for a different post. It seems entirely likely that arts like Wing Chun adopted explicit sets of behavioral guidelines (separate from the amorphous concept of Wu De) precisely because Hung Sing had already done so. This is what martial consumers had come to expect.
However, there are also some equally interesting differences between our two different codes of behavior. Ip Man was not just copying the “Ten Rules.” He was responding to them. This can be seen as an attempt to differentiate Wing Chun students from the martial environment around them, and more carefully define how they should deal with society as whole. As such the Jo Fen are an important witness to the creation of the early Wing Chun community.
The first major point of difference is that the facade of the “Three Exclusions” has been done away with. Ip Man basically taught whoever showed up to his classes and put forward no pretense that his was anything but a public commercial school. He did not exclude government officials or ethnic Manchus. In fact, later in his career Ip Man went out of his way to introduce Wing Chun to ranking civil servants and police officials.
It is often said with great certainty that Ip Man never taught foreigners, and so that could be treated as his own “exclusion.” Still, I have a hard time knowing what to make of this statement. Foreigners were not exactly knocking down his door demanding to be taught in the early 1950s, so it is unlike that he actually turned anyone away for strictly racial reasons. Further, we know that Ip Man had no trouble working with individuals of mixed descent, such as Leung Ting or Bruce Lee. Rumors to the contrary, he does not appear to have been a racial purist.
Instead we see that Ip Man took on and encouraged a very wide range of students. He taught men and women, experienced martial artists and teens. Nor did he ever promote the idea that the Wing Chun clan operated as some sort of secret society. One of the remarkable things about his Hong Kong career was how truly open it was.
Comparing Ip Man’s list to Chan’s earlier effort also reveals his attitude toward excess or ornamentation. For instance, Ip Man simply drops “rule ten” all together. Looking back at the original list its clear that this “rule” is not really a point of ethical behavior so much as it’s a promise of the reward that one might expect from hard work. Of course life has a way of being unfair, and ignoring such promises.
A number of Ip Man’s other points appear to be direct responses to the more popular and widely known rules of the Hung Sing Association. Where they mandate strength training in the sixth entry (“Develop strength through endurance-to build a foundation and the ability to jump”) he characteristically emphasizes the importance of softness and internal training (“Learn How to Keep the Energy: Quit Inciting a Fighting Attitude“). While Chan’s list seems bellicose and is geared towards maintaining the reputation of the school (“Never back down from an enemy”) Ip Man insists that his students engage constructively with the community as a whole, and not just other martial artists (“Participate in society – be conservative, cultured and gentle in your manners”). Interestingly, both lists end with a charge to pass on the unique norms and codes of recognition that define their respective communities (“Yik” for punches, “Wah” for tiger claws, “Tik” for kicks” vs. “Pass on the tradition – preserve the Chinese arts and its Rules of Conduct”).
I suspect that Ip Man was intimately familiar with Chan Ngau Sing code of conduct. Looking at both the structure and the content of the Jo Fen, it appears to have been a topic that he had given some thought. His definition of the ideal martial community is in many ways different from that advanced Chan, but it also appears to be a response to it.
Chan’s list is mostly concerned with questions of behavior and recognition within the world of martial artists. It reflects the pugnacious attitudes that are typically associated with southern Chinese martial artists. In contrast Ip Man’s philosophy is outward looking. His main concern is how the martial artist finds his place in society. A return to traditional Confucian values is seen as the key to maintaining harmony not just within the clan, but with the broader community as a whole.
-BENJUDKINS
*Photo of Chan Ngau Sing is from our own research.
