Traditional Tai Chi has often been criticised for its inward looking evolution. It has historically kept its practices within family circles and has shown itself to be dismissive of break-away or new variants. Even when Cheng Man-ch'ing received permission from the Yang family to shorten the 'Long' sequence, there was still, and there remains to this day, an incestuous controversy over the permission and authenticity of his actions. Yet, the popularity of his changes sent ripples out into the Tai Chi world, ripples that finally nudged the other families to follow suit. The history of that decision and its long term consequences have been captured in this excellent documentary: The professor: Tai Chi's Journey West.
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A Brief Tai Chi HistoryIt is as difficult to find two Tai Chi followers that agree on the history of the art as it is to find common ground between Apple or Android phone users. Loyalties are often blind and too often emerge from selective experiences. But, it is widely recognised that the single postures of Tai Chi - as we recognise them today - were finally formalised by the Chen family a few hundred years ago. Later, this style was adapted by and outsider, Yang Lu Chan, who created the Yang Style, which in turn encouraged further variations (and further confusions).
In short, adaptation and evolution have been common in the history of Tai Chi, yet when you look at the position of the two great families today - Chen and Yang, you wouldn't think so as neither have been proactive in the spread and dissemination of Tai Chi 's diverse nature across the globe. Both prefer to maintain their grip on the art. As too does the government of China. |
UNESCO and Tai Chi
All of this has come to a head when in December 2020, UNESCO added Tai Chi to their Intangible Cultural Heritage List. Beijing had been trying for years to see the art added and now, finally, the art was consolidated into the official nature of the state, with its preferences and selective support for those styles still rooted in mainland China.
This is course is where little old Cheng Man-ch'ing comes in to the story. Originally learning Tai Chi from the Yang family representative (Yang Chen Fu), he was granted permission to shorten the long version of the practice in order to further expand its reach into the greater public. It was a before and after moment.
This is course is where little old Cheng Man-ch'ing comes in to the story. Originally learning Tai Chi from the Yang family representative (Yang Chen Fu), he was granted permission to shorten the long version of the practice in order to further expand its reach into the greater public. It was a before and after moment.
The Revolution and Fleeing to Taiwan
At the time of the Communist revolution many Chinese, who for cultural, political or economic reasons, chose to flee to another country. Cheng Man-ch'ing was one of many that left the mainland to live in Taiwan where he opened a Tai Chi school and taught his now popular version of the art. The Chinese government would not let such an act go unnoticed. In the 1950's they begun promoting their own new, shorter versions of Tai Chi - as Cheng Man-ch'ing had done earlier - but Beijing took the moves from only the classical styles still resident on the mainland.
Tai Chi in New York
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In the mid 60s, Cheng Man-ch'ing was invited to move to New York where he again set up a school and for next 10 years taught Tai Chi, calligraphy, painting, Tai Chi sword and traditional Chinese medicine.
What made this seemingly uneventful decision controversial was that Cheng Man-ch'ing chose to teach westerners. He had been invited over by the business community in New Yorks China town to teach the Chinese what were called the "5 Excellencies". But Cheng Man-ch'ing had chosen to open his doors to everyone irrespective of age, race or gender. He turned no-one away, much to the horror of the traditional Chinese community. To placate this community, rumours spread that he taught only a "watered down" version of Tai Chi, by removing the "deadly strikes" and the "secrets of internal strength." Cheng Man-ch'ing merely smiled and nodded and let the rumours spread. |
Bruce Lee and Cheng Man-ch'ing
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In another part of the USA, another recently arrived immigrant named Bruce Lee had set up his martial arts school and had begun to teach Americans the traditional Chinese martial arts. He too was challenged by the Chinese community in San Francisco and was to told to stop and not reveal the "secrets" of the arts. But neither Bruce Lee nor Cheng Man-ch'ing did so, each in their own way carried on and by doing so brought the arts to new audiences, new influences and new possibilities of evolution.
The Cycles of Change The history of all the martial arts has been one of contested dissemination. Something new is developed, it is initially resented by the traditional community, then, as it gains traction it becomes the new normality and in turn becomes intransigent itself. |
The only means to ensure stagnation was to be avoided was to open the art to more influences and conditions, something both Bruce Lee and Cheng Man-ch'ing actively encouraged through reinterpretation and evolution. As immigrants themselves, they recognised the need for each art to adapt to new cultures, different races and to the conditions and time in which they lived.
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Cheng Man-ch'ing's classes encouraged this. Though his school was a place of respect, it was not necessarily one of discipline. According to his New York students, no-one bowed or placed their hands together in greetings in the way it is obsessively done today, in the cultural appropriation rituals found in training halls across the western world. No-one was expected to wear satin uniforms or take gradings. No-one was offered teacher-training courses or sold Cheng Man-ch'ing mugs.
Laughter could be heard more than the striking of punch bags or the counting of sit-ups. Cheng Man-ch'ing's desire to spread the message as widely as possible meant that he focused less on the martial (as had done each of his predecessors) and instead emphasised the other aspects, the life-style skills and the philosophy. For these, he believed, would outlast the short term physical gains, and better serve the health and longevity of those people who came to his classes. |
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Cheng Man-ch'ing: The film
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The Professor, tells this story. It is a story of travel and a story of cultural exchange, adaptation and empowerment.. A story of an art that opens itself to another time and place and in so doing lays down the blueprint so that others may further develop its practices and principles.
And this is what makes it so interesting. Not because it is the best Tai Chi style, (an infantile notion) but rather it is the most adaptive Tai Chi style best suited to embrace change. |
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Some argue that the style has changed so much it is no longer Tai Chi. It is an argument that only finds support in the dusty halls of tradition, where historians argue that being able to trace the origins of one style back to the Bronze Age or the construction of the Shaolin temple (with the help of a passing gibbon who had flown in on the back of a dragon) determines true value.
History of course, will always have its place. But we should also remember that when water stops running, it stagnates. (See Lee Remix Video). Got a comment? Leave it below. |
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More Cheng Man-ch'ing Links
You can watch the film for just 99p on Apple TV or get the DVD. You can also read more about Cheng Man-ch'ing in the book One Last thing or explore this great new course starting in Spring 2021 on the Cheng Man-ch'ing 37 Step Form with the teapotmonk.
“My imagination is a monastery, and I am its monk” John Keats
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