As we get older, our perception of our training changes. This is not only crucial, but also essential.  Getting old is important for Chinese martial arts mastery. Getting old is not an error or a failure. We must give-up all of our younger perceptions as they are now out of date. Younger perceptions are for younger people as that is where they belong. Ego ad its ‘giving-up’ is the key. Young people are taught that ‘winning’ is everything in this (Western) culture, but in China the prevailing attitude is that ‘cooperation’ and ‘assisting’ one another are the glue that holds a civilised society together. Even ‘sparring’ in the Chinese cultural sense is very different to its ‘hate filled’ Western counter-part. An opponent exists, within the training context, to assist you to develop, they do not exist as cannon-fodder for the ego! Training to boost the ego means that when the body ages and changes, the practitioner quite naturally ‘gives-up’ as he or she can no longer muster the required aggression to train or fight! What a pointless waste of time all this is! Grace under pressure is what Westerners should be aspiring to achieve. Psychological and physical relaxation in the face of potential violence and danger is the standard once the physical techniques of combat have been mastered! Getting older is important to deepen understanding and develop a more profound perception of reality. Fighting is awareness and understanding which manifests evenly through both ‘stillness’ and ‘movement’ performed at the right moment! Most people find it very difficult to be ‘still’, although generally people think they can ‘move’ around quite well. Both assumptions are false.  Clearing and deepening perception will lead to correct ‘stillness 'of body and mind. Again, age leads to an enhanced awareness through which the body moves with an almost divine capability regardless of circumstance! This is why getting older is important and to be welcomed!  ​

I had trained in 'rice flails', 'spear', 'staff', 'stick' and 'long sword' etc, with Master Chan Tin Sang (1924-1993) prior to my educational time in Hereford. He had told me that much of this knowledge had spread to Japan via Okinawa and was practiced within many styles of karate. Although I am wearing the Shukokai Karate Federation badge and 3rd Kyu Brown Belt in this photograph (performing right mid-level side-kick), I am carrying the Okinawan weapon known as the 'Sai'  (釵 - Chai) - a non-bladed trident, usually made of steel. Although none of the karate styles I trained with in the UK openly practiced 'Okinawan Old Weaponry' (沖縄古武道 - Chong Sheng Gu Wu Dao) - or 'Okinawa Kobudo', I was taught for about a year in Hereford around 1985-1986 by a fellow student (I cannot recall his name) who had been taught the Sai and Nunchaku (rice-flails) by his martial arts teacher. We would meet-up at lunchtimes or in the evenings and swap martial techniques (with no money changing hands. This weapon is quite heavy and is also referred to as a truncheon (I perfected striking with the blunt handle-end as if performing a straight punch). Its weight helps to condition and strengthen the forearms, wrists and hands. I am told that the Sai is a farming implement orignally from Southern China, the handles of which are used to cut furrows in the ground, whilst the central section is used as a 'dibber' to make deep holes within which seeds are dropped. 

My experience of Hakka villages in Southern China has not revealed 'Sai' type farming tools, despite the fact the Hakka Chinese people are very good farmers. This does not mean that 'Sai' tools have never existed in China, but rather that they are not evident today as an indigenous device. Of course, within modern China (which is economcally booming) some young people acquire Okinawan 'Sai' and seek authentic instruction - effectively re-importing what might be a lost art back into China from its safe-keeping in the hands of the Okinwans. It could also be the case that the 'Sai' developed only in Okinawa and has no roots in China - some Okinawans believe this. Within the Chinese language, '釵' (Chai) refers to an elaborate butterfly 'hairpin' such as worn above 
- with variants comprising of one, two or three pins.  When assessing the 'Sai' as a weapon, Chinese language sources talk of 'weaponised' hairpins expertly used by specially trained women. These hairpins were sharpened at the point and/or down the shaft, and were thrown into an opponent's body (like a knife) from a distance, or used to pierce pressure-points at close-range. If the Okinawan 'Sai' originated in China it could have evolved from the 'weaponised' hairpin rather than a farming implement. 

Chinese language texts also talk of a blunt truncheon that was developed in Okinawa probably before the 16th century (prior to the Japanese annexation), as a self-defence weapon against bladed weapons (such as the sword). As the Ryu Kyu Islands were considered part of Southern China prior to this date, this seems to be where the idea comes from that the 'Sai' developed within South China (not to be confused with what might be better described as 'Mainland' South China today). These texts also record that two handles were added that were turned upward. I am told that sometimes a 'Sai' was fitted to the end of a six foot pole and used at a distance. Here are some examples of very early 'Sai' featured on the Chinese language internet:
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Every genuine martial arts style or system contains a rich mosaic of principles and techniques that at the most brutal assist in the surviving of the combat experience, and at the most sublime provide a psychological and physical pathway of self-development and self-transcendence. The best styles of Okinawan and Japanese karate confirm to his blue-print, and I would say that Wado-Kai, Shukokai and Goju Ryu are prime examples of the best that this genre has to offer. All these styles (two Japanese; Wado-Kai and Shukokai – and one Okinawan; Goju Ryu) have their historical roots within Chinese martial arts which probably are linked to the Fujian province of Southern China. Indeed, Wado-Kai and Shukokai derive from the Okinawan karate of Master Gichin Funakoshi – the Okinawan martial artist accredited with transmitting his style of Chinese martial arts to Mainland Japan.  I practiced these styles only as an accident of fate – they happened to be prevalent in the areas I lived in to pursue my education throughout the 1980s. No one at the time (not even my close friends) knew of my Hakka Chinese gongfu background. I saw no reason to explain this, an they saw my familiarity with certain techniques as me just being talented in these areas (I was viciously fast and very good with kicking and moving, as in the traditional Northern martial arts in China, a student perfects kicking first – whilst due to cultural differences in the West – it is punching that is perfected first with kicking usually appearing uncomfortable). On the other hand, as I entered my late teens, Master Chan Tin Sang (1924-1993) directed me to develop my punching to a very high degree. This is where Wado-Kai (correct alignment) and Shukokai (correct hip and shoulder twist) assisted my development tremendously! Goju Ryu, on the other hand, has a special place in my heart. Its all-round body-conditioning reminded me of our own Hakka Chinese gongfu style which developed tremendous power, endurance and strength! The bones certainly hardened, whilst the mind became calm and broadly aware. Master Chan Tin Sang was an extraordinary teacher as he entrusted me to enter the training halls of other styles, dedicate myself to their ways, learn them fully and then integrate these lessons and skills into the Ch’an Dao System. This could happen as each karate style brought out a particular aspect of our own fighting system. I have the utmost respect for all legitimate styles of martial arts training and see no reason why there cannot be a positive cross-training that enhances rather than diminishes. As the US at the time was emphasising Japanese martial culture throughout the West as a means to side-line and obscure Chinese martial culture (due to the Cold War), European cuntries with no historical connection with Japan suddenly found themselves hosting (usually at their own expense) Japanese ‘ambassadors’ of various karate styles and associations. This arrangement all came crashing down when President Carter established full diplomatic relations with Mainland China in 1979, and Westerners started travelling en masse to China to train in gongfu – and Chinese teachers came to the West to teach – although the effects of this change would take around a decade to fully manifest itself. In the meantime, I trained in Japanese karate at the tail-end of this time period and consider it a very interesting and unique experience.  ​

Gee Wyles (nee 'Yau') is the grand-daughter of Master Chan Tin Sang (1924-1993). 

This is myself and Ch'an Dao student Liz Wan - my friend and one time landlady. I was told by the Editor of this edition of the magazine that Jet Li had read and liked my article. 

​The Shukokai style (which has its roots in the Okinawan karate style of Shito Ryu), emphasised the generation of power through correct postural alignment and the robust use of the hip twist. This is not unique to this style, but in the 1980s, Sensei Kimura had developed this principle to a very fine art, whereby a student could be taught to harness their bodyweight and direct it through their hip twist into every conceivable karate technique, be it a punch, kick or a block, etc. Although the basis of many internal and external Chinese gongfu styles, O Sensei Kimura in many ways demystified this process and made it far more accessible to ordinary people. Westerners did not have to commit themselves to the spiritual aspects of the Asian arts, as O Sensei Kimura presented this teaching in a distinctly ‘modern’ and ‘secular’ manner. However, in the two years that I was present, I witnessed the style alter radically as its technique was continuously adjusted (week by week) to make the kata look more likely to ‘win’ competitions. As the style moved away from its traditional underpinnings, inevitably many of its students left. Not long after I left (with a group) in 1986, I was told that the style had left the Hinton Community Centre and had become a totally different entity. If I can locate my old Shukokai karate licence, I will photocopy this document and place it on this blog post. I learned a tremendous amount about ‘politics’ in the martial arts at this time in my life. As a traditional martial artist, I have no interest in grades, competitions or self-advancement. These things were incidental to my learning experience.  ​​

Whilst tidying my storage areas I came across an A4 envelop containing the 'Transmision Certificates' presented on this page (filed out of place and believed 'lost' for some years due to house-moving). Master Chan Tin Sang's dates are sometimes given as 1921-1993 - but my research suggests that 1924-1993 is correct (although some people hold to the earlier date). Mrs Chan is Madam Yat-Tai Cheung, or more properly 'Yuet-Tai Cheung' - but this is the transliteration into English of Chinese ideograms pronounced in the Cantonese (and Hakka) dialects, decided by British Immigration Officers with no training in modern pinyin (and with the surname put 'last' in the Western fashion,  instead of 'first' as in the Chinese tradition). Master Chan Tin Sang died in 1993 but had passed-on his family style into my keeping in 1991. This full 'Transmission' was confirmed by 'Por Por' (Chinese Grandmother) Madam Cheung Yat-Tai ten years later at 'Yum Cha' or 'Chinese breakfast' in Purley Way (at the Tai-Tong Restuarant in the Wing Yip Shopping Centre).  I include all the variants of these certificates and one that is older and from 1986.

The British Nationality Act of 1948 granted the right of all people born within British colonies to be 'British Subjects', or 'British Citizens'  and therefore entitled to settle in the Mainland UK. Master Chan Tin Sang came to the UK in 1956 and the story was hat he worked hard at all kinds of jobs in and around Sutton, and eventually saved enough money to send for his wife and two young daughters. I was told this took about ten years and always assumed that 'Por Por' (i.e. our Chinese grandmother Cheung Yuet-Tai - known in the UK and Cheung Yat-Tai) came to the UK in 1966 - but these Immigration Papers record that she was granted permission to leave Hong Kong and fly to Britain in late 1968. From what her daughters have told me, the air-tickets Master Chan sent from the UK arrived two-weeks late due to a postal delay. In fact, the air-tickets arrived on the morning of the day of the flight - and Por Por had to quickly pack a few small cases, and rush to the local school to extract her children! This she did, and they eventually made their way to Sutton in South London. Master Chan Tin Sang went on to open one of the first Chinese Restaurants in Sutton - the King Wah - situated on the opposite side of the road from the Masonic Lodge and the Post Office in Grove Road. We have never managed to find a photograph of the King Wah. 

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​ Madam Cheung Yuet-Tai was born in the New Territories (Hong Kong) in 1924, and passed away in Sutton during January, 2011. She was 86 years old, and in her 87th year (her 87th birthday would have been on  the 3rd of September, 2011). She had been suffering from kidney problems for quite sometime prior to her passing. In 2001, Madam Cheung Yuet-Tai 'confirmed' Master Chan Tin Sang's 1991 'Transmission' to me - and also passed on to me one of his jade rings, a gold and jade clan-leader's ring, and gold wristwatch.