Recently I was following a discussion about Western versus Chinese student approaches to Chinese Martial Arts (CMA). The premise was that from the perspective of a highly respected Chen Taiji teacher:
It’s harder for Western students to grasp a concept that’s inherent in the Chinese psyche and its culture. At times it seems impossible, as Western students try to interpret the concept on the basis of their own beliefs and interpretations. In approach and practice, Chinese students do, while Western students question. Chinese students go by feeling and sensing movement, while Western students are concerned with the mechanics, or kinetics, of movement.
Speaking as a Western CMA student, I’ve noted some cultural differences between myself and my teacher’s generation that could account for the observations made by Chen ZiQiang. However, I do not think these cultural differences are on the level of interpreting technical concepts within the martial art, but rather play a role in determining the kinds of people, Western and Chinese, who are drawn to CMA, and their different motives and perspectives in learning the art.
The most obvious distinction between Western and Chinese cultural experience of CMA is that for Westerners CMA is a foreign entity, a discipline routinely depicted in Western media and culture as mysterious, exotic, and esoteric. In introducing and reintroducing Asian martial arts generally to the West, the media has typically sought to distinguish Asian martial arts from Western martial arts such as boxing and wrestling. The cultural context that depicts boxing and wrestling as relatively straightforward and intelligible physical endeavours seizes upon Japanese and Chinese martial arts as somehow being “more than” their Western counterparts.
Western audiences have been assisted in this interpretation by various spiritual and esoteric aspects of Asian martial arts, not to mention the mythic oral histories, performance-oriented demonstrations of skill and strength, and the absence of the kind of regulatory or competitive platform found in Western sports-oriented martial arts.
In other words, some degree of esotericism is built into Asian martial arts, yet this esotericism has in turn been exaggerated and made the raison d’etre of Asian martial arts for generations of Western audiences, and some proportion of Western students.
This is, I think, the first cultural difference between Chinese and Western students of CMA, and I have to admit it is prominent in my own relationship with the art I’ve practiced for more than half my life.
Why is it that I, and others like me, are so drawn to CMA but have no interest in Western boxing, or indeed in sports generally? For us boxing and sports feel like a known quantity, a domain where little counts beyond sheer physical skill. The domain of CMA is immediately appealing because it seems to promise at face value a blending of physical skill with other kinds of skills albeit ones that are only dimly perceived. The whole point of many demonstrations of skill in CMA is to show that there is something ‘unusual’ going on, that the demonstrator has strength or speed or power that somehow goes beyond what we would expect from a purely physical skill.
We expect a boxer to be able to hit hard, or a wrestler to be able to throw or pin people with ease. But CMA demonstrations typically hinge on a disparity between skill and appearance: the teacher who hits much harder than expected and with little apparent effort; the senior student who seems impossible to push or pull or otherwise move; the grandmaster who is able to move you around with ease, with a strength that is incommensurate with his apparent frailty.
None of these demonstrations are ‘obvious’ in their mechanics or physical logic, and they present a puzzle and then a goal that becomes irresistible for many Western students. Western students generally are drawn in and motivated by achieving these same skills or abilities for themselves, but such skills and abilities typically remain incomprehensible despite years of training.
The problem is twofold: firstly, the disparity between the ‘normal’ rigours of martial arts training that develops comprehensible physical skills, and the esoteric and intriguing skill-set of the teacher that remain beyond our understanding and our reach. It is not at all apparent how ordinary training can produce extraordinary results, and many students remain stuck, grappling with this apparent paradox.
For many students the disparity between training and the desired skill-set leaves them preoccupied with a goal they do not understand and do not know how to achieve. Assuming that the teacher is able and willing to actually teach these more advanced skills, they may nevertheless find that their students are so entranced by the idea of unusual power or superhuman skill that they fail to appreciate, understand, or properly commit to the more prosaic skills and fundamental physicality of basic training. The irony is that such students would develop much better skills if they focused on learning the art as though it had no esoteric or mysterious connotations whatsoever.
The second and perhaps more challenging aspect of this cultural problem is that a subset of these entranced Western students are the kinds of people who have no real interest in or affinity for sports and physical disciplines in the first place. The esoteric appeal of CMA and the demonstration of skills that seem to depend on something other than sheer physical strength attract people who are implicitly poorly equipped to learn a martial art in the first place.
For me this part of the problem is personal: why is it that I have no interest in boxing, yet an overwhelming and enduring interest in CMA? Because CMA somehow promises more than boxing does. From an early age, CMA seemed to draw upon more than raw physical talent, and so for someone quite lacking in raw physical talent CMA is an attractive proposition. But the reality is that CMA is intensely physical, at least as much and perhaps more than boxing trained at the same level. The esotericism is a physical esotericism, built on hard training, strength, flexibility, and other fundamental physical attributes that can be developed, yet come more naturally to some of us than to others.
Returning to the original point, I suspect that for people raised in a Chinese culture, the esotericism and mysterious skills of CMA are less salient than the physical discipline required. It’s not that Chinese people generally are better suited to CMA, or that their psyches are somehow more attuned to CMA principles, but rather that those who – like me – are naturally unsuited to physical disciplines and lacking in raw talent are much less likely to be entranced and attracted by CMA. CMA to a person raised in a Chinese culture is more like boxing to a Westerner. The analogy is not perfect, but cultural familiarity strips away much of the esoteric appeal that draws in Westerners like me.
In other words, the Chinese version of me doesn’t do kung fu, and through self-selection, teachers like Chen ZiQiang will encounter more over-analytical, questioning, missing-the-point Western students than they will Chinese.
The irony is that magnifying the impression of esoteric or mysterious skills prevents us from truly developing any significant skill. The answers could be right in front of us, yet the sense of ‘something more’ prohibits us from recognising the real nature of the skills exhibited by our teachers.
Having trained a martial art for more than half my life with fundamentally the wrong attitude, I should probably be relieved to have nonetheless made some progress, rather than being disheartened by my lack of progress. Perhaps a better attitude for people like me is to recognise from the outset that CMA is not a physically less demanding discipline, but a more demanding one; that whatever physical problems or lack of talent we face will not be compensated for by something esoteric within CMA; that ‘understanding’ CMA without doing the physical work will be as fruitless as ‘understanding’ boxing, weight lifting, or jogging without doing the physical work.
What I really need to understand is not how my teacher ‘mysteriously’ has so much power, but why I mysteriously have so little. My goal should not be to discover the esoteric logic at the heights of CMA, but to work out the overlooked question of why I have failed to fully embrace the most basic physical form and discipline. I need to start looking at CMA not as a way to compensate for physical impediments, but as a context in which to challenge, identify, and remedy them.