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As cadeiras acima de braço acima que ficam ao lado desta mesa ancestral num Mo Gun, só podem ser ocupadas por um certo grupo de pessoas:
a)A cadeira à esquerda da mesa é reservada ao Si Fu do Si Fu ou "Si Gung". Assim, mesmo quando o Si Fu está presente, esta cadeira não é ocupada. Então podemos ver meu Si Fu ocupando esta cadeira em sua visita ao Núcleo Méier alguns meses atrás.
b)A cadeira à esquerda do Sam Toi é ocupada pelo Si Fu, quando a Si Mo está presente. Desta forma a Si Mo que é a esposa do Si Fu (mas isso vale também se o Si Fu for mulher e tiver um marido) ocupa a cadeira a direita e o Si Fu a esquerda.
Existem outras possibilidades, mas gostaria de fazer um post dedicado a isso um dia. O que quero dizer, é que o fato de eu estar sentado em uma dessas cadeiras, quer dizer muito para mim, mas para o todo, quer dizer minimamente que sou um Si Fu , termo do dialeto cantonês que podemos traduzir de forma rasteira como "Mestre"...
The above arm chairs up to stand next to this ancient table in Mo Gun, can only be occupied by a certain group of people:
a) the chair to the left of the table is reserved for the Si Fu of the Si Fu or "Si Gung". Thus, even when Si Fu is present, this chair is not occupied. So you can see my Si Fu occupying this chair on his visit to the Moy Yat Ving Tsun Meier School few months ago.
b) The chair on the left of Sam Toi is occupied by Si Fu, when the Si Mo is present. Thus the Si Mo who is the wife of Si Fu (but this is also true if the Si Fu is a woman and have a husband) occupies the chair right and Si Fu left.
There are other possibilities, but I would make a post dedicated to this one day. I mean, it's the fact that I was sitting in one of these chairs, means a lot to me, but to the whole, to say the least I am a Si Fu,in the Cantonese dialect that can translate as " Master"...
A Vida de um Si Fu (parte 1)
The Life of a Si Fu (Part 1)
No filme "Ip Man 2" (2010) que no Brasil é conhecido como "O Grande Mestre 2"(foto). Apesar de dividir opiniões quanto a sua qualidade. Podemos dizer que todos concordam que o início deste filme traz uma perspectiva bem interessante a respeito da vida de um Si Fu.
Estamos acostumados em nosso país a termos as artes marciais como uma prática relegada aqueles que não tinham outra opção como profissão, ou mesmo, aqueles que pretendem ganhar um trocado a mais no final do mês.
Recentemente, um profissional da argentina publicou em seu facebook um texto bem curioso sobre o profissional de artes marciais no dia do trabalho.
Segundo ele, é muito comum em seu país, alguém perguntar:
-O que faz da vida?
-Ensino artes marciais.
-Ah! Que bonito! E em que trabalha?
In the movie "Ip Man 2" (2010) . Although divide opinions as to its quality. We can say that everyone agrees that the beginning of the film has an interesting perspective on the life of a Si Fu.
We are used in our country to relegated those who works as a professionals of Martial Arts as someone who had no other choice as a profession, or even those who intend to earn a changed later in the month.
Recently, a professional from Argentina published on his facebook a very curious text on the professional of martial arts on the Workers Day:
According to him, it is very common in his country, someone asks:
-What do you do for living?
-I teach Martial Arts.
-Oh! How beautiful! But what is your real job?
In the movie "Ip Man 2" (2010) . Although divide opinions as to its quality. We can say that everyone agrees that the beginning of the film has an interesting perspective on the life of a Si Fu.
We are used in our country to relegated those who works as a professionals of Martial Arts as someone who had no other choice as a profession, or even those who intend to earn a changed later in the month.
Recently, a professional from Argentina published on his facebook a very curious text on the professional of martial arts on the Workers Day:
According to him, it is very common in his country, someone asks:
-What do you do for living?
-I teach Martial Arts.
-Oh! How beautiful! But what is your real job?
(No filme "O Grande Mestre 2", acompanhamos Ip Man tendo problemas financeiros em casa para poupar seus To Dai que não podiam pagar. E mais a frente no filme, esses mesmos To Dai lhe causam problemas a ponto de serem expulsos desse local que aparece na cena acima. )
(In the movie "Ip Man 2", follow Ip Man having financial problems at home to save his To Dai who could not pay. And later on in the film, the same To Dai cause problems to him to the point of being expelled from this location that appears in the scene above.)
(In the movie "Ip Man 2", follow Ip Man having financial problems at home to save his To Dai who could not pay. And later on in the film, the same To Dai cause problems to him to the point of being expelled from this location that appears in the scene above.)
No Brasil também acontece isso. A sociedade em geral não valoriza o profissional de artes marciais, ainda que o cenário tenha mudado bastante desde a década de '70 pra cá, os próprios profissionais não se valorizam. Digo isso, porque tende-se a valorizar o "Lutador" e não o "Mestre".
Ser um "Lutador" profissional é algo almejado inclusive por jovens, mas isso em nada tem a ver com ser um Mestre ou um transmissor de um legado.
In Brazil it also happens. Society in general does not value the martial arts professional, although the scenario has changed a lot since the late 70's over here, the professionals do not value themselves. I say this because we tend to value the "fighter" and not the "Master."
Being a "fighter professional" is something desired by many including young people, but that nothing has to do with being a Master or a transmitter of a legacy.
In Brazil it also happens. Society in general does not value the martial arts professional, although the scenario has changed a lot since the late 70's over here, the professionals do not value themselves. I say this because we tend to value the "fighter" and not the "Master."
Being a "fighter professional" is something desired by many including young people, but that nothing has to do with being a Master or a transmitter of a legacy.
Um exemplo interessante, que vemos em "O Grande Mestre 2" é que o personagem que representa Wong Shun Leung (foto) , um dos discípulos de Ip Man na vida real. Pergunta a ele logo no início do filme se Ip Man conseguiria lutar com dez pessoas de uma vez. Ip Man desconversa. Porém, mais a frente na cena que vemos acima, observamos Ip Man em sua casa começar a contar um pouco de suas histórias a seu discípulo.
Por que então antes ele desconversou e depois resolveu contar mais de sua vida a seu discípulo?
An interesting example, we see in "Ip Man 2" is that the character is Wong Shun Leung (photo), one of Ip Man's disciples in real life. Ask him early in the film if Ip Man could fight ten people at once. Ip Man changes the talk. But later on in the scene we see above, we see Ip Man in his home start telling some of his stories to his disciple.
Why then before he evaded and then decided to tell more of his life to his disciple?
An interesting example, we see in "Ip Man 2" is that the character is Wong Shun Leung (photo), one of Ip Man's disciples in real life. Ask him early in the film if Ip Man could fight ten people at once. Ip Man changes the talk. But later on in the scene we see above, we see Ip Man in his home start telling some of his stories to his disciple.
Why then before he evaded and then decided to tell more of his life to his disciple?
Si Gung costuma dizer algumas coisas: Uma delas é que existe algo chamado "Momento Oportuno" dentro de uma vivência de um praticante de artes marciais com o profissional que está a sua frente naquele momento. O "momento oportuno", é aquele momento no qual o profissional identifica a oportunidade de levar o praticante a tomada de consciência dentro de algum aspecto, seja físico ou vivencial. Muitas vezes porém, você pode entrar e sair de um Mo Gun e nada acontecer ainda que todo o cenário favorecesse para tal. Simplesmente porque talvez não fosse o momento de você tomar consciência a respeito daquele tópico.
Si Gung say a few things: One is that there is something called "Moment of Opportunity" within an experience of a practitioner of martial arts with the professional who is in front at the moment. The "right time" is that moment in which the professional identifies the opportunity to lead the practitioner awareness in some way, whether physical or experiential. Often though, you can get in and out of a Mo Gun and nothing still happens that whole scenario favored to do so. Simply because maybe was not the time for you to be aware about that topic.
Si Gung say a few things: One is that there is something called "Moment of Opportunity" within an experience of a practitioner of martial arts with the professional who is in front at the moment. The "right time" is that moment in which the professional identifies the opportunity to lead the practitioner awareness in some way, whether physical or experiential. Often though, you can get in and out of a Mo Gun and nothing still happens that whole scenario favored to do so. Simply because maybe was not the time for you to be aware about that topic.
Então em "O Grande Mestre 2" podemos ver por um breve momento na tela, a respeito do que realmente se tratava a "Mestria" de Ip Man: A sua capacidade de transmitir sem desrespeitar os seus To Dai , mesmo quando eles não percebiam ou achavam justamente o contrário e respeitar o legado que lhe fora entregue.
Then , in "Ip Man 2" we can briefly see on the screen, about what really was the "mastery" of Ip Man: Your ability to transmit without disrespecting his To Dai, even when they did not understand or just thought the opposite and respect the legacy given to him.
Then , in "Ip Man 2" we can briefly see on the screen, about what really was the "mastery" of Ip Man: Your ability to transmit without disrespecting his To Dai, even when they did not understand or just thought the opposite and respect the legacy given to him.
Já faz um tempo agora que minha Família Kung Fu começou, e tem sido uma experiência única pois é como se estivesse começando o Siu Nim Tau . Um campo aberto desconhecido que exige a responsabilidade de não comprometer o trabalho dos que vieram antes de mim numa sociedade que não valoriza o profissional de artes marciais.
Por isso, que a relação mais importante do mundo do Kung Fu é a "Si Fu-To Dai". Não importa mais ninguém. Apenas você e seu Si Fu nesses termos. Pois enquanto essa relação perdurar, mesmo depois que seu SI Fu vier a falecer, o legado que lhe foi passado perdurará junto.
It's been a while now that my Kung Fu Family began, and has been a unique experience because it's like starting the Siu Nim Tau again. An unknown open field that requires responsibility not to jeopardize the work of those who came before me in a society that does not value the professional of martial arts.
Therefore, the most important relationship of the Kung Fu world is the "Si Fu-To Dai". No matter anybody else. Only you and your Si Fu in those terms. For while this relation persists even after ones Si Fu dies, the legacy given to him endure together.
It's been a while now that my Kung Fu Family began, and has been a unique experience because it's like starting the Siu Nim Tau again. An unknown open field that requires responsibility not to jeopardize the work of those who came before me in a society that does not value the professional of martial arts.
Therefore, the most important relationship of the Kung Fu world is the "Si Fu-To Dai". No matter anybody else. Only you and your Si Fu in those terms. For while this relation persists even after ones Si Fu dies, the legacy given to him endure together.
(Eu e Grão-Mestre Pete Pajil em 2003)
(Me and Grand-Master Pete Pajil in 2003)
Por isso que certa vez ouvi Si Baak Gung Pete contar uma história para as pessoas ao seu redor, dizendo que numa determinada ocasião quando perguntado em que trabalhava ele respondeu: "I Dont work."
Lembro de ter achado aquela resposta fantástica. Mas acho que só agora começo a entender. Talvez , um Si Fu não trabalhe conforme uma pessoa comum fosse capaz de entender. Não porque eu subestime o entendimento de alguém assim, mas porque essa pessoa de fora do "Mo Lam" não consegue alcançar a importância da preservação de um legado e todos os desafios que esse caminho exige: Primeiro como To Dai e depois como Si Fu (e ainda To Dai).
I once heard Si Baak Gung Pete tell a story to the people around, saying that a certain occasion when asked where he worked he replied. "I dont work"
I remember finding that a fantastic answer. But I think only now beginning to understand. Perhaps a Si Fu does not work as an ordinary person would be able to understand. Not because I underestimate the understanding of someone like that, but because that person out of the "Mo Lam" fails to grasp the importance of preserving a legacy and all the challenges that this path requires: First as To Dai and then as Si Fu ( and yet To Dai).
I remember finding that a fantastic answer. But I think only now beginning to understand. Perhaps a Si Fu does not work as an ordinary person would be able to understand. Not because I underestimate the understanding of someone like that, but because that person out of the "Mo Lam" fails to grasp the importance of preserving a legacy and all the challenges that this path requires: First as To Dai and then as Si Fu ( and yet To Dai).
Para que fique mais claro, vamos assistir o documentário abaixo do programa "Cultura Kung Fu" a respeito da Vida de um Mestre.
To make it clearer, let's watch the documentary below from the "Culture Kung Fu" about a "The Life of a Master.
To make it clearer, let's watch the documentary below from the "Culture Kung Fu" about a "The Life of a Master.
Após o vídeo, deixo a todos a oportunidade de tirarem suas próprias conclusões sobre o tema. Voltaremos na parte 2.
After the video, left everyone the opportunity to draw your own conclusions on the subject. We will return in Part 2.
Thiago Pereira "Moy Fat Lei"
moyfatlei.myvt@Gmail.com
