As I was redoing the WCK Archives for the server transfer, I remembered the original reason I started them - to see if all the different stories, when taken as complementory rather than contradictory, could paint a more complete picture. In that spirit, I present the grand unification theory of WCK origins, melding the VTM with Hendrik and with my views, with a little of what Tom didn’t say.
In Fujian province, whether you believe in the Southern Shaolin Weng Chun Diem, or in Weng Chun country, the original system (either Shaolin Lohan imported from Henan or a native Fujian system) was developed by either Ming generals and monks, or civil martial master(s)/generations. This was exported by Jee Shim or someone now referred to as Jee Shim to Guangdong and ended up on the Red Junks and eventually became known as Weng Chun Kuen after the hall or county, the system taught by Dai Fa Min Kam to Tang, Dong, Lo, etc. and their descendants who passed on to Andreas Hoffmann.
The original art continued to develop in Fujian and the next import, half way between Weng Chun Kuen and what would become known as Wing Chun Kuen, was also exported to Guangdong’s Red Junks and accredited either properly or honorifically to Cheung Ng. Fa Min Biu/Hung Gam Biu passed this art down and it spread to Guangzhou and the New Territories where Garette Gee sifu learned it from Wong Ming and Yip Man learned some of the technical aspects from a man he visited 6 times a year who he nicknamed Leung Bik and passed it on to William Cheung who he thought it would suit better.
The other opera performers continued to refine the art and blended it with the Sup Yee Jong engine of Sichuan Emei’s Golden Summit Temple (which may have come from Mui Shun or someone recorded with that name, and or Yim Wing Chun/Leung Bok-Cho or people recorded with those names), developing what would become known as Wing Chun Kuen and Wong Wah-Bo passed it down to Leung Jan and Fok Bo-Chuen from whom the Koolo, Yip Man, Sum Nung, and other lineages descend, and most of us in turn, and Yik Kam, who even more closely favored the Sup Yee Jong, passed it on to the Cho family, from whom Cho Hung-Choi learned from both brothers and passed it on to Hendrik.
Thus each story fills in the gaps and fleshes out the others ones, makes sense from senselessness, and respects (and leaves room for) all the traditions.
Whabam.
