monks went underground and formed patriotic societies determined to
overthrow the unjust regime that had almost wiped them out. In support of
this tradition, many commentators (e.g., Yang and Bolt) argue that the tra-
ditional Shaolin salute, the right fist covered by the left palm, originated as
a secret society symbol. The Chinese character for the Ming dynasty is com-
posed of the symbols for sun and moon, which together mean “bright.” The
positions of the hands in that salute formation fairly closely resemble that
pictograph. By the use of that salute, people came to know each other as
supporters of the same cause, to restore the Ming and overthrow the Qing.
Many of the refugee monks went to work at a variety of occupations, such
as opera, which always featured martial scenes. Many opera companies
would ply the waters and travel in their trademark red boats.
In time, tradition maintains, these boats played two important roles in
the history of the external Shaolin arts. They served as crucibles for blend-
ing the combat arts of north and south, and the plays that were acted out
came to embody subtle messages for resistance members about meeting
places and anti-Qing activities. The oral traditions of many external sys-
tems, which look to Shaolin as their point of origin, maintain a link between
Shaolin anti-Qing sentiments, martial arts, and elements of popular culture.
The Lion Dance, for example, is performed at auspicious events, such as the
openings of new businesses, and New Year festivals. At the end of a Lion
Dance the lion goes up a pole to catch a head of lettuce to eat. The expres-
sion used to describe this feat is “cai quing” (Cantonese “choi qing”), which
literally means “Get the green.” It also derides the Qing dynasty, since the
term “qing” is a homonym for the word “green” but could also be taken to
mean “Get the Qing dynasty.” Lucky money in a red envelope was given to
the lion dancers, and it may be surmised that these funds were used to sup-
port various rebel causes that were popular at the time.
The transmission of fighting arts also took place along trade routes
that crisscrossed China, including the Silk Road, which led all the way to
the outer reaches of the Roman Empire. There is no doubt that practition-
ers of both northern and southern styles, internal and external systems, met
as members of caravan guards assigned to take loads of merchandise to
their destinations. Exchanges of information for both armed and unarmed
techniques ensued, for the length of one’s life often came down to the com-
bat skills developed in as many areas as possible. A good northern stylist
learned to use fists as effectively as feet. A good southern stylist learned
that one had to be an effective kicker as well as excelling at close-quarter
conflict. The same held true for the use of weapons, and in this context all
manner of them flourished, including maces, clubs, whips of leather and
chain, darts, dirks, daggers, swords, and pole arms.
Time went on, but the Ming dynasty was never restored. However,40 Boxing, Chinese Shaolin Styles