Cantonese, or Standard Cantonese, is a language that originated in the vicinity of Canton (i.e. Guangzhou) in southern China, and is often regarded as the prestige dialect of Yue Chinese.

In mainland China, it is a lingua franca in Guangdong Province and some neighbouring areas, such as the eastern part of Guangxi Province. Outside mainland China, it is spoken by the majority population of Hong Kong and Macau in everyday life. It is also spoken by overseas Chinese communities in Southeast Asia (like Singapore and Christmas Island), the United States, Canada, Brazil, Peru, Cuba, Panama, Australia, and New Zealand, as well as parts of Europe, and is the most widely spoken non-Mandarin Sinitic language in the world.

While the term "Cantonese" refers narrowly to the prestige dialect described in this article, it is often used in a broader sense for the entire Yue branch of Chinese, including related dialects such as Taishanese.

The Cantonese language is also viewed as part of the cultural identity for the native speakers across large swathes of southern China, Hong Kong and Macau. Although Cantonese shares much vocabulary with Mandarin Chinese, the two languages are not mutually intelligible largely because of pronunciation and grammatical differences. Sentence structure, in particular the placement of the verb, sometimes differs between the two languages. The use of vocabulary in Cantonese also tends to have more historic roots. The most notable difference between Cantonese and Mandarin is how the spoken word is written; with Mandarin the spoken word is written as such, where with Cantonese there may not be a direct written word matching what was said. ^[2][3] This results in the situation in which a Mandarin and Cantonese text almost look the same, but both are pronounced differently.

Names[link]

In English, the term "Cantonese" is ambiguous. Cantonese proper is the language native to the city of Canton, which is the traditional English name of Guangzhou, and later brought to Hong Kong and Macau;^{[citation needed]} this narrow sense may be specified as "Canton language" or "Guangzhou language" in English.^[4]

However, "Cantonese" may also refer to the primary branch of Cantonese which contains Cantonese proper as well as Taishanese and Gaoyang; this broader usage may be specified as "Yue" (粤). In this article, "Cantonese" is used for Cantonese proper.

Customarily, speakers call their language "Guangzhou Prefecture speech" (Guǎngzhōu huà, 广州话 or 廣州話). In Guangdong province people also call it "Provincial Capital speech".^[5] In Hong Kong and Macau, people usually call it "Guangdong speech" (廣東話). In Guangdong outside of Guangzhou, people also call it "Baak Waa" (plain speech) (白話).^[6]

Due to its status as a prestige dialect, it is often called "Standard Cantonese" (simplified Chinese: 标准粤语; traditional Chinese: 標準粵語; Jyutping: biu¹zeon² jyut⁶jyu⁵; Guangdong Romanization：Biu1 zên2 yud6 yu5). (With simplified tone markers: biu zeon/ jyut_ jyu= / biu zên/ yud_ yu=).

Cultural role[link]

Spoken Chinese has numerous regional and local varieties, many of which are mutually unintelligible. Most of these are rare outside their native areas, though they may be spoken outside of the country. Since the early 1900s (1909 Qing Dynasty decree), China has promoted Mandarin for use in education, the media and official communication,^[7] though a few state television and radio broadcasts are in Cantonese. However, due to the linguistic history of Hong Kong and Macau, and the use of Cantonese in many overseas Chinese communities, international usage of Cantonese has spread far out of proportion to its relatively small number of speakers in China, even though the majority of Cantonese speakers still live in mainland China.^{[citation needed]}

Cantonese is the predominant Chinese language spoken in Hong Kong and Macau. In these areas, political discourse takes place almost exclusively in Cantonese, making it the only variety of Chinese other than Mandarin to be used as the primary language for the official state functions of an area. Because of their use by non-Mandarin-speaking Yue speakers overseas, the Cantonese and Taishanese languages are the primary forms of Chinese that Westerners come into contact with.

Along with Mandarin and Hokkien, Cantonese is one of the few varieties of Chinese with its own popular music, Cantopop. In Hong Kong, Cantonese lyrics predominate within popular music, and many artists from Beijing and Taiwan have learned Cantonese to make Cantonese versions of their recordings.^[8] Popular native Mandarin speaking singers, including Faye Wong, Eric Moo, and singers from Taiwan, have been trained in Cantonese to add "Hong Kong-ness" to their performances.^[8]

Phonology[link]

Generally speaking, Cantonese is a tonal language.

The de facto standard pronunciation of the Cantonese language is that of Canton (Guangzhou), which is described at the Cantonese phonology article. Hong Kong Cantonese has some minor variations in phonology.

Hong Kong[link]

The official languages of Hong Kong are English and Chinese, as defined in the Basic Law of Hong Kong.^[9] The Chinese language has many different varieties, of which Cantonese is one. In Hong Kong, Cantonese is the predominantly spoken variety in everyday life. It is the de facto official spoken form of the Chinese language used in the Government. It is also used as the medium of instruction in many schools, alongside English.

The Cantonese spoken in Hong Kong is mutually intelligible with the Cantonese spoken in the Chinese city of Canton (Guangzhou), although there exists minor differences in pronunciation, accent, and vocabulary. The Cantonese spoken in Hong Kong is known as Hong Kong Cantonese.

Written Cantonese[link]

Cantonese has the most developed literature of any form of Chinese after Classical Chinese and Mandarin. It is used primarily in Hong Kong and in overseas Chinese communities, so it is usually written with traditional Chinese characters. Cantonese includes extra characters and characters with different meanings from Standard Written Chinese.

Romanization[link]

Cantonese romanization systems are based on the accent of Canton and Hong Kong, and have helped define the concept of Standard Cantonese. The major systems are Barnett–Chao, Meyer–Wempe, the Chinese government's Guangdong Romanization, Yale and Jyutping. While they do not differ greatly, Yale is the one most commonly seen in the west today.^{[citation needed]} The Hong Kong linguist Sidney Lau modified the Yale system for his popular Cantonese-as-a-second-language course and is still widely in use today.

Early Western effort[link]

Systematic efforts to develop an alphabetic representation of Cantonese began with the arrival of Protestant missionaries in China early in the nineteenth century. Romanization was considered both a tool to help new missionaries learn the dialect more easily and a quick route for the unlettered to achieve gospel literacy. Earlier Catholic missionaries, mostly Portuguese, had developed romanization schemes for the pronunciation current in the court and capital city of China but made few efforts to romanize other dialects.

Robert Morrison, the first Protestant missionary in China published a "Vocabulary of the Canton Dialect" (1828) with a rather unsystematic romanized pronunciation. Elijah Coleman Bridgman and Samuel Wells Williams in their "Chinese Chrestomathy in the Canton Dialect" (1841) were the progenitors of a long-lived lineage of related romanizations with minor variations embodied in the works of James Dyer Ball, Ernst Johann Eitel, and Immanuel Gottlieb Genăhr (1910). Bridgman and Williams based their system on the phonetic alphabet and diacritics proposed by Sir William Jones for South Asian languages. Their romanization system embodied the phonological system in a local dialect rhyme dictionary, the Fenyun cuoyao, which was widely used and easily available at the time and is still available today. Samuel Wells Willams' Tonic Dictionary of the Chinese Language in the Canton Dialect (Yinghua fenyun cuoyao 1856), is an alphabetic rearrangement, translation and annotation of the Fenyun. In order to adapt the system to the needs of users at a time when there were only local variants and no standard—although the speech of the western suburbs, xiguan, of Guangzhou was the prestige variety at the time—Williams suggested that users learn and follow their teacher's pronunciation of his chart of Cantonese syllables. It was apparently Bridgman's innovation to mark the tones with an open circles (upper register tones) or an underlined open circle (lower register tones) at the four corners of the romanized word in analogy with the traditional Chinese system of marking the tone of a character with a circle (lower left for "even," upper left for "rising," upper right for "going," and lower right for "entering" tones). John Chalmers, in his "English and Cantonese pocket-dictionary" (1859) simplified the marking of tones using the acute accent to mark "rising" tones and the grave to mark "going" tones and no diacritic for "even" tones and marking upper register tones by italics (or underlining in handwritten work). "Entering" tones could be distinguished by their consonantal ending. Nicholas Belfeld Dennys used Chalmers romanization in his primer. This method of marking tones was adopted in the Yale romanization (with low register tones marked with an 'h'). A new romanization was developed in the first decade of the twentieth century which eliminated the diacritics on vowels by distinguishing vowel quality by spelling differences (e.g. a/aa, o/oh). Diacritics were used only for marking tones. The name of Tipson is associated with this new romanization which still embodied the phonology of the Fenyun to some extent. It is the system used in Meyer-Wempe and Cowles' dictionaries and O'Melia's textbook and many other works in the first half of the twentieth century. It was the standard romanization until the Yale system supplanted it. The distinguished linguist, Y. R. Chao developed a Cantonese adaptation of his Gwoyeu romanization system which he used in his "Cantonese Primer." The front matter to this book contains a review and comparison of a number of the systems mentioned in this paragraph. The GR system was not widely used.

Cantonese romanisation in Hong Kong[link]

An influential work on Cantonese, A Chinese Syllabary Pronounced According to the Dialect of Canton, written by Wong Shik Ling, was published in 1941. He derived an IPA-based transcription system, the S. L. Wong system, used by many Chinese dictionaries later published in Hong Kong. Although Wong also derived a romanization scheme, also known as S. L. Wong system, it is not widely used as his transcription scheme.

The romanization advocated by the Linguistic Society of Hong Kong (LSHK) is called Jyutping, which solves many of the inconsistencies of the older, favored, and more familiar system of Yale Romanization, but departs from it in a number of ways unfamiliar to Yale users. The phonetic values of letters are unfamiliar to those who have studied English. Some effort has been undertaken to promote Jyutping with some official support, but it is too early to tell how successful it is.

Another popular scheme is Cantonese Pinyin Schemes, which is the only romanization system accepted by Hong Kong Education and Manpower Bureau and Hong Kong Examinations and Assessment Authority. Books and studies for teachers and students in primary and secondary schools usually use this scheme. But there are teachers and students who use the transcription system of S. L. Wong.

However, learners may feel frustrated that most native Cantonese speakers, no matter how educated they are, really are unfamiliar with any romanization system. Because Cantonese is a spoken language and is not written (writing generally follows standard Chinese, which is more closely related to Mandarin), it is not taught in schools. As a result, locals do not learn any of these systems. The romanization systems are excluded in the education system either in Hong Kong or in Guangdong province. In practice, Hong Kong people follow a loose unnamed romanisation scheme used by the Government of Hong Kong.

Cantonese outside China, Hong Kong and Macau[link]

Historically, the majority of the overseas Chinese originated from two provinces, Fujian and Guangdong. This has resulted in the overseas Chinese having a higher proportion of Fujian and Guangdong languages/dialect speakers than Chinese speakers in China as a whole.

The largest number of Cantonese speakers outside mainland China and Hong Kong are in Canada and the United States; however, speakers of Min dialects predominate among the overseas Chinese in southeast Asia. The Cantonese spoken in Malaysia is known to have borrowed substantially from Malay and other languages.

Canada[link]

For many decades, Cantonese continues to be the common Chinese language spoken among Chinese Canadians. According to Canada 2006 Census, there are 361,450 Canadian residents who reported Cantonese as their mother tongue including 166,655 in Greater Toronto Area and 125,940 in Greater Vancouver to lead the way. The total number of Cantonese speakers in Canada however is expected to be greater than those numbers provided by Statistics Canada considering that 456,705 people who reported a Chinese mother tongue either did not specify which Chinese language they were referring to, or specified a language outside of Cantonese, Mandarin, Teochew, Fukien, Hakka, Shanghainese, or Taiwanese. Hence among the 456,705 residents, many of them are Cantonese speakers as well.

The majority of Cantonese speakers came from Hong Kong in waves in the late 60s to mid 70s during and after the Hong Kong 1967 Leftist riots, and came in masses during the 80s to late 90s in response to the Transfer of sovereignty over Hong Kong back to Mainland China in 1997. Immigrants from Guangdong, Vietnam and Southeast Asia also form an integral part of the Cantonese speaker demographics in Canada.

Malaysia[link]

Cantonese is widely spoken in Kuala Lumpur, the capital city, and surrounding areas such as Petaling Jaya and Subang Jaya in Selangor, Ipoh and most districts in Perak, Sibu in Sarawak and Sandakan in Sabah.

Due to the popularity of Hong Kong drama series, Cantonese is widely understood by Chinese in all parts of Malaysia, though large part of Chinese population are non-Cantonese. Cantonese can be regarded as highly influential among Malaysian Chinese; although the Hokkien dialect group is the largest among Malaysian Chinese, the language has minimal influence on other dialect groups.

Television stations in Malaysia regularly broadcast Hong Kong TV programmes in the original soundtrack. Pay TV operator, Astro, offers its prime-time Hong Kong drama series in dual channel - the original soundtrack in Cantonese and the dubbed version in Mandarin. There are four Chinese radio stations - My FM, one FM, 988 and Ai FM. The first three are private-owned, which broadcast mainly in Cantonese with some Mandarin. Ai FM, which is run by government-owned Radio Televisyen Malaysia (RTM), broadcasts solely in Mandarin; the only Cantonese programme on Ai FM is the Cantonese news broadcast.

New Zealand[link]

The goldminers who came to New Zealand in the 1860s were mainly from the southern counties of Guangdong province. Through chain-migration between the 1860s to 1920s Cantonese became the dominant language spoken by New Zealand Chinese. Since the late 1980s there has been a large number of Mandarin-speaking Chinese coming to New Zealand either as permanent immigrants or temporary English-language students.

Singapore[link]

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In Singapore the government has a Speak Mandarin Campaign(SMC)^[10] which seeks to actively promote the use of Mandarin over other Chinese languages, such as Hokkien (41.1%), Teochew (21.0%), Cantonese (15.4%), Hakka (7.9%) and Hainanese (6.7%).

This was seen as a way of creating greater cohesion among ethnic Chinese. In addition to positive promotion of Mandarin, the campaign also includes active attempts to dissuade people from using other dialects.

Notably,all non-Mandarin Chinese TV and radio programs were stopped after 1979.^[12] The prime minister then, also stopped giving speeches in Hokkien to prevent giving conflicting signals to the people.^[12]

Hong Kong (Cantonese) and Taiwanese dramas are unavailable in their original languages on TV, though Japanese and Korean drama series are available in their original languages. Cantonese drama series on non-cable TV channels are dubbed in Mandarin and broadcast without the original Cantonese soundtrack. Supporters of non-Mandarin Chinese languages who feel that dubbing causes the series to lose its natural flavor often buy original VCDs from Taiwan and Hong Kong.

An offshoot of SMC is the Pinyinisation of certain terms which originated from southern Chinese languages. For instance, dim sum is often known as dianxin in Singapore's English-language media, though this is largely a matter of style, and most Singaporeans will refer to dim sum when speaking English. However, Cantonese is still spoken in large proportion of Cantonese family compared to other dialect groups. The situation is very different in nearby Malaysia (especially in Kuala Lumpur and Ipoh), where even most non-Cantonese speaking Chinese understand the language to an extent through exposure.^{[citation needed]}

Thailand[link]

The Chinese (including those of mixed ancestry) of Thailand are overwhelmingly descended from Chaozhou in Guangdong Province and their Teochew dialect belongs to the Min Nan language group. A minority of the Thai Chinese are of Cantonese extraction.

United Kingdom[link]

The majority of Cantonese speakers in the UK have origins from the former British colony of Hong Kong and speak the Canton/Hong Kong dialect, although many are in fact from Hakka-speaking families and are bilingual in Hakka. There are also Cantonese speakers from Southeast Asian countries such as Malaysia and Singapore, as well as from Guangdong in China itself. Today an estimated 300,000 British people have Cantonese as a mother tongue, this represents 0.5% of the total UK population and 1% of the total overseas Cantonese speakers.^[13]

United States[link]

For the past 150 years, Guangdong has been the origin of most Chinese emigrants to Western countries; one coastal county, Taishan (or Tóisàn, where the Sìyì or sei yap dialect of Yue is spoken), alone may have been the home to more than 60% of Chinese immigrants to the US before 1965. As a result, Yue dialects such as Siyi (the dialects of Taishan, Enping, Kaiping and Xinhui Districts) and Cantonese (with a heavy Hong Kong influence) have been the major Yue dialects spoken abroad, particularly in the United States.

The Zhongshan dialect of Cantonese, with origins in the Pearl River Delta, is spoken by many Chinese immigrants in Hawaii, and some in San Francisco and in the Sacramento River Delta (see Locke, California); it is a Yuehai dialect much like Guangzhou Cantonese, but has "flatter" tones. Yue is the third most widely spoken non-English language in the United States.^[14] Many institutes of higher education, such as Stanford, Duke, and Yale, have Cantonese programs. The currently most popular romanization for learning Cantonese in the United States is Yale Romanization.

This situation is now changing in the United States; recent Chinese emigrants originate from many different areas including mainland China, Hong Kong, Taiwan, and Southeast Asia. Recent immigrants from mainland China and Taiwan in the U.S. all speak Standard Chinese (putonghua/guoyu),^[15][16] with varying degrees of fluency, and their native local language, such as Min (Hokkien and other Fujian languages), Wu, Mandarin, Cantonese etc. As a result, Mandarin is increasingly becoming more common as the Chinese lingua franca among overseas Chinese.

In some metropolitan areas with large Chinese populations, separate neighborhoods and enclaves segregated by the primary language or dialect spoken have begun to arise. For example, in New York City, Cantonese still predominates in the older historic part of Chinatown in Manhattan, surrounding Canal Street and west of the Bowery, while the newer Chinatowns in Queens and Brooklyn, as well as the expanded part of Manhattan Chinatown around East Broadway and east of the Bowery have large numbers of Mandarin and Fukienese speakers respectively. In the San Francisco Bay Area, Cantonese historically predominated in Chinatown, San Francisco and Chinatown, Oakland and today in large areas of San Francisco, Daly City, and near East Oakland, while Mandarin is more spoken in Silicon Valley and Fremont, California, as well as Hercules, California further north.

Vietnam[link]

In Vietnam, Cantonese is widely spoken among ethnic-Chinese (Hoa). However many have been influenced by Vietnamese, and hence speak with a Vietnamese accent.

Loanwords[link]

Life in Hong Kong is characterized by the blending of Asian (mainly south Chinese) and Western influences, as well as the status of the city as a major international business center. Influences from this territory are widespread in foreign cultures. As a result, many loanwords are created and exported to China, Taiwan, and Singapore. Some of the loanwords are even more popular than their Chinese counterparts. At the same time, some new words created are vividly borrowed by other languages as well.

Many Mandarin words originally of foreign origin come from dialects which borrowed them from the original foreign language. The Mandarin word "ningmeng" (檸檬), meaning "Lemon", originated from Cantonese, in which the characters are pronounced as "lìng mung".^[17][18]

See also[link]

	China portal
	Languages portal

• Cantonese people
• Chinese language
• Controversy over use of Cantonese by Guangzhou Television
• Yue Chinese

Footnotes[link]

External links[link]

Cantonese edition of Wikipedia, the free encyclopedia

Wikibooks has a book on the topic of Cantonese

Wikimedia Commons has media related to: Cantonese

• W. Matthew (1880). The book of a thousand words: translated, annotated and arranged so as to indicate the radical number and pronunciation (in Mandarin and Cantonese) of each character in the text. STAWELL, THOMAS STUBBS, PRINTER, MAIN STREET, STAWELL: Thomas Stubbs. pp. 88. http://books.google.com/books?id=YnY0AQAAIAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false. Retrieved 10th of February, 2012. (the University of California)(Digitized Jul 15, 2010)
• Chinese and English phrase book : with the Chinese pronunciation indicated in English by Benoni Lanctot(published in 1867)
• Vocabulary of the Canton Dialect: Chinese words and phrases by Robert Morrison (missionary), published in 1828)
• Hong Kong Government site on the HK Supplementary Character Set (HKSCS)
• Learn Cantonese (with Cantonese–English / English–Cantonese Dictionary)
• USA Foreign Service Institute (FSI) Cantonese basic course
• Online Cantonese Editor

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This article contains Chinese text. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Chinese characters.

Old Master Q (Chinese: 老夫子; pinyin: Lǎo Fū Zi) is a popular Chinese manhua created by Alfonso Wong. The cartoon first appeared in the newspapers and magazines in Hong Kong in 1962, and later serialized in 1964.^[1] The comic is still in publication today.

The series features the now well-known characters such as Old Master Q and Big Potato, as well as Mr Chin, Mr Chiu and Miss Chan, in many different hilarious situations. They are usually portrayed in a variety of social statuses, professions and time periods, ranging from beggars and office workers to actors and ancient warriors, allowing a wide variety of settings and ideas. More outlandish scenarios include close encounters with aliens, ghost sightings and the afterlife.

In the context of the strips, Old Master Q, Big Potato and Mr. Chin are close friends; Mr. Chiu often play an antagonistic role toward the trio; finally, Miss Chan is often portrayed as a love interest to Old Master Q.^[1] The comic is now copyrighted by WangZ Inc, a company established by Joseph Wong Chak (Alfonso Wong's eldest son) in Taipei, Taiwan.

Politics and Issues in Old Master Q[link]

While Old Master Q comics primarily focuses on humor, it also reflects changing social trends, particularly from the 1960s to the 1980s. The comics would sometimes feature societal problems in urban life, such as poverty, petty thefts and secret societies. It also poked fun at fashion,^[2] contemporary art^[3] and rock music. The comic strips sometimes also bemoan the decline of ethical or moral values in modern day living. One can spot characters displaying acts of selfishness or misery, although the comics occasionally display good values like filial piety. The language barrier, mostly between the Chinese language and the English language, was not overlooked, either. This is seen in some comic strips showing difficulty in communication between old master Q and foreigners, especially Westerners.

In rare cases, Old Master Q comics would express serious views regarding major political changes taking place in Hong Kong during the 60's-80's. It had previously criticized overly Westernized Chinese, who were sometimes shown in the comic strips to slant more towards the interests of Westerners than local Chinese. The agreement to hand over power of Hong Kong to China, following the Sino-British Joint Declaration of 1984, also became a subject matter, as a few comic strips were published through the late 1980s and early 1990s expressing the characters' fears of handover, frequently represented in a numeral of the year it would take place: 1997. Some of these comic strips had even gone the distance to depict direct assault of what appeared to be a representation of the Chinese government and the Communist Party of China, which usually takes place near the end of the comic strip. However, the handover was later depicted in more a positive light in the years leading to the actual event, possibly representing a changing perspective from the author.

Films[link]

The comic series was made into many Cantonese and Mandarin cartoon animations, one of which combined live actors and advanced CGI graphics. The list of Old Master Q movies is as follows, in chronological order:

• Other actors in OMQ movies include: Hong Wei (紅薇), Connie Chan, Nancy Sit, Chu Yau-ko (朱由高), Fen Ni (芬妮)
• Other lyricists/singers include: Wong Jim, Joseph Koo, Leslie Cheung

Dispute on plagiarism[link]

Some cartoonists and readers claim that the idea of Old Master Q was actually created by Peng Di (朋弟) in the late 1930s and not Alfonso Wong. They allege that the cartoons first appeared in the newspapers and magazines in Beijing (Peking) and Tianjin (Tientsin). The character created by Peng Di resembled Old Master Q which is currently being copyright by OMQ ZMedia Ltd. The character by Peng Di wore similar clothing and had a matching personality to Old Master Q.

A writer from Tianjin published a book in 2001 containing samples of work by Peng Di, which displayed the resemblance between Peng Di and Alfonso Wong's works.

The result of this dispute remains unclear as WangZ Inc. has denied all plagiarism accusations, while a considerable number of mostly professional cartoonists insist that Peng Di's ideas were stolen by Alfonso Wong.

Spin Off[link]

A spin-off series called Q夫子 shows young characters who had similar clothing to their adult counterparts. Each of their names also are related to their counterparts:

• Q夫子 names: Q master Q/Young Master Q/Master Q(?) for Old Master Q, "Potatohead" for Big Potato, and "Chin" Mr. Chin.
• 老夫子 names: Old Master Q and Big Potato, and Mr. Chin.

References[link]

External links[link]

• Official English Old Master Q site
• Official Chinese Old Master Q site

This article may contain wording that merely promotes the subject without imparting verifiable information. Please remove or replace such wording, unless you can cite independent sources that support the characterization. (August 2011)

Donnie Yen
Yen at the 2007 Shanghai International Film Festival
Chinese name	甄子丹 (Traditional)
Chinese name	甄子丹 (Simplified)
Pinyin	Zhēn Zǐdān (Mandarin)
Jyutping	Jan1 Zi2daan1 (Cantonese)
Ancestry	Taishan, Guangdong, China
Origin	Hong Kong
Born	(1963-07-27) 27 July 1963 (age 48) Guangzhou, Guangdong, China
Occupation	Actor, martial artist, film director and producer, action choreographer
Years active	1983 – present
Spouse(s)	Zing-Ci Leung (1993–1995) Cecilia Cissy Wang (2003 – present)
Awards Hong Kong Film Awards Best Action Choreography 2003 The Twins Effect 2005 SPL: Sha Po Lang 2008 Flash Point Golden Bauhinia Awards Best Action Choreography 2006 Dragon Tiger Gate Golden Horse Awards Best Action Choreography 2003 The Twins Effect 2007 Flash Point 2011 Wu Xia Other awards Iron Elephant Awards Best Actor 2009 (Ip Man)

Donnie Yen Ji-Dan (born 27 July 1963) is a Hong Kong actor, martial artist, film director and producer, action choreographer, and world wushu tournament medalist.^[1] Apart from being a well-known film and television actor in Hong Kong, Yen has also gained international recognition for appearing in many films together with other prominent and internationally-known actors such as Jackie Chan, Jet Li and Michelle Yeoh.

Yen is widely credited by many^[2][3][4] as the person responsible for popularizing the traditional martial arts style known as Wing Chun. He played the role of Wing Chun grandmaster Ip Man in the 2008 film Ip Man, which was a box office success. This has led to an increase in the number of people taking up Wing Chun, leading to hundreds of new Wing Chun schools to be opened up in mainland China and other parts of Asia.^[5] Ip Chun, the eldest son of Ip Man, even mentioned that he is grateful to Yen for making his family art popular and allowing his father's legacy to be remembered.^[6]

Yen is considered to be Hong Kong's top action star; director Peter Chan mentioned that he "is the 'it' action person right now" and "has built himself into a bona fide leading man, who happens to be an action star."^[7] Yen is widely credited for bringing mixed martial arts (MMA) into the mainstream of Chinese culture, by choreographing MMA in many of his recent films. Yen has displayed notable skills in MMA, being well-versed in boxing, kickboxing, taekwondo, Muay Thai, wrestling, karate, Brazilian Jiu-Jitsu, Judo, Wing Chun, and Wushu. Seen as one of the most popular film stars in Asia in recent years, Yen is currently one of the most highly paid actors in the whole of Asia.^[8]

Early life[link]

Yen's mother, Bow-sim Mark (麥寶嬋), is a Fu Style Wudangquan (internal martial arts) grandmaster, while his father, Klyster Yen (甄雲龍), is a newspaper editor.^[9] Yen was born in Taishan, Guangdong, China. When he was two years old, his family moved to Hong Kong, and then to Boston, Massachusetts, United States when he was 11.^[10] His younger sister, Chris Yen, is also a martial artist and actress, and appeared in the 2007 film Adventures of Johnny Tao: Rock Around the Dragon.

At a young age, under influence from his mother, Yen developed an interest in martial arts and began experimenting with various styles, including t'ai chi and other traditional Chinese martial arts. Yen focused on practicing wushu after dropping out of school. His parents were concerned that he was spending too much time in the Boston Combat Zone, so they sent him to Beijing on a two-year training program with the Beijing Wushu Team.^[10] When Yen decided to return to the United States, he made a side-trip to Hong Kong and met action choreographer Yuen Woo-ping there.

Yen also came from a family of musicians. His mother is a soprano, in addition to being a martial arts teacher in Boston, while his father is a violinist.^[11] From a young age, he was taught by his parents to play musical instruments, including the piano.^[12][13] He also knows hip-hop dancing and breakdancing.^[14][15][16]

Career[link]

Donnie Yen in Seoul in 2005

Yen was a stuntman in his earliest films, Shaolin Drunkard (1983) and Taoism Drunkard (1984). At the age of 20, he got his first acting role in the 1984 film Drunken Tai Chi'.'

After filming Drunken Tai Chi and Tiger Cage (1988), Yen made his breakthrough role as General Nap-lan in Once Upon a Time in China II (1992), which included a fight scene between his character and Wong Fei-hung (played by Jet Li). Yen had a starring role in the film Iron Monkey in 1993. Yen and Li appeared together again in the 2002 film Hero, where Yen played a spear (or qiang) fighter who fought with Li's character, an unnamed swordsman. The film was nominated for the Best Foreign Language Film Oscar at the 2003 Academy Awards.

In 1995, Yen starred as Chen Zhen (Cantonese: Chan Zan) in the television series Fist of Fury produced by ATV, which is adapted from the 1972 film of the same title that starred Bruce Lee as Chen Zhen. Yen reprised his role as Chen Zhen in the 2010 film Legend of the Fist: The Return of Chen Zhen.

In 1997, Yen started the production company Bullet Films, and made his directorial debut^[17] in Legend of the Wolf (1997) and Ballistic Kiss (1998), in which he played the lead character. Yen went on to choreograph fight scenes and appeared in minor roles in some Hollywood films, such as Highlander: Endgame (2000) and Blade II (2002).

In 2003, Yen played the antagonist against Jackie Chan in Shanghai Knights.

Yen choreographed most of the fight animation in the 2004 video game Onimusha 3, which featured actors Takeshi Kaneshiro and Jean Reno. Yen continued to be active in the Hong Kong cinema in the 2000s, starring as Chu Zhaonan in Tsui Hark's wuxia epic film Seven Swords, and as Ma Kwun in Wilson Yip's brutal crime drama film SPL: Sha Po Lang in 2005. Both films were featured at the 2005 Toronto International Film Festival. Later that year, Yen co-starred with Nicholas Tse and Shawn Yue in Wilson Yip's Dragon Tiger Gate, an adaptation of Wong Yuk-long's manhua series Oriental Heroes. Yen also worked as action choreographer in Stormbreaker, starring Alex Pettyfer. Yen's continued to work with Wilson Yip in Flash Point (2007) in which he starred as the lead character and served as producer and action choreographer for the film. He won the Best Action Choreography at the Golden Horse Film Awards and the Hong Kong Film Awards for his performance in Flash Point.

In 2008, Yen starred in Ip Man, a semi-biographical account of Yip Man, the Wing Chun master of Bruce Lee. Ip Man marked Yen's fourth collaboration with director Wilson Yip, reuniting him with his co-stars in SPL: Sha Po Lang, Sammo Hung and Simon Yam. Ip Man became the biggest box office hit to date which featured Yen in the leading role, grossing HK$25 million in Hong Kong and 100 million yuan in China.^[18][19] In July 2011 it was announced that Yen and Cecilia Cheung would be cast in a Hong Kong remake of Mr. & Mrs. Smith, titled Assassin Couple.^[20]

In August 2011, while Yen was on a vacation with his family in the United States, he reportedly received an invitation by producer Avi Lerner to star in The Expendables 2. It was stated that Yen is considering the offer, and has many films at hand, and will not decide until he sees if the script appeals to him or not.^[21]

In September 2011, Yen revealed that he took two comedy roles in a row, All's Well, Ends Well 2012 and Thunder Cop, and will be working with Sandra Ng in the first film.^[22]

Action choreography[link]

Apart from being an acclaimed martial artist and actor, Yen is also a world class action choreographer, and his on-screen choreography has been recognized through the numerous awards he has attained.

In recent years, Yen was successful in including mixed martial arts (MMA) into his action choreography in various films, a feat most other action directors have been unsuccessful at accomplishing so far. Flash Point, a film fully choreographed by Yen using MMA was a huge success. Another notable MMA film involving Yen is SPL: Sha Po Lang.

In recent years, Yen's work as a choreographer won him "Best Action Choreography" awards at the 27th Hong Kong Film Awards and the 2008 and 2011 Golden Horse Film Awards.

Yen was the fight choreographer for the 2010 film Legend of the Fist: The Return of Chen Zhen. For this film, Yen mentioned that he included Jeet Kune Do elements as a tribute to Bruce Lee, who played Chen Zhen in the 1972 film Fist of Fury.^[21] Furthermore he incorporated many MMA elements in the film, coupled with the utilization of Wing Chun. Yen also stated that the concept behind Bruce Lee's Jeet Kune Do is similar to that of MMA, hence the incorporation of many forms of martial arts is a necessity in this film.^[23]

Due to his success in action choreography, he is invited to choreograph his upcoming films such as The Lost Bladesman, Wu Xia and The Monkey King.

Martial arts history, style and philosophy[link]

Yen describes himself as a mixed martial artist, and this is evident from his style.^[1] He learned wushu from a young age, under his mother's tutelage. He then wanted to learn taekwondo in his teenage years, but never did.^[25] When he was a teenager, he obtained a medal in a wushu competition held in the United States, known as Boston Combat Zone. At the time, the Beijing wushu team had a scout in the United States, and invited Yen over to Beijing, China, where he began training at the Beijing Sports Institute, the same facility where champion-turned actor Jet Li trained; this is where the two of them crossed paths for the first time.^[26]

Yen later went on to discover and to seek knowledge on other martial arts style, he would later obtain belts from judo and Brazilian Jiu-Jitsu, and went on to study the art of parkour, wrestling, Muay Thai, kickboxing and boxing under various trainers. His exposure of mixed martial arts (MMA) was heightened when he went back to the United States from 2000 to 2003, while making his Hollywood debut, he also took time off to learn the various martial arts form.^[27] The progress was evident when he returned back to Asia, where he implemented his new found knowledge of MMA showcased in films such as SPL: Sha Po Lang (2005) and Flash Point (2007).

Near the end of 2007, Yen added a new martial arts system to his arsenal. He was offered the role of Wing Chun grandmaster and Bruce Lee's mentor, Ip Man, in a 2008 film named after the grandmaster. He worked hard and studied Wing Chun under Ip Man's eldest son, Ip Chun for 9 months before tackling the role.^[28][29] Ip Chun has since praised Yen for his effort, and complimented that Yen is a great martial artist and a fast learner, and has managed to grasp the full concept of Wing Chun much faster than anyone he has taught.^[30]

Yen believes in practical combat, and in his opinion, MMA is the most authentic type of practical combat. He has particular interest in the art of Brazilian Jiu-Jitsu and has obtained a purple belt.^[31] He has mentioned that he would have entered the Octagon, joining the Ultimate Fighting Championship if he did not have a recurring shoulder injury.

Yen believes that combining many martial arts together will produce the most effective and harmonious style. Yen has said, "When you watch my films, you're feeling my heart."^[32]

Personal life[link]

Yen has stated that he is a big fan of the MMA organization Ultimate Fighting Championship, and has watched almost every UFC event available.^[33]

In 1993, Yen married Zing-Ci Leung. Their son, Man-Zeok Yen, was born in 1995. From 1995 to 2000, Yen was involved in a relationship with actress Yee Man "Joey" Meng. Yen married Cecilia Wang in Toronto in 2003.

About Cecilia Wang[link]

Cecilia Wang born April 21,1981 in Hong Kong was the winner of the 2000 Miss Chinese Toronto Pageant[34] , including the "Miss Vitality" and "Miss Perfect Figure" awards. She stands at 5'8" and was a model[35] . She is known in Asia as a socialite and appears in prestigious events throughout Asia. Wang supports Yen by accompanying in his red carpet events, film festivals, award shows, premieres around the world, including Cannes, Venice, Beijing, Shanghai, Los Angeles, New York, Hong Kong etc. They have a daughter, Jasmine, born in 2004, and a son, James, born in 2007.[36]Cecilia Wang has a younger sister, named Yuen Yuen Wang.

See also[link]

• Donnie Yen filmography
• Cinema of Hong Kong
• Cinema of China

References[link]

External links[link]

Wikimedia Commons has media related to: Donnie Yen

• Official website
• Donnie Yen at the Internet Movie Database
• Donnie Yen's Sina blog site
• "An Action Star Moves to the Lead," New York Times article
• Donnie Yen profile page at Hong Kong Cinemagic
• Stokes, Lisa; Michael Hoover (2000). "An Interview with Donnie Yen". Asian Cult Cinema 29 (4th quarter): pp.48–62.