[1] Cantonese opera was popularized in the 18th century, primarily by the Red Boat Troupes who traveled the Pearl River Delta during the late Qing dynasty until World War 2.
The Red Boats carried performers throughout the Guangzhou region and served as sleeping quarters and training grounds for the legendary kung fu style of Wing Chun.
These performers traveled down the Pearl River Delta to put on shows in small towns in villages around central China.
Red Boat troupes had been an important platform for Wing Chun to build on in Guangdong, and some of the most famous Red Boat Performers such as Leung Lan Kui, Leung Yee Tei, and Wong Wah-Bo were all grand masters of Guangdong Wing Chun[3][4] Kung Fu was integral to China's arts, philosophies, and discipline.
Many historians argue that kung fu actually began with the construction of the Shaolin Temple, when the fighting style was imbued with philosophy.
[7] The monks at the Shaolin Temple combined kung fu with elements of Buddhism in order to strengthen body and mind.
A period of civil war during the transition of the Ming and Qing dynasties caused many of the Shaolin Temple members to flee and take up refuge throughout southern China, resulting in the creation of Wing Chun.
Liang Shan (梁贊), one of the earliest recorded users of Wing Chun, studied martial arts with boxer Luo Xiong (羅雄) at the age of 15.
Therefore, Wing Chun was originally one of the martial arts practiced by the Red Boat opera, also referred to as Hóng chuán yǒng chūn quán (紅船詠春拳 Eng.
Later, in 1854 (fourth year of Xianfeng), Cantonese opera artist Li Wenmao of the Qionghua Guild Hall organized a triad in response to the Taiping Heavenly Kingdom and revolted in the Jingtang Ancient Temple in Foshan.
The Qing government burned down the Qionghua Guild Hall, disbanded the artists, and banned Cantonese opera for 15 years.
In 1870, the ban on Cantonese opera was lifted, and Liángzànshè (梁贊設) established a pharmacy in Kuaizi Street, named Rongshengtang.
The red boats served as both transportation and a home for the performers, and were organized with a strict social hierarchy, with 140-160 crew members in every troupe.
“The tin teng (sky boat) accommodated the managers, the dans (female role), the shengs (lead male characters), the chous (the clowns), the instrumentalists and some other members of the staff.
The dei teng (earth boat) accommodated the wu shengs (kung fu and acrobatic characters) and other members”.
The troupes felt related, and in a similar social situation, to the criminals who had very little and were already upset about the political climate and would not say anything to officials; thus, in exchange for silence, the wanted convicts would help out as extra hands on deck.
The red boats had permission to move freely to the coastal resorts to entertain the population in which the performances of Chinese opera were very popular.