White Eyebrow

白眉 Pak Mei Kung Fu

Pak Mei Kung Fu is a powerful and efficient martial art that combines explosive force with fluid adaptability. This highly effective style emphasizes sudden bursts of energy, short-range power, and a strategic blend of hard and soft techniques. Renowned for its aggressive approach, Pak Mei practitioners develop a unique ability to generate power through refined body mechanics and internal energy, making it a formidable system for combat and self-defense.

Harmony of Hard and Soft

The Art of Pak Mei

Pak Mei or Bak Mei (白眉) in Cantonese, meaning “White Eyebrow,” is a system that harmonizes ferocity with precision. Practitioners learn to deliver devastating strikes while maintaining balance and control through the application of internal energy, known as “Ging.” The style is deeply rooted in the principle of using minimal movements to generate maximum impact, making every technique efficient and decisive.

 

A core tenet of Pak Mei is the ability to redirect or absorb an opponent’s force while simultaneously striking with powerful counterattacks. Unlike styles that rely purely on physical strength, Pak Mei emphasizes the concept of “Yin-Yang Power,” where soft yielding motions transition seamlessly into explosive force. This principle enables a practitioner to overwhelm a stronger opponent through superior mechanics and timing.

 

Sensitivity and reaction training are integral to Pak Mei, allowing fighters to read an opponent’s intentions and exploit weaknesses instantly. The “Bridging” concept is a crucial aspect of training, where practitioners refine their ability to engage and neutralize threats through tactile sensitivity and controlled aggression.

Grandmaster Cheung Lai Chung and His Legacy

A Brief History of Pak Mei Kung Fu

Pak Mei Kung Fu traces its origins to the legendary Shaolin monk Pak Mei (白眉), one of the Five Elders said to have survived the destruction of the Shaolin Temple. While its early development remains steeped in historical ambiguity, the system itself evolved into a highly efficient and combat-oriented martial art, known for its explosive power, dynamic footwork, and emphasis on internal energy. Unlike many traditional styles that prioritize aesthetic forms, Pak Mei was designed for practical application, utilizing a unique combination of short-range striking, sudden bursts of power (驚紮勁), and intricate body mechanics to generate maximum force with minimal effort.

 

Central to the system is its integration of internal and external principles, where techniques are executed with relaxed power, utilizing the body’s natural structure and energy flow. This strategic approach allows practitioners to generate devastating force while maintaining fluid mobility. The system is distinguished by its distinctive postures, including the forward-leaning stance and whipping, spring-like strikes that deliver rapid, continuous attacks. Grandmaster Cheung Lai Chung played a pivotal role in refining and codifying these methods, ensuring that Pak Mei retained its effectiveness as a combative art while preserving its deeper internal principles. Today, Pak Mei remains one of the most formidable martial arts, respected for its direct, efficient, and highly adaptable fighting methodology.

 

Grandmaster Cheung Lai Chung (宗師張禮泉) is widely recognized as the individual responsible for bringing Pak Mei from the monastic traditions into the lay community, where he refined its techniques and established a structured system for its transmission. Having studied under the esteemed Monk Juk Faat Wan (竹法雲) and later under Monk Sang Pung (生風禪師), Grandmaster Cheung was entrusted with the complete Pak Mei system. His skill and combat prowess earned him a formidable reputation, as he engaged in numerous challenge matches and consistently demonstrated the effectiveness of Pak Mei in real combat scenarios.

 

Upon settling in Guangzhou, he further refined the system, incorporating sophisticated internal energy principles and practical applications to enhance its efficiency. With the political changes in China, Grandmaster Cheung relocated to Hong Kong in 1938, where he formally established Pak Mei as a recognized martial art within the urban martial arts community. Through his efforts, Pak Mei gained prominence, attracting a select group of dedicated disciples, including Chin Dor (陳佐), who would later introduce the art to the United States. His teachings continue to influence practitioners worldwide, ensuring the preservation and advancement of the Pak Mei lineage.

 

His son, Grandmaster Cheung Bing Lam, continued this legacy, further developing and preserving the art of Pak Mei. Under his guidance, Pak Mei remains a disciplined and highly effective fighting system, emphasizing efficiency, adaptability, and superior combat strategy. Today, dedicated practitioners uphold the principles and teachings of this powerful martial art, ensuring that the wisdom and techniques of Pak Mei continue to thrive.

 

Chin Dor (陳佐), born in 1928 in Taishan, Guangdong Province, China, was a dedicated martial artist who became a prominent figure in Pak Mei Kung Fu. After relocating to Hong Kong in 1949, he initially trained under Master Ng Wah (吳華) and later caught the attention of Grandmaster Cheung Lai Chuen, the founder of the modern Pak Mei system. Impressed by Chin Dor’s diligence, Grandmaster Cheung accepted him as a personal student—a rare honor, as he had only about 20 students in Hong Kong. Chin Dor studied under Grandmaster Cheung until the latter’s passing in 1964. In 1966, Chin Dor moved to New York City, where he established the New York Lai Chuen Martial Arts Association, teaching Pak Mei privately throughout his life. One of his notable students is Dr. Richard M. Chin, who became an indoor disciple of Chin Dor, thereby continuing the Pak Mei lineage in the United States.

Our Lineage

connection to the legacy

Grandmaster Richard M. Chin, an indoor disciple of Grandmaster Chin Dor and student of Grandmaster Cheung Bing Lam, is a 6th-generation Pak Mei practitioner. A highly skilled martial artist, he has also mastered Tai Chi Chuan, Jow Ga Kung Fu, Korean Karate, and Shinto Muso Ryu Jodo. As a medical professional, holding degrees in both Western and Oriental medicine, he integrates martial arts with holistic healing. His contributions to Pak Mei continue to inspire practitioners, bridging the gap between traditional combat arts and modern application.

 

Dayne is a dedicated student of Grandmaster Richard M. Chin, embodying the discipline and depth of knowledge required in Pak Mei Kung Fu. With over 30 years of martial arts experience, his journey began at the age of four in Kenpo Karate, later expanding into Wing Chun during his service in the United States Navy (2006). Upon returning to civilian life, he immersed himself in traditional Chinese martial arts, studying Pak Mei, Long Ying (Southern Dragon) Boxing, Yang style Tai Chi, Southern Praying Mantis, and Wing Chun. Now an instructor, Dayne remains committed to continuous learning, refining his skills, and sharing the profound wisdom of Kung Fu with future generations.

path of simple intent – planting a humble seed

First Form of Wing Chun, Siu Nim Tao

Siu Nim Tao is considered the fundamental form in which all other forms are built upon. This is due to the fact that Siu Nim Tao focuses on structure, posture and stance, these are widely recognized as the three most important aspects of Wing Chun. Proper Siu Nim Tao stance is neutral, feet faintly pigeon-toed or squared, and spaced hip width apart to prevent imbalance Legs are slightly bent to retain elasticity (creating an arch in the qua), and the knees are kept slightly bent. In this position, many hand moves, most consisting of only one hand at a time, will be performed with a focus on the central line and structural posture. Once trained to a level of proficiency, it becomes second nature to attack or retreat along the central line. It is important to note that Siu Nim Tao does not involve turning or footwork and is often referred to as the dictionary of hands.

 

Anecdotally, the defensive and the offensive techniques in Wing Chun are as intimately linked as the Yin and the Yang of the Tao. Each move by one hand is connected structurally with the other. Therefore, a standard block with one hand is typically followed by or executed simultaneously with a strike by the other hand.

 

Important principles introduced in the Siu Nim Tao:

  • Bat Doan Jiang – the immovable elbow
  • Kiu – the bridge
  • Jung Seen – center line
  • Noi Mun – gate theory
  • Chi Sao – sensing hands/arms
  • Lop Sao Jik Choy – grab and straight punch
  • Phon Sao – trapping hands/arms
Seeking the Bridge – Sinking the Bridge

Second Form of Wing Chun, Cham Kiu

Once a martial artist has grasped the essentials of Siu Nim Tao, they will then train in the Chum Kiu form. This form builds upon Siu Nim Tao with more dynamic movements. The main priority of Chum Kiu is to control the opponent estabishing contact and manipulating the bridge.

Wing Chun has an advantage over other forms when it comes to close-range fighting and techniques. This is due to the fact that bridging and entry techniques are secondary to the act of fighting in close range. Chum Kiu’s close range work consists of turning or pivoting, as well as kicking making these moves the main features that differentiates Chum Kiu from Siu Nim Tao. In Chum Kiu, the practitioner’s stance is no longer stationary when compared with Siu Nim Tao, as this form teaches turning and shuffle stepping.

Short-range systems need solid entry level techniques to be able to get close to their opponents while disabling and destabilizing the balance of an opponent. The aim is to swiftly breach whatever defensive or offensive tactics an opponent uses; including trapping the opponent’s arms. Once in close range, Wing Chun becomes especially effective. When Wing Chun techniques are used properly, a practitioner can clash with and evade oncoming attacks, consistently shifting position to sustain pressure while seeking the opening, and rapidly exploiting once it appears.

Some of the principles practiced in Cham Kiu:
  • Establishing the bridge contact point
  • Training the bridge to feel the opponents movements
  • Using bridge contact point to control the opponent
  • Responding from different angles
Direct and intercept – Thrust Fingers

Third Form of Wing Chun, Bil Jee

The third and final empty hand form of modern Wing Chun, Bil Jee is broken up into short range and long-range emergency contingencies. As one of the three Empty Hand forms (Siu Nim Tao, Cham Kiu), Bil Jee is the shortest and said to only be used in extreme circumstances. In general sparring situations, a person should not need to use Bil Jee applications. These techniques may seem to bend proper Wing Chun structure and principles.

 

Long-range Bil Jee methods include low kicks and sweeps as well as recovery procedures in the incident that one has lost balance or has received a weakening blow. Close-range Bil Jee practices contain use of the elbows in the face or throat, a knee to the groin, the knuckles of a clenched fist jabbed into the solar plexus, and finger thrusts into the throat, hence the name “Thrusting Fingers.”

 

Some of the principles practiced in Biu Jee:

  • Elevate the level of responses
  • Interrupting the opponent
  • Recovering from a mistake
  • Contingency to exit a bad situation
twelve methods of Wing chun

Wing Chun Sup Yee Fat

Chum - To Sink
Involves bringing down or sinking through the natural weight while staying on top of the bridge and maintaining the center-line. By sinking and turning the core during jeun (a turning movement), the practitioner can pivot away from an attacker’s force while staying centered.
Chit - To Cut
Refers to cutting down the center-line to disrupt an opponent’s structure lacking stability. For instance, an outstretched arm or a bent elbow lan sau (a specific hand technique) can be cut down due to the absence of a stable muscular-skeletal structure to support it against the force on top of the bridge.
Darp - To Connect or Join
Involves seeking and joining the incoming bridge, allowing the practitioner to redirect or deflect an opponent’s attack. If there is no existing bridge on the center-line, this method can also be applied with a strike.
Dong - To Swing
Utilizes rotational movements to control an opponent’s center of gravity. Ideally, this technique is executed with a bridge or control point connection, often initiated through the horse stance (a fundamental stance in Wing Chun). Elbow strikes and various takedown movements also embody the Dong energy.
Tun - To Swallow
Represents the deflective energy in Wing Chun, often manifested through techniques like Tan Sau (palm-up block) and Jum Sau (sinking arm block). By skillfully deflecting an opponent’s straight attack off the center-line, the practitioner creates centrifugal force, drawing the opponent in, enhancing their own position.
Lao - To Leak
This method involves waiting for an opening to strike, rather than forcefully creating one. As Wing Chun practitioners maintain constant contact and stay on top of the bridge, they focus on deflecting and redirecting until a vulnerability in the opponent’s defense emerges, akin to water finding its way through a weak structure.
Tao - To Steal (To Chain)
The practitioner must always occupy the center-line with their bridge. When the bridge is pushed off-center due to energies, deflections, or forces, the practitioner rotates in a chain-like fashion to continue pressing forward, testing the center-line and “stealing” the opponent’s attacks away from the center-line. The “chain punch” exercise trains this concept as a relentless assault and continuous contact on the opponent’s bridge and targets.
Mo - To Touch or Feel
In Wing Chun, contact is soft and responsive. The hands are not rigid but rather sensory, constantly feeling their way along the bridge toward the target. This soft and sensory touch, from the hands down to the elbow, is likened to a snake coiling around a tree branch or a cloth being pulled around a pole.
Jeet - To Intercept
This principle involves cutting off or intercepting an opponent’s attack. When redirecting an attack, the practitioner momentarily pins or blocks the opponent’s path back to the center-line once the opponent has been led into emptiness. In this moment, the focus points (e.g., the elbow on the core) are pinned through structural force, creating an opportunity for a counterstrike.
Tong - To Press
Refers to the contact pressure applied from above on the bridge. This pressure helps flow the opponent off the center-line and “into emptiness.” By feeling the direction of force through the opponent’s pressure on your bridge, you can redirect their energy accordingly. The Tong is also utilized during moments of control from above.
Biu - To Shoot or To Dart
Similar to the Chit method of cutting down the center-line, Biu involves shooting up the center-line above one’s head. When an opponent’s techniques drive you upwards, this method guides them upwards, creating openings for attacks below.
Chi - To Stick
An essential concept in Wing Chun, often underutilized. To stick means to maintain forearm contact with your opponent’s bridge. By sensing and feeling their energy, momentum, and forces, you can counter and be guided by their force, while also using this contact and their force to guide them away “into emptiness.” The Keun Kuit phrase, “stick to the bridge of the enemy,” emphasizes this principle of continuous contact and sensitivity.