“I give everyone the same knowledge. What you actually learn is up to you.”
- Master K.M.Fong
THE MAN FONG PAK MEI MARTIAL ARTS ASSOCIATION was established in New York City in 1974, shortly after Master Kwong Man Fong's departure from Hong Kong in the late 1960's. Encouraged by Grandmaster Cheung Lai Chun's third son and Fong's senior training brother, Cheung Bing Fatt to move to the States, he vowed to teach both Chinese and Westerners according to the true teachings that were conveyed to him by Grandmaster Cheung in his later years.
This goes beyond that of physical transmission; it also puts equal emphasis on morality, loyalty and the tenets presented by the Pak Mei Creed.
Over 37 years later, we still hold true to this tradition.
Following Master Kwong Man Fong's retirement in 2011, the school was entrusted to Sifu Edgar Wong. And with assistance from the Association governance, we strive to continue the spread of the Pak Mei system to all that our willing to learn.
Students will set out not only to learn a new system, but to master themselves through disciplined training that is truly unique within the martial arts world.
PAK MEI KUNG FU is a truly exceptional system. It is difficult to master, yet rewarding in multiple ways. Through the properly coordinated body mechanics, it will train your body to produce maximum power within minimal distance. You will acquire speed, stamina, fast reaction-time, alertness; and of course an overall improvement in health. Below are some of the theories embedded into our system that contribute to achieving Pak Mei skill.
GEING JAK GING 驚扎勁 SCARED POWER
This refers to the immediate, explosive reaction that must be applied to every Pak Mei technique. Whether it’s attached to an attack or a defense, scared power is always present. It is similar to the reaction you'd have to a bee sting or a burn. This takes time to develop, as most practitioners are not used to the split second transition between muscle contraction and release that is involved in its execution. Its development necessitates vigorous practice over time to assist in the development and involvement of the body’s fast twitch muscle fibers.
LUK GING 六勁 SIX POWERS
These six powers refer to specific body mechanics associated with their corresponding body part(s). Each has their unique tasks and demands that need to be done in the correct sequence/coordination. The sophistication of Pak Mei kung fu revolves around the usage of the entire body as a solid unit. When properly executed, these mechanics work in unison, resulting in maximum efficiency. The attainment of Luk Ging is the highest level of achievement in Pak Mei.
1. MAH 馬 STANCE
The stance gives the practitioner a strong and solid, but mobile foundation. This aspect of the system is of the utmost importance and needs to be developed properly over time. Within each stance’s demands, close attention must be paid to the correct positioning of the toes, feet, knees, pelvis and hips. Just as the strength of a tree depends on its roots, so does a practitioner’s stability depend on his stance. Without the correct alignment of the stance, the roots become weak and the practitioner becomes much less effective.
2. YIU 腰 WAIST
Through twisting and turning, the waist acts as the practitioner’s horizontal base of power.
One must clearly differentiate between the movement of the hips and the movement of the waist. While the hips remain firm as part of one’s foundation, the waist swivels from side to side as each technique is executed. Right side techniques are initiated with the right side and vice versa for the left. The waist must maintain a fast-reacting yet powerful elasticity so that the added power of the body’s torso can be effectively utilized in each technique. The power in the waist is also partially facilitated by the back and spinal rotation.
3. BUI 背 BACK
While the waist pivots from side to side, acting as a horizontal axis, the back acts as the practitioner’s vertical axis. Each technique either expands (see: “Tou”) or compresses (see: “Tun”) the back/spine. It is imperative that this axis remains vertical at all times and that one never leans forward or backward. This develops Pak Mei rising and sinking power. Correct alignment is very important, not only for combat efficiency, but to avoid potential injury.
4. SAU 手 HANDS or ARMS
The hands act as the focal point of upper-body power exertion; they are also the method of delivery and end point for each technique. Wrist strength and flexibility is crucial to add extra torque behind each movement. As energy channels through the body, it eventually explodes out through the hands. There area a variety of hand techniques in Pak Mei including: various punch formations, grabs, locks, claws, palm-edge and fingertip strikes - and Pak Mei’s trademark Phoenix Eye strike.
5. GENG 頸 NECK
The neck acts as the upper support for the vertical axis of the spine. The neck muscles must maximize and flex as much as possible during the end point of a technique, thus stabilizing the head and cervical spine. Not only does this guarantee stability and strength in this region, it also prevents injury from misalignment. The explosiveness of scared power can cause shock to your head. As a result, the neck acts as a critical support to prevent injury.
6. NGA 齒 TEETH
As the neck muscles maximize, the teeth are always clenched to help prevent the loss of energy, while at the same time keeping the jaw stable, tight, and prepared to absorb a strike.
SEI NOI BIU GING 四內標勁 FOUR INTERNAL ASPECTS OF POWER GENERATION
1. TUN 吞 Swallow
Tun represents a compression of the torso and a concave arching of the spine. This is a sharp movement in which the practitioner inhales using reverse breathing upon compression while the torso tightens, thus being able to absorb blows to the body. Using a spring as an analogy, Tun is the spring in its compressed state. Its converse is Tou.
2. TOU 吐 Spit
While Tun acts as a compressed spring, Tou acts as the expansion and release of that spring. Intitiating with Scared Power, the practitioner quickly and powerfully expands their torso upward, exhales using reverse breathing and utilizes that upward mobility to strike out. Tun and Tou are opposite forces that compliment one another.
3. FAU 浮 Float
Fau encompasses the Tou of one’s torso and includes arm movements geared toward uprooting an opponent from the ground. The trajectory of Fau begins from Tun and travels upward and outward.
4. CHAAM 沉 Sink
Chaam encompasses Tun and in conjunction with the proper hand techniques acts as a suppressing or smothering force geared toward swiftly and harshly dragging your opponent downward. Just as Tun is the counterpart of Tou, Fau is the counterpart of Chaam.