Fushan Bak Mei
As Sifu Eddie Chong was training in Fushan with Grandmaster Pan Nam, he was introduced to a fellow training brother, Lee Yung Gien (Li Yong Jian) and discussed the latter’s expertise in the Bak Mei system. After numerous years of dedicated study in Fushan Bak Mei, it is now introduced in the United States by Eddie Chong, who received complete endorsement to teach by his Sifu and training brother, Lee Yung Gien.
The Fushan Bak Mei system traces its origin to Fung Fou Dao Yan (Wind Fire Daoist). Since his real name is not known and neither who he was in his layman life, it’s not known if there is a connection with Cheung Lei Chuen, commonly known among Bak Mei practitioners who trace their lineage back to Hong Kong. Research is a difficult task, since even the background and curriculum of Cheung Lei Chuen’s 18 schools in Southern China (prior to the Communist takeover) varies, and there even exist branches in Vietnam. However, it is known that Fung Fou Dao Yan handed down the system to his disciple in Fushan named Lau Siu Leung. Lau Siu Leung was a very selective teacher and only passed down his Bak Mei to people of good moral character. One of his selected disciples was Lee Yung Gien in Fushan, who passed on the art to Eddie Chong.
The motto of Bak Mei is to chain movements of heavy strikes, using the straight to go out and receive with the horizontal, use complementary powers generated by the body and combine offense and defense as one.
The six powers of Bak Mei include straight, pulling, raising, sinking, whirling and splattering. Practitioners are advised to use the spirit, intention, breath and power. The form is round and practitioners are advised for leading and calmness when practicing.
It emphasizes the tiger form motions and the structure of the body and the steps to make it practical. The movements are small and precise, yet have the qualities of light, sharp, circular and alive. Body motions including floating, sinking, swallowing and spitting are evident in this art. The four body motions emphasize power executed in an upwards, sinking, pushing outwards and drawing inwards and is the major source of power for this art. When combined with one another and varied in direction, duration and intent, the different powers are manifested and the practitioner can “Fa Jing” (explosive force) in many ways. Throughout the branches of Bak Mei, there are some 40 empty hand routines in White Eyebrow. Being conceivable that some of these sets may have been added in from influences in other systems, and have added in principles from Bak Mei into sets from other systems. Also, certain forms were created to emphasize different points or to emphasize a particular body type or limitation. What counts is the development of power and to know how to use and apply the movements in the core sets you know.