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LAMA PAI KUNG-FU

LAMA PAI HISTORY

The Chinese martial arts style known today as “Lama Pai” is in fact Tibetan in origin and was originally referred to as the “Lion’s Roar.” According to the legend, a superior martial art had been commissioned in Tibet by the Dalai Lama in the late 1200’s to early 1300’s. The Vajrayana and Mantrayana sects of Buddhism were told by him to create a martial art that would rid the material world of the evil that would eventually consume it. These Buddhist sects ascended to a temple high atop mount Meru (also known as Mt. Kailash) to develop this martial art. Upon its completion, the Simhanada/Si-Jih Wong (Lion King) climbed to the top of the mountain and proclaimed with the Lion’s Roar (the meditative sound – “Ohm”) that the new style had been created.

It is said that with this sound, while one hand pointing to the sky and the other to the earth, that the heavens turned black, hell cracked open and the demons fled to the furthest corners of the world. This new style became known as Si-Jih Hou Gum Gong Kuyhn (Lion's Roar Thunder Bolt Fist). It was practiced by the bodyguards of the Dalai Lama and the Warrior Monks (Dob Dob) of Tibet. This art would become the basis for the Lama Pai style as we know it today.

LAMA PAI FOUNDER

HO DA-TO

Ho Da-To was born in approximately 1426 in Qinghai, an area mostly inhabited by Mongolians, Tibetans and Manchurians. He was born into a nomadic tribe which spent most of it’s time wandering around Russia, Mongolia, Tibet and China. During this time, his family was killed by bandits and was taken under the wing of his uncle. Unable to take proper care of the boy, Ho Da-To was sent to the “Thousand Petals of Gold, Buddhist Monastery.” This particular branch of Buddhism was the Vajrayana sect which trained the ‘Dob Dob’ or Warrior Monks. The Dob Dob were an elite order of Monks which trained in mystical arts and the martial art called Lion’s Roar. Not only were they the personal bodyguards of the Dalai Lama, but they also protected other Lama’s monasteries and treasures.

By the age of 15, Ho Da-To’s skills became so great, that he was able to defeat all of the other Monks in the Monastery. So advanced were his skills that he became the disciple of the Lama Gong Gut. The Lama Gong Gut was the head of the Dorje Drollo which were the highest order of Warrior Monks (the modern day equivalent of Navy Seals or Special Forces). The young Monk continued to excel in skill and expand his knowledge through the Lama Gong Gut’s special teachings.

The legend states that while contemplating his martial arts training, high atop a mountain, Ho Da-To’s concentration was broken by a sharp cry. He turned to see a beautiful Crane engaged in combat with a great ape (Yeti). Expecting to see the bird crushed by the ape’s powerful blows, the Crane evaded all strikes only to immediately counter attack with its sharp beak and claws. The ape became frustrated and fatigued and soon gave up on its quest. It is said that at this very moment, Ho Da-To reached a new level of enlightenment regarding his martial arts. He returned to the Monastery and quickly shared his new theories with the other Monks. He taught them both the movements of the crane and the ape as he observed them on the mountain. They were the powerful swinging, grabbing, stomping and stepping movements of the ape and the soft, elusive, deceptive and cunning techniques utilized by the crane. Upon completing this new system in 1426 Ho Da-To named the style Lion’s Roar, to honor his previous learning and his new found enlightenment.

SING LUHNG

During and up to the fall of the Ming Dynasty (1644), Manchurians, who were followers of Tibetan Buddhism, began to occupy several areas of China. In their travels, many were accompanied by Tibetan Lama Priests. Many of the Monks traveled to different Monasteries, some with intention of spreading their teachings, others with covert mission agendas to spy for the leaders of the new Qing (Ching) Dynasty. One such Monk was Sing Luhng Lo Cheung.

Sing Luhng Lo Cheung, (who’s name is more of a title which he was referred to by the Chinese Monks) means; Sage Dragon Venerable Monk, traveled South to the Ding Wu San (Cauldron Lake Mountain) where he took shelter and became friends with the Buddhist monks of the Ding Wu Temple in Guangdong (Canton). The year was 1865.

It seemed that Sing Luhng was much more interested in the propagation of his unique martial arts style, rather than any hidden political agenda. He stayed at the Monastery for approximately 10 years before his death in 1893. He taught both Monks and Lay Disciples his Lion’s Roar style. During this time the style received it’s new name, Lama Pai, or style of the Tibetan Monk.

WONG LUM-HOI

Wong Lum-Hoi was originally from Guangdong and became a disciple of Sing Luhng at age 28. Little is known about Wong Lum-Hoi's prior Kung-Fu knowledge or skills. We do know that he trained with Monk Sing Luhng for approximately 10 years, until his death in 1893.

Soon after the death of his teacher, Wong Lum-Hoi decided to spread the art and accept disciples. He taught many well known martial artists including : Ng Siu-Chan, Ng Shi-Kai, Ng Keng-Wen, Lei Shing-Don, Dong Di-Wen, Ng Gam-Tim, Cheng Tit-Wu, Jyu Jik Chuyhn, Leung Chi Hoi, Lo Chi-Kit, Chung Chan-Yung and Dang Ho. His most famous disciple was his senior student Ng Siu-Chung. Ng Siu-Chung decided to rename the style Baahk Hok Pai, meaning the "White Crane Style

White Crane practitioners use many of the hand and weapon forms of the Lama Pai style. Many White Crane schools and Federations also practice additional forms. Most of these forms are smaller sections of larger forms which are used for training new students. As with most Chinese styles, every generation or so adds something to the style, usually based on the other martial influences of the current teacher.

WONG YAN-LUM

After Sing Luhng had passed away, his student, Wong Yan-Lum left Guangdong and began a very successful armed bodyguard/escort business. He returned after many years with the intention of opening a Kung-Fu school and teaching others the art of Lama Pai. He decided to issue an open challenge to any martial artists in the area and boasted that “none could beat his kung-fu.” He erected a stage referred to as a “Lei-Tat” in the center of town. Over the next three days, a tireless Wong Yan-Lum fought over 150 martial artists of different styles and skill levels. Most matches were over in less than 10 seconds, with Wong being victorious in every match. Master Wong’s reputation grew rapidly and he immediately opened up his “Lama Pai” school.

As a result of his fighting skill, he was recruited by a fledgling revolutionary group whose vow was to restore the Ming Dynasty to power. He agreed to join and the “Guangdong Sahp Fu” (10 Tigers of Canton) was born. It included famous Kung-Fu masters such as “Beggar” Sue, Tiit Kiu-Sam and Wong Kei-Ying (father of the well know Wong Fei-Hung). The Tigers were each ranked in order of their fighting ability. Wong Kei-Ying was ranked 5th, while Wong Yan-Lum held the number one position. Wong Yan-Lum also taught a great number of students during his later years in Guangdong, many of which went on to head their own version of the Lama Pai tradition. Among these students were Wong Hon-Wing, Nhg Yim-Ming, Jyu Jik-Chuyhn Choy Yit-Gung and Ma Yi-Po. Ma Yi-Po was the lesser known of Wong’s best disciples as he did not teach many students. One of the few students he taught was a Kung-Fu fighter from the Toi-San district of Canton, named Chan Tai-San.

Wong Hon-Wing was considered Wong Yan-Lum’s senior student and began teaching the art under the name “Haahp Ga” or Knight Style. “Haahp” translates to Knight which was the nickname which Wong Yan-Lum was often called. Wong Hon-Wing’s students began to practice and promote this new martial art.

LAMA PAI LINEAGE

As previously mentioned, the Lama Pai style dates back several hundred years. There is very limited written information on the styles history and most of it was transmitted orally. Although we know the names of the first few Masters and the last few, Generations 4th-9th are unfortunately lost.

Sing Lung had told his students that he was a 10th Generation Master of the style but either failed to give all the past Master's names to his students or quite possibly never knew them. He did however know the name of his own teacher, so the fact that it seems to be omitted from any written or oral traditions, leads one to believe that their omission may not have been accidental. China had a very strained relationship with Tibet which may explain why the names were no passed on.

*There are other Lama Pai Instructors under Grandmaster Chan Tai-San which include; Sifu David Ross, Sifu Steven Ventura, Sifu Steven Innocenzi and Sifu Chris Jurak. This does not complete the list of Lama Pai students or Instructors under Grandmaster Chan.

Grandmaster Chan taught in both Canada and the United States for almost 20 years and trained several hundred students. Many trained for only a few months as his training was difficult. You can click here to see a larger list of Chan Tai-San's disciples and students. Many of these students trained with him for several years or more. Several of them are full time Kung-Fu Instructors.

FIGHTING STRATEGY

Most (if not all) traditional styles of Kung-Fu rely on key words which describe that style’s fighting strategies. Lama Pai is no different. Although there are a myriad of fighting concepts in the Lama Pai style, four concepts must be fully embraced to understand and master this art. They are;

Chan – Ruthlessness

Ruthlessness, as it pertains to the Lama Pai style of Kung-Fu, means to do whatever is necessary to be victorious. To defeat an attacker by whatever means necessary; when confronted with an attack, there is no second chance and there must be no hesitation. Attacking limbs must be destroyed and all blows must severely damage or disable your opponent.

Siim – Evade

Lama Pai stylists prefer not to block oncoming techniques. The styles true desire is to evade or avoid all strikes. Higher than average stances combined with a supple and ever shifting waist, allow the practitioner to ‘turn’ out of the way of almost any strike. Evading will also describe the unique ‘deflecting’ techniques used in the Lama Pai Kung-Fu style.

Jeet – Intercept

When evading is not an option, Lama Stylists seek to “intercept” and destroy any attacks. Lama Pai training consists of intense arm and leg conditioning so that the practitioner may be able to execute this brutal defense tactic without injury.

Chuyhn – Penetrate

‘Chuyhn’ represents Lama Pai’s primary attack strategy. Fingers, Fists and Feet are all trained to use “penetrating energy” to disable the attacker. Strikes will focus on vital areas and the phrase; “One Strike, One Kill” describes this strategy. Penetrating energy at high levels can also disrupt a person’s “Heih” or “Chi” flow and can easily damage internal organs.

LAMA PAI TECHNIQUES

The Lama Pai Style was originally based on the “eight eights.” These were eight fists, palms, fingers, stances, footwork patterns, elbows, claws and kicks. Lama Pai, like every other style, has had additions made to it over the years. There are a great deal more than just sixty-four techniques in the style today, but it is impossible to say just ‘when’ those additions were made. The original “8” Fist techniques are listed here;

1. Chuyhn Choih: (Penetrating Fist) a horizontal fist technique resembling “ping choih” – level fist. It is different based on the turning or ‘torque’ used. This fist technique is designed to ‘intercept’ an opponents attack and strike simultaneously. Unlike the White Crane or Haahp Ga version of this technique, Lama Pai uses the extended middle knuckle or “Dragon Head.” The solar plexus and ribs are the favored target of this strike.

2. Kahp Choih: (Stamping Fist) Considered one the Lama Pai’s trademark techniques, Kaph Choih may be thrown ‘straight over the top’ (as it is in other styles) but is more commonly used as a 45-degree-angle, downward-swinging strike. The fore-knuckles are the primary striking surface of the fist, with the thumb (as with all of our Lama Techniques) held on the outside of the fist. Kahp Choih is one of the most powerful fist strikes in all of the Martial Arts.

3. Pao Choih: (Cannon Fist) Executed as a straight or bent arm uppercut, the Pao Choih is a powerful technique used for; 1. removing grabbing attacks from the arms, neck and shoulders, 2. to strike at all targets located along the center-line of an opponent, 3. to deflect attacks to the head. It can strike the groin, stomach and chin, along with the arms of the opponent as a limb or nerve destruction.

4. Jung Choih: (Crashing Fist) This technique is compared to the action of waves crashing against the rocks of a shore. It is used to deflect and strike but is best used to uproot or throw and opponent. This is best accomplished by grabbing an opponent’s limb and then positioning your stance behind them. It can be used to strike with the forearm or fist with the head and neck as primary targets.

5. Jeet Choih: (Intercepting Fist) is the only fist strike that’s primary directive is NOT to strike a vital area of an opponent. When using Jeet Choih, you are intercepting an opponents attack. Whether it is a fist attack or kick, the goal of Jeet is to cause sufficient damage to the attacking limb and to follow up with another attack, commonly Biin Choih. The head and neck are also targets for this techniques.

6. Biin Choih: (Whipping Fist) Resembles the action of a cracking whip. It is one of the fastest Lama strikes but is not a deadly attack. It is best used to set an opponent up for a more devastating strike, such as Chuyhn, Pek or So. Biin is used with many other fist techniques to; 1. deflect a strike and create a space for an attack, 2. to aid in the generation of power (of the second strike) by initially helping to turn and power the waist.

7. Gwa Choih: (Raising Fist) Using the knuckles and back of the fist to strike, the Gwa Choih is a very fast attack and is often used to bridge the gap between fighting ranges. A quick response to a straight punch or ‘jab’, the Gwa Choih strikes at the opponent’s face/bridge of the nose. It may also be used to attack a limb or the collar bone. It can be a painful distraction as it is usually followed by a more devastating second attack.

8. So Choih: (Sweeping Fist) Lama Pai’s Sweeping Fist is also seen in styles like Choy Lay Fut. It is a horizontal ‘haymaker’ that strikes with the same part of the fist as Kahp Choih. It is used to deflect or strike and when used in conjunction with Lama Pai’s ‘side front stance’ can be an effective throwing technique. Like Kahp Choih, it also uses the fore-knuckles for striking, along with the forearm.