Nggo-Mbie is Cantonese dialect for Ngo-Mee (in official Chinese). Our style is
derived from the Ngo-Mee-San. Ngo-Mee is the name of a mountain and San means
mountain. There is also another name for the mountain: O-Mei-Shan, but this is
also a dialect. The word Paei or Pai can be compared with names like Do and
means something like 'The Way'. Paei also means family and style. The name Pai
is the most commonly used when reading books, but Paei equals the pronunciation
of the word the best.
The style is coming from the province Kanton or Hokkièn, but these are dialect
names. The official name is that of the present Foekièn and this is a southern
province, what is reflected in our style. This province is bound by mountains
on one side and the ocean on the other side. Taiwan is one of the places you
can reach when you cross the water from this place. The style is mainly
practiced in Foekièn and Semarang (Indonesia), but also in some places where
there are Chinese with a Cantonese background.
Ed van Oijen in Indonesia
The style arose during the Han-Dynasty (206 BC till 221 AD) mainly because of
the resistance against this Dynasty. The resistance fled to the mountains and
reached the Ngo-Mee mountains. These refugees brought their Wu Shu with them
and in this way a lot of styles mingled into one (a woman seems to have played
an important part in all this). Most of the Chinese styles are coming from
mountainous areas and besides there are a lot of different family styles. No
styles are really coming from cities. The official founder is
Pi-Bie-Tao-Djien (Cantonese: Pé-Mee-Tao-Ren). For a while three styles
existed beside each other:
The first two styles couldn't compete with the Nggo-Mbie style and were
absorbed in this style.
Khong A. Djong is the founder of the
Nggo-Mbie-Paei in Indonesia. He emigrated to Indonesia in 1921 and took the
Nggo-Mbie style along with him. The style is only being practiced in the
surroundings of Semarang were Khong A. Djong lived. His most important students
Gian Bie, who studied for engineer in Germany.
He practices the Nggo-Mbie style pure. People who have seen the film and
photographs of Khong A. Djong may recall the training room. This place belongs
to Gian Bie.
Kwee Sun Chan, who visited the Netherlands in
1978 in order to teach the Nggo-Mbie style. This has only be done briefly
because he spent more time on the commercial advantages of teaching his own
style the Lok Hop Tai Chi.
The situation in Indonesia is not very good for Kung Fu, because the government
only wants to support the Indonesian culture: the Pentjak. Foreign Chinese
martial arts are therefore forbidden. This results in a decrease of Kung Fu
practitioners in Indonesia. The Chinese people in Indonesia are giving up their
Chinese names and take on Indonesian or Indian names.
The style came to the Netherlands with Ed van Oijen
and Richard Offerbeek who were officially
selected by Khong A. Djong to be his representatives here. They are the founder
of the style in the Netherlands. The situation here differs from Indonesia
because the trainers have their own style and practice the Nggo-Mbie-Paei
alongside. Other important people during the foundation of the Nggo-Mbie-Paei
in the Netherlands are:
These people founded the club by swearing an oath, according tradition. The
official start of the Nggo-Mbie-Paei in the Netherlands is the 13th october of
Ed van Oijen
Since the 6th of june 2002 Nggo-Mbie-Paei Kung-Fu Netherlands is an official
On the 6th of september 2004 Richard Offerbeek died at an age of 63 after a
(03/03/1941 - 06/09/2004)
Richard, you will always remain a source of inspiration for us all and you will
live on in our memories and through our sport.
From left to right: Bert van Oijen, Richard Offerbeek, Oscar Bradwolff, Dod
Geeraths and Ton Becks
Kung-Fu: skill, handiness
Wu Shu: Chinese martial art
Kun Tao: fist/fists in Cantonese
Djuén Sü: fistfighting in official Chinese
Letterlijk zou Kung-Fu dus betekenen dat men zich bezighouden met vaardigheid
in technieken en niet met Chinese krijgskunst. In de praktijk klopt dit niet
helemaal omdat de scholen van onze stichting zich wel degelijk bekwamen in de
Characteristics of the Nggo-Mbie-Paei
Comparing the strike and punch movements, our style isn't much different from
other Chinese styles. There is a slight difference however in grabbing. Most
Chinese styles don't do this, but the Nggo-Mbie style has grabbing and
jiu-jutsu alike techniques. Other details:
Postures: these are practiced middle height. But in reality they can be adapted
to the opponent en that means three levels: high, middle and low. Practicing
the low postures is very important, because this is difficult. Most training
effort should be spent on the difficult things and not on the easy parts.
Movements of the style are hard and soft and characteristic are the evasive and
give movements of the body (soft).
It is a southern style and therefore the footwork is not that well developed.
The most used kick is the front-kick (till waist height).
The breathing techniques are the same as in other Chinese styles and people
mainly use natural breathing adapted to the movement. The breathing does differ
however, when used for inner strength and is specific for our style.
The punches in our style are not given straight and static like is done in
karate. The punches are always pulled (fist, wrist and lowerarm are bended).
There is a lot of jumping in the Nggo-Mbie style. Not upwards but sidewards
(evasive) to get to the side of the opponent. Here the opponent has less
possibilities (if you are trained for it).
The Nggo-Mbie style has more formstyles than the five which are known in the
Netherlands. Besides there are a lot of weapon styles, because we use most of
the known Chinese weapons. One of the important weapons is the staff of 2,5
metres that (mostly) only may be used by masters.
The Nggo-Mbie style has not been influenced by Budism like the Shaolin style.
Also other philosophic directions are not specificly important in our style.
What is used however are the principles of Yin and Yang
and the teachings of the five elements. Yin and
Yang are reflected in the hard and soft elements of our style.
The five elements
The teachings of the five elements not only reflects the working of Yin/Yang
but also emotion, movement and posture during fights and in real life. When you
practice the style completely, you will find all elements again in the training
and in your daily life.
Earth: hard and pertinacious, certain and itself, and firm.
Metal, and in our Paei gold: metal is hard, tough but also flexible (dualism).
Gold stands for the beauty and glitter.
Water: the flowing, soft and evasive.
Wood: the breakable and crisp characteristics. This stands for breaking and
Fire: the terrifying and attacking.