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Honouring the Past. Inspiring the Future.

The Li Family arts are a living tradition, carried forward through teaching, practice and shared experience.

Our heritage matters because it gives meaning and continuity to the journey of every new generation of students.

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A Tradition That Continues.

Chee Soo played a central role in teaching and developing the Li Family system in Britain.

Following his passing in 1994, a group of senior instructors established the Taoist Arts

Organisation in 1995 to continue sharing and preserving these arts. Today, the tradition continues through people learning, practising and teaching together.

Explore Our Arts
The Li family system originated in China and was brought to Britain by Professor Li Kam Chan during the early part of the twentieth century.
The Li family system originated in China and was brought to Britain by Professor Li Kam Chan during the early part of the twentieth century.
His teaching established the foundations for the continuation of the tradition in this country. In 1924, at the age of 13 a Barnardo’s boy, Chee Soo, met Li Kam Chan in a park in London.
His teaching established the foundations for the continuation of the tradition in this country. In 1924, at the age of 13 a Barnardo’s boy, Chee Soo, met Li Kam Chan in a park in London.
From this co-incidental meeting the two struck up a friendship and Chee Soo started training in Taoist Martial Arts and Healing Arts under Li Kam Chan who later came to treat him as a family member.
From this co-incidental meeting the two struck up a friendship and Chee Soo started training in Taoist Martial Arts and Healing Arts under Li Kam Chan who later came to treat him as a family member.
In 1939 Chee soo joined the British Army and fought in the Second World War. He was captured and made a prisoner of war in Burma.
In 1939 Chee soo joined the British Army and fought in the Second World War. He was captured and made a prisoner of war in Burma.
After the war he returned to Britain and started teaching Martial Arts in the East End of London.
After the war he returned to Britain and started teaching Martial Arts in the East End of London.
When Li Kam Chan died in 1954 Chee Soo continued to teach the Li style as he had been taught.
When Li Kam Chan died in 1954 Chee Soo continued to teach the Li style as he had been taught.
Under him the Li style grew to be known worldwide. Passing away in 1994, 6 months later the Taoist Arts Organisation was formed. 
Under him the Li style grew to be known worldwide. Passing away in 1994, 6 months later the Taoist Arts Organisation was formed. 
This heritage gives us a responsibility: not simply to preserve traditional movements and knowledge, but to ensure that they remain meaningful, accessible and relevant to  modern generation.
This heritage gives us a responsibility: not simply to preserve traditional movements and knowledge, but to ensure that they remain meaningful, accessible and relevant to  modern generation.

Preserving Standards and Developing Excellence.

Throughout its development, the TAO has worked to establish and maintain high standards in the teaching and practice of the Chinese arts.

This has included the development of structured syllabuses, teaching resources, instructor reference materials, assessment pathways and professional training. This work helps create consistency, supports instructors in their responsibilities and provides students with a clearer path for progression.

We recognise that the quality of teaching is central to the experience and development of every student. Good teaching requires more than knowledge of a technique: it involves the ability to communicate, understand individual needs, encourage progress and create an environment in which people can learn safely and confidently. 

For beginners, practice offers an opportunity to explore something new and develop confidence at their own pace. For experienced students and instructors, it provides the opportunity to deepen understanding, share knowledge and continue refining their skills.

We value the contribution of every generation of practitioners. By learning from our heritage, supporting one another and remaining open to continued development, we can help ensure that these arts retain their depth, relevance and vitality.