Jun Fan KickBoxing Original Jeet Kune Do KickBoxing Drills
Focus Mitt Drills "1 - 2 Series" · Feeder throws Jab/Cross combination. Student catches jab. Then student Bob/weaves Bob/weaves the cross and follows up with hook/cross/hook and a ny two kicks of their choice. · Feeder throws Jab/Cross combination. Student catches jab and throws a rollback/Jeet Tek Tek to deal with cross. Student then follows follows up with cross/hook/cross and any two kicks of their choice. · Feeder throws Jab/Cross combination. Student catches jab and then throws straightlead (cut punch) to deal with cross. Then student follows follows up with cross/hook/cross cross/hook/cross and any two kicks of their choice · Feeder throws Jab/Cross combination. Student catches jab and then uses a shoulder shop to deal with cross. Then student follows up with cross/hook/cross and any two kicks of their choice · Feeder throws Jab/Cross combination. Student catches jab. Then student slips the cross while throwing a cross/with lead hand parry (Split Entry). Student follows up with hook/cross/hook and any two kicks of their choice. · Feeder throws Jab/Cross combination. Student catches jab and then uses a Woang Woang Pak Da to deal with cross. Then student follows up with cross/hook/cross and any two kicks of their choice. · Feeder throws Jab/Cross combination. Student catches jab and deals with cross with a ‘cover/drop step’. Student then follows up with cross/hook/cross and any two kicks of their choice. Note: These drills are done several ways. First they should be done “as is” to learn the correct energy and motions of the drill. Then you you must make them alive with both footwork footwork and the proper i ntensity level. You can then add to the d rill by making them more interactive. Before each drill, use these methods as well as come up with some of your own: · Have a feeder/student jab exchange with the feeder acting as the initi ator. · Have the student initiate the drill by throwing a jeet tek (or any technique) and the feeder counter the students attack with the start off the drill. Focus Mitt Drills "1 - 3 Series" · Feeder Throws Jab/Hook Jab/Hook combination. Student catches jab. Then student uses Biu Sau Da to deal with hook. Student then follows follows up with C ross/Hook/Cross ross/Hook/Cross and any two kicks of their choice. · Feeder Throws Jab/Hook Jab/Hook combination. Student catches jab. Then student uses a Bob/weave Bob/weave against th e hook and follows follows up with Cross/Hook/Cross Cross/Hook/Cross and any two kicks of their choice. · Feeder Throws Jab/Hook Jab/Hook combination. Student catches jab and uses shoulder stop to deal with hook. Student then follows follows up with Cross/Hook/Cross Cross/Hook/Cross and any two kicks of their choice.
· Feeder throws Jab/Hook combination. Student catches jab an d throws th rows a rollback/Jeet Tek Tek to deal with Hook. Student then follows follows up with cross/hook/cross and any two kicks of their choice · Feeder throws Jab/Hook Jab/Hook combination. Student catches jab and deals with hook with a ‘cover/drop step’. Student then follows up with hook/cross/hook and any two kicks of their choice Note: These drills are done several ways. First they should be done “as is” to learn the correct energy and motions of the drill. Then you you must make them alive with both footwork footwork and the proper i ntensity level. You can then add to the d rill by making them more interactive. Before each drill, use these methods as well as come up with some of your own: · Have a feeder/student jab exchange with the feeder acting as the initi ator. · Have the student initiate the drill by throwing a jeet tek (or any technique) and the feeder counter the students attack with the start off the drill.
Jeet Kune Do Curriculums Academy of Jeet Kune Do Fighting Technology Curriculum
This is the basic structure of our JKDC traini ng at the Academy of of Jeet Kune Do Fightin g Technology Technology.. As with any structure, it is far from perfect and always open to review and scruti ny. ny. Jun-Fan Kickboxing
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Using Using tool toolss & traini training ng meth method odss fro from m Mua Muay y Thai, Thai, Box Boxing ing,, Sav Savat ate, e, Fenc Fencing ing & Fil Filip ipino ino Arts Arts..
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Padwo Padwork rk - The use of Focus Focus Mitts, Mitts, Thai Pads, Pads, Hea Heavy vy Bag & Kick Kicking ing Shie Shields lds to devel develop op various various attribut attributes es
such as power, timing, flow, flow, technical base, conditioni ng. *
Sparr Sparring ing - Isola Isolati tion on sparr sparring ing & vari variou ouss othe otherr for format matss lead leading ing to all all in in spar sparrin ring. g.
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Suppl upplem emen enta tarry trai traini ning ng - ski skipp ppin ing, g, shad shado owboxing xing etc etc.
Trapping & Sensitivity
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We utili utilize ze two two metho methods ds of of train training ing at at this this range range.. The The JunJun-Fa Fan n Gung Gung Fu Fu meth method od and and the the Fili Filipin pino o metho method. d.
Both have things to offer offer and approach app roach the same p roblems from different different perspectives. Our emphasis is approximately 70% Filipino. Jun-Fan Gung Fu deals primarily with immobilizing the opponents limbs to secure the centerline. The Filipino method deals primarily with destruction of the limbs & angulations to achieve similar objectives. *
We work work set trapping trapping combi combinati nations ons from from a variet variety y of entries entries & ref refere erence nce points points starting starting with with simpl simplee traps traps
& destructions leading to compound movements that are geared pri marily to attribute development. *
Focu Focuss mit mitts ts are are uti utili lize zed d to drill drill many many of the comp compoun ound d move moveme ments nts,, esp espec ecia iall lly y fro from m the the FMA FMA
(Panuntukan ) Sensitivity drills are used to teach flow & energy manipulation. Trapping combinations a re also practiced directly from from energy drills. Hubud sparring is practiced to encourage creativity and spontaneity using hubud and it's associated drills as a frame of reference. Scenario Training
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The old "he does this - you do that" type of pre-set partner work.
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This is necessary for less experienced students who need to see where & how it all fits together.
Adaptation & improvisation are actively encouraged once the basics are in place. *
Scenarios are designed to be as far away from the classical defense from a martial arts attack as possible.
We work against common street type attacks & set ups, wearing cumbersome clothing etc. a nd in various environments. *
This is where students first learn to "blend" the various concepts & ranges etc within the arts.
Standing Grappling & Takedowns
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Entry skills & clinch work
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Standing grappling locks & manipulations
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Body manipulation & balance control
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Takedowns & Throws
Groundwork
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Positional control flow drills
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Submission / finishing holds
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Striking on the ground
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Striking from the ground
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Sparring - positional & submission sparring in isolation and all in.
Kali Weaponry
Our JKDC Concepts students learn a blend of Inosanto/LaCoste Kali. The emphasis is on attribute development and crossover to other areas. *
Stoking / twirling drills
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Karensa / free flow solo practice
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Contra Sumbrada Cycles
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Largo mano (long range) defensive skills
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Disarming skills
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Energy / sensitivity drills
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Knife to knife & knife to unarmed training
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Espada-y-daga (stick / sword & dagger)
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Sinawalli (Double stick)
Summary
Although we phase our training program, emphasizing different areas on rotation, our training overall is generally comprised as follows :*
30% Jun-fan Kickboxing
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30% Grappling
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10% Trapping
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10% Standing Grappling & Takedowns
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10% Kali weaponry
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10% Scenario work
Bruce Lee's Jun Fan Gung Fu Institute Curriculum LA, CA. The Original Students Training Manual. Los Angeles, California By, Sifu Larry Hartsell The Five Ways Of Attack SECTION 1 (One) Simple Angle Attack (S.A.A.)
(Check The Eight Basis Blocking Positions) - Leading With The Right, Guarding With The Left, While Moving To The Right. - Leading Right Stop Kick (Groin, Knee, Shin) - Broken Timing Angle Attack (B.T.A.A.) SECTION 2 (two) Hand immobilizing attack (H.I.A)
(Close Own Boundaries While Closing Distance - Watch Out For Stop Hit Or Kick) - Ready To Angle Strike When Opponent Opens Or Backs Up - Use Front Before Immobilize SECTION 3(three) Progressive indirect attack (P.I.A.)
Moving Out Of Line Whenever Possible - Boundaries Close Accordingly 1.
High To Low
(a) R STR To Low R Thrust (b) R STR To R Groin Toe Kick (c) R STR To L STR (Or Kick) (d) L STR To R Groin Toe Kick 11. Low To High (a) R STR To High R STR (Or Hook) (b) R Groin Kick To High R STR (c) R Groin Kick To High Hook Kick (d) L STR To R High STR 111. Left/Right Or Right Left (a) R STR To R Hook (b) L THR To R STR (c) Snap Back & L Cross's Opponent's R (d) Opponent Cross Hand Block (L. Cross)
SECTION 4 (four) Attack by combination (a.b.c)
(Tight Boundaries - Broken Rythm - Surprise Opponent - Speed) (a) The One-Two (O-N-E- Two) (b) The O-N-E Two - Hook (c) R-Body - R-Jaw - L-Jaw (d) R-Jaw - Hook-Jaw - L-Jaw (e) The Straight High/Low SECTION 5 (FIVE) Attack by drawing (A.B.D)
(Awareness - Balance To Attack) (a) By Exposing (b) By Forcing (c) By Feinting Trapping Concepts Reference Points
1. Outside to Outside (Both Sides) 2. Inside to Outside (Both Sides) 3. Inside to Inside (Both Sides) Variables
1. Closed gate 2. Open Gate 3. High and Low Reference Points are points of possible contact between two participants in a physical confrontation. These Reference Points were originally designed by the late Bruce Lee and were further developed by Guro Dan Inosan to. This training method will give you a basic understanding of trapping and will promote: 1.
Structural Examination
2.
Muscle Memory
3.
Power Base
4.
Speed
5.
Flow
Objectives of Trapping (Reasons to Trap)
1. To limit your opponent's offensive potential 2. To set up your major tools (a big shot) 3. To create space for a hit (referring to both physical space and also ti ming) 4. To change the Attribute Set (to favor a trained Martial Artist)
5. To use your opponent's energy against them 6. You'll end up there anyway Standard Trapping Sequences:
1. Pak Sao - (Rear Hand Barri er - Past Centerline) - Lop Sao - Gum Sao 2. Pak Sao - (Rear Hand Barri er - On Centerline) - Loy Pak Sao - Sut Sao 3. Pak Sao - (Lead Hand Barrier) - Lop Sao - Sut Sao 4. Pak Sao - (Rear Hand Barri er) - Wedge - Pak Sao 5. Pak Sao - (Rear Hand Barrier) - Wedge - Lop Sao 6. Pak Sao - (Rear Hand Barrier) - Gaun Sao 7. Pak Sao - (Lead Hand Barrier) - Biu Sao - Gua Choy - Gum Sao Follow-Up Combinations:
1. Jik Chung Choy (Straight Blast ) 2. Chung Choy - Sut Sao - Chung Choy 3. Cross - Hook - Cross/Hook - Cross - Hook 4. Headbutt - Knee - Elbows (HKE) 5. Push Elbows - Fade Away - Jut Tek (Side Kick) 6. 2 Right Kicks About Trapping
There are a number of very good drills that can be used to develop the kind of effective trapping skills enjoyed by Bruce Lee in what I like to call his personal art. This simply means the way "he" did it. The principles and mechanics that he used and what made him so astoundingly effective. To be sure, there are different kinds of trapping for different systems. For instance, Filipino marti al arts make use of extremely effective trapping, designed a round its structure, tools, and str ategies. The same holds true for other martial arts like American Kenpo where trapping is a component of the system. Bruce's trapping was born from Wing Chun Gung Fu, an art that is very much different in nearly every respect to other arts, including its trapping methodology. When Bruce trapped you there was a lot more going on than opening a line of attack and/or tying up your arms. He disrupted and broke down your structure, a key strategic point. He corrupted your balance, froze your timing, and sent shock into your body like electricity through copper wire. By virtual of his technique, he was able to automatically measure the correct distance for optimal striki ng power and accuracy, the kind needed for deep penetration to attack the body's nervous system. While he re-angled his attack to open new lines, he took away the distance that you needed to be effective in your counter attack. And to make all of this work, he depended on body structure, proper mechan ics, a variety of carefully forged tools, and a high degree of tactile sensitivity and knowledge of energies. To put is simply, he trapped with the entirety of his body, not just his hands. Bruce's inner body structure had been uniquely developed for the most part from his ea rlier Wing Chun
training. Yet he still had some knowledge of other gung fu arts, including Tai Chi and, to a lesser degree, Preying Mantis. Although he later modified his fighting stance, you can be sure that his inner structure did not change. It still afforded him the kind of grounding needed for exerting and holding pressure while jamming and trapping, along with all of those special mechanical advantages tha t were so often mistaken by observers as sheer acts of strength. These mechanical advantages constituted many of the details that not only went into Bruce's trapping, but also into every phase of his personal art. In other words, the way he did it. One of the things that made Bruce so different from other martial artists in the US was that he more directly faced his opponent. Rarely, if ever, was Bruce caught in a position where he would be forced to give away one side to his opponent. At the same time, he would always be in position to gain control of either the opponent's side or his center, both basic strategies of Wing Chun. This facing principle was a central part of Bruce's method fighting method and of core importance to his trapping and striking, in particular. So that I might narrow this discussion a bit, I'll limit myself to just a few of the mechanical advantages enjoyed by Bruce that made his trapping so incredibly effective. Of course, this requires a brief mention of his tools. Bruce compared a tool like tan sao (palm up h and) to a car jack. "If you want to lift a Cadillac," said Bruce, "use a jack made to lift a Cadillac, not a Volkswage". What Bruce was saying here is that your tools must be strong enough to do the biggest jobs. At less than 135 pounds, Bruce jacked up a professional wrestler holding him pinned to a wall with double tan saos. Trapping Principles
So, to make the tools strong requires a number of important factors and attention to some small details. Here are a few: 1) Immovable Elbow Principle. The elbow must be maintained on or close to your centerline, and should never be positioned less than one fist lengt h from your body. "If your elbow gives," I recall Bruce saying, "then your structure is destroyed". About this, Bruce was adamant! 2) Structure Softening. Learn to soften and concave the chest so that you are all shoulders, back, and forearms. This allows structural strength and firmer groun ding while reducing tension in the body. It keeps your mid-body at further reach from your opponent while, at the same time, naturally extending your reach to him. The soft curvature of the body face is also used for setting up gaps that you may need for exercising powerful mechanical advantages in t he use of your tools. 3) Sealing down the shoulder. Raise it and your structure will be both offensively and defensively weakened. This is not only important while jamming and trapping, but also in striking. The Sil Lum Tao form teaches how to weld down the shoulders so that your structure will powerfully unitized, rather than weakly disjointed. 4) Triangle structure. Bruce's structure was based on triangles. A number of triangles beginning at the feet work all the way up the body and end with the tools. For instance, even the simple tan sao if done correctly provides the angles for five separate triangles. See if you can you find them. 5) Chi. (physiopsychological mumbo jumbo) To improve chi energy for greater strength in your tool you must be
sure to keep open a space between your index finger and middle finger, particularly in tan sao, jut sao, bon sao, wu sao. In tan sao, keeping the palm flat up and angled slightly will also create a natural mechanical advanta ge and line of deflection. Bruce believed in chi! 6) Wrist Mechanics. The practice of wu sao, huen sao, and jut sao (as in the Sil Lum Tao form) teaches powerful and indomitable wrist mechanics. Pay close attention to the drilling and adduction principles using th e joints of ankles, knees, hips, forearms and wrists. These are the mechanics that will move a bigger man around with seemingly little effort on your part. A Bruce specialty! 7) Ball Principle. If you were to roll around on a big ball, you would be rolling on multiple planes of movement. You can go under, over, around on either side and in either direction, or at any one of 360 degrees of direction, or push straight through. Learn to use these planes to your mechanicaladvantages. For instance, you might lift or push down the opponent's arms or elbows to break down and move his structure. Bruce was great at this! 8) Switching. The switching movements both at the heels and the balls of the feet offer certain mechanical advantages. For power and uprooting your opponent switch on the heels. For instance, a bon sao that not only deflects an attack, but also serves to put shock into the opponent and dis rupt him, switch on the h eels. To create angles and cover single ground in a single movement switch on the toes. To cover ground, as in snake-stepping alternate switching on heels and toes. Bruce could either come straight at you or retreat without ever taking a step! 9) Falling Step Power. True Bruce picked this one up from Jack Dempsey's book, but he was also quite familiar with its principle from his gung fu training. It has to do with landing your punch or trapping a hand in timing with your lead step and weight transfer. Actually, there is an exercise that develops this power. It's one of those tricky things that looks like a feat of strength, but also provides a clearer understanding of how to optimize the falling step effect. (See: "Falling Step Drill"). I still wear Bruce's palm print on my chest! ;-) 10) Bow Action of Hip. Here the hip acts like a bow (as in bow and arrow), flexing and building tension, then releasing it directionally. A fundamental power source provided by the wing chun structure and well known to Bruce. It's the very kind of thing that you don't see, but you can be sure it's there! (see: "Hip Loading Drill) 11) Tactile Sensitivity. Bruce developed this mostly from Wing Chun's Chi Sao's sticking hands, but also from Tai Chi's pushing hands. The only way to learn this correctly is to learn it from a good instructor, hands on. When Bruce trapped he became one with his opponent. But one trap is not always enough. The highly skilled practitioner will be able to go to the next move, and the next move, and whatever is needed to finish the job. Bruce did not get stuck after t he first move! 12) Helping Hand. Sometimes a single tool is just not enough and you need a little help. This is where the other hand comes into play, a mechanical reinforcement or engine for maximizing results. It made Bruce's traps indomitable! 13) Third Hand Principle. Tactile sensitivity teaches how to use the full arm as a tool. Often times you will be in a position to trap or jam down with your opponent by using your upper forearm while, at the same instant, freeing both of your hands. This is how Bruce fought with three hands. 14) Expanding Triangle. One of the greatest forces throughout the universe is the Principle of Compression and
Expansion. Compressing and expandi ng the body's structure and the use of its tools was a powerful component to Bruce's art. The Expanding Triangle involves setting up a triangle structure with the arms, backed by the triangle structure of the body and expanding it. The effect is unbelievably incredible mechanical forces, but with very little effort. 15) Needless to say, this list does include all of the principles and mechanics used by Bruce, such as grounding, slipping, poling, vectoring, oscillation, plyometrics, slanting, joint selectivity, jing (final power), simplicity, and more. I always find it amusing to th ink how utterly simple Bruce's art is if you understand all that complexity of details. Trapping Drills Drill #1 Falling Step
Standing in front of your partner fully extend your right arm at chest level with fingers pointed upward, palm facing his chest. Now stand on your left leg, hooking your right leg behind the knee. You are not punching, as this is only an exercise to better understand an important prin ciple. Fall forward until your palm strikes his chest. Be sure to keep the arm straight. At the same instant that your palm lands, your foot hits the ground. It is this timing of hand and foot striking simultaneously that maximizes weight transfer at the critical moment. If done correctly, your partner will be hurled backward, if not knocked flat on his back. Be careful with this and have him wear a protective pad. Important points to remember are don't hit, just fall forward keeping arm straight. Most important, don't bend the knee when your foot impacts the ground, as th is will absorb shock. Be sure you are standing far enough away so that your impact takes place at the point of maximum acceleration. Think of a big oak tree falling. The closer it comes to the ground the more the acceleration and the greater t he impact. Drill #2 Bow Hip Power
To get an idea of what it feels like and just how powerful it is. . . try this: Place both palms on a wall, shoulder width apart. Step back about 4 or 5 feet with your left leg, while dropping your left hip and lifting your right foot, extending it out in front of you as though you are taking a hu ge step forward. The closer you reach your extended foot to the wall, the greater you will exert force. Now have your partner brace both of his arms parallel at chest level. Placing your palms on his arms tell him to resist your effort to push him back. As you step back about 4 feet with your right leg, lift your left foot and extend it beyond and slightly to the side of him. You should feel the power build before hurling him backward. Now, have him push against you. As he pushes, simply lift that same left leg and extend it past him. See if you can hold against his pressure. If done correctly you will be able to accomplish this with little, if any, effort. Learn how to use this power source in your trapping. It will crush your opponent's defenses because you are now trapping with the mechanics of your body, not just your arms. The construction of the hip joints and connective tissues backed by the large muscle groups are capable of exerting tremendous power. When striking or trapping, the bow action of the hip can be applied with the falling step. Add rotation to this,
and you have three power sources with accumulated effect. Very powerful, indeed! Drill #3 Immovable Stance
A good wing chun trick is to pick up the long teak pole (very, very heavy) and lift it at chest level, holding your arms straight out in front of you. Likewise, Bruce was able to demonstrate this technique with very heavy dumbbells. The secret is not in strength, but mostly in correct hip structure. Put to practice in combat it becomes an effective way of uplifting your opponent and breakin g his structure, or holding against his pressure. But even without this incredible mechanical advantage you can easily perform the following trick, or drill: Have your partner place both hands on your chest or shoulders. He will easily be able to push you backward. This time, place your palms facing upward under his elbows. As he pushes, lift his elbows upward. No matter how hard he tries, he will not be able to push you backward. If this is not interesting enough, tell him to push as hard as he can, as if he were pushing a car down the road. Only this time, you stand on just one leg. Drill #4 Contact Sensitivity
Chi Sao drills develops sensitivity throughout the body and tools. But here is a good solitary chi sao drill that Bruce used to help develop his proprioceptive sensitivity, proper neuro-efficiencies, drilling and adduction mechanics, non-intention movement, contraction and expansion triangles, third hand, ball principle, switching, final power (Bruce called it "sparking"). It's one of my favorites, too. Stand crossing your wrists at chest level, palms facing inward . Now circle your arms away from you (out, down, back, and up to original position). Repeat until you get the natural flow of this. Now try it alternating your wrists. For example, you begin with the right wrist on the inside. At the end of a full revolution you have switched to the left wrist on the inside. As you speed up the movement, work on relaxing the arms. Feel the contact where the arms touch. Begin to put on and take off pressure. At any given instant, suddenly fling your hands apart snapping into double fuk saos, or a tool punch combination. Try it watching television. Every time the camera cuts from one scene or view to another you let your hands fly. You will be amazed at how this will build speed an d jing power. Now, build in different techniques into the spinnin g motion. For instance, quan sao, kan sao, double jut sao, jut sao/bon sao, whatever. Make up things. The more you invent the more you will learn. Feel it. Drill # 5 - Pak Sao Drill
I will assume that everyone knows this drill. However, here are some pointers. When punching against your opponent who pak saos, punch with your elbows in to the middle, otherwise you will be giving him bars, which are easier to stop. And when doing pak sao keep the elbows in so that you are giving him poles reinforced by your structure. Pak with a cupped loose hand so that you don't take shock into th e body. Learn to drive him back with your pak saos even when he is chain punching as hard as he can. When punching, drive him back through his pak saos. Add different drills to your pak sao, by switching in and out of other tools. For example with your left hand, begin with pak sao, then tan sao, then back to pak sao. Repeat with your other hand as he continues his chain punch ing.
As with the mechanics and principles, there are many more drills, but these all teach some very basic understandings. Original Jeet Kune Do Basic Trapping Progressions
1) Pak Sao Da a) By reference point attachment b) Bridging the gap to attachment c) By feinting then bridging the gap to pak sao da by capturing d) Pak sao da by capturing i) In flight during attack ii) In chambering position before attack iii) In chambering position after attack 2) Types of Pak Sao Da a) Gnoy da or O’ouy da b) Loy da (two types) i) Inside of wu sao ii) Outside of wu sao c) Jung da d) Ha da 3) Pak sao da to Jik chung chuie 4) Pak sao da – Bong sao – Lop sao da with qua chuie or Sut sao (Fak sao) – Gum sao da 5) Pak sao da – Loy Pak sao da 6) Pak sao da – Chung chuie – Loy Pak sao da 7) Pak sao da – Biu sao as wedge – Pak sao da – Lop sao da - Pak sao d a 8) Pak sao da – Biu sao as wedge – Lop sao with chung chuie - Pak sao da 9) Pak sao da – Biu sao as wedge – Lop sao da – right Sut sao (Fak sao) – Gum sao da 10) Pak sao da – Biu sao as wedge – Pak sao da – left Sut sao (Fak sao) 11) Pak sao da – Biu sao as wedge – Lop sao da – Pak sao da – left Sut sao da (Fak sao) 12) Pak sao da – Biu sao as wedge – Lop sao da – right Sut sao (Fak sao) – Cup sao da (Kao sao da) 13) Pak sao da – Jao sao – double Jut Sao – gum sao da – Jang (elbow) 14) Pak sao da – Jao sao – double Jut Sao – Dum tek – Gum sao da - Jang (elbow) 15) Pak sao da – Jao sao – double Jut Sao – rear ha nd Biu gee or rear chung chuie – Gum sao da to a ny type of follow up 16) Pak sao da – Jao sao – double Jut Sao – Jong tao (Headbutt) – Sut (knee) – Jang (Elbow) or Gum sao da (Vice versa) 17) Pak sao da – Jao sao – double Jut Sao – Sut (Knee) – Gum sao da – Jang (Elbow)
18) Pak sao da – Jao sao – double Jut Sao – Dum loy tek to knee – Gum sao da – Ja ng (Elbow) 19) Pak sao da – Jao sao – double Jut Sao – with any combination of headbutt (Jong tao), punch (Chung chuie), knee (Sut), foot stomp (Dum tek), elbow (Jang), Finger jab (Biu gee), any palm strike (Jern), insi de stomp kick (Loy dum tek), backhand knifehand (wisk hand), Sut sao / Fak sao etc. 20) Pak sao da – Go Jao sao da – Ha Jao sao da – Go Jao sao da – double Jut sao – rear ha nd Biu gee – Gum sao da – Jang (Elbow) 21) Pak sao da – Go Jao sao da – Ha Jao sao da – Go Jao sao da – double Jut sao - Gum sao da – Jan g (Elbow) – to other combination routes 22) Pak sao da – Go Jao sao da – Ha Jao sao da – pak sao with qua chuie - to other combination routes by energy 23) Half Pak sao da – Lop sao da – Kao sao da inside of lead arm 24) Half Pak sao da – Lop sao da – Pak sao when parry hand passes – Pak Lop sao da 25) Half Pak sao da – Lop sao da – Chung chuie after parry hand passes – Jut Pak sao da – Gum sao da 26) Half Pak sao da – Lop sao da – Huen sao to rea r hand Sut sao – gum sao da 27) Fake Pak sao da with delay – Chung chuie after parry hand passes – Jut Pak sao da – Gum sao da 28) Pak sao da – Gnoy Lop sao da – Pak sao da 29) Pak sao da - Gnoy Lop sao da – Loy Kao sao da 30) Gnoy woang pak sao da – Gnoy Lop sao da – Gnoy Lop sao da on the rear arm 31) Half Pak sao da – Lop sao da – Chung chuie behind rear parry – Jut sao da – Gum sao da 32) Half Pak sao da – Lop sao da - Chung chuie behind rear parry - Pak sao da – Lop sao da – Pak sao da 33) Half Pak sao da – Lop sao da - Chung chuie behind rear parry - Chung chuie behind returning parry – Gum sao da – Fak sao da – Gum sao da 34) Choap chuie – Qua chuie – Lop sao with Qua chuie (Rear hand block) 35) Choap chuie – Qua chuie – Pak sao da – bong sao with Lop sao with Qua chuie or Fak sao (Sut sao) (for lead hand block) 36) Choap chuie – Qua chuie –Jao sao to all the basics in the Jao sao series 37) Choap chuie – Qua chuie –Gnoy Lop sao da – Pak sao da 38) Fake Choap chuie – Fake Qua chuie to :1. Juk tek (Ha, Jung, Go) 2. O’ou tek (Ha, Jung, Go) 3. Jik tek (Ha, Jung, Go) 4. Ha hou O’ou tek 5. Hou sut 6. Jung dum tek 7. Jun juk tek 8. Jun qua tek
9. Jun so tek 10. Jun o’ou tek 11. Jun jung dum tek 12. Jun jik tek Numbers 1 to 12 are in the Jun Fan Gung Fu Chum Kiu series. The Jun fan Chum Kiu techniques are not to be mistaken for the Wing Chun Chum Kiu techniques. Jun Fan Chum Kiu techniques are “seeking the bridge” or attachment entering techniques or bridging the gap techniques.
Jun Fan Entry Attacks
Below is a list of the Jun Fan entry attacks. Experiment with different rhythms and 'way of attack'. These attacks can be done as Progressive Indirect Attack (PIA) or Attack by Combination (ABC). High h and to low foot to high hand High hand with low foot (at same time) Low foot to high hand High hand to low hand to high hand Low hand to high hand Low hand to high hand to low hand Low hand to high hand to low foot High hand to low hand low foot to low hand High hand to high hand to low foot
JKD: As simple as ABC Bruce Lee's Attack By Combination method sets up an opponent for a more punishing blow. By Chris Kent
Sometimes despite your best use of timing, speed, mechanical execution, and daring, you're still unable to score against an opponent using two key jeet kune do fighting concepts - single direct attack or single angulated attack. At times like this you need to find anoth er method of penetratin g the opponent's defenses. One way is by using what is referred to in JKD as attack by combination (ABC). ABC is a compound offensive action comprised of two or more movements that flow from one to the next in a well-planned, natural sequence, and are usually thrown to more than one target area. In the accompanying example of attack by combination, you bridge the gap with a lead hook kick to the opponent's knee, then fire a lead finger jab feint, followed by a low rear cross and lead forearm smash. Attacks by combination are basically "set-ups," their p rimary objective being to maneuver the opponent i nto such a position or create such an opening that your final blow or series of blows will find an open target and land cleanly. In any attack by combination, all the actions may be blows intended to land. For example, against an opponent in
an unmatched lead, you fire a lead finger jab to the opponent's eyes, followed by a low rear cross to the groin, and a lead hook to the head. Or some of the actions may be feints or false attacks designed to draw a specific reaction, such as a block or parry, thereby opening another target area for attack. For example, you fire a lead-leg straight kick at the opponent's stomach to draw his arms down. As the opponent attempts to block the kick, you immediately rebound your foot off the ground and land a high hook kick to the opponent's head. By combining feints and false attacks with blows intended to score, a three-motion attack by combination can actually be done four ways. Take the following three-motion example, which includes a lead shovel hook to the midsection, a rear elbow to the face, and a lead palm smash to the groin. By including feints in it, the combination could be done in a ny of the following four ways: *
Hit-Hit-Hit - All three blows are intended to land.
*
Hit-Feint-Hit - The first blow is intended to land, the second motion is used as a feint to open the line for
the third blow, which is intended to land. *
Feint-Hit-Hit - The initial motion is a feint, followed by two blows intended to land.
*
Feint-Feint-Hit - The first two motions are feints, and only the final blow is intended to land.
Regardless of the type of weapons you use or how many motions a re involved in the particular series, you should always try to finish the combination with a hit scoring in an open line. The following are some examples of attack by combination using different weapons: *
Lead Hand ABC - From your on-guard position, you attack with a lead shovel hook to the opponent's
stomach, which then flows into a lead hook to the head. *
Lead/Rear Foot ABC - From your on-guard position, you bridge the gap with a lead hook kick to the
opponent's stomach, followed by a rear oblique kick to his lead k nee. *
Lead Hand/Foot ABC - Against an opponent in an unmatched lead, you fire a lead backfist. As the
opponent attempts to rear, you follow with a lead inverted h ook kick to his midsection. Varying the Rhythm in ABC
Most attacking combinations have a rhythmic feel to their series. However, the rhythm of any series can be varied by either speeding up or slowing down the speed of one or more of the blows being thrown. For example, a th reemotion attack by combination can be done using t he following rhythms: *
Fast-Fast-Fast
*
Slow-Fast-Fast
*
Slow-Slow-Fast
*
Fast-Slow-Fast
Thus, in a simple three-motion combination you can use four different rhythms. Regardless of what rhythm you choose to use, it's always best to finish any type of combination with a fast motion to not leave yourself vulnerable. The position of the opponent, his physical condition and his weaknesses are all considerations in determining which attack to use. The type of combination you use may also depend upon your distance (range) in relation to the
opponent. If you are in long range, you might use a deep, penetrative combination. As an example, you can attack with a lead finger jab, and as the opponent blocks it, shoot in a rear finger jab. If you are in close range, you might use a short, fast combination. As an example, you can fire a low rear body hook to the opponent's ribs while at the same time smothering the opponent's rear hand, then fire a lead uppercut to the chin, followed by a rear elbow to the face. Summary
All the basic principles that cover single attacks also apply to combination attacks. These include maintaining body control and balance, eliminating all wide and unnecessary movements, and maintaining a well-covered position while attacking. However, when using any attack by combination, there are three major principles you should keep in mind regarding the combination of weapons and/or motions you use. They are: *
Use motions that are economical for yourself. By using motions that don't require extreme changes in your
ready position and m ajor preparatory motions, you will reduce your risk of being countered by the opponent. *
Work on using movements that "fit together" naturally and smoothly without major gaps in them during
which the opponent might get away or counter. *
Evaluate the combinations you use in terms of facilitating a fast recovery to your ready position. Also, be
able to defend yourself from where you end up or are going to end up. Does the combination leave you vulnerable at the end, or does it bring you back to a good on-guard position, r eady to either continue your attack or defend yourself if necessary? In building your attack by combination skills, work on developing the ability to shift from one type of weapon (e.g., hand, foot, elbow, and knee) until it becomes effortless and each blow leaves you in position to shoot a nother. Also, combine your attack by combination skills with footwork and all the other ways of attack.
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Absolute JKD And MKG Arts back to Jun Fan JKD Sensitivity Drills & Combinations and Drills Straight Blast Exchange Drills Photos coming soon... One person feeds a steady straight blast The other person: also straight blasts one for one, hands sliding on center line Pak and Hit on each beat switching sides Lap and Hit each side Bui-Gee with outside parry each side
Bui-gee with inside parry each side Opposite hand parry, Bong Sau, and Tan Sau then switch to other arm Then flow them together Instructor cautions to go slow and steady at first, and build rhythm gradually. Sensitivity is gained through cooperative training. |
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Absolute JKD And MKG Arts back to Jun Fan JKD Sensitivity Drills & Combinations and Drills Straight Blast Exchange Drills Photos coming soon... One person feeds a steady straight blast The other person: also straight blasts one for one, hands sliding on center line Pak and Hit on each beat switching sides Lap and Hit each side Bui-Gee with outside parry each side Bui-gee with inside parry each side Opposite hand parry, Bong Sau, and Tan Sau then switch to other arm Then flow them together Instructor cautions to go slow and steady at first, and build rhythm gradually. Sensitivity is gained through cooperative training.
Jeet Kune Do Grappling
JKD Grappling is an amalgamation of standing grappling and ground-fighting methods found in many different arts. Brajilian Jujitsu, Gene LeBell's Wrestling, Judo, Shooto, Sambo & Silat make up a significant part of our JKD Grappling but it also contains many other approaches. The Structure Of Our Approach
Firstly it is important to understand the difference between grappling & ground fighting. Grappling is the art of holding, manipulating & applying breaks, chokes & strangles, and submissions. Ground fighting is the complete art of fighting on the ground including striking, gouging, weaponry and anything else you can think to include. The important factor here is that the prerequisite to becoming a competent ground fighter is becoming a competent grappler. Standing Grappling / Clinch work & Takedowns
We take our standing grappling from various sources. We use a clinch sector system that works 6 pri mary standing clinch positions with mino r positions as variations on those 6. Takedowns come from Judo, wrestling, Kali & Silat.
Positional Control
Position is everything. Without the ability to control the superior position on the ground you will not be able to apply follow up strikes, locks etc with any degree of reliability. Escapes & Reversals
After positional control comes escape - i.e. How to regain positional control if it is lost. Striking on the ground
The ability to strike on the grou nd does not transfer directly from the ability to strike when standing. Leverage & power delivery are not the same and and a major consideration is the importance of maintaining the dominant position whilst striking. Submission / Locks / Chokes & Strangles
An important point about "submission". Submission is a training tool used to develop the ability to finish the fight by either damaging a joint or rendering the opponent unconscious. The opponent on the street may not know he is supposed to "submit" - and even if he does, will you believe him? Violent psychopaths often tell lies too :-) Obviously the ability to "submit" the opponent is a valuable skill in a lesser threat situation - but one must not lose sight of the true purpose of these techniques. The Basic Positions
We categorize our basic positions into six major positions with other minor positions as transitions & options to the basics. Major Groundwork Positions 1.Side-top position (Scarf-hold ) 2.Cross-body position (Sid e-mount) 3.The Mount (Top-straddle) 4.The Guard (Bottom straddle) 5.The Rear Mount 6.The Knee Mount Minor Groundwork Positions 1.Broken Scarf-hold 2.Reverse Scarf-hold (near arm control) 3.Reverse Scarf-hold (far arm control) 4.North-South / Smothering hold 5.Cross arm lock tie-up 6.All fours (The turtle) Positional flow drills
We use many positional flow drills to teach correct transit ion between positions & to use as a base for learning escapes & reversals. The Basic Four
This is a flow drill where one person completes all 4 positions before the drill switches to the other side. This drill is a foundation for many of our other d rills. 1. Side-top / scarf hold - transition using far arm capture then leg switch to... 2. Cross-body - transition via knee slide to... 3. The Mount - partner reverses using trap & roll escape to... 4. The Guard - partner passes the guard to assume side-top position & repeats the sequence Jeet Kune Do Ground Game 3 Supplement Disciplines that will improve your ability to fight on the mat!
After Bruce Lee died in 1973, Dan Inosanto became responsible for keeping jeet kune do al ive. He soul-searched for a few years, then opened t he Filipino Kali Academy as a laboratory in which every JKD principle, concept and philosophy—as well as those from outside sources that were candi dates for inclusion in the system—could be dissected and tested. What made the school so good was that an yone could come in and challenge us. All a person had to do was put on the gloves, and within moments it was obvious whose truth was more functional. That search for truth made us fall in love with Brazilia n jujutsu in the mid-1980s. Various members of the Gracie family had set up shop in Southern California, and local martial artists were beginning to talk. We heard about their challenge matches and noted how their philosophy and ours were nearly identical. The only major difference was we did it on our feet, while they did it on t he ground. Shortly thereafter, Brazilian grappli ng started seeping into the JKD matrix. That’s not to say Lee’s art lacked ground functionality; Larry Hartsell had proved time a nd again that JKD worked in a ny situation. However, none of us had ever experienced the moves and t ransitions the Gracies were doing. The more Brazilian jujutsu I learned, the less I knew. Every time I believed I had reached a certain level, some 60year-old Brazilian would come in and mop the floor with me. (Imagine what it’s like havin g some old man wrap his arms around your neck and whisper, “This is what it feels like to die, boy!”—and then waking up to those same ruthless eyes.) Experiences like those taught me to appreciate t he JKD paradigm: When someone is better than you, find a way to cheat. That awakening led to the genesis of the JKD ground game. Lee’s prime directive of “using no way as way” gave us the freedom to look at any art that migh t give us an advantage —help us cheat, so to speak—on the mat. Differentpractitioners adopted different disciplines according to their personal preferences. Because space does not permit me to discuss them all, I will limit myself to three that mesh with Brazilian jujutsu and fit in with the way of jeet kune do. SAMBO FOR LEG ATTACKS
The cornerstone of Brazilian jujutsu is its repertoire of techniques designed for fighting while you’re on your back. That differentiates the Brazilian ground methodology from the American groun d methodology, for in many styles of wrestling, once your shoulders are pinned to the mat, the match is over. The Brazilians, however, mastered a position t hey call the guard: It involves lying on your back, placing your opponent opponent between your legs and wrapping your legs around hi s torso. From that position, you can defend
yourself quite well—and attack with sweeps, throws, chokes and locks. The traditional way to escape is called “passing the guard.” You remove yourself from between your opponent’s legs and reposition your body across his torso. If you are not proficient at p assing the guard, you will be stuck between your opponent’s legs forever—or until he catches you in an arm lock, a sweep or a t riangle choke. One secret to beating the Brazilian-jujutsu guard was born behind the Iron Curtain. The art, called sambo, is not technically dissimilar from judo and jujutsu, but it does possess a unique emphasis. While judo focuses on flips and throws and jujutsu relies on establishing a base and effecting effecting a tight transition into a finishing hold, sambo emphasizes locking the ankles, knees and hips. Picture yourself entwined in a Brazilian-jujutsu black belt’s guard. Your task is to pass it, and to accomplish that, you must beat him at a ga me he’s been playing four hours a day since he was in gr ade school. What do you do? If you lack the skills needed to pass his gua rd using Brazilian jujutsu, your best bet may be to attack one of his legs using sambo. Of course, Brazilian jujutsu teaches foot and leg locks, but because the art doesn’t emphasize them, they are not second nature for most practitioners. It may take you years to perfect your ability to pass the guard using jujutsu, but it takes only a few months to learn how to lock a foot, and that c an bring victory. YOGA FOR BREATH CONTROL
To see how yoga fits into the JKD ground game, you must understand two truths: First, breathing is the cornerstone of yoga, and second, without proper breathing, ground fighting is a lost cause. Yoga teaches you to inha le through your nose, bypassing your chest and going straight to your lower abdomen. Watching a practitioner of the Indian art breathe is amazing. It does not appear that his lungs are inflating his chest. All you see is his stomach moving in and out. If you observe a novice grappler rolling a round on the mat, two things become evident: He holds his breath, and he hyperventilates. Those faults are the nemesis of all ground fighters. Interestingly, they cause a similar physiological response: insufficient oxygen in the brain. When that occurs, endurance plunges. It is not uncommon to see two well-conditioned athletes from other sports grapple for five minutes and almost faint from exhaustion. When you practice yoga, your breathing becomes slow, soft and steady. It is no longer a series of short, rapid breaths. The unmistakable sound is similar to what you hear in a theater when someone is talking: shooooosh. When I started training with the Gracies, I would hear that incessant noise for hours every day. A year later I asked Rickson about its relevance. “It took you one year to ask the most important question in jujutsu, my friend,” he replied. “As long as we hear that noise, we automatically know two things: We’re not holding our breath, and we’re not panting like a dog.” KINO MUTAI FOR SHOCK AND AWE
Kino mutai is the Philippine art of biting and pinching. JKD practitioners refer to it as biting and eye gouging because their preferred area to pi nch is the eyeball. Its roots lie partially in t he fact that many Filipino escrimadors possess an attribute that ’s rare in the West: incredible grip strength. It’s a byproduct of wielding heavy sticks, swords and knives all day long. When th at hand
power is combined with biting, it becomes another way of cheating on the ground . Kino mutai shines when you’re stuck in the bottom position under a large man with a good base. If you follow the rules, it could take you as long as 10 minutes to work your way out, and that’s fine if you’re in a match. However, if you’re rolling around on the asphalt, 10 minutes is an eternity. That’s the perfect time to use a bite or eye gouge to create enough space to scramble to your knees and escape. Now, you may be thinking anyone can bite. That’s true, but the difference between nipping someone and employing kino mutai is vast. The art involves knowing how to do it, where to do it and when to do it. When a kino mutai practitioner takes action, he does it as an uninterrupted bite. That means he knows the exact places on your body to target. He’ll grab hold of you with his iron grip and attack areas that you cannot easily reach. It might take you minutes to pull him off. Gnawing on an opponent may sound brutal, and in this day and age, it can be hazardous to your health to come into contact with anoth er person’s blood, but consider the alternative. While not every fight is to the death , it’s comforting to have an ultimate weapon in your arsenal. CONCLUSION
JKD cultivates your ability to solve problems. When you’re on the ground , your first problem is often how to escape from your opponent’s guard. Sambo provides a solution. solution. A second problem is how to take i n enough oxygen, and for tha t you have yoga. A third problem is how to escape from being pinned down—which is when kino mutai can save your skin. Remember that the aforementioned arts are simply pieces of the puzzle that make up my JKD ground matrix. Your matrix may be slightly different. As Bruce Lee implored us all to do, “Absorb what is useful, reject what is useless, and add what is specifically your own." Striving for the Goal Despite the rise and fall of numerous martial arts fads, interest in jeet kune do, the fighting philosophy Bruce Lee and Dan Inosanto created and refined, never wanes. The pair spent years investigating every style they could find, then analyzed each one to separate the concepts that were salient to street combat. The results were integrated into the ever-changing JKD matrix. Whenever they came upon a new art or technique, they did not hesitate to alter or tweak it to fit their paradigm. What exactly was their paradigm? The street—where anything goes and where there are no rules. —Paul Vunak Trash Day
Most martial arts instructors would have you believe that street fights u nfold within the parameters of their style, their way. Taekwondo people tell you that every fight has a litany of high kicks. Boxers insist tha t every violent encounter is based on the jab, hook, cross, uppercut and overhand . Aikido people argue that a street brawl is a series of joint locks. All that leads to the cornerstone of Bruce Lee’s passion: convincing t he public that there is “no way.” In fact, one of his most frequently repeated expressions was “using no way as way.” The implementation of that philosophy gave him and Dan Inosanto the impunity to do whatever works. They examined the myriad of techniques of the
martial a rts, found out which ones did n ot work and th rew them away. What they kept is the art we call jeet kune do. —Paul Vunak First, Build Your Body
• Plyometrics is a term used to describe a g roup of exercises that has its roots in Europe, where it was first called “jump training.” It is designed to link strength with speed of movement to produce power. All professional athletes use plyometrics for a simple reason: It enables the muscles to reach maximum strength in minimal time. Plyometrics can dramatically increase your explosiveness, which is a p rimary attribute of the best grapplers. A hip throw, an armbar and an elbow escape all have explosive elements in them. Explosive power enables you to create space with short bursts of movement. If you’re on the bottom, it ca n help you keep your opponent off-balance. If you’re on top, it can make your “ground an d pound” more effective, especially if you add head butts, knees and elbows. • Isometric strength is the ability to exert force in a fixed position—when the length of the muscle and the angle of the joint do not change. It is important because as a gr appler, you may have to hold your opponent in a vice-like guard or grip his collar for minutes on end. • All martial arts movements, especially grappling techniques, require stout abdominal muscles and a strong “speed center.” That term refers to the group of muscles that initiate, assist and stabilize all your movements. They include the abs, lower back, hip flexors and extensors, hip rotators and glutes. Good core stability gives you strength during an unstable movement, and that’s essential on t he ground. An athlete may be able to bench-press 300 pounds, but that h as nothing to do with grappling because you don’t have the luxury of lying on a flat surface with a bala nced weight above you. Instead, you must fight from wherever you fall. One shoulder might be pinned against the floor while the other is free. Core stability exercises teach your body to move as a unit under such conditions, in essence strengthening the weakest links. —Paul Vunak • A jeet kune do fighter strives to be proficient at all r anges of combat in all scenarios. He knows that against an aggressive fighter, he may need to use an intercepting fist, a stop-kick or a grappling technique. • A grappling exchange can begin after the JKD stylist takes his opponent down, after he is taken down by his opponent or after one or both parties fall. • One of the best ways for the JKD fighter to gra pple with his adversary is to first convince him that grappling is the last thing on his agenda. If he wants to shoot in for a single- or double-leg takedown, he should fake a jab or cross to his opponent’s head. As the opponent defends high , he will probably leave his legs unprotected. Likewise, if the JKD practitioner wants to clinch, he can fake a low-line punch or takedown to encourage his opponent to expose h is upper body. • The key to being non-telegraphic lies in maintaining a poker face and a poker body. The JKD stylist does not reveal his intentions until he is ready to force his adversary to commit to a defense. • When closing the gap for a clinch or takedown, the JKD practitioner pays attention to his opponent’s perimeter. A boxer may allow him to get closer because he is used to fighting up close. A kicker may lash out from farther
away because he is used to keeping distance between himself and his opponent. In either case, awareness is essential. • To move into punching range without taking a boot to the belly, the JKD stylist is prepared to enter with a real or fake kick. Once in punching range, he may use a rapid combination to force his foe to cover up, thus opening a clear path to his legs. • Another JKD ploy for closing the gap and getting into punching range involves trapping the opponent’s lead arm before advancing. • Against an aggressive opponent, the JKD fighter may prefer to use counter-fighting. He will wait for his opponent to step forward with a jab or recover after a kick, then switch into slam-down mode. • Once the JKD practitioner gets into tie-up range, he may not need to go to the ground. His striking and infighting skills can enable him to use punches, elbow strikes, kicks, knee thrusts and head butts while minimizing the other man’s ability to resist. • The JKD fighter uses the concept of circumstantial spontaneity: Once he a nalyzes his opponent’s physical ability, skill level and fighting style, he employs the way of attack that most efficiently overcomes the other man’s defenses. Those ways of attack are outlined below. SIMPLE DIRECT ATTACK
• With respect to striking mode, Bruce Lee used to say, “When in doubt, hit.” The same holds true for the type of close-range fighting that takes place in a clinch. • If the JKD stylist has the advanta ge of size and power and is skilled at grappling, he may want to go directly for a takedown or submission hold. There will be little his opponent can do about it if he dives right in for a double-leg takedown and dumps his foe on his head, or if he climbs right into the mount and puts him out with an eye-popping stranglehold. SIMPLE INDIRECT ATTACK
• If the opponent is more skilled a nd less vulnerable, the JKD fighter will often progress to the indi rect attack, which relies on feints for effectiveness. • If he intends to shoot in with a single- or double-leg takedown, the JKD practitioner will set up his opponent as though he is planning to clinch or attack high. As soon as the opponent raises his guard, the JKD stylist will shoot for his legs. • If the JKD stylist wants to clinch from the side, he will fake in the opposite direction. When the other man takes the bait and leans or moves in the desired direction, the JKD fighter will push him in the direction he just faked, then shoot in. • On the ground, subtle movements and ind ications of movement can produce predictable reactions from an opponent who is susceptible to such tactics. The JKD stylist may aim a punch or palm strike at his face, and when the opponent reaches up to block or control the hand, the JKD stylist will seize the arm and lock it. If he wants to attack the neck, the martial artist will apply pressure to the eye socket or temple with his wrist bone or knuckle. ATTACK BY COMBINATION
• The JKD practitioner who possesses good speed, power and enduran ce can use the principle of attack by combination as easily on the ground as he does on his feet. • If the attacker tries to use a direct, penetrating move, the JKD student can counter it and, once the opportunity has passed, alter his orientation to strike a more accessible target. He executes a rapid succession of moves with speed, intensity and ferocity, overwhelming his opponent a nd forcing him into defensive mode until he can gain an arm lock, choke or as Bruce Lee used to say, anything that scores. • While executing an attack sequence, the JKD stylist maintains his balance and readiness to negate a counter from his opponent. ATTACK BY DRAWING
• During stand-up fighting, the JKD practitioner uses attack by drawing to lure his opponent in and counterattack or intercept him while he is launching his own assault. That works because most people tend to forget about their own defensive vulnerability when they smell blood. • During a ground fight, the JKD practitioner ca n use attack by drawing just as productively. In a closely matched contest, he can gain the advantage by baiting his opponent into going for an arm or for position. When he does the expected, the JKD fighter exploits the opening that results when he inevitably extends himself or leaves a body part unprotected. • When baiting his opponent, the JKD stylist needs a keen sense of timing, positioning and accuracy if he is to cut off the other man and sink in his own hook. Counter-fighting is known as the art of masters and champions, and it is indeed a skill that takes much training and tactical knowledge. If it is used weakly or half-heartedly, it will leave the martial artist open to attack. IMMOBILIZATION ATTACK
• The JKD student knows that tr apping or otherwise immobilizing his opponent’s defensive tools can open an avenue to strike. He also knows that the i mmobilization attack is a highly developed skill that few people master. • When the JKD fighter attempts to secure a position, lock or hold, his opponent will often defend himself by placing his hand or arm in the way. The action does not surprise the experienced practitioner. • If the opponent uses his arm to obstruct the JKD stylist’s movement, the JKD stylist simply takes it out of play. He may use his body as a barrier to keep the hand from reaching its goal. If his body cannot be used, he may employ his arm to restrict the movement of his opponent’s arm. That gives him a greater chance of securing a firm hold or strategic position, a nd it carries him one step closer to victory. Jun Fan Jeet Kune Do Grappling Arts (Original Bruce Lee's notes) Do's: 1. Always keep moving. 2. Be prepared for counters. 3. Develop cat-like movements. 4. Make your opponent
wrestle your way. 5. Be aggressive; make your opponent think Don'ts:1. Don't cross your legs. 2. Don't commit your arms to deeply. 3. Don't chase your opponent. 4. Don't rely
on one takedown; be ready for other openings. 5. Don't let your opponent circle you.. Joint Locks
Joint Locks may be done while standing or lying on the ground, as an immobilizing technique. 1. Outside armpit lock-to left or right stance. 2. Wrist Lock 3. Reverse Wrist 4. Reverse twisting wrist lock - to double arm lock 5. Lying across arm bar. 6. Standing single leg lock. 7. Lying single leg lock. 8. Single leg and spine lock 9. Double leg and spine lock 10. Foot twist toe. Chokes:
1. Rear drop choke. 2. Lean over drop choke 3. Side drop choke Foul Tactics:
1. Hair pulling while in-fighting .....for control. 2. Foot stomping while in-fighting. .....for maiming 3. Skin pinching, biting and ear pulling while in-fighting. .....for release or control 4. Groin grabbing. .....for maiming or release Takedown Methods:
1. Circle step single leg tackle. 2. Drop step leg tackle. 3. Draw step leg tackle. Throwing:
1. Hooking throw. 2. Reverse hooking t hrow. 3. Single leg tackle and trip. 4. Double leg tackle. 5. Right foot sweep -- with or without arm drag to right or left stance. 6. Left foot sweep -- with or without arm dr ag to right or left stance. Closed & Open Bai Jong
All major modes of Jun Fan footwork Offensive and defensive hand a nd foot tools, not excluding elbows, knees, forearms, and head. 3 Ranges of Attack Five and three way kicking drills Four Corner Lin SIl Die Dar Extensive Phon Sao Don Chi Sao Seong Chi Sao Inner & Outer Lop Sao Cycle Drills Woang Pak Drill Five Way Energy Drill Free flowing combat sensitivity Emotional Climate Training Five Ways of Attack SDA ABC HIA PIA ABD Ground fighting (this is NOT a mat-oriented grappling school or BJJ dojo). The ground is the last place we want to be in a real fight.
Jun Fan/ Jeet Kune Do Kickboxing Drills Mook Ya Jong Sparring strategy and application Sil Lim Tao Form (Complete form as taught by Bruce Lee) Physical conditioning Basic Jook Wan Theories and Principles Centerline Theory Mother Line Economy of Motion Theory Theory of Facing The Fighting Measure Constant Forward Pressure Four Corner Theory Primary and Secondary Targets
Defense Zones and Peremeters Longest Weapon to Nearest Target Visual Focus Principles Relax and Explode Zero Pressure Non-Intention Triangle Structure of the Body
Grappling Class Outline (This is a basic outline of some of the skills we are currently focussing on in class. If we have something wrong here, it is only do to our own inexperience and shouldn't reflect on our many great instructors!) -RayWhite 02/2003. Positions for basic escapes Cross Body Escapes Hammer leg and turn over Hip in and turn over hip Ebe (umpa) to knee in to leg wheel or guard Ebe (umpa) out to double or single leg turn over Leg swing out to head and arm turn over Kesagatami Escapes Basic frame to leg to clock head scissors Leg hook to rear choke Hip in to roll over Hip out to pull down to arm lock Arm over to rear arm lock Mount Escapes Hip escape to guard Arm wrap Three ways (over, under, lever and grab) Leg scoop Leg lift Feet to armpit Leg swing with lift Breaking the guard Leg split to under leg escape Leg split to over leg with near leg Leg split to over lef with far leg
Stand up to knee crunch to knee mount Escape from the “down” Position Partner in front- Head and shoulder through to rear control or rear arm lock Partner behind- Elbow hook and roll Forward sit out and face partner Roll to leg lock Leg pin and roll Positioning Drills Judo 360 degree circle Shooto 13 positions Brazilian roll drills Basic Locks and Submissions 1) From Guard 5 step straight arm lock Spin arm lock Bent arm lock (kimura) Reverse arm bar Triangle choke 2) From Cross Body Far Arm “V” arm lock Bent arm lock Arm Triangle Near arm Step over arm bar 3) From the Mount Pop up arm bar “V” arm lock Bow and Arrow choke From Kesagatame Straight arm 3 ways using hands Straight arm 3 ways using legs “V” arm lock From the back Turn over variations/ base breaks
Basic “naked” choke Collar chokes Under arm Using forearm, shin Spin into arm lock Standing Skills 1) Bicep and arm hook to Duck under and take the back Arm drag and take the back 2) Basic double leg takedown 3) Neck pummeling 4) Body tackle counters, over and under 5) Rear head lock escapes rear escape forward roll to armlock Front head lock escapes Step and chuck or drop and chuck Press and head out Catch “A” to ankle/leg locks Head and arm, hip throw Victor's throw
