Academy of Jeet Kune Do Fighting Technology
Athens
Greece
Jun Fan Jeet Kune Do Instructor
Vagelis Zorbas
Empty
hand vs. empty hand: When the opponent approaches, Demi Barbito (left)
tries to defuse the hostility while he adopts aready position (1). Barbito
then reaches around the other man’s neck (2) and yanks his head into his
chest (3). Next, the jeet kune do instructor shoves the opponent’s head
away with his forearm (4) before grabbing it again for a head butt (5). He
finishes with a knee thrust to the head (6).
Jeet Kune Do Articles
JKD The Evolution of Jeet Kune Do
JKD The Step by Step Method to Peak Performance
Jeet
Kune Do, unlike many other methods, is not a defensive type of combat. JKD
follows an approach explained with an expression used in modern sports;
'The best defense is a good offense.' JKD favors a hit first and ask
questions later approach rather than letting the opposition dictate one's
course of action.
From
Bruce's research into the art of combat, he concluded that there are
ultimately five methods of attack. These five ways are not meant to
exclude any of the infinite number of specific attacks that are possible.
He wrote them aiming to generally categorize all modes of attack.
The
'Five Ways of Attack' are as follows:
SDA- Single Direct Attack
ABD- Attack By Drawing
ABC- Attack By Combination
PIA- Progressive Indirect Attack
HIA- Hand Immobilization Attack
SDA-
An SDA, or Single Direct Attack, is one single
strike, taking a direct path to the target. Although it is probably one of
the most difficult attacks to land, it is definitely the most important to
master. Strong SDAs make strong fighters. If you were able to land an SDA
with successful consistency, you would obviously out class your adversary.
An SDA takes precise timing, distance, and a keen awareness.
Examples of an SDA:
1.) A straight lead to the head when they drop their guard.
2.) A front lift kick to the groin area.
3.) A side kick to the open ribcage.
An SDA is a very simple attack, involving no set up or preparation. It is
an attack that takes advantage of holes in an opponent's defense.
ABD-
ABD stands for Attack By Drawing. It is a set up. It
draws the others into a situation that enables you to strike. You can draw
them to make an attack that you plan to counter. They can be led a certain
direction so that you can intercept or simple get them close enough to
hit. Most ABD type attacks require a level of comfort that can only be
achieved through numerous sparring sessions. It is necessary to be able to
think clearly during the confrontation. ABDs are preplanned; they are a
manipulation of your opponent's actions.
Examples of ABD:
1.) To close the gap, you back away. As they follow, shorten each of your
steps gradually so that it goes undetected. With each step getting
shorter, they come into your range without noticing. As soon as they are
in striking distance, attack.
2.) Purposely leaving the right side of your head unguarded, you attempt
to draw a jab out of them. When they throw the jab, you counter with a
slip and a strike to the ribcage. (Distance is important in this. If you
stand out of his punching range, you are likely to get kicked in the head
while waiting for the jab)
ABC-
An ABC is an Attack By Combination. It is, as it
sounds, an attack that utilizes a series of strikes together as one. They
are designed to overload the opposition with a few, or possibly several,
strikes to fend off. ABCs can be combinations involving hands, feet, or
the two together.
Examples of ABCs:
1) A straight lead to the head, a cross to the body and a hook to head.
2) A Side kick to the knee, a straight lead to thee head, then a hook to
the head.
3) A straight lead to the head, a hook kick to the groin, followed by
another straight.
The amount of possible combinations is endless. With practice on your own,
you will find the combos that flow best for you.
PIA-
PIA or Progressive Indirect Attack is the preferred
method for a JKD man. It is an attack that is planned from start to
finish. Both Feints and fakes are used along with real strikes to set up
your final blow. Unlike an SDA, which is thrown directly towards the
desired target, with a PIA you may throw a fake, feint, or a real attack,
towards another target, drawing their attention to that attack. When they
respond, it will open the target you originally intended to hit. Planning
a PIA, you will chose a striking point and progressively work your way in.
Examples of PIAs:
1) Throw a fake low punch to the stomach. When they drop their hand to
block, strike to the face.
2) You notice your opponent drops his hands when you attack low, and
raises both when you attack high. Lead with a low kick to the groin. When
they block it, follow with a lead to the head. If they block that too,
throw another kick to the groin while their hands are covering their face.
3) For someone who backs away frequently; Throw a Straight lead as a
feint, when they step back, Double up on the lead, catching them in
recovery from their first step.
HIA-
A Hand Immobilization Attack is a way to force an
opening through a tight defense. HIAs, also known as trapping hands, may
also be a way of tying up the opponent's weapons so they cannot be used
against you. The origin of trapping in JKD is from Wing Chun Gung Fu, the
style Bruce practiced when he was young.
Examples of HIA:
1) Lead with a low punch to the stomach, When they block, slap their
forearm (Pak Sao) with you're rear hand, preventing it from moving while
you take advantage of the opening, hitting with a backfist to the head.
2) While fighting inside, you throw a hook to the head. If they block the
hook, as soon as contact is felt, hook their forearm and jerk (Jut Sao)
the arm downwards (Like pulling the lever on a slot machine). Immediately
spring off their arm with the same hand and strike to their head.
Trapping can get very complicated. For effective HIAs it is best to stick
to simple traps, steering away from those that involve several movements.
The Five Ways of Attack outline five distinct strategies that can be
helpful to any martial artist regardless of experience or style. Each
strategy works together as well as on it's own. After practicing them
individually you will begin to realize that all are inter- related. An HIA
can also be a PIA, ABCs are made up of a series of SDAs, or you may use an
ABD to pull off a PIA. I know it looks confusing using all those acronyms.
Attacking can be quite simple having the Five Ways of Attack to label your
options.
Speed
Training
Hand
Speed
There are many different drills that can be done to improve your hand
speed. I am going to list a few that I have found to be extremely
effective.
-
Striking Paper
Striking a piece of paper is an excellent way to improve your speed. Not
to mention how cost effective it is. All of us should be able to afford a
piece of paper! What makes paper such a great tool is the fact that you
don't have the tendency to tighten up as when facing a heavier target. It
is only natural when squaring off with a larger target, such as a heavy
bag, that the first instinct is to think about hitting as hard as
possible. Usually, thinking about hitting hard makes the body tense.
Tense, un-relaxed muscles slow you down. It's like driving your car with
the parking brake on. With paper as the target, you can relax and
concentrate on speed and form. Power is not an issue.
Find
a way to hang a short staff horizontally and secure a piece of paper to it
so that it hangs in front of you. Several sheets of newspaper work well,
or possibly, a plastic sheet protector. Stand in front of it and practice
your hand strikes. You can use any hand technique that you wish to
improve.
The
key to making this work is in the concentration. Concentrate on the form.
Make sure your entire body is relaxed prior to initiation. Upon striking
the paper, listen to the sound it makes. You should hear a quick snap. Pay
attention to the way it feels when you hit the paper. It should feel like
a whip cracking on the surface. Practice each punch a couple of hundred
times three days a week for a month and I guarantee you will notice a
difference.
- Shadow Boxing
Shadow boxing is a great all around drill. Helping to increase your speed
is just one of many benefits. It is a crucial tool to help put everything
you have learned together.
Getting
started can take a little bit of practice. Many people have a difficult
time in the beginning, not being able to move freely without preplanning.
The trick to getting the most out of it is in the imagination. You have to
visualize, as best as you can, a real opponent in front of you.
I
begin almost every workout with five to ten minutes of shadow boxing. It
is a good way to get all your muscles loosened up.
To
increase your speed, remain relaxed and throw you attacks as quickly as
you can. You can practice individual techniques one by one or you can
build overall speed by throwing combinations of punches, kicks, and
parries. Throw everything you've got. Try to keep your mind open, don't
get locked into doing the same movements over and over again. Feel the
techniques flowing naturally, without any thought or pre-arrangement.
As
your imaginary adversary attacks, counter him. As he steps to the side
intercept him. Use your imagination and concentrate on speed.
To
help build your speed even more, add hand weights to your routine. Using
anything from one to five pounds, throw your punches until your shoulders
burn. Not only will you develop hand speed, you will also greatly improve
your muscle endurance.
-Training with a Heavy Bag
Training with a Heavy Bag is usually used for developing power. It can
also be used to help develop speed.
Start
off by hitting lightly. Just tap the bag, concentrate on speed, not
punching through the bag as you would if you were working on power. Work
either individual punches or in combination. A little trick to help focus
at the same time is to cut a few small pieces of duct tape and place them
on the bag in various places for target practice. With each strike listen
to the sound it makes, try to "crack" the surface of the bag
like a whip.
- Training with a Partner
To increase your speed, there are many drills that can be done with a
partner. One of the best pieces of equipment to use is a pair of focus
mitts. Focus mitts offer a great deal of versatility in that they can give
you a small moving target.
One
drill that is very useful is to have your partner hold one focus mitt up,
as you try to hit it, he tries to pull it away. As you practice, you will
notice that you will be able to barely tap the mitt. Don't get frustrated
if you are unable to hit it squarely. If you are able to tap it, you're
doing very well. Your partner may be able to move his hand out of the way
but in a real situation, a persons head never moves that fast. If you find
that either you cannot hit it at all or if you are hitting it every single
time, you need to adjust your distance. Step further back if you hit it
every time to create more of a challenge. Or, step closer if you cannot
hit it at all.
This
drill can be used to increase the speed of any of your punches. One small
warning: Do not attempt this with kicks! You are likely to do serious
damage to your knees.
Strength Training
Strength
training for martial arts performance can be very beneficial. One thing to
keep in mind is that the most important muscles to train are the muscles
used in each type of martial arts movement. It is easy to get caught up in
the body building routine. It has been said by some that weight training
is not good for martial artists. They believe that your muscles will get
too large and tend to slow you down. I do not buy into that way of
thinking. If you are to practice your martial arts and use weight lifting
as a supplement, you should have no problems at all. If your workouts were
to consist of primarily weights with little work on speed and flexibility,
then you may have a problem. Building Strength For Punches
There are many different muscle groups involved in a punch. Starting with
the forearms, the bi-ceps and tri-ceps, the deltoids, traps, pectorals,
lats, and to some degree, the abdominals.
-
Surgical Tubing (resistance training)
A drill that will help increase all the muscle groups in a punch is to
purchase a piece of surgical tubing from a medical supply store. Tie on
end to something stationary and make a loop in the other end. Put your
hand inside the loop and make a fist around it. Stand so that your back is
to where you tied the other end. Throw a punch, feeling the resistance of
the tubing. Repeat this as fast as you can until you feel the muscles
burn. Do this in three or four sets on each arm. This will not give you
great gains in physical strength, it will not improve your bench press or
squatting ability but it will help the muscle endurance in all the muscles
that count. A variation of this drill that will more substantially impact
your strength, (if you have access to a machine with cables) is to put a
handle on the lower cable and throw punches with progressively more
weight.
The
best course of action to is to use exercises that will isolate the muscles
involved in a punch. They are too numerous to name but there are numerous
books and magazines on weight lifting that will help.
Strength
training for Kicks and Footwork
Leg strength is crucial in all aspects of JKD. Strong calves and quads
help produce a quick and powerful push off. Strong hamstring muscles
ensure better flexibility and more forceful kicks.
-
Frog leaps
Frog Leaps are a tool to develop the quads as well as increasing anaerobic
endurance. They are a plyo-metric type exercise, using a persons own body
weight as resistance.
To
perform a Frog Leap, squat down with your feet about shoulder width. Using
all your strength, leap upwards as high as you can. When you land, try to
do so without any excess noise.
Start
off with three sets of twenty or so. With some work, you should be able to
achieve three sets of fifty or more. If you've never done them before,
expect to be sore the next couple of days.
After
a couple of months you will notice a remarkable difference in your
explosiveness as well as your muscle endurance.
-Footwork
The most important exercise for your legs is to practice footwork alone.
Begin with repetitions of individual steps.
For
example, you may try five sets of fifty push offs. Just practice pushing
forward over and over. Each time you can measure the distance you cover in
order to measure progress.
Next,
try tying a few steps together in combination.
For
instance, you might try a step forward, then to the right, ending with a
right pivot. After a couple of weeks, when these three steps feel fluid
and quick, change to another combination. This should be an on going
process since clean footwork is probably the most important attribute for
JKD performance.
-Jumping
Rope
Jumping Rope is perfect all around exercise. If done frequently, it can
build endurance, coordination, and lighter footwork. To keep from getting
bored, add some fancy moves to your rope routine. Crossovers, double
jumps, and alternating feet can provide a formidable challenge. If you can
jump rope for twenty minutes or more without stopping, you can consider
yourself in pretty good shape.
Jeet
Kune Do, as most of us know, translates as 'The Way of the Intercepting
Fist'. It seemed appropriate to provide an article about interception
itself.
The
interception of an attack can be a very useful tool. It can add power to
your attack without additional effort. It may require little preparation,
giving the element of surprise. It also, can be extremely frustrating to
your rival, helping to win the bout psychologically as well as physically.
There
are many different types of interception. An interception does not have to
be executed only with the fist. You can intercept a punch with a kick, a
kick with a punch, or a kick with a kick etc. Some do not even involve a
strike from both sides. You can cut off an attack by simply moving into a
position that will jam them, leaving no opportunity for them to land the
attack. Alternatively, if he were to simply step one way or the other, you
could intercept their motion with a blow, causing him to walk into it.
There
are also different times during the adversaries' attack in which an
interception may take place. It can occur before, during, or after their
attack or movement. Before, or while the opponent is in preparation, you
can read their intentions and strike before they can initiate. During
their movement, there may be several opportunities to intercept. You could
strike from the materialization of their movement all the way up to their
full commitment. After, or upon completion, the interception takes place
as they recover and before they can launch another attack.
In
order to utilize interception as a tactic, it is necessary to train
certain attributes. First are your Single Direct Attacks (or S.D.A.'s),
for obvious reasons. The faster, more precise, and more powerful your
technique, the better chance you will have in pulling it off.
Next,
and equally important, is mental awareness. Your mind must be sharp in
order to pick up on their movement and react accordingly.
Additionally,
work to control your emotions is needed so that fear, self-doubt, and you
ego do not cloud your senses and hinder your performance.
Two
other attributes that need specific attention are timing and distance.
Surely, they are both important anyway, but without them, interception
becomes impossible. Proper timing can be responsible for some of the most
devastating attacks. You can use the momentum from your movement combined
with theirs, timing it so that they collide head on into your strike.
While the correct distance enables you to strike the target cleanly
allowing for more power and penetration.
Here
are some examples of interceptions:
1.
-The opponent begins to throw a front kick from the rear leg.
-You
intercept his kick with a sidekick to the attacking leg as it approaches
your position. This is commonly called a stop kick or Jeet Tek in JKD.
Depending on your distance and timing, you can attack just about any part
of their leg, from the thigh down to the top of their foot.
2.
-The opponent throws a jab at your head.
-Drop
and Step forward to the outside of their lead leg letting his jab pass
over your shoulder. As it does, strike to their open rib cage. This is
also called a slip.
3.
- The opponent begins to step to his left.
-
Throw a hook with your right hand, timing it so that they walk into the
punch. Strike them before they complete the step, they will take a much
greater impact if their feet have not yet settled on the ground.
Intercepting
is almost an art in itself. It takes a lot of practice to perfect but is
well worth the effort in the end. Once you are able to utilize
interceptions effectively, you will gain a new level of control in both,
sparring sessions, or on the street. Interception is a tool for the
superior fighter.
Bruce
Lee received the majority of his early martial arts training in Hong Kong
under a man named Yip Man. From Yip Man he learned a system of Gung Fu
called Wing Chun. He studied this method for several years and became very
proficient. Although he had exposure to other forms of Gung Fu, at this
time he was primarily a Wing Chun practitioner.
Upon
his arrival to the United States in 1959, he settled in Seattle
Washington. He continued to practice Wing Chun and began teaching classes
to fellow students of the university in which he attended. Through these
classes he met many people who would later become very significant in his
life. One of them, and probably the most important, was Linda Emery, who
later became Linda Lee, his wife. Without her support throughout his life
he may not have become the man we know.
His
performance in public demonstrations and television appearances drew the
attention of other martial artists in the surrounding area. He quickly
made a name for himself due to his extensive knowledge of the martial arts
at such a young age. At this time he was only 18 years old. Even at this
early stage of his martial arts career he denounced the "classical
mess" created by traditional martial arts systems. He maintained a
clear and conscious separation between reality and fantasy when it came to
combat. Simplicity and directness became the frame work from which his
fighting method developed.
After
meeting and becoming close friends with a man named Taky Kimura, the first
Bruce Lee martial arts kwoon was formed. This school operated in the
basement of a grocery store owned by Mr. Kimura. Teaching Americans of all
nationalities, he focused on a modified version of Wing Chun Gung Fu. His
given Chinese name being Jun Fan, he called this method Jun Fun Gung Fu.
After
a long stay in Seattle, he and Linda moved to Oakland California. They
lived in the home of James Lee, also another Gung Fu practitioner. He and
James Lee grew to be very close. They worked out together extensively and
further modified what was becoming JKD as we know it today. It was here
that the second school of Jun Fan Gung Fu was to be in operation. The main
focus was, again, reality, simplicity, and directness. In fact, the
reality was to such a degree that they never wore gloves or any other
safety equipment while training.(including during sparring sessions!).
After
some time in Oakland, Bruce's career as an actor was on an up swing. He
relocated to Los Angeles. It was here that the phrase Jeet Kune Do was
coined. He had modified his fighting method so drastically that it was no
longer rooted in Wing Chun. Therefore it deserved a name of its own. Jeet
Kune Do, or The Way of the Intercepting Fist, had become unique in its
application. It bore no resemblance to any other form of martial arts.
In
China Town L.A. the third school was opened. This kwoon was, unlike the
others in that it was a school of JKD and not Jun Fan Gung Fu. Appointed
as the main instructor was Dan Inosanto. Mr. Inosanto was chosen because
of his previous teaching experience and his knowledge of the martial arts,
as a black belt under Ed Parker. The majority of students of this school
were also black belts in American Kempo. Almost everyone had previous back
round in the martial arts, with the exception of one, Ted Wong.
In
the final stages of JKD, up until his tragic death, Bruce defined JKD as
containing elements from three different influences. Western Boxing, of
which he was an avid fan, Wing Chun, and Fencing. Much of his earlier
training methods fell to the wayside as being seen to be unnecessary to
the whole. Wooden Dummy training, Chi sao, and the forms of Wing Chun
became things of the past. JKD stood alone as Bruce Lee's fighting method.
Jeet
Kune Do was developed by Bruce Lee in the late 1960's. Literally
translated, Jeet Kune Do, or JKD, means "way of the intercepting
fist." Jeet Kune Do is not a traditional martial art in that there
are no rules, techniques or forms that define it as a method of fighting.
The primary components of Lee's art are directness, simplicity, and the
rejection of classical methods. A student of JKD is prepared to fight in
any situation.
After
Lee's death, many of his original students went on to form their own
schools, as well as their own interpretations of his art. As a result
there arose a controversy within the JKD community regarding the approach
one must take to the study of Lee's art. In 1996, the Jun Fan Jeet Kune Do
Nucleus (now known as the Bruce Lee Foundation) was founded in order to
quell this debate. It was resolved that the proper term to describe Bruce
Lee's body of technical and philosophical teachings would from that point
forth be Jun Fan Jeet Kune Do, or JFJKD. This is the term most widely used
by today's practitioners.
Film
star and martial artist Bruce Lee (1940-1973), born Lee Jun Fan, was born
in San Francisco and grew up in Hong Kong. His father was an actor, and
Lee acted in roughly 20 films himself as a child. After losing a number of
skirmishes with local street gangs, at the age of 13 he began to study
Wing Chun, a Southern Chinese form of Gung Fu, under grandmaster Yip Man.
In 1959 he moved to Seattle, where he continued to practice Gung Fu, and
attracted a number of students whom he taught in backyards and parks.
Dissatisfied with what he perceived as the oversimplification and lack of
variety in Wing Chun, he began to modify the art to suit his own purposes,
calling the product "non-classical Gung Fu." He enrolled as a
philosophy student at the University of Washington in 1961, and began to
feel strongly that as martial artists must develop their bodies, they must
also develop their minds.
In
1963 Lee opened his first martial arts kwoon, at which he taught his
modified version of Wing Chun Gung Fu; he called it the "Jun Fan
Method," or Jun Fan Gung Fu, after his given name. In 1964 he moved
to Oakland, CA, where aided by friend James Lee, he opened a second Jun
Fan school. Shortly thereafter, he was challenged to a fight by a
prominent figure in the Chinatown Gung Fu community. Lee was victorious,
but felt that it had taken him far too long to triumph in this particular
fight. The incident prompted him to begin an intensive study of all forms
of combat, and to conclude that, above all, martial artists must focus on
physical fitness in their training. By 1967 his martial art had strayed
far enough from Wing Chun and Gung Fu to merit its renaming as a discrete
art. Shortly after Lee and his senior student Dan Inosanto opened Lee's
third martial arts kwoon, this time in Los Angeles, the art that was its
focus became known as Jeet Kune Do.
In
formulating Jeet Kune Do, Lee embraced what he found useful in Western
boxing, fencing, Judo, Jiu-Jitsu and other martial arts, and encouraged
his students to experiment with as many arts as possible in order to
determine what would be the most useful and efficient for them personally.
(Equally important, of course, was that they "discard" that
which they found useless.) Practitioners of JKD may engage in maneuvers
that resemble those of Wing Chun, Thai boxing, Karate, French Savate, and
other arts. As a result, many tend to view JKD as an eclectic combination
of many arts synthesized into one, but it is important to understand that
this is an oversimplification. Lee determined that to devote oneself to
any specific art is not only limiting but impractical; a true fighter must
be competent in all areas of combat, and a practitioner whose training has
been limited to a single style will not be able to defend him or herself
adequately against all forms of attack. Deception, biting, scratching, and
hair-pulling are not excluded from the list of acceptable fight tactics
(in fact, there exists no such list). JKD practitioners are encouraged to
use absolutely any technique that works.
At
work in his LA kwoon, Lee continued to develop Jeet Kune Do. His theories
of simplicity and directness complemented his abandonment of what he
perceived as the limiting, classical arts, and he urged his students to
liberate themselves from the "classical mess." He believed that
a martial artist who devotes his or her time to perfecting four or five
simple strikes and kicks will learn to deliver those blows far more
efficiently and powerfully than one who tries to master a hundred, and
efficiency emerged as one of JKD's primary characteristics, as did
devoting the majority of one's training time to perfecting these simple
moves. Lee therefore pared Jeet Kune Do down to a very simple structure,
devoid of classical traditions such as forms or postures. The nature of
the moves he developed follows this way of thinking as well; Jeet Kune Do
techniques favor straight lines over the use of circular hooking in order
to gain momentum, for example, as a JKD practitioner will avoid
unnecessary expenditure of energy or wasted motions at all costs. A
defining attribute of Jeet Kune Do is the "stop-hit," in which a
practitioner combines a block and a hit into one fluid motion (see
Techniques, below) in order to perform as efficiently as possible.
Lee
believed that these tenets of simplicity and directness must be applied
not just physically, but mentally as well. It was the role of the
instructor to facilitate a student's own self-discovery and liberation
from all limitations, both internal and external. As a result, Lee himself
came to work with only a few students at a time, as he did not believe
that a full comprehension of JKD could be attained through rote routines
and drilling. It was ultimately for this reason that he chose to close his
own schools, as he concluded that formalized school instruction limited an
individual's capacity for personal growth. Continuing to work privately
with students, including numerous well-known actors and athletes, he
encouraged them to study Krishnamurti, Zen and Taoism for mental
cultivation. Lee himself read profusely, seeking ways in which to enrich
his art through both philosophy and science. Overall physical fitness
remained equally important. For Bruce Lee, JKD was not simply a fighting
art, but a comprehensive way of life.
Lee
had been invited to give a demonstration at the International Karate
Championships in 1964, and it was due to a series of ensuing coincidences
that he had been offered the role of Kato in the Green Hornet television
series. By 1967, at the age of 27, he had begun to work seriously as an
actor once again, and was featured in numerous films and TV shows in the
six years that followed. He achieved widespread fame in Hong Kong through
his acting, although he did not become a household name in America until
after his death. Jeet Kune Do was still a relatively new art, and one
still changing as Lee himself changed, when Lee died suddenly in 1973 of a
brain edema brought on by a headache medication. He was 32 years old.
Jeet
Kune Do continued to flourish after its creator's death. Lee had written
extensively on JKD, and several books anthologizing his beliefs and
methods are still in print today. Many of Lee's first and second
generation students went on to form their own schools, and the use of the
term "Jeet Kune Do" itself became controversial. Among the
offshoots of Bruce Lee's JKD today are Jeet Kune Do Concepts (JKDC),
Progressive Fighting System Jeet Kune Do (PFSJKD), and Total Approach Jeet
Kune Do (TAJKD), to name a few. The formation of the Jun Fan Jeet Kune Do
Nucleus (now the Bruce Lee Federation) in 1996 served to settle the
dispute over the use of the term JKD; members of the federation include
most of Lee's surviving original students, his wife, Linda Lee Cadwell,
and his daughter, Shannon Lee. The names of Lee's two martial arts
schools, Jun Fan Method and Jeet Kune Do, were joined into one: Jun Fan
Jeet Kune Do, (JFJKD). This term now refers to the complete body of
knowledge, both technical and philosophical, taught by Bruce Lee in his
lifetime.
Jeet
Kune Do Techniques:
Jeet
Kune Do is primarily an empty-hand fighting system. Although Lee himself
never wrote about ranges, most of today's practitioners train in the
kicking range, the hand range, the trapping range, and the grappling
range, and apply different tools (strikes, kicks, etc.) in each range. An
important concept in JKD is the idea of simultaneous attack and defense,
in which a practitioner either engages in an attack which is in itself a
defense ("stop-hit,"), or attacks with one limb while defending
with another. Other important elements include the "bi-jong,"
JKD's stance, and the idea of the "immovable elbow," which is
adapted from Wing Chun.
The
Straight Punch is essential to JKD, as economy of motion is a guiding
principle. There are no forms, and fighters must avoid telegraphing.
Unlike in many other martial arts, JKD practitioners hold the power
(dominant) hand forward to lead. Emphasized in all JKD techniques is the
"center line," an imaginary line running down the center of
one's body; one must break down an opponent's center line while
maintaining one's own. The focus in JKD is always on the offensive attack.
Above all, a JKD practitioner stands prepared to adapt to whatever form of
attack may come, regardless of style or system.
The
majority of JKD techniques can be broken down into two categories: leg
techniques (kicking) and hand techniques (striking), although elbow
techniques, head butting, and anything else a fighter can use efficiently
are acceptable. Grappling, Trapping, Feinting, and Parrying are employed
as well. Fluid footwork is also a key element of Jeet Kune Do. More
important than the utilization of any of these tools, however, is the
cultivation of a fighter's personal attributes such as coordination,
endurance, balance, vision awareness, and speed.
Jeet
Kune Do does not require uniforms, or a system of rank such as colored
belts.
Learning
and becoming proficient in the martial arts can be an overwhelming task.
It may take years, if not a lifetime to reach an accomplished level. At
times, progress can be made rather quickly. For the most part, noticeable
change is painstakingly slow.
In
order to progress at the fastest rate possible, it becomes necessary to
organize your workouts. As with most any other venture, the more
organized, and consistent you are, the more you achieve with your time. It
does not matter what style of martial arts you practice, I guarantee that
you could practice twenty-four hours a day and accomplish very little,
unless you have a plan. Therefore, time is crucial; Planning is crucial.
Every workout should be a quality workout. You should begin each session
with a plan and stick to it as best as possible. This will not only help
achieve more during your training, it will also give you the information
you will need to track your progress. There is nothing more frustrating
than working as hard as you can for several months and, seemingly, achieve
nothing. This is how you can feel if you are not organized in your
training.
To
help organize your sessions, I have found it efficient to start by
breaking things down into four separate steps.
1) Form
2) Speed
3) Power
4) Fluidity
When
practicing a newly learned technique, the steps should be followed in the
order written above. Jumping around only slows down the process and may
possibly create bad habits that will have to be undone later. For example,
If you were to learn a new type of punch and begin trying to slam the
heavy bag without first achieving the proper form, you may substitute
proper technique with muscle. Muscling a punch like this may hinder your
speed as well as ruining your form. Following the steps, you most likely
will find that much greater power is the result of proper form and speed.
In
addition, proceeding in the proper order will not only help with power, it
also saves time, preventing the necessity to back track and fix what was
not learned in the first place. Worse yet, is the fact that without
following the correct sequence in learning, you may have practiced the
form incorrectly, long enough that it becomes extremely difficult to
repair.
Form
The from stage of the process includes learning the mechanics such as what
part of the body moves first, where the power is derived, or what type of
footwork goes with it. For the best results, all aspects of the movement
should be taken into consideration. 1) The muscles involved in the action
2) Footwork 3) Timing 4) Body alignment 5) Balance 6) Flexibility involved
7) What the movement is used for.
Once
analyzing all facets of the form, a program of drills can be developed to
work these attributes either separately, or in conjunction. Usually, the
beginning practice sessions should be slow repetition. Performing the
movements slowly does several different things: First, it enables you to
monitor and constantly correct the balance throughout. It strengthens the
muscles involved, increasing endurance and coordination specifically for
this motion. Additionally, practicing slowly lets you feel it every step
of the way. When it feels right, it usually is.
After
sufficiently breaking down the form and practicing it until it looks and
feel right, you are ready to move on to speed training.
Speed
Speed training, again, can be broken down into separate categories: 1)
Relaxation 2) Initiation speed 3) Performance speed 4) Mental speed 5)
Reaction speed and 6) Alteration speed
Again,
define drills and exercises to work each factor specifically. You will
find that in many cases, improvement in speed may require additional work
on the form. Even though you may have been able to perform the motion
beautifully at a slow pace, doing it quickly will require different types
of muscles and a different feel altogether. Repeating the speed drills
will train the muscles to perform easily at that pace. (In my next
article, I will get more specific on speed training)
Power
As mentioned earlier, you will find that just being able to move quickly
and in proper form, power will almost be there on its own. Breaking down
the components of power you have: 1) Form 2) Speed 3) Muscle strength 4)
Joint and Ligament strength 5) Timing 6) Distance
Again,
create drills and exercises to enhance each component. Continue to work on
form and speed as previously outlined. Add supplemental exercises such as
weight lifting and calisthenics. For timing and distance, drills on the
bags or with a partner can be beneficial. Overall, the heavy bag is one of
the most useful tools in the development of power.
Fluidity
Fluidity is the process of putting it all together. Having practiced form,
speed, and power, now it is necessary to add the new technique to your
arsenal. Being fluid with a technique means that you are able o use it in
combination with other skills or freely by itself. To work on fluidity,
identify the uses of the technique: 1) In combination 2) As a counter 3)
As an attack 4) Without preparation
There
are many ways to work fluidity, either on a bag, shadow boxing, or most
importantly, sparring.
From
there, the four steps should begin again. In order to maintain and
progress further, techniques are periodically put back through the steps.
The steps become, not only a guide to learn a new technique, they are also
a means to sustain and enhance existing techniques.
After
going through the four steps, a new technique becomes useable. It will be
quick, efficient, and potent. In the final stages, it will work without
preparation or thought. The ultimate is when 'it hits all by itself'.