Seattle Curriculum

Gin-Lai or Salutation

Bi-jong or ready stance

(Incorporating the Centerline Theory)

Immovable Elbow Theory

Four Corner Theory

Footwork:
a. Forward
b. Backward
c. Shifting right
d. Shifting left

Sil Lim Tao (basic form taught in Seattle)

Straight punches and elbow punches and various body punches

Bil-jee (finger jab)

Kicks:
a. Forward straight heel kick
b. Forward shovel kick
c. Side kick
1- Low side kick
d. Low toe kick
e. Groin toe kick
f. Hook kick (medium & high)
g. Spinning back hook kicks

Chi Sao (sticking hands)

Blocks:
a. Tan sao
b. Bong sao
c. Gong sao
d. Vertical fist punch
e. Fook sao or elbow contained bent wrist block
f. Palm strikes - vertical - side - and palm up

Techniques:
a. Pak sao
b. Lop sao
c. Chop chuie - Gwa chuie
d. Pak sao lop sao gwa chuie
e. Lop sao chung chuie lop sao chung chuie
f. Chop chuie gwa chuie lop sao chung chuie

Oakland Curriculum

1. Salutation

2. Kicking Drills:
a. Five corner kicking: alternating kicks between left and right foot.
b. Five corner kicking: from low to high.
c. Clockwork kicking: real-time kicking with the closest weapon.
d. Combination clockwork kicking & hitting: advanced.
Key: real-time, no hesitation, closest weapon to closest target.

3. Stance: Bi jong
a. Lead stance: shuffle, front, rear, side.
b. Form is the essence, balanced, smooth, feet stay on the ground, (skating)
c. Strictly lower body movements: each movement is independent.
d. Comfortable and alive, natural bounce, not rigid or stiff with hops or jumps.
e. Shuffle to various strikes and kicks.
Key: be alive and comfortable.

4. Evasive Maneuvers
a. Evade various strikes (some exaggerated to make easier)
b. Evade various kicks.
c. Evade various combinations of strikes and kicks.
d. Minimal movement to make opponent miss.
- Know what position and distance is safe for you.
- Individualize and adapt to the size and reach of the opponent.
f. Evade and counter: after learning the above.
Keys: Better to miss by an inch then to block by a mile.
- To block is to get hit.
- Don't engage the opponent, disengage him.
(e.g. don't tangle yourself in blocking and trapping movements)
- The whole idea is to intercept his physical and emotional intent to hurt you.

5. Classical versus the New (modern)

a. Sil lim tao: performed the classical way.
b. Regarding trapping: cut the movement in half for realism.
- Concentrate on speed and economy.
Key: economy of motion, efficiency.

c. Hook punch: closer to the body then a boxer.

- Elbow next to the rib, much tighter and compact.
Key: centerline theory (from the center, not outside or wide).
- Take the skin (or paint) off of your ribs.
d. Rear heel kick: tighter, more centered.
Key: Take the skin (or paint) off the inside of your legs.

6. Separate punching drills:

a. Centerline punching (rapid): straight-line blast with closing footwork.
b. Separate kicking drills
- Two Aspects for improved kicking:
1. Power: Water in the hose analogy for transfer of force through target.
2. Speed: Whip analogy for speed of recovery:
(e.g. shoe laces pop, kicking a gnat out of the air)
c. Combine, blend power with speed drills, make adjustments.
Keys: Delivery system - instant, fast relaxed.
- Hand before foot
- Non-telegraphic (no pre-steps or stutter steps)(for punching: no flinching)
- Complete emphasis on speed and economy of motion.
- The less you move the better.
- Clean and sharp as a two edged sword, pure Chinese Kung-Fu.
- Power comes with time, sometimes years; on the spot power.
- Speed comes with accuracy.
- Proper form and body alignment with balance.
- Footwork is supposed to be light and easy, not jumping around stiff, but relaxed and
smooth without deliberation, angular and instant.

7. Basic Trapping.
a. Pak sao
b. Lop sao
c. Gong sao
d. Jut sao
e. Tan sao
f. Bong sao
g. Economy of motion: cut these movements in half.
h. One hand trap
i. Two hand trap
Key: Trapping is only a by-product.
- Hit, hit and more hit: not trap, trap and then hit.
- While engaging an opponent, if there's emptinessHit.
- Skim and glide with friction but let the Chi flow.

8. Line drills (Quiet awareness)

- Sensitivity: Touch vs. Non-Touch.

9. Distance: Measure your distance

a. Safe
b. No man's land
c. Gates, body positions, and zones
Key: Put yourself where you're safe and the opponent is not.
- Circle to the outside of the strong side, away from rear hand.
- Immobilize the lead leg or hand, after you hit, not before.

10. Practice Drills

a. Attack and defense.
Key: Stun him first, before obstruction, to break his rhythm or forward momentum.

11. Apparatus training

a. Finger jab
b. Straight blast
c. Side kick: shin, knee target
d. Side kick: power through target
e. Strikes to traps
f. Kicks to traps
g. Bridging the gap
h. Basic wing chun traps
i. Strike to hand immobilization to takedown
j. Kick to leg immobilization to takedown
k. Backfist (high to low, low to high)
Keys: All trapping concludes in hitting
- Don't punch and kick at an opponent, kick and punch through him
- Broken rhythm (Don't be predictable)
- Using the stop-kick as a jab as you incorporate it in footwork
(e.g. be loose, fluid, Ali-like)

12. Burning Step: hand to foot impetus.

13. The pendulum: avoidance then following back swiftly and instantaneously.

14. Basic and primary goal: Each student must find his own
- Identifying the tools
- Using the tools
- Sharpening the tools
- Dissolving the tools
In adapting to the opponent:
- The Three Phrases:
a. Ice: solid, unchanging, rigid.
b. Water: liquid, flowing.
c. Steam: gaseous, focused pressure.

Los Angeles Curriculum

Fitness Program
a. Alternate splits
b. Waist twisting (three times to each side)
c. Run in place
d. Shoulder circling
e. High kicks
f. Side kick raise
g. Sit-ups
h. Waist twisting
i. Leg raises
j. Forward bends

Punching:
(Hanging paper, glove, glove pad, wall pad, heavy bag)
a. Warm-up - the letting out of water [the idea of dropping the hammer loosely]
b. The straight punch (left/right)
- with pursuing
c. The entering straight right
- high
- low
d. The back fist

Kicking:
a. Warm-up - (left/right)
- letting out of water
- the whip
b. Side kick - (left/right)
[note: choice of group training method]
- Facing two lines
- In group
- One student comes out
c. Straight kick - (left/right)
d. Rear kick
e. The shin/knee/groin kicks
f. Hook kicks [low first] and toe kick
g. Combination kicking - eventually with hand

Basic Defense:
a. The stop hit
- The shin/knee kick
- The finger jab (close range)
- Any type of kick to fit in
b. The four corner counter

Power training:
a. Isometric training:
- The upward outward force
- The basic power training
- The punch
- The kick
Classical techniques
a. Pak sao
b. Lop sao
c. Gwa chuie
d. Chop chuie/gwa chuie
e. Pak sao/gwa chuie
f. Double lop sao (a & b)
g. Chop chuie/gwa chuie, lop sao/gwa chuie
h. Jut sao
i. Pak sao/jut sao
j. Chop chuie/gwa chuie/jut tek
k. Inside gate tan da
l. Tan da low/gwa chuie
m. Chop chuie/gwa chuie/lop sao

Combination:
a. Right hand feint with groin kick
b. Right kick feint with bil-jee
c. Right feint to stomach with right straight to head
d. Right feint to head shift to right to stomach.

The Three Facets to Jeet Kune Do

1. Non-Classical:
That is, there were and are no classical postures, no unrealistic footwork, no
mechanical body movements, no dissection of movement (i.e. "first you do this, then
you do this, and then you do this," etc.) as if it were a corpse. Further, there are no two-
man cooperation drills and no rhythmic forms. Instead, the art is "alive" and infused
with broken rhythm.

2. Directness:
There is no passive defense, blocking is considered the least efficient manner of
defense. Everything in the art is stripped to its essential components with absolutely no
fancy decoration or ornate movements (i.e., if somebody grabs you, punch him!).
Students are taught to see reality in its such-ness and not deliberate about it. Simply
experience it as it is, when it is. As if, when someone throws something to you, you
catch it - you don't first grunt and go into a horse stance. And similarly, when someone
grabs you, you hit him - you don't get involved in elaborate joint manipulations and
complex maneuvering.

3. Simplicity:
a. A daily minimize instead of a daily increase (being wise doesn't mean to "add" more,
being wise means to be able to get off sophistication and be simply simple)
b. The three stages in Jeet Kune Do
1- Sticking to the Nucleus
2- Liberation from the Nucleus
3- Returning to the original freedom

Or:
"Before I studied the art, a punch was just like a punch, a kick was just like a kick. After
I studied the art, a punch is no longer a punch, a kick is no longer a kick. Now that I
understood the art, a punch is just like a punch, a kick is just like a kick."