Respectrilly Ripped By... AmenToOhat 1S LORD.BRUCE LEE'S FIGHTING METHOD SKILL IN TECHNIQUES by BRUCE LEE and M.Uyehara omar J PUBLICATIONS, INCORPORATED SANTA CLARITA, CALIFORNIADEDICATION To all the fiends and students of Bruce Lee ACKNOWLEDGEMENT Our sincere apprediation to Joe Radner, who spent so mich time in photographing and developing the film, Our appeecation fko goes to those who participated in this book: Dan Inosanto nd Ted Wong. They wore both Brice Lee's devoted students ‘To Rainbow Publications, Inc, for the use of several photo- igaphe taken by Olver Pang Introduction ‘This book was in the making in 1906 and most of the photo ‘gaps wer sot then, The ate Brice Lee Intended o publish hs Sook years agp bul decided agin when he leaped Ea marl ss Iniuciom ere ung irae. promote themes ewes {ule common to hear comments ike! "taught race Le’ ot Shyuce Lee taught me jet Kune do." And ruse may never heve teen or known these mati ts, ‘Bruce didnt want people to. we ie name to. jromie tnemasves ot ther school ih fae pretence, He An" want thom to attract stadents this wey, emwealy the young ore, ‘But after his death, his widow, Linda fe that Brace had contibted so machin the world ofthe mural ants hat t would te a get lowe If the knowledge of Bruce would ie wi hm Although the book can never replace the seta teaching nd imowledge that Bruce Lee powered, i wil nanos yo, the serious sara in developing your ln ghting. ‘Brace always buloved thet al aril ats tran diligent for ane single purpow-to defend tuemalvs, Whother we at no, arate, skid, ng fy, tetra, our liate Gea wo papas ‘ureles for any station "To tain younlf for thi goal, you must train eeouly ‘Nothing w taken for wanted, "You have to kick of punch tho bag ‘with concentrated efor” Bruce ed to yt yo ar ping train winout the concept that ths the real tng, You are shor-changing youre. When you kick oF punch the’ gy have to imagine hat you ae actualy bingo sdvesey ely ‘oncenasting. puting 100 percent in your hicks st pmches, the only way 70u are going to be good.” 1f you have acady read he fst two volumes of Bruce Lee's Fiphing Method, ented SofDefonse Teokngues snd Bae ‘Trabng, you wre Now teady to continue Your Ison wih ths {hid book, St in Technique "Tia Dook explains te ma race Lee trained nd the wage he developed Ne exec sll Included so at techniques In sparring snd paying, The mst {ial book wil delve more heavily Into strategy defense end stack” Nos of the photos inthis book and the nae bave neve then publahed tore TE you have not read Teo of Jeet Kune Do by Brice Le (Ohara Fubeations ne) pase Yad it 1 was meant to complement this ‘ok, and the knowledge from both books wil We Sou a fll ‘ete of Bruce's artset Kune Do eet Kune Do wes founded by Bruce Lee ‘because he felt ‘the martial arts were too confined. ‘You can’ fight n pattem he used to say ‘because an attock ean be Batfling and not refined, sleet Kune Do os ereated by Bruce Lee to ahowo ws ‘that on old art must tronsform. Like the day twms to night and night, o day the way of fighting must alo reform. ‘Bruce Lee developed Jeet Kune Do but waked ‘ae didn't havea name for it! Because the very words, Jeet Kune Do, ‘already indicate that it's another marbal arte form. “Any form or style does restrict ‘and his beliefs now in confit.Sources: ‘To of Veet Kune Do by Bruce Lee Boxing by Bain {Hallet Contents (CHAPTER Vir CHAPTER ‘CHAPTER Vin: CHAPTER IX: chaprer x: CHAPTER X: Skil in Movement Distance Footwork Ducking Sidestepping Skil in Hand Teenigues KD versus Clsical Punching Straight Bad Habits ‘Trapping and Grabbing Skillin Kicking =. Leading ide Kick To High Kick Hook Kick Spin Kick Other Kicks perpen Ube users ccs Indo High Pury Inside Low Pamry {IKD verse Clacsical Outside High Parry Parry and Blocking ‘Ramee (atest «> Primary Targets vite Spots Correct Us of Anenals Spaning es ea Stance ad Habits Feinting Body Motion -19 m4 98 aio‘SKILL IN MOVEMENT ‘Ainosse in movement not inate; ‘thas to be learned ike amy other skill Practice you ut or it wil deteriorate; ‘ike any other tat, you have to dr, ‘Lear to move with «shuffle of your feet, ‘And don’t despair if ou feel quite auhard ‘Soon youl bea master of deceit, ‘specaly when moving backward and forward. ‘Train, train, tran with great determination and you'l be on top al your fire confrontation,Shil i» Movement Skil in movernont i: very important inthe art of fighting tie Denil relied upon in attack, dafense, deception and conservation cof energy. It your profieioey in mobility or footwork that feontingent upon the precise distance between you and your ‘pponent, The rratoy of footwork isto take advantage of your ‘opponent's footwork with your own, Your attack or defense may be based on the opponent's foot pattern of advancing and backing otf When you learn his foot pattem, adjust to it, You can then prs (advance) oF fall back (etreat just enough to facilitate a hit ‘The length of your step & coordinated to your opponent’ ovement, Intuition in moving forward and backward tr also an {tuition of when to attack and when to defend, ‘A sled fighter mover staye in one spat longs he i in constant motion to balfle his opponent, causing him to misjudgo the isance. A moving target ie harder to bit and by beingan mation, ‘Youcan move more quickly than from ase postion. By varying the distance and timing of your movement coatiny foudy, you ean confuse your oppanent. You will disturb hie reparation to attack or defend, keeping him off-balance You must pmtice footwork with punching and kicking Without footwork, the fighior i ike an immobile eannon which fennot be divctad at the enemy line, ‘The speed and power of {oUF punches nd kicks depend on your nimble fet and balanced body. 1A good Tighter ke Bruce Lae always seemed to do everything with fase, finewe and grace. He moved into hir opponent and landed his blow without any effort and as easly moved out of range, He always seemed to outht and outguess hi opponent. Hie timing was 19 good that he contzolled even the opponents rhythm, He moved with asurance and coordination, A poor fighter, on the other hand, seems to move clumsy. He can't find the correct distance, telegraph his intentions and paver coms. to autthin bis opponent. Instead of controlling le Cpponent, Relate the opponent contol him, Datance Distance continuously changes between two skilled fighters as both attempt to seek the most advantageous position. ‘The best idea s to stay consistently out of range ofthe opponents simple punch but not too fer away t0 deliver an atack With jut a short, Step forward. ‘This distance i contingent not only on your own ‘Speed and ngiity but also that of your opponent. Th boxing the fighters stand closer to each other Yuan do martial sts, who utllize thelr feet to ick, The leg it longer than the sm so the martial artist has a longer each than x boxe. In jeet kune do, there are thre different distances infighting. Generally, the longest range is employed when you don's know your opponent's prowess or hi intention, asin photo 1, and you ‘want to "fel or “test” him out, In defense ii wiser to aay too faraway instead of to0 clove to your opponent. But ina lengthy strug, you are only aafe at distance if you can really outcast {Your opponent with speed and egity in movement. Even if you ae fan ee dificult parry x blow i YoU se too eae your opponent, The on sho inten the attack usualy hat sav advantage in close quarters. But an attacker who can’t properiy figure out distance, will not waoceed ever if he x acount, quick, tuts good timing and utilizes economy of movement. ‘Once you think that you have the “feel” of your opponent, youmove clover to him, to the medium distance, ain photo 2. From this distance, you ean be just out of his ange and yet close enough to launch an attack. Ire eae datance Ifyou can also apply good {ling A skilful fighter wil maneuver to entice his opponent to shorten the gap or distance unl the opponent ie too nea to avoid the trap This medium distance uso allows you to avoid any blow by a ‘quick retreat or # backward burt, But to uae this defensive stratedy continuouely ie not always practicable because it deprives You of & counterattack or delivery of your Own offense. In JKD you retreat just far enough to evade the blow but stay close enough fora counterattack ‘Close distance fighting usually is a consequence of an attack or s counterattack, Its harder to defend from thi datance lst you heve alreedy trapped soir opponent's arms. Definitely, the Atvantage i to the one whi initistes the attack, In elove distance, in photo 3, the fighter with the expertce of his hands wil A martial artist, unlike a boxer, needs to be alert to blows from the elbows, knees, head, etcetera, in close Sighting, He alg has to be aware ofthe chuce of being thrown or grappled to the round. In boxing, the fighters have difficulty in closing in and once they are theo, it more difficult for them to remain there, In marta arts, since the feet are employed, It ie more dificult to close in than in boxing. But once Ube fighters re in close Droximity, the fight or match ie over quickly because the martial Sats have too many’ offensive tactics to use In cloredighting it i imperaive that you immobilize your ‘opponents lead foot by placing youn next to his, asin photo 3. This procedur should be done automatically because at that close range, Your concentation will be heavily. of your hand techLee constructed the metal bar on the wooden dummy to timmaiace his opponent's la, as In photor A and B. At the outet be hud vo concentrate heavily on the placemont of hie lad foot, That after = few months, it became natural and habitual procedure "An infighting maneuver which Bruce Lee weed frequently wae to keep his opponent of-balance by pressing him, in photos Y and Z This tacic can be usod against anyone, even a heavier and ‘dronger opponent. Practice thir with your partner by bending your knees slighiy, placing your weight on the ftont foot and Shoving your periner vigorously without letting up. Your feet ‘advance with @ sbulfle and you use your hand and body to trap your partner's ams. The secret behind this force is to use your hips and not ently your shoulders when you are pressing hi. ‘Once you have your partner esing backward, you ean use Your {ree hand to hit hie body and then pin him #0 the ground. Is safe mancuver because your partner cannot take the offensive. He $ too offibalance to retaliate The betler fighter is always maneuvering, trying to stayin tho range that suite im best. He is jus out of the opponents ‘stacicrange and patiently waits forthe right moment to close in or draw the opporent toward him, He may attack as the opponent fivances or when he sees an opening wale the opponent ix ‘hanging his pace o position. “The atack or retreat should be rapid, penetrating and spontane ous. The opponent should not be able to predict your movement ntl is too late fr him to eotalate or defend. Te ieal time for the attack to be delivered i when he iin stupor. ‘Distance isso vital that even nama iste in range can render sn attack harmless. You should launch your attack just before the Spponent w at your desired distance, not after he reaches the desired rang. ti ike baseball, when the outfielder begins to run inthe right direction even before the batter swings is bt. Or & football quarterback who throws the ball at the spot just before fh ond reachesFootwor Apinst a fighter who has a good sense of distance and is seul to reach in frontal atacks, the maneuver to “bridge the vp” or to close the distance is to take a sefes af steps backward, Promrenively shortening them. Or let your opponent take the Imiaive as he clogs the distance when he lunges st ou. Hf you are against a defensive fighter with « good vans of stance, advance with a saris of steps, making the fat step ‘smooth and economical A clover maneuver i fo advance a sep or two and then reteal enticing the opponent to purue. If he does, allow him to take «step or vo and you can altri him with & bunt forward righ into his track, at the precise instant he ruses is foot ta step forward ‘To confuse your opponent, vay the leagth of your steps and YoU speed, but use short sips when changing positon. You ean only refine your sense of distance by moving smocthly. and sickly. ‘ile sparring or fighting, use good footwork to be as near to {Your opponent as possible for retaliation. Mow lightly, with your Knees ghtly bent, always ready to spring forward when the ‘opportunity arse, Stepping forward with a feint adds speed to the attack, and ‘any times creates openings, as the opponent ie forced to commit Himself, Stepping back can be stmategically used against an fepponent who dosn't want to engage in close-quarter fighting _saying too fac aay to be reached. In photo 1, Lee remains at a far distance, cautiously waiting for the opponent to make his move. Just as hi opponent launches Wis stack, in photo 2, Lee quickly counters by moving ia and clashing his leg to the epponent’s ead leg, preventing hin fom Getvering hs high hook kick, a n photo 3. After stopping the stack, Lee takes the offensive by throwing a right punch a in photo. Tn order to beat his opponent to the blow, Lee needs quick reactions which came from his dally workout, eapecilly in doveloping his keen sense of awareness. You shoul tlso nodiee thal he doosn't deliver hie punch while hit right foot is off the ‘ground or when bis body notin alignment. Hie punch will make 585 contact as his body moves forward and his foot is Just about Planted, ‘You should always conceal your intention ftom your epponent,Sometimes instead of countering by moving in, you do the posite by moving back. In photos Land 2, Lee mowes back and fnlealates the opponent's timing and attack. He moves Just far ‘ough to ward off tho penetrating side kick, as in photo 8, and Sill Be in a good position to retaliate, as he does in photos 4 and 5, witha punshing, punching ateack, Im another ilustmtion of the movingtback maneuver, the ‘opponent fakes a punch to Lee's face, i photos A and B. Lee ‘ects tothe feint, atin photo C, buts fat enough to recover and ‘moves away from the real attack, as in photo D. He moves just ‘enough to brush off the side kick and then counters—this ime With a high hook kick to the opponents fae, a9 photo E. By retteating you allow the opponent aome room to kick, so it ‘% smart tactessomedimes to crowd of prass him from launching his attack, A wiee Bgler strives to be an elusive and difficul target by not moving forward or backward in straight diection| sgunerally froma mediom dance. Tn both counter, Lee has to linge forward to reach the loppanent and has to do it quickly before the opponent can recover to defend himself Staestepping Tn Jeet Kune do, sdestepping is defensive seience to avoid a punch or a kick. If done propery, it ia safe and valuable ‘movment for eounteratacking. The criterion of sdestopping 6 ot to avoid the opponent's ontush but his blow 1 the attack i shallow, the counter is quite simple. But ifthe attack penetrating, sich as a rush or deep lung, it not that tasy, You have to move just enough to avoid the blow and be Clote enough fo tum quickiy and pounce on bim just a8 he oF the blow bypasses youIn far distance fighting, the defender ussally has the advantage because he has enough time to prepare for the stack ad hes time to counter aecontingy. In photo 1, Lee wale for his opponent to stack and once the attack ison tz way, he sdevteps to his left the Inst moment, asin photos 2 and 2, barely avoiding the side ick. It such a subtle movement that it does not "telegraph" oF unbalance his body (Once & kick or punch is committed, Ure attacker eannot deviate his blow from ite path and expect to land it effectively, It he i ott 1 feet asim photo 3 he has no way to alter his course, lm photo 4, the opponent lands justin front of Lee, purfect or ' counterattack, In photos 5, 6 and 7, although Lee ina food Position to use a froat kick to his opponent's goin, he throws 4 "ight punch and follows up by dragging him to the floor. Ainst an opponent’ right lead punch, sidestep to the left by swaying your body and ducking your head toward the left without loss of balance, As his punch pasts over your head, pivot your body hy throwing your hips into the opponent and simultaneously Aelvering a right to his body ot jaw Ducking s dipping your body forward from the waist mostly tolet the blow pass over your head. Its primary function sto avoid tow and stl be in range to counterattack. "Tus tactie must be employed with caution. Ifyou duck froma. teint, or duck too eury, you leave yourlf wide open for « punch Gru kick, Your only defense i to weave and quickly escape from hat potion, While ducking, keep your eyes constantly on yout Shnotent and notion the floor. In photos A and B, Lee practices the tactic by swinging the heavy bag ‘Most of your sdestepping should be to the left aginst an Uunomthodox oF righted fighter, because after he mises, he is defencelows as you stand behind him (fo the right, if he & on onto fighter) ‘But in JKD, sometimes you are compeled to sidestep to th right to confuse the opponent. Sidestepping to the sight requites ‘ote sil in imingand in countering. Your ming and movement Toust be heticr calculated than siestepping to the lft. You ala have to counter faster because the opponent sill faces you ad 1s postion to deiver another attack.K.AK 1,2 and 8, Le avoid the side ick by sidestepping to otce that in photo 3, he uses his ght hand to protect he should ever misjude the blow. In photos and 6 fect positon vo deliver kick tothe groin ate ‘opponent isso intonse tn launching hi attack ot prepared to protect himself afters mse, Cenerlly nble to an attack to the heal and body. [a photos A, B opponent hinges at Lae with side kick, Lee quickly hieright atthe lst moment to avoid the kick. Then he photos D and H, by employing a high hook kik to of movement is exental in your footwork, Kspecially ing to your right, You mrt move at the exact moment blow just miss you. Ifyou move too ealy, you will ‘ve the attacker time to ch w his aotc, Iie better to move late 0 erly, But not to late and be ht Precision in movement means to move with balance. After voiding the blow, you must always be propated to defend against tether attack or be prepared to counter, Precsion ean omy be achieved by hours of taining While shiting your fet to secure the proper distance, often use broken chythm to confuse your opponent as to your ditance, Bo athe on-guard postion to move quekly and ea. When pmeticing offensive and defensive sill, you should always practice bY combining footwork with them. No matter how simple the hand or foot techniques ae, you. should synchronize them while advancing and retreating. Eventually this type of training will develop your natutal perception of distance and.an ability to:move gacefulySKILLED HANDS. ‘The hand are vite in mot fisting: they are the shield ond wsord of 2 ladiator. ‘The hed are used mostly for hitting: but they are alto defensive tools of 3 warrior. ‘The hand are mor agile than the feet thay eon move more quickly i ony direction. (One cho’ skied with hi hon wil! beat most fighters ina martialarts conspetition, “tus imagine if you ha no had, ‘what would you do na real fight Yet ther are many who do have hands, ‘hut hae never ante 0 ute thers FightSkil in Hand Techniques Skil in punching doesn't mesn only delivery and hitting your target, Accuracy, epeed and powerful punches are ust pat of the technique of punching. Other elements include the position of your body 1 punch is delivered, the path of your punch Taoving forward as ‘well ne returning, the way your punch thrown "The most used and the most important punch in eet Kune os the leading straight paneh. Ie a fast punch ae i travels only & short ditanoa; it ean acerate punch ast goos straightforward it ie thrown with a minimum etfor: and consequently doer not disturb your balance, The leading straight punch is launched from an on-guard sition and the tralectory of your punch shouldbe a stright tine in front of your nose, a+ in photow 1, 2 and Smasing your nose asthe guiding point ‘One of the big advantages of the JKD delivery i that you ean hrow & leading straight punch and sill be well covered, Your body is protected and you are also in postion ta recover qulekly Tn compu, the clases system initiates ite punch from the hip and expeses that section to an attack, asin photos A,B and C When the punch is completed, it ends atone side of the body and the other portion ofthe body, especially the fee, is exposed when the hand i withdrawn to the hip, as in poto Ches 1 1 t i 1 1 t 1 1 i I I 1 =in the longIn photos 1, 2, 3, 4 and 5, Lee demonstrates froma bind's-tye view how he uhrows « combination of a lead ight, fellows up with a left and finishes off with a right, Notice the ‘eynchronizing of hi hands st well a the protection they provide Whether you punch with your lead er the rear hand, your punch should land at 8 3 re Your nose and Keeping your rear hand, definitely superior to inctcal, a Lee tustates in pot A, B and C, Ae the lead hand thrust forward, the reer hand sever dy to block or parry any blow to the body. It is also ready to founter, In photo A, Uhe punch is partially blocked but thierwise your defense may wither, Your elbow can eto side but must not collapse toward your body ‘After shooting out punch, do not drop your idadrawing it tothe on-guard postion. The punch be cetummed on. the same plane or path it was » photos 1,2 and 8, ready for any counter Although you often see a med fighter with a bad habit, be vminlly ete away ith ik hocatse of his superior speed and his 00d judgment in ming and datance, In photos A, Band C, Lee ‘ape back froma straight punch and counter with his let athe ‘Opponent creates an opening for Loe when he drops his hand ia ‘he withdrawal.Then there is the fighter who continually engages and then disengage haphazardly. He wil engage or contact your hand and instead of placing It thor, lower or drift i Uo the opposite line ‘reatingan opening fora quick, straight aust 1h heavy punching, your arm becomes a weepon with your wrist, like a club, one solid poo. Tho foresrm te the handle and the fist & the knot, as in photo A. The fist is aligned to the foroarm with no bonding of the wrst. At the competion of the punelr your clenched thumb should be up. Your ft propels Without a twlst and the knuckles point at the direction of your ody movment. When punching withthe lead hand, sonsantly wary the postion of your head to protect it from a counter, Keep your opponent (giesing. In your forward movement, during the fit few inches {Your head remains straight, but later Your etd alors according to the stuatin, Another tactic ie to foint before leading to lesen any countering blow. But keep everything snp, donot overpay the feinting or head motion. requently, you can surprise your ‘opponent with a doublelead byeause’ the second punch muy ‘Sbrupt his timing and lead the way fora follow-up, Somotimes a fighter atiompis to put too much weight or ‘oody™ into is punch and consaquently the blow becomes psh-punch i lacks & powerful impact free, To be effective, the punch should always be delivered with your arms and shoulders loose, Your fist ooly tighiens immediately before impact, Punches ‘howd never be thrown from a windup mation, Some fighters have 1 good stance but as soon a they are reudy 0 alack, they leave themvelves wide open, asin Y. They develop his bod ‘habit with bed taining attude, as in photo Z. When practicing with the heavy bag, always maintain good form, 9 in photo 1. Have your partner pay close attention to you ful. Some martial artists practice their art in dow motion. They move thelr hands and fst es fst as Uhe movement ofa snail. But they claim that when the time comes, they can ward off any aac quickly and effectively even without speed taining Brust Lae used to emphasize that to be fast you have to practice fast movements. “I don't know of any sprinter in the ‘ror who ean break the record only by jomsing dally around the track” he ai‘The chisao exercise tan important part of JKD borrowed from wing chun kung fa, Fint, i develope sensitivity and phability fn Your hands, which are so valuable in clos hand4o-band combs, "You can really frustrate your opponent who doesn’t have that skill Because every move can be eaally thwarted once you have developed ths conaitivity. Th photot 1, 2 and 3, Lae domonstzates the technique of smabbing (lopsto) trom the chisao exereso, In photo 1, Lae ‘urpoealy exaggerates hls rotation to narrow the space between fis hands, When his hands ar at the nearest position to each other, he fae is partners left atm with his left hand. Duting that instant, Is arme eros: cach other, as in photo 2, Then Lee jerks his partners arm toward himself and. smultaneously delivers a Biel pune to his face, as in photo 3. Te learn more on the technique of gabbing and trapping, read Wing Chum Kungrfu by J. Yienm Uae From the clow.quarters fighting, the students are taught to move further apart and continue to apply the hand techniques tn Dhotor A, Band C, Lees opponent sttempt a finger jab izing the “centerline” thrust. He first attempts to push Lee's end ai to create an opening, a in photo A. Second, he rea to penetrate Tee's defense with a finger fab but Lee's flowing energy is too Powerful > oppose, as in photo B, In photo C, the situation Completely tums around as Lee takes the offensive ‘Although Lee always takes the tance of JKD on-guard position,sin photo YY, for the make of describing the evolution of wing chum techniqués in JED, he purposely sands in the modified wing Chm sance, arn phot ‘A, with his body leaning tle back ward Se he sinks his hips toward the foot. Unlke the wing chun stylist, ‘who faces his opponent squately, Lac adopis the right lead cance. ‘As tke opponent drives his lead punch toward his face in photo B, Lee with quick reaction and anticipation rtaliates with a finger fab. By utlining the centerline principle, Loo’: thruct penetrates ftraight to the opponent's eye and simuitancously wards off his blow, a in photo C- In the previous technique Lee" opponent fails to dtiver the innergale punch but L's is eucoesef ul, The reason is that this technique is not entirely dependent on exeoution but alo on the Intensity of your flowing energy In photos 4, Al and A2, the epponcat engages Lee's right lead, but Tee quickly releases it with a small counterclockwise motion, fin photo AI, Then he pivots his hips to his left av he ‘Smultheously throws aright punch into his opponent's face, as in photo AZ. “Against an opponent who hits and attempts to press hi guard down, Leo uies the rollandtrap manouver, asin photos D to D2 (aoe page 82), In photo E, the opponent ues Mi forearm to it thd pres Lee's right lead downward, Lee Koops ie rear hand high for security and quickly rolls i arm to disengage, asin photo F He continies to flow his energy and retain the Immovable elbow position as he switches hi weight wo the font fot. Then he ‘uickly traps the opponents leading hand with hi ear hand, ain ‘hoto DI. Once the opponent's hand is immobiiza, a in photo 12, Les quickly delivers a back Dist punch.In photos G to G2 (te page manesiver af receiving & low and then pursuing or countering When the hand © being withdrawn. For instance, wen the ponent delivers a punch ta his body, Lae steps back slightly and ‘der the opponent's punch with hit lead hand, preventing him mm penetrating, asin photos Ht and ‘When the opponent withdmws his hand to throw snother punch, a in photo Gl, Lae quickly counters with «Jab, asin photo G2, using hie rear hand to stop the second punch, Blinking » natural response of @ man when an objects husled toward hi eyes. But in sparring or fighting, ths reaction must be controlled or it will sffect your defense as well ax yout ountertiack, The instant your eyes a closed you cannot react fulekly enough to counter, ai you may not kaow where your Glusve opponent is, Second, your adversary ean take advantage of {your shortcoming by feinting an attack, He can fake a punch and i you blink, he ean launch bie blow while your ever are shut Wid training in any type of fighting, i is important that you hot develop any bad habit that may cae injury to yourself Cone of the most common faults of a beginner is that he has a tendency to open his mouth while in the midst of exchanging blows. It is ahabit he has acquired bofore studying martial art, oF hhe may hare to breathe through his mouth because hei oul of naiion. When your mouth is open, it can easly be broken by a direct, hit, at im photo A. Another dangerous tat isto stick your tongue out, a it photo B. Lem to elow your mouth in sping or fighting by clenching your teeth firmly together. 13 spring searing, bite on your rubber mouthpiece to prevent It rom fying fut ever after hard contact. Protect your hands and wrists by punching cowectly. Punch with your fst by having your fingers tightly clenched, your thum® wrapped. snd over them #9 you can break il. Since the Knuckles are the hardest part of your fst, this isthe section that should make the contaet, not your Lagu Prevent any chance of speaining your wast by Keeping it aligned snd firm when punching. Lear to hit eruight by practicing on a ‘akiwara, canem bay othe heayy ba.SKILL IN KICKING ‘The hick ig used asthe inital Aefense agains an attack Because I ls the Bes arsenal Taunched from afar back. The kick is valuable esse ‘azine ale fighter, Whose tates you con't upset, ‘and he hoi then to counter. ‘Shin kiching does come about when you practice real hard [And this kindof dil you can tout ‘ase will Reep away the lar °n Kicking Although the hands are considered the most important tool, the feet ean be a vital and integral part in your overall steategy i fighting. For instance, against a clover boxer it ean advantage Cok YOU to se your fet all er mont ofthe time, A boxer, who doran' Know any dofense against Ick, Ie vulnerable eapecally at the Jowsine area around tho goin and knee "Tho sieategy isto uae your feet and stay away from his fs This is posible beeauto the leg ie longer than the arm. Beades, 2 proper delivery of a kick ic ueually more powerful than a punch, In joot kane do the firs line of stack of defense is the ide kick to the shin oF knee bocauso that target iy clowest to you and iti exposed and difficult to protect, Furthermore, you afe ata secure dlitance in delivering the Kick sehich ean cripple your adversary with one blow. Bruce Lee used fo apply this low kick asa, His Wick wa so quick that he could deliver multiple blows in second To do the low sidekick, fom an on-guatd postion, asin photo 1, slide your right oF load foot forward shout thee of four 1 you immediately bring your rer foot forward just behind the lead foot. Then simultaneotly life your lead foot, atin photo 2, and deliver a low sde Kick by thrusting your foot obliquely and visting your hips strongly, an photos 8 and 4, Lanrn to Keep ‘your body say fom your opponents reach by leaning away from himand net upright, an photo A.‘The loang sd Mck is the most powerful kik in JKD. One ood kick is usually sufficient to knock your opponent off his fect, Although thit fe one of the favorite Kicks, it should be ‘employed with caution because it can be blocked oF your leg Seized If the kick is not delivered propery and a che ight ‘moment. But because of its tremendous fore, cometimes it will [penetrate a block or the block isnot effective enough to keop the blow from seoring or maiming. The side kick is not fast not as deceiving as some of the other kieks, but it can be sed cleverly enough to take any punishing blo€and is heavy enough to give you a feeling of hiting a penon, When contact madesit emits ‘sound to let you know Ifthe contact was slid or pushy’ Sometimes it isa good idea just to hoop sie kicking the heavy tg a it sways back and forth: itera solid kick, wait forthe bag, to swring back, then time yourel! with a leap and another side kick. Keep doing this for a good workout with, your feet. Be careful th you don't miss the beg or fil to hit it squacey, because you ate lable to hurt your knee aera sttong thrust ‘when, preceded by a feint. A good feint with your hands should ‘pen the defense fora quick side kick to the head or body. ‘he leading sidekick can be usod in a defensive tactic, alo. Por Insane, m6 your opponent makes his tmove to attack, you “cutott” or “sop-sick,”intarcepting hie movement with a quick side Kick to is body before his low reaches you, ‘The best equipment on which to practice your sda Kick is the heavy 70-pound bag, as in photos A and B. The bag i durable © ‘Another good drill i having somone stand behind the beg After aolid side kick, instruct him. to move astep back and hold ‘the bag in a slanting position so you can deliver anothor kick Without stopping your motian. To do the recond kik, you must plant your Zoot down immediately ater the mua ick and deliv ‘other sidekick without tho threeneh slide, In other words, the ‘second Kick is ike the fist without the aide. ‘To do the high or medium-ovel ide kick stand at the on guaedposition. Slide your lend foot three or four inches, as in photo 1 then do’ the quiek advance or the forward busty fdepending upon the space betwee you and the op ‘thn your ter foot w being planted, your lead foot should be ntiverng the kick, asin photos 3 and 4. The power in the kick Sms from sudden twat of the hips before impact and the Shapping of your foot after Kicking through The side kick must be delivered with one Muid motion, a it toto. A to’ D. From an on-quard position Lee fakes a punch tO he opponent's face, s8 In photos A and B, turing the opponent to ras Ro hands, which leaves a gap in the midsection area Then he icky follow up with a de Kick, en photos C and D. “Other important apparatuses which Brace Leo utilized iy were the hetvy shied and the airbag. The air bagi» good asa ation target, but the heavy abild Is qood for both stationaryAlthough the heavy shield cannot cuthion the shock of the impact to the holder as can the sit bag, the holder ean mullify some of the shock by moving backward. Becauso the hoayy shold ‘lows moblity on the part ofthe holder, the kicker can unleash his most powerful kick without hurting the ether penon, 1h photo 1, Lee prepares to attack ftom the on-guard postion, ‘The holder ofthe heavy shield begins to move backward ashe ees the attack unfolding, as in phot 2. But he isnot quick enough and Loe releases a side kick, sin photos Sand 4. The kick almost Grives the holder off his feet in photo 5. This type of training develops a sense of distance and improves the Sming of both individuals. ‘The air bag i not appropriate s « moving target because of its limited hitting space. To kick high, have someone hold long staff a your wait level Stand about five fect away and raise your right foot se high ae posible with your log bent and slanted, This can be accomplished by lifting your knee as high as possible. Lean your body backward 0 your head inclines toward your right. Then skip on your left. {foot toward the staff until your Hight foot panes over i The purpose of this traning isnot to kick but to leam to ft your foot a high as powible, Keep increasing the height of the ‘aft uniil your foot can't pass ove it anymore. Then do the same ‘exerci, minus the aff, and Kick into the si. To kick much higher, Tor instance over your head, you have to concentrate ‘heavily on Deby types of exercises, hn your dally practice include Uhe “rapid fire” side kick dil, ‘Stand with your feet parallel, place your weight on your lett foot, lean backward and execute a right side Kick to your eight. Then ‘quickly position your right foot at the same spot after snapping it ‘Out, But just before you plant i, your left foot should be in motion fora left side kick to your left. As your left foot is being retrieved, immedintely do another ight side kick and keep ‘epeating the kicks from one foot to the other as fast ax you can, At the outset, you wil fel awkward and off-blunce but continue to practice this difficult exercke daly for weveral minutes until ‘you can do it fluently and in balance ‘One of the mest Utlized kicks in JKD is the hook kick, It not 1 powerful kick but i s swift and deceptive, Iti nota forceful kick but it can be damaging, The big advantage it has over the side Wek is that i can be launched in many instances before your ‘opponent can prepare forit. Its also a ser kick becaee you carecover qulekly ater delivery. Itt employed at a closer divtance than the side kick but employed at a farther distance than in handto-hand fighting, "To do the hook kick, slide your led foot three of four inches forward from an on-guatd position, 24 in photo 1, Then do the forward shut or the quick advance, As soon at your rea ft i bout to land, deliver your side kick, asin photo 2. The kil ‘ould be conchided with asnap and your body shouldbe loaning beck ae in photos and 4, and not forward, ‘Although the hook kik i weed mostiy for the upper line sbove the waist-vometimes it can be ted fo ailack the thigh or {rin aren, as n photo A. But this depends on the postion of your ‘opponent in relation to yours. He shouldbe standing extremely to [Your tight if you're a a right stance to bit ht gros area. The Rook Kick to the thigh arva is hardly ever used because it in’ too fective. The ditance your foot has to travel is too short t ‘enerate enough power The spin kick i sed morly aba counterstaeking maneuver. It Ws very. effective syuinst an aggresive opponent who Koope stacking in strught ine but not lunging at you. Its dangeroushs Mi i Ul to use this ick against a defensive or counterattacking opponent who constntly waite for your move before retaliating, Againat such an opponent, you are Yulzerable when your back ume to him, just before you ean shoot out your kick ‘The spin kiek i a litle more difficult to execute because you mist rotate your hody, and in the process your back wil be facing the target foram instant, At that point you can eaily misjuige the poation of the target. Prankly, it takes several hour of pmetice befofe you can even hit the target squarely ‘The kick is nota sweeping kick ss used by some martial artiste but similar to a back thrust Kick. Theis one of the few Kick techniques ln JED thet enipley th lett foot ‘The best equipment for practicing the spin Kick isthe heavy bag. Stand sboutmleg-lengt fom the bag in an on-guard position, tin photo 1. Concentrate on the spat om the bag you wit to hi 50 that while your body is rotating ke a swivel, as in photo 2, you ‘an still pictur the spot in your mind The pivot should be done on the ball of your right foot with {Your het slightly aheed of your lower body so you have # glimpse of tho target before you thrust your foot out. asin photo 8 Yo ody should be aligned tothe bag when you deliver th kick. Like {he ‘ide ick you should “whip” your hipe in at the time of contact and snap your foot, a in photo 4. Ts very tial £6 ‘maintain your balance after the kick because You body ie rotating and you must thrust your foot x the same time ‘The spin kick is a surprise countering tactic. Been against a veteran fighter who has a good defense, the spin kick soften the only ick that can catch him off his guard. Beceuse It takes vo ‘Much practice to perfect this Kick, lean to Kick into the ait a ‘often a you can,In the beginning, lar to do the technique slowly by standing at the on guard potion, a in photo 1, then rotate your body on the all of your alightly bent foot, asin photo 2, Keep your ater Jeg bent and ready to thrust, Be sure that the ifted foot does not toring hephazardly inte pivot or e wil throw you out of balance Besides, you cant kick effectively with an oubtretched foot, Filly, thrust your foot with force when your body has made most «complete 180-degree rotation, asin 3 and 3A. "The sweep oF the revere hook Kick isnot often used in JED beaut flac power, It suse ericty w+. high Kick to the fice ‘The Kick is employed mosty asa surprise tactic, especially agunat Someone stho attacks with his leading foot extended. A front or hhook Kick wil not work because the path of your foot will be hampered by tho extended foot, Buta sweep will work exly ast sell avoid the obstructive foot To do the sweep kick, you havo to have Mexible legs. From the‘on guard position, ae in photo 2, slide your lead foot about theee fo four inchee forward and then do Ube quick advance as you initia your kick, arn photo 2. 1f you ar in tha righ lad sane, Your foot wil travel from your left to your night (clockwise motion) ina narrow areas in photos 3 and 3A, “This kick ls a scraping type of kick and will not knock your ‘opporent down. 1f dane with your ahocs on, it can eause damage byrabrading your opponent’ face. "To practice this ick on a heavy bag from a right led postion, stand slightly toward your left and hit the bag with one motion ‘The path of the foot should be almost vertical excep for a small are at the peak. The point of contact isthe heel and outside blade of yourright foot, The atest kick that Bruce Lee developed for JKD was the inde isk, This Wick i applied at the low line, eepecially tothe groin d inside thigh areas. The point of contact ie your instep, The Kick, which isa fart athe front and hook hicks, is used aging someone whose stance is ance, if you are inthe righ he opponite of yous, For in the lef wad stance, you cannot hit his groin area with most ike because hk eft ing protect it But an inside kick which dalvered like front kick, excapt i snot deliered vertlaly, ean reach that area if you are standing slightly toward your lef angular to your opponent Unlike & front Kick, the inside kick 8 delivered in an upward Slant, opposite of the book kick. But lke the front Kick, powar an be eteated by jerking your hips forward just before contact It isa ditcul kick with which to generate power beeause you mut have perfect synchronization between the hips and delivery of the Wek ‘The only other Kick that is sometimes ued is the front kick which was Useusod in the chapter on power training and spoed aiingPARRYING Parryng ie a dafentve tectio that ineary to apply. {tiajustaeap to avert fm oncoming blows, ‘Parrying can be automatic if you era 9 comply. isan cory maneuver once you know ‘That parry ing mot the sari a blocking Whioh is much more forceful and uneontoling “Cau it can ttt your balance ‘and siop your eountaringPARRYING Parrying ie 2 dofensive tactic which can eatly be leaned and applied. It sa quick motion of your closed or open hand, either from the inde or the ouside, to ward off blows directed at you {is just light slap to the opponent's hand with hardy any force, ust enough to de rw away from your body The technique should be done with your elbow almost at fixed postion and the movemont coming from your hand and arm. It should not be an extzome reaction sch ast slashing oF ‘whipping motion, Any exeestive movement of your hand wll {xpos your body to a counterattack, In other wards, you ould move yout hand just enough to protect and contro the blow Timing in ths technique mone Important than force. If yo react 00 catly, Your opponent can either change the path of his ick of punch or you may leve openings fora counter. Parry late, ting until the last moment and only acting when the blow is Against « quick, penetrating opponent or against someone with superior height and reach, you may have to take a sop backward Wille parying. The par should be made simultaneously wit Your tuck foot in mation and not afer i x planted, nor should ‘Learn to parry Only agunet a real attack. But if you intultively att to parry againet a feint or fale attack, your motion should be "Train. yo tnd a fake attack by having someone diect various kicks and punchet at you. After a considerable amount of practice, you wil only pay atthe real tacks and not react Uo dhe folnts ov fakes, rel to detect ae CGonerally, m parry isa good and safe defensive moasure but a skied fighter may Dest Your pay. If he does, then you have t trove backward while prying The inside high pay i generally ullaed because most atacks with JKD, ac in photo A, it discernible that Use JKD way of| purrying provides more protection and more speed on the upper Tine. Photo B reveals that «punch can ‘be delivered almost simultaneously with the parry in JKD, but this snot true with the ‘ther style which tse a block and 4 punch definitely a slower ‘Countering borate of its two detnet motionsee uses a long sath to practice the inside high parry, a In Photos A and B.A parner thrusts tho datf direcly to Let's face Lee spe the thrust by shifting his weight to the lead foot and Tonding the front knee slighty. At the same time be sts is lft hhand to parry the staff lightly, This type of taining valuable because your partner ean spot any discrepancy in your balance tnd motion. Aginit any heavy blow such sta hic, us your patey with clenched ft, a in photo 2 o defend against a sving, Lee standing sn the on-quard sition, at in photo 1, propars for the atack. AN soon ts his ponent initiates is ewing, Lee alcady has his right and in motion, asin pholo 2. By the time be pares the punch, Lec" Fight puineh is upon the opponent’ face, az in pote 2 In photo Z ho uss the me parry against straight right punchle Ng pay doe wi ah, counteracts mol ing your body becaisn the twit of A Tho Inside low pamy ie used agtinit » punch or kick in the loving area, From a right lead on-guard position, the parry ‘= made with a semiciculr, clockwis, downward motion, as Photo 1. Simultaneously, your weight shifted to the from? leg as u bend your kaee slightly. Almost at the same time, Yo inter with your rigit hand, tin photo 2 Im the elasical system, your blocking hand moves downward in an oblique din toward your hip, ar photo ny in photo A, ae your other hand retracts ‘The disadvantage in the cls that your countering s much slower since you have to block whi fetracting your ether hand and then deliver yout punch-two definite motions, wile there is just one fluid motion of both hands in JKD. Another deadvantage is that your body, especially he upper line, i continuously expovedIn the following photos, Lee iustrates the application of the inside low pany. In photo 1, Lee stands in the on guard postion, Keeping his eyes ulued on the opponent, Assoon asthe opponent bagi to atin, Lee sleady responds to his action, as ia photo 2 ‘he opponent theows right that is intercepted by Lee's inside low parry asin photo 8, Lee then convert the party to. lop or pabbing technique, in almost one smooth motion he pulls his epponent toward hm and shifts his body forward 10 deliver 3 straight lead to the fae, The outside high parry ie more» sapping stroke than the inside high parry, which is more a watdingtt motion ‘Thi pay i to aivere the blow on the opposite side of your body, so your hand hs to cros over, as in photo A. There ie na ln in quickness of ‘ouniampunchiag Beeauss your lead hand ‘can sll deliver the ‘punch almost at the same time you are partying. By wtlising the [Suard or rear hand for parrying, the lead hand, which is clove to Your opponent and which i the stronger hand, free to punch, as in photo B.‘The clasical system uses the sume block for both the outside and inside high attack by jut reversing the function of the hands Instead of the left doing th block, the nght does the blocking and the left or the weaker hand does the punching, as in photo ¥. Bruce Lee explains in the following series of photos how be uslizes his ouside high pary for defense aginst a head” shot, In photo 1, Lee waits forfus opponent's frst move. Than in the noxt Photo, & ar the opponent throws «right, Loe pari the blow ‘with «light slap, just enough to divert the path ofthe blow from Mis face, Simultaneously, he taker « Uhree or fourinch slide forward ‘with his led foot, bending his kee 20 the weight it placed on i "Trapping the opponents pared hand, he dalivers his own right, as in photos 8 und 8A (side view) I Lee were to block or slap the blow vigorously, he would not beable to trap the opponent's hand is ahoulde.In the next dlustration, Lee stands preparing forthe attack, a in photo 1. Ab Whe opponent initiates the attack, asin photo 2, Lee mets the left swing with a party ‘and counters by clawing the opponent's fac, as must time his forward movement and parry core himelt In photo, La swt his hag sn ie ta deliver another blow, thi time back-fst punch In this last iustration ofthe outside high parsy, Lee uss the parry with a countering front ick. From an on-gutid postion, as Im photos A and B, Le pare a straight right, Without taking shy step, ho delivers a front ick to the opponents groin almost at the fame timo, atin photo C, This isa eter pary than the preceding ilustrations because he dovan’ have to move in 19 reach his ‘opponent, since the lg is mch longer than the atm.bt tho fightar on the fighter counters with aa plezus, asin photo 4 the opponent's solar ‘The sme technique ie nov pees (Gomheew) oppesterty ining toe 5 guard postion, at in photo A, and os his opponent star‘Against an opponent who stands with his left lead (orthodox), e: in photo A, Lee quickly stops the thrust by a short couite backward ad paries it at the opponent steps forward with straight right. Leo's parry here converts to tepping the opponent’ hand just before he countam with tight fo th Teor, axfa phat B The outside low pany it usually used against ¢ kick thats Aiected below your chest, with either claced fist of an open hana ‘The JKD and the clusical pares seem similar in photos X and ¥, bt they differ in delivery. The parry in JKD w executed witha setmicirclar downward motion, jut to deflector contol 4 ick In the clasieal, the block is performed with « downward, slanting, forceful motion to stop the Kick in ls path 1m the mext series of photos, Lae devribes how he defendsAAAmtinst someone who is in a stance opposite of Lee's, as in photo 1, Lee moves backward with peefect timing to the attack, {ee hs more time in this etack as his opponent uses his rear foot, the farthest foot, to deliver «front ick. Lee just moves a litle backward in this attack as the penetration is not that deep, in photo 2. Toe paris the Ick and preparcs to defend aguinst tho next blow, photo 2. This time he tses the Inside low parry agnna the right punch, wapping his opponent's hand. Then he counters with his own straight ght punch, asin photo 4 Lee constructed his wooden dummy with an extra arm in the center of the sructuresticly to practice Mi loeline parry, a photo A. ‘To pamy is merely to close the line or deflect the opponent's hand; should not swing too far to the right oF lef, just enough to create advantageous openings necessary ¥ countefighting. ‘Vary your parties to confuse the opponent. Don’t let hi set an stacking plus; instead keep him ues. This wil create hesitation on is pact nunching his offensive maneuver. ‘When there are © multitude of pares to be made, each parry raust be completed and your hand should be at the appropriate postion befowe the next parry s ma ‘When there « compound atack, the fit parry i performed with your movement of the rear foot and the second would be done exoctly the mmo; as you are shuffling backward trom the fecond attack, Your test foot must move before the altace and not after the delivery. of the blow. Partying is more subtle than blocking, which isa more violent force as it is used Srequenlly to abuse the opponent’ limbs Blocking should be wed infrequently and only when necesiary ‘eeause it ean drain your eneray. Besides, even if you block « wvildelivered blow, i wll ell daturb your balance and create Openings for your opponent. In the meantime, it prevents you from countering. uae WiicssTARGETS You can't bea nice guy ina fight ‘Because it may be your lif chou the groin eal right, ‘even jabbing the ees ke a knife, Fighting ts not ust hitting ‘but aminwat the weak spots of your foe ‘Bad with asinale being, ‘stead of using more than one blow. ‘There oe several targets on a body ‘uerable toa sre, But you must be proficient and ready {hit with ll your might.TARGETS The two primary targets in fighting are the eyes and the groin, asin photo A. Acolid goin blow can quickly incapacitate of use death to a mun, no matter how powerful he is physically Ben alight blow ean ronder a man urconscious Tn some martial arts they wil cll sucha vicious blow too eruel and inhumane. But Bruce Lee always felt that your main purpose in leering the martial arta orselfdefense arts i sell protection or selt preservation, A As “The meaning of ‘martial is ware,’ "he used to uy. “We are not in a game; is your life or his. And since you only have one life, take ere of tthe best you ean ‘ven you teat the martial art bke a spor,” he said, “th you have established rulss which croaie weakeszes. Or when you ttempt to be t00 eli, then you lor to resist fr fear of hurting Your edversary and this can also weakon your defensive toch nique.” Maay fighting ets, which became sport, estab rales that forbid eertatn, dangerous techniques to the players. Conanuenty most rues banned attacking the groin area and as time went by, “emphasis on guarding the groin area leigened to almost nothing ‘This is true In boxing, wresting, judo and many styles of larate Beeniso of tho arifiia protection today, many’ fighters do not know how to protect themaetves from a kick to the got, # in photo X. Bven their stances are vulnerable to a fast, frontal Kick, Lee saw this flaw and ereated his own stance, win photo Y, In ‘this stance, the groin area Is wel-protected by the lead thigh and by his adaptation of the sbutfing footwork, Te-did not curtail Nis speed or freedom of footwork. ‘Another feature of SED is that the rearfoot i rarely used for kicking excopt n'a spin kick. The reason for tis s that when the rear fot cromea Ue front, at that moment your groin area ‘exposed, especially witha roundhouse Kick Fingetabbing to the eyes, at in photo 2, a primary target, is nso considered the fist line in hand technique for attacking sndThe blow to the lead leg ean be & side kick to the knee ot shin, sin photo A, aside kick to the ankle, a in photo B, orto the hig, asin photo C. The hick 1 the lad leg is uly safe Wick elivered comctly, as in photo 1 The upperine areas are harder to hit because they are usually totter and easier to guard. To hit the thiost ofa skilled fighters almost imposible because hi hands are always guarding it, and be fucks this chin to his shoulder, hardly allowing ar ‘opening. Sometimes fingetdab can penetrate, ein photo Y The ib cage is very ulerable, especially if a blow i administered when te hand is held high. In aich a position, the ribs re separated considerably snd asa rel are quite fregle to any kind of «sharp bloxe The solar plexus is one of the most vulnerable spots in your Body but is hard to hit. Ta tiny spot to hit and mot ters have their hands there all the time, A good hit there usually discourages one from continuing to Tight, but it « rare oceacion when a skilled fighter ean be hit at tat spot, The jaw ie larger target than Une Uhroat but it 6 an eusivetarget against a skilled fightoe who can weave and duck. A fighter with good foctwork ean move away or just move his head sway from the blow. By tucking hit chin to his shoulder and by raising his shoulder 10 moot it, # becomes an inaccemble target to hit Nevertheless, a hit to the jaw can be devasiaing, as in photo 2 There are more boxars knocked out from «hit tothe Jaw than to any other place. Besides, i blow is delivered ata certain angle, as In photo ¥, the jaw can easly be broken ‘The sience of fighting isnot fut to hit your opponent's body, Dut to hit him at the most vulnerable spot. Better to finish a Tad with one punch than with several You also have to lear to bit without injuring younelt. Your fists must be formed propedty or you ein injure your thu, fingers or your wast. If you punch or kick comely, you will nok hurt youreit even if you mise your target and bt a hacder substance J delivering a sido kick, use the edge or Mat of your foot tocontact the target asin photo A. Occasionally, you may be ble to wae your heel sin photo B. I You are wearing shoes, the point of contact fora front kek ean be the toe, ax in photo C, the bal of your foot, as in photo D, or your instep, as in photo E. Buti you ar barefoot, avoid using yout toes and use caution when using the ball of your foot. The safest is your instep. Sometimes the inside portion of your foot is employed, in photo 1, but usually for weet, The strategy of fighting depends upon the vulnerable spots that you must protet as well as the areas most eat within the reach of your opponentSPARRING {Im sparing, you wil learn to hit leith rhythm and perfect tmtig, ‘But many times you may want to quit, ‘when you're the one recetoing los 0 Your head and your body whiea sting and give you headache. Don't despair ‘cause you're unleldy; sheep on sparring il you ean lobe Ilcksand bunches to your body. ‘nies You spar, you'l never know ‘how you'l do tha real fighe. {Like earning to scim, You must go ‘to the water to overcome right,SPARRING Contact spazrng is the closst endeavor to rea Sighting. Unie real fighting, there atelimiations sich as wearing protective gear tnd gover as well ar reerictions in the aie of cerain offensive techniques. Unt man invents beter equipment and methods, this fsthe most practic! way to tain today Bruce Lee always emphasized the importance of sparing, “A. fighter who tains without sparcing is ike a swimmer who hasn't {anmersed inthe water," he wed to a8. "There aze shortcomings in modern, fighting sports. In Western boxing the participants have the ieliation to become reckless ‘because of the protective rules in the sports, They are restrained from using certain punches, prohibited from hitting below the belt fad they are not allowed to use thett fet to kick os who participate in the Oriental martial arts tournament, such m arate, are belng overprotected by the noncontact fmactce of stopping the blows several inches from the body, even though the fll body is the targst. This practice hurts the Farcieipanta’ ability to Judge distance Besides, his artical sheltor Contributes to the abstinence of leaning to aip, duck, weave and the other defensive tactics used in boxing To real oF toll fighting all the elements must be employed to be effective. You must ust distance a « protective maneuver and all the evasive techniques of close fighting. The scence of fighting i the ability of one to outsmart and coutmaneuver bis opponent; to hit him without getting hit. tn A 8 | : | “ fghng, & good offense Is the best defense, ar in many other sports A good Fighter should beats opponent to Use punch with Tghtning-ast leads or outekick him with hik quick Ietd foot. He attacks with deception, He creates openings for hime by his command of techniques that Ind his opponent into » quandary He must deliver proper Kicks and punches instinctively, so. his ‘mind ie foe foretatagy “Aknough sparring mith 2 poi of gloves and other protective sear f cumbersome ond weighty, it the best way to gan some Experience in simulated ‘fighting conditions. ‘The headgear will affect your vsion and the gloves wil be cumbersome and heavy bout you mist continue to wie good posture and teehnlaue, You rust be careful not to fall nto'a Rabi of cateese dense while ‘Keep your hands at the proper postion, asin photo A"They should not be too low, a8 photo B, beeaase this Lesser openings (pba ered ec feerearile ty ontop ey henge g rena too high in photo C, the lower line afeas are Open nnd Had prevents you ftom delivering an effective stulght, fast punch Without fits repositioning your hands. Herides, aio blocks out Souirision. Standing too mich to the side, aa Ih photo D, prevents Sou from utilizing Your rear hand for defense or offen. Being too square, as pnoto E, hinders you fom rapid forward oF tmckward movement and also exposes your vulnerable groin areaPunching from to wide s sane, a in photo A, weakens your blows boeause you cannot utilize the full rotation of your hip motion. Yout are sso handicapped in peneteating or retreating ‘Quickly and your front foot becomes an easy ‘angel to Our ‘Sparing with your fest too close, a in photo B, upsets your balance and prevents you from delivering atzong punch, Do nol throw a punch whe leaning back, a8 In photo C, Because there absolutely no power in such a punch. A punch must be thrown, wrth your body upright and in balance, withthe weight shifting to the lead foot. If you ever have to lean your body backward, postion properly before delivering. Why teow a punch i it ‘Another effects blow is hitting while backing away. Your weight has to be silted forward to have fore. In other words, Hep back, stop, then hit. After the puneh, if you have to keep Iucking up, do the same routine: step back, stop, then hit It takes’ good sense of distance’ and ability to sop in your 7 W © retreat instantly and unexpectodiy, Learn to manuwer quickly from dofenie to offons and vice vera An ary habit to fall into i to punch with your body leaning too fer totward, ain photo D. Theoering a punch in ths ewkward patition & fille singe you cannot exert enough power into the bow when you ae out of balance. Tike a good Wester boxer, skilled fighter should be able to hit from any angle, Exch punch prepares him to deliver the next. He is aliays in balance to shoot any kind of punch. The more Akilfl he becomes a4 he lesne more effective combinations the more different typee of opponents he will eanguer ‘You have to lean to be patient while sparring. Don't delve your blows until you are certain to hit your opponent, Step toward him when You punch to make coniaet. Hit ay steaight ss Possible, using your nose ss the guide in the delivery. Don't fremhoot your target because 9 miss leaves you out of position Sha a target for an easy counteepinch, expecially wgxinst'@ boxer who leads. Instead, beat him with ehtaing-tot leds ancl draw iecounterpunche with fins vo he will mis. einting i 8 Ueceve an opponent into reacting to the motion of your hands, legs, eos and body. Your feint should entice him fo adjust hiv’ defense, thereby cresting momentary openings. Reaction to alight wave of te hand, stamp ofthe foot a sudden Shout, etester, ie normal human bebavioe. Been an atlete with ‘yeace of experience wl be distracted by such demonstration. "Xo fein eftecive uns it compas the opponent to react to your wishes, To be succesful it must appear to be a simple Inoverent of attack—the combination of hitting with the fein should appear to be the sue. ‘A feint should be fast, expressive, threatening, changing and precise, followed by 4 clean, sharp blow. Feints are not as Imperative against an unskilled fighter puns a skilled one Between two evenly-matched fighters, the one who isthe master cof the fint wil be the winner. “There are several methods in which to execute the feint, From the om guard position move forward and without any hesitation ‘bend your lead knee quichly. This slight motion creates an illusion that your ame are abo moving whon thoy arent. Anoter Cent i the fale thrust, Move your body above the wast by simply bending your lead knee and extonding your ont hand slightly ‘Then as you advance, take «longer step with your front foot and dio a halfextended ecm Uhrust, ‘The thrust must appear real to {induce the ‘opponent. to pany. When the opponent. pares, ‘disengage your hand, and deliver Us real thrust wath either band. IK the opponent can be reached without a lunge, keep the arm tightly bent and Keep yourself well protected by shifng, or by ean of the rearguard, The am should be more fully extended if the feinting precedes a kick oF a lunging stack, Another scorstul feint isto bend your upper body only while advancing. "The onmiwo feint can be employed “inside-ouside and utsideinside” or “high-low and low-high” with one or both fhands in combination, ‘Te initial feint must e long and deep but ‘quick, in order to draw the party. The next tesponse ito it che ‘Opponent hard before he can recover, This fent Isa “long-short” shyt. Tm the “longshort short” myth or the twoxfeint attack, the first feint must Loree the opponent to the defense. At that moment, the tance is closer fora shor fint before delivering 3 ‘hort but ral hit ‘The “shortlongshort” shythm i a more advanced form of feinting. The opponent & not induced by the frst feint 10 the second feint ie mace long to mislead the opponent into thinking that it the fical owt Of « compound attack, thereby drwwing him to parry. In this tactic, speed and penctration are the elements for success "To prevent or ken the chance of being countered heavily, leads dhould consistently be preceded by fointe, But the continu: ‘ous wie of the sume feint will defeat your purpose beeause the ‘opponent can lake advantage of this mancuver for a counter attack, Combinations of feints must be practiced until they ‘become automatic, You must ao tan in the use of various types ‘of feints to learn the diferent actions fom your apponents ‘The immediate advantage ofa flnt i that from the outsct you ‘an lunge t atiack with a feint to gin distance. In other words ‘you can shorten the ditance with a lunge and guin some time ‘rom ‘the fale attack by eausng the opponent to east or hesitate. "The fents will be more succoaful afer several eal but simple attacks, This wil confuse the les mobile opponent who will not know if the atiack is real or not, Tt may alo excite alight footed opponent to Mee. But if an opponent doesn’ respond to your feint, attack with straight or simple movements ‘There aro several ways of fainting: (1) fein a jab to his face and hit him in the stomach; (2) fet a low sidekick to his shin and Aeliver m hookkiek to his hoad; (8) feint a jab to his face and Geliver a sidekick to his tomsach, and (4) feint two jabs to bis face thes hit his stomach, eteetera. Experiment with oiher fein to create openings ‘Drawing is aimost Uke feinting. Actually, feinting isa segment ‘of dexwing In feinting, you attempt to deceve your opponent to reget to your motion. In drawing, you leave part of yout body lincovered to lead the opponent to attack that are. As he does, You ae piepared to take a defensive measure al are ready to Draving is also strategy to lead the opponent to respond to your deception and when he does, be i caught In a trap. Por {ntanee, you may rereat quickly to eatice the opponent to lunge an attack. As he does, you arc ready to evade the attace and ‘counter with «specific low. ‘Speed and timing complement each other. A fast blow wil mtHin hae he powerful unest thrown with timing. In photo A, a punch i thrown inatfectvely because of poor senso of timing and distance "You do not have to move with a rapid or jerky motion. Many times a smooth, unestant movenient ftom sere and without foyarent preparation wil hit the target becaus i so unpredict Timing is the capability to. perceive the right moment for action, auch as when the opponent. preparing or planning to mote; when the opponent iin the midst of a movement; when the opponent is ta teme deposition, oF when the opponent’ concentration iin the doldrums "Tamang in fighling mean perfoct delivery asthe opponent sts forward or i drawn into stepping forward. If your timing ie off fd you launch your Blow too ealy, ain photo X, your energy i pent without any teling effect, I your delivery i Yoo early, asin Photo Y, then your blow i not too effective, as your force was till developing Timing «blow i the secret of powerftl blows but no one can be 1 really heavy, hitter oven with perfect timing unless he brs Complete confidence in hi own abty. Ting can be a mental Problem, eopecnly when your rhythm ie broken. Your mind hae AifGeulty in adjuaing to the sudden interruption of ‘your fnovement while i continues for & fraction of a second, Thi r ¥ “halt beat” ie peychologially disturbing bocause you expect a the count is completed, Spocd knot the eat prerequisite when two fighter of equal ality and speed ave matshed. ‘There is aght advantage t0 the frst one who attacks but a grater advantage to the one who ;nows how to break the shytim. Even with only moderate speed his halbeat or unexpected movement can catch hit opponent ‘aitooted when his yam or eadence i interrupted and he en’, adjust quicky enough ‘Bren with palt of heavy glows, you must continue to use ‘use traning, euch as nontolegaphing your blows, Your delvery vill not be ae eieent with those lows on, but continue to matics thie way ar it will increase your proficency in. the fechnique-with er without glove, Since your foot is net burdened with protective gear, kick naturally with apeed and forea in your sparring, Do not deliver a kick, asin photo 1, forewarsing your opponent of your intention,1m boxing and in some Oriental martial arts, the hands ar the primary and almost the only ase for offense and defesse. But in other martial ars the kicks definitly pay a hewy part in srategie fighting. Unfortunalaly, many school emphasize the foot too heavily and ignore the hand technique. Bruce Lae used to mention thatthe hande are the primary weapons for attacking end defending. The foot can be ontained by cement of your foot to the opponent’, asin photo Ay and by Closing in on hime. But the hands ace much more difficult to ‘stain bce thoy ean bo thrown from close quarters an fom anges. There are other techniques besides pamying to defend against punches. Orin Ie better to use an alternative method such 3s footwork, because you are urually in a beter positon to counter. Other altemativer ure evasive tactics mich ae sipping, rolling. weaving and bobbing. Slipping i evading a blow without moving out of countering range. Your timing and judgment must be perfect to be ces ar the blow should miss by «fraction of an inch, Although slipping ean be executed ether laide oF outside a straight lead, tho outside slip is prefered, Tei safer to use and [prevents the opponent from preparing fora counter. The iden to {tum your shoulder and bedy to the right oF lft so you can alip the bow over ether one of your shoulders ‘Slipping is valuable technique in sparring because it allows you to use oth hands for countering. And you oan hit hatder moving inside a punch than blocking or paying and then countering “The stall rotation of your hocl is frequently the answer to successful sipping, To slip a night lead over your left shoulder ftom a right lead stance, raise your rear heel and rotate st Clockwise, transfering your woight ta the lead foot. Simultane ously bend your lead knee and tum your shoulder in the ste Clockwise divection ao you will be in a postion to retaliate, ‘To dip a lead over your Fight shoulier, raise your lee hel and rotate it counterlockwise, transfering Your weight to the back {foot Simultaneously, bend your rear knee and tum your shoulder in the same counterlockwise direction, preparing to counter with aright hook. The seience of bobbing and weaving ia valuable tate vo avoid blows and improve your defensive measures to counter ‘with & Imore powerful punch sich ae the hook. It provides you with sevens to te use of both hands for attacking whenever an opening ‘evelope ‘Wieavng in spurring is to move your body from side-to-side and Inandoul, Ia the proces you also keep Sipping straight leads izocted to your head. It makes an ehsive target of your head as Your opponent is uncertain which way you wil lip, Algo, ein 4 dilemma because he doesn't know which hand will deliver the punch ‘To weave to the inside agnnet rghit lead, slip to the ouside position fist by dropping your head and body witha um of your ‘Shoulder and bending of your knee. Close in under the completed punch and quickly resume your stance, The opponent's hand ‘hould be ever your lef shoulder, Keep your hands high and neseyour body, Then without stopping your motion competay, swing Your body to the inside postion and engage your right hand to the Spponent’s let. Continue to weave snd simultaneously counter wth ight and let punches. "To. weave to the outside agtnat a right lead, lip to the inside position by dropping your head and body with a twist of your Upper body and bending of your knee. Then move your head and body n'a circular, counterclockwise motion s0 that the oppo~ nents right hand i over your right shoulder. Keep your hands high and near your body. You should be tthe outside postion by then, standing in the on guard stance. ‘Weaving & more dificult than sipping, but you must master Aipping 26 be lied im weaving The key to weaving ito lear the art of relaxation, ‘Weaving i seldom used by tslf. Usually it ic accompanied by bobbing. Bobbing i fighting s usually referred to ae moving the bead oonttantly vertically, eather than side toe. The way 0 bob is to barely sink under a sing or hook with a controlled motion, ‘Your body should be im balance st all times, to ‘countarttace a to lip atmaight punches even atthe bottom of the bob. Don't counter er siraghtdown bob except to the groin. Keep your handk high and use your Knees for motion, “The purpose of bobbing and weaving is to close in by aiding Lnder the opponents attack. Weave to employ belated counters of hhard, svalght punches oF hooks. ‘The maser of bebbing and ‘woaving & usualy « hooking specialist, who is abe to dominate laller opponents. Like other sks in fighting, your weaving and ‘bobbing mutt not be toa rhythm. You mur keep De apparent ‘confused at al times Rolling i moving your body in such a manner thatthe blow is wasted, For instance, agaist asta pxinch and upperet, you move backward. Agriié a hook, you more to your left or right. ‘You do. the same against a hammer, except you also move ‘downward in a curved motion, Awa’ sr evsivo tatios with countering kicks or punches. Keep your eyes wide open as blows do. come withont much warring, and utlize your elbows and forearms for guarding Eusive tactics, when awed with hard hitting, can dhcourage an sigremor and tum dhe scuttle into appling. When ewnse ‘maneuvers are not used, pary blows that are dzected to your head we Skill in footwork can be developed greatly dusing sparring vessons, us your foot ean move freely in any ditection. Although ‘iccling as in the evasive tactics, isnot practiced too heavily in the (Oriental martial eis, it sun important segment of close Shing ‘when the use of kicks ie nt fess Jn circling to your right, the lead foot isthe axis to move your body to the righ. The ft step with your lead foot can be ether long orshort, depending on the situation. The shorter the step, the smaller the pivot Keep your lead hand slightly higher than normal to prepare for a countering left punch, ‘Gircling to the right is usd to nullify «right lend hook, to keep ‘the opponant off-balanee and to delivor an svantageous left hand counter. It important to maintain your base posture, move doliborately without any exaggerated motion and never cross Your teat, ‘Gxcling to your lef should be employed more frequently than the right because i is eafer. You ean stay out of range from rear, Jofthand punches. But it is more dificult to. do, a8 it requires shortersteps to be exact in your movement. ‘The stepan and stepout are offensive maneuvers to create ‘openings and are often ured with 2 font. The initial movement 10 stepan directly with your hands held high coating an illusion of delivering a blow. Then you stop out quickly before your ‘opponent can counter. The srstegy is to induce him into complaconcy go you can delivora surprise attack {A fightor with fost footwork and good led can impress upon ‘others that dhe artis simple and oasy. Ho ean make a slower ‘opponsat look bad by th process of hit and run. As Use opponent ‘moves in, he confronts him witha lead punch and quickly steps back. At the opponent punues, he repeats the proses—cireing and moving in and out. Occasionally, be wil meet his opponent Jhead-on with a straight right or lett o & combination. ‘Even while you are waiting in the on-guard position, your hands and body should be in continuous motion, slightly bobbing. The ‘motion can deceive and camouflage your attack as well as keep Your opponent confused. The motion should not be overdone or ‘wll disturb you timing in attacking and defending In sparring, lam to be patient. Do not waste your onary by throwing a punch until you are almost certain that (t wil bie the target mith power. Throwing punch by overreaching, asin photoA risky. Fin, your panch is too weak todo any damage oven if Xin against counterpaneh. And thir you heve not lke postion tie the opponents, allowing him freedom to deliver a Teuk kik to your unprotected groin dase ar opponent into 2 cara or tothe ropes before You ate throw aerurate punches as you have him comered. Missing teeny times can easly wear You down. % or longange sparing, jab with your lead, atin photo X,and nee erreur reat, judge your distance comectly before Gem tara punch. For ahort range, use hooks, rear hand body throwing percuts, uk do not Punch from too far out ai ote 2 Punch dhrough your opponent ‘eave as you hi. A bard punch ean only be delivered from & colt tees Occadonally (ake & thor step tothe left, uhroo or foe ‘ali basen your Year foot when throwing aright led punch, Th vee eit mon power in your punch, expecially from long rangeDon’t ever punch with your foot off the ground, atin photo A. Have conidence when you spar, Don't move sway from your ‘opponent when you ane delivering a punch, xen phota B, Your Punch will lack power and you will abo reveal to your opponent « fear of being hit. Your imi action only increta his casidence and decreases your chance of fighting with strategy. Another bad ‘tre is to turn your bead away fom the attack, asin photo X ‘Sich behavior leaves yous open for additional attacks and prevents you rom countering Dring sparring isthe time to lear your weaknesses and how to ‘overcome them. ti #00 late in areal ght. You il be surprised to loarn your pitfalls while sparing. Bad habits, such as standing wvith your feet parilel, may show up. You may only notice f then you find yourself caaly being thrown off-balance, ab in ‘You may be retreating with your gua down, as in photo 2 But you wil lean quickly to heop your guard up afer you take several hard blows to your fee. There ere so many eriables in Gghting dhat you cannot follow through a stsingent plan. You have to be flexible as diferent aBRUCE LEE~1940-1973 Bruce L2e flashed brilanty like a meteor through the wo:ld of ‘martial arte and motion pitutes, Then, on duly 20,1979, Hong Kong, tke @ meteor-he vanished, extinguished by sudden death He wis just 32 ‘Bruce Lo began his martial arts stadee with wing chun, under the tutelage of the lato Yip Man, to alleviate the personal Insecurity instilled by Hog Kong sity life, Pochaps because Bis ‘uaining enveloped him to. the point of fanatic, he war ‘eveoiually able to refine, distill and mature into © philosopher, technician and innovator ofthe martial ats, ‘After intensive study of diferent martial arts stylee and heorns, Lee developed a concept of martial arts fo the individual ‘man. This concept he later labeled Jeet Kune Do, the way ofthe intercepting fst. It has antecedents not only in fl physlcal ‘waining and voluminous martial ars Ubrary (over two thousind: ‘books), but i his fozmal education as well (a philosophy major at the University of Washington, Sette) Tee alo combined his martial aris expertise with his knowledge of soting sil and clnemetie techiques starring in sever motion, pictures: The Big Bows, Fste of Fury, Way of the Dragon and Enter the Dreson ‘Bruce Leo's death plunged both marta arts and film enthusiosts into an ays of disbelit. Qut of their wowing demand to know more of and about him, his ‘Tao of deet Kune Do wae Published-which 3c now followed by BRUCE LEDS PIGHTING. METHOD. ‘This Ohied in a series of volumes, which has been compiled and organized by his longtime friend, Mi Uyehar, utllaes yore ofthe tiny thoutands of pictures from’ Lee's personal photo les Uyehra sw formor student of Brace Lee