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Jeet Kune Do Theories
Guiding
Principles of Jeet Kune Do
Jeet Kune Do approaches effective self defense in a uniquely different
manner that sets it apart from most other martial arts. Some distinctive
principles are noted with a brief description.
* Non Telegraphic Movement
- drawing the arm back
before striking, stepping before kicking or showing any obvious "build up"
movement tells the opponent what you're about to do. This gives them the
opportunity to counter attack you. In JKD you learn to punch and kick
efficiently without telegraphing any intentions.
* Strong Side Forward
- We stress the use of our
strongest and most coordinated weapons (hand and Foot) out front, where
they can do the most damage. If you are right handed, you will be in a
right lead fighting stance. If you you left handed it's a left lead
fighting stance. This in turn makes the weaker weapons stronger, giving
you two strong sides to use for attack. We use the lead hand for 80%
offense, 20% defense. The rear hand is mostly used as a defensive tool,
80% defense and 20% offense.
* Longest weapon to the closest target
- When attacking from a
distance to the nearest target JKD uses the lead hand for punching and the
lead leg for kicking. The rear tools are further away, take longer to get
to the target and can be timed and countered more easily.
* Non Classical Movement
- We do not employ the use
of set or fixed training forms or patterns. They do not accurately
represent realistic fighting situations. We employ drills that keep the
relationship between the opponent's alive, fluid and mobile.
* Use of Broken Rhythm
- Used while attacking or
counter attacking, it allows you to catch your opponent while they are
motion set, thus making it harder for them to defend or counter your
attack. In attacking, there are a few ways to break the rhythm within a
series of movements after a rhythm has already been established. For
example, speed up suddenly, or slow down suddenly, and or insert a brief
pause or delay in the series of movements. In counter attacking, you can
hit on the half-beat to break an opponent's rhythm and interrupt their
attack. If you hit the opponent before he completes the first and second
strikes, you have broken the rhythm on the one and a half beat, Control
the rhythm, you can control the fight.
Rhythm example with a jab cross hook combination:
1. X-X-X 2. X-XX 3.XX-X 4. X-XX 5. X--X-X
* Adaptability
- Fights are abstract and
are constantly changing. One must be able to adapt to these changing
situations. You cannot be bound by fixed techniques, a single system or
method. You must be free to use whatever works and to express yourself
without limitations.
* Use Of Feints and False Attacks
- Feints are actions that
make an opponent think an attack is being launched against them. The
object is to divert their attention from your final or intended point of
attack. False attacks are intentionally made to fall short of the target
and to draw a defensive reaction from the opponent. This will help you
discover how they will react to your movements and is a set up for other
types of attacks, such as attack by combination and progressive indirect
attack.
* Interception
- The words Jeet Kune Do
translate to way of the intercepting fist. It is least efficient to block
first then hit. It's more efficient to simultaneously parry and hit, or
even better, intercept the attack. This is best accomplished by
controlling the distance so your opponent has to move towards you to get
to you. The mind-set of defend and hit must be changed to think hitting.
* Centerline
- Lopping and or grand
movements are very telegraphic and easy to defend against, There are some
major targets located along the centerline such as the eyes, nose, chin,
throat, solar plexus, and groin. In controlling the centerline, you also
can control the balance, position and leverage of an opponent and their
ability to attack you.
* Alive Footwork
- Good mobility is
essential. It can put you in a position to hit, or it can take you out of
position from being hit. Distance, rhythm and timing are controlled with
footwork, which should always be alive fluid and mobile
* Focus On Low Line Kicking
- Kicking high to the head
in street fights can be dangerous. High kicks are slower, easier to defend
more telegraphic and you need to be very limber to execute them. Low line
kicks to the groin, knee and shin are quite effective and much more safer
to execute. They are faster, harder to defend, and less telegraphic and
your balance is not as compromised.
* The Five Ways of Attack
- Even though there are
many martial arts systems, styles and methods, there are basically only
five ways fro you to attack or be attacked. In JKD we classify them as:
1. SDA/SAA-Single Direct Attack/Single Angle Attack
2. ABC-Attack By Combination
3. ABD-Attack By Drawing
4. PID-Progressive Indirect Attack
5. HIA-Hand Immobilization Attack
Beats
Are measurements of time during an attack. For example, an opponent
strikes with a straight lead punch. When the fist is midway between its
original position and full extension, this is a half beat time. Then the
punch reaches full extension, this is one full beat of time. When the
punch withdraws midway between full extension and its original place in
the fighting stance, this is a half beat of time. If the opponent were to
hit with a full extension on two beats of time. In Jeet Kune Do,
practitioners prefer to counter on the half beats whenever possible.
Body Feel
refers to when a martial artist has implicit understanding of how his
movements affect his balance and knowing where his body is at all times.
While the concept sounds simple, it's actually something that a lot of
people fail to grasp because they don't have a good idea of where their
body is in relationship to themselves and their surroundings. For example,
if a person steps forward three inches with their front foot and six
inches with their rear foot and then four inches forward on their front
foot and two inches with their rear, his body feel is off because he is
unaware that he is off balance and not maintaining a uniform distance in
his fighting stance. In Tao of Jeet Kune Do, Bruce Lee described body feel
as, harmonious interplay of body and spirit, both inseparable.
Bridging the gap
Occurs when one opponent close the space between the fighting measure. The
gap is bridged when either one or the other opponent moves past the
fighting measure into striking distance
Brim of fire
Is the distance at which either opponent can strike without moving forward
because one has crossed the fighting measure
Cadence
Is the specific rhythm for a succession of movements in a technique or
combination
Classical technique
Is what Bruce Lee believed to be one of the problems with classical
martial arts. Because traditional students learn to attack in a
predetermined pattern rather than in a relationship to their opponent's
movements, they are limited to a combination of predetermined moves from
their style.
Commitment
Refers to how much power a Jeet Kune Do practitioner puts into a
technique. Half commitment is like a boxing jab; it is a minor blow to set
up major blow. Full commitment as a major blow, which hits through the
target but does not overextend. Extension commitment requires the JKD
practitioner to throw everything he has at his target with no regard for
recovery. This kind of attack, such as a stop-kick, should be attempted
only when he is absolutely sure that he will hit the target with enough
force to end the fight. Note: More power techniques take longer to recover
from. If you miss with an overcommitted punch, you will probably be
vulnerable to a counterattack.
Critical distance line
Is between the fighting measure and the brim of fire line. At this
distance, either move back to intercept or move forward to build momentum
and get the most power from an attack. By doing this, a Jeet Kune Do
practitioner gains the necessary power to penetrate two inches.
Drawing
Refers to when a JKD stylist tricks an opponent into attacking by
purposely leaving some part of his body unprotected and open. This
provokes the opponent into thinking that he can launch a successful
attack, one the JKD stylist already has a specific counter in mind for.
Defensive movement patterns
Are predictable movements and footwork. In contrast, the Jeet Kune Do
martial artist wants to always be unpredictable.
Deception
Masks a technique's true intent. For example, a fighter tricks his
opponent into believing that he is attacking with a high hand strike but
instead launches a low kick. Two of the five ways of attack
-
the attack by drawing and
the progressive indirect attack
- are based on deception.
Defensive movement patterns
Are predictable movements and footwork. In contrast, the fighter wants to
always be unpredictable.
Distracting hand
Uses the hands to focus the opponent's attention away from the intended
attack. There are three hand distracting methods: the Obstructing method,
the sound method, and the combination method. Using the obstructing
method, a JKD stylist throws his front hand up to the level of his
opponent's eyes while still in the fighting, mimicking a progressive
indirect attack. This trick's his adversary into thinking that he will
attack with his hands; instead he's going to bridge the gap and attack
with a low kick. The sound method, as the name implies, uses sound as a
distraction, such as clapping your hands before an attack. The third
method combines the first two. For example, a JKD practitioner might throw
his front hand up and slap his thigh for effect before attacking.
Delayed hit
Is also known as a broken time attack. To
do it, begin a strike, take a slight pause and then renew the attack
Double time
Is a term Bruce Lee borrowed from Fencing and means blocking an attack and
a kick and the launching your own counter kick. However, be wary because
double time is a passive defense. If an opponent feints a JKD practitioner
into block, he has successfully deceived the practitioner. This means the
opponent's hit will land before the JKD practitioner can muster a counter.
Fakes
Are done when a JKD practitioner wants his opponent to go in one direction
while he moves in the other.
Fighting measure
Is the distance a fighter wants to maintain between his opponent and
himself.
Focal point
Is the full beat between the opening and closing line of an attack.
Hyperextension
Is the farthest a strike or kick can extend.
Reaction time
Is the time gap between a stimulus and a response. For example, the
reaction time occurs between an attacker's oncoming punch (the stimulus)
and the defender's stop-hit (the response).
Single-choice reaction
Is what a fighter strives to have. It means that when someone tries to hit
a fighter with a jab, he simply hits back first with a stop hit. The
fighter has one basic response to a single stimulus.
Jeet Kune
Do
1. Thought
a. understanding your opponent
1. rhythm 2. cadence 3. speed 4. technique
b. Timing your opponent
c. Correct assessment of the openings during
1. rhythm 2. footwork 3. defense 4. attack
2. Attack
1. Commit yourself to one of the five ways of attack
a. SAA b. ABC c. PIA d. ABD e IA
3.
Close the distance
a. Feint and progress b. change line (in order to be safe to progress)
a. side step and enter b. offset center line c. follow in opponents
returning attack
d. draw opponent in to your distance
4. Entering
a. on an unprotected line
1. during a committed attack 2. on the open line
a. during the extension of a limb b. on the retraction of a limb
b. feint
1. to open line of attack 2. to cover up another attack
c. change line of attack
d. sudden alteration in angle of entry
e. attack a limb
1. to open a line of attack 2. to obtain a hold for a lock, takedown or
throw
3. to destroy
5. Follow-up
a. continue attack
1. alter angle of entry 2. on an exposed line
a. during committed attack b. because of an extended limb
c. because of a contracting limb
3. Attack a limb
a. in order to open a line of attack b. in order to obtain a hold for a
lock, throw or
takedown
b. Set up for a finish
1. hit and continue hitting 2. close distance tight 3. attempt to clinch
4. Takedown
6. Finish
1. by combination of strikes
a. kicks and punches b. knees-elbows and head butts
2. By grappling
a. joint locks b. joint break c. choke d. slam into things
1.
Throw 2. control and slam
Centerline Theory
In
Jeet Kune Do, there are many imaginary lines that a fighter should be
aware of. The most commonly used tactic is a Straight Line, this being for
defense or offense .
The reason why the straight line is favored in JKD is because it is the
shortest distance between two points and you reach your opponent much
faster. The Basic Line or straight line is the most common line.
Wherever you look, that should be your target, allowing you to reach your
opponent faster and with more power. By being in a JKD
By Jong
(fighting stance) or front lead, this allows you to be one step further
and closer to the target. By being an orthodox fighter, the attacks will
come from the rear, which might be a straight line, but not always the
shortest line between A and B. Using the shortest distance will also be
non-telegraphic and this will offer you the advantage of the inside center
line.
You will be able to hit him by blocking his attack, but he cannot hit you
because you have the advantage of his inside centerline, which is the line
between the Blocking Line and the Center Line. By taking the inside
centerline, this will give a big target area on which you can strike your
opponent and cause much more damage. Meanwhile, all of your vital organs
are on the centerline, which is a good reason that your rear hand should
always protect your centerline. Another line called the Mother Line goes
from the top of your head, passing through your body, down to the floor.
It's the core axis of rotation. It is in you. The Mother Line is the
attack line. It's the target area; you take advantage of it while
executing the techniques. Next is the Self Center Line. This is a vertical
line painted down the center of your face to your feet, dividing your body
into two equal parts.
The Self Center Line moves with you, no matter what angle you turn. It is
painted down the middle. When you move, it moves. This is the line you
follow during practice when no opponent is present and it is mainly used
to help you execute techniques correctly. All blocks and attacks should be
in reference to the Self Center Line. You are protecting your Self
Centerline, while trying to target your opponent's Line.
A Center Line Plane allows the core of your Mother Line to be connected
with the core of your opponent's Mother Line, no matter which way either
opponent moves, shifts or circles. The Center Line Plane always connects
the two fighters. The outside curve line is called a Blocking Line. This
line goes from the outside from any blocking motion and connects to the
Center Line. A Jeet Kune Do fighter or practitioner takes advantage of the
area inside the Center Line.
The Power Of Interception
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.
Jun Fan JKD Sectoring Concepts
Sectoring concepts develops the center lines or your defense and offensive
concepts of moving into punching range for follow-ups.
This is the break down of some of the concepts: for a single punch
1. A Spilt
sector; Parry outside of the arm and strike inside to the head or body
2. Inside parry
and hit sector; inside arms attacking center line head or body
3. Outside parry
and hit sector; hitting over the arm to the head or body with the same
hand.
4. Pak Sao and
hit sector; slap block with rear hand and hit with lead hand
5. Cutting
sector; cut off attacking angle of the punch, using your punch to counter
and strike at the same time, coming from a slightly different angle.
6. Guild and hit
sector; Intercepting early to guide the attack into a different angle.
7. Inside Pak
Sao sector; Slap block with lead hand and counter with the rear hand
8. Cup Sao
sector; Circling attacking angle or punch out and away from you by moving
the center line or the body off line.
9. Lop Sao
sector; Grab or grabbing control of the attacking hand.
10. Intercepting
or stop hitting; you stop the attack at it's fulcrum or leverage points
You must develop sectoring principles into basic follow-ups, which are
Head butts, Knees, Elbows, Kicking concepts if they evade out of your
punching range, Throwing tactics, Joint locking tactics, Develop counter
takedown tactics, grappling/counter grappling.
When working inside center line, (between their arms) sometimes instead of
striking develop monitoring or checking the attackers opposite hand or
follow-up with a straight blast (which is a number of punches up their
center line)
Next Phase you want to develop sectoring combinations using the basic 1-2
combination or Jab and Cross from boxing.
Next Phase work on developing the tactics from sectoring countering
sectoring.
The essence of physical fitness, the spring board from which all novices
must move to a state of readiness to study the martial arts, is perfection
of breathing.
Understanding the philosophy of Jeet Kune
Do
1)
Absorb What Is Useful
2) Reject What Is Useless
3) Add What Is Specifically Your Own
4) Man, the Creating Individual
1. Absorb what is useful:
"The idea of absorbing what is useful does not mean choosing, collecting,
compiling, accumulating or assembling techniques from different styles of
martial arts thinking to yourself, "I'll take the best from all the styles
and put it together to form a new style." To do this is to miss the point.
We are not saying "collect what you like" or, put together the best," but
"ABSORB" what is "USEFUL". It is an individual investigation. To "ABSORB"
means to "get into" the technique, training method and art you are
interested in until you develop a "feel" for it. Until you experience
"being" in it and "becoming" it you don't really understand it. For
example, looking at the Malaysian art of Bersilat, trying out a few of
their techniques, then saying to your self, "I like their elbow technique,
I think I'll add it to my style" is a step that is self-delusional. To
understand those techniques you need to go into the Malaysian art and
train like they do, feel it, experience it for awhile, both in the doing
and the receiving, until you've got a grasp on it. You must become a
Bersilat man in order to truly understand Bersilat techniques, attitudes,
training methods, etc... Once you have "absorbed "; that experience and
knowledge gained is yours, not just something you've parroted from another
style. Only now can you start throwing away what doesn't suit you
personally, so you can reject what is useless.
2. Reject what is useless:
How do we know what is useless? What we think we see is sometimes not what
we really see. For example, a karate man, kick boxer, kung fu man and
Savate man were watching for the first time, a Thai Boxer throw a
roundhouse kick against a heavy bag. They might immediately dismiss the
idea that the kick had anything to offer them because they already feel
they know that kick, but do they? If they investigated further, they might
be in for a rude awakening. Anyone who has spent some time training in
Muay Thai would realize that although it may look like the same kick, it
is in fact not the same and it takes a great deal of training to perfect
and maintain it. Not being able to perform a technique successfully is
another reason for rejecting what you think is useful when it might not
be. We should question ourselves. Why does that technique from that style
work for them? Why doesn't it work sometimes? The important thing about
rejecting what is useless is that you don't reject anything until you know
why you are rejecting it! You could be throwing away a real jewel because
of your own lack of understanding. Possibly your timing or distance is
off; or your coordination needs improvement. Would you reject batting in
baseball just because the times you tried it you struck out? Most of the
time it's your own fault that the technique doesn't work, so before you
reject anything make sure you've investigated why it doesn't work for you.
3. Add what is specifically your own.
To "add what is specifically your own" doesn't mean to add anything for
the sake of being different or to make ourselves or style unique and
different from everyone else. It is understanding the principle at the
core that really counts. By knowing ourselves and understanding the root
motions we can then modify to our personal preferences. For example, how
many of us still drive the way we were taught in driving school? It is
because of our experience in driving that we can add our personal
modifications or cheat (as the case may be); like driving with one hand
while operating the radio buttons with the other, or turning the wheel by
palming it instead of using both hands in the accepted driving school
manner! How do we know ourselves? We must experience a great deal before
we can decide what our personal preferences are in technique. We must look
at martial arts with eyes that can see what is functional from the
perspective of combative structure. Economy of motion, simplicity, and
directness are some indicators here. To be able to discern what is
functional requires understanding the principle in practical
application-action. Sparring helps in this regard and no wonder Lee
referred to it as the "lifeblood" of JKD.
 4. Man, the creating individual:
Man, the creating individual is more important than any established style
or system. Does this mean you should create your own style? In order to
understand this we must distinguish between style and "personal style" All
boxers basically use the same methods and "style" but the personal style
of Ali is quite different from Frazier. European boxers have a different
movement look than American boxers. When we are creating our own style it
is an investigation into what is the best way to get more power, more
speed, and more efficiency for ourselves as individuals. Who created
style, then? An individual or group did. So what becomes more important,
the style or the individual? This last statement in this saying is about
freedom, the freedom not to be bound by any method, style or philosophy
that limits our personal growth outside of that entity. The key to all
this boils down to the common denominator called experience. The JKD man
actively seeks experience because only by experiencing can he arrive at
any sort of self-knowledge, self-understanding, or self- realization. It
is good to seek knowledge of techniques and training methods, but if you
stop here then you become just a collector creating a mosaic of techniques
and methods that do not function or fit together in a fighting structure.
Knowledge of itself has no understanding. Understanding comes from
individual experience with that knowledge.
I think Trevarian best sums it up by saying, "Do
not fall into the error of the artisan who boasts of 20 years in
experience in his craft while in fact he has had only one year of
experience...20 times.".
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Five Ways of Attack in Jun
Fan JKD
Attack
on intention-when they are thinking about it
Attack on preparation- when they telegraph their intentions
Attack on delivery- intercepts the attack on the half beat with a stop hit
Attack on completion- intercepting it full extension
Attack on recovery- when they are recovering; response hitting
JKD`s Five Ways of Attack
SDA
(Single Direct Attack)
A direct attack is composed of a single movement. The objective is to go
to the target by the most direct route. Although it is the simplest of the
attacks, it is the hardest to complete successfully because the speed and
timing. as well as the penetration of the opponent's defense must all he
perfect. A single direct attack is made into the line of engagement or
into the opposite line by simply beating the opponent to the punch, or by
catching him in a moment of vulnerability. When executing a single direct
attack, you lunge to hit the opponent before he can parry, without any
attempt to disguise the direction of the attack. Here, you would most
likely use your longest weapon to the closest target. When striking with
the lead hand, it is advisable to constantly vary the position of your
head for added protection against your opponent's counter. Keep the lead
hand moving, as it not only keeps your opponent on the edge, but also can
be delivered faster from motion than from a stationary position. Also, to
minimize counters from the opponent, you should at times feint before
leading.
However, do not overdo the feinting or headwork.
Remember simplicity. Such an attack can also be thrown at an unexpected
angle, sometimes preceded by a feint. This is called a
Single Angular Attack (SAA).
It is done by positioning your body in relation to the opponent so that an
opening results. The judgment of distance must be good. Sidestepping or
some kind of lateral movement is often used in this attack.
ABC (Attack By Combination)
ABC is a series of thrusts that follow each other naturally and arc
generally thrown to more than one line. ABC is generally composed of
set-ups to maneuver the opponent into such a position or create such an
opening that the final blow of the series will find a vulnerable spot. You
want to make sure that our attacks are aggressive enough to get your
opponent to back away, otherwise he may smother your attack combinations.
HIA (Hand Immobilization Attack)
HIA applies an immobilizing technique (trap) on the opponent's hand or
leg, or head (by grabbing the hair) as you crash the line of engagement.
Immobilization attacks can best he set up by using any of the other four
ways of attack, and traps can be performed in combination or singularly.
You use this when there is a barrier, such as the opponent's arm, that
prevents your weapon from scoring, or when you want the added protection
of covering a threatening weapon such as a nearby fist when slipping or
countering. Trapping keeps the opponent from moving that part of his body,
offering you a safety zone from which to strike. It can also be used to
force an opening: upon finding your opponent covered, you v would attack
his hand with sufficient force and vigor to turn it aside and make an
opening for your hand on the lunge Deflecting or trapping the hand while
stepping forward, also limits the possibility of a successful jam from the
opponent. Obstructing the leg as a preliminary step is likewise very
effective.
PIA (Progressive Indirect Attack)
A PIA begins with a feint or an uncommitted thrust designed to misdirect
the opponent's reactions in order to open a line for the real attack which
follows instantly. The principal use of the PIA is to overcome an opponent
whose defense is strong enough and fast enough to deal with HIA and SDA.
It is also used to offer variation to one's pattern of attack. The
distance has to be closed up a good half by the feint. The feint should
induce the opponent to think you are going to h it him in a particular
line; so it must he long enough to provoke a reaction. When the opponent
moves his hands or arm to cover that line, another line will open and the
real thrust strikes there. The succession of feint and real attack in PIA
is executed in a single, forward motion. In this, it is distinctly unlike
a SDA preceded by a feint, which would he two separate movements.
ABD (Attack By Drawing)
This is a counterattack initiated by luring an opponent into committing to
a move. You must induce the opponent to step forward in tempo into the
"within distance" area, for instance, by leaving an apparent opening. Then
you time his attack, and nail him while he is stepping forward, or merely
shifting his weight forward, or when he shows any sign of heaviness,
mentally or physically. The success of this attack largely depends on
concealing your real intentions. Or you could execute movements that he
may try to time and counter in some manner such as a jam which you can
predict with some moderate certainty. His commitment will not allow him to
change his position or guard swiftly enough to deal successfully with your
offense after his technique is parried.
8
Elements of JKD
Internal
Emptiness the
art of Emptiness is the last level of training in JKD. This is when you
react naturally to your environment, without thinking.
Stillness the
art of Stillness occurs when you are aware of your surroundings and not
charging your opponent blindly. You are not distracted by anything.
Sinking the art
of Sinking occurs when all of your energy is focused into your middle, the
center of your gravity. This enables your strikes to be well grounded and
most forceful.
Softness the art
of Softness means your moves are "fluid" and concise. Your strikes will be
forceful without exerting unnecessary energy.
External
Technique the
art of Technique is when you have mastered the movements of JKD. They are
second nature to you and you know when to apply the proper technique in
real life situation.
Timing the art
of Timing is most essential and it fits hand and hand with technique.
Knowing when to apply the technique at the right time. Even if your
technique is the best, without proper timing the technique is useless, and
your distance, speed, and rhythm will be misjudged.
Angle Structure
the art of the angle structure is accuracy. In order for your angle
structure to be effective your moves must not be sloppy and must be well
focused.
Power the art of
Power will develop as your technique, timing, and angle structure come
together. Without technique, timing, and angle structure, power is
useless.
Jeet Kune
Do Primer
Optimal
function of the well timed stroke in descending order:
(1) Before: Motion/attack “on preparation”
(2) During: Motion/attack “in flight”
(3) After: Motion/attack “on riposte”
Simple, Direct & Non-classical:
(1) Embraces simplicity over complexity (minimum v. maximum motions)
(2) Embraces directness over indirectness (straight line v. curved line)
(3) Embraces Non-classical (spontaneous/non-rhythmic) v. classical
(pre-arranged/rhythmic)
On guard Stance: Small phasic, bent knee
stance:
(1) Facilitates stability
(2) Facilitates mobility
(3) Facilitates primary lead tool usage
(4) Facilitates aggressive defense “counter offense”
Footwork to control distance:
(1) Offensive Defense
(2) Defensive Offense
Strong Side Lead: Right Handed uses Right
Lead & Left Handed uses Left:
(1) More Agility
(2) More Power
(3) More Natural
Primary Lead Tool Usage: Front Hand and/or Foot:
(1) Closer to Opponent
(2) Strong/Agile Side
(3) Easy to Initiate from On Guard
(4) Easy to Recover to On Guard
Aggressive Defense/Counter Offense: Optimal
Function in Descending Order:
(1) Step/Hit
(2) Evade/Hit
(3) Deflect/Hit
(4) Trap/Hit
(5) Grapple/Hit
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Ακαδημία
Μαχητικής Τεχνολογίας Jeet Kune Do
