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Jun Fan Jeet Kune Do Kickboxing

Jun Fan Gung Fu takes its name from Bruce Lee's Chinese name of 'Lee Jun Fan', combined with Gung-Fu, the Cantonese spelling of the term Kung-Fu.

Jun Fan Kickboxing its practice includes the use of punching, kicking, trapping, take-downs and groundwork. Drawing heavily on Western Boxing and the more traditional kicking methods found within other Martial Arts, 'Jun Fan Kickboxing' is a fine 'base' system for anyone later interested in delving further into the JKD concepts. It allows for the development of the basic tools of combat as well as the attributes which need to be developed for their effective execution.

The use of training equipment such as focus gloves and kicking shields allows the practitioner to move away from static drilling and develop within an environment closer to the unrehearsed atmosphere of combat. 

The Jun Fan Kickboxing phase began in 1965. The arts influencing Jun Fan Kickboxing were from many different structures and origins. Western Boxing, Thai Boxing, French Savate, Filipino Sikaran, Northern and Southern Chinese Gung Fu and others were used.

In 1970, Sifu Dan Inosanto added Filipino Boxing (Panantukan) to the curriculum. This was done primarily for two reasons. First, it added more sophistication to the Western Boxing, and secondly, it added the ability to drill realistically and combatively without major risk of injury.

Presently, there are many drills and training methods that are being used, expanded upon, and created into the Kickboxing curriculum. As is in athletics, older methods are updated and adapted where necessary, while the fundamental principles remain the same. The overall goal of Jun Fan Kickboxing is to coordinate the kicking and boxing so that they are totally blended.

Jeet Kune Do refers to a set of concepts laid down by the late Bruce Lee to govern effective Martial Arts practice. With the development of the individual as its ultimate goal it is this quest that can often lead an individual to investigate a number of Martial Arts systems. Heavily grounded in the training of attributes such as timing, and distance awareness, it is often felt that Jeet Kune Do practitioners view the Martial Arts as a menu from which that which best suits them can be picked. However, if someone finds all they need to be effective within one system then that is every bit as valid an example of Jeet Kune Do as those that draw from more than one art. For me, the Jeet Kune Do approach goes way beyond Martial Arts. It is an approach to life that seeks to help you consolidate strengths, identify weaknesses and continue to grow into the unknown. Bruce lee once said of Jeet Kune Do, "it's just a name, don't fuss over it", that advice still seems valid today with the process being more important than its name.

Jun Fan Kickboxing Drills

Jun Fan Entries with mitts
Lead hand;
Basic: jab-cross
Partner jabs) you: screw punch over & around the jab
Partner cross) you side step and double jab over cross
Follow ups are cross-hook-cross -round kick

Defenses to the jab-cross series

Jab-cross (offense)-Defense a. catch b. cover
Jab-cross (offense)-Defense a. catch b. bob and weave
Jab-cross (offense)-Defense a. catch b. tan sao
Jab-cross (offense)-Defense a. catch b. shoulder stop
Jab-cross (offense)-Defense a. catch b. shoulder stop w/ forward knee step back
Follow ups the same

Attack by drawing

(Jab) counter: over hand right
(Jab-cross) counter: catch & shoulder roll the cross round kick
(Jab-hook) counter: catch, bob & weave hook
follow ups the same

Kick defense
(Lead round kick) capture and angle side kick to support leg
(Rear round kick) lead leg, side or front kick
Follow ups the same

Jun Fan Boxing & Trapping drill
using focus mitts you start: (left lead forward)

Drill: Cross-hook-cross (they parry) you lop sao backhand- hook-cross-hook
They cross-you inside parry w/ Rt. hand & eye jab w/left to cross-hook-cross

Jun Fan Kickboxing Basic Foundation

Jun Fan Kickboxing - Thai Boxing / Savate / Pananjakman / Panantukan - they are all practiced as full contact
Basic Stance- need to move- footwork- stance isn’t what blocks the strikes- be up on your toes and let footwork be the best means for defense.

Stance- feet shoulder width apart- take one step forward- get your hands up and you might want to drop your front hand slightly- left hand is like you are talking on the telephone- bend your knees and move around- be comfortable

Step and Slide- forward- push off the rear leg and go forward
Step and Slide- backwards- push off the front leg and go backwards
Cover Right- step to the right (right foot first) and forward and get right hand up to cover
Cover Left- step to the left (left foot first) and forward and get left hand up to cover

*Practice step and slide backward/cover left/cover right against an opponent coming in with the jab- be able to evade with no contact

Upper Body Defensive Maneuvers:
Slip- left/right/backwards- left/right have head over knee- backwards is not used as much- lateral or backward
Bob- right shoulder to left knee or left shoulder to right knee- the bob comes forward- you can do it in response to a tool or you can do it arbitrarily- practice both
Weave- a bob that you pull out the other way- continually look at your opponent’s chest while you move- practice off of the jab (continually extended) and the hook punches- you don’t usually weave a jab but it is good practice
Duck- upper torso remains unchanged- but the knees bend

Upper Body Tools:
Jab- shoots straight out and straight back- many ways to jab (shuffle with the jab), (lean into the jab), (just move the am), twist the hips with the jab), (shuffle backwards with the jab), etc. (experiment with them)- base way to jab use the step and slide and combine it with the turning of the shoulder and throw the punch, but make sure you protect with the other hand (touch your cheek) you can use a vertical fist or a horizontal fist and practice a twisting fist (it tends to cut the skin on contact)- you can use it as a stop-hit (interception) or as an offensive tool- you can probe with it to setup a combination
-Pat or slip as the defense against the jab (always use footwork unless you are unable to)
-Straight/side ways- don’t leave centerline- practice with footwork
Cross- rear hand jab (it crosses past the body)- all body weight comes in with it- step out on a 45 degree angle- drive rear knee/leg forward- it usually follows the jab- rear leg is up on the toe
-Shoulder roll as the defense- step out on a 45 degree angle- put head over rear leg while bending raise shoulder to bump the cross or raise the shoulder/elbow to bump (or destroy)
Hook- the knee/hip come into play- rock your weight backwards from front to rear leg- elbow/wrist parallel to the ground- front leg up on toe- arm in a 90 degree angle or less- twist the hips
-Cover for defense against the hook punch- bring your glove up to the head and squeeze your hand and elbow tight against yourself (hand is on/just above/just below the ear) and turn away from the punch to let your body absorb the blow
Uppercut- the body mechanics are the same as the hook punch but the arm is punching vertically instead of horizontally- it is like you are digging
-Cover to defend against the uppercut- keep your elbow in tight and put your glove just beneath your chin or right on your chin- similar to the hook cover
Overhand- good if setup by the cross- zone when throwing it (45 degree angle) - starts from up above the head and descends- never initiate the overhand as a S.D.A.
Elbow- same mechanics as the hook punch / uppercut / overhand (can be thrown from all the same angles) - if he bobs/weaves/ducks elbow his head
Head butt- comes in when the hands are tied up
*Practice them in the mirror

Lower Body Tools:
Front Kick- from Thai Boxing- pick knee up- probe with it- kick descends and taps the knee, etc. - it probes just like the jab- it is a good reaction to pick up against anyone trying to kick your leg (destructions, attack, fake, etc.)
Rear Kick- from Pananjakman- oblique kick- knee comes up and kick at their knee- another probing kick
Front Roundhouse Kick- hook kick- another probing kick- replace the front foot with the rear foot (pendulum footwork)- aim for the inner thigh/groin/knee/shin- shuffle in and kick- knee and foot come up at the same time
-Also pat and lean back with the kick
Power Kicks-
Rear Kick- from Thai Boxing- use your instep to hit his thigh (if further away)- hit with the shin (if closer in) chop it down- angle out a little bit with the front leg before the kick
Savate- pick up the knee then the kick descends and hits their thigh/groin/knee/- kick with the instep and it retracts quickly for another kick
Side Kick- offensive and defensive- to thigh/knee/hip/ribs- pick up knee and it comes straight down and back- kick with the bottom of the foot (more solid) - it is a Jeet Tek as a defensive maneuver
Savate Kick- your hips face the opponent turn first then kick up and out, pick up your knee (comes up the same no matter if it kicks the shin/knee/groin/solar plexus/throat/head) - he can never tell where it is going after the knee raises- if he blocks retract and hit another target instantly (if he blocks the solar plexus go to the throat) - it is a great kick for a P.I.A.
Knee- targeting the sciatic nerve, ribs, and groin- sometimes pull the body into the knee
*Always kick below the waist
-Kick high in sparring for aerobics
-You wouldn’t punch a man in the toe so you wouldn’t kick him in the head
-With Savate kicks you can afford to kick in jammed situations
-Savate kicks are flicks- they don’t sound powerful when they land but it makes them nauseated and takes the fight out of them
-For the side kick other martial arts kick with the "blade" of the foot this is because in olden times they used to tie rope with seashells on their shoes and actually kick with the blade, but in today’s world that isn’t exactly legal so we kick with the bottom of the foot
-If your foot faces more to the left then side kick, if it is straight on or a little to the right use a hook kick

Lower Body Defensive Maneuvers:
Reverse pendulum if he tries to kick you
Destroy the kick (defanging) - point your knee into their shin
Rear Leg Kick- point your shin out to the right
Front Leg Kick- point your shin out to the left
Jeet Tek- stop-hit- use awareness and timing to intercept

*Progressively put the tools together
*One thing that Boxers have over all the Martial Arts is that they are always training full contact- they try to inflict pain and knockout the other man (not point sparring)
Clinch- put both hands on the opponents head or one on the head and one on the arm
To cover knee- pull elbow in and turn away from it
To knee in the clinch- pull their body to one side and knee that same side- pull on their upper body to add power
To elbow in the clinch- horizontal/diagonal elbows work better

Equipment Training:
Practice your tools on the heavy bag- singly and in combination- it works your power, wind, and endurance- use small hand wraps so you don’t cut your hands if it isn’t a solid blow
-Have a trainer hold the bag while you hit it- his job is to watch you making sure there are no telegraphing blows/wind-ups/etc. and/or your hands are staying up and in good position
-Continually move while you hit the bag (stick and move)
-Switch leads
-Exhale while you punch- no kiai (if you are hit your jaw will break) - keep teeth clenched
-The closer you are to the bag/opponent the higher your hands have to be (don’t get hit!!!)
-When kicking don’t drop your rear hand- you may get more power but you can’t get into trapping range economically (economy of motion)- dictates you keep your hands up (you lose 5-10% power but gain 100% economy of motion)- trap on the very next beat
-Go 1, 2, 3 minute rounds and work up to 5 2-3 minute rounds on the heavy bag
-Train with intensity!!!

Five ways of Attack

SDA-Single Direct Attack
In SDA you simply strike the opponent, Classic examples are the jab and the lead kick. The SDA is the most simple yet the most advanced of the 'ways of attack'

ABC-Attack By Combination
ABC is a logical extension of SDA in which you throw several attacks in a row, one or more of which may land. Examples are jab-cross-hook and front kick-round kick.

HIA-Hand Immobilization Attack
In HIA you trap one or more of the opponents limbs as you attack, thus overcoming possible defenses at preventing counterattacks. Examples include pak sao-lop sao or a simple foot trap.

ABD-Attack By Drawing
In ABD you intentionally leave an opening in your defenses, hoping to draw the opponent into a predictable attack which you may then counter.

PIA-Progressive Indirect Attack
PIA is often considered the most sophisticated of the five. In it, feint at one or more targets and then attack your real objective without withdrawing the attacking weapon.

Original Jeet Kune Do Curriculums

Seattle Curriculum

Gin-Lai or Salutation

Bi-jong or ready stance
· (Incorporating the Centerline Theory)

Immovable Elbow Theory

Four Corner Theory

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

Sil Lim Tao (basic form taught in Seattle)

Straight punches and elbow punches and various body punches

Bil-jee (finger jab)

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

Chi Sao (sticking hands)

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

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

Oakland Curriculum
1. Salutation

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

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

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

5. Classical versus the New (modern)
a. Sil lim tao: performed the classical way.
b. Regarding trapping: cut the movement in half for realism.
- Concentrate on speed and economy.
Key: economy of motion, efficiency.
c. Hook punch: closer to the body then a boxer.
- Elbow next to the rib, much tighter and compact.
Key: centerline theory (from the center, not outside or wide).
- Take the skin (or paint) off of your ribs.
d. Rear heel kick: tighter, more centered.
Key: Take the skin (or paint) off the inside of your legs.

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

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

8. Line drills (Quiet awareness)
- Sensitivity: Touch vs. Non-Touch.

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

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

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

12. Burning Step: hand to foot impetus.

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

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

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

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

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

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

Power training:
Isometric training:
- The upward outward force
- The basic power training
- The punch
- The kick

Classical techniques
a. Pak sao
b. Lop sao
c. Gwa chuie
d. Chop chuie/gwa chuie
e. Pak sao/gwa chuie
f. Double lop sao (a & b)
g. Chop chuie/gwa chuie, lop sao/gwa chuie
h. Jut sao
i. Pak sao/jut sao
j. Chop chuie/gwa chuie/jut tek
k. Inside gate tan da
l. Tan da low/gwa chuie
m. Chop chuie/gwa chuie/lop sao

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

Trapping Concepts

Reference Points
1. Outside to Outside (Both Sides)
2. Inside to Outside (Both Sides)
3. Inside to Inside (Both Sides)

Variables
1. Closed gate
2. Open Gate
3. High and Low

Reference Points are points of possible contact between two participants in a physical confrontation. These Reference Points were originally designed by the late Bruce Lee and were further developed by Guro Dan Inosanto.

This training method will give you a basic understanding of trapping and will promote:
Structural Examination
Muscle Memory
Power Base
Speed
Flow

Objectives of Trapping (reasons to trap)
1. To limit your opponent's offensive potential
2. To set up your major tools (a big shot)
3. To create space for a hit (referring to both physical space and also timing)
4. To change the Attributes set (to favor a trained Martial Artist)
5. To use your opponent's energy against them
6. You'll end up there anyway

Standard Trapping Sequences:
1. Pak Sao - (Rear Hand Barrier - Past Centerline) - Lop Sao - Gum Sao
2. Pak Sao - (Rear Hand Barrier - On Centerline) - Loy Pak Sao - Sut Sao
3. Pak Sao - (Lead Hand Barrier) - Lop Sao - Sut Sao
4. Pak Sao - (Rear Hand Barrier) - Wedge - Pak Sao
5. Pak Sao - (Rear Hand Barrier) - Wedge - Lop Sao
6. Pak Sao - (Rear Hand Barrier) - Gaun Sao
7. Pak Sao - (Lead Hand Barrier) - Biu Sao - Gua Choy - Gum Sao

Follow-Up Combinations:
1. Jik Chung Choy (Straight Blast)
2. Chung Choy - Sut Sao - Chung Choy
3. Cross - Hook - Cross/Hook - Cross - Hook
4. Head Butts - Knees - Elbows (HKE)
5. Push Elbows - Fade Away - Jut Tek (Side Kick)
6. 2 Right Kicks

About Trapping
There are a number of very good drills that can be used to develop the kind of effective trapping skills enjoyed by Bruce Lee in what I like to call his personal art. This simply means the way "he" did it. The principles and mechanics that he used and what made him so astoundingly effective.

To be sure, there are different kinds of trapping for different systems. For instance, Filipino martial arts make use of extremely effective trapping, designed around its structure, tools, and strategies. The same holds true for other martial arts like American Kenpo where trapping is a component of the system. Bruce's trapping was born from Wing Chun Gung Fu, an art that is very much different in nearly every respect to other arts, including its trapping methodology.

When Bruce trapped you there was a lot more going on than opening a line of attack and/or tying up your arms. He disrupted and broke down your structure, a key strategic point. He corrupted your balance, froze your timing, and sent shock into your body like electricity through copper wire. By virtual of his technique, he was able to automatically measure the correct distance for optimal striking power and accuracy, the kind needed for deep penetration to attack the body's nervous system. While he re-angled his attack to open new lines, he took away the distance that you needed to be effective in your counter attack. And to make all of this work, he depended on body structure, proper mechanics, a variety of carefully forged tools, and a high degree of tactile sensitivity and knowledge of energies. To put is simply, he trapped with the entirety of his body, not just his hands.

Bruce's inner body structure had been uniquely developed for the most part from his earlier Wing Chun training. Yet he still had some knowledge of other gung fu arts, including Tai Chi and, to a lesser degree, Praying Mantis. Although he later modified his fighting stance, you can be sure that his inner structure did not change. It still afforded him the kind of grounding needed for exerting and holding pressure while jamming and trapping, along with all of those special mechanical advantages that were so often mistaken by observers as sheer acts of strength. These mechanical advantages constituted many of the details that not only went into Bruce's trapping, but also into every phase of his personal art. In other words, the way he did it.

One of the things that made Bruce so different from other martial artists in the US was that he more directly faced his opponent. Rarely, if ever, was Bruce caught in a position where he would be forced to give away one side to his opponent. At the same time, he would always be in position to gain control of either the opponent's side or his center, both basic strategies of Wing Chun. This facing principle was a central part of Bruce's method fighting method and of core importance to his trapping and striking, in particular. So that I might narrow this discussion a bit, I'll limit myself to just a few of the mechanical advantages enjoyed by Bruce that made his trapping so incredibly effective. Of course, this requires a brief mention of his tools.

Bruce compared a tool like tan sao (palm up hand) to a car jack. "If you want to lift a Cadillac," said Bruce, "use a jack made to lift a Cadillac, not a Volkswagen". What Bruce was saying here is that your tools must be strong enough to do the biggest jobs. At less than 135 pounds, Bruce jacked up a professional wrestler holding him pinned to a wall with double tan saos.

Trapping Principles
So, to make the tools strong requires a number of important factors and attention to some small details. Here are a few:

1) Immovable Elbow Principle. The elbow must be maintained on or close to your centerline, and should never be positioned less than one fist length from your body. "If your elbow gives," I recall Bruce saying, "then your structure is destroyed". About this, Bruce was adamant!

2) Structure Softening. Learn to soften and concave the chest so that you are all shoulders, back, and forearms. This allows structural strength and firmer grounding while reducing tension in the body. It keeps your mid-body at further reach from your opponent while, at the same time, naturally extending your reach to him. The soft curvature of the body face is also used for setting up gaps that you may need for exercising powerful mechanical advantages in the use of your tools.

3) Sealing down the shoulder. Raise it and your structure will be both offensively and defensively weakened. This is not only important while jamming and trapping, but also in striking. The Sil Lum Tao form teaches how to weld down the shoulders so that your structure will powerfully unitized, rather than weakly disjointed.

4) Triangle structure. Bruce's structure was based on triangles. A number of triangles beginning at the feet work all the way up the body and end with the tools. For instance, even the simple tan sao if done correctly provides the angles for five separate triangles. See if you can you find them.

5) Chi. To improve chi energy for greater strength in your tool you must be sure to keep open a space between your index finger and middle finger, particularly in tan sao, jut sao, bon sao, wu sao. In tan sao, keeping the palm flat up and angled slightly will also create a natural mechanical advantage and line of deflection. Bruce believed in chi!

6) Wrist Mechanics. The practice of wu sao, huen sao, and jut sao (as in the Sil Lum Tao form) teaches powerful and indomitable wrist mechanics. Pay close attention to the drilling and adduction principles using the joints of ankles, knees, hips, forearms and wrists. These are the mechanics that will move a bigger man around with seemingly little effort on your part. A Bruce specialty!

7) Ball Principle. If you were to roll around on a big ball, you would be rolling on multiple planes of movement. You can go under, over, around on either side and in either direction, or at any one of 360 degrees of direction, or push straight through. Learn to use these planes to your mechanical advantages. For instance, you might lift or push down the opponent's arms or elbows to break down and move his structure. Bruce was great at this!

8) Switching. The switching movements both at the heels and the balls of the feet offer certain mechanical advantages. For power and uprooting your opponent switch on the heels. For instance, a bon sao that not only deflects an attack, but also serves to put shock into the opponent and disrupt him, switch on the heels. To create angles and cover single ground in a single movement switch on the toes. To cover ground, as in snake-stepping alternate switching on heels and toes. Bruce could either come straight at you or retreat without ever taking a step!

9) Falling Step Power. True Bruce picked this one up from Jack Dempsey's book, but he was also quite familiar with its principle from his gung fu training. It has to do with landing your punch or trapping a hand in timing with your lead step and weight transfer. Actually, there is an exercise that develops this power. It's one of those tricky things that looks like a feat of strength, but also provides a clearer understanding of how to optimize the falling step effect.

10) Bow Action of Hip. Here the hip acts like a bow (as in bow and arrow), flexing and building tension, then releasing it directionally. A fundamental power source provided by the wing chun structure and well known to Bruce. It's the very kind of thing that you don't see, but you can be sure it's there!

11) Tactile Sensitivity. Bruce developed this mostly from Wing Chun's Chi Sao's sticking hands, but also from Tai Chi's pushing hands. The only way to learn this correctly is to learn it from a good instructor, hands on. When Bruce trapped he became one with his opponent. But one trap is not always enough. The highly skilled practitioner will be able to go to the next move, and the next move, and whatever is needed to finish the job. Bruce did not get stuck after the first move!

12) Helping Hand. Sometimes a single tool is just not enough and you need a little help. This is where the other hand comes into play, a mechanical reinforcement or engine for maximizing results. It made Bruce's traps indomitable!

13) Third Hand Principle. Tactile sensitivity teaches how to use the full arm as a tool. Often times you will be in a position to trap or jam down with your opponent by using your upper forearm while, at the same instant, freeing both of your hands. This is how Bruce fought with three hands.

14) Expanding Triangle. One of the greatest forces throughout the universe is the Principle of Compression and Expansion. Compressing and expanding the body's structure and the use of its tools was a powerful component to Bruce's art. The Expanding Triangle involves setting up a triangle structure with the arms, backed by the triangle structure of the body and expanding it. The effect is unbelievably incredible mechanical forces, but with very little effort.

15) Needless to say, this list does include all of the principles and mechanics used by Bruce, such as grounding, slipping, poling, vectoring, oscillation, Plyometrics, slanting, joint selectivity, jing (final power), simplicity, and more. I always find it amusing to think how utterly simple Bruce's art is if you understand all that complexity of details.
 

Original Jeet Kune Do Basic Trapping Progressions

1) Pak Sao Da
a) By reference point attachment
b) Bridging the gap to attachment
c) By feinting then bridging the gap to pak sao da by capturing
d) Pak sao da by capturing
i) In flight during attack
ii) In chambering position before attack
iii) In chambering position after attack
2) Types of Pak Sao Da
a) Gnoy da or O’ouy da
b) Loy da (two types)
i) Inside of wu sao
ii) Outside of wu sao
c) Jung da
d) Ha da
3) Pak sao da to Jik chung chuie
4) Pak sao da – Bong sao – Lop sao da with qua chuie or Sut sao (Fak sao) – Gum sao da
5) Pak sao da – Loy Pak sao da
6) Pak sao da – Chung chuie – Loy Pak sao da
7) Pak sao da – Biu sao as wedge – Pak sao da – Lop sao da - Pak sao da
8) Pak sao da – Biu sao as wedge – Lop sao with chung chuie - Pak sao da
9) Pak sao da – Biu sao as wedge – Lop sao da – right Sut sao (Fak sao) – Gum sao da
10) Pak sao da – Biu sao as wedge – Pak sao da – left Sut sao (Fak sao)
11) Pak sao da – Biu sao as wedge – Lop sao da – Pak sao da – left Sut sao da (Fak sao)
12) Pak sao da – Biu sao as wedge – Lop sao da – right Sut sao (Fak sao) – Cup sao da (Kao sao da)
13) Pak sao da – Jao sao – double Jut Sao – gum sao da – Jang (elbow)
14) Pak sao da – Jao sao – double Jut Sao – Dum tek – Gum sao da - Jang (elbow)
15) Pak sao da – Jao sao – double Jut Sao – rear hand Biu gee or rear chung chuie – Gum sao da to any type of follow up
16) Pak sao da – Jao sao – double Jut Sao – Jong tao (Headbutt) – Sut (knee) – Jang (Elbow) or Gum sao da (Vice versa)
17) Pak sao da – Jao sao – double Jut Sao – Sut (Knee) – Gum sao da – Jang (Elbow)
18) Pak sao da – Jao sao – double Jut Sao – Dum loy tek to knee – Gum sao da – Jang (Elbow)
19) Pak sao da – Jao sao – double Jut Sao – with any combination of headbutt (Jong tao), punch (Chung chuie), knee (Sut), foot stomp (Dum tek), elbow (Jang), Finger jab (Biu gee), any palm strike (Jern), inside stomp kick (Loy dum tek), backhand knifehand (wisk hand), Sut sao / Fak sao etc.
20) Pak sao da – Go Jao sao da – Ha Jao sao da – Go Jao sao da – double Jut sao – rear hand Biu gee – Gum sao da – Jang (Elbow)
21) Pak sao da – Go Jao sao da – Ha Jao sao da – Go Jao sao da – double Jut sao - Gum sao da – Jang (Elbow) – to other combination routes
22) Pak sao da – Go Jao sao da – Ha Jao sao da – pak sao with qua chuie - to other combination routes by energy
23) Half Pak sao da – Lop sao da – Kao sao da inside of lead arm
24) Half Pak sao da – Lop sao da – Pak sao when parry hand passes – Pak Lop sao da
25) Half Pak sao da – Lop sao da – Chung chuie after parry hand passes – Jut Pak sao da – Gum sao da
26) Half Pak sao da – Lop sao da – Huen sao to rear hand Sut sao – gum sao da
27) Fake Pak sao da with delay – Chung chuie after parry hand passes – Jut Pak sao da – Gum sao da
28) Pak sao da – Gnoy Lop sao da – Pak sao da
29) Pak sao da - Gnoy Lop sao da – Loy Kao sao da
30) Gnoy woang pak sao da – Gnoy Lop sao da – Gnoy Lop sao da on the rear arm
31) Half Pak sao da – Lop sao da – Chung chuie behind rear parry – Jut sao da – Gum sao da
32) Half Pak sao da – Lop sao da - Chung chuie behind rear parry - Pak sao da – Lop sao da – Pak sao da
33) Half Pak sao da – Lop sao da - Chung chuie behind rear parry - Chung chuie behind returning parry – Gum sao da – Fak sao da – Gum sao da
34) Choap chuie – Qua chuie – Lop sao with Qua chuie (Rear hand block)
35) Choap chuie – Qua chuie – Pak sao da – bong sao with Lop sao with Qua chuie or Fak sao (Sut sao) (for lead hand block)
36) Choap chuie – Qua chuie –Jao sao to all the basics in the Jao sao series
37) Choap chuie – Qua chuie –Gnoy Lop sao da – Pak sao da
38) Fake Choap chuie – Fake Qua chuie to:
1. Juk tek (Ha, Jung, Go)
2. O’ou tek (Ha, Jung, Go)
3. Jik tek (Ha, Jung, Go)
4. Ha hou O’ou tek
5. Hou sut
6. Jung dum tek
7. Jun juk tek
8. Jun qua tek
9. Jun so tek
10. Jun o’ou tek
11. Jun jung dum tek
12. Jun jik tek

Numbers 1 to 12 are in the Jun Fan Gung Fu Chum Kiu series. The Jun fan Chum Kiu techniques are not to be mistaken for the Wing Chun Chum Kiu techniques. Jun Fan Chum Kiu techniques are “seeking the bridge” or attachment entering techniques or bridging the gap techniques.

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

The Three Facets to Jeet Kune Do

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

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

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

Original Jeet Kune Do Kickboxing Drills

Focus Mitt Drills "1 - 2 Series"
· Feeder throws Jab/Cross combination. Student catches jab. Then student Bob/weaves the cross and follows up with hook/cross/hook and any two kicks of their choice.

· Feeder throws Jab/Cross combination. Student catches jab and throws a rollback/Jeet Tek to deal with cross. Student then follows up with cross/hook/cross and any two kicks of their choice.

· Feeder throws Jab/Cross combination. Student catches jab and then throws straight lead (cut punch) to deal with cross. Then student follows up with cross/hook/cross and any two kicks of their choice

· Feeder throws Jab/Cross combination. Student catches jab and then uses a shoulder shop to deal with cross. Then student follows up with cross/hook/cross and any two kicks of their choice

· Feeder throws Jab/Cross combination. Student catches jab. Then student slips the cross while throwing a cross/with lead hand parry (Split Entry). Student follows up with hook/cross/hook and any two kicks of their choice.

· Feeder throws Jab/Cross combination. Student catches jab and then uses a Woang Pak Da to deal with cross. Then student follows up with cross/hook/cross and any two kicks of their choice.

· Feeder throws Jab/Cross combination. Student catches jab and deals with cross with a ‘cover/drop step’. Student then follows up with cross/hook/cross and any two kicks of their choice.

Note: These drills are done several ways. First they should be done “as is” to learn the correct energy and motions of the drill. Then you must make them alive with both footwork and the proper intensity level.

You can then add to the drill by making them more interactive. Before each drill, use these methods as well as come up with some of your own:
· Have a feeder/student jab exchange with the feeder acting as the initiator.
· Have the student initiate the drill by throwing a jeet tek (or any technique) and the feeder counter the students attack with the start off the drill.

Focus Mitt Drills "1 - 3 Series"
· Feeder Throws Jab/Hook combination. Student catches jab. Then student uses Biu Sau Da to deal with hook. Student then follows up with Cross/Hook/Cross and any two kicks of their choice.

· Feeder Throws Jab/Hook combination. Student catches jab. Then student uses a Bob/weave against the hook and follows up with Cross/Hook/Cross and any two kicks of their choice.

· Feeder Throws Jab/Hook combination. Student catches jab and uses shoulder stop to deal with hook. Student then follows up with Cross/Hook/Cross and any two kicks of their choice.

· Feeder throws Jab/Hook combination. Student catches jab and throws a rollback/Jeet Tek to deal with Hook. Student then follows up with cross/hook/cross and any two kicks of their choice

· Feeder throws Jab/Hook combination. Student catches jab and deals with hook with a ‘cover/drop step’. Student then follows up with hook/cross/hook and any two kicks of their choice

Note: These drills are done several ways. First they should be done “as is” to learn the correct energy and motions of the drill. Then you must make them alive with both footwork and the proper intensity level.

You can then add to the drill by making them more interactive. Before each drill, use these methods as well as come up with some of your own:
· Have a feeder/student jab exchange with the feeder acting as the initiator.
· Have the student initiate the drill by throwing a jeet tek (or any technique) and the feeder counter the students attack with the start off the drill.

Jun Fan Entry Attacks

Below is a list of the Jun Fan entry attacks. Experiment with different rhythms and 'way of attack'. These attacks can be done as Progressive Indirect Attack (PIA) or Attack by Combination (ABC).

High hand to low foot to high hand
High hand with low foot (at same time)
Low foot to high hand
High hand to low hand to high hand
Low hand to high hand
Low hand to high hand to low hand
Low hand to high hand to low foot
High hand to low hand
Low foot to low hand
High hand to high hand to low foot
 

Jun Fan Lines of Attack

In Jun Fan Jeet Kune Do we train for every possible combination of the "Lines of Attack". You must make sure that you do not become too comfortable in only one or two, instead get to know them all and drill them until you can flow into each without it requiring any thought. 'Table A' and 'Table B' represent two of the possible lines of attack that may arise while in combat. When you train, take a number from 'Table A' and letter from 'Table B' and combine them to create a combination. When you do this you are covering many of the lines that may score on an opponent.

Table A

1. Hand Hand Hand
2. Hand Hand Foot
3. Hand Foot Hand
4. Hand Foot Foot
5. Foot Hand Hand
6. Foot Hand Foot
7. Foot Hand Hand
8. Foot Foot Foot

Table B

A. High High High
B. High High Low
C. High Low High
D. High Low Low
E. Low High High
F. Low High Low
G. Low Low High
H. Low Low Low

For example, if you took the number '2' from Table 'A' and the letter 'F' from Table 'B' and applied that to an Attack by Combination (ABC) you would practice a combination that went: (from Table 'A') HAND - HAND - FOOT & (from Table 'B') LOW - HIGH - LOW. This could be expressed as "Low Jab to High Jab to Low hook kick, or as "Low Jab to High rear cross to Low side kick. You should practice every possible combination of these tables, and experiment with the different ways that you could 'express' each combination.

Jun Fan Speed Bag Drills

Drill 1
Right Jab
Right Jab
Left Cross

Drill 2
Right Jab
Left Cross
Right Backfist

Drill 3
Right Backfist
Left Backfist
Right Backfist
Left Backfist

Drill 4
Right Jab
Right Backfist
Left Cross
Left Backfist

Drill 5
Right Jab
Left Cross
Right Jab
Left Cross

Drill 6
Right Jab
Right Jab
Right Jab
Left Cross
Left Cross
Left Cross

Drill 7
Left Hook
Left Hook
Left Hook
Right Hook
Right Hook
Right Hook

Drill 8
Right Jab
Right Backhand
Left Cross

Drill 9
Right Hook
Left Hook
Right Hook
Left Hook

Drill 10
Left Cross
Right Hook
Right Hook

Drill 11
Right Backhand
Right Backhand
Right Backhand
Left Backhand
Left Backhand
Left Backhand

Drill 12
Right Backhand
Left Backhand
Right Backhand
Left Backhand

Drill 13
Right Jab
Left Cross
Right Hook
Right Hook
Right Backhand

Drill 14
Right Uppercut
Left Uppercut
Right Uppercut
Left Uppercut

Jun Fan Gung Fu

The Bai-Jong On guard position

Footwork and mobility
1. The step & slide
2. The side step
3. Slide & step or standard shuffle
4. Pendulum
7. Step & shuffle
8. The push step
9. Circling Rt-Lt
10. Triangle

Training & development drills
1. Fighting measure- distance control
2. Heel to toe sway back
3. Step & slide mirror drill
4. Step & slide forward and step and slide back
5. Standard shuffle-distance drill
6. Standard shuffle back/step & slide forward

Strengthening drills
1. Rocker shuffle
2. Single leg hops
3. Squat jumps

Offensive hand techniques
1. Lead straight punch - Chung chuie
2. Rear straight punch - Hou chung chuie
3. Lead snap punch
4. Lead jab - Ping chuie
5. Rear cross - Western boxing
6. Knuckle punch - Choap chuie
7. Lead finger jab - Bil gee
8. Palm jab - Jern
9. Rear palm thrust - Hou woang jern
10. Palm slap - Pak jern
11. Backfist - Gua chuie
12. Chopping hand - Saut sao
13. lead hook - Nao chuie tight - loose
14. Rear hook - Hou nao chuie
15. Shovel hook - Western boxing
16. Uppercut - Jin chuie
17. Straight Blast - Jik chung chuie

Basic Combinations
1. Double jab
2. Lead jab-rear cross
3. Lead straight-rear cross
4. Lead finger jab- rear cross
5. Lead jab-rear hook
6. Rear cross- lead hook
7. Lead jab- rear cross- lead hook
8. Rear cross-lead hook-rear cross
9. Lead hook-rear cross- lead hook
10. Lead jab-rear cross- lead hook-rear cross
11. Lead jab- rear cross- lead uppercut
12. Lead jab-rear uppercut-lead hook
13. Lead jab- rear cross- lead hook- rear uppercut
14. Lead jab-lead hook- rear uppercut- lead hook

Focus Glove Drills Intermediate
1-2 (jab-cross) counter series
1. Catch & shoulder roll
a. with low round kick (nao tek)
b. with side kick (juk tek)
c. low snap kick (jik tek)
add cross-hook-cross-any 2 kicks
2. Catch & bob & weave
add hook-cross-hook- any 2 kicks
3. Catch & insert
a. shoulder stop
b. bicep stop
c. straight arm deflection
d. bent arm deflection (bil sao)
add cross-hook-cross-any 2 kicks
4. Catch & inside deflection (parry)
a. return high cross-hook-cross
b. return low cross-hook-cross- any 2 kicks

1-3 (lead jab-lead hook counter series
1. Catch & bob & weave- add cross-hook-cross- any 2 kicks
2. Catch head-cover- add hook-cross-hook-any 2 kicks
3. Catch & cover/hit
a. cover and hit
b. bent arm deflection with hit (bil gee)
c. vertical palm block (jung da)
d. palm up block (tan da)
add any 2 kicks
4. Catch & pivot/shoulder stop add cross-hook-cross- any to kicks
5. Catch & step thru with shoulder stop add simultaneous knee-cross-hook-cross-any 2 kicks

Basic catch and return drills
Three count rhythm - jab back and forth

Concepts & Principles

Simultaneous attack and defense.
Safety (maintain a good cover and balance).
Effective use of body mechanics (maximum force).
Longest weapon to the closest target.
Always consider follow-ups (assume nothing is final).
Analyze and improve the speed of all techniques.
Initiation.
Forward/Outward Motion.
Retraction.
Understanding the progression of range.
Kicking.
Punching.
Trapping.
Grappling.
You must accept reality before you can train for it.
Each aspect must be adapted to your body and mind.
Deflecting-parrying-dissolving.
Do not use force against force.
The imaginative use of equipment and training methods.
Let the weapon teach the hand.
Always cultivate your tools.
Continually expand your abilities.
The body’s and mind’s ability’s are endless.
Analyze everything you can for:
Economy.
Safety.
Effectiveness.
Sensitivity: feel it-dissolve it-counter it.
A technique or concept is good only if you can train it.
Flow.
You will fight how you train.
Mobility and Footwork.
Flight time.
Open minded approach to all arts regardless of culture.
"Using No Way As Way".
"Having No Limitations As Your Limitations".

Analysis of Range

In unarmed combat there are four primary ranges:

Kicking Range
Kicking range is the range at which your foot can touch your opponent, but his hand cannot touch you. There are many kicks, however, that can be thrown at closer ranges.

Punching Range
Punching range is the range at which your lead hand can touch the opponent if you take one half-step forward. Again, many punches can be thrown at closer ranges.

Trapping Range
Trapping range is the range in which all of your striking tools may be brought into play, and in which you can immobilize or bypass the opponent’s defenses using hand and/or foot trapping. Techniques used include punches, kicks, elbows, knees, head-butts, shoulder-butts, etc.

Grappling Range
Grappling range often overlaps with trapping range, and can be subdivided into standing grappling and ground grappling. Standing grappling includes joint locks and wrenches, trips, throws, takedowns, and chokes. Ground grappling includes joint locks, chokes, pinning, body-positioning and control, and striking.

Defensive Techniques

Keep moving at all times!...but move with a purpose

Bil-sao (palm down block)
Bong-sao (elbow up block)
Tan-sao (palm up block)
Lop-sao (grabbing hand)
Pak-sao (slapping hand)
Jut-sao (jerking hand)
Jao-sao (running hand)
Huen-sao (circling hand)
Snap Back
Stop Hit
Bob & Weave
Ducking
Slip

Foot Techniques

Use your front kick like a boxer uses his Jab.

O'ou tek (round kick)
Gua tek (hook kick)
Jut tek (side kick)
Dum tek (stomp kick)
Jik tek (front kick)
Jeet tek (intercepting kick)
Sut (knee)
Oblique Kick
June tek (spin)
Inside Crescent Kick
Outside Crescent Kick

Hand Techniques

Your Jab should return twice as fast as it was thrown.

Jab
Whipping Jab
Gua Chuie (back-fist)
Jik-chung (vertical punch)
Jik chung chuie (straightblast)
O'ou chuie (hook)
Uppercut
Cross
Bil-gee (finger-strike)
Jao-sao
Sut-sao (Knife Hand)
Overhand
Jang (elbow)
Palm Strike
Hammer Fist
Shovel Punch
Your punches should hit like a weighted chain!

Trapping Drills

Drill #1 Falling Step
Standing in front of your partner fully extend your right arm at chest level with fingers pointed upward, palm facing his chest. Now stand on your left leg, hooking your right leg behind the knee. You are not punching, as this is only an exercise to better understand an important principle. Fall forward until your palm strikes his chest. Be sure to keep the arm straight. At the same instant that your palm lands, your foot hits the ground. It is this timing of hand and foot striking simultaneously that maximizes weight transfer at the critical moment. If done correctly, your partner will be hurled backward, if not knocked flat on his back. Be careful with this and have him wear a protective pad. Important points to remember are don't hit, just fall forward keeping arm straight. Most important, don't bend the knee when your foot impacts the ground, as this will absorb shock. Be sure you are standing far enough away so that your impact takes place at the point of maximum acceleration. Think of a big oak tree falling. The closer it comes to the ground the more the acceleration and the greater the impact.

Drill #2 Bow Hip Power
To get an idea of what it feels like and just how powerful it is. Try this: Place both palms on a wall, shoulder width apart. Step back about 4 or 5 feet with your left leg, while dropping your left hip and lifting your right foot, extending it out in front of you as though you are taking a huge step forward. The closer you reach your extended foot to the wall, the greater you will exert force.

Now have your partner brace both of his arms parallel at chest level. Placing your palms on his arms tell him to resist your effort to push him back. As you step back about 4 feet with your right leg, lift your left foot and extend it beyond and slightly to the side of him. You should feel the power build before hurling him backward.

Now, have him push against you. As he pushes, simply lift that same left leg and extend it past him. See if you can hold against his pressure. If done correctly you will be able to accomplish this with little, if any, effort.

Learn how to use this power source in your trapping. It will crush your opponent's defenses because you are now trapping with the mechanics of your body, not just your arms.

The construction of the hip joints and connective tissues backed by the large muscle groups are capable of exerting tremendous power.

When striking or trapping, the bow action of the hip can be applied with the falling step. Add rotation to this, and you have three power sources with accumulated effect. Very powerful, indeed!

Drill #3 Immovable Stance
A good wing chun trick is to pick up the long teak pole (very, very heavy) and lift it at chest level, holding your arms straight out in front of you. Likewise, Bruce was able to demonstrate this technique with very heavy dumbbells. The secret is not in strength, but mostly in correct hip structure. Put to practice in combat it becomes an effective way of uplifting your opponent and breaking his structure, or holding against his pressure.

But even without this incredible mechanical advantage you can easily perform the following trick, or drill:

Have your partner place both hands on your chest or shoulders. He will easily be able to push you backward. This time, place your palms facing upward under his elbows. As he pushes, lift his elbows upward. No matter how hard he tries, he will not be able to push you backward. If this is not interesting enough, tell him to push as hard as he can, as if he were pushing a car down the road. Only this time, you stand on just one leg.

Drill #4 Contact Sensitivity
Chi Sao drills develops sensitivity throughout the body and tools. But here is a good solitary chi sao drill that Bruce used to help develop his proprioceptive sensitivity, proper neuro-efficiencies, drilling and adduction mechanics, non-intention movement, contraction and expansion triangles, third hand, ball principle, switching, final power (Bruce called it "sparking").

Stand crossing your wrists at chest level, palms facing inward. Now circle your arms away from you (out, down, back, and up to original position). Repeat until you get the natural flow of this. Now try it alternating your wrists. For example, you begin with the right wrist on the inside. At the end of a full revolution you have switched to the left wrist on the inside. As you speed up the movement, work on relaxing the arms. Feel the contact where the arms touch. Begin to put on and take off pressure. At any given instant, suddenly fling your hands apart snapping into double fuk saos, or a tool punch combination. Try it watching television. Every time the camera cuts from one scene or view to another you let your hands fly. You will be amazed at how this will build speed and jing power.

Now, build in different techniques into the spinning motion. For instance, quan sao, kan sao, double jut sao, jut sao/bon sao, whatever. Make up things. The more you invent the more you will learn. Feel it.

Drill # 5 - Pak Sao Drill
I will assume that everyone knows this drill. However, here are some pointers. When punching against your opponent who pak saos, punch with your elbows in to the middle, otherwise you will be giving him bars, which are easier to stop.

And when doing pak sao keep the elbows in so that you are giving him poles reinforced by your structure. Pak with a cupped loose hand so that you don't take shock into the body.

Learn to drive him back with your pak saos even when he is chain punching as hard as he can. When punching, drive him back through his pak saos.

Add different drills to your pak sao, by switching in and out of other tools. For example with your left hand, begin with pak sao, then tan sao, then back to pak sao. Repeat with your other hand as he continues his chain punching. As with the mechanics and principles, there are many more drills, but these all teach some very basic understandings.