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JEET KUNE DO—THE FUNDAMENTALS
JEET KUNE DO—ORIGIN AND DEVELOPMENT
On the origin of jeet kune do
In case you have missed the recent news, Bruce Lee’s jeet kune do—of which he is the founder—has been elected and accepted into the “Black Belt Hall of Fame” in America. This marks the first time a recently developed form of martial art is nationally accepted. No, jeet kune do is not thousands, or even hundreds of years old. It was started around 1965 by a dedicated and intensified man called Bruce Lee. And his martial art is something that no serious martial artist can ignore.
I’ve been teaching my brothers and some friends gung fu at my house. They are very enthused over the whole deal. I, too, am working on my transformation of simplicity to yet another, more free-flowing movement of no limit as limitation.
I’m having a gung fu system drawn up—this system is a combination of chiefly Wing Chun, fencing, and boxing. As for gung fu training, I’ll have them written down when it is finished. Boy it will be it!
What is jeet kune do (JKD)? Chinese martial art, definitely! It is a kind of Chinese martial art that does away with the distinction of branches, an art that rejects formality, and an art that is liberated from the tradition.
Before I explain what JKD is, we have to know what “traditional martial art form” is first. All ancient, traditional martial art has a legendary tradition. People may say that one kind of martial arts was passed on to a monk from a deity through a dream. Or, when its founder saw two animals fighting, he imitated their actions, and consequently, created a kind of martial art. So the people after him imitated that kind of action and form, and did not care whether it fits their needs and environment or not.
Use your brain to overcome your enemy
The two most important aspects of martial arts are “the essence” and “the practical usage.” Essence refers to the foundation. It is only on a sound basis that practical usage of gung fu can be realized. Swiftness, strength, and persistence are the keywords to martial arts.
Jeet kune do rejects all restrictions imposed by forms and formality and emphasizes the clever use of the mind and body to defend and attack.
It is ridiculous to attempt to pin down so-and-so’s type of gung fu as “Bruce Lee’s jeet kune do.” I call it jeet kune do just because I want to emphasize the notion of deciding at the right moment in order to stop the enemy at the gate.
If people are determined to call my actions “do” [the Way], this action can be called jeet kune do: In Fist of Fury [The Chinese Connection in North America] I had a fight with Robert Baker. In the film, he once locked my neck with his legs so that I became unable to move. The only movable part of my body was my mouth, so I gave him a bite! I am not joking. Really there is no rigid form in jeet kune do. All that there is is this understanding: If the enemy is cool, stay cooler than him; if the enemy moves, move faster than him; be concerned with the ends, not the means; master your own manipulation of force, don’t be restricted by your form.
Very often when people talk about JKD, they are very much concerned about its title. Actually, the title is not important. It’s only a symbol for the kind of martial art we study. It’s just like the X, Y, and Z in algebra. The emphasis should not be put on its title, but on its effect, because that is a good mirror in which to reflect the power of JKD.
It is not simply mixing arts
• X is jeet kune do.
• Y is the style you will represent.
• To represent and teach Y one should drill its members according to the preaching of Y.
• This is the same with anyone who is qualified and has been approved to represent X.
• To justify by interfusing X and Y is basically the denying of Y—but still calling it Y.
• A man, as you put it, is one who is noble to stick to the road he has chosen.
• A garden of roses will yield roses, and a garden of violets will yield violets.
The Jun Fan method (structure)
Totality (circle without circumference)
1. Sticking to the nucleus
2. Liberation from the nucleus
3. Returning to original freedom
Jeet kune do and Thai boxing
Sure, it’s a little like Thai boxing, except that if you had a gung fu fight, there’d never be any “round three.” Somebody would be lying on the floor.
Martial art should not be passed out indiscriminately. So far I have only three assistants teaching for me when I cannot personally be there. Taky Kimura, a friend and quality assistant (and most capable pupil/teacher) for over ten years, teaches occasionally in Seattle. James Lee, an ex-gung fu instructor, closed his school and has a club in Oakland, and Dan Inosanto teaches as a hobby here in his home in southern California. Both Taky and James are more steeped in the (Wing Chun) Chinese system because they met me at the earlier stage in my development and, consequently, whenever I see the two of them, I try to liberate them more from one way to walk the pathless path. Dan, a dedicated professional, met me during the midst of my evolution though he has less training than either Taky or James. During the last ten years, Chinese martial art has always been a major part of my activity, though I am now in a new field, the field of acting. My achievement in the martial art is most satisfying and the word Chinese has come a long way in the circle of martial art due to the fact that all three of the US karate free style champs are studying under me [Chuck Norris, Joe Lewis, and Mike Stone].
I’ve lost faith in the Chinese classical arts—though I still call mine Chinese—because basically all styles are products of dry-land swimming, even the Wing Chun school. So my line of training is more toward efficient street fighting with everything goes; wearing head gear, gloves, chest guard, shin/knee guards, etc. For the past five years now I’ve been training the hardest and for a purpose, not just dissipated hit-miss training.
I’ve named my style jeet kune do—reason for my not sticking to Wing Chun is because I sincerely feel that my style has more to offer regarding efficiency.
To reach me, you must move to me. Your preparation of attack offers me a directional commitment to intercept you.
I have never discontinued studying and practicing martial arts. While I am tracing the source and history of Chinese martial arts, this doubt always comes up: Now that every branch of Chinese gung fu has its own form, its own established style, are these the original intentions of the founder? I do not think so. Formality could be a hindrance to progress; this is applicable to everything, including philosophy.
The founder of any branch of Chinese gung fu must be more ingenious than the common man. If his achievement is not carried on by disciples of the same ingenuity, then things will only become formalized and get stuck in a cul-de-sac; whereby breakthrough and progress will be almost impossible.
Neither formality nor branches
It is this understanding that makes me forsake all that I have learned before about forms and formality. Actually, I never wanted to give a name to the kind of Chinese gung fu that I have invented, but for convenience sake, I still call it “jeet kune do.” However, I want to emphasize that there is no clear line of distinction between jeet kune do and any other kind of gung fu, for I strongly object to formality, and to the idea of distinction of branches.
I stress again, I have not created or invented any kind of martial art. Jeet kune do is derived from what I have learned, plus my evaluation of it. Thus, my JKD is not confined by any kind of martial arts. On the contrary, I welcome those who like JKD to study it and improve it.
This time I intercepted your emotional tightness. You see, if only one can just punch—from the head to the fist, how much time is lost!
Jeet kune do uses all ways and is bound by none, and likewise uses any technique or means which serves its end. Efficiency is anything that scores.
Jeet kune do is fitting in with one’s opponent, but there is no path, no self, and no goal.
Jeet kune do’s first concern is about its experience and not its modes of expression.
As to martial arts, I still practice daily. I train my students and friends twice a week. It doesn’t matter if they are Western boxers, tae kwon do students, or wrestlers, I will train them as long as they are friendly and don’t get uptight. Since I started to practice realistically in 1966 (protectors, gloves, etc.), I feel that I had many prejudices before, and they are wrong. So I changed the name of the gist of my study to jeet kune do.
Jeet kune do is only a name. The most important thing is to avoid having bias in the training. Although the principle of boxing is important, practicality is even more important.
True observation begins when one is devoid of set patterns.
Freedom of expression occurs when one is beyond system.
A style is a classified response to one’s chosen inclination.
Truth cannot be structured or confined.
Remember that a martial art man is not merely a physical exponent of some prowess he may have been gifted with in the first place. As he matures, he will realize that his side kick is really not so much a tool to conquer his opponent, but a tool to explode through his ego and all those follies. All that training is to round him up to be a complete man.
In order to cope with what is, one must have the awareness and flexibility of the styleless style. When I say “styleless style,” I mean a style that has the totality without partiality; in short, it is a circle without circumference where every conceivable line is included.
Because, after all, an opponent is capable of throwing all lines (in all kinds of broken rhythm) and if one is partial only to dealing with the straight, then he will run into friction with just the right line that will screw up his straight line. Let’s remember the word relationship: To do a technique is to study oneself in action with the opponent, which is relationship.
How on earth can we truthfully understand and feel relationship if we merely follow the one straight line—here we have merely isolation in an enclosed idea of a straight line; such an idea, no matter how noble, concentrates only on a partial aspect of combat and is fitting with the opponent through a screen of resistance. True that a straight line is definitely valuable; take the pendulum—in order to swing to one side (the side one favors), you need to initiate the movement from the other side. Why are we isolated out from one side? Indeed, why don’t we look at one continuous swing as one whole!
In order to cope with what is, one must be equipped with flexibility of line and fit in from moment to moment, depending on what is being given. Having the two halves of one whole, which is the straight and the curve, we can truly have the choiceless awareness, and choiceless awareness can lead to reconciliation of opposites in a total understanding of combat in its suchness. Thus, in the highest stage, one is in the center of a circle and there he stands while yes and no pursue each other around the circumference. One can achieve that because he has abandoned all thought of imposing a limit or taking sides; he rests in direct intuition, which is returning to original freedom.
Fighting and instruction
Instruction should comprise the fighting as well as the technical training. Fighting training should be given for each stroke before going on in the study of a new one.
• How it is done
• Why it is done
• When it is done
Jeet kune do—not a mass art
Of my art—gung fu and jeet kune do—only one of 10,000 can handle it. It is martial art. Complete offensive attacks. It is silly to think almost anyone can learn it. It isn’t really contemporary forms of the art I teach. Mainly that which I work with—martial attack. It is really a smooth rhythmic expression of smashing the guy before he hits you, with any method available.
On closing my schools
I was teaching martial art in the United States. I had three schools; one in Oakland, one in Seattle, and one in Los Angeles. And then later on I just closed them, you know, and just taught private lessons. I do not believe in “schools.”
I’ve disbanded all the schools of jeet kune do because it is very easy for a member to come in and take the agenda as “the truth” and the schedule as “the Way.”
The problem of styles
I do not teach because I do not believe in styles anymore. I mean I do not believe that there is such a thing as, like, “the Chinese way” of fighting or the “Japanese way” of fighting . . . or whatever “way” of fighting, because unless a human being has three arms and four legs, there can be no different form of fighting. But, basically, we only have two hands and two feet. So styles tend to separate man—because they have their own doctrines and the doctrine became the Gospel Truth that you cannot change! But, if you do not have styles, if you just say “here I am as a human being. How can I express myself totally and completely?”—now that way, you won’t create a style because style is a crystallization. That way (the opposite of style) is a process of continuing growth.
I mean “styles” kind of restrict you to one way of doing it and therefore limit your human capacity, you know?
A path and a gateway have no meaning or no use once the objective is in sight.
Let me give you a good example of why I don’t like cults or sects in the martial arts. Let’s take stances. Okay, now look at the way a crane just stands there on one leg. So suppose you have something like that invented by a cripple? In five thousand years everybody is a cripple.
Ah Sahm: Why do you do that?
Cord: Do what?
Ah Sahm: Chew twenty-one times on the left side of your jaw, twenty-one times on the right, before you swallow.
Cord: I was taught that in the monastery.
Ah Sahm: Does it serve a purpose?
Cord: It exercises the jaw. It prepares the stomach to receive the food. It extracts the essence of each mouthful.
Ah Sahm: Yet a hungry man, disciplining himself in this manner, might starve to death while still counting.
On why man is always more important than any established style
Man is always in a learning process. Whereas “style” is a concluding, established, solidified something, you know? You cannot do that because you learn every day as you grow on, grow older.
The way of “no way”
When there is a Way, therein lies the limitation. And when there is a circumference, it traps and if it traps, it rottens; and if it rottens it is lifeless.
Man is constantly growing. And when he is bound by a set pattern of ideas or Way of doing things, that’s when he stops growing.
The highest art is no art. The best form is no form.
In martial art cultivation there must be a sense of freedom. A conditioned mind is never a free mind.
Conditioning is to limit a person within the framework of a particular system.
To be bound by traditional martial art style or styles is the way of the mindless, enslaved martial artist, but to be inspired by the traditional martial art and to achieve further heights is the way of genius.
I’m telling you it’s difficult to have a rehearsed routine to fit in with broken rhythm!
Rehearsed routines lack the flexibility to adapt.
Jeet kune do is not a method of concentration or meditation. It is being. It is an experience, a Way that is not a Way.
Pure being
Jeet kune do is the awareness of pure being (beyond subject and object) , an immediate grasp of being in its “thusness” and “suchness” (not particularized reality).
Mind is an ultimate reality which is aware of itself and is not the seat of our empirical consciousness—by “being” mind instead of “having” mind (“no mind and no-mind”; “no form and no-form”).
Converge with all that is.
Do not seek it, for it will come when least expected.
Random thoughts on JKD
My JKD is something else . . . more and more I pity the martial artists that are blinded by their partiality and ignorance.
On what it all amounts to
Unless there is another group of beings on earth that are structurally different from us, there can be no different style of fighting. Why is that? Because we have two hands and two legs. The important thing is, how can we use them to their maximum [potential? This leads us to study our selves] in terms of [the potential] paths [our weapons can travel. And once we’ve analyzed that we discover that] they can be used in straight lines, curved line, up, round lines. The [round line, for example] might be slow hut, depending on the circumstances, sometimes that might not be slow. And in terms of legs, you can kick up, straight—same thing, right? [You’re studying yourself] physically, then, [which leads] you to ask yourself: how can I [learn to make my weapons become maximally efficient in a] very well coordinated manner? Well, that means you have to [train like] an athlete—using jogging and all those basic ingredients. And after all that, you [must] ask yourself, how can I honestly express myself at this moment? And being yourself, when you punch you really want to punch—not trying to punch [out of fear of being struck] or to avoid getting hit, but to really be in with it and express yourself. Now this to me is the most important thing. That is, how in the process of learning how to use my body can I come to understand myself ?
The trouble is that circumstances must dictate what you do. But too many people are looking at “what is” from a position of thinking “what should be.”
The “space” created between “what is” and “what should be.” Total awareness of the now and not the disciplined stillness.
More and more I believe in [the fact that] you have two hands and two legs, and the thing is how to make good use of yourself—and that’s about it.
PRINCIPLES AND STRATEGIES
The art of offensive defense
Though your style should be a combination of offense and defense, I often stress that offense should be the more emphasized. This does not mean that we should neglect defense; actually, as the reader will later realize, into every jeet kune do offense, defense is also welded in to form what I term “defensive offense.”
In attacking, you must never be halfhearted. Your main concern is with the correct and most determined execution of your offensive. You should be like a steel spring ready at the slightest opening to set the explosive charge of your dynamic attack.
Every attack you make should be penetrating, disturbing your opponent’s rhythm and bringing pressure upon his morale. Remember though that your hands are not a hatchet (a common image nowadays) to chop your opponent down. Rather, they are keys to unlock your opponent’s defense, and a different lock requires a different key.
It is easy to learn the mechanics of an attack, but to apply that attack in time with the opponent and at the correct distance takes a lot of practice.
Thus in order for an attack to be successful requires this fitting in with the opponent. To attack correctly, you must have a keen sense of timing with the opponent, a good judgment of distance between you and him, and the right application of speed and rhythm with the reactions of your adversary.
There is no effective trick to stop a properly timed simple attack, and always remember the best technique in offense or defense is the simple one properly performed.
“Defense is offense, offense is defense” is a phrase uttered by many systems. But looking at it closely, all of these systems devote themselves on a passive block and then an active offense. Though aggressive parrying is used occasionally in jeet kune do, the best parry is still the kick and the blow.
Aggressive defense
The leading right shin/knee stop kick
When your opponent attacks you, he has to come to you, and his action of coming toward you offers you to apply the theory of attack given in the previous section, that of using the longest against the closest. When your opponent advances toward you, he presents to you his “advanced target” of his shin and knee. Before his attack is halfway through, you can stop kick him and check his attack.
Figure 1. A and B facing each other.
Figure 2. Awareness is most important in the success of any stop hit or kick, though the stop kick is easier, allowing the defender more time due to the longer kicking distance between him and his opponent. The second A is aware of B's initial onslaught, A immediately shoots out his shin/knee stop kick while arching back for power and safety distance.
The side kick
The longest of all kicks, this side rear kick can be a strong defensive weapon, especially against all-hand attacks, round-house kicking, or rear leg attack of the opponent.
The hook kick
A good counter kick, especially against hand attacks.
The finger jab
Using footwork
Additional aggressive defense factors that all martial artists should consider
The inside high parry
The outside high parry
The inside low parry
The outside low parry
The element of offensive defense
Jeet kune do (JKD) signifies offensive defense.
Every attacker must have within himself a touch of the gambler. Never attack halfheartedly—penetrate in, concern yourself only with the correct and most determined execution of your offense.
Offensive defense pointers
1. Use the longest (weapon) against the closest (target).
2. Use leg first in attack, then having bridged the gap, use the hands.
3. Make indirect attack out of them, feint head first if hitting low (this is not always the rule)—do not set pattern which will allow your opponent to time you.
[By defense, every means of frustrating and punishing one’s opponent’s lead.]
Does not necessarily mean the attacking man will land the kick or blow.
The successful avoidance of a blow presents on most occasions the opportunity for a counterattack.
Best defense is not to let the attack get started, to keep the opponent continually on the defensive.
Aggressive defense—each defensive move must be accompanied by a counterattack or be followed immediately by a counterattack.
Gung fu is not primarily defensive but indicates that knowledge of this art results in a person being able to defend himself.
It doesn’t mean trading punches, nothing so crude.
Principles
Parry as late as you dare.
Weapons and targets
There is only one basic principle of self-defense: You must apply the most effective weapon as soon as possible to the most vulnerable point of your enemy. You’ll find in this note diagrams showing the most effective weapons given to you by nature and the most vulnerable points of the body.
A jeet kune do weapons arsenal
JKD kicks from a right stance:
Side kick
1. Downward side kick (shin/knee and thigh)
• Right simple side kick to knee/shin
• Right simple side kick to thigh or rib
Parallel side kick (ribs, stomach, kidneys)
• Right simple side kick to head
• Angle in high side kick (to left stance)
• Angle in low side kick (to left stance)
Upward side kick (solar plexus, head)
• Reverse left side kick
• Leaping side kick
• Jumping side kick
• Slide in dropping side kick
• Step-back side kick
Leading straight kick
• Right high straight
• Right medium straight
• Right low straight
• Right angle in (to left stance)
JKD groin kick
Right rising kick (knee and/or wrist)
Step-back straight kick
Hook kick
1. Right simple high hook
2. Right simple medium hook
3. Right simple low hook 4. Reverse left high hook
5. Reverse left medium hook
6. Reverse left low hook
7. Right one-two hook
8. Reverse left one-two hook
9. Jumping hook
10. Step-back hook
11. Double leading hook
12. Three foot sweeps
Spinning back kick
1. Left simple spinning back kick high
2. Left simple spinning back kick low
3. Left simple spinning back kick medium.
4. Jumping reverse spinning back kick
5. Step-back spinning back kick
Heel kick (stiff-legged or bent)
1. Right simple high heel kick
2. Right simple medium heel kick
3. Right simple low heel kick
4. Right one-two heel kick
5. Reverse left one-two heel kick (to left stancer)
Reverse straight kick
1. Reverse left high straight kick
2. Reverse left medium straight kick
3. Reverse left low straight kick
4. Reverse left angle in high straight kick
5. Reverse left angle in medium straight kick
6. Reverse left angle in low straight kick
7. Reverse left cross stomp
8. Step-back reverse straight kick
Jeet kune do hand techniques
Leading finger jab
Leading right
1. High
2. Medium
3. Low
4. Double
5. Slanting right
6. Slanting left
Right hook
1. High
2. Medium
3. Low
4. Tight
5. Loose
6. Upward
Left cross
1. High
2. Medium
3. Low
4. Overhand
5. Left hook
Right backfist
1. High
2. Medium
3. Low
4. Reverse backfist
Right quarter swing
1. With palm
2. With back fist
3. Reverse left quarter swing
4. Inward finger fan
Uppercut
1. Right
2. Reverse left
The pivot point
1. Left pivot
• Forearm
• Back fist
• Elbow
Additional striking weapons
Elbow
1. Right upward smash
2. Right downward smash
3. Right elbow smashing left
4. Right elbow smashing right
5. Right inward elbow smash
6. Right backward elbow smash
7. Reverse left upward smash
8. Reverse left downward smash
9. Left swing right
10. Left swing left
11. Inward left elbow swing
12. Left back elbow
13. Pivot elbow blow
Knee
1. Right upward thrust
2. Right inward thrust
3. Reverse left upward thrust
4. Reverse left inward thrust
Head butt
1. Lunging forward
2. Lunging left
3. Lunging right
4. Lunging back
Throwing, tackling, locking, and choking
1. Hook throw (soto) with or without arm drag
2. Left foot sweep (right and left stance)
3. Right foot sweep (left and right stance)
4. Kick back (left and right stance)
Foot twist or toe hold (into left and right stance)
1. Single leg tackle and trip (standing or lying)—single leg lock
2. Double leg tackle—double leg and spine lock turn over
Joint locks
1. Outside armpit lock (left and right stance)
2. Wrist lock A and B (A = cross wrist lock/B = elbow wrist lock)
3. Lying cross-arm bar lock (after hook throw)
4. Reverse wrist lock (to double arm lock)
Lee’s first mass fight (in a set-up)
1. Natural instinctive primitiveness
2. The technique
• A natural blending of stillness with sudden, violent destructiveness
• The triple kick (maybe not)
3. Lee’s deadliness
4. Body slam to opponent
Note: After a quick dispersal of attackers, set up each opponent separately for each spectacular technique.
Chokes
1. Rear chokes
2. Lean-over stranglehold
3. Side stranglehold
Foul tactics
1. Hair pulling in infighting (for control)
2. Foot stomps in infighting (to hurt)
3. Skin pinching (to hurt) or ear pulling (for control)
4. Groin grabbing
Target areas
The body is the easier target to hit for the simple reason that it covers a far larger surface than the jaw (the groin might be a better target and is definitely harder to block) and is less mobile.
To intercept a head lock, or a head-immobilization attack by your opponent block the locking arm with the arm that is furthest away from your opponent, while simultaneously slipping your left leg in behind his right leg. With a quick twist to the left, lift your opponent's right hand and trip him by pushing him over your left knee.
Progressive charts
1. Progressive target
2. Progressive tools
3. Lead side
Progressive target factors that all martial artists should consider
1. Distance and footwork (see sections on distance and footwork) in long-range fighting
2. The importance of fluid [interchange of] long-range fighting and close-range fighting and vice versa
The choice of stroke
1. Should deceive opponent’s stroke
2. Offensive action should move in the same direction as those of the defense. Otherwise the blades are bound to meet while turning in the opposite circle.
To find out the reaction of habit in your opponent
1. Quick simple attack
2. Feints preceded by attacks on hand
3. False attack with a half lunge
The role of techniques
Though they play an important role in the early stages, the techniques should not be too mechanical, complex, or restrictive. Remember, you are expressing the techniques and not doing the techniques. When attacked, your response is not technique 1, 2, 3, 4, 5—rather you simply move in like sound and echo, without any deliberation. React as when I throw something to you, you catch it. Nothing else.
In most cases the same tactics for each maneuver must be drilled on the opposite side of the body for the proper balance in efficiency. When your feeling is more involved in the technique your technique improves.
The three stages of a technique
Stage I (synchronization of self)
a. Correct form
b. Precision (augmenting speed progressively)
c. Synchronization of the whole
Stage II (synchronization with opponent)
a. Timing—the ability to seize an opportunity when given
b. Distance—correct maintenance of space
Stage III (application under fighting conditions)
a. Mobility
b. The physical ability to lengthen movements of arms and legs, in other words to increase reach
c. Resistance to fatigue, i.e., stamina
d. Spring and resilience
e. Physical and mental alertness
f. Imagination and anticipation
g. Courage to take chances
h. Speed progression • Strength progression
Repetition of the same parry can spell disaster.
Observe, deduce, and apply.
Speed and cadence
Speed must be regulated very carefully to fit in with the speed of execution of the opponent.
The regulating of one’s speed to correspond with that of the adversary is known as cadence.
With each adversary the first thing to find out is his cadence, as even a simple attack can fail if that has been ascertained.
It is a great advantage to be able to impose one’s own cadence on the opposition.
Men of experience often change their cadence, and effectively hinder the opponent in his effort to regulate his.
Certain styles and tactics
The Golden Principle: Each movement of yours must correspond to those of the opponent.
On the need to vary your attacks
The stronger man will be he who, if necessary, is able to vary his strokes and kicks.
The more experienced the opponent, the more varied will be the strokes and kicks.
Sometimes PIA works, sometimes HIA—in other words, depending on the opponent’s tactics and reaction. It takes two to play.
When you are in range, in order to be safe:
a. You can apply the pressure by attacking (well-covered attacking!)
b. You can lodge yourself in blind sides of opponent
• Both sides—HIA
• Boxing safety position (to shoulder—attack groin—leg immobilization attack)
• Gap pressing
c. Sidestep to both sides to limit opponent’s direct rush—be watchful of all possibilities to counter from the positioning relationship—like rear cross, spin kick, etc. (immediate) and the opposite hand and kick (secondary).
d. Watch your opponent with “all-inclusive playful seriousness.”
Question
A good artist is one with:
a. An all-inclusive attitude without gap—playfully serious
b. Totality in equipment
c. Ability to supply and regulate with the object (opponent) C with (a) and (b)
It is impossible to vary one’s offensive actions if the adversary does not vary his parries.
Watch for the opponent’s styles, habits, and movements and use them for your advantage.
When faced with an opponent who has a decided advantage in reach, it is often a mistake to try to keep still further away from him.
He also may dislike to have his measure shortened, and it may be worthwhile to make a shortstep forward on his offensive action. His measure being shortened, he may not be able to achieve speed and penetration of attack through his development. He also may be inclined to miss.
Tactics to use against hand/hair-immobilization attack (HIA)
At first sight, the answer appears to be to deceive his attempt and stop hit him, or to attack during his preparation, but it is unlikely that all his attacks on the hand will be deceived, and his heaviness, coupled with the numerous hand deceptions which have to be made, will finally tire one’s hand. It is wiser, against such an adversary, to spar with absence of touch; that is to say, by adopting a low front leading hand, where he will find difficulty in making contact.
Additional notes on the feint (PIA)
Never pause on a feint—a feint should always be followed up.
Feints with a short lunge are also very useful to keep an aggressive at bay. Sometimes the opponent can be caught off his guard and unprepared by such feints; one can immediately follow up.
We must not allow our hand to be found while feinting. If we do, it must be intentionally and because we are hoping to score with another tactic.
Counter-time
Counter-time is the answer for an opponent who continually attacks into one’s attack—a quick leaning forward of body, or a false attack.
Striking
It should be focused clearly and distinctly, and have the penetration ability to strike from any angle and from any distance—develop a sense of focus that will enable you to control and direct it.
Stance
The stance is slightly shorter in order to keep the leading foot and leg out of range of a sudden low kick—also, use small and rapid steps for gaining and breaking ground.
The on-guard position
1. Short stance for mobility—on balls of feet
2. Front hand slightly lowered with center low line protected—ready
The distance is governed by the amount of target to be protected and the parts of the body which are most easily within the adversary’s reach.
The practitioner must be made to advance or retire before, while, or after the strike or kick at which he is working has been executed.
Two counter-offensive actions—stop hit and time hit
—to make the adversary respect his distance.
Stop hit
Counter defense/offense against an opponent who attacks wildly, with insufficient care to covering, or who comes too close.
To take advantage of faulty execution or overconfidence.
The stop hit oftentimes necessitates a step forward in order to land ahead. It is advisable at least to lean forward as if to meet the attacker.
The time hit
1. The final line in which the attack is delivered must be anticipated.
2. The executant must be covered.
3. The timing of the stroke must be perfect.
The time thrust
A time thrust is a simple attack made against the adversary at the same time that he is making an attack; closing the line where he intends to finish his attack with the same hand or with a supplementary guard accompanying.
The time thrust is a simple straight or disengage attack made against the attacker, closing the line which he intends to finish his attack.
The stop thrust
The stop thrust is usually made by straight thrust or disengage. It can be made safer by shifting the body out of line to evade the original, or the continuation of the original, attack. Stepping to the side or ducking under the opponent’s attack are two such possibilities.
