BRUCE LEE'S

FIGHTING METHOD
BASK TRAINING

BRUCE LEE and M.Uyehara

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QHARA || PUBLICATIONS. INCORPORATED

SANTA CLAR IT A CALIFORNIA .
 A C KN'O W L F n I t EMK \ 1

DEDICATION
Our appreciation to Joe Bndne.r. who spent in much
*in*.-eire

To all the friends and student* of Bruce Lee

time inphotographing and developing the film. Our appreciation
also #>es lo those who par tic pitted m this book: Dun Inosanto
i

and Ted Wong, They were both Bruce Lee's devoted students.
To Raiii bow Publications hi 1

., for the use of several photo-

graphs taken by Oliver Pang.
 Introduction
To train yourself for this goal, you must train seriously.
This hook was in ihe making in 19oti and most of the photo- Nothing is lake:: for granted. "You have to kick or punch the hag
graphs were shot then. The late Bruce Lee intended to publish this with concentrated efforts,'" Bruce used to say, "If you are going to
hook years ago but decided again*! it when he Learned that martial train without the concept that thi? i* the real thing, you are
were using his name to promote themselves. It was
art* instructors short-changing yourself. When you kick or punch the bag* you
quite common to hear comments like: "1 taught Bruce Lee" or have to imagine that you are actually hitting an adversary, Really
"Bruce Lee taught me jeet kunc do," And Brute may never have concentrating, putting 100 percent in your kicks and punches, is
seen or known these martial artist*. the only way you are going to be good."
Bruce didn't want people to use his name to promote
themselves or their schools with false pretenses. He didn't want If you have already read the first volume of Bruce bek\
them to attract students this way, especially the young teens. Fighting Method (Self'-Defense Techniques /. this second book
But after his death, his widow. Linda, felt that Bruce had attempts to explain the secret of Bruce Lee's training method,
contributed so much in the world of the martial arts that it would
how he developed his power, speed, finesse in footwork, etcetera.
be a great loss if the knowledge of Bruce would die with him. The next two books will cover the skill and application of his
Although the hook can never replace the actual teaching and techniques. Most of the photos in this book and the nest two have

knowledge that Bruce Lee possessed, it will enhance you. the never been published before.
r

serious martial artist, in developing your skill in fighting, If you have not read Too of Jeet Kunc Do by Bruce Lee (Ohara
Bruce a] way a believed that ail martial artists train diligently for Publications, Inc.}, please read it. It was meant to complement this
one single purpo.-e— to defend themselves. Whether we are in judo, book, and the knowledge from both books will give you a full
karate, aikido, kung fu, etcetera, our ultimate goal is to prepare picture of Bruce *s art.
ourselves for any situation.
 Jeet Kune Do

Jeet Kune Ik> was founded by Bruce Lee

because he felt
the martial arts were too confined.

You can *£ fight in pattern he used to say

because an attack
can be baffling and not refined.

Jeet Kune Do was created by Bruce i^ee

to show us
that an old art must transform.

Like the day turns to night and

night, to day
the. tray of fighting must also fvfttrm.

Bruce I*ee developed Jeet Kune Do

but wished
be didn *t have a name far it!

Because the very words* Jecl Kune Do,

already indicate
that it's another martial arts form

Any form or style dues restrict

and his belief is now in conflict
Contents

CHAPTER I: The Fighting Man Exercise . . . . 11

Stamina Exercise
Warming- Up Exercise
Flexibility Exercise
Abdominal Exerci&e

CHAPTER H: The On-Guard Position 28

Stances
Balance

CHAPTER III: Koatwork . . , , - 48

The Shuffle
Quick Movements
The Burst
Sidestepping

C1IAPTE It IV: Power I'raining . . . GG

Punching Power
Pul licit Power
Power Kicking

CHAPTER V: Speed Training 94

Speed: In Punching
No n telegraphic Punch
Speed In Kicking
Awareness

Sources:
Tao ofj££t Kun& Da by Bruce Lac
Boxing by Edwin L, Haislet
 Stamina Kxerciae

Although you Irnve the tight attitude,

it's not enough to avoid a strife.

Ait ht j ugh you have a heart of fortitude,

lt*s no assurance of saving your fife.
Chapter I

You may hmw spent years in training

The Fighting Man Exercise In the art
of fighting you love jwj much.

Bu l if you are winded in a sparring,

It proves that your condition is Mich

You need ptenty of workout on the mad.

Running two, three or more miten a day
On til your body can take more load.

Vien comes a d<ty you see the lights

You look up at the sky and then relay:

"Skill in performance is all right.

But it 's not enough to prove your might. "
 BASIC TRAINING
Aerobic Exercises

One of the most neglected elements of martial

artists is the
physical workout. Too much Lime is spent in developing akiU
techniques and not enough in physical p art
m
icj nation.
Practicing
your skill in fighting is important, but
so i*
maintaining your overall physical
condition. Actually both are
needed to be successful in a real fight. draining is a
skill of
disciplining your mind, developing
your pownr and supplying
endurance to your body. Proper training
is for the purpose of
building your body and avoiding activities
or substances that will
deteriorate or injure it.
Bruce Lee was a specimen of health.
He trained every day and
consumed only the proper food. Although he drank
tea he never
drank coff^e-instead he normally consumed
milk He was a
martinet who never let his work interfere
with hi* training Even
when he was sent to India to find suitable locations
for filming he
took along his running shoes. *a * **
% m • * * a
Lee's daily training consisted of aerobic
exercises, plus others
which were patterned to develop his skill in fighting.
He varied his
exercises to avoid boredom. One of
his favorite exercises was
running four miles a day in 24 to 25 minutes.
3«
He would change his
tempo while running-after several miles of constant,
even stride
he would spnnt several feet and then
return to easier running
Between •hanj-e* ir. n h,« tempo, he would also shuffle his
feet
Lee was not particular where he ran:
at the beach, in parks or
woods, up and down hills or on surfaced
streets.
Besides running, he also rode an
exercycle to develop his
endurance, legs and cardiovascular muscles.
He usually rode full
speed-35 to 40 miles an hour continuously
for 45 minutes to an
hour. Frequently, he would ride his
exercycle right after his
running.
Another aerobic exercise that Lee scheduled Ln his
routine was
skipping rope, which you can adopt.
This exercise not only
develop your stamina and leg muscles,
but also improve* you
makes you "light on your feet." Only recently,
physiologist* have
learned,by several tes^ that skipping rope is more
beneficial than
joggmg. Ten minutes of skippmg rope is
equivalent to 30 minutes
nf jogging. Both are very benefieiial exercises for
the cardio-
vascular system.

16
1 7
 lightnesson your feet until it uoeomes natural and comfortable-
to start your
then work faster and harder. It is a good idea
loosen your muscles. Imagine your
workout with shadowboxing to
you and you are going to demolish
worst enemy stands before
him. If you use your imagination intensely, you ran instill into

fighting frame of mind. Beside developing

yourself an almost real
creates ideas and
stamina, shadowboxing increases your speed,
.

establishes techniques to be used spontaneously

and intuitively.
the best way to learn proper footwork.
Going several rounds is
many beginners are too lazy to drive themselves. Only by
Too
endurance. You
hard and continuous exercise will you develop 1 '

to the point of exhaustion ("out of breath

have to drive yourself
ache a day or two). The best endurunce-
and expect muscle in
|jeriod of exercise
training method seems to be a lengthy
interspersed with many brief but high -in tensity endeavors. Stami-

iul -types of exercise should be done gradually and cautiously

increased. Six weeks in this kind of training is a minimum fur any
considerable amounts of endurance. It takes
sports that require
stamina is
year* to be in peak condition and, unfortunately,
high conditioning
quickly lost when you ceawe to maintain
to some medical experts, you lose must
of
exercises.According
you skip more than a day between
vuur benefit from exercises if

workouts.

Skipping mpe properly m one of the

beet exercises for
leveloping a sense of balance. First,
skip on one foot, holding the
*her in front of you; then rotate your
foot, skipping on the
Itematc foot w.th each Evolution of
the rope, from a gradual
>ace to a really fast tempo.
Minimize your arm-awing; instead use
'uur wrist* to swing the rope over.
Lift your foot slightly above
he ground, just enough for the rope
to pass. Skip for three
iinutcs (equivalent to a round in a
boxing match); then rest one
ainutc only, before you continue
for another round, Three
^unds of this exercise are sufficient for a
good workout. As you
ecomc conditioned to skipping, you can omit the
rest period and
e exercise for as long a* 30 minutes straight.
°
?
iade of leather with ball hearings
in the handles.
The best rope is
Additional endurance exercises are
snadowboxing and actual
>annng. Shadowhoxing is a good
agility exercise which also
build*
p your speed. Relax your body and [earn to move easily
and
noothly. At first concentrate on your
form and move with
 Warming Up
with ease because he moves with little antagonistic tension On the
>

other hand T the novice performs with excessive tension and effort,
To warm
up, select light, easy exercises to Loosen
your muscle creating a lot of wasted motions, Although this coordination trait
and io prepare them for more strenuous work.
Belies improving is more a native talent in some than in others, all can improve it by
your performance, warming-up exercises
arc necessary to prevent intensive training.
injury to your muscles. No smart athlete will use his hand or leg Mere are some of the exercises that you can adapt to your daily
violently without first warming it up
carefully. These light training,For flexibility, place your foot on a railing or object as in
exercises should dictate as closely as |>o^ibk
the ensuing, more photos A T B and C keeping your lay horizontally to the ground—it
P
strenuous types of movements.
could be slightly lower or higher t depending on your flexibility.
How long should you warm up? This depends on several For the beginner, do not attempt any strenuous exercise,
aspects. you live in a colder area, or during the cold winter
If
you
have to do longer warm-up exercises than do
those who Live in a
warmer climate. Longer warming-up is recommended in
the early
morning than in the afternoon. Generally, five
or ten minutes of
warm-up exercise* are adequate but some performers
need much
«mre. A ballet dancer spends at least two houry
T He commences
with very basic movements, gradually but
consistently increasing
the activity and intensity, until
he is ready to make hh
appearance.

Exercises

Rruce Lee learned that certain exercises can help

you greatly in
your performance, and others can impede or even
impair your
execution of techniques. He found that beneficial
exercises are
those that do not cauw antagonistic tension in
your muscles.
Your muscles respond dif ferently to different exercises. During
a static or slow exercise such as
a handstand or lifting heavy
weights such as a bart&M, the muscles on taoth
sides of the jointe
operate strongly to set the body in a desirable
position. Hut in a
rapid activity such as running, jumping or
throwing, the muscles
that close the joints contract and the muscles directly
opposite
elongate to allow the movement. Although there is
still tension on
both muscles, the strain is considerably less on the elongated, or
lengthened one.
When Instead, after placingyour foot on the railing Just move your toes
thereexcessive or antagonistic tension on the elongated
is
toward you, keeping your extended foot flexed .straight as in
muscles, it hinders and weakens your movement.
It acte like a photo A. After a few minutes, rotate your foot. In a few days, as
brake, causing premature fatigue, generally associated
only with your leg muscles are limbered, yon can proceed to the next step,,
new activity-demanding different muscles to perform. A coordi-
as in photo B. Press your knee to keep your leg straight and lean
nated, natural athlete is able to perform in any sporting activity
forward from the hip as much as possible without injuring your

20
21
 muscles. From this exareiee you then proceed to
emulate photo C
Keeping your extended leg straight, push
your hand downward As
ymi progress, you'll
notice that you are also beginning
Ui Lean
forward, putting more stress on your
leg muscles. Finally you are
able to touch your toes, as in phnto
D. After some months you
may be able to wrap your hand around your
foot, as in photo E
even with the support raised higher.
Other log
raises, as in
flexibility e
photo F.
^ rci5es
To do
mdude
this
spKte
exercise,
use a long rope
^ ,

supported by a pulley. A
noose encircles your foot. Pull the other
end of the rope to the maximum height
'
your leg muscles will bear
,,l,ol lt IUJ, l,m y :m '-''- Tr* to keep your foot
r

7 -

aligned throughout the exercise.

|
horizontally
This exercise allows you to
execute h JRh side kicks. You should
rotate your tegs in all these
exercises.

22
 Advanced students who like to do exceptionally high kicking
exercises. *ln photo G, Lee uses two
iin progress into trampoline
and
,

hi 8 h to develop both balance

light dumbbells and jumps
ho
^riney Ipbs. can control his body on a trampoline,
Once he
high front kick in photo I. and
attempts leg splits, as i.i photo I': a
flvwgside kick in plurto J.
•i

stretcher After you

Other limbering exercises include body
leg muscles, you should be able
hnve developed elasticity in your
far back as possible, then bend
forward a*
to stretch your body as
your head is touching your knees; photos K.
fnr as possible, until

L and M.

Abdnmiitat Exercises
f
muscles. "One of
No one could help but notice Lee * abdominal
fighting," he used to say, is
the most important phases of
must be able to take punches in
sparring. In order to spar, you
your r^da^tion.
1
To do
' this, Lee concentrated on several
exercises that vou can also adopt. The
most pnpular are the sit-ups
Spcuk your feet,
on a stent board, a* in photo N (see page 26).
behind your head,
fend your knees and after placing your hauls
many you can until you
lift your bodytoward your feet. Do as as
to 10
fccUhe around your abdomen. After reaching 50
strain
such as a dumbbell or barbell
repetitions, you can place a weight
plate behind your neck and do
your sit ups*
at the edge of a
Another excellent way of doing sit-upK is to sit
and lower your body as
bench have someone secure your ankles,

25
24
 far down as possible toward the floor. This exercise
your
stretches
midsection much more, but it is more you have a
difficult to do. If
ehtnnmg bar, you can also develop your abdominal
muscles by
hanging onto the bar with both hands and
slowly lifting hoth 3egs
until they are extended horizontally.
Keep them in that position
for as long as possible and try to beat
your last rec ord each time
you do the exercise. Buy one of those kitchen
timers to help you
keep track of the time.
Another excellent exorcise is the teg raise. Lie
on the floor
keeping your back flush to the floor by pushing
in your
midsection, and lift your head slightly until
you can aee your feet
Keep your le^ logetlwr ;,,,d straight. Then
lift them upward
slowly and as high as possible. Then slowly
return them to the
floor.
To get the most out of this exercise, do not let your
feet touch
the floor-keep them ahout an inch
above the floor And start ta
raise them again. Do as many

mm lifting
This exercise ia
repetitions as possible. If you have a
bench, you can do the same exercise a*
also good for your lower back muscles.
photo 0>

midsection. Let the brill hit your body before catching it. See
photos R and S.
IJ" you do your workout alone* you can use your heavy
punching hag hs a substitute Tor the medicine ball. Swing the
heavy bag and let it hit your body. You can adjust the spot of
One advantage in doing an abdominal exercise, impact either by moving forward or backward. If you want a
is that it can he
done while you are doing other activity. For instance, heavier impact, swing the bag harder.
l*t* used to
watch television while lying on the floor with In your daily hfV:, there's always an opportunity for more
his head slightly up
and keeping his feet spread out and slightly above supplemental exercises. For instance, park your t ar several blocks
the floor.
To toughen your midsection, get a medicine from your destination and walk briskly. Avoid the elevator and
ball and have
someone drop it on your abdomen, as in photos P use the stairs instead. While climbing the stairs, you can have a
and Q To vary
your exercise you can also have someone throw it good workout T either by running up or by skipping a step or two.
directly to your

27
 A Perfect Stance

A stance too narrow providesyou speed.

Rut leaves you imbalance which you don *t need.

Chapter 1 A stance too wide Rives you power,

Bui you'll soon learn you're a bit slower.

TheOn-Guord Position Them must be a stance that you can use

To keep you in balance and to refine.

Tfte perfect stance that will not confuse

fa the on -guard position which does not confine.

You can maneuver with ease of motion

As you are free from any notion.
 .

RACK VIEW

ON- 1; HARD POSITION

southpaw stance, the chin and shoulder should meet halfway—the
The most effective j«* kune do stance right shoulder raised an inch or two and the chin dropped about

t i7 5
? for fitting
perfect
Q td POSiti ° n
£P^
£f because your l>ody ^ for attackin
stance is
is sturdy at aJJ time,
in a
the same distance. At this position the muscles and hone structure
are in the besit possible alignment, protecting the point of the chin.
comfortably balanced position to attack,
counter or defend In close-in fighting, the head held vertically with the edge of the
is
without any forewarning movement*.
It provide* your body with chin T pressed to the collarbone, and one side of the chin is tucked
complete case and relaxation but at
the same lime allows qui* k to the lead shoulder. Only in rare, extreme, defensive maneuvers
reaction time. From this stance
the movement is not jerky but would the point of the chin be tucked into the lend shoulder. This
smooth, and prepares your next move
without any restriction It would angle your head and turn your neck into an unnatural
create, an illusion or -poker-body
to your opponents needing
"

position. Fighting in this position would tense the lead shoulder

your intended movements. *
and arm, prevent free action and cause fatigue because you would
The on-guard position perfect for mobility. It allows you
is
to lack support of the muscles and straight bone alignment.
take small steps for speed and
controlled balance while bridging, The leading hand position could be placed slightly below the
the distance to your opponent, and
camouflage* your omnia shoulder height, as in photos A and Al (close -up shot). In photos
Since the leading hand and foot are
closed to ihe target so B and Bl (side view), pay close attention to the extension of both
percent of the hitting j» done by them,
Bruce r*e, a natural ljee's right and left hands. Photos C and CX reveal another view of
right hander, adopted the "southpaw"
or "unorthodox" stance his stance from the back, showing his leading hand more clearly.
because he Sieved that Lhe strongs
hand and foot should do In photo Y, both fighters stand in the onguard position
most of the work
in correctly. The person mi the k-l'i has his right foot too wide and
It is important to position your arms, feet
and head. From the reveals too much of his, body. The person on the right lias his right

30
31
 r .

RIGHT LEAD STANCE LEFT TiEAn STANCE

{outhpawj "I ::•....•!.•••
Head: Avoid blowi by bob-
bin* .^i lltiH'. Avoid btowrby bob-
bins jn.j weavEnji.

Itijihc ShuuJilcTu Sightly depend-

ft iclit Hand; llcavflv Left Should**: SliiJnly
i~aucd aim rliin slightly low^* '(I mi [mi Ueteni*.. 11 prow*!*
tired lu i»ti iWti your chin
rjiiaed and chin dlihdy 3ow-
your lace ytu* If OUT gtO Ul • Tl .1 1. 1 1 ;i.-n',ii| :l •.
. ; 1 1 ill LI i

unci imrt of yoilir fur*, on the

lower rljhi ilde. Left bind: Heavily depimri-
I
and pwl of yuitr faee «" ihL-

vd on for dt.ff.niw. |( pn>leetl lower left *tdi\

vour Ial [diu your aeoin. Rjftht Forearm: neferidl the
midKclinn yOur body.
Right Hand: H.-iivUv depend-
ed on for strlkttic ic prolceL-L
Li'lt Hand: Heavily dt'prnd-
l^fti Forearm; DrlrniJs the ed on for irrlklnc- It protect!
your face and your ifcubi.
midscciiiiii of the body. Right Eltww: Def end* the
your fate and your gxnin.
rijiht Didc irt ynur body.
Itiftht liJtHjw, I )rl c-nds hi
Left Elbow: DcPcndi Llic
I

rmdsotluni and ihe rleht tide I^f( Elbow: l*4lcndsthc J*-£t

"1 (be lid*, lit the your body.
midsection and the- left tide
body. oi the body-

Rljrht Kn tt : sunnily tvrnod

inwwrrl [.. di-rrnd Lhv pojji *rft Knee; Stinhtly tutrinl

m, IlifiM Foot: At 4b to frfl-d Inward Lei drJVnd tht" Lmln

atria.
rjec unite axtd the hurl Li
railed for greater mobility, ll
Left Foot: At 45 in fiO- luu tu be ready to trigger
de&cc angle And thi- h* 1 is yniurbody forward hkr a
railed fut ktl-jlilt mobility, it rinVd ipring.
h.f. [II rrlidv [0 LfLpKrr
hi"
yuur body forward likr *
Culled *j<rlii( r
mwm%
tti^.i Foot; At a 2A to 3rt-
drr/ee unite jud rirprnded Left Foot: At a 25 to 30-de-
on heavily hir kicking.
gr.ee ansle and depended on
hiMvlJy for kirhnif

foot too far to hh left, restricting his movement and keeping him rear hand is aligned with the lead shoulder and placed almost to
off- balance
the chest of that shoulder.
Sometimes, but very seldom, you can adopt the low-line The lead foot dictates the position of Lhe trunk. If the lead foot
position without a lead because many fighters are nut properly in place, then the trunk automatically assumes the
prepared for is

such a defense. This type of position may confuse your correct position. It important that the trunk form a straight line
opponent is
and severely hamper and, to a certain extent, check hi* offensive with the leadleft. As the teat! foot is turned inward, the body
assault. Your exposed head is now a target but consequently mnves. in the same direction, displaying a narrow
can be protected
by mobility and relying on being a safe distance away from him. target to the opponent. If, however, the lead foot is turned
The rear hand is held four to five inches from your body on the outward, the body is squared, presenting a larger target. For
on guard position with the clhow protecting the short ribs and the defense, the narrow target obviously is more advantageous but the
T
forearm gently brushing your body defending the midsection. square blends in better for launching some attacks.
,The

13
 Good form is essential in your stance. It allows
you to perform
inthe most efficient manner with a minimum of Use a mirror to constantly chock your posture, hand position
lost movement
and wasted energy. Eliminate the nonessential motions and movement. Look at your stance and see if you are standing
and muscle
activity which cause exhaustion without almost like a cat, with your back slightly hunched, chin lowered
gaining any benefit. Both
of your arms and shoulders must be relaxed and loose, with your lead shoulder slightly up and prepared to spring.
to whip out
and snap your fists like thrusts from a rapier. Keep Contract youi abdominal muscles partially. Protect your sides
your lead nfl „d
or both hands in constant "weaving" motion, with your elbows and leave no openings at which your opponent
hut always keep
yourself covered while doing it. The may hit. The on-guard position is considered the safest stance. In
lead hand should be
constantly moving, flickering in and out like JKH it is the most favorable position for kicking, hitting and
a Snaked tongue
ready to strike. This threatening motion applying bodily force.
keeps your opponent in a
bewildering plight. Home faults on the fu [lowing stances:
Remember, if you tense up, you lose your balance, timing and
A; Right leg is too far out and will hinder his movement,
flexjbUity, which are essential to all proficient ftgliUw. Although
relaxation is a physical form, it is
especially with the weight on his With both hands on his
rear fool.
controlled by your mind You
have to learn, by conscious effort, to direct hips, he leaves himself wide open for an upper body and head
your thought and
body into this new habit of muscular activity. attack,
Relaxation is a state
of muscular tension, it is natural to have a slight
degree of tension B: His stance Is too square and he can easily be thrown
in your muscles when pri
forming any physical activity. But your uH-nahmce, He Ls also restricted from deep penetration in his
antagonistic muscles must main a low
decree of lensiori to countering.
perform coordinated, graceful and efficient
movements By
constant practice, you can achieve this feeling of relaxation C: Elongated slant* with long lead and extended fnot places
at will
Once you have acquired this, you should induce this him in :i vulnerable position. Lead side of the body vt open to
attitude in a
potentially tension -ere* ted environment. attack; extended hand is immobilised and withdrawing of the
hand telegraphs his intention.

34
35
 D: Both of his hands are ton extended. His rear arm is held too
high and leaves his body wide open. His front hand is too
extended to deliver any kind of an attack.

E: Standing too much to the side prevents him from deep

penetration for attacking or retreating. He can easily be thrown
off-balance.

F: Both arms are carried too low, exposing his upper body and
head.

G: Body is too rigid; lead hand is too extended for attacking

and thn rear hand is too low for protecting blows to the head-

H: Stance is too wide for any kind of mobility. It is difficult to

attack without telegraphing from this position, and the groin area
is exposed for a front kick.

I: liight arm w carried; too high and leaves the rib cage area
exposed. Hand is too extended to deliver any kind of an attack.

37
IW cat stance restricts movements especially sidestepping
d I lis he is in the right, lead position. Secondly, any
right if

delivered from this position would not have power, because

right on the rear foot.
is fully
Stance too narrow. It eliminates Lhe springiness of his
is

ork. Knees should be slightly bent Tor the explosive and

y movement.
like the est stance, too much weight Is placed on the bock
ind this restricts the forward mobility, especially with a wide
>. To launch a punch he has to
shift his weight to the front

nd tele^aph his intention.

Too much weight on the lead foot could throw one
lance by a sweep. A too-extended stance is also vulnerable
kirk to the knee and shin.
With both hands on hips, body and head are completely
ed for an assault. The groin area is unnecessarily open
se of the awkward placement of the rear foot.
This stance makes the body, face and the knee and shin of
ad lep vulnerable. Kneeling on the floor just about elirainateB
lobility for attack or defense.
 To control the center of gravity in motion, take a short step and
glide instead of a hop or cross-step. To move rapidly, take several
small steps. Take two medium steps instead of one lone stride to
cover the same distance. Your center of gravity constantly changes
according to your own actions and those of your opponent. For
instance, to advance swiftly, the center of gravity should subtly be
transferred to the lead or front foot, unrestraining the back foot
to propelyour body to a quick, short and sudden burst. To retreat
or move back quickly, the center of gravity should be transferred
to the hack foot, alio win g you to be in balance for a parry or a
counterattack.
Wide strides or constant switching of weight from one foot to
the other in your movement, should be eliminated except in
hitting and kicking. That moment of shifting results in |joor

balance and places you in a position vulnerable to an aLtack.

Besides which, you are prevented from launching a strong attack.
Addition ally, you are allowing the opponent to time his attack at

the moment of shifting.

You should strive for good balance in motion and not only in
stillness. You must attempt to control your body with perfect

balance, especially while delivering effective punches and kicks,

because you must shift your weight constantly from one foot to
the other. Retaining your balance while constantly changing your
body weight, is an art few people ever master.
It is alright to switch your strategy while fighting or sparring

but don't stray far from your bask form. In photo 1, the figure is

This stance allows you several advantages: speed, relaxation,

balance and smooth movement, plus permitting you to unleash a
powerful blow.
. Good balance is controlling your body in any position—con-
trolling your center of gravity. Even if your body is slanted or is
placed in an una Lab to equilibrium—away from the base of
support you should be able to pursue and recover your equilibri-
um.
In photo A, Lee retreats from his opponent, mainlining good
balance, and in photo B, he throws a long punch but still controls
his body for any countering attack.

42
in fairlygood portion, slightly Loo much weight on hw front fooL
But as soon as he attempts to launch an attack, photo 2 (see page
43), he throws himself out of balance. Good form requires good
balance. Proper balance and perfect timing contribute to good
leverage, which is necessary to kick or punch with sustained
power.
The most ideal position of your feet is one that permits you to
maneuver instantly to all directions and serves as a pivotal point
for your entire attack; one that keeps you in good balance to
withstand blnws from all sides, and ai In* same lime furnishes you
t

the ability Ixi unleash unforeseen pow«r in your blows, As in

baseball, Xhv drive and power in swinging a hat are derived from
your legs, also.
The on-guard position presents you with balance and ease of
movement by the proper body alignment. A too-wide stance, as in
photo A, deviates from eorrecL alignment, providing sturdiness and
power, but forfeiting; speed and efficient movement. A abort
stance, as in photo B, presents speed but loses power and proper
balance.
Do not over-commit in throwing a punch or a kick—it affects
your balance. Practice countering against a stand-up opponent.
When he misses with a blow, he loses balance for an instant and is
vulnerable to a counter. The only recourse he has, to he fairly safe,
ls to keep his knees slightly benL

Learn kinesthetic perception or the faculty to feel muscle

contraction and relaxation. The only way to develop this
kinesthetic perception at first, is to place your body and its parts
in different positions and be highly sensitive about them. For
example, place yourself in a balanced position, then an unbal-
anced, feeling the contrast as you move forward, backward and to
both sides. Once you have attained this feeling, use it as a constant
guide to your body as it moves from gracefulness to awkward-
ness— from relaxation to tension. Finally, your kinesthetic percep-
tion should be so keen that you are uncomfortable unless your
body functions with minimal effort to achieve maximum results.
To develop correct balance, praelu-e from both the right and
left stances, especially when performing the same tactics or
exercises. Between training sessions, stand on one foot while
putting on your clothes or shoes.
Practicing "chi sao" or sticky-hands-exercise is one of the best

45
 2

ways to develop balance. In the wing chun method, both each should keep his knees slightly bent and keep the center of
practitioners keep their feet parallel to each other. ;»s in photos gravity downward by lowering his hips. In this position you have
1 and 2. their hands are extended until only their wrists
Both of good bctlrmn' from Mde 1" sid<> hut not back :md forth. Eventually,
tom.li *'urh other. Fach one, keeping one hand inside and the oilier converted the stance by placing one foot forward, as in 3 and
outside of his opponent's, rotates his arms hack and forth in a 4. Tn this position, one has a better all-around balance and this
counterclockwise motion. Pressure should be applied to the arms stance is not quite the jeet kuiie do on-guard position^ but it
in order to rock the partner from his position* To prevent this. resembles it more cloudy.
 Footivorh

The vrt of mobility

is the emnce of fighting.

Chapter If you >e statu on your feet,

1 1
you'll be late in hitting.

Footwork A skilled fighter can shift

to evade most blows.

Hi$ body is "light as a feather,

when he fight* alt foes.

He moves like a xtaliion

galloping with grace

fnstead of a kangaroo
leaping high in space.
 FOOTWORK
In jtrtrt kune do mobility is heavily emphasized because
hand-to-hand combat is a matter of movements. Your application
of an effective technique depends on your footwork. Speed of
your footwork leads thr way tor last kicks and punches, [f you are
slow on your feet, you will be slow with your handu and feet, too.
The principle of fighting is the art of mobility: Us seek your
target or to avoid being a target. Footwork in jeet kunH do should
be easy, relaxed and alive but firm in movement, while the
traditional, classical hoirse stance seeks solidity in silliness. This
unnecessary, strenuous stance is not functional because it is slow
and awkward. In fighting you are required to move in any
direction instantly.
Proper footwork is good balance in action, which contributes to

hitting power and avoidance of punishment. Good footwork will

beat any kick or punch. A moving target is definitely more
difficult to hit tli an a stationary one. The more skillful you are
wiLh your footwork, the le» you have to use your arms to block
or parry kicks and punches. By moving deftly you can elude
almost any blow and at the name time prepare your fists and feet
to attack.
Hesides evading blows, footwork allows you to cover distance
rapidly, escape out of a tight corner and conserve your energy to
counter with more sting in your punch or kick. A heavy slugger
with poor footwork will exhaust himself as he futilely attempts to
hit his opponent.
The best position for your feet is where you can move rapidly
in any direction and so you are well balanced to withstand hlows
from any angle. The feet must always be directly under your
body. The on -guard stance presents proper budy balance and a
natural alignment of your feet.

The shuffle

To advance, do not cross or hop but shuffle your feet. At the

outset you will feel clumsy and slow but as you keep practicing
this movement daily, you will develop your speed and grace* To
do the forward shuffle, as in photos 1, 2 and 3 (front view). A, B
and C (side view) and X Y and Z (back view), stand in the
T

50
 rET^EAT SHUFFLt <R«m View]

on-guard position. To move forward cautiously, slide your front Jk A

foot forward second photo ( see page 51), about a hnlf-step,
widening the space between your feet just for a second ns you
slide your rear Font forward. When the rear foot is moved forward,
you should be at the original position. Then to advance further
forward, repeat thy process.
Notice In the photos that Bruce Lee retains complete balance
constantly and keeps his guard up. You should not be flatf noted
in motion but should glide on the halls of your feet with
sensitivity or feeling. I,earn to move like a tightrope walker whose
feet carry him safely across a high -altitude rope even when
blindfolded.
Keep both of your knees align try bent and relaxed. The front
foot but not heavily planted on the floor. It should be light
is flat

and raised intuitively about one-eighth of an inch on a quick

movement or sudden shift of the body.
The rear heel is almost always raised in stillness or in motion. It
is raised slightly higher than the front foot, about one-quarter or

one-half of an inch. The raised, rear heel facilitates switching your

weight immediately to the other foot when delivering a punch.
The raised back heel allows fast reaction of that foot and also acts
as a spring, giving in to blows from any angle. Naturally, the heel
should drop at the impact of the blow. There is no fast rule that
your heels would be constantly raised or when they should be flat.
This depends on several factors y such as your body position, your
reaction to attack or defend—with your hands or feel, etcetera.
In the advance shuffle, you should be light on your feet and
your weight should be evenly distributed, except for just a split
second when you are advancing your front foot as in the second
photo {-see page 51). At that instant, your weight would shift |p- RCTHEAT SHUFFLE (Back View]
just a little to that foot.
In retreating or moving backward cautiously (see opposite
page), you just reverse your movement. The basis behind the back-
m 1
m 1

ward shuffle, as in photos 1,2,3 (front view), A, B t C (side) and

X, Y, 2 (back), is like the advance. From the on-guard position
slide or shuffle your rear foot backward about a half-a-step, as in
the second photo, widening the space between your feet just for a
split second as you slide your front foot backward. When the front
'A'
foot is in place, you should be in the on-guard position and per-
fectly bnly need. Unlike the advance shuffle i your weight would
shift slightly for just an instant to your rear foot, or the station- i
53 7-
 .

QUICK ADVANCE

ary font, when you slide your front hack ward. To retreat
foot, your front foot forward, At this position, if you have not taken
further, continue to repeat the process. Learn to he light on your another step, you should be hack at the on-guard position with
feet continuously and keep your rear heel raised. your feet apart at a natural distance. But the purpose of this
The forward and backward shuffle must be mode with a series movement is to move your body quickly to a distance, eight feet
of short steps to retain complete balance. This position prepares or more, that requires several steps. Except for the first three-inch
you to shift your body quickly to any direction and it is a perfect step, the fierier of steps should be made at a normal walking space.
position for attacking or defending. Tli is movement keeps your body in perfect alignment and allows
you to move rapidly ahead.
Quid.- Movements
In photo 3 it seems like Lee is in an awkward position, but he
t

The quick advance, photos 1 T 2, 3, 4, is almost like the

as in is in that If you were actually
position Tor just a split second.
forward shuffle. From the JKD on*guard position with your front watching him physically, you would have witnessed only a
foot (as in photo 2), step forward about three inches. This seem- flowing, graceful movement and never detected any awkwardness.
ingly insignificant movement keeps your body aligned and helps
you to move forward in balance. It allows you to move with both Quick Retreat
feet evenly supplying the power. Without this short step, the rear
foot does most of the work The footwork for the quick retreat or rapid backward move-
As soon wh you glide your front foot, quickly slide your back ment is almost similar to the quiek advance except you move the
foot almost to replace your front foot's position as in photo 3. opposite direction. Krom the on -guard position, as in photo A {.see
Unless you move your front foot instantly, the rear foot cannot be page 5S) r move your front foot bat.k> as in photo B. The fmnL
planted properly because the front foot will be partially in its way. foot, like the quick advance, initiates the movement with the rear

So just before your rear foot makes contact with your front* slide foot following just a split second Inter. Unless you move your rear

j.i
 QUICK RETREAT

foot before the front fool makes contact, the front foot cannot be
planted properly, Llnlik* the quick advance, you do not have to movements should be mode with short and quick slides. Lengthy
slide any of your foot three inches- It is just one quick motion, your weight to shift from one
steps or foot actions which cause
but your body should be in alignment and in balance. If you ware foot to the other, should be eliminated except in delivering a
to move just once, you should be at the on -guard position when blow, because at that moment, your body is im balanced -restrict-
both of your feet are in place. But the purpose of this movement ing your attack or defense effectively. Crossing your feet in
is to move your body four feet or more. motion is a bad habit as it tends to unbalance you and exposes
The quick movement and shuffle can only he accomplished by your groin area.

being light on your feet. The best exercise for overcoming the The movement should not be a series of hops nor should it be

force of inertia to your feet is skipping rope and shadowboxing jerky. Both feet should be slithering rhythmically just above the
several minutes. While exercising, you must constantly be con-
surface of the floor like a graceful ballroom dancer* Visually, your

scious of keeping your feet "light as a feather." Eventually, you movement should not be like the kangaroo hopping across the
will be stepping around with natural tightness.
open plain but should be like a stallion galloping with even,
You must move without any strain, gliding on the balls of your rhythmic and graceful strokes of its feet.
feet, bending your knees slightly and keeping your rear heel raised.
Have feeling or sensitivity in your footwork. Quick or relaxed
footwork is a matter of proper balance. In your training as you 77u- ISiv*t

return to an on-guard position after each phase of maneuvers,

shuffle on the balls of your feet with case and feeling before The forward burst or lunge is the quickest JKD movement. It is
continuing on your next maneuver. This drill enhances your skill alsoone of the hardest to learn because it depends on good
as itsimulates actuai fighting. coordination, and your balance can be thrown off very easily. It is
In less there is a struct: purpo^. I or ward and backward utilised to penetrate deeply to attack with a aide kick or to
counter an attack such as a kick.
 QUICK RETREAT

foot before the front fool makes contact, the front foot cannot be
planted properly, Llnlik* the quick advance, you do not have to movements should be mode with short and quick slides. Lengthy
slide any of your foot three inches- It is just one quick motion, your weight to shift from one
steps or foot actions which cause
but your body should be in alignment and in balance. If you ware foot to the other, should be eliminated except in delivering a
to move just once, you should be at the on -guard position when blow, because at that moment, your body is im balanced -restrict-
both of your feet are in place. But the purpose of this movement ing your attack or defense effectively. Crossing your feet in
is to move your body four feet or more. motion is a bad habit as it tends to unbalance you and exposes
The quick movement and shuffle can only he accomplished by your groin area.

being light on your feet. The best exercise for overcoming the The movement should not be a series of hops nor should it be

force of inertia to your feet is skipping rope and shadowboxing jerky. Both feet should be slithering rhythmically just above the
several minutes. While exercising, you must constantly be con-
surface of the floor like a graceful ballroom dancer* Visually, your

scious of keeping your feet "light as a feather." Eventually, you movement should not be like the kangaroo hopping across the
will be stepping around with natural tightness.
open plain but should be like a stallion galloping with even,
You must move without any strain, gliding on the balls of your rhythmic and graceful strokes of its feet.
feet, bending your knees slightly and keeping your rear heel raised.
Have feeling or sensitivity in your footwork. Quick or relaxed
footwork is a matter of proper balance. In your training as you 77u- ISiv*t

return to an on-guard position after each phase of maneuvers,

shuffle on the balls of your feet with case and feeling before The forward burst or lunge is the quickest JKD movement. It is
continuing on your next maneuver. This drill enhances your skill alsoone of the hardest to learn because it depends on good
as itsimulates actuai fighting. coordination, and your balance can be thrown off very easily. It is
In less there is a struct: purpo^. I or ward and backward utilised to penetrate deeply to attack with a aide kick or to
counter an attack such as a kick.
THE BURST

1 2

The forward burst is one deep lunge, From an cm-guard position

as in X, step forward about three inches with your front ft ml., like
simultaneously, dragging your rear foot forward. In that split
the quick advance movement to align your body and he in hal-
instant, your weight is heavily on your front foot, only at (his
cuirc. as in photo 2. Then for fasl.iT reaction use your lead hand as
moment your leg straightem; out to thrust your body forward.
an impetus. By sweeping your N»ud hand upward, a momentum is
Sometimes, on an especially deep, penetrating leap, your rear foot
created, like someone is jerking you forward sudth'nly as you arc
may be ahead of your front while you are filling in the air, as in
holding on to a rope (see drawing A anfi R)* This swuep of your
photo X. You must land on your left foot only, a* your right foot
hand also distracts your opponent and throws his timing off. is delivering a side kick, as in photo Y, As soon as you have
While sweeping your hand upward, your hips swing forward

59
completed your kick, you should quickly place your right foot motion should carry your body backward at leasi two natural
down and assume the oii-gusnd position. That one leap should walking steps.
tarry your body at least two wide steps. The backward burst carrins your body just as fast as the forward
In a recently conducted test, by using the forward hurst it took
h lunge, In die same test it took exactly the same time to travel
only three-quarters of a second to travel eight feet. By applying right feet backward as forward -three-quarters of a aeeond. But by
the classical lunge movement or stepping by crossing your fcct r it comparison the classical movement covered the same distance in
t

took one-and-one-half seconds to reach the same distance-twice one second flat.
the time. For your daily training do the backward buret for speed t

The leap should be more horizontal than vertical. It is more like balance and rhythm instead of deep penetration. Move with
a broad jump than a high jump. You should try for distance by lightness of your feet and keep practicing toward shortening the
keeping your feet close to the floor. Your knees should always be distance .

bent slightly so that the powerful thigh muscles (springy explosive* In between your jogging do a quick advance by rapid shuffling
ness) are utilized. q[ your feet and then returning to your jogging. Another exercise
is to practice with a partner. Let your partner do the backward
T
When practicing this footwork in the beginning, don t worry
about your hands. Just keep them in the regular JKD position and burst while you do the forward. From an on-guard position,

concentrate on your footwork. Once you are accustomed to the attempt to reach your partner with a lifiht Bide kick as he tries to
feet movement with proper balance, learn to sweep ymsr hand keep his distance. Then reverse your positions.
forward just before each leap. Learn not to hurl yourself recklessly at your partner but
Later, to develop speed and naturalness in your movemcmt^ attempt to narrow the gap of space in a calm and exact manner.
adopt the following exercise in your daily training. From an Keep drilling faster and faster by lunging LwD-to -th ree-hundrcd
u n -guard position do the forward burst without penetrating too times per day. Acceleration can be incr«a«*d only by discipline in
deeply by sweeping your hand upward, leaping forward without your workout.
straining yourself, and quickly placing your front foot down
without k ie king. Continue to do this mo Lion over and over again
without stopping but keeping your balance and fluidity in motion. Sidestepping
This exercise is excellent to adapt your body to move with case,
rhythm and grace. As you become more adaptable to the Sidestepping is the technique of moving your body toward the

movement, increase your speed and work toward shortening the right or leftwithout losing your balance. It is a safe and essential,
distance by more and more execution. Eventually, you can defensive maneuver to attack or produce openings for a countering
substitute a back fist punch for the sweeping movement of your when the opponent least expects it. It is used to avoid straight-
hand. forward assaults, blows or kicks. You can also frustrate your
The hackward thrust is like the quick backward movement opponent by simply moving wh«n he is ahout to attack.
except that it carries your body backward quicker and deeper. To sidestep to the right from an unorthodox (southpaw) on-
From an on-guard position, push the ball of your front foot to guard position, as in photo 1 (&ee photos on page 62), move your
initials the motion which straightens your front knee and shifts light foot sharply, slightly forward and toward the right about IS
the weight to the rear foot. Then the front foot, without pausing indies, hls in photo 2. Your left or rear foot supplies the impetus ay
from motion, leaves the floor and crosses your rear foot.
Ihv. initial you land lightly on the ball of your right foot. For a split instant
Just before it your rear leg, with its knee bent and acting
lands, your shoulder sways toward your right and your weight shifts on
like a spring, should thrust your body with a sudden straightening the front foot with its knee bent. Your shoulder automatically
of its leg* You should land on the ball of your front foot just a realigns when you quickly slide your left foot in the exact manner
second before your rear loot touches EnS floor. Thai on* quiet nd resume the on-guard position, as in photo ».

60 SI
 To sidestep to the from a southpaw stance T as in photo A,
left distributed between the two IWt during l\w shift, Your right or
move your left fool forward and lo your left about 18
slightly front foot should follow imnmlLit*']y in i-he exact manner, return-
inches, as in photo B. During this motion your body is more ing you to the on-guard stance, as in photo C Vou will notice that
r

aligned than when moving toward the right. Since your body b sidestepping toward your left & more natural and easier than to
more aligned, you an? in better balance and your weight is evenly the right.

blUESTLP TO HIGH

a A

SIDESTEP TO LEFT

62 63
 Br urc Lee usps a staff to practice Footwork. In photo A, he
his. or away from his rear hand. Against a southpaw, you move the
places the staff near his nock and above his shoulder. The
slightly opposite, mostly to your left. The art of sidestepping is not to
partner attempts to thrust the long staff at the exact area and Lee move early but late and quickly, just before you are hit*
to adjust to the thrust, In nearly all motions, your first step is with the foot moving to
In photos B and C (front view), the partner thrusts his staff and that particular direction in which you intend to go. In other
Lee sidesteps Luward his left, keeping his body in balance and bis words, if you sidestep to your right, your right foot moves first
eyes continuously on his partner. Hi' litis tn move sharply to avoid toward that direction. If you sidestep to your left, your left foot
the edge of the staff. moves first.
dose fighting or in-fighting, y fairly s-afe stance is the drop
In To move quickly, your body should lean toward the direction
shift or the forward drop, as In photo D, This is done by shifting you are going just before you step out.
your body forward and slightly Lo your left, with your lie ad in In jeet kune do the aim of footwork
t
issimplification, economy
dose and both hands tarried high, It is used to gain the outride or and speed with a minimum of motion. Move just enough to avoid
inside guard position to enable yon to sLrike the opjionent's groin, the opponent's attack or blow, and let him commit himself fully.
throw an uppercut, .stomp hts instep or grapple him down. In the Do not tire yourself by dancing on your toes like a fancy boxer.
forward .lift you can move directly to the left, right or back,
i
While practicing, stand naturnliy— with ease and comfort—so
using the saivic -ttp. This depends on your strategy and the degree your muscles can perform at their peak. Learn to differentiate
of safety required jm that instant. between personal comfort and drifting comfort. You should never
Against an orthodox fighter, you would sidestep to your right be set or tensed, but flexible and prepared.

64 6S
 Power

Power in hitting
depends not on your strength.

But it in the ivay,

you th row your blown.

It is nut whether
Chapter IV you are dose or at length.

T
If you re too near*
Power Training use your striking e.lhows.

If you're too far,

u$& your kicking feet.

But it is the huniLi that

you'll employ the most

in a sparring session
or a martial arts meef.

And when it is all over*

hope you can silently boast

77] at you have learned

to hit with speed and power.
 POWER TRAINING
Power in hitting is not based strictly on strength. How many
times have you seen a boxer who is not muscular but packs a
wallop in his punch? And then you see another, heavily muscular
boxer who can't knock anyone down. The reason behind this is
that power isn't generated by your contractile muscles but from
the impetus and speed of your arm or fool, Bruce Lee, a
130 pounder, was able to hit harder than a man twice his size,
because blow with a heavy force behind it, was much faster.
I^ee's
In jcetkunc do you do not hit by just swinging your arm. Your
whole body should participate in the impetus—your hips T shoul-
ders, ff:ct and arms. The inertia of your punch should be a straight
line in front of your nose—using it as the guiding point, as in
photo 1. The punch originates not from the shoulder hut from the
center of your body.
In photo 2 the fist lands too far to his. left, exposing his right
T

side for a counterattack, and not allowing mueh time to recover

for a defense. In photo 3, the punch comes from his shoulder with
not much power behind it. He is too rigid to take advantage of his
hip and body motion.

Pun ch ing Power

Straight punching or Licking is the basis for scientific and
artistic fighting. Itmodern concept in fisticuffs derived from
is a
the knowledge of body leverage and makeup, A punch from your
arm alone doesn't supply enough power. Your arms shoulri be
used strictly as bearers of your force; and the correct application
of your body should furnish the power. In any power punching,
the body must be balanced and aligned with your lead foot T
forming a straight Line, This section of your body is the mainstay,
functioning as an axis to generate power.
Before you can punch with power, you must first learn to
clench your fists properly, otherwise you are liable to injure them.
From an outspread position of your fingers and thumb, as in
photo A, roll your finger tips into your palm, as in photos Band
C, Then overlap your thumb Lightly over your clenched fingers.
The tip of the thumb extends to the center of your middle finger,
as in photo D.

68
 There are several training exercises thai you can
utilise to learn rear heel almost completely raised. Your body should be facing
is

the use of your the target. This motion is similar to a baseball player
swinging his
power punching. One of the best ways is to learn

hips. To do this, tie a string to a piece of paper, about 8 x 11 bal with all his might.

inches, and hang it from the ceiling to your chest height. Once you have grasped this way of hitting, you can begin to
Using this thin paper as your target, stand about
seven to ten work on your power blows by hitting the hea%ry punching bag, as
of your feet parallel to it, Keeping both in photo A, Hero, l^e uses his elbow
strike to develop his hip
inches away with bulb
loosely-clenched f isU in front of your chest, elbows
hanging freely motion, then later works on his punches, as in photo R.
as far as will go on the
at your sides, twist your body clockwise it

knees must bend slightly for your hody to

halls of your fect. Both
body should be faring to your right, 90
twist fully. Now. your
from Lhc turret, with the weight shifting to your left foot.
degrees
But your eyes must constantly be fixed on the target*
your hips initiating a
Pivot on the balls of your feet, with
quickly shifts to your other
sudden, rotating motion. Your weight
automatically rotate after your hips.
foot as your shoulders
as your body is rotating, raise your right elbow to
Simultaneously,
your shoulder height just in time to apply an
elbow strike to the
proper target. The momentum should turn your body 1H0 degrees
side. very important that your
so faces the opposite or left
it
It is

hips rotate slightly ahead of your shoulders, to obtain maximum

power.
Licpcat the same motion from the left side, striking with your
left elbow. Once you have learned to
control your body and begin
to feel at ease in this exercise, you may use
your fists.
target. Keeping your
Step back about 20 to 25 inches from the
a straight punch. At
exact body position, swing at the target with
pro|wr}y, you should have
this point, your body should he aligned
your hips
good balance and your motion should be fluid, with
punches should have
initiating the rotation. Your power in the
increased between 80 to 100 percent.
after the
Gradually, to keep your body in balance especially
and your Your final step in punching for power is to reverse your footing
completion of the swing, place your left foot forward
this position, twist your foot
right foot back (orthodox stance). From and position yourself in the on -guard stance, with your right
with the With both of your knees slightly bent, rear heel raised,
body clockwise until your shoulders are in a straight line in front.
inehes away. Now your for an instant. Your
target. Your front foot should be about 15 shift your weight just slightly to the rear foot

weight lean* heavily on your rear foot with

both knees Blightly weight should be set for less than a second as you have to rutate
bent. As the hips initiate the movement, you pivot on the balls of your hips counterclockwise, and your weight switches to the front
hoth feet, and your body is driven forward by
the impetus Tram foot just before you throw a punch. This leading straight punch
the rear foot. Your rear heel rises as your weight quickly shifts to doesn't have as much power as the others, which have access to a
freer and fuller rotation of the hips. But if you can
of the punch. At the completion master this
the front foot with the delivery
knee practically straightened and your punch with the right timing of rotating your hips, you have a
of the action, your rear is

7]
70
 .

punch much more effective than a jab and very instrumental in the
success of your .sparring and fighting. It will be your most una hie
and dependable weapon. Like the other punching techniques,
from the paper targe I you can substitute more solid targets to
develop your power.
Lcc used to concentrate heavily on the straight lead punch in
his daily training schedule, using different apparatus. In photos
1 and % he uses a punching pad. Sometimes he drew his right band
hack to throw a much heavier blow, as in photos A and B t to
simulate close fighting.

Another apparatus used in his training was the light shield, as in

photos X and Y, Lee liked to use various hilling equipment
because he used to say, "1 don't know the true feeling of hitting a
person. First of all, each part of the human body has u different
composition. You may hit a hard, bony substance or a soft. Tatty
area. And second, hitting with gloves on is different from hare
knuckles. Unfortunately, using hare knuckles on your partner is
not too practical."
The shield presents a different feeling when there is a contact
The shield is more solid than the pad and since the holder stands
more rirmly with both hands on the equipment* it will not give in,

as the pad will. For a more punishing punch, Lee selects the canvas

73
 arc not thrown from the hips in JKD T as Lhe figun- on the Left,
below, but from tin: chest as Lw isabout to do in photo A. The
delivery should ho straight and not with a twist of your hand. If
you twist your hand, the knuckles will align horizontally at impact
but if you deliver straight out it will hit the target either vert tea ly
I

<>r obliquely, as in photo B. Consequently, you should toughen the

three knuckles, as in photo 2.

Besides punching the wall canvas bags for louu^'n "H ,, you can
1

also train With a sand or grave] box, as in photo C Oilier exercise

includes push-ups with your clenched fists. Place the knuckles of
your index finger and the two small fingers on a hard floor so your
palms face each other. This is an excellent exercise for beginners as
they can gradually toughen their knuckles without risk of injury.

bag, as in photo 1 . He usually had three bags hanging on the wall.

One was filled with sand
another with gravel or beans and
h

the third with steel sawdust found in any machine shop. In the
beginning it is wise that you wear light boxing gloves on the heavy
canvas bag as well as these wall bags. You must first toughen your
knuckles before going bare-fisted.
In jcet kune do your punches are not thrown as the classical
stylist's, instead of using the first two knuckles (the index: and the
middle fingers), use the three knuckles, as in photo 2. The punches

74
 .

By being on the southpaw or JKD onward position, it is

apparent that the right or lead
hand will lose Considerable
punching power to a right hand*-.
Unless he can draw his right
hand further back, he lacks the space needed
to deliver the most
devastating blow. Power is now being
replaced by speed in this
rase. To compensate, the or rear hand must do the job
left
If you arc 3 natural ridu
hander, punching with the left seems
very awkward in the beginning.
You seem to be off-balance your
punch from that hand
weak, slow and not too accurate But by
is
constant practice with your ri*nt foot
forward, as in photo A and
tlo.ng the mouon exactly
as the second exercise, except now using
your right fool as the Jead, you .should
develop 1 u " tmn 6
K your punching
power in that hand.
Eventually, your rear straight and
cross would be the most
powerful punches available your
in arsenal. You will be depending

relaxed, you will notice that your punches will automatically snap
back at the end of your delivery
This training has a two-fold purpose. It develops speed in your
delivery, as well as power. After a while you will learn to punch
with heaviness in your blows even without the weights. The secret
behind this is to concentrate or pretend that your empty hands
still contain the cylinders as you throw the punches.

In throwing a hard punch, it is easy to develop a had habit

of
throwing your shoulders out of line so only one shoulder does the
work. In other words, the alignment of the shoulders can easily be
disturbed; hence, loss of power in delivery. To retain the
coordination between the shoulders, Lee uses a staff, as in photos
1 and 2. By holding the staff with his hands far apart, he places
it

on them for your knockout blows. Keep on his back shoulders. As he twists his body from one position to
practicing with your left another, the long staff keeps his shoulders straight in all the
hand until it becomes natural.
One of the most helpful but simple implement* movements.
that Bruo Lee After you have practiced with the cylinder weights for some
imorporatcd aUo his trainin
R schedule was the round steel
cylmder The cylinder, weighing about time, you will notice that your blows have more impact even
a pound, fits snugly in the
hand. You can quickly improve your without the weights. This is your introduction to the fact that
delivery of punches by your mind can do woudera to your physical strcniji.h. Tins extra
taking advantage of this exerr.se.
Holding a pair of these cylinders
m each hand, stand with your feet parallel
and punch
liower or strength is what Lee called the "flowing energy" or in
front ofyruirnoM' several turn*.
directly in aikido, the M ki," and In tai chi chuan the "chi/*
The idea behind this is lo develop T

the snapping or whipping blows. If you What you are now experiencing
is just a small degree of the
keep your body and arms flowing energy. To enhance this energy, there are several exercises.

76
One of thebest that should be an integral part of your training, is
the "chi sao" which was briefly described in the chapter on
balance.
tn performing the chi sao to develop your energy, keep your
body and arms relaxed, as in photos 1 (bird's^yc view) and A
(side view). As your wrists touch your partner's as in drawing
figure A, just put enough stress in your hands to roll your arms
back and forth. Ln the following photos from 1 to 6, Lee
demonstrates how your arms should be rolling. Arrows are
indicated in each photo to Illustrate the motion of the hands, The
elbows' positions arc closed to their body as they roll their arms
constantly and smoothly.
The rolling motion is not the essence of chi sao. It is the flowing
from your arms that is important The idea in the early stages is
.

not to fight each other's strength but to concentrate on getting tht«

feel of this energy. If you attempt to shove your partner
 backward, you will be mining the whole purpose of ehi sao. This
forceful movement will tense your arms, and consequently your
shoulders will become rigid. You will then lose
your balance and
begin to rely on brute strength instead of l he flowing energy,
The energy must flow from the pit of your abdomen, instead
of
your shoulders. To do this, imagine thaL water is flowing
through
your arms like a hose, being ftd from the center of your
body
<ahout) the navel. This causes the under part of
your arms to
become heavy. Keep your fingers loose and outstretched, as the
water has to flow out from the little fingers.
If both partners emit the same
degree of energy or water
through their arms, neither will penetrate the
other. The motion
will Ik- constant, even and rhythmic.
Each partner will feel the
other's arms as supple hut firm. Arms look
weak but they are very
potent. Your elbows should be immovahle-they
can't be coerced
toward your body. Your pliable arms can be moved
from side to
side but not toward your body. As you
become more proficient
the circumference of your motion or rolling
becomes smaller and
smaller, as if the water flowing through your,
arms is now trying to
penetrate and cover all the smaller cracks.
Chi sao is an important part of ject kune do because
its efficient
application of techniques relies on looseness of
arms and body.
This exercise is the best way to develop your flowing
of energy so
you can be constantly relaxed and loose and yet not
sacrifice
power.
To test if your energy is flowing, have someone extend hi* hand
to you and land a chopping blow to his hand. First, do it
normally
and then do it with the flowing energy-concentrate
on the
heaviness of your hand, keep your arm
loose and place the weight
at the bottom of your arm. Don't tell yo Ur partner what you am
doing. After each blow ask him if he feels any
difference. Il~ he
does, then hit his hand both with and without the
flowing energy,
letting him decide after each blow if the force is
heavier or lighter.
If the blows with the flowing energy
are more powerful, you know
you are doing it right. If you are unable to find anyone
U>
cooperate with you, you can also teat it on your own
hand.
Theincredible one-inch punch, as in photos
used to awe the crowd in demonstration, was
1, 2 and 3, that lm
possible because of
his proficient use of his hips, flowing
energy, punching through
and the delivering of the punch. This fist is vertical
and cocked at
the wnsr.as in photo A Th,- fist turn! upward
suddenly al impael

so
as inphoto B. This vertical-fist punch is only used in close quarters your hips, while pushing is usually from the rear foot, propelling
from five inches or less to the target. If you attempt to Use this your body forward.
punch from a distance, it will throw your tuning off .it impact. When you art' hitting, especially the heavy bag punch through
T

There are other ways to amplify the power of your flowing You will find that you will have a deeper and
the bag. stronger
energy. You can do it while driving your car, Place your arms on penetration if you do that instead of concentrating on the surface
the steering wheel as though you are doing chi sao and put of the bag. Follow-through means continuous acceleration of your
pressure on your arms. In photo A, it seems like Lee is doing punch to the target. However, the momentum or power does not
isometric cxerci.se but he is actually pressing his arms to the har cease there but extends through the target. It isn't hitting your
T

opponent but driving through him. After driving through him,

your punching hand should be withdrawn as quickly as you thrust
it forward,
+
l3on t throw your punches in a windup motion; they should be
thrown straight. Your fist clenches just before your whip -like
impact. To add additional power, the free hand can be drawn
suddenly and conjunctly toward your body at the point of m pact.
i

Jf you are taking a step to throw a punch, your fist makes the
contact before your foot, hums on the floor; otherwise, tile body
weight would be assimilated onto the floor instead of behind your
punch. Your hips and shoulders must initiate the action before
your arm, to deliver a rapid, precise and powerful blow* Although
your foot-movement adds to your power, you can actually knock
out your opponent without taking a step or showing any strain in
your action, if delivery was correctly done.
A powerful blow depends On leverage and timing, Right, timing
is a must for a powerful blow, Without, it. your impact is lost in

motion—it may reach too cariy or too late.

Putting Po wer

Although Bruce Lee first studied wing chun kung fu + be

flowing lib energy. Fortunately, developing your flowing energy improvised so many different techniques lo it that jeet kune do
can be practiced anywhere that allows you to put pressure on one seems to have no bearing on kung fu. Lee did not completely
or both arms, discard the wing chunks techniques. He retained some of them but
Many who attempt the one-inch punch knock their opponents also altered them so completely that they ate not recognizable as
off their feet T but instead of punching, they only push them down. the original art.
You can't hurt your opponent by a push, The art of punching is Two techniques he continued to practice were the "lop sao"
not pushing. punching, the peak of your force or strength is at
In (grabbing the hand) and
H< 1
pak sao " (slapping block), especially
the point of contact, but in pushing T the force begins from the after doing the chi sao. Lie was forced to revise both techniques,
outset of the delivery and generally loses its power by the time because in wing chun both partners stand with their bodies facing
your arm is fully extended. Punching comes from the rotation of each other squarely and their feet parallel. But in the JKD

82 83
o it -guard position the partners stand with one foot forward, and
the hand extension is not the same*
Lee always fell that correct weight-training could incTfa.se his
power. But he was very selective in his exercise. He avoided drills
that would develop muscles which would interfere with his
performance in sparring or fighting.
Beside*: the abdominal muscles, he concentrated heavily on his
forearms because he felt that these were the muscles depended on
in punching and in pulling, as in lop sao. His drills included the
reverse curl. To receive the most benefit from this, he covered the
bar with a sponge so he lost his gripping power as he wrapped his
hands over the sponge. When doing the exercise, he depended
heavily on his forearm muscles to carry the weights to his chest.
Another excellent exercise for the forearms was the reverse
extension. Instead or curling his arms, he lifted the weights
straight out in front of him* With his arms fully extended, he
supported the weights for as long as possible at Lhe chest level.
He also squeezed a rubber ball in his psilm and worked with the
wrist roller, as in photos 1 and 2. Using the dumbbell without the
plates on one end, he twisted his wrisi back and forth.
Lee developed such a strength in his arms that when he jerked
his partner, he snapped his head backward as Lhe body flew
toward him, A contributing factor that developed the pulling
power was his persistent training of lop sao on the wing chun's
dummy." us in photo A. Besides developing the forearm muscles,
he also toughened his arms by *la ing them into the wooden
arm.
While working out with weights he sure to include speed and
flexibility exercises congruently A heavy weight Lifter with a great
.

deal of power but no flexibility or speed will have a problem

hitting he opponent. It will be like a rhinoceros trying to comer a
rabbit.

jRoiuer in Kicking

Striking with your foot has several advantages. First, your leg is

much more powerful Lhan your hand. Actually, kicking properly is

the most powerful and damaging blow you can administer.

Second, your leg is longer than your hand so it is your first line of
attack, normally preceding your punch. Third, to block a kick is

r
3 .
r
% ery difficult, especially on the low-linfi areas like the shin, knee
and groin.
Unfortunately, too many martini artists do not profit from their
asset*. They do kick but without any power. Flicky or pole-like
kicks, as in photos 2 and 3. an- still being used. They dp not
generate enough power to hurt or damage, Jn the fiicky kick* your
weight is not behind the blow and in the pole -like kick your body
Is too off-balanced.
Bruce Ixc's forte was the side kick, as shown in photo A, which
differs from the classical side kick. In the class! rat, the side thrust
kick has power but no speed. The side snap kick has speed but no
power. In the JKD's sidr kink both the snap and thrust are
combined so there is no low of power and speed. Lee used to drop
a two-ineh board front his shoulder height and shatter it in half
before it landed on the ground. If his kick had only power hut no
map, the board would be hurled at a distance without breaking,
unless it was braced. If his kick had the snap but no power, Lhe
board would not break because a two-inch board without support
u; too thick to split with a snap kick.

To do the side kick, stand with your feet apart and parallel to
each other. Lift your right foot about 12 inches from the floor as
you balance on your left. Stomp your right foot straight down
with force and let it snap upward about an inch from the floor.
Like punching with the flowing energy, here again, you should
concentrate with heaviness in your foot. In other words, the wate
is now flowing through your right leg (hose) and when it is fullyi

extended by your downward stomp (gushing of the water), ifcj

snaps upward (splashes explosively), Until you warm up your legs
by light kicking, do not stomp your foot violently.
Now you are set to kick sideways.As in stomping, place alt
your weight on your left foot as you lift your right foot, and kick
straight out instead of down. Your left knee should be bent
slightly so you can lean a little backward and not forward, as most]
beginners do. Pivot on the ball of your left foot as you thrust your]
right foot forward. For the extra power, twist your hips just an
instant before the full extension of your leg— it gives you the
screwdriver or the twisting force in your kick. Then snap your;
foot at the full extension for the whipping effect.
If you like to kick something solid, you can hit any wood or
concrete wall. Measure your distance to the wall and just kick it +
Since your foot should he landing flat, you will not hurt yourself.
A forceful kick will just taninee your body backward, as the wall
will not flex.

After you have the knack of doing the side kick, you are
prepared to kick the heavy bag. From the on -guard position, do
the forward burst as explained in the chapter, " Footwork*" Aim
your blow directly at the center of the bag, as in photos 1, 2j
and 3.
At impact, your foot should land boristontaliy on the bag not
t

obliquely. The sound at impact should be a loud, cracking thud

like a whip if you have kicked through the hag and snapped your
foot at the end. If there is mure nn>h than nil the sound will he a
,

light it weak thud In both kicks there is force exerted, except the
i

hit will do the damage and the push will just knock the opponent
down innocuously.
If at the hag swiftly and keep your body in balance,
you lunge
you can generate more power in your kick than yen ever thought
possible. Generally, the kick is delivered with your body lunging
close to the floor to keep you in balance even after the execution.
But for a much more powerful blow, lift your body a little higher
while moving toward the bag and, just as you are pro pel Jin £ your
right foot through the bag, stomp or drive your left foot
downward, In other words, the force is now being exerted From
both legs. This may be the ultimate in delivering a punishing blow
without a weapon.
 One note of caution; If you miss the ban completely or dont
hit It solidly, you can hurt your kicking knee. The reason is that

your foot is hurling much faster than your body and when you
miss, it is like someone jerking your leg off the knee socket.
it is not too practical to utilize the
In real fighting or sparring,
latter kick, as it can easily leave you off-balance if you miss. And
furthermore, the higher you leap, the more time you allow your
opponent to avoid your attack.
The heavy bag is one of the most valuable apparatuses in JKD
and, as a matter of fact, in the other martial arts, too, because one
can practice on it alone. You can have a good workout by just
doing the side kicks on it continuously for several minutes, As you
kick the bag, let it wwing back each time before kicking it again.
To teach a beginner in kicking, hold the bag for him by placing
your knt'i' aL (he bottom rim of the bag and both your hands

gently behind the center area of the bag to avoid having your
fingers crushed. Before you ever stand with your back facing the
bag, be sure you know the? strength of the kicker. In photo l t on impact. He
types of targets to get a different feeling from each
Lee hit the bag so hard that the impact sent the person behind it used the heavy hag mostly, but often kicked at the wall canvas,
flying across the room, causing an injury to his neck, which lasted bean or sand bag, the punching pad, the wooden dummy, aa in
for several days, from the whiplash. photo A, and the portable heavy shield* as in photo R.
Lee always believed that one should practice hitting different

'JO
 A

jerked his hips forward jusl an instant before his

foot makes

Laet as in photos A and B. The timing of this movement is

After the heavy bag, Lce*s next favorite apparatuses at which to p

until you have

important and difficult to do. Practice it daily
k were the heavy shield and the air bag because he could exert
his power onto a moving target without really hurting the 1

The text attempts to illustrate a step-by-step instructioi

Lder, as in photos 1, 2 and 3.
doing the side kick. But unce you understand
how to dehve
Although the front kick is not as powerful as the side kick, Lee one smooth,
you should do it without hesitation but in
r eased the explosiveness of his kick by the use of his hips,
toad of relying only on the snap of the foot from the knee, he motion.
 Speed

Speed in fighting depends not

just on your hands and feet in swiftness.

Chapter V Hut other attributes such as

tton telegraphic moves and awareness.
Speed Training
Speed in fighting is to hit
your foe without yourself being hit

Wits can only be done by hour$

of practice and being completely fit.

Speed in fighting ts no good

without the power that goes with it.
 SPEED TRAJNfNG

What is speed in fighting? Is it the verity of your hands, feet

and body movement? Or are there other, prevalent essentia!*
in a
good fighter? What is a goud fighter?
To ftnswer these questions: A Rood fighter is one who can hit
his opponent quicker, harder, without much perceptible effort,
and yet avoid being hit. He doesn't only possess a pair
of fast
hands and feet or quick body movement but has other
qualities
such as non telegraphic moves, good coordination,
perfect balance
and keen awareness. Although some people are endowed
with a
few of these qualities, most of these attributes are
developed
through hard training.
All the strength or power you have
developed from your
training is wasted if you arc slow and can't
make contact. Power
and speed go hand in-hand. A fighter needs both to be
successful.
One immediate way to increase your speed at impact Is to
-snap" or "whip" your hand or foot just before
contact, ft is the
same principle as the overhand throw. For example, if you
throw a
baseball witii a full swing and snap your wrist at
the last moment
or the tail end of your swin«. the ball will June
mure velocity than
without the snap. Naturally, the longer swing with a snap
will have
more acceleration at the end than a shorter swing with a snap.
A
12-foot whip, flung exactly, will generate more sting
than a
two-foot whip.

Spend in Punching from shoulder height but can also be used as a surprise attack and
be launched anywhere frorn your waist line to your shoulder. It is
The back fist punch is not the quickest nor is it too strong very difficult to block once you have acquired the nontele graph it
because you are unable to utilize the total body movement. But it moves.
is one blow in which you can
fully apply the whipping or snapping Although some power is lost in this punch, it is compensated
motion, First of all, it is thrown more like a swing than a forward for or redeemed when combined with lop sao. If you can develop
thrust; that means you can put more momentum a strong pulling power in your arm, you will be able to jerk your
in the deiiverv.
Second, there is more elasticity or freedom of motion in your opponent forward and apply the back fist punch. The impact
wrist bending it from side to side (palm to should be devastating when your knuckles contact your oppo-
knuckles), than up and
down (thumb to Little finger). That means you are able to whip or nent's face. It is like two fast-moving cars colliding, head on.
snap it more vigorously as in photo A.
, To develop speed or quickness in the back fist punch, light a
The back fist is used mostly to the head section of your candle and attempt to blow it out with the acceleration of your
opponent, U is used heavily in combination with "lop sao M punch. Another interesting exercise is to have a partner attempt to
(grabbing4he-hand technique), as in photo B. It is delivered block your punch as you throw it at his Face, with control. If he

9E
 extended, yuu add several more inches to your reach, asin photos

1 and 2.
Power is not needed in this technique because you focus your
aim at the eyes of your enemy. Instead, your important assets are
accuracy and speed. The jab is a threatening and dangerous
weapon to the adversary because it does so much damage and is so
difficult to defend against.
To protect yourself from damaging your fingers, if you should
ever miss and hit a hard object such as the head or a bone of your
enemy, learn to form your hand properly. Align the tip of your
hand, as in photo Y, by slightly bending the longer Hilars to
adjust to the shorter and Luck your thumb to. Your hand should
resemble a spear.

To develop speedin Lhe finger jab, you need a great deal of

practiceand most of thie will be the result of your own initiative.
Speed relies on economy of motion and the jab is one technique
missi s his lock, you should be able to stop your punch about
1 1
with which you have the opportunity to experiment. The Jab, like
one^juArter inch from his skin.
all the blows in JKD, must be thrust forward without any
l,ce also used the bouncing head dummy, as in photo A, which prey without
retracting mo Lion. It is like a snake darting at its
was created strictly for solitary training. The head is padded find warning*
resilient, to take any hard blows.
The more hours you spend in speed hitting, the faster your
The leading ringer jab is the fastest attacking weapon available hands will travel, as time goes by. Like the hoxer who whips out
to you. [t is fast in reaching your target because it travels only a
his hands while jogging, you must also take solitary training
short distance. It is also the Congest hand weapon accessible to seriously. One excellent training device for this is the paper target.
you. Since you do not clench your Est but have your fingers It is so inexpensive and easy to construct and yet very
valuable to

99
 The leading finger jab the fastest hand weapon and the
is

leading straight is the fastest of all the

punches. The loading
straight is the backbone punch of jeet kune do. It i& the main
defensive tool to stop and
offensive weapon, but also an important
intercept a complex attack in an instant.
straight pu.n - discussed in the
Although the Wiling I
l

not one of its leading

chapter on "Power Training." power is

characteristics. Actually, leading straight punch is more

the
the finger jab it
appropriately classified as a "speed" punch. Like
target, as in photos 1, 2 and 3,
travels only a short distance to the
extended-closest to its
because that hand is already
target,

anyone who wants to enhance his speed in punching or jabbing.

Besides the paper target, Lee used to practice on a thick leather
strip to toughen his fingers, as in photo Z. Jo also worked heavily
I

on the bouncing head dummy, as in photo Y, which is

excellent for finger jabbing. It gives when struck but is solid
enough to harden the fingers.
Although the wooden dummy is too solid to jab your fingers
into, it is a valuable apparatus with which to practice the finger jab
combination, as in photo X + II presents almost a real-Life
opponent with it* arms outstretched and its Leg impeding your
approach.

101
100
p

EJesides being the fastest punch, the straight lead is also the
most accurate because it is delivered straight forward, at a close
distance, and your balance is left intact. Like the finger jab, it is
hard to block, especially if you keep it in a continuous, small
motion. Besides, it can be delivered faster while in motion than
from a fixed position. Like the finger jab, it keeps the opponent
"on edge" by its threatening gesture.
Put some "zip" into your punch by snapping iL just before
impact. Keep your hunt! louse and tighten your fist only an mutant
before contact. To put yxplox.ivene.ss in the blow, utilise the.
flowing-energy concept by adding heaviness to your hand.
The straight lead is not an end, but a means to an end, U is not
a powerful blow that will knock your opponent rial with one
punch, but it is the most dominating punch in pIKD and is used
profusely with the other combination punches and kicks.
The straight punch should be delivered from an on -guard
position with the point of contact in line with the surface of your
shoulder, as in photos 1. 2 and 3. Against a short opponent or if
you are hitting at the low lint- level, bend your knees so your

shoulders are aligned to the point of contact. Likewise, if" he is a

tall person, stand on the balls of your feet.

I^atcr, as you progress, the straight punch should be thrown from any position which your hand happens to he, without any
in
shoulder back
extra motion, like retracting it or pulling your
with your body
before delivery. Hut the punch must be launched
in balance to be effective.
Unlike the classical stance, the hand is never placed on
your hip,
initiated from there. It
as in photos A, B and C, nor is the punch
is impractical have your hand traveling the extra, needless
to
distance. Furthermore, delivery of your punch
from the hip
exposes a large area of your body during the action.
have more
As discussed in the last chapter, the leading right will
functions for a
sting if you pivot your hips and utilize aU the other
heavy blow, But sometimes this will telegraph your
movement,
power. This
and you have to decide whether to sacrifice speed for
awkward, you
depends on your opponent. If he is very slow and
Bnt he fast,
can utilize the powerful blows and still contact.
if is

you may have to concentrate on speed more than power.

Among
your
the best equipment to develop speed and
accuracy Ln

punching, is the old-fashioned speed bag, as in photo A. The bag,

supported by an elastic line to the ceiling and a rope to the floor,

properly, you
is suspended to your shoulder level. To use the hag
You have to hit Liu* l*rget
have to be quick with your hands.

102 103
 since your hands will not he able to protect your head from the
oncoming bag.
The punching pads, hh shown in photo Y. aTe versatile
equipment, used to increase speed and heavy punching, for kicking
and for applying combinations. You can work with one or two
pieces.
In photos 1 and 2, Lee practices an explosive leading right
punch with just one pad. Beside* explosiveneas* the one pad is
good for developing speed to your punch. Have your partner hold
out the pad and whenever you attempt to punch, he jerks it
swiftly either upward or downward, trying to make you miss, as

you attempt to hit it squarely.

perfectly so the bag will bounce directly hack to you; and you
need good timing with your hands.
In the beginning, use both hands to punch the bag and stand
with your feet parallel but comfortably apart. Hit the bag directly
straight, using your nose as the guiding point. The most valuable
feature of the bag is that it compete you to hit directly and crisply
and not push or it will not return to you sharply. But once you
have the knack of punching it after several practices, you can be in
the on-guaid position and employ the fist -and elbow combination.
Hit with your fist and block or strike with your elbow and
forearm, as in photo B.
Ytiu cannot hit the bag standing in the classical style, with your
punch delivered from your hip, because it will be too late for you
to react after the first punch. You are liable to be hit on your face,

104 105
 In photos 1 , 2 r and 3, he throws his leading right and follows up
you with full power all the time, you will b*» sacrificing speed.
hit
with hisleft to the second pad. With a pair of pads, your part ner
Even while hitting the heavy bag. as m photos A and B, you
can help you develop speed, aim and coordination by moving
can hit with a combination of sjhuj ;md pow*r. Use your
luiusHt" and hi> hands :irmmd rpvculinc pail" of i-lusivi- tariirEv
dominating, leading hand mostly for speed and your rear hand for
:i

Punching the wall canvas bag is not recommended for speed. To power. From time to time you can throw heavy punches from
develop apeed, you must hit with speed in mind and not power. If
both hands as you crowd** the bag.
' 4

107
 .

The wooden dummy cart also be used to learn speed punching In offense, the lead jab is used to keep the opponent off-balance
wiUi combination blows and parries, as in photos A and D. The and to create openings fur more punishing blows. In defense, It is
disadvantage for one who hasn't worked on the dummy before
is an effective maneuver to stop or meet an attack. For example, you
11
that he can injure himself if his fists are not conditioned to hit can beat your opponent to the punch" by throwing a quick jab
solid objects. to his face just as he is about to Launch an attack, The jah can also
be delivered from an extended arm to "'stiFf-arm" or keep your
opponent at a distance—prevent him from close-in fighting
The jab is mostly focused on the race because it lacks force and
does little damage to the body, It is a weaker, pentering stroke,
good for a stratagem. It is thrown with looseness in your arm and
a snap before impact.
An excellent child's game that is fun and can be played with
anyone, is the "slapping" match. Extend your arm fully In front
of you with your hand outstretched. Your thumb is on the top as
you hold it vertically. When your partner swings his hand to slap
yours, you react by jerking il suddenly upward and toward you,
trying your best to avoid contact. You let him do the slapping
until he misses, then you reverse roles.

Nontclegraphic Punch

One of the most distinctive features that sets JKD apart from
the classical styles of kung fu and boxing is that Bruce Lee
incorporated the n on telegraphic aspects of fencing. By adopting
part of their footwork and applying the principle of thrusting the
hand before your body, it is almost impossible 1,0 parry or block
the speed punches such as the back; fist, jab or the load punch.
The concept behind this is that if you initiate your punch
without any forewarning such as tensing your shoulders, moving
The lead almost like the leading straight punch, except Chat
is I! your foot Or body, the opponent will not havfi enough time to
lacks the force of the latter punch. It is used mostly as a "feeler" react. When he sees the punch coming—that is, if he ever sees it—it
in the early rounds of sparring or in the beginning of a fight will be too late for him to block or parry it. Actually, the punch

between two crafty fighters. The lead jab is used as a cautious already makes contact and your hand is snapping back when your
measure to study the opponent in motion. When two evenly body edges forward. It is the exact movement of the fencer who
matched, skilled fighters meet, sometimes, the lead jab is used thrusts his foil forward and does not move forward until his hand
throughout the fight* isbeing retracted.
The lead jab isgenerally the dominating hand technique in If you punch simultaneously, with just a slight motion of your

boxing, but in JKD it is the leading straight punch. Both feet or body, you have already telegraphed or warned your
technique* have almost the same features: fast, accurate, short opponent of your intention, Tin* seeret in the nontclcgraphie
delivery ,
body -balance and both are hard to block.
in dativeiy, moves is to relax your body and arms hut keep them weaving in a

J oa 109
slightmotion. Whip out your hand loosely so your shoulders don't
tense and clvneh your hand just mi Instant before contact, as you
snap tt. You have to keep a "poker face" while facing your
opponent. A slight twitch or expression on your faee may trigger
your intention and warn your opponent.
Ley was so good in speed punching that he had a problem
getting volunteers to come to him when he demonstrated in karate
tournaments. Even the champions wen- afraid to confront him
because moat of them knew of his prowess with his hands. In
photos I and 2, Lee demonstrated his speed against a karate
hlac:k belt. Even after indicating to the volunteer where his
punching would be directed, the black bell was unable to block his
punch in eiRht tries. Loc was successful, not just because of his
quick hands but because of his flaw less T non telegraphic movement.
Use your no n telegraphic punch with your forward shuffle as
discussed In the chapter on "Footwork." Practice the back fist
first, then the finger jab and finally the leading straight punch.

In the beginning, punch or jab into the air and subsequently

upon the paper target. Later, use the punching pad. Like training
in speed punching, have your partner jerk the pad quickly when
you throw your punch, trying his utmost to make you miss it.
Another exercise that you can include in your training is the
'"clapping" game. Stand about a full arm's length plus another four
or five inches away from him. Let your partner keep his hands
about a foot apart in front of him. The idea is to throw a punch to
his face or body straight between his hands. It it a test us to
whether you can hit the target and snap your fist before he can
clap between his hands.
it

If he c.an'l., then lei him red net Hie distance between his hands
until it is only about six inches. You can also step further away
from him in delivering your punch. Cut before you attempt to do
this drill, be sure that you can control your punch. If he misses
your blow, you should bfl able to stop your punch above the
surface of his skin.
it may be wise to learn control Ln punching first, before you

attempt the e lapping exercise. Have your partner stand motionless;

throw your punches about two inches from his face. Then
gradually throw your punch closer and closer until you are barely
touching his skin. Your partner should only feel the draft from
your action. In the meantime, your partner can learn not to blink
as the blowalrnoss brushes lm fact-.

1 1 L
V
Speed in Kicking
The most dominating the side and hook kicks.
kicks in JKD are
Hie side kick can he used with quickness and power while the
hook kick is used mostly for speed. In JKD most of the kicks are
launched from the leading foot, shortening the disLanee between
and the target.
yourself
The hook kick is focused generally on the upper line— from the
waist to the head. It is especially effective when directed to the

ribsof your opponent, just below photo A'. As

his arm, as in
chapter, the leg stronger than the
mentioned in the previous is

hand so even a fast kick like the hook can disable your opponent
with just ii ne blow.
The book kick is more difficult to learn than the side kick

because It harder to deliver,

is it tends to throw you
and
off-balance in the process, especially on the high kicks.
the on-guard position, as in photo
To do the hook kick, stand in
t, Lift your lead your thigh is horizontal, as in photo 2.
kne.e until
Your leg below the knee should be hung loosely
should be
[Minting to the Hoor at about 45 degrees. Your weight
completely on the rear foot with the knee slightly bent, and your
on the of your rear foot
body leaning backward. Then pivot ball T

rotate. Finally snap your

which automatically induces your hipR to
the supporting leg, as in
foot from the knee which straightens
photos 3 and 4. The hook kick is performed with just one motion
from the time your foot leaves the floor. Your wyes should be
eonsumily Lhe i-arget and your kick is aimed not a: the surface
should
of the target but th rough it. Your foot, like the punch,
snap or whip just prior to impact.
One fault of a beginner Is that he leans too far forward and

113
112
includes two muttons in his luck, After raisin* hfr knee, he
hook
has u tendency to swing his foot back to deliver
the kick. See chart
path of your foot. It slows down delivery
and the two
on the
and the fact
motions weaken his blow because of the hesitation
combined force of the hip
that he does not completely utilize the
and leg action, as Lee demonstrates in photos A*B,C»D<
advance
The hook kick is usually delivered with the quick,

A f

footwork. From the on-guard position, as m

photo 1 T step forward
your rear foot quickly
about three inches, as in photo 2, then slide
foot contact* Uio
forward, as in photo 3, .lust before your
rear
as in photo
front, lift your front foot to ripply the
kick, t.

you and you find

Sometime* your opponent m:*y "crowd"
htm. In this kind of predicament, omit the
yourself quite close to
three inch step and. instead, from
the on-guard position, as in

115
 be too close to your opponent to take the th nee-inch step and too
r>to 1 T your rear foot quickly forward just behind the front
slide far to use the short slide* as in photo 2. When you are in that
>t. as in photo 2, Then before your opponent can rcant, you
position, just do the forward burst or lunge y as in photo Y,
uild be launching your side kidt as tin photo 3. be Co re delivering the bide kick.
is movement should he done with one fluid motion—no Although the hook kick is generally used for the upper line
itation or jerkin ess in between. attack, often at the groin area, as in photos A and B.
it is ttiined
Other times you may find yourself caught at intervals. You may This depends on the angle of your body to your opponent's.

117
Many times you will learn that it is the only practical kick to reach
the hard -to *hit areas,
There are several apparatuses you can train cm to develop your
Inujk kick. One of the most practical and least expensive is the
paper target. From an on -guard position, kick the target at first
without stepping off. Get the ^feel" of your atance (your balance)
and the path of your foot. Pay close attention to the snap at
impact.

Gradually kick into harder object* such as the light bag, as in

photo A f and the heavy bag. For combination hand and foot
techniques, use the wooden dummy, as in photo B. Once you
have acquired the knack of delivering the hook kick automatically,
practice with a moving Larju't *uch Hi the punching pad. tn the
beginning, just use one; then later incorporate the other so you
can drill both your left and right foot.
Although your instep is generally the point of contact in the
hook kick, other regions of your foot can be used, such as the ball,
toe and shin. But avoid using the toe and ball if you are apart n i

harcfoot.
obliquely, the kick is to the groin and travels straight upward Mr

vertically. If used with your hip mi: Lion, as di&cu&ttd in the

chapter on "Power 'framing," you can generate a much more
powerful blow than the hook kick.
The front kick is not employed too often in JKD sparring
because the un guard stance doesn't allow too many opportunities
for ttfi use. But it is an effective weapon against many fighters who
don't protect their groin area well.
Although the ball or toe of your foot can be the point of
Contact predominantly the instep and shin arc used. It can be
delivered more accurately than with the toe or ball. Your foot will
be traveling upward between your opponent's legs, as in photos
1 and 2. It is almost impossible to miss the target.
In sparring, infrequently you do have an opportunity to use the
front kick. For example, after avoiding an attack, you may be able
to swing your opponent around so his back faces you, as in photos
A arid B.
For your daily training, you run practice Hie front kick by
hitting the bottom rim of a heavy bag. Othur light hags or balls
that can be suspended from Lhe cei ling are excellent for practicing
your skill against a moving object. The punching pad can Iw
employed, too, by having your partner hold It horizontally with
his palm racing the floor. Like Lht' other techniques I wooden
i 1

dummy is used for combinations* as in photo Y T but you can't

kick it too hard without risking injury to your foot.

122 123
Awareness and us you focus your «i ht closer,
E your sphere becomes smaller
Against an individual it Ea harder to follow
his hand motion, even
Some athletes seem to have peripheral vision in greater ir uw hands are closer to
your eyes than the feel, because the
dimension than others* like a basketball player who seems to know is slower.
hand
where each player is and always seems to find the open man; or a One high-ranking martial artist was amazed al
foot hall quarterlwk who always sees the unguarded pass-receiver. Bruce Lee's quick
hand and foot reaction, Lee had the inclination
to kick just before
Somi expert* In the sports field believe that the exceptionally high
1
his opponent and punch just
before his opponent did To those
degree of peripheral vision" pOflfOSMd by I few athleles is innate. who saw hun for the firs! time, he seemed In
Bui they also fee! ihni this trait can be broadened by everyone haw an instinct or a
sixth sense that let him read other
people's minds. It could be
through [Tunisian t pro elk: v. frustrating to spar with someone like
In martial arts you may not need as wide a range of vision as in
him because he was upon
you before you could even blink your eye.
the other sports if you are confronted by a single person. But you The secret of Lee's quick reaction was his
surely need it when surrouudrd by tun or inure attackers. highly<lev<?Ioped
sense of awareness, cultivated by years
of training. It complement-
To develop peripheral vision, fo(.u* your yea at a distant ed h,s hand and foot techniques. Just
the acceleration of your foot
structure, such as a high building or a pole. Thru diffuse your sight arid hand doesn t necessarily
mean thai you will beat your
so you can still SM the structure clearly but also the blurry opponent to the punch or kick, Jn other
environment bordering it. Take note of any movements from both words, speed alone
doesn t guarantee that your blow will reach
corners of your eyes. vour opponent lnTore
his reaches you, Ltut by
cultivating your keen sense of awareness
In training, work with three or more persons and spread the in your chance of beating him is enhanced
out. Your eyes seem to focus on the person in the middle but your
tremendously,
How doe?, one develop hi* keen awareness? One
vision is actually upon all of them. As one of them moves, no way is to be
alert to your surroundings.
Learn to react quickly. For instance
mattpr how slightly, call out his name. while in a restaurant or other public
place, select a person from
Against one opponent, your eye* should be fixed on his eyes toe crowd and follow his movement.
Whenever he or she
but your vision should encompass his whole body, as in photo gesticulates, you respond by u silent
"ugh" or any othet quiet
A. Your vision sphere is more extensive when focused at a distance sharp sound. Gradually, increase your
response by attempts* to
anticipate or beat his gesture with an
"ugh,"
If you have a dog, practice
keen awareness by holding a rag
before him. Whenever he jumps for it,
react with an "ugh" as you
simultaneously jerk the ra from his
fi ^asp. At. the outset, hold the
rap high, but as your reaction
quickens, lower it toward him You
will be surprucd how much tills
simple exercise can shorten your
response-time. -

If you aren't convinced, do the

same exercise without the sound
and, instead, just jerk the rag away.
You will then realize how slow
your reaction can be.
An exercise that you can do with your partner allowing him
is
to gesticulate quickly as you react to him. Then later
hold the
punching pad in front of him and let him
hit it, Ashe throws hi*
speed punch, jerk y qU r hand quickly with
a simultaneous 'utfh »
incredibly, this simple exercise can
add a great deal of speed to
your punch and kick.

124
125
 TAO OF JEFT KUNE DO
hy Bruce Code No. 401
Lee.
BRUCE LEE-1 940-1 973

BRUCE LEES FIGHTING METHOD VoL 1; Sclf-IXfensc Techniques Bruce Lee flashed brilliantly like a meteor through the world of
Bntce Lee and M. Lyebam. Code No. 402 martial arts and motion pictures. Then, on July 20, 1973, in Hong
Kong, like a meteor—he vanished, extinguished by sudden death.
He was just 32.
BRUCE LEE S FlGHiTNG METHOD VoL h Basic Training Bruce Lee began with wing churu under
his martial arts studies
bv Bmce Ixe and M Upeham. Code No 40J the tutelage of the late Yip Man, to the personal
alleviate
Insecurity instilled by Hong Kong city life. Perhaps because his
training enveloped him to the point of fanaticism, he was
BRUCE LEES FIGHTING Ml HOD Vul. V. SkLU in Technk,iics
I

eventually able to refine, distill and mature into a philosopher,

by Bruce Lee and M (Jyeham. Code No. 404 technician and innovator of the martial arte.
After intensive study of different martial arts styles and
theories, Lee developed a concept of martial arts for the individual
URI C F I.EFS FIGHTING Mill KM) Vol. * Advanced Tcclmique*
man. This concept he later labeled Jeet Kune Do, the way of the
by Brine Lee and M Uyehara Code Ato, 405
intercepting fist. It has antecedents not only in his physical
training and voluminous martial arts library (over two thousand
CHESESE GL'NG J books), but in his formal education as well (a philosophy majorat
fry Bruce Ijee Code So 451
the University of Washington, Seattle).
Lee also combined his martial arts expertise with his knowledge
of acting skills and cinematic techniques, scarring in several motion
the; legendary bri < i: mi. pictures: The Big Bos$. Fists of Fury, Way of the Dragon and
by the Editor* <jf Black Belt magazine. Code No 446 Enter the Dragon.
Bruce Lee's death plunged both martial arts and film enthusiasts
into an abyss of disbelief. Out of their growing demand to know
THE BULGE LEE STORY more of and about him, his Tao of Jeet Kune Do was
bp Unfa Ijee. Code No. 4dQ published-which is now followed by BRUCE LEE'S FIGHTING
METHOD.
This second in a series of volumes, which has been compiled and
[ III L\t i. 1 M PARABLE FIGHTER
by his longtime friend, M. Uyehara, utilizes some of the
>r it jr lined
by M lyehara Cot A' No -id
many thousands of pictures from Lee's personal photo files.
Uyehara is a former student of Bruce Lee.

OJIARA D) PfRIJCATKm, IV.., in* W*. Rockcfclfcr. P.O. Hox91«. Swila Clarila. <.V
 K BELT* VIDEO
PRESENTS
NUNC HA KU: KARATE
WEAPON OF SELF-DEFENSE
l\\ FnmiLh Drmur.l
.Students arc taught to use the
•
i
.1 -'.nliHiin<il m;mniT
Topics covered how to cnp. «wnc«.
blocking, striking, rahjcthemeSt
knrote ^nd nunchnku ismulaTUi***,,

mid ij|)pta'4 block and counter.

< ndp Nik liMIKVfLS (Ml minJ

BRUCE LEE'S FIGHTING

METHOD: (tasir Tr* n ng n«d i i

St- If-Dt-finwi- Techniques

By Ted Wong und Richard Bustillo
Bruce Lit* jeet kunv da, ax
Hxpluincd in fin/w Lrtfir Ftfthitittf
Method. Thin covers the first two
volumes, with topic? including
wunri-upw, btidic L'SL'rctKBH, an-
gourd position. fooLHurk. power/
apeed training and flelf-defeiute.
cW No, 1020-V11S (55 mtaJ

TAI CHI CMUAN

By MandinJl Ho'o
World fXjUTl m iai ,
l\i thunn
teaches this Cbinoao practice,
jwhich pro nn lies miiitfhudy
oworenew nnd nojuvenatirw.
Topics covered: the nin* teinplo
exercise*, the short form, push
h-iriils uiid :•<.-] f-delciMIC
applications
Code No, IWJO-VHSIWminJ
KARATE fSHITO-RVUf
By Fumio ttamura
Tnisprngrnrn include warm- up
pjhstcws; nn .infllyisiK t>f bawefi,
including striking points, target
aimu>, ntkndiup iHiMiiiftn*. and
hand, elbnw, kicking .mri hkmkinf?
ir.-tinif|iiwt. thr*fl ten- minute
'.'.
Lirkoiits; .hiH ri di-mo nl'h.H.ni
spurring *ad self-dofcns*.,
( ode No. 10+U-VHS iitO min.t

Rainbow Publications Inc.

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