Jeet Kune Do Basics. David Cheng
also came to understand that, in order to adapt to the changing dynamics of a real fight, a person had to develop skill in combat at any range. He realized, for example, that Wing Chun worked best at close range, but that other methods were needed, for both close range and other distances. Therefore, Lee incorporated kicking techniques from other gung fu systems, as well as Savate, for intermediate-range fighting. He also took punching techniques from Western boxing for intermediate range. Finally, he added chokes, strangleholds, locks, throws, and takedowns for close range.
Lee concluded that it was important to aggressively close in on an opponent, rather than passively wait for an opponent to approach. Further, it was better to avoid being hit than to block an attack. Thus, Lee drew on fencing and Western boxing because their superior footwork and mobility allowed him to quickly bridge the gap when attacking and to quickly evade when being attacked.
Many martial arts systems that Lee examined were of the “block and hit” variety. When a person was attacked, that person would block the strike and follow up with a strike. Through fencing, Lee found a more efficient way to deal with an attack. A good fencer would not merely block or parry an attack but would strike as an opponent prepared to attack, thus intercepting the attack. Lee applied this principle to empty-handed fighting, meaning that a person could intercept with a punch or kick as the opponent started to attack.
Lee realized that no single martial arts system had all the answers to every situation. Thus, to stick to one particular “way” of fighting, as he called it, was to cling to “partiality.” Rather than be bound to any particular style, Lee strove for “totality” in fighting, using any method that worked, no matter what its source. He believed that individuals should train their “tools” (the parts of the body used for fighting) for maximum effectiveness, according to their own abilities, and that this training was more important than any style. Individuals should experience “freedom of expression” in fighting, so that they can act in response to reality, rather than to a preconceived notion of what a fight “should” be like.
Lee’s extensive research led to the following principles, which guided the development of his art:
Simple, Direct, and Economical: Techniques should not be overly complicated, but should go directly to the intended target with a minimum of movement. A strike along a straight line, rather than a wide curved path, is more efficient.
Nontelegraphic Movement: One should not show any unnecessary preparatory movement that would alert an opponent as to what one is about to do.
Nonclassical: No set or fixed forms or patterns are utilized, because they do not represent actual fight situations.
Strong Side Forward: The strongest weapons should be placed in front, facing the opponent, where they can reach the target faster and do the most damage. The weaker weapons are placed at the rear, where they become stronger because they have to travel a farther distance to the target.
Hand before Foot: When one is executing hand strikes, the hand should strike the target slightly before the lead foot lands. In this way one’s body weight is behind the strike.
Centerline: A principle carried over from Wing Chun, maintaining the centerline enables one to control an opponent’s balance, position, leverage, and ability to attack. Strikes down the centerline are difficult for the opponent to see and to defend against.
No Passive Moves: Rather than merely block or parry a strike, one should either combine defensive moves with offensive moves or defend by counterattacking.
Longest Weapon to the Nearest Target: In attacking, one should employ the weapon with the longest reach against the closest target presented by the opponent. This allows one to strike the opponent as quickly as possible
Adaptability: Because the dynamics of a fight constantly change, one must quickly change to respond appropriately. A fighter must not be bound by fixed techniques or patterns, but use whatever works, without limitation.
Broken Rhythm: Disrupting the rhythm of an opponent allows one to catch an opponent short while he is engrossed in his own tempo, making it harder for him or her to defend or counter.
Water in the Hose: This term describes the idea of maximizing the power of strikes by training with them until they are like water bursting through a fire hose when they hit the target.
Whip: By striking with a punch or kick and then recoiling like the action of a whip, one can retract the striking limb quickly. This action is combined with the “water in the hose” principle so that power and speed can be maximized.
Short Arc Principle: After a punch hits, the hand should move in a small arc as it returns to its ready position. In that way it goes in a continuous path from beginning to end without stopping, which brings the hand back rapidly.
Nonintention: One should strike without thinking or conscious decision. Thinking about hitting slows down a fighter’s reaction. Instead, it should be as if the limb strikes by itself, without thought.
Simultaneous Parry and Hit: Instead of blocking a strike and then returning a strike, it is more efficient to parry and hit at the same time.
Hammer: By lowering one’s lead hand slightly at the elbow, with a motion like a hammer’s, one can subtly gain distance on an opponent. This enables one to strike from a closer distance to reach the target more quickly.
IT IS EASY to be confused about what constitutes Jeet Kune Do because people view the art in different ways. When Bruce Lee was still alive, relatively few people trained in the art and Lee could exercise control over what was taught. Since his passing, different interpretations of Jeet Kune Do have arisen. This has occurred because Jeet Kune Do itself is somewhat open-ended, with no fixed number of techniques and, in most cases, no set curriculum. In addition, Jeet Kune Do encourages individual freedom of expression, such that different instructors emphasize different aspects.
As a result, different camps have emerged, each claiming to follow the true path laid down by Lee. These range from individuals who believe strongly in preserving Jeet Kune Do just as it was practiced when Lee was alive, to those who believe in Jeet Kune Do as primarily a framework for formulating an individualized approach to fighting. The following is an overview of the major interpretations.
Jun Fan/Modified Wing Chun
Individuals in this category practice techniques and methods that Lee embraced during his early years in the United States. They consist primarily of the modified Wing Chun trapping that Lee taught at that time. Some practitioners faithfully preserve Lee’s teachings. Others have modified the art, bringing their own distinctiveness to it. Strictly speaking, this art is pre-Jeet Kune Do. Some believe that it is actually more practical and combative than Jeet Kune Do. These methods were taught and developed at the Seattle Jun Fan Gung Fu Institute. Hence, they are regarded as arising during the “Seattle Era.”
Original Jeet Kune Do
These practitioners emphasize the art as taught and practiced by Lee from the mid-1960s to 1973. This interpretation consists of some of the Jun