BRUCE UFS

ADVANCED TECHNIQUES

BRUCE L£E and M.UYEHARA

ttitt^ bv Mtk* ham

OHARA || PUBLICATIONS. INCORPORATeD

 I

BRUCEU£-19#ia73
:^ce Xjec ftashed brillifiintly tike a meteor t:hiouKh the iivorLd Cif

ntartial arts a.nd motion [liivriin-^. Tlvn, on July 20. ^i'TM in H'ifiL^

Kong» like a metegr^e vajibJied, exiinguished by iiuddeii denUi.

Kc^ ix'a:g just 32.

BrttCf? T.j(?e began his niaiii.;:! 9tudte$ ^viili wmff fhuii ,
undnr
the tutcrlatgp of the Imt^ Yi^! M*it, to the pereonaJ
alleviatt"

insecurity tnstiUed by Hong Kong dty lifS&, Beriiaps betauee hSb

tiding f:hvt?lopeKl hifii u-t \htj nf fanatic tsait he was
eventually flbk to refine, dietiil matutt into a philoEophor,
u^^hnician md innovator of tb» martial ttrts.

After intensive study of tnaHinl art;; styles and

iJsfff. if rii

IheorieSi Lee d$v«lopeci * concept mariial for the individual am

man. Tbh concept he Uter labeled Jwt Kune Do, the way of the
intctccptkif;! I'isl. It has ar-T^'- i^n-Jtii.': mly in pliysieai

training and valu tninoys martial art* iibniry (ov^ two thoitsand
booics), but in hie fomal education as w*lt (a phao8^>phy major at
tJic Univewity of Washington, iseaulo k

IjCc ffmibined hfe martiaJ arts ^LpertijiL- with his knowledge

s

of acting skilli and oinefmatic teclmiques, >fturri[ig in eavml motion

pictures: Vte
Enter the Dtff^on.
^
Bom, FIstB Qf Fury^ Way of Drngon

Bruce L«e's death plunged both m^ud arts and film enthusjasts
intoan abyss of diSbelioL Out of tiit'ir grc^wing cJf^ai^cind ie> know
mot^ of and About him, his Tao of Jeet Kune Do was
publiybed-wbtch \s now foDowed by BRUCK LEE'S FIGHTIKO
iir^nlf (v

^
IV^WE#kJBI.llD»|fcf |R^tlpTin^'('
hotitk miil biiK 0( |ff«iri V
U'F' rCTTrir»C»difiiiTn,
ill v^i- Hkl'cfi«« i
,

^nMTlhin ^l < !il u. ..^

>
I.,

'I
I, -.hill

uii iJinv hf hjurt^

ilifirchnHiJff Jc*.TitKi|:if IllujrrnittJm
^ '(i^ii 1.11
I
1
w* >k
1 w I
METHOD.
EtcfatwHWI lit idf'ihfiflM ailtU'-MnJ in UOuL —i ntrJMa QiLm i'^Ut^aUwn hiLh n icifmnylrfi Jw di) uhJi
This fourth ui a H«nes of volume, which baa been compded and
NcriM Lb tlihi hook ^i^iAc wtf -icfem iaeweniUHmpi^tq.i|qi twKikvm "^i h« lo apypinkiikrilruMkMi in OEganfeed by hfe lonjlltne friend^ M. Uyeharat utUlafis of th* wme
many thousandtt pictures from Lt^e^s p&^mX photo iiifitt

Ulyehara is a form«r stiident of Bruce bfie.

 DEDICATION
To ail the M«nds and itudent& of 6m«s Le«
 ACKNOVVLEDGEMEm'
Out smoert ai>preciatiojn to Joe Eodn^jt, who upent so much
time In pKotCtgmphing And d^veiLaping th^ film. Qui apptecktioxi
also goes to Ibose who parlk-ipateiil j]] l^nok: JDyn Ino^aritA
©Id Ted Wong, They w^ne bolh Brm^ Lrt?e's dewlt»<l «tud<<nts.
To EaiobQw FubiicatioA$, Int;., for the use o£ several photo>
 Introductiofi

Hi is book WHS in the mflldng Jn 1966 and most of Lhp pliidto with <ionefintraU'(l i![iurti^/' ftruoej uswl to say. you fir* going to
graphs ^hot then. ITie lat^ Bruco Lfy intt'iided io pubLkh
wi-'n"
train without the Lonecpt that tli veal thing, you are
book years ago but decided against it. vvKf n lie learti^d that nmztiiil lOiort-i-hfinging youisulf. V^lien you kick or punch tiio bag,
you
arts ifutnictDn wwf« l^Stig his nume k> proniote themselves. It was liave to imagine that you arc atiually hitting an adv^f^. KflsHy
t|uitocommon to heax commi^iiks like: "I taught Bmce Lee" or corvc«nliatiiif. putthig 100 peieent lit your fciclA aud punpbea, ift

'^Bruca Lee tatight m« j««t kune do.^' And Bnipe loay bave Ute only way you ajc« going to be good
Ken orlmown th«se m^ial mtbtfi.
If you already )r*ad the other tiiruc volumea of Bnica L££'s
hfflire
Bmcfl wantpeople to use his name to pramote
FighUng Method, entitled Ssif-Defmnse Techniques, Basic Tmmfhg
dtdii*t
thems^w cnt their schooLe with fabe pr<: tenses. I tc didiit want
IHidSkUt In *rechniqueSi you a« now prfiseuii^fl with thi* Tourth
th^m to iittTti^Jt studjeiite thijj way, espccutlly the young taens^
and Hnal book, Adutrnwd Tfec/miguw. Willi diis book you now
Eui after his death, hia widow, lindu^ felt ihiA Iiruce hod
have the only and complfttB &et of lessons left by
the late firuee
contrihiU'ed so much in the world of the martia! arls Utatll would >c! H nil ting
Lee This volume, besides teaching you thiJ itioro advanr.<
bo a i^eai los? if the knowledge of Brut:** would i\w with him. oppo^
techniquis, explains how to ufie your bmins agaiivet yovir
Althouifi the book can never replace tln^ cirLu^] u?aching and what do against different types of
nentei hoi* to maneuver and to
knowledge that Bruce Lee possessed, it ^vi]] er^haiH^ you, tbe £:ount*rirEittack,
f^Xjatf,; how to take the offensiw jnui Sauw t"
serious mafti&I artist, in developing your £kUI in fighliriE, published
etceiesa AimoBt all the piiotos in tiiis book are beiuis
Bruce always b«Uevt^d that all martioj tatlfyts train diligently for
here for the tmi time,
one Single purpose— to defend themst^lves. Whpth*.^r wf iu judo,
karate, aikidOp kurig fu, etc<^teifH, our ullLiimie Koal is to prepare ir you have not read Tso ofJeei Kune Do by Bruoe Lea (Ohara
rturselvegfor any situation. Publications, Int: was meant Xo Lompli-mont
), f)5ease read it. It
this

book, and thu kimwiedfip from both books will give you
a full
To train yourself for this gns], you mual train seriously.
Nothifig is laken for granted. '^You have to kkk or ^tnfih the bEi^ picture of BTai;e'si art..
 Jeet Kune Do

Kune Do was fnuuded li^ Brum

heaiiise he felt
the martial attt tniw Ibd fi0lt^n«d

You can *f fi^t (n ptttt^m used to my

because Qtt etiack
am £w hafiptttg and rUH reflnfsL
Jbtf f Kune Do wm drmied by Bm<^ X«i
to nhow u$
that an old art rntat tramform,

day huna to nl0itaHd

iiike tha
day
nighty to
th9 uM^ of fighting mmt tflld nr/bmi,

I^uce Lqc dciieloped Jeei Kune Dto

butufkhad
htdidiftthtmu mme fp^ i^f
Because the oery words^ Jeet Kuna D&t
already indicate
that it *A another martial arm form.

Any form or styh' doea restrict

mtdhin beiief if noif/ in conflict.
 Contents

CHAtTEKXH: I land Techniques for Offense fBartiJ * . . , IS

Simplj^ And CbmpouiKi Attacks

Timing

CHAFFEE XU( : tLind TiiChniquei tot Dffensa 1^ , , * 44

Straight Left to the Body
ftoper Use of the Bftiekfifit
HookFuncii
Uppej)cut

CHAPl^R XIV! Attacks With KicM . 06

Leading Shin acta KfiAA Kick
Powerful fiide Kick
Feint with Kick
fiook^ Spin and Sweep Kick.

CElliFTEIlXV; Defenee and Counter . 02

Art of Counterattacking;
Stop-hit with Punch
Stop^hit with Kick
Oth«r Countering Kicks

CHAPTER XVI: Attributed and Tactics 118

Spurcos:
Attitude
lire) of Jeet Kutmlhhy Bruce Left
MecbankrAl and Tine) H gent F^trafl
Bt^lng by Edwin Htoisfet
l^lkai^ttoii and Bjt«cutt(>n
 Your Offeme

Yow offense thouid be simple and diir^t

beeawse tt rmy be k0€ 0 ^nM.

Hand Techniques for Offense But affitJist soTt^one who

a Bompi^ att^kthbtiid
li&n project
be yowr mie.

Timing, the key to. a complex attttck^

muitt b^ prmiicied until yoit hatt^ the kmpk.

Tfi^ feint shiyuld b* just enough to dittract

mdcr^ttt^ m open^jf ^ yp^ con uct.
 yoin opponent in your i^alih^.t^^ your attack
is hardly b* euc- cm
{jessfuJ unlessoutwits the defiense, Foir Insl^ce, to deceive your
it

o.pponent'5 hand defense, your hand offisnse Is usually made of

lemi-circiilar or circular movementi. Rut an of^Ensive circular
^vement will not work if it is countered with aslinple or lateral .

notion of a parry. Tbezefore, your stroke should be based upon

*
yo*i* anticipation of the opponent's leactioni.
It ie pnicfij'ious to attack with anything that comes to mind or

to iauhdi youisfllf into complicated compound attacks, allowing

yoXXt OfjjKSPHr'iii j:i'vi-'l;iI rh:i:]£;iiH for ;t stop-fiiL, Thf* mon^ rnmplBX
the attack, this your chance of execuiUiit II with couirolt
TheiefoTe, your attacks ahould be sitUEil^j.
RMt if your opponent is equal in s[?eed and skilly with a^od ii'i

$erks& of distance, a Eimple attack miky not «core. Against weh an

opponent y ou have to use compound attack and take advantage ot
the distance.
Hand mCHNIQUES.FOR OFFENSE CoEt^pound attack is a preijiainary action $ugh as a fethii beat^
etceten^ before launching the real attack. The success of the com-
In jeet kun« ito, ttiere ic hwdly ahy direct attack* mct!caJly aU pound attack depends dirt^titly on the parry of the foint or initial
the offensive man^uvei* are indkect-perforiiifid aftflti al^totia attack by your opponent. You have to study the opppni^t'£ leac-
tbe form of a countet^ttack. Hon befbm applying the compound attack-
A perfect attack is tke blending nf sttategy, speed, ttmrng, de^ Compound attack di>p(»nds on timing and opp^irtstnity* M^tiy
eoptie>n and keen judgment. A
superior lifter »triv«j tow^ mas- oompousid attacks fail because ihe attach er doesn't time liigf^iztte
dJ these ekin^nt^ in his daily traitimg.
terijig oorrectly* They shoukJ be moving just aliglitly before, the *ed at^
Hie attack should be launched at your qwn volition, tack. Compound attacks can be Qhoitj^ j^inbiaatloziSiiOur-
upon your
opponeaLsi action or ypon hie inaction. For instance, a siitic^^stifi!] last and penetrative combinations.
attack can be deHvered when your oppojienL h Simple compound attack—just one feint or one preKminjiry ac-
withdrawing his
arm froni Uir path m which you intended to attack, tion—lias a better chance to score if it is executed on the oppor
wortb, attack when the iine i» open instead of tbscd. Your oppo
m
other
n^iil'e preparaUoiti e»pecially if he is steppinf forward. Against an
fient is mgvlne In the opposite diiection and he must r^^ verse his opponetvt who has slow feet or is eiduiusted, u£e the double lead.
dkx2ction or alter it jmbsteiitially. a^ tlm* to we- In attacking you ^ould aci and look boldly fierce ss a wild
eded. animal to "p$ycfa*' yotuf opponent. You should attack with deter-
fflmple attack will not always work agjtdjist mination but not reckkasly. It is risky to attack halfheartedly*
every opponent,
Y<>u }mii\ U ;irii vary your attack and defense. This wUl Kven with goud tenhniquea, you can be feustrated by s skUled
hothct
yuuf ypponeiii but ako help yqy cope with various opponent's defensive measures. Therefore* you should time your
styias of Ikfat
attack perfectly so your opponent cannot evade your blows. Fol-
YoLi must ^rudy youi opponent. Take adirantaBe of his we^sk- h>wiiig axe some of i^e hand tschniqiiei used in Jei^ ktiae do*
nes&es and avoid his strengths.
For inEta«ce, if your opponent b
good at pfljirySng, you shouJd Hret use a pmss, h*mt or beat befowf
attatkin^ to ronfuw liini in his parry. The leading finger jabi like the shin or knee side-kick, is the first
The method of s^tLacking is dictated by the form of defeo*«!. line inoffend or defense. It aJlo^wftyp^ an as^dittonat tbxeet cifr f^,ul
If
inches in reach and pTOYide& a faet fitrikt because it travtfly only a

^<irt di$tanc£ to the tar^t.

Like utJier Rkilledmovements, it mmi be ptflntic&d when you
are fresh. Whenever you arc fatigued, yrtur tonduncy is to use
sloppy motions for finesse and g&inejAiiziid efforts for spetiCc
onps, By using continuous sioppy movi^ments, your proficiency is
tfitardfid and may ev^n retrogress. Anytime you are sxhsusted,
change your drill from skilled to endurance types of «xert:lstfS.
The fbiRer jab is eJcecuted ttom an on-Buard ptiniLion, as in
photo 1. JuBt before tiirusting, the fingers of yaur jtrikine hmid
should be exts?ndi?d, as in phot-o 2. Yiju sl:iouLd complete yuur
strike directly iii front of your nowa, a£ in photo 3, and
not Jike
photo Ap whicli leaves an openine h1 the upper line area.
To attack directly with a fin;jer jftb against a skilled figi^ter h
quite diffic^dL Bruce l^ee always uaed it with -a feint first. For
 handr as in photo B. In this histance^ Lec i& only <Jonperneri
instance, in photo 1, Lec stands in the on-guarcl position a$ he about the k^ad iimd as it m obfttmcting his path t<? the target. Onoe
Eaces his opponent, who is in £l ^^iinilar si Lion, He then feints low
the obstruction is removed, Lee C|Uickly takes advantage with a
by crouching slightly and movfis forward as if to attsck the oppo- quick thruat lo his eye, ae In photo In this uttfick, Lee is
nent's midsection. This cakmfl the oppyn^inl lo lower his gujirding distance. The feiiit
able to aecompUsh his i^chnique from a farther
or rear liand, as in photo 2. As soon us the opening develops, Ij«e
tan also be a bwshin kick to disturb the opponent's compoause,
quickly thrusts his fing^ into th^ eye, as in photo 3.

Besides usinfi it as a ftinl, it also prcv^fnlii li^»^ opponent ftom

Notice that Lee places hit right foot next to the opponent's to a kick.
deUverinc
pt¥ Vent any retaliation from the opponent's foot. A feint is a wh^ai
Whether It is a jab, punch or kick, spet^d is fio important
preliminary motion to entice your npjKinent to feuct. You draw over your opponent
you want to lead him. You must have ^peerf
him to parry to a parti en lar linry and then you dtfUver an attack in
and let him keep up or caUlh up to you.
SjMied and timing should work together. You should
another line or path. be able to
Against an opponent with a left J^ail stance, as in photo by fiSthor speeding up or
dictate the rhythm U> ^aur opponent
Ijee fakea with his right hand lead to lowftr Oie oppon?nt*s leading
 slowing dnwn your movementK, Another way Is to establish
a
natural rhyfiini and then sucfcltrnly attack when your
opponent
in the dflldninis ^5 his motiDn Eie^ins to dmg.
iSconomy pf motion and keepiriE your tuuiiLles flexible can in,
creasR your sp^ed. A fauU of miM novice competLt[>rs is that tlidy
try ton hard to finish the match quickly and ht^in
to press nnd
hast&n tile aqyvity. Itiis onjy makes them J&jft (jffectivG as
the
tertjiifin caus*?^ unnecessary muscular
contrat:tmns which act as
hrakRR—reducing their speed and expending th^tf t^nerey,
A higher perfomiance is obtained when an athlete is free aiid
unrfstrflined, than when he or drive himself. When a
tries to force
runntr is going as fast as; he can, he should not feel that he ought
to he going Isster.
Another effective technique ie to changti yuur timing—alow
down instead of speeding up your movement—jubit before
impact.
In other words the launehing of the strike hfts a moment
^
of pause
in its forward path, conipolJing your opponent
t<* open the vulner-
abb line he k thrown, aut of Li in in
Timing may mean success or £ailuh^ in your offensive and defen-
U?t:hniqucs. The attack or counli^r should oneiir si
the mo-
mPMi of your oppon font's state of inepUmde. Attack should eome
whm your opponent is en [grossed in preparing his offensii ajs he is
mom(>ntariJy eoncentrRting moic on attack than dGfenae.
Other
opportune times are when there is an absence uf touch,
tingacing
or whilfr Chan Ring in the engagement and
wlten he is in mction-
st&pping forward, bankward or side by-side-hecause
he cannot in-
tuitively ehang^* djrectioi> until his action is
completed.
It tak6s a 0-eat deal of concentration And
pmctice to develop
this awarenessi of your opponent's weak moment.
You must also
leam not to bp trapptKj by a misleading, fal^e rhythm emanated by
a clever fighter.

Lending Straight Right

The leading straight b the '"bread and butter" punch in jeei
kune do. it is a reliable offensive weapon
because the delivery is
aliorL„ acij urate and quick.
It can be a powerful blow if you twist your
liips just a splits
second iH^fore deHvery, The blow should land in £ront of
your
no«e, «s in photo A aud not like B. Your guard hajid
should be
dose to defend your head against any counterpunch . Tlie bbw
should l>e clirectly at the f&irs, as in photo C.
 3 2

FRONT View

SIDE ViLVi

The straight right should be dtjiivifjrtfd directly frs^m the on- shouJi^ come a con sequence ot your slight wfr^iving and iiobbing
guaid position, it^ in photos 1 and lA. Your liaiid she hi Id not tel#. whil^ yoLi arp ioAjting
for an opening or wdling lo ixtuntftf. Punch
Riapli ytjur intentioii bcfoic deltvery. Do not add extra movement straighit out,
as in plioto& 2 And ^Aj with your fist In the
such as withdrawing it just b^Ujm delivery. Tht; only motion vertical pCKsitittn,
Yoitr rear tiand should be in the gutwd petition
ready ia block any blow. By putting your "shoukJur"^ into th^ delivers s. quick, siniight right without telegraph in as in photo 2.
blow, ymi oaii mcrtjasc your ri?ach by as much as four inches and But against sckmeonie standini^ TyrLht^r H^ay, m in photo A, or who
not r<3du^:(> the impact of your punth, ^ long as yuu yam ha^ the inclination to retreat, F^e pbtititrnteii & Mttlv de^p^ h>
body properly juid punch through, a£ in photos 3 and 3 A (page launqh his blow, as in photo B.
28).
Again &t eoin^?unc standing closer to him, as in phtiki In hand techniques the hand moves before the foot.
1, Lce all . Duliv-
 wy liiurt e^tiQmkal Mid trttm any aH^li? nny dlstajn:^'. Jn
an attack, ih^ movtmenLs- mLint bt- contciJinjf or & &]ij{3it ^

To bfr a raflEtfij" atlBEik yoM muiit undiirEtDind that for every

there IE an ofMinltni^, far Each opftMttg, a counkT and for e*ch
cOtinlcT, p. bkicte Of parry . You mtl*t knq^w whiH uid how td use
Ihe k94 wtth tome Eccuiity,

L*ad to ao4y
AJthou^ the Jeadintf right to the body a not rtPcKsiirtEv a
heavy biciWH it can he UM-ct i^tfccliv^iE^ lo bother y^tir oppojienl
Find brine hSs guard dowrr, U the pucieJv » driven tfltu the sdIw
ptexiu. H «Mi d(j real 4ainrtti«|e 60 the opponent, a* in photo A.
 FRONT VIEW

SIDE VIEW

Tb .?xecut^ Lhc Jeadm^ right to th^

Its ri:;- ™ 'rsr '.'S^»

body,

r fitond in tlif> »n mj^i^./

flexible.
into your
Ab you hit In
right shouldof.
an
flngl*?, your chin should naturaJJy iriQVC

At the fuM thrust, your rear hand should

be guardit^i; your face, as in photos 3 and 3A, and your
weight
H^liould shift aittm«L tomploteJy to your front foot.
 It is important that, you fulluw Ihrtiuyji with yimt punch. Try
to sink your htjcjy Lu the level of the target so your blow will be
deMver^d slightly upward or almost horizontally. This dsbvery po-
Mtton is safer and more effective.
Ijce stands in the on-Kuaid pasition against a nBht-kad oppo-
nent^ as ill photo 1, He moves in quickly with a blow to the
midseetion, simuJtancouBly using his kft band to black a high lead
punch) in photo 2.
Most people are weak in the low lint" and blcjws towarj that
section eiic tffecUvc cspcciaUy from disengage m*;nt. A di^engage-

1
2

ment a single movement of your hand passing from the Une of

is

cnga^i^ement mto the opposite Une throwinR a hit from a closed

bne into an open line. Timing is very important, as you must £t:irt
your attack ajs the opponent's arm is moving; across or in the
opposite direction,
Afi^ainst a It'ft-lead Lee feiiiU with his
wppt^nenl, as in photo
lead hand to di*w opponent's hands upward,
h'm m
in photo B.

As Boon as the openinii; develops, Lee drives a hard kad right to

the solar plexus, as in photo C. He i£ now in position to deUvf^ra
combination of left and riRhi.
Tfi defend Against ii straight lead from a ri^it stantie, you cfin do
SGVtr&l thin^: (1) k&^p your left hand open mid hold it dightly
higher than normal, keepbg it weaving. As the opponent's puntrh ufifrd aa a counter or as a combination. The power is Heneratt»d
is kunehed toward your fact* k^n a little to your left and parry more than a lead puni:h be(vause you are jstaiidEng further away and
the blow with ynur left hand by s^appinp; his wrist and fortarm. the momentum of the blow befom contact. Further-
iiin increase
No amount r>f fitrtjngth is required to d^^flcct even a jMiwurful more, ygu have the full use of your body behind the punch.
strike. Tlte rtefl fiction will kave your opponent off-guurd and ciff- But for mo&t right-handers, using Ihe left 1^ unnatural, especiaUy
balance for a quick or Iwdy.
ijounte^r tg hi$ face when thrown from a distance. To develop skill in punching with
(2) Hwing to your left by $tepping in with your right foul and your left, practicje with it constantly on the heavy hag until it is
let ^ a liard ri^n %0 the body ot face. (S) Move to the fighl by jusl as proficient as the other haxxd.
stepping in with your right foot throT?^ a strong left Li? the To throw a straight left, atsnd in the on-guard position, as in
body or head in a cross-cyunt^r. (1) Take a step back and {:ount«r photos 1 and lA. Rotate your hips clockwise, pivoting moatly on
Ds you move forward, your flexed, rear foot, as in photos 2 and 2A. Your weigiit
7Vt« Straight Left should shift to your front foot, and your lead hand is drawn
Thesh-^ighl l^ft a pow^ful blOW If <l«livere<3 properly. It is toward your face for protection, as m photos 3 and 3 A. Your
punch shotild be dciivered JsTTaiglit in front of ynur nose
and not
Itk*?photo Xp which, after the (Jtiivery, leaves yaur upper line
unguarded. Yt?ur target <!an he anywhere on your opponent's
hrad. bul the most vulni?irftbl*? spot is the jridft of ih^
jaw, as in
photo Y. But do lint aim ^it the head all the time. Sometimes
drive through the oppoiTent toward the center-lin*.
Again !(t Bomeonc with the same stance fright le<id), as in phoLo
I, Lee creates an opening by a
feint, ss. in photo 2. First he
Ehlows £1 right by stopping gut with hi£ right foot. The opponent
responds by raiding his hands to mcKit the blow. Just before
Lee's
fight connects, otjetructinis the opix-i^ent's
^ight, he deiivere ;i

If

0.

bfaight left to ihn opponent's face, as in photo 3. This delivery

idono with a twist of his? hip to the right as lit on the sole
pivots
f his left fool. The pivot should be done sharply, with a fi^flp of
is hip, £111 d completed with a snap
of his left shoulder.
if your opponent steps hack without parrying or
blocking, it is
ften a good maneuver to renew liie attack, aiming at
the ad-
anced target sii^rh as ihe shin or knee. It h (Oso effective against
jmeone who opc]i9 himself by retrf^^ating witli wide movemetits or
gain at one who tni?^. to parry but is off-balance and
is caught at
le hesitation.
 Against a fighter who places his weif^iton the rear foot instead
of taking a short step back, attack that rt^nr fool. The effectiveness
of a ren&wed attack depends Kighly c>n your knowledge of the way
yova opponent fights. It can hardly suciieed without pr??limliiat:>'
plsms. You must al^o have good fncjtwork for a quick forward
ret'ijveryand an ability to keep your opponent off-balanee.
The techniques on a renewt^d »Llack can be a straight thrust, and
a Eeini, heat or trap with combinations. Attack by combination is
u^uaJly comprised of set ups. It ii a aeries o£ punqhea or kick*
delivered naturally and to more than one line. The purpose of the
attai'k IS to draw oi force your op|xinent into a precafjous posi-
tion for a fin ishiiiR blow.
Combination blows come m certain sequences. For insLanise, it
is natural to punch first to the h^ad and then to the body ft ;

straifjlu punch then a hook; a right hook then a straight left, or a

aintiKht left then a right jab.
There ar^s also the triple blow a in combiniitions. For instane*?,
you cm get to your op^xincnt by sending two blows to his body
after a slip. Tliis generally results in your opponent dropping
hia

gutud and leaving an opening for the final blow.

There is also thc^ safety triple." in which the first blow and the
^

final blow land at the same place. For example, if the initial punch
is to the body and the second to his
jaw, then the last punch
should be to his body.
Often the kft or rear thrust is used as a countering bluw. his I

can be done by dtawins your o[iponent to lead. When hi^ dues,

you duck your he&d slightly and stsp inside his right lead, letting it
slip ov^r your l&ft shoulder. Then throw your left punch
with
power by snsppijig your left shoulder. Keep your eyes i;onstantly

on his left hand and^top it with your riglit if he uses it.

Againiil someone in the opposibe si*in<:ft, as in photo 1, Lee
feints with his right, as in photo 2, and then quickly deiivens a
straight left to the opponent's face, Jis in photo 3. Notice in photo
2, page 41, and phota 2, opposite page, that when
the oppone^nt
stands in the opposite position from iiis, Lee doesn't have to pene-
trate too deeply.
Decoy or falae attack employed, not with the intention of
is

hitting, but to dmw or entice your opponent to

attack in a specific
blow counter. The attack in not tt
line so you can parry the ajid
movKinent of the foot or body to create a
lunge but jufit a sUght
re^ptjnse.
 Right ^trokan

It is not your iack ofspe&d

that you think you really iii^ed.
ChoptefXIII
But many times it's your strokes
Hand Techniques for Offense that you iise afsainsi ail folks.

They may not be right for each fight

(port 2) HQ ^ou tire £iOHfiiSi;d and tisa tight.

Learn and practice th^ right blow$

to fight better against all foes.
 HAND TECIlNiQUES FOR OFFFsNSE

AJthoufih speed important, too many ftghters put too much

femphasis on it. When a fighter faiLs m his ofrnneive blows, iiiiiny
tiiiiea he uses the wrung strokes aiid blames his failure to
lack of

A rifihter must
the propter strokes at the right time agahist
his opponent. Trt
tlie correct strokes, he has to
ust^
study hie
opfjoii^nt's style from different angles and study
his tactitra and
timuig. Included in this section ate sjume of
the strokes that ari*
used in jeet k unc 4o,

Straight lAft to the Body

Tlie straightkit blow to the body, like the sttaight left, is
powerful and can be used as a counter, used after a feint
with the

leading hand or nv^n used in combination.

Like the leading jab or
leading straight, ths body should follow the punch,
U i4 a puiiishini; punch and ma be applied with some safety
Ijevaust; you
are in a croueh ptisition as ybu deliver
the punch
Opportunity to u^. this punch la frequent hacmi^ it is one nfthe
best Lountcrs against an opponent who stands oppoBite to you
'
exposing his right side.
Tt is also effective in drawing your opponent's guard down and
has been used triumphantly ajppnst
tall fifhti^rs. This teehntque
should bt? used primarily against an opponent whn
keeps his rear
hand high to protcet hiit face when delivering a lead
punch.
The punch is delivered almost like the stiaJg^it left
except tlie
blow is directed tx^ the mids(>ction area, in photo A, or to
THE STRAIGHT LEFT TO THE BODY
 3
Y

the solai plesus. From an on-guard riyjii lead position, m tion, keep your lead shoulder rai$«d to protect ag&inst yoinr oppo-
php(,Q5 1 and 1 A, hend yyur froni^ knee aliglilly and keep your riaar nem/K left cross or left hook.
l^E flexed, as in pliytp^ 2 aiid 2 A. Your lead haild is \-teanwhileT your right or guard hand should Iw opened and
druwn taward yoMT face and now becomfiis the guard as you thrust placed close to your face by the time your thrust ie completadT aa
your left hand. Your eight shifts to t}ie front foot as you pi vol. in photos 3 and 3 A. Sink your l^ody so the
blow can b€
<3n your back foot. For a myjre powerful blow, you thrown !Jl^e^^tlv upward or atmoet horizon til to your tare^t. Don*t
Kim step slight-
ly to the right m the biow ts thrown. When return in k to your posi- use this punch, as in photo exposing thfi upper line area.
Against an oj^porient in the right lead stance, as in photo 1 Ui^ to his bmly> as in photo C. Al this
.
dnVQS a hard slraiglit left:
at^s an opoiiitig by a depp lake attack,
in photo 2, point, Ijee's right liand is up and open and his elbow is dov^n to
wing opponent to raise his hands to meet the attack. Then
his
guard a^nst any L'ountet.
qiiickly sinks his body and smashes a left to the
midsection, Sometim^ft, instead of feinting to dr«w the opponent's lead, just
photo 3. nitr head is down alvng the left sjioulder and weU-
wait for him to lead and quickly attack when there is an opening
i^tCCted agaiiiKl a counter.
to his body. Body attack does have aii ad vantage over head attack
f\gainst an opponent who stacids in the oppofrite position, is in
as your target is bijEy^er and less mobile.
ito A, liters penetraLton not too Ae^p. Instead, ho. feints a
is
To slop H rear thiust t<j your bf>dy, just leave your front arm
i right al his face, in photo
at the sam^ time stepping in yvur lead shoulder in c^e your oppo-
ats
across your body and raise
set* When the fjpponent commits himself to the feint, Lee
nent throws a double hit or a ""loop" punch.
Lead Jab
The jab not a powerful punch but is used to kft#»p your
is

oiJIjrmtfnt off-balance keeping him from being ^^et." It is ^ fa&ti,

^

iiii^ippini punch and not a push. Your hand should be htfld and
njlurn hi^ to offset a reor-hand counter. The arms shnujd be
iclaxffd and should sink instead of puliing back when being
broyght ba^ck to the on-guaid position.
Jt is j>rHi:Li{;at to launch moro than one jab because the second

one has a gowl chance to land if tile previous ont? delivered with
iti

economy. The Hub^t^quent one is aho a cover-up for a missed jah.

A multitude of jabs can be thrown to keep yiiur Opponent on the
defen^vc as you steadily pnfs$ him, offering him no rvsL

THE BACK FtST

Th^ back fkt k one of the most surprising punches you can The dchvery of the leading back fist should come directly from
delivi>r bticauije
it is fast, accuHitr and nun telegraphic. It can
be the front hand without telegrapliing, as in photo
X.and the blow
launched from either the on gUiird |>osition or even when you are should be coming overhand and not Uke phtito Y. where the
standing nonchalantly with your hjinds hanging loosely by your hand is swung horizontally because it wos first withdrawn. The
bips. At the latter position, you are in a ni:)nl>«lJig^r«iit position to blow can be directed anywhere on yutir opponent's face but the
sneak a blow before your opponent eajt be prepared. temple i£ the be&t Urget, as in photo Z.
 From thcf nn gnard position, as in [photos 1 and lA, ihe rear hand simultaneously moves 3l!|*hUy downward to protfict
leading bnck thi is deiivf^rf d in a veirticral gpmicircular motion, as in a^inst kifks as weU as any punchfiJ tti your head or body, a& m
phvu>i 2 and 2 A. Your bftdyw^jight sliifis to the front as photos 3 and 3 A. Open your rear hcmd Cor parrying^
your
 Apinst » ri6ht-lfia<J-staiR-e-opponcnt, ji^ in photo 1, Luc trap^
Tvom the on -guard position he uses his right hniid to trap the
the opponflnt's arm with his right and places his front foot on the plaoii^g his lead fool next to the
oppt>n*snt'!s left, a* in pKytu
opjtortern'a right to preveiU fiim from kicking, as in j)hot<i 2 opponent'ii to prevent him from ^ny counterirtg kick. Then he
Thmj qukkly switches hi^ handi. u^ng his left to immobilize
moves ill swiftly as he switche'S hi^ hands, using liis left for grab-
th€ oppontiU's and his right to apply a back fist
as he stHps in as ' bing and his right to deliver a iilow, as In phnto C. NotiLt: thaL
in photo 3.
Le<? uses hifi left to jerk his opponent tfiward him as he siraultBne-
Against ^om^ane ^ULnding in tU*? lefl-I^Ml po&itton, as in photo
ouBly delivers a Bemjtircular blow,
A Lef* uses the tame technique a& \n ih^ prior iUwstj-ation. method of stopping >'our opp<t-
Trupping ot immobiliiCine is h
neni from moving certain parts fif his body ftnd gives you aftlely as
you kiinch your attack. For instance, onc hiUid can he. used for
pinning and the other for striking. It t:^ be used aiso as ^ prtitec-
tive maneuver when you ai-s couni^riJig or slipping. Trsp["riE is
bftsiL-^y used to coMde the tine before engagement.
Ttapprng^ deflecting, besting or ^ngiiging tlie iiand of your op-
pum?jit wiU cause him to contract or reduce his reat:tion,or fori;e
liim lo pairy too soon or jnse gontrul of his performance. The foot
can be used to im mobilize your opponent from kic^Wmg.
You can limit yout opponent from executing a $uoceMul stop-
hit if you or {lap his hand while staytplng forward.
wilJ defltet
When trapping, you should
tjover your hnes or uai other nteari!} as
guard* and keep your movemen L tight. Also, as you gre tiapping or
havK already trapped your opponent's hand, use a J5top-hit or
tijti(>hiL if there is a diseiigagemfin i.

T^ie Hook Puni:h

I^E hook i£ s good countering or^i foUow-up blow becau^i^
it ie
basicaily a ishort-range w^?apon. catchiiig the opponent moving iti.
The lead hook can be tisod as n lead alao when your opponent has
failed to movie out of your viray. But usually this punch is used
faster as a straight lead like a jab or after some other tactict. For
instance, Lt can be iisi+d after feinting a cross, nut Loo wxtfeme, to
obtain leverage and diiitiince.
The hook sbouid not be thrown in a wide, looping way but
should be easy, snappy and loose. In loose hooking, the whip of
the arm is the result of the body turning away from the arm until
Ui^ pky of the shoulder joint is used to the Umit. Th^n the arm
mo$l follow the tummg body. If done suddenly, this Causes the
surm to whip forward like an arrow from a how.
The hand should not Ukgraph by withdrawing or lowering be-
fore delivery. It i& not necessary to pull your hand back like many
boxers. Fhere is tinnugh powtir without doing that if you mse your
footwork property. Keep your lead heel raised outward ijo that the
body can pivot easily. The vveifiht of the body should shift to the
opposite side from the punch ins hand. If yon ar^s thr<jwing a lead
hook, you must step in with the punch in ord^ir to contact. when you hook to the
the lead Rhoulder hi^ for full leverage side
In a lead hook^ keejj your rear hand high as a shield to your face
of tlte eh in ^
as in photo Y.
and the rear elbow Lo protect your side. The hook should be Minimise your motion so that your ^li^tion is just enough lo
thttjwn fro ID an oivguard pcwtion to deceive your opponticit and
have the maximum effect without hooking uncontrollably. If you
after it la conjpktcd, you should return to the same stance, fC«pp exaggerate the outride hool it will emanate inUs a swing, as iii
 ¥ou mu^l keep it tight, as in photo Y. Bt^fiidcs.
if
photo X.
Thtr n^^re sharp-
von Qpen a hook, you also rediH:« your
defenBe«.
bent, as m photo Z, ti^e ttghl^f
and more
iv yoiuT <illMw ii^

more ngid just be£^3ce

explosive the hook. Keep your arm a Uttle

impact- u
hook from the on guayd position as m
, . ' *
photo
To deliver the ^

pawl hi#i. afi in photo 3, aJid youJ

1, keep your

outward pivot with mtat* your hips

e^. Then
raised
as m plioto ts,
ftwiftly counterclockwise as you deliver th« hook,
ymr rear foot. Thi^^w the blow inappdy
shifting your weight U>
concentr*Uon on apeed. Uke the oth.r bio^-., d...^
; th yo^
vour hook thmygh th^ opx^n^L The
m^i difficulty m the h<.ok
Is to ihro^ your punch
with complete contrt>l of ypur body.
wisely. Against a *;lev^J^ defensive
Tlie kad honk should be used
firfiter. this m^iy h. the only
way to penetrate his defense or ^p^ii
to use oth.r tactic.. But the
hook is mo.tly
it up by forcmg h™

effeetlv^. when you move ki or move ^ut. U you

ar^ a^m.t m
straight or ewings, the JiooK
nppon^jnt whti thruwa an overreaching
valuable.
 Against an opponent in the same stance, as in photo 1> the
lead hook is often delivered when he has lQwei«d his rear hand
guard, as in photo 2, or after ho has throwt^ a jab. The
punch is delivered with the weight on the rear footj the hips
rotating and the pivoting on the ball of the Failed front foot, as in
photo 3-

Again^L an opparient standing in Lhe^ opposite pdSitiOh, && ih

photri Ap e^mpluyK a. fulse atUc-k by t:rou4^hing sliglitLy and
TH'inLing a near xtrai^hL thrust, in phulu As the opponent
drops his Ic^d to block the punch. Lcc retaliates with a hi^rh hook
to his ]aw, as in photo
The hook is a natural punch when combined with a Bidestep.
 YoM moving obliquely and your direclifin facilitates an ea&y
ate
^iwing ?iUhe opponent. PHrndoscicalJy, when ymt opponent is side- impact, you should he on your toes and leaning Blightly backward,
stepping, a hook is the pmctjcal punch to deliver, Ujo. 11ie WGiglit should be on your Itift limi if th^ blow h a right and
The Itad hook is also gomrj in glosg or in figtiting. The blow is vice versa if the blow is a left.
thrown hum the side or outride Lhe opponent's mnge of vision, Against a right lead opponent usr your Eeft hand to trap the
Bcftides, it also ro around the guard, an iinpcHisnt offense opponent's right arm bs you deliver a right lead upp^tout. To
c£pei:ially ^ii^r the opponent shaken up by a straight blow. execute the left rear uppa'eut^ the. lead hand in drawn hack to
ThP hook body is more dojuaging when in-fightin|{. Addi-
to the protect your head and also to be prepared for countering. The left
tlf^n^lly, body is an isasier target- larger than ihf jaw and less
the hand should be lowered so th*? inertia of the blow is across and up,
mobile, To dose in, feint to tiie head, then swiftly step forward
with the front foot and throw your lead hook into his midsection
or the nearest targiet. The groin is a good target becaufie it b harder
to bitjtik than, for infit4inLe, the jaw. When delivering Uie punch in
close, durk to the opposite side of the hand that i$ throwing the
hook. To do this, you have tti bend your fir^jnt knee so your
sliouidtfr will be almost the samfi level with the striking point,
your balance by keeping the toe of your back foot w#Q
Hjetaiij

extended, Keep your guard hand constantly close to your fae*.

Even tliougli straight punt:hes ar<* recommended for mi-diym-
hook should be used against m\ opponent
dist£tnce fighiing, the
who blocking, trading or £:f>unteri3ig th&straiglu pnncbes. Vary
is

your punches from high to low iv hi^ ajid from u hi ngle strike to
Combination.
The rear hook is an asset for tlose fi^hting^ espwcially when you
ftrebreaking away or when the opponent hreitking away £roin
you. This punch can also distract the opponent away iiom the
lead hook.
The hook is mastered by training on a small, speed bag. Hit it
sharply without twisting your body into distortion. To defernJ
against it do not move away from the opponent but move into
J

tiie hook and let it pass around your neck,

Uppenmt
The upp<ireut is uised in close fighting. The blow, an upw^ird

^'ooping motion with the palm fatting you^ can be admin is tf^rcxl
with either the lead or rear hand. The upi>^eut is almost useless
against a fastp upright hoxer who uses long It^ad jni>t; t*j your face.
But it is a natural technique again;^ someone who puta his head
down and charges, swinging wiEdly.
To deliver Ltie effKctive short upperuut, keep your knee^ L^eiU
before striking and straighten titem as ymi throw the punch. At
 Th^ Mighty Feet

ffyou Qn' adept with your feet,

probabiyr you are hard to hmi.

*Oiuscyou tfirt hmp your fos a I bay

with pQw^rfUi kicks that can shy.

The shirt-kifk <:;&n stop an attack

while the ifide-kick can break his buck.

Vi^ spin-kick can be a surprise

to bring your opponent down to vi^e^

The $u)eep-kickw seldom us^d

^cause your foe can oniy be bruised.

For monies, it's a picturesque sight,

but for reu7, it ha$ no migkt.
 -

ATl'ACKS WITH KICKS

In attackin^t the best kicks to use are the quicks fast ones. A
kick has to be delivered before yoiu opponent can defend ag^iinst
OT move away from it. Be sure your opponent doesn't take ad van

tage of your commrtment. Attempt to psych your opponent with

puiiishifi}{ blow&, in flic ting sharp pain.
In your training; be aware of your delivery land big and recov-
,

ery Use t>nappiiig kicks frgm the knee fof more jjower and com-
bine byth knee ^nd hip for more spetd.
Learn to uontrul your body 50 you can kicH from high, Iowojt
ground level and while you are in motion—advancini, retretttioit,
circling to the left or to the right.

Leading Shin and Knee Kick

It is natural for most martial arti&ts to use or rely on their feet
as the weapons in attacking. rh« leg stronger and Longer.
initial ifi

In jeet kune do the low side kick to the shin or knee is used
initially in the first encounter, 'llie kick is explosive whether used
in thnistbij^ or snapping and can wreck the opponent's knee with
one blow. It is a good technique tf: bridge the gap in order Ui
employ combination, Even if the kick is not thrown extj^ewively, it
sti]] can diecomiiyie an opponent from taking the initiative and

kf^ep him ii diKUtEii'e,

AifainHt !R}inKnne standing in the sisaine i^tfinoe, as in photo 1^

Lee sweeps his lead hand upward to district iiis opponeEitn m in
photo 2, and quickly lunges forward to deliver his low side kick to
the knee^ forcing him Lci liw. ground, as he continues to Ihmst
witliout letting up; as in phot" 3. Notice how far Lee stands from
his opponent when the kick is delivered^ Lii photo 3.
 Against someone standing opposite, as in phato 1, Lcg usas the
same approach by sweeping his hand upward, in photo 2,
quickly drives hi^ side kick to the left knee this time, a& in photo
3, Notice that Lee approaches his opponent with his eyes upon the
face and not on the taiget aiea. He does this to camouflage his
intention— keeping his opponent guessing.

THE LEADING SIDE KICK

Leading Sid€ Kick

I'he side kick is the most ppiver£ul blow in JKD. It is so strong

that many times, even a block will nut ptevenl it from knocking or
hujting your opponent. The Kick can be launchetl from a medium
distance' but ihete is more power if it is launched fmm farther out,
93 you can increas* yonr moiTiefntum l>efoTie contict.
 1

r \

Againsl, Ktjmmnp in the sann? stance, as in photo 1, Lee raises

dfiliveiiB a HidB kick to tho opponent's rib -Jic^t; lion, as in photo 3,
his hsind fninr s mtsduiTu distance^ as in photo keeping his
2,
huiLing him backward, as in 4. Althouch th*? kit:k is powcTful, it
othei himd tlown to prxjtecL hijua a count^itiiig kick. hl<> quiekly a drfensivt?
is quite difficult in lilt your op^ncnt $olidly if tie ia
 1

fightfiT, The defensive mcasurss ^va eilher to move away far moves in, studying the reaction of the qjpponent^ us in 2. Wh^
enough from tJie penetration or sideflt<>p from tKe kick. AiiothHf the opponent starts to back off fiom the attack, Lee Limge^^ with*
way is to parry the blow with a chflnce of grabbing il, out any hesitation as 'm photo 3. Moving faster than the oppo-
,

A^ii^st someone in the same starn^, a» in photo 1, Log just nent, Lee deli vers hL* side kiek. as in photo 4.
 the series of photos, oppoaite page, as the opponent slandB
in
In
stance, as in photo I, I^e tries his familiar hand-
;Ke Qpptjsite
laiscdfeint he moveB rorwar^J, as. in photJJ 2. Butthistiffi* the
fppgnt?iit refuses to resporKi sol^e chanfies hbi tactics and
liish side kick, over the opponent's guarding hsijids, to the face, as
in phqtu 3.

THE HOOK KICK

Hook Ki^k
The hook kick is the most dc-m mating kick in JKU
because it is
delivered gived you
easy to hit youT fJpj)onent-lhe way the kick is
timfi, offers yoix
more opportunity than othcis-and at the same
fighting. It can be delivered
security from a merliuinHdisUnce
at tlie head. imOsee^
Quickly and is ver^' versatUe. It cAn be ainacd
tion Hnd even the gmin.
 Agjaiiibt & phptg 1, Le^f fil^
light- Icnfl-starLee-opponentT as in
feints SL drawing the guarding hand down^aa in phc»to S.
\c.nm kick,
Onqe the tipponpnt reacits to the feints Lee ^nds a higli haok kick
to iijs face, 96 in photon 3 imd 3 A (bird^s^ye view).
The feint mmit bo impressive enouglT to crewU? h respoitse from
ihe oppE>nRni, Ttia number of feints sh^suld be limitett t/ci'hd i^ffec-

tive. It is risky to try aii altatik with mote than two feinU. The
mflTft complicated th^? n>aii^;uvers of th^> compound attack, the less

th« probability of success.

Thfl feint is one metliCKl of gaining distance. You* Gist feint
should sliortcn at least you and
ooe-half the distance between
jrour opponent Your nest motioii should cover the bst half of the
distance. Your feint eliould bft prolonged to give yyur a|i|X>nent

ajnpk time to react. But not t^o long so ho has tim<^ to bluett your
attack. You hav^ to Im Just ahead of it. Ail your motions should
be slight, enougjii for a re^ponEe,
 I

Ihe Spin Kick

The spill kick Is used caytiQusly in jcet ktMie dti b^aui^ a^mnsk
& defensive ot l&ss aggressive fighter, you may be c^ii^hi with your
back to him while you are tmriiiij^. But cxevitrthei^tss, it is a valu-
abJe kick Ji;g5iiistaii unwary opponent whD kfitifis an rushing.
The spin kick in one of the moat difficuil. tf> perform because it.
can l^»vB you oul-of-baiance while revolving. Hitting; the target can
bft a problem tuo bt?cause for a moment ytm have to take
yotir
fjyes from it and still hit it while your body is tumine.
The spill kiL-k is used mostly as a ctsunler but from time
to time
it. Can used as an attaek to surprise your opponent. j\gaLnst
btf

aomcfjne in Ih? same ^ancc, as in phoUs 1, Lee sweeps his hand

upward to distract as he moves toward h'w opponent. Then at the
rigjit Tdjige, he pivots on his right foot nm\ rotates his body sud-

denly, ill photo

insi- iie tries to ket^p his eyes on his opjionent
to judge liis distance. Befoie the opponent can r^'Act, he delivers^ a
spin kick to his midscctiDn^ as in photo Some martial artists
 1
3

Employ the spin kick in p swe^pin^ r>r slapping motion eo t-he blow staniift, a^ m
photo Lev fakes with his load hand, as in photo
fe pifoj^iiited frf>m thus sidt^. But in JKD it is monf; a thrustp with the But tiie opponent do^sn'l rtspoitd to the gesture in photn 2, m
blow hitting directly in front of the targc^t. Ijee quickly pivots t>n bis right foot and sends a high kick to hia
To apply a high spin kick a^kinst hif oppan^ynt in the same fflce. as in phot" 3
^
driving him back, as in photo 4.
 3

Aj^uinst wmeonc in the opposite stance^ els in photo 1, Leu AUhough the spin kick works best ai;ainst an unwary, aiignesiiivts
iswwps hii? hsnd, *S in phulo 2, and quickly turns his body torn- typa of fight&r, sometimes it is also v^ry effective ag^iinst ii TighL^r
pl*tely» as pholo 3^ Uj dtive a spin kick iKMwt'eii the opponent's
III who doi^*t eicpect it. tn JKD this is one of th*' few timesri the Itift
guar<l3^ foreingblm off his feet, as in photo 4. t&ol is used for kicking from the on-guarJ posiUan*
 1

Sweep Kick
The swMp or rtver&i? is seldom used in JKD becau^'j
kick
a^Lnst someone m the stanch a& you, Lhe ia&d hand iji alwAy^
pTotecting his /ace. Se-coiid. the kick delivffr^d high sind m apt to
be caught against an exp^ticuc^Jd fig^it^r. Third, the kkk is not
pOWL'fful tf rit>u^ lo !Hriof;:!k your opponent down.
The sweep kick has its effectiveness njpiTiist an unwaiy fighter
who lend& only to pitted h^ IcTL side while stondini; in the right
lead position. It is one of the few kicki thai will penetrate againit

a figlitcT who habitually kavcs his lead foot high above the ground
to jam while attacking.
AgiiinE^ ijumeone in ttiiG mmo stance, as In photo 1, Ij&e b«glnj»
to dciiver n sweep kick, The dehverj^ of th«
as in photo 2.
kick ts and dcKieives the oppo^
similar in this {^ose to a front kick
nent who attempts a low hlock. Unencumbered, the kick finds its
Ivg^t, as in photo 3. Tiie path of tlie kick '& ts^m Mi to right
in a ^micircular motion^ in diagram A.

tHE PATH OF the: FOOT

 Against, an opponent In th& opposite stancep hs in photi^i; 1md
lA {bLrd's-eye vievp), lj?o mov«in snch a way Uiat the (iprHJiiunt

thinks he is about tc* sond a side kick to his^ midwction, m iii

photo& 2 and 2 A. W^ilt ihv op|Kiniint atiticipat« the side kiuk,

Lflc reaches his faoe by driving his Toot above the (^ardine hsnd,
m in photofi 3 and 3Ah
 Countering

Countering may look tike a dcfeni^

hut H'b on advam^d form 0f offi^ns^.
Chopfer XV
Countering is a crufty Mtntegy
and requires rmi art in fighting,
Defense ond Counter
CoHn fering can keep your oppon^ni ^dgy
especially while you are wmiing.

Countering is bc$t uthcn he's leading

bscau^ he cannot do much guarding.
 IjCading Finger Jab
The jab 1)% a good defensiv^^ and couiLtering weap-
lituiling ring>^r

on to an atta<:k before il unTokls and as a consequenoG, it

fltup
lYLiKyattig your opponeiu. It i^ ea:iy to employ and \» qtiick-^?
(ijick, that the oppoticint gets II in his eye before he can deliver his

puueh. It is thrown with your fingers outstr^khedT an added ex-

^
jjsion of y our hand
t i '1 .

THE LEADING FINGER JAB

DEFENSE AND CO UNTER

C(junt'¥rullat:king is a crafty ra,aneuv«r. It is quite safe to use
Sjid be v^ty clamaginB to yt^ur Opponent because he is general'-
fttfi

ly caught moving in.

Second, if you are juaUrhed against spmeone equally as skilled
^ you, you hiiv? thi.' advdj^^ta^tf becau^t? your E>ppqnf?nL Lb E;oun^
to ex{K>s^ morp. of himself m
Uv is leading mid cuiiimitting tiims^If.
In the meantiiJif^, you are reniaiiiijig in the oii-guani Bt^nce, wait^
irig for th^ opAniiijf. it is preferable to feint your opponent to lead
iftst^fid or wd;iting Toe him to uik« the iniliiitive.
Hie of counterattacking can be applied alt*r pro vo king your
art
opponmt to attack or drawing and luring tiim by leiiving yourself
purposely opon. The idest of counter i& lo avoid the blow and hit
your op|.K>n«!ni while h* is out of balance or not in position t'J
If^ord hiin^elf.
Countering re<|ujre!« of fighting. Ac-
real prorieient-y in the art
tually it is an advu^icc-d form of
For each lead, there are
oflenjse.
numerous coyntehj but you tthould nvln^i the most effective one
It iE a good stop^hit weap<m and you should use it at ev^ry
instantly. Itiis can only be done by coiiat^nt practice until you are
opportunity during Uk* cout^u! of enables you not only
figliting. It
conditio ned to rem:i vpon tan eo u^ly
'

to fi^ore efFeclively md create op<^nings but it can quickly dc-

ASi^t countering, follow up by pvt'ssing your opponent until he
inoniUi'^f^ an und confident 0)>poiient.
iiggTe$sivt!
i£ down or until h« retaliau^si. Be <;HrvfuI of an opponent who u^s
Jjm Vim M tixponeni of the stop-hit. Here, he &hows how
sfaillful
the double hit. His fu:?t btow is usetl to entice you and hi& second
to use it against im opponent standing in the opposite stance, as in
blow ivill be th* anit, iir you attempt to counter*
(dioto i. Lee quickly moves in as he the opponent's swing
GOnilng, as in photo 2. With hi& lead hand, which only has to travel
a much shorter distance than a swing, Ijbb thru^ it towcud his
oppohcnt's face, as in photo 3. Lee c;onatantly keeps his guard
hand high to block, as in photo 4.
A stop-hit muat be corre<rtly timed just as the opponent begins
his attack. Ti\K itlea U to anU{:ipate and intercept the attacker in
his path and st tiie same time deliver a blow, keeping younself
secured by being out of the attacker's reach or by the us«* uf otlier
covering. Success dfipends on proper anticipation and liming J±a
well as hitting the tHrgat perfectly.

A B

An effective maneuver agaiiist a swinging opponent i*! to coiin-

fcer-time into his action or itop-kick into his advanced target or
exposed areas;.
In the sequence abwe* againet someone in the opposite st^nc^,
as in photo A, Lee piepares for the attack. As soon as his ofipo-
riRTtt is about to deliver 3i slraight iRari, Lee quiekly intercepts the

blow and conLiimes with his right fingsr jalj lo Lhfi (jpponent's eye,
as in phoLo He keep$ his rear band higlir to protect agamst any
countering. Timing \^ so importjint in the attack on development.
.4fter antl^ripating your opponent's line of attack, you intercept
Kis arm or foot and counttjr^ just as ht is ^bout to deliver.
 THE LEADIKG RIGHT

Leading Righ t
The lead in g rigbl, llkp the leading nngpr jab, is a good deft-nsive
punch agniiist thp gwing bucause your bkiw doesn't have to inmA
toy fai. Even wK^n tb*? opponent mitlate» llni punch, you oaii Iniit
him to his delivery. Brides, against » wLId swinger or
a slow-
moving fighter, you can really frustrate and disturb him by not
allowing him to get set, by your constant blows to his face.
Agnrast an opponent in the opposite stance^ in plutto 1. Lee
counters with a etraijsht right lead as the opponent flti^mpls
a right
fiwing, as \t\ photo 2. Lee stops the attacit when his
punch contacls
the face, as in photo 3,
Actually, the stopntiit is umd to arxeet the attaek it b unfold-
ing- It can be aii indirect or
dk^et attack, II may be u^ied while the
opponent steps forward to puneh or kickp while hP h CeintinK, or
while he 13 niotiJig between a eoniplieaHan combination.
Against somHtme standing io the opposite stan^^ie, as In photc
A, who attempts a swii^g with his left lead, Lcc count^r^ quickly,
as in phtjUj B. He eounless when he seea the
opj>anent dr^w hi*
hand to launch his attack.
Often it necessary to sLep or lean for ward Lg employ an
is

effective sLop^h it
-beyond the opi>onenf s focu$, B-side*, without
Ukijig a step, you may not beat Iiim to the punish.
Shin or Kn^€ Kick
Tli^ shiri or kn^e low ^da
Idck^ sometimes referred to as the
**&Loii*'' kick^ i0 most Formidable deft^nsive tactics in
one nf titii

JKD. tf don^ j>rofieic?ntly, you cnn just about stop any kind of
attack against tJie punch or kick. The concept of this kick is to
b«&t your nian io th^ attack- lliat means you have to stop your
opponent while he fe in motion, juEt befont? acceleration or just
before hi* attaokf. To do that, you must be much quicker than hn
is. This trait ean be developed by training heavily in thi* »cietic;p of

awareness or the art of anticipation.

THE r^NEE KICK

As mentioned in a prior chapter, Bruce Lee was oiways a step

uhead of his opponent because of bis keen, cultivated awareness.
He u^ed to ^itiactife it constantly to ineresks*.' hia sensitivity of His
mobile 3um)unding.
To employ Uie low side kick agalnjst someone standing in Lh^
Mm^ position, as in photo 1^ Lee studies his oppon^nfiS fiice^
waitli^g for hi£ first mov^. As i^on as the opi>onertl begins hi£
attack, as in photo 2, Lee iiweei)<9 his lead hand upward to initiate
his momenmnii. Before his opponent cm knd his blow^ Lee retali-
ates with a low side kitk to his knee, m
in phot<> 3.
 ir the £>i»pyni*nt is in the opposite stance, as in photo 1^ and hundJc becrause gf his limited maj^euvembility as in photo
, A.
h use hii batk fuot lo deJiver a froiiL kk k^
pilarthjing t(J in photo J lis low stance and ext^ind«d
feet restrict him from attacking and
2, lite quickly meets tlie attack wilh liis leud foot Lifted above retreating quickly. In photo B, Lee just mov*!S away
from the
the floor to intf^rfippt the opixinemit's kic-kiiig foot in mid-air^ aa in liglit ififld pnnL'h ^lowii by his opponent.
Lee was able to move
photo 3. You must realize that the stop-kick is not necessarily ^^way easily from the punch b<>cause a low-stance fighter
l^as to
a countering blow but sometimes used strictly to stop or block an Urlcgraph his movement when fiver he tries to stand
upright bo
{jfrtinaivw maneuver. move forward or backward. After avoiding the blow, L«e delivm
An oppriiii^nL who fights rr»iii A ctom:inr\)^ j>t>ijitiun is esisler to a
crushing sli in kick, as in photo C.
 Figbting an opponent who stands yn the opposite stance in

photo 1, not different from one whoee f€«t jirc in the same
ifi

position a5 yours. Probably it is easier to jsiTt his Iflad log because it

i& aliped with youis. hi photo 2, wh^n the; opponent lunges at
Le^, he niftets the attack directly. Even with the opponent having
ii head start, Lee's quick rcattion stop* the attack &om
photo 3.
matferiali^.ing^ as in

Again^ su opponent in a closer mige, aa in photo A, and who

stands in ihe opposite position, Lee evads* a left lead punth and
slmultaneoiiiily deMvers a kick to th^^ lead knee, as in photo B, This
is a fairly safe countering move bet;ajuse the leg has a longer reat:h
than the hand^

Side Stop-Kick
llic side Btop-kkk almost like the low di^in vnd kiie^? kick
Is
as the
except Hial the latter kick is employed more devastatingly
us^d not only to stop
kick 15 directed higher. The aide stop-ktck is

the atlAijk but also to knock Llie opponent down.

Tlie kink is used extensively in JKD because it
can be used in
medium and far-distance fighting. Beside*, it ia tlie most powtirful
blow. When delivered props^rly, you need jwst one kick tu irom-
opponent.
pletely stop un
Against an opponent standing in the opposite position at a
 lengthy distinct, as in photo 1^ Ij&e is in a Bt?cure p!>€!ition ai^d has
more time tfi jitftpare for an attack, qs in phoLo 2. Aftei" studying
the ujjponent^s approach he moves toward him atid iiJilcnshps a
^

pUfii&hing ade kick to hia th^iit, as in phot? 3. Th^ impact ftom

the kick not only stops the attack but drives tine opponent back-
ward tt> the fluor^ as yi plioto 4.
Proper timing and distance »tr impc^rtant in the appUgation of
an effective stop4iit, When the distance is wide, th^? opponent
gKHf^rally needs sonte kind of planning iit his attack. At tliiti mo-
Tn«nL, you should launch your attack-
A smart doesn't attack until he initially attains control
fijj^iter

of tht- oppDneiit'& timing or \im\d positSnn. He endeavors to draw

the fito[>-hlL by any method to bring bis opponent's hand and leg
vsrlthin range in order to control it.

Usually the stop-hit is employed with a

straight thrust or kick,

but it may be need in a disungageinent or counter -dis^ngsgftment or

whik dUEikingand sUpping,
Ftom a midditj distance, quiekly stoj>4-iita an opponent who

THe SIDE STOP KICK

1
 I

I t

altempt* kick wltK his rear foot^ as in photo

tr> L Onte Uii? attack Against m
onrush in (fASAfku It trnm a middLe dittantc', m in photo
is launchc'dr I^^t withc^ut any he&itstif^nT cpunten^ by Blii:)ing A, moves mto hb opfKJn^nL as lie a rifiht Hwing c:um-
te^Y faat forward iitid employs a right side kick t<i thf oppuTient^s ifig. too deep, as the uppoii*;nt U during
Witli a quifik lung*;— nf>t
chfist, a» in photo 2. the hard blow sends the opponent i^eLing In— I,£e letsgo a powerful sid« kiclii in photv B. Tht* blow

bacrkwarcit ^ Ln photo 3. fltops the attack and drives the oppon^fnt backward, as in phota
CJ.
 B

moving forward. Oth^irwiRe, there is no forctr bfjhind it.

A stop-lut is m f^^c^Heni d^fens*? ai^ipsl an opponent whg
Anotlier wsy to score is to use a direct or simpio ftttftck when
attack? wildly without ajiy kind uf L-yvering or again at one who
th^ opponenL is within distance and he dnd«n't r^itT^ftt wiUi hh
stands ttoo ti^at^ Sometimes you tiave to angle your body Ly find
parry. To be uerUiinp hit him when he is stepping forward into
the opening and to control the dpponenrs ha^id,
Apiciiil an opponent who is in the opposite Etance^asin. photo
range, whiJ^ h shifting his weight forward 0t indicfttfis " weigh ti-
pess.*'
I, Hiid whcj movps E;auticuisly from a close difitanc€^ L^e catrefiiDy
fn anotlier olosje-distance fij^hting^ Lt^ ^ig^iiiii waits fisr th^s oppo-
waits far the attack. A& soon as his opponent moves in with A
stmight left, Lcc steps slightly away, just enough to avoid thi^
nent's initial actio n^ m
in photo A. As soon as the opponent
commits himself, Lee atepa hatrk slightly, readying both hands
blow, as in phot? 2.
against an unexpected blow, as In photo B. Then hn counters with
Then he quickiy shifts his footing and utUi^ea a right ^lide kKk^
i» side; )ti(;k as h^ regains hii balance, as ui photo C,
Q£ in photo 3, The kiek must be delivered with his body esc^til or
 SomctiiR*^ it wise to iiiducc your opiwnent to stop-hit fully,
preventing him &om recovfJiing agiainst a parry and a counterat-
tack. But be aware, so that Ko doosn't feint a stop-hit tw draw ygu
Uito & trap.

Hook Kick
nie hook kick is one of t±Le fastest and quickeat kicks in jcet
kune dn oiid is used mainly as an offensivt* wKaiHin. It can bd
launched ^swiftly without ''telegraphiiiE" the dHivHCy. It is good a.

offensive Slid fiount&ring kick. It lacks pow*jr, when compared tt)

the side kick^ but can be used very efFectively.
it li ift targeted at
your opponent's vulnerable spots.
Against an onrushing attack, Sfl iii photo 1, f^e quickly pivots
on iiis rear foot and switches his weight to it, avoiding the rush by
moving away from the path of the attack but still matntainitig his
bal^rififi, aj in photo 2. He SL^pi the attack with a high hook kick

to th^ faac^ a£ in photo 3.

 .

Against a cautious CghkF who ^tefids from a mWdl* daistanffc^ olb

in photo 1^ Lee fakes a right punch to his Eace^ m
in photo 2. As
cho npponfiiit commitfi himself with hU own straiKht ri^t, hee
parric;s and almost Ln onf^ smooUi motion, the opponenf^s
right wrist. Then he quiekl^^ lets go a hook kick to his groin, as in
photo 3.
This IE ifefeised to Itie sequfli^ce Of ftttflck on cftmpMion.

After the (ippon^nt has lunged^ you psOTy hui blow and divert his
primary atUck, TTieij you eounti&T vihile the 0|.ijionGrit's; htidy U
e3c tended from Lhu lunge or duEiug his act of recovory— thorc Is no

movement of your cjpponent's foot during this brisf phase.

Af^inst sfjmeoni* using thH compound pn^^paraUHn, whereby he
Ht4?psforward and c*mployB iiiii hmid siimuStantfouAlyi uciHioinLcabl
trapping U uiseful ta either immahlUKe or ereai* it reatrtlou so you
can punch or kit.k

THE SPIN KICK

Spin Kick
T\w Spill kick is a Aurprise countering tactic, ll is not recom-
mend^ lo be u$&6 as on off<yn£iv& or attacking iveuiEMm. It is a
diffiii^uUkick tii ruAtitet, but once ytiu ore adept In using it^ it may
be ydux b^&i weapon against a skilled opponent.
THe &pm kkik fihc^uld be u^ed sparingly and mastLy ngiuiist on
aggre^sive^ straight-Jin r flfhtcir^ who conKtantLy rushes at you. It is
difficult to employ against a <^{^iintering and defensive o^pont^nt.
and hi& op^^nent stand at a far distance ^ feeling cacK otfit^
out, as in phgto X. Suddenly, his opponent rusl^^ forw?trd as Le^

prepares to mvrX th« attack^ in photo 2, t£e, a master of the

spin kick, ddivtrt^* a perfect kick to his face with eflse^ as \n

i^tanding in the middli? distance Lee face^ a cautious api^oncntt

,

as in photo A. Normally, a spin kkkis not tht? lactic to ueehere,

but Lee applies it effectiv^fly* as Ui photo B. This mfty wc^rk if tho

opponent h unwai^r or h a slo w-riaacting fighter*
Thctic is for the int^ifigent
whQ a step ah&ad of hts opponent.

He itses his bram& in a fif^ht

whik another can't see the tight.

He tmries his tsatic wiih each fos,

with putiGh^is and kicks thrown higii and iou^.

Ih studies hln opponent with core

and fighia wWi judgment and dare.

Ihctic atotw insure success;

t^an^t
attitude is part of the process.

A filter with great confidence

plans his encounter with ^ood sense.
 Hie foUowing aspects are needed to attain greater speed t (1)
warmin|^-up exercise to reduce viscosqity and incre^ your fLexibUi-

ty; (2) a suitable stance; (3)viewl nnd audial awarenesa, and

(4) quick reacting htibitual patterns.
Vision awareness or keen perceptual speed mv$i be leanied
through constant practice as it isn't inherited. It jihould be fiart ai
yoiiT daily training—just a shorty concentrated practice to pisecive
rapidly. But this should b*? supplemented with longer trjiining out-
side of the dojOt as flxpEained in C'hapter V of Basio Traininj^.
When your perception is a simple com^ept finch as
dir^eted on
hearing a gun go off or the droppinR of a flagi, your probability of
improving your pf^rceptuai speed becomes less. The reason is that
you cart react almost to your fuU capacity to a simple act. But you
can inrtprove upon the preparatory movement to shorten the re-
sponding time. In other words, your imjjrovomont of keen aware-
n^ can ^jhnrten your reaction time.

ATTRIBUTES AJ^D TACTICS The following reasons can lengthen yoiir reaction time: fl>if
you are exceptionally emotaonsl: (2) when you are tired; (3) when
Speed you are not trained and (4) whm you lack concentration.
t

A peitjQrt tnoBl have certain attributes in oH^^i* to Ixi a skillfid Choice reaction requires more comprehension antl deliberation
fig^tei. The allributeu may bt Learned or iitiiatp. For iiist^moG^ than simple reaction which is instinctive, quickest and most accu-
speed an innate trait but can also be develop€(J
is you furtlieir. If rate. Like speedy if you have to concentrate on more than one
arc bom without speed then you have to practice dni!y tn Aciquur^ Item or act, your reaction will be slower as each requiren jiome
it yr if yuu do huve Bpeed but want to increasfi it, you must tram d^^ee of concentration before you can respond.
alio. During training you should reduce unnecessary choice reactions
There are several different types of speed, A pnrceptuaJ spMd is and if possible presynt your opponent with a variety of probable
the quickness o f y oitr eye& to &ee an opening thmugh the aotton or responses, forcinghim to a slower, choice-reaction position.
inaction of your opponent. Your opponent*s reaction time is lengthened when the stimuli
Mental speed is the ability of yonir mind ta sckct rapidly the are comhined: when he k inhaling, when hf> hoi just completed his
right teohiiiques to attack or counter sgoiiiat an opponent. Per- techniqun, when his attention or perception are distracted and
formanee spe^d h youf ability to ft<;celer8tc yout body, feet oi when he i& off-balance.
handB frotn a fitarting or set |K)sition end continue to tncrt^ase the A person who is eIow in responding and in delivering can over*
up^d'onee your body or parts are in motion. come thill disadvantage through quick [Tercciving. An offensive
Then there is the alteration speedy which ift the ability to chan^ fighter, who can use only his right foot and right hand extensively,
direction quickly hi midstream—capability of filtf?ring the direction should Jearn to use both hands and Ixith feet. Displaying a one-
while in fllglit. sided offense allows hij& defensive opjxmGnt the quicker re^pon^,
Speed is a confusing attribute. It eompiities several elemenls a£ his concentration area is being confined.
your mobility spring or resilience, hiUimma^ physical and
fiiieh as ^ Attitude
niental alertness-^ime needed to recognize and time needed to An athlete with a "winning attitude*' is self-confident and re-
react. The more eompleji liie situaLion^ the alower you tend to laxed. He feels himself in conimand of the situation. He may also
react, fts it tak^ your mind a longer time to comprehend. CKpcrience a psych Oiogidfll effect of nervousness ^ "butterflies in
you have hiin in troublft. Draw him to step forward and when hi?
does, alUck him. Conc^^ntjate your attacks on his weakn^aises aiid
make him fight "your fight/* not his.
The diTference between an aitiatsur and an expert i& that when
on cxpijrl bieea an Opportunity, h& maizes it quickly, lie maketi use
of his aruenal aiid inLellig^*ncc> dpUvnring punches and kicks in a
wcU*thought-oui manner—creating op^nini after opening until he
delivcES a powerful, d^nagiiig blow.
 y

TAOOFJEETKLIINEDO

BJtLLt LEE S nGHTLNG MLIHOD \'ol ^ Skili ill I tchjiique*

in* Bnice mid M t i^hifm. Coth Ab. 404
BRLd FlGimNC METHOD VoL 4 Advance Techniques
by E{nce and M. Vy^mm. Cak Ab. 405

fHE L^GENDAICr BRUCE LEE

fjr M^j^>^ c/ Black Bell niiiga^. (Tcwfe Ab. 4^

THE BfiUOE lEE SiORY

IHE INGOMPARAfilE FIGinER