Gin-Lai or Salutation
Bi-jong or ready stance
• (Incorporating the Centerline Theory)
Immovable Elbow Theory
Four Corner Theory
• Shifting right
• Shifting left
Sil Lim Tao (basic form taught in Seattle)
Straight punches and elbow punches and various body punches
Bil-jee (finger jab)
• Forward straight heel kick
• Forward shovel kick
• Side kick
Low side kick
• Low toe kick
• Groin toe kick
• Hook kick (medium & high)
• Spinning back hook kicks
Chi Sao (sticking hands)
• Tan sao
• Boang sao
• Gong sao
• Vertical fist punch
• Fook sao or elbow contained bent wrist block
• Palm strikes - vertical - side - and palm up
• Pak sao
• Lop sao
• Chop chuie - Gwa chuie
• Pak sao lop sao gwa chuie
• Lop sao chung chuie lop sao chung chuie
• Chop chuie gwa chuie lop sao chung chuie
Seattle School Bruce Lee (Teacher)
Students: James Demile, Ed Hart, Leroy Garcia, Pat Strong, Ron Kealoha, Doug Palmer, Skip Ellsworth, Taky Kimura, Jesse Glover, Joe Cowles
2. Kicking Drills
A. 5 corner kicking-alternating kicks between L and R from Front, Side, Rear, Hook Kicks R front, L front, R side, L side, R rear, L rear, R front to hook, L front to hook,; R side to rear, L side to rear.
B. 5 corner kicking-from low to high(double except low kick to high kick of same type)
C. Clockwork Kicking-real time kicking with the closes weapon e.g. 1 o'clock, 8 o'clock, 3 o'clock
D. Combination Clockwork kicking and hitting-advanced
Key: real time, no hesitation closest weapon to nearest target
3. Stance-By jong
A. Lead stance- shuffle, front, rear, side
B. Form is the essence, balanced, smooth, feet stay on ground, (skating)
C. Strictly- lower body movement- each movement is independent
D.Comfortable and Alive, Natural bounce, not rigid or stiff with hops or jumps.
E. Shuffle to various strikes and kicks
Key: Be alive and be comfortable
4. Evasive Maneuvers
A. Evade various strikes(some exaggerated to make easier) to also indicate where is the safety zone
B. Evade various kicks (some exaggerated to make easier)
C. Evade various combinations of strikes and kicks
D. Minimal movement to make opponent miss, know what position and distance is safe for you.
This is individualized and adaptive to size and reach of opponent.
E. Evade and counter, after learning above
Key: Better to make your opponent miss by an inch to block by a mile.
To block is to get hit.
Don't engage opponent, disengage him.
Don't tangle yourself in blocking and trapping movements.
The whole idea is to intercept his physical an emotional intent to hurt you.
5. Classical versus the New (Modern)
Sil Lum Tao- done the classical way was taught and done every class
A. Comparison of Wing Chun to JKD
B. Regarding Trapping- cut the movement in half for realism, concentrate on speed and economy
Key: Economy of motion: efficiency C. Hook- closer to the body than a boxer, elbow next to the rib- much tighter and compact · Centerline theory – from the center not outside or wide · Take the skin (or paint off) the inside of your ribs D. Rear Heel Kick – tighter, more centered
6. Separate punching drills
Centerline rapid punching
Straightline Blast with closing footwork
Separate kicking drills
Aspects for improved kicking:
(1) Power-water in the hose analogy for transfer of force thru target.
(2) Speed-whip analogy for speed of recovery, shoe laces pop, Kicking a gnat out of the air.
(3) Combine, blend the power with speed drills, make adjustments.
Proper form and body alignment with balance, footwork is supposed to be “light and easy” not jumping around stiff, but relaxed and smooth without deliberation, angular and instant.
Key: Delivery system-instant, fast, and relaxed
Non-telegraphic, no pre-steps-stutter steps for as well as punching - no flinching
Complete emphasis on speed and economy of motion
The less you move the better, Clean and Sharp as a double edged sword pure Chinese Kung-Fu
Power comes with times, sometimes years, on the spot power
Speed comes with accuracy.
7. Basic Trapping
A. Pak sao
B. Lap sao
C. Gong sao
D. Jut sao
E. Tan sao
F. Bong sao
G. Economy of motion cut these movement in half.
H. One hand trap
L. Two hand trap
Key: Trapping is only a by-product
Hit, hit and more hit, not trap, trap, and then hit.
While engaging an opponent, hit when there's emptiness.
8. Line drills
A. sensitivity - touch
B. sensitivity - non touch
Key: Skim, and glide with friction but let CHI flow.
9. Distance - measure your distance
B. No man's land
C. Gates- and body position zones
Key: Put yourself where you're safe and opponent is not
Circle to outside the strong side, away from the rear hand.
Immobilize the lead, after you hit not before.
You have to stun him first before obstruction to break his rhythm or forward momentum.
All trapping concludes hitting
Don't punch and kick at an opponent, punch and kick through him.
Broken rhythm (don't be predictable)
Using the stop-kick as a jab as you incorporate it in your footwork. (be loose, fluid, Ali-like)
10. Practice Drills
A. Attack and Defense
11. Apparatus training
A. Finger Jab
B. Straight punch
C. Side kick - shin and knee target
D. Side kick - power (thru target)
E. Strikes to traps
F. Kicks to traps
G. Bridging the gap
H. Basic Wing Chun traps
L. Strike to hand immobilize, to takedown
J. Kick to leg immobilize, to takedown
K. Backfist, High to low, low to High
12. Burning Step-hand to foot impetuous
13. The Pendulum-avoidance then following back swiftly and instantaneous.
14. Basic and primary Goal
Identifying the tools
Using the tools
Sharpening the tools
Dissolving the tools
Adapt to your opponent - the 3 phrases:
1. Ice-solid, unchanging rigid
2. Water-liquid, flowing
3. Steam-gaseous, focused pressure
Oakland School Bruce Lee (teacher) & James Lee (teacher)
Students: Leo Fong, Bob Baker, Allen Joe, Gary Caanagan, George Lee, Davis Cox, Felix Macias, Sr., Howard Williams, Gary Dill
Waist twisting (three times to each side)
Run in place
Side kick raise
(Hanging paper*, glove, glove pad, wall pad, heavy bag)
*Paper Hanging exercise
Bruce taught this exercise for two reasons, control and speed. Tape two wires to a concrete wall. The wires allow you to put an 8 by 11 sheet of paper at different depths towards the wall. The idea was to strike the paper as hard as you could, without moving it. You kept pushing the paper closer and closer until it laid against the wall. You had to hit as hard as you could, without busting your hand up. You became very skilled at depth control. The second exercise was for speed. You hung the paper from two corners, about shoulder high. The idea was to rip the paper with a punch. This required two elements, speed and recoil. It was the recoiling action that tore the paper. This was an important quality for doing concussion punching.
• Warm-up - the letting out of water [the idea of dropping the hammer loosely]
• The straight punch (left/right) then with pursuing
The entering straight right
• The back fist
• Warm-up - (left/right)
• letting out of water
• the whip
• Side kick - (left/right)
[note: choice of group training method]
• Facing two lines
• In group
• One student comes out
• Straight kick - (left/right)
• Rear kick
• The shin/knee/groin kicks
• Hook kicks [low first] and toe kick
• Combination kicking - eventually with hand
• The stop hit
• The shin/knee kick
• The finger jab (close range)
• Any type of kick to fit in
• The four corner counter
• Isometric training:
• The upward outward force
• The basic power training
• The punch
• The kick
• Pak sao
• Lop sao
• Gwa chuie
• Chop chuie/gwa chuie
• Pak sao/gwa chuie
• Double lop sao (a & b)
• Chop chuie/gwa chuie, lop sao/gwa chuie
• Jut sao
• Pak sao/jut sao
• Chop chuie/gwa chuie/jut tek
• Inside gate tan da
• Tan da low/gwa chuie
• Chop chuie/gwa chuie/lop sao
• Right hand feint with groin kick
• Right kick feint with bil-jee
• Right feint to stomach with right straight to head
• Right feint to head shift to right to stomach.
Los Angeles School Bruce Lee (teacher) & Dan Inosanto (teacher)
Students:Ted Wong, Bob Bremer, Bill Bremer, Joe Lewis, Dan Lee, Jerry Poteet, Steve Johnson, Herb Jackson, Richard Bustillo, Larry Hartsell, Steve Golden, Jhoon Rhee, Chuck Norris, Joe Hyams, Bob Wall, Tom Bleecker