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THELE DPUN H
Bruce Lee t ught hisstudents to deliver the lead
p un ch from ll posilionsbut em phasize d the use o f
the On-Guard posilion ast allowe d fo r perfect
balance a nd quick
recovery.
Aasic tenant of Jun Fan Jeet Kune Do
is to have your p ower hand for-ward. Why is this? Bruce Lee writesin his notes that there is a good
chance that you will run into a b igger, stro n ger
opponent so you can not give him time to use hisstrength against you. The basic idea of our art is todeve lop your tools to a high level, to c ultiva te them
to such a great extent, that you can take out any
opponent with a few well timed, p owerful p u nc hesor kicks. One of the basic blows to take an oppo-nent out with is the Straight Lead Punc h.
8 AUGUST 998 • JUN FAN JEET KUNE DO
STR IGHT LE D PUN H PRINCIPLES
l I t is a powerful punch that gets its power fromusing the entire body, not just the arm.
2. It is a snappy , long range punch that uses theelbow to get the snap.
3. I t is a punch that penetrat es o nly two inches
through the target while still hitting with a snap. I f
you penetrate more than two inches you r punch will
lose power as you will be pushing instead o f hittingwith power .
4. Because of number 3 ab o ve , d istan ce is a cru-cial element and must be train ed over and over . I t
should be trained from three differen t dist ance s:
• STATIONARY: You don't move forward. The
power star ts with a powerful twist of your coiled rearfoot.
• ADVANCE WITH LEAD STEP: The distance issuch that the two inch penetration is obtained by
taking a step forward with the front foot while your
rear foot d oes n't move forward . Remember to hit asplit secon d be fore your front foot touches the
groun d .
• PUSH SHUFFLE (THE BURST) : Hit while
thrusting your entire body forward. The power comesfrom the coiled rear foot pushing off. Again , your
front foot does not make contact with the ground
until your fist hits the target.
hen training, you should vary the
distance so you can hit the target
with a two-inch penetration
withou t the slightest hesitation. Work it so much thatyou can hit at the pro pe r distance without tho ught.The only way you can do this is by cons tantly varyingthe distance while train ing. Really work the hell out
of it, and remember it 's daily decrease not daily
increase . Here are a few of the drills you can use tohelp perfect the straight lead punch .
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I . DETERMINING OPTIMUM F IST ALIGNMENT
I f you want to find out which angle of the fist is stronger try the following experiment. Have your tra iningpartner push on your fist as you hold i t as if you 've completed a punch with the following three angles:
hat this experi
ment will show isthat the hori
zontal punch is too weak to generate a Straight Lead Punch withknockout power. While the vertical fist is much stronger than the
horizontal one and should be
used for any punch that cuts intothe tool (sliding leverage ) or the
one-inch punch, the diagonalfist is stronger . Bruce Lee said tha tthe diagonal fist is best for the
Long Range Straight Lead Punch
because it protects the wrist and
the bones in the hand, that is tosay that the wrist and arm line upbetter. But don't take our word forit - try it for yourself.
Continuedo
page
• HORI ZO NTAL
(like a boxer s jabFigs. 1-A & BJ
•VERTI CAL(like a WingChun PunchFigs. 2-A BJ
•DIA GO NALFigs. 3-A BJ
JUN FAN JEET KUNE DO • AUGUST 1998
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This is probably the only martial art group in the world thaJ h s more teachers than students. Pictured hereare the gang wha take part in the Wednesday-Night-Workouts in Sif u 1im Tackett s garage . From kft to
right: eff Taywr (student), Jim Sewell (original member o f Bruce Lee s Chinatown school and Wednesdaynight teacher), Sifu 1im Tackett , arry Dixon a JKD instructor under 1im Tackett) and Dennis Blue a JKD
instructor under both Bob Bremer and Tim Tackett)
78 AUGUST 998 JUN FAN JEET KUNE DO
3
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ar
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3 STATIONARY PUNCHING WITH A FOCUS GLOVE .
When p unching the focus glove concen trate on hitting with full power and snap ping th ro ugh the target with atwo -inch penetration. This "snap " is achieved with the stra ightening of the elbow. We realize that many martiaartists say that you should never st raigh ten your arm com pletel y when you punch at an op ponent as you run the
risk of hyperextending you r elbow. However , whe n Bruce Lee was asked about this, he said that he neve r - ever- found a person who could block his punch - let alone break his p un ch ing arm (Figs. 5-A B C, D & E)
JUN FAN JEET KUNE DO • AUGUST 998
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HE LE D PUNCH
4 FOCUS GLOVE SERIES: A SAMPLE LESSON
Flash The TargetThe trainer kee ps the focus glove on his chest. As soon as he fla sh es the targe t, you hit -
then qui ckly recover. (Figs. 7-A, B, C D Note: Make sure that the train er use s bro kenrhythm in flash ing the gloves.
8 AUGUST 998 • JUN F N JEET KUNE DO
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THE LE D PUNCHRetreating Distance Drill
Hit as soon as your trainer steps back with his rear foot. (Figs. 10-A, B, C D
8 AUGUST 998 • JUN F N JEET KUNE DO
Mix The Above5. The 4-Com er Se rie s
Series A• High Jab• Ou tsi d e parry and hit (Fig. 11
Series
• High Jab• Inside parry and hit (Fig. 12
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Many un Fan Jeet Kune o techniques turned up in Bruce Lee s ilms Here he
delivers the Straight Lead Punch w he aw o f Korean m rti l artist Chi Hon 1Soi
Series C• Low jab to your right side• Downward parry and hit Fig. 13)
Series D
T ese are just a few
of the training
methods for the Lead Punch.
Jun Fan jeet Kune Do is basedon the idea of doing a few
things well. Since JJFKD i
based on an instant response
to a stimulus, and a human
being has only so many neurapathways, this is the main
reason for the JFJKD principleof daily decrease. But to keep astudent s interest up you
should have as many inter-
esting and fun drills as pos
sible. Be creative. Figure ou
what attribute you want t
work on and create a drill for it.For example, drills 4C and 4Dabove are drills to obtain the
proper distance as well a
awareness. f you discover agood drill, feel free to sharewith us. •
• Low jab to your left side• Low hooking parry and hit Fig. 14)
SeriesE
• Mix A, B, C D above
JUN F N JEET KUNE DO • AUGUST 1998
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