Essay on Jeet Kune Do Bruce Lee 1 Three swordsmen sat down at a table in a crowded Japanese inn and began to make l. Tao Of Jeet Kune soundofheaven.info - Ebook download as PDF File .pdf), Text File .txt) or read book online. Essay on Jeet Kune Do Bruce Lee 1. but when their remarks . PDF | 5 minutes read | Bruce lee infographic combo - Tao of Jeet Kune Do. Poster (PDF Available) · February with 2, Reads.
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book, you will know Bruce Lee better, but hopefully you will also know yourself better. The Tao of Jeet Kune Do actually began before Bruce was born. transformation / Shakti Gawain, with Laurel King. — Completely rev such as The Path of Transformation or Creating Tru. EL TAO DEL JEET KUNE DO. INTRODUCCIÓN. Mi marido Bruce siempre se considero a si mismo com Bruce Lee - O Tao do Jeet Kune Do.
Success in simple attack especially, direct or indirect, lies in correct selection. But tit f K 'il ft. As an evasive thrust. Keep the right hand moving; don't hold it motionless. Mechanical repetition is the basis of this. Blows should start where the hands are. Watch out for disengagement.
Iulia Sutru. The Warrior of Allah. Amishav Evandro. Adrian Wilkinson. RPh Krishna Chandra Jagrit. Mhmmd Helmy. Konstantin Ivanov. More From Marius Stefan. Cernauteanu Roxana. Marius Stefan. Laszlo Kantor. Cascade Skytower. Raluca Rain. When it becomes part of you, you 'Wtim you have it. And lis you progress you know the true nature of the simple way. You may joifl i. You observe nature's sinvple way. Y'ou experience a hfe you never had before. The pageg of ihm book represent the pride of a life's work.
In , Bruce sustained a rather severe injury to his back. Btuce'a personal study notes reveal that he was particularly impressed by the writings of Edwin L.
And, you probably will have many ques- tions, the answers to which you must seek within yourself. Bruce's orchestration of martial arts had that quality, most apparent in his combat motion. Immobilized for several months with an injured back, he picked up a pen. The 7bo ofJeet Kane Do actually began before Bruce was born. The classacal mug Chun that started him on his way was developed years before his time. He found in the philosophies of Confucius, Spinoza, Krishnamurti and others J an organization for his concepts and, with that organization, he began the book of his tao.
The book when he died was only partially completed. Though it spanned seven vol- umes, it filled only one. Between major blocks of copy were unnumbered pages of unused paper, each headed by simple titles.
Sometimes he wrote introspectively, asking questions of himself.
When he wrote quickly, he sacrificed his pmcticed grammar and when he took his time, he was eloquent. Some of the material within the volumes was written in a single setting and had the natural progression of a well-outlined conversation. Other areas were sudden inspira- tions and incomplete ideas that were quickly scribbled as they entered Bruce's head.
These were scattered throughout the work. Then, I tried to draw the scattered ideas together into cohesive blocks. Most of the copy was left unchanged and the drawings and sketches are his own. The book's organization, however, could not have been justly done were it not for the patient attention of Danny Inosanto, his assistant instructors and class of senioc students.
It was they who took my eight yeais of martial arts training, threw it out on the floor and turned the theories into action with their knowledge. They have my grati- tude both as the editor of this book and, separately, as a martial artist.
It should be mentioned that the Tao ofJeet Kune Do is not complete. Within the Five Ways of Attack, for instance, he originally began with a category called hand immobilization. Later, he found that too Hmiting since immobilizations could be applied to the legs and arms and head as welL It was a simple observation that showed the limits of attaching labels to any concept. The Tao ofJeet Kune Do has no real ending.
It has ; no style; it has no level, though it's most easily read by those who understand their weapons. To probably every statement within the book, there is an exception — no book could give a total picture of the combat arts.
This is simply a work that describes the direction of Bruce's studies. Likewise, the drawings are often unexplained and may offer only vague im- pressions. But if they spark a question, if they raise an idea, they serve a purpose. Hopefully, this book wiil be used as a source of ideas for all martial artists, ideas that should then develop further.
Beware of such schools! There are no real lines between speed and power, or between precision and kicking, or hand strikes and range; each element of combat movement affects those around it. Grappling J. V Parries The void is all-inclusive, having no opposite — there is nothing which it excludes or opposes. It is living void, because all focms come out of it and whoever realizes the void is filled with life.
The consciousness of self is the great- est hindrance to the proper exe- cution of all physical action. If nothing within you stays rigid, outward things will disclQS ,.
Stilly be like a mirror. Respond like an echo. Fm Kke the moon underneath the waves that ever go on rolling and rocking. The perfect way is only difficult for those who pick and choose. Do not like, do not dislike; all wiD then be clear.
Make a hairbreadth difference and heaven and earth are set apart; if you want the truth to stand clear before you, never be for or against. Just be ordinary and nothing special. Tiie ignoirant vriO kugh ' Establish nothing in regard to oneself. Pass quickly like the non-existent and be quiel as purity. Give up thinking as though not giving it up. Right views understanding: You must see clearly what is wrong.
Right purpose aspiration: Decide to be cured. Right speech: You must act. Right vocation: Right effort: Right concentration meditation: All I can provide is an ap- propriate medicine for a particular ailment. Art reveals itself in psychic understanding of the inner essence of things and givm tQ..
Behind every motion, the music of his soul is made visible. Other- wise, his motion is empty and empty motion is like an empty word — no meaning. Art is never decoration, embellishment; instead, it is work of enlightenment. Art, in other words, is a technique for acquiring liberty.
Its effect is a deepening of the personal dimension of the soul. The artless art is the art of the soul at peace, like moonlight mirrored in a deep lake. The ultimate aim of the artist is to use bis daily activity to become a past master of hfe, and so lay hold of the art of hving. Masters in all branches of art must first be masters of living, for the soul creates everything. All vagiip notions must fall before a pupil can call himself a master. Art is the way to the absolute and to the essence of human life.
The aim of art is not the one-sided promotion of spirit, soul and senses, but the opening of all human capaci- ties — thought, feeling, will — to the life rhythm of the world of nature.
Not to be fragmented"- but to see the totality — Krishnamurti 5. To understand Jeet Kune Do, one ought to throw away all ideals, patterns, styles; in fact, he should throw away even the concepts of what is or isn't ideal in Jeet Kune Do. Can you look at a situation without naming it? Naming it, making it a Siuses fear,. Let your opponent graze your skin and you smash into his flesh; let him smash into your flesh and you fracture his bones; let him fracture your bones and you take his life!
Do not be concerned with your escaping safely ,;. It treats life and death indifferently. The ait of Jeet Kune Do is simply to simplify. Jeet Kune Do is the enlightenment. But in actual combat, his mind must be calm and not at all disturbed. To destroy anything bothering your mind. Not to hurt anyone, but to Punches and kicks are tools to kill the ego. This is partly due to- styles. Instead of going immediately to the heart of things, flowery forms organized despair and artificial techniques are ritualistically practiced to simulate actual combat.
Thus, instead of "baing"iii coiabfit these practitioners are ''doing'' something ''about" combat. Worse still, super mental power and spiritual this and spiritual that are desperately in- corporated until these practitioners drift further and further into mystery and abstrac- tion. When real feeling occurs, such as anger or fear, caix the styhst express himself with the classical method, or is he merely listening to his own screams and yells?
Is he a living, expressive human being or merely a patternized mechanical robot? Is he an entity, capable of flowing with external circumstances, or is he resisting with his set of chosen patterns?
Stylists, instead of looking directly into the fact, cling to forms theories and go on entangling themselves further and further, finally putting themselves into an inextrica- ble snare.
They do not see it in its suchness because their indoctrination is crooked and twisted. Discipline must conform to the nature of things in their suchness. Maturity does not mean to become a captive of conceptualization. When there is freedom from mechanical conditioning, there is simplicity. Life is a re- lationship to the whole. The maji who is clear and simple does not choose. What is, is. Action based on an idea is-cityviously the action of choice and such action is not hherating.
Assume pliable awareness. Kalationship is understjinding. It is a process of self-revelation. Relationship is the mirror in which you discover yourself - to be is to be related. Set patterns, incapable of adaptability, of pliability, only offer a better cage. Truth is outside of all patterns. AccumukMoo is self-endoaing i: Knowledge is fixed in time, whereas, knowing is eontinuaJ- Knowledge comes jErCnn t Wliipce, trom ai7.
The classical man is just a bundle of routine, ideas and tradition. Learning Is never cumiilktii? A conditioned mind is never a free mind.
Freedom from knowing is death; then, you are living. If you follow the classical pattern, you are under- standing the rou- tine, the tradition , th-e shiidow — yan are not under- standing yourself. We are those kata, we are those classical blocks and thrusts, so heavily conditioned are we by them. To fit in with an opponent one needs direct perception.
There ig no direct perception where there is a resistance, a "this is the only way" attitude. Indeed, nearly all natural fighters use it.
As for the martial artist, it adds versatility to his attack. He must be able to hit from wherever Ms hand is. How can there be methods and systems to arrive at something that is living? To that which is static, fixed, dead, there can be a way, a definite path, but not to that which is living. Do not reduce reality to a static thing and then invent methods to reach it. When you see that, you will under- stand that tMs liw.
Do not have a mind that selects or rejects. To be without deliberate mind is to hang no thoughts. Then, there is a possibility of real communication. Understand the freedom from the conformity of styles. When you are iminfluenced, when you die to the conditioning of classieal responseep then you will know. This evening 1 see something totally new and that newness is experienced by the mind, but tomorrow that experience becomes mechanical if I try to repeat the sensation, the pleasure of it.
The description is never real. What is real is seeing the truth instantane- ousjly, because truth hgts no tomorrow p We shall find the truth when we examine the problem. Thought is the response of memory and memory is always partial, because memory is the result of experience. So, thought is the reaction of a mind conditioned by experience. Know the emptiness and tranquility of your mind.
Surely, meditation can never be a process of concentration, because the highest form of thinking is negation. It is a state of complete emptiness. Why the duafity? A so-called martial artist is the result of three thousand years of propaganda and csbodiiaoning. The second-hand artist blindly following his sense! As a re- Mi: The economy -tight structure in attack and defense attack: Weight training and scientific supplementary training plus all-around fitness.
Strong in-fighting — a, shifty blasting b. All-out sparring and the actual contact training on moving targetf,. Total rather than partial in structure, The training of ''continuity of expressive self behind physical movements, The constant flow straight movement and curved movement combined — up ahd down, curved left and right, sidesteps, bobbing and weaving, hand circles , Well-balanced posture of exertion during movement, constantly.
It is futile t6 argue as to which single leaf, which design of branches or which attractive flower ycfU.
Uke; when you understand the root, you understand all its blossoming. Please do not be concerned with soft versus firm, kicking versus striking, grappling veffSiM hitting and kicking, long-range fighting versus in-fighting. In combative arts, it has been the problem of ripening. This ripening is the progressive integration of the individual with his being, his essence. This is possible only through self -exploration in free expression, and not in imitative repetition- of an imposed pat- tdftalraovQment.
There are styles that favor straight lines, then there are styles that favor curved lines and circles. Combat is never fixed and is changing from moment to moment. Working in patterns is basically a practice of resistance.
Truth in the way of combat is perceived from moment to moment and only when there is awareness wjtji- q-at condemnation Justifiq ti ' Jeet Kune Do favors formlessness so that it can assume all forms and, since it has no style, Jeet Kune Do fits in with all styles. As a result, Jeet Kune Do uses all ways and is bound by none and, likewise, uses any technique or means which serves its end.
In this arty efficiency is anything that scores. You can see clearly only when style does not interfere. And seeking the opposite of a system is to enter another A Jeet Kune Do man faces reality and not crystallization of form.
The fighter who has no abode is no more himself. He moves as a kind of automaton. The greater expression is not found in the lesser expression but the lesser is found within the greater. Having "no form,'' then, does not mean having no "form. What it signifies Jb a cultivation by meaiia of non-cultivation.
That is to say, to pxmtice assertive activity.
The physically bound go for puffing and straining and miss the delicate way; the intel- lectually bound go for idealism and ex;otlca and lack efficieocy and actually seeing infe reaHtfet. Too much time is given to the development of skill smi Xoo little-! It imphes discipline of the mind and power and endurance of the body. Simple moves are the best, Practice your balance by standing on one foot to put yoiu clothes or shoes on — or simply stand on one foot whenever you choose.
Fri, 2 Palm up curl 3 Roman chair sequence 2 Tues. To gain the greatest benefit from the warming-up procedure, the exer- cises should imitate as closely as possible the movements which are to be used in the event. Warming up reduces the viscosity of a muscle, its resistance to its own movement. It also heightens his kinesthetic senses. This, they feel, reduces the risk of a puUed n: Proper posture is a matter of organization bt the body.
A correct poalure does three things: It insures for the body and its several members a position which is most mechanically favorable for the next move, 2. II cnahl! They meet halfway. The shoulder is loose and the hand is held shghtly lower, relaxed and ready for attack- ing.
The entire arm and shoulder must be loose and relaxed so that the fighter will be able to snap or whip out the lead in rapier-like thrusts. Also, with the absence of an extended lead , many preparations on same are useless. The head now becomes a moving target, augmented by sensitive distance.
In attacks: In defense: Uncovers the lead side of the body. The opponent knows where it is and can maneuver all around it. An extended hand offers itself for immobilization. Thus, adopt the recommended position ta keep the potentialities of your lead reach a The Amj and Ibmjt' The rear elbow is held down and in front of the short ribs.
The rear forearm covers the solar plexus. The open palm of the rear hand faces the opponent and is positioned between the opponent and the rear shoulder, in line with the lead shoulder. The one important tft? K, however, the leading foot and leg are rotated outward, the body is squared toward the opponent, presenting a large target. A stage or interval in: Ensures readiness in motion at all times. This movement involves a delay and also warns the opponent.
Simple but effective organization of oneself mentally and physically. Movement with no strain. Balance is the most important consideration in the on-guard position. This means perfect control of body balance. Stand loosely and lightly, avoid tension and muscular contraction. Distinguish between drilling comfort and personal comfort. Thus, you vvill both guard and hit with more speed, precision and power. You look more on the order of a cat with its back hunched up and ready to spring, except that you are relaxed.
Use tools tjiat wiJU. Practice instantaneous explosion from neutrajity and retain neutrality in commitment, all into one constant smooth llow. Shorten ihe gap lime between position and execution more and more. Ease, speed, relay. Also, they must he reinforced by equal precision of the rear foot and hand. Such antagonistic tension increases the energy cost of muscular work, resulting in early fatigue.
When a new task with a demand that is different in intensity of load, rate, repetition. The outstanding characteristic of the expert athlete is his ease of movements even during maximal effort. The novice is characterized by his tenseness, wasted motion and. The ease is his ability to perform with minimal qntagonistic tension. At the same time, impulses to the antagonistic muscles are shut off, allowing those muscles to relax. Thus, we can attain skill only by actually doing the thing we are trying to learn.
When he becomes fatigued, he. Precision is made up of controlled body movements. These movements should eventu- ally be executed with a minimum amount of strength and exertion, while still achieving the desired result. Precision can only be attained through a considerable amount of practical and training on the part of l oth the beginner and the experienced fighter.
Skill is best acquired by learning accuracy and precision first with speed before the skill act is attempted with much power and speed. POwr]R To be accurate, the striking or throwing skills should be executed from a body base that pogsesses enough strength to maintain adequate balance during the action.
A powerful athlete is not a strong athlete, but one who can exert his strength quickly. Thus, a smaller man who can swing faster may hit as hard or as far as the heavier man who swings slowly.
The athlete who is building muscles through weight training should be very sure to work adequately on speed and flexibility at the same time. Combined with adequate speed, flexibility and endurance, high levels of strength lead to excellence in most spoii;s. In combat, without the prior attributes, a strong man will be like the biiU with its colossal strength futilely pursuing the matador or like a low-geared truck chasing a rabbit.
The best form of endurance exercise is the performance of the event. Of course, run- ning and sliadow boxing are necessary supplementary endurance exercises, but you should do them with broken rhythm, broken neurophysiological adjustment.
Most beginning athletes are unwilling to drive themselves hard enough. They should punish themselves and then rest adequately, only to increase the output of effort after the rest. Long hours of work made up of many short, high-speed efforts interspersed with periods of milder activity seem to be the best endurance-training procedure.
Endurance can be acquired through a rather extensive succession of sprints interspersed with easier running. One trains far ail endurance that is specific to a particular rate of speed. Extreme endmrance training should include much more and longer work than whg-t ha;5 been customary. Such " Spartan training is for the champ.
An occasional change of pace should be included that employs different nnovements and, to some degree, different nmuscle fibers. Exercises for endurance development should be gradually and carefully increased. Six weeks seem to be a scanty minimum for sports that require considerable endurance and six weeks are really only the beginning. The peak of achievement will be approached in years. En4urance is lost rapidly if one ceases to work at its maintenance.
Balance is achieved only through correct body alignment. The feet, the legs, the trunk, the head are all important in creating and maintaining a balanced position. They are the vehicles of body force. Too wide a stance prevents proper alignment, destroying the purpose of balance but obtaining solidarity and power at the cost of speed and efficient movement.
The lead eg is fairly straight and the knee is loose and easy, not locked. The lead side of the body forms a straight Line from the lead heel to the tip of the lead shoulder. This position permits relaxation, speedy balance and easy movement, as well as a meehamcal: With the bending of the forward knee, the center of gravity moves forward a little. For general readiness, the lead heel usually remains just touching the ground even after the knees bend. Slight ground contact of the heel aids in balance and decreases tension.
Endurance is lost rapidly if one ceases to work at its maintenance. Always leave the space of a natmral step between your feet. By doing so, yon are braced and never standing on just one point. By not getting your feet crossed, you are not likely to be pus bed ofl-balance or knocked down because of bad footwork.
Foslural habits: Lower thn center of gravity. Keep a base with laUrral width, 3. Knees are rarely strajglitened, even in running.
A center of gravity kept under delicate ajid rapid motion are characteristic liabits of athletes in games that re uire sudden and frequent changes of direction. The athlete displays these static and phaijic motor habiLs before and immediately after each act, in preparation for the next act.
When it is necessary to move rapidly, the good tnan. Always stay in balance to throw another kick or punch. Watch out for too much Iteiining Aids Feel for the proper relation of the feet to each other and to the body while attacking in combination, retreating and countering.
Feel the difference by putting yourself in balanced and unbalanced positions. Move forward, backward and sideways. Firsts skip on one loot, holding the other in front of you; then skip on the other. After that, skip on alternate feet with each revolution of the rope not as simple as it may appear and work up to the highest possible speed.
Keep the skipping going for three minutes the duration of a round , then rest for a minute- and skip for another three minuter. Consider balance before, during, after. Consider air-tight defense before, during, after, 3. Learn to cut into the opponent's moving tools and limit the ground for his agility- 4- Consider alivenesH. Back yourself by alertness, awareness to sudden change to defense or counter.
Keep a limtted. Body Feel in Defend 1. Stydy the opponent's delivering method — signs of telegraphing. Stay in balance for finishing blows and kicks. Body Feel suggests a har- monious interplay The first fitep is to acquire the feeling of relaxation.
The third step is to reproduce that feeling voluntarily in potentially The ability to feel contraction and relaxation, to know what a muscle is doing, is called ''kinesthetic perception. It is acquired by the conscious effort to control the thought as well as the action pattern. It takes per- ception, practice and willingness to train the mind into new habits of thinking and the body into new habits of action. Relaxation refers to the degree of tension in the musculature. The rule in sports is to try to have no more tension in the acting muscles than is necessary to perform the act, and to have as low a degree of tension in the antagonistic muscles as possible and still maintain any necessary inhibitory control.
Muscles are always in a slight state of ten- sion and this is as they should be. The main difficulty in such cases lies in the over tension of the antagonistic muscles. A tow degree of tension in the acting muscles means less energy usage. It does not mean he is lax and moves and thinks slowly.
Neither does it i mean he is careless or indifferent. Always train in good form. Learn to move easily and smoothly. Start your workout with shadow boxing to loosen your muscles. At first concentrate on proper form; later, work harder. In most cases, the same tactic for each maneuver must be drilled on the opposite side of the body for the proper balance in efficiency, but the chief consideration in developing form is to make sure that no fundamental, mechanical principles are violated.
There is a best way to perform any task. Momentum should be employed to overcome resistance, 2. Momentum should be reduced to a minimum if it must be overcome by muscular effort, 3. Continuous curved motions require less effort than straight line motions involving sudden and sharp changes in direction.
By changing style, I mean switching your plan of attack. Above all things, remember this: Your training should, inciude short, concentrated, daily practice in seeing quickly awareness drills. Speed of perception is somewhat affected by the distribution of the observer's atten- tion fewer separate choices, faster action. This is the basis for teaming the tdok h tmim Qt mw: Central vision means that the eyes and attention are fixed on one point.
In peripheral vision, although the eyes are fixed on one point, the attention is expanded to a larger field. Central vision may be thought of as being sharp and clear, while peripheral vision is more diffuse. The teacher extends his index finger and instructs his student to con- centrate on the point of the finger. He then begins moving the index finger of his other hand into the student's field of vision and slowly describes letters and numerals with it.
The student should be able to expand his attention sufficiently to recognize the figures without changing the focus of his eyes. The field of vision is enlarged by distance and diminished at close-range. Also, it is generally easier to follow the opponent's footwork than his hand work, since the foot moves relatively slowly cQnpipared to the more rapidly moving hand.
Perceptual speed. Mental speed. Quickness of mind to select the right move to frustrate and counter the opponent.
Initiation speed. Economical starting from the right posture and with the correct mental attitude. Performance speed. Quickness of movement in carrying the chosen move into effect.
Involves actual muscle contraction speed. Alteration speed. The ability to change direction midstream. Involves con- trol of balance and inertia.
Use small phasic bent-knee stance. Desirable characteristics to promote speed: Mobility 2. Spring, resilience, elasticity 3. Many of these notes were "sudden inspirations" which were incomplete and lacked any kind of a construct. The combination of the "core set of writings" and the "disparate notes" would be known as the text Tao of Jeet Kune Do. In , it was Lee's intent to finish the treatise that he started during his convalescence.
However, his film career and work prevented him from doing so. He also vacillated about publishing his book as he felt that this work might be used for the wrong purposes. Lee's intent in writing the book was to record one man's way of thinking about the martial arts. It was to be a guidebook not a set of instructions or "How to" manual to learn martial arts. In , after Bruce Lee's death, his widow Linda Lee Cadwell decided to make available the information her husband had collected.
Lee's untimely death changed the perspective of releasing the information that Bruce Lee had vacillated about. The "core writings" and various notes were put together in a logical fashion by various editors. The main editor was Gilbert L. The book is dedicated to: The Free, Creative Martial Artist.
Lee's wife, Linda Lee Cadwell holds the copyright to the book. The book is attributed to Bruce Lee as his notes and work were used to compile the book. It is important to understand that although Lee's material was utilized it was not organized by him; therefore Bruce Lee was not strictly its author. Tao of Jeet Kune Do was compiled posthumously from Bruce Lee's personal notes, some of which were in turn copied from Bruce Lee's personal library of martial arts and philosophical books.