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For the Aunties—May cuid Sarah, two of the toughest ladies I know.
SPECIAL THANKS TO:
Ted Wong
Photographer Jim Henken. You saved the day, man!
Janice Parente aka consigliere.
Jon Steever, my editor at Tuttle.
Davide Gardella ed II Centra Addestramento Arti Marziali,
ringrazia per il vostro incoraggiamento per il futuro di JKD.
David J. Weinberg and Sensei Freedman
for keeping me in the martial arts.
Wesley and Janice Tom
Please note that the publisher and author of this instructional book are NOT RESPONSIBLE in any manner whatsoever for any injury that may result from practicing the techniques and/or following the instructions given within. Martial arts training can be dangerous—both to you and to others—if not practiced safely. If you’re in doubt as to how to proceed or whether your practice is safe, consult with a trained martial arts teacher before beginning. Since the physical activities described herein may be too strenuous in nature for some readers, it is also essential that a physician be consulted prior to training.
Published by Tuttle Publishing, an imprint of Periplus Editions (HK) Ltd., with editorial offices at 364 Innovation Drive, North Clarendon, Vermont 05759 U.S.A.
Copyright © 2009 Teri Tom
All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without prior written permission from the publisher.
Library of Congress Cataloging-in-Publication Data
Tom, Teri.
Jeet kune do : the arsenal of self-expression / Teri Tom.
p. cm.
Includes bibliographical references and index.
ISBN: 978-1-4629-0561-4 (ebook)
1. Jeet Kune Do. I. Title.
GV1114.6.T64 2009
796.8--dc22
2009006291
Distributed by
North America, Latin America & Europe Tuttle Publishing 364 Innovation Drive North Clarendon, VT 05759-9436 U.S.A. Tel: 1 (802) 773-8930; Fax: 1 (802) 773-6993 [email protected] www.tuttlepublishing.com
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First edition
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Printed in Singapore
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FOREWORD BY TED WONG
"True refinement seeks simplicity." —Bruce Lee
At different times and in different places there suddenly appear individuals who produce something completely new in their chosen fields. Whether in science or art or sports, they have the confidence to go beyond the known and predictable, to arrive at something entirely different from what went before. Bruce Lee, in his short life, boldly pursued one thing, an original martial art. What he developed was a revolutionary style of unarmed combat, and it was an art only, and immediately, original to him: not a derivation, not a combination, not a collaboration.
To Bruce Lee there was a profound difference between his JKD, and all other martial art disciplines. The fixed nature of traditional martial arts was, he thought, unworkable—methods too busy, too complex, and too rigid to be strong. He did not want superficial strength. The strength he wanted would come from a scientific approach to gravity and weight, efficiency and balance, force and speed. Driven to create a singular style, Lee placed the full-control of what he was forming in the hands of the only person he completely trusted—himself. He drew on his own character—his instincts, his physical conditioning, and his forceful intellect to communicate the distinctiveness of his art. Refined mechanics, exacting execution, incredible power—this is JKD.
Only one individual, Bruce Lee, truly created and shaped JKD, and only Lee completely brought it to life from his personal conviction, determination and vision. But nothing comes from nothing—there is always something that precedes. Lee did have inspirations. They were not, however, of Eastern origin, but Western fighters: boxers Jack Dempsey and Jim Driscoll, and the fencer Aldo Nadi. Studying them reinforced Lee's definition of his own method. He made JKD basic principles few in number, but adaptable and dependable under any situation. Less being more, Lee emphasized disciplined, simplified positioning and movement, supported by effective analysis of diverse circumstance.
Embodied by Bruce Lee in his lifetime, the truth of his art is clearly evident in Lee's films, his interviews, and especially in his writings. It is outrageous, then, to suggest that JKD is an extension of another discipline—a suggestion that runs completely counter to his life and work. And it is insulting to see JKD deemed by some as obsolete or so weak that it requires additional techniques to sustain it—a characterization which subverts Lee's significant form of unarmed combat. Let me state this plainly: no student of Lee's has surpassed him; no one knew better than Lee what he was doing and why; no one is qualified to alter Lee's work. Bruce Lee created JKD. Add something to it, or take something away, and you are doing something other than what Lee taught.
I first met Bruce Lee in 1967 at his school in Los Angeles' Chinatown. Even before our meeting, however, I knew him from television, in his role as Kato on The Green Hornet. Lee's Kato was like a cat—quick, graceful and powerful. His appeal far outshone that of the show's hero. Never had an Asian character been portrayed in Western popular culture like Lee portrayed Kato—tough, cool, confident. It was the beginning of Lee's iconic celebrity as the first Asian superstar. It is easy now to forget how unique Lee was. Martial artists are everywhere in the popular culture today, but forty years ago there was only one: Bruce Lee. Even with Asian stars such as Jet Li, Steven Chow and Jackie Chan, and with incredible advances in special effects, which allow anyone to look physically amazing on film—Bruce Lee remains without peer. His image and style still resonate with compelling effectiveness.
The first time Bruce Lee ever spoke to me, in our second class, it
