JI KUHI [llENTERING TO TRAPPING TO GRAPPLING

BY LARRY HARTSELL

JTTIKUIIT IIOEntering to Trapping to Grappling

by Larry Hartsell

rAcknowledgements

I wish to thank the followingphotography: Hal Faulkner, ChrisMagda, Burt Poe, Steve ConnoleY,Tackett, Jr. and Tim Tackett, Sr.

for their assistance with theKent, Alphonso Tamez, CassPaulVunak, Ernie Franko, Tim

DISCLAIMER \)Please note that the publisher oi this instructional book ls NC- aESPONSIBLE in any

manner whatsoever .for any injury which may occur by reading a.: cr fo lowing the

instructions here n.

It is essential that before following any of the activities. physica o'otnerwise, herein

described, the reader or readers should first consUlt his or her ph-\S Clan for advice on

whether or not the reader or readers should embark on the phl,srcai activity described herein.

Since the physical activities described herein may be too sophrs:icated in nature, it is

essentla/ that a physrctan be consulted.

ISBN: 0-86568-051-5Library of Congress Catalog Number: 84-5.1 053

O1984 by Unique Publications.All rights reserved.Pr,olisneo 1984.Printed rn the United States of America.

Front Cover lllustration: Walter Lee

Book Design: Katherina Leung & Ron Wong

tlPHlltYto',o*s4201 Vanowen PlaceBurbank, California 91 505

Contents

AcknowledgementsDedicationForeword

Linda LeeWhat is Jeet Kune Do?

Dan lnosantol. Ranges of Combatll. Stance and Footworklll. Trapping HandslV. Entering to Trapping to GrapplingV. Grappling as a DefenseVl. Grappling from the Tie-Up PositionAbout the Author

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To the memory of Bruce Lee, who was my sifu and myinspiration.

To Linda Lee for her support and introduction.To Adrian Marshall for his guidance and friendship.To Dan lnosanto, my sifu, mentor, and above all my friend.To Richard Bustillo, Jerry Poteet, and the rest of the old

Chinatown group with whom I was fortunate enough to train.To my mother and father who have supported me through

good times and bad.To Tim Tackett, my friend and JKD brother.

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Foreword

During the early years of Bruce's stay in the United States,there were just a handful of dedicated martial artists with whomBruce associated, worked out, and exchanged ideas. This wasindeed a quality group, individuals who to this day practice andlive the highest ideals of the martial arts and exhibit an aware-ness of the very simple-yet highly effective-principles of jeetkune do.

Larry Hartsell has been a member of this group, as well as afamily friend, to this day. His book, highly regarded by his peers,is a straightforward example of the direct application of jeet kunedo to grappling techniques. Larry's book also displays a recog-nition of the basic concept of jeet kune do, that is, the ability todiscriminate between those techniques that are useful to the in-dividual and those that are personally unsuitable.

Bruce would have been proud of Larry's continued growth inthe arts and of his constant striving to reach his fullest potential.Writing this book is one step along the way to Larry's greater self-actualization and one, I feel, that Bruce would heartily endorse.

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Dan InosqntoWHAT IS IEET KUNE DO?

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Jeet kune do-the literal translation is "way of the interceptingfist"-was conceived by Bruce Lee in 1967. Unlike many othermartial arts, there are neither a series of rules nor a classificationof techniques which constitute a distinct jeet kune do (JKD)method of fighting. JKD is unbound; JKD is freedom. ltpossesses everything, yet in itself is possessed by nothing.Those who understand JKD are primarily interested in its powersof liberation when JKD is used as a mirror for self-examination.

ln the past, many have tried to define JKD in terms of a distinctstyle: Bruce Lee's kung-fu; Bruce Lee's karate; Bruce Lee'skickboxing; Bruce Lee's system of street fighting. To label JKD"Bruce Lee's martial art" is to completely mistake Bruce Lee's

-and JKD's-meaning. JKD's concepts simply cannot be con-

fined within a single system. To understand this, a martial artistmust transcend the duality of "for" and "against," reaching forthat point of unity which is beyond mere distinction. The under-standing of JKD is the direct intuition of this point of unity.According to Bruce Lee, knowledge in the martial arts ultimatelymeans self-knowledge,

Jeet kune do is not a new style of kung-fu or karate. Bruce Leedid not invent a new or composite style, nor did he modify a styleto set it apart from any existing method. His concept was to freehis followers from clinging Io any style, pattern, or mold.

It must be emphasized that jeet kune do is merely a name, amirror reflecting ourselves. There is a sort of progressive ap-proach to JKD training, but as Lee observed: "To create amethod of fighting is like putting a pound of water into wrappingpaper and shaping it." Structurally, many people mistake JKD asa composite style of martial art because of its efficiency. At anygiven time jeet kune do can resemble Thai boxing or wing chunor wrestling or karate. lts weaponry resembles Filipino escrimaand kali; in long-range application it can resemble NorthernChinese kung-fu or savate.

According to Lee, the efficiency of any style depends upon cir-cumstances and the fighting range of distance: the soldieremploys a hand grenade at 50 yards, but he chooses a daggerfor close-quarters combat. A staff, to take another example, isthe wrong weapon to take to a fight in a telephone booth; a knifewould again be the most appropriate weapon.

Jeet kune do is neither opposed or unopposed to the conceptof style. We can say that it is outside as well as inside of all par-ticular structures. Because JKD makes no claim to existing as a

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style, some individuals conclude that it is neutral or indifferent tothe question. Again, this is not the case, for JKD is at once ,,this',

and "not this."A good JKD practitioner rests his actions on direct intuition.

According to Lee, a style should never be like the Bible in whichthe principles and laws can never be violated. There will alwaysbe differences between individuals in regard to the quality oftraining, physical make-up, level of understanding, environmen-tal conditioning, and likes and dislikes. According to Bruce, truthis a "pathless road"; thus JKD is not an organization or an institu-tion of which one can be a member. "Either you understand oryou don't-and that is that," he said.

When Bruce taught a Chinese system of kung-fu (it was shorilyafter his arrival in the United States), he did operate an instituteof learning; but after that early period he abandoned his belief inany particular system or style, Chinese or otherwise. Lee did saythat to reach the masses one should probably form some type oforganization; for his own part, he dismissed the notion as un-necessary to his own teaching. Still, to reach the ever growingnumbers of students, some sort of preconceived sets had to beestablished. And as a result of such a move by martial artsorganizations, many of their members would be conditioned to aprescribed system; many of their members would end up asprisoners of systematic drilling

This is why Lee believed in teaching only a few students at anytime. Such a method of instruction required the teacher to main-tain an alert observation of each student in order to establish thenecessary student-teacher relationship. As Lee so often observed,"A good instructor functions as a pointer of the truth, exposingthe student's vulnerability, forcing him to explore himself both in-ternally and externally, and finally integrating himself with hisbeing. "

Martial arts-like life itself-is in flux, in constant arhythmicmovements, in constant change. Flowing with this change is veryimportant. And finally, any JKD man who says that JKD is ex-clusively JKD is simply not with it. He is still hung up on his ownself-enclosing resistance, still anchored to reactionary patterns,still trapped within limitation. Such a person has not digested thesimple fact that truth exists outside of all molds or patterns.Awareness is neyer exclusive. To quote Bruce: "Jeet kune do isjust a name, a boat used to get one across the river. Once acrossit is discarded and not to be carried on one's back."

ln 1981, the JKD concept was taught in only three places: theFilipino Kali Academy in Torrance, California; in Charlotte, NorthCarolina (where Larry Hartsell taught a few select students); andin Seattle, Washington (under the direction of Taki Kimura). Thebulk of the JKD concept is taught in Torrance, where the school is

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under the direction of myself and Richard Bustlllo. lt is organizedin accordance with the premise that a JKD man must undergodifferent experiences. For example, in Phase 1 and Phase 2classes at the Filipino Kali Academy, students are taughtWestern boxing and Bruce Lee's method of kick boxing-7un fan.

I deeply feel that students should be taught experiences asopposed Iotechniques. ln other words, a karate practitioner whohas never boxed before needs to experience sparring with aboxer. What he learns from that experience is up to him. Accord-ing to Bruce, a teacher is nof a giver of truth; he is merely a guideto the truth each student must find.

The total picture Lee wanted to present to his pupils was thatabove everything else, the pupils must find their own way totruth. He never hesitated to say, "Your truth is not my truth; mytruth is not yours."

Bruce did not have a blueprint, but rather a series of guide-lines to lead one to proficiency. ln using training equipment,there was a systematic approach in which one could developspeed, distance, power, timing, coordination, endurance andfootwork.

But jeet kune do was not an end in itself for Bruce-nor was it amere by-product of his martial studies; it was a means to selfdiscovery. JKD was a prescription for personal growth; it was aninvestigation of freedom-freedom not only to act naturally andeffectively in combat, but in life. ln life, we absorb what is usefuland reject what is useless, and add to experience what is

specifically our own. Bruce Lee always wanted his students toexperience judo, jujutsu, aikido, Western boxing; he wanted hisstudents to explore Chinese systems of sensitivity like wing chun,to explore the elements of kali, escrima, arnis; to explore theelements of pentjak silat, Thai boxing, savate. He wanted hisstudents to come to an understanding of the strengths andweaknesses of each method.

No art is superior or inferior to any other. That is the objectlesson of jeet kune do, to be unbound, to be free: in combat touse no style as style, to use no way as the way, to have no limita-tion as the only limitation. Neither be for or against a particularstyle. ln other words, jeet kune do "just is."

Or to use the words of aZen maxim to describe jeet kune do,"ln the landscape of spring there is neither better nor worse. Theflowering branches grow, some short, some long."

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I. RANGES OF COMBAT

As we can see from Dan lnosanto's introduction, jeet kune dois hard to define. The important thing to remember is that JKD isnot a style or system. There is no special list of jeet kune dotechniques. While there is a structure, JKD students are notbound by it. What Bruce Lee was trying to achieve was hisstudents' ultimate liberation from style. Bruce was always wor-ried that if he were no longer around, his students would lreezejeet kune do - which should always be growing, changing, andadapting - into a rigid style. ln a phone call to Daniel Lee a fewmonths before his death, Bruce said that an organized jeet kunedo school was a poor idea because "students tend to take theagenda for the way and the program for the truth."

It is extremely difficult to write a book about.ieet kune do, sincethe reader may look at the book and say, "This is jeet kune do;"or he may turn the ideas in this book into rigid laws; or he maylook at some of the techniques through the eyes of his own par-ticular style. ln writing this book, I simply want to share some ofthe things that Bruce taught his students. Take what is useful, re-ject what is useless, add what is specifically your own. ln the finalanalysis, JKD must be felt, not written about. Bruce would haveagreed with Chuang Tzu, the fourth century B.C. Taoist philoso-pher, who said, "lf it could be talked about, everyone would havetold his brother."

Kicking rqnge

To understand a particular martial art, look at the range in

which it is most efficient. To simplify things, we will consider fourseparate ranges. The longest range, or the one that requires themost distance between you and your opponent, is the kickingrange. The Northern Chinese kung-fu systems and many o{ the

Korean martial arts specialize in this range. The kicks of thesestyles are usually thrown from a long distance. A Southern kung-fu style like wing chun usually has kicks which are lower and at a

closer distance than in a tae kwon do style, but both types of

kicks are in the kicking range. Any time you can touch your op-ponent with your foot, but he cannot touch you with hls hand, you

are in the kicking range.

llcrnd rqnsre

Next is the hand range, the range in which your hands can beused to strike your opponent. This range can be divided into twodistances, long and short. A boxer with a good jab may want touse his footwork to stay at the jab-cross range. An infighter maytry to draw his opponent closer so he can use tight hooks and up-percuts. Some of the Southern kung-fu styles like wing chunspecialize in short range punches.

rTrapping hcrnd rclnge

Next is the trapping hand range, which occurs when you areclose enought to immobilize your opponent's arms. This rangecan be considered a transition from long range to grapplingrange or from long-range boxing to wing chun punching.

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Grcppling range

Finally, there is the grappling range, the range in which youcan throw your opponent, lock his joints, choke him, or immobi-lize him. This is the range used in judo and Western wrestling.This book will show you how to get to this range and what to doafter you get there.

Grcrppling

As Dan lnosanto said in "What is Jeet Kune Do?,,, ,,The effi_ciency of a style depends upon circumstances and ranges ofdistance." Take the case of a boxer against a kicker, or a boxeragainst a wrestler. ln a match between a boxer and a kicker, thekicker will have the advantage if he can maintain the kickingfangg: Conversely, if a boxer can bridge the gap to hand rangehe will have the advantage. The same reasoning applies to thecase of the boxer against the wrestler. since they specialize indifferent ranges, the one who can maintain his range will havethe advantage,

ln a sense, a boxer's or kicker's or wrestler's forte can also behis limitation if he can't maintain the range in which he is most ef-ficient. Bruce Lee always thought that you should learn to fit intoany environment. Remember that in combat you can,t alwayschoose your environment or your range. For example, how doessomeone whose forte is high kicking defend himself if he's in aswimming pool, or on an icy sidewalk, or on a crowded dancefloor? Anyone who aspires to be a comprete martial artist shouldlearn to be proficient at any range, in any environment, and withany opponent.

wrestling is probably man's oldest sport and martial art. lt ismentioned in both the old and New Testament. we have evi-dence that a form of wrestling was practiced in ancient Egyptand Mesopotamia as far back as 3000 B.C. ln the epic Giila_mesh there is a wrestling match between the sumerian heroesand Enkidu.

_ Every country in Europe has had its own form of wrestling. lnEngland, a form of wrestling called Cornwall and Devon hasbeen traced as far back as the fourth century A.D. The firstwrestling text in Europe was written as long ago as 1462. lnmodern times we have seen the growth of two foims of westernwrestling, Greco-Roman and free-style.

ln lndia, a form of grappling existed as far back as 1500 B.C.lndia has always been famous for its wrestrers. china has Mon-golian wrestling, shuai-chiao, and chin-na. Korea has cireum.Burma has naban. Japan has jujutsu, judo, sumo, and aikido.The Philippines has dumog.

The grappling techniques used in jeet kune do are not limitedto Eastern or western methods, but are based on the principlesof both. ln jeet kune do we use all methods but are bound bynone. At the same time, it was never Bruce's aim to take specifictechniques from different systems and call them jeet kune do. ltwas the_ principle, not the particular technique, that was impor-tant to Bruce.

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Why lecrrn grappling?

A person of small stature may say to himself, "Since I onlyweigh 120 pounds it would be rather stupid to spend a lot of timelearning to wrestle when it is most likely that any opponent I facewill probably be much stronger and heavier than lam." At firstglance it may seem that the intelligent thing to do is to stay out ofreach of a larger opponent. But there are many times that thismay not be possible. Remember, you can't always pick your en-vironment. Learning how to wrestle is your first step to learning todefend yourself at grappling range. lf you're a police officer, youmay be required to control rather than hit an unruly suspect.There may be an occasion when a friend who has had too muchto drink wants to test your karate. ln this case it's probably betterto control him than to take his eye out with a finger jab. lf some-one on PCP attacks you, he probably will not be stopped by yourside kick or reverse punch. You'd better know how to choke aman out. \

There are also some occasions when grappling \s not a par-ticularly good idea, as when you have more than one opponent.The three essentials are: learn to fit into any range; feel instantlywhat tool will work at the range in which you happen to findyourself; and try to maintain the optimum range for the particularsituation you're in. Finally, remember the old gypsy saying,"sometimes you get the bear. Sometimes the bear gets you."There are, after all, no sure things.

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II. STANCE AND TOOTWORK T

ln this chapter we will work on the tools necessary to go from aposition out of range to kicking range or grappling range. lq jeetkune do we use only one stance, the by-jong stance. \_

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The by-iong stance

The by-jong stance is not a deep, powerful stance like a horsestance. lt is a stance that concentrates on mobility. A widestance is fine in a karate tournament where your opponent is notallowed to side kick your knee, but in the street you,d better beable to move. Your feet must be far enough apart so that yourstance is not too weak, yet not so wide that you can,t move. Theexact distance is up to the individual. Your feet should be at a 45degree angle, and your hands up, covering your center line.Once you have a stance that feels comfortable, you can begin towork on footwork. while there are over 24 different footwork pat-terns in JKD, we will concentrate only on those that will move usfrom long range to grappling range.

The following examples of footwork should be used for enter-ing from out of range to kicking or hand range.

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The step crnd slide-shuffle advance

The step and slide shuff le is just what it sounds like. you take astep forward with your front foot, then slide your rear foot forwardto return to your original stance. your front ioot can step forwardany distance from one inch to one foot, depending on ihe spacebetween you and your opponent. This footworkls not used todeliver a hand or foot strike but rather for getting closer to youropponent, to bridge the gap, to enter.

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Slide-shuffle cdvqnce

The slide-shuffle advance is the opposite of the step and slide.ln the slide shuffle, your rear foot will slide forward, then yourfront steps up, returning you to your original stance. Dependingon the distance you need to travel, your rear foot can move for-ward any distance from one inch to all the way past your frontleg. The slide shuffle is usually used to deliver a kick. lt will takeyou into kicking range.

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Leqd step lorwqrd withslide-shuffle qdvqnce

This is a combination of the above two footwork patterns and isused to gain more distance. Step forward with the front foot andthen perform a slide shuffle advance.

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Push shuffle

The push shuffle looks like a step and slide shuffle advancebut is quite different. To perform a push shuffle, you push off therear leg to thrust your front foot forward. This returns you to youroriginal stance. This technique is used to deliver a hand attack.

The following types of footwork are used in grappling.

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Curve right (or left)

The curve right is used to move from outside your opponent,sfront leg to the inside position. From the tie-up position, siide yourfront foot back, then step up and inside his front foot. The curveleft is done the same way, only you start in a left forward stance.

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Replcce step on the inside line

To switch leads In the tie-up position, simply step forward withyour rear leg, then step back with your right while staying insideyour opponent's front foot.

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Replcrce step from inside to outside

Step forward with your rear (left) foot to outside your oppo-nent's front foot, then step back with your right.

Step through

To unbalance your opponent, step forward with your rear (right)leg while shoving forward with your right shoulder.

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Tricrngle pcttern

Another way to go from the inside to the outside line whileswitching your lead leg is by using triangle footwork. When youhave a left leg lead, slide your left leg back to your right leg, Thenstep out with your left leg and slide your right leg to your left.Finally step forward with your right foot.

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Circling

To move behind your opponent, step forward with your lbft leg,then step forward with your right foot. This puts you to the outsideof the opponent. Finally step around and behind with your left.

While these are examples of only some of the footwork used inJKD, mastering them will allow you to perform all the techniquesused in this book.

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Iil. TOOTS FOR TRAPPING

say you throw a hand attack and your opponent brocks it. Tocontinue your attack, you either have to change the rine of yourattack or remove the barrier which his broik "r."t... rf youremove the barrier, you should try to immobirize it so he can,t useit again. When you have immobilizeO it, you vi irupp"O it

Before you learn specific traps you'lr need to understand somereference points.

Trapping, right hand inside, tefthand outside.

I Trapping, both hands facing out.

3 Trapping, both hands facing inside,wide.

4 Trapping, both hands facing inside,tight.

5 trapping, right hand outside, lefthand inside.

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Your arms can meet your opponent's arms in a number of dif-ferent combinations: both hands facing out, right to right; righthand inside and left hand outside; o-otr rranos facing insi-dewide; both hands inside tight; right hand outside and left hand in-side; and both hands outside left to left. The way your arms meetdictates what traps or combinations of traps-will be the mosteffective.

. Much 9f the jeet kune do trapping hands come from wingchun. JKD differs from wing chun in its follow-ups. since jee"tkune do students traditionally use wing chun terminology, we willuse it for many of the traps.

.. Whgn you hit your opponent, he can answer your attack(block) with either his front or rear hand. A karate mah will usual-ly answer (block) with his front hand while a boxer will usuallyanswer (parry) with his rear hand.

. . The following techniques can be used against a front handhigh answer.

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Pck sqo (slcp hand)

lf your opponent blocks your front hand with his front hand,slap his front forearm with your rear hand. This will remove thefront hand barrier and let you renew your attack. Use the push-shuffle forward to maintain the proper distance.

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Pok stro to pck sco

lf you use a pak sao on your opponent,s front hand and heresponds with a rear hand parry you can remove the barrier byslapping the inside of his wrist with your rear hand and punchingagain.

rPcrk scro to lop stro (grcb hnnd)

For another counter to his rear hand parry, you can lop (grab)his wrist and hit him wlth a back flst.

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Pch scro to wedge to pcrl{ s<ro

For another counter, you can wedge with your rear hand, use apak sao with your front hand, and hit with your rear hand.

Flop sco to lop sco

lf your opponent gives you a front hand answer, you can lophis front hand and throw a back fist. lf he parries that, you canlop again and punch.

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r Lop stro to smqll disengagementto lop sco

lf you lop and launch a straight punch, and he cross-parriesyour punch, you can disengage your hand and move it to the out-side line. This will allow you to lop his rear hand and hit.

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Lc,p sco to pclk sqo

lf you lop your opponent's front hand with your front hand andpunch with your rear, he may raise his front arm and block yourpunch. ln this case, pak with the hand you used to punch, ihusopening the line so you can punch with your front hand.

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Pak s<ro to lop s<ro

lf you try to pak with your rear hand and punch with your fronthand, he may raise his front arm. ln that case, you can lop withyour front hand and punch with your rear.

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Icro stro (circling hand) to iut sao(ierking hcnd)

lf your opponent blocks your front hand with his front arm youcan use a jao sao (circling palm hit). lf he blocks, you can jui byjerking his arm down and punching.

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lf he blocks your punch you canpunch with your opposite hand.

his arm down and

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. lf your opponent blocks your jao sao with his front arm, he willhave opened up his center line and you can hit him with your rearhand.

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High ico scro to low icto sco to pok scrocrnd bcrck fist

lf your opponent blocks your high jao sao, you can also switchyour attack to the lower line by hitting him with a jao sao to thegroin. You can then pak his front hand and back fist.

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High lco sco to small disengsgement toneck grab with punch qnd elbow

lf your opponent blocks your high jao sao, you can circle yourhand to the inside line. You can then grab his neck and punchhim, following up your attack by striking him with your rightelbow.

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The following technique can be used against a iow front handanswer.

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Fcrk sco to back fist

lf you jab low and your opponent blocks with his front hand,pak sao his front arm and back fist.

Finally, here's a technique to use for a low rear hand answer.

rIuo stro

lf your opponent blocks your low jab with his rear hand youcan jao sao to the high line.I

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IV. ENTERING TO TRAPPINGTO GRAPPTING

This chapter will show you ways to bridge the gap and go fromkicking range to hand range to grappling range. Once you havethe concept, your techniques will be limited only by your imagi-nation.

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Shin kick to finger icxb

From the outside range, bridge the gap with a shin kick usinga slide shuff le advance. Step down while executing a finger jab.lf your opponent blocks with his front hand, lop sao and punchwhile bringing your left leg and shoulder forward. When you lop,make sure his elbow is up. Bring him to the ground by pressingon his elbow with your forearm as you pull up on his wrist. At thesame time step forward with your left leg. To control him, kneel onhis arm, and pin him to the ground.

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Small disengagement toside-strangle and throw

Another sequence to use when your opponent blocks yourfinger jab is to circle your hand to the inside while you lift up onhis right elbow with your left hand. Curve to the left and push-shuffle forward. You should end up with your leg behind his frontleg. Strangle him by squeezing with your forearm and shoulder.You can also throw him by reaping with your front leg.

Single leg crttcrck on theinside to bcrck trip

Another response to your opponent's jab is to step forward,bend down, and pick up his front leg. This must be done quickly,before he can counter with a downward elbow strike. Onceyou've picked up his leg, quickly step behind his rear leg. Throwhim by pushing on his hip as you lift up on his ankle.

leg sprecd control with toe hold

You can control your opponent by twisting his ankle as youstep on his inner thigh.

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tStep over toe hold

You can also control him by twisting his ankle as you step overhis leg and roll him over onto his stomach. To cause pain, lockand twist his ankle.

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Beqr single leg qttclckto kneeling leg lock

lf your opponent uses a rear single leg attack, step behind withyour left leg as you pick up his front ankle with your right arm. Un-balance him by pushing his shouider with your left hand, andthen throw him by pulling up on his leg and pushing down on hiship with your left forearm. To control your opponent, lock his legas you kneel down on the back of his knee.

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Reqr single leg attcrck to sitting leg lock

You can use a sitting leg lock on your opponent instead of thekneeling lock just shown. After throwing him, step over his rightleg with your left leg. Lock his leg by sitting down on the back ofhis knee and pushing forward with your right hand,

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f.nkle pick-up on insidewith groin smash

When your opponent jabs, step forward with your right footwhile picking up his ankle with your left hand. you can bring himto the ground by smashing his groin with your right palm. Finishhim off by dropping your knee to his groin,

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Finger iab to hook kick to linger icrb

Another entry technique sequence is the finger jab to hookkick to finger jab. Step forward and throw a finger jab to your op-ponent's right eye. Slide up with your rear leg and hook kick hisgroin. Then step down and jab to his eye again.

The following show some of the many follow-ups you can use ifyour opponent blocks your final finger jab.

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Double leg takedown

Bend forward and throw your opponent by picking up his legsas you shove forward with your right shoulder.

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Double leg lock

Control your opponent by pinning his ankles under your arm-pits and lifting up.

Sitting scissors control

You can follow up the standing leg lock by sitting down, thenscissoring your opponent's legs.

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Frgure four crm lock

Grasp your opponent's right wrist with your right hand, reachthrough, and grab your own right forearm with your left hand, Tothrow your opponent to the ground, step forward with your leftleg and smash his right shoulder with your right elbow.

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Bent crm lever

Grasp your opponent's right wrist with you left hand. Bringyour right arm under your joined arms, and grasp your own leftwrist with your right hand. To throw your opponent, bend his armdown as you step forward with your Ieft leg and kneel on yourright knee.

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['crk stro to reverse figure-four hecrdlock

Pak sao your opponent with your left palm as you strike hisneck with your right forearm. Wrap your right arm around hishead, twisting it clockwise under your armpit. Place your left armon top of his neck and apply pressure by lifting up.

63

I

64

Low icrb entry

When used as a feeler or a fake, the low jab can be an efficiententry technique.

Step forward with your right foot and fake a low jab to your op-ponent's floating rib. Make sure you cover your head with yourleft hand.

Pqk sco qnd bcrck hcrnd chop

lf your opponent blocks with his front hand, pak sao with yourleft hand and throw a back hand chop to his neck. lf he doesn'treact to your low fake, simply hit him.

Inside pak s<ro crnd punch toheod butt to recrping throw

lf your opponent blocks your back hand chop with his rearhand, inside pak his left arm with your left palm, At the same timethrow a vertical fist punch to his nose, chin, or throat with yourright fist. Grasp his neck with your right arm and pull him forwardinto a head butt. Then step behind him and bring him down witha reaping throw.

67

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Low Icke to bcrckhand chopto qrm toke down

This follow-up to the low fake and back hand chop comes f romthe Filipino martial art of kali. lf your opponent blocks yourbackhand chop with his rear hand, strike his biceps with yourright elbow and grasp his left forearm with your left hand. Next,throw him by stepping on his foot while you step back with yourrear foot. Simultaneously, push down on his arm and twist yourbody cou nterclockwise.

Use the following techniques if you fake a low iab and your op-

ponent blocks with his rear hand.

70

Iqo sco to heqd buttto recrr strcrngle throw

This time when you fake low, cover your opponent's right wristwith your left hand. Jao sao with a palm strike to your opponent'sleft ear, grasp his neck, and head butt. Then step behind andthrow him over your leg as you strangle him.

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Small disengcrgementto side-strangle throw

circle your right hand to the inside of your opponent's left arm.Lift his right elbow and place it on your right shoulder. Then throwhim to the ground and strangle him.

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73

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The next sequences show the high jab entry-7tr

Icb to pcrk stro to forecrmsmqsh with recrping throw

This is one of Bruce Lee's favorite throws. After you jab andpak sao, use the slide shuffle advance as you grasp your oppo-nent's hair with your right hand. Smash his nose with your fore-arm and throw him.

76

77

After you've thrown him you can control him with an arm baracross your thigh, or you can finish him off by dropping yourknee on his stomach and poking his eye.

After the jab and pak sao you can also use any of the followingtechniques.

Front sweep throw

Pivot your right foot to the outside of your opponent's right footas you raise your left leg. Throw him by pushing his rightshoulder, pulling his right wrist, and sweeping his right leg.

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Control him by kneeling on his elbow as you lift up on his wrist,or by doing a sit-down arm lock.

Iab to lop sco to forecrm to throqt with recrkicking sweep throw to elbow finish

Jab, then lop sao as you punch with your left hand. Bring yourleft hand to your right shoulder. Throw your opponent by kickinghis right leg as you smash his throat with your reft forearm. Finishhim off with an elbow to his neck.

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Iqb to Pak sco and punch to lop sco crndbcck fist to crcrdle throw with knee drop

Jab and pak sao as you punch again with your right hand. lfyour opponent blocks your punch, lop sao his right arm as youthrow a left back fist to his temple. Step behind him as you bringyour left arm across his throat. To throw him, simply pick him up.While keeping control of his left leg, finish him off by droppingyour left knee onto his floating rib.

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The following technique starts in an unmatched stance-you're in a right lead while your opponent is in a left lead.

icb to inverted hook kick to foot stomp to chinhit to qrm lock with front sweep throw

When your opponent blocks your jab, do a slide shuffle ad-vance as you throw an inverted hook kick to your opponent,sgroin. After the kick, stomp down on his front foot. Bring yourright arm under his left as you strike his chin with your left parm,step in front of his front leg, and then bend him forward and overyour leg by levering his left arm as you push down on the back ofhis neck. Throw him by sweeping his front foot with your frontfoot.

Ic.b to step through hookkick to neck and hip throw

lf your opponent blocks your jab, throw a rear leg hook kick,hitting your opponent's front thigh with your shin. ste[ down, andhit the back of his neck with your palm. Return to your stance,and strike his throat with your right forearm. At the same time,push his hip with your left palm. After his balance is broken,throw him by dropping onto your right knee, and finish him ofiwith a stranglehold.

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The following technique uses the jab cross entry.

Iab-cross to re<rr leg front push kick todrop knee to foot with pustr knee throw

The jab-cross entry comes from boxing, while the follow-upshown here comes from kali. This is a good example of mixingtwo different martial arts. After your cross, raise your rear leg andperform a front push kick to your opponent's hip as you grab hisright arm with your left. step down with your ieft leg and dropyour right knee onto his instep, Throw him by pushing his knee.

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V. GRAPPTING AS A DEFENSE c

Grappling can be used as a defense as wellThis chapter will deal with some of the grapplingcan use against a punch or a kick.

First we will look at defenses against a jab.

as an offense.techniques you

Outside parry to eqr slap toside standing strcngle

When your opponent jabs, slip to the outside and parry with yourrear hand. At the same time, slap his ear with your palm. Push-shuffle behind him as you raise his right arm. From this positionyou can strangle him by pressing your forearm into the side of hisneck,

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Outside parry with ecr slclpto drop-knee strangle

As you start your side-standing strangle, pivot behind your op-ponent, drop his spine down onto your knee, and strangle him bypressing your forearm across his throat.

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Catch to figure-four crm lockto tcrkedown

When your opponent jabs, catch his fingers in the palm of yourrear hand. Grasp his right wrist with your left hand as he starts toretract his jab. At the same time, bring your right arm on top ofhis elbow to grasp your own left forearm Slide shuffle and throwhim with a leg sweep as you lever his arm towards the floor.

95

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Catch to underqrm lock to switch

catch your opponent's jab in your rear parm. Bring your rightarm under and to the outside of his right. Giasp your oi,,rh wrist asyou bend his arm down. switch with-a replace'step and controlhim by pinning his right arm under your left.

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Cutside parry to foreqrm-hit to inside elbow toelbow-wrist takedown to wrist lock control

This is also a technique from kali. As your opponent jabs, parryhis punch from the outside and smash down on the inside of hisright elbow with your right. Throw him to the ground by twistinghis wrist while pushing down on his elbow. Meanwhile, twist yourbody counterclockwise and drop to your knee.

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The following are defenses against a jab cross

Cutch cnd bong s<ro to crrm lock

Catch your opponent's jab in your rear hand. When he

crosses, deflect his punch with a bong sao block from wingchun. Lop sao with your rear hand. Step out with your rlght leg asyou twist his arm so that the elbow is facing up. Bring him to theground by pressing down just above his elbow with your leftforearm.

101

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Ccteh, bong sqo to crrmdrag with front trip

After your bong sao, lop your opponent's rear arm with yourrear hand. Throw him by shuffling up and kicking his legs outfrom under him. At the same time push down on the back of hishead and lift up on his arm.

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Cctch to shoulder-roll elbow block to double-legtackle throw to double-leg lock spine stretch

Catch your opponent's jab with your rear hand. When he

crosses, twist your hip slightly to the right and deflect the punchwith your right elbow or forearm. Pick up both of his legs. Oncehe's on the ground, apply pressure by lifting up on his legs. Thenroll him over and straddle him, lifting up on his legs as you leanback.

105

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Shoulder stop to behind the neck crrmbreck to reqr choke

When your opponent throws a wild roundhouse punch (typicalof the barroom brawl punch), stop the punch by hitting hispunching shoulder with your front palm. At the same time, blockthe punch with your rear hand. Grab his wrist and lift his arm asyou step forward with your rear leg. Simultaneously, place yourleft arm across his neck. Hyperextend his elbow by bending hisarm across the back of your neck, Then pivot around and applya rear strangle.

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Ir.side pqrry with finger icbto hqnd choke and bcck trip

lnstead of hitting your opponent's shoulder, throw a finger jabto.his right eye. Then shuffle up as you grab his windpipe and hisleft wrist. Throw him by first breaking nis balance and then triphim over your leg as you push downbn his throat. once he,s onthe ground, control him by bending his arm across your thlgh asyou continue to apply your hand choke.

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Shoulder stop to foreqrm to throat with crmto shoulder drcrg clnd hair-pull throw

When your opponent hooks, use a shoulder stop, then slamyour forearm into the side of his neck. Use your right forearm toblast his arm down. Bring your arm across the top of his arm,then circle your left arm clockwise to a straight arm lock. Grabhis hair and drive his face into the ground by stepping back andkneeling. You can then control him with a straight arm lock orfinish him off with a hammer fist to the back of his neck.

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Shoulder stop to hclf nelson arm-drcg throwwith cross-crrm neck control

After your shoulder stop, push your opponent's chin back withyour palm, and smash his jaw with a right hammer fist. Replacestep as you grab his right wrist with your right hand. Next, throwan uppercut punch under his right arm, and reach around tograb his neck with your left hand. Throw him by pushing down onhis neck and arm. To control him, wrap his right arm across histhroat and press down.

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Shoulder stop with trrmblcrst to reqr choke

After you shoulder stop, blast your opponent's arm down. Stepbehind your left leg and apply a choke.

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Shoulder stop to qrm to groin lever

This time, after your shoulder stop, bring his attacking armdown between his legs. Holding his arm with your right, stepbehind and grasp his wrist with your left hand. Control him bypushing down on his back as you pull up on his arm.

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Bob-crnd-weave to single-leg pick-up with side

When your opponent hooks, bob forward and to the right.Weave under his punch as you hook his ribs. Step up with yourf ront leg, grab his right ankle, and pick his leg up as you press onhis hip with your forearm. Bring him to the ground by throwing aside kick at his supporting leg. Control him by bending his legacross your arm.

kick tokedown to bent-leg control

122

123

Bob-cnd-weave with doublehook to neck crank

Bob and weave under your opponent's hook. As you weave,twist your body to gain power and throw a hook to his jaw. Steparound and twist violently to your right.

There are a number of defenses against the hook (roundhousekick). ln jeet kune do we call what is commonly known as aroundhouse kick a hook kick because it follows the same line asa hook punch.

124

Double block to shelf and crqdlefoot with foot pin throw

Catch your opponent's hook kick by bringing your left armdown and your right arm across your body. Then brrng your leftarm up and around to capture his foot, and step forward onto hisfront foot. To throw him, grab his hair and shove forward whilestepping forward with your left leg. you can finish him off with aknee strike or punch.

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Shelf to step-over leg lockwith single spincl stretch

Shelf your opponent's hook kick by circling with your rear arm,and capturing his leg against your upper arm. Bend his leg bypulling him toward you. To throw him, step forward and shovewith your right arm. Step over his leg with your left leg, and thensit down on his thigh. Control him by bending his leg over yourthigh

Here are some defenses against the heer hook kick.

129

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Step-in shelf to leg takedownwith tr reverse sitting leg lock

Step forward and slightly to the left inside his heel. Shelf his legwith your right arm. shuffle forward as you push his hip. At thesame time, step in front of his leg. when he is on the ground, stepover his leg with your left leg. Twist to your right and sit down.You can control him by bending his leg over your right thigh.Note that in this technique sequence, the opponents start froman unmatched stance.

131

Step-in shelf with lifting

As your opponent throws a heel hook, step in and shelf withyour right arm. Pick him up and throw him by twisting to your left.To finish him off, drop your knee onto his stomach. Then twist anddrop your left knee onto his temple.

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The next technique is a defense against a spinning back kick.

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Stop kick with hcir tqkedown

lf your timing is right, you can intercept your opponent,s spinkick with a side kick to his hip. Then step down and grab his hairwith your right hand. Your left hand can go around his neck tochoke him or grab his left shoulder. step back and kneel ontoyour left knee to drop his back onto your right knee.

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134

And here's a defense against a side kick.135

Dovrn elbow wirh oblique kick with lifring legthrow to drop knee to groin

As your opponent side kicks, lean back and smash his leg witha downward elbow block. shelf his leg with your hand and throwan oblique kick to the knee. At the same time, trap his front armwith your front arm, then grab his reg with your front arm. Throwlrir ov stepping to your reft as you Iitt his ieg and twist it to theleft.

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Finally, there is the defense against the front kick.

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Forecrrm block to step-up shelf to pullback-cnd-throw to leg lock with l"g spread

when your opponent throws a front kick, angle to the right andblock with_your right forearm. Step up and snetf his leg wi"th yourleft arm. To throw him, step up as you bend his leg ano fusndown. when he's on the ground, appry a reg rock. At the sametime, spread hls legs apart with your left leg-.

138

139

VI. GRAPPTING FBOM THE TIE-UPOR CTINCH POSITION

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.Grappling most often starts from the tie-up position. This iswhat we refer to as the grappling range. you ca'n get to a basictie-up position by using trapping nanos or by thL use of theclinch, a boxing technique

From the following tie-up positions you can head butt, strikewith the knee or elbow, stomp, bite, gouge, thumb the eye,throw, or lock your opponent.

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Pck scro to inside neck grcrsp

Pak with your left hand as you push-shuffle forward. Reachwith your right hand to grab his neck.

141

Pcrlr s<ro to pak stro to inside neck grcrsp

lf your opponent blocks yourfirst pak, grasp his rear hand duringyour first pak sao, then open the line with a second pak sao.

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Pcrk to outside neck grasp

This time when you pak sao, twist your arm as if you werethrowing a back hand chop and grab your opponent's neck onthe outside line.

143

Pclk stro to wedge to lop sco

lf your opponent blocks your pakwedge by thrusting forward with rearsao and back fist. After this, grab his

to outside kick grcspsao with his rear hand,hand palm up. Then lop

neck on the outside line.

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Pclk s<ro to lop scoto outside neck grcsp.

This is the same as "pak sao to wedge to lop sao to outsidekick grasp" shown above except that you delete the wedge.

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Pcrx sco to icro scro to neck pull

As you pak sao, throw a jao sao. Then grab your opponent'sneck and pull him towards you.

Next are three examples of going from trapping hands tostrangling.

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Pck sco to pclk stro to recr strcngle

If .your opponent blocks your pak sao with his rear hand, pakagain and punch. Then execute a strangle.

149

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Pcrk stro to pak scoto neck-crcrnk strcrngle

After your second pak sao and punch, go to the outside neckgrasp position. Twist your arm clockwise and capture your oppo-nent's head in a neck crank strangle, Apply pressure by lifting upon his neck.

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Pak s<ro to smcrll disengagementto standing side-strclngle

After your small disengagement, step behind and apply aside-stand i ng strang le.

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The following are only some of the ways to move from boxingto a clinch or tie-up position.

153

Single <rrm wrqp-qround

Slip inside your opponent's jab, and uppercut. Then wrap yourleft arm around your opponent's right arm, and push his leftshoulder to prevent his hitting you with his rear hand. Angle tothe left to apply pressure on his arm and to zone away from hisrear arm. To add more pressure, push on his right shoulder.

Double crm wrap-qround

This is the same as the single arm wrap-around, except thistime your opponent punches with his rear arm before you canstop his shoulder. Block with your elbow and wrap around, trap-ping both his arms at the elbow.

157

Single <rrm wrqp-qround to neck grasp

After you apply the single arm wrap-around, angle to the leftand wrap your right arm around your opponent's neck. Then stepbehind and apply a strangle hold.

159

Shoulder stop to shoulder stopto headlock or hip throw

You're in a right leg lead and your opponent attempts a f ronthand hook. Execute a shoulder stop by hitting his shoulder withthe palm of your hand. Then apply a single aim wrap-around. lfhe tries to hit you with his rear hand or overhand punch, stop hispunch with another shoulder stop. pivot to the right and step outwith your left leg. At the same time, wrap your led arm around hisneck and twist him over your hip, From this position you can holdhim in a headlock or throw him over your hip.

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You can move from grappling to a tie up position in manyways. You can get there if your opponent grabs you, or if ybugrab your opponent. You can also get there from boxing or irap-ping hand range. Although many martiar arts do not siress thisrange, it is common in actual combat and should be practiced.

Neck crnd elbow drcg throw

Bend to the left. By lowering your shoulder and pulling downon your opponent's arm and neck, throw him to the ground.Keeping your hold on his left arm during the throw. conirol himby locking his arm over your leg.

162

Arm lift to side-stcrnding choke-throw

Lift up on your opponent's elbow and step behind him withyour front leg. Throw him over your leg or hip while still applyinga choke.

164

Shoulder push to single-leg tqkedown

, Pu,sh your opponent's reft shourder with your right hand. Thenbend down and grab his right ankre with your tett"tranJ pick uphis leg as you push on his iight hipbone with your right forearm.After he's on the ground, finish him off with d Jrop"rn". to hisgroin.

165

166

Shoulder push with crm lift or recrsingle-leg takedown to leg lock

After the push shoulder and arm lift, step behind your oppo-nent, Pick up his right ankle as you push down on his hip. Thiswill bring him to the ground. Then step over his leg and apply aleg lock.

168

Arm lift crnd single-leg pick-up with trip

Lift your opponent's left arm. Then step up and place your rightleg behind his left leg as you grab both of his knees. To throwhj*, pick up his right leg a-s you push forward with yourshoulders. control him by trapping and twisting his ankle underyour arm.

170

Crcdle throw

Lift your opponent's arm. whire keeping your hord on his rightarm, bend and grab his right thigh. stiaig-hfen ,p rnJthrow himover your left shourder. Finish him off with two knee drops.

171

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Step-on-Ioot to knee-push

step forward with your right reg and step on your opponent,sright foot. Throw him to the groun"d by pus'ning on his lnee withboth palms.

173

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Knee lock crnd push

Step forward with your right foot behind your opponent's rightfoot. To throw him, pull on his left arm, push on his neck, andpush forward with your right leg.

174

Fclming to double-leg tcrkedown withdouble-leg lock crnd s ine stretch

. Shove your opponent's chin back with your rightdown, grab his knees and tackle him by pickingshoving forward with your shoulder. After he,s onslide your arms up and trap his feet. Then roll himdown.

palm. Bendhim up andthe ground,over and sit

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Pcrlming to bend-over strcngle

Shove your opponent's head back by pushing his chin backwith your right palm. Slide your left leg up as you step up withyour right leg. At the same time, clasp your arms around hisneck. Strangle him as you bend him over your leg.

177

Pcllming to reverse hecrd lock

After palming, reach around with your right arm and apply areverse head lock.

178

flip throw

step behind your opponent and throw him over your hip.

Stonrp to push-throw

- Ralse your leg up and stomp down on your opponent,s rightfoot. Push him to the ground by stepping forward with your rightleg. You should keep his right foot pinned to the ground wliilepushing back and down with your right palm and down with yourleft hand Finish him off with a punch to the groin.

180

181

:

Hecrd lock throw

. Get your opponent in a head lock and throw him by steppingforward and dropping to one knee,

182

-

Beverse double-arm neck throw

. shove your opponent's shourder back as you push down onhis arm. step up with your rear leg. pivot around on youri,gl-.rt r"gand throw him to the ground.

184

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185

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Undercrm hip roll

step forward and behind your opponent's front leg. Throw himby rolling him over your hip. control him with a wrist lock or anarm lock.

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186

Ihe next techniques incorporate a single arm wrap-around.187

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Push-shoulder throw

. You.ve wrapped your opponent's left arm and pinned it to yourright side. To throw him, push his left shoulder white you pivot tothe left. Control him by bending his arm over your leg.

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Hand choke with leg throw

This time you've wrapped your opponent,s right arm andpinned it to your left side. Grab his throat with youriight palm asyou step behind him with your right leg. Throw-him oier your legby shoving his throat.

189

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Arm-pin with leg-tripqnd shoulder-push

Go to a single arm wrap-around with your reft arm. stepbehind his right leg (with y_our right leg), and throw him bypushing his right shoulder. controi nim irritn a figure four armlock.

190

191

Underclrm hook, and hip throw

Go to a single arm wrap-around. Step behind your opponent,sright leg with your right leg and hook your right arm under his leftarm. Lift up and throw him over your hip. To control him, lock hisarm as you push down on his head.

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193

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Betrerse nelson throw

Your opponent's right arm is captured in a wrap-around. Pushhis head to the right with your left hand as you pull down on hisright arm, Step forward with your right leg and throw him. To con-trol him, twist his head.

194

Ihe next sequences use a double arm wrap-around.

195

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Leg throw

Manipulate your opponent until you can apply a double armwrap-around. Bring your right leg across your opponent,s rightleg and throw him over your leg. Control him with an arm loCk.

196

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Hecrd lock hip throw

From a double arm wrap-around, step forward with your rightleg and get your opponent in a headlock. Then throw him overyour hip. Control him by pressing down on his head and chin.

198

199

.1

ABOUT THE AUTHOB

According to Dan lnosanto, Larry Hartsell is one of the premierjeet kune do fighters. Larry started his martial arts training bystudying judo in North Carolina f rom 1957 to 1 960. ln 1960 Larrymoved to California and studied kenpo karate with Ed Parkerfrom 1961 to 1969. Shortly after receiving his black belt in kenpo,he went into the army, serving in Vietnam f rom 1966, to 1967.After his discharge from the army, Larry was fortunate enough tostudy jeet kune do from Bruce Lee and Dan lnosanto from 1967to'1970. When he moved back to North Carolina in 1973, Larryopened up the only authorized jeet kune do school east ofCalifornia.

Larry has an associate degree in criminology, and ten years ofpractical experience in law enforcement. He also has had exten-sive training in boxing and wrestling. Besides teaching in his ownschool, Larry has taught self-defense tactics and baton to lawenforcement officers at Piedmont Central Community Collegeand has worked with the Dallas Cowboys. For the last two sum-mers he has taught at the California Martial Arts Academy at theUniversity of California at lrvine.

Just before writing this book, Larry moved back to Californiaand began teaching his own class at Dan lnosanto's Kali-JunFan Academy in Marina Del Rey. Larry also gives private lessonsand Jeet Kune Do seminars around the country, as well as run-ning a personal security service.

7

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TAO OF WING CHUN DO, VOL. 1-Part 2 by James W. DeM: e

TAO OF WING CHUN DO, VOL. 2 by James W. DeMileZEN IN THE MARTIAL ARTS by Joe HyamsADVANCED KENPO KARATE by Jay T. WillKUNG FU: HISTORY, PHILOSOPHYAND TECHNIOUE by DaMd C^:". =-,: =.^a'c SpanglerDYNAMIC TENSION by Hany WongTRAINING AND FIGHTING SKILLS by Benny UrquidezSHAOLIN CHIN NA: THE SEIZING ART OF KUNG FU by Yang , i -l-'.' -9SHAOLIN LONG FIST KUNG FU by Yang Jwing-MingYANG STYLE TAI CHI CHUAN by Yang Jwing-MingAMERICAN FREESTYLE KARATE: A GUIDE TO SPARRING bv la- --::-,.:'THE WU STYLE OF TAI CHI CHUAN by T,C. LeeKARATE: KINEMATICS AND DYNAMICS by Lester Ingber. Ph D

NINJUTSU: HISTORYAND TRADITION by Masaakr HatsumiDYNAMIC STRETCHING AND KICKING by Bill "Superfoot" WailaceRENBUKAI, VOL. 1 by Ron MarchiniRENBUKAI, VOL. 2 by Ron MarchiniRENBUKAI, VOL. 3 by Ron MarchiniKANAZAWA'S KARATE by Hirokazu KanazawaSAMPAI KENPO by Michael PersonsFtGHTING STRATEGY: WINNING COMBINATIONS by Tom Schlesr.g:'BODY TONING: NEW DIRECTIONS lN WOMEN'S EXERCISE by Ca-'= 1;:.,, =KICKING STRATEGY: THE ART OF KOREAN SPARRING byJun Cho'gSHADOW OF THE NINJA by Katsumi TodaTHE FIGHTING ART OF TANG SOO DO by Darnell GarciaFIGHT BACK: YOUR GUIDE TO SELF-DEFENSE by Eric LeeFIGHTING KARATE: GOSOKU RYU-THE HARD FAST STYLE by TakayL{ {.-: - a

NUNCHAKU DYNAMIC TRAINING by Hirokazu KanazawaWEAPONS KUMITE by Takayuki KubotaSHOTOKAN ADVANCED KATA, VOL. 1 by Keinosuke EnoedaSHOTOKAN ADVANCED KATA, VOL. 2 by Keinosuke EnoedaNORTHERN SIL LUM FORM #7 by Kwon Wing Lam and Ted MancusoWING CHUN BIL JEE by William CheungTOURNAMENT FIGHTING by Keith VitaliJEET KUNE DO-ENTERING TO TRAPPING TO GRAPPLING by Larry HartseINTRODUCTION TO ANCIENT CHINESE WEAPONS by Dr. Yang Jwing MingKENPO KARATE FOR SELF DEFENSE by Jay T. Will

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