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Sifu Ted Wong

Ted Wong (November 5, 1937 – November 24, 2010) was a martial arts practitioner best known for studying under Bruce Lee.

Wong was born in Hong Kong in 1937. His father, a native Californian of Chinese descent, was stationed there while serving in the US Navy. His family moved back to San Francisco, California in 1953 and a few years later to San Diego. After completing high school and college, Wong served in the US Army as a Lieutenant for 2 years in West Germany. After serving, he returned to San Diego in 1962.

Wong's first encounter with Bruce Lee was in 1967, in Los Angeles, California, where Lee was giving a Kung Fu seminar. Wong had no martial arts training, and was interested in western boxing and some martial arts. He was so impressed by Lee, however, that he decided to study at Lee's kwoon, the Jun Fan Gung Fu Institute in Los Angeles. Shortly after beginning his studies, Lee accepted Wong as a private student. Wong became Lee's sparring partner and close friend.

Wong was present as Lee developed Jun Fan Gung Fu into Jeet Kune Do. He was present to see Lee train other martial artists, including Karate Champion Joe Lewis and basketball star Kareem Abdul-Jabbar. Wong was one of only a few people to receive rank in the art of Jeet Kune Do by Bruce Lee. Wong never learned another martial art besides what Lee had taught him, thus he never taught anything other than what he learned.

Wong gave seminars and continued to teach privately until his death. He coauthored several books about Jeet Kune Do. Some of his students included Bruce Lee’s daughter Shannon Lee. Wong was a lifetime board member of the Bruce Lee Foundation and the Jeet Kune Do Society.

Ted Wong had a core group of long-time students whom he certified as instructors such as Lewis Luk, Richard Torres, Albert Grajales and others around the world. These instructors are continuing practice the JKD as taught by Ted Wong, as taught to him by Bruce Lee, at their own locations.

Ted Wong was inducted into Black Belt magazine's Hall of Fame as the "Man of the Year" in 2006.

Training with "The Dragon" by Ted Wong

After Bruce Lee died, I remained quiet for a number of years. But in the past few years, I have started to get a little more actively involved in the martial arts and jeet kune do. I had always wanted to teach the martial arts someday, but during those years, I felt I was still learning and still training. But I think after 20­some years, I have paid my dues and put my time into it. I have found that people really want to learn the original art and what Bruce Lee taught when he was alive. That's the reason I'm teaching now.

I teach, as close as I can, the art that Bruce taught, and hopefully it has evolved and changed, and become better. I basically teach the fundamentals of jeet kune do, based on Bruce's philosophy and principles. Over the years, I have tried to improve on it and make it better.

Probably only one percent of those teaching jeet kune do today are still teaching Bruce's art. Keep in mind that he did not really teach or talk about jeet kune do to many people in his life. I can't find one instructor who teaches the original form full­time; it's more like a hobby.

I think Bruce would be pretty pleased with the martial arts today. A lot of people apply his philosophies and principles, but with his concepts, you can make them conform to other martial arts and, in so doing, they will improve them. The martial arts have really come a long way since his passing. They have become much better and more practical.

Bruce always wanted to stay away from the martial arts being used as a sport. I think he tended to stay away from it as a sport because you could not fully utilize the art or its potential. It was not the ultimate martial art unless it was "anything goes." Bruce wanted to practice an art that he could use. No holds barred, no holding back, anything goes- that was his philosophy.

But I think today Bruce would also like the sport portion of martial arts because you develop speed, power and timing- things you can apply to sharpen your skills.

As far as no­holds­barred tournaments like the Ultimate Fighting Championship (UFC), I don't think Bruce would enter something like that. The UFC still has some limitations to it, even though they refer to it as ultimate fighting. There are still rules that say you can't do this or that. But I think as a test of your skills, Bruce would like it.

I don't think Bruce really liked teaching. He definitely didn't like to teach large groups. If anything, he enjoyed teaching one on one, or small groups. He always found a new way to develop different muscles, to improve speed or whatever. I'm sure he would still be looking for ways to improve conditioning, especially ways that no one else had discovered. He was always researching, reading and looking for more knowledge, analyzing it, and trying to utilize it.

The way Bruce taught and trained was always individualized. He would gear the training to work for you. Bruce could look at you and see what you were lacking and what your potential was. and then he could fully develop your potential. I think he was always looking at the individual and developing a program to suit that individual.

Bruce was a great motivator. He would get interested in you and consumed with the idea of doing everything to motivate you.

If he were still alive today, he would still train and be looking for ways to improve. Because he once said that if you are lacking in your physical ability and conditioning, then you have no business in the martial arts.

He spent most of his time developing, researching and experimenting with his art. That left him little time for teaching. In those days, seminars were unheard of. It wasn't until the early 1980s that people started teaching seminars to large numbers.

When I train now, I always think about him. I try to apply the things I learned from Bruce and use them in my daily routine. It makes me a much better person.

People always ask me about his physical conditioning. I looked up to him because he set the standard to follow in training and conditioning the human body. If he were here today, I believe he would be in even better shape. I don't think he would ever let himself go.

On Bruce Lee and the state of JKD - Ted Wong Black Belt interview

What was your life like before you met Bruce Lee?
I was very busy making a living and raising a family. I was interested in martial arts from an early age. I later became interested in boxing, which I watched on TV quite regularly. When I compared boxing to martial arts, I felt boxing was more realistic. I no longer had an interest in learning martial arts — until I met Bruce Lee.

In 1967 you trained at Bruce Lee’s Los Angeles school and with him privately. Shortly thereafter, you began training exclusively at his home. How did that come about?
When I started training at the Chinatown school, I had no prior experience in martial arts. Bruce Lee saw that I was short on skill and knowledge, but I think he recognized that I had heart, that I was dedicated and hardworking. He felt sorry for me because I was the guy that had little knowledge and skill compared to the rest of the group — some of them were black belts and boxing champions. Also, he found that I came from Hong Kong, and we spoke the same language. That’s another reason we became good friends.

You’ve stated that the two of you shared an interest in old-time boxing from the 1920s.
One time, Bruce was reading an encyclopedia of boxing, and he would ask me questions out of it — trivia questions, like the nicknames of champions. He was surprised that I knew the answers. Even though I had no experience in boxing, I had a lot of knowledge of boxing. I read a lot of magazines that had to do with it and knew the history of the champions. This was another reason he took me in. Later on, I found out that boxing was one of the subjects that Bruce was heavily interested in. JKD evolved along the lines of boxing and fencing.

Was the material taught at the school different from what he taught you privately?
It was quite different from what he taught me privately, mainly because the school had a set curriculum, a lesson plan. The school’s material was a little more wing chun oriented. I discovered during the private sessions that what he taught me was what he was working on at that time. It was quite a departure from the more classical teaching offered at the school. The private teaching was more of the jeet kune do he was evolving into.

Specifically, how was the art evolving?
In 1967, the early stages of JKD, there was still a heavy wing chun influence in his art. Then he refined and simplified what he was doing, especially the stance. If you look at the stance in 1967 and then in 1971, you can see how he had streamlined it and made it more efficient. In 1967 his art was still wing chun oriented, and the stance was more square and open to allow for traps such as pak sao, lop sao and so on. As he evolved, he realized trapping wasn’t that efficient and didn’t fit his evolving structure of fighting. When he changed his stance to be more speed oriented, he pretty much eliminated the trapping. If you understand his JKD philosophy of simplicity and directness, [you can understand that] trapping was complex and not very direct. It also included a lot of passive moves — for example, taking several moves to get the job done.

So with the stance change, did trapping and the four-corner parry no longer match the direction he was heading?
The later stance is more for mobility and evasiveness, doing away with the need to parry or block. The earlier stance was good for four-corner-type moves, but it took you away from the power line. The principle of JKD is to not waste motion. Blocking and hitting at the same time is preferred over blocking and then hitting, which takes away your leverage and your power source. The later stance is designed for longer range, allowing you to use interception as the preferred way; thus, it’s much faster.

You’re one of three people known to have received a JKD certificate from Bruce Lee. How did this come about?
It was a very special moment for me. One evening, I walked into Bruce’s house for a lesson. He pointed to the table and said, “This is for you; you should be very proud of it as I don’t give many of these out.” I realized it was a certificate in jeet kune do. I felt very proud and was at a loss for words.

What were the private training sessions like?
Often, the private lessons were about working on what he wanted or what he was working on at that time. He might use me as a sounding board — for example, he might perform a certain kick and ask me about the speed, power and timing. Sometimes he would work with me on something I was lacking; I recall working on the side kick for two months. Sometimes we would work on fun things like movie choreography: timing, selling the shot, reaction and camera angles. We didn’t do a lot of physical training together, but he did set up a program for me to work on my strength. It had weightlifting, and sometimes he would show me specific exercises to work on for punching and kicking strength, and sometimes after the sessions he would take me running.

Do you recall any social events the two of you shared?
I have many fond memories of Bruce besides training. Many times after training, we would have a cold drink and discuss martial arts and philosophy. We went to movies and restaurants, and he liked to make trips to bookstores. He invited me, Herb Jackson and James Lee to visit him in Hong Kong in December 1972. James Lee was quite ill at that time and couldn’t make it, so Herb and I took the trip to Hong Kong and stayed at Bruce’s house for a couple of weeks. One of the funny things was that Bruce asked us to bring training equipment because he had nothing to train with. So Herb and I packed our suitcases full of training gear and didn’t pack any clothing or personal items. We figured we would get necessities when we got there.

Bruce Lee studied wing chun for years. Why do you think he ultimately abandoned it?
Bruce learned wing chun as a youngster for about four years, so what he taught early on was basically wing chun. When he came to America, it really opened up his thinking, and he was able to look into many different martial arts, as well as boxing and fencing. He began looking into ways to modify wing chun, asking himself, “What is the best way to use two arms and two legs?” As Bruce evolved, he realized that a lot of wing chun was not functional because of its limitations and because it was very classical and tradition oriented. Classical and traditional arts have a tendency to not change and do things the way they were done for hundreds of years. So when he started to take his art more into a boxing and fencing direction, he looked to science — such as the laws of physics — and realized that wing chun didn’t fit the direction he was heading. After a fight in Oakland, California, with a kung fu man from Hong Kong in 1965, Bruce realized there were a lot of limitations in wing chun. He felt he should have finished the fight in a matter of seconds instead of three minutes. This was a real turning point, and he started to examine more deeply his system as well as his physical conditioning. I think this event led to the birth of jeet kune do and an even further departure from wing chun. His wing chun base was acting like a ball and chain to his growth. He began to look for a better way — and that’s when boxing and fencing came in. When Bruce dropped wing chun and changed the stance, that’s when he excelled.

Some people insist that Bruce Lee could never really escape his wing chun roots and that the key to JKD lies in wing chun mechanics.
People who say that have no real understanding of Bruce’s art, or they’re saying that to promote their own art at the expense of Bruce Lee. The statement is ridiculous because Bruce had the physical and intellectual ability to change and adapt. The late Ed Parker, who was a close friend of Bruce’s, once said the first time he’d show Bruce something, Bruce could perform it as well as Parker could, and the second time he could perform it better. Bruce once told me that to become a good fighter, the No. 1 thing is the ability to adapt.

Most people don’t know that Bruce Lee lived with you for two weeks in your small apartment. How did you and his Great Dane get along?
The reason Bruce and his family stayed with me was the house he was going to move into wouldn’t be ready for two weeks and he had to be out of the house he was living in right away. Bruce told me he was going to have to move his family and dog to the school. I said, “Why not stay at my place?” Linda and Brandon had my bedroom, Bruce slept on my couch and I slept on a mattress on the floor. The big dog wanted to sleep with me. I would push him away, but he kept coming back. After a while, I gave up and said, “OK, you can sleep with me.”

You were present at many of James Coburn and Steve McQueen’s lessons — any interesting stories there?
On occasion, I was with Bruce during their sessions. James Coburn was more philosophically oriented. Bruce could be very philosophical, and I think this was the main draw for James. I saw more of Steve McQueen. One time Bruce took me to Steve’s house in Westwood, Los Angeles. His house was built like an 18th-century castle. We would work out in the big courtyard, which had sandstone rock with a rough surface. Steve tripped and cut open his big toe, and there was this big piece of flesh hanging there. It was a bloody mess, and Bruce said we’d better stop. Steve said, “No, let’s keep on training.” Steve was tough and very physically oriented.

Joe Lewis once said you were an old and close friend of his and the only student of Bruce Lee’s he ever met while Bruce Lee was alive.
Quite often Joe Lewis would come to train with Bruce while I was there. Joe was an excellent martial artist and the top tournament fighter at that time. Bruce was working with him on how to improve his technique for tournaments, so sometimes I would work with him. Usually when Joe would come for training, he was very serious, but sometimes he’d be in a joking mood and we’d have a little fun. Later on, Joe became the full-contact champion. Some 20 years after Bruce passed away, Joe and I connected again, taught some seminars together and became very good friends.

After Bruce Lee passed away, you must have had a void in your life. How did you go about putting JKD together to the degree that you have?
For me, it wasn’t easy continuing his art after he passed away because I had lost a teacher and wasn’t sure which way to go. Fortunately, I had my good friend Herb Jackson, who was also a longtime student of Bruce Lee, so we worked together on what we’d learned — mostly physical techniques. I managed to stay with what I learned from Bruce and never looked into other arts. I also began to research his writings. It took me about 15 years to really understand what jeet kune do was all about and even more time to develop my skill. I really put a lot of time into it. Bruce left behind a lot of information, which served as a road map, but you have to study it and work at it to make it all come together. Through teaching for the past 15 years, I learned a lot about JKD and myself.

In your studies, did you discover things that Bruce Lee never taught you?
Having spent as much time as I have — 30 to 40 years — studying jeet kune do, I discovered many things in the art itself which Bruce never taught me. These are things within the structure of jeet kune do. Innovation is about understanding the inner workings [of the art]. When you understand this, you can further simplify. Everything I learned wasn’t from an outside source; it was inside JKD. Any discoveries I made were already contained within the art as Bruce designed it. Bruce’s notes and writings provide a road map, so by sticking to his principles, it’s still jeet kune do.

Have you ever heard the term “jeet kune do lite”?
I heard of it back in 2001. What this particular JKD teacher meant was that most people were teaching a watered-down version of JKD. He was saying that people were over-commercializing JKD, kind of like a fast-food version of it. He was implying that people were motivated by greed, etc. Some people charge from $2,000 to $4,000 for a two- to five-day course, after which the participants are certified as instructors. I think Bruce Lee would turn over in his grave knowing people charge that kind of money for so little training and then promote people to be instructors of his art. The practice is absurd and motivated by greed. It takes years of training and practice to understand the art of JKD and be able to teach. If an instructor certifies someone after just one seminar, it shows a lack of integrity and respect toward the art and the martial arts in general.

What was Bruce Lee’s greatest gift to you?
I received so much from him; by nature, he was a giver, not a receiver. He spent all his life giving of himself and of his knowledge. I didn’t realize until many years later the magnitude of what I received from him. It took me many years to understand his art and realize that his art doesn’t just apply to martial arts; it applies to how you conduct yourself in all aspects of life. What I learned from his teaching — efficiency and other things — led to self-confidence, self-reliance and self-sufficiency. These are the greatest gifts I received from him.

Bruce Lee has been gone a long time. Do you still miss him?
Oh, yes. I miss him, but at the same time, he’s still here even though he’s out of sight physically. When I teach, read his notes or practice, I feel like he’s there with me. Of course, I miss his physical self, but I feel his presence. Even now, he’s still here teaching me.

Ted Wong fixes the most common mistakes JKD students make - Black Belt article

WRONG ORIGINS
Not all aspects of JKD punching stem from wing chun kung fu. Wong says, "Much of the JKD being taught today is based on wing chun structures. I have a lot of respect for wing chun, but it's not JKD. In fact, the majority of Bruce Lee's notes in Tao of Jeet Kune Do are from boxing and fencing.

WRONG BALANCE
Lee taught that the key to balance is having your head positioned vertically over the line that connects your feet, Wong says. "If it's not and your opponent forces you to move backward, you have nowhere to go while staying balanced." Even worse, you can't follow up when your balance is off. You're basically limited to your initial technique, be it a punch or a kick, because you're not in a position to throw another one with any power, he says. In some instances--specifically, when your opponent is backing up after your first strike--you'll need to pursue him with follow-up shots. That's when you really have to keep your head over the line between your feet so you can quickly close the distance.

WRONG STANCE
Lee developed the JKD stance for a reason: It serves a fighter well in the greatest variety of situations. All the more reason not to abandon it as you face different opponents--a grappler, for instance. "If you make your stance too wide, you cannot move," Wong says. "A grappler will pick you up and throw you to the floor. If you keep the proper stance while your opponent shoots for your front leg, however, you can quickly move back and hit him."
Remember to keep your balance forward for maximum power, he adds. To construct the right stance, imagine a line between you and your opponent. The toe of your front foot should be on that line, as should the arch of your rear foot. An isosceles triangle is formed with your lead toe at the top and your rear heel and rear toe at the bottom vertexes. "If you have an open stance like a boxer, that line will point away from your opponent, and you'll lose your power structure," Wong says. "One key part of JKD is, it's not how fast you hit or how much muscle you have; it's that you have that power structure. You have to keep it intact no matter how or where you move. When you're off, you lose power and mobility."

WRONG UNDERSTANDING
In JKD, you can't rely on one or two forces. You need three, Wong says. "The first is vertical. Your stance is slightly down to begin with, and then you strike as you rise. It's normally used in the uppercut." "The second force is linear, which means you're moving forward. It's what powers the lead-hand strike." Obviously, footwork is important to create that forward motion. "The third is rotational," Wong says. It emanates from twisting your hips and is the force that powers the hook punch and hook kick.

WRONG DISTANCE
"Perhaps the most common mistake people make when learning JKD is [related to] distance, Wong says. "If you have the wrong distance, you cannot get your technique or combination off, and you might get hit. So it's critical to be able to judge distance." The philosophy, which derives from fencing, is simple: Stay far enough out of reach to prevent your foe from touching you with a punch or kick--and from being able to lean and touch you. If he wants to make contact, he'll have to take a step. Obviously, you'll have to do the same to reach him, but because you're trained to close the gap, it's easier for you.

WRONG TIMING
"Nobody throws a punch like in JKD," Wong claims. And that's why it's so hard for the average martial artist to master. He advocates memorizing a motto from fencing: Hand before foot always. "You can see reference to it in the Tao," he says. "Your hand moves before your feet move. It comes from Aldo Nadi, who was a four-time Olympic medallist in fencing. It enables you to bridge the gap and land the shot."

WRONG DEFENSE
Too many students lean away from their opponent to avoid a punch. Wong calls the remedy to this mistake "half-half sharing." Instead of merely leaning, your upper body is angled backward to cover half the distance needed for your evasive movement, and your footwork covers the other half. That gives you a margin of safety, and it doesn't leave you out of range or off balance, either of which could preclude a counterattack, he says.

WRONG FLOW
Another mistake beginners make is separating their forward step from their lead-hand strike--in essence, they step, plant their foot on the ground and then punch. It's way too slow. Wong says. The preferred way to punch is to make sure that when you land your blow, your front foot isn't on the ground yet, he says. "When you hit, it's one, two, three. One is your fist hitting his face, two is your front foot hitting the ground and three is your rear foot hitting the ground after the step."

WRONG POWER SOURCE
The power of your punches should come from your rear leg, not from your arms. "You channel the power from your back leg through your body and into your punch," Wong says.

WRONG ANGLES
JKD combat isn't just a back-and-forth exchange of blows. It's two-dimensional. That second dimension comes from moving off to the side when you're confronted by an attack. "Angling can put you in a safer position to count from," Wong says. "For example, at the same time you move in for a punch to counter your opponent's punch, you angle to the outside of his arm so he can't hit you with his counterattack. It's a built-in safety."

WRONG APPROACH
In JKD, you shouldn't just step toward your opponent and try to score with a punch, Wong says. Even if you execute the attack correctly, success is hard to come by because he can react before you land the shot. The right way to enter is with a stop-kick--for example, using your lead leg to attack his lead leg or body, whether he's moving forward or not. Then you launch your punch as your front foot comes down. Make sure to angle off to the outside as you strike, he adds.

WRONG PUNCHING
Many martial artists throw the rear hand punch while their fist is vertical, but that creates less than optimal bone alignment, Wong says. The right way according to JKD is to turn your fist so your elbow is pointing slightly up--so your pinkie knuckle is higher than your index-finger knuckle. That orientation aligns the bones in your forearm with the ones in your hands for maximum structural integrity. It also raises your upper arm, which protects your chin. In contrast, if you punch with your fist vertical, your upper arm will be lower, thus exposing your chin to a counterattack.

WRONG KICKING
One of the most serious mistakes Wong has identified involves practitioners who lean backward while kicking. It's bad for many reasons, he says. First, you sacrifice power whenever you lean backward. Second, you probably won't have a chance to land more than one technique because your arms can't reach him from your compromised position. "It's a one-shot deal for you," he says. Third, you might fall--more than a few fighters have taken a tumble in the ring or on the street because they're off-balance after such a technique. Fourth, if you have to struggle to avoid falling, you could very well find yourself hopping backward to regain your balance, and that's no good. In lieu of leaning, you should keep your balance forward as required by the JKD stance.

WRONG REACHING
Punching is a highly effective subset of Lee's art, but it's often sabotaged when beginners lean too far forward to hit. "In JKD, we start from farther back--just like in fencing--so if all you're going to do is lean, you won't make it," Wong says. "It's too far, which is why footwork is important to cover the distance." "In boxing, it all takes place within arm's reach. I touch you and you touch me. But in fencing, if I touch you and you touch me, we both get killed. It's about who can bridge the gap and get in quicker to score. JKD students think the same way."

Ted Wong Jeet Kune Do Curriculum

This was the original syllabus of Jun Fan Gung Fu Jeet Kune Do. Training coming from the lineage of Sifu Ted Wong.

Foundation Structure
Introduction
Brief History
Centerline Theory
Theory of Facing
Economy of Motion
Fighting Stance Evaluation
JKD On-Guard Position
Power Side Forward Theory
Position Awareness Exercises
Visual Focus Principles
The Fighting Measure
Four Ranges of Combat
Defensive Theory
Defensive Zones & Perimeters
Basic Tools of Jeet Kune Do
Straight Line vs. Curved Motion

Footwork & Mobility
JKD Fighting On-Guard Position
Push Shuffle (Forward & Backward)
Pendulum Shuffle (Forward & Backward)
Side-stepping (Right & Left)
Rocker Shuffle (Initiating Front & Rear)
Burning Step (Jamming & Kicking)
Stutter Step
Stealing A Step
Circling (Right & Left)
Triangle Step
Chasing Step (Pursuit & Retreat)
Step-Through
Fitting-In Drill
Full Pendulum Drill
Hop Drill

Upper Body Tools
Leading Straight Punch
Leading Finger Jab
Leading Backfist
Straight Lead to Body
Leading Hook Punch
Rear Straight Punch
Straight Rear to Body
Half-knuckle Fist
Hammerfist
Shovel Hook
Uppercut
Palm Hook
Side Palm
Vertical Palm
Thumb Hook
Clawhand
Headbutt
Elbow Smash
Inner Forearm Smash
Shoulder Smash
Basic Hand Combinations
Rotation Hand Strikes

Lower Body Tools
Jeet Kune Do Kicking Structure
Straight Kick
Hook Kick
Side Kick
Back Kick
Spin Back Kick
Reverse Kick
Inverted Hook Kick
Stamp Kick
Shin Smash
Knee Smash
Secondary Techniques
Double Kicking
Triple Kicking
Three-way Kicking
Five-way Kicking

Intercepting Fist/Stop Kicking
Proper Body Mechanics
Vertical Fist Structure
The Basic Intercepting Fist
Four Phase Extension Drill
Telegraph Drill
Retraction Drill
Two-man Intercepting Fist Drill
Six-phase Intercepting Fist Drill
Three-man Intercepting Fist Drill
Single Glove Reaction Speed Drill
Double Glove Reaction Speed Drill
The Stop Kick
Passive vs. Aggressive Kicking
Side Stop Kick
Stamping Stop Kick
Oblique Stop Kick
Back Stop Kick
Spin Back Stop Kick
Stop Kick Free-style Execution Drill

Hand & Leg Defense
Basic Defensive Theory
Parrying vs. Blocking
Defensive Zones & Perimeters
Explanation of Wu Sao & Mon Sao
Pak Sao & Applications
Tan Sao & Applications
Bong Sao & Applications
Goang Sao & Applications
Fook Sao & Applications
Jum Sao & Applications
Kwun Sao & Applications
Gaun Sao & Applications
Lin Sil Die Dar
Tan Da, Woang Pak Da, Ouy Ha Pak Da, Loy Ha Pak Da, Goang Da
Sliding Leverage
Chung Chuie, Bil Jee, Fook Da
Shoulder Stop
Evasive Tactics (Slip, Duck, Bob & Weave, Snapback, Shoulder Roll)
Stop Kicking
Lead Leg Jam
Reverse Pendulum

Energy/Sensitivity I
What Is Energy/Sensitivity training?
Three Kinds of Energy
Simple Energy Drills (Dissolving Energy)
Tan Sao, Bong Sao, Woang Pak, Huen Sao, Fook Sao
Lop Sao Switch Drill (Dissolving Energy)
Practical Application of Lop Sao Switch Drill
Cross Energy Drill (Dissolving Energy)
Practical Application of Cross Energy Drill
Harmonious Spring Drill (Springing Energy)
Double Arm Harmonious Spring
Single Arm Harmonious Spring
Bridge Punching Drill (Static Energy)
Practical Application of Bridge Punching Drill
Continuous Pak Sao Drill
Practical Application of Continuous Pak Sao Drill
Continuous Lop Sao Drill
Practical Application of Continuous Lop Sao Drill

Energy/Sensitivity II
Basic Five-Way Energy Drill (Forward Energy - Tan Da, Upward Energy - Woang Pak Da/Low Hit, Inward Energy - Inner Lop/Qua Chuie, Downward Energy - Rear Pak/Chung Chuie, Outward Energy - Pak Sao Chung Chuie)
Woang Pak Drill
Practical Application of Woang Pak Drill
Inner Lop Sao/Palm Hit/Roll Drill
Jut Sao/Straight Punch/Roll Drill
Mixed Lop Sao/Jut Sao Roll Drills
Boang Sao/Lop Sao Roll Drill (with All Switches)
Practical Application of Boang Sao/Lop Sao Roll Drill
Don Chi Sao (Single Arm Sticking Hands)
Crossed Arm Chi Sao
Seong Chi Sao (Double Arm Sticking Hands)
Strengthening Drills for Chi Sao Arm Positions
Tan Sao Wedge Drill
Practical Application of Tan Sao Wedge Drill
Tai Chi Push Hands (Single & Double)
Practical Application of Tai Chi Push Hands

Basic Trapping Hands
What is Trapping Hands?
Rules of Trapping
The Asking Hand (Mon Sao)
Positions of Engagement
Highline/Lowline Awareness
Simple Traps & Compound Traps
Explanation of Leg Checking
Use of Seattle Bai Jong Stance (Closed Bai Jong)
Basic Highline Pak Sao Drill
Basic Lowline Pak Sao Drill
Basic Highline Lop Sao Drill
Basic Lowline Lop Sao Drill
Re-Zoning for Safety
Basic Highline Lin Lop Sao Drill
Basic Highline Inner Pak Sao Drill
Basic Highline Inner Lop Sao Drill
Basic Jut Sao Drill
Basic Jao Sao Drill
Basic Fook Sao Drill
Energy Change Trapping (Pak Sao to Lop Sao, Lop Sao to Pak Sao, Pak Sao to Jao Sao, Jao Sao to Gum Sao, Gum Sao to Lop Sao)

Advanced Trapping Hands
Introduction
What is Compound Trapping?
Defensive Energies
Controlling the Centerline
Weapons of Trapping
Review of Common Reference Positions & Purpose In Training
Review of Asking Hand Techniques
Trapping Hand Combinations from Pak Sao
Half Beat Insertions
Pak Sao Against the Opponent That Likes to Grab
Trapping Hand Combinations From The Lop Sao
Lop Sao Against the Opponent That Likes to Grab
What is Counter-Trapping?
Counter Traps for Pak Sao
Counter Traps for Lop Sao
Use of The Beat
Trapping Hand Combinations for Jao Sao
Jao Sao Against the Opponent Who Likes to Grab
Trapping Hand Combinations from The Lin Lop Sao
Lin Lop Sao Against The Opponent That Likes to Grab
Body Trapping
Combining Trapping & Grappling
Combining Kicking with Trapping

Seong Chi Sao with Trapping
What is Seong Chi Sao?
Explanation of Hand Positions Used (Tan Sao, Bong Sao, Fook Sao)
Rotation Sequences
Common Mistakes Made While Rolling The Arms
Blending The Perimeters
First Striking Set (Ten Relatively Easy Movements Involving Simple Traps)
Second Striking Set (Ten Slightly More Complicated Movements Involving Some Compound Trapping)
Third Striking Set (Ten Complex Sequences Involving Compound Trapping & Striking)
Fourth Set/Grappling Set (Ten Sequences Involving Simple Grappling
Maneuvers)
Trapping Exchange Drills from Seong Chi Sao

Entering Skills
What is Entering?
Fighting Measure
On Guard Position (Bai Jong)
Basic Entering Footwork (Push Shuffle, Forward Lunge, Stealing A Step,
Forward Pendulum, Stutter Step, Burning Step)
Primary Entering Tools (Straight Punch, Finger Jab, Backfist, Straight Kick, Side Kick, Hook Kick, Asking Hand, Straightblast)
Opening & Closing Lines of Attack
Entering Methods (Jik Tek/Chung Chuie, Juk Tek/Bil Jee, Bil Jee/Juk Tek, Qua Chuie/Juk Tek, Oou Tek/Qua Chuie, Double Bil Jee, Chop Chuie/Qua Chuie, Ping Chuie/Qua Chuie/Juk Tek/Mon Sao/Pak Sao, Juk Tek/Mon Sao/Lop Sao, Burning Step Side Kick, Double Burning Step Side Kick, Low/High Oou Tek, Low Jik Tek/High Oou Tek, Low Juk Tek/High Oou Tek)
Entering Off Jeet Tek
Touch & Go Entering Drills

Grappling/Counter Grappling
What is Grappling/Counter Grappling?
Arm Bar
Choke
Side Strangle
Wrist Lock
Neck Torque
Thumb Gouge
Figure Four Arm Lock
Reverse Arm Lock
Claw to Face/Throat (Miscellaneous)
Step-through Hip Throw
Single-leg Takedown
Groin Grab/Tear/Pull
Four Basic Leg Traps & Applications
Counter-Grappling
Tan Sao Grip Release
Huen Sao Grip Release
Immediate Counter with Hand/Foot Techniques

Five Ways of Attack
Explanation of Single Direct Attack (SDA) and Single Angulated Attack (SAA)
Example of Single Direct Attack & Single Angulated Attack
Explanation of Attack By Combination (ABC)
Examples of Attack By Combination
Explanation of Progressive Indirect Attack
Examples of Progressive Indirect Attack
Explanation of Hand Immobilization Attack (HIA)
Examples of Hand Immobilization Attack
Explanation of Attack By Drawing (ABD)
Examples of Attack By Drawing

Training with Equipment
Heavy Bag
Fighting Man Dummy
Floor Bag
Wing Chun Wall Bag
Focus Gloves
Forearm Shield
Double-End Bag
Speed Bag
Mook Jong (Wing Chun Dummy)
Spring-loaded Mook Jong
Spring Arm
Kicking Shield
Sand Leg
Slip & Hit Dummy

Mook Jong Training
Mook Jong Familiarization (Explanation of Arms, Leg and Trunk)
Conditioning Drills for Hands & Arms (Bong Sao Drill, Pak Sao Drill, Fook Sao Drill, Goang Sao Drill, Mixed Kwun/Gaun Sao Drill)
Mon Sao Drills (Asking Hand)
Leg Checking & Foot Obstructions
Trapping Hand Drills & Applications On Live Opponent
Sliding Leverage Striking

Physical Training
Introduction
Flexibility Training
Strength Training
Forearm Specialization
Abdominal Specialization
Special Exercises
Cardiovascular Training
Training Programs
Diet, Nutrition
Supplementation & Rest
Closing Discussion

Speciality Techniques
Four Ranges of Combat
Longest Weapon to The Nearest Target
Timing & Rhythm Drills
Broken Rhythm
Burning Step Side Kick
One & Three Inch Power Punch
The Straightblast (Jik Chung Chuie)
Trapping Hand Range
Headbutts, Knees, & Elbows In Trapping Range
Closing

Self Defense for the Streets
Basic Principles of Self Defense
Four Combat Ranges
The Fighting Measure
Visual Focus Principles
The Fighting Stance (Bai Jong)
Natural Ready Positions
The Interception (Lead Leg Kick, Lead Bil Jee, Lead Straight Punch)
The Four Corner Lin Sil Die Dar Movements Countering Specific Attacks (Lead Punch, Rear Punch, Backfist, Straight Kick, Hook Kick, Side Kick, Spin Kick, Wrist Grab, Lapel/Collar/Shirt Grab, Combinations)

Women's Self Defense
Basic Principles of Self Defense
Four Fighting Ranges
The Fighting Measure
Visual Focus Principles
Vital Targets
Striking Techniques for Women (Finger Jab, Claw Hand, Palm Slap, Web Hand, Thumb Gouge, Hammerfist, Finger Fan, Elbow, Headbutt, Knee, Straight Kick, Side Kick, Hook Kick, Back Kick, Stomp Kick)
Impact Training
The Interception
Four Corner Lin Sil Die Dar Movements
Special Techniques (Knuckle Grind, Skin Pinch, Bite, Hair Pull)
Defense Against Grabs
Defense Against Specific Situation Attacks