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Jeet Kune Do

Filipino Kali

Kuntao Silat

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Jeet Kune Do Submission Grappling


Jeet Kune Do Submission Grappling


Η πάλη στην μαχητική τέχνη Jeet Kune Do έχει στοιχεία όρθιας πάλης και πάλης εδάφους, προερχόμενα από διάφορα συστήματα όπως: Western Wrestling, Machado Brazilian Jiu Jitsu, Gene LeBell's Wrestling, Judo, Shoot Wrestling, Sambo, Chin Na, Catch As Catch Can, Dumog και Silat.

Στην επίσημη ύλη Jun Fan, ο Sijo Bruce Lee είχε προσθέσει 33 τεχνικές πάλης, οι οποίες κατέληγαν σε υποταγή στο έδαφος. Μετά τον θάνατο του Sijo Bruce Lee, ο μαθητής του Guro Larry Hartsell συνέχισε την ανάπτυξη της πάλης στο Jeet Kune Do με τεχνικές από Western Wrestling, Judo, Shoot Wrestling και Sambo. Ο Guro Dan Inosanto πρόσθεσε στοιχεία από Shoot Wrestling, Machado Brazilian Jiu Jitsu, Dumog και Silat. O Guro Paul Vunak πρόσθεσε στοιχεία από Gracie Brazilian Jiu Jitsu, Dumog και Kina Mutai. Η εξέλιξη συνεχίζεται από νεότερους εκπαιδευτές Jeet Kune Do, όπως ο Erik Paulson με το σύστημα CSW και ο
Alan Ground με το σύστημα JKD Ground Fighting...

JKD GrapplingThe Structure Of Our Approach
Firstly it is important to understand the difference between grappling & ground fighting. Grappling is the art of holding, manipulating & applying breaks, chokes & strangles, and submissions. Ground fighting is the complete art of fighting on the ground including striking, gouging, weaponry and anything else you can think to include. The important factor here is that the prerequisite to becoming a competent ground fighter is becoming a competent grappler.

Standing Grappling / Clinch work & Takedowns
We take our standing grappling from various sources. We use a clinch sector system that works 6 primary standing clinch positions with minor positions as variations on those 6. Takedowns come from Judo, wrestling, Kali & Silat.

Positional Control
Position is everything. Without the ability to control the superior position on the ground you will not be able to apply follow up strikes, locks etc with any degree of reliability.

Escapes & Reversals
After positional control comes escape - i.e. How to regain positional control if it is lost.

Striking on the ground
The ability to strike on the ground does not transfer directly from the ability to strike when standing. Leverage & power delivery are not the same and and a major consideration is the importance of maintaining the dominant position whilst striking.

Submission / Locks / Chokes & Strangles
An important point about "submission". Submission is a training tool used to develop the ability to finish the fight by either damaging a joint or rendering the opponent unconscious. The opponent on the street may not know he is supposed to "submit" - and even if he does, will you believe him? Violent psychopaths often tell lies too! Obviously the ability to "submit" the opponent is a valuable skill in a lesser threat situation - but one must not lose sight of the true purpose of these techniques.

The Basic Positions
We categorize our basic positions into six major positions with other minor positions as transitions & options to the basics.

Major Groundwork Positions
1.Side-top position (Scarf-hold )
2.Cross-body position (Side-mount)
3.The Mount (Top-straddle)
4.The Guard (Bottom straddle)
5.The Rear Mount
6.The Knee Mount

Minor Groundwork Positions
1.Broken Scarf-hold
2.Reverse Scarf-hold (near arm control)
3.Reverse Scarf-hold (far arm control)
4.North-South / Smothering hold
5.Cross arm lock tie-up
6.All fours (The turtle)

Positional flow drills
We use many positional flow drills to teach correct transition between positions & to use as a base for learning escapes & reversals.

The Basic Four
This is a flow drill where one person completes all 4 positions before the drill switches to the other side. This drill is a foundation for many of our other drills.

1. Side-top / scarf hold - transition using far arm capture then leg switch to...
2. Cross-body - transition via knee slide to...
3. The Mount - partner reverses using trap & roll escape to...
4. The Guard - partner passes the guard to assume side-top position & repeats the sequence

Jeet Kune Do Ground Game
3 Supplement Disciplines that will improve your ability to fight on the mat! After Bruce Lee died in 1973, Dan Inosanto became responsible for keeping Jeet Kune Do alive. He soul-searched for a few years, then opened the Filipino Kali Academy as a laboratory in which every JKD principle, concept and philosophy—as well as those from outside sources that were candidates for inclusion in the system—could be dissected and tested. What made the school so good was that anyone could come in and challenge us. All a person had to do was put on the gloves, and within moments it was obvious whose truth was more functional.

That search for truth made us fall in love with Brazilian Jiu Jitsu in the mid-1980s. Various members of the Gracie family had set up shop in Southern California, and local martial artists were beginning to talk. We heard about their challenge matches and noted how their philosophy and ours were nearly identical. The only major difference was we did it on our feet, while they did it on the ground.

Shortly thereafter, Brazilian grappling started seeping into the JKD matrix. That’s not to say Lee’s art lacked ground functionality; Larry Hartsell had proved time and again that JKD worked in any situation. However, none of us had ever experienced the moves and transitions the Gracies were doing.

The more Brazilian jujutsu I learned, the less I knew. Every time I believed I had reached a certain level, some 60-year-old Brazilian would come in and mop the floor with me. (Imagine what it’s like having some old man wrap his arms around your neck and whisper, “This is what it feels like to die, boy!”—and then waking up to those same ruthless eyes.) Experiences like those taught me to appreciate the JKD paradigm: When someone is better than you, find a way to cheat. That awakening led to the genesis of the JKD ground game.

Lee’s prime directive of “using no way as way” gave us the freedom to look at any art that might give us an advantage —help us cheat, so to speak—on the mat. Different practitioners adopted different disciplines according to their personal preferences. Because space does not permit me to discuss them all, I will limit myself to three that mesh with Brazilian jujutsu and fit in with the way of Jeet Kune Do.

Sambo for leg attacks
The cornerstone of Brazilian Jiu Jitsu is its repertoire of techniques designed for fighting while you’re on your back. That differentiates the Brazilian ground methodology from the American ground methodology, for in many styles of wrestling, once your shoulders are pinned to the mat, the match is over.

The Brazilians, however, mastered a position they call the guard: It involves lying on your back, placing your opponent opponent between your legs and wrapping your legs around his torso. From that position, you can defend yourself quite well—and attack with sweeps, throws, chokes and locks.

The traditional way to escape is called “passing the guard.” You remove yourself from between your opponent’s legs and reposition your body across his torso. If you are not proficient at passing the guard, you will be stuck between your opponent’s legs forever—or until he catches you in an arm lock, a sweep or a triangle choke.

One secret to beating the Brazilian Jiu Jitsu guard was born behind the Iron Curtain. The art, called Sambo, is not technically dissimilar from judo and jujutsu, but it does possess a unique emphasis. While judo focuses on flips and throws and jujutsu relies on establishing a base and effecting effecting a tight transition into a finishing hold, Sambo emphasizes locking the ankles, knees and hips.

Picture yourself entwined in a Brazilian Jiu Jitsu black belt’s guard. Your task is to pass it, and to accomplish that, you must beat him at a game he’s been playing four hours a day since he was in grade school. What do you do? If you lack the skills needed to pass his guard using Brazilian Jiu Jitsu, your best bet may be to attack one of his legs using Sambo.

Of course, Brazilian Jiu Jitsu teaches foot and leg locks, but because the art doesn’t emphasize them, they are not second nature for most practitioners. It may take you years to perfect your ability to pass the guard using jujutsu, but it takes only a few months to learn how to lock a foot, and that can bring victory.

Yoga for breath control
To see how yoga fits into the JKD ground game, you must understand two truths: First, breathing is the cornerstone of yoga, and second, without proper breathing, ground fighting is a lost cause.

Yoga teaches you to inhale through your nose, bypassing your chest and going straight to your lower abdomen. Watching a practitioner of the Indian art breathe is amazing. It does not appear that his lungs are inflating his chest. All you see is his stomach moving in and out.

If you observe a novice grappler rolling around on the mat, two things become evident: He holds his breath, and he hyperventilates. Those faults are the nemesis of all ground fighters. Interestingly, they cause a similar physiological response: insufficient oxygen in the brain. When that occurs, endurance plunges. It is not uncommon to see two well-conditioned athletes from other sports grapple for five minutes and almost faint from exhaustion.

When you practice yoga, your breathing becomes slow, soft and steady. It is no longer a series of short, rapid breaths. The unmistakable sound is similar to what you hear in a theater when someone is talking: shooooosh.

When I started training with the Gracies, I would hear that incessant noise for hours every day. A year later I asked Rickson about its relevance. “It took you one year to ask the most important question in jujutsu, my friend,” he replied. “As long as we hear that noise, we automatically know two things: We’re not holding our breath, and we’re not panting like a dog.” Paul Vunak



Academy Map

Η Ακαδημία Μαχητικής Τεχνολογίας Jeet Kune Do βρίσκεται στην Αθήνα, στην διεύθυνση: Δήλου 9, Καισαριανή (κάθετα στην Φορμίωνος, σύνορα Βύρωνα-Καισαριανής). Εύκολη πρόσβαση από το κέντρο της Αθήνας με το λεωφορείο 732 (Αγ. Φανούριος - Ακαδημία - Ζωοδ. Πηγή) (στάση 9η Φορμίωνος).

Επίσης πρόσβαση με την τοπική Δημοτική Συγκοινωνία του Δήμου Βύρωνα με το λεωφορείο
10 (Καρέας - Ντάνκαν) και το λεωφορείο 20 (Κουταλάς - Αγ. Λάζαρος) (στάση Φωκαίας).

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