截拳道是戰勝任何攻擊的鎖匙
美國黃錦銘英文著作,美國梁敏康譯文
“移動的藝術是格鬥術的精華”─ 李小龍
當我開始寫這篇重要步法的文章之前，請讓我先闡明我在此介紹的並非就是振藩 (李小龍) 截拳道的徒弟們所慣用的全部的步法，顯然在此文章中沒有足夠的篇幅可以去詳盡地論述，故將內容只可盡其寫得簡明扼要，以引導步法為宗旨，以便於你對那些使人們容易忽略的格鬥狀況進一步的探索。作為我的後來的師父李小龍，他經常給予我非常難忘的印象，那就是要求我快捷地移動步法。也可以說，步法就是振藩截拳道的重要組成部份。
縱觀當今時下許多武術界事實，可悲的是不論業餘愛好者或初學者都不幸地有許多人忽視步法的訓練。簡單一句話，步法就是運動的科學。振藩截拳道中，我學得越多，也就是越懂得步法的重要性。請勿嫌我再三強調一句，即步法幾乎是振藩截拳道的一切最具重要性的事情，從另一角度來看待我這篇文章關於李小龍，我就認真的想起他的那句話：“移動的藝術是格鬥術的精華”，同時移動即是步法。移動的原理構成格鬥術的核心。步法就是意味著運動。在李小龍的技藝中，他特別強調的正是移動，適當的運用步法，對習武者有兩大優點：一是容易找到你要進攻的目標；二是可以避開他人的攻擊。其功能勝於你去拳擊或腳踢，使你進退均得心應手。況且易攻易守，順利擺脫被困的逆境。
有一次，李小龍曾說及運用步法的四個組成部份：
(一) 感應對手的靈敏性；
(二) 活力而自然的流暢性；
(三) 步測距離的直覺性；
(四) 起動和制動的平衡性。
顯而易見，如果你運動步法失靈，則你將不可能很有效地運用手和腿 ─ 若你遲緩地移動你的腳步，那你的出手和腿擊也將會延誤。良好的步法使你從任意角度發動攻擊，同時也使你跟得上你強力的終極攻擊。總而言之，步法既令你攻擊成功又可使你擺脫挨打被動的困境。對於振藩截拳道步法的另一重要工具，是學會如何正確地判斷敵我之間的距離，正如李小龍稱之為“格鬥尺碼”，這也就是“距離感”的另一種簡單的叫法。你必須非常重視怎樣去判斷敵我距離，因為距離是你和對手之間的聯系紐帶，你要完全按照需要的距離與對手接觸或埋身，以及根據你對手的反應速度而增減距離。
李小龍的最主要方面總是強調步法，他對我說過：“出色的步法能擊敗任何人對你的進擊”。他曾要我堅持勤練步法，以便使我努力地改進和提高我的平衡感。他又讓我能夠滑步前進和後退，通過技術性的從不同方位的步法訓練後，才能從所有角度發動進擊，當然他也同樣強調利用步法來避開對方的攻擊，沒有足夠的步法訓練，你就不能成功的在各個不同的方位去完成格鬥任務。
“優良的步法可以擊退任何進攻”
步法是非常有目的移動
一般人都認為步法是某種跳動式的移動。但有一點，李小龍著重對他的所有門徒們講，不要單純僅僅為了移動而移動步法，單純為了跳躍而跳躍。李小龍不會過多的跳躍在他出擊之前，他有很強的自制力和盡量減少多餘的動作 ─ 直至他看準對方的漏洞空隙，隨後才出手，結果對手就會被他擊倒。每次移動你都必須有意識的，或許是為了發動攻擊，也或許是為了擺脫對手對你的攻擊局面。
步法成功的要訣就在於將動作做到簡練，如果你的針對性簡明扼要，則遠勝過錯綜複雜的步法 ─ 它們更像舞蹈中的那種無用的花步。你的步法如果平滑，準確和有效，而且動作簡練，你將可一直處於輕鬆自如的狀態 ─ 這些能夠幫助你的反應時間和你的進攻、防守和反擊速度起決定性作用。
另一個非常大的好處便是當你正確的掌握振藩截拳道的步法，這將會提供你一種意識去利用慣性力，只要適當的應用這種慣性力，就能使你的拳突然大增其威力，這些就是我如此重視步法的主要原因。同時步法也可以增加你自己身體的協調平衡力，以求促進你的格鬥更具有壓倒性的力量。
再有，從格鬥方面來說，正確的步法能夠提高速度。我的意思是指步法會帶領你到那個位置上，使你充分發揮你的技術。並且步法還提供你方便地離開那個位置，當你的對手要展開反擊之前。步法不僅有利於你的進攻或迴避攻擊，而且還將你投身入競賽狀態。步法也是戰略的部份 ─ 構成P.I.A. (前進的不直接打擊法) 的時機，去引誘你的對手落入陷阱，提供你獲得恰當的“格鬥尺碼”和將你和對手之間得以維繫接觸。良好的步法就可以完成所有這些事情。就如同良好的步法跟駕馭一部四輪驅動的汽車一樣，一般人只會使用兩輪驅動 (前驅動或後驅動)，而他們將限制自己技術的發揮，因為他們只能適應去操作這類車子。無論如何，一旦當你有機會選擇學習駕駛四輪驅動的車子，就會增加你靈活的自由度和機動性，你會認識到步法的正確運用，就可以提供這種選擇，步法確實能夠提供你這種自由度。
許多人錯誤地以為步法僅僅是圍繞對手跳步，就好像穆罕默德‧阿里抑或好像蘇加瑞‧萊奧納德一般。還有，持同樣錯誤看法的人認為 ─ 步法只是簡單地活動你的腳步去攻擊你的對手，以免他人襲擊你，就是沒有認識到一件重要的事實，即你要避開對手對你的攻擊。在泰拳比賽中，例如常見到有一種“給予和取得”的現象 ─ 一個拳手在那里猛擊對手，然後等在那里，接受其對手的還擊卻不還手……，如此按約定反復進行著攻和守。往往最后的獲勝者，總是那個經得起被對手打的拳手。而振藩截拳道的宗旨，總是不論怎樣，就是要你去打擊對手而令其沒有還手之力。振藩截拳道是教一個人，如何成為善於思考和身手不凡的拳手，沒有人甘心寧願挨揍。特別是當你能夠實際上可以運用適當的步法來捕捉偶然出現的各種戰機，以減少對手的攻擊。
(善用步法的拳擊手範例影片 http://martialartworld.pixnet.net/blog/post/2724465 )
“下盤是擊中對手和不被反擊”
基本上講，只有這四種基本類型，其他類型都是從這四種基礎上演變發展而得來的。此四種基本步法的類型分別為前移步、後撤步、左環繞步和右環繞步 (“環繞步”即橫側步)。
“警戒式是向著直線進退移動或側向移動的最佳姿式”
(警戒式正面 On-Guard Postition)
(警戒式的三角結構 Triangle Structure)
(警戒式側面On-Guard Postition Left Side)
所有步法皆源於警戒式，即已談過的“準備式”，這警戒式的用途尤為廣泛，因為它能隨時為你的攻擊和防守作好一切準備。這是一種輕鬆的狀態以便投入戰鬥。當你處於警戒式，必須有一種舒展自如的感受，否則就說明你做的警戒式一定在某些地方出了差錯。只有當你的感覺是舒暢自如，那麼你才會反應靈敏。倘若你感覺緊張不能舒適自如則你必然不能反應迅速。你需要輕鬆自然，無論發生甚麼事情，你才能從容敏捷地對付它 (不管是否必要立即上步、退步還是橫側步去進擊。) 這就是“警戒式”之所以被稱為“振藩截拳道”的支撐點的道理。所有的拳術技巧都由它發源而成。警戒式是最好的架式，當你移動步法向前、後或向橫時，你是不會再選擇其他的架式了。
警戒式將你最強的方面，設置在前面，這就是振藩截拳道典型的架式，即右側在前，最強有力的右手抬起，手和肩就會處在一條線上。你的下巴和肩膀保持一種半接觸狀態，而且右肩抬高一至二英寸，同時將下巴下降大致相同的距離，下巴的右側要縮在肩頭里面。你的左手亦同樣握拳，以便去保護你的臉部和襠胯部位，你的左手前臂要去保護你身軀中部。你的右手是進攻的武器，將它豎起并準備投入戰鬥。稍微抬起你的右肩膀和略為降低一點你的下巴去保護你下巴和下顎所遭受的攻擊。右膝稍微向里扣用以保護你的腹部和下身部份位，而你的右腳應向裏轉為約摸25度左右，在必要時可將右腳當作踢擊的武器。你的左腳應向外擺形成角度約摸45度左右，腳跟踮起，因為它是你的“火星塞”。你可按遭遇的圍困情況，立即準備去點火燃燒，推動你前進、後撤或向兩邊移動。你站立的架式猶如一輛汽車已發動，但尚未移動處於空轉狀態而正待出發。應當盡量多地帶上你所需的動能，當這汽車迅速地聯接上動力傳送裝置。你的腿部和臀部就如同是這個裝置，現在你準備好要移動，那末就讓我們看看你會有哪些選擇吧！
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| 正確的警戒式 | 警戒式(太寬) | 警戒式(太窄) |
“練習是成功”的秘訣
前移步
滑步慣常用於接近你對敵方之間距離，滑步使用的次數並不算多，但無論如何，對於判斷和想獲得正確的出擊距離，不失為是一種好的手段。
你的前腳上步，後腳跟隨著滑步上前，跟進到你前腳原來的位置。按常規來講，你的前腳上步的距離不會超出六英寸，這就是說你的後腳滑步前移動最多不可超過六英寸之距離。你的體重分配問題，不管是開始還是結束的位置，都應該平均相等的。也就是一半體重放在你的右前腳，另一半體重放在你的左後腳。不論怎樣，當你在滑步移動時，所有你的全部體重都轉移到右前腳，當動作完成後才分一半的體重轉移到左後腳。倘若你左後腳跟進的速度較快，那麼你會覺察到前右腳滑進的速度也會很快，不過這只是瞬間即逝的過程。你務必能控制自己去分配體重，總是處於最佳的平衡狀態之中。
推進步
推進步一般常用於保持和對手之間的合適對抗距離，此推進步的速度來得快，而且在結合採用步步進逼，轉移出擊時均可奏效。例如你可引手虛幌做假動作，然後馬上向對手的防守空隙趁勢將步子推進。其實這種推進步是幫助拳擊唯一最有效的步法。如果你的前移滑步被證明失效，那是因為你在前移滑步時遲誤了戰機。拳術對振藩截拳道而言，是一種流動性的拳法。先是出手拳擊隨即是腳步的移動 ─ 先出手，腳後動。即便是躲避對方的攻擊，身驅亦應先於腳而移動，譬如有人朝我而來並迎面打我一拳，我應首先閃開其拳頭，然後就移動步子躲過對方手臂攻擊的範圍，抑或採取反擊打法。
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| 推進步 | ||
快移步
此步猶如拖拉腳步，而似有漫不經心之舉，但它還是速度較快的步法。這步法僅有一個動作，而上步和滑步卻由兩個動作組成。當推進滑行時，其發力來源於腳趾和腳掌，雖然看上去前腳好似完全貼在地面上，可是情況並不如此，因此大部份體重都是壓在腳趾和腳掌上。它少了推力的動作，比起用拉動的動作，如果你用後腿去推動身體時也拉動了你的前腿，這就像當你的前腿的腳趾去抓起一團泥土並將之扔向後腿一般 ─ 這種張力將會充滿你的雙腳，同時正確活動你的前腿，取決於你所採取適當的步法而定。開始的動作是很微妙的，而且單憑眼睛看也難以練得出來。無論如何，這是一種精巧、誘敵的動作，它將有效的令你的體重潛移轉化到你出拳的力度上去，使之產生極大的威力。盡管我在移動，但動作所表現的，並沒有混雜體重的痕跡。雖然我沒有在移動 ─ 但我還在動，正好像李小龍曾講的：“平靜狀態下的靜止並非是真正的靜止，唯有處於移動中的靜止，才會從節奏感中全部表露出來”。
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| 前推的快移步 | ||
爆發步(快移步的一種)
爆發步也是一種快移步的步法。它通常用於快速的前移步，隨之採取踢擊或拳擊，經常是用它來發動致命性的攻擊，如發起側踢，抑或猛然向對方反攻。這也是何以步法在各種技藝中，不會只是一種過渡動作 ─ 但它依然會像輸送系統使你能正確地發揮你的拳術。不論踢擊還是拳打都要通過步法才能得到好的效果。
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| 爆發步 | ||
後撤步
後撤步和推進步一樣，也存在許多步法。如快移步、上步和滑步亦可運用到後撤步上。無論如何，我在此專門討論一種和其他方式完全不相同的後撤步法，它將是以上所談各種步法的反面運用。
鐘擺步
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| 鐘擺步(正面) | ||
此步法經常用以躲避對方攻擊。開始從警戒式起，將前腿快速後撤到後腿所在的位置相齊，同時後腿向後移動。此刻全部體重應放在前腿上，而你的後腿一旦落地就要即刻保持平衡。完成這些之後，你應該做此動作 ─ 抑或原地保持警戒式，以便妥善地脫離你的對手的手臂攻擊範圍 ─ 抑或立刻反用此動作，後腳上步至原先的位置，並將你前腳作為主要的進攻武器，向對方進行猛烈的反攻。正如同我們在“龍爭虎鬥”電影中李小龍表演一樣，當洪金寶試圖以橫掃踢擊李小龍時，他正是採用鐘擺步法向後撤出洪金寶之攻擊範圍。再看“精武門”一片中，李小龍與鮑勃。貝克的格鬥一場，我們能夠欣賞到李小龍運用鐘擺步法既躲開對手攻擊，又用腿立即反攻的精采表演。
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| 鐘擺步(側面) | ||||
側步(左側步、右側步)
李小龍曾經說過：“側步能夠轉移體重和換步且又不致失卻平衡。”側步有以下幾個目的：
(1) 它可以用簡單的移步而戰勝對方的攻擊。
(2) 它也許用作避開對方拳打腳踢的手段。
(3) 它或者用於去創造反攻的時機。
首要的規則在側步中，若你打算向左邊移動，而你正處於右腳在前的警戒式，那你應該先移左後腳。當你左後腳移到6-18英吋之間距離則你右前腳照例也會移出6-18英吋的部位。同樣的理由，當你要向右移，只是右前腳先移動，而左後腳亦相應隨之跟上。這裏的關鍵是令你的身驅始終要保持平衡。
左側步
由警戒式開始，向左移動你的左後腳約18英吋，隨即向左移動前右腳到同樣的距離，移動過程中一直處於警戒式。
左側步 右側步
由警戒式開始，向右移動你的右前腳約18英吋，隨即向右移動後左腳到同樣的距離，移動過程中一直處於警戒式。
右側步 初學者要想練好側移步法，其實很應該單獨地反復去練習，只有勤加練習，方是成功的“秘訣”。如果你真正做到這一點，那一定能獲成功，這道理不僅指的振藩截拳道方面，其餘武術的練習也是一樣。我還記得，每當我到李小龍府上，總見他在練習，練習，再練習。他不停地堅持練習，一練就是幾個小時。他練習步法和出拳攻擊，接著又練習步法和用腳踢攻擊 ─ 最後再移動步子，由各種不同的角度，不同的距離內，進行不同速度的練習，長期堅持下來，他的拳術變得爐火純青。
我自己亦曾盡力進行練習，自從李小龍在1967年教我計起，也就是我已經練習振藩截拳道有卅餘年了，其中有些技術我已掌握得很好，但仍然有一些技巧需要我不斷地再練習。不管怎樣說，我都應該說，現在我的拳術與之比較，李小龍剛教我那時，我現在應當更是一個好武術家。其原因很簡單，那是因為我已經有那麼多年的經驗。就正像李小龍所說過的話：“截拳道和拳擊或劍術一樣，都是講究步法的運動，在鍛鍊過程中也都要反復不斷的去重復”。
李小龍還曾對我特別強調另外一個關鍵就是“質量並非是數量”。他說“懂得怎樣可以打出真正的好拳，總比無用地練習二十次好，所以每打一拳，你都應該投入百分之百的努力”。
李小龍對個人技術的發揮方面，他總是強調感情的專注，抑或外形表現的強烈程度，要學會反應靈敏，並不要只停留在盤算的計劃上，使你的功夫練就成由自身中自然的表達，猶如本能的反應一般。這方面來說，我自己早年追隨李小龍習武階段也曾碰到類似的許多問題，他經常告訴我說：“泰德 (我的英文名字)，你缺少一種像殺手一樣的本能”。言外之意就是批評我在練拳時，不能從自己體內帶出足夠的激情怒氣以及極大的能量。現在我已經體會到所謂“殺手本能”，莫非就指難以表達甚至如同電燈開關一般，其實那就是指我對周遭環境的一種即時反應罷了。我感激李小龍的教導，基於我已學到的理解程度，我知道今天自己?有足夠的“殺手本能” ─ 這是我曾極度追求的功夫就在這裏。其要領是要保持頭腦的清醒認識和思維的敏捷。當你能夠忠誠的表露自我，且反應能依據實況，那就對敵手造成一種很大威脅的精神氣。
我將首先承認訓練步法並非是令你激動的事，但有朝一日你真正掌握了它，那麼當你去實際地運用時會發覺它確實令你激動不已。從生理上說，它就像對你的身體進行保健運動，即便一般人都不願意真正使自己的身體增加上各種各樣的負擔，不過為獲得健康的好處，進行必要的體育運動也是不可缺少的。如果你真的考慮各種不同的方面和技術結合的可能性，則需要學習運動中的平衡技巧，那就是步法。
步法的練習
我認為影子拳擊是提高自己步法水準的最有效的練習。它可以令你舒展自如，爆發得法，且懂得去發動進攻。你會明白甚麼拳術對你十分有用，而那些又是你的不利因素。以便於你穿插往返、移動、出拳、踢擊以及運用各種拳腳的組合技巧，並訓練你將各種技術協調起來，在每次或幾次組合的進攻後能很快恢復平衡，處於平衡狀態是十分重要的。雖然跳高，跑步等其它運動亦可增強體質，促進平衡，但影子拳擊看來是提高步法技術的最有成效和專門的練習。
“不要期望像李小龍的成效，除非你的願望像李小龍那樣以時間來得到它”
李小龍是楷模
我聽到有人這麼講：“你別想能做得像李小龍一樣好，也別想跟得上他所教的程度。因為你不具備他的各種專長”。我認為這些人誤解了一點，就是全面的講究竟李小龍是一個怎樣的人。
右側移步後手直拳 他經常對我們說，他並沒有任何特殊之處，只不過他是一個非常熱忱的練武術的人而已，他之所以這樣出色是因為他非常刻苦努力，他善於利用所有時間習武，然后從中找尋出有效的鍛鍊方法。躺若你一天只練習廿分鐘或者一周三天，如果說這就是你付出的全部對練拳的代價，那末就當然你不可能掌握李小龍的特殊功夫，因為他對於自己每一英吋的進步都必需付出長時間的艱苦鍛煉，所以至少你也應該付出和李小龍一樣多的時間去學習和習武。
我體會到對於李小龍傳授給我的武術，如果越是勤習苦練，那麼我的進步也相應越快，這個道理也是同時可以適用於本文章的任何讀者。我歷來十分敬重李小龍對練武的這種精神，就是現在，當我坐在這裏，不想去練習時，一旦我想起李小龍，他是多麼刻苦練功，我就感到內疚，我知道自己如果肯努力鍛鍊，那末一定會做得更好。
格鬥的致勝關鍵在於自身的槓桿作用和平衡、距離、時機，所有這些都由自己適當去調節和協調。你應該清楚的知道，你的動作從甚麼角度出擊的有效機率是多少等，我們將這一切因素都集中歸納為簡單而統一的步法專題。
THE SCIENCE OF FOOTWORK :
The JKD key to defeating any attack
By: Ted Wong
"The essence of fighting is the art of moving."- Bruce Lee
Before I begin this article on the significance and proper bio-mechanics of footwork, let me state that this is by no means a thorough exposition of all of the various types of footwork available to the students of JFJKD. There simply isn't sufficient space in an article to cover all aspects of footwork, and so this will serve, hopefully, as a primer on footwork. Hopefully, it will cause you to research this too-often-neglected aspect of combat.
Of the many things my late Sifu Bruce Lee impressed upon me, the most important was the need to be fluidly mobile. Probably the most important component in JFJKD is footwork. Ironically, most of the martial artists I see practicing today- and this is by no means addressed only to amateurs or beginners- are neglecting their footwork which is unfortunate, owing to the fact that footwork is quite simply, the science of motion. To me, the more I learn about JFJKD, the more I see the scope of just how important footwork truly is. Please don't think I'm overstating things when I say that footwork is, in a word, "everything" in JFJKD.
Take another look at the quote of Bruce Lee's that I opened this article with- I mean really think about it. "The essence of fighting is the art of moving," and moving is footwork. The principles of movement form the very heart of combat. Footwork means mobility, and being mobile is strongly emphasized in Bruce Lee's art. The two chief things that proper footwork provides for the martial artist is a means of finding a target and a means to avoid being a target. It will beat any punch or kick and get you to where you want to go; whether in for a strike or the hell out of harm's way. Bruce Lee once said that the four components of footwork consisted of:
1. The sensitivity of your opponent's aura,
2. Aliveness and naturalness,
3. Instinctive pacing (distance),
4. A balanced position at the start and finish.
It should be obvious that you cannot use your hands or legs effectively until your feet have put you into position in which you can do so- if you are slow on your feet, you will be slow with your punches and kicks. Good footwork allows you to hit from any angle and also to follow up your initial attack with more powerful finishing blows. Footwork, in short, "gets you there and gets you out."
Another important tool in JFJKD is learning how to correctly judge distance, which Bruce Lee referred to as "the fighting measure," which is simply another way of saying, "distance." It's very important to know to judge distance because distance is the relationship between you and your opponent. It all depends on the length on the distance you need to bridge or close between you and your opponent and also your opponent's reaction speed.
Bruce's main emphasis was always footwork. He told me that "Good footwork can beat any attack." And he used to have me drill constantly on footwork, in an effort to get me to improve my balance. He wanted me to be able to glide in and out, throwing techniques from all angles after coming into various ranges through footwork. And, of course, he emphasized the avoiding of attacks through footwork. Without footwork, you cannot complete the task of fighting with any degree of efficiency.
Footwork is purposeful movement
Many people think of footwork as some sort of bouncing movement, but the one thing Bruce Lee stressed to all of his students was never to move for the sake of moving, and not to bounce simply for the sake of bouncing. Bruce didn't bounce around much when he was sparring; he was very controlled and motionless- until he saw an opening. And by then you were flat on your back. Every move you make should be purposeful; it should be done to either deliver a hit, to move into position to deliver a hit, or to move out of the range of being on the receiving end of your opponent's hit.
The key to success in footwork is to keep it simple. If you aim toward simplification, rather than complex or intricate foot patterns- which more resemble dance patterns than efficiency- your footwork will be smooth, direct and efficient. If you use economy of motion, you will always be relaxed- which is crucial to your reaction time and to the speed of your attacks, defenses and counter-attacks.
Another great benefit to proper JFJKD footwork is the fact that it provides you with a means by which you can employ the force of inertia, which- properly applied- can tremendously boost your punching / kicking power. These are some of the reasons that footwork seems to me so important. Footwork also serves to enhance your body alignment, which makes your leverage more favorable and your strikes more devastating.
Another aspect of combat that is enhanced by proper footwork is speed. I mean footwork is what gets you there to deliver your technique- and out of there- before your opponent can deliver his. Footwork is not only used to deliver techniques or avoid techniques, but also to set up techniques. It's part of strategy- a form of P.I.A. (Progressive Indirect Attack). It can lure your opponent in to a trap, allow you to gain the proper fighting measure and also bridge the gap to your opponent. Good footwork accomplishes all of these things.
I liken good footwork to operating a four-wheel drive. Most people only utilize a two-wheel drive; that is, they're limited as to what techniques they can throw because they're really only comfortable in their two-wheel drive mode. However, once you learn on the options that avail themselves to you with increased mobility, you realize that footwork is an option provider.
While some people mistakenly consider to be merely bouncing around like Muhammad Ali or Sugar Ray Leonard, others- equally as mistaken- think of footwork as simply something that moves you in to hit your opponent, without realizing that it's just as important in preventing your opponent from hitting you. In Thai Boxing, for example, you see a lot of "give and take"- wherein one fighter will whack his opponent and then stay there and get hit back by his opponent. Such back-and-forth exchanges are common place, and quite often the winner is the one with the highest pain threshold. In JFJKD, however, the bottom line is to hit your opponent- and not get hit back. JFJKD teaches one how to be a thinking fighter. A smart fighter. Nobody should opt to get hit particularly when you can substantially reduce the chances of that happening by employing proper footwork.
The four basic types of footwork
Basically there are only four types of footwork- the rests being simply variations on these four. The four basic types of footwork are advancing, retreating, circle left and circle right. Incidentally, "circling," as I use the term here, means, "sidestepping."
First things first - Stance
(On-Guard Position)
All footwork is initiated form the On-Guard Position which is also known as the "Ready Position." The On-Guard is the most versatile of stances because it allows you to be ready for all things- attack or defense- instantly. It's a geared position that is geared for mobility. You have to feel very comfortable in the On-Guard. If you're not comfortable in the On-Guard Position then there is something wrong. You have to feel comfortable at all times so that you are able to react instantly. If you are tense- that is, not comfortable - you're not able to react quickly. You need to so relaxed that whatever happens, you respond to it instantaneously- whether it be the need to immediately advance, retreat or side step an attack. That's why the On-Guard Position has been called the "Anchor of JFJKD"- for all techniques flow from it.
The On-Guard is the best way to move straight back, forward or to the side. You're not over-committed one way or the other. The On-Guard places your strongest side forward, which, in JFJKD is typically your right side, with your strongest hand lifted up so that your fist is in line with your shoulder. Your chin and shoulder should meet about halfway, with the right shoulder raised an inch or two and the chin dropped about the same distance. The right side of your chin should be tucked into your lead shoulder. Your left hand is also in close, to protect your midsection. Your right hand is your attack weapon so it should cocked and ready to fire. The right shoulder is slightly raised and your chin slightly lowered in order to protect your chin and jaw from strikes. The right knee is turned slightly to defend your groin area and your right foot should be rotated in roughly 25 degrees so that, if necessary, you can employ it as a kicking weapon. Your left foot should be angled at approximately 45 degrees. The heel is raised because it is your sparkplug- ready to ignite you forward, backward or sideways- and depending whatever besets you. Your stance should be like a car with its engine idling; you're ready to go- with as much power as you need- as soon as you engage the transmission, which in this case, is your legs and hips. Now that you're ready to move, let's look at some of your options.
Too Wide
Correct On-Guard Position
Too Narrow
ADVANCING:
Step & Slide
The Step & Slide is used primarily as a gap-bridger. It is not utilized typically to execute an offensive technique. However, it is very effective in gauging and obtaining correct distance from which to launch a strike. You take a step forward and your rear foot (left) slides up to where the right foot was. Typically your step forward does not exceed six inches, which means that your rear foot travels a maximum of six inches as well. The weight distribution in the start and finish position is 50-50, with 50% being on your right or lead foot and 50% on your left or rear foot. However, during the movement, all your bodyweight is moving forward on your right foot initially and then 50% of it settle on the rear leg when the movement is completed. If you push off harder, you will notice that it to the front leg quickly- but this is only momentary. You should be able to control the weight distribution and be in perfect balance at all times.
Push Step
The Push Step is used primarily for bridging the gap to the opponent. The Push Step is very effective when employed with PIA (Progressive Indirect Attack). You can fake with the hand, for example, and then move right in instantly when the opening presents itself. The Push Step is really the only type of footwork that works well for efficient punching. A Step & Slide, for example, would prove to be inefficient for delivering a punch because, by the time you step- and slide- it would be too late. Punching in JFJKD occurs in one fluid motion. Footwork always comes after the punch is initiated- the hand moves first and then the feet. Even in evading a blow, the body should move before the feet. If someone were, for example, coming to deliver a punch to my face, I would avoid the blow with my body and then employ footwork to position me either further out of harm's way, or to deliver a counter strike.
Shuffle Step
The Shuffle Step is more like a pulling movement, than a stepping movement. Regardless, it's a quick movement. It's one motion, whereas the Step & Slide is a two-part motion. All of the torque comes from the toes and the balls of the feet. While the front foot looks as though it's flat on the floor, it isn't. Most of the weight is on the ball of the foot and the toes. It's less a push than a pulling movement, as you push with the rear leg while pulling simultaneously with your lead leg. It's almost like you're trying to grab a clump of earth and throw it back to your rear leg- that's the type of tension that should be in your feet and the correct motion your lead leg needs to assume to perform this movement correctly. At the beginning of the movement it's very subtle and it's hard for the untrained eye to see it However, while it may be a delicate, deceptive motion, it's tremendously powerful and efficient, allowing you to throw your bodyweight- instantly- behind a technique. Even though I'm moving, it appears as though there has been no bodyweight shift at all. I'm not moving- and yet I'm moving. Or, as Bruce Lee once said: " The stillness in stillness is not the real stillness. Only when there is stillness in motion, does the universal rhythm manifest." - Bruce Lee
The Burst (a.k.a.: The Shuffle Step)
The Burst is also a push-pull movement. It is used for a quick advance, for kicking and for punching. The Burst is used primarily to deliver a devastating kick such as a side-kick, or to counter an opponent's attack. That's why footwork is not just for "transition" between techniques- but also the delivery system that allows you to execute your techniques properly. Any Properly executed kick or punch comes off the footwork.
RETREATING:
There are many forms of retreating as there are advances, techniques such as the Shuffle or Step & Slide, can also be used as retreating tactics. However, I'll focus on one retreating technique that differs from the others in as much as it's not simply the reverse of the advancing techniques as outlined above.
The Pendulum Step
The Pendulum Step is used primarily to avoid an attack. From the On-Guard position, the lead leg is quickly drawn back to where your rear leg is, while simultaneously withdrawing your rear leg backwards. The entire weight of your body should be resting on the lead leg at this point, with the rear foot barely touching the ground for counter-balance purposes. As soon as this happens, you have an option- to either maintain the On-Guard from this new vantage point, safely out of harm's way- or to immediately reverse the movement, with the rear foot moving back to its former position and the lead leg becoming an offensive weapon of attack by returning fire. If you watch the first movement that Bruce Lee does in Enter the Dragon, it's a pendulum step backward out of the way of Samo Hung's attempted shin kick. If you watch Bruce fight against Bob Baker in The Chinese Connection, you will see the pendulum step employed as a means of avoiding an attack and launching a counter kicking attack.
SIDESTEPPING:
"Sidestepping," Bruce Lee once said, "is shifting the weight and changing the feet without disturbing balance."
Sidestepping serves many purposes.
1. It can be used to frustrate an attack simply by moving every time an opponent gets "set" to attack.
2. It may be used as a method of avoiding blows or kicks.
3. It may be used to create openings for a counter attack.
In sidestepping, the rule of thumb is that if you're going to move to the left, your left foot should move first which, if you're in the On-Guard position with your right side forward, would be your rear leg. Then, once your rear leg has moved into position- anywhere from 6 to 18 inches of travel- then your right or lead leg moves over 6 to 18 inches as well. The same sequence applies when sidestepping right, only the right or lead leg moves first, with the rear leg following in a lateral motion. The key is to maintain perfect balance at all times.
Sidestep Left
From the On-Guard position, move your left rear foot to the left roughly 18 inches. Then slide the lead foot (right foot) an equal distance to the left, all the while maintaining the On-Guard position.
Sidestep right
From the On-Guard position, move your right lead foot to the right roughly 18 inches. Then slide the rear foot (left foot) an equal distance to the right, all the while maintaining the On-Guard position.
People should practice the sidestepping motion on their own in order to master it. In fact, practice is the "secret," if you'd care to call it that, of success- not only in JFJKD, but also in any other martial art. I remember coming to Bruce Lee's house and seeing him practice. He was constantly practicing. He would practice for hours on end. He would practice moving and striking with his hands, and then moving and striking with his feet and then just moving so that he became more and more comfortable and familiar with what he could do and how he could maneuver at different angles and at varying speeds and distances.
I personally have been practicing- as best I can- what Bruce taught me since 1967, which means that I'm fast coming up on 30 years of training in JFJKD. Some things I've become quite good at, while others I still need more work on. However, I will say that I am a much better martial artist now than I was back when Bruce was teaching me, simply because I've had so many more years of practice. Like Bruce said, "Like boxing or fencing, JKD is a step by step process in which each maneuver must be repeated many times." Another important aspect of training that Bruce Lee emphasized to me was: "quality- not quantity." He said: "It's better to know how to throw 5 really good punches, than 20 LOUSY ones. So every time you throw a punch, put 100 percent into it." Bruce always stressed emotional content or intensity in the execution of one's techniques. Learn to react- not plan. Let it flow from within. Personally, I had a real problem with this in my early years of training with Bruce. Often he would look at me and say "Ted, you lack a killer instinct," meaning that I wasn't able to summon enough pure anger or violent energy from within when I performed my techniques. I've learned however that "killer instinct" is hard to switch on or off like a light switch- it is largely a situational reaction to you circumstances. Based on the degree of self-knowledge I've obtained- thanks to Bruce Lee's teachings- I know now that I do possess "killer instinct"- in abundance. And that should I ever need it, it's there. The key is to maintain a clear mind that is unobstructed by thoughts or concerns. Your reaction must be pure and honest and, If the intent is expressed honestly, your opponent will be in serious trouble.
Since I've been able to make my footwork more efficient through constant practice, I've found to my delight that I'm able to move just as quick as I could when I was younger, and probably hit a little bit harder. I'll be the first to admit that footwork is not an exciting thing to practice but what it enables you to do once you've mastered it is very exciting indeed. It's like exercise for the body- nobody really enjoys taxing themselves physically- but we know that it's necessary in order to enjoy the benefits that good health provides. If you want options, i.e., different angles and possible combinations, then you need balance and skill in movement- and that is footwork.
PRACTICING FOOTWORK:
One of the best exercises I've found that you can do to enhance your footwork is shadowboxing. Shadowboxing teaches you how to relax when you move, how to explode when you move, how to throw techniques while in motion. It alerts you as to which techniques are assets and which are liabilities. You can bob and weave, move, kick, punch, kick/punch/kick and you can also cultivate the coordination necessary to successfully execute all of the above. It also teaches you how to regain your balance after throwing a technique or combination- and just how important balance is. Other activities such as skipping rope or running, will also train your neuromuscular pathways to handle your bodyweight better and enhance your balance, but shadow-boxing seems to be the purest exercise for enhancing your footwork skills.
BRUCE IS THE STANDARD:
When I hear people say, "You shouldn't bother to train like Bruce Lee did, or to follow his teachings, because you don't possess his attributes," I realize that they've missed the point as to what Bruce Lee was all about. He would frequently tell us that he wasn't anything "special," but rather that he was a very dedicated trainer. Bruce was so good, because he made himself so good. He practiced all the time and then looked for ways to make his practicing even more efficient. If you only work out 20 minutes a day, or three days a week- I mean if that's all you're willing to commit to your martial arts training- then, yes, it would be impossible for you to obtain attributes similar to Bruce's because he practiced long and hard for every inch of progress he made.
"Don't expect Bruce Lee like results, unless you're willing to put in Bruce Lee like hours to obtain them." Ted Wong I know that the more I practice what he taught me, the better I become at it- and the same is true for anybody reading this article. I always looked up to Bruce Lee for his work ethic. And even now, if I find myself sitting around not wanting to train- I think of Bruce Lee, and how hard he worked- and I feel guilty. I know that I'm capable of better effort. Bio-mechanics or body leverage and balance, distance and timing are the keys to success in combat, and all of them are the direct result of getting in tune with yourself, knowing what you can do- and at what angle and with what degree of efficiency you can do them at- and this, folks, all comes down to a simple matter of footwork.
Martial Arts Legends- January 1997
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