JEET KUNE DO AND ESAELD'S CONCEPTS

Laying the foundation of JKD with the 4 cornerstones.

1. Interception:
The idea of interception is key to Jeet Kune Do (The way of the intercepting fist). Whether it be the interception of the opponent's technique or intent.

2. Non-Classical:
That is, there were and are no classical postures, no unrealistic footwork, no mechanical body movements, no dissection of movement (i.e. "first you do this, then you do this, and then you do this," etc.) as if it were a corpse. Further, there are no two-man cooperation drills and no rhythmic forms. Instead, the art is "alive" and infused with broken rhythm.

3. Directness:
There is no passive defense, blocking is considered the least efficient manner of defense. Everything in the art is stripped to its essential components with absolutely no fancy decoration or ornate movements (i.e., if somebody grabs you, punch him!). Students are taught to see reality in its such-ness and not deliberate about it. Simply experience it as it is, when it is. As if, when someone throws something to you, you catch it - you don't first grunt and go into a horse stance. And similarly, when someone grabs you, you hit him - you don't get involved in elaborate joint manipulations and complex maneuvering.

4. Simplicity:
a. A daily minimize instead of a daily increase (being wise doesn't mean to "add" more, being wise means to be able to get off sophistication and be simply simple)
    b. The three stages in Jeet Kune Do
        1- Sticking to the Nucleus
        2- Liberation from the Nucleus
        3- Returning to the original freedom

Or:
"Before I studied the art, a punch was just like a punch, a kick was just like a kick. After I studied the art, a punch is no longer a punch, a kick is no longer a kick. Now that I understood the art, a punch is just like a punch, a kick is just like a kick."

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The Principles 

The following are principles that Bruce Lee incorporated into his Jeet Kune Do. He felt these were universal combat truths that were self-evident, and would lead to combat success if followed. Familiarity with each of the "Five ranges of combat", in particular, is thought to be instrumental in becoming a "total" martial artist.

JKD teaches that the best defense is a strong offense, hence the principle of an "intercepting fist". For a person to attack another hand-to-hand, the attacker must approach the target. This provides an opportunity for the attacked person to "intercept" the attacking movement. The principle of interception may be applied to more than intercepting physical attacks. Non-verbal cues (subtle movements that an opponent may be unaware of) may be perceived or "intercepted", and thus be used to one's advantage.

The "Five ways of attack", categories which help JKD practitioners organize their fighting repertoire, comprise the offensive teachings of JKD. The concepts of "Stop hits & stop kicks", and "Simultaneous parrying & punching", borrowed from épée fencing's and Wing Chun's concepts of single fluid motions which attack while defending, comprise the defensive teachings of JKD. These concepts were modified for unarmed combat and implemented into the JKD framework by Lee, to complement the principle of interception.
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Strong Side Lead/Straight Lead  
Bruce felt that the strong side lead was the most integral part of Jeet Kune Do punching, “The leading straight punch is the backbone of all punching in Jeet Kune Do”  The straight lead is not a power strike but a strike built for speed. The strong side lead should always be held loosely with a slight motion, this adds to its speed and makes it harder to see and block. The strike is not only the fastest punch in JKD, but also the most accurate. The speed is attributed to the fact that the fist is held out slightly making it closer to the target and its accuracy is gained from the punch being thrown straight forward from your centerline. The strong side lead should be held and thrown loosely and easily tightening up only upon impact adding a snap to your punch. The straight lead punch can be thrown from multiple angles and levels

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SENSITIVITY
Like our instincts, your hand moves swiftly away from a hot kettle without awareness.  While your eyes can only spot the hot kettle a fraction of a second later.  A fraction of a second is much too long or too late in fighting.  Your hands have a higher sensibility than your eyes.  Hands also have faster movement than the eyes.  That's how a magician does many of his tricks.  During fighting there are many contacts with your opponent's hands and legs.  That is why we develop our sticky hands.
There are single sticky hand and double sticky hands.  They both help to train the idea of sensitivity which divides in two steps, first is to build up correct reflex when force comes, you redirect, force retreats, you follow, force detaches, you strike.  Second, is to get fluent with various techniques, like trapping, lower opponent's bridge, controlling his pressure points.  As you advance , you should be able to do it even blindfolded.  Further training would be in free sparring which trains the sensitivity of the eyes.

SIMULTANEITY
Use simultaneity in defeating opponent is to get ahead of the game.  Unlike conventional way, first block then strike sequences, simultaneity can execute both block and strike within the same time frame.  This theory exercises your brain to simultaneously control both you hands and legs as well.  It is very much like juggling. 
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YIN AND YANG
Yin and yang is an ancient Chinese philosophy of universal balance.  Too much yin (soft) or to much yang (hard) could lead to destruction.  They work together in harmony. ESAELD follows the yin and yang principle in physical theory only.  Because of religious convictions we do not follow any part of the Zen Buddhism.
Sticky hands encompasses plenty of yin and yang aspects in its practice.  One force balances the other.  But when one side over powers the other, the balance will break.  So as one side gets hit, the other side will follow the power or redirect the coming force.  Failing to maintain. the balance leads to being hit or trapped.  But yin and yang does not stop here, exercise of yin and yang in exchanging techniques the cycle of such forces.  Force comes, redirect.  Force retreats, follow.  Force detaches, strike.
When the opponent tenses, we soften.  When he retreats, we follow.  To maintain the balance in such ranges, we must not rush or interrupt the connection between us.  But rather, follow the flow and never go against it.  We would use his momentum to redirect him even off his balance.  We follow his momentum as he retreats and then strike him.  Like when he opens, we occupy it.  When he occupies, we open a new space for him.

Non-Telegraphic Punch  
Bruce felt explosive attacks with no tell signs of intention were best. He displayed that the attacks should catch the opponent off guard, throwing them off balance, leaving the opponent unable to defend against further attacks. “The concept behind this is that you initiate your punch without any forewarning, such as tensing your shoulders or moving your foot or body, the opponent will not have enough time to react”. The key is that you must keep your body and arms loose, weaving your arms slightly only becoming tense upon impact. Bruce Lee wanted no wind up movements or “get ready poses” before any of your strikes were thrown. Bruce explains how that any twitches or slight movements before striking should be avoided as they will give the opponent signs or hints as to what you are planning and the they will be able to strike you first while you are preparing an attack. Non-telegraphic movement is an essential theory to Jeet Kune Do and Bruce felt it to be a must have in your fighting arsenal. 
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The Vertical Punch  
The vertical punch - it's very fast, powerful and precise! The vertical punch is the most basic and fundamental in Jun Fan Gungfu and Wing Chun and is usually thrown with the elbow down and in front of the body.
​Jun Fan Gungfu and Wing Chun favors the vertical punch for several reasons:
·         Directness  The punch is not "loaded" by pulling the elbow behind the body. The punch travels straight towards the target from the guard position (hands are held in front of the chest).
·         Protection  The elbow is kept low to cover the front midsection of the body. It is more difficult for an opponent to execute an elbow lock/break when the elbow occupies this position. This aids in generating power by use of the entire body structure rather than only the arm to strike. Also with the elbow down, it offers less opening for the body to be attacked while the forearm and punch intercept space towards the head and upper body.
         Strength and Impact. Practitioners believe that because the elbow is behind the fist during the strike, it is thereby supported by the strength of the entire body rather than just a swinging fist, and therefore has more impact.

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A common analogy is a baseball bat being swung at someone's head (a round-house punch), as opposed to the butt end of the bat being thrust forward into the opponent's face (wing chun punch), which would cause far more damage than a glancing hit and is not as easy to evade. Many skilled practitioners pride themselves on being able to generate "short power" or large amount of power in a short space. A common demonstration of this is the "one-inch punch", a punch that starts only an inch away from the target yet delivers an explosive amount of force.
·         Alignment & Structure  Because of usage of stance, the vertical punch is thus more suitable. The limb directly in front of the chest, elbow down, vertical nature of the punch allows a practitioner to absorb the rebound of the punch by directing it through the elbows and into the stance. This is a desirable trait to a Wing Chun practitioner because it promotes use of the entire body structure to generate power. Whereas, the rebound of a horizontal punch uses only the arm to strike. In this elbow-out position the hinge-structure directs force outwards along the limb producing torque in the puncher's body.
When executing the punch, you must relax and not use your shoulders. If your shoulders gets tired from using the punch, you did something wrong. The punch comes from the body and not the arm.

Jik Chung Choi -  Meaning straight vertical fist. The punches may be thrown in quick succession. Commonly known as the "straight blast" or "Chain punching". Used for overwhelming an opponent with vertical fists down his center to find the opening using forward energy. When executed correctly, it can be used as a disorienting finisher.

FOUR GATES COVERAGE
To fight in the center line is to get the best strike.  To protect in the center line is to get the best protection.  But, your opponent's weakest parts are also yours.  Keep the elbow close to the center line, about six to eight inches away from the rib cage.  Where the elbow is based or in pivotal position, the forearm can swing or move to reach the four gates with minimum movement.  The four gates are divided by left and right with the center line, and by upper and lower with the horizontal line through the elbows.  The same hold true for keeping the front knee in because it provides the best protection for lower parts of the body.  It closes up the center line where the groin and any sensitive parts are located. 
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Economy of Motion  
Jeet Kune Do seeks to waste no time or movement, teaching that the simplest things work best as in Wing Chun. Economy of motion is the principle by which JKD practitioners achieve:

·         Efficiency: An attack which reaches its target in the least amount of time, with maximum force.

·         Directness: Doing what comes naturally in a disciplined way.

·         Simplicity: Thinking in an uncomplicated manner; without ornamentation.

This is meant to help a practitioner conserve both energy and time; two crucial components in a physical confrontation. Maximized force seeks to end the battle quickly due to the amount of damage inflicted upon the opponent. Rapidity aims to reach the target before the opponent can react, which is half-beat faster timing, learned in Wing Chun and Western boxing.  Learned techniques are utilized in JKD to apply these principles to a variety of situations.
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Be Like Water  
Bruce Lee realized that in every situation, whether in fighting or in everyday life scenarios, they are varied and one must remain fluid in order to obtain victory. Bruce firmly believed you must not be rigid in your mind or fighting method. Bruce felt that you need to be able to adapt to any situation that you may encounter and relates it to being like water, "Empty your mind, be formless, shapeless, like water. If you put water into a cup, it becomes the cup. You put water into a bottle and it becomes the bottle. You put it in a teapot it becomes the teapot. That water can flow, or it can crash. Be water my friend”. Bruce Lee’s theory behind this is rather simple, you must be able to function in any scenario you are thrown into and you should react accordingly. You should know when to speed up or slow down, when to expand and when to contract, when to remain flowing and when to crash. It is the awareness that both life and fighting can be shapeless and ever changing that allows one to be able to adapt to those changes instantaneously and bring forth the appropriate solution. Bruce didn’t believe in “styles” and felt that everyone and every situation is different, not everyone fits into a mold, we must remain flexible in order obtain new knowledge and victory in both life and combat. We must never become stagnant in the mind or method always evolving and moving towards improving ourselves. 
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Stop Hits and Stop Kicks  
"When the distance is wide, the attacking opponent requires some sort of preparation. Therefore, attack him on his preparation of attack." "To reach me, you must move to me. Your attack offers me an opportunity to intercept you." This means intercepting an opponent's attack with an attack of your own instead of a simple block. It is for this concept Jeet Kune Do is named. JKD practitioners believe that this is the most difficult defensive skill to develop. This strategy is a feature of some traditional Chinese martial arts as wing chun, as well as an essential component of European épée fencing. Stop hits & kicks utilize the principle of economy of motion by combining attack and defense into one movement thus minimizing the "time" element.

Simultaneous Parrying, Punching or Kicking  
When confronting an incoming attack, the attack is parried or deflected and a counterattack is delivered at the same time. Not as advanced as a stop hit but more effective than blocking and counterattacking in sequence. This is practiced by some Chinese martial arts as wing chun etc. Simultaneous parrying & punching utilizes the principle of economy of motion by combining attack and defense into one movement thus minimizing the "time" element and maximizing the "energy" element. Efficiency is gained by utilizing a parry rather than a block. By definition a "block" stops an attack whereas a parry merely re-directs an attack. Redirection has two advantages: It requires less energy to execute; it utilizes the opponents energy against them by creating an imbalance. Efficiency is gained in that the opponent has less time to react to the nullification of their attack while having to worry about defending an incoming attack.

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Low Kicks  
JKD practitioners believe they should target their kicks to their opponent's shins, knees, thighs, and midsection like in wing chun. These targets are the closest to the foot, provide more stability and are more difficult to defend against. However, as with all other JKD principles nothing is "written in stone". If a target of opportunity presents itself, even a target above the waist, one could take advantage of the situation without feeling hampered by this principle. Maintaining low kicks utilizes the principle of economy of motion by reducing the distance a kick must travel thus minimizing the "time" element.
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Five Ranges of Combat  

·         Weapons

·         Kicking

·         Punching

·         Trapping & Stand-up Grappling

·         Lay-down Grappling

Jeet Kune Do students train in each of these ranges equally. According to Lee, this range of training serves to differentiate JKD from other martial arts. Lee stated that most but not all traditional martial arts systems specialize in training at one or two ranges. Bruce Lee's theories have been especially influential and substantiated in the field of Mixed Martial Arts, as the MMA Phases of Combat are essentially the same concept as the JKD combat ranges. As a historical note, the ranges in JKD have evolved over time. Initially the ranges were categorized as short or close, medium, and long range. 

​Five Ways of Attack  
·         Simple Angle attack (S.D.A/ S.A.A): The simple direct attack or angled attack is the use of any “Simple Attack”, an attack that has direct line of fire that is not exploited by faking or beating an opponent to the punch, from an unexpected angle. 

·         Immobilization Attack (I.A): The immobilization attack is the effective use of “Trapping”. Trapping is a method of attack that results in the holding down of an opponent’s hand or leg providing a safe route of attack. The trapping prevents the opponent from ​moving the body parts needed for defense, leaving them “trapped” and their body or face open for multiple strikes.

·         Progressive Indirect Attack (P.I.A): The progressive indirect attack is similar to a “simple attack” except there is a committed fake or feint. The P.I.A is an uncommitted punch or fake, a thrust motion that forces your opponent to move in defense as you exploit the predetermined open area.  The P.I.A can be set up by either feinting or readjusting the distance with footwork.

·         Attack by Combination (A.B.C) Attack by combination is a series of punches and or kicks that follows a particular sequence to create openings or “Setups” in your opponent’s defense. The “setup” is created by the series of punches and or kicks maneuvering the opponent into a position to receive a knockout blow.

·         Attack by Drawing (A.B.D) The attack by draw method is executed when you are able to make your opponent believe there is an opening or weak spot in your defense. When your opponent tries to attack this area he creates his own opening or weak point and you attack that area, completely catching them off guard.
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THE SEVEN POWER POINTS
Each has its own muscle group to generate power.  Each can be used without others to help.  But they can also group together to get the maximum strength.  For example, a short range close in strike only required an inch power or a little help of the elbow.  A punch can be accelerated by adding shoulder extension and body shifting.  A long range powerful blow can be generated by adding footwork carrying whole body's momentum.
1.  WRIST - for inch power and manipulation techniques.
2.  ELBOW - for protection and leverage powers.
3.  SHOULDER - for greater power support and reach.
4.  ABDOMINAL - for gravity and kicking power.
5.  HIP - for shifting and lower gravity.
6.  KNEE - for shifting and leg extension.
7.  ANKLE - for movement and kicking impact.
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Centerline

The centerline is an imaginary line drawn vertically along the center of a standing human body, and refers to the space directly in front of that body. If we draw an isosceles triangle on the floor, for which our body forms the base, and our arms form the equal legs of the triangle, then the (height of the triangle) is that same centerline. The Wing Chun concept is to exploit, control and dominate an opponent's centerline. All attacks, defenses, and footwork are designed to guard your own centerline while entering your opponent's centerline space. Bruce incorporated this theory into Jun Fan/JKD from his sifu Yip Man’s Wing Chun. 

The three guidelines for centerline are:

·         The one who controls the centerline will control the fight.

·         Protect and maintain your own centerline while you control and exploit your opponent's.

·         Control the centerline by occupying it.

Inch and Whip Power  
The inch power with whipping motion, coming from Wing Chun and is the key in generating power in techniques executed mostly in short range. They are lacking body leaning and wide open swing. Inch power concept allows the practitioner to strike or block by only snapping the wrist. Whipping concept allows the  practitioner to strike or to block by full extension in a more relaxed and faster fashion.

​Combat Realism  
One of the premises that Bruce Lee incorporated in Jeet Kune Do was "combat realism". He insisted that martial arts techniques should be incorporated based upon their effectiveness in real combat situations. This would differentiate JKD from other systems where there was an emphasis on "flowery technique" as Lee would put it. Lee claimed that flashy "flowery techniques" would arguably "look good" but were often not practical or prove ineffective in street survival and self-defense situations. This premise would differentiate JKD from other "sport" oriented martial arts systems that were geared towards "tournament" or "point systems". Lee felt that these systems were "artificial" and fooled its practitioners into a false sense of true martial skill. Lee felt that because these systems favored a "sports" approach they incorporated too many rule sets that would ultimately handicap a practitioner in self defense situations. He felt that this approach to martial arts became a "game of tag" which would lead to bad habits such as pulling punches and other attacks; this would again lead to disastrous consequences in real world situations. Another aspect of realistic martial arts training fundamental to JKD is what Lee referred to as "aliveness". This is the concept of training techniques with an unwilling assistant who offers resistance. Bruce Lee made a reference to this concept in his famous quote "Boards don't hit back!" Because of this perspective of realism and aliveness, Lee utilized safety gear from various other contact sports to allow him to spar with opponents "full out". This approach to training allowed practitioners to come as close as possible to real combat situations with a high degree of safety.

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SILENCE IS GOLDEN
First of all, your opponent's reaction relies totally on signals you send.  Most fighters can not recognize their telegraphic moves.  In this theory training with this in mind will eliminate the body signals.
No body leaning when doing a block or punch.
No body moving up and down when doing footwork.
No body leaning back when doing some kicks.
No facial expressions.  Do not bring a facial expression like anger, to the fight.  Not only can your opponent sense it but also makes your non trained instinct take over your trained skills.  It has cause many good practitioners loose their fight. 
It is better not to have a big mouth.  People want to punch it.  People who talk a lot about what they know, really don't know much.  They just want everybody too think they do.  It is better to have a humble spirit.  What a better surprise!
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Absorbing What is Useful  
This is the idea that a martial artist can only learn techniques in their proper context, through a holistic approach. Styles provide more than just techniques: They offer training methods, theories, and mental attitudes. Learning these factors allows a student to experience a system in what Lee called its "totality". Only through learning a system completely will an artist be able to, "absorb what is useful," and discard the remainder. Real combat training situations allow the student to learn what works, and what doesn't. The critical point of this principle is that the choice of what to keep is based on personal experimentation with various opponents over time. It is not based on how a technique may look or feel, or how precisely the artist can mimic tradition. In the final analysis, if the technique is not beneficial in combat, it is discarded. Lee believed that only the individual could come to understand what worked; based on critical self analysis, and by, "honestly expressing oneself, without lying to oneself."
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Chin na
Chin na or Qinna - is a chinese term describing joint lock techniques used in the Chinese martial arts to control or lock an opponent's joints or muscles/tendons so he cannot move, thus neutralizing the opponent's fighting ability. Chin na su literally translates as technique of catching and locking in Chinese. Some schools simply use the word na to describe the techniques. Chin Na features both standing and ground based grappling techniques.
Some Chinese martial arts instructors focus more on their Chin Na techniques than others. This is one of the many reasons why the Chin Na of one school may differ from that of another. All martial arts contain Chin Na techniques in some degree. The southern Chinese martial arts have more developed Chin Na techniques than northern Chinese martial systems. The southern martial arts have much more prevalent reliance on hand techniques which causes the practitioner to be in closer range to their opponent.
Since Chinese culture has influenced countries like Japan and Korea, Chinese martial arts has influenced their indigenous styles as well. Aikido and Jujutsu developed in Japan, and Hapkido found in Korea, had taken their Chin Na techniques from Chinese martials arts. One can see that many original Chinese Chin Na techniques resemble those found in other grappling based arts such as Brazilian Jiu Jitsu. Depending on the school and instructor, Chin Na is assembled in different ways. Some Chin Na systems resemble Brazilian Jiu Jitsu due to their focus on ground grappling. Another may be more similar to Judo due to their focus on standing Rou Dao (the soft techniques of Chin Na). The next school may appear more like Hapkido due to their focus on wrist and small joint locks.
There is no universally accepted systemized form of Chin Na. Instead, each school varies due to the instructor's training and/or personal preference of focus.

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Judo - Jujitsu
The word Jujutsu can be broken down into two parts. "Ju" is a concept. The idea behind this meaning of Ju is "to be gentle", "to give way", "to yield", "to blend", "to move out of harm's way". "Jutsu" is the principle or "the action" part of Ju-Jutsu. This word means science or art.
There are many variations of the art, which leads to a diversity of approaches. Jujutsu schools may utilize all forms of grappling techniques to some degree (i.e. throwing, trapping, joint locks, holds, gouging, biting, disengagements, striking, and kicking). In addition to jujutsu, many schools teach the use of weapons.
Because jujutsu contains so many facets, it has become the foundation for a variety of styles and derivations today. As each instructor incorporated new techniques and tactics into what was taught to him originally. Some of these instructors and schools modified the source material so much that they no longer considered themselves a style of jujutsu.

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Bruce Lee's connection to Danzan Jujitsu and Wally Jay.

Below are 2 paragraphs from 2 different sources.
Wherever Wally and his teams went, he would seek out other martial arts practitioners. Early friendships were made with Willy Cahill, George Harris, Gene LaBelle, Jack LaLane and Jimmy Lee. In 1962, while en-route to Vancouver with a judo team, he sought out an unknown young kung fu teacher in the basement of a Seattle church named Bruce Lee. They were to become close friends and later, when Bruce and Linda moved to the San Francisco Bay Area, they would train together and exchange techniques and martial concepts. Some called Wally Bruce’s teacher, but he said we taught each other, and in truth Wally’s role was as mentor, friend and collaborator. From: Wally Jay (Small Circle Jujitsu)


In 1962 Jay attracted the attention of a 22-year old martial artist from Seattle named Bruce Lee. Lee was amazed how someone with little formal training in judo could go on to produce champions. However, from the many long hours that Lee spent at Jay’s dojo (training hall) with friend Jimmy Lee, the legendary martial artist saw the value of Jay’s broad background in the fighting arts. Jay had adopted various techniques from boxing, wrestling, judo, kung fu, weightlifting and Danzan jujitsu, and brought them together in what he called his Small Circle Theory Jujitsu. Like Jay and his innovative instructors before him, Bruce Lee knew that talent, technique, and style knew no traditional boundaries and that excellence carried no single banner or flag. The three martial artists spent many long hours exchanging theories, fighting principles, and techniques, and over the following years, a strong bond of trust and friendship developed. As their reputations grew, they remained friends, and while Bruce Lee went on to take Hollywood, Hong Kong, and the martial arts world by storm. From: Inosanto Academy (www.inosanto.com)

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Chinese Martial Arts Terminology

1. Bai Jong - Ready Position
   
2. Biu Gee - Thrusting Fingers
   
3. Biu Sao - Thrusting Hand
   
4. Boang Sao - Deflecting Hand (Raised Elbow)
   
5. Chi – Has a Few Definitions such as “Energy,” "Spirit" or "Breath,"
   
6. Chi Sao - Energy Hands also called sticky hands
   
7. Chop Choi – extended knuckle punch
   
8. Chung Choi - Vertical Fist
   
9. Cup Sao - Scooping hand
   
10. Doan Chi Sao – one hand Energy hands training
    
11. Da – Hit or strike
    
12. Do – or “Tao” Meaning “Way”
    
13. Dum Tek - Stomp Kick
    
14. Fon Sao - Trapping Hands
    
15. Fook Sao - Horizontal deflecting hand
    
16. Gin Lai - Salute
    
17. Go Da - High Hit
    
18. Gon Sao - Outer Wrist Block
    
19. Gua Choi - Back Fist
    
20. Gua Tek - Inverted Hook Kick
    
21. Gum Sao - Pinning Hand
    
22. Ha Da - Low Hit
    
23. Ha Pak - Low Slap
    
24. Hay - begin
    
25. Hou Juk Tek - Back Side Kick
    
26. Hou Tek - Back Kick
    
27. Huen Sao - Circling Hand
    
28. Jang - Elbow
    
29. Jao Sao - Running Hand
    
30. Joap Hop - Line Up or Group Together,
    
31. Jeet - Stop or Intercept
    
32. Jeet Gurk - Shin Block
    
33. Jeet Kune Do - Way Of The Intercepting Fist
    
34. Jeet Sao - Intercepting Hand, as used in the shoulder or bicep stop
    
35. Jeet Tek - Intercepting Kick
    
36. Jern – vertical Palm strike
    
37. Jik Chung Choi - Commonly Known as the Straight Blast Meaning Straight Vertical Fist. 
         Used For Overwhelming an Opponent With Vertical Fists Down His Center to Find the Opening Using Forward Energy
    
38. Jik Tek – Straight kick or Front Kick With Toe
    
39. Jin Choi - Uppercut
    
40. Jong Sao - Dummy Hand
    
41. Juen So Tek - Spinning Heel Kick
    
42. Juen Tek - Spin Kick
    
43. Juk Tek - Side Kick
    
44. Jung Da - Middle Hit
    
45. Jut Sao - Jerking Hand
    
46. Kow Tao - Head butt
    
47. Kune (Kun) - Fist
    
48. Kwoon – School
    
49. Lao Sing Choi - Lateral Hammer Fist Strike or a Chop With a Closed Fist
    
50. Lee Jun Fan - Bruce Lee's Chinese Name
    
51. Lie Sao - palm up pulling deflection using the edge of the thumb/wrist area (sometimes confused with Tahn Sao, though they do look      similar) to redirect the force of a linear strike always done from the outside line.
    
52. Lin Sil Da - Simultaneously defend and hit  (Lin Sil Die Dar)
    
53. Lok Sao - Rolling Hands
    
54. Lop Sao - Pulling Hand
    
55. Maun Choi – Jab (lead punch)
    
56. Maun Sao - Front Hand, Inquisitive hand or asking hand
    
57. Mook Jong - Wing Chung Dummy
    
58. Na – Locking or submission
    
59. O'ou Choi - Hook Punch
    
60. O'ou Tek – (sometimes spelled “now tek” due to the sound of the word with an almost silent “N”) 
    Hook Kick (commonly known as a round house kick in other martial art styles) Bruce Lee referred to the round kicks as Hook kicks
    
61. Pak Sao - Slapping Hand
    
62. Ping Choi - Horizontal Fist
    
63. Saat Da – Knee Strike
    
64. Si Bak - Your Instructor's Senior
    
65. Si Dai - Your Junior
    
66. Si Fu - Teacher or Instructor
    
67. Si Gung - Your Instructor's Instructor
    
68. Si Hing - Your Senior
    
69. Si Jo - Founder Of The System
    
70. Sil Lim Tao - First Wing Chun Form Called “The Little Idea”
    
71. Si Mo – Wife of Your Instructor or Female Instructor
    
72. Si Sook - Your Instructor's Junior
    
73. So Tek - Heel Kick
    
74. Sut Sao – Slicing hand or commonly known as to Chop  
    
75. Tahn Sao - Palm Up Deflecting Hand
    
76. Tek - Kick  
    
77. Tok Sao - Lifting arm or lifting hand (lifting under the elbow(s) like you would see in the way the Mook Jong forms end)
    
78. Tow Dai - Student
    
79. Tow Suen - Student's Student
    
80. Wong Pak – Outside Cross Slap
    
81. Wu Choi – Cross (as in Jab, cross)
    
82. Wu Sao - Rear Hand or Protective hand
    
83. Wu Tek - Rear leg
84. Yu Bay - Ready 

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