In the preliminary-analysis stage, you quickly assess your
opponent’s size, stance and temperament. Does he have
long arms? What are his posture and stance telling you? Is
he crouched like a wrestler or standing upright like a boxer?
Does he seem calm? Aggressive? Anxious? These details
are crucial to gather before moving on to the next stage.
In potshotting, you probe your opponent to see how he
reacts. A probe is a quick and efficient movement, some-
times called a “garbage hand.” The term refers to a rapid
strike that’s not meant to land. Its sole purpose is to elicit
a reaction, which can reveal how your opponent tends to
respond. The data you collect will boost your chance of
success in the next stage. You can use a lead-hand jab, a
lead-leg kick or a level change.
Your mission is to read his reaction. Does he
block? If so, with which hand? Does he retreat?
Does he counterattack? Your awareness will
increase your chance of success in the next stage.
In the engagement, the action hinges on one
of two paths. In one, you attack first, and in the
other, your opponent attacks first. When you initi-
ate, it’s called primary attack strategy, and you have
five ways to proceed. When the opponent initiates,
it’s called secondary attack strategy, and you have five
chances to counter.The well-known five ways of attack that compose the
primary attack strategy are single direct attack, attack
by combination, hand-immobilization attack, progressive
indirect attack and attack by drawing.
Single direct attack is a singular stroke normally done
with your fastest tool using broken-rhythm footwork and
cutting angles. Attack by combination involves multiple
strokes and is normally done by varying depth of pen-
etration and altering the rhythm. The combinations are
designed to expose an opening, after which you follow
up with multiple shots.
Hand-immobilization attack entails trapping the oppo-
nent’s limbs and hitting at the same time. Trapping
allows you to attack his base and balance. If he’s mov-
ing backward and his limbs are momentarily motionless,
he cannot use his art, which means you can steal that
beat and attack with forward pressure.
Progressive indirect attack means deliberately faking
or feinting the first line of attack, causing your opponent
to respond. Then, during the next half-beat, you attack
the line he’s left open. It’s important to advance as you
fake or feint because you must use that movement to
steal a step and get closer for the real hit.
Attack by drawing refers to purposefully leave an
opening to draw in your opponent. That affords you an
opportunity to intercept or counterattack, especially if
you can time his movement.
In the secondary attack strategy, your opponent initi-
ates first of his own accord or because you left an open-
ing. You have five chances to intercept or counter him:
You can counterattack any movement at its initiation, on
its way out, when it arrives, on its way back or when it’s
being re-chambered. For a better grasp of this concept,
think about acting “before,” “during” or “after” his move.
The highest level of counterattack — and the hardest
to attain — is the ability to sense what your opponent is
thinking about before he takes action. That way, you can
intercept him on his thought or intent.like your breath. Most meditation, chi kung and mindful-
ness practices fall into this category.
The second is stillness in movement. This is your ability
to stay in the present and remain fully aware of your mind,
body and breath while you’re moving. Many martial artists
use shadowboxing and forms to hone this ability.
Finally, there is stillness in movement under chaos, or
your ability to maintain that mind, body and breath con-
nection while someone tries to disrupt what you’re doing.
You can progressively build your resistance to the chaos
factor with feeding drills, counter-for-counter drills, spar-
ring drills — and all of the above with multiple opponents.
Making yourself comfortable in uncomfortable situations
is the master key to success in combat and in life.
Strategy: Ranges
JKD teaches that empty-hand combat spans five
ranges. From longest to shortest, they are kicking,
punching, trapping, stand-up grappling and ground
fighting. Because you can’t know where a fight will take
you, it’s essential to have the ability to adapt to differ-
ent ranges. This doesn’t mean you must give up on
your strengths. If you’re a striker, you’ll want to stay in
striking range, but you must have an answer for a grap-
pler who takes you down. That entails training with
grapplers so you can understand their timing, angles
and distancing and so you can have a plan to get back
on your feet after a takedown. Not knowing what to do
in such a situation will create tension and fear, which
will make you more hesitant.
If you’re a striker and you encounter a better striker,
you will likely need to use your ability to function in
other ranges to prevail. Never fight your opponent where
he’s strongest. Instead, attack his weaknesses. Don’t let
your ego or your loyalty to your style blind you to the
realities of where the fight can go.
Strategy: Stages
Taking place within those five ranges are the five stages
of a fight: preliminary analysis, potshotting (aka prob-
ing), the engagement, the rally and the follow-up/finish.
52 BLACKBELTMAG.COM § AUGUST/SEPTEMBER 2019