JOE LEWIS FREEFIGHTING SYSTEM

  1. Setups
  2. Positioning
  3. Independent Movement
  4. Initial Speed
  5. Critical Distance Line
  6. Line of Attack
  7. Bridging the Gap
  8. Five Primary Techniques
  9. Leading Side Versus Rear Side
  10. Economy of Motion
  11. Relaxation Versus Tension
  12. Mobility Versus Immobility
  13. Extension, Hyper-Extension, Double Hyper-Extension
  14. Leading Centers
  15. Unpredictability Versus Classical Form
  16. Straight Line Versus Curved Line
  17. Defensive Choices
  18. Initial Speed Versus Combinations
  19. Faking
  20. Constant Forward Pressure
  21. Time Commitment Theory
  22. Defensive Movement Patterns
  23. Angle of Attack Versus Technique Variation
  24. Half Commitment, Full Commitment, Extension Commitment
  25. Theory of Broken Rhythm

1. SETUPS

1. Set yourself up physically and mentally.

2. Set up opponent verbally.

3. Set up your opponent through body language.

2. POSITIONING

1. Position for mobility.

2. Position for distance.
  • Keep in mind your opponent's critical distance line when positioning.
  • Be able to bridge the gap effectively from your position.
    •

    3. Position for best defensive capability.

    4. Position for best offensive capability.

    5. Position with the right psychological attitude.

    3. INDEPENDENT MOVEMENT

    1. Strike moves independent of body and body follows.
    2. No tell-tale leading centers.
    3. Keep in mind relaxation versus tension.
    4. Keep in mind initial speed and direct angle of attack.
    5. Independent movement should be used with all five primary techniques.

    4. INITIAL SPEED

    1. Relax--Explode.
    2. More important that timing speed or natural speed (MPH).

    5. CRITICAL DISTANCE LINE

    1. Your opponent's effective killing range is the critical distance line.
    2. Your ability in bridging the gap will determine where you position yourself in relation to your opponent's critical distance line.

    6. LINE OF ATTACK

    1. INSIDE.
    2. OUTSIDE.
    3. MIDDLE.

    7. BRIDGING THE GAP

    1. Initial speed and proper footwork are the two most important principles involved in bridging the gap.
    2. Keep in mind critical distance line.
    3. Keep in mind extension, hyper-extension and double hyper-extension.
    4. Keep in mind half commitment, full commitment and extension commitment.

    8. FIVE PRIMARY TECHNIQUES

    1. Sidefist or backfist (Leading side).
    2. Inverted close punch (Leading side).
    3. Reverse punch (Rear side).
    4. Side kick or roundhouse (Wheel) kick (Leading side).
    5. Spinning rear kick (Rear leg).

    9. LEADING SIDE VERSUS REAR SIDE

    1. Economy of motion in terms of shorter distance.
    2. Bridges the gap faster.
    3. Helps cut out leading centers.
    4. Most of the five primary techniques come off the leading side.

    10. ECONOMY OF MOTION

    1. Keep in mind straight line versus curved line.
    2. Keep in mind leading side versus rear side.
    3. Concentrates on the direct angle of attack because economizes on movement and lessens the time commitment.

    11. RELAXATION VERSUS TENSION

    1. Initial speed increases.
    2. Time commitment is less with fast initial speed.
    3. Conserves energy.
    4. More deceptive with less leading centers.

    12. MOBILITY VERSUS IMMOBILITY

    1. Footwork.

    2. Directions.

    3. With mobility there is more deceptiveness and unpredictability.

    13. EXTENSION, HYPER-EXTENSION, DOUBLE HYPER-EXTENSION

    1. Your own critical distance line increases if double hyper-extension is used.
    2. Your ability to bridge the gap is more effective.
    3. Keep in mind half commitment, full commitment, extension commitment.

    14. LEADING CENTERS

    1. In most of your techniques you should use independent motion and cut out all leading centers.
    2. Leading centers can be used purposely in faking and broken rhythm.

    15. UNPREDICTABILITY VERSUS CLASSICAL FORM

    1. Use leading centers for faking and keeping your opponent off balance and jumpy.
    2. Mobility is more unpredictable, keep moving using different kinds of
    3. footwork and directions.
    4. Use different kinds of broken rhythm.
    5. Be interchangeable with straight lines and curved lines.
    6. Be flexible with the different angles of attack.

    16. STRAIGHT LINE VERSUS CURVED LINE

    1. The most direct route to your target is a straight line.
    2. A straight line attack is more powerful and economizes motion.
    3. Most of the five primary techniques utilize a straight line of attack.

    17. DEFENSIVE CHOICES

    1. Hand and body positioning is a matter of preference with the individual as long as the vital areas are covered at all times.
    2. There are four defensive movement patterns that can be used according to the size, structure and fighting attitude of the person using them; your opponent's size, technique, and footwork should also be a determining factor in what kind of defense you choose.
    3. Be unpredictable and switch back and forth between the different defensive movement patterns to keep your opponent unsure of himself.

    18. INITIAL SPEED VERSUS COMBINATIONS

    1. Initial speed and the direct angle of attack are more spontaneous when you are externally focused.
    2. Practice combinations is future thinking which is negative thinking.
    3. Initial speed ties in with independent movement which gives us more
    4. economy of movement.
    5. There is less time commitment in the initial speed of the direct angle of attack.
    6. A good portion of our practice and programming should be spent on initial speed and the direct angle of attack because it is one of the most important principles of them all.

    19. FAKING

    1. The main leading centers used in faking are:
    2. Faking is used in the direct angle of attack.
    3. Faking makes your opponent commit himself and throws off his timing.
    4. Faking is used in broken rhythm also and helps to increase your unpredictability.

    20. CONSTANT FORWARD PRESSURE

    1. Mental - assertiveness and external focus.
    2. Physical - forward movement, offensive body positioning, and aggressive body language.
    3. Result - Confusion.

    21. TIME COMMITMENT THEORY

    1. Keep in mind initial speed.
    2. Bridge the gap with straight lines and direct angles of attack.
    3. Keep in mind your opponents timing and reaction time, how much time does your technique take to complete in comparison to the time it takes for your opponent to react and counter.

    22. DEFENSIVE MOVEMENT PATTERNS

    1. Jammer - moves forward.

    2. Blocker - stays in position or moves a half step back.

    3. Runner - moves backward out of original position.

    4. Elusive runner - moves all over and is unpredictable.

    5. Name your opponent by his footwork and by where he is at your point of contact with him.

    23. ANGLE OF ATTACK VERSUS TECHNIQUE VARIATION

    1. If you can't make a technique work, change your angle of attack rather than change to a less effective technique.
    2. Direct - Initial speed and independent motion.
    3. Indirect - Fakes.
    4. Combinations - Direct and Indirect.
    5. Broken rhythm.

    24. HALF COMMITMENT, FULL COMMITMENT, EXTENSION COMMITMENT

    1. Set your opponent up with broken patterns (Full commitment-doesn't reach him, full
    2. commitment-doesn't reach him, extension commitment-nail him by bridging the gap.
    3. Be unpredictable and throw his timing and distance off.
    4. Keep in mind extension, hyper-extension, and double hyper-extension.

    25. THEORY OF BROKEN RHYTHM

    1. Change target (low, low, high).
    2. Change body rhythm (active, active, passive).
    3. Change body motion (forward, backward, forward).
    4. Change speed fast to slow to fast).
    5. Change movement (stop, go).
    6. Change angle of attack.
    7. Change techniques.
    8. Change positioning and set him up.
    9. Change patterns of any sort.
    10. Change attitude (aggressive, passive).
    11. Change your defensive choice.
    12. Change your footwork.
    13. Change your commitment.
    14. Change your line of attack (inside, inside, outside).
    15. Be totally unpredictable with broken rhythm and throw your opponents timing totally off.