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Do's and Don'ts of How To Move Your Feet in Boxing when Throwing the Jab. Tom Yankello of the @World Class Boxing Channel covers a common mistake that is commonly made when people throw the left jab or the right jab if you are a southpaw. Tom shows this example first with a southpaw. When the southpaw throws the jab, Tom shows you a footwork mistake that often occurs- he twists the toe. This is problematic because now you need to replant your foot to jab the guy. Your toes should face the direction where you are going. The foot should be pretty much straight ahead. If you jab and turn the foot, you have to replant. Instead, you should step, step, step, and throw the jab. Another reason turning the foot is wrong is because you take the tension off his right side (since he is a southpaw). When you throw the jab, it is a twist. If you turn the toe, you lose that tension. In addition, you end up locking your hip out. You have to open the foot open and point the toe where you are throwing the punch. This allows you to freely throw through the punch. You never lock your hip out. Another issue is when people talk about wide stance giving you more power. This is WRONG! Just because you may see a person who possibly won a world title, does not mean they are flawless. There are always exceptions, however for the majority, you want to ensure you have the proper body mechanics to give you a great foundation. The key to stepping with the jab is to turn your waist without turning your toes. If you do it incorrectly and lock your hips, you will get yourself off balance. You also won't get the maximum power by not keeping your foot straight. You must remember, you are pointing your toes to the target. Tom then shows you from an orthodox stance, the improper and then the proper footwork for throwing a jab.
0:00 Introduction
1:23 Lead foot position
3:00 Hip Tension
4:25 Swing & Throw Sports
7:25 Stance width controversy
8:15 Nobody is flawless!
10:55 The key to stepping with the jab
12:30 The Wrong Way
17:00 Orthodox stance example
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