Grappling Program Student Guide - Four Winds Martial Arts [PDF]

Grappling Program Student Guide

Novice Training Notes Student notes for the Grappling program are divided into three categories: Novice, Intermediate and Advanced. These categories are general and are not specific to belt rank. This volume is geared towards novice students and beginners, but will be of use to students of any level.

© 2006 Anthony Sell & Sage Arts Studios

Duplication is prohibitted without express written permission.

Grappling Program - Student Notes - 1

Introduction The Grappling Program will focus largely on Brazilian Jiujitsu as a base training method. Students will learn the fundamentals of positioning, movement and submissions on the ground. This type of training has three methods: 1. Conditioning and Movement Drills 2. Drilling of Techniques or Sequences of Techniques 3. Sparring, both controlled and free sparring As students develop skill and insight they will also be introduced to methods of grappling without the Gi, stand-up grappling including takedowns, throws and shooting, and ways to incorporate striking with grappling both from standing and on the ground. The later stages of this program will borrow heavily from Combat Submission Wrestling (CSW ) and Shooto. The goal of this program is to allow students to become competent in various ground fighting strategies, develop the attributes necessary for this type of fighting, and to expand the tools available for a self-defense encounter. After one year of training students will have a new appreciation for this type of training. Progression of Rank in Brazilian Jiujitsu While most systems of Martial Arts have a progression of 10-12 kyu (ranks before black belt), Jiujitsu has only five belt colors. Between each belt color, there are four stripes, each representing a certain number of hours and an improvement of demonstrated skills and attributes. Depending on the school tradition, some promotions are given after a rigorous test, others are given to signify accomplishment after an amount of time in training. In our tradition, each stripe between White and Blue belt represents a minimum of 60 class hours of training. One of the ways that rank in Brazilian Jiujitsu is distinguished from that in Judo and Japanese Jiujitsu is by use of a black or colored patch sewn onto one end of the student’s belt. This is typically a patch 5-6 inches in length, placed 1-2 inches from the end of the belt. It is on this patch that stripes are placed. Red patches on the belt denote an instructor in training. At black belt level, the patch is only red, stripes represent degrees such as in other systems. Grandmaster level practitioners in this system wear a red belt. The time requirements for each stripe typically get longer as students progress, as the physical requirements and insight necessary for the next level also increase. It is not uncommon for an average student to take 10 years or more to attain the rank of Black Belt in this system, training an average of two hours per class, three times per week. As students progress in rank the focus of their training will change. It will be useful to understand what the focus of each rank is, and to explore that aspect as you progress. Students will need patience, diligence and commitment to advance without getting frustrated.

Grappling Program - Student Notes - 2

Belt Color

Training Focus at this Level

White Belt

White belts, whether raw beginners or merely novice students, will typically experience frustration over their lack of control against stronger or more experienced students. At this level, students will have to deliberately concentrate on balanced movement and accurate placement. White belts should work to be open minded towards new information, and pay attention to proper sequence when learning new techniques.

Blue Belt

Blue belts typically have the basic techniques down, and demonstrate a certain level of execution. A Blue belt does not yet understand what their game is about, technically. At this level a student should focus on learning and practicing moves in order to make them automatic.

Purple Belt

A Purple belt has knowledge of most of the moves required to become a Black Belt. At this level students are beginning to think several moves ahead, understanding the game of their opponents. Purple belts should be focused on defensive skills and escapes, practicing with lower ranks to develop one’s own game.

Brown Belt

A Brown belt is capable of adjusting their game to fit that of their opponent. Brown belts are capable of demonstrating more complex sequences of movement and more complex methods of planning, typically thinking 3-4 moves ahead. Brown belts will begin to choose techniques based on their body type. A student’s focus in training at this level should be on refinement and improving their awareness for what type of technique is most appropriate for each type of opponent.

Black Belt

A Black belt in Brazilian Jiujitsu has a firm grasp of the mental, subtler aspects of the game, and a complete understanding of the Art. Black belts are focused on leadership in the community.

Progression of Skills and Training Focus in Brazilian Jiujiutsu.

Level 5 Intuition

Level 4 - Attacks

There are no Shortcuts.

Level 3 - Escapes & Counters

Level 2 - Positions & Transitions

Level 1 - Movement & Conditioning

Each Level of learning is dependant on skills developed in the previous Level.

Grappling Program - Student Notes - 3

General Guidelines As a beginning student, there are important guidelines to follow in order to get the most out of your training. These are important not only for tradition and etiquette but also for safety. Equipment Required Judo or Jiujitsu Uniform Belt with Black patch School Patch Mouthguard

Recommended Equipment Under Armor or similar style rash guard Neoprene knee pads Extra Gi Notebook and pen for every class

Proper Attitude in Training Your first concern is always your partner’s safety. Your second concern is your own. Your safety is 50% your responsibility. Good feedback between partners is essential. In addition to this, it is important to know when a position or technique is a lost cause. This does not mean quit, it means finding a better way. Being stubbornness is just as bad as being a quitter. Controlled and free sparring can get highly competitive. Remember that if you are not tapping, you are not learning. The goal is to improve your ability and your understanding. This requires experience, not simply winning. Competitiveness has its merits, but it can also create problems. Last, if in doubt, go slowly. Your partner has a different perception of pressure and pace than you do. What may feel light and easy for you may be too much for a more novice or smaller student. Etiquette: 1. Be clean for class - wash your Gi after every workout, and be sure to keep your nails properly trimmed. 2. Respect your training partners, your teacher and your art. 3. When class begins, all students bow in together and to the flags. 4. When class is over, all students shake hands. Proper Hygiene Grappling in general requires close personal contact with one’s training partners. For this reason it is important to maintain proper hygiene. It is important to wash one’s face and hands immediately after training. It is wise to keep some alcohol swabs in your bag for use after class. In addition, be sure to report to your instructor if any of the following appear: Cuts, scrapes or abrasions, skin inflammation Warts or cold sores Pinkeye Ringworm or other types of rash

Grappling Program - Student Notes - 4

Position and Movement The first things we learn in Brazilian Jiujitsu include a study of position and control. Movement in this art revolves around attaining and securing positions of advantage - where the opponent can be controlled or countered. To do this we must also learn to efficiently move our bodyweight across the floor, deal with our opponent’s bodyweight and their resistance. As you train remember that most techniques in Jiujitsu require exacting placement and proper sequence. The difference of an inch or less can often make the difference between success or failure. Concepts in Movement: Movement is often one of the first and most important lessons a student will encounter. The goal is to make second nature the ability to move your body across the floor efficiency. This must also take into consideration your opponent’s body weight and resistance. It will help to understand and remember these concepts: 1. Heavy flat things will not budge. 2. Narrow, high things have no balance. 3. That which cannot be moved must be escaped. 4. That which is twisted has no strength. 5. Tripod metaphor 6. Jiujitsu movement occurs in 360 degrees - be aware, be round. 7. Refrigerator metaphor 8. Table leg metaphor 9. If it requires a great deal of strength and effort, you are probably doing something wrong. 10. If you are forcing something, you are definitely doing it wrong. A Lazy Art Brazilian Jiujitsu is a lazy art. This does not mean that we do not work hard, it means that we keep foremost in our minds the priority of finding the most efficient way to accomplish a task. Displays of strength often result in wasted energy. The true Jiujitsuka finds the best way to do a thing. We look for techniques which require the least amount of strength or speed to perform. Performance is Relative In sparring it is important to remember that there are no techniques that cannot be countered. There are no defenses that cannot be beaten. Brazilian Jiujitsu is a game not only of skill and awareness, but also of strategy, tactics and attributes. While it is true that a good small man can beat a larger man, a good big man will still generally beat a good small man. Size does matter, as do strength, speed, flexibility and a host of other attributes. In training we work hard in order to even the odds. Attribute development is crucial. Consider, the best grapplers in the world are strong, fast and flexible, at the top of their weight class, with a low percentage of bodyfat.

Grappling Program - Student Notes - 5

Avoiding Panic Due to the types of stresses involved in this form of grappling training, inexperienced students will occasionally encounter situations which can induce panic. This is an obstacle that can be avoided, and over time will become unlikely. Reasons for Panic: Claustrophobia and control issues

Some people have difficulty with situations in which they are being controlled or immobilized by another person. Grappling training involves situations in which this is likely. Students should do their best to adapt their psychology during training and remember that this is all for fun and positive growth.

Too much pressure/weight

Some students panic when they are exposed to a crushing game, or have to deal with a much heavier opponent. This can cause compression to the torso and ribs, making it difficult to breathe, difficult to move, and generally exhausting.

Being stacked

In some situations, students will get rolled up onto the back of their neck. This is known as being “stacked.” This position can cause pain in the neck or back if the student is inflexible, and it can also make it difficult to breathe. For this reason, proper warm ups and regular stretching and movement drills are essential.

Not being able to breath

The most frequent cause of panic is an inability to breathe. Whether due to pressure, fatigue, over exertion, or poor breathing habits, this can quickly lead to frustration, anger, impatience and panic. It is important, when these situations occur, for students to relax and communicate with their partner.

Unfamiliar Partner

Students will eventually get to train and spar with students from other schools. An events for this purpose is typically called an “Open Mat.” When rolling with new people, be sure to communicate with them, if they are going to rough, to fast, etc., ask them to slow down.

With time, all of these situations become less frequent, as students learn to adapt to these circumstances. The conditioning drills practiced in class are also designed to help students acclimate to the environment of Jiujitsu, including the physical and psychological pressures involved.

Grappling Program - Student Notes - 6

Free Sparring Guidelines After a few hours of classes, students will begin to have the skills and awareness necessary to effectively participate in free sparring. Often referred to as “Open Rolling” this is a game for control and submission between two partners. Submission is signified by tapping the hand or foot on the mat or stating it verbally. Prohibited Techniques At a novice or intermediate level, there are some techniques that will not be allowed in free sparring. As students progress these will gradually be introduced into training, along with safety precautions and escape tactics. These techniques include Neck Cranks, Leg or Foot Locks, and Wrist or Finger Locks. Dealing with Frustration All students, especially beginners, may reach a point where they are frustrated by the skill or attributes of their training partners. Since there are no techniques that cannot be prevented, countered or escaped, it always comes down to a question of how and when. When you get stuck, it will be helpful to approach each training session with these guidelines in mind, they can offer clues: Pay attention to your opponent’s weight distribution Train with partners of all different skill levels, especially novices When possible, close off space (Tighter is better) Think in combinations, anticipate several steps ahead Work for smooth and timely transitions In control positions, release pressure with purpose, not arbitrarily

Train with an open mind Realize when a position is lost Pay attention to opponent’s preferences Relax, Breathe Visualize your opponent’s base, position Position before submission

Priorities in the game Grappling often requires an “if-then” thought process. When you begin to work with your partners in controlled and free-sparring environment, try to use these priorities: 1. Identify your opponent’s intentions 2. Frustrate your opponent’s intentions 3. Counter, escape or reverse your opponent 4. Advance and secure your position 5. Attack you opponent When a technique doesn’t work it is often a result of either skipping steps, improper positioning, or a lack of awareness. Students who learn to think and act methodically will have better success in their game. This habit will also begin to develop into the ability to anticipate your opponent’s response and think two or three moves ahead - a Black belt trait.

Grappling Program - Student Notes - 7

Types of Grips In training students will encounter several ways of holding the opponent’s limbs or uniform. Different techniques require different types of grips. Beginning level students often tend to exhaust their forearms trying too hard to hold onto their opponent. Later they will learn to relax and give their opponent some play. Five Finger Grip Five Finger Grip, Thumb In Hooking Grip V-Grip Figure 4 Grip

Folded Grip Pistol Grip Clasping Grip Gable Grip Underhooks

Overhooks Pummelling

This is the way a person will typically grip an object, with four fingers encircled by the thumb. In grabbing the opponent’s collar, the fingers are inside the uniform and the thumb encircles from outside. Students grip the collar of the opponent by placing the thumb inside the collar and the fingers encircle from the outside. Sometimes called a four finger grip, this is also used to hold around the opponent’s body, cupping the knees, shoulders, underarms, elbows and neck of the opponent. The thumb is notengaged.

This involves using the web of the hand to control the crook of the arm, elbow, armpit or ankle. This is an important way to neutralize striking and is used often in the Guard and in standing situations without the Gi.

A Figure-4 Grip is anytime a practitioner uses one hand to grab an opponent’s limb with one hand, while entangling the limb to grab hold of their own forearm or wrist with their other hand. This is a very important grip that is often used in submissions. This method uses a Four Finger Grip, for strength, not engaging the thumb. This is a type of hooking grip that uses a fold in the uniform, typically at the back, sleeve or pantleg of the opponent to control them. The fabric is folded around the fingers and the thumb is not engaged. This type of grip most typically involves a grip at the sleeve or pantleg. Using the thumb to lift the cuff from the inside of the uniform, the fingers then encircle the fabric and the thumb is removed. This is one way of joining hands around an opponent’s waist, curling the fingers inside of the other hand. It is not advised to entwine the fingers in Jiujitsu.

This is another type of grip used to hold around an opponent, using hooking grips (no thumb) where the fingers of one hand wrap around the wrist of another. One palm is up, the other down.

This is a manner of controlling your opponent’s body, gripping with both arms around their body from under their arms. When catching a leg this means that the opponent’s leg is over your arm, which lifts from below. Sometimes referred to as a Shelf or Catch-B. This is the opposite of Underhooks, where the arm encircles the opponent’s limbs from over the top. Sometimes referred to as Catch-A. This is a term used to describe attempts to secure an advantageous grip on one’s opponent. To “pummel in” typically means to secure Underhooks.

Grappling Program - Student Notes - 8

Active Countermeasures In any position of control, your opponent is required to control two things in order to immobilize you: Weight and Space. This is done by placement of the body (base), use of grips, and proper weight distribution. To escape a position, we must affect this ability, an act we refer to as taking active countermeasures. 1. Remove, Frustrate or preempt ideal grips 2. Remove the pressure, cheat your body to its side, to reduce the effect of pressure on your breathing 3. Create space 4. Identify and attack their base Certain defensive movements are very common, and can be used to escape any number of defensive positions. Because of this, students will practice these in almost every class. Framing Out When a student uses their forearm or elbow to create and maintain space, we call this framing. Essentially this is a way of reinforcing a structure that will prevent your opponent from staying close. This is a form of active countermeasure that is often necessary against larger, stronger opponents. Framing is typically done at the collarbone or neck area, but can be used in different ways. Escaping the Hips One of the most important movement skills students will learn is how to escape their hips. This means moving one’s hips in relation to the opponent’s weight and grips. By escaping the hips we can remove pressure, create space and opportunities to escape. Getting to the Knees Another important skill that requires practice to develop is the ability to get to one’s knees. This is most often required at times when your opponent has you flat on your back, and is often combined with bridging and escaping the hips to create the necessary space. Because this tactic often involves twisting of the torso while under stress, it is important to get a lot of repetition in order to let the body adapt. Sprawling Not only used as a counter to takedowns, this tactic is also used when in a top control position, moving around your opponent. To keep from having the feet or legs grabbed, we learn to put the chest, forehead or shoulder down on the opponent, lifting the hips and the knees to move on the toes.

Grappling Program - Student Notes - 9

Position Guidelines Brazilian Jiujitsu has 7 primary positions, and many other variations and minor transitional positions. Primary positions include: 1. Mount 2. Cross-Body 3. Brazilian Scarf-hold 4. Knee-on Stomach 5. North-South 6. Back 7. Guard Initial stages of training will deal witth learning the key factors for each position, not only how to control your opponent in each, but also how to defend against each and escape. When a student has a thorough grasp of each position, can transition between them smoothly, and escape them confidently, they will be ready to begin learning submission techniques. The following pages contain guidelines for each of the major positions used in Brazilian Jiujitsu. Many of these positions are also common to Judo, Wrestling, Pankration, Shooto and Combat Submission Wrestling. Every system will have different names for these positions, whether in Japanese, Portuguese, or some English vernacular. In addition to the names and points of control for each positions, these guidelines include a list of the primary attacks used in each position, active countermeasures for each, and options for escape. Although this is by no means a complete list, it is a good start and will serve as a study guide for later training. As classes progress, we will hand out more guidelines specific to each area we cover. As students develop a better understanding of the art, these lists will become more useful. We recommend that students take notes during classes and refer to these lists later for review.

Grappling Program - Student Notes

Mount Position Position of Advantage Also known as:

Tate Shiho Gatame, Vertical Four Corner Hold, Saddled

Inferior:

Mounted, In the Mount

Variations:

High Mount, Low Mount, Kneeling Mount, S-Mount, Leg Control Mount

Points of Control Basic Mount:

Keep your feet in tight at opponent’s seat Your knees control the opponent’s hips Keep your weight on their breathing, not the bones of their hips Arms out wide (superman), maintain a low base Focus is to exhaust your opponent with your weight and the security of the position

High Mount:

Knees in opponent’s armpits, opponent’s arms over their head or out at sides Upright posture, heavy weight on chest Single grip at collar Focus is to prepare for a choking attack, removing the arms as an obstacle Also removes likelihood of a knee-elbow escape

Kneeling

Option: Hips can move out to side, one leg up, foot in the armpit 45 degree angle to opponent’s body, single collar grip

Low Mount:

Hips low, press forward into their breathing Low posture, Arms out wide for base Feet Entangled (Vines) or legs crossed behind Focus is to prevent an Upa escape, Bridging escape or uplifting resistance

Kneeling:

Opponent is typically on or moving to their side One leg up, one knee down, Foot and knee hug the body Upright posture, Single grip, typically an underhook or collar grip Focus is to transition into an armbar or to take the back as opponent turns

S-Mount:

Sitting on chest or torso One leg high and bent under the head Opposite leg bent, knee to the floor under armpit Focus is to isolate the head and arm for an armlock or triangle choke, also striking

Mount Position, Continued

Leg Control:

Sitting on chest or torso, facing the feet Both legs gathered at the knees Upright posture, feet on floor, weight on solar plexus Focus is to control the hips, bring crushing pressure to bear and to set up leg attacks

Primary Attacks

Straight Armlocks Bent Armlocks Lapel and Sleeve Chokes Pressure to turn opponent, offers Back

Active Counter Measures

Keep the lapel of your Gi tightly overlapped and close to your neck, no room for purchase Elbows in tight on body, one hand across throat, protecting against a lapel grip Other hand pressing in at hips, try to get your elbow positioned above their knee One leg up, one leg flat against the ground, remove their hooks Cheat your body to the side of straight leg to protect your breathing

Escape Options Novice:

Upa Escape Elbow-Knee Escape Arm Bind Variation

Intermediate:

Qtr Guard/Foot Escape Wrestler’s Escape Bench Press/Hydraulic Escape

Advanced:

Skin the Cat/Backdoor Escape Foot in Belt Reversal Bridging

Grappling Program - Student Notes

Cross-Body Position Position of Advantage Also known as:

Yoko Shiho Gatame, Side Four Corner Hold, 100 kilos, X-Body, Side Mount

Inferior:

Cross Body, Inferior

Variations:

Double Under (Mune Gatame), Over/Under, Under/Over, Double Over

Points of Control Double Under

Top hand grips collar from under head, turn knuckles down to tighten grip Bottom arm blocks the hips, grabbing the far pant leg from under the close leg Torso is chest to chest, ideally with the chin on the centerline Body is very low, top leg out straight, bottom leg knee bent and flat Focus is to let opponent exhaust themself while controlling their hips and shoulders Advanced: hold opponent’s far wrist with your bottom arm from under their back

Over/Under

Also referred to as “Sauer-style Cross Body” Top arm is over the face, elbow to the floor, biceps of Top Arm blocks the shoulder Top hand grips for side of Gi or belt from under the arm Top Knee is bent, touching top elbow from under the opponent’s shoulder Ideally the arm and head are gathered on the thigh, arm out straight Bottom arm blocks the hips, grabbing the far pant leg from under the close leg Bottom Leg is out straight, hips low Focus is to control the opponent with a tight grip, in preparation for a transition

Under/Over

Top arm reaches under the head, across the back, under the shoulder blade Bottom Arm reaches across body to clasp Top Hand at shoulder blade Head is kept low and close to the floor, with shoulder pressure to opponent’s face Top leg is out straight, hips low Bottom leg is bent, knee against body, though it may be placed on stomach or hips This type is most often used to control opponent when they clasp hands around you

Double Over

Top arm is over the face, elbow to the floor, biceps of Top Arm blocks the shoulder Top hand grips for side of Gi or belt from under the arm Top Knee is bent, touching top elbow from under the opponent’s shoulder Bottom Arm reaches across body to gather and control the hips Bottom leg is bent, knee against body, though it may be placed on stomach or hips The least secure type of Cross-Body, sometimes used to attack the far arm

Cross-Body Position, Continued

Notes:

Without a Gi, the close leg can be hooked instead of the pantleg The arm can also be posted on the floor with no grip Greater control is offered if the foot of the Close Leg is off the floor

Primary Attacks

Straight Armlocks Bent Armlocks Lapel Chokes Transition to Mount, Knee-on Stomach or Kesa Gatame, etc.

Active Counter Measures

Far Arm - reach through opponent’s armpit, underhook, if possible, hook their triceps Far Arm - if underhook is unavailable, cross-grip at the opponent’s lapel under chin to drive them back Far Leg - Foot flat on floor, knee bent, turn hips towards the opponent Close Arm - Arm is bent and in tight, post hand at hip, elbow at opposite hip, inside opponent’s knee. Close Leg - Flat on floor, straight, with side of knee down

Escape Options Double Under:

Escape hips, turn towards opponent, get to knees Insert foot and Re-Guard Elbow Roll

Over/Under:

Stiff-arm Roll Foot insert and Re-Guard Bridge, get to knees and take the Back (scramble over) Bridge, get to knees, thread the needle (knee pull from under)

Under/Over:

Elbow Roll Swing-swing Escape to Re-Guard

Double Over:

Re-Guard

Grappling Program - Student Notes

North-South Position Position of Advantage Also known as:

Kami Shiho Gatame, Top Four Corner Hold, I-Position

Inferior:

North-South, Inferior

Variations:

Double Under, Over/Under, Under/Over, Double Over, High Tripod Angled I-Position (Kuzure Kami Shiho Gatame)

Points of Control Double Under *

Both arms grip at side of Gi or belt from under the shoulders Elbows on the floor, close to the head

Over/Under *

One arm grips at side of Gi or belt from under the shoulder Other arm grips at belt or hips from over the arm, elbow in armpit Elbows on the floor, close to the body and head

Double Over *

Both arms grip at belt or hips from over the arms, elbows in armpits Elbows on the floor, close to the body

High Tripod

Any of the above grips Shoulder or forehead drives into sternum or solar plexus to bring weight to bear Legs are out straight, hips high, knees off the floor Hands can post at hips, armpits, elbows, shoulders, this is a floating position

Angled I-Position *

Under/Over Grip (close arm overhooks opponent’s arm) Body is at a 45 - 90 degree angle to opponent’s body Opponent’s close arm is trapped under your bottom arm Advanced: hold opponent’s far wrist with your bottom arm from under their back

Notes:

With the exception of the High Tripod, the opponent’s head will be to one side Chest Pressure will keep the opponent pinned down As the opponent moves their hips, you may sit through to avoid their legs

Straight Armlocks Bent Armlocks Collar and Sleeve Chokes Transition to Back, Cross-Body, Knee-on Shoulder, etc.

Primary Attacks

North-South Position, Continued

Post hands at the opponent’s hips to keep their pressure off, lock out elbows Post at shoulders if hips are unavailable Feet in close, knees bent, ready to bridge When possible, escape out from under their direct pressure Wait for an opportunity to roll your opponent as they move

Active Counter Measures

Escape Options Double Under *

Bridge, get to knees Wrestler’s Escape

Over/Under *

Bridge and roll Skin the Cat/Swing-Swing Escape, Re-Guard Elbow Lift with foot insert, Roll Ezekial Choke Straight Armlock

Double Over *

Knees in Shoulders Escape Escape the hips, Skin the Cat, take Back Elbow Lift with foot insert, Roll Ezekial Choke

High Tripod

Push the head and escape the hips Knees in Shoulders Escape

Angled I-Position

Bridge, Swing-Swing Escape Bridge, get to knees * Note: In the North-South Position, because body alignment is reversed, to clarify: Under = in the opponent’s armpits

Over = above the opponent’s shoulders

Grappling Program - Student Notes

Knee-on Position Position of Advantage Also known as:

Hiza Gatame, Knee Mount, Outrigger

Inferior:

Knelt-on

Variations:

Knee-on Stomach, Knee-on Shoulder

Points of Control Knee-on Stomach

Knee is well past centerline, the shin rides opponent’s body Bottom foot is tight to the body, above the belt Placement of the knee is ideally above the hip bones and directly on the abdomen Top foot is placed at a distance that would allow the knee to drop to the face Top leg is up, foot on the floor Top hand secures a cross-grip at the lapel Upright posture to drive pressure downward

Knee-on Shoulder

Opposite leg on shoulder, knee on sternum, foot close to shoulder, other leg straight Outside of down knee is next to the face Hands post at close knee and opposite shoulder

Primary Attacks Knee-on Stomach

Straight Armlocks Biceps Cutter Kneebar Transition to Mount, Cross-Body Transition to Knee-on Shoulder, Knee-on Stomach (opposite side) Spinning Transition to S-Mount

Active Counter Measures Knee-on Stomach

Hands on opponent’s knees, pressing outward pressure Elbows in tight at your sides Close Leg - Flat on floor, knee to side Far Leg - Foot flat, knee bent, ready to bridge When possible, press knee lower into your hips to remove pressure on breathing When possible, turn hips towards opponent, cheat to side to remove pressure

Knee-on Shoulder

Hand on side of knee to protect face Feet in tight, ready to lift and move hips

Knee-on Position, Continued

Escape Options Knee-on Stomach

Bridge and escape the hips, insert foot and Re-Guard Bridge and escape the hips, get to knees and drive Upa and wrap to Half-Guard Knee under sweep Gather the foot sweep Split the knees Bowl over Turn away, Bridge & Elbow Escape (shallow knee)

Knee-on Shoulder

Bridge and escape the hips

Grappling Program - Student Notes

Kesa Gatame Position Position of Advantage Also known as:

Hon Kesa Gatame, Scarf-Hold Position, Headlock Position

Inferior:

Kesa Gatame, Inferior

Variations:

Kuzure Kesa Gatame (Modified/Brazilian Scarf-Hold) Back Scarf-Hold (Ura Kesa Gatame)

Points of Control Kesa Gatame

Seated with hips in armpit of opponent, facing headside Top knee under head (under shoulder if possible) Overhook opponent’s close arm, controlling the elbow Top arm - tight under opponent’s head, with hand cupping crook of knee of top leg Bottom leg - foot flat on floor, knee bent, ready to lift hips & bring pressure to bear

Kuz. Kesa Gatame

Seated with hips in armpit of opponent, facing headside Top knee under head (under shoulder if possible) Overhook opponent’s close arm, controlling the elbow Top Arm under opponent’s far arm, cupping shoulder Bottom leg - foot flat on floor, knee bent, ready to lift hips & bring pressure to bear

Ura Kesa Gatame

Seated with hips against neck of opponent, facing headside Close Arm overhooks opposite armpit and shoulder, fig. 4 grip on opponent’s wrist Close leg - knee under head (under shoulder if possible) Far leg - foot flat on floor, knee bent, ready to lift hips & bring pressure to bear

Primary Attacks Kesa Gatame

Kata Gatame (Arm-Shoulder Triangle) Straight Armlocks Bent Armlocks

Kuz. Kesa Gatame

Straight Armlock Transition to Cross-Body, North-South, etc.

Ura Kesa Gatame

Bent Armlock Arm-Shoulder Triangle Transition to North-South, Back, etc.

Kesa Gatame Position, Continued

Active Counter Measures Kesa Gatame

Turn hips and shoulders to face the opponent Bring your close elbow to the ground Attempt to bring hips close to opponent’s Far arm can be used to cross grip at the lapel and drive opponent backward

Kuz. Kesa Gatame

Turn hips and shoulders to face the opponent Bring your close elbow to the ground Attempt to bring hips close to opponent’s Far arm can be used to cross grip at the lapel and drive opponent backward

Ura Kesa Gatame

Place trapped palm on top of head Turn hips towards opponent

Escape Options Kesa Gatame

Walk hips away, Sit-up Reversal Walk hips closer, Leg-over Reversal Walk hips closer, Roll-over Sweep Free close arm, get to knees, Armlock Reversal Head Leg-Scissors Reversal Twister Reversal

Kuz. Kesa Gatame

Walk hips away, Sit-up Reversal Walk hips closer, Leg-over Reversal Head Leg-Scissors Reversal

Ura Kesa Gatame

Turn towards, get to knees Turn away, get to knees

Grappling Program - Student Notes

Reverse Kesa Gatame Position Position of Advantage Also known as:

Ushiro Kesa Gatame, Rear Scarf-Hold Position, Reverse Headlock Position

Inferior:

Reverse Kesa Gatame, Inferior

Variations:

Arm across stomach (transition from North-South)

Points of Control Rev. Kesa Gatame

Seated with hips in armpit of opponent, facing footside Opponent’s close arm behind your hips Top arm - across opponent’s face, elbow to floor, biceps block in the shoulder Top arm - grip side of Gi or belt from under opponent’s far arm Top leg - foot flat on floor, knee bent, ready to lift hips & bring pressure to bear Bottom arm - fold grip at opponent’s knee, pulling leg against shin Bottom leg - knee or shin across opponent’s thigh, pressing hips away

Primary Attacks Rev. Kesa Gatame

Transition to Mount, Cross-Body, etc. Twister Attack Kneebar

Active Counter Measures Rev. Kesa Gatame

Immediately bring close leg flat to the floor, preempt their grip at knee if possible Turn hips towards the opponent Far arm - press opponent’s knee downward off of your hips, or reach around waist

Escape Options Rev. Kesa Gatame

Leg-Under Sweep Bridging Reversal Preempt transition by reclaiming Half-Guard

Grappling Program - Student Notes

Kata Gatame Position Position of Advantage Also known as:

Arm-Shoulder Triangle

Inferior:

Kata Gatame, Inferior

Variations:

Ushiro Kata Gatame (Reverse Arm-Shoulder Triangle)

Points of Control Kata Gatame

Close arm around head, clasps biceps of Far arm Opponent’s head and arm are included in the grip, elbow is tight to opponent’s body Body is flat, legs wide, parallel to opponent

Ushiro Kata Gatame

Close arm around head, clasps biceps of Far arm Opponent’s head and arm are included in the grip, elbow is tight to opponent’s body Body is flat, legs wide, parallel to opponent, in opposite direction (North-South)

Kata Gatame Jime (Arm-Triangle Choke)

Press your elbow away from your head with your free arm

Hook the foot, Backdoor Escape Reclaim Half-Guard

Primary Attacks

Active Counter Measures

Escape Options

Grappling Program - Student Notes

Foot Control Position Position of Advantage Also known as:

Leg lock position, Achilles Wars

The Foot Control position is a position of equal or no advantage, where opponents sit facing each other, typically one leg over the other, both vying for control over the other’s leg. Opponents will typically be seated or on their sides, though one face up and one face down is also possible.

Toe Holds, Calf and Ankle locks Leg Locks, Kneebar, Thigh Rend, Hip Locks Transition to Back Control, Mount, Guard, Cross-Body, etc.

Seize the initiative in terms of posture and grip placement Protect your heels from being exposed Always extend the leg to reduce the pressure of ankle locks, never bend the leg

See Primary Attacks

Primary Attacks

Active Counter Measures

Escape Options

Grappling Program - Student Notes

Back Control Position Position of Advantage Also known as:

Ura Gatame, Taking the Back

Inferior:

Turtled, Back Controlled

Variations:

Seated Back Control, Supine Back Control, Crucifix (La Crucifixa)

Points of Control Supine Back Control Both hands grip collar from under opponent’s arms, pull tight to control shoulders Feet are wrapped around waist of opponent, insteps against thighs, legs uncrossed Opponent’s hips are kept low relative to your own, seat on the floor if possible Option: Leg triangle around waist of opponent, hide extended foot underneath Seated Back Control

Arms clasped (Gable grip), over one shoulder and under the other arm of opponent On side reaching over, your leg hooks over opponent’s leg, instep against thigh On side reaching under, your leg hooks under opponent’s leg at the knee or calf

Crucifix

Although largely a set up for a submission, this is also an effective hold-down You are lying face up, under you upponent, your body is perpendicular to theirs Legs are crossed around opponent’s far arm, keeping it stretched out Your bottom arm is used to hook the opponent’s close arm, keeping it stretched Your top arm attacks their collar Your body turns towards the opponent, to keep slight pressure on opponent’s neck

Primary Attacks Supine Back Control Rear Naked Choke Sleeve and Collar Chokes Straight and Bent Armlocks Reverse Triangle Choke Twister Attack Seated Back Control Rear Naked Choke Sleeve and Collar Chokes Straight and Bent Armlocks Reverse Triangle Choke Transition to Mount, North-South

Back Control Position, Continued

Crucifix

Collar Chokes Reverse Triangle Chokes Straight and Bent Armlocks Transition to Back Control, North-South Position

Active Counter Measures Supine Back Control Collar overlapped and tight at breast, arms crossed at collar Back rounded, elbows in tight, and chin tucked to seal off potential grips One hand can press at knee of opponent Bridge up to put your head on the ground above the opponent’s Seated Back Control Collar overlapped and tight at breast, arms crossed at collar Back rounded, elbows in tight, and chin tucked to seal off potential grips Attempt to cheat hips over opponent’s leg Crucifix

Clasp hands with a Gable Grip, or grips at collar to protect neck and arms Move body to a more parallel position relative to your opponent Bring your head to the floor next to the opponent

Escape Options Supine Back Control Hip-over leg Escape Bridge and Roll Low Scoot, Kick & Turn Escape Seated Back Control Spin-out Escape Wrestler’s Escape Crucifix

Backward Shoulder Roll Escape

Grappling Program - Student Notes

Top Control Position Position of Advantage Also known as:

Ura Gatame, Ushiro Ura Gatame, Taking the Back, Back Mount

Inferior:

Turtled

Variations:

Top Control, Kneeling Top Control, Reverse Top Control

Points of Control Kneeling Top Control

Both knees down, hips low over heels Rear Leg - kneeling over opponent’s close calf, toes out, knee inside crook of leg Bottom arm - grip at collar from under opponent’s far arm Top arm - grip at collar from under opponent’s close arm, at the belt or at the wrist

Top Control

Both legs entangle opponent’s legs (hooks in), ankles are not crossed One arm grips collar from under opponent’s arm Other arm reaches for cross-lapel grip from over shoulder Hips are driven in to flatten opponent, arms are ready to post for balance

Rev. Top Control

Chest is down on back of opponent’s neck and shoulders, your chin is mid-back Over/Under grips at collar, one hand can also cup the elbow/triceps of opponent Legs are straight, knees off the floor to drive bodyweight forward

Primary Attacks Kneeling Top Control Transition to Back Mount, Back Control Wing Sweep Twister Attack, Calf and Foot locks Clock Choke, Sleeve and Collar Chokes Straight Armlock Top Control

Transition to Back Control Rear Naked Choke, Sleeve and Collar Chokes, Reverse Triangle Choke Straight Armlock

Rev. Top Control

Transition to Kneeling Top Control, Top Control, Back Control Clock Choke, Reverse Triangle Choke Reverse Head-Arm Triangle Straight Armlock

Top Control Position, Continued

Active Counter Measures Kneeling Top Control

Attempt to free trapped ankle, place foot between opponent’s knees Keep head low, elbows in tight at sides, hands protect collar and throat Looking at opponent from underneath/between legs Wait for opportunity to trap elbow and sleeve of opponent’s arm as they reach over

Reverse Top Control

Head low, elbows flat, one arm may reach back to trap opponent’s elbow Attempt to bring opponent’s knee to the ground, in tight

Top Control

Head low, elbows flat, hips low on heels, toes flat Attempt to remove opponent’s legs (remove hooks) Hands protect collar and throat

Escape Options Kneeling Top Control

Helicopter Re-Guard Rolling Kneebar Attack Arm Drag Reversal

Reverse Top Control

Wrestler’s Escape Cinch the waist, take the Back Cinch the leg, Knee Pull Reversal Arm Drag Reversal Forward Roll to Re-Guard Flatten, sit backward to Re-Guard

Top Control Prone Flat

See Turtle Position - Reversal Opportunities, below

Low Turtle High Turtle

Grappling Program - Student Notes

Turtle Position While the Turtle position is not a position of advantage, it presents the defender numerous opportunities to reverse positions with an opponent who is attacking the defender’s back. Any time a back attack is defended by turning face down, the turtle is involved. Also known as:

Turtle Guard

Variations:

Prone Flat Turtle Low Turtle High Turtle

Reversal Opportunities from the Turtle Position Prone Flat Turtle

Knee up, Sit thru, get to knees

Low Turtle

Arm Drag Sweep Wrestler’s Escape, take the Back Backdoor Escape

High Turtle

Head Drag Sweep Foot Drag Reversal

Active Counter Measures in attacking the Turtle Position Prone Flat Turtle

Knees outside of opponent’s legs, toes inside (shin/instep hook) Arms ready to post out to sides, follow the thumb for a grip at the throat Hips low and flat to bring weight to bear

Low Turtle

See Top Control - Control Points, above

High Turtle

Close leg - bent knee, deep hook on opponent’s leg with foot Far leg - straight leg, hook opponent’s other leg with foot Far arm - grip at collar from under opponent’s arm Close arm - post at floor above opponent’s head Advanced: Body Triangle

Turtle Position, Continued

Counter-Turtle Options Prone Flat Turtle

Banana Split Foot and Calf locks

Low Turtle

Quarter Nelson Turnover Half Nelson Turnover Knee Pull Reversal Wing Sweep Rolling Back Control Straight Armbars Clock Choke, Sleeve and Lapel Chokes Twister, Foot and Calf locks

High Turtle

Breakdown arms to flatten Spread Base Straight Armbar

Grappling Program - Student Notes

Guard Position Position of Advantage Also known as:

Do Jime (Closed Guard, Trunk Strangle), Do Osae Choza, Ashi Garami (Open Guard, Half-Guard)

Inferior:

In the Guard

Variations:

Closed Guard Half-Guard High Guard Mission Control Butterfly Guard Octopus Guard

Basic Open Guard Quarter Guard Jello/De la Riva Guard Spider Guard V-Guard

Advanced Open Guard Active Guard Rubber Guard Super Guard X-Guard Lock Down

In your practice, you will find it useful to understand the categories of Guard, as there are many variations. Each is an adaptation to a set of circumstances, most typically experienced in a Brazilian Jiujitsu, Vale Tudo or Mixed Martial Arts competition. The art is constantly evolving, not only in technique and emphasis, but also in training methods. The following are general categories, technically there will be some overlap. 1st Category - Closed Guard Variations Closed Guard

3rd Category - Open Guard Variations Basic Open Guard

Octopus Guard

Advanced Open Guard

Active Guard

Jello/De la Riva Guard

High Guard

Spider Guard V-Guard

2nd Category - Half Guard Variations Half-Guard

4th Category - Exotic Guard Variations Rubber Guard

Lock Down

Mission Control

Quarter Guard

Super Guard

Butterfly Guard

Turtle Position *

X-Guard * While not actually a form of Guard, nor a position of advantage, the Turtle position is often takes a similarly defensive role and deserves to be included.

Guard Position, Continued

Posture in the Guard A detailed study of the Guard position represents up to two thirds of the training in Brazilian Jiujitsu. Students will be working to keep, work out of or escape the Guard. Studying the Guard position and its many variations will teach students about base, balance, leverage, grip strategy, timing, positioning, control and combination strategy. This knowledge will later be important for throws and in the top game. Below are a list of the primary types of Guard positions. Although many are advanced, often momentary positions, the descriptions below define the major variations.

Active Counter Measures (General Posture in the Guard) Low Posture

Head low and to side of centerline, tight against opponent’s body, chin tucked Both hands control opponent’s biceps, elbows in tight against the body Hips kept low, knees control opponent’s hips

High Posture

Hands grip belt or pants at waist, elbows locked, pushing opponent’s hips away Knees wide, hips low to ground, toes flat on floor Back upright, chin up

One Knee Up

Close Leg - foot centered or just to one side of the tailbone, knee bent, straight up Far Leg - knee to the side, toes flat Both hands grip belt or pants at hips, holding opponent against shin Close Arm - grip crosses forearm against shin to isolate opponent’s leg

Standing (In Closed Guard)

Back straight, both hands grip at belt or pants, elbows locked Knees inward, slightly bent, one knee forward and centered on tailbone

Standing (In Open Guard)

Grips - Knees, pant leg/cuff, cupping heel, or any combination of these Close Leg - foot centered behind tailbone (buried), knee slightly bent Close Leg - remove opponent’s grip at heel by circling or kicking out Far Leg - foot back out of opponent’s reach

Standing (Leg Entangled)

Close hand grips entangled leg at knee, far hand grips entangling foot Close leg - knee slightly bent and forward for balance Far leg - out to opposite side, well away from opponent’s grip

Guard Position, Continied

Passing the Guard Passing the Guard is a way of referring to the method one uses to get out of the control of their opponent’s legs and position. Passing can be done from the knees or from a standing position. Generally speaking, all Guard Passes work in one of several ways: 1. Under Passes

This involves going under the opponent’s legs, or taking their leg over your head.

2. Through Passes

This involves escaping through the middle of the opponent’s legs, often pinning one to the floor.

3. Outside Passes

This often involves standing passes, gathering the knees or feet of your opponent to remove their legs by moving outside their reach.

4. Exotic Passes

This often includes some type of spin, cartwheel, roll, or gambit move that is designed to work due to its unorthodox nature and surprise.

Guidelines for Passing the Opponent’s Guard: If your elbow passes opponent’s centerline, you are at risk of the opponent taking your back. If your elbow passes their thigh to either side of the body, you are at risk of an armlock. If the opponent can take an angle to your body, you are at risk of a number of attacks. If they control your head, neck or collar, you are at risk of being choked or swept. If your sleeves are being controlled it will be difficult to effect a Pass. If they can lift you, with feet at the hips, you are at risk of being swept. If they can make you heavy on any one point in your base, you are at risk of being swept. If they can strongly move any point in your base, affecting your center of gravity, you can be swept. If they can control your feet when you are standing, you are likely to be swept. If they can stretch or split your base, you are at risk of being swept. If you allow them to get to their knees or feet, they likely will. If your opponent is undressing you, taking a part of your Gi around your back or arm, you are at risk.

Guard Position, Continued

Rules for “Pass the Guard” “Pass the Guard” is the first controlled sparring drill that students will learn. The goal of this game is to either pass the opponent’s Guard, or sweep your opponent if you are holding Guard. The focus of this game is movement, so submissions are not allowed. To reinforce the correct priorities, the following rules apply: 1. If a Passer is swept, or has their back threatened/taken, they are out. 2. When you are out, you go to the back of the line, the next person in line steps in. 3. If a Passer passes the opponent’s Guard and secures a position of control, they take their place and Hold Guard. 4. If the opponent is about to be passed and roll over to the Turtle Position, the game is on until the passer either turns them over and secures a position of control, or sinks both hooks in, either face up or face down. 5. Generally, if the Passer’s back touches the floor, they are out, unless they have at least one hook in (attacking the back).

Pass the Guard is a vital part of training, as it educates students on awareness of base, grip control, movement, alignment and different strategies for sweeping and passing. Later this knowledge will be important in a freesparring environment.

Types of Guard The following pages list descriptions for the different types of Guard typically used in Brazilian Jiujitsu. This includes the points of control, primary attacks, active countermeasures and a list of passes specific to each type of Guard.

Guard Position, Continued

Closed Guard Position Position of Advantage Variations:

Octopus Guard

Points of Control Closed Guard

Legs crossed high around opponent, ankles locked, hips above opponent’s knees Loose Grips at collar, sleeve, backfold, belt, elbow and wrist, biceps, etc. Tight Grips - Double Underhooks or Over/Under with Gable grip to control head Focus is to immobilize opponent’s ability to pass or strike

Octopus Guard

Variation made famous by Eduardo Telles, who focused on this and Turtle Position Legs crossed around opponent, ankles locked Pass one arm across your body and reach behind the opponent Post up on opposite arm to sitting position, keeping legs locked Reaching arm uses back of arm/elbow to hold opponent’s shoulders back

Primary Attacks Hip Heist Sweep Scissors Sweep Wing Sweep Crossed Ankles Sweep (standing, knees close) Knee Push Sweep Beach Ball/Flower Sweep

Collar and Sleeve Chokes Guillotine Choke Triangle Choke Straight Armlocks, Bent Armlocks Omo Plata, Backward roll, Star Sweep Transition to Back Control

See Active Countermeasures - General Posture in the Guard, above

Active Countermeasures

Passing Options Low Knee-wedge Standing Knee-wedge Elbow in Hip (Scissors Counter) Arm Thru Legs Pass (Scissors Counter)

Walk-over Reversal Can-Opener Stack & Roll Reversal Arm Behind the Back Pass

Guard Position, Continued

Butterfly Guard Position Points of Control

Head lower than opponent’s, body posture sitting forward Feet inside opponent’s knees Both hands Underhook opponent with grips at the belt or backfold Load opponent against your shins

Primary Attacks Side Sweep, Collapse the Base Back Sweep, Remove the Base Shin on Hip, Hip Heist Sweep Stand and Pull Sweep (kneeling) Gather Thigh, Rolling Sweep Knee-split Back Sweep (standing) Seat them Sweep (belt grip, back sweep)

Straight and Bent Armlocks Sleeve and Collar Chokes Transition to Back Control

Active Counter Measures

Pummel in for Underhooks if possible, to weaken opponent’s grip and leverage Press head away with overlapped hands on forehead or cross face grip at lapel Keep head lower than opponent’s if possible Keep your hips low, do not get arched or stretched away from your knees If opponent’s head is lower, gather neck and shoulders with downward pressure to counter their leverage

Passing Options Outside Spinning Pass Pin the feet, Outside Pass Leapfrog/Knee Slide Pass Crossed Ankles, Inchworm Pass Rolling Pass

Gather Legs Pass Trap the foot Pass Arm and Leg Standing Pass Star Pass

Guard Position, Continued

Half-Guard Position Position of Advantage Variations:

Traditional, Lock Down (Bravo Half-Guard)

Points of Control Traditional

Both arms pummel in to attain an Underhook grip at the backfold or belt Close arm with no Underhook can post at the hip from over the arm Far arm with no Underhook can use a cross face grip at the lapel/shoulder Inside leg entangles opponent’s leg, with the foot in the crook of the other knee Hips are turned to face opponent Option: Head can go under opponent’s far arm, hand Underhooks that side leg Option: instead of entangling the leg, both feet can trap the opponent’s ankle

Lock Down

Both arms attain an Underhook, clasping with a Gable grip Outside leg hooks opponent’s calf and the knee of your own inside leg Inside leg hooks opponent’s toes, upward pressure is used to bend their leg Body is turned towards the opponent

Primary Attacks

Transition to Top Control Helicopter Sweep Hip Heist Sweep Get to knees, Wing Sweep Knee Push Sweep Thru the Legs, Back Sweep Elbow on Back Escape (they turn towards feet)

Re-Guarding to Butterfly, Active, High Guards Bent Armlocks Sleeve Chokes Calf locks Tail between legs Sweep Gather the foot, Rolling Sweep

Active Counter Measures

Prevent opponent from entangling foot (Lock Down) Pummel in to maintain double Underhooks With no Underhook, use your top arm to inchworm under opponent’s head, cross face If foot is not entangled, raise the inside knee to vertical to make it difficult to hold Keep the opponent flat on their back

Passing Options Standing Calf lock (foot entangled) Underhook Knee, Ballerina Pass Reverse Kesa, Knee Push Pass Foot Push Pass Crossed Ankles, Kneebar Pass (prone) Knee thru to Mount

Anaconda Choke Step-over Kneebar Step-over Pass Step-over Kimura V-Armlock

Guard Position, Continued

Quarter-Guard Position The Quarter Guard is essentially a very low Half-Guard The opponent has nearly succeeded in freeing their entangled leg Your legs are crossed to wrap around the opponent’s calf or ankle Both arms are around the opponent’s waist, clasping tight Your hips are turned towards the opponent

Reclaim Half-Guard Taking the Back Getting to the Knees

Keep the opponent flat on their back Pummel in to remove their clasp at your waist Position your hips to Mount the opponent

Transition to Mount Step-over Knee Bar Sleeve Choke

Points of Control

Primary Attacks

Active Counter Measures

Passing Options

Guard Position, Continued

Basic Open Guard Position Points of Control

Close hand - hooking grip at opponent’s sleeve Far hand - 5 finger grip at opponent’s collar Far leg - foot on opponent’s biceps Close leg - foot on opponent’s hip Foot control positions: hips, hooking knee or ankle with instep, biceps of arm, shoulder, hooking triceps

Primary Attacks Foot on Biceps Sweep Leg Lift Sweep Sickle Sweep Back Sweep Backward roll, Star Sweep

Triangle Choke Straight Armlock Omo Plata Kimura Transition to Closed Guard

Active Counter Measures

Close leg forward and slightly bent, frame knee against opponent’s inner thigh (foot on your hip) Far leg back, legs spread for lower center of gravity, keep weight back to avoid being lifted Bring elbow close to the body (foot on biceps), attempt to secure a grip on opponent’s pant leg at the knee

Passing Options Tore Lindo Pass Stepping-thru Pass Stepping-over Pass Hip-in and Gather Pass Spinning, Back Step Pass

Gather Ankles & Shuck Pass Gather Ankles & Drop Pass Knee-thru Pass Smash Pass

Guard Position, Continued

Advanced Open Guard Position Points of Control

Similar to Basic Open Guard, with a transition of grips Both hands form a supported pistol grip at the opponent’s sleeve, matching hand is primary grip Far leg - foot on opponent’s biceps Close leg - foot on opponent’s hip Foot control positions: hips, hooking knee or ankle with instep, biceps of arm, shoulder, hooking triceps Hand control positions: Close ankle, collar, single or double grip at sleeve

Primary Attacks Backward roll, Star Sweep (standing) Sickle Sweep (standing) Back Sweep (standing) Sit-up Sweep (standing) Knee Push Sweep (kneeling) Biceps Push Sweep

Straight Armlock Triangle Choke Inverted Kneebar Transition to Closed Guard, etc.

Active Counter Measures

Close leg forward and slightly bent, frame knee against opponent’s inner thigh (foot on your hip) Far leg back, legs spread for lower center of gravity, keep weight back to avoid being lifted Bring elbow close to the body (foot on biceps), attempt to secure a grip on opponent’s pant leg at the knee

Tore Lindo Pass Stepping-thru Pass Stepping-over Pass Knee thru Pass Hip-in and Gather Pass Smash Pass

Passing Options

Guard Position, Continued

Maintaining the Open Guard The key difference between Closed and Open Guard is that the opponent has many more ways to control you when your legs are not locked. There are many ways to preempt or counter this, using five points of contact (both legs, both arms and your head). Below are a few important guidelines for success in the many Open Guard variations: Rules of Thumb Do not let the opponent control your legs, especially both legs at the same time. Try to secure control over at least one of your opponent’s limbs, stay connected at all times. Adjust your foot pressure from side to side in order to keep your opponent off balance. Do not put your fingers inside the cuff of their pants or sleeves, this is dangerous to your hand. Do not let your ooponent gather both legs together, nor pin them to the floor

If the opponent does this: Pins your knee down and steps back

Counter by doing this: Overhook their pinning hand with your pinned leg, putting your foot into their biceps. Push their arm back to regain control.

They attempt to secure an underhook on one leg

Scoot your hips away, using your hooked leg to catch their knee (with your instep) to counter their ability to lift it over. Circle your leg back in to their hip.

They secure an underhook on one leg in an attempt Turn your body so your free leg is sideways at their to pass it over hips/belly, locking out the leg to keep their hips back. They begin to turn the corner, moving around the outside of your knee

Put your knee in their stomach, swing your free leg over their head and post with a stiff arm at their hips. Work to Re-Guard.

They secure a tight underhook (with your calf on their shoulder)

Lift your hips, turn to your side, passing your free foot under the opponent to the opposite side to control their hips. Work to Re-Guard.

Drags you by your foot

Sit up, grab the back of your thigh wuth both hands and work to remove their grip

Grip your pantleg with your leg on the floor

Clasp both hands around their forearm, pull tight to chest as you kick your foot away to remove the grip

Guard Position, Continued

Jello/De la Riva Guard Position Position of Advantage

Referred to as the Jello Guard by Carlson Gracie, Sr., this position is known for its ability to shake the opponent’s base, offering complex sweeping options. This is a very advanced form of open guard that is similar to the Spider Guard in terms of control. This position was later used successfully in competition by a student of Carlson Gracie, Sr., Ricardo De la Riva.

There are 10 variations on this position, the following points are primary options

Points of Control

Grips options: single or double grip on one or both sleeves, heel of entangled leg, collar, belt, etc. Close leg entangles opponent’s close leg, overhook to entwine instep from outside of leg to inner thigh Free leg options: foot on opposite hip, stomach, heel of far leg, knee of far leg, biceps, shoulder, armpit Free leg can also be used to underhook opponent’s entangled leg, hooking outside the ankle with the instep Opponent’s entangled foot is placed close to tailbone

Primary Attacks Kneeling Scissors Sweep Knee Push Sweep Back Sweep Knee Roll (thru and thru + belt grip) Kick, Overhead Roll (over shoulder grip) Leg Trip (pull entangled leg, face first) Swing Under Sweep (dive for rear leg) Turning Back Sweep (both feet to outside)

Kneebar and Foot locks Taking the Back Triangle Choke Transition to Closed Guard Backward Fall (belt grip) Sit-up Sweep (pull entangled leg, back first) Double Knee Sweep (far knee under close arm)

Active Counter Measures

Pantleg grip at opponent’s knee (the leg controlling your hip) Step back long with your far leg, to reduce opponent’s control of your hips Press entangling foot down lower on your leg If the opponent has your collar move to a kneeling position to reduce their control over your posture

Passing Options Standing Rolling Pass, Take the Back Kneeling Rolling Pass, Thigh Rend Step-over, Sliding Knee-thru Pass

Extract the leg, Kneebar Compress the leg, Toehold

Guard Position, Continued

Spider Guard Position Position of Advantage

In some tournaments, this position has been banned due to its ability to so thoroughly control and frustrate an opponent. Close matches often deal almost entirely with one fighter working to remove their opponent’s control. This can lead to stalling tactics or boring matches, and so is not always allowed.

Points of Control

One or both hands grip the opponent’s sleeves with a hooking grip One or both legs Overhook opponent’s arms, entangling the biceps from the outside, toes up, in armpits Non-entangled leg will control opponent’s hips One hand may take a collar grip (side of non-entangled leg) Another option is to place both feet on the opponent’s biceps while pulling the sleeves against Both shins may also push against one or both arms, with feet on hips

Primary Attacks Transition to Jello/De la Riva Guard, Open Guard Shin Biceps Cutter Sweep (kneeling, lift leg) Foot on Biceps Sweep (overhead, standing) Foot on Biceps Sweep (lateral, kneeling) Shin on Biceps, Trapped Foot Sweep (standing) Double Entangle Spin Sweep (standing arm & leg)

Rolling Triangle/Armlock Biceps Cutter Omo Plata

Active Counter Measures

Keep arms low, elbows in tight at the body to minimize opponent’s control Avoid getting stretched out high over the opponent Crouch low and use knees to bump opponent’s legs off of your biceps (when not entangled) Work to extricate sleeves from opponent’s grip

Same side Sleeve & Leg Pass Pop legs & Gather Pass Spinning Pass

Passing Options

Guard Position, Continued

Active Guard Position Position of Advantage

The Active Guard is one of the first types of Open Guard that students will learn. This position is a transition to the High Guard, Rubber Guard and Mission Control.

Points of Control

One leg hooks opponent’s calf, foot to the floor On that side, the arm controls opponent’s arm at the elbow with a shallow Overhook The other leg hooks the inside of the opponent’s opposite thigh, foot inside their knee That side arm controls the opponent’s arm at the biceps, or holds the opponent’s neck or collar Opponent’s who sit tight on their heels can be pulled forward to create space to hook their ankle

Primary Attacks

Transition to Half-Guard, Closed Guard, Butterfly Guard, High Guard, Rubber Guard, Mission Control Cross-Leg Sweep (foot under opposite arm) Elevator Sweep Knee Push Sweep Omo Plata Triangle Choke

Active Counter Measures

To prevent opponent’s hook, keep your feet in tight and your hips low, toes may be crossed as well Adjust your relative position to angle towards the side of the opponent’s inserted leg Keep your elbows low and in tight at the opponent’s side to prevent a proper Overhook Attempt to pin the opponent’s arm on their chest or stomach, to free your neck from their control

Knee Push, Outside Pass Arm Thru Legs Pass (Scissors Counter) Gather Feet, Outside Pass Gather Feet, Shuck Legs, Outside Pass (standing)

Passing Options

Guard Position, Continued

High Guard Position Points of Control

Close leg is high on opponent’s back, under their arm, across their shoulders, holding opponent down Close arm controls opponent’s elbow with a loose Overhook, isolating the arm against the hip and leg Far leg is placed on the opponent’s hip to control their forward pressure, knee inside of their arm Far hand holds the opponent’s other wrist, controlling that limb with pressure against your shin

Primary Attacks Arm Isolation Attacks Omo Plata Straight Armlock Bent Armlocks Triangle Choke

Transition to Rubber Guard, Spider Guard Beach Ball/Flower Sweep Scissors Sweep Elevator Sweep Knee Push Sweep

Collar and Sleeve Chokes

Active Counter Measures

Remove control of your head, recover an upright posture, posting both arms at the hips, elbows locked Work your hips lower in opponent’s Guard, staying low to the ground Avoid letting your arm get isolated between opponent’s hip, thigh and arm

Knee-thru Pass Smash Pass Knee Push Pass

Passing Options

Guard Position, Continued

V-Guard Position Position of Advantage

The V-Guard is most often employed against standing opponents, with strong forward pressure. The V-Guard is also an transitional part of the Butterfly, High Guard, Rubber Guard, and all Open Guards. The primary benefit of this position is the ability to lift your opponent using leverage and leg strength.

Points of Control

Both feet are placed at the hips to control the forward and lateral movement of the opponent Hand positions can include grips at either or both sleeves, biceps, elbows or collar Opponent is brought high over your body, legs lift by kicking straight up, not out or backward

Primary Attacks

Overhead Roll Sweep (standing, double shoulders grip) Elevator Sweep Elevator Armlock Elevator Triangle Choke

Active Counter Measures

Angle hips by taking a step back, this will reduce the amount of control the opponent has Attempt to remove the opponent’s feet and legs Keep elbows low and close to the sides, avoid getting stretched out

Stepping-over Pass Gather Feet, Shuck Legs, Outside Pass (standing) Post on Feet, Outside Pass (pin feet to floor) Same side Sleeve & Leg Pass

Passing Options

Guard Position, Continued

X-Guard Position Position of Advantage

The X-Guard is a very advanced extension of both the Butterfly Guard and the Half-Guard positions. It offers a tremendous amount of control against a standing opponent, and is most typically utilized when an opponent stands up to pass your Butterfly Guard.

Points of Control

Opponent is standing with a wide base, knees slightly bent Opponent’s ankle is next to head, their leg above your shoulder Your close arm Underhooks the opponent’s thigh Legs are crossed at other leg, far leg hooks opponent’s knee with instep, knee to rear between their legs Close leg hooks opponent’s thigh at the hip, instep high against their thigh Body posture and leg strength will stretch the opponent’s base, making them unstable Option:

Top and bottom legs can be switched, crossed at the ankles and placed at the knee

Scissor Option:

Top foot can be placed at back of knee, knee pointing in direction they face Bottom foot then goes to block the opponent’s instep at the floor, knee to the side

Primary Attacks Transition to Butterfly Guard, Open Guard Back Sweep Forward Sweep Sit-up Sweep

Transition to Foot Control Position Kneebar Foot and Ankle locks

Stay as upright as possible, hands on the floor will make it difficult to counter Press opponent’s foot down off your thigh

Step-over Kneebar Foot circle transition (Back, Half-Guard, Mount)

Active Counter Measures

Passing Options

Guard Position, Continued

Rubber Guard Position Position of Advantage

The Rubber Guard was initially used to great success in competition by Nino Schembri, a Gracie Barra Black belt, and has since been made popular by Eddie Bravo. This is an advanced form of Guard best suited to fighters with long legs, excellent hip and inner thigh flexibility. Those who have difficulty bending their leg in to touch their forehead with their toes may find these positions difficult to secure. Students should take this type of flexibility slowly, as forcing this position too quickly can injure ligaments in the knee. There are many subtle position variations in this series, only the basics are discussed below.

Points of Control Basic Rubber Guard

Close leg over the shoulders of opponent Far arm clasps foot behind opponent’s head Close arm clasps around the knee of your close leg Far leg posts at opponent’s hip

Mission Control

Feet are the same as in Basic Rubber Guard Both hands clasp around foot behind opponent’s head using a Gable grip Close hand is palm down/away, Far hand is palm up/facing towards you

Control Options:

Far hand can clasp shin of close leg palm up on close side of head Close leg can be entangled so the foot goes across the face, toes around Close arm can punch through opponent’s elbow to create a tight Overhook Both hands can clasp (Underhook) the shin of the close leg to compress Far leg can be brought up to the back or to overlap the foot of the close leg Arms can clasp around the close leg, reaching around the thigh, under the knee

Primary Attacks Triangle Choke Shin Choke Collar Bone Compression

Omo Plata (most attacks begin with this technique) Straight and Bent Armlocks

Active Counter Measures

Keep both hands clasped to avoid isolation, try to keep elbows on opponent’s hips, inside of their thighs Keep knees tight on opponent’s hips to avoid lateral movement, keeping a low base Use high forward shoulder pressure once caught Remove opponent’s hands from neck

Pin one leg, Walk-around Pass Hand behind-the-back Pass

Passing Options

Guard Position, Continued

Super Guard Position Position of Advantage

The Super Guard is more of a submission attempt than a control position. Due to the amount of grip strength involved, this technique is a short-term option, a gambit best reserved for novice and unsuspecting opponents. Due to differences in reach or girth, some opponents will make this opportunity impossible. This is best suited for fighters with long arms, good grip and strong legs.

Points of Control

Starting from Closed Guard Both hands clasp around opponent’s neck and shoulders, keeping them low in your guard Both legs crossed high on opponent’s back, focus on wrapping the ribs, keep knees bent slightly Arms transition to reach around your own legs, clasping behind opponent’s back Squeeze to compress the opponent’s ribs

Rib Compression/Body Strangulation Return to Closed Guard

Maintain an upright posture Pummel in to reclaim Underhooks Crossed palms can press at opponent’s chin to reclaim an upright posture

See Closed Guard

Primary Attacks

Active Counter Measures

Passing Options

Guard Position, Continued

Sweeps from the Guard Position A Sweep is any tactic that causes a reversal of position, where the opponent is taken to their back or side. Guard tactics include not only submissions, but a wide range of sweeps. All sweeps fall into one of 4 types of categories. Many times, once a student understands how to visualize and attack the opponent’s base, combinations of these principles will be used. Backsweeps

Any sweep that causes the opponent to fall backwards towards their seat

Side/Lateral Sweeps

Any sweep that causes the opponent to fall towards their side or hip

Forward Sweeps

Any sweep that causes the opponent to fall towards their knees, into a forward roll, or to a prone position

Repositioning

This typically involves taking the back, getting to one’s feet or to one’s knees

Students will better understand sweeping mechanics if they can visualize their opponent’s base, points of support and weight distribution. This, with an understanding of leverage and momentum will lead to an intuitive understanding of how to sweep an opponent. For example, a kneeling opponent, with their feet relatively close and their knees wide apart, will present a triangular base. This means that, depnding on their momentum and weight distribution, you will be able to sweep them towards one of the sides of that triangle, or rotate them around one of the corners. Sweeping Concepts: As students play Pass the Guard and engage in free sparring, they should keep the following concepts in mind: Stretching the Base

Increasing the distance between two or more of the opponent’s points of support

Removing the Base

Taking away an arm or leg that the opponent is or soon will be dependent on for balance

Gathering the Base

Decreasing the distance between two or more of the opponent’s points of support.

Escaping the Base

This involves relative positioning, to move oneself out from under the opponent, changing the relationships of pressure and leverage.

Combined Attacks

At an advanced level, you will use combinations of the above to anticipate and take advantage of the opponent’s resistance.

Basic Throws and Takedowns The Stand-up game is a very important part of Brazilian Jiujitsu. Novice students will begin to work on basic throws that will teach leverage, positioning, Kuzushi (off-balancing methods) and timing. At intermediate and advanced levels, this strategy will also play into free sparring exercises. Ukemi Before learning to throw, we must first learn how to fall safely. Ukemi, or breakfalling is an important skill. Students will work first from a kneeling or squatting position, then a standing position, then with momentum added. When they are competent in these methods, they can begin to train Nage Waza (throwing practice). Basic Ukemi includes: Forward Rolls Backward Rolls Forward Breakfall Side Breakfall Rear Breakfall Falling incorrectly can lead to injuries to the wrists, elbows, shoulders, or head. Students will learn the proper way to slap and align themselves so as to lessen the impact. Hard landings can knock the wind out of a student. An impact to the back of the head can be concussive, for which reason we always tuck the chin and exhale during any fall. All breakfalls are designed to minimize the risk of injury by spreading the force of impact across a wider area of the body. Basic Throws and Takedowns The following throws illustrate basic principles of body mechanics, balance and relative positioning. These throws are also easy to control at slower speeds and are safe to train without a crash mat. Thowing is trained in two ways, the loading and the actual throw. Students will initiall spend a great deal of time loading the throw, to learn the correct grips, momentum and timing. O Goshi

Major Hip Throw/Hip Roll

O Soto Gari

Major Outer Reaping Throw

O Uchi Gari

Major Inner Reaping Throw

Uchimata

Inner Sweeping Throw

Tani Otoshi

Valley Drop

Bacana

Double Leg Takedown

Grappling Program - Student Notes

What comes Next Intermediate level training As beginners develop an understanding of the basics positions and mechanics involved in this system, training will progress to incorporate more complex strategies for escaping, countering and reversing the opponent’s attacks, as well as developing an offense in the form of submissions.. Intermediate students will learn: How to apply a given submission throughout a variety of positions How to identify each of the submissions available in any given position How to frustrate and counter submission attempts How to use the opponent’s attacks to reverse positions Combination attacks that will set up the opponent for a submission Further attribute development for advanced level play Stand-up Positioning and Throwing Strategies and tactics: Rolling Tactics Spinning Tactics Floating Tactics Entangling Tactics Leg Locking Tactics Throwing Tactics Intermediate Throws Intermediate level students will begin to work with Sacrificial Throws, as well as throws and takedowns which require more precise movement and timing. Ko Uchi Gari Ko Soto Gari Makikomi Throws

Tomoe Nage Tawara Gaeshi Sumi Gaeshi

Yoko Otoshi Yoko Wakare Yoko Garuma

Uki Waza Sukui Nage Victory Roll

Single Leg (Baina) Low Single Leg

Grappling Program - Student Notes

Vocabulary Amassa Pao

Portuguese, Brazilian Jiu Jitsu term, thrusting choke, from the mount.

Americana Ashi Gatami

Portuguese, Brazilian Jiu Jitsu term, V-Armlock, sometimes referred to as a Key lock, Figure-4 Bent Armlock. Japanese, Leg lock.

Bacana

Portuguese, Brazilian Jiu Jitsu term, double leg takedown.

Base

Gaeshi

English, A term used in Grappling to denote one’s balance and stability in any given position. Paying attention to one’s base is an essential skill in grappling. English, A grappling term, “Tighter and tighter” - To tighten one’s grip more securely, to close off space, or to close off the opponent’s ability to breath by leaning in with one’s weight. English, The Clinch represents the act of closing from striking or trapping range, to a distance of inches, in such close quarters, takedowns and throwing attacks become primary. This often involves being hip to hip with one’s opponent. Japanese, turning or sending back, turn away, twist, counter.

Gake

Japanese, Hooking action used in some ankle and sacrifice throws.

Gatame

Japanese, Locking or holding.

Guard Gyaku

English, In ground fighting, the fighter is said to have gone to the guard position when they are face up, on their backs, with their legs wrapped around their opponent, who is on top of them (effectively, the Mount position, inverted). Japanese, Reverse or opposite, opposing.

Gyaku Juji Jime

Japanese, Reverse cross strangle.

Hadaka Jime Hajime

Japanese, Bare handed strangle; rear naked choke; in Brazilian Jiu Jitsu, Mata Lion, or Mata Leo. Japanese, Begin. Referee’s command used to start a Martial Arts match.

Harai

Japanese, Sweep or sweeping motion.

Henka Nage Hidari

Japanese, referring to techniques which begin as one technique and are changed by Nage in the course of delivery to become another technique; change-ups. Japanese, Left or left side.

Hiji

Japanese, Elbow.

Hiza

Japanese, Knee.

Cinch Clinch

Vocabulary, Continued

Hiza Gatame

Japanese, Knee-on Position.

Hooks

English, referring to a grip, or way of entangling the legs to control an opponent’s limb. Japanese, see Kesa-Gatame.

Hon Kesa Gatame Index

Jitsu

English, A term describing any point of contact or reference that lends information via kinesthetic awareness and spatial understanding, as to the location of other parts of the opponent’s body, including weapons and targets. This also informs as to conditions present in the opponent’s body, such as the degree of tension in any given part, the state of balance, as well as their weight distribution. Japanese, technique, art, method of fighting. Sometimes spelled “Jutsu.”

Jiujitsuka

Japanese, a Judo “player;” One who practices Jiujitsu.

Ju

Japanese, gentle, gentleness, “giving way.” Sometimes spelled “Jiu.”

Judo Judoka

Japanese, Gentle way. A Japanese art of self-defense and a sport with Olympic recognition. Judo is a method of turning an opponent’s strength and overcoming by skill rather than sheer strength. Japanese, a Judo “player;” One who practices Judo.

Juji Gatame

Japanese, Cross armlock; layout armbar.

Juji Jime

Japanese, Cross strangle, a variety of chokes used in Judo, JiuJitsu and Shooto.

Jutsu

Japanese, see Jitsu.

Kata Gatame

Katame-Waza

Japanese, Arm-shoulder triangle; Single shoulder hold down, similar to Kesa Gatame; also refers to a choke from this position. Japanese, Single shoulder hold down, similar to Kesa-Gatame; also refers to a choke from this position. Japanese, Half cross strangle; one palm up, four fingers grip, one palm down, thumb grip. Also refers to the papercutter choke from the cross body position. Japanese, grappling techniques.

Kesa-Gatame

Japanese, Scarf-hold position, collar hold down, headlock position.

Kimura Kohai

Brazilian Jiu Jitsu jargon, Hammerlock, or Figure-four arm lock with arm held downward, applying pressure to the shoulder joint. Named after the fighter who defeated Helio Gracie with this technique. Japanese, A junior in a school or organization.

Ko Uchi Gari

Japanese, from Judo, minor inner reaping.

Kumite

Japanese, sparring, fighting; a formalized match or sparring session that takes place in the dojo or at a tournament, as opposed to a street fight. Japanese, Modified, changed, altered, variation.

Kata Ha Jime Kata Juji Jime

Kuzure

Kuzure Kesa Gatame Japanese, Brazilian scarf-hold; modified Kesa-Gatame, with the crossing arm under the opponent’s armpit, as opposed to around their neck. Kuzushi Waza Japanese, In Aikido, Judo and Jiujitsu, this term refers to techniques that break an opponent’s balance before executing the throw. Makikome Nage Japanese, front rolling throw. Makikomi denotes a “wrap-around” technique, where the opponent’s arm is wrapped around the body as a lever to pull them into the throw. Mata Leao Portuguese, “Lion Killer” choke, see Hadaka Jime. Migi

Japanese, Right or pretaining to the right side.

Mount

Name-Juji-Jime

English, In ground fighting, the fighter is said to have gained the mounted position when they are on top of their opponent, with their legs around the opponent’s waist. Japanese, a throw (general term). Between two partners (Uke and Nage), Nage is the one who throws the other. A term used in Aikido and Judo. Japanese, Normal cross strangle, both palms down, thumbs in.

Naotte

Japanese, “Return to ready-position.” A command to be at ease or relax.

Ne Waza O

Japanese, from Judo, grappling techniques, specifically those performed from a kneeling,seated, or prone position; groundfighting. Japanese, “Big” or “great.”

Otoshi

Japanese, Drop.

O Goshi

Japanese, from Judo, major hip throw.

O Soto Garai

Japanese, from Judo, major outer reaping throw. (Outside leg takedown)

O Uchi Gari

Japanese, from Judo, major inner reaping throw.

Okuri Eri Jime

Japanese, Sliding collar strangle.

Omote

Japanese, from the front, forward, facing; the obvious, a term used in Aikido and other traditional Japanese Ryu. Opposite of Ura. Japanese, from Judo, hold down techniques.

Nage

Osaekomi Waza Post

Pummelling

English, This refers to a maneuver used in grappling where a part of the body is used as a point of support from which to lift the rest of the body, typically the hand/arm, or the foot. Posting can be done on the floor or on the opponent, in order to keep them pinned down under one’s weight. English, To vy for superior grips, typically around the body or neck.

Ryote Jime

Japanese, Two handed strangle, nutcracker choke.

Sankaku Jime

Japanese, Triangle choke, often referred to as simply Sankaku.

Seoi Nage

Japanese, from Judo, shoulder throw.

Vocabulary, Continued

Shime-Waza

Uchimata

Japanese, from Judo, strangulation techniques, chokes. Sometimes spelled “Jime Waza.” English vernacular, to move the hips out from under an opponent, also known as escaping the hips. English, This is a response to a tackle or shoot, both grappling attacks. As the opponent dives in to encircle the legs or lower torso, the defender’s body shifts the weight forward, on top of the opponent, forcing them face first down to the ground, spreading the legs back away from the opponent’s waist. This prevents the opponent from gaining a secure grip and puts the defender on top of their prone body. English, A technique that results in sudden compliance by the opponent, signified by a tap or a verbal halt to the action (in training) or unconsciousness or cessation of resistance due to injury (in real life), caused by acute pain, dislocation of a joint, fracture of a bone, unconsciousness due to lack of oxygen or blood supply to the brain, or any combination of these or threat thereof. English, Any technique that is used to cause a sudden change in balance in an uncontrolled manner, by attacking the support leg of the opponent. Japanese, From Judo, circle throw. A sacrificial throw involving throwing one’s opponent over oneself moving from standing to a prone position. Japanese, from Judo, inner thigh sweep, a more ballistic throw.

Ude

Japanese, Forearm or arm.

Ude Gatame

Japanese, Straight armlock. Sometimes spelled Ude Garami.

Uke

Japanese, Receiver. The partner upon whom the technique is executed. Between two partners, Uke is the one thrown, a term used in Aikido and Judo. Japanese, breakfalls, falling techniques, methods of falling rolling and landing safely often taught in grappling-based Martial Arts. Japanese, from Judo, floating drop.

Shrimping Sprawl

Submission

Sweep Tomoe Nage

Ukemi Uki-Otoshi Uki-Waza Upa Ura Ushiro Vines Waza

Japanese, from Judo, floating throw. Similar to Uki-Otoshi, but Thrower moves to a seated/semi-prone position, opposed to kneeling. Portuguese, vernacular, to bridge up, lifting the hips to upset an opponent, typically done when in the Mount position. Japanese, Reverse, hiding, or rear, from behind; subtle; a term used in Aikido and other traditional Japanese Ryu. Opposite of Omote. Japanese, back, rear, rearward, from behind. English, typically referring to leg-vines, where the legs are used to entangle the legs of the opponent, usually in the Mount Position. See Hooks. Japanese, technique.

Yoko Okuri Eri Jime Japanese, Side sliding collar strangle. Yoko Shiho Gatame

Japanese, Side four quarter hold down; cross body position.

Grappling Program - Student Notes

Recommended Reading Since 2001, thanks to authors like Kid Peligro and Jose Fraguas, there are now a number of excellent resources available on the topic of Brazilian Jiujitsu, with more on already scheduled for release. The following books are excellent technical manuals for students serious about this type of training. Jean Jacques Machado, Kid Peligro. Brazilian Jiujitsu Championship Techniques, 2004 Invisible Cities Press Jean Jacques Machado, Kid Peligro. Brazilian Jiujitsu Black Belt Techniques, 2003 Invisible Cities Press Renzo Gracie, Royler Gracie, Kid Peligro. Brazilian Jiujitsu Theory & Technique, 2001 Invisible Cities Press Royler Gracie, Kid Peligro. Brazilian Jiujitsu Submission Grappling, 2003 Invisible Cities Press Carlson Gracie, Julio Fernandez. Brazilian Jiujitsu For Experts Only, 2004 Invisible Cities Press Kid Peligro, Rodrigo Medeiros. Brazilian Jiujitsu Marter Techniques - The Essential Guard, 2005 Invisible Cities Press Renzo Gracie, John Danaher. Mastering Jujitsu, 2003 Human Kinetics Publishers Royce Gracie, Kid Peligro. Brazilian Jiujitsu Master Techniques - Ultimate Fighting Techniques, Vol. 1 - The Top Game, 2005 Invisible Cities Press Royce Gracie, Kid Peligro. Brazilian Jiujitsu Master Techniques - Ultimate Fighting Techniques, Vol. 2 Fighting from the Bottom, 2006 Invisible Cities Press Rigan Machado. The Essence of Brazilian Jiujitsu, 2002 Unique Publications Rigan Machado, Jose Fraguas. Encyclopedia of Brazilian Jiujitsu, Vol’s 1-3, 2004 Unique Publications Ed Beneville, Tim Cartmell. Passing the Guard, 2003 Grappling Arts Publications, L.L.C. Ed Beneville, Professor Joe Moreira. The Guard, 2005 Grappling Arts Publications, L.L.C. Professor Joe Moreira. Brazilian Jujutsu Side Mount Techniques, 2005 Black Belt Books Eddie Bravo, Erich Krauss. Jiu-Jitsu Unleashed, 2005 McGraw-Hill The Canon of Judo - Kyuzo Mifune - 2nd Edition 2004 Kodansha America Jigoro Kano. Kodokan Judo, Reprint Edition 1994 Kodansha International H. Irving Hancock, Katsukuma Higashi. The Complete Kano Jiu-Jitsu ( Judo), 2006 Dover Publications Isao Inokuma, Nobuyuki Sato. Best Judo, Reprint Edition 1987 Kodansha International Jiichi Watanabe, Lindy Avakian. The Secrets of Judo, New Edition 1990 Tuttle Publishing Kirik Jenness, David Roy. The Fighter’s Notebook, www.mixedmartialarts.com 1998 Bench Pr Intl Erik Paulson. Combat Submission Wrestling Essentials Series, Vol.’s 1-5 (DVD), ExcelDV Productions