Friday, 30 September 2016
Thursday, 29 September 2016
29/9/16: Thai 4 count drilling plus no-gi grappling
SHADOW BOXING
High energy, no breaks with lots of changes of specifics:
- body motion only
- jab only
- jab defences
- cross defences
- hook defences
- 4 punch combos
- forward pressure
- pivot then L step
- 5 second high intensity bursts
- putting it altogether
THAI BOXING
BODY MECHANICS DRILLING
Corkscrewing the body/hips/legs to prepare for the kick, preparing the delivery system. Next we used these mechanics to put the shin on our partner's leg
THAI 4 COUNT
4 count - rear kick to outside of the lead leg - left hook - right cross - rear kick to outside of the lead leg
DEFENCE 1: against the his rear leg kick - crush across followed by rear round kick.
DEFENCE 2: the rear kick lands, as they throw the left hook, simultaneous cover and uppercut against the hook followed by your own rear leg kick.
DEFENCE 3: the rear kick lands, cover the hook, they throw the right cross - you cut punch then rear round kick.
DEFENCE 4: the rear kick lands, cover the hook then the cross then shift laterally to kick the inside of his supporting leg.
Making it come alive: Each person throws a four count. On any attack, the receiver can chose the counter. If the person throwing the four count does with accuracy and proper technique, then this will enable the receiver to reply against good energy. I really like this drill because whilst there are parameters, it provides time to practise combinations at speed and to not panic under fire, in addition, the heart rate gets pushed nicely.
Interestingly, Steve always has music on in the background in class, yet sitting here I can't recall any of the songs. I don't think my eclectic playlist of Pink Floyd to 90s Indie rock to uplifting trance would inspire quality movement. I love having the music on, the BJJ and MMA clubs used to play music. I think it further helps to shut you off from the trials and tribulations of real life.
NO-GI GRAPPLING
Tonight we were fortunate to have a visit from Ben Richardson, a good friend and training partner of Steve who has a club up in Abingdon.
https://www.candomartialarts.co.uk/Home
Firstly, Ben took us through a flow with a series of positions from scarf-hold side control - to side control - to mount preparation. The person on the bottom was working sound defence - arms in tight, trying to get on your side, looking for underhooks. When the person on top goes for mount, hip up and pull on his hip so you reverse the position and end up in scarf-hold side control. From here, the flow continues.
Attacking from mount.
Start in regular mount, wrap the top of his head with your forearms and shuffle up his body forcing his elbows high. Put your feet on his hips so you are in a very high (up the torso) mount.
From the source
Another from Dean Lister who is a very accomplished competitive grappler
Bas Rutten is a bad mother fucker. Here he is applying the same move but from side control, the positions we looked at originally tonight. But for me what is key, is the details are similar to Ben's. Especially what your near side elbow is doing to his head.
Head and arm triangle/choke
He escapes the figure 4 arm lock by getting his head under your armpit and against your chest. From here you transition to the head and arm. No words are necessary from me when a 3rd degree is explaining.
In live competition but from standing
And it goes without saying...
Tuesday, 27 September 2016
27/9/16 Syllabus focus
Apologies up front to James, Jay and Noel who were working on material pertinent to their grade.
CARENZA rounds to get warmed up:
- double stick
- single stick
- stick and knife
- knife
- knife ice pick grip
- double knife
- hands only
- legs only
- hands and leg
GLOVE WORK:
jab-catch and reply with 4 defences
1: slip with the left shoulder, right uppercut
2: split entry
3: cut punch
4: scoop and lead uppercut
basic cross loop drill with 6 defences
1: shoulder roll
2: short parry
3: long parry
4: lead elbow crush
5: gunting (rear hand parry and lead hand bicep attack)
6: lead uppercut
SINGLE STICK:
high box 3 beat sumbrada. Getting the pattern flowing, doing it with 'swords' for flowing stick use. We also worked without making contact with the sticks and making the checking hand do all the work.
It was great to focus on core material work, drilling our basics. Me and big Nick were lucky tonight to have Jay on hand with all his experience to keep an eye on proceedings.
CARENZA rounds to get warmed up:
- double stick
- single stick
- stick and knife
- knife
- knife ice pick grip
- double knife
- hands only
- legs only
- hands and leg
GLOVE WORK:
jab-catch and reply with 4 defences
1: slip with the left shoulder, right uppercut
2: split entry
3: cut punch
4: scoop and lead uppercut
basic cross loop drill with 6 defences
1: shoulder roll
2: short parry
3: long parry
4: lead elbow crush
5: gunting (rear hand parry and lead hand bicep attack)
6: lead uppercut
SINGLE STICK:
high box 3 beat sumbrada. Getting the pattern flowing, doing it with 'swords' for flowing stick use. We also worked without making contact with the sticks and making the checking hand do all the work.
It was great to focus on core material work, drilling our basics. Me and big Nick were lucky tonight to have Jay on hand with all his experience to keep an eye on proceedings.
Thursday, 22 September 2016
22/9/16: BJJ master class
Thankfully Marc stepped in tonight to take the class in Steve's absence and what a class it was. A BJJ masterclass focusing on sound fundamentals and solid technique.
WARM UP / PRELIMINARY EXERCISES
Spinal rocks: Controlled rocking along the length of the spine whilst keeping a ball shape, sitting up all the way back along the full spine.
Sit throughs: In the video below they start at about the 0:50s mark.
Triangle flow; similar to the spinal rock except you throw up alternate triangle attacks.
Combat get ups from sitting:
PUMMELING
Swimming the arms with lots of different people to feel the different energies. The last round was the 'fun' one where we tried to get double underhooks and clasp hands.
DOUBLE LEG SHOOT DRILLING
This is a great video because it highlights the common errors that occur in shooting for the double leg. Although the class was BJJ focused and this video is MMA based, I think the principles still apply that constitute to sound technique.
This is a great video because it illustrates the use of the lead leg and the trailing leg stepping around.
Marc had a different take on the double leg shoot as he puts the head on the indie - ear to belly rather than on the side. Marc believes that this head position makes the guillotine counter for the person being taken down very hard to apply. It easier to get the neck if it is on your side.
ARM DRAG AGAINST THE OVERHAND RIGHT
Punch comes in, intercept with the high left hand/forearm as you reach the right through for the back of his arm. Arm drag him past your right hand side as you get behind him. Clasp the hands for back control. You might have one of his arms in or not. Make sure to keep the blows down and squeezing in to keep control as well as your chest on his back. Allow no gaps for him to turn or get under your arms.
TAKEDOWN INTO SIDE CONTROL
From the above position, have your centre of gravity below theirs, step your foot next to his and pull his down that way, your foot will act as a barrier and you land him in side control. Remember to take out the hand between him and the floor before your land. This clip below shows the takedown.
AMERICANA 9SHOULDER ROTATION) FROM SIDE CONTROL
From side control, get the head height knee inside his arm to separate them so you can roll your shin across the bicep for an arm control. You now have him in a crucifix position with both arms isolated. Turn the weight on to your side to allow an opportunity to strike the head. He will try to defend this by getting his arm out to prevent the punch. This is him giving you the arm for the Americana (shoulder rotation) set up. From here, follow the tips below on how to finish the submission. Better to get the details from a black belt and not a no belt.
The video below talks about many of the tips that Marc gave us regarding the actual submission, obviously tonight, we got to the position in a different way. But the rolling or revving of the wrist, getting the elbow to the hips, back of the wrist on the mat.
ARM BAR (ELBOW EXTENSION) FROM AMERICANA ESCAPE
Should he try to escape the shoulder submission, his only option is to extend his arm. Thankfully, this then sets you up to apply the arm bar (elbow extension). Merely readjust your base and slide the arms under his elbow, forearm not upper arm side, get your head down and extend that elbow.
What a bloody great class it was. For me personally, there is no better feeling than doing the rash guard and getting your grapple on. It is a very humbling experience and allows you to become comfortable at being in very uncomfortable places. Once again, big thanks to Marc for guiding us along the BBJ path tonight.
Tuesday, 20 September 2016
20/9/16: Boxing masterclass
Darren skilfully stepped up this evening and delivered a fine class on fundamental boxing skills; the jab and the cross.
It was fundamentals all night, refining and refining.
Our key learning points were
- feet under the hips - no tightrope walking
- keeping the elbows in tight on delivery
- rotate the torso fully to extend the reach on the punch
- elbow deep
- punch lands as feet land in forward motion
The following is taken from http://www.mightyfighter.com/how-to-throw-a-jab/ and seems pertinent
Of the various types of jabs, we seemed to study this one tonight:
STEP JAB
If your opponent is out of range, instead of lunging in and reaching, then you must take a step forward and jab at the same time. It increases power through added motion and allows you to get in range safely.
Make sure that your steps are small (covering only a few inches with each step) and not far. If you step too far then your legs will be too far apart therefore causing you to be off balance.
Right cross details
DO’S:
Keep Your Guard Up (1): Always make sure that your lead hand is guarding your chin. This is especially important when you’re throwing the straight with no follow up punch.
Fully Extend Your Arm (2): If you want to get maximum power, make sure that you fully extend your arm when throwing the cross.
Distribute Weight From Back to Front: The power of the cross is distributed from your rear foot to your lead foot. You do this by pivoting your rear foot, rotating your body, bending your knees and leaning forward very slightly. All of this is done at the exact same time as the cross is thrown.
Rotate Your Fist (3): Just before you hit the target, rotate your fist so that the palm of your hand is facing downwards towards the floor.
Pivot Your Rear Foot (4): At the same time that you’re throwing the cross, pivot your rear foot. You should end up with your heel upwards, toes on the ground and facing exactly in the same direction as where your cross is heading towards.
Rotate Your Body (5): Get the most power from your cross by rotating your body anti-clockwise (orthodox) or clockwise (southpaw) as you throw the cross.
Sit Down on Your Punch (6): Remember to bend your knees as you throw the punch. This is to gain more power and also to maintain your balance.
Keep Your Body Aligned to Your Opponent: Ideally, your chest should be faced towards your opponent when throwing the cross. If your opponent has moved too far to your left or right, then you’ll be out of position and you need to re-align yourself.
Bring Your Hand Back: After you throw the cross, never leave your hand out there, or you may get countered. Always bring your rear hand back quickly to guard your chin.
Dip Your Head to the Outside: This is not essential, but useful for several reasons. When you dip your head slightly to the outside of your lead foot as you throw the cross, you increase punching power because it forces you to rotate a bit more. It also helps to avoid any counterpunches at the same time and puts you in a great position to follow up with a powerful lead hook.
As always Noel was on point with his tips and encouragement.
Silat response to jab cross
Catch the jab then salute to the outside of the cross with your right, the right hand takes the wrist as the left elbow wrenches against his elbow. Rev the wrist away as you roll the forearm along the back of upper arm, rev the wrist towards you as you palm up/tan sau/open palm uppercut shape for the elbow wrench from underneath.
Darren was getting us to feel the three different angles to which you can manipulate the elbow with wrist control.
Monday, 19 September 2016
Sunday, 11 September 2016
Grappling for JKD from MMA - the clinch range series
From my time at PROMAI MMA
Front body clinch (high under his armpits or at the base of the spine) - change level to side body clinch - move round for the single leg - quarter turn to knee tap. Maintain head or ear pressure throughout.
The clinch grip is not 50/50 through the arms. Pin one elbow to the hip and pull the hand towards you as if closing the gap with the blade of the forearm.
Double leg shoot with knee step - side body clinch - lift - change level for shoulder drive.
When shooting in keep the eyes up.
Shoulder control - defend with taking wrist control on far side arm - nearside arm - overlook - lift your elbow but drop the shoulder as you step the rear leg back and around for a throw - the throw will off balance him - transition to snap down head control - pin your shoulder through the control point between his shoulder blades.
Shoulder control (underhook)
Arm control (overhook)
Both sides then Switch sides
Learning points 3 points of pressure contact at all times.
Primary grip neck clinch: This is one of the 4 primary clinches. The optimum choice is 2 primary grips but we looked at a primary and secondary grip (wrist control). Key learning points with neck clinch:
• Eyes up
• Pressure through the head and strong neck posture
• Drive through his chest with your elbow
• Affect his balance with your lead leg
• Strong base and positive spine.
Double neck clinch:
• All of the above with the addition of:
• Use chest to deliver pressure.
• Chin on top of his head.
• Squeeze the elbows together.
Progression was into moving into the side @90 degrees perpendicular for single clinch, deliver 2 or 3 devastating knees then step away in stance ready for action.
Shoulder control: eyes to the centre of his head driving with the forehead, shoulder clamped tight with same arm elbow tight and down, take a secondary grip with the other arm and strong base so your legs and knee position are disrupting his.
Shoulder control with pummel escape and elbow strike: As he attempts to pummel out if provides you with an excellent opportunity, if timed well to elbow strike at close range.
Shoulder control with leg trip and takedown: This works as you move him around and his stance goes long and skinny. As you sweep the leg from under his hip, pull down on the shoulder, as if you are pulling the shoulder down to his hip. Having no base or balance means he should go to the floor with you following him closely into side control.
Shoulder control with single leg capture: Change the level and literally slide your face down his torso as the eyes need to stay up to promote a positive and strong posture. Reach through and around both of his legs as your chest should now be pressing into his hip and thigh, both palms facing down as you grip hand to wrist with your elbow crease behind his knee. Lift high.
Shoulder control with bicep cricket bowl escape: Thrust your bicep into his tricep which will cause his shoulder bones to lift then bowl the arm straight. It feels like you are using your skeleton and not muscle to perform the action whilst disrupting his skeleton. Similar to the leg trip takedown talked about before, you are affecting his structure which is a much harder thing to defend as muscles don’t do anything to stop the motion is done correctly.
Front body clinch: elbows pressure into the sides as if squeezing the lats. Having this done turned you more into a rag doll as your posture is controlled with greater ease. So how do you get out of the double underhooked front body clinch? One way is to get the pummel in when double undercooked by stepping back and turning the shoulder into the opponent. This should create a gap for the arm to swim through, then swap sides to repeat to establish your own under hooks. The key point here was the turning or driving of the shoulder into the opponent as this disrupts their base and grip to a greater extent.
Front body clinch lift from double hip capture. Rag them around and when the hips get close change the level and drop down for the double hip capture and lift, looking up to the ceiling.
Head control into inner forearm choke.
Defence against inner forearm choke: first job is to look up and get the spine positive and drive up. Failing that, turn your face towards him. As Lee put it, “Sniff his side”. This releases the neck slightly and will mean he will need to go to option B, details to follow. As the head turns to face him, drop your level and try to take side control and snake the front arm behind his knee. From here you can lift quite effortlessly and spin into a slamming takedown.
double leg takedown inside the opponent’s guard. Head needs to go on the belly between his elbows rather than on the outside of his torso. We worked on taking a long step and getting the ear on his belly. In some ways this is an emergency technique and good for when you are under striking pressure as a go to. The hands go on the backs of the knees but should not clasp the knees together. Instead think of continuing your forward motion and sweeping the legs out of the way. If you stop, as I did repeatedly, and then try to lift, scoop or move then the technique is much less effective. Your motion is key to this working more effortlessly and effectively.
Front body clinch (high under his armpits or at the base of the spine) - change level to side body clinch - move round for the single leg - quarter turn to knee tap. Maintain head or ear pressure throughout.
The clinch grip is not 50/50 through the arms. Pin one elbow to the hip and pull the hand towards you as if closing the gap with the blade of the forearm.
Double leg shoot with knee step - side body clinch - lift - change level for shoulder drive.
When shooting in keep the eyes up.
Shoulder control - defend with taking wrist control on far side arm - nearside arm - overlook - lift your elbow but drop the shoulder as you step the rear leg back and around for a throw - the throw will off balance him - transition to snap down head control - pin your shoulder through the control point between his shoulder blades.
Shoulder control (underhook)
Arm control (overhook)
Both sides then Switch sides
Learning points 3 points of pressure contact at all times.
Primary grip neck clinch: This is one of the 4 primary clinches. The optimum choice is 2 primary grips but we looked at a primary and secondary grip (wrist control). Key learning points with neck clinch:
• Eyes up
• Pressure through the head and strong neck posture
• Drive through his chest with your elbow
• Affect his balance with your lead leg
• Strong base and positive spine.
Double neck clinch:
• All of the above with the addition of:
• Use chest to deliver pressure.
• Chin on top of his head.
• Squeeze the elbows together.
Progression was into moving into the side @90 degrees perpendicular for single clinch, deliver 2 or 3 devastating knees then step away in stance ready for action.
Shoulder control: eyes to the centre of his head driving with the forehead, shoulder clamped tight with same arm elbow tight and down, take a secondary grip with the other arm and strong base so your legs and knee position are disrupting his.
Shoulder control with pummel escape and elbow strike: As he attempts to pummel out if provides you with an excellent opportunity, if timed well to elbow strike at close range.
Shoulder control with leg trip and takedown: This works as you move him around and his stance goes long and skinny. As you sweep the leg from under his hip, pull down on the shoulder, as if you are pulling the shoulder down to his hip. Having no base or balance means he should go to the floor with you following him closely into side control.
Shoulder control with single leg capture: Change the level and literally slide your face down his torso as the eyes need to stay up to promote a positive and strong posture. Reach through and around both of his legs as your chest should now be pressing into his hip and thigh, both palms facing down as you grip hand to wrist with your elbow crease behind his knee. Lift high.
Shoulder control with bicep cricket bowl escape: Thrust your bicep into his tricep which will cause his shoulder bones to lift then bowl the arm straight. It feels like you are using your skeleton and not muscle to perform the action whilst disrupting his skeleton. Similar to the leg trip takedown talked about before, you are affecting his structure which is a much harder thing to defend as muscles don’t do anything to stop the motion is done correctly.
Front body clinch: elbows pressure into the sides as if squeezing the lats. Having this done turned you more into a rag doll as your posture is controlled with greater ease. So how do you get out of the double underhooked front body clinch? One way is to get the pummel in when double undercooked by stepping back and turning the shoulder into the opponent. This should create a gap for the arm to swim through, then swap sides to repeat to establish your own under hooks. The key point here was the turning or driving of the shoulder into the opponent as this disrupts their base and grip to a greater extent.
Front body clinch lift from double hip capture. Rag them around and when the hips get close change the level and drop down for the double hip capture and lift, looking up to the ceiling.
Head control into inner forearm choke.
Defence against inner forearm choke: first job is to look up and get the spine positive and drive up. Failing that, turn your face towards him. As Lee put it, “Sniff his side”. This releases the neck slightly and will mean he will need to go to option B, details to follow. As the head turns to face him, drop your level and try to take side control and snake the front arm behind his knee. From here you can lift quite effortlessly and spin into a slamming takedown.
double leg takedown inside the opponent’s guard. Head needs to go on the belly between his elbows rather than on the outside of his torso. We worked on taking a long step and getting the ear on his belly. In some ways this is an emergency technique and good for when you are under striking pressure as a go to. The hands go on the backs of the knees but should not clasp the knees together. Instead think of continuing your forward motion and sweeping the legs out of the way. If you stop, as I did repeatedly, and then try to lift, scoop or move then the technique is much less effective. Your motion is key to this working more effortlessly and effectively.
Grappling for JKD from MMA - centre control series (the mount)
From my time in Workman Martial Arts and PROMAI MMA
Escapes from top control (mount)
First 3, practise in any order for a few rounds then looked at chaining any 3 motions together. Time to explore and experiment. The first 2 attempts 'fail' and the 3rd is a successful escape.
1: hip up and roll (blocking the arm in the direction you want to roll them).
2: hands on hips and lower knee out to full leg trap.
3: hand under armpits to elevate (as if you are sliding under them).
Technique 4: shrimping. This was practised as a solo drill moving around the floor then with our partners.
Other combination escapes from top control:
Elevation escape - they sit back - use this momentum to push on his hips for the shrimping escape.
Hip up and roll escape - drop hips to the floor and fall to the side and shrimp out. We did this in without our partners to drill the motion then with our partners
Elbow extension drilling
Chest with bicep compression
Grovit
Centre control detail: soles of the feet touching right near his arse, spine long and slightly concave, head higher than his, arms out wide as if free falling and just off the floor. This will put tremendous pressure on his torso. Feet are in tight as this prevents him from really being able to use them to escape the position. Hands out wide to counter any bridging he attempts. Chest relaxed and pressing down on his face. The hands and forearms can be used to re-centre his head under your chest.
Achieving centre control from side control: Establish strong control of his torso and head. Raise the far shoulder of the ground and pass with the following methods.
• Shoot the shin on to belly and pass.
• Passing the leg over dynamically (high arc).
• If they defend the pass by crossing the leg at the knees, pull on the blade of the foot. This should start him trying to defend a lower limb submission therefore he will want to pull the foot away. As you let go the foot will open a nice gap to enable the pass.
Upward and downward shoulder rotation: (DWL) from centre control then transitioning into side control to complete the submission.
From centre control if his arms come high to the head then attack with upward shoulder rotation, if he looks to control your posture with under hooks then look for the downward shoulder rotation. The key point of learning for me tonight was the angle of the arm under. I discovered by practise and observation that it needs to be nearer the elbow than the shoulder for tight and effective results.
Shin choke: pass the shin onto his neck, weight towards the foot or you will get rolled. This one finishes quickly. It looks like a simplified gogoplata from mount.
Triangle: sitting in a nice a high mount offering attack to the head. He should cover up this giving you the chance to gain wrist control, push it to his chest as you step over put the shin behind his neck. Fall to the side as you close the triangle
Leg over sit on arm. Essentially you are sitting on the shoulder joint. This was my first experience of this position. This does require lower body dexterity as you need to essentially triangle his arm. Take a tricep control keeping the arm nice and tight. From this position we then learned a series of submissions.
Fall into an inner leg suppression. It is important to get it in very quick as if you don't they will escape or pass. Secondly arm extension. Thirdly wrist compression.
Calf compression: Heel to heel under their legs, feed one instep over their thigh, manipulate the arm to extend above their head to give them extra things to think about. Turn towards your feet and ensure your shin in tight in behind their knee and calf. Look to grab the foot and pull towards yourself. Your shin bone will compress the back quarter side of their calf causing plenty of distress. Key is keeping weight on them throughout the transition to the leg to avoid escape.
Bicep compression: Feed an arm across his neck and put your weight on this. Already this is an unpleasant feeling from the bottom position. Secure your elbows on the floor either side of his head, palms on the mat too. Same side as arm across, feed your arm through the armpit on to the side of his face so that your palm is on his ear. Now move your elbow back onto his ribs to apply pressure to the bicep. Now grip palm to palm and turn the hands to the sky to finish the compression. If not working you can put the top hand on top of his forearm to cinch it in even tighter.
Calf suppression from sitting centre control: Sitting on his belly turn towards his legs and drive the forearm behind on of his knees. Then use your other side leg to trap your arm in position. Then use your other leg to complete the hold. It looks like a suppression (triangle) of your own arm and his leg. Fall to your shoulder and turn the forearm towards the soft tissue of the calf.
INVERTED CENTRE CONTROL:
Submission from north south: Instead of taking the inner forearm head control (guillotine) you assume a reverse version and insert a fist suppression to the front of throat for a painful and swift submission.
Elbow extension from the same position.
Escapes from top control (mount)
First 3, practise in any order for a few rounds then looked at chaining any 3 motions together. Time to explore and experiment. The first 2 attempts 'fail' and the 3rd is a successful escape.
1: hip up and roll (blocking the arm in the direction you want to roll them).
2: hands on hips and lower knee out to full leg trap.
3: hand under armpits to elevate (as if you are sliding under them).
Technique 4: shrimping. This was practised as a solo drill moving around the floor then with our partners.
Other combination escapes from top control:
Elevation escape - they sit back - use this momentum to push on his hips for the shrimping escape.
Hip up and roll escape - drop hips to the floor and fall to the side and shrimp out. We did this in without our partners to drill the motion then with our partners
Elbow extension drilling
Chest with bicep compression
Grovit
Centre control detail: soles of the feet touching right near his arse, spine long and slightly concave, head higher than his, arms out wide as if free falling and just off the floor. This will put tremendous pressure on his torso. Feet are in tight as this prevents him from really being able to use them to escape the position. Hands out wide to counter any bridging he attempts. Chest relaxed and pressing down on his face. The hands and forearms can be used to re-centre his head under your chest.
Achieving centre control from side control: Establish strong control of his torso and head. Raise the far shoulder of the ground and pass with the following methods.
• Shoot the shin on to belly and pass.
• Passing the leg over dynamically (high arc).
• If they defend the pass by crossing the leg at the knees, pull on the blade of the foot. This should start him trying to defend a lower limb submission therefore he will want to pull the foot away. As you let go the foot will open a nice gap to enable the pass.
Upward and downward shoulder rotation: (DWL) from centre control then transitioning into side control to complete the submission.
From centre control if his arms come high to the head then attack with upward shoulder rotation, if he looks to control your posture with under hooks then look for the downward shoulder rotation. The key point of learning for me tonight was the angle of the arm under. I discovered by practise and observation that it needs to be nearer the elbow than the shoulder for tight and effective results.
Shin choke: pass the shin onto his neck, weight towards the foot or you will get rolled. This one finishes quickly. It looks like a simplified gogoplata from mount.
Triangle: sitting in a nice a high mount offering attack to the head. He should cover up this giving you the chance to gain wrist control, push it to his chest as you step over put the shin behind his neck. Fall to the side as you close the triangle
Leg over sit on arm. Essentially you are sitting on the shoulder joint. This was my first experience of this position. This does require lower body dexterity as you need to essentially triangle his arm. Take a tricep control keeping the arm nice and tight. From this position we then learned a series of submissions.
Fall into an inner leg suppression. It is important to get it in very quick as if you don't they will escape or pass. Secondly arm extension. Thirdly wrist compression.
Calf compression: Heel to heel under their legs, feed one instep over their thigh, manipulate the arm to extend above their head to give them extra things to think about. Turn towards your feet and ensure your shin in tight in behind their knee and calf. Look to grab the foot and pull towards yourself. Your shin bone will compress the back quarter side of their calf causing plenty of distress. Key is keeping weight on them throughout the transition to the leg to avoid escape.
Bicep compression: Feed an arm across his neck and put your weight on this. Already this is an unpleasant feeling from the bottom position. Secure your elbows on the floor either side of his head, palms on the mat too. Same side as arm across, feed your arm through the armpit on to the side of his face so that your palm is on his ear. Now move your elbow back onto his ribs to apply pressure to the bicep. Now grip palm to palm and turn the hands to the sky to finish the compression. If not working you can put the top hand on top of his forearm to cinch it in even tighter.
Calf suppression from sitting centre control: Sitting on his belly turn towards his legs and drive the forearm behind on of his knees. Then use your other side leg to trap your arm in position. Then use your other leg to complete the hold. It looks like a suppression (triangle) of your own arm and his leg. Fall to your shoulder and turn the forearm towards the soft tissue of the calf.
INVERTED CENTRE CONTROL:
Submission from north south: Instead of taking the inner forearm head control (guillotine) you assume a reverse version and insert a fist suppression to the front of throat for a painful and swift submission.
Elbow extension from the same position.
Grappling for JKD from MMA - the leg submission series
Ankle extension against sitting back control:
Sitting on the floor, partner takes your back and wraps his legs around your body, feet resting at groin crease. He makes the error of crossing his legs at the ankles. Pull his feet away but keep them crossed and over hook your same side leg as the leg he has on top. Lever your knee to the floor as you raise your hips fro the finish.
Ankle rotation from side control into 3 variants:
Basic:
Side control - he defends the pass by crossing his legs - reach with the head side arm for the outside edge of his foot the is crossed on the knee. Insert your other hand as if to DWL the ankle - turn his ankle towards his chest for the rotation finish.
Square to him:
As above but move so that you're facing him with his shin across your belly, finish by turning that little toe towards his chest.
Sitting on his leg:
As above bit sit on the leg that is not being controlled. This will greatly limit his ability to move or escape.
Fake the ankle rotation to set up for full mount:
Lee said this was something Rickson used to do attack the foot in side control, as if going for the submission, his opponent would feel this and pull the leg away thus setting themselves up to be easily passed from side control into centre control (mount)
Knee extension from side control:
Person on their back recovers for a full leg trap (half guard) - press down on the face to stop the body turning - step over and sit on his torso - underhook his knee and hug it to your chest - keeping it tight lean back and lie next to him (bring the leg with you) - squeeze your knee together - head next to his foot - look back over your head as you push your hips for the finish.
Calf compression from side control:
Lee did this to me several weeks ago, it took two weeks for the bruising to go down after the 2 days of swelling on the leg!)
Find yourself in a similar position (sitting on his belly as above) - underhook the leg behind the knee so the hand is just past. You want ultimately to rotate the wrist bones into the top of the calf. Before the rotation you need to trap his leg, fall to your side, figure four your legs then turn the wrist for the finish. This one is tricky for me to articulate, I can visualise it just struggle to put it down into words that make sense.
Sakuraba leg attacks:
Setting up the ankle rotation from open bottom control.
Rolling with the ankle rotation so you end up on your back.
Sitting in reverse mount so that you are straddling one of his legs. Go for the knee bar, he prevents by blocking with his other foot, go for the ankle rotation, he extends so fall back for the knee extension finish.
Sitting on the floor, partner takes your back and wraps his legs around your body, feet resting at groin crease. He makes the error of crossing his legs at the ankles. Pull his feet away but keep them crossed and over hook your same side leg as the leg he has on top. Lever your knee to the floor as you raise your hips fro the finish.
Ankle rotation from side control into 3 variants:
Basic:
Side control - he defends the pass by crossing his legs - reach with the head side arm for the outside edge of his foot the is crossed on the knee. Insert your other hand as if to DWL the ankle - turn his ankle towards his chest for the rotation finish.
Square to him:
As above but move so that you're facing him with his shin across your belly, finish by turning that little toe towards his chest.
Sitting on his leg:
As above bit sit on the leg that is not being controlled. This will greatly limit his ability to move or escape.
Fake the ankle rotation to set up for full mount:
Lee said this was something Rickson used to do attack the foot in side control, as if going for the submission, his opponent would feel this and pull the leg away thus setting themselves up to be easily passed from side control into centre control (mount)
Knee extension from side control:
Person on their back recovers for a full leg trap (half guard) - press down on the face to stop the body turning - step over and sit on his torso - underhook his knee and hug it to your chest - keeping it tight lean back and lie next to him (bring the leg with you) - squeeze your knee together - head next to his foot - look back over your head as you push your hips for the finish.
Calf compression from side control:
Lee did this to me several weeks ago, it took two weeks for the bruising to go down after the 2 days of swelling on the leg!)
Find yourself in a similar position (sitting on his belly as above) - underhook the leg behind the knee so the hand is just past. You want ultimately to rotate the wrist bones into the top of the calf. Before the rotation you need to trap his leg, fall to your side, figure four your legs then turn the wrist for the finish. This one is tricky for me to articulate, I can visualise it just struggle to put it down into words that make sense.
Sakuraba leg attacks:
Setting up the ankle rotation from open bottom control.
Rolling with the ankle rotation so you end up on your back.
Sitting in reverse mount so that you are straddling one of his legs. Go for the knee bar, he prevents by blocking with his other foot, go for the ankle rotation, he extends so fall back for the knee extension finish.
Grappling for JKD from MMA - side control series
Jumping over to the opposite side. HEAD TO HEAD PRESSURE IS KEY. This stops him trying to get his arm out.
Closing with the suppression by grabbing your opposite bicep. This gives you more depth and tightness on the arm in side.
Closing the suppression with the palm to palm grip. Flatten your hips down and get perpendicular to him. This give more space for his arm that is in but is tighter on the side you are closing with the bicep on the neck.
Shoulder and bicep from side back control.
Shoulder and bicep from sitting back control.
All throughout each submission was the necessity to keep the head pressure
Side control escapes drilling x 4 individual and then chaining them in sets of 3
1: knee escape
2: hip up and roll
3: swim under the lat and swim out
4: inverted under the belly spin and escape
Submissions from inverted side control - using the legs.
inverted side control whilst holding your own leg
switching positions from side to inverted
Elbow extension by hooking with the top leg
Shoulder rotation
Elbow extension as he escapes the shoulder rotation by crossing the legs
Attacking the elbow extension straight away from inverted by hooking your ankle over the wrist
Bicep compression from pre elbow extension: top arm under (through his elbow crease) and same leg crossing over into what looks like a triangle or figure four position. This is because you are better balanced here as we'll as the arm and leg tie up works better from here. Small part of the forearm near the wrist bone will be digging in nicely to the bicep.
Bicep compression when opponent is in turtle position: Side back control and wrist control on his outer arm. Feed the other through as you dive over and elegantly face plant. Squeeze the knees together (your shins will now be on his torso and neck respectively) making sure his arm angle is straight from the shoulder to the wrist (whilst folded) to complete the compression.
Side control to leg attack, as if hunting for the knee extension: They cross their legs to prevent to submission so you manipulate the heel, lever the forearms. This causes his lower shin to be compress his lower calf, if fails then the knee extension is there.
Upward shoulder rotation (DWL): From control we can start to look for submissions. The worst case scenario is that you don’t get the sub but his arm is now depleted and thus a less effective tool for him. Best case is a submission. If you have control of his arm then take your time with this, rushing will create gaps and errors. When you have wrist control, use the head high knee against his head and same side elbow.
Key learning points were maintain the angles of 90 degrees. In upward grab his and your own wrist as close to the hand as possible, paint a straight line with the back of the hand on the floor.
Elbow extension: As he fights to escape by straightening the arm you can now look at the elbow extension. Make sure his elbow is off the floor as this adds to the pressure and the sub will come on a lot quicker.
Striking whilst controlling: attack the arm with elbow strikes to do nothing other than cause pain and frustration to him. You can dig the tip of the elbow into the head of the deltoid muscle which will be tense and thus cause lots of pain.
Shoulder control: Use the shoulder to pin his shoulder or face to the mat, use the head to keep the gaps tiny so there is no room for him to work an arm in for underhooks.
Escaping side control by getting to the knees using lat control: Firstly you need to create space as if his side control tight there will be none. Push the head or angle your body away to create a gap between his shoulder pressing down and yours. When the gap appears work the arm in and through for the underhook and most importantly is to turn to your knees as quickly as you can. From here wrap the arm around and grab a hold of his lat muscle. This will enable you to pull on it for 2 effects.
Number 1, if he braces against the pull then you have a solid structure to work against to get the legs out from under him. Number 2 is that he pushes back into to you so you simply roll him back over you. Your forearm will be against his hip so you are pretty much effortlessly using his structure to sweep him. Very little power is needed, just his applying his momentum against him.
Calf compression: Naturally they should have the cross leg defensive position to prevent your attempts to move to top control and then want to slide the knee into your centre to begin escaping from side control. This is the bait. Allow their knee to come inside, as it does insert your forearm around and behind the knee. An overhook rather than an underhook, a tight one. Now for the tough part. Step over and insert your foot between his legs and close to his hips. It is hard because it require swift dexterity. It also means his leg is tightly wrapped. From here use the forearm bone on the outside of his calf for the pain.
Side to top to side control to side. Time to be creative with passes from side to top. Tried to use knee on belly and invert side control to control the base to move through the positions. Really tough as soon as they pull half guard you are done and it was their turn
Downward shoulder rotation series (DWL) From side control, from bottom control, into elbow extension, hip facing elbow = dsr, hips facing back of the elbow = extension
Chest spin pass to other side when the opponent looks to turn in on their side to escape. Pull the shoulder and press the head down so that they look at
their belly, maintain pressure through your chest and spin to opposite side for side control. If, in defending, they get the knee in, you can switch to inverted side control. Grab and lift the tricep as you sit your hips through into his armpit. Hips are off the floor and weight through his rib cage. If they chose to defend badly by extending an arm then you can go the head and arm triangle (shoulder and bicep suppression I think).
3 escapes from side control.
1: elbow to knee to create space and get to shin in ground control. Wrap other leg around their back and manipulate your hips to recover to full ground control.
2: lower hand drives and squeezes through his armpit gap and get double shoulder control. As you hip up and drive extend the scooped arm and roll him over.
3: pin his head high knee by placing your elbow on the floor and trying to squeeze it to your own hip. Manipulate your body so to elongate and narrow his base. Bridge and roll him over into side control.
Inverted side control:
Key points: leg side leg sweeps under own hips, weight on his chest, tight bicep grip and elbow clamp, no gap between you and his armpit so he can't escape, hips off the floor and weight driving into his chest.
Knee extension: he goes to hook a leg in escaping from the inverted side control so dive for the foot and pull it into to the side of your neck. Feet on his arse, knees clamped together, one hand control his foot as the other wraps the lower leg to your chest. Extend and arch backwards with tight control for the sub.
Forearm with shoulder suppression: Let him escape by trying to push the face. As his arm straightens push past it and throw the head to the floor as you get your hips to the floor quickly too. Palm to palm grip and drive down with the shoulder hopefully closing the sub off.
Reversal sweep: Keep him moving and disrupt his base, feel for the gap and roll him over (timing not strength).
Closing with the suppression by grabbing your opposite bicep. This gives you more depth and tightness on the arm in side.
Closing the suppression with the palm to palm grip. Flatten your hips down and get perpendicular to him. This give more space for his arm that is in but is tighter on the side you are closing with the bicep on the neck.
Shoulder and bicep from side back control.
Shoulder and bicep from sitting back control.
All throughout each submission was the necessity to keep the head pressure
Side control escapes drilling x 4 individual and then chaining them in sets of 3
1: knee escape
2: hip up and roll
3: swim under the lat and swim out
4: inverted under the belly spin and escape
Submissions from inverted side control - using the legs.
inverted side control whilst holding your own leg
switching positions from side to inverted
Elbow extension by hooking with the top leg
Shoulder rotation
Elbow extension as he escapes the shoulder rotation by crossing the legs
Attacking the elbow extension straight away from inverted by hooking your ankle over the wrist
Bicep compression from pre elbow extension: top arm under (through his elbow crease) and same leg crossing over into what looks like a triangle or figure four position. This is because you are better balanced here as we'll as the arm and leg tie up works better from here. Small part of the forearm near the wrist bone will be digging in nicely to the bicep.
Bicep compression when opponent is in turtle position: Side back control and wrist control on his outer arm. Feed the other through as you dive over and elegantly face plant. Squeeze the knees together (your shins will now be on his torso and neck respectively) making sure his arm angle is straight from the shoulder to the wrist (whilst folded) to complete the compression.
Side control to leg attack, as if hunting for the knee extension: They cross their legs to prevent to submission so you manipulate the heel, lever the forearms. This causes his lower shin to be compress his lower calf, if fails then the knee extension is there.
Upward shoulder rotation (DWL): From control we can start to look for submissions. The worst case scenario is that you don’t get the sub but his arm is now depleted and thus a less effective tool for him. Best case is a submission. If you have control of his arm then take your time with this, rushing will create gaps and errors. When you have wrist control, use the head high knee against his head and same side elbow.
Key learning points were maintain the angles of 90 degrees. In upward grab his and your own wrist as close to the hand as possible, paint a straight line with the back of the hand on the floor.
Elbow extension: As he fights to escape by straightening the arm you can now look at the elbow extension. Make sure his elbow is off the floor as this adds to the pressure and the sub will come on a lot quicker.
Striking whilst controlling: attack the arm with elbow strikes to do nothing other than cause pain and frustration to him. You can dig the tip of the elbow into the head of the deltoid muscle which will be tense and thus cause lots of pain.
Shoulder control: Use the shoulder to pin his shoulder or face to the mat, use the head to keep the gaps tiny so there is no room for him to work an arm in for underhooks.
Escaping side control by getting to the knees using lat control: Firstly you need to create space as if his side control tight there will be none. Push the head or angle your body away to create a gap between his shoulder pressing down and yours. When the gap appears work the arm in and through for the underhook and most importantly is to turn to your knees as quickly as you can. From here wrap the arm around and grab a hold of his lat muscle. This will enable you to pull on it for 2 effects.
Number 1, if he braces against the pull then you have a solid structure to work against to get the legs out from under him. Number 2 is that he pushes back into to you so you simply roll him back over you. Your forearm will be against his hip so you are pretty much effortlessly using his structure to sweep him. Very little power is needed, just his applying his momentum against him.
Calf compression: Naturally they should have the cross leg defensive position to prevent your attempts to move to top control and then want to slide the knee into your centre to begin escaping from side control. This is the bait. Allow their knee to come inside, as it does insert your forearm around and behind the knee. An overhook rather than an underhook, a tight one. Now for the tough part. Step over and insert your foot between his legs and close to his hips. It is hard because it require swift dexterity. It also means his leg is tightly wrapped. From here use the forearm bone on the outside of his calf for the pain.
Side to top to side control to side. Time to be creative with passes from side to top. Tried to use knee on belly and invert side control to control the base to move through the positions. Really tough as soon as they pull half guard you are done and it was their turn
Downward shoulder rotation series (DWL) From side control, from bottom control, into elbow extension, hip facing elbow = dsr, hips facing back of the elbow = extension
Chest spin pass to other side when the opponent looks to turn in on their side to escape. Pull the shoulder and press the head down so that they look at
their belly, maintain pressure through your chest and spin to opposite side for side control. If, in defending, they get the knee in, you can switch to inverted side control. Grab and lift the tricep as you sit your hips through into his armpit. Hips are off the floor and weight through his rib cage. If they chose to defend badly by extending an arm then you can go the head and arm triangle (shoulder and bicep suppression I think).
3 escapes from side control.
1: elbow to knee to create space and get to shin in ground control. Wrap other leg around their back and manipulate your hips to recover to full ground control.
2: lower hand drives and squeezes through his armpit gap and get double shoulder control. As you hip up and drive extend the scooped arm and roll him over.
3: pin his head high knee by placing your elbow on the floor and trying to squeeze it to your own hip. Manipulate your body so to elongate and narrow his base. Bridge and roll him over into side control.
Inverted side control:
Key points: leg side leg sweeps under own hips, weight on his chest, tight bicep grip and elbow clamp, no gap between you and his armpit so he can't escape, hips off the floor and weight driving into his chest.
Knee extension: he goes to hook a leg in escaping from the inverted side control so dive for the foot and pull it into to the side of your neck. Feet on his arse, knees clamped together, one hand control his foot as the other wraps the lower leg to your chest. Extend and arch backwards with tight control for the sub.
Forearm with shoulder suppression: Let him escape by trying to push the face. As his arm straightens push past it and throw the head to the floor as you get your hips to the floor quickly too. Palm to palm grip and drive down with the shoulder hopefully closing the sub off.
Reversal sweep: Keep him moving and disrupt his base, feel for the gap and roll him over (timing not strength).
Grappling for JKD from MMA - the triangle
Leg with shoulder suppression(triangle) to downward shoulder rotation (kimura)
If they try to defend the triangle by hooking the freearm under your hips, this prevents you from passing the leg across your hips to close the choke. Hold his head tight and keep his structure folded, swap the legs over as this will apply more pressure to his shoulder and not the neck. Keep your alignment on the same plane as his chest. Squeeze your knee towards your chest and begin to manipulate the arm around your leg for the double wrist lock (upward shoulder rotation). A key point when applying the DWL is to pin your elbow to your chest as the fulcrum. The will ensure his ability to escape is limited. Now you can line your torso off line to him to get the arm.
Escape from shoulder with leg suppression (triangle):
Separation - getting the head away from the shoulder which the opponent is trying to close off. Posture up, lift the chin, the eyes, push on his torso and get the knees behind his hips.
The next step of the ladder is to pass a leg on to his chest, this will cause further separation and make the breaking down of your posture extremely difficult. You might end up in a 50/50 fight for legs submissions but better this than getting choked out.
He might now go for the elbow extension as the arm is extended whilst you are on your knees.
Option one as he looks to pass the legs is to simply rip the elbow out past his hips.
Option two is to fold the arm back to your hip and chest spin 270 degrees over his legs into something looking like side control.
With fist suppression (pulse side of the neck) from triangle
Fist choke (fist to centre of throat) from triangle
If they try to defend the triangle by hooking the freearm under your hips, this prevents you from passing the leg across your hips to close the choke. Hold his head tight and keep his structure folded, swap the legs over as this will apply more pressure to his shoulder and not the neck. Keep your alignment on the same plane as his chest. Squeeze your knee towards your chest and begin to manipulate the arm around your leg for the double wrist lock (upward shoulder rotation). A key point when applying the DWL is to pin your elbow to your chest as the fulcrum. The will ensure his ability to escape is limited. Now you can line your torso off line to him to get the arm.
Escape from shoulder with leg suppression (triangle):
Separation - getting the head away from the shoulder which the opponent is trying to close off. Posture up, lift the chin, the eyes, push on his torso and get the knees behind his hips.
The next step of the ladder is to pass a leg on to his chest, this will cause further separation and make the breaking down of your posture extremely difficult. You might end up in a 50/50 fight for legs submissions but better this than getting choked out.
He might now go for the elbow extension as the arm is extended whilst you are on your knees.
Option one as he looks to pass the legs is to simply rip the elbow out past his hips.
Option two is to fold the arm back to your hip and chest spin 270 degrees over his legs into something looking like side control.
With fist suppression (pulse side of the neck) from triangle
Fist choke (fist to centre of throat) from triangle
Grappling for JKD from MMA - bottom control series (from your back)
These methods were from Workman Martial Arts and PROMAI MMA
Shin choke (gogoplata)
Elbow extension (arm bar)
Triangle
Shoulder rotations (DWL)
Shoulder with bicep
Inner forearm choke
Chaining submissions from bottom control (guard) - downward shoulder rotation (double wrist lock) to - leg and shoulder suppression (triangle) to
elbow extension (arm bar)
Elbow extension to gogoplata
Grovit
Half guard recovery: Top player needs to pass the legs to side control, bottom player then needs to shrimp out and recover what is almost an invisible half guard. Lower leg is through their legs whilst higher leg (hamstring) is on the far shoulder. The drill continues as a pass and recovers drill. It is a great drill to develop fluidity of the hips and awareness of your back of the floor. It is generally better to be on your side.
Posture breaking: underhook an arm, palm to palm grip and pull him down on to you. Compress his tricep with top forearm. A very important point is that you must use the body and the arms to apply pressure. In this position arms are pulling down as chest is squeezing up. Several options now: Attempt to create pain on the tricep, arch the chest to pass the arm over to then grab far side lat and escape out or allow him a small space to try to escape by pulling his across your chest.
Arm across escape: Scissor your arm so that one is on his tricep and the on his face, and as if opening his posture. Control the head then you control the body.
Outside leg over: As you scissor turn your head towards his knee so that you are now perpendicular. As I have attacked the right arm initially, this move now means I need to pivot to the left. As I am pivoting I need to move my hips. The outside leg, for this example it was my right leg, sweeps over his face. The hamstring needs to right on his face.
Compress yourself: To enable tight control pull the knees into your chest and squeeze his back with your calves. The idea is that you are almost making yourself into a ball. This will make the position very tight for him. It is possible even without using your hands to establish control for a good 5 seconds. To make the control even tighter reach up and pull his near side shoulder down into your legs and tighten your vice like grip.
Sweep: Control a forearm and pin the hand to the floor, same side leg pinned across his back, reach over and clasp the tricep of the arm on the floor. Post up onto your hand and hip up for the sweep into top control.
Super grip shoulder control: Over the traps so the shoulder is forced down and the elbow pins the head to prevent movement.
Guard pass: Sitting back and sticking knee in the centre of his hips will open his guard.
Transition from side to inverted
Downward shoulder rotation (DWL) with the leg
Own leg grab with head control
Elbow extension with pushing the shoulder down
Ankle extension: Starting from an open bottom control position, he has one foot one your hip so this is ankle you are going to attack. Wrap the forearm under the calf as you step up to have both feet close to his hips and as you sit your hips go close to your heels. As you lie back squeeze the knees together and allow the forearm to slide down his leg. You should feel the bridge of his foot against your lat or top of the shoulder. Make sure that forearm bone (radius) is nice and tight and the bottom of the calf muscle. Look behind and over yourself to complete the ankle extension.
Defence to this and that is as soon as they start to lie back you need to relax the leg, shoot the foot behind him and sit up by pulling on his neck for anchorage. Maintaining the neck control you can pass to the side or either with a crushing knee on belly control.
Downward shoulder rotation series (DWL) into elbow extension, hip facing elbow = dsr, hips facing back of the elbow = extension
Leg lock from the open guard position. Start is if going to pass with shin over their thigh and make sure that the foot is placed deep under their thigh. When you look to pass with the shin it will be much deeper and have an opening of the hips preventing him from escaping easily to another position. Instead of passing hold the high leg and sit back as you come under his leg with yours. You are essentially clasping his leg between yours. Now that you have his leg clasped you can begin to work on the lower part of his leg for the submission.
Achilles compression: With his toes under your armpit insert your inner forearm bone against his tendon to apply pressure.
Heel hook: this is a much more devastating submission due to the potential long term injury the leg can suffer. With his toes under your armpit roll towards them lifting the far side shoulder off the floor.
Knee bar: As he stands to stack your guard, underhook an ankle and move your hips to allow taking him down by manipulating with your legs. As he goes down wrap his leg for the knee extension. Get the hips against his knee to act as the most powerful fulcrum.
Calf suppression: Could be my new most favourite sub. From open guard, keep his mind active with your hands as your lower shin looks to 'rest' on the back of his knee. When the time is right swim under his arms, take your head towards the foot you are going for, this will help to give you more power and leverage in the compression. Put that foot back with your lower shin compressing nicely against his calf. A sweet, sweet submission.
Guillotine baiting inside guard to jumping pass into head and arm triangle.
Folded elbow extension: Straight elbow extension = classic arm bar image. The arm is straight from the wrist to the shoulder and away from the body. Folded elbow extension = The arm is folded across their centreline from the shoulder.
Inner leg with shoulder suppression detail (TRIANGLE):The ‘with’ part of the technique refers to using part of his body. In this case the shoulder under his chin. We worked from bottom control and opponent helped to drill the technique by looking to pass guard by under hooking one leg and thus giving the move up to you
• Capture own shin behind his head as soon as inner thigh on neck.
• Have own lower leg across the back of his neck, perpendicular to your hips.
• Ankle not foot under crease of knee – ensure a tighter control.
• Heel of top leg at his side and not on his back.
• Hip up to get his arm across, feed it necessary during the hip up.
• Pull down on back of head to speed up the suppression.
• To close even more, hook your arm around the opponent’s leg that is on the same side as your inner thigh on his neck. Most people perform the suppression square on to opponent. By turning to look down your leg that is over his neck it closes the suppression very quickly thus his chances of escape are dramatically reduced.
Shin choke (gogoplata)
Elbow extension (arm bar)
Triangle
Shoulder rotations (DWL)
Shoulder with bicep
Inner forearm choke
Chaining submissions from bottom control (guard) - downward shoulder rotation (double wrist lock) to - leg and shoulder suppression (triangle) to
elbow extension (arm bar)
Elbow extension to gogoplata
Grovit
Half guard recovery: Top player needs to pass the legs to side control, bottom player then needs to shrimp out and recover what is almost an invisible half guard. Lower leg is through their legs whilst higher leg (hamstring) is on the far shoulder. The drill continues as a pass and recovers drill. It is a great drill to develop fluidity of the hips and awareness of your back of the floor. It is generally better to be on your side.
Posture breaking: underhook an arm, palm to palm grip and pull him down on to you. Compress his tricep with top forearm. A very important point is that you must use the body and the arms to apply pressure. In this position arms are pulling down as chest is squeezing up. Several options now: Attempt to create pain on the tricep, arch the chest to pass the arm over to then grab far side lat and escape out or allow him a small space to try to escape by pulling his across your chest.
Arm across escape: Scissor your arm so that one is on his tricep and the on his face, and as if opening his posture. Control the head then you control the body.
Outside leg over: As you scissor turn your head towards his knee so that you are now perpendicular. As I have attacked the right arm initially, this move now means I need to pivot to the left. As I am pivoting I need to move my hips. The outside leg, for this example it was my right leg, sweeps over his face. The hamstring needs to right on his face.
Compress yourself: To enable tight control pull the knees into your chest and squeeze his back with your calves. The idea is that you are almost making yourself into a ball. This will make the position very tight for him. It is possible even without using your hands to establish control for a good 5 seconds. To make the control even tighter reach up and pull his near side shoulder down into your legs and tighten your vice like grip.
Sweep: Control a forearm and pin the hand to the floor, same side leg pinned across his back, reach over and clasp the tricep of the arm on the floor. Post up onto your hand and hip up for the sweep into top control.
Super grip shoulder control: Over the traps so the shoulder is forced down and the elbow pins the head to prevent movement.
Guard pass: Sitting back and sticking knee in the centre of his hips will open his guard.
Transition from side to inverted
Downward shoulder rotation (DWL) with the leg
Own leg grab with head control
Elbow extension with pushing the shoulder down
Ankle extension: Starting from an open bottom control position, he has one foot one your hip so this is ankle you are going to attack. Wrap the forearm under the calf as you step up to have both feet close to his hips and as you sit your hips go close to your heels. As you lie back squeeze the knees together and allow the forearm to slide down his leg. You should feel the bridge of his foot against your lat or top of the shoulder. Make sure that forearm bone (radius) is nice and tight and the bottom of the calf muscle. Look behind and over yourself to complete the ankle extension.
Defence to this and that is as soon as they start to lie back you need to relax the leg, shoot the foot behind him and sit up by pulling on his neck for anchorage. Maintaining the neck control you can pass to the side or either with a crushing knee on belly control.
Downward shoulder rotation series (DWL) into elbow extension, hip facing elbow = dsr, hips facing back of the elbow = extension
Leg lock from the open guard position. Start is if going to pass with shin over their thigh and make sure that the foot is placed deep under their thigh. When you look to pass with the shin it will be much deeper and have an opening of the hips preventing him from escaping easily to another position. Instead of passing hold the high leg and sit back as you come under his leg with yours. You are essentially clasping his leg between yours. Now that you have his leg clasped you can begin to work on the lower part of his leg for the submission.
Achilles compression: With his toes under your armpit insert your inner forearm bone against his tendon to apply pressure.
Heel hook: this is a much more devastating submission due to the potential long term injury the leg can suffer. With his toes under your armpit roll towards them lifting the far side shoulder off the floor.
Knee bar: As he stands to stack your guard, underhook an ankle and move your hips to allow taking him down by manipulating with your legs. As he goes down wrap his leg for the knee extension. Get the hips against his knee to act as the most powerful fulcrum.
Calf suppression: Could be my new most favourite sub. From open guard, keep his mind active with your hands as your lower shin looks to 'rest' on the back of his knee. When the time is right swim under his arms, take your head towards the foot you are going for, this will help to give you more power and leverage in the compression. Put that foot back with your lower shin compressing nicely against his calf. A sweet, sweet submission.
Guillotine baiting inside guard to jumping pass into head and arm triangle.
Folded elbow extension: Straight elbow extension = classic arm bar image. The arm is straight from the wrist to the shoulder and away from the body. Folded elbow extension = The arm is folded across their centreline from the shoulder.
Inner leg with shoulder suppression detail (TRIANGLE):The ‘with’ part of the technique refers to using part of his body. In this case the shoulder under his chin. We worked from bottom control and opponent helped to drill the technique by looking to pass guard by under hooking one leg and thus giving the move up to you
• Capture own shin behind his head as soon as inner thigh on neck.
• Have own lower leg across the back of his neck, perpendicular to your hips.
• Ankle not foot under crease of knee – ensure a tighter control.
• Heel of top leg at his side and not on his back.
• Hip up to get his arm across, feed it necessary during the hip up.
• Pull down on back of head to speed up the suppression.
• To close even more, hook your arm around the opponent’s leg that is on the same side as your inner thigh on his neck. Most people perform the suppression square on to opponent. By turning to look down your leg that is over his neck it closes the suppression very quickly thus his chances of escape are dramatically reduced.
Grappling for JKD from MMA - the takedown series
These methods were from Workman Martial Arts and PROMAI MMA
4 basic takedown drilling: the single hip capture, double hip capture, single and double leg.
Knee wrap takedown
Hand trip takedown
Single leg takedown clasping from shoulder control
Single leg capture: x4
1. Drive knee to head, left arm under knee, transition right hand to heel to get him hoping back.
2. Outer leg trip
3. Pulls back to escape you transition into double knee capture and the takedown is most reminiscent of a rugby tackle motion. You collapse him from his knees.
4. Both arms under his knee, keep the right elbow crease under his knee lifting high as the left hand wraps around his shoulder for a ‘steering wheel’ take down.
Knee trip and shoulder take down: The trip is simply a barring action (the hand on the side of the knee) so that the leg has nowhere to go. The arm in shoulder control straightens from the bicep and the ‘bowls’ as the trip happens acting as a fulcrum. This technique works when you have the same leg forward as the partner
Single leg takedown: defend by putting the leg on the outside , step around and drag down
Above but the leg goes on the inside, drive backwards and then change direction by pulling down as he tries to straighten his leg.
Front hip lift: as with the naming convention it simply refers to the part of the body being used and on occasion a direction. Start in standard shoulder control clinch and the secondary grip on the tricep. Transfer to side body clinch with head on shoulder blade, squeeze the elbow together, thrust with the hips as you look up and lift onto your arching chest. To complete the throw relax the shoulder and dump him on the floor with you in a dominant position to continue
Back hip throw: first looking at using shoulder control and tricep grip then and underhook and overhook clinch grip as this secures their shoulders. Anyway the first one we looked at was concerning the feet. Initial step is in front of his foot, not past, get your hips lower than his then attack with your chasing foot. That one steps a little deeper between his legs and triggers a fast insert of your hips into his hip space. Lift and throw.
Double leg takedown into calf trip: starting front body clinch, drop and change the level to go for the double leg takedown. Importantly shift the stance back a little to enable you to get the front knee to the floor. From here wrap the outside leg around their front calf and drive forward, keep the calf wrapped and thus controlled when they are on their back, you then move into your next positional transition.
Sitting takedown from side body clinch: step behind his knee so that you are square in your stance. Simply, sit your arse down whilst maintaining your body clinch grip. He should go down with you. Do not turn or rotate him as you go down, trust the motion.
Takedown from shoulder control: You are deep in their space, your knee is behind theirs, your torso pressure is on them so there are no gaps when you bump the knee and pull the shoulder down to collapse their structure. This works when you have opposite legs forward
Shoulder control takedown from knees: Secondary grip on tricep and pinch down with your elbow, step your knee in front of his knee to create a barrier and pull him over that as you follow into a high angle side control.
Double leg takedown using jab footwork. And looked at the 3 types depending on what energy the opponent gives us.
1: the turning and lifting wheel type.
2: the straight drive type by pulling his leg between your legs as we drive with the shoulder. (This is where we spent our time practising).
3: the sweeping type.
Scissor takedown into ankle extension: From the standing clinch look to perform a hip throw. If he does not defend then complete the throw. However if he defends by straightening his posture attempt the entertaining. From the hip throw your backside should be against his thigh. Drop to the floor and scissor him down, top leg attacking high and front and the lower leg low and behind. Do not let your lower leg hit the floor. From here you can clasp his leg with your knees and perform the ankle extension as outlined earlier on.
Double leg shoot and lift: Great warm up drill for practising the correct head and face posture without the danger of being hit.
Double leg NOTES: Main focus was posture, something that I need to be frequently aware of and thus adjusting. Hips back, short arms, elbows in, spine concave head tucked in but chin up. When shooting for the TD keep looking up and squeeze ear to the hip of opponent. This will ensure you are harder to be head controlled. Once in hold step around and stand as you lift, posted leg side, and turn (away from the posted leg).
Working on the crash mats:
• Hip toss
• Double leg and slam
• Inner knee capture and slam
• Fireman lift and slam
• Single hip capture and slam
• Free takedown play
• Arm drag to get to the back from standing clinch.
• Plum clinch to neck control and half nelson for the shearing takedown.
• Clinch to fireman lift takedown.
• Double and single hip capture, double and single leg takedown chain wrestling drill.
4 basic takedown drilling: the single hip capture, double hip capture, single and double leg.
Knee wrap takedown
Hand trip takedown
Single leg takedown clasping from shoulder control
Single leg capture: x4
1. Drive knee to head, left arm under knee, transition right hand to heel to get him hoping back.
2. Outer leg trip
3. Pulls back to escape you transition into double knee capture and the takedown is most reminiscent of a rugby tackle motion. You collapse him from his knees.
4. Both arms under his knee, keep the right elbow crease under his knee lifting high as the left hand wraps around his shoulder for a ‘steering wheel’ take down.
Knee trip and shoulder take down: The trip is simply a barring action (the hand on the side of the knee) so that the leg has nowhere to go. The arm in shoulder control straightens from the bicep and the ‘bowls’ as the trip happens acting as a fulcrum. This technique works when you have the same leg forward as the partner
Single leg takedown: defend by putting the leg on the outside , step around and drag down
Above but the leg goes on the inside, drive backwards and then change direction by pulling down as he tries to straighten his leg.
Front hip lift: as with the naming convention it simply refers to the part of the body being used and on occasion a direction. Start in standard shoulder control clinch and the secondary grip on the tricep. Transfer to side body clinch with head on shoulder blade, squeeze the elbow together, thrust with the hips as you look up and lift onto your arching chest. To complete the throw relax the shoulder and dump him on the floor with you in a dominant position to continue
Back hip throw: first looking at using shoulder control and tricep grip then and underhook and overhook clinch grip as this secures their shoulders. Anyway the first one we looked at was concerning the feet. Initial step is in front of his foot, not past, get your hips lower than his then attack with your chasing foot. That one steps a little deeper between his legs and triggers a fast insert of your hips into his hip space. Lift and throw.
Double leg takedown into calf trip: starting front body clinch, drop and change the level to go for the double leg takedown. Importantly shift the stance back a little to enable you to get the front knee to the floor. From here wrap the outside leg around their front calf and drive forward, keep the calf wrapped and thus controlled when they are on their back, you then move into your next positional transition.
Sitting takedown from side body clinch: step behind his knee so that you are square in your stance. Simply, sit your arse down whilst maintaining your body clinch grip. He should go down with you. Do not turn or rotate him as you go down, trust the motion.
Takedown from shoulder control: You are deep in their space, your knee is behind theirs, your torso pressure is on them so there are no gaps when you bump the knee and pull the shoulder down to collapse their structure. This works when you have opposite legs forward
Shoulder control takedown from knees: Secondary grip on tricep and pinch down with your elbow, step your knee in front of his knee to create a barrier and pull him over that as you follow into a high angle side control.
Double leg takedown using jab footwork. And looked at the 3 types depending on what energy the opponent gives us.
1: the turning and lifting wheel type.
2: the straight drive type by pulling his leg between your legs as we drive with the shoulder. (This is where we spent our time practising).
3: the sweeping type.
Scissor takedown into ankle extension: From the standing clinch look to perform a hip throw. If he does not defend then complete the throw. However if he defends by straightening his posture attempt the entertaining. From the hip throw your backside should be against his thigh. Drop to the floor and scissor him down, top leg attacking high and front and the lower leg low and behind. Do not let your lower leg hit the floor. From here you can clasp his leg with your knees and perform the ankle extension as outlined earlier on.
Double leg shoot and lift: Great warm up drill for practising the correct head and face posture without the danger of being hit.
Double leg NOTES: Main focus was posture, something that I need to be frequently aware of and thus adjusting. Hips back, short arms, elbows in, spine concave head tucked in but chin up. When shooting for the TD keep looking up and squeeze ear to the hip of opponent. This will ensure you are harder to be head controlled. Once in hold step around and stand as you lift, posted leg side, and turn (away from the posted leg).
Working on the crash mats:
• Hip toss
• Double leg and slam
• Inner knee capture and slam
• Fireman lift and slam
• Single hip capture and slam
• Free takedown play
• Arm drag to get to the back from standing clinch.
• Plum clinch to neck control and half nelson for the shearing takedown.
• Clinch to fireman lift takedown.
• Double and single hip capture, double and single leg takedown chain wrestling drill.
Yoga - maintaining motion, flexibility and strength.
Here are Yoga channels I subscribe to and use regularly. I love the variety of motion and intensity as well as the humbling reminder of what I am and am not capable of. Plus, seeing experts in action gives you something to aspire to.
Below are the links to the video channels plus an embedded example of the work.
https://www.youtube.com/channel/UCOiBggLaIH3aJL7pJGHpCpA
https://www.youtube.com/channel/UCrtTMWDx4u1dVKMpXNhjwpA
https://www.youtube.com/channel/UCo3GoRLFsOehQ4tIoKZHzNA
https://www.youtube.com/channel/UCxiaB7b1_MyvXWPwtgAFB9A
https://www.youtube.com/channel/UCcox27Gc-NGbb2-X9hdLaMw
Below are the links to the video channels plus an embedded example of the work.
https://www.youtube.com/channel/UCOiBggLaIH3aJL7pJGHpCpA
https://www.youtube.com/channel/UCrtTMWDx4u1dVKMpXNhjwpA
https://www.youtube.com/channel/UCo3GoRLFsOehQ4tIoKZHzNA
https://www.youtube.com/channel/UCxiaB7b1_MyvXWPwtgAFB9A
https://www.youtube.com/channel/UCcox27Gc-NGbb2-X9hdLaMw
Joint mobility
Here is the routine I use. It is a combination of Scott Sonnon's warrior wellness, things from Steve Cotter and things from other arts I have incorporated. Takes about 15 minutes.
NECK: Waves forward and back, Half circles, Lateral circles
SHOULDERS: Rolling forward and backwards, double and single, Rectangle shrugs x2 directions, Figure 8 swings F/B. L/R. U/D, Double and single Mexican waves, Shoulder claps, Arm screws
ELBOWS: Figure 8 swings F/B. L/R. U/D, Cossack punches
WRISTS: Wanderlei’s, the Aikido 4
FINGERS: Waves, Isolated circles
TORSO: Discuss swings, Pull the rope, Calf taps, Figure 8 F/B, L/R, Big circles, Matahorn side bends, Wudang squats
HIPS: Single leg circles F/S/B, 3 direction circles, Waist Figure 8 L/R, Waist big circles, Snake creeps down, Drawing figure 8s with the foot x2 directions
KNEES: Pressing knee circles, Butterfly knee circles
ANKLES: Rocking heel to toe
NECK: Waves forward and back, Half circles, Lateral circles
SHOULDERS: Rolling forward and backwards, double and single, Rectangle shrugs x2 directions, Figure 8 swings F/B. L/R. U/D, Double and single Mexican waves, Shoulder claps, Arm screws
ELBOWS: Figure 8 swings F/B. L/R. U/D, Cossack punches
WRISTS: Wanderlei’s, the Aikido 4
FINGERS: Waves, Isolated circles
TORSO: Discuss swings, Pull the rope, Calf taps, Figure 8 F/B, L/R, Big circles, Matahorn side bends, Wudang squats
HIPS: Single leg circles F/S/B, 3 direction circles, Waist Figure 8 L/R, Waist big circles, Snake creeps down, Drawing figure 8s with the foot x2 directions
KNEES: Pressing knee circles, Butterfly knee circles
ANKLES: Rocking heel to toe
Daniel Lonero seminar, day 2
Right off the bat, if you have any details or notes you want to add, email me and I will insert them citing you. It would be great to get different perspectives and experiences from those in attendance.
Email: pcaswe1@elp.rbksch.org
James has already sent me his notes. Please find them after my partially coherent ramblings.
The day started off with warm ups based on mobility and flexibility. Mobility work is pretty generic and we ran through the main joints. I have my own mobility program I do and will put that up in a later post. He then ran through the opening postures of the Bikram sequence of yoga. On a side, this is something I have become interested in over the summer and have incorporated Bikram Yoga as part of my own training schedule.
I love it, give it a go.
Part 1 of the day was following where we left off yesterday and working with the sticks. There was a variety of co-ordination drills followed by in-depth punyo focus. This was followed by redondo and abanico strikes against the 5 angles. My actual recall of these, even a few hours removed, is poor. What I will take away, as with the whole weekend, is that I am now a tiny bit better than I was on Saturday morning. Maybe I am more aware of my feet, or lowering my posture or have gained an improved understanding of the punyo. What I can say with certainty is, had I stayed at home, I wouldn't be that one step closer to getting better. This blog is called Kaizen JKD as Kaizen is a Japanese concept of continual improvement. For me, that is what all this is about. Getting better through practise.
After lunch it was silat time. Many moons ago I trained in Harimau which brings back painful memories of leg conditioning. Thankfully, Daniel gave us an insight into applications off the lead punch. We entered in the same way but ended with with the opponent's arm in 6 variations yet each variation took us to the same place - in control of the arm and away from other striking tools. I have watched many silat videos and have been fascinated by this art and how things just seems to be there for the next technique and then next technique and so on. I really enjoyed the flow and feel of the motions to the sweeps to the takedowns and to the finishes, which relative to the rest of the weekend, were particularly violent. Daniel gave the context of the silat material, obviously it was born out of a need and society very different to ours. I do however, think it is a valuable study.
Daniel also talked about the 5 targets in silat:
Hand - that is the first target as that is the thing usually attacking you.
Eyes - can't see, he can't fight.
Airways - can't breathe, he can't fight.
Groin - pain
Legs - transportation system. With a rye smile, Daniel said so he can't use them, changed his mind to, so he can't run away!
It was watching him move in the silat section that it was apparent how skilled he is in movement and has absolute mastery over his body. This is not because he was born gifted or special, but because he has spent time working, making mistakes and learning from those mistakes. They say a black belt is white belt who never stopped going to class. Failure is a significant part of our journey and for me it is a great way to keep the ego in check. In my mind, I am THE shit, if you train with me, you know I'm just shit! But I'm happy with that because meeting people like Daniel and seeing all the people there at the seminar this weekend helps to reinforce that idea. Chael Sonnen says 80% of winning is just turning up. For me, that is turning up to class but also turning up to my yoga mat or kettle bells and putting the time in.
The day ended with some delightful pummelling for double underhooks. For me, some of the best times I've had in martial arts has been grappling. I just love it. I love the honesty of it, the effort, the problem solving and the struggle.
Daniel talked about relative truth, he mentioned silat, not a critique but as an assessment. I think the point he was making was that arts like this, don't appear to have contested or non-compliant work and would benefit from developing more of this. I loved my time in Aikido but felt the training methods, not the techniques, were not honest enough. I even thought that when my shoulder was 'accidentally' dislocated.
I guess it is all about balance and find what is what you want and what you need. It was a pleasure to be in the room for 8 hours with Daniel and his most able assistant Anton. It was just friggin awesome.
JAMES' NOTES. As yesterday, many thanks James. This is quite a piece of work.
Double Stick
With partner, starting in open guard do the following in sequence:
1. Cobb cobb x4.
2. Angle 1, angle 2 on right then left.
3. Angle 1, low backhand watik, angle 2 on right then left.
4. Switch to closed guard and heaven 6.
5. Standard 6.
6. Earth 6.
7. Forehand, backhand as you umbrella, forehand on right then left.
From closed guard:
1. Partner feeds an angle 1, hit his stick with a right forehand, then right Redondo, left backhand, right backhand in the air.
2. Partner feeds an angle 2, hit his stick with a left forehand, then left Redondo, right backhand, left backhand in the air.
3. Partner feeds an angle 3, hit his stick with a right forehand, then right Redondo, left backhand, right backhand in the air.
4. Partner feeds an angle 4, hit his stick with a left forehand, then left Redondo, right backhand, left backhand in the air.
5. Partner feeds an angle 9 (forehand to knee), hit his stick with a left forehand, then left Redondo, right backhand, left backhand in the air.
6. Partner feeds an angle 10 (backhand to the knee), hit his stick with a left forehand, then left Redondo, right backhand, left backhand in the air.
7. Do 1-6 as above but this time partner feeds for both the forehand and the Redondo and so you hit his sticks for those two strikes then do the two backhands in the air. For example partner will have both sticks on his right shoulder and will feed two angle 1’s with the left stick first then the right.
8. As (7) but mix the angles e.g. first strike high, second strike middle; first strike middle, second strike high; first strike low, second strike high; first strike high, second strike low.
9. Partner feeds an angle 5 with the right stick, abanico 3x (left, right, left; hitting stick, hand, elbow) then Redondo twice, backhand, backhand (in the air). Do same on left side.
10. Partner feeds an angle 6 (reverse thrust to head) with the right stick, deflect with your right stick by flicking your wrist to the right (so your palm faces up) then Redondo twice, backhand, backhand (in the air). Do same on left side.
11. Partner feeds an angle 7 (forehand thrust to head) with the right stick, deflect with your right stick by flicking your wrist to the left (so your palm faces down) then Redondo twice, backhand, backhand (in the air). Do same on left side.
Stick Hubud
1. Start with standard hubud.
2. Pass the angle 1 like a dagger pass (switch to left lead). Guide the path of the stick so it does not hit your leg. Partner does the same.
3. Raise, trap and backhand (keep the stick under your armpit). Partner parries it down and feeds back the same strike.
4. One side does (2) and the other side does (3).
5. Raise, trap and feed an angle 3 (leading with the punyo), partner stops with his left hand, hits the inside of the elbow with the punyo, hits the bicep with his elbow then flips the stick to hit you on the head, you shield then raise, trap and go back into the drill.
6. Raise, trap underneath your right arm and feed an angle 2, partner blocks, raises, traps and goes back into the drill.
7. Raise, trap above your right arm and feed an angle 4 partner blocks with L. hand (palm up) or with the outside forearm of the stick arm, raises, traps and goes back into the drill.
8. Pass the angle 1, backhand hit the hand/knuckles, retract your left hand to allow you to bring the punyo back up to feed the angle 1 then put your left hand back on.
9. Pass the angle 1 and inside gunting under the arm and feed the angle 2, partner stops it, raises, traps and hits.
10. Feed the angle 1, partner blocks in the normal way and as he does this you throw a left vertical punch, partner parries with his left hand to the right, hits the inside of the elbow with the punyo, hits the arm with the stick by flipping the stick up and can feed a straight punch to turn the drill into punching hubud or he feeds the angle 1, partner passes and goes into one of the options off the pass.
Sumbrada Flow 1
1. Pass the angle 1 and feed back the angle 1.
2. Partner passes the angle 1 and feeds the angle 3.
3. Stop with left hand and guntin the arm right to left with punyo and feed angle 4.
4. Partner passes the angle 4 with the back of his hand (his stick should be chambered over the top of his left arm) and feeds the angle 2.
5. Stop the angle 2, raise and feed the angle 1 and the flow starts again.
Sumbrada Flow 2
1. Pass the angle 1, backhand hit the hand/knuckles, retract your left hand to allow you to bring the punyo back up to feed the angle 1.
2. Partner passes and guntings underneath and feeds the angle 2.
3. Vertical gunting and throw the left vertical punch.
4. Partner parries with his left hand to the right, hits the inside of the elbow with the punyo, hits the arm with the stick by flipping the stick and feeds the angle 1 and drill starts again.
Silat
Partner throws the jab. You parry inside with the left and monitor his right hand with your right hand then:
1. (Arm over) Wrap your right arm over his left arm as you step your right leg forward in front of and between his legs, shoot your right leg back to sweep his leg then step your right foot behind his right foot, as he loses his balance and posts on his hand, bring your right foot towards you to sweep his leg and stamp on his knee with your left foot, keeping control of his arm step around his head and sit back for the arm bar.
2. (Arm under) Shoot your right arm under his left arm above his elbow as you step your right leg forward in front of and between his legs, shoot your right leg back to sweep his leg then put your left hand on the back of his neck and reinforce it with your right hand on top, push down on his neck and feed his head through so he ends up sitting with his back to the front of your legs, keeping control of his right arm feed your left arm behind his neck (palm against his neck) and push down on his neck as you twist his arm.
3. (Both arms over) Circle your hand over his arm and feed it to the left then roll your right arm over (like the way you roll for the wave and hack switch from hubud) as you step your right leg forward in front of and between his legs and use your right forearm above his elbow to bend him forward (your left hand should be on top of his wrist), shoot your right leg back to sweep his leg, use your stomach to walk him forward at a 90 degree angle so he ends up face down on the floor, place your right knee on his tricep and pull up on his lower arm.
4. (Right arm under, left arm over) Circle your hand over his arm feed it to the left then shoot your straight right arm underneath his arm (keep your left hand on top of his wrist) as you step your right leg forward in front of and between his legs, shoot your right leg back to sweep his leg then step your right foot behind his right foot and use your right hand to pull on the back of his knee, as he loses his balance keep control of his arm as you pick up his right foot with your right hand, right knee drop his groin and squeeze your knees together around his right leg as you put his right foot under your right armpit then heel hook.
5. (Right arm over, left arm under) Circle your hand over his arm and feed it to the left and roll your right arm over and put your left hand under his wrist as you step your right leg forward in front of and between his legs and use your right forearm above his elbow to bend him forward, shoot your right leg back to sweep his leg, put your right hand on the floor and then slide your right knee through so he goes face down onto the floor and you’re controlling his arm in a keysa position with your right arm over and left arm under his arm, apply pressure into him and arm bar.
6. (Both arms under) Circle your hand over his arm and feed it to the left as you put both hands under his arm and go to step forward but as you do so he puts his right hand on your head, pop his left arm up as you step his right leg behind him and put your right elbow on his chest, posture up and use your right elbow to unbalance him over your leg and spin clockwise keeping control of his left arm then go into a suitable finish.
Email: pcaswe1@elp.rbksch.org
James has already sent me his notes. Please find them after my partially coherent ramblings.
The day started off with warm ups based on mobility and flexibility. Mobility work is pretty generic and we ran through the main joints. I have my own mobility program I do and will put that up in a later post. He then ran through the opening postures of the Bikram sequence of yoga. On a side, this is something I have become interested in over the summer and have incorporated Bikram Yoga as part of my own training schedule.
I love it, give it a go.
Part 1 of the day was following where we left off yesterday and working with the sticks. There was a variety of co-ordination drills followed by in-depth punyo focus. This was followed by redondo and abanico strikes against the 5 angles. My actual recall of these, even a few hours removed, is poor. What I will take away, as with the whole weekend, is that I am now a tiny bit better than I was on Saturday morning. Maybe I am more aware of my feet, or lowering my posture or have gained an improved understanding of the punyo. What I can say with certainty is, had I stayed at home, I wouldn't be that one step closer to getting better. This blog is called Kaizen JKD as Kaizen is a Japanese concept of continual improvement. For me, that is what all this is about. Getting better through practise.
After lunch it was silat time. Many moons ago I trained in Harimau which brings back painful memories of leg conditioning. Thankfully, Daniel gave us an insight into applications off the lead punch. We entered in the same way but ended with with the opponent's arm in 6 variations yet each variation took us to the same place - in control of the arm and away from other striking tools. I have watched many silat videos and have been fascinated by this art and how things just seems to be there for the next technique and then next technique and so on. I really enjoyed the flow and feel of the motions to the sweeps to the takedowns and to the finishes, which relative to the rest of the weekend, were particularly violent. Daniel gave the context of the silat material, obviously it was born out of a need and society very different to ours. I do however, think it is a valuable study.
Daniel also talked about the 5 targets in silat:
Hand - that is the first target as that is the thing usually attacking you.
Eyes - can't see, he can't fight.
Airways - can't breathe, he can't fight.
Groin - pain
Legs - transportation system. With a rye smile, Daniel said so he can't use them, changed his mind to, so he can't run away!
It was watching him move in the silat section that it was apparent how skilled he is in movement and has absolute mastery over his body. This is not because he was born gifted or special, but because he has spent time working, making mistakes and learning from those mistakes. They say a black belt is white belt who never stopped going to class. Failure is a significant part of our journey and for me it is a great way to keep the ego in check. In my mind, I am THE shit, if you train with me, you know I'm just shit! But I'm happy with that because meeting people like Daniel and seeing all the people there at the seminar this weekend helps to reinforce that idea. Chael Sonnen says 80% of winning is just turning up. For me, that is turning up to class but also turning up to my yoga mat or kettle bells and putting the time in.
The day ended with some delightful pummelling for double underhooks. For me, some of the best times I've had in martial arts has been grappling. I just love it. I love the honesty of it, the effort, the problem solving and the struggle.
Daniel talked about relative truth, he mentioned silat, not a critique but as an assessment. I think the point he was making was that arts like this, don't appear to have contested or non-compliant work and would benefit from developing more of this. I loved my time in Aikido but felt the training methods, not the techniques, were not honest enough. I even thought that when my shoulder was 'accidentally' dislocated.
I guess it is all about balance and find what is what you want and what you need. It was a pleasure to be in the room for 8 hours with Daniel and his most able assistant Anton. It was just friggin awesome.
JAMES' NOTES. As yesterday, many thanks James. This is quite a piece of work.
Double Stick
With partner, starting in open guard do the following in sequence:
1. Cobb cobb x4.
2. Angle 1, angle 2 on right then left.
3. Angle 1, low backhand watik, angle 2 on right then left.
4. Switch to closed guard and heaven 6.
5. Standard 6.
6. Earth 6.
7. Forehand, backhand as you umbrella, forehand on right then left.
From closed guard:
1. Partner feeds an angle 1, hit his stick with a right forehand, then right Redondo, left backhand, right backhand in the air.
2. Partner feeds an angle 2, hit his stick with a left forehand, then left Redondo, right backhand, left backhand in the air.
3. Partner feeds an angle 3, hit his stick with a right forehand, then right Redondo, left backhand, right backhand in the air.
4. Partner feeds an angle 4, hit his stick with a left forehand, then left Redondo, right backhand, left backhand in the air.
5. Partner feeds an angle 9 (forehand to knee), hit his stick with a left forehand, then left Redondo, right backhand, left backhand in the air.
6. Partner feeds an angle 10 (backhand to the knee), hit his stick with a left forehand, then left Redondo, right backhand, left backhand in the air.
7. Do 1-6 as above but this time partner feeds for both the forehand and the Redondo and so you hit his sticks for those two strikes then do the two backhands in the air. For example partner will have both sticks on his right shoulder and will feed two angle 1’s with the left stick first then the right.
8. As (7) but mix the angles e.g. first strike high, second strike middle; first strike middle, second strike high; first strike low, second strike high; first strike high, second strike low.
9. Partner feeds an angle 5 with the right stick, abanico 3x (left, right, left; hitting stick, hand, elbow) then Redondo twice, backhand, backhand (in the air). Do same on left side.
10. Partner feeds an angle 6 (reverse thrust to head) with the right stick, deflect with your right stick by flicking your wrist to the right (so your palm faces up) then Redondo twice, backhand, backhand (in the air). Do same on left side.
11. Partner feeds an angle 7 (forehand thrust to head) with the right stick, deflect with your right stick by flicking your wrist to the left (so your palm faces down) then Redondo twice, backhand, backhand (in the air). Do same on left side.
Stick Hubud
1. Start with standard hubud.
2. Pass the angle 1 like a dagger pass (switch to left lead). Guide the path of the stick so it does not hit your leg. Partner does the same.
3. Raise, trap and backhand (keep the stick under your armpit). Partner parries it down and feeds back the same strike.
4. One side does (2) and the other side does (3).
5. Raise, trap and feed an angle 3 (leading with the punyo), partner stops with his left hand, hits the inside of the elbow with the punyo, hits the bicep with his elbow then flips the stick to hit you on the head, you shield then raise, trap and go back into the drill.
6. Raise, trap underneath your right arm and feed an angle 2, partner blocks, raises, traps and goes back into the drill.
7. Raise, trap above your right arm and feed an angle 4 partner blocks with L. hand (palm up) or with the outside forearm of the stick arm, raises, traps and goes back into the drill.
8. Pass the angle 1, backhand hit the hand/knuckles, retract your left hand to allow you to bring the punyo back up to feed the angle 1 then put your left hand back on.
9. Pass the angle 1 and inside gunting under the arm and feed the angle 2, partner stops it, raises, traps and hits.
10. Feed the angle 1, partner blocks in the normal way and as he does this you throw a left vertical punch, partner parries with his left hand to the right, hits the inside of the elbow with the punyo, hits the arm with the stick by flipping the stick up and can feed a straight punch to turn the drill into punching hubud or he feeds the angle 1, partner passes and goes into one of the options off the pass.
Sumbrada Flow 1
1. Pass the angle 1 and feed back the angle 1.
2. Partner passes the angle 1 and feeds the angle 3.
3. Stop with left hand and guntin the arm right to left with punyo and feed angle 4.
4. Partner passes the angle 4 with the back of his hand (his stick should be chambered over the top of his left arm) and feeds the angle 2.
5. Stop the angle 2, raise and feed the angle 1 and the flow starts again.
Sumbrada Flow 2
1. Pass the angle 1, backhand hit the hand/knuckles, retract your left hand to allow you to bring the punyo back up to feed the angle 1.
2. Partner passes and guntings underneath and feeds the angle 2.
3. Vertical gunting and throw the left vertical punch.
4. Partner parries with his left hand to the right, hits the inside of the elbow with the punyo, hits the arm with the stick by flipping the stick and feeds the angle 1 and drill starts again.
Silat
Partner throws the jab. You parry inside with the left and monitor his right hand with your right hand then:
1. (Arm over) Wrap your right arm over his left arm as you step your right leg forward in front of and between his legs, shoot your right leg back to sweep his leg then step your right foot behind his right foot, as he loses his balance and posts on his hand, bring your right foot towards you to sweep his leg and stamp on his knee with your left foot, keeping control of his arm step around his head and sit back for the arm bar.
2. (Arm under) Shoot your right arm under his left arm above his elbow as you step your right leg forward in front of and between his legs, shoot your right leg back to sweep his leg then put your left hand on the back of his neck and reinforce it with your right hand on top, push down on his neck and feed his head through so he ends up sitting with his back to the front of your legs, keeping control of his right arm feed your left arm behind his neck (palm against his neck) and push down on his neck as you twist his arm.
3. (Both arms over) Circle your hand over his arm and feed it to the left then roll your right arm over (like the way you roll for the wave and hack switch from hubud) as you step your right leg forward in front of and between his legs and use your right forearm above his elbow to bend him forward (your left hand should be on top of his wrist), shoot your right leg back to sweep his leg, use your stomach to walk him forward at a 90 degree angle so he ends up face down on the floor, place your right knee on his tricep and pull up on his lower arm.
4. (Right arm under, left arm over) Circle your hand over his arm feed it to the left then shoot your straight right arm underneath his arm (keep your left hand on top of his wrist) as you step your right leg forward in front of and between his legs, shoot your right leg back to sweep his leg then step your right foot behind his right foot and use your right hand to pull on the back of his knee, as he loses his balance keep control of his arm as you pick up his right foot with your right hand, right knee drop his groin and squeeze your knees together around his right leg as you put his right foot under your right armpit then heel hook.
5. (Right arm over, left arm under) Circle your hand over his arm and feed it to the left and roll your right arm over and put your left hand under his wrist as you step your right leg forward in front of and between his legs and use your right forearm above his elbow to bend him forward, shoot your right leg back to sweep his leg, put your right hand on the floor and then slide your right knee through so he goes face down onto the floor and you’re controlling his arm in a keysa position with your right arm over and left arm under his arm, apply pressure into him and arm bar.
6. (Both arms under) Circle your hand over his arm and feed it to the left as you put both hands under his arm and go to step forward but as you do so he puts his right hand on your head, pop his left arm up as you step his right leg behind him and put your right elbow on his chest, posture up and use your right elbow to unbalance him over your leg and spin clockwise keeping control of his left arm then go into a suitable finish.
Saturday, 10 September 2016
Daniel Lonero seminar, day 1
There was much banter today from my 'friends' from the club at the lack of ability to blog in detail. Well they were right. Lots of material was covered in our 4 hours with Daniel. At the end of my blog post are the notes and reflections made by James. He puts me to shame, many thanks James.
Daniel is an inspiration in the way he moves and the way he teaches. There was a combination of actual martial arts material but also a healthy dose of cultural contextualisation.
Kickboxing session.
Warm up with evasion methods - maintaining striking range
Form training of kicks using a partner to take care of your balance so you can focus on the legs: lead leg round kick to the chest, to the inner thigh, chest then thigh, double kick to the chest.
The main theme of this part of the seminar was ripost -
noun
1.
a quick, sharp return in speech or action; counterstroke:
a brilliant riposte to an insult.
2.
Fencing. a quick thrust given after parrying a lunge.
- and being able to ripost to after your opponent attacks.
Daniel built the learning in layers, I stayed at the lowest layer because quite quickly the brain was filling with information and unable to process.
-4 evasions of the jab, then the cross then the hook. The idea was to use footwork to get out of range, coupled with the footwork were a variety of parrys or connections with his punches.
Kicks were then added. So the idea was to evade the punch attack and ripost with a kick.
Then came the ripost work against kicks. There were 6 riposts (after evasive footwork) to the lead kick to the inner thigh and 6 riposts to the round kick to the outer thigh. I
Ripost kicks -
side kick to lead leg,
round kick to rear leg
round kick to the mid line,
stomp the thigh,
follow the kick with a kick,
heel stomp (looks like a crush),
gay gordon (lift the heel to the arse to block the kick)
round the world (going over the top and with the energy of the kick)
Putting it altogether - Partner A feeds punches and occasional kicks. Partner B has to control the punches, look for ripost kicks to the arm attacks as well as trying to use the ripost counter kicks.
Double stick session.
'Walking lines' with flow and exaggerated motions. Daniel talked about going slow to restore or cultivate energy in the body.
Doing different examples of Heaven 6. walking forwards, backwards, sideways, quarter turing. Also inserted was different ways of doing the Heaven 6. I don't know the names but there were X versions, more vertical versions and then one where the final strike goes around the head.
Paired Heaven 6 - forwards, backwards and sideways.
Triangles of Heaven 6 - one person going backwards as the two walking forwards are constantly throwing their strikes. The uniqueness of the drill was that each person going forwards only makes contact with 3 of their strikes.
4s of Heaven 6 - whilst moving down the hall, to your face partner, then shoulder partner, then corner partner.
This is when it all really fell apart in terms of details...
Double stick v single stick - gunting against the 6 angles (angle 6 looked to be upward backhand?), 6 or so different strips of the angle 2. The strips were the same, how he got there was different hence blankness in me.
We then moved on to using the punyo (the butt, the base, the bit sticking out from under your fist). We looked at hubbub using the punyo and inserting strikes on the 4 angles. This evolved into a counter for counter drill attacking on the 4 angles. More tomorrow.
Intermittently, Daniel talked a lot about culture and the differences between high culture and pop culture, the hierarchy of traditional (pre-industrial) Japanese and Chinese society. Interestingly, at the bottom of both were the merchants. In our society, making money seems to be the goal. There was also talk about solo training in Kail and the importance of it, not only for the practitioner but also in other contexts - for demonstration purposes, for ceremonial purposes and for assessment of skills and ability purposes.
Today wasn't just about techniques, it was about martial arts. Really excited for day tomorrow. I am going to try and be, feel and absorb.
In summary, today was a remarkable experience to see a master of movement (of self and others) in action.
Below are the extensive and detailed notes from fellow classmate and seminar attendee James
Savate
Evasion Warm-Up
1. One side holds arm out and moves around – the other side has to maintain range.
2. Slip C. slip J, B+W RH, B+W LH, lean back from RC, bounce back RC.
3. One side throws L. or R. round kicks to body (kick with foot – extend leg so at long range – keep torso upright), other side moves sideways away from kick.
4. One side throws inside leg kicks, rear leg kicks or jeet-teks and the other side evades by bouncing back out of range using both feet.
5. One side throws a mix of punches of kicks as above and other side evades.
Leg Warm-Up
Both sides in left lead hold each other’s left hands or balance. Chamber left leg, keep the torso as upright as possible and:
1. Roundhouse to liver / solar plexus 7x without putting leg down.
2. Roundhouse to inside thigh 7x without putting leg down (bend supporting leg each time you kick).
3. Roundhouse to liver / solar plexus then roundhouse to inside thigh 7x.
4. Roundhouse to inside thigh then roundhouse to liver / solar plexus 7x.
5. Double roundhouse to liver / solar plexus (second kick only partially retracts) 7x.
Do the same from a right lead.
Ripost
Partner jabs:
1. Catch, pause then jab back.
2. Catch and jab back on the half beat (ripost).
3. Jab back as you catch (simultaneous).
4. As you see his punch start to come you jab (interception).
Aim is to use your legs to control range and timing. When you parry maintain contact with partner’s arm so you can feel his energy.
Partner jabs:
1. Step right leg back and out at a 45, and parry outside with right hand, left roundhouse to body on the half beat.
2. Step right leg back and out at a 45, and parry outside with left hand (bridge), left roundhouse to body on the half beat.
3. Step left leg back and out at a 45 (so you are in a right lead), and parry outside with right hand, right roundhouse to body on the half beat.
4. Step left leg back and out at a 45, and parry inside with right hand (bridge), right roundhouse to body on the half beat.
Partner crosses:
5. Step right leg back and out at a 45, and parry inside with left hand (bridge), left roundhouse to body on the half beat.
6. Step right leg back and out at a 45, and parry outside with left hand, left roundhouse to body on the half beat.
7. Step left leg back and out at a 45 (so you are in a right lead), and parry outside with left hand, right roundhouse to body on the half beat.
8. Step left leg back and out at a 45, and parry outside with right hand (bridge), right roundhouse to body on the half beat.
Partner long hooks (to determine your long hook range, put your fists together then open your farthest knuckles so a triangle appears between your knuckles. When your thumbs touch that’s the angle of your fist for the long hook):
9. Off left hook, step left leg back and out at a 45, and parry outside with right hand (bridge), right roundhouse to body on the half beat.
10. Off right hook, step right leg back and out at a 45, and parry inside with left hand (bridge), left roundhouse to body on the half beat.
11. Off left hook, step right leg back and out at a 45 and tight cover the hook so it just brushes your guard then left roundhouse to body on the half beat.
12. Off right hook, step left leg back and out at a 45 and tight cover the hook so it just brushes your guard then right roundhouse to body on the half beat.
Do 1-4 above but off a jab, cross, jab combination. This time though you have to start moving your foot on the cross in order to land the ripost – leaving it for the final jab will be too late.
One side feeds punches and the other side covers in boxing range then starts to implement 1-12 above off the punches. You want to be continuously changing range – like a rubber band.
Evasion / Interception
Partner inside leg kicks. Evasion is always by hopping both legs back out of range:
1. Evade then pendulum or hop-in lead roundhouse to body.
2. Evade then jump in rear leg kick.
3. Evade then hop-in lead leg side kick.
4. Intercept with rear leg jeet-tek then lead roundhouse to body.
5. Intercept by lifting lead leg up and then pushing kick down on his quad then right roundhouse.
6. Lift lead leg up and circle it clockwise so it scoops outside his kicking leg the right roundhouse.
Partner rear leg kicks:
1. Evade then pendulum or hop-in side or front kick to body.
2. Evade then jump in rear leg kick.
3. Evade then hop-in lead leg side kick.
4. Intercept by lifting lead leg up and then push kick down on his quad then front kick to body (don’t put leg down between interception and kick).
5. Intercept by blocking kick with the sole of your left foot then spinning crescent kick.
6. Bring your left heel to your butt then scoop his kick with your left instep then right roundhouse.
One side feeds punches and the other side covers in boxing range then starts to implement riposts, evasions and interceptions.
Double Stick
Solo (slow and smooth – can be like a meditation):
Walking forward – closed guard:
1. Heaven 6.
2. Forehand, backhand, Redondo, forehand, backhand, Redondo.
3. Forehand, umbrella as you backhand, forehand, forehand, umbrella as you backhand, forehand.
4. Heaven 6 sideways – the shoulder doing the forehand should lead – requires cross-step footwork.
With partner who has a single stick:
1. Partner feeds angles, 1, 4, 3, 2, 5 then a 12 (vertical upward backhand). Gunting each strike and then insert a watik after each gunting (a backhand for angles 1, 3, and 5, a forehand for angles 4, 2 and 12).
2. Do (1) but drop to one knee. Ensure the supporting foot is to the side or behind the knee not in front of it.
3. Partner feeds angle 1, you gunting, both sides backhand watik then partner feeds an angle 2. Zone left and backhand hit the hand, step left leg forward and use the punyo of your left stick (stick facing down) to scoop on the inside of his arm (elevator), strike the body/left hand with your right stick and insert the punyo (stick facing down) inside his arm (almost replaces where the left stick was), use left forearm to strip the stick.
4. As (3) but as partner feeds the angle 2, zone left and hit his hand with a left forehand, hit the head with a right forehand then insert the right stick punyo inside his arm as in (3).
5. As (3) but as partner feeds the angle 2 shield block (like in punyo sumbrada) then go into left then right elevator strip.
6. As (5) but after shield zone left and hit his hand with a left forehand, hit the head with a right forehand then insert the right stick punyo inside his arm as in (3).
7. As (3) but as partner feeds the angle 2 outside deflect with the right stick, hit the hand with a left forehand, hit the head with a right forehand then insert the right stick punyo inside his arm as in (3).
8. As (3) but as partner feeds the angle 2 inside deflect with the left stick, hit the hand with a right backhand, then go into left then right elevator strip.
Wednesday, 7 September 2016
6/9/16: conditioned sparring rounds, Thai 4 counts plus 6 and 8 count sinawali
Warm up
Shadow boxing - body mechanics, adding footwork, adding jab and cross, adding hooks and uppercuts, adding jab or cross defences.
Conditioned sparring rounds. All in a one for one format. The aim was to play with the timing, and keep the conditioned sparring alive. So trying to land punches, reply with your techniques as soon as he has landed his kick. Or try pausing, playing and delaying the punch to keep him thinking. Action is faster than reaction.
Front hand punch followed by a rear leg round kick to his leg.
Part 1:
Jab down the centreline, shift and round kick.
Shift offline and jab to round kick.
Drop the level, jab to the body to round kick.
Part 2:
Uppercut to round kick.
Shovel hook to round kick.
Body hook to round kick.
Head hook to round kick.
Feint to round kick.
Rear hand punch to front leg to his inner thigh.
Part 1:
Drop your level to body cross to inner kick.
Shift offline and cross to inner kick.
Cross down the centreline to shift and inner kick.
Part 2:
Rear uppercut to inner kick.
Head hook to inner kick.
Body hook to inner kick.
Shovel hook to inner kick.
All together:
Any of the above, one for one and keeping it alive. As always, lots of partner changes for different energies, ranges and motion.
Thai 4 counts on the pads for 3 minute rounds.
Round 1:
Inner thigh kick (lead leg) to cross - left hook to inner thigh kick.
As above but finish with a rear kick to the outer thigh.
Round 2:
Rear kick to outer thigh to left hook - right cross to inner thigh kick.
As above but finish with a rear kick to the outer thigh.
Double stick
Standard 6 count sinawali
right forehand (head height) - left backhand (low) - right backhand (head) left forehand (head) - right backhand (low) left backhand (head). Chamber each strike, work slow with flow rather than fast and clunky.
The following video shows the basic pattern we worked to begin with.
We then added a variety of motions whilst working the 6 count:
1: walking the circle clockwise and anti-clockwise
2: forwards and backwards
3: one person goes down on one knee, then both knees then post up on the other foot to standing. When back on the feet, the other person goes down to the floor.
Standard 8 count sinawali
As previously, chamber every strike and work slow with flow and not fast and clunky. If the strike is not fully chambered then the follow up strike will be uncertain. The full chamber shows you where the next strike comes from.
right forehand (head height) - right backhand (low) - left backhand (low) - right backhand (head) left forehand (head) - left backhand (low) - right backhand (low) - left backhand (head).
Putting together the 6 and the 8 count - 6 count into 8 count into 6 count and so on. It helped when the more experienced partner called the count.
Thursday, 1 September 2016
1/9/16: boxing masterclass plus single stick work.
Boxing masterclass, lots of rounds, changes of partners and quality drill time.
The image of GSP is most pertinent as he used the jab with ruthless efficiency in his fight against Josh Koscheck. He coupled accuracy with a ridiculous work-rate, not only to sing the fight, but to break Koscxeck's orbital bone in the process. Sound basics and fundamentals are key. The same is in the grappling world. Roger Gracie is, agreed by most, the greatest grappler ever yet what and how does he win? He uses basic techniques but he is an absolute master of those techniques. He beats the best in the world with 'basic' techniques. Another example of building your arsenal on sound foundations methods.
Tonight, the boxing masterclass was focussed on the jab.
A:Jab B:catch and jab A:catch and jab
Jab v jab 'sparring', trying to land the jab whilst not allowing him to land.
High v low jab.
A only throw high jabs, B only throws low jabs.
Jab v jab plus cross
A only throw jabs, B throws jabs and occasional crosses.
3 jab cross defence drilling
A jab-cross B catch catch (catch with the same hand) and jab,
A jab-cross B split entry (parry and punch to chin or neck)
A jab-cross B catch then punch over the top of the cross
A: Only throws jabs with occasional crosses B: isolated to throwing jabs but has to use any 3 defences against the cross.
Phone box sparring:
Each person has the right foot forward and touches knee to knee, foot to foot. Any punch, any defence but stay in leg contact. Aim was to use body mechanics to throw the punches, use the elbows to open up the body.
Single stick
Revisiting the work from last session and moving it on.
8 count in air
A: delivers the 8 angles B: De-fang the snake (hitting the hand). Mirror their strike angle. Make sure you are out of range of his stick whilst being in range for your counter.
A: delivers the 8 angles B Mirror their strike angle, hit the hand then stab
Mirroring drill of the 8 angles
Both deliver the 8 angle pattern, making contact with the stick, follow through and hit with either a high forehand or high backhand. So...
#1 angle 1 followed by high backhand
#2 upward backhand followed by high forehand
#3 upward forehand followed by high backhand
#4 downward backhand (angle 2) followed by high forehand
#5 angle 5 followed by high backhand (I think)
#6 lateral backhand followed by high forehand
#7 lateral forehand followed by high backhand
#8 high reverse stab followed by high backhand
8 v 8
As above but without the follow up hits. Just like we drilled on Tuesday.
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