Grappling Program Student Guide - fwma.net Program Student Guide Novice Training Notes Student notes for the Grappling program are divided into three categories: Novice, Intermediate

Grappling ProgramStudent Guide

Novice Training Notes

Student notes for the Grappling program are divided into three categories: Novice, Intermediate and Advanced. These categories are general and are not

specific to belt rank. This volume is geared towards novice students and beginners, but will be of use to students of any level.

© 2006 Anthony Sell & Sage Arts StudiosDuplication is prohibitted without express written permission.

Introduction

Grappling Program - Student Notes - 1

The Grappling Program will focus largely on Brazilian Jiujitsu as a base training method. Students will learn the fundamentals of positioning, movement and submissions on the ground. This type of training has three methods:

1. Conditioning and Movement Drills2. Drilling of Techniques or Sequences of Techniques3. Sparring, both controlled and free sparring

As students develop skill and insight they will also be introduced to methods of grappling without the Gi, stand-up grappling including takedowns, throws and shooting, and ways to incorporate striking with grappling both from standing and on the ground. The later stages of this program will borrow heavily from Combat Submission Wrestling (CSW) and Shooto.

The goal of this program is to allow students to become competent in various ground fighting strategies, develop the attributes necessary for this type of fighting, and to expand the tools available for a self-defense encounter. After one year of training students will have a new appreciation for this type of training.

Progression of Rank in Brazilian Jiujitsu

While most systems of Martial Arts have a progression of 10-12 kyu (ranks before black belt), Jiujitsu has only five belt colors. Between each belt color, there are four stripes, each representing a certain number of hours and an improvement of demonstrated skills and attributes. Depending on the school tradition, some promotions are given after a rigorous test, others are given to signify accomplishment after an amount of time in training. In our tradition, each stripe between White and Blue belt represents a minimum of 60 class hours of training.

One of the ways that rank in Brazilian Jiujitsu is distinguished from that in Judo and Japanese Jiujitsu is by use of a black or colored patch sewn onto one end of the student’s belt. This is typically a patch 5-6 inches in length, placed 1-2 inches from the end of the belt. It is on this patch that stripes are placed. Red patches on the belt denote an instructor in training. At black belt level, the patch is only red, stripes represent degrees such as in other systems. Grandmaster level practitioners in this system wear a red belt.

The time requirements for each stripe typically get longer as students progress, as the physical require-ments and insight necessary for the next level also increase. It is not uncommon for an average student to take 10 years or more to attain the rank of Black Belt in this system, training an average of two hours per class, three times per week.

As students progress in rank the focus of their training will change. It will be useful to understand what the focus of each rank is, and to explore that aspect as you progress. Students will need patience, diligence and commitment to advance without getting frustrated.

Belt Color Training Focus at this Level

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

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

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

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

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


Level 1 - Movement & Conditioning

Level 2 - Positions & Transitions

Level 3 - Escapes & Counters

Level 4 - Attacks

Level 5Intuition

Each Level of learningis dependant on skills

developed in theprevious Level.

Progression of Skillsand Training Focusin Brazilian Jiujiutsu.

There are noShortcuts.

General Guidelines


As a beginning student, there are important guidelines to follow in order to get the most out of your training. These are important not only for tradition and etiquette but also for safety. Equipment Required Recommended EquipmentJudo or Jiujitsu UniformBelt with Black patchSchool PatchMouthguard

Under Armor or similar style rash guardNeoprene knee padsExtra GiNotebook and pen for every class

Proper Attitude in Training

Your first concern is always your partner’s safety. Your second concern is your own. Your safety is 50% your responsibility. Good feedback between partners is essential. In addition to this, it is important to know when a position or technique is a lost cause. This does not mean quit, it means finding a better way. Being stubbornness is just as bad as being a quitter.

Controlled and free sparring can get highly competitive. Remember that if you are not tapping, you are not learning. The goal is to improve your ability and your understanding. This requires experience, not simply winning. Competitiveness has its merits, but it can also create problems.

Last, if in doubt, go slowly. Your partner has a different perception of pressure and pace than you do. What may feel light and easy for you may be too much for a more novice or smaller student.

Etiquette:

1. Be clean for class - wash your Gi after every workout, and be sure to keep your nails properly trimmed.2. Respect your training partners, your teacher and your art.3. When class begins, all students bow in together and to the flags.4. When class is over, all students shake hands.

Proper Hygiene

Grappling in general requires close personal contact with one’s training partners. For this reason it is important to maintain proper hygiene. It is important to wash one’s face and hands immediately after training. It is wise to keep some alcohol swabs in your bag for use after class. In addition, be sure to report to your instructor if any of the following appear:

Cuts, scrapes or abrasions, skin inflammationWarts or cold soresPinkeyeRingworm or other types of rash

Position and Movement


The first things we learn in Brazilian Jiujitsu include a study of position and control. Movement in this art revolves around attaining and securing positions of advantage - where the opponent can be controlled or countered. To do this we must also learn to efficiently move our bodyweight across the floor, deal with our opponent’s bodyweight and their resistance.

As you train remember that most techniques in Jiujitsu require exacting placement and proper sequence. The difference of an inch or less can often make the difference between success or failure.

Concepts in Movement:

Movement is often one of the first and most important lessons a student will encounter. The goal is to make second nature the ability to move your body across the floor efficiency. This must also take into consid-eration your opponent’s body weight and resistance. It will help to understand and remember these concepts:

1. Heavy flat things will not budge.2. Narrow, high things have no balance.3. That which cannot be moved must be escaped.4. That which is twisted has no strength.5. Tripod metaphor6. Jiujitsu movement occurs in 360 degrees - be aware, be round.7. Refrigerator metaphor8. Table leg metaphor9. If it requires a great deal of strength and effort, you are probably doing something wrong.10. If you are forcing something, you are definitely doing it wrong.

A Lazy Art

Brazilian Jiujitsu is a lazy art. This does not mean that we do not work hard, it means that we keep foremost in our minds the priority of finding the most efficient way to accomplish a task. Displays of strength often result in wasted energy. The true Jiujitsuka finds the best way to do a thing. We look for techniques which require the least amount of strength or speed to perform.

Performance is Relative

In sparring it is important to remember that there are no techniques that cannot be countered. There are no defenses that cannot be beaten. Brazilian Jiujitsu is a game not only of skill and awareness, but also of strategy, tactics and attributes.

While it is true that a good small man can beat a larger man, a good big man will still generally beat a good small man. Size does matter, as do strength, speed, flexibility and a host of other attributes. In training we work hard in order to even the odds. Attribute development is crucial. Consider, the best grapplers in the world are strong, fast and flexible, at the top of their weight class, with a low percentage of bodyfat.


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

Reasons for Panic:

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

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

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

Not being able to breath The most frequent cause of panic is an inability to breathe. Whether due to pressure, fatigue, over exertion, or poor breathing habits, this can quickly lead to frustration, anger, impatience and panic. It is important, when these situations occur, for students to relax and communicate with their partner.

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

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

Avoiding Panic

After a few hours of classes, students will begin to have the skills and awareness necessary to effectively participate in free sparring. Often referred to as “Open Rolling” this is a game for control and submission between two partners. Submission is signified by tapping the hand or foot on the mat or stating it verbally.

Prohibited Techniques

At a novice or intermediate level, there are some techniques that will not be allowed in free sparring. As students progress these will gradually be introduced into training, along with safety precautions and escape tactics. These techniques include Neck Cranks, Leg or Foot Locks, and Wrist or Finger Locks.

Dealing with Frustration

All students, especially beginners, may reach a point where they are frustrated by the skill or attributes of their training partners. Since there are no techniques that cannot be prevented, countered or escaped, it always comes down to a question of how and when. When you get stuck, it will be helpful to approach each training session with these guidelines in mind, they can offer clues:

Pay attention to your opponent’s weight distribution Train with partners of all different skill levels, especially novices When possible, close off space (Tighter is better) Think in combinations, anticipate several steps ahead Work for smooth and timely transitions In control positions, release pressure with purpose, not arbitrarily

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

Priorities in the game

Grappling often requires an “if-then” thought process. When you begin to work with your partners in controlled and free-sparring environment, try to use these priorities:

1. Identify your opponent’s intentions2. Frustrate your opponent’s intentions3. Counter, escape or reverse your opponent4. Advance and secure your position5. Attack you opponent

When a technique doesn’t work it is often a result of either skipping steps, improper positioning, or a lack of awareness. Students who learn to think and act methodically will have better success in their game. This habit will also begin to develop into the ability to anticipate your opponent’s response and think two or three moves ahead - a Black belt trait.


Free Sparring Guidelines


In training students will encounter several ways of holding the opponent’s limbs or uniform. Different techniques require different types of grips. Beginning level students often tend to exhaust their forearms trying too hard to hold onto their opponent. Later they will learn to relax and give their opponent some play.

Five Finger Grip This is the way a person will typically grip an object, with four fingers encircled by the thumb. In grabbing the opponent’s collar, the fingers are inside the uniform and the thumb encircles from outside.

Five Finger Grip, Thumb In

Students grip the collar of the opponent by placing the thumb inside the collar and the fingers encircle from the outside.

Hooking Grip Sometimes called a four finger grip, this is also used to hold around the opponent’s body, cupping the knees, shoulders, underarms, elbows and neck of the opponent. The thumb is notengaged.

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

Figure 4 Grip A Figure-4 Grip is anytime a practitioner uses one hand to grab an opponent’s limb with one hand, while entangling the limb to grab hold of their own forearm or wrist with their other hand. This is a very important grip that is often used in submissions. This method uses a Four Finger Grip, for strength, not engaging the thumb.

Folded Grip This is a type of hooking grip that uses a fold in the uniform, typically at the back, sleeve or pantleg of the opponent to control them. The fabric is folded around the fingers and the thumb is not engaged.

Pistol Grip This type of grip most typically involves a grip at the sleeve or pantleg. Using the thumb to lift the cuff from the inside of the uniform, the fingers then encircle the fabric and the thumb is removed.

Clasping Grip This is one way of joining hands around an opponent’s waist, curling the fingers inside of the other hand. It is not advised to entwine the fingers in Jiujitsu.

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

Underhooks This is a manner of controlling your opponent’s body, gripping with both arms around their body from under their arms. When catching a leg this means that the opponent’s leg is over your arm, which lifts from below. Sometimes referred to as a Shelf or Catch-B.

Overhooks This is the opposite of Underhooks, where the arm encircles the opponent’s limbs from over the top. Sometimes referred to as Catch-A.

Pummelling This is a term used to describe attempts to secure an advantageous grip on one’s op-ponent. To “pummel in” typically means to secure Underhooks.

Types of Grips

Active Countermeasures


In any position of control, your opponent is required to control two things in order to immobilize you: Weight and Space. This is done by placement of the body (base), use of grips, and proper weight distribution. To escape a position, we must affect this ability, an act we refer to as taking active countermeasures.

1. Remove, Frustrate or preempt ideal grips2. Remove the pressure, cheat your body to its side, to reduce the effect of pressure on your breathing3. Create space4. Identify and attack their base

Certain defensive movements are very common, and can be used to escape any number of defensive positions. Because of this, students will practice these in almost every class.

Framing Out

When a student uses their forearm or elbow to create and maintain space, we call this framing. Essen-tially this is a way of reinforcing a structure that will prevent your opponent from staying close. This is a form of active countermeasure that is often necessary against larger, stronger opponents. Framing is typically done at the collarbone or neck area, but can be used in different ways.

Escaping the Hips

One of the most important movement skills students will learn is how to escape their hips. This means moving one’s hips in relation to the opponent’s weight and grips. By escaping the hips we can remove pres-sure, create space and opportunities to escape.

Getting to the Knees

Another important skill that requires practice to develop is the ability to get to one’s knees. This is most often required at times when your opponent has you flat on your back, and is often combined with bridging and escaping the hips to create the necessary space. Because this tactic often involves twisting of the torso while under stress, it is important to get a lot of repetition in order to let the body adapt.

Sprawling

Not only used as a counter to takedowns, this tactic is also used when in a top control position, moving around your opponent. To keep from having the feet or legs grabbed, we learn to put the chest, forehead or shoulder down on the opponent, lifting the hips and the knees to move on the toes.

Position Guidelines


Brazilian Jiujitsu has 7 primary positions, and many other variations and minor transitional positions. Primary positions include:

1. Mount2. Cross-Body3. Brazilian Scarf-hold4. Knee-on Stomach5. North-South6. Back 7. Guard

Initial stages of training will deal witth learning the key factors for each position, not only how to control your opponent in each, but also how to defend against each and escape. When a student has a thorough grasp of each position, can transition between them smoothly, and escape them confidently, they will be ready to begin learning submission techniques.

The following pages contain guidelines for each of the major positions used in Brazilian Jiujitsu. Many of these positions are also common to Judo, Wrestling, Pankration, Shooto and Combat Submission Wrestling. Every system will have different names for these positions, whether in Japanese, Portuguese, or some English vernacular.

In addition to the names and points of control for each positions, these guidelines include a list of the primary attacks used in each position, active countermeasures for each, and options for escape. Although this is by no means a complete list, it is a good start and will serve as a study guide for later training.

As classes progress, we will hand out more guidelines specific to each area we cover. As students develop a better understanding of the art, these lists will become more useful. We recommend that students take notes during classes and refer to these lists later for review.

Mount Position

Grappling Program - Student Notes

Position of Advantage

Also known as: Tate Shiho Gatame, Vertical Four Corner Hold, Saddled

Inferior: Mounted, In the Mount

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

Points of Control

Basic Mount: Keep your feet in tight at opponent’s seatYour knees control the opponent’s hipsKeep your weight on their breathing, not the bones of their hipsArms out wide (superman), maintain a low baseFocus is to exhaust your opponent with your weight and the security of the position

High Mount: Knees in opponent’s armpits, opponent’s arms over their head or out at sidesUpright posture, heavy weight on chestSingle grip at collarFocus is to prepare for a choking attack, removing the arms as an obstacleAlso removes likelihood of a knee-elbow escape

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

Low Mount: Hips low, press forward into their breathingLow posture, Arms out wide for baseFeet Entangled (Vines) or legs crossed behindFocus is to prevent an Upa escape, Bridging escape or uplifting resistance

Kneeling: Opponent is typically on or moving to their sideOne leg up, one knee down, Foot and knee hug the bodyUpright posture, Single grip, typically an underhook or collar gripFocus is to transition into an armbar or to take the back as opponent turns

S-Mount: Sitting on chest or torsoOne leg high and bent under the headOpposite leg bent, knee to the floor under armpitFocus is to isolate the head and arm for an armlock or triangle choke, also striking

Mount Position, Continued

Leg Control: Sitting on chest or torso, facing the feetBoth legs gathered at the kneesUpright posture, feet on floor, weight on solar plexusFocus is to control the hips, bring crushing pressure to bear and to set up leg attacks

Primary AttacksStraight ArmlocksBent ArmlocksLapel and Sleeve ChokesPressure to turn opponent, offers Back

Active Counter MeasuresKeep the lapel of your Gi tightly overlapped and close to your neck, no room for purchaseElbows in tight on body, one hand across throat, protecting against a lapel gripOther hand pressing in at hips, try to get your elbow positioned above their kneeOne leg up, one leg flat against the ground, remove their hooksCheat your body to the side of straight leg to protect your breathing

Escape Options

Novice: Upa EscapeElbow-Knee EscapeArm Bind Variation

Intermediate: Qtr Guard/Foot EscapeWrestler’s EscapeBench Press/Hydraulic Escape

Advanced: Skin the Cat/Backdoor EscapeFoot in Belt ReversalBridging

Cross-Body Position



Also known as: Yoko Shiho Gatame, Side Four Corner Hold, 100 kilos, X-Body, Side Mount

Inferior: Cross Body, Inferior

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

Points of Control

Double Under Top hand grips collar from under head, turn knuckles down to tighten gripBottom arm blocks the hips, grabbing the far pant leg from under the close legTorso is chest to chest, ideally with the chin on the centerlineBody is very low, top leg out straight, bottom leg knee bent and flatFocus is to let opponent exhaust themself while controlling their hips and shouldersAdvanced: hold opponent’s far wrist with your bottom arm from under their back

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

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

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

Cross-Body Position, Continued

Notes: Without a Gi, the close leg can be hooked instead of the pantlegThe arm can also be posted on the floor with no gripGreater control is offered if the foot of the Close Leg is off the floor

Primary AttacksStraight ArmlocksBent ArmlocksLapel ChokesTransition to Mount, Knee-on Stomach or Kesa Gatame, etc.

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

Escape Options

Double Under: Escape hips, turn towards opponent, get to kneesInsert foot and Re-GuardElbow Roll

Over/Under: Stiff-arm RollFoot insert and Re-GuardBridge, get to knees and take the Back (scramble over)Bridge, get to knees, thread the needle (knee pull from under)

Under/Over: Elbow RollSwing-swing Escape to Re-Guard

Double Over: Re-Guard

North-South Position



Also known as: Kami Shiho Gatame, Top Four Corner Hold, I-Position

Inferior: North-South, Inferior

Variations: Double Under, Over/Under, Under/Over, Double Over, High TripodAngled I-Position (Kuzure Kami Shiho Gatame)

Points of Control

Double Under * Both arms grip at side of Gi or belt from under the shouldersElbows on the floor, close to the head

Over/Under * One arm grips at side of Gi or belt from under the shoulderOther arm grips at belt or hips from over the arm, elbow in armpitElbows on the floor, close to the body and head

Double Over * Both arms grip at belt or hips from over the arms, elbows in armpitsElbows on the floor, close to the body

High Tripod Any of the above gripsShoulder or forehead drives into sternum or solar plexus to bring weight to bearLegs are out straight, hips high, knees off the floorHands can post at hips, armpits, elbows, shoulders, this is a floating position

Angled I-Position * Under/Over Grip (close arm overhooks opponent’s arm)Body is at a 45 - 90 degree angle to opponent’s bodyOpponent’s close arm is trapped under your bottom armAdvanced: hold opponent’s far wrist with your bottom arm from under their back

Notes: With the exception of the High Tripod, the opponent’s head will be to one sideChest Pressure will keep the opponent pinned downAs the opponent moves their hips, you may sit through to avoid their legs

Primary AttacksStraight ArmlocksBent ArmlocksCollar and Sleeve ChokesTransition to Back, Cross-Body, Knee-on Shoulder, etc.

North-South Position, Continued

Active Counter MeasuresPost hands at the opponent’s hips to keep their pressure off, lock out elbowsPost at shoulders if hips are unavailableFeet in close, knees bent, ready to bridgeWhen possible, escape out from under their direct pressureWait for an opportunity to roll your opponent as they move

Escape Options

Double Under * Bridge, get to kneesWrestler’s Escape

Over/Under * Bridge and rollSkin the Cat/Swing-Swing Escape, Re-GuardElbow Lift with foot insert, RollEzekial ChokeStraight Armlock

Double Over * Knees in Shoulders EscapeEscape the hips, Skin the Cat, take BackElbow Lift with foot insert, RollEzekial Choke

High Tripod Push the head and escape the hipsKnees in Shoulders Escape

Angled I-Position Bridge, Swing-Swing EscapeBridge, get to knees

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

Over = above the opponent’s shoulders

Knee-on Position



Also known as: Hiza Gatame, Knee Mount, Outrigger

Inferior: Knelt-on

Variations: Knee-on Stomach, Knee-on Shoulder

Points of Control

Knee-on Stomach Knee is well past centerline, the shin rides opponent’s bodyBottom foot is tight to the body, above the beltPlacement of the knee is ideally above the hip bones and directly on the abdomenTop foot is placed at a distance that would allow the knee to drop to the faceTop leg is up, foot on the floorTop hand secures a cross-grip at the lapelUpright posture to drive pressure downward

Knee-on Shoulder Opposite leg on shoulder, knee on sternum, foot close to shoulder, other leg straightOutside of down knee is next to the faceHands post at close knee and opposite shoulder

Primary Attacks

Knee-on Stomach Straight ArmlocksBiceps CutterKneebarTransition to Mount, Cross-BodyTransition to Knee-on Shoulder, Knee-on Stomach (opposite side)Spinning Transition to S-Mount

Active Counter Measures

Knee-on Stomach Hands on opponent’s knees, pressing outward pressureElbows in tight at your sidesClose Leg - Flat on floor, knee to sideFar Leg - Foot flat, knee bent, ready to bridgeWhen possible, press knee lower into your hips to remove pressure on breathingWhen possible, turn hips towards opponent, cheat to side to remove pressure

Knee-on Shoulder Hand on side of knee to protect faceFeet in tight, ready to lift and move hips

Knee-on Position, Continued

Escape Options

Knee-on Stomach Bridge and escape the hips, insert foot and Re-GuardBridge and escape the hips, get to knees and driveUpa and wrap to Half-GuardKnee under sweepGather the foot sweepSplit the kneesBowl overTurn away, Bridge & Elbow Escape (shallow knee)

Knee-on Shoulder Bridge and escape the hips

Kesa Gatame Position



Also known as: Hon Kesa Gatame, Scarf-Hold Position, Headlock Position

Inferior: Kesa Gatame, Inferior

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

Points of Control

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

Kuz. Kesa Gatame Seated with hips in armpit of opponent, facing headsideTop knee under head (under shoulder if possible)Overhook opponent’s close arm, controlling the elbowTop Arm under opponent’s far arm, cupping shoulderBottom leg - foot flat on floor, knee bent, ready to lift hips & bring pressure to bear

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

Primary Attacks

Kesa Gatame Kata Gatame (Arm-Shoulder Triangle)Straight ArmlocksBent Armlocks

Kuz. Kesa Gatame Straight ArmlockTransition to Cross-Body, North-South, etc.

Ura Kesa Gatame Bent ArmlockArm-Shoulder TriangleTransition to North-South, Back, etc.

Kesa Gatame Position, Continued


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

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

Ura Kesa Gatame Place trapped palm on top of headTurn hips towards opponent

Escape Options

Kesa Gatame Walk hips away, Sit-up ReversalWalk hips closer, Leg-over ReversalWalk hips closer, Roll-over SweepFree close arm, get to knees, Armlock ReversalHead Leg-Scissors ReversalTwister Reversal

Kuz. Kesa Gatame Walk hips away, Sit-up ReversalWalk hips closer, Leg-over ReversalHead Leg-Scissors Reversal

Ura Kesa Gatame Turn towards, get to kneesTurn away, get to knees

Reverse Kesa Gatame Position



Also known as: Ushiro Kesa Gatame, Rear Scarf-Hold Position, Reverse Headlock Position

Inferior: Reverse Kesa Gatame, Inferior

Variations: Arm across stomach (transition from North-South)

Points of Control

Rev. Kesa Gatame Seated with hips in armpit of opponent, facing footsideOpponent’s close arm behind your hipsTop arm - across opponent’s face, elbow to floor, biceps block in the shoulderTop arm - grip side of Gi or belt from under opponent’s far armTop leg - foot flat on floor, knee bent, ready to lift hips & bring pressure to bearBottom arm - fold grip at opponent’s knee, pulling leg against shinBottom leg - knee or shin across opponent’s thigh, pressing hips away

Primary Attacks

Rev. Kesa Gatame Transition to Mount, Cross-Body, etc.Twister AttackKneebar


Rev. Kesa Gatame Immediately bring close leg flat to the floor, preempt their grip at knee if possibleTurn hips towards the opponentFar arm - press opponent’s knee downward off of your hips, or reach around waist

Escape Options

Rev. Kesa Gatame Leg-Under SweepBridging ReversalPreempt transition by reclaiming Half-Guard

Kata Gatame Position



Also known as: Arm-Shoulder Triangle

Inferior: Kata Gatame, Inferior

Variations: Ushiro Kata Gatame (Reverse Arm-Shoulder Triangle)

Points of Control

Kata Gatame Close arm around head, clasps biceps of Far armOpponent’s head and arm are included in the grip, elbow is tight to opponent’s bodyBody is flat, legs wide, parallel to opponent

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

Primary AttacksKata Gatame Jime (Arm-Triangle Choke)

Active Counter MeasuresPress your elbow away from your head with your free arm

Escape OptionsHook the foot, Backdoor EscapeReclaim Half-Guard

Foot Control Position



Also known as: Leg lock position, Achilles Wars

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

Primary AttacksToe Holds, Calf and Ankle locksLeg Locks, Kneebar, Thigh Rend, Hip LocksTransition to Back Control, Mount, Guard, Cross-Body, etc.

Active Counter MeasuresSeize the initiative in terms of posture and grip placementProtect your heels from being exposedAlways extend the leg to reduce the pressure of ankle locks, never bend the leg

Escape OptionsSee Primary Attacks

Back Control Position



Also known as: Ura Gatame, Taking the Back

Inferior: Turtled, Back Controlled

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

Points of Control

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

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

Crucifix Although largely a set up for a submission, this is also an effective hold-downYou are lying face up, under you upponent, your body is perpendicular to theirsLegs are crossed around opponent’s far arm, keeping it stretched outYour bottom arm is used to hook the opponent’s close arm, keeping it stretchedYour top arm attacks their collarYour body turns towards the opponent, to keep slight pressure on opponent’s neck

Primary Attacks

Supine Back Control Rear Naked ChokeSleeve and Collar ChokesStraight and Bent ArmlocksReverse Triangle ChokeTwister Attack

Seated Back Control Rear Naked ChokeSleeve and Collar ChokesStraight and Bent ArmlocksReverse Triangle ChokeTransition to Mount, North-South

Back Control Position, Continued

Crucifix Collar ChokesReverse Triangle ChokesStraight and Bent ArmlocksTransition to Back Control, North-South Position


Supine Back Control Collar overlapped and tight at breast, arms crossed at collarBack rounded, elbows in tight, and chin tucked to seal off potential gripsOne hand can press at knee of opponentBridge up to put your head on the ground above the opponent’s

Seated Back Control Collar overlapped and tight at breast, arms crossed at collarBack rounded, elbows in tight, and chin tucked to seal off potential gripsAttempt to cheat hips over opponent’s leg

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

Escape Options

Supine Back Control Hip-over leg EscapeBridge and RollLow Scoot, Kick & Turn Escape

Seated Back Control Spin-out EscapeWrestler’s Escape

Crucifix Backward Shoulder Roll Escape

Top Control Position



Also known as: Ura Gatame, Ushiro Ura Gatame, Taking the Back, Back Mount

Inferior: Turtled

Variations: Top Control, Kneeling Top Control, Reverse Top Control

Points of Control

KneelingTop Control

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

Top Control Both legs entangle opponent’s legs (hooks in), ankles are not crossedOne arm grips collar from under opponent’s armOther arm reaches for cross-lapel grip from over shoulderHips are driven in to flatten opponent, arms are ready to post for balance

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

Primary Attacks

Kneeling Top Control Transition to Back Mount, Back ControlWing SweepTwister Attack, Calf and Foot locksClock Choke, Sleeve and Collar ChokesStraight Armlock

Top Control Transition to Back ControlRear Naked Choke, Sleeve and Collar Chokes, Reverse Triangle ChokeStraight Armlock

Rev. Top Control Transition to Kneeling Top Control, Top Control, Back ControlClock Choke, Reverse Triangle ChokeReverse Head-Arm TriangleStraight Armlock

Top Control Position, Continued


KneelingTop Control

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

Reverse Top Control Head low, elbows flat, one arm may reach back to trap opponent’s elbowAttempt to bring opponent’s knee to the ground, in tight

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

Escape Options

KneelingTop Control

Helicopter Re-GuardRolling Kneebar AttackArm Drag Reversal

Reverse Top Control Wrestler’s EscapeCinch the waist, take the BackCinch the leg, Knee Pull ReversalArm Drag ReversalForward Roll to Re-GuardFlatten, sit backward to Re-Guard

Top ControlProne Flat

Low Turtle

High Turtle

See Turtle Position - Reversal Opportunities, below

Turtle Position


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

Also known as: Turtle Guard

Variations: Prone Flat TurtleLow TurtleHigh Turtle

Reversal Opportunities from the Turtle Position

Prone Flat Turtle Knee up, Sit thru, get to knees

Low Turtle Arm Drag SweepWrestler’s Escape, take the BackBackdoor Escape

High Turtle Head Drag SweepFoot Drag Reversal

Active Counter Measures in attacking the Turtle Position

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

Low Turtle See Top Control - Control Points, above

High Turtle Close leg - bent knee, deep hook on opponent’s leg with footFar leg - straight leg, hook opponent’s other leg with footFar arm - grip at collar from under opponent’s armClose arm - post at floor above opponent’s headAdvanced: Body Triangle

Turtle Position, Continued

Counter-Turtle Options

Prone Flat Turtle Banana SplitFoot and Calf locks

Low Turtle Quarter Nelson TurnoverHalf Nelson TurnoverKnee Pull ReversalWing SweepRolling Back ControlStraight ArmbarsClock Choke, Sleeve and Lapel ChokesTwister, Foot and Calf locks

High Turtle Breakdown arms to flattenSpread BaseStraight Armbar

Guard Position



Also known as: Do Jime (Closed Guard, Trunk Strangle), Do OsaeChoza, Ashi Garami (Open Guard, Half-Guard)

Inferior: In the Guard

Variations: Closed Guard Basic Open Guard Advanced Open GuardHalf-Guard Quarter Guard Active GuardHigh Guard Jello/De la Riva Guard Rubber GuardMission Control Spider Guard Super GuardButterfly Guard V-Guard X-GuardOctopus Guard Lock Down

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

1st Category - Closed Guard Variations 3rd Category - Open Guard VariationsClosed Guard

Octopus Guard

Active Guard

High Guard

Basic Open Guard

Advanced Open Guard

Jello/De la Riva Guard

Spider Guard

V-Guard

2nd Category - Half Guard Variations 4th Category - Exotic Guard VariationsHalf-Guard

Lock Down

Quarter Guard

Butterfly Guard

X-Guard

Rubber Guard

Mission Control

Super Guard

Turtle Position *

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

Guard Position, Continued

A detailed study of the Guard position represents up to two thirds of the training in Brazilian Jiujitsu. Students will be working to keep, work out of or escape the Guard. Studying the Guard position and its many variations will teach students about base, balance, leverage, grip strategy, timing, positioning, control and com-bination strategy. This knowledge will later be important for throws and in the top game.

Below are a list of the primary types of Guard positions. Although many are advanced, often momentary positions, the descriptions below define the major variations.

Active Counter Measures (General Posture in the Guard)

Low Posture Head low and to side of centerline, tight against opponent’s body, chin tuckedBoth hands control opponent’s biceps, elbows in tight against the bodyHips kept low, knees control opponent’s hips

High Posture Hands grip belt or pants at waist, elbows locked, pushing opponent’s hips awayKnees wide, hips low to ground, toes flat on floorBack upright, chin up

One Knee Up Close Leg - foot centered or just to one side of the tailbone, knee bent, straight upFar Leg - knee to the side, toes flatBoth hands grip belt or pants at hips, holding opponent against shinClose Arm - grip crosses forearm against shin to isolate opponent’s leg

Standing (In Closed Guard)

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

Standing (In Open Guard)

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

Standing (Leg Entangled)

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

Posture in the Guard

Guard Position, Continied

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

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

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

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

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

Guidelines for Passing the Opponent’s Guard:

If your elbow passes opponent’s centerline, you are at risk of the opponent taking your back.

If your elbow passes their thigh to either side of the body, you are at risk of an armlock.

If the opponent can take an angle to your body, you are at risk of a number of attacks.

If they control your head, neck or collar, you are at risk of being choked or swept.

If your sleeves are being controlled it will be difficult to effect a Pass.

If they can lift you, with feet at the hips, you are at risk of being swept.

If they can make you heavy on any one point in your base, you are at risk of being swept.

If they can strongly move any point in your base, affecting your center of gravity, you can be swept.

If they can control your feet when you are standing, you are likely to be swept.

If they can stretch or split your base, you are at risk of being swept.

If you allow them to get to their knees or feet, they likely will.

If your opponent is undressing you, taking a part of your Gi around your back or arm, you are at risk.

Passing the Guard


Rules for “Pass the Guard”

“Pass the Guard” is the first controlled sparring drill that students will learn. The goal of this game is to either pass the opponent’s Guard, or sweep your opponent if you are holding Guard. The focus of this game is movement, so submissions are not allowed. To reinforce the correct priorities, the following rules apply:

1. If a Passer is swept, or has their back threatened/taken, they are out.

2. When you are out, you go to the back of the line, the next person in line steps in.

3. If a Passer passes the opponent’s Guard and secures a position of control, they take their place and Hold Guard.

4. If the opponent is about to be passed and roll over to the Turtle Position, the game is on until the passer either turns them over and secures a position of control, or sinks both hooks in, either face up or face down.

5. Generally, if the Passer’s back touches the floor, they are out, unless they have at least one hook in (attacking the back).

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

Types of Guard

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

Closed Guard Position



Variations: Octopus Guard

Points of Control

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

Octopus Guard Variation made famous by Eduardo Telles, who focused on this and Turtle PositionLegs crossed around opponent, ankles lockedPass one arm across your body and reach behind the opponentPost up on opposite arm to sitting position, keeping legs lockedReaching arm uses back of arm/elbow to hold opponent’s shoulders back

Primary Attacks

Hip Heist SweepScissors SweepWing SweepCrossed Ankles Sweep (standing, knees close)Knee Push SweepBeach Ball/Flower Sweep

Collar and Sleeve ChokesGuillotine ChokeTriangle ChokeStraight Armlocks, Bent ArmlocksOmo Plata, Backward roll, Star SweepTransition to Back Control

Active CountermeasuresSee Active Countermeasures - General Posture in the Guard, above

Passing Options

Low Knee-wedgeStanding Knee-wedgeElbow in Hip (Scissors Counter)Arm Thru Legs Pass (Scissors Counter)

Walk-over ReversalCan-OpenerStack & Roll ReversalArm Behind the Back Pass

Butterfly Guard Position


Points of ControlHead lower than opponent’s, body posture sitting forwardFeet inside opponent’s kneesBoth hands Underhook opponent with grips at the belt or backfoldLoad opponent against your shins

Primary Attacks

Side Sweep, Collapse the BaseBack Sweep, Remove the BaseShin on Hip, Hip Heist SweepStand and Pull Sweep (kneeling)Gather Thigh, Rolling SweepKnee-split Back Sweep (standing)Seat them Sweep (belt grip, back sweep)

Straight and Bent ArmlocksSleeve and Collar ChokesTransition to Back Control

Active Counter MeasuresPummel in for Underhooks if possible, to weaken opponent’s grip and leveragePress head away with overlapped hands on forehead or cross face grip at lapelKeep head lower than opponent’s if possibleKeep your hips low, do not get arched or stretched away from your kneesIf opponent’s head is lower, gather neck and shoulders with downward pressure to counter their leverage

Passing Options

Outside Spinning PassPin the feet, Outside PassLeapfrog/Knee Slide PassCrossed Ankles, Inchworm PassRolling Pass

Gather Legs PassTrap the foot PassArm and Leg Standing PassStar Pass

Half-Guard Position



Variations: Traditional, Lock Down (Bravo Half-Guard)

Points of Control

Traditional Both arms pummel in to attain an Underhook grip at the backfold or beltClose arm with no Underhook can post at the hip from over the armFar arm with no Underhook can use a cross face grip at the lapel/shoulderInside leg entangles opponent’s leg, with the foot in the crook of the other kneeHips are turned to face opponentOption: Head can go under opponent’s far arm, hand Underhooks that side legOption: instead of entangling the leg, both feet can trap the opponent’s ankle

Lock Down Both arms attain an Underhook, clasping with a Gable gripOutside leg hooks opponent’s calf and the knee of your own inside legInside leg hooks opponent’s toes, upward pressure is used to bend their legBody is turned towards the opponent

Primary Attacks

Transition to Top ControlHelicopter SweepHip Heist SweepGet to knees, Wing SweepKnee Push SweepThru the Legs, Back SweepElbow on Back Escape (they turn towards feet)

Re-Guarding to Butterfly, Active, High GuardsBent ArmlocksSleeve ChokesCalf locksTail between legs SweepGather the foot, Rolling Sweep

Active Counter MeasuresPrevent opponent from entangling foot (Lock Down)Pummel in to maintain double UnderhooksWith no Underhook, use your top arm to inchworm under opponent’s head, cross faceIf foot is not entangled, raise the inside knee to vertical to make it difficult to holdKeep the opponent flat on their back

Passing Options

Standing Calf lock (foot entangled)Underhook Knee, Ballerina PassReverse Kesa, Knee Push PassFoot Push PassCrossed Ankles, Kneebar Pass (prone)Knee thru to Mount

Anaconda ChokeStep-over KneebarStep-over PassStep-over KimuraV-Armlock

Quarter-Guard Position


Points of ControlThe Quarter Guard is essentially a very low Half-GuardThe opponent has nearly succeeded in freeing their entangled legYour legs are crossed to wrap around the opponent’s calf or ankleBoth arms are around the opponent’s waist, clasping tightYour hips are turned towards the opponent

Primary AttacksReclaim Half-GuardTaking the BackGetting to the Knees

Active Counter MeasuresKeep the opponent flat on their backPummel in to remove their clasp at your waistPosition your hips to Mount the opponent

Passing OptionsTransition to MountStep-over Knee BarSleeve Choke

Basic Open Guard Position


Points of ControlClose hand - hooking grip at opponent’s sleeveFar hand - 5 finger grip at opponent’s collarFar leg - foot on opponent’s bicepsClose leg - foot on opponent’s hipFoot control positions: hips, hooking knee or ankle with instep, biceps of arm, shoulder, hooking triceps

Primary Attacks

Foot on Biceps SweepLeg Lift SweepSickle SweepBack SweepBackward roll, Star Sweep

Triangle ChokeStraight ArmlockOmo PlataKimuraTransition to Closed Guard

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

Passing Options

Tore Lindo PassStepping-thru PassStepping-over PassHip-in and Gather PassSpinning, Back Step Pass

Gather Ankles & Shuck PassGather Ankles & Drop PassKnee-thru PassSmash Pass

Advanced Open Guard Position


Points of ControlSimilar to Basic Open Guard, with a transition of gripsBoth hands form a supported pistol grip at the opponent’s sleeve, matching hand is primary gripFar leg - foot on opponent’s bicepsClose leg - foot on opponent’s hipFoot control positions: hips, hooking knee or ankle with instep, biceps of arm, shoulder, hooking tricepsHand control positions: Close ankle, collar, single or double grip at sleeve

Primary Attacks

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

Straight ArmlockTriangle ChokeInverted KneebarTransition to Closed Guard, etc.

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

Passing OptionsTore Lindo PassStepping-thru PassStepping-over PassKnee thru PassHip-in and Gather PassSmash Pass

Maintaining the Open Guard


The key difference between Closed and Open Guard is that the opponent has many more ways to control you when your legs are not locked. There are many ways to preempt or counter this, using five points of con-tact (both legs, both arms and your head). Below are a few important guidelines for success in the many Open Guard variations:

Rules of Thumb

Do not let the opponent control your legs, especially both legs at the same time.Try to secure control over at least one of your opponent’s limbs, stay connected at all times.Adjust your foot pressure from side to side in order to keep your opponent off balance.Do not put your fingers inside the cuff of their pants or sleeves, this is dangerous to your hand.Do not let your ooponent gather both legs together, nor pin them to the floor

If the opponent does this: Counter by doing this:Pins your knee down and steps back Overhook their pinning hand with your pinned leg,

putting your foot into their biceps. Push their arm back to regain control.

They attempt to secure an underhook on one leg Scoot your hips away, using your hooked leg to catch their knee (with your instep) to counter their ability to lift it over. Circle your leg back in to their hip.

They secure an underhook on one leg in an attempt to pass it over

Turn your body so your free leg is sideways at their hips/belly, locking out the leg to keep their hips back.

They begin to turn the corner, moving around the outside of your knee

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

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

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

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

Grip your pantleg with your leg on the floor Clasp both hands around their forearm, pull tight to chest as you kick your foot away to remove the grip

Jello/De la Riva Guard Position


Position of AdvantageReferred to as the Jello Guard by Carlson Gracie, Sr., this position is known for its ability to shake the

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

Points of ControlThere are 10 variations on this position, the following points are primary options

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

Primary Attacks

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

Kneebar and Foot locksTaking the BackTriangle ChokeTransition to Closed GuardBackward Fall (belt grip)Sit-up Sweep (pull entangled leg, back first)Double Knee Sweep (far knee under close arm)

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

Passing Options

Standing Rolling Pass, Take the BackKneeling Rolling Pass, Thigh RendStep-over, Sliding Knee-thru Pass

Extract the leg, KneebarCompress the leg, Toehold

Spider Guard Position


Position of AdvantageIn some tournaments, this position has been banned due to its ability to so thoroughly control and frus-

trate an opponent. Close matches often deal almost entirely with one fighter working to remove their oppo-nent’s control. This can lead to stalling tactics or boring matches, and so is not always allowed.

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

Primary Attacks

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

Rolling Triangle/ArmlockBiceps CutterOmo Plata

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

Passing OptionsSame side Sleeve & Leg PassPop legs & Gather PassSpinning Pass

Active Guard Position


Position of AdvantageThe Active Guard is one of the first types of Open Guard that students will learn. This position is a

transition to the High Guard, Rubber Guard and Mission Control.

Points of ControlOne leg hooks opponent’s calf, foot to the floorOn that side, the arm controls opponent’s arm at the elbow with a shallow OverhookThe other leg hooks the inside of the opponent’s opposite thigh, foot inside their kneeThat side arm controls the opponent’s arm at the biceps, or holds the opponent’s neck or collarOpponent’s who sit tight on their heels can be pulled forward to create space to hook their ankle

Primary AttacksTransition to Half-Guard, Closed Guard, Butterfly Guard, High Guard, Rubber Guard, Mission ControlCross-Leg Sweep (foot under opposite arm)Elevator SweepKnee Push SweepOmo PlataTriangle Choke

Active Counter MeasuresTo prevent opponent’s hook, keep your feet in tight and your hips low, toes may be crossed as wellAdjust your relative position to angle towards the side of the opponent’s inserted legKeep your elbows low and in tight at the opponent’s side to prevent a proper OverhookAttempt to pin the opponent’s arm on their chest or stomach, to free your neck from their control

Passing OptionsKnee Push, Outside PassArm Thru Legs Pass (Scissors Counter)Gather Feet, Outside PassGather Feet, Shuck Legs, Outside Pass (standing)

High Guard Position


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

Primary Attacks

Arm Isolation AttacksOmo Plata

Straight Armlock

Bent Armlocks

Triangle Choke

Collar and Sleeve Chokes

Transition to Rubber Guard, Spider Guard Beach Ball/Flower SweepScissors SweepElevator SweepKnee Push Sweep

Active Counter MeasuresRemove control of your head, recover an upright posture, posting both arms at the hips, elbows lockedWork your hips lower in opponent’s Guard, staying low to the groundAvoid letting your arm get isolated between opponent’s hip, thigh and arm

Passing OptionsKnee-thru PassSmash PassKnee Push Pass

V-Guard Position


Position of AdvantageThe V-Guard is most often employed against standing opponents, with strong forward pressure. The

V-Guard is also an transitional part of the Butterfly, High Guard, Rubber Guard, and all Open Guards. The primary benefit of this position is the ability to lift your opponent using leverage and leg strength.

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

Primary AttacksOverhead Roll Sweep (standing, double shoulders grip)Elevator SweepElevator ArmlockElevator Triangle Choke

Active Counter MeasuresAngle hips by taking a step back, this will reduce the amount of control the opponent hasAttempt to remove the opponent’s feet and legsKeep elbows low and close to the sides, avoid getting stretched out

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

X-Guard Position


Position of AdvantageThe X-Guard is a very advanced extension of both the Butterfly Guard and the Half-Guard positions. It

offers a tremendous amount of control against a standing opponent, and is most typically utilized when an op-ponent stands up to pass your Butterfly Guard.

Points of ControlOpponent is standing with a wide base, knees slightly bentOpponent’s ankle is next to head, their leg above your shoulderYour close arm Underhooks the opponent’s thighLegs are crossed at other leg, far leg hooks opponent’s knee with instep, knee to rear between their legsClose leg hooks opponent’s thigh at the hip, instep high against their thighBody posture and leg strength will stretch the opponent’s base, making them unstable

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

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

Primary Attacks

Transition to Butterfly Guard, Open GuardBack SweepForward SweepSit-up Sweep

Transition to Foot Control PositionKneebarFoot and Ankle locks

Active Counter MeasuresStay as upright as possible, hands on the floor will make it difficult to counterPress opponent’s foot down off your thigh

Passing OptionsStep-over KneebarFoot circle transition (Back, Half-Guard, Mount)

Rubber Guard Position


Position of AdvantageThe Rubber Guard was initially used to great success in competition by Nino Schembri, a Gracie Barra

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

Points of Control

Basic Rubber Guard Close leg over the shoulders of opponentFar arm clasps foot behind opponent’s headClose arm clasps around the knee of your close legFar leg posts at opponent’s hip

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

Control Options: Far hand can clasp shin of close leg palm up on close side of headClose leg can be entangled so the foot goes across the face, toes aroundClose arm can punch through opponent’s elbow to create a tight OverhookBoth hands can clasp (Underhook) the shin of the close leg to compressFar leg can be brought up to the back or to overlap the foot of the close legArms can clasp around the close leg, reaching around the thigh, under the knee

Primary Attacks

Triangle ChokeShin ChokeCollar Bone Compression

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

Active Counter MeasuresKeep both hands clasped to avoid isolation, try to keep elbows on opponent’s hips, inside of their thighsKeep knees tight on opponent’s hips to avoid lateral movement, keeping a low baseUse high forward shoulder pressure once caughtRemove opponent’s hands from neck

Passing OptionsPin one leg, Walk-around PassHand behind-the-back Pass

Super Guard Position


Position of AdvantageThe Super Guard is more of a submission attempt than a control position. Due to the amount of grip

strength involved, this technique is a short-term option, a gambit best reserved for novice and unsuspecting opponents. Due to differences in reach or girth, some opponents will make this opportunity impossible. This is best suited for fighters with long arms, good grip and strong legs.

Points of ControlStarting from Closed GuardBoth hands clasp around opponent’s neck and shoulders, keeping them low in your guardBoth legs crossed high on opponent’s back, focus on wrapping the ribs, keep knees bent slightlyArms transition to reach around your own legs, clasping behind opponent’s backSqueeze to compress the opponent’s ribs

Primary AttacksRib Compression/Body StrangulationReturn to Closed Guard

Active Counter MeasuresMaintain an upright posturePummel in to reclaim UnderhooksCrossed palms can press at opponent’s chin to reclaim an upright posture

Passing OptionsSee Closed Guard

Sweeps from the Guard Position


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

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

Side/Lateral Sweeps Any sweep that causes the opponent to fall towards their side or hip

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

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

Students will better understand sweeping mechanics if they can visualize their opponent’s base, points of support and weight distribution. This, with an understanding of leverage and momentum will lead to an intui-tive understanding of how to sweep an opponent.

For example, a kneeling opponent, with their feet relatively close and their knees wide apart, will present a triangular base. This means that, depnding on their momentum and weight distribution, you will be able to sweep them towards one of the sides of that triangle, or rotate them around one of the corners.

Sweeping Concepts:

As students play Pass the Guard and engage in free sparring, they should keep the following concepts in mind:

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

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

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

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

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

Basic Throws and Takedowns

The Stand-up game is a very important part of Brazilian Jiujitsu. Novice students will begin to work on basic throws that will teach leverage, positioning, Kuzushi (off-balancing methods) and timing. At intermediate and advanced levels, this strategy will also play into free sparring exercises.

Ukemi

Before learning to throw, we must first learn how to fall safely. Ukemi, or breakfalling is an important skill. Students will work first from a kneeling or squatting position, then a standing position, then with momentum added. When they are competent in these methods, they can begin to train Nage Waza (throwing practice). Basic Ukemi includes:

Forward RollsBackward RollsForward BreakfallSide BreakfallRear Breakfall

Falling incorrectly can lead to injuries to the wrists, elbows, shoulders, or head. Students will learn the proper way to slap and align themselves so as to lessen the impact. Hard landings can knock the wind out of a student. An impact to the back of the head can be concussive, for which reason we always tuck the chin and exhale during any fall. All breakfalls are designed to minimize the risk of injury by spreading the force of impact across a wider area of the body.

Basic Throws and Takedowns

The following throws illustrate basic principles of body mechanics, balance and relative positioning. These throws are also easy to control at slower speeds and are safe to train without a crash mat. Thowing is trained in two ways, the loading and the actual throw. Students will initiall spend a great deal of time loading the throw, to learn the correct grips, momentum and timing.

O Goshi Major Hip Throw/Hip Roll

O Soto Gari Major Outer Reaping Throw

O Uchi Gari Major Inner Reaping Throw

Uchimata Inner Sweeping Throw

Tani Otoshi Valley Drop

Bacana Double Leg Takedown

What comes Next


Intermediate level training

As beginners develop an understanding of the basics positions and mechanics involved in this system, training will progress to incorporate more complex strategies for escaping, countering and reversing the opponent’s attacks, as well as developing an offense in the form of submissions..

Intermediate students will learn:

How to apply a given submission throughout a variety of positionsHow to identify each of the submissions available in any given positionHow to frustrate and counter submission attemptsHow to use the opponent’s attacks to reverse positionsCombination attacks that will set up the opponent for a submissionFurther attribute development for advanced level playStand-up Positioning and Throwing

Strategies and tactics:

Rolling TacticsSpinning TacticsFloating TacticsEntangling TacticsLeg Locking TacticsThrowing Tactics

Intermediate Throws

Intermediate level students will begin to work with Sacrificial Throws, as well as throws and takedowns which require more precise movement and timing.

Ko Uchi Gari Tomoe Nage Yoko Otoshi Uki Waza Single Leg (Baina)Ko Soto Gari Tawara Gaeshi Yoko Wakare Sukui Nage Low Single LegMakikomi Throws Sumi Gaeshi Yoko Garuma Victory Roll

Vocabulary


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

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

Ashi Gatami Japanese, Leg lock.

Bacana Portuguese, Brazilian Jiu Jitsu term, double leg takedown.

Base English, A term used in Grappling to denote one’s balance and stability in any given position. Paying attention to one’s base is an essential skill in grappling.

Cinch English, A grappling term, “Tighter and tighter” - To tighten one’s grip more securely, to close off space, or to close off the opponent’s ability to breath by leaning in with one’s weight.

Clinch English, The Clinch represents the act of closing from striking or trapping range, to a distance of inches, in such close quarters, takedowns and throwing attacks become primary. This often involves being hip to hip with one’s opponent.

Gaeshi Japanese, turning or sending back, turn away, twist, counter.

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

Gatame Japanese, Locking or holding.

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

Gyaku Japanese, Reverse or opposite, opposing.

Gyaku Juji Jime Japanese, Reverse cross strangle.

Hadaka Jime Japanese, Bare handed strangle; rear naked choke; in Brazilian Jiu Jitsu, Mata Lion, or Mata Leo.

Hajime Japanese, Begin. Referee’s command used to start a Martial Arts match.

Harai Japanese, Sweep or sweeping motion.

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

Hidari Japanese, Left or left side.

Hiji Japanese, Elbow.

Hiza Japanese, Knee.

Vocabulary, Continued

Hiza Gatame Japanese, Knee-on Position.

Hooks English, referring to a grip, or way of entangling the legs to control an opponent’s limb.

Hon Kesa Gatame Japanese, see Kesa-Gatame.

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

Jitsu Japanese, technique, art, method of fighting. Sometimes spelled “Jutsu.”

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

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

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

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

Juji Gatame Japanese, Cross armlock; layout armbar.

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

Jutsu Japanese, see Jitsu.

Kata Gatame Japanese, Arm-shoulder triangle; Single shoulder hold down, similar to Kesa Gatame; also refers to a choke from this position.

Kata Ha Jime Japanese, Single shoulder hold down, similar to Kesa-Gatame; also refers to a choke from this position.

Kata Juji Jime Japanese, Half cross strangle; one palm up, four fingers grip, one palm down, thumb grip. Also refers to the papercutter choke from the cross body position.

Katame-Waza Japanese, grappling techniques.

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

Kimura Brazilian Jiu Jitsu jargon, Hammerlock, or Figure-four arm lock with arm held downward, applying pressure to the shoulder joint. Named after the fighter who defeated Helio Gracie with this technique.

Kohai Japanese, A junior in a school or organization.

Ko Uchi Gari Japanese, from Judo, minor inner reaping.

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

Kuzure Japanese, Modified, changed, altered, variation.

Kuzure Kesa Gatame Japanese, Brazilian scarf-hold; modified Kesa-Gatame, with the crossing arm under the opponent’s armpit, as opposed to around their neck.

Kuzushi Waza Japanese, In Aikido, Judo and Jiujitsu, this term refers to techniques that break an opponent’s balance before executing the throw.

Makikome Nage Japanese, front rolling throw. Makikomi denotes a “wrap-around” technique, where the opponent’s arm is wrapped around the body as a lever to pull them into the throw.

Mata Leao Portuguese, “Lion Killer” choke, see Hadaka Jime.

Migi Japanese, Right or pretaining to the right side.

Mount English, In ground fighting, the fighter is said to have gained the mounted position when they are on top of their opponent, with their legs around the opponent’s waist.

Nage Japanese, a throw (general term). Between two partners (Uke and Nage), Nage is the one who throws the other. A term used in Aikido and Judo.

Name-Juji-Jime Japanese, Normal cross strangle, both palms down, thumbs in.

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

Ne Waza Japanese, from Judo, grappling techniques, specifically those performed from a kneeling,seated, or prone position; groundfighting.

O Japanese, “Big” or “great.”

Otoshi Japanese, Drop.

O Goshi Japanese, from Judo, major hip throw.

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

O Uchi Gari Japanese, from Judo, major inner reaping throw.

Okuri Eri Jime Japanese, Sliding collar strangle.

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

Osaekomi Waza Japanese, from Judo, hold down techniques.

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

Pummelling English, To vy for superior grips, typically around the body or neck.

Ryote Jime Japanese, Two handed strangle, nutcracker choke.

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

Seoi Nage Japanese, from Judo, shoulder throw.

Vocabulary, Continued

Shime-Waza Japanese, from Judo, strangulation techniques, chokes. Sometimes spelled “Jime Waza.”

Shrimping English vernacular, to move the hips out from under an opponent, also known as escaping the hips.

Sprawl English, This is a response to a tackle or shoot, both grappling attacks. As the opponent dives in to encircle the legs or lower torso, the defender’s body shifts the weight forward, on top of the opponent, forcing them face first down to the ground, spreading the legs back away from the opponent’s waist. This prevents the opponent from gaining a secure grip and puts the defender on top of their prone body.

Submission English, A technique that results in sudden compliance by the opponent, signified by a tap or a verbal halt to the action (in training) or unconsciousness or cessation of resistance due to injury (in real life), caused by acute pain, dislocation of a joint, fracture of a bone, unconsciousness due to lack of oxygen or blood supply to the brain, or any combination of these or threat thereof.

Sweep English, Any technique that is used to cause a sudden change in balance in an uncontrolled manner, by attacking the support leg of the opponent.

Tomoe Nage Japanese, From Judo, circle throw. A sacrificial throw involving throwing one’s opponent over oneself moving from standing to a prone position.

Uchimata Japanese, from Judo, inner thigh sweep, a more ballistic throw.

Ude Japanese, Forearm or arm.

Ude Gatame Japanese, Straight armlock. Sometimes spelled Ude Garami.

Uke Japanese, Receiver. The partner upon whom the technique is executed. Between two partners, Uke is the one thrown, a term used in Aikido and Judo.

Ukemi Japanese, breakfalls, falling techniques, methods of falling rolling and landing safely often taught in grappling-based Martial Arts.

Uki-Otoshi Japanese, from Judo, floating drop.

Uki-Waza Japanese, from Judo, floating throw. Similar to Uki-Otoshi, but Thrower moves to a seated/semi-prone position, opposed to kneeling.

Upa Portuguese, vernacular, to bridge up, lifting the hips to upset an opponent, typically done when in the Mount position.

Ura Japanese, Reverse, hiding, or rear, from behind; subtle; a term used in Aikido and other traditional Japanese Ryu. Opposite of Omote.

Ushiro Japanese, back, rear, rearward, from behind.

Vines English, typically referring to leg-vines, where the legs are used to entangle the legs of the opponent, usually in the Mount Position. See Hooks.

Waza Japanese, technique.

Yoko Okuri Eri Jime Japanese, Side sliding collar strangle.

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

Recommended Reading


Since 2001, thanks to authors like Kid Peligro and Jose Fraguas, there are now a number of excellent resources available on the topic of Brazilian Jiujitsu, with more on already scheduled for release. The following books are excellent technical manuals for students serious about this type of training.

Jean Jacques Machado, Kid Peligro. Brazilian Jiujitsu Championship Techniques, 2004 Invisible Cities Press

Jean Jacques Machado, Kid Peligro. Brazilian Jiujitsu Black Belt Techniques, 2003 Invisible Cities Press

Renzo Gracie, Royler Gracie, Kid Peligro. Brazilian Jiujitsu Theory & Technique, 2001 Invisible Cities Press

Royler Gracie, Kid Peligro. Brazilian Jiujitsu Submission Grappling, 2003 Invisible Cities Press

Carlson Gracie, Julio Fernandez. Brazilian Jiujitsu For Experts Only, 2004 Invisible Cities Press

Kid Peligro, Rodrigo Medeiros. Brazilian Jiujitsu Marter Techniques - The Essential Guard, 2005 Invisible Cities PressRenzo Gracie, John Danaher. Mastering Jujitsu, 2003 Human Kinetics Publishers

Royce Gracie, Kid Peligro. Brazilian Jiujitsu Master Techniques - Ultimate Fighting Techniques, Vol. 1 - The Top Game, 2005 Invisible Cities PressRoyce Gracie, Kid Peligro. Brazilian Jiujitsu Master Techniques - Ultimate Fighting Techniques, Vol. 2 - Fighting from the Bottom, 2006 Invisible Cities PressRigan Machado. The Essence of Brazilian Jiujitsu, 2002 Unique Publications

Rigan Machado, Jose Fraguas. Encyclopedia of Brazilian Jiujitsu, Vol ’s 1-3, 2004 Unique Publications

Ed Beneville, Tim Cartmell. Passing the Guard, 2003 Grappling Arts Publications, L.L.C.

Ed Beneville, Professor Joe Moreira. The Guard, 2005 Grappling Arts Publications, L.L.C.

Professor Joe Moreira. Brazilian Jujutsu Side Mount Techniques, 2005 Black Belt Books

Eddie Bravo, Erich Krauss. Jiu-Jitsu Unleashed, 2005 McGraw-Hill

The Canon of Judo - Kyuzo Mifune - 2nd Edition 2004 Kodansha America

Jigoro Kano. Kodokan Judo, Reprint Edition 1994 Kodansha International

H. Irving Hancock, Katsukuma Higashi. The Complete Kano Jiu-Jitsu ( Judo), 2006 Dover Publications

Isao Inokuma, Nobuyuki Sato. Best Judo, Reprint Edition 1987 Kodansha International

Jiichi Watanabe, Lindy Avakian. The Secrets of Judo, New Edition 1990 Tuttle Publishing

Kirik Jenness, David Roy. The Fighter’s Notebook, www.mixedmartialarts.com 1998 Bench Pr Intl

Erik Paulson. Combat Submission Wrestling Essentials Series, Vol.’s 1-5 (DVD), ExcelDV Productions

Grappling Program Student Guide - fwma.net Program Student Guide Novice Training Notes Student notes for the Grappling program are divided into three categories: Novice, Intermediate

Documents