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Samples from Brazilian Jiu-jitsu, The Master Text and Brazilian Jiu-jitsu, Basics By Gene "Aranha" Simco
The techniques presented in this book are dangerous. Before you begin your Brazilian Jiu-jitsu training, you
should consult a physician. You and your partner should always communicate with each other and stop
when the other signals. All techniques should be practiced under the supervision of a qualified instructor.
The author of this book shall not be held liable for the misuse of any information contained within.
This book is not a replacement for a qualified instructor. This book does not contain all of the moves that
make up the art of Brazilian jiu-jitsu. Only the core moves from each position are shown.
This E-book is intended to give readers a sample of certain areas within Brazilian Jiu-jitsu, The Master
Text and Brazilian Jiu-jitsu, Basics. As you read, you will notice that pages have been taken from different
sections and are put together (re-arranged) in this E-book in an order according to the title of the E-book, not
the order of the book the pages originally came from.
After reading this text, you may purchase another E-book from us or purchase the book itself. There is so
much material in The Master Text that even if you purchase all of our online E-books, you will still not have
all the material in the original text itself. Some text and content has been left out in this file due to the fact
that it is on one subject area and is acting as an overview.
Enjoy this material and thank you for your patronage and support.
"From a technical perspective, Brazilian Jiu-jitsu, The Master Text, by Gene "Aranha" Simco, is the best book
about the popular grappling art I've seen to date."- - Lito Angeles, Black Belt Magazine (6/2002)
What really sets this book apart from any other grappling book on the market is the fact that it really repre¬
sents where mixed martial arts is today. It explains Jiu-jitsu grappling and its different styles better then any
other book on the market." - 5 Stars
- Bill Lewis (12/2001)
"One of my students got your book (The Master Text) and I personally think that is a great book. Very good
technique and also good pictures. You are just making easy for people to learn."
- Gustavo Machado (BJJ Black Belt) (12/2001)
^ Brazilian Jiu-jitsu a sics
S tandingT echniques C hapterO utline
C losing D istance
P unch D efense
K ick D efense
] tchni;icjue5 for [^jrgrnnrra from White! to
^ Brazilian Jiujit&u Rasies
T echniques from the S tanding
A s a beginner, much of your
practice will be isolated to one spe¬
cific area of concentration for a par¬
ticular class period. S ince the focus
of B razilian J iu-jitsu for beginners is
on groundwork and the body posi¬
tioning that occurs there, much of
your "sparring" or free practice with
resistance will occur with both partic¬
ipants starting on the knees. T here
are many reasons for this that you will
come to understand over time, but to
provide you with a simple understand¬
ing: the more comfortable you are on
the ground, the more relaxed you will
be about engaging in the practice of
J iu-jitsu with full resistance. M any
participants are also initially hesitant
due to a natural feeling of cluster
phobia that occurs while someone is
pinning you on the floor. T his hesita¬
tion is relieved by the separation of
specific positions during training and
practice. A nother reason for this
separation is to "force" students to
move away from areas of natural skill
in order to develop their weaker
areas. T his complete development of
J iu-jitsu's basic techniques is impor¬
tant before moving on to more
advanced techniques. S ome stu¬
dents who may not be very proficient
on the ground may choose to stay
standing if given the opportunity
while "sparring" starts standing. T his
may occur due to a natural fear of
"losing" or elevated ego. T herefore,
instructors of B razilian J iu-jitsu will
usually start free sparring sessions
on the knees and standing at sepa¬
In this next section, I have iso¬
lated the basic standing techniques
of J iu-jitsu that most beginners will
encounter during their first year of
training. P ractical application and
basic understanding of these tech¬
niques is required by most instructors
before promotion to blue belt can
C ailed "quedas 1 in B razilian
Portuguese, takedowns or throws are
standing methods of attack and
defense whose purpose is to bring an
attacker to the ground through the
Tech nr£|iiC5 for ["^jCiEjrnnrrvs from W^te to £>l 11 o Bek ii5f
use of balance, timing and leverage.
In most cases,] iu-jitsu practitioners
utilize basic principles of physics
such as momentum, gravity and accel¬
eration to achieve the throw with min¬
imum effort and maximum efficiency.
G etting to the C linch
Many great champions of
J iu-jitsu through its recent history
have said, "If yo u have the clinch,
you have good J iu-jitsu." T his is a
theme that resounds strongly
through the art's value as a tool for
self -defense. T he principle theo¬
ry is this: In any style of fighting,
whether the intention of the com¬
batants is to achieve victory
through the implementation of
strikes or submission holds, one
thing is inevitable: most of the time,
the participants will clinch.
C linching is simply when both part¬
ners "hold" each other while stand¬
ing. 0 nee a J iu-jitsu practitioner
achieves the clinch, the ab ility of
his opponent to strike with a great
deal of force (damaging force) is
greatly red uced. A fter a level of
safety is achieved by the use of
this position, a skilled J iu-jitsu
fighter will take his opponent to
the floor where any of the "ground
positions" previously soon to be
detailed will be used.
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^ BrazilianJiu-jitsu Rasies
G etting to the C linch
In this example to the left, I
am using a method of progressive
indirect attack to create an open¬
ing so that I may safely achieve
the clinch position.
In figure 1, I throw a high
strike to my opponent's head. It
is not my intention to strike my
opponent. M y intention is to give
my opponent time to raise his
hand to defend my strike. B y
raising his hand, he will create an
opening at his waist where his arm
would normally be blocking me
fro m "entering". You will notice
that I co ntro I his right hand with
my left hand as I throw the strike
so that my opponent does not
strike me with that hand as I close
In figure 2, I control his
arm as I finish closing the dis¬
tance, p lacing my head on his
chest. My left hand will wrap
around my opponent's waits so
he cannot move back and away
from me, creating distance that
will enable him to strike.
redi nicjjues for beginners from White to Bl lie.
G etting to the C linch 2 (B aiting)
T his method of getting to
the clinch is a "baiting method",
in this situation, I place my legs
at a close distance to my oppo¬
nent, but lean back slightly so
that my head is just out of my
opponent's reach. In order to
encourage my opponent to
attempt a strike to my head, I
lower my hands away from my
face. T wo things make it safe
fo r me to d o so:
-M y head is out of his reach.
-I am anticipating the strike to
Once my opponent
throws the strike (figure 2), I
lean forward. A s I lean forward,
I keep my hands up to protect
my face from both kicks and
A s I "enter" in figure 3, I
hold him with my left hand to
prevent him from moving back
and co ntro I his arm with my right
arm. Ip lace my head to his
chest in order to protect my
face fro m punches.
f Brazilian Jiu-jitsu
T akedowns from the C linch
0 nee I have reached the
clinch p o sitio n, I must use it
to my advantage, illustrated
in figure 1 , I drop to one
knee. I do so with my chest
very close to my opponent’s
leg, leaving him with very little
space to strike.
N ext (f igure 2 ), I hug my
opponent's legs at the knees,
clasping both hands.
0 nee I have co ntro I of
his legs, I squeeze my arms
together, na rro wing my oppo¬
nent's base. 0 nee my oppo¬
nent's base is weak, I will d rive
my head forward, pushing off
my right leg for power and
simultaneously pull his legs
to wa rd me.
T his movement
my opponent to fall backward
(figure 3). As my opponent
falls, I will hug his legs tightly,
squeezing them together as I
move around to one side of his
body in o rder to co ntro I him.
] ctlmEllies for [^jrgrnnrra from Whiter to £sltio
D efending a P unch (0 G oshi)
In this situation, my
opponent attempts to punch
me at a closer range. To
defend, I raise my left hand to
my left ear, protecting the
entire left side of my head (fig¬
ure 1 ). T o p ro te ct my s e If f ro m
potential counter strikes on my
right side, I grab my oppo¬
nent’s left hand.
Illustrated in figure 2, I
push my opponent's left hand
down slightly to create space
for me to "enter". I will also
wrap my left arm over and
around my opponent's right arm.
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^ Brazilian Jiu-jitsu Rasies
In order to lift my opponent
off the ground, I turn, facing the
same direction as him. D uring this
turn, I keep my hips lower than his
and "bump” into him, off-balancing
my opponent. M y right arm goes
under his left arm and to his back
while my left arm pulls his right to
T o flip him over my back
(hips) and throw him to the floor, I
pull down and to the left with my left
arm. A t the same time, i twist my hips
to the right (counter clock-wise).
Once my opponent has
landed in front of me, I must
assume a position of control. In
this case, I have chosen knee on
belly, which will be discussed in
greater detail later on in this text.
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B asic K ick D efense
In this situation, I have not
yet had the opportunity to create
an opening to clinch. B efore I can
set anything up, my opponent
throws a kick.
T here are a few very impor¬
tant factors that must be present
in my initial defense: F irst, both of
my hands must remain up at either
side of my face to protect it from
strikes (figure 1). S econd, I will
use my legs, not my hands to
defend myself from this kick, since
it is low (figure 2).
The reaso ns fo r this
method of defense become clear
when you consider that by "drop¬
ping" my hands away from my face
to defend the kick initially, my
opponent might chamber his kick
and land a second one to my
head. My opponent might also
be setting me up with a combina¬
tion of kicks and punches, hoping
that by kicking low, I will reach for
his leg. If I reach fo r his leg, I will
create an opportunity for my
opponent to land a punch to my
A s I lift my left leg to
defend, I make sure my knee is
raised above my waistline and my
toes are pointed down. M y right
(rear) leg is bent slightly at the
knee for extra balance and shock
absorbancy. You will notice that
in figure 3, I keep my right hand
up to defend my face. M y left
hand now reaches down to grab
my opponent's right ankle.
0 nee I secure my oppo¬
nent’s ankle, I will step fo rward,
hoo king my right leg behind my
opponent’s left. I step fo rwa rd
enough so that my belly is touch¬
ing my opponent’s inner right
leg. (figure 4).
] echnjcjjues. for beginners from ^Vhite to £sltio
To bring my opponent to
the flo o r, I will use a technique
that co mes fro m J ud o called 0
U chi G ari. In order to perform
this movement, I Push my oppo¬
nent's chest forward with my
right arm (I may also push his
face fo r extra effect if d esired), I
pull my opponent's right leg with
my left arm and simultaneously
hook my right leg behind his left
knee and kick back (figure 5 ). A
counter clock-wise twisting
mo tio n may be employed in
order to provide me with extra
momentum during the application
of this technique.
0 nee my opponent lands
(figure 6), I may pass his guard,
ankle lock him or strike my oppo¬
nent from the top. T hese meth-
ods of follow-up attack will be
discussed later in this text.
B asic T hroat or Lapel G rab
In this next segment, I will
illustrate a defense against a
co mmo n lapel or throat grab.
T his is a very unique defense
that I have not seen elsewhere. I
learned this technique while
studying a classical fo rm of j iu-
jitsu and believe it to be very
effective in the event that a per¬
son attacks you in this way.
0 ne important thing to
remember is that at any time, you
may simply strike your opponent
to the face in orderto release this
hold. If his arms are grabbing you,
they are not defending a strike to
the face. If you strike your oppo¬
nent to the face, he will have to
release his hold to defend himself
or be hit,
S ome practitioners of J iu-
jitsu are against methods of strik¬
ing. It is an issue that I have gone
into great detail about philosophi¬
cally in T he M aster T ext, but the
purpose of this book is simply to
illustrate basic techniques.
r-ch nfc|iJC5 for beginners from White to B>i uc:
T o begin this movement, I
control my opponent's right hand
with my left (figure 3). N ote that I
will not let go of this hand through¬
out the course of the entire tech¬
nique - this is important. M y right
arm reaches over my opponent’s
left arm until my right hand is
pointing down between my oppo¬
In figure 4, I step forward
slightly with my right leg and thrust
my right hand between my oppo¬
nent's arms, passing my right side
to my oppo nent’s left. I duck my
head under his right armpit while
still controlling his right arm. T his
co ntro I of the right arm will be
important later to finish him, but is
crucial now to protect myself from
potential chokes that my oppo¬
nent may choose to apply.
B y practicing this tech¬
nique, you will notice that if it is
being performed on you, your
right wrist will begin to twist if you
choose to continue holding my
jacket. 0 nee you master this
movement, you may try it quickly in
Oder to actually flip your oppo¬
Brazilian Jiu-jitsu 1^} a sics
I will continue to step
through in a counter clock-wise
motion until I am positioned as
shown in figure 5. Y ou will notice
that because I performed this
movement slowly, my opponent
had the opportunity to let go of
my lapel with his left hand.
I will not give him the same
option with his right hand. I secure
my opponent's right hand as
shown here and begin to push
his elbow down and forward.
T ake note of this grip I am
using on my opponent's
right hand - I have
switched from the sleeve
to the knife edge of his
hand. M y palm is over the
top of his hand with my fingers
gripping the pinky-side of his
hand. This will a No w me to twist
his wrist, bending his arm in such a
way that his elbow will point up.
T he pain at his wrist will cause
most to submit at this po int.
In figure 6, I step behind
him, creating pressure on his wrist
as I just described and his shoul¬
der by pushing his elbow down and
pulling upon his hand.
] cthni^ues for £)cginncr.& from \\ itr to
R ear C hoke D efense
In this situation, my
opponent has secured an arm
aro und my neck fro m behind.
T his is a typical "street hold"
that all j iu-jitsu students must
learn to defend against.
in figure 1 , I begin to set
up my defense by bending my
knees and positioning my hips
to the right. I grab his sleeve
at the shoulder with my right
hand and pull down. I also
grab his wrist with my left hand
in figure 2 , I drop my
hips below his by bending my
knees and squatting down. To
avoid additional pressure on
my neck during this movement,
I will continue to pull down on
my o p po nent's right arm with
both of my arms.
After I lower my hips
below my opponent's be It line, I
will make a move to lift my
opponent onto my hips. S hown
to the left in figure 3 , I do so by
straightening my legs and lean¬
ing fo rward slightly. I am still
pulling down on my opponent’s
a rms to assist the lift and take
pressure off the choke.
I will now "throw" my
opponent over my back with
the "seoi nage” movement (fig¬
ure 4). T o do so, I will pull my
opponent’s arm down and to
my right, leading him to my
right side. I will also make a
slight twisting motio n to the
right with my hips to ro II him
over my shoulder and back.
red, nfc|iJC5 for beginners from W^itc to E>l lie. Bdt fcVjf 4
A s I comp lete the thro w,
my opponent will land directly
in front of me, being flipped
over my f ro nt. I continue to
secure his arm for potential
follow-up techniques in case
the throw has not neutralized
his desire to fight (figure 5).
RearC ho ke D efense 2
In this situatio n, my oppo¬
nent pushes the back of my leg
with his foot. B ecause he is
doing this, I can not lean for-
ward to flip him over my head
T o begin my defense, I pull
down on his right arm as I did
during the first choke defense.
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S ince I cannot pull my
opponent over my head, I pull
my opponent’s right elbow into
my chest and begin to turn to
my right. A s I turn, I lean fo r-
ward and secure his right wrist
with my left hand (figure 2). I
try to keep his right arm at an
angle to create pressure on his
S ome less experienced
opponent's will submit or fall to
the floor because of the pres¬
sure created on the right shoul¬
der when this mo ve is properly
applied. T he proper applica¬
tion of this mo ve me n t will come
in time with a great deal of sen-
sitivity and practice.
Tech nr£|iJC5 for ["^eiejrnnrr.^ from \'V h i te to Bl lie. Bek
T he p ressure created on
my opponent's right shoulder
will cause him to lose his balance
to the right side of his body.
I will take advantage of
this loss of balance by hooking
my right leg behind his right
leg (figure 4). When I do so, I
must be sure to pass my cen¬
terline beyond his and lean
fo rward so he cannot counter
my thro w.
At this po int, I will use
theO S oto G aritechnique by
kicking my right leg up and
back, reaping my opponent's
right leg. A s I do this, I d rive
my right shoulder into his right
shoulder and maintain pressure
on his shoulder.
T he combination of the
movements described above will
cause my opponent to fall to
the floor as shown in figure 5.
0 nee my opponent is on the
floor, I will secure his arm for
potential follow-up techniques.
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B ear H ug from B ehind
In this situation, M y oppo¬
nent is holding my from behind.
H e has both of my arms trapped
by wrapping his arms around my
M y first p rio rity is to
"break his grip" so that I may
begin to escape. T o do so, I will
first take a very deep breath in,
filling my lungs completely with air
and expanding my diaphragm as
much as possible. T his will cause
my opponent to widen his grip.
0 nee my chest is expand¬
ed,! will make my move to escape.
All in one move, I will co mb ine
the following steps: I let out my
air, becoming instantly smaller
than I was before. IS quat to the
floor, lowering my base, as shown
in F igure 2. I sp read my arms
apart as shown here to the left, I
will also drive my butt into his
h ip s a r I d ro p my weig ht. The
combination of these above
moves done simultaneously with
proper speed and force will
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After I break my oppo¬
nent's grip, I co ntro I both of
his hands as shown here in fig¬
ure 3 . It is very important to
control the wrists or hands of
my opponent to ensure that he
does not use them in order to
choke me or start anew attack.
0 nee I have co ntro I of
his hands, I will then step to
the side, leading with my hips
out (f igure 3 ).
Once I have made the
appropriate amount of room
with my hips to facilitate this
next move, I will step behind
him with my left leg (figure 4).
A t this po int it is crucial that I
control my opponent's right
arm so that he does not grab
my head. In the event that he
does, the next technique will
come in handy.
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Brazilian _)iujitsu P>asic5
I will now squat slightly,
bumping my left leg into the
back of his body, off-balanc¬
ing him. I will make a sort of
"chair" for him to make it easy
to support his weight,
A t this point, I no longer
need to concern myself with
his arms. I will now grab both
of his legs as shown here to
the left and begin to pull him
up, back and to my left.
The finish is obvious
and simple. I will lift and turn
him until I have enough height
and leverage to "dump" him on
his head or back.
T-ch nicjuea for £)cgtnncr& from White to £)l tie B=lt *5
H ead L ock E scape
In this situation, my
opponent has secured a head-
lock however, the fact he is
standing in front of me will
make is easy for me to escape.
T he first thing I do is
secure a grip on his right wrist
with my right hand. Do ing this
will ensure that he cannot cre¬
ate additional pressure on my
face or skull and will also stop
him from sliding his arm down
to my neck and choking me.
The next step in my move
to escape is as I co ntinue to
pull on his wrist with my right
hand, I place my left arm as far
as I can over his shoulder.
0 nee my left arm is exte nd ed
over my opponent's right
shoulder, I will begin to push
forward, down and out ant an
angle with the ridge of my hand
(pinky side) against the side of
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y Urazjuan ^iu-jiisu jjasics
A t this point, I will begin
to posture up. T his action of
looking up will help to com¬
pletely release the grip my
opponent has on my neck.
A s I look up (figure 3), I
begin to turn my left wrist so
that my palm faces downward.
T he twisting motion is imp o r-
tant technically because it will
actually increase my power to
move my opponent's head.
I use the twisting -move
to spin my opponent around as
shown here in figure 4.
Tech nffjuca for beginners from V'v itc to Bl lie. Belt
Once my opponent is
facing me, I secure the thumb-
side of my forearm under his
chin so that it is touching the
front of my opponent's throat.
I squeeze my arm tightly
around his neck and keep his
head trapped under my armpit.
0 nee my arm is secured
tightly around my opponent’s
neck, I place my right hand on
his shoulder as shown.
I will then place my left
palm on my right wrist as
\ shown in figure 6 and in the
\ highlighted circle.
k| To tighten the choke, cre-
Mating additional pressure
Von my opponent’s neck, I
^ will do the fo No wing:
Make a reverse "motor¬
cycle-rev" move with my left
hand aro und my right. This
will lift my left wrist a few
inches, tightening the choke
around my opponent's neck.
N ext I will squeeze my arm
around his neck tighter and
arch my body up and back .
Closing the Distance on Punches
In this case, I will drop my hands a
little to draw my opponent’s (left)
attention to my head. Why?
Because I want him to attempt a
punch to my head. In doing so, his
elbows will raise from his waist and
clear a path to it for me to enter for
a take down.
When I drop my hands, I keep my
leg close and my head back. I also
grab his lead hand as shown, this
will encourage the punch to come
from the rear hand, which is slower
and can be easily seen coming. I
tilt my head back slightly to keep it
just out of range, just in case.
As my opponent punches, I slip to
the side and parry his right arm as
shown with my left hand.
When I clinch, I hold his back tightly
to stop him from stepping back, get¬
ting distance and punching again.
Notice how my left shoulder is
touching my left ear. This is to
avoid the guillotine choke. My head
is also high under his armpit to stop
him from elbowing me to the back of
Closing the Distance on Kicks
To defend the kick, it is important to remember not to drop my hands. A good
kickboxer will use a kick to make my hands come away from my head so he can strike
me there. Instead, I use my leg to block the kick by lifting my knee as shown (fig 1).
As soon as I block it, I simply step forward with the blocking leg and clinch.
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Using Punches to Close
Using Punches to Clinch
Punches, in any combination, will
ultimately lead to your opponent
raising his hands to his head to
defend. If he does not raise his
hands, he will get hit in the face,
which makes things easier for you in
the long run, but I wouldn’t count on
it. Always prepare for the worst and
train for the best.
When you throw high punches,
remember to defend YOUR face
and look out for counter punches.
Keep moving forward as you punch
to keep your opponent searching for
As you punch to his (your oppo¬
nent’s) face, he will defend. When
he blocks, his hands will raise
and/or move away from his mid sec¬
tion, providing me with an opening
to close the distance and clinch.
Using Kicks to Close the Distance
A Kick can be a great closing tool because it not only creates a substantial
attack, but it will off balance your opponent while allowing you to get close without get¬
Think of this front or push kick as an offensive step forward to close the dis¬
tance on your opponent.
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JIU-JITSU Pi MASTER TEXT
Defending the Take Down with
Here, I’ve illustrated the importance
of keeping your hands up as you
My opponent sees that my hand is
not up to defend the left side of my
Once he successfully delivers the
first punch to the side of my face, he
will take away any future opportunity
for me to shoot in by side stepping
and punching again while I am dis¬
oriented and off balance.
Head to Chest
Hopefully you have learned from the
last few pages that it is much safer
to have you head against your
opponent’s chest and to hold him so
he cannot make space to strike.
Notice that I also step to the side to
avoid getting kneed in the stomach
Here, I am caught in a tie up and to
avoid a striking situation with a larg¬
er opponent, I begin to move myself
closer by ‘pummeling’.
I ‘swim’ with my arms under his right
with my left. As I do so, I bring my
head close to his chest and then
repeat the process on the other
Clinch - Striking on the Break
Here, my opponent moves his hips back a little to break the clinch. He notices
that I am making a move to punch, so he controls my head with his right hand, then
releases his grip with his left arm.
He will then land an elbow to the side of my face, generating power from the
hips. This can be a very effective strike at close range.
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JIU-JITSU H MASTER TEXT
Vale Tudo Back Clinch Takedown
Back Clinch Takedown
This is a way to put your opponent
on the ground if you get around to
his back. Without the gi, it will be
very slippery and hard to jump on
his back and choke.
Move your left leg behind your
opponent and use your weight to
pull him down - like a ‘human belt’.
If done properly, you will land to his
side as shown.
Be sure to fix your base to secure
the position before moving on.
I first learned this move while training Japanese Jiu-jitsu years ago and dis¬
missed it after training BJJ. I thought if I guy has your back, you are done. After see¬
ing the famous fighter Sakuraba execute this on many opponents, I decided to ‘bring it
back’. Here, I push my opponents hands down and settle my weight to break the grip.
Once the grip is broken, I hold his wrist as shown and trap is arm with mine,
creating a ‘Kimura’ lock. Your opponent will usually turn toward you, but you can kind
of chase him around with this until you get the lock or put him on the ground, at least
he won’t be on your back anymore.
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Bear Hug Defense
Bear Hug Defense
Here, I am in a bear hug where my
opponent has his arms over mine.
To break free, I bring my arms up
and my body down simultaneously.
I quickly step behind him, placing
my right leg behind his left. I then
grab his legs as shown and posture
up, pulling up on his legs and put¬
ting him on his back.
Head Lock Defense
In this situation, my opponent has me in a head lock. It is important to first
secure his right arm so he cannot punch me in the face, then the other so he can not
squeeze so hard or reposition to choke. I use my left hand under his left leg and
squat low with my legs. Dropping my weight and backing up will off balance my oppo¬
When I’m ready, I move the right hand to his face, back up some more and turn
him to the right and I lift a little with my left hand.
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Drive to the Wall
Here, we are using punches again
to close, like a gun fight, the faster
man wins. My opponent gets closer
first and under my arms.
He keeps me moving backward so I
cannot punch with any real power. I
am also forced to defend as
opposed to attacking.
Once we reach the wall, it will be
very hard for me to pull back to get
any power from punches.
Take Down from the Wall
Once on the wall, to get me to the floor, my partner drops to his knee without
making space between me and him. He will maintain pressure forward with his shoul¬
der and grab my legs. In one motion, he stands up and pulls up on my legs, bringing
me to the ground. Once I am pinned, I cannot escape my hips and use my guard
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Defending the Takedown with Strikes
Here, my opponent (left) controls my head in the clinch and steps to the side as
shown. He is holding my right arm with his left arm wrapped over. He will step back
with his right leg. As he does this he will push my head down. As he side steps, he
hooks my arm under his, which will pull me toward him a little.
He will use the momentum to add power to the knee he is delivering to my
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