One of things that many people have said to me over the years is that I shouldn’t be able to move the way I do.
The way I move is unexpected because of my size. And it all started with a desire to learn a cool technique when I was a white belt. I wanted to learn a specific series of techniques. I saw it, and I liked it. I wanted to do it, but I kept failing over and over again when I tried. It wasn’t easy.
And I realized that I had to learn a movement first.
I had to learn how to invert, and that series is what inspired me to learn. Today, I’m going to share it with you.
One of the things that I really like about this series is that it clearly demonstrates how close the omoplata, triangle and armbar are to each other. In any situation where you can hit one, the other two aren’t far away. You just have to see the connection, and in an instance, you will increase your finish options.
Some Drills You Can Do
When I taught myself how to do the granby roll, I didn’t just go zero to a hundred. I started where I could start and then progressed upward from there. To master anything difficult and truly extraordinary you have to do that.
Start where you can and progress from there.
The drills you see in the video above are the ones that I used to learn how to granby roll. And once I learned the movement, it became easier for me to learn how to do all those tornado attacks. So if you’re struggling with any technique, figure out what movements are hindering you first, and then focus on conquering that movement.
I remember being stuck under mount when I was a white belt. It was HORRIBLE.
That was especially true when it happened with certain people at Evolve, who will be left unnamed (to protect the guilty). They would utterly crush me there. And escape seemed so impossible at the time.
Against anyone good being stuck under mount is a place you don’t want to be, and that’s why it’s important to not only know how to escape but also to master those skills.
For that reason, I’m going to give you some of the basic mount escape variations I use. Add them to your arsenal and improve your escape success rate.
Breaking the Mount Escape Variations Down
For this escape, trapping the arm securely is absolutely required. And I’ve found that using just one arm makes it easy for your opponent untangle, so I’m a fan of using both arms to trap.
Trapping the leg on the side where you want to move will make it harder for your opponent to use that leg to base out and stop the escape.
Looking in the direction that you want to move will increase your range of motion and make it easier to complete the escape.
The hip frame is something new that I added to my escape recently. I’ve had a lot of success with it because it makes it easier for you to move around your opponent. Of course your neck can become vulnerable. That’s why you frame and go as soon as possible.
The basic movements used in this mount escape are the bridge, shrimp and hip switch. Pure basics.
In one of the demonstrations, I fell back to the variation I’ve used the most over the year. Find that example. It’s when I stepped over and pull the ankle across before hip switching. That is GOLD. I lost count of how many times I successfully used that to escape a LONG time ago.
Hip Bump Escape
This mount escape eluded me for a long time. I couldn’t use it in my division, and I didn’t even try. But since then, I’ve had a revelation about the mechanics. The goal is not to push upward, it is to bump them forward and pull them towards and over your head. That will give you the space necessary to move under.
There are two main variations. One is when you bring both knees in and push out to butterfly guard, and the other is the one in the video when you bring one knee and push away to single leg x. I prefer the second.
Getting on someone’s back in Jiu-jitsu is such a magical moment. Right then, you know you have control. They’re in YOUR world. They have to respond to what you do.
But there are few things worse than getting there only to lose it before you can capitalize on your advantage.
I want to help you address that problem. First though, I’ll share some back control concepts with you.
The Essential Elements of Back Control
We tend to focus too much on the hooks on the back. That’s not the foundation of your control.
In fact, your ability to dominate the position depends on something else. It’s not just one thing though. There are three essential elements of back control:
Grip (under an arm and over a shoulder – Backpack/Seatbelt)
Angle (angling their body towards your choking hand, the overhook)
Connection (connecting your chest to their back)
There’s nothing revolutionary about this concept. It’s quite simple actually, but keep it in mind. It will be helpful when you look at the transition I’m going to show you.
Staying on the Back
All escapes from the back require that you lose at least one element of control.
Your grip must be broken in some fashion. Your opponent must angle away from your choking hand. Or there must be some separation created between your chest and their back. If there is an exception to that rule, I have not found it yet. I sat here and raked my brain. I visualized every escape I know, and in every case the rule held true.
What I’m going to share with you is a simple transition you can use to cripple that escape. You’ll be able to frustrate anyone who tries it and maintain your control. It can also be used to set up submission options.
I learned that transition when I was a blue belt. And I’ve used it so much since then. It’s simple and effective.
The following is a guest post by Josh Vogel. He’s a black belt under the Migliarese brothers, a Level 2 Certified Movnat coach, and a Level 1 Kettlebell Athletics coach. And in addition to that he’s also a contributor to Breaking Muscle and the author of the Sloth Report.
In this post, he’s going to share in his insights on how movement practice can contribute to excellence in our art. Why would he do that? Well, I asked him to.
I respect the fact that he has never lost the desire to learn even as he has had significant accomplishments in our art. Almost all the time, he’s exploring new disciplines and thinking of ways to apply those lessons back to Jiu-jitsu. That process is the key to great creativity, and within Jiu-jitsu, there are few black belts that have explored movement practice to the level that he has.
I’m pretty psyched to see movement training getting more popular right now. Ido Portal’s work with Connor McGregor and Erwan Lecorre’s work with Carlos Condit have gotten people in the MMA and BJJ worlds to really take notice of what’s going on in the movement community.
Naturally there are misconceptions which people have in both communities, this is unavoidable, but overall the attention is a good thing I think.
The article I was asked to write was a description of the specific ways movement training has improved my BJJ practice. The second I put finger to keyboard, I was stumped. Not because I can’t think of ways, but because there are so many ways. It’s a hard article to write without making it so generic as to be indistinguishable from every other “what yoga and BJJ have in common” or “boost your BJJ with ankle weight training” article out there.
I felt including technical stuff, like how crawling relates to guard passing, or specific joint mobility work wouldn’t really explain anything about the Movement world and would just further current misconceptions.
Besides, the real gold I’ve gotten from this training has been philosophical and conceptual in nature. Ideas are powerful.
I am focusing this article on three basic concepts I commonly see in the movement community, regardless of the method you practice. My hope is to use these concepts to illustrate some of the perspectives I have gained in training with various Movement teachers and how this has influenced my practice and teaching in Brazilian Jiu-jitsu.
I won’t presume to speak for these people, but I’ll do my best to share some of the things I have gleaned from them both directly and indirectly.
The reason I am focusing on concepts first is I think the philosophy you have shapes all of the actions you take in any form of training. If you are starting from a self defense perspective in BJJ, then the techniques you choose, the way you train and the people you train with will all reflect this.
Approaching BJJ from another perspective will take you in a different direction. In learning from various Movement teachers, I have learned to look at everything I do, including Bjj, through a different lens which has changed the way I approach my Bjj training, teaching and practice.
CONCEPT 1: Generalist vs Specialist
Try to think of movement in a general sense…the full spectrum of human movement. This encompasses everything from dance to skateboarding to BJJ to bowling.
Soften your vision and see the forest rather than focusing on the individual trees. From this broad perspective, BJJ is one part of human movement and enjoys a symbiotic relationship with the rest of the forest. It feels kind of cheesy to put it this way, but bear with me, it’s in my nature to say this sort of stuff.
But how can we really practice such a broad topic?
It’s impossible to become a truly great dancer, gymnast, judo player, boxer, bowler, traceur all at the same time. The cliched phrase “jack of all trades and master of none” springs to mind and….that’s bad, right? I don’t think it is. This is where the generalist vs specialist concept emerges.
If you use MMA as an example of the generalist concept in martial arts, this might make more sense. There is the overall goal of winning a competitive match and being skillful enough in the major areas a fight can go so there are no glaring gaps in your game. You can play in most of the areas you might end up.
The MMA athlete learns elements of a striking art, a clinching/throwing art and a ground fighting art. This is the technical base. From this base (I mean base in the sense of highly recommended skills to have), some athletes choose to explore more unorthodox arts, tactics and strategies.
Some choose to dig deeply into their base and keep things relatively simple. But by nature, MMA fighters are generalist fighters, competent enough in every phase of a bout without being overly specialized in any one area. If you focus too much of your energy in one area, you become vulnerable in other areas. Not only that, but every thing you learn from specialists in individual arts passes through a filter of what is useful for MMA.
The generalist draws from the specialist and keeps what makes sense in his world.
CONCEPT 2: Blurring the borders between arts
Similarly, movement generalists seek to become well rounded, competent movers without over specializing in any one area. Most movement methods or systems advocate developing a general “base” of ability (strength, mobility/flexibility, etc…) which will allow them to play freely in most activities. A mover who can run, jump, dance, fight, climb.
What can you take from this video and apply to your guard passing, positional adjustments, escapes? The small micro movements and adjustments of the feet alone are amazing! Here’s one way to apply this:
This generalist concept is the first thing which changed the way I view BJJ and was of benefit to my practice. When you think from a broad perspective, you are constantly blurring the borders between arts. The border around BJJ becomes porous and inspiration then can seep in from any place. If you cook Mexican food and you only live within the box of Mexican cooking, there are fairly specific limits to what you learn.
When you start looking at Japanese food and Italian food, you start to expand your horizons and find solutions to problems you didn’t even know existed. You learn new techniques of cooking with foreign utensils, different ways to use flavors, new perspectives which influence and breathe fresh life into things you have cooked a million times before.
I told you, I go overboard with the analogies. I should also mention, my knowledge of cooking is less than stellar so I may be talking out of my ass.
A simple example: In BJJ, there are all kinds of demands placed on the body in rolling and injuries happen when the body is insufficiently prepared for these demands. There is no organized way of preparing the body in BJJ culture for these demands besides the vague advice to “stretch” , “take a yoga class” or “do a warm up”.
In some styles of dance, gymnastics and some sports, this is not the case at all and they have well defined practices to prepare the body (wholly, or the parts relevant) for the demands of the activity. Practices to reduce injury and improve longevity. So if we soften our eyes and let the lines blur between bjj and dance or gymnastics, we can borrow some important technology which can help us remain healthy.
We can blur with the world of strength training to understand how to improve a variety of aspects of our practice, stronger grips being just one example. Take from the world of motor learning to learn how to better structure drilling and sparring sessions. Draw from the world of parkour to expand our concept of self defense (everyone says to “run” and “get away” but no one talks about how to do this and how to navigate obstacles which might be in our way).
Just as interesting, once we start to look from a generalist perspective, we start to examine how we can bring useful technology from BJJ to other areas.
How can the “drill,positional spar, roll/full spar” model apply to rock climbing, or acrobatics, for example? Can we apply BJJ techniques (sweeps, for example) to dance, or two person hand to hand balancing?
There are even a number of parkour teachers borrowing elements of martial arts break falling to help their students practice more safely!
CONCEPT 3: Educating the body
In coming from a generalist perspective, you are naturally exposed to a variety of movement patterns. An infinite amount of ways to move your torso, arms, legs, face, everything.
Each new thing you practice influences the rest of your practices. A drop of rock climbing influences the way you grip and pull in BJJ. Experience in BJJ can influence and educate the way you move in Muay Thai practice (particularly clinching).
When you first learn Jiu-jitsu, one of the things you will notice is how difficult it is to move your legs and feet with control and precision. You struggle to put your foot in the right spot, meanwhile the purple belt next to you looks like she could perform open heart surgery with her feet.
The problem is this: When you start training, your legs, hips and feet are educated to do the things which they have practiced doing. For most people this is walking, running, getting out of bed or sitting on the toilet. If you were athletic growing up, you may have a larger repertoire including handling a soccer ball, or swimming. But Jiujitsu is interesting in that you are using your legs in ways which, at an intermediate level, are completely foreign to most people.
The technical vocabulary the lower body uses in BJJ is vast and well developed because not only do we drill technique, but we deepen and expand our vocabulary through consistent sparring. It’s not so different than learning language. We learn our alphabet, words, sentences, grammatical structures but learn on a deeper level when we test our knowledge in conversation, argument, debate. So the process of educating your legs begins.
Watch BJ Penn’s leg work here. Bear in mind that while it’s just a friendly roll, and they weren’t going super hard, Viera was one of the best competitive guard passers in the world around this time.
I have used this example of educating the legs for years, but attending seminars with Ido Portal’s crew woke me up to the idea that this should apply to every body part. This is related to the blurring the borders concept in some ways.
BJJ people typically educate their legs and hips beautifully, developing a broad vocabulary of movements, but not necessarily their necks, shoulders or upper torso (in some cases).
Dancers of various types educate much of their bodies almost more than anyone, but the most obvious examples would be the variety of things they can do with their torsos and feet. Musicians develop an amazing vocabulary and fluency of movement with their fingers and hands, but not necessarily with other parts of their bodies.
I found in my own practice, in seeking to educate my entire body through increasing the strength and range of motion of my joints as well as the repertoire of movement styles I’m capable of, I become more capable in a number of ways:
I have significantly more control and awareness of my body when it is taken out of it’s usual position. This is helpful for escaping tricky situations, avoiding injury and taking advantage of openings which might not otherwise be feasible. I feel like this is particularly useful during those undefined scramble moments where I have to improvise an answer to a crazy problem on the fly.
By using technology from other arts and systems to strengthen and expand the range of motion of my joints (what people usually call “mobility work”) , I open up not only the repertoire of BJJ techniques available to me, but the versatility with which I can use the techniques already in my arsenal.
A video I was requested to make of my morning joint mobility routine. Check the video description for good info about how to perform this, who to learn more from and what to read.
So, in some cases, when I hear one of my students say they cannot perform a hitch hiker escape because they lack the shoulder mobility, or they cannot resist an x guard sweep because their hips cannot open enough to save their balance I know which tools to use which can sometimes help solve these problems and unlock these closed doors.
In adding to already existing technique, with an expanded movement repertoire, I can perform something like a knee cut pass and close off more space than before by having more control and mobility of my scapulae, neck and spine. Or more effectively angle my shoulder and neck while passing guard to defend a guillotine without having to use my hands.
My hope with this article was to get some simple but potent ideas across while avoiding my tendency to go nuts with over writing. I’m not claiming expertise in this movement work, but I’ve dug around in this world for the last 6 years or so, so I think I have some reasonable insight here. These are my interpretations and mutations of ideas I’ve got in working with some great teachers both in person and through their writings. I highly recommend you check out these folks to learn from, read about, research and watch endless videos of:
Frank Forencich. I have not met Frank, but his books are excellent and he does not get nearly enough credit for the amount of influence his ideas have had on this community, in my opinion.
Ido Portal and crew. I have not worked directly with Ido, but his students John Sapinoso, Odelia Goldschmidt, Summer O’black, Joseph Bartz, Zach Finer.
Jason C Brown
Erwan Lecorre. I have mot met him, but I’ve had the pleasure of learning from his students Clifton Harski and Kellen Milad.
That seems like such a simple idea. In fact, you’re probably saying, “ahh, that’s obvious”. For me though, it was revolutionary. It changed how I thought about technique. And it had a significant effect on how I learned the art.
Now the process of taking that idea and transforming it into a system of education. And I’m going to share some of the milestones in that journey with you starting with this post.
First though, let’s step back and answer a few questions.
What are the Fundamentals of Jiu-jitsu
Concepts. Movements. That’s it.
There’s a difference between common technique and fundamental knowledge. It’s sometimes hard to see that difference, but it does, indeed, exist.
There’s this idea that certain techniques like the armbar from closed guard or the cross choke from mount are fundamental. They’re not. They’re common. There’s a difference.
They have been in the art for so long that it’s likely that they will be taught early. You’re also more likely to have them attempted on you early. But students struggle with learning them all the time. They each have many steps and many variations.
They also require movements that aren’t common.
Why Does the Concept Matter
The concept is the why.
When you learn any technique, ask yourself why does it work. Answering that question will reveal the concept. And just so this doesn’t stay too general, I’ll give you a quick example.
Why does the armbar work?
Well, someone realized at some point (in the very distant past) that there was a limit to the mobility of the arm. Taking it past that point (hyper-extension) caused damage. And they also realized leverage can be used to generate significant force without significant strength. That was the beginning.
From there, details were added:
The Principle of the Thumb – The thumb always points in the opposite direction of the back of the elbow, so the thumb can be used a compass to tell you where to apply pressure.
Closed Chain – If the wrist or shoulder is mobile, it is possible to change the position of the elbow and minimize the threat of the submission. So both the wrist and shoulder must be immobilized in order to ensure the finish.
Triggers of Vulnerability – Whenever there is space between the elbow and the ribs, there is opportunity to isolate and attack the arm.
That’s a brief summary of the principles that form the foundation of the armbar. And the applications are countless. Once you understand why it works, you can make it work in numerous ways. Hell, I find ways to do new armbars all the time, just from knowing the concept.
How Does Movement Effect Learning Speed
If you break down a significant amount of technique into their individual components, you’ll notice that certain movements are repeated often. Those movements can be hard to learn as a beginner (because Jiu-jitsu is unlike anything they’ve ever done).
For example, I’ve seen students struggle at all ages with the basic movements like the forward roll, backward roll and shrimp (that’s why I changed how I teach them). I’ve also seen students struggle hard with doing the basic armbar from closed guard. They’ve seen it. They know how it should look. But they haven’t taught their bodies how to move in that way yet.
Movement limits their ability to perform technique.
I remember once I had a student say something that upset me. After struggling with a technique, he said, “Man, I’m just not good at this”. Whoa. It was like his second day in class, and he was already judging himself and his ability to learn. It saddens me when I see that because I know it’s not true.
The movement can be learned. The art can be mastered. And anyone can do it if they have the right mindset.
Focusing on the Jiu-jitsu Fundamentals
I consider the starting point of Jiu-jitsu to be a concept. Specifically, the concept of positions. It’s the idea that certain positions hold inherent advantages. That’s why I’ve been focusing on the positional hierarchy lately at Randori. Understanding it is important. It gives you a framework for making sense of Jiu-jitsu.
And here’s a simplified version. It’s stripped down to bare essentials.
Simplified Positional Hierarchy
Rear Mount (Top = Dominant / Bottom = Vulnerable)
Mount (Top = Dominant / Bottom = Vulnerable)
Side Control (Top = Dominant / Bottom = Vulnerable)
Guard (Top = Neutral / Bottom = Neutral )
From that, you can create specific learning objectives that leave room for diversity. It acknowledges the fact that different people have different attributes, and what may be easy for one person will not be easy for another.
If you learn at least one technique that fulfills each one of those objectives, you will have a strong foundation in Jiu-jitsu.
It will also help you to think about the technique as a fusion of concepts and movements. That way you’ll not only learn technique, but you’ll also develop your fundamental knowledge.