Posts Tagged ‘bjj’

Posted by thacker at 18 November 2009

Category: American Martial Arts

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The Marine Corps Martial Arts Program (MCMAP) was created to instill into troops the warrior ethos, and to teach them close-quarter combat techniques. It also serves as a way of building team cohesion and morale. MCMAP replaced former programs such as the LINE system and may be referred to as a synergy of mental character and physical disciplines, with applications across the full spectrum of violence.

Peace-keeping techniques

As well as being employed in combat situations, MCMAP techniques can also be used during Marine-Corps-Martial-Artspeacekeeping operations. In these situations, wrestling moves and locking and restraining techniques are intended solely to restrain an opponent, rather than to kill.

The martial training program includes full-contact wrestling and sparring training, and makes good use of safety equipment such as padding, helmets, and mouth guards. Weapons training is also incorporated into the regime, with emphasis placed on bayonet, handgun, and rifle techniques.

The structure of the course is rigid and MCMAP is graded by the use of five different colored belts: tan, gray, green, brown, and black. The black belt is further graded into six degrees or levels or attainment.

The first and lowest rank (tan belt) is awarded after 27.5 hours of training, whereas troops must complete 71.5 hours of training to achieve the first-degree black belt.

Grappling Inoue Wrestling

Marine-Corps-Martial-Arts1Grappling Inoue wrestling is a hybrid martial art based on Brazilian jujutsu and incorporating techniques from boxing and from other wrestling styles. It was developed by Egan Inoue, a Japanese-American who has become an accomplished mixed martial artist and a former world racketball champion. His brother Enson is also a successful mixed martial artist and a former world champion of shooto. After studying with the Grades—the founding family of Brazillian jujutsu—and following a succession of decisive wins at the open-weight category in that sport, Egan Inoue set up his own school, Grappling Unlimited, in Hawaii.

Although his style of grappling does not receive as much publicity as other mixed martial arts, Egan is well known in martial-arts circles for his perfectly executed arm bar methods. International fame came when he won a mixed martial arts match against the champion’s champion, Randy Couture.

Maculele

Maculele is an Afro-Brazilian dance and martial art that almost died out after the abolition of slavery in 1888. No one knows when or how it began, nor what the word maculele means. It may have featured in a harvest festival celebrated by sugar workers, who fought and danced with cane sticks as well as the machetes and straight-bladed razors they used in the fields. Revived in the mid-1900s by Mestre Popo of Santa Amaro in Bahia, maculele is practiced by capoeira groups and, occasionally, as an art form in its own right.

Pair of sticks or machetes

Maculele is accompanied by singing and “atabaques” (drums). Players traditionally wear dried grass skirts, similar to those their forefathers would have worn before they were enslaved. They dance and fight with a pair of sticks called “grimas” that are about 1 in (2.5 cm) thick and 24 in (60 cm) long. Some capoeira schools switch the sticks and use machete-type knives about 16 in (40 cm) long.

Players train with bo staff sticks made of biriba wood, machetes, and knives, giving them experience of the weapons wielded by urban gangs. A maculele training session may start with a group of players standing in a circle, or roda—the leader sings a song while the rest join in with choruses and a rhythm. On an agreed signal two players enter the ring and dance.

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Posted by thacker at 10 August 2009

Category: Types of Martial Arts

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Different Styles of Martial Arts

Cuong Nhu and Vovinam: “vovinam viet vo dao”

Vovinam

Vovinam

Nguyen Loc, the founder of vovinam, grew up in French-occupied Vietnam. His early experiences as a youth, coupled with his patriotic nature, led him to believe that a strong nation could only exist if young people were trained to have a clear mind, pure soul, and strong body.

Loc studied various martial arts, philosophy, theology, and scientific health, before uniting them all into a Vietnamese art designed for the Vietnamese people.

Key techniques

Also known as “vovinam viet vo dao,” the art includes training with empty-hand and weapons techniques. Students learn to use unusual weapons, such as the ax and folding fan. Signature moves are diagonal kicks, backfists to the temples, and leg-grappling methods for felling opponents. Elbow and knee strikes, kicks, and wrestling techniques are also included. The art specializes in defensive movements that deal with attacks from behind and weapon-based attacks when the player is empty-handed.

Peace of mind

Vovinam stresses harmony between the Chinese philosophical aspects of yin and yang, which represent the hard

Vovinam Stance

Vovinam Stance

and soft elements of physical combat. Students, who often wear a distinctive light-blue training “gi,” learn the Buddhist concept of seeing through their ego, freeing themselves from its influence. They become tolerant of—and generous toward -other people, and learn that awareness leads to harmony and peace.

Vovinam’s motto and salutation— “iron hand over benevolent heart”— emphasizes the principle that force should only be used as a last resort.

Cuong Nhu

Cuong nhu is a hybrid Vietnamese martial art developed by Doctor Ngo Dong in 1965, which blends karate techniques with basic grappling methods. It also draws inspiration from taijiquan, wing chun, Shotokan karate, boxing, aikido, and vovinam.

The first cuong-nhu dojo in the US opened its doors in 1971 after Ngo Dong escaped from the horrors of the Vietnam War and set up home in the United States.

Basic training takes the hard, external elements of karate—such as kicking and blocking—along with judo takedowns and rolling and throwing techniques. As the student progresses, tafjiquan-like elements are included in the curriculum. These stress diversion of thought as opposed to the use of direct blocking moves. Such techniques enable the student to be flexible— he or she responds to the attack appropriately, using either the hard or soft elements of training. Martial Arts Weapons are also taught, usually only to advanced students, and they include the “bo” (staff), the “tonfa” (stick), the “sai” (dagger), and spear.

Ethical art

In keeping with the philosophy of inclusion, alongside martial techniques the art teaches its students public speaking, poetry, philosophy, and painting. A strong element of self-development, through self-control and modesty, informs much of the system. Students are known for developing a positive attitude. A code of ethics governs cuong nhu and the art has a ranking order based on belt colors, similar to Japanese martial arts.

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Posted by thacker at 8 July 2009

Category: Types of Martial Arts

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Style: Shingitai Jujutsu

Shingitai jujutsu is a form of jujutsu grappling that blends various strikes and

Shingitai Jujutsu

Shingitai Jujutsu

submissions. The founder, John Saylor, was influenced by his experiences in the early 1980s when he ran the judo coaching at the US Olympics training center in Colorado Springs. A former US heavyweight judo champion, he had officially retired in 1982 because of a shoulder injury. While competing at the Olympic training center he was able to train with some of the best judo fighters of the time. He witnessed the effects of physical fitness and strength on the success of their martial artists training. He also recognized that an unhealthy lifestyle weakened the body and was detrimental to the martial artist’s skills. Saylor compares shingitai jujutsu to the decathlon event—a successful decathlete must train in a wide variety of skills, never neglecting one aspect of training for another.

Three key aspects

Shingitai Founder

Shingitai Founder

The name “shingitai” encapsulates the three key aspects to training: “shin,” or the mental approach and character of a fighting spirit; “gi,” o the functional use of techniques applied through competition; and “tai,” which refers to the physical body fitness and strength that are key elements to this system’s fighting methods and training. Overall balance in striking throwing, grappling, and groundwork are fundamental to achieving technical success.

Collegiate Wrestling

Sometimes known as “scholastic wrestling,” collegiate wrestling is a grappling art practiced in US universities, colleges, high schools, and middle schools. Its origins are in catch wrestling, although, for safety, emphasis is placed on learning how to control an opponent rather than developing explosive offensive techniques.

Posted by thacker at 18 June 2009

Category: Types of Martial Arts, judo

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Different Types of Martial Arts Series

Japanese Jiujitsu

Japanese Jiujitsu

Although the term was not coined until the 17th century, jujutsu is famed for being the unarmed combat method of the samurai. The art forms the basis of judo and Brazilian jujutsu and incorporates pins, joint locks, and throws. It is particularly effective in one-on-one confrontations.

Japanese Jujutsu Techniques

An important aspect of jujutsu training is learning how to break a fall effectively. Practitioners employ a unique method of absorbing force when being thrown; slapping the ground with their free arm so that the shock and disorientation of sudden impact is greatly reduced when the rest of the body makes contact.

Although jujutsu means “the art of softness,” it is a deadly, combat-orientated art, intended to disable opponents as quickly as possible— often using their own energy, weight, and momentum against them.

The samurai connection

In jujutsu’s original form, common samurai battlefield weapons would have been used. The combat style also comes from its samurai past—the grappling techniques enabled a lightly armed warrior to fight an armor-clad enemy.

Law and order over jujitsu

Modern jujutsu traditions were founded toward the end of the Edo period (1603-1868) when more than 2,000 schools existed in Japan. It was, and remains, an extremely popular art. Forms of the system are employed by many law-enforcement institutions, the most famous being taiho jutsu, which is used by the Tokyo police. Jujutsu is also used by police forces worldwide.

Brazilian JiuJitsu BJJ

Brazilian JiuJitsu BJJ

Nakamura Ryu

The basis of this modern martial art is best described through the words of its founder, Nakamura Taizaburo: “While teaching kenjutsu in Northern China, I was inspired with the thought that “eiji happo,” the eight rules of calligraphy, could also be applied to the rules of swordsmanship. As I practiced the “ei” character [this is to calligraphy what "doh ray me" is to music], I saw in my mind that these eight strokes of the brush traced the trajectories of the sword when cutting. The first brushstroke, “souk,” is the thrust of the sword tip; the second, “roku,” is the left and right horizontal cuts; the third stroke, “do,” is the vertical cut, and so on.”

Nakamura was held in high esteem in Japan. In 1992, 11 years before his death, he was given the highest cultural award in Japan—the status of National Living Treasure.

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Posted by thacker at 24 May 2009

Category: Mixed Martial Arts

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Judo Training in the Martial Arts

Knee Wheel and Major Outer Reap

KNEE WHEEL

Judo

Judo

Hiza-guruma is a technique which relies on excellent timing and body movement. It is similar in feeling to sasae-tsuri-komi-ashi which it closely resembles, the main difference being that the attacking foot makes contact much higher up, blocking the knee rather than the lower leg. Correctly timed, this prevents uke from defending by bending his knees and sinking his hips.
The crucial thing to develop is a large, open movement; hiza-guruma is not a power technique in as much as it cannot be forced. The throwing position is not a mechanically efficient one if the opponent is stationary; it is vital to get him moving and for tori to build up a fluid, powerful movement of his own, emphasizing the change of direction and the twisting action of the waist and shoulders.

From an orthodox right-handed grip tori must take a large step on his right foot, placing it about 12-18in (30-46cm) to the right of uke’s left foot. At the same time as he steps, he must pull uke’s right sleeve up to shoulder level if possible and place the sole of his left foot against uke’s right knee, just below the kneecap. The throw is completed by turning the hips, twisting at the waist and steering uke over the outstretched leg with both hands, causing him to fall to his right front.

When practicing hiza-guruma it is very important to concentrate on fully extending the left leg and hip, to develop a smooth transfer of power as the hips turn. Some coaches describe the action of the hands as being like turning the steering wheel of a car. It is more helpful to imagine a larger steering wheel such as is found in a tractor, and to imagine it as being horizontal rather than vertical. The hands pull uke around, whirling im over the out-stretched leg, they do not pull up and down to tip him over as in sasae-tsuri-komi-ashi. The supporting leg ought to bend as tori steps into the throw and straighten as uke’s balance breaks. The action of the head is also very important. Tori should be looking to his right as he steps into uke and as the left foot makes contact with the knee he should spin his head to the left.

Hiza-guruma combines extremely effectively with osoto-gari on the opposite side and harai-goshi on both sides, as either the starting or finishing technique in the combination. It can also come off spectacularly if an opponent has become used to stepping over a sasae-tsuri-komi-ashi and tori switches the height of his attack from ankle to knee.

MAJOR OUTER REAP

Osoto-gari is one of the major throws in judo and is characterized as an all-or-nothing type of throw, mainly because it tends to succeed spectacularly or be countered spectacularly. It is a rearthrow and can be performed equally effectively whether uke is moving forwards or backwards.

From the orthodox right-handed grip tori steps forwards on his left foot, so that it is parallel and about 9in (23cm)  to the left of uke’s right foot, and keeping the left leg bent at the knee makes contact with the right side of his chest against the left side of uke’s chest. A good visual check is for the front of tori’s right shoulder to meet the front of uke’s left gi shoulder. Tori must pull uke’s right arm out away from his body and then down so that uke’s forearm is pulled into tori’s waist. Tori’s right hand should draw uke’s weight onto his right leg. Tori swings his right leg through in a big reaping movement, the power being generated by the combination of the step in and the hip action. The side of tori’s thigh makes contact with the side of uke’s thigh as tori’s right leg reaps down, the back of his upper calf making contact with uke’s right leg just below the back of his knee. he reaping leg scythes away uke’s leg, lifting it clear of the ground and tori controls uke’s upper body with both hands as he jack-knifes at the waist and dips his head, hurling uke to the judo mat.

Once he has got in for the throw tori should try to look at uke’s left heel as he reaps the right leg away and imagine he is trying to take his forehead to the mat as he completes the throw. Dipping the head as the upper body bends forwards adds considerably to the force of the throw and reduces the possibility of being countered by osoto-gari done as a counter to osoto-gari.

Like Judo in general the timing is very important particularly if tori is attacking uke’s advancing leg, when it resembles the timing for de-ashi-barai. Many osoto-gari experts regard the rear leg to be a safer option, even though the distance that has to be covered is greater.

A good osoto-gari is a devastating throw to have in your arsenal of techniques, but it is not a throw for dabblers and cannot really be used without full commitment and good kuzushi as it exposes tori to the danger of being countered with the same technique. Harai-goshi, uranage and sukui-nage are other possible counters. The classic counter is one of the seventeen techniques not in the go-kyo that were officially recognized by the Kodokan in 1985 – osoto-gaeshi.

On the plus side, it combines well with other ashi-waza, hiza-guruma and a number of other major throws such as harai-makikomi, o-uchi-gari and uchimata.

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