What I learned from a 7 hour Jiu Jitsu event (CJI: Giles Trials Study)

00:11:16
https://www.youtube.com/watch?v=BeG64Zt3wjQ

摘要

TLDREn aquest vídeo, es discuteixen les claus de l'esdeveniment de proves de Giles per a CJI 2, incloent tècniques d'atac des de la posició de Turtle, l'ús d'alternatives de grip per a submissions, i estratègies de lluita de mitja guàrdia. Es destaca la importància de mantenir un marc inferior per defensar-se i atacar efectivament. També es menciona l'ús de parets inclinades per facilitar takedowns i la defensa contra lock de cames. El vídeo inclou exemples pràctics i recomanacions per a l'estudi de jiu-jitsu.

心得

  • 🐢 Atacant des de Turtle: utilitza el far hook.
  • 🔑 Defensa contra arm triangle: gira l'esquena i avança l'espatlla.
  • 🛡️ Importància del marc inferior en mitja guàrdia.
  • 🏆 Estratègies de takedown amb parets inclinades.
  • 📚 Recursos addicionals disponibles a la Outlier Database.

时间轴

  • 00:00:00 - 00:05:00

    En aquest vídeo, es discuteixen les tècniques d'atac des de la posició de tortuga, destacant la importància d'inserir un ganxo llunyà i utilitzar un ganxo profund per forçar l'adversari a una posició de pinçament. S'introdueix una submissió anomenada 'farce', que es pot aplicar quan l'adversari gira per defensar-se d'un triangle de braç. La clau és aconseguir que el pit estigui al voltant de l'angle adequat, permetent una transició efectiva entre les tècniques d'atac. També es menciona la creació d'una base de dades per estudiar aquestes tècniques amb exemples d'ús en competicions d'alt nivell.

  • 00:05:00 - 00:11:16

    El vídeo també aborda l'estratègia de lluitar des de la meitat de la guàrdia, destacant la importància d'establir un marc inferior abans d'intentar agafar el braç de l'adversari. Es discuteixen les tècniques de control de l'espatlla i el cap, així com la importància de guanyar batalles a la part inferior per facilitar el control a la part superior. A més, es presenten exemples de lluites i takedowns, incloent l'ús de parets inclinades per facilitar els takedowns i la defensa contra les caigudes, així com la importància de les tècniques de defensa contra els locks de cama.

思维导图

视频问答

  • Quines són les tècniques clau discutides en l'esdeveniment?

    Les tècniques inclouen atacs des de la posició de Turtle, estratègies de lluita de mitja guàrdia, i l'ús de parets inclinades per facilitar takedowns.

  • Què és el 'farce' mencionat en el vídeo?

    El 'farce' és una transició d'atac que es pot utilitzar quan l'oponent gira per defensar un arm triangle.

  • Com es pot defensar un arm triangle?

    Una defensa efectiva és girar l'esquena cap al lock i avançar l'espatlla per exposar l'esquena.

  • Quina és la importància de la lluita de mitja guàrdia?

    La lluita de mitja guàrdia és crucial per establir el control superior i facilitar atacs efectius.

  • Quines són les estratègies per a takedowns amb parets inclinades?

    Utilitzar underhooks i collar ties per pressionar l'oponent cap a la paret, facilitant takedowns.

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  • 00:00:00
    If you didn't have time to watch the
  • 00:00:01
    7-hour Giles trials event for CJI 2,
  • 00:00:04
    don't worry, I got you. In this video,
  • 00:00:06
    we're going to discuss my key takeaways
  • 00:00:08
    from the event, starting with Turtle.
  • 00:00:10
    When you're attacking from Turtle, you
  • 00:00:11
    can look to throw in your far hook. And
  • 00:00:13
    if the defender just tries to use their
  • 00:00:15
    elbow, it can be hard for them to defend
  • 00:00:17
    the hook from coming in. So, a lot of
  • 00:00:18
    times they're going to use their hand,
  • 00:00:20
    which makes it hard for us to insert our
  • 00:00:22
    hook, but we can capitalize on this
  • 00:00:24
    extension by taking a deep under hook
  • 00:00:26
    and using it to ratchet the defender
  • 00:00:28
    over. So now instead of taking their
  • 00:00:29
    back, we force them into a pinning
  • 00:00:31
    position. And from the pinning position,
  • 00:00:33
    we saw this very unique submission that
  • 00:00:35
    I didn't know much about. So I made an
  • 00:00:37
    Instagram post seeing if there were more
  • 00:00:39
    resources or examples that I could
  • 00:00:40
    study. And I feel very lucky to kind of
  • 00:00:42
    be the hub that a lot of jiu-jitsu nerds
  • 00:00:44
    gather around. And you all had very
  • 00:00:46
    insightful recommendations. If I take
  • 00:00:48
    like this traditional like RMC style
  • 00:00:52
    grip, my hand is now in my way. Okay.
  • 00:00:54
    Okay. So, as I try and go down for the
  • 00:00:56
    finish, like it's not impossible, but
  • 00:00:58
    this arm has got in my way. This is why
  • 00:01:00
    we're looking at using this alternative
  • 00:01:02
    grip. So, I'm bringing my hand up and
  • 00:01:04
    then I take my shoulder to the floor and
  • 00:01:06
    it drags my arm through. The most common
  • 00:01:09
    defense to an arm triangle is the
  • 00:01:10
    defender turning away. The only defense
  • 00:01:13
    I've actually seen that actually works
  • 00:01:14
    for high level kagatame is to expose
  • 00:01:17
    your back by turning away from the
  • 00:01:18
    kagatame and shooting your shoulder
  • 00:01:20
    forward into the lock and exposing your
  • 00:01:22
    back. But the key to this submission
  • 00:01:23
    that seems to be called the farce is
  • 00:01:25
    getting our chest around the corner.
  • 00:01:27
    Okay, I've got to wait for this to fully
  • 00:01:29
    disconnect so that I know that I can get
  • 00:01:32
    my chest around the corner. Look, it's
  • 00:01:35
    there. So, the dilemma we can play is if
  • 00:01:37
    our opponent tries to get their back to
  • 00:01:39
    the mat, we can go for a classic arm
  • 00:01:41
    triangle. But if they turn away to
  • 00:01:43
    defend the arm triangle, this is our
  • 00:01:45
    opportunity to transition into a farce.
  • 00:01:47
    If I was in this position and I started
  • 00:01:50
    driving the elbow here and only didn't
  • 00:01:52
    go, I would cradle the
  • 00:01:54
    shoulder and just go back to the to the
  • 00:01:58
    head and arm, okay? Cuz he's giving it
  • 00:01:59
    to me. But people are going to turn.
  • 00:02:02
    They're going to you're going to feel
  • 00:02:03
    their feet. They're going to twist their
  • 00:02:04
    hip. They're going to try and turn up
  • 00:02:05
    onto their side. And now now it's going
  • 00:02:08
    to be really hard to try and pull them
  • 00:02:10
    back down on the other head and arm. So
  • 00:02:12
    look, just make the adjustment. I went
  • 00:02:15
    ahead and added #farse to the outlier
  • 00:02:18
    database. So you and I can easily search
  • 00:02:20
    for examples and learn more about it.
  • 00:02:22
    And we can see people from New Wave like
  • 00:02:23
    Nicholas Maragali and John Carlo Bedoni
  • 00:02:26
    using the farce to attack when they have
  • 00:02:28
    the head and arm grip. And the fact that
  • 00:02:30
    they're using it and we're seeing it
  • 00:02:31
    being used in the highest level of
  • 00:02:33
    competition gives me the validation I
  • 00:02:35
    need to incorporate it into my game. And
  • 00:02:37
    if you're interested in the Outlier
  • 00:02:39
    Database, which is a website I made for
  • 00:02:40
    you and I to more efficiently study
  • 00:02:42
    jiu-jitsu, check the link in the
  • 00:02:45
    [Music]
  • 00:02:48
    description. Now, switching gears a bit.
  • 00:02:50
    Recently, I've really been enjoying the
  • 00:02:52
    idea of propping up on my elbow when
  • 00:02:54
    grip fighting from half guard. And the
  • 00:02:56
    basic game we play is we can look to
  • 00:02:58
    fall from our elbow to take a grip on
  • 00:03:00
    their near arm, or we can attack their
  • 00:03:02
    farm by staying on our elbow and looking
  • 00:03:05
    to take a cross grip. as we pull the
  • 00:03:07
    guard passer across our body and look to
  • 00:03:09
    enter the legs. But if we perform this
  • 00:03:11
    strategy when the opponent has their
  • 00:03:13
    elbow inside of our thigh, we don't have
  • 00:03:15
    an effective lower body frame in place.
  • 00:03:17
    So when we do get the twoon-one grip on
  • 00:03:19
    their near arm, it's not very useful and
  • 00:03:21
    the guard passer can flatten us out. So
  • 00:03:23
    if we're playing halfguard and the
  • 00:03:25
    passer gets their forearm inside of our
  • 00:03:27
    thigh before we can take a grip on their
  • 00:03:30
    near arm, we have to first reinsert a
  • 00:03:32
    lower body frame. And with a lower body
  • 00:03:35
    frame in place, we're now free to start
  • 00:03:37
    attacking their near arm. Like I said,
  • 00:03:39
    I've really been enjoying this elbow
  • 00:03:40
    prop when grip fighting from half guard.
  • 00:03:42
    But make sure when you're doing it, you
  • 00:03:44
    have a lower body frame in place.
  • 00:03:46
    Speaking of small battles from half
  • 00:03:47
    guard, you can see the guard player
  • 00:03:49
    enters half guard with an over hook
  • 00:03:51
    before pummeling in a butterfly hook to
  • 00:03:53
    enter butterfly halfguard. This seems to
  • 00:03:55
    be consistent with how Gordon Ryan likes
  • 00:03:57
    to play half guard where he'll play with
  • 00:03:58
    a knee shield until he establishes some
  • 00:04:01
    form of upper body control like an over
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    hook and then once he has control of the
  • 00:04:05
    upper body, he pummeles in his butterfly
  • 00:04:07
    hook to enter butterfly halfguard. But
  • 00:04:09
    you can see the top player is very aware
  • 00:04:11
    that this upper body connection is what
  • 00:04:13
    makes it safe to play butterfly
  • 00:04:15
    halfguard. So the passer limp arms out
  • 00:04:17
    before immediately creating an angle to
  • 00:04:20
    threaten the pass. Speaking of small
  • 00:04:21
    battles from half guard, the top player
  • 00:04:23
    is likely going to want to control our
  • 00:04:25
    head and shoulders, but as the bottom
  • 00:04:26
    player, we want to prevent that. But it
  • 00:04:28
    can be difficult to directly clear their
  • 00:04:30
    crossace. So instead, we can threaten
  • 00:04:32
    just enough of an elbow escape to force
  • 00:04:34
    the top player to let go of their
  • 00:04:36
    crossface to prevent us from winning the
  • 00:04:38
    battle at the lower body. And now we
  • 00:04:40
    make sure they don't get that crossace
  • 00:04:42
    back. I think a lot of times the lower
  • 00:04:44
    body to upper body dilemma is often
  • 00:04:45
    glamorized. And we see very flashy
  • 00:04:48
    examples of people attacking Kaggard to
  • 00:04:50
    get to an arm bar. But even though this
  • 00:04:51
    is not as highlight worthy, it's the
  • 00:04:53
    same principle being done. Threaten to
  • 00:04:55
    win battles at the lower body and as
  • 00:04:57
    your opponent addresses those threats,
  • 00:04:59
    win the battle at the upper body. I talk
  • 00:05:01
    about how to do this in my guard passing
  • 00:05:03
    instructional from the top player's
  • 00:05:05
    perspective. If you're having trouble
  • 00:05:06
    controlling their head and shoulders,
  • 00:05:08
    you can switch your attention from the
  • 00:05:09
    upper body to the lower body and do
  • 00:05:11
    things like pummeling in butterfly
  • 00:05:13
    hooks. If you're interested in my
  • 00:05:14
    instructional, it's now free to members
  • 00:05:16
    of the Outlier database. It's pretty
  • 00:05:18
    awesome, so check it out. Speaking of
  • 00:05:20
    lower body to upper body dilemmas, this
  • 00:05:22
    was easily my favorite takedown of the
  • 00:05:24
    event, even though it didn't work. Kenta
  • 00:05:26
    shoots in on a single leg that's
  • 00:05:27
    welldefended, but leads to an underhook,
  • 00:05:30
    also known as attacking the lower body
  • 00:05:32
    to get to the upper body. With the
  • 00:05:33
    underhook, Kenta uses this hip throw/
  • 00:05:36
    power twist motion to off-balance his
  • 00:05:38
    opponent to get to the far leg, setting
  • 00:05:40
    up a beautiful kneetap takedown. Now,
  • 00:05:42
    Duke does a very impressive lat drop to
  • 00:05:45
    counter the knee tap takedown and take
  • 00:05:46
    top position, but this setup from Kenta
  • 00:05:49
    has become one of my favorites, and I've
  • 00:05:51
    seen JFlow use it as well. Off an
  • 00:05:53
    underhook, JFlo uses that hip throw to
  • 00:05:55
    offbalance Joseph looking to get to the
  • 00:05:57
    far leg. Now, it doesn't work, but you
  • 00:05:59
    can see the idea. And this next example
  • 00:06:01
    rounds out the sequence. Off the
  • 00:06:03
    underhook, JFlo threatens that hip
  • 00:06:05
    throw, but is not able to get to the far
  • 00:06:06
    leg. So, he tries a foot sweep on the
  • 00:06:08
    near leg. Now, again, it doesn't work,
  • 00:06:10
    but trust me, try it out and let me know
  • 00:06:12
    what you think. Sticking with the theme
  • 00:06:13
    of wrestling, it seems like people are
  • 00:06:15
    really starting to understand how to use
  • 00:06:17
    the slanted walls to facilitate their
  • 00:06:19
    takedowns. In jiu-jitsu, there's not a
  • 00:06:21
    penalty for being pushed out of bounds.
  • 00:06:23
    And the idea behind the slanted wall is
  • 00:06:25
    it gives you a significant disadvantage
  • 00:06:27
    if you're getting pushed around the mat.
  • 00:06:28
    In wrestling, they penalize players for
  • 00:06:30
    getting pushed out of bounds with a
  • 00:06:31
    stall call. And from what I've seen,
  • 00:06:33
    Carter Strach is a beautiful study when
  • 00:06:36
    trying to apply it. and against Draachi
  • 00:06:38
    shoots in. That's going to do it. A
  • 00:06:40
    stall call against Ruth, his fifth, and
  • 00:06:43
    he's been disqualified.
  • 00:06:45
    Carter likes to work with an underhook,
  • 00:06:47
    collar tie, or inside bicep tie to walk
  • 00:06:50
    his opponent towards the edge of the mat
  • 00:06:51
    where his opponent's actions become a
  • 00:06:53
    lot more predictable. If they don't
  • 00:06:55
    really do anything, Carter can shoot in
  • 00:06:57
    on these half-hearted takedowns to force
  • 00:06:59
    the opponent out of bounds and get that
  • 00:07:01
    stall call. So, to prevent the stall
  • 00:07:03
    call, the way I see it, they basically
  • 00:07:04
    have three options. They can pressure
  • 00:07:06
    back in. They can try and circle towards
  • 00:07:08
    the center or they can shoot in on a
  • 00:07:10
    takedown of their own. If they pressure
  • 00:07:11
    in, Carter just gets out of the way as
  • 00:07:13
    he snaps his opponent down to the mat.
  • 00:07:15
    Or it can be more direct with a snap
  • 00:07:17
    down. But I think you get the idea. It's
  • 00:07:19
    also a great time to use things like
  • 00:07:20
    throwbyss or duck unders to initiate
  • 00:07:23
    your takedowns if they try to circle
  • 00:07:25
    towards the center. The issue is it's
  • 00:07:26
    hard to do this while maintaining good
  • 00:07:28
    defensive posture. So, as they go to
  • 00:07:31
    circle, Carter gets good head position
  • 00:07:33
    and capitalizes on the weak defensive
  • 00:07:35
    structure to get a takedown. Here we see
  • 00:07:37
    Carter pressuring his opponent towards
  • 00:07:38
    the edge of the mat before reaching for
  • 00:07:40
    a half-hearted single leg. Now, earlier
  • 00:07:42
    in the match, the defender did nothing
  • 00:07:44
    to respect the single leg and was forced
  • 00:07:46
    out of bounds and hit with a stall call.
  • 00:07:48
    So, to prevent that from happening
  • 00:07:49
    again, they try and circle out to face
  • 00:07:51
    the center. And Carter uses this as an
  • 00:07:53
    opportunity to level change to get to
  • 00:07:55
    the second leg and complete the
  • 00:07:56
    takedown. This sequence is just so
  • 00:07:58
    beautiful. Carter starts with a collar
  • 00:08:00
    tie and uses it to snap his opponent
  • 00:08:02
    down as he shoots in for a takedown. The
  • 00:08:04
    takedown fails, but he goes from the
  • 00:08:06
    lower body to the upper body, taking an
  • 00:08:08
    underhook, and continues to walk his
  • 00:08:10
    opponent towards the edge of the mat.
  • 00:08:11
    And when he can no longer move his
  • 00:08:13
    opponent, another snap down before
  • 00:08:15
    getting back to his under hook and
  • 00:08:16
    walking them towards the edge of the
  • 00:08:18
    mat. This type of pressure is just
  • 00:08:20
    relentless. And eventually, they're
  • 00:08:21
    like, "Bro, I'm done. I'm not tying up
  • 00:08:23
    with you. I'm just going to shoot." And
  • 00:08:24
    Carter can defend these takedowns
  • 00:08:26
    relatively easily and get into his
  • 00:08:28
    offense. It's the pressure of constantly
  • 00:08:30
    being forced to the edge of the mat that
  • 00:08:32
    forces his opponents into
  • 00:08:33
    uncharacteristic takedown attempts. And
  • 00:08:35
    with the addition of the slanted walls
  • 00:08:37
    in CJI, it really adds in this element
  • 00:08:40
    to the standing game. And I believe it
  • 00:08:42
    drastically favors those people who win
  • 00:08:44
    the grip fight. And they can use things
  • 00:08:46
    like collar ties, under hooks, or inside
  • 00:08:48
    bicep ties to force their opponent
  • 00:08:50
    against the wall where they can start to
  • 00:08:52
    work their takedowns. And whether you're
  • 00:08:54
    an athlete or a spectator, I encourage
  • 00:08:56
    you to dive deeper into this topic
  • 00:08:57
    before the CJI event by checking out
  • 00:09:00
    this breakdown from the Earn Your Gold
  • 00:09:01
    Medal YouTube channel. I just gave you
  • 00:09:03
    my key takeaways, but that's the source.
  • 00:09:05
    But the threat of the star call is going
  • 00:09:07
    to open up. He's it's going to make the
  • 00:09:09
    guy pressure back into you. So many
  • 00:09:11
    things open up when you're pressuring
  • 00:09:12
    the guy. Another way we saw the slanted
  • 00:09:14
    walls be used at CJI is to help with leg
  • 00:09:17
    locks. When the defender runs into the
  • 00:09:19
    wall, it makes it hard for them to turn
  • 00:09:21
    and escape. and we can use that to help
  • 00:09:23
    facilitate our attacks. Similar to how
  • 00:09:26
    the cage is used when applying leg locks
  • 00:09:28
    in MMA. Now with some honorable mentions
  • 00:09:30
    as we wrap the video up. Sticking with
  • 00:09:32
    the theme of leg locks, people are
  • 00:09:33
    getting very good at defending these
  • 00:09:35
    days. The attacker initially does a
  • 00:09:37
    great job of reaching for the secondary
  • 00:09:38
    leg to force the defender down to their
  • 00:09:40
    knee. Knowing that this is the
  • 00:09:42
    attacker's primary option, the defender
  • 00:09:44
    controls that hand as he stands to his
  • 00:09:46
    feet. So now the attacker can't control
  • 00:09:48
    the secondary leg. So he tries to switch
  • 00:09:50
    to butterfly Ashi on the primary leg.
  • 00:09:52
    But the defender is one step ahead and
  • 00:09:54
    ready with a quick backst step to escape
  • 00:09:56
    and threaten the guard pass before
  • 00:09:58
    diving through looking to take the back.
  • 00:10:00
    But he's struggling to climb the body,
  • 00:10:01
    so he uses a back roll to enter the
  • 00:10:03
    wedge. But the defender uses the
  • 00:10:05
    momentum of the wedge to roll through
  • 00:10:07
    and escape. These are some incredible
  • 00:10:08
    breakthroughs. When we're attacking the
  • 00:10:10
    legs from a position like single leg X,
  • 00:10:12
    it's very annoying when the defender
  • 00:10:14
    peels the foot off their hip and back
  • 00:10:16
    steps. But as they backst step looking
  • 00:10:18
    to escape our single leg X, our foot
  • 00:10:20
    that was on their hip can transition
  • 00:10:22
    behind their knee to help us stay
  • 00:10:23
    connected and keep attacking. This
  • 00:10:25
    Barado Plata sequence was pretty unreal
  • 00:10:27
    and it's out of my element, so I'll just
  • 00:10:29
    let you watch it and rewind as needed.
  • 00:10:31
    In terms of guard passing, I've recently
  • 00:10:33
    been talking a lot about using interlock
  • 00:10:35
    grips as a way to force the seated guard
  • 00:10:37
    player down to their back in a safe
  • 00:10:39
    manner. And we saw that being used in
  • 00:10:41
    the event as
  • 00:10:43
    well. It's also becoming very trendy to
  • 00:10:46
    try and pass the guard underneath the
  • 00:10:47
    legs. And as the guard player, we can
  • 00:10:49
    look to bring our secondary leg across
  • 00:10:52
    their body or we can look to put it on
  • 00:10:53
    their body as a frame. This frame gives
  • 00:10:55
    us enough space to pummel our foot out
  • 00:10:58
    of the scoop grip. But if we can't
  • 00:11:00
    pummel our foot, we can look to invert
  • 00:11:02
    so we can pummel our knee, effectively
  • 00:11:04
    retaining guard against the under the
  • 00:11:05
    legs passing. I obviously have more
  • 00:11:07
    notes from a 7-hour event, but that's
  • 00:11:09
    all I can fit into this video. If you're
  • 00:11:11
    interested in more, all my notes are on
  • 00:11:13
    the outlier database. The link is right
  • 00:11:15
    here.
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