31/07/2009 - BJJ (Nogi)

Class #235



Combat Athletics, (BJJ), Rich Green, Coventry, UK - 30/07/2009

I had thought I'd get one more session in at Nova Força, but turns out my sister needed me for slightly less time than she'd originally thought. That means I'll be up in Coventry now until the end of August, except for a final weekend to pop down and look after my niece (which also means I'll have the dubious pleasure of watching her overnight: sleepless nights, where you're woken repeatedly by baby-powered alarm clocks, have been something I've been able to avoid up until now).

Therefore I needed somewhere to train in Coventry, or more specifically, Canley, which is about twenty to thirty minutes walk from Warwick Uni campus. Fortunately for me, there is a club close by, called Combat Athletics. It is run by Rich Green, who received his blue belt from John Will last April, which looks to be a regular seminar slot. Rich also has a wealth of other martial arts experience (JKD, kali, boxing etc), and mentioned the club has links to SBG. So, sounds like an interesting set of affiliations.

Best of all, the price is very reasonable at £5 a session. Definitely something I want to mention to the students over at Warwick, as while Braulio is the number one option in the area, it tends be outside the budget of hard-up students. As I'm still job-hunting, its also outside of my own resources at the moment, particularly with the transport costs (to Rich's gym at the Canley Sports and Social Club, its a couple of minutes walk, so rather easier).

As I walked through the double doors round the back, it looked like a typical MMA gym: punchbags, guys in rashguards, and part of a cage wall (presumably for fighters to practice against). However, from 20:00-21:00 on Mondays, Tuesdays and Thursdays, its a BJJ class, though judging by today at least, people prefer nogi. Rich did mention at several points everyone should feel free to put on a gi, so we'll see if anyone does next time I'm along (I brought my gi in case, so will do that again).

After an informal warm-up, where the stretching was left down to us, Rich moved on to shrimping. This proved to be the start of a nicely constructed theme for the lesson. After shrimping, then shrimping and stepping over, we went into pairs. One person stepped round the others open guard, while the person on the floor shrimped away and reached around for their ankle.

The purpose soon became clear, as it grew into a drill on guard retention. As they step around your open guard, shrimp away, reach around their outside leg and grab the ankle. Come to your knees as they try to move into north-south, then block their other knee with your same side hand and take them down. You can then circle around to their back, making sure to control their elbow so they can't simply spin out.

Resistance gradually increased, before moving on to a comparable drill, but this time with your partner passing directly through your guard. They are in combat base, then drive over one of your legs with their shin. As they do so, you again turn into them, grabbing the ankle, and aim to repeat the previous process.

That became a little more difficult as other guard passes were added into the mix, like the double-underhooks, but the principle remained the same. I was with a guy named Yanek (not sure on the spelling), who I think is an MMA fighter, going by what he said. Either way, he seemed to know what he was doing, so through his actions gently reminded me a few times I was being sloppy: I need to react quicker, keep my head in and be sure to drive through.

Specific sparring from guard followed, where this time I was partnered up with Brad, a guy roughly my own size. Underneath I was happy enough, although the lack of a gi meant that my ability to hold onto triangles was even worse than usual. I got into position a few times, but Brad was able to simply shrug it off. Not having a gi is probably a good way for me to see my mistakes more clearly, as I'm not getting sufficiently firm control: underhooking an arm as per Ryan Hall might also help.

That lack of a gi was also noticeable when I went for a standing sweep (I think it was here, and not later). I could knock Brad down, but there was no handy sleeve to pull myself up, something I normally rely on. Definitely an error in this situation, as that leaves me on my back scrambling to drive forward, too slow to secure the position.

On top, my woeful guard passing was exposed as completely useless in nogi. I made a brief unsuccessful attempt at controlling the biceps and digging my knee into the tailbone, as Roy showed me at the weekend, then settled into the usual pattern of effectively waiting. Brad offered some advice, and Rich also popped over to demonstrate one possibility.

It was the tailbone break I've seen before, but looking at how Rich did it, I think hunching over and shrugging might be a better strategy for me: I haven't been doing that properly in the past. My concentration has always been on trying to extend my body to put pressure on their ankles, which I've yet to master. Hunching up and using the knee to split the guard open, as per Roy's technique and the similar tactic Rich showed, could be a preferable solution.

Class finished with a round of free sparring, where I again went with Brad. I squirmed around underneath as ever, looking for guard, and again seeing if I could get into position for triangles. Eventually managed to sweep and get on top, using Roy Dean's advice on maintaining the mount, and also slipping into side control and scarf hold a couple of times.

I had a chance to try the step-over triangle from side control (or scarf, one of the two), but wasn't able to properly trap the arm. Ended up swivelling to north-south without much success. Losing the friction of the gi definitely makes a difference, which helps to fully reveal the flaws in my mediocre offensive ability. Training nogi (or mostly nogi, depending on if others start bringing their jackets with them) for the next month should prove educational.

I also need to watch out for leg locks, something which I'm not used to. It happened a bit more often at Nova Força, but in nogi its quite common. Brad tried it while I was looking to play guard, but fortunately didn't have a foot crossed over, so I could roll over and eventually work my leg free. However, I need to be a lot more careful where I put my feet, and also watch I don't let myself get caught and then tap too late.

I've got the activities room at the Warwick Uni sports centre booked tomorrow, from 17:00 to 19:00, so hopefully get in some more drilling and sparring there before I head down to my sisters. Would be good to work some of the things from the seminar, along with a few sequences I liked from Purple Belt Requirements (especially the two additional options Roy showed from the overhook in guard).

DVD Review - Purple Belt Requirements (Roy Dean)

Short Review: In this DVD set, Roy Dean provides a conceptual approach for the aspiring purple belt, with the intention of helping you learn the essential principle of combining techniques. Dean aims to assist the viewer in developing their own personal game, presenting several possible options.

This DVD is not a comprehensive compendium of techniques, but a philosophical guide for the journey to purple belt. There are plenty of techniques included, but they are part of an overall theme, rather than an exhaustively described syllabus.

Full Review: Once again, Roy Dean kindly sent me his latest DVD, his fourth release so far. In addition, I've also now met and trained with the man, so I'll be trying even harder than usual to remain objective. I should add that this is a pre-release copy, so if and when I get the commercial release, I'll be sure to update if there are any changes.

Dean is probably best known for Blue Belt Requirements, which I've been consistently recommending since it went on sale last year. That DVD was intended for beginners, so laid out a comprehensive syllabus, running through all the major positions, as well as elements seen less often on instructionals, like the correct way to breakfall. The instruction was concise, but very clear, and the price was right, so along with its range, Blue Belt Requirements remains the perfect package for beginners.

Purple Belt Requirements is Roy Dean's attempt to make the next step. An instructional aimed specifically at blue belts is a far more difficult prospect than beginners, without much in the way of comparison. A white belt needs the fundamentals, with detailed instruction and a firm structure for progression. Dean's previous DVD is perfectly suited to help.

The path from blue to purple belt is far less clear, and widely regarded as the most difficult in BJJ. Roy Dean presents his personal opinion on the eponymous requirements in his opening segment, What Makes a Purple Belt (04:31). Essentially, this is an impressively eloquent lecture on the principal requirements for the purple belt. Dean builds an extended metaphor around the idea of techniques as words. The most important element in gaining the purple belt is to take these words and string them into sentences. Eventually, you will be able to use those sentences to create a compelling argument, refining your oratory until you can debate at the highest levels.

That lecture is accompanied by technical footage, each stage of Dean's discussion considerably enhanced by relevant flows of submissions and transitions. This is something I have long thought would benefit the typical lengthy talks on certain DVDs, such as the work of Saulo Ribeiro and indeed Roy Dean himself. It is much better to be able to see just what the instructor is discussing in action, rather than staring at a talking head.

Also, voiceover enables Dean to build a really decent piece of writing to read out, as he doesn't have to worry about making a personal visual impression at the same time as delivering his speech. That is almost certainly a large part of the reason the lecture is so beautifully constructed.

In his lecture, Dean introduces the viewer to Purple Belt Requirements by stating that "the goal of this DVD is to move you forward conceptually, so you can develop your own game." That carries throughout the material over these two discs, beginning with the next segment on DVD 1, Positions of the Game. This is further divided into a section for each of the major BJJ positions, along with an introductory synopsis (06:16).

Dean's synopsis follows on from the opening lecture, providing a similar philosophical take, focusing more specifically on how an aspiring purple belt should look to develop those positions. While it is almost to be expected on most modern BJJ DVDs, I should note that Dean and his uke wear a black and a blue gi respectively, which greatly helps navigating the tangle of limbs.

The major principles for each position are summarised in slices of varying length, going from about forty seconds up to a couple of minutes. Again, relevant technical footage accompanies the voiceover. For example, in sidemount, Dean explains how to respond to your partner turning to escape in either direction, applying the clock choke and getting the D'arce, among numerous other submissions. However, this is not an in-depth tutorial, but a broad introduction.

Returning to the 'Positions of the Game' menu, the back (13:32) takes its cue from the synopsis, kicking off the technical meat of Purple Belt Requirements. While Dean's focus is conceptual, he does still deal with plenty of technique. This particular section begins with choke variations from the back, which are mostly the same as those he taught at the recent UK seminar.

There are four options for the basic rear naked choke from back mount, with them sitting in front of you. It is taught quickly, in only two and a half minutes, usefully leading into a brief bit of rolling footage. The clock choke follows, in a sequence which also appeared in last weekend's seminar. Dean spends three and a half minutes running through the basic clock choke, then taking off one hook, progressing to a leg over the shoulder for greater pressure. Alternatively, you could finish with an armbar, along with the further option of shifting to a bow and arrow choke.

Instruction for this DVD set is generally faster than the material on Blue Belt Requirements. Also, there are normally at least a few angles and repetitions, but not the thorough coverage seen on Blue Belt Requirements. This is because the intention is now not to provide in-depth technical explanation, but instead encourage a purple belt mindset, looking for combinations rather than single techniques.

That isn't to say the instruction is somehow lacking: you will learn a lot from this DVD, but it is very much intended as a supplementary guide, which after all is what instructional DVDs should be.

The demonstration of a triangle from the back exemplifies that speed. Dean explains the technique in a mere twenty seconds, providing an option if they spin to escape the above chokes: you'll be waiting for them with a triangle. This wasn't shown at the seminar, unlike the next choke, where you roll them into the bow and arrow. That takes longer, taught over roughly two minutes, followed by some more sparring footage incorporating a few of the preceding chokes.

A rolling armlock I also saw at the seminar is next, starting from the turtle, again including sparring footage, for a total of a minute and a half. The section on the back finishes with a minute on the shoulder choke (once again, shown in the seminar), another minute on moving into the triangle against the turtle, then a final minute on the head and arm choke from that position.

Dean has an interesting comment when demonstrating the triangle, where he states that it is "very important to look for new ways to get into the same finishing techniques. Always be looking to go one step back, and ask how can I get into that differently." This fits in with the overarching theme that purple belt is about depth, not breadth. Refine what you know and look for different ways to apply it, rather than adding ever more techniques to your grappling repertoire.

Dean introduces the mount (06:00) by commenting that it initially feels like a "difficult position to maintain," something I'm sure many beginners would agree with. I've long had a tough time not only getting on top, but staying there. However, I found it a little easier during one of my rolls at the Roy Dean seminar, having decided to try and grapevine the legs as an anchor point.

This is what Dean goes on to describe, in a section he calls 'creating pressure.' Get your arm under their head, grapevine the legs, then drive your hips down. That last part is something I'm missing, so will be sure to keep in mind next time.

After a minute on position, Dean then takes roughly 1.5 minutes to cover some points on strategy, showing a few options on how you can bait for armlocks. As with a good proportion of the techniques, that is followed by some brief sparring footage demonstrating the application.

Another minute follows on the mounted triangle. Dean states that the "timing on it is easy, once you know what to look for." The trigger point is if they drive an elbow into your leg during an escape attempt: you can then pop over and go for the triangle. I was getting caught with this all the time by Simon at Nova Força in our last spar, so it was useful to see the set-up.

Dean closes off this segment with three further minutes on chokes from both s-mount and full mount, progressing from the transition to s-mount along with a choke, incorporating the knee, and finally shifting to an arm triangle.

Sidemount (11:26) starts with two minutes on one of the highlights from the UK seminar, which was a far arm submission sequence. After you've hooked under one shoulder and driven through to the americana, shift to the straight armlock if they unbend their arm, then finally a kimura if they then bend it the other way. As Dean puts it, "this submission flow is critical if you want to have a good kimura game from sidemount."

Over the next three and a half minutes, further techniques recognisable from the seminar follow. That kicks off with the far side armlock from knee on belly, a position Dean describes as one in which the point is "not to immobilise the person, but to cause them to react." Next comes a kimura from knee on belly, similar to the north-south kimura from the seminar, and finally a method for breaking their grip, if they grab their belt during your kimura attempt.

Dean also has a little under five minutes of instruction for when your partner is escaping your side control. Depending on which way they roll out, he shows how you can either catch them in a clock choke, or alternatively lock in a D'arce. There is also something Dean calls a 'chest pressure choke', where you basically just get an arm around the neck and use your chest for the submission (though this depends a lot on the momentum your opponent generates during their escape attempt). Better still, once again there is accompanying sparring footage of the techniques in action.

Sidemount closes with about two and a half minutes on chokes from knee on belly, beginning with the baseball bat choke, then an arm scissor. Dean notes here that this should be a choke, not a neck crank: take care it doesn't turn into the latter. You can also increase the pressure by sliding your knee off their body, once the arm scissor is locked in.

The penultimate entry on positions is the guard (12:43), beginning with the flow between an armbar and a triangle. Dean calls this "the most basic, critical combination you need to know from the guard." After a minute, he continues with just under fifty seconds on the armbar to omoplata, then three more minutes demonstrating the related omoplata sweep, armbar to flower sweep and finally flower sweep to armbar.

Combining techniques is a hallmark of this DVD, which is in keeping with the central goal of purple belt. Jimmy Da Silva pops up in the sparring footage, where this time it is Dean who is on the receiving end of a submission (it looks like a clip from either Da Silva's purple or brown belt demonstration).

I was looking forward to the minute and a half of overhook options from the guard, as I've been working on this for a while now, ever since Jude taught it in the Kilburn class. Judging by Dean's take on the position, a central detail I've been missing is that you open up the collar before overhooking the arm. I'm always struggling to wriggle past the overhooked arm for the collar, so makes sense to get that space under the lapel first.

Dean also adds a few more options on top of the choke and triangle I've seen before. These extra submissions are both related to when your partner tries to pull their arm out. Depending on just how they attempt to extricate the limb, you can either catch them half way and twist for a keylock, or use the opportunity to take the back.

The DVD's central theme is again emphasised in the next technique sequence. Dean states "as you go for the rank of purple belt, you need to get away from the mentality that a single attack will get a submission. Instead, use your attack as a probe." He exemplifies this with the cross choke, often tough to get on an experienced opponent. However, that merely means you should be ready with a follow-up, such as the armbar and then flower sweep Dean uses here.

A final five minutes are spent on open guard attacks, incorporating both competition and sparring examples of the application. This includes a sleeve choke set up by the legs, a grip break straight into a hook sweep, armdrag to take the back, and then the helicopter armlock to finish.

The important point Dean looks to make here is another essential requirement for the purple belt, which both he and his instructor, Roy Harris, have mentioned on earlier DVDs. For purple belt. you must learn how to use your legs, whether its setting up chokes, or learning how to control and balance the weight of an opponent, such as in the helicopter armbar.

Leg Locks (04:48) concludes Dean's tour of BJJ's major positions. He starts with the same technique he showed me after our roll at the seminar. The application was different, as he suggested it as a way for me to improve my guard passing. Here, however, it is an entry into an ankle lock. From guard, put your hands into their biceps, jump to base, knee into their tailbone and cut the guard open. The head wasn't buried in the chest this time, but perhaps that's due to the change in goal.

Next up are two minutes on heel hooks, building first off a scissor sweep and mount escape, then progressing from a heel hook attempt into a knee bar. On my copy, the clip was titled 'Hook Hook', but that may well be because its pre-release. Very minor point, but I'll be interested to see if its corrected on the official version.

If your opponent is especially flexible, the last two minutes will be of particular use to you. Dean shows how to attack the inverted guard with a toe hold, or you could switch to a kneebar. As he puts it, by flinging their legs up to your face with their head pointing towards your knees, they are "practically giftwrapping the submission."

One of the few reservations I had about Blue Belt Requirements was the comparatively brief explanation of guard passing, which was largely focused on a single guard break. For those looking for more details, the first DVD of Purple Belt Requirements finishes with a long section on Passing the Guard. Like 'Positions of the Game', this is split into several sections.

Also like 'Positions of the Game', Dean starts his explanation of guard passing with a synopsis (02:07), in the same voiceover format with relevant technical footage. Passing Techniques (10:18) follows, beginning with standing footwork against the open guard. Dean explains how you can go left, right or straight through, using fakes to help trick your opponent.

A minute and a half later, Dean briefly works through the classic option of stepping back and forcing their feet to the floor, if they are using them to press on your hips. In similarly concise fashion, he then explains how to shove a flexible opponent's ankles to their head before moving round.

The 'no pressure' pass is a little different, as like the name suggests, this does not require you to drive your weight into your partner. Instead, you'll simply walk around without any grips, then react depending on if they roll away or into you. Dean notes that this is especially useful for nogi.

I did wonder if the opponent wouldn't just stand up in that situation (though naturally you'd want to be quick with this technique), but then that would involve takedowns and therefore be beyond the scope of guard passing. As if anticipating the question, Dean immediately follows his demonstration with some competition footage of the pass in action. I really wish all DVDs did that, as it adds a lot of value to technical instruction.

The next three and a half minutes featured yet more techniques from the UK seminar. First there is the knee through pass, where you use a collar and sleeve grip to initiate sliding your knee over their leg. That is followed by the Margarida pass, where you drive your knee right into their sternum, aiming to surf into either mount or slip past to their side.

Three minutes on passing the butterfly guard close off this section, starting with a sprawl pass, bringing your weight to bear in order to trap a leg. Almost the opposite option is to use a bridge pass, where you first base with your head and shoulders on their torso, then flip your lower body up and over. Less acrobatic is to hop over their knees, a strategy also used in the comparable side switch, which again operates off the stable head and shoulder pressure to move from one side to the other.

Half Guard Strategies (03:39) is much shorter, with just two potential routes. Dean starts with the turnaround pass, where you press your shoulder into their shin and switch to face their legs. Walk the foot of your trapped leg tight to their bottom, grab the pant leg and drop your weight, trying to uncross their legs.

The knee slide pass is similar, as you also turn towards them and get the foot to their bottom. This time, use your elbow to free part of your leg, until you can bring the trapped knee to the floor by getting them flat on their back. Once you're able to slide free, you can move into a choke: frequently Dean will follow up a technique with a submission, something he also did in Blue Belt Requirements (most notably in the section on sweeps). It makes even more sense for purple belt, given the oft-repeated centrality of combinations.

It was at this point I remembered a minor criticism that occurred to me during my first look at this DVD, in Steve's flat after the first day of Roy Dean's seminar. Blue Belt Requirements was filmed at the old location of the Roy Dean Academy. At the new dojo, there is a bit of traffic noise, which is presumably why this new DVD was instead filmed at a student's house (he has a swish little matted area). The downside of that home dojo is the squeaky mats, squealing with every motion.

However, I found that I didn't notice that slight irritation on the second and third viewings, perhaps because I was so absorbed in noting down my impressions of the instruction. It also isn't normally much of a problem, as most of the time Dean is talking while stationary, not in the midst of a technique.

'Passing the Guard' finishes with two short sections taking a broader perspective on the guard passing skillset. First, Passing Concepts (03:58) is reminiscent of the earlier synopsis, but this time it isn't a voiceover. Instead, Dean presents a conceptual approach to passing by taking you through two principles. First, there is the importance of what he calls 'keeping progress'.

Dean opens by saying "I want to change your mentality and level of patience when passing the guard." Dean expands on that with the analogy of a hundred yard race. When passing guard, it is common to make it to fifty yards, get blocked, and then find yourself all the way back at the start line. The point of this section is to embed the concept of keeping your progress: if you're blocked at fifty yards, hold your place. For example, if you've uncrossed their ankles, make sure they stay uncrossed, or you'll have to go through the whole race again.

Dean's second concept is 'overlapping pressures'. For example, if you are pressing down on their leg with your hand, it is paramount that you only release the grip once you've replaced that pressure with your shin. Dean calls this a key to success when passing, but it also applies throughout jiu jitsu: the sidemount americana/straight armlock/kimura flow from earlier uses that same concept.

The last section is entitled Pass Transitions (03:18). This consists of four techniques, moving from a pass straight into a submission, with some sparring footage providing live examples. There is a method of passing open guard to an armlock, spinning them straight into knee-on-belly and another armbar (as per the UK seminar), leg under pass into a far arm kimura, and finally passing into the clock choke.

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I've noticed that Roy Dean's DVDs have developed a certain branding, creating a relatively regular format. Having asked Roy about this, it is intentional: the opening and closing font, the atmospheric music and the menu style are all recognisable from previous releases. A divide between the first and second DVD in each set is also notable, with DVD 1 normally working through a structured progression of techniques, while DVD 2 ranges more widely.

Purple Belt Requirements is no exception, as DVD 2 moves through further conceptual discussion into sparring examples, seminar footage and artistic projects. The first section resurrects a title from Blue Belt Requirements, BJJ Guidelines (05:43). However, this time it isn't additional technical demonstration by Dean, but a talking head going through further concepts.

While I've already mentioned I prefer a narration coupled with dynamic footage (like the lecture on DVD 1), I can see why Dean went for a conversation into the camera here. Rather than explaining technical strategy, these guidelines discuss a general approach to training, beginning with purple belt requirements.

Dean emphasises three things a purple belt should possess: smooth and efficient movements, a complete game (with a go-to move from every position) and the ability to use two and three technique combinations. He then moves on to explain breadth versus depth, arguing that a prospective purple belt must bypass the technique accumulation stage.

On the journey to purple belt, injuries may well set stumbling blocks in your path. I had assumed that Dean was going to say something about staying calm and relaxed in sparring to avoid injury, but instead he discusses how you should try to train around injuries if possible. That way, you might find that you can learn how the rest of your body works, such as improving techniques using your left hand if the right is out of commission. This certainly has precedent, most famously Gordo's development of half guard after a knee injury.

If the injury is so severe you can't train around it, then make sure to observe class. You can learn a lot by taking notes and watching others spar. I can definitely attest to note-taking, as anyone who has read my blog will know: I personally think it is essential to write up class, whether or not you're led to your pen and paper by injury.

Roy Dean then discusses how letting others into your game is important, as it will develop the BJJ of both participants. Finally, he has a segment called 'developer's toolkit', which lays out his intentions for this second DVD.

Rolling Examples are an important part of that toolkit, with eight sparring matches between varying belt levels. The animated menu displays the options of James and TJ (01:36), Jimmy and Brad (04:21), TJ and Roy 1 (02:09), James and Jimmy (02:31), Roy and Jimmy (04:57), Brad and Roy (06:42), TJ and Brad (03:38), then finally TJ and Roy 2 (04:39). Jimmy is purple belt (who has since become brown), Brad is a brown belt, and Roy Dean is of course a black belt. TJ and James are both blue belts.

It is a shame that there is no commentary for these matches, though when I asked Roy about it, he said commentary is something he originally considered. He then pondered if perhaps it could be added as an alternative audio track, but in the end decided to leave the matches without added analysis.

This is because Roy wants these sparring bouts to be something the viewer returns to repeatedly, finding new aspects each time, really exploring the exchange of techniques, strategy and flow. Also, even though there isn't a commentary, it is nice to hear some of the incidental chatting from the guys rolling and watching, like at the end of TJ and Roy 2: as with so many of the YouTube videos, for a moment you feel you're a part of the academy.

As in previous DVDs, Dean includes seminar footage, in this case from a three day session he held in Kuwait. Day 1: Leglocks (11:40) starts with the toe press, before moving on to heel hooks and kneebars. I liked the personal note at the end, where he thanks the organiser and comments on the progression of the students, which serves to further humanise the DVD.

Like you'd expect, the camera work is less professional here, but still adequate. It is also useful that the camera stays close to Roy Dean throughout, often circling and zooming in order to get the best angle. That continues in Day 2: The Guard (06:19), which begins with a triangle to kimura combination. The rest of this segment focuses on jumping straight into offence from the knees, such as leaping onto the opponent for a sweep, rolling right into the top position.

If they try to stiff-arm you, that leaves the arm vulnerable to submission. Finally, Dean demonstrates the same armbar attack he showed at the UK seminar. It was useful to be able to get a picture of that, as I found it a little difficult to put the initial foot positioning into words.

Day 3: Passing Guard (05:35) repeats a number of the techniques from the guard passing section on DVD 1, though generally with slight variations. Butterfly guard is the focus, with earlier passes utilising the sprawl, as well as basing with your head and shoulder. There are also additions, such as how Dean demonstrates a pass in combination with a throw, again displaying that purple belt mentality of combining techniques in a continuous flow.

Competitions features two of Roy Dean's fights, beginning with footage from an HCK tournament (05:09). This is edited highlights of a match Dean had with famed judoka and BJJer, Dan Camarillo. It is a back-and-forth exchange displaying plenty of high level technique, as well as the respect challenging competition can develop.

While that was interesting to watch, I personally found the next segment, triangle breakdown (02:33), much more compelling. This is because here Roy Dean provides commentary all the way through, along with slow motion replays. Due to that analysis, the viewer gains insight into exactly how you could potentially approach a match, but most importantly how to string techniques together, as any blue belt must learn before they can truly earn the rank of purple. After the explanations and replays, you get to watch the original video.

The final section of DVD 2 is Demonstrations, which as usual includes a belt demonstration. This time, it is Donald Bowerman's test for his purple belt, (08:50) as per YouTube. In keeping with all the other Roy Dean Academy demonstrations, Bowerman achieves gorgeously smooth BJJ throughout, an inspiring display of jiu jitsu skill.

Artistic work follows, which isn't so much about technique as the sheer beauty of jiu jitsu. Black Belt Feet (03:30) functions through a series of photographs, granting you access to the intense physical strain of Roy Dean's black belt test under Roy Harris. Interestingly, there appeared to be a sizeable chunk of teaching required as part of the evaluation by Roy Harris.

Spirals of Jiu Jitsu (03:14) moves away from that arduous gauntlet of a test, instead capturing the fluid circles of jiu jitsu. Bodies describes arcs in the air and over the ground in slow motion black and white. Finally, Dean includes a brief trailer for Art of the Wristlock, a DVD blending aikido with BJJ, which I reviewed here.

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Purple Belt Requirements is a new kind of DVD instructional. Almost every other instructional is a long compilation of techniques, sometimes (but not always) arranged in some kind of structure, with the instructor methodically working their way through the details. In his new offering, Roy Dean takes a conceptual approach instead, where the techniques fit into an overall philosophy for purple belt, the most important element of which is the need to learn how to combine techniques into a flowing sequence.

Therefore this is not Blue Belt Requirements 2, with simply another syllabus broken down for the viewer. The instruction here is faster, less intensively detailed, because it is intended for a more advanced audience, who already have a basic technical understanding, but need to find ways to take those techniques and incorporate them into a personal game.

This two DVD set is a supplement, not a textbook, which was arguably the laudable goal of Blue Belt Requirements. As a blue belt myself, I'm sure this new release is going to help my game progress, though I personally still feel like a very low level blue, with numerous holes to shore up (especially guard passing). I'm looking forward to seeing reviews by senior belts, particularly whether or not they feel that this kind of DVD would have helped them on their journey to purple.

Roy Dean Seminar: Day Two

Seminar #3
Uplands School, (BJJ), Roy Dean, Poole, UK - 26/07/2009

After a gentle warm-up, day two began with a great drill to improve your mobility in side control. Start in side control, then turn towards their legs, one hand under their head. Reach your other hand to hold their knees, then bring your leg over. Initially that just replaces the pressure on the knees previously provided by your hand, before dropping into mat, upon which you establish mount.

From mount, switch your hands under the head, then step all the way back and over with your leg, from the side you just left. After landing, scoot your hips back, move to side control. Then you repeat, by again facing the legs, this time transitioning in the other direction.

You can also add scarf hold to that sequence, pulling the arm to switch to scarf, holding your thigh with the hand under the head, before going to side control. That set up the next few techniques, as Roy went through a few scarf hold submissions.

The first was a straight armbar from scarf hold. Slide the arm you have trapped up your knee, making sure it is straight, before stepping your rear leg over to trap. Your other leg will be used for leverage, so you need to be certain you have their elbow placed correctly to hyperextend the joint.

Stretch your legs out slightly, lowering them towards the floor, and also drag them back a little. From there, you can put pressure on the arm with your top leg in order to get the submission.

If they manage to free their arm by bending it towards your head, you can now go for an americana with the legs (similar to the one on the Renzo/Kukuk DVD set). It is important you're quick with the other leg, stepping it over their bent arm immediately to trap it. That transition requires a bit of flexibility, so to make it easier, raise your hips before bringing the leg over.

To secure the position, triangle your legs, also pressing on their shoulder to stop it raising up. Scoot you hips back for a better angle, then lift your hips towards the arm in order to get the tap: keep in mind you're aiming for their arm to perform exactly the same motion as if you were doing a regular americana. Be careful with this, as it can come on fast (even before you've locked everything into place), especially if their shoulders are tight.

Roy then returned to the americana from side control. Roy began with the basic set up, noting that you shoulder insert your second hand by the elbow initially, before moving into position. Reason being, that means your hand has less distance to travel in order to secure the figure four grip.

You can also get the americana if your arm is under their head, though you'll need to be more patient. Lock the wrist with the hand you have under the head, then wait for the chance to bring that arm all the way around the other side. Your other hand should be ready and waiting to insert, so you can instantly lock the figure four, then finish the submission.

A useful technique followed, in reaction to your partner pushing on your neck, preventing you from settling into side control or properly attacking their arm. Or at least that's what they think: by shoving your neck up, they are actually leaving themselves open for an americana.

Go with the force, letting them push you back, then at the top of the arc, forcefully shift your entire bodyweight in the other direction, changing your hips. To help that motion, you should also switch leg over the other. This will help you slam their wrist down to the mat, after which you can complete the americana as usual.

A second option if their pushing into their neck from under side control is to go for an arm triangle. Deflect their arm past your head and towards theirs, clamping that arm to their neck using your head. Next, get your arm under their head on the other side, either just clasping your hands, or if you have room, grabbing your bicep and then using the hand of that arm to grip your head.

Either way, you normally need to be on the other side of their body to finish the submission. Hop your body over, then squeeze from that side for the submission.

Following a quick break, Roy continued into the second hour. We remained in side control and with the americana, but this time it was a beautiful flowing sequence between three submissions.

Begin with the americana from side control, as before. They manage to straighten out the arm, which gives you the chance to switch into a straight armbar from side control. Maintaining the figure four, fluidly slide your grip up to their wrist, which will leave your other arm under their elbow. Make sure you're in the right place to leverage their joint, then curl your wrists (so, downward pressure with the top wrist, upward with the bottom wrist).

They escape yet again, this time by bending their arm downwards. You can now attempt a kimura, but you'll need to switch the arms in your figure-four first. To that end, glue their arm to your head by shoving up under their arm with your own, also applying downward pressure with your chin. Your other arm moves underneath, smoothly replacing the previous pressure from your first arm. From there, you can then move into position for the kimura.

To continue the sequence, they might straighten their arm again, so you shift into the straight armlock once more. If they straighten, the above description for the transition to a kimura applies equally to an americana.

Roy then added further details for the kimura from side control. To get the tap, you may need greater leverage. To get it, switch your hips so that you're facing their head. Shimmy back to put your weight right across their hips, with your back near their knees. Slightly raise your partner, providing you with an increased range of motion on their trapped arm. To make it secure, step over their head, then finish the submission.

Next up was a technique I found much more difficult, the transition to north-south. I may have remembered this incorrectly, but I think it starts by clamping their arm to their side. Move around until your knees are on either side of their head.

Get that clamping arm under their armpit, palm up, reaching across towards your chest to trap it. Use that to pull them up on their side, then come up a little on your toes, pressuring forward, while also driving your shoulder into them.

From there you can go for a kimura from north south. Progressing from the above position, bring knees towards their shoulders until you're basically sitting on their head. Put your shin across their free arm, then secure a figure four grip on the other arm. Move that arm across their body and down, then complete the submission.

If they grab their belt before you can finish the submission, use rhythm to break that grip. Push into them twice, as if you are really trying to free their arm, then yank hard in the other direction (aiming for the direction in which their fingers are weakest). That should free their arm, so you can get the tap as above.

You can also go for an armbar from north south. From the figure four position, instead of going for a kimura, hop up into a crouch above their head, then swivel into an armbar. Remember to keep your hips in close, so the armbar is tight.

Again, if they clasp their arms and you can't break the grip, all is not lost. In this position, you can go for a bicep slicer (I think, though Roy referred to it as a joint compression, so I could be using the wrong terminology).

You have a figure four, but they have clasped hands. Bring the leg nearest their knees over your own arms, then triangle it with your other leg. Before squeezing, release you upper grip, leaving one of your arms stuck through (it needs to be the forearm for this to work, not just your wrist).

Twist that forearm up, so your thumb is pointing to the ceiling, while squeezing with your triangled legs. This is very unpleasant, and should get your the tap. Be careful, as if they don't tap (which is possible if they're unfamiliar with the technique and think its just pain compliance), this could cause a nasty injury.

After another short break, in which I was again frantically scribbling notes, Roy moved on to guard passing. I put my glasses on for this, as I'm really keen to finally shore up that gaping hole in my game.

The first guard pass position had them lying on their back, feet pressed into your hips. Grip the gi material on the inside of both knees. Drive forward with your own hips, then when you have decided which side you want to pass, shift that side hip backwards.

Using the space and momentum of their leg (remember, that was pressing on your hip, so will still have some forward motion), slam that leg to the mat. Trap it with your shin, pull up on their arm, then slide through to scarf hold.

Alternately, when you have crushed their leg to the mat, immediately drop down on top of it, pinching with your knees (note that they'll probably try to trap a leg here, so trap their leg first, with the instep of your outside leg). You'll also need to quickly establish a grip on their upper body, under a head and an arm.

From here, wait until the time is right, then swing your inside leg out over your other leg, squishing into their leg with the knee of your outside leg. Switch your legs again, then move to side control, sliding in with the intention of clearing their elbow as you secure the position.

Roy progressed from that position to what he called a z-guard pass. This is when they have indeed wrapped one leg over yours, jamming it to the ground, while their other shin is across your stomach. That creates a pattern reminiscent of a 'Z', hence the name. To get some kind of control, you have a grip behind their gi collar, with the same side arm.

To free your trapped leg, drive the knee forward and in, towards your other leg. You are looking to get enough space to circle your upper leg under their leg, then come out over the top. Do not try and lift your knee over: that isn't the idea here, and is much tougher.

Once you've cleared their leg, pull on their same side arm with your free hand, then slide through, crushing the leg across your stomach with your hip, turning towards the sleeve grip. Keep constant pressure, once again getting to that position where your facing towards their head, your weight on their hips, slightly raising your own hips to maximise your pressure.

If they are not only pushing on your hips, but also holding both your sleeves, a different pass is called for. Start by grabbing one of their sleeves in return, then bring your other hand under both legs until you can grip their trouser cuff (this leg should be on the same side as the sleeve you've grabbed).

Before you can progress, you require tension from their legs: if they aren't pushing on your hips anymore, this won't work. Once they are, shove your hips straight back without moving your feet, then pull on both your sleeve grip and the trouser cuff hold (so again the "it's me" motion from the ankle pick earlier).

This should cause them to spin, leaving them wide open for knee-on-belly, but depending on how far they swivel, you may need to step to the side to get there. Maintain the hold on their sleeve, as that will mean you can move into an armbar. Roy explained a useful detail here, which is leaning forward with your head. That helps you when dropping down, as it stops your hips ending up too far back.

Roy then demonstrated the Margarida pass. The situation this time is that they are sitting in front of you, while you have one leg between theirs. Secure a deep grip on their same side collar, pulling up with your other hand on their same side sleeve. From here, simply drive your knee into their sternum (don't go too high).

Drive forward through their guard, forcing their back to the mat. You now have two options: the obvious one is to move your foot to the side then drop into mount. However, they may well push on your knee to escape, which means you can slide through into their armpit pulling up on their sleeve, in the same way you did for many of the above techniques.

Finally, because you have that deep grip on their collar, you are set up for a choke, if you can drive them into mount. Grip the gi near the back of their shoulder on the other side with your free hand. You can then just drop the arm across their throat and squeeze for the choke.

At the end of class, Roy and Steve went into a corner, calling up students in order to evaluate them: lots of people got stripes, and there should be a bunch more UK Roy Dean blue belts after the next few trips out to Bend, Oregon. Due to those students waiting to hear their name, there wasn't quite so much sparring. I was scribbling notes again, but later had a roll with Kevin, an old friend of Steve's who is one of the Brits working towards a blue.

Finally worked through the triangle set up to land the submission, but it was pretty sloppy. The reason I was able to finish this time was scooting my hips back enough, maintaining head control, and making sure I didn't get stacked. Earlier I flailed unsuccessfully for the triangle to armbar combination as Kevin stood up, but didn't have anything like the leverage required.

A camera was almost constantly running over the two days, so I'm really looking forward to the footage. It will certainly help with going over that enormous mass of technique, which has taken around four hours or so to type up: good way to make two long train journeys less boring!).

That reminds me of how important it is, at least for me, to take notes. No way I would have remembered more than two or three techniques without some kind of record keeping.

As with a considerable proportion of what Roy Dean showed over the last three days, many of these techniques can be found on the new Purple Belt Requirements DVD, which is what I'll be typing up next. Hopefully have it done by Monday or Tuesday afternoon.

The past three days have been brilliant, so I hope to be at next year's seminar, when I'll also hopefully be able to congratulate some of the Brits I met on shiny new blue belts. It was a real pleasure getting to both train under and talk with the guys from Bend, so travelling out there myself is definitely something I'd like to do in the future. Thanks again to everyone for their hospitality, and the chance to train at this seminar!

[Pics included by kind permission of Paul Laver]

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Roy Dean Seminar: Day One

Seminar #2
Uplands School, (BJJ), Roy Dean, Poole, UK - 25/07/2009

Today is only the second time I've attended a BJJ seminar, the first having been with Victor Estima in Belfast. That day, Victor focused largely on one guard pass, adding details and getting in lots of drilling. Roy Dean has a very different style, running through a huge number of connected techniques. As he says, his goal is for the student to at least get one or two techniques that really fit into their game, so having that sheer number of techniques increases the likelihood of providing something specific for a diverse range of people.

This first day began with various single leg takedowns. Grip their same side collar and use your bodyweight to pull them down and off balance. Drop to your outside knee, moving around to the side of their same side leg, then hook that leg with your arm. Use your head to drive forward, getting to your feet, clamping their leg between your knees. Shove your shoulder on the inside of their leg while simultaneously stepping back, which should knock them to the ground.

Alternatively, once you are up with their leg between your knees, step back with your outside leg, dropping down so that you end up with a knee raised inside their guard. Still holding their collar (which you used to pull them down at the start), keep your elbow in, bring your knee across their leg and pass to the side, pulling up on their sleeve to settle into a controlling position.

Checking my notes, I've mentioned a heel hook here, so I must have meant from that position. You have one foot underneath their bum, the other over their leg. Scoot in closer towards them so that their leg bends, making it easier for you to wedge your hand and wrist under their heel. You can then twist that up for the submission.

Importantly, Roy mention that this technique was not for sparring, merely something for his students to be aware of. It is always essential for a safety warning whenever going over a very dangerous technique like a heel hook, particularly if you're teaching white belts.

Roy then demonstrated some 'what if' scenarios for the single leg takedown. Again, you're standing with their leg between yours, looking for the takedown. However, they have managed to circle their leg to the outside. You can still take them down: step in, sweep their standing leg, then in conjunction with your collar grip, drive them to the mat.

If they circle their leg to the inside, you need a different option. This time, you can move right into an Achilles lock. Bring your arm under their leg, pressing up in their Achilles tendon: your arm will be near their foot. Lift up the leg, then step forwards with your far leg. Block the foot of their standing leg with your near leg, driving in to take them to the mat.

After a short break, it was time for the second hour of the seminar. Roy began with a basic rear naked choke, in back mount with them sitting in front of you, feet hooking their inner thighs. Roy emphasised that it isn't just the arms that make this submission. You also need to shrug your shoulder, further cutting off any space around their neck.

Aside from the usual grip, where you hold your bicep, brining a hand around the back of their head, Roy also showed a variation using fists. As ever, you get the arm around the neck, so your elbow is under their chin. Grab their shoulder with the hand of that arm.

Put the elbow of your other arm on that same shoulder, then bring the fist of that arm around to the back of their head. Instead of pressing with your palm, you press with the back of your fist.

Next up was a sliding choke Again in back mount with them sitting in front of you, get one arm under their armpit. Open up the nearest lapel, then feed it to your other arm, which you bring over their other shoulder. This should be a tight grip, with your hand curled.

The other hand, which is still under their armpit, now grips their other lapel lower down. You can now lean back, pulling down with that hand while twisting the other for the choke. In other words, you effectively straighten your arms out to create the pressure.

To create even greater pressure, remove one of your hooks and put it across their stomach. The way I tried to remember which leg to use was that the sole of your foot should be pointing the same way as the knuckles of your lower hand. Lean in the direction of the knee of that leg you have across the stomach, again straightening out the arms for the choke.

You can make it tighter still after removing the hook and establishing the leg across the stomach. Release your lower grip. sliding that hand along their arm until you reach their elbow. That gives you the space to then reach behind their head, setting up the choke.

Before you sink it, make the submission super-tight by swivelling your legs around, so that you are able to bring your free leg over their shoulder, locking your feet together. This is a very stable position to get the choke, with little room for escape.

If for whatever reason you aren't able to get that choke on, switch to an armbar from the back. Keep swivelling your legs, push their head, then bring the leg over their head. You're now in perfect position for an armbar.

Staying with chokes, we shifted positions. Instead of back mount, Roy showed us how to attack the turtle. Establish one hook on the near side with your foot, also hooking the same side arm with your own, coming underneath their armpit. Your free hand will reach over their far shoulder, gripping their collar.

Roll over your shoulder towards the unhooked side, locking in the other hook as you turn, aiming to use momentum to drop them right into the crook of your elbow. You can now go for a rear naked choke.

You can go for an armbar from the turtle with a similar set-up, with the key difference that this time, you don't secure your second hook. Instead, you want to bring that leg all around, pushing their head, going straight into the armbar. If they try to turn towards you to escape the armbar, there is the option of a triangle too.

I would note here that you can get stuck under their arm as you attempt to move round for the armbar. If that happens, you can go for a choke instead.

Last one for the turtle was to get a hook, grip their collar, then grab under their thigh, on the far side. Roll over your shoulder again, but more perpendicular than before. You should hopefully end up with a collar to pull over the neck and a firm hold behind their knee, pulling their leg up. Pulling from this position will give you a bow and arrow choke.

The final technique for that second hour was from the previous position, a choke from rear mount with them sitting in front of you. For this particular technique, you don't put in either hook, but instead grip one collar, then using the mechanics of a technical stand-up, bring your legs back and pull your partner towards you. To finish, twist into the grip, using the pressure of your shoulder to complete the choke.

Hour number three focused on how to attack from the knees. This is handy for sparring in class, as BJJ sparring commonly starts from the knees: Roy provided some option. It is also applicable beyond that, such as if you end up in a scramble, with both of you suddenly facing each other on your knees.

Roy kicked off with a throw. Grabbing their collar and elbow in the usual way, put your opposite foot by their near knee, to a point that about half your foot is directly next to the knee. Using your grips, pull them over that knee and to the mat, then move directly into knee-on-belly.

Alternately, you can armbar from the knees. As before, you are holding the collar and elbow. You also have one knee up, by their opposite hip. The other knee is on the floor: keeping it flat on the floor, slide that leg over towards their knee. You can now swivel, and then put the foot of the raised knee leg into their armpit. The other leg goes over their head, after which you can complete the submission.

Another option is that you are on your knees, but they want to pull guard, so they are waiting with one knee up, the other leg flat on the floor, knee pointing to the side. Attacking the leg with the raised knee, grab their heel with your opposite hand. With your free hand, grip their same side sleeve.

Next, pull their heel back and yank their sleeve (or wrist, if it is nogi) out. This should spin them and expose their side, leaving you plenty of room to go straight into knee-on-belly. Roy later referred to this as an ankle pick, a term I've heard related to wrestling, but never really understood before now. Its also what Christina called the "it's me" position, which is how I'll always remember it.

From knee on belly, there is often the option of the armbar: that is again the case here, as you've still go hold of their sleeve. So as before, bring your leg over their head, then drop for the armbar, making sure you keep your knees pinched and don't land with your hips too far back.

Alternately, you can spin and catch the far armbar, if they try and push your knee off with their hand. Same technique as yesterday, reaching through the frame of their arm and swivelling into place for the armbar.

The technique portion drew to a close with numerous options from the armdrag. Starting position is and open guard, with your feet on their hips, but they are still on their knees. Hold their opposite sleeve (or wrist), then with your other hand, grab the knob of their elbow, gripping on the outside of their arm.

Pull with your arms and push with the feet, which gave Roy the opportunity to repeat a useful description of BJJ by his instructor, Roy Harris: BJJ is the art of pushing and pulling. Disengage your foot from the side where you aren't holding their arm, then shift the grip you have on their sleeve or wrist to high under the same arm.

You can now pull them past you onto their knees. That disengaged foot is perfectly placed to become a hook, while you will establish an over-under grip with your hands (i.e., where one arm goes under their armpit, the other over their shoulder, then grip together). Potentially you could spin right to their back and get the other hook in on the far side.

However, if you can't quite get that foot all the way over for a far hook, reach over with an arm to grasp their gi near their far lat muscle. With your other hand, reach under their same side arm and grip their wrist, pulling it inwards.

The hand you had on their lat will now move to block their same side hand, enabling you to roll them into back mount, where you can finish with a choke.

That ended the third hour, leaving a final fourth hour for open mat. My first spar was with Gareth, the big white belt from Friday. I was more proactive this time, managing to get on top and into mount. I'm remembering to switch to s-mount when people try to roll me over, which is good, but can't finish the armbar from there. I had it in place, but wasn't able to prise Gareth's hands apart in order to properly extend the arm.

I also couldn't get the ezequiel from mount, which I tried a few times, but was probably holding it wrong, and I also don't think I created the right pressure by lifting an elbow. Attempting to finish it from guard after he rolled me was no more successful.

In guard, I continued to work for triangles, and continued to get stacked. I also always seem to have the wrong placement for the arm and leg when looking to switch, though that could just be another example of my failure to react immediately rather than pondering what to do next.

Roy interrupted us midway through, which was cool as I was looking forward to rolling with him. Sparring black belts is always awesome, particularly when they are able to carefully observe and break down your game like Roy. As usual, I was very defensive, protecting my neck, looking to go to half guard from side control and mount.

I'm still a bit flat, but Roy kindly said he thought my defence was pretty good, as I didn't leave him much space, kept my neck safe and showed signs of using my legs as well as arms. I mentioned that while I'm content with how my defence is progressing, my guard passing and submissions remain awful.

That led to what was perhaps the most useful thing I learned all weekend, a guard break. As any regular reader knows, I have been trying to get the damn closed guard open ever since I started, without a great deal of success. Previously I've been trying to tailbone break, but generally get swept or stuck. I've also been attempting to trap and arm, stand, then step forward to their trapped arm, pushing on their other leg. There too I'm still lacking key details, as they often manage to grab the foot I have back anyway.

Roy's suggestion was that I push up into their biceps with straight arms, taking them out of the equation. At the same time, bury your head into their stomach. That provides the stability to jump straight into a wide base with your legs. You then jump again, but this time in order to bring your knee into their tailbone. Sit down and use that knee to cut through their guard, opening the legs.

To pass, grab their collar and arm, dropping your raised knee to trap their leg with your shin. Bringing the elbow of your collar-gripping arm in, slide through, pulling up on their arm in order to secure a good side control or scarf hold. This is apparently on Purple Belt Requirements, Roy's new DVD. There was more guard passing in store on day two, which proved to be just as heavy on technique.
_________________________________

That ended the seminar, but I was in for another surprise. Roy had two students with him, Glen and Rick, who you might recognise from their blue belt demonstrations up on Youtube. As well as acting as uke for Roy (along with Steve), Rick and Glen were in charge of filming the seminar and taking photos.

Update May 2011: Some of that footage has now been released on DVD, as part of The White Belt Bible. The section in question is a short documentary about the Roy Dean Academy trip to London, so also shows them going round the capital, Paul's private lesson, and earlier rolling from Roy before I got there. If you're wondering where yours truly pops up, there is about forty seconds of me from 08:02 onwards ;).]

Rick has an additional project in the works, which sounds fascinating: once its finished, it will be a BJJ documentary, with the central thread being Rick's progress towards his purple belt demonstration this year, alongside lots of interview and competition footage from around the world. I'm assuming the video will be incorporated into that, but perhaps it is meant to be stand-alone.

Either way, I was pleased to be asked to take part in that, with a quick interview about my training, the blog, how I got into BJJ and the like (naturally much, much longer than forty seconds, but I like the quote Rick took: makes me sound coherent instead of rambling ;p). I could talk about BJJ for days, so relished the opportunity to let loose with a stream of enthusiastic, but hopefully coherent babble.

Back at Steve, Kirsty and Paul's flat, I had a chance to look through Purple Belt Requirements with Steve. Looks brilliant, and very different from every other instructional DVD I've seen up until this point. Also useful to have a first viewing to get in mind some of the things I want to discuss when I come to review it in a few days.

Even better, I could ask Roy himself later that evening, as we all hit Bournemouth for some drinks. Talking with Roy and Rick (Glen stayed at home) was awesome, with lots of long conversations about BJJ, Roy's DVD, Rick's documentary, along with a whole load of other stuff.

Four hours of training followed by several more hours of talking with top BJJ black belts and their students: that's a day that is going to be tough to beat. :D

[Pics included by kind permission of Paul Laver]

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24/07/2009 - Roy Dean Class

Class #234



Uplands School, (BJJ), Roy Dean, Poole, UK - 24/07/2009

I was pleasantly surprised a while ago by an email asking if I'd be interested in attending a Roy Dean seminar, so of course jumped at the chance. £30 for two days with an instructor I very much admire was a great opportunity. I've been looking forward to this weekend of training for several months now.

Kirsty, Steve and Paul very generously allowed me to stay at their home, and proved to be excellent hosts, laying on food, and even washing and drying one of the two gis I'd brought. There was also a rather nice present waiting for me, which was an early release copy of Roy Dean's new DVD, Purple Belt Requirements. I will of course have a review up shortly. ;)

As I was there the day before the seminar, I was able to head down to a class Roy held at Uplands School. He didn't waste much time on the warm-up, using the armbar from guard as a way of getting the blood flowing. After that, it was straight into technique. A lot of technique.

Roy's theme tonight was countering submissions, ending up with a submission of your own. That kicked off with a counter to the armbar from guard. As you feel them moving into the armbar, get your forearm behind their leg. Press that hand down to the floor on the far side, then swing your arms through, thrusting your chest out to get past the legs into side control.

Roy followed that with an additional option. Having blocked the leg with your forearm, you can push them to the side, grabbing their trousers or belt to help. The idea is to roll them into the turtle position.

Once there, you can attack with a sliding choke. Start by getting one arm under their same side armpit, grabbing the same side collar. Open it up, bringing your other arm over their same side shoulder. You can now feed that open collar to your second hand, securing a deep grip.

The other grips lower down, on the opposite lapel. To secure the choke, pull down on that lapel, while twisting the other hand and pulling back. Alternately, you can also executed a clock choke, from the same position. Instead of tightening with your hands, walk your legs gradually around past their head, dropping your head towards their neck. This will tighten the choke for you, until you get the tap.

Yet another option is to move into a crucifix, again starting from the turtle. As before, you've reached under their armpit, opened the same side collar and fed it to the other hand, which comes over the shoulder. Your free hand goes under their armpit again, but this time grabs the wrist, pulling it inwards.

This will break their posture. Making sure you have their other arm trapped between you legs, you can now roll over your shoulder in the direction of your grips. That puts your partner in a crucifix. From here, release the hold on the wrist, instead moving your arm out along their arm up to the crook of their elbow. Controlling their arm, bring your hand behind their head. You can now go for the submission, in conjunction with that grip on their collar you still have from earlier.

Roy then demonstrated an armbar from knee-on-belly, followed by a defence. Once you've secured knee on belly, often your opponent will push on the knee with their hand to relieve the pressure. That opens up an opportunity for a submission. Reach through the frame formed by their arm, gripping underneath, then post your other hand for base near their head.

You can then spin, bringing your leg over their head, continuing until your knee is pointing up beside their arm, on the side nearest their knees. You should also have you other leg over their throat, after which you can drop down and back for the armbar, keeping your knees pinched.

The counter to a knee-on-belly armbar is comparatively simple. First, you need to turn your hand so that your thumb is no longer pointing to the ceiling. This will give you a moment to escape, as they will either have to get your thumb back up, or shift into a position where they can still hyperextend your arm in a different direction.

Look towards their feet, also gripping their nearest leg. From here, kick your legs up and back, rolling over your shoulder. Now you can move into your own knee-on-belly, ready to launch an attack.

Finally, Roy progressed to footlocks, which fits with the pattern he sets in Blue Belt Requirements. First off was a straight footlock (I think an Achilles lock, but not sure on the correct terminology).

From standing, you step your foot across to the opposite bum cheek. Wrap an arm around their Achilles, pressing into the tendon with your wrist. Hold their knee with your other hand to keep their leg tight, then sit down. You other leg comes over the top, then in a sort of guillotine hold on the Achilles, drop back, squeeze and thrust your hips up for the tap. Alternately you can also roll to your side to get more leverage.

The footlock counter begins by getting their foot off your hip, also bringing your toes back on the trapped foot to tense the tendon, buying you a brief bit of time to escape. Having dislodged their foot from the hip, reach for their opposite knee, your free hand going back for balance. From there, you can move through to mount.

If they roll to the side for the footlock, you can use a similar strategy. Clearing their foot is still the essential detail, but this time that means bringing your body over the top, so you just bring your hips to the other side of the foot. Once again, you now move through to mount. Must have been a grip of some sort involved in there, but its been submerged in my mountain of notes (possibly that's where you move into knee on belly and armbar, so I may have got the order of class mixed up).

Sparring was done in long rounds, which I didn't realise at first. I started off with a big white belt called Gareth, where I basically stayed squashed underneath, looking to go to half guard. I made some vague attempts at a triangle, but I'm not getting sufficient head control, and also get immediately stacked, preventing me achieving the right position.

Next up was Kirsty, one of the small UK group who has travelled out to Bend in order to train at Roy's academy there. She was able to hold a solid side control, so again I found myself stuck underneath. I probably should have bumped more to make space for an escape, or at least get onto my side. However, as I knew I had to keep going for rather longer than I'm used to, I gave in the laziness and just waited.

I did eventually find myself with the opportunity to go for a triangle a couple of times, but on each occasion, Kirsty shrugged it off and moved right back into side control. Later I managed to move into her guard, where again I took the strategy of waiting for an opportunity.

That led to getting top half guard, though I think that was quite possibly a matter of boring my training partner into opening some space, which is a crappy tactic. As ever, I need to be more proactive.

Looking forward to the main seminar tomorrow, which is going to be intense: four hours of training, followed by another four the next day. My notebook is going to be rammed with technique: I was surprised by just how much Roy packed into the lesson. Pretty much every other lesson I've been to at other BJJ schools teaches no more than three or four techniques at most.

However, chatting to Roy afterwards, I can see why he takes this route instead. This is his first visit to the UK, brought out by Steve and the other UK residents who fly out to Bend in order to train. Therefore Roy wanted to get as much technique in as possible, making the most out of the brief time he has here with his British students.

After the class, we headed back to the flat for an extremely tasty barbecue (again, supplied by our generous hosts), while watching the entirety of UFC Ultimate 100: Greatest Fights. Of course, that title is a misnomer, given that there are several glaring omissions like Frank Shamrock, but it was entertaining nonetheless.

I also got to chat at length to Roy, his students, and the UK crew, which was really cool. Great food, great company, and a great seminar to forward to the next day.

DVD Review - Science of Jiu Jitsu

Short Review: The main selling point of Maia's set, aside from his UFC notoriety, is the conceptual approach promised by the title. To an extent, Maia delivers on that promise: more than the techniques, it is the principles you will most likely remember after watching these DVDs. Those principles recur throughout the DVDs, aided by well-presented instruction, multiple angles and insightful details.

Like Jiu Jitsu Revolution, this set is best suited to those around the blue belt level rather than absolute beginners, because both Saulo and Maia assume you already have a grasp of the basics. Unlike Saulo, Maia does not present a complete game, instead focusing in depth on particular aspects of a position, like escaping side control and defending against the pass, or even specific submissions, like the triangle and the omoplata.

Full Review: Demian Maia’s set was originally released in November 2007, followed by a second instalment in October 2008. His credentials are impressive, with not only Mundials and ADCC titles to his credit, but an unbeaten record in professional MMA. As of now he is 10-0, winning almost every fight by submission. Maia has repeatedly stated in interviews that he is seeking to prove the continuing efficacy of BJJ in the MMA arena, which is part of the reason he is pretty much the only fighter who perks my interest in the UFC. The other part is that he executes his intention beautifully, displaying what world class BJJ can do inside the Octagon, along with his refusal to lower himself to the WWE smack talk of certain other fighters.

In Science of Jiu Jitsu, Maia immediately covers off the first two elements I always look for with instructional DVDs. Firstly, he and his partner wear a white and a blue gi respectively, making it much easier to distinguish which limb belongs to who in the midst of a technique. Secondly, each of those techniques is demonstrated from multiple angles, meaning that details which otherwise might be missed are made clear to the viewer.

This inaugural set consists of six DVDs, where Maia essentially ranges over various aspects of BJJ rather than seeking to cover off all the basic positions. That can be seen from the titles: Defending the Guard Pass, followed by The Triangle, The Omoplata, Escaping Side Control, Attacking the Back and finally Counter Attacks.

Maia's approach is different from almost all the DVDs I've seen in the past, at least initially. Rather than purely show technique, he attempts to first show principles: the only DVDs I've seen successfully do this in the past are Matt Thornton's Functional JKD series. When done well, this is often more useful than explaining a single move, as a principle can be applied across a broad range of techniques and situations.

Defending the Guard Pass (a little over forty-five minutes) begins with something Maia calls 'centre line theory': fortunately this isn't the dubious wing chun mantra, but rather the concept that you should always keep your hips in the same line as your opponents. Guard passes occur when they get their hips out of line: to prevent that, Maia demonstrates how you need to shrimp back in order to stay square on, depending where they move.

The next principle is directly reminiscent of Matt Thornton, in what Maia dubs 'head control theory'. In order to pass, Maia states they need to get their head across your body. Therefore you should aim to make sure their head remains on the same side they are trying to pass, pushing it with your hands. As long as you keep their head on that side, they'll never be able to complete the pass.

Having established those two principles, Maia progresses to the application, walking you through several types of pass. He starts with the single underhook, then covers three options for the double underhook. That also gives him the opportunity to introduce another principle, opening the elbow, by which you can weaken their posture.

After briefly touching on half guard passes, Maia gets on to the Toreador pass, where he again uses the head control principle. This is where he spends almost all the rest of the DVD (closing with a 'spinning defence' to guard passes), running through a whopping six variants of defending against the Toreador. Maia is pretty thorough, although he doesn't talk about stopping them going to knee-on-belly, which I had expected him to do.

If the first DVD brought Matt Thornton to mind, the next DVD can be compared to Ryan Hall. That's because Maia now spends just under forty-four minutes running through the finer details of the triangle. Maia begins by showing a basic set-up from spider guard, again emphasising the application of an earlier principle, opening the elbow.

He moves on to a broad range of set ups and positions for the triangle, such as half-guard, defending a pass and side control (with two variations). Several of those enable Maia to demonstrate another principle, 'straight arm theory', which he touched on briefly in the previous DVD. In short, he states that a straight arm is stronger than a bent arm, with the example of a press-up. When your arms are bent, it is tough to hold your bodyweight in that position. However, when your arms are straight, it becomes much easier.

The application can be seen in actions like stiff-arming your partner as they try to push down your leg, in an attempt to pass half guard. You can then kick your leg out and bring it around the neck, ready for the triangle. Similarly from the kimura, switch your grip and straighten out your arm if you're finding it hard to complete the submission. You can now pass your leg over and go for the triangle instead.

Maia's set-up from the sit-up sweep is basically the same as the one Ryan Hall shows. I keep meaning to go back to the sit-up sweep, which used to be my go-to move from the guard earlier in my training. It is a great sweep, because not only is it powerful, but you can transition to several submissions if they resist, such as the kimura and guillotine. Something I definitely need to revisit.

I hadn't realised the triangle was an option too, but both Maia and Hall show how you can bring your leg out and back, using the same motion as the technical stand-up (which I'd never thought I'd ever use for anything, as I'd assumed it was purely one of those self-defence things). As far as I can see, this does depend on them posting their arm, but if they don't post, then you're likely to get the sweep.

Another interesting application is landing the triangle in the midst of countering their single leg attempt. You step with the leg they've grabbed, in order to bring their arm and elbow up, then trap their limb between your elbow and knee. That puts you in position to move into a triangle.

As well as funky triangles from all sorts of positions, Maia also has an option for when you can't quite finish. If they're defending by hiding their arm under your leg and locking their hands, you have the option to switch to a different submission. Maia shows how to raise your hips to get an arm in, then drop back and clasp your own hands together. That provides the opportunity for an armlock.

Maia also includes less orthodox techniques, like the armless triangle. This begins by getting head control and a grip on their collar, after which Maia triangles his legs without having their arm through. From there, you can apparently tap your partner out by using your arms (the ‘armless’ refers to their absent arm, not yours), which looks worth a try.

That's followed by flying triangles, which confirms to me that this DVD is not suitable for an absolute beginner: like Saulo's set, I'd put this at the recent blue belt level. Flying triangles are definitely not something a beginner should be attempting, as it is far more important to master the basic triangle, before moving on to anything of greater complexity.

The starting point for Maia’s first flying triangle is fairly common, where you're both standing, but your partner is holding one of your legs. I've certainly found myself hopping around for balance in that position, but Maia shows how you can jump into a triangle instead. Usefully for him, he can verify the efficacy by mentioning he's used this successfully in competition. From a black belt world champion, that verification of technique has considerable weight, given the level of opposition they are therefore facing in tournaments.

After showing another flying submission (this time from a whizzer), Maia follows his DVD all about the triangle with a DVD all about the omoplata (just over forty-eight minutes). He adds another principle, using the Americana as an example: when the arm and body are close together, the arm is strong, but when apart from the body, it is weak. That leads on from what Maia said earlier about opening the elbow, and it is a good concept to keep in mind for both offence and defence.

He then shows the set-up for the omoplata from both half and open guard, before moving on to the finish. This DVD goes some way towards justifying the lofty 'Science of Jiu Jitsu' title, as Maia employs a bunch of concepts here, breaking down the omoplata. I also found it flowed a little better than the previous DVDs, especially the opening, as Maia methodically works through basics, set-up then finish.

Often your opponent will try to roll out of the omoplata, for which Maia has carefully considered answers. He shows how you can use your hips to prevent their roll, or if they manage to complete the motion, you can still finish from there (Maia uses a triangle and a wristlock) rather than accepting side control.

If they stand up while you have your omoplata locked on, Maia demonstrates how to sweep them, with both early and late counters. This again works via one of Maia's concepts repeated at various points in the set. He states that when your partner establishes base, they're generally stronger either side to side or forward and back, rather than equally secure in both. That means you just have to manoeuvre them in the right direction, if it seems like they have a really solid point of resistance.

As with the triangle DVD, once Maia has covered off basic applications and counters, he branches out into options beyond the straightforward omoplata. That begins with something he calls the 'chicken wing omoplata', which Maia notes brought him success in the 2006 Brasileiros. The technique functions as a response to your opponent attempting to footlock you, as that can make them reach too far with their arm, setting up this unusual finish.

Maia completes the DVD with several submissions which can be landed off the omoplata. For example, there's the armbar, as you already have the arm locked, a reverse omoplata (as favoured by Aesopian) and also a kimura. This fits in with the earlier methods for preventing the roll escape, as here Maia locks his legs low and high, leaving him free to work on the arm.

The next DVD covers Escapes from Side Control (slightly over forty-nine minutes), one of my favourite areas to work in class. Once again, Maia begins with the basics, such as keeping your elbow tight and basic hand position. Maia also returns to a previous concept: head control theory, in which you aim to press on the top of the head rather than lower down, as this provides you with better leverage. That concept is central to Maia's approach for escaping side control, but it is somewhat controversial.

Contrary to most instructors I've seen, including the aforementioned Saulo Ribeiro, Maia advocates bringing your arm around your partner's head. Saulo warns against this position in his earlier Jiu Jitsu Revolution DVD set, as well as categorising it as a mistake in his later Jiu Jitsu University book. To quote from page forty:

Similar to the inside-over-the-shoulder grip, the outside grip is just as dangerous. By focusing on grabbing his opponent's shoulder, the bottom player has missed out on the only real leverage point in this poor position: the head. Again, many try to use this move to bulldoze a reversal and most are unsuccessful. To defend, all my opponent has to do is keep his base low and at worst, open his outside arm to defend against the strong rollover attempt. Once he is done defending, beware – your arm is free for the taking.

In Maia's defence, that "only real leverage point" Saulo mentions is exactly what Maia recommends. Rather than gripping the shoulder, Maia is pushing against the upper part of the skull, using his bicep, with the rest of the arm curled round the head. Nevertheless, I'd feel my arm was very vulnerable in the position Maia demonstrates, so much prefer Saulo's approach.

Of course, Maia is a world champion, just like Saulo, so his advice is grounded in the experience of an elite level jiu jitsu competitor. Apart from the arm on the head, the rest of Maia's advice follows the usual sensible lines: don't push straight up, make sure you keep your elbow inside and shrimp to recover your guard.

His demonstration of getting to your knees is orthodox, swimming the arm under then turning, ready for the single leg. Maia provides lots of good detail here, taking you through the correct way to get in position, where to put your legs and how to avoid common mistakes. Principles feature throughout, such as keeping your elbows close to your body to maintain a strong defence.

The principle of straight arms being stronger than bent arms returns here too, at first in the context of putting one arm against their hip to maintain the space after you bridge. More unusually, Maia then goes on to explain what he calls an 'inside escape'. You grab their collar, then shrimp towards them rather than away, stiff arming into their shoulder to come up on one elbow, then recover guard.

As well as conventional side control, Maia has options for escaping when they turn towards your legs, along with scarf hold. Both options involve manipulating their hips, a very common theme in BJJ. For the first escape, which Maia refers to as an 'elbow pivot', you get your elbow inside and under their hips, bridge, then with your arm around their head, kick your leg over.

Against scarf hold, you're lifting their hips in order to get the space to slip your leg underneath. That means you can grab their hips, pull them up, then gradually walk round in order to roll on top. The principle Maia discusses this time is preventing your opponent from getting in contact with the floor: if you can move part of yourself underneath them, like a leg or elbow, you can disrupt their balance.

At the end of the DVD, Maia goes through an escape I've tried for some time but not yet mastered, where you spin back to guard. Roy Dean covers the same manoeuvre in Blue Belt Requirements, which is where I first saw the technique, so it is useful to have another take on that escape.

The main difference between the two explanations is that Maia brings in his principle about opening the elbow. I found that a useful method for approaching the escape, so in combination with Dean's depiction, I feel I've now got a better understanding of the mechanics.

Maia's fifth DVD details Attacking the Back (a little over forty-six minutes). As before, he runs through the basics, such as being careful not to put your weight too far forward when attacking the turtle. Maia also takes the opportunity to again emphasise the principles he has been espousing throughout the set, especially keeping your elbows in close.

Another principle which proves of use once more is taking note of directional strength. Maia states that for the turtle, this means that forward and back your opponent is strong, but diagonally they are far less stable. Therefore when you want to establish your hooks, he suggests manoeuvring them accordingly to make the necessary space.

Several submissions also feature, generally chokes, as that tends to be the highest percentage attack from the back. Usefully, Maia also goes into detail on how to maintain your control once you manage to take the back, even if they try to stand up. As with much of the Science of Jiu Jitsu set, this can be relatively complex, which points towards its suitability for blue belts and up rather than white. In addition, he also shows some distinctly dangerous techniques which white belts definitely should not be toying with, such as the bicep slicer he demonstrates at the end of this DVD.

There are more fundamental techniques too, like the armbar from the back. Maia shows how to use your arm against their face to prevent them turning into you, putting his 'straight arm strong, bent arm weak' principle into action. It fits in nicely with his general offensive progression from the back, which begins with a basic sliding choke.

From there, Maia moves on to choke variations to deal with defensive opponents, providing several 'what if' scenarios. I especially liked his alternative for when they're blocking your arm as you try to grab a lapel with your second hand. In response, simply grab your other sleeve, then bracing that arm against their head, pull with the first arm to get the submission (rather than pushing their head, which Maia warns is a common mistake).

Maia also explains eminently sensible ideas like using four limbs against three: if you can push their arm under your leg and trap it, they've only got one arm left to defend. This flows into two types of triangle from the back (with and without an arm), both of which involve gripping under their chin. I wasn't entirely sure if this was purely a choke or caused some kind of crushing pain on the skull, so it would be interesting to drill the move some time, if I get the chance.

That leaves the final DVD, Counter Attacks. In the course of just under forty-six minutes, Maia demonstrates how to turn the tables on your partner's submission attempts, tackling the armbar from mount, cross-choke from guard with an overhook, baseball bat choke from side control, omoplata, two responses to a kimura and a whopping six methods of dealing with leglocks. There's also a simple way of escaping the body triangle, using a footlock.

Sometimes the response is relatively simple, such as against the baseball bat choke from side control. If they are staying tight, by pressuring their throat and using your legs, you can shift into an armbar. There are finer details, like locking their arm to prevent them pushing your knee out of the way, but it looked like a technique I could potentially attempt in sparring.

The leg lock counters tended to be specific and complex, such as when they attack from the turtle and end up in a calf slicer. Having said that, I did recently get submitted with one of these in training, so it all depends on whether or not the technique in question is directly applicable to your training. Maia's counter attacks DVD is reminiscent of Gustavo Machado's comprehensive Great Escapes, where the instructional acts as a reference tool if you're struggling against particular submissions.

I've often seen Science of Jiu Jitsu recommended for beginners on various internet forums: after watching it, I'd disagree. It is not a structured curriculum for beginners, but various well-taught techniques for a broad range of situations and positions, which may or may not be areas you want to focus upon. This is not something immediately applicable to most beginners, as much of the material Maia covers is specific, complex, and illegal for white belts (e.g., bicep slicers). As ever, the beginner would be better served by the fundamentals from Roy Dean's Blue Belt Requirements.

Maia's set also isn't a comprehensive overview of a complete game, like Saulo's Jiu Jitsu Revolution: instead, Maia picks out a variety of situations to apply certain principles. That means this doesn't really help you much if you're a beginner looking to get a grasp of the basics. Like Saulo, Maia already assumes you understand the importance of things like shrimping and bridging.

That isn't to say this isn't a good set: Maia is an excellent teacher, and if you happen to find yourself in those specific situations he covers, this will be a lot of help. It would also be an excellent choice if you want to improve your omoplata or triangle, as Maia covers both of those submissions in considerable depth. If you’re a blue belt and already have Jiu Jitsu Revolution, then Maia is what I’d recommend next.

Finally, if you're looking for a sample, World Martial Arts normally puts up a clip from their releases on YouTube. This set is no exception, so here is a slice from the DVD on defending the guard pass: