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Contents:

•Opening
•Credits
•Epigraph
•Acknowledgments
•The beginning of a revolution
•The Great Kimura
•The longest of fights
•In the United States of America
•The art of teaching
•Stepping on the mat
•Recommendations to the attacker
•Recommendations to the defender
•Tag and hygiene
•Recommended contacts for technical evaluation

•DEFENSES,THE
FRONT•FALLTHE•ATTACHMENTSHINGEAGAINSTENFORCEMENT•TOAG
AINST ENFORCEMENT (WITH FALL OF)•HINGEAGAINST ENFORCEMENT
(WITH ARM WRENCH)•AGAINST ENFORCEMENT WITH THE VICTIM
ENCLOSED TO THE WALL•AGAINST ENFORCEMENT, WITH A HAND,
WITH THE VICTIM ENCLOSED TO•THE WALL•AGAINST STROKE IN
DIRECTION TO WALL•AGAINST A GOLF FOOTPRINT, WITH A HAND
ONLY•AGAINST A GOLF FOOTPRINT, WITH A HAND ONLY ("COW
HAND")•AGAINST A FOOT FOOT, WITH A HAND ONLY (WITH
TWIST•UP)•AGAINST A FOOT FOOT, WITH A HAND ONLY (WITH THE
ARM•STRETCHED)•AGAINST A FOOTBALL FOOTPRINT, WITH A HAND
ONLY (WITH TORSO•DOWN)•AGAINST A BREAST ON THE BREAST,
WITH A HAND ONLY•CONT RA A FOOT FOOT, WITH TWO HANDS
(SEPARATED)•AGAINST A FOOT FOOT, WITH TWO HANDS
(TOGETHER)•AGAINST A SHOULDER FOOT (WITH FOLDED
ARM)•AGAINST A SHOULDER FOOT (WITH THE ARM ()•AGAINSTSIDE
STICKER (WITH SOCO)•AGAINST SIDE LABEL (LIFTING THE
FLOOR)•AGAINST SIDE LABEL (WITH THE OPENER INCLINED FOR THE
FRONT)•AGAINST SIDE LABEL (WITH THE OPPONENT
OPENED)•AGAINST SIDE LABEL (WITH NOSE PRESSURE )•AGAINST TIE
against the wall (AGGRESSOR IN OUT)•VS TIE against the wall
(AGGRESSOR INSIDE)•AGAINST TIE FRONT (SITTING BACK)•AGAINST
FRONT TIE (HANGING WEIGHT)•AGAINST TIE FRONT (knocking
BACK)•PLOW•PLOW (IN THE GUARD)•AGAINST THE "BAIANA" (WITH
LEATHER)•AGAINST THE "BAIANA" (WITH KNEEL)•AGAINST
GRAZING•AGAINST GRAZING AGAINST GROWING THE ARMS (WITH
THE)•ANTEBRAGUEAGAINST GRAZING UNDER THE ARMS (PUSHING
THE COMPLAINT)•SOCO AGAINST•AGAINST S OCO (by far)•v pisao•v
pisao (bypassing the leg)•versus pisao ONbreast•toCHUTE SIDE•LIFT
INBASE•CUTELADA•PUNCH•blow•SIDE pisao (surprise attack)•SIDE
fuller's•suits, where foot, attacksback•toTIE•AGAINST TIE WHEN
PULLED BACK (WITH SIDE FALL)•AGAINST GRAVATA WHEN PULLED
BACK (WITH FALL ABOVE•BACK)•AGAINST GRAZING•AGAINST
GRAZING•AGAINST GRAZING ABOVE ARMS (WITH OPEN
BASE)•AGAINST GRAZING UNDER•GRAZING AGAINST GRAZING UNDER
ARMS (RAISING THE FLOOR)•AGAINST KEY CERVICAL•DEFENSES
AGAINST WEAPONS•AGAINST thwack (NEAR)•AGAINST thwack (WITH
RESISTANCE)•AGAINST thwack (BY FAR)•AGAINST thwack (WITH TWO
HANDS)•AGAINST thwack (SIDE)•AGAINSTchair•AGAINSTSTAB OVER /
NO BREAST•AGAINST STAB IN LOW /THE BELLY•LOW AGAINSTOF STAB
(WITH ARMS STRETCHED)•AGAINST DOWN IN STAB (WITH ARMS
STRETCHED - RESISTANCE)•C ONTRA SIDE SIDE (ATACANTE WITH THE
PALM OF THE HAND DOWN)•AGAINST SIDE FACADE (ATACANTE WITH
THE PALM OF THE HAND UP)•IN THE POSITION OF REFERENCE WITH
THE KNIFE IN THE BREAST•IN THE POSITION OF REFERENCE WITH
THE KNIFE IN THE THROAT•OF REVOLVING APPOINTED FOR THE
BELLY•AGAINST GUN SAVED IN wAIST (IN FRONT)•AGAINST GUN
SAVED IN wAIST (SIDE)•AGAINST GUN POINTED TO HEAD•AGAINST
GUN (hOSTAGE POSITION)•AGAINST GUN POINTED TO BACK•THE
MOUNTED•Barrigada OUT (UPA)•ELBOW OUT•OUTPUTELBOW
(EXERCISE)•OUT OF BACK•AMERICAN•ARM
WRENCHWRENCHWRENCH•WRENCHWRENCHWRENCH WRENCH
(WHEN PUSHED TO THE SIDE)•WRENCH OUTPUT (WITH ARM)
ARM•WRENCHWRENCH (ADVERSARY FROM SIDE)•WRINKLE
(ADVERSARY FROM SIDE)•STRANGULATION CROSSED•PINCH "knead
Bread"•PINCH WITH THUMB IN•PINCH "Nutcracker"•KEY
CERVICAL•STABILIZATION MOUNTED (AGAINST THE JERK PE
ITO)•mounted STABILIZATION (AGAINST THE BARRIGA
BOOST)•STABILIZATION MOUNTED (v KNEE JERK)•mounted
STABILIZATION (v RAISED)•GUARD•kneeling guard pass•guard pass
STANDING•SCRAPING (HOLDING heels)•SCRAPING (throwing
up)•SCRAPING (SHEAR SIDE)•SCRAPING (WITH HOOK)•SCRAPING
(SITTING AND PUSHING WITH BELLY)•KEY ARM (PASSING THE HEAD
UP FOR LEG)•ARM SWITCH (shoulder blade)•KEY KIMURA•KEY ARM
(TURNING)•PINCH (triangle)•KEY FOOT (FRONT)•KEYHEEL•FOOT
KEY(HOLDING FINGERS)•A MOUNTED crossed•Barrigada OUT
(UPA)•ELBOW OUTPUT•PINCH WITH lEG (UNDER)•KEY KIMURA•ARM
KEY WRAP (PASSING THE lEG IN THE UP HEAD)•KEY OF ELBOW•KEY OF
ARM (WITH THE KNEE IN THE)•BARRIGAKEY KIMURA (NORTH-
SOUTH)•KEY OF ARM STRETCHED ARMORED•(HOLDING THE
ARM)•GUILHOTINA•OUTLET OF LATERAL GRAVATA (USAN ARM
FRAME)•OUT TIE SIDE (USING ARM FRAME - WITH•RESISTANCE)•OUT
TIE SIDE (AGGRESSOR WITH HEAD DOWN)•OUTPUT TIE SIDE
(AGGRESSOR WITH HEAD DOWN - WITH•RESISTANCE)•OUT TIE SIDE
(AGGRESSOR SHRUNK )•LATERAL GRAVATA OUTLET (WITH
STRENGTHENED AGENCY) LATERAL GRAVATACOASTERS
ASSEMBLY•OUTLET (WITH ARM CLOSED)•ASSEMBLED BY THE•OUTPUT
BY•KEY FEET (ON CROSSED FEET)•CERVICAL WRENCH
WRENCH•(MATA-LION)•PLACEMENT OF HOOKS•THE DIET
GRACIE•ACADEMY GRACIE DE JIU-JITSU

Copyright © 2006 by Helio Gracie and Rorion Gracie

Copyright © by Saraiva S / A Livreiros Editores
All rights reserved.
WARNING: Please note that the author and publisher of this work are
NOT RESPONSIBLE in any way for any accidents that result in injuries of
any degree resulting from the practice of the techniques and instructions
provided herein. It is essential to consult a doctor before starting the
training.

First published in 2005 by Gracie Publications Inc.

www.graciepublications.com

NOTE: The word jiu-jitsu, in Portuguese, was used in this work only
when referring to this style of struggle as it originated in Japan. As Helio
Gracie developed a Jiu-Jitsu's own method of teaching and disseminating
it throughout the world, it became necessary to adopt the specific Gracie
Jiu-Jitsu nomenclature to differentiate Helio Gracie's method from the
others.

Editor: Rogério Carlos Gastaldo de Oliveira

Editorial assistant and text preparation: Kandy Sgarbi Saraiva
Editorial secretary: Andréia Pereira
Revision: Pedro Cunha Jr. (coord.) / Alexandra Costa / Cid Ferreira /
Juliana Batista
Translation: Silvia Graaff-Gracie
Art manager: Nair de Medeiros Barbosa
Layout: Edsel Moreira Guimarães
Graphic design: Patrick Gross
Cover: Silvia Gracie
International Cataloging Data Publication (CIP)
Gracie, Helio
Gracie Jiu-jitsu / Helio Gracie; Silvia Graaff-Gracie translation. - Sao
Paulo: Saraiva, 2010.
Original title: Gracie Jiu-Jitsu
ISBN 978-85-02-092990

1. Martial Arts 2. Self-Defense 3. Jiu-jitsu I. Title.

CDD-796.815

Index for systematic catalog:1. Jiu-jitsu: Martial Arts 796.815

Rua Henrique Schaumann, 270 - CEP 05413-909 - Pinheiros - São Paulo-
SP
Tel .: PABX (0 ** 11) 3613-3000 - Fax: (0 ** 11) 3611-3308Telesales: (0 **
11) 3613-3344 - Fax Sales: (0 ** 11) 3611-3268
Teacher Assistance: 0800-0117875
Internet address: www.editorasaraiva.com.br -

To teach those who do not know,to remind those who know,to correct
those who think they know.

Helio Gracie

ACKNOWLEDGMENTS

Gracie Jiu-Jitsu - possibly thefighting stylelong been thought most

influentialin the history of martial arts - hasto be presented to the public
in its original form in an organized fashion for the benefit of future
generations. And no one could demonstrate and teach their techniques
better than Helio Gracie himself, the creator of Gracie Jiu-Jitsu. In the
summer of 2000, with my dad about to arrive in Los Angeles, I was
looking for a photographer to collaborate on this project. One day I
received an unexpected phone call. "Hello Rorion!" Said the voice on the
other side, "look no further. I'm going to take a picture of your father's
book. " "Why do you say that?" I asked, surprised. "Because I do not
know how to take a bad picture," the voice answered confidently. I
remembered myself when I say I can not teach a bad class! I concluded
that either one of them was either crazy or really good. So we set up a
meeting. The next day, an unassuming Thomas de Soto entered my office.
Tommy's portfolio was pretty impressive, his lenses had captured
everything from Indonesia's Komodo Dragons and alligators in Africa to
show business celebrities and sports idols, ranging from Mick Jagger to
Tiger Woods. Tommy's photographic talent was the perfect complement
to the book I dreamed about. After the initial conversation, I asked the
decisive question: "How much do you charge?". With a discreet smile, he
replied, "My price is $ 2500 per hour." "It was a pleasure to meet you," I
said, standing up and holding out my hand, "but it's totally out of my
budget." Tommy smiled again and added, "But I will not charge you
anything!" For a few moments, I was speechless, which is rare. So I sat
down again and asked, "Why?" Tommy looked me in the eye and, most
sincerely, replied, "I want to be able to tell my grandchildren that I
photographed Helio Gracie's book." We made plans to set up a photo
studio at Gracie Academy in Torrance, California, so that the photo shoot
could begin as soon as my father arrived. At first I thought the work
would be done in a few days, with approximately 700 photos; however it
ended up taking two weeks and resulted in 3500 pictures! For this book, I
not only selected the1200 toppictures taken by Tommy, but included
some classic photos of our family album. In addition to Tommy, whom I
can never thank enough, many friends helped, and the project seemed to
have materialized out of nowhere. Spiro Demetriadi provided the
material to set up the studio, Glenn Flojo made a special arrangement
with a local hotel so Tommy did not have to return to San Diego every
night. Julian M. Climaco, who oversaw the revelation of the films,
returned the slides ready in the blink of an eye, so that Basilio R. Seixas
could organize them for my daily review. In addition, Jose M. Fraguas
gave me good advice as to the structure and layout of the book; Rener
Gracie and Eric Sherman strengthened the team with their editorial
talent; and Pedro and Guilherme Valente made valuable suggestions. I
also want to thank the contribution of the entire Gracie family for their
continued efforts to preserve and honor the Gracie legacy. Special thanks
to my children for giving me the joys and lessons that accompany
paternity, and my wife, Silvia, for showing me the true meaning of love.
And above all, I want to express my deep gratitude and respect for my
father, Helio Gracie, who has always been a source of inspiration
throughout my life, on the mat and beyond.

Rorion Gracie

*from p14

THE HISTORY OF GRACIE JIU-JITSU

It is said that jiu-jitsu originated in the mountains of India 2500 years

ago. He allegedly spread through China and, about 400 years ago, settled
in Japan, where he found the right conditions to strengthen himself. In
1801, coming from Scotland, George Gracie arrived in Brazil in search of
adventure and opportunity. He had no idea that his descendants would
someday form the greatest dynasty of fighters of all time. One of
grandsons George's, Gastão Gracie, was prepared to be a diplomat. He
studied in Germany and spoke seven languages fluently. However, he
decided not to pursue a diplomatic career and became a businessman.
Only in the early twentieth century, Japanese jiu-jitsu arrived in South
America, more specifically the Amazon region. The man responsible was
Mistuyo Maeda, a jiu-jitsu teacher who is said to have been sent to help a
colony of Japanese immigrants in northern Brazil. Maeda was known for
thecontests all-in-onehe had participated in demonstrating the
effectiveness of the jiu-jitsu. At that time, Gastão lived in the city of
Belém, in the State of Pará. Fate united these two men when Gastão
helped Maeda to settle in the new land. To demonstrate his gratitude,
Maeda presented Carlos Gracie, Gaston's eldest son, with the principles
of the Japanese jiu-jitsu. Carlos, still young, fell in love with this martial
art and dedicated all his energy to this discovery. He practiced for a few
years until his family moved to Rio de Janeiro. Carlos was the eldest of
eight brothers, five of whom were boys. When the family arrived in Rio,
he faced some financial difficulties, which led Carlos to seek an
additional source of income. He took this opportunity to earn money with
what he liked: to teach jiu-jitsu. To establish the credibility of his
teachings, Carlos led his brothers in a series of challenges. Helio Gracie,
the youngest of Gaston's sons, was achild physically fragile: he climbed a
flight of stairs and had vertigo. Nobody knew why. At the age of eight,
after completing the second grade, she convinced her mother, Cesalina,
that she should no longer go to school. After some time, when he turned
14, he moved in with the older brothers who lived and taught jiu-jitsu in
a house in Botafogo. He spent a few years just attending classes given by
his brothers, as the doctors had advised them to keep Helio away from
any physical activity, including jiu-jitsu.

*From p16

Helio Gracie Gaston Gracie and Rorion still baby

*from p17

One day, when Helio was 16, a student arrived to take a class with Carlos,
who had left. Helio, who had decorated all the movements taught by his
older brother, volunteered to begin the lesson, and the student accepted.
When class was over, Carlos appeared apologetic for the delay. The
student replied, "Do not worry. I really enjoyed Helio's class. If you do
not mind, I'd like to take lessons from him from now on. " Carlos agreed.
Ironically, Helio Gracie had just been promoted to instructor ... by a
student! Helio soon realized that he could not easily perform some of the
moves he had memorized. In a relentless quest to find solutions that
would guarantee the effectiveness of the techniques he was about to
teach, Helio dared to break the tradition of Japanese jiu-jitsu practiced
and taught by his brothers. He began to perfect the movements so that he
could execute them despite his fragile physical constitution. These
changes only occurred through many attempts and errors and due to the
incorporation of leverage principles, which reduced the need to use
physical force during the execution of the movements.

The beginning of a revolution

The Gracies created a reputation as good fighters in Brazil, often winning
battles that shocked the public due to the great weight difference
between the fighters and the adverse conditions of the confrontation.
Helio, who as a young man saw Carlos not only as a brother but as a
paternal figure, would expand the tradition of family challenges to an
unprecedented level under the guidance of his older brother. Despite the
popularity of the Gracies as a family of fighters, Helio, at just 63 pounds,
was the one who stood out the most, becoming the firstidol sportsin
Brazilian history. His extraordinary performances, in exploits of epic
proportions, coupled with his impeccable technique and a healthy
lifestyle, have made him a symbol of hope for the whole nation. Once,the
first lady Darcy Vargas, recognizing the highly positive image of this
"little giant", invited him to the presidential palace and asked: "Helio,
save the Brazilian youth."

Helio giving classes at his home

*from p18

Helio and Zbyszko

*from p19

During his career, Helio has participated in 17 fights including challenges

against international wrestling champions Fred Ebert and Wladek
Zbyszko. The fight against Ebert was scheduled for an unlimited number
of ten-minute rounds, but it was hardly possible to predict the end. After
140 minutes of savage combat, at two o'clock in the morning the local
police stopped the fight and sent Ebert to the hospital while Helio went
home. Against Zbyszko, the fight ended as scheduled: after two 20-
minute rounds. Invited for the third round, Zbyszko chose not to
continue. Helio also challenged boxing champions Primo Carnera and
Charles Ezzard, who have never spoken about it. As for Joe Louis, also
challenged, he refused to fight. Always in search of challenges, outside
the ring Helio liked taming horses and oxen. As if that were not enough,
in an event worthy of amovie Hollywoodthat earned him the Merit Honor
Medal, this superman once demonstrated surprising solidarity by
jumping into thewaters shark-infestedof the Atlantic Ocean to save a man
who was drowning.

The Great Kimura

When world jiu-jitsu champion Masahiko Kimura arrived in Brazil for
some exhibitions, Helio saw an opportunity to test his techniques against
the one considered the best, and challenged Kimura. To his surprise,
thechampion heavyweightrefused the challenge, claiming that, in
addition to the 35-kilogram difference, Helio was unknown
internationally, so he did not qualify as his opponent. Kimura then stated
that Kato, the world's runner-up, almost 20 weighing pounds heavier
than Helio, could defeat him just as easily. Helio used this statement as
an opportunity to reach Kimura. He challenged Kato to a fight and ended
up facing him twice. At first, Helio had a broken rib due to training one
week before the match. Despite taking serious risk and disobeying
medical orders, he fought, and the episode ended in a draw. A month
later, in a rematch, before an enthusiastic crowd, Helio strangled Kato
and left him unconscious after six minutes of combat. This surprising
victory put pressure on the great Kimura, who now had the responsibility
of defending the Japanese honor. This would be the first time in history
that a world jiu-jitsu championship would be held outside Japan. The
fight took place at Maracanã, the largest soccer stadium in the world. In
the eloquence of the crowd there was a mixture of euphoria and fear.
Before the fight, thegiant Japanese, confident of victory, told local media
that if Helio could resist for at least three minutes, he should be
considered the winner. Helio was aware that it would be impossible to
beat Kimura, given the difference in size and strength, and the fact that
he was the world champion at the time. What moved him, however, was
the desire to test the perfection of his techniques and to discover what
would be the result of a comparison between them and the best jiu-jitsu
fighter that Japan ever had. Knowing his younger brother's
determination, Carlos had Helio promise that he would put his pride
aside, hit the mat, and stop fighting if the Japanese applied a technically
correct finish.

Helio and Kato

*from p21

As soon as he stepped into the ring, Helio felt like he was in a blender.
The 63-kilo Brazilian was hit by the Japanese locomotive, which did what
he wanted - except win. At one point, Kimura finally overpowered Helio
with one of his favorite attachments, which, though not breaking any
bones, kept Helio from breathing. The movement consisted of having his
feet crossed and his thighs tightening on Helio's chest, while Kimura
tugged at his collar, increasing further discomfort. Unable to inhale,
Helio recalled his promise to his brother: "hit the mat if the Japanese
apply a correct finish." But he knew that discomfort was the result of
brute force, not of technique. As she decided whether to "hit" or not, the
crowd was silenced, and the lights went out. Helio had lost
consciousness. At that moment one of the most bizarre incidents occurred
in the history of sports. Not realizing that his opponent was unconscious,
Kimura decided to try another blow and moved to the "mounted"
position, which allowed Helio to breathe again. The small man, who had
fainted with his eyes open, woke up with the gigantic Kimura praising
him "Good, very good!" As he wiped the sweat from his brow and
continued to attack.

Helio and Kimura

*from p22

The fight lasted 13 minutes, until finally Kimura took Helio in an-
armwrench known as "key Kimura". Carlos, fearing that Helio did not
"hit" and had a serious injury, threw the towel. Kimura was so impressed
with Helio's performance that the next day, he went to the Gracie
Academy in Rio to invite Helio to teach in Japan.

The longest of the fights

At age 42, already retired, Helio fought in an all-important ofproportions

epicagainst a former student, Waldemar Santana, 25. With a duration of
three hours and forty minutes without intervals, this combat broke the
world record as the longest in history. It all began when Santana,
influenced by a malicious reporter, made disrespectful comments about
Helio. Even physically untrained, Helio immediately decided to accept the
fight. More young and strong, Santana fought with the master for more
than three hours. Finally, utterly exhausted by this superhuman effort,
Helio took a kick that left him disoriented. His brother Carlos then threw
the towel, interrupting the fight. The whole country was moved by
Helio's courageous performance, intensifying his fame to the point that
he was led to expand his academy to meet the great demand of new avid
students to follow in the master's footsteps.

Helio and Waldemar

*from p23

When asked why he did not prepare for the fight any longer, Helio simply
replied, "If someone insulted you on the street, would you tell him to
meet you in two months' time to settle the bills? No, you'd get it right on
time. My whole life I have taught that Gracie Jiu-Jitsu is for the weakest
people to defend themselves from the strongest. How could I teach one
thing and do another?" Many years later, during a television program in
Brazil, Helio was challenged by a capoeira instructor. The fight was
scheduled for the following week. Helio, then 55, strangled his young
adversary in less than two minutes. Today, several generations of the
Gracie family continue the tradition begun almost a century ago.

In the United States of America

Rorion Gracie, Helio's eldest son, wore kimono before he even learned to
walk. At the age of two, he was already demonstrating in public. Still
very young, he assimilated the techniques and learned to teach under his
father's supervision. In December of 1969, he went to the United States
to spend three months of vacations. After visiting relatives in New York
and Washington DC, he went to California. Rorion put his ticket back
with some money in the safe of the Hollywood YMCA, where he was
staying. A few weeks later, about to return to Brazil, he discovered that
the receptionist had stolen his money and his ticket. Not wanting to
alarm the parents, Rorion said they had decided to stay in California a
little longer. Through a friend, he found a job in a diner and within a few
days moved into the home of a co -worker's family. It was the times of
"peace and love" and rock'n'roll; Jimi Hendrix and Janis Joplin were at
the top of the charts. After six months, Rorion began to feel homesick.
Before returning, he decided to get to know Hawaii. It was wonderful ...
until the money runs out. Then, the tropical paradise has transformed
itself dramatically. While searching for a job, Rorion even begged and
slept over newspapers on the street. In the late 1970s, he finally got back
to Brazil.

Helio and Rorion as a child

*from p25

In 1978, after divorcing his first wife, with whom he had two daughters,
and graduated in law from the Federal University of Rio de Janeiro, he
made the most important decision of his life: to return to the States
United to spread their family's fighting style. Rorion went to California,
and through friends he had made on his first trip, he got a job as a role
model in movies andsitcoms television. At the same time, he put some
mats in his garage and began to invite everyone he knew to a free class.
If they took a friend, they would get another class. Ten friends, ten free
classes and so on. Frequently, the visitors were not students, but
instructors of other martial arts who came to challenge him. To the
surprise of both the challengers and the students, the Gracie style
invariably wins. Fame spread quickly.

Rorion Gracie

*from p26

Rorion remarried and had five more children. At that time, his brother
Royce, who had gone to the United States at the age of 17, lived with
Rorion and helped him with lessons in the garage. Through his contacts
in Hollywood, Rorion began choreographing fight scenes for films,
including the Lethal Weapon series, in which he worked with Mel Gibson
and Rene Russo. In articles highlighting Rorion and his family's fighting
style, Playboy magazine and the world's largest martial arts publications
helped spread the Gracie Jiu-Jitsu doctrine. In 1988, Rorion produced the
Gracie Jiu-Jitsu documentary in action, which featuredcash all-fights
from family members. Although the martialcommunity artshad heard of
real quarrels, few had had the opportunity to watch them. All the styles
of fights that supposedly prepared practitioners to win with mortal blows
were now being put to the test. The revolution had begun. By this time,
some of the country's most famous martial arts teachers took classes in
Rorion's garage. Somehow , everyone recognized the importance of
incorporating Gracie Jiu-Jitsu into their own martial art style.

Rorion with Mel Gibson

*P27

The Octagon

There were classes seven days a week from seven in the morning to nine
at night. The number of students reached 120, in addition to another 80
people on the waiting list. In 1989, with his brother Relson established in
Hawaii, Rorion closed the garage and, with the help of the other brothers
- Rickson, Royler and Royce - opened theAcademy Gracie Jiu-Jitsuin
Torrance, California. In 1993, Rorion and one of his students developed
the concept of the most revolutionary martial arts event of all time and
produced it: The Ultimate Fighting Championship, the UFC. With the help
of another student, writer / director John Milius, they created the arena
called "Octagon". Although, at that time, Rickson was the family
champion, Rorion decided to put Royce to fight in the Octagon and
represent the Gracies in the first UFC. He believed that, being lighter,
Royce would be a more convincing example of Gracie Jiu-Jitsu's technical
potential. With the help of many members of the Gracie family and their
students, Gracie Jiu-Jitsu revolutionized the world of martial arts. So
much so that it is now proven that in order to defend himself effectively
in the event of afight street, one must incorporate some version of the
jiu-jitsu style perfected by Helio Gracie. Gracie Jiu-Jitsu has a
fundamental detail: it humanizes the practitioner, giving him conditions
to control his opponent without causing him any injury. This feature
makes this method ideal for a variety of specialized applications, such as:

-Gracie Resisting Attack Procedures for Law Enforcement (GRAPLE) -

adopted by major law enforcement agencies, federal agencies, as well as
US military organizations. In fact, the US Army rewrote its hand-combat
manual to-handto include Gracie Jiu-Jitsu techniques.
-Women Empowered - created to give women elements to escape an
attack without depending on strength, speed or coordination.
-Gracie Air Rage Defense (GARD) - a course designed to teach pilots and
stewards to control unruly passengers inside an aircraft.

Today the Gracie family is known on all continents. Rorion, who resides
in California with his wife Silvia, strives for the legacy of Gracie not to be
interrupted. At Gracie Academy, any day and time, you can find one of
your nine children teaching, training, and perpetuating thetradition
family.

Helio Gracie immortalized

*p30
*p31

INTRODUCTION

Regardless of your skill or level of experience, I recommend that when

using this book to train, consider that in a real confrontation your
attacker may be bigger, heavier, or stronger than you. My idea is to
discourage you from relying on your physical attributes - such as
strength, speed, or coordination. Do not forget that no matter how
strong, fast or coordinated you are, there is always someone stronger,
faster and more coordinated. This fact motivated me to continue refining
the techniques so that I, with only 63 kilos, could defend me effectively
against any opponent. After a few years of watching my brothers give
lessons, I ended up memorizing every move. So when I was 16, one day I
put some of them into practice by giving my first class. Only then did I
realize that what I thought I knew did not work for me. Although the
student enjoyed the lesson, I was not satisfied. As more and more
students came to me to learn to defend themselves, I became aware that
if I had no conviction in techniques, how could I pass them on to
someone? What if the movement did not work? What if the attacker did
this or that? So I embarked on a mission: to find answers to such
questions. Day after day and night after night, I only thought about it. It
has become the biggest obsession of my life. There was yet another
aspect in my research that needed to be taken into account: how could I
know I had the right answers? I started by testing and experimenting
with all the techniques, keeping what worked and discarding what did
not work. The initial test was done with students, then with my brothers
and, finally, against anyone who was willing. When I saw that the
techniques worked well for someone with my physical structure, I
convinced myself that they would work for everyone. That was the
reason why I climbed into the ring. I wanted my students to know that I
was willing to risk my neck to prove that what I was teaching them really
worked. Fighting was the only way to test my convictions.

Training at the Gracie family home in Rio de Janeiro

*p32
*p33

The fact that I was not a physically strong guy was actually a blessing.
My physical weakness made me think of Archimedes'principle of
leverage, which says, "Give me a lever and a fulcrum, and I will move the
world." From then on I was concerned with developing a teaching
methodology that facilitated learning. As important as the techniques
themselves is how they are presented to students. My teaching method
consisted in simulating a street confrontation so that the student could
visualize the problem; then in the demonstration of correct defense, and
finally in my action as an attacker, so that the student could execute the
movement on me while I provided guidance on the simplest and most
painful way to twist my arm, throw me to the ground or even hang me!
I have always taught in a positive and constructive way, strengthening
theselfconfidence student's-as well as improving his technique. I also
maintained a system of lessons in which the movements learned from
each class were reviewed and gradually added new techniques.
Repetition is the key toconditioning reflex. In other words, it is the
teacher's responsibility to have the student repeat the techniques
countless times so that if one day he is attacked, he can execute the
movement without thinking, for such a reaction would be engraved in the
subconscious. Although I believe that this method is undoubtedly the best
for the student, I know it is not easy for the teacher. Incidentally, it is
exhausting and often painful, which is why it is not a widely employed
method outside the Gracie Academy. Although people practice jiu-jitsu
for a number of reasons, according to my system of teaching, classes are
given with one purpose: to prepare students to defend themselves in the
event of a confrontation on the street.

The Art of Teaching

The history of martial arts can be divided into two eras: before the UFC
and after the UFC. In 1993, when creating the UFC and announcing:
"There are no rules," Rorion marked the history of martial arts in an
unprecedented way. The event shocked the world by presenting two men
inlike arena a cage-, without gloves, with no time limit and with freedom
to hit each other without restrictions. Perhaps even more shocking than
the scenario and rules of combat has been to prove the superiority of our
system, which allows the weak man to defeat the strongest. With this
methodology, any David would defeat a Goliath. Since there are far more
Davids than Goliaths around the world, nothing more natural than the
situation unleashed: those who came across our system began to want to
learn it. Demand began to rise with the first UFC and never stopped. It is
very likely that some variation of the method of fighting thathave Ibeen
perfecting for almost eighty years will be practiced at aacademy martial
artsin your city. The question ceases to be who knows how to teach and
becomes who knows how to teach in the correct way. I always say that
any student of mine, after 40 lessons, knows how to perform the basic
techniques. But performing the techniques and knowing how to teach
them are two very different things. Knowing a technique does not mean
being able to teach it. Good athletes are not necessarily good coaches.
Rarely will you find a teacher who knows all the variants of a self-
defense program . If you find it, you will notice that it fails on one of the
mostaspects basic and importanta good instructor must master: the
knowledge of how to perform aggression realistically. If the instructor
does not know how to imitate a real confrontation situation, the student
will never be truly prepared. Another natural consequence of jiu-jitsu's
popularity is the increase in the number of competitions. Often, when a
competitor becomes a black belt, he automatically considers himself a
teacher. Unlike those who graduate in Medicine or Law, courses in which
the individual needs to pass an exam before beginning to practice, in the
martial arts there is no controlling organization. Anyone who is
interested in learning jiu-jitsu should not properly confuse an
individual's performance in a sporting tournament with his or her ability
as a teacher. Nowadays, all that a student needs to become a black belt is
to achieve good performance in tournaments.

*p35

However, in my method, to become a teacher, the individual needs to

take a specialized course, at the end of which is assessed on the basis of a
variety of aspects, such as tolerance, courage, hygiene, punctuality,
honesty, behavior, intelligence and technical aspects. This course I have
developed to standardize the jiu-jitsu's teaching requires years of
dedication and prepares the individual to convey the techniques in the
way I believe to be the best. Today, jiu-jitsu academies are mostly places
to produce "champions of sports competitions," which causes a snowball
effect: the stronger students become champions and open schools,
teaching their "Style" for other strong guys, who, in turn, will also
become instructors, and so on. With so many competitors opening
schools and teaching without proper didactics, jiu-jitsu has been diluted
more and more. Often ordinary people, intimidated by the image of the
"bully" of the academies, stop attending them, when they are precisely
those people who could be the greatest beneficiaries of teaching my
method. Little by little, self-defense, which is the essence of jiu-jitsu, is
being cast aside, while increasing emphasis on the competitive aspect of
confrontation. The purpose of this book is precisely to ensure that the
true purpose of jiu-jitsu is never forgotten.

*p36

Stepping on the mat

With this book, I intend to convey to the reader the information

necessary to execute the techniques simply and efficiently. When
practicing the movements, remember that their execution should be easy
and comfortable. I would like to be able to teach the method personally
and show you firsthand the simplicity and effectiveness of these
techniques. However, you will probably train alone or with a friend. As
you will see throughout the book, my son Rorion plays the role of the
attacker and I demonstrate the defenses, as well as some counter-attack
and finalization moves. You may notice similarities between some of the
techniques on these pages and in your Japanese version. As I said, I did
not invent the jiu-jitsu, I just perfected it. It's as if I had a giant kimono
and adjusted it to get atrim perfect. Gracie Jiu-Jitsu is an improved
version of traditionalmoves Japanese. I emphasize leverage, technique,
and simplicity of movement instead of brute force and speed. If, at my
age, I can perform these movements, you will, too . When practicing
these techniques with a friend, you should seek to help each other,
especially in the beginning. Avoid competing against each other. The
attacker must give the defender the opportunity to successfully complete
the move. In the same way that the defender must execute the
movements easily and not cause injury to the attacker. If you had a
lesson with me, I would show you how to make the move and would
guide you through every step. This is how you should practice. There are
a limited number of basic techniques, but there are endless variations.
This book is dedicated to the basic techniques that I believe are the most
important and the ones that will really benefit you in a real situation.
Since my initial involvement with jiu-jitsu, due to my physical weakness,
my goal has been to achieve maximum efficiency in the simplest and
most relaxed way possible. I did not spend my whole life perfecting a
system full of somersaults and pirouettes that made me do well in a
sports competition. On the contrary; I have developed a complete, simple
andmethod of self-defense efficient. The techniques presented here, if
performed correctly, allow a weak person to defend himself against a
greater and stronger aggressor.

*p38

Recommendations to the attacker

Try to imitate Rorion's movements during practice. If you change the

attack, it will affect the learning process. Encourage the defender to
perform the technique slowly in order to be comfortable with the
mechanics of movement. By slowly repeating the attack, you will
facilitate theexecution correctof the movements by the defender and thus
the correct conditioning of the reflexes. Speed is a result of practice. Do
not make the mistake of testing the defender's effectiveness until he has
the opportunity to repeat the moves many times. When applying neckties
and hangings, hold firmly, but do not apply too much pressure, so that
this pressure does not become uncomfortable to the point where the
focus of correct movement is removed from the defender. Remember that
your role is to help. Discuss with the advocate the consequences of the
action during the movement. This will help you to improve the technique.
Make it a habit to warn with three light patches whenever you feel pain
or discomfort. Protect yourself so you can practice the techniques and
help in training for a long time.

Recommendations to the defender

*p39

Be aware of the painful outcome of these techniques, as they were

created precisely to cause serious consequences. Sometimes a centimeter
can make the difference between being comfortable or feeling
excruciating pain; therefore, protect your partner. Study the sequence of
photos to get a general idea of the movement. Do notyourself limitto
subtitles. You should feel comfortable all the time. If during a move you
feel uncomfortable or your attacker is too heavy, it is possible that the
execution is wrong. It's time to start again. Whenever you are attacked in
the neck, lower your chin and stiffen the muscles of your neck. It is an
excellent habit to be developed. Practice whenever you have the
opportunity. I make many references to the basic position. Understand
this as a comfortable and balanced positioning that will give you a lot of
leverage. The base consists of, when standing, open the legs leaving
between them a distance a little greater than the distance between the
shoulders. The knees should be slightly flexed, and the feet in the "ten to
two" position. Be always aware of your base.

Etiquette and Hygiene

Let me start this item by reminding you that bowing is a habit of oriental
culture. When two people meet in the church or in a restaurant in the
East, they greet each other by bowing forward in a show of mutual
respect. Many martial arts styles cultivate this tradition and require
practitioners to bow down as a sign of respect. In Brazil, as in other parts
of the world, when two people meet, they shake hands. Therefore,
remember that when you meet a practitioner, do not bow. A handshake
will suffice. Traditionally, kimono is used to simulate clothes that an
individual would wear on the street, such as a jacket, coat or shirt.
Because the kimono's fabric is sturdier, you can use it to practice a wide
variety of finishing techniques, because in the event of a real showdown,
you can use your abuser's clothing as an advantage. In addition, the
kimono is used for hygiene, because it retains sweat. It is important to
wash your kimono after each class.

*p40
*p41 [1]

I have always believed that it is essential to present the jiu-jitsu in a

technical way, with a positive attitude, in a clean and well-ventilated
environment. At the old Gracie Academy, the mats, toilets, and hallways
were swept and disinfected daily. We provided a clean kimono and towel
to the students at each class. Learning should be, first of all, a pleasant
experience. Of course, there are also benefits in training without a
kimono. In addition to varying your workout regimen, especially if you
are considering becoming a professional wrestler, it will also prepare you
for occasions when you are attacked by someone without a shirt.

*p41[2]

With the popularization of jiu-jitsu, I have observed that there has been
some confusion about what is now considered the best fighting style. The
UFC was created to compare various styles of martial arts, hence proving
the absolute superiority of Gracie Jiu-Jitsu. The fact that the jiu-jitsu is
increasingly incorporated into all other styles of fights has leveled the
battlefield. So what we observe today is a comparison between individual
athletes. This leads some people to think that Gracie Jiu-Jitsu is limited to
ground fighting and that it needs the complement of punches and kicks to
be truly effective. But the truth is that we must never forget that what
made Gracie Jiu-Jitsu famous was precisely its efficiency in real
confrontations. That is why our techniques include traumatisms, falls,
bottlenecks, twists, finalizations, etc.

*p42

Our method remains the most efficient and complete combat system of all
time. Proof of this is that anyone who enters a vale-tudo arena without
any knowledge of Gracie Jiu-Jitsu has very little chance of victory. No
other fighting style has this merit. With everyone's growing interest in
learning our technique, there are countless people teaching jiu-jitsu, and
it is impossible for me to know which teachers follow the methodology I
have developed. Of course, everyone can train with whoever they want.
However, if you would like to pass an assessment after practicing the
techniques in this book, I recommend contacting any of my children at
their academies. Finally, on behalf of all jiu-jitsu practitioners in the
world who avail themselves of their association with this marvelous art, I
wish to express my eternal gratitude to my son Rorion Gracie, who, with
his vision, courage and gratitude, has become Gracie World-renowned
Jiu-Jitsu.

Helio Gracie

Recommended contacts for technical evaluation

Rorion Gracie: www.gracieacademy.com

Relson Gracie: www.relsongracie.com
Rickson Gracie: www.rickson.com
Roller Gracie: www.academiagracie.com.br
Royler Gracie: www.roylergracie.com
Royce Gracie: www.roycegracie.tv
Robin Gracie: www.graciebarcelona.com
Pedro and Guilherme Valente: www.graciemiami.com

*p44

DEFENSES, IN FOOT, OF ATTACKS BY THE FRONT

HIP FALL
AGAINST HANGING
AGAINST HANGING (WITH HIP DROP)
AGAINST HANGING (WITH KEY ARM)
AGAINST HANGING WITH VICTIM against the wall
AGAINST HANGING WITH A HAND WITH THE VICTIM against the wall
AGAINST PUSHING INTO THE WALL
AGAINST A GOLF FOOTPRINT, WITH A HAND ONLY
AGAINST A FOOTPRINT, WITH A HAND ONLY ("COWGIRL")
AGAINST A FOOTPRINT, WITH A HAND ONLY (WITH TWIST UP)
AGAINST A FOOTPRINT, WITH A HAND ONLY (WITH ARM STRETCHED)
AGAINST A GOLF FOOTPRINT, WITH A HAND ONLY (WITH A THROW
DOWN)
AGAINST A BREAST PUSH, WITH A HAND ONLY
AGAINST A FOOT FOOT, WITH TWO HANDS (SEPARATED)
 AGAINST A FOOL FOOT , WITH THE TWO HANDS TOGETHER WITH A
SHOULDER PLUG (WITH THE FOLDED ARM)
AGAINST A SHOULDER PLACE (WITH THE ARM (STRETCH)
AGAINST THE NECK TIE (WITH SOCO)
AGAINST THE NECK TIE (LIFTING THE GROUND)THE
AGAINST NECK ON THE SIDE (WITH THE OPINION INCLINED
FORWARD)
AGAINST SEPARATE TIE (WITH OPPONENT ON OPEN BASE)
AGAINST(WITH NOSE PRESSURE)
SEPARATE TISSUE AGAINST SEALED TIE (AGGRESSOR OUT)SEALED
AGAINSTTIE (AGRESSOR INSIDE)SEAL TISSUE (SEATED
AGAINSTFOR BACK)
AGAINST FRONT TIE (HANGING WEIGHT)
AGAINST TIE FRONT (knocking BACK)
PLOW
PLOW (ON GUARD)
AGAINST "BAIANA" (COM elbow)
AGAINST "BAIANA" (COM knee)
AGAINST GRABBING OVER ARMS
AGAINST GROUNDING OF THE ARMS (WITH THE)
ANTEBRAGUEAGAINST GROUNDING OF THE ARMS (PUSHING THE
COMB)
AGAINST SOCO AGAINST SOCIETY (FROM)
LONGAGAINST PISON
AGAINST PISON (BENDING THE LEG)
AGAINST PIPELINE IN THE BREAST
AGAINST SIDE CHUTE
INBASIS
RAISINGCUTTING
SOCO
elbow
SIDE Piso (SURPRISE ATTACK)
SIDE Piso

It is a fact that most fights end up on the ground, but it is also true that
the confrontations begin with two people standing; therefore, you must
be prepared to react to any and every surprise attack standing up. The
techniques in this chapter show you the most effective ways to defend
yourself from this type of attack.

*p47
FALL OF HIP

Helio holds Rorion's elbow [1, 2]. Lifting Rorion's arm and gripping his
wrist under the armpit, Helio takes a step to the side, under Rorion's free
arm, and hugs his waist [4]. Then he relaxes the waistband, which allows
him to take another step by cutting off the opponent's front and placing
his hip directly in front of him, with his knees slightly bent [5]. With the
back arm, he adjusts the opponent's waist against his back, lowering his
head toward the left knee while stretching his legs [6], throwing the
opponent to the ground [7,8]. Hint: Lift the opponent with the hip, not
the arms.

*p48
*p49[1 – row]

Details A and B: the correct position of the legs.

*p49-second row

Detail C: Correct lifting with the hip.

Detail D: Rotate around the hip is wrong.

AGAINST hanging

When Rorion hangs him, Helio stiffens the muscles of his neck [1, 2],
bends forward by bending his waist [3] and takes a step back in base by
passing his head under the attacker's arm [ two thumbs can not prevent
the weight of the whole body by bending forward] [4]. Upon standing up
[5], Helio completes with an elbow [6, 7]. Tip: In sequence 3-5, bend your
waist as if you draw the letter "U" with your head.

*all on p50

AGAINST HANGING (WITHDROP) HIP

When Rorion grabs him by the neck [1, 2], safe Helio elbow opponent
with one hand and raising the other arm [Detail: inside the attacker's
arm] [3] and gives a step between Rorion's legs while gripping his neck
[4, 5]. Helio adjusts the footprint, preparing the hip drop [6], and
performs the motion [7, 8]. Tip: In step 3, the shoulder inlet relieves
pressure in the neck.
*all photos on pp52-53

AGAINST ENFORCEMENT (WITH ARM WRENCH)

When gripped by the neck [1], Helio places his hands around the hand of
Rorion [Detail: the footprint is inverted and relaxed] [2]. He establishes
his base, bends forward to hold his hand [Detail: bent forward exposes
the attacker's hand] [3], steps forward and passes under Rorion's arm
[Detail: hold the hand of the attacker held close to his neck while
spinning [4], passing the other leg behind the attacker [5]. Helio slides a
hand under the opponent's forearm, hooking the elbow [6], adjusts it
against his body, holds the shoulder, and raises his elbow to complete the
stroke [7]. Hint: In sequence 4-5, hold the opponent's hand firmly.

*p54
*p55

AGAINST VICTIM BUILT INTO THE WALL

When Rorion hangs Helio against the wall, Helio stiffens his neck [1],
raises his hands [2], places them over the attacker, and chooses a finger
[Detail: choose the easiest ] [3]. After choosing and holding a finger,
Helio holds the attacker's wrist with his free hand [Detail: when grasping
the finger, the palm of your hand should be facing your face] [4]. Keep
your wrist glued to your chest and break your finger by folding it back
[5,6]. Tip: In step 4, once you have chosen your finger and have mastery
of the wrist, break your finger immediately to prevent the attacker from
striking you with your free hand.

*p56
*p57

AGAINST ENHANCEMENT, WITH A HAND, WITH THE VICTIM PLACED

TO THE WALL

When hanged against the wall, Helio stiffens the neck and pushes the
inside of Rorion's wrist [1]. The attacker falls forward while Helio
positions the elbow [2] to hit the aggressor's chin [3] and knock him out
[4, 5]. Tip: In step 2, when tapping on the wrist, rotate the body.

*p58
AGAINST DIRECTION TO THE WALL

Rorion pushes Helium against the wall [1]. While holding the two elbows
of the opponent, Helio takes a step to the side, parallel to the wall,
throwing the attacker against it [2, 3], and complete with a knee [4, 5].
Tip: In step 2, exit to the side of the attacker's leg that is ahead.

*59

AGAINST A GOLF FOOTPRINT, WITH A HAND ONLY

When Rorion holds Helio by the collar [1], this simultaneously holds the
attacker's wrist against his chest, slaps Rorion's elbow, and steps
forward on base [Detail : score the elbow at the waist] [2]. With the
other leg, Helio passes behind the attacker, keeping Rorion's hand pinned
to his chest; the head is the last part to pass under the arm of the
opponent [3]. Raising the opponent's wrist and elbow, which will cause
extreme pain in Rorion's shoulder, Helio ends the movement [4]. Tip:
Keep thehand attacker'ssecurely against your chest throughout the
movement.

AGAINST A GOLF FOOTPRINT, WITH A HAND ONLY ("COUGH HAND")

When caught by the collar [1], Helio slaps firmly to bendwrist

Rorion'swhile pulling his elbow forward [2]. At the same time, he rotates
the body, keeping the attacker's wrist bent [3], placing one hand over the
other behind Rorion's elbow and pulling himself to apply the wrist switch
[4]. Tip: The purpose of the slap is to bend the wrist.

AGAINST A GOLF FOOTPRINT, WITH A HAND ONLY (WITH TWIST UP)

When Rorion grabs and twists Helio's collar [1], it fits the palms of his
hands under Rorion's [2] hand and, with his fingers, holdsover
immediately bowing aside to unbalance him [Detail: well fit the hand
grip to his chest to prevent any movement of the opponent] [3]. Helio
takes a step out by planting the instep on the floor, placing the back of
his knee against the opponent's leg [4]. Twisting the wrist, he throws the
opponent on the ground [5,6]. Tip: Keeping your hands firmly holding the
opponent's hand is the key to this move.

AGAINST A GOLF FOOTPRINT, WITH A HAND ONLY (WITH THE ARM

STRETCHED)
When the footprint is on the collar [1], Helio holds Rorion's wrist with
the thumbs up [2]. With a firm footprint, move forward and turn [3],
placing Rorion's forearm over his shoulder [4], bending forward to
stretch the arm [5]. Tip: In step 5, raise the shoulder so the attacker's
arm does not slide to the side.

AGAINST A GOLF FOOTPRINT, WITH A HAND ONLY (WITH TORSION

DOWN)

Rorion holds Helio's collar down and twists it down [1]. Helio holds
thewrist attacker'swith both hands, leaving his thumbs down [2], and
takes a step back on base [Detail: hold the attacker's hand pressed
against his chest] [3]. Pulling the opponent's wrist forward [4], Helio
holds Rorion's arm under his armpit as he takes a step cutting his
forehead [5]. After establishing his base, he places the torso against his
arm as he raises Rorion's wrist to elongate his elbow [6]. Tip: In step 5,
when you pass in front of the attacker, give him a strong stride with the
side of his body.

AGAINST HUNGER WITH A HAND ONLY

When pushed on the chest [1], Helio takes a step back on base, while
simultaneously grasping Rorion's hand and elbow [2, 3]. He then uses
both hands to hold the opponent's elbow while bending forward to the
wrist switch [4]. Tip: In step 4, pull the attacker's elbow to your chest to
prevent his hand from escaping.

AGAINST A GOLF FOOTPRINT, WITH TWO HANDS (SEPARATED)

Rorion grabs Helio's collar [1]. With the palms together, Helio raises his
hands between the arms of Rorion [2, 3] and holds them above the
elbows [4, 5]. Holding his own wrist and adjusting it up, Helio bends to
the side [6], takes a step and plants the instep on the floor, fitting the
knee fold behind the attacker's leg [7]. Lowering his head toward the
other knee, Helio stretches his leg to complete the fall [8]. He then places
the knee in thebelly opponent's, controlling the position [9]. Tip: In step
8, when the attacker is falling, release his arm.

AGAINST A GOLF FOOT WITH THE TWO HANDS

When caught by the collar [1], Helio takes a step to the base side [2] and
holds his own wrist [Detail: his forearm should be close to the footprints
of the aggressor ] [3]. He takes a step forward cutting [4]. Hooking his
leg above Rorion's knee and putting his weight forward [5], Helio pulls
the opponent's footing down on base [6] and completing with an elbow
[7]. Detail A: the side step is in base. Detail B: Hold the wrist firmly. Tip:
In step 5, the body weight is thrown forward so that the attacker does not
unbalance him back.

AGAINST A SHOULDER FOOTPRINT (WITH THEARM FOLDED)

When it is grasped by the shoulder [1], Helio raises the arm [Detail:angle
reverse] [2], rotates around the elbow and bends the striker's arm
[Detail: reverse angle ] [3]. Holding his own wrist [Detail: reverse angle]
[4], he suspends it for the arm wrench [Detail: reverse angle] [5]. Tip: In
step 2, use the elbow to lower and bend the attacker's arm.

AGAINST A SHOULDER FOOTPRINT (WITH STRAP)

When Rorion grabs him by the arm with his arm outstretched [1], Helio
swings his arm around the attacker's elbow [2] holding his own wrist [3]
and takes a step cutting forward, hooking his leg on the attacker's knee
[Detail: reverse angle]. [4] Keeping his weight forward, Helio spins
quickly to stretch the opponent's arm [5]. forward to keep his
balanceview]..

AGAINST sIDE tIE (COM SOCO)

Stuck in a tie [1, 2], Helio immediately secure with both hands, the free
arm of Rorion [Detail: side [3] Holding the pulse of the opponent to his
chest [4], raises the head and opens the chest while taking a step back[5]
then, lowers the head and takes a step back with the other leg[6] Still
holding the striker's pulse, Helio raises his wrist to complete the stroke
[Detail: when the blow is done, do not leave the attacker's hand lean on
the back] [7]. Tip: In sequence 4-6, keep the attacker's hand glued to his
chest.

AGAINST ROD OF SIDE (Raising the ground ) As soon as Rorion applies

the tie, Helio stiffens the back to maintain the posture [1, 2]. He bends
his knees to make a base by placing one hand behind the knee and the
other on the chin of the aggressor [3]. When he stretches his legs and
bends back, he raises his aggressor with his hip [4], positioning it
horizontally [5] and using the force of gravity to throw him on the
ground, getting rid of his tie [6, 7]. Tip 1: In step 2, push your hips
forward to keep your back straight. Tip 2: In step 4, keep your back
straight and your head back, taking advantage of the opponent's arms
being around your neck. It is with the force of the neck that you must
raise the opponent, not with the arms. Tip 3: In step 5, when lifting the
attacker, do not stop with it on high. Make a continuous movement.

AGAINST SIDE TITLE (WITH OPPONENT INCLINED FORWARD)

Held in a tie, Helio hugs the waist and positions Rorion's leg in the
middle of his base [1, 2]. While propping up the opponent's knee, Helio
puts his foot next to the opponent's [3], rotates and sits behind his own
heel [4, 5]. Falling mounted and with base, slide the knee from behind
towards the opponent's head [6]. He makes a frame with the blade of the
forearm [7] and places the weight on the opponent's neck, forcing him to
release the tie [8]. Hint: in sequence 3-5, when you take the step and sit
down, do it in a continuous motion.

AGAINST TITLE SIDE (WITH THE OPPONENT OPENED)

Rorion holds Helio in a tie and makes an open base [1, 2, 3]. Helio holds
behind his opponent's knee and hugs his waist by taking a big step in the
middle of his legs [4], sitting and pulling Rorion back. Rolling up [6],
mounts with one standing leg [7] and opens the arms to establish the
base, sliding the knee from behind towards the opponent's head [8].
Making a frame with the forearm blade [9], puts the weight onneck the
opponent's, forcing him to release the tie [10]. Tip: Use this move when
you can not pass in front of the opponent (as in photo 3).

AGAINST SIDE TISSUE (WITHPRESSURE NOSE)

When attached to a tie [1, 2], Helio keeps his back erect [3]. He places
one hand on the fold of Rorion's knee and the other under his nose [4].
With the pressure on the nose [5, reverse angle], he forces the attacker to
release it, turns his head [6] holding his own wrist [7] and adjusts the
neck [Detail: seen from below] [8]. Complete the movement with a
guillotine [9]. Tip 1: In sequence 6-8, when holding your opponent's
neck, rotate your head in a continuous motion so it does not escape. Tip
2: In step 9, when applying the guillotine, keep your hips forward and
your body slightly tilted back.
AGAINSTTO THE WALL GRAVATA ENCLOSED(AGRESSOR OUTSIDE)

Rorion applies a tie by pushing Helio against the wall [1, 2, 3]. Holding
the arm and hooking the leg [4], Helio bases the legs and places both
hands on the wall, locking the aggressor's head with one of them [5].
Pushing the hip forward, Helio forces the aggressor to let go of his tie
[6]. Using the weight of the body to immobilize the attacker against the
wall, he holds the wrist while holding the opponent's head immobilized
[Detail: as soon as the wrist is attached, place it on the back of the
attacker immediately] [7]. Helio pusheshead Rorion'sdown and twists the
attacker's arm [8] by placing the knee onback histo finish the movement
[9]. Tip 1: In step 5, fasten the attacker's head as low as possible. Tip 2:
In step 6, while pressing your hip forward, turn your head to the right.

AGAINSTTO THE WALL GRAVATA ENCLOSED(AGRESSOR INSIDE)

When Rorion holds it in a tie and rests against the wall [1, 2], Helio
establishes a low base [3]. With both hands, he hugs the attacker's knee
and stretches his legs, making the attacker's foot come off the ground
[4]. Taking a circular step back, with the head pushes the aggressor back
to the ground [5]. Helio uses his hands to protect himself from falling [6,
7 - reverse angle], mounts with one leg standing, establishing the base
and sliding the knee from behind towards the opponent's head [8].
Holding his wrist, he puts the weight on theneck opponent's, forcing him
to release the tie [9]. Tip: In step 5, when you step back, use your
shoulder to press the thigh of the attacker down.

AGAINST FRACTURED TIE (SITTING BACK)

Rorion pulls Helio by the neck and applies a front tie [1, 2]. Helio shrugs
his neck as he takes a step forward in the middle of the attacker's legs
[3]. He struts the attacker's knee with both hands [4]. Leaning onleg the
front, he sits back [5], throwing the head attacker on the ground [6, 7 -
reverse angle]. Tip 1: In step 4, when you step between the attacker's
legs, rotate the back foot to improve its base. Tip 2: In sequence 6-7,
throw the body back, but do not let your head hit the ground.

AGAINST FRACTURE TIE (HANGING WEIGHT)

Rorion grabs Helio by the neck and applies a tie [1, 2, 3]. Helio hugs the
attacker over his shoulder while propping up his knee [4]. When Rorion
stretches to press Helio, he jumps up [5] and, in the descent, leaves the
weight of the body hanging, sliding to the ground and placing the
attacker's leg between his [6], causing the attacker to fall from head to
foot [7 - reverse angle]. Tip 1: In step 5, hold firmly on the shoulder to
jump up high. Tip 2: In Step 6, when falling, do not touch your feet on the
floor; slide in a continuous movement by positioning the attacker's leg
between yours.

AGAINST FRACTAL NECKTIE (DRAWINGClutching BACK)

Grabbed at the neck [1, 2], Helio hugs Rorion over his shoulder and holds
his wrist [3]. With the knee, knock back the striker [4, 5 - reverse angle,
6], falling on the side mounted [7]. Still holding the wrist, hold the collar
with the thumb in [Detail: place the forearm blade in the throat] [8].
With the pressure on the neck, the attacker drops the tie [9]. Tip: In step
4, in addition to the knee, use the arm over the shoulder and your head to
unbalance the attacker.

GUILHOTINA

During a discussion [1], Rorion resolves to grab Helio's legs [2]. Helium
sits on the base and holds the aggressor's neck [Detail: the free hand
holds the wrist of the arm that holds the neck] [3]. Bending backward,
Helio lifts the forearm blade horizontally against the throat of the
aggressor [4]. Tip 1: Detail A: correct. Bend your body back. Detail B:
wrong. Do not bend forward while squeezing. Tip 2: Correct ways to
tighten. Detail X: lift the forearm horizontally, or Detail Y: pull up using
the other arm to push down the opponent's shoulder.

GUILHOTINA (IN THE GUARD)

During a discussion [1], Rorion grabs the legs of Helio [2]. While fitting
the footprint on the neck, Helio is thrown to the ground [Detail: with the
free hand, grasp the wrist of the arm that is holding the neck, placing the
blade of the forearm against the throat] [3]. Keeping the strangulation,
Helio crosses the feet [4]. Pulling his arm, he stretches his legs to
complete the stroke [5]. Tip: You can use the same choke whenever you
have an opponent in your guard. Details A and B show the correct
movement to hang.

AGAINST "BAIANA" (WITH BUTTON)

Rorion prepares an attack [1]; in surprise, grabs the "baiana" [2]. Helio
arms his base and raises his elbow [3], descending it in the middle of the
back of Rorion [4] and frustrating the plane of attack [5]. Tip: Apply the
elbow with full body weight.

AGAINST "BAIANA" (WITH KNEEL)

When Rorion runs to the "Bahia" [1], Helio takes a step back in base by
shoring the attacker's shoulders [2]. While blocking the shoulders, he
knees the attacker's face [3], causing him to fall back [4] and stay on the
ground [5]. Tip: When you step back, make the base wide and stretch
your arms firmly.

AGAINST GRIP UP ARMS

When Rorion grabs Helio over his arms [1], he bends forward and bends
the attacker's hip with his hands [Detail: place your elbows against your
own hip] [2]. While holding a hand on Rorion's hip, Helio takes a step
toward the side hugging the attacker's back [3]. With another step, he
cuts off the front [4], secures the opponent's elbow by preparing the hip
drop [5] and drops it [6, 7]. Hint: In step 4, keep your hand propping the
attacker's hip until your own hip is directly in front of his, as in picture 5.

AGAINST GRAZING UNDER THE ARMS (WITH THE ANTEBRA)

Rorion grabs Helio around the waist [1 , 2]. Holding his own wrist and
positioning his forearm in the opponent's throat, Helio takes a step back
on base [3, 4]. Then, push the blade of your forearm against the throat of
your attacker, getting rid of the attack [5]. Tip: Do not let the attacker
tuck you back.

AGAINST GRAZING UNDER THE ARMS (PUSHING THE COMPLAINT)

Rorion hugs Helio by the waist [1]. Helio takes a step back and holds his
own wrist by placing the palm of the hand under the aggressor's chin [2].
Helio pushes his chin up and back, forcing the aggressor to release him.
[3] [Detail: If the aggressor lowers his chin, push his nose]. Tip: Do not
let the opponent fold you back.

AGAINST SOCO
When Rorion goes to punch, Helio blocks him with his arms inside [1],
hooking his hands on the aggressor's triceps [2]. Raises the elbow above
the forearm [3, 4] by immobilizing one arm of the attacker under his
armpit, without losing control of the other [5]. Helio takes a step to the
side and embraces the aggressor's waist [6], passes forward [7],
positions the hip [8] and completes the fall [9, 10]. Tip 1: The attacker
needs some distance to the punch, stay tuned. Tip 2: Always block both of
your opponent's arms. Tip 3: For the blockage, use the outside of your
forearm against the inside of the attacker's arm.

AGAINST SOCO () from far

From a distance, Rorion telegraphs a punch and runs towards Helio [1].
When Rorion approaches, Helio takes a base step toward the punch and
curves the body in the opposite direction keeping the arm stretched to
protect the face [2]. When Rorion misses the punch, Helio maintains his
base and holds the attacker's legs with one hand behind each knee [3, 4].
He raises the body, suspendslegs Rorion'sand redirects the attacker's
weight [5, 6], letting it roll over the hip to complete the movement [7, 8].
Tip: Do not lower your body to the side until the attacker is within reach.

AGAINST PIONEER

When Rorion throws forward, Helio takes a step back on base and holds
Rorion's foot with both hands [Details A and B: the hand corresponding
to the back step should be underneath by holding the thumb] [1, 2, 3].
Helio then lifts his leg high [4] and walks forward, thus bringing down
the aggressor [5, 6]. Tip 1: The distance determines the type of
aggression. When you are out of range of the punch, prevent an opponent
from pumping. Tip 2: In step 2, the step back is not to leave the front, but
to increase the distance.

AGAINST PISON (BENDING THE LEG)

Rorion discusses at a distance [1]. When he puffs, Helio deflects the

attack with his arm as he turns his body and foot [2, 3]. Unbalanced, the
attacker falls forward [4]. Helio completes with an elbow in the face [5].
Tip 1: This movement also works when you're against your back against a
wall. AGAINST PIPE ON BREAST When Rorion gives a pounding in the
chest, Helio rotates the body and the foot deflecting the pisão with the
inside of the arm [1, 2]. With his other arm, he makes a hook under
Rorion's knee and holds his collar as he holds his elbow [3]. With a hook
drop on the supporting leg he knocks down the opponent [4, 5]. Tip: The
pisão should be deflected with the arm on the same side.

AGAINST SIDE CHUTE

In the course of a confrontation, Rorion launches a side kick [1]. Helium

prepares the block by placing the hands inverted [2]. He takes the kick
with the palm of his hands [3], holds Rorion's cinnamon, and with his
other hand, holds theankle attacker'sholding his own wrist [4, 5].
Turning the torso, press Rorion's leg down [6], knocking him down [7].
Helio takes a step over him and applies a foot wrench [Detail: with the
ankle adjusted, hold the cinnamon and bend backwards] [8]. Tip 1: Once
the kick is blocked, securely fasten the foot. Tip 2: Practice the foot
switch.

LIFTING ON BASE

When confronted by an opponent standing, Helio sits with one leg

standing propped on the opposite hand [Detail A: Reverse Angle] [1]. He
puts his weight on the foot and the opposite hand, pulling back the leg
[Details B and C] [2]. Passing with the knee behind the elbow, plant the
foot on the ground behind thehand supporting[Detail D] [3], and position
yourself on the ready base for the action [Detail E] [4]. Tip: When lifting,
you can use the front arm to protect yourself.

CUTTING

During a discussion, Helio decides to attack [1]. He discreetly arranges

his hair to disguise [2] and then slaps Rorion's neck [Detail: the cleaver
of the hand must hit the base of the skull] [3, 4]. Tip: To find the most
sensitive spot, practice lightly on your own neck.

DEFENSES IN FOOT, ATTACKS BY BACK

AGAINST TIE
AGAINST TIE WHEN PULLED BACK (WITH SIDE FALL)
AGAINST TIE WHEN PULLED BACK (WITH OVER FALL BACK)
AGAINST HANGING
AGAINST GRABBING OVER OF ARMS
AGAINST GRABBING OVER ARMS (WITH OPEN BASE)
AGAINST GROUNDING OF THE ARMS
AGAINST GRAZING UNDER THE ARMS (LIFTING THE GROUND)
AGAINST CERVICAL KEY

A back attack can create a difficult situation. The aggressor does not even
need to be experienced to be dangerous. This is because, when you
realize it, you are already at a disadvantage. This chapter will show you
techniques for defending yourself from attacks from behind.

AGAINST GRAVATA

Grabbed from behind [1, 2], Helio arms his base and simultaneously
holds thearm attacker's[Detail: side view] [3]. Bending his waist
forward, he throws the attacker on the floor in the middle of his legs [4],
without letting go of the arm [5]. Tip: To prevent you from sticking back,
keep your knees slightly bent and your body slightly bent forward so you
can see your toes.

AGAINST GRAVATA WHEN PULLED BACK (WITH SIDE FALL)

When pulled back by the neck [1, 2], Helio holds Rorion's arm with both
hands to protect the neck, avoiding hanging [3]. Hanging his weight on
the attacker's arm, he takes a step backward by adjusting the back of his
knee against the aggressor's leg [4], rotates 180 ° [5] and plants his base,
keeping the leg of the aggressor arrested [6]. Readjusting its base, Helio
lowers his head towards the outside knee [7], to finish the fall [8]. Tip: In
step 5, while turning, try to push your forehead toward the attacker's
spine.

AGAINST NECKTIE WHEN PULLED BACK (WITH FALL ABOVE THE

COURTS)

When unbalanced back with a tie [1], Helio holdsarm Rorion'swith both
hands protecting the neck, avoiding hanging [2]. He then takes a side
step [3] and, with the other leg, passes behind the attacker [4], planting
his base [5]. Helio pulls the attacker onto his arm and uses his hip to lift
it [6] over the back [7, 8] by turning the whole way to the ground [9].
Tip: In step 6, transfer the attacker's weight to your back to lift it with
your hip.

AGAINST ENFORCEMENT
When Rorion grabs him by the neck [1], Helio holds both hands, placing
his fingers in the base of the thumb [2]. He chooses a hand and steps
back to face the aggressor [3]. By establishing its base, it holds the other
half of the hand opponent's[4] and ends the movement with a wrist
twist. [Detail: hold firmly for the hand not to sneeze] [5]. Tip: In step 3,
as you turn toward the attacker, press your hand against your neck to
hold it.

AGAINST GLAZING UP ARMS

When gripped over arms [1], Helio arms its base and folds the arms
[Detail: side view] [2]. He moves his hip to the side and draws back the
leg [3], passing behind the attacker and restoring the base [4]. Folding
the knees, lower the hips and, holding behind the knees, adjust the legs
of the attacker for himself [5]. When he straightens up the body, his hip
suspends the attacker [6], which rolls over the back [7] and ends on the
ground [8]. Tip 1: In step 6, as soon as the feet leave the floor, drop the
knees. Tip 2: In step 7, when the attacker is falling, keep your base.

AGAINST GRAZING UP ARMS (WITH OPEN BASE) When I take up arms

[1], Helio arms his base and folds his arms, preparing to pass behind
Rorion [2]. When the attacker avoids the passage when opening the legs
too much, Helio with the heel hits the testicles [3] or uses the butt to
disorient it [4]. Tip: You can use the heel to make the attacker close his
legs and then move behind him and throw him on the ground.

AGAINST GRAZING UNDER THE ARMS

Grabbed by the waist [1, 2], Helio arms his base [3]. Bending forward
until touching hands on the ground [Detail: front view] [4], take them
between the legs and hold the attacker's leg [Detail: front view] [5],
pulling it towards the front while sitting on the knee [Detail: front view]
[6], dropping the weight of the body on it to break his leg [Detail: front
view] [7]. Tip 1: In step 4, pull back with your hands and feet on the
floor, using your butt to push the attacker's leg and then hold his foot.
Tip 2: In step 6, rest your elbows on your knees.

AGAINST GRAZING UNDER THE ARMSLIFTING FROM (THE FLOOR)

Rorion holds Helio under his arms and lifts him from the ground [1, 2].
Helio raises his arms and hooks the foot behind the attacker's leg [Detail:
make a firm hook] [3, 4]. Using the weight of his body and arms, he pulls
down [5] and falls with his hands and feet on the floor at the same time
[6]. Holding the attacker's leg [7], he pulls it forward [8], dropping the
weight of the body on it to break his knee [9]. Tip: In step 5, when
lowering, release the hook to fall on base.

AGAINST CERVICAL KEY

Rorion approaches behind Helio [1] and sticks his hands under his arms
[2, 3]. Even if the attacker is able to insert his fingers behind his head
[4], Helio holds his own wrist and presses his hand on his forehead,
preventing a twisting of his neck [5]. Tip: In step 2, you must prevent the
attacker from completing the movement by holding his arms
immediately.

WEAPONS AGAINST DEFENSES

AGAINST thwack (NEAR)

AGAINST thwack (WITH RESISTANCE)
AGAINST thwack (BY FAR)
AGAINST thwack (WITH TWO HANDS)
AGAINST thwack (SIDE)
AGAINST chair AGAINST STAB OVER / NO BREAST
AGAINST STAB IN LOW / NA BELLY
AGAINST DOWN IN STAB (WITH ARMS STRETCHED)
AGAINST DOWN IN STAB (WITH ARMS STRETCHED - RESISTANCE)
AGAINST STAB SIDE (ATTACKING WITH HAND PALM DOWN)
AGAINST STAB SIDE (ATTACKING WITH HAND PALM UP)
IN REFERENCE POSITION WITH THE KNIFE ON THE BREAST
IN THE POSITION WITH THE KNIFE ON THE THROAT
REVOLVING POINTED TO THE BODY
AGAINST REVOLVING SAVED ON THE WAIST (ON THE FRONT)
AGAINST REVOLVING SAVED ON THE WAIST (SIDE)
AGAINST REVOLVING POINTED TO THE HEAD
AGAINST REVOLVER ( POSITION OF REFEMM)
AGAINST REVOLVING APPOINTED FOR THE COSTS

You should always avoid a confrontation against an armed aggressor. In

some cases, running away is the best solution. However, when your life
or the life of a loved one is at stake, having an effective plan can mean
the difference between life and death. Here are my suggestions for
dealing with the most common attacks.
AGAINST PAUL

When Rorion prepares to attack [1, 2], Helio takes a step forward on base
and blocks it with the arm at a 90 ° angle [3]. With the other hand [4],
grasp the end of the staff by pulling it down [5] to disarm the attacker.
Tip: In step 5, run your arm out and not under the attacker's arm. Detail
A: Your arm should lock horizontally. Detail A1: [reverse angle] do not
use thumb when locking. Use your wrist, not your hand. Detail B: Hold
the staff by the attacker's hand. Detail C: slide your hand toward the end
of the stick. Detail D: remove the weapon from the aggressor's hand.

AGAINST PAULADA (WITH RESISTANCE)

When Rorion prepares the attack [1, 2], Helio takes a step forward on
base and blocks it with his arm at a 90 ° angle [3]. While Helio raises his
other hand [4], the attacker slides his arm to the side and Helio holds
him under the armpit [5]. Keeping the attacker's arm immobilized, he
takes one step cutting the front, fitting his slightly bent leg against the
attacker's [6]. When he turns down, he stretches the leg and knocks
down the opponent [7]. Placing the knee on the aggressor's belly,
position the forearm under Rorion's elbow for the arm wrench [8]. Hint:
in sequence 4-5, do not anticipate the arm slip.

AGAINST PAUL (R)

When Rorion attacks [1, 2], Helium steps forward on base, raises arm
stretched [Detail: the palm of the hand is turned out] [3], blocks the staff
and, holding the attacker's elbow, holds his hand under the armpit [4].
Helio passes to the side and embraces the waist of Rorion, preparing the
fall [5]. Relaxing the footprint of the waist, he cuts the front of the
attacker [6], establishes the base [7] and performs the hip drop [8]. With
the weight of the knee on the Rorion's belly to ensure a good base, apply
an arm wrench [9]. Tip 1: In step 3, when lifting the arm, touch the ear to
the shoulder. Tip 2: Raise your arm hard, keeping your hand open.

AGAINST PAULADA (WITH TWO HANDS)

Using both hands, Rorion initiates the attack [1, 2]. Helio raises his arm
to divert the course of the staff and at the same time takes a step forward
in base [3]. While the staff slides down the side, Helio holds the
opponent's elbow, trapping the attacker's hands under his armpit [4, 5].
He walks over to the side hugging Rorion's waist and preparing for the
fall [6]. When bringing his hip forward, Helio causes a strain on the
attacker's elbow [7] and completes the fall [8, 9]. Tip: In sequence 2-4,
when lifting the arm, hold it tightly and palm the hand out.

AGAINST PAULADA (FROM SIDE)

While Rorion moves the staff in the air from side to side, Helio waits for
the right moment [1, 2, 3]. Advancing decisively and hugging the striker
[4, 5, 6], he controls Rorion's elbow and waist [7]. Relaxing the footprint
of the waist, it creates space to pass the hip forward [8] and establishes
its base [9], ending with the hip drop [10, 11]. Tip 1: Stay out of reach of
the staff, however, as close to it as possible. Tip 2: Your entry to embrace
the attacker should be as soon as the baton passes in front of you. Tip 3:
Practice using a band or a string.

AGAINST CHAIR

When Rorion lifts a chair [1, 2], Helio blocks him by the elbows, [3] takes
a step to the side and, with one hand, embraces Rorion's waist, preparing
him for the fall. Moving forward, it positions the hip [5] and performs
the fall [6, 7, 8]. Hint: In sequence 4-5, while keeping your elbow up
while hugging the attacker, you prevent him from giving you a chair.

STAB AGAINST OVER / NO BREAST

When Rorion attacks [1, 2], Helio takes a step forward base, blocking
with one hand the arm is with the knife while raising his other arm [3].
Position the hand behind the attacker's arm to prevent him from drawing
back the arm [Detail: reverse angle] [4], place one hand over the other
and adjust the striker's elbow against his chest [Detail: reverse angle] 5]
by raising the arm and shoulder while pressing the attacker's wrist down
[6]. It does not take much force to make him drop the weapon [7]. Tip: In
step 3, when you step forward, keep your head back away from the knife.

AGAINST STAB IN LOW / IN BELLY

When Rorion starts the attack, Helio takes a step forward in base and
uses his forearm to block the move while placing the other hand cupped
over the attacker's elbow to keep him retract his arm [1 , 2, 3]. When
placing the arm hand that is blocking over the other hand that is on the
elbow [Detail: pull the elbow to the other side of your body] [4], Helio
puts the weight of the body back, forcing Rorion to walk to the front with
the arm twisted at the back [5]. Keeping the attacker's arm immobilized,
Helio lifts his elbow to increase the pain in the attacker's shoulder [6],
while also controlling the shoulder [7]. Tip 1: In step 2, the locking arm
should be at an angle of 90 °, and the elbow should be directly over the
knee. Tip 2: Use the upper part of the forearm, not the lateral bone. Tip
3: In step 3, you should go slightly out of the path of the knife.

AGAINST BOWLING (WITHARMS STRETCHED)

When Rorion attacks, Helio takes a step forward on base while blocking it
with his arms stretched [1, 2]. Using one thumb to hold the wrist and
blocking the biceps without the other thumb [3], he turns his hand to
hold the triceps [4]. He redirects the force of the attack, passes forward,
pulling thearm attacker's[Detail: the hand holds the elbow] [5] to place it
over the shoulder [6]. By pulling the wrist down, it stretches the
opponent's elbow [7]. Tip: In step 7, raise the shoulder to prevent the
attacker's arm from sliding to the side.

AGAINST STAB UNDER (WITH ARMS STRETCHED - RESISTANCE)

When Rorion starts the attack, Helio takes a step forward on base while
the blocks with your arms straight, using a thumb to hold the pulse and
blocking the biceps without the other thumb [ 1, 2]. Then he turns his
hand to hold the triceps and pull the arm [3]. When the attacker resists,
Helio slides the footprint to the hand [4] and, holding the arms straight,
takes a step forward [Detail: do not let the hand slip away] [5], lifting
and passing under the arm, backwards of the attacker [6]. Complete with
a wrist twist [7]. Tip: In step 5, raise the attacker's hand as high as
possible.

V STAB SIDE (forward WITHpalm DOWNof hand)

When Rorion solves attack [1, 2], Helio takes a step towards the side
onbase, blocking it with the forearm vertical [Detail: reverse angle] [3] .
Simultaneously, slap down the wrist and upward on theelbow
attacker's[4], positioning the knife arm vertically [Detail: reverse angle]
[5]. Anchoring his elbow at the hip and holding the striker's elbow firmly
against his shoulder, Helio takes a step back from the attacker
[Detail:angle reverse] [6] and pushes his hand upward, putting pressure
on the shoulder [Detail: reverse angle ] [7]. Hint: The two steps are with
the same leg.
AGAINST SIDE FACADE (ATACANTE WITH THE PALM OF HAND UP)

When Rorion attacks from the side [1, 2], Helio takes a step forward on
base and blocks the wrist [3]. With the other hand, hold the base of the
thumb [4], then twist the wrist with the forearm, push the side of the
blade [5], forcing the attacker to release the knife [Detail: immobilize the
hand near the forearm ] [6]. With the continued twist of the wrist, the
attacker falls to the ground [7, 8]. Tip: In step 3, the locking should be
done with the arm upright.

POSITION IN

hostage with a knife in the chest when being attacked behind [1, 2], Helio
uses one hand to push the pulse [3] and the other to hold the base of the
thumb [4]. Taking a step back, he turns in front of the attacker [Detail:
position the wrist against the side of the blade] [5]. Twisting the wrist
[6], he forces the attacker to release the knife [Detail: immobilize the
hand near the forearm] [7] and fall to the ground [8]. Tip: In step 3, the
push should surprise the attacker. IN hostage position the knife into the
throat as Rorion approaches the knife neck Helio [1, 2], this immobilises
the wrist offending against her breast [3, 4], steps toward the [5] and
passes back with the other leg, planting its base [6]. Keeping his arm
pressed against his chest, Helio takes off his head [7], adjusts his
footprint on the wrist and elbow [8] and raises his hand to complete the
arm wrench [9]. Tip: In step 4, adjust your footprint to avoid any
movement of the attacker.

AGAINST GUN POINTED TO BELLY

With the gun pointed at his belly [1], Helio slaps and secure thewrist,
attacker's while turning the torso and foot [Detail: reverse angle] [2].
With the free hand, he holds the drum [Detail: with two thumbs up] [3]
and takes a step to the side of the attacker [4]. Passing the hand from
behind, it holds the aggressor's triceps with the arm fold [5]. Slipping his
hand down his forearm [6], Helio holds it and folds his wrist by pointing
the revolver at the attacker [7]. Placing the palm of his hand over the
knuckles [8], he presses Rorion's wrist and removes his revolver [9],
thereby controlling the situation [10]. Tip 1: In step 1, distract the
attacker with a conversation. Tip 2: In step 6, push your weight against
the attacker so that, when he resists, he will have his arm stuck.

VS REVOLVED SAVED ON THE WAIST (ON THE FRONT)

When Rorion takes his hand to the weapon [1, 2], Helio slaps the elbow
and the attacker's hand, immobilizing his arm against the body [3]; then
takes a step to the side, using the trunk to lock the elbow of Rorion [4].
Clutching his triceps with the fold of his arm, Helio slides his hand down
the opponent's forearm to the wrist [5]. His other hand slides down to
the gun barrel, and then Helio bends Rorion's wrist [Detail: hold the
barrel and wrist, which will prevent any reaction] [6]. With the palm
over [Detail: palm over the knuckles] [7], Helio squeezes the wrist of the
aggressor [Detail: the revolver must be pulled down and back] [8],
removing the weapon [Detail: hold constant pressure] [9]. Tip: In step 3,
first slice after step.

VS REVOLVED SAVED ON THE WALL (R )

When Rorion tries to take the revolver [1, 2], Helio puts one hand inside
the opponent's arm and the other hand on his elbow while taking a step
forward on base [3]. Using the weight of the body, he pulls the attacker's
elbow back [4] and puts the hand from inside the arm over the hand at
the elbow. The hand at the elbow is free to take the revolver [Detail: pull
the elbow down and adjust it to your body] [5]. Controlling the weapon,
Helio applies thewrench arm[Detail: the hand should be around the
elbow] [6]. Tip: In sequence 3-5, pull your elbow using your body weight
in a steady, steady motion.

AGAINST REVOLVER POINTED TO HEAD

When Rorion points a revolver [1], Helio, by surprise, grabs the barrel
and pulls it up [2]. Keeping the gun face up, he places his other hand
between the aggressor's arms [Detail: Keep the revolver pointed up] [3,
4], hold the barrel [5] and pull it backwards [6]. Helio plucks the
revolver from the attacker's hand and takes over [7, 8, 9]. Tip: In step 1,
use the conversation to distract the attacker.

AGAINST REVOLVER When Rorion points the revolver [1], Helio, by

surprise, raises his hand, grabs the barrel and points it forward [2, 3];
with the other hand, holds the attacker's wrist against his chest keeping
the barrel horizontal [4, 5]. After taking a side step to create space [6],
Helio takes a step back with the other leg, facing the attacker [Detail:
keeping the footprint firmly on the wrist, pull the gun back] [7] "[8] and
controlling the situation [9]. Tip 1: In Step 2, when picking up the
weapon, take advantage of the element of surprise and determination.
Tip 2: In step 1, when surrendered, you can also raise both hands very
slowly in complacency, until the time to surprise the aggressor.

AGAINST REVOLVING POINTED TO THE BACK

When Rorion points the gun at his back [1], Helio looks back to identify
the hand holding the gun and looks forward again [2, 3]. He then takes a
step back into the attacker's arm [4] and holds his elbow, trapping the
forearm under his armpit [5]. Taking a step to the side, Helio holds the
waist of the attacker [6]. Relaxing the footprint of the waist, he passes
the front [7], positions the hip [8] and performs the fall [9]. Placing the
knee on Rorion's belly, Helio prepares and executes the arm wrench [10,
11]. [Tip:. In step 5, when you take the step back, your chest should touch
the attacker]

A MOUNTED

Barrigada OUT (UPA)

ELBOW OUT ELBOW OUTPUT (YEAR) OUT BEHIND
KEY ARM AMERICAN KEY ARM sTRETCHED
KEY WRAP ARM (WHEN pUSHED TO THE SIDE)
OUT TIE (WITH ARM KEY)
KEY ARM (SIDE oPPONENT)
PINCH (SIDE oPPONENT)
PINCH CROSSED PINCH "knead Bread"
PINCH WITH THUMB IN
PINCH " BREAKTHROUGH "
CERVICAL KEY
STABILIZATION OF THE MOUNTED (AGAINST THE BREAST ON THE
BREAST)
STABILIZATION OF THE MOUNTED (AGAINST THE BUTTERFLY IN THE
BELLY)
STABILIZATION OF THE MOUNTED (AGAINST THE KNEE)
STABILIZATION OF THE MOUNTED (AGAINST LIFTED)

In a fight you must seek a position of dominion until you have the
opportunity to apply for finalization. Getting the mount leaves you closer
to victory. In this chapter, we'll examine not only ways to escape from
someone who is riding on you, but also various finishing options, as well
as how to keep riding.

BODY OUTPUT (UPA)

When mounted [1], Rorion initiates a hanging [2]. Helio holds thewrist
and opponent'selbow as well as the foot on the same side [3]. He then
raises his hip as high as possible [4], rolls over his shoulder [5] and falls
to his knees [6]. Tip: In sequence 1-3, when you are down, keep your
elbows close to your body to prop up your opponent's knees. [Detail A:
Attach the opponent's wrist without using his thumb, keeping his elbow
on the ground while holding behind his elbow. ] [Detail B: When you get
it, lean on your back, not on your head.] [Detail C: Keep your opponent's
arm stuck while you roll. .] [Detail D: fall on the knees, not on the belly.]
[Detail X: If the attacker is wearing a tie, attach his triceps as well as the
foot on the same side.] [Detail Y: the opponent's waist, hold his arm with
your head, take a bellyful up and roll to the side.]

eLBOW OUT

with Rorion mounted, Helio holds her wrist, elbow and foot on the same
side [1] . When Helio initiates the bellied, Rorion opens the leg to
maintain the base [2]. Helio anchors the opponent's knee with both
hands, turning the side leg on the ground [3]. With the weight on the
shoulder and on the opposite foot, Helio turns sideways and draws back
the hip [4], shrinking the knee from below and planting the foot on the
ground [5]. Leaning on this foot, he draws his hip back to the other side,
which allows him to release his leg [6] and hold the opponent's [7]. With
the weight on the foot and the opposite shoulder, Helio heaves theother
opponent'sknee with his hand to turn sideways, pull back his hip and
loosen his other knee [8]. Planting the other foot, he shifts his hip to the
other side [9], releasing the other leg [10] and crossing his legs to put
Rorion in his guard. Hint: Practice this sequence alone. Put the weight on
the opposite foot and shoulder to back the hip as far as possible.

EXERCISE

When you are down, score your opponent's knees with your elbows [1],
stretch one leg and turn it sideways [2]. Put the weight on the opposite
foot and shoulder, turn the hip sideways and score the knee in front of
you [3]. Pushing the opponent's knee with the hand or elbow, pull back
the hip to the maximum [4], shrinking the knee [5]. Plant your foot on
the floor and turn the body to the other side [6]. Attach the opponent's
leg with your foot. Score your hand on the opponent's other knee and
draw back the hip [7]. Remove your other lower knee [8] and plant your
foot on the floor to retract the hip [9]. Cross your feet behind the
opponent [10]. Tip: Placing the weight on the foot and the opposite
shoulder is so you can lift the hip and move it like the swing of a "net",
which facilitates the indentation.

OUT OF THE BACK

When underneath the mount [1], Helio gives a belly to throw Rorion
forward and grabs his kimono under the armpits [2]. Stretches his arms,
keeping his opponent leaning forward, and raises his feet [3], fitting
them under the opponent's armpits [4]. Pushing her feet forward, Helio
uses the exit behind [5]. By establishing his base [6] and sitting back, he
controls the legs [7]. Tip 1: In step 3, hold the opponent as far forward as
possible and then use the footprint under the armpits to help lift your
feet. Tip 2: In step 5, when rolling back, turn slightly over your shoulder
to protect the neck.

AMERICAN ARM WRENCH

When Rorion's arms are shrunk [1], Helio threatens him with a punch,
causing Rorion to expose his arms [2]. Helio holds the opponent's wrist
and fits his elbow next to Rorion's neck [3]. Sliding his other hand
underneath [4], he holds his own wrist [5] and completes the key by
raising the elbow and dragging the opponent's hand down toward the
knee [6, 7]. Tip: In step 7, the opponent's hand must always be in contact
with the ground and dragged like a brush. Details A and B: This
movement can be applied to the assembled or cross-mounted.

WRIST ARM WRENCH

When Rorion raises his arms to grab Helio's collar or push him back [1],
Helio stretches his arms and places both hands on the opponent's chest,
one inside and the other outside the arms [2]. ]. Leaning on Rorion's
chest, he jumps up [Detail: side view] [3] and passes the leg over thehead
opponent's[Detail: view from the back] [4]. When falling back, hold the
opponent's arm [5] and, pressing the knees and holding the wrist, raise
the hip to the arm wrench [Detail: the elbow should be extended] [6].
Tip: In step 4, keep all of your weight on the opponent's chest until your
leg passes over his head.

WRIST ARC WRENCH (WHEN PUSHED TO THE SIDE)

While planning the attack [1], Helium is pushed to the side [2]. He holds
the opponent's wrist while shielding himself from the fall [3]. Falling
sideways, lift the leg [4] above the opponent's head [5]. When lifting the
wrist, complete the arm wrench [6]. Tip: In step 6, score your elbow on
the floor and fit the leg firmly against the opponent's neck.

OUT TIE (WITH KEY ARM)

When stuck in a tie frombottom up, Helio establishes its base opening his
arms, lifting her leg and planting his foot [Details A and B: back knee
should slip behind opponent's head for a better base - reverse angle] [1].
Holding his wrist to make a frame with his forearm, he raises his head
enough to take the tie off his tie [2, 3] and tilts the weight forward,
forcing the opponent to release the tie [4, 5]. Then he holds the wrist
using his hand, neck and shoulder [6], places his other hand over his
head to use as a fulcrum [7] and turns his leg over [8, 9], falling
backwards and executing the arm switch [10]. Tip: In step 3, what makes
the attacker let go of the tie is the leaning of his weight forward, not the
fact that you lift your head. In step 4, keep the same distance when
putting weight forward.

SOCO

Helio resolves to punch [1]. He closes his hand and throws the arm [2],
looking at Rorion's chin [3]. For greater power, arm movement should
continue after impact [4]. Tip 1: distract your opponent by talking to him.
Tip 2: A slap on the ear with the relaxed palm is also very effective.

COLLABLED

During a discussion, Helio decides to attack [1]. He raises his hands to

disguise [2]. Turning the instep, use the elbow on the same side [3],
targeting the opponent's chin [4]. To potentiate the elbow, the body
continues to rotate after impact [5]. Tip 1: The elbow has little reach; is
very close to the opponent. Tip 2: If the opponent is too tall, hit his ribs.

SIDE PISON (SURPRISE ATTACK)

During a discussion, Helio decides to use pisão [1]. He lifts the leg [2]
and, while his foot is already on his way to the target, he spins on the
supporting foot, beating and kicking his foot like a piston [3], returning
immediately to the initial base. Tip 1: For the surprise to be bigger, let
your arms down until your foot comes off the floor. Tip 2: To improve
your sense of distance, practice hard. Tip 3: Keep your weight on the
support foot.

SIDE PIPE

In a fighting position [1], Helio lifts the foot [2] and, by moving a piston,
hits the opponent's thigh or knee [3], returning to the initial base [4]. Tip
1: If the fight is imminent, protect your face with your hands up. Tip 2:
When you pound your thigh or knee, there is less chance of your foot
being gripped. Tip 3: Use this move to keep an attacker at bay.

KEY arm (SIDE opponent)

Since Helio has placed his hand on the collar Rorion [1], leg raises his
arm to attack, but the opponent turns sideways [2]. Helio holds his arm
and slides the knee behind the opponent's head to keep it on the side [3].
Holding his own collar, he stretches his arm and puts his hand on the
opponent's head, pressing it down and using it as a point of support [4,
5]. Turning his leg over [6], Helio holds Rorion's wrist by falling back [7],
lifting his hip to break his arm [8]. Tip: In step 5, put all your weight on
the opponent's head.

STROKE (SIDE ADVERSE)

Helium is mounted with one hand on the opponent's collar [1]. When
Rorion turns sideways placing his hand under Helio's arm, he lifts one leg
and plants his foot on the ground while slipping the other knee toward
thehead opponent's[2, 3]. Helio's hand slides without letting go of the
collar while his other hand goes under the opponent's head [4]. He
passes the collar to the lower hand holding it firmly with the thumb in
[5]. Then pull down the other collar while lifting the body tightening the
throat of Rorion to strangle it [6A]. He could also end the strangulation
by pushing the back of the head forward by holding the forearm and
lifting the body [6B]. Tip: In sequence 2-3, when the opponent turns
sideways, relax your weight on top of him and look for a comfortable
base.

CROSS STROKE

Helio opens the opponent's collar, creating space to place the hand [1].
He enters his hand with his palm out and his wrist bent backward,
snapping it behind his neck to the bottom, then grasps the collar by
wrapping his fist [2]. Thrusting the other hand underneath [3], it reaches
as deep as possible, holding the other side in the same way [4]. As he
puts his weight on top of Rorion, Helio turns his wrists by turning his
palms to himself as he expands the chest, putting his shoulders and
elbows back to complete the strangulation [5]. Tip: Whenever you pick
up the collar, relax your hand so it can slide more easily around the neck.
Detail A: Both hands should pick up the bottom. Detail B: Rotate the
wrists without loosening the grip. Detail C: When pressing, move your
shoulders and elbows back.

"AMASSA BREAD" STROKE

When mounted on Rorion [1], Helio detaches and holds the opponent's
collar with the palm of his hand down without using his thumb [2]. When
passing one side of the collar over the throat, pull the other side to adjust
it [3]. With the knot of the little finger pressing on the carotid, it keeps
the wrist straight and presses all its weight on the neck of the opponent
to complete the strangulation [4]. Tip: This bottleneck can also be used
when you are insideguard someone's.

CHANGING WITH THE THUMB IN

When mounted on Rorion [1], Helio holds the neck of the opponent with
his thumb in [2]. Closing the fist, he pushes the elbow to the floor,
forcing the blade of the wrist against Rorion's throat as he pulls the other
side of the collar to take out the slack [3, 4]. Tip: In step 4, the movement
of bringing the elbow to the floor is equal to that of a guillotine.

CHAMPION "BREAKING"

Helio is mounted [1]. He puts his elbows on the ground [2], holding the
collar of Rorion with both hands, keeping the thumbs outwards facing
upwards and adjusting the kimono behind the neck [Detail: side view]
[3]. Pulling the kimono, he rolls his knuckles against the opponent's neck
to strangle him [Detail: side view] [4]. Tip: Open your knees, hook your
feet under your legs by pushing your hips down to hold the base.

CERVICAL KEY

When mounted on Rorion [1], Helium leans on the opponent's chest, lifts
his leg and plants one foot on the ground [2]. With both hands, it holds
behindhead the opponent's[3, 4] by pulling it forward [5]. Tip: This
movement can also be used when the opponent crosses his arms over his
chest to protect the neck.

STABILIZATION OF THE ASSEMBLY

When pushed to the chest [1], Helio turns the body sideways, thrusting a
hand into the opponent's arms and planting it on the ground [2]. As he
lowers his body, he plants his other hand on the ground as if he is
"swimming," repeating the sequence as long as it is necessary to take the
opponent's hands from his chest and establish the mount [4]. Tip: The
more you relax the body, the heavier you will stand for the opponent,
making the movement more efficient.

STABILIZATION OF THE MOUNT (RUSH ON THE BARRIGA)

Rorion attempts to escape by pushing Helio's belly [1], which projects it

forward while diverting the opponent's wrist to the side [2, 3]. He
repeats the action on the other side [4] letting the weight fall forward on
top of the opponent [5]. Tip: Keep your knees open, hip forward, and at
the same time hook your heels under your opponent. STABILIZATION OF
THE RIDING (v push on the knee) when Rorion pushes the knee helium to
try out [1], Helio hooks pulse Rorion [2] and pulls up [Detail: sliding the
knee forward to prevent further attempts ] [3]. Keeping his knees
forward, he throws his weight on top of the opponent [4]. Tip: If
necessary, repeat the sequence on the other side. STABILIZATION OF
RIDING (VS RAISED) When Rorion tries to raise to take Helio above [1],
Helio leans forward and holding the armrest Rorion [2], pull it back [3],
pushing her own chest against the opponent's face [4] and keeping the
mount [5]. Tip: It is more efficient to use the weight of your relaxed
body.

GUARD

CROSSING GUARD kneeling

GUARD PASS STANDING
SCRAPING (HOLDING THE HEELS)
SCRAPING (PLAYING UP)
SCRAPING (SHEAR SIDE)
SCRAPING (WITH HOOK)
SCRAPING (SITTING AND PUSHING WITH BELLY)
KEY ARM (PASSING LEG IN UP OF THE HEAD)
ARM KEY (OMOPLATA)
KEY KIMURA
ARM KEY (ROTATING)
ARMING (TRINGLE)
KEY OF FOOT (OF FRONT)
KEY OF CALCANHAR
KEY OF FOOT (SECURING THE FINGERS)

The guard is the position in which the fighter, with his back to the
ground, has his opponent stuck between his legs. If you are underneath,
putting your opponent on guard can be a great advantage as there are
several finalizations and scrapes for that case. On the other hand, when
you're on top, you need to know how topass efficientlyyour opponent's
guard.

KICKED GUARD PASSAGE

While inside Rorion's guard [1], Helio holds the opponent's biceps while
lifting the opposing leg [Detail: hold without the thumb] [2]. Taking a
step back, he turns sideways creating a space for the hand's entrance into
the fold of Rorion's knee [3]. The opponent tightens his legs, and Helio
puts his hand on the ground [Detail: reverse angle] [4], kneeling again
[5]. With his hand planted on the ground, he recoils lowering the body,
causing the opponent's leg to slide toward the shoulder [Detail: reverse
angle] [6]. With the hand that passed through the fold of Rorion's knee
[7], Helio holds the collar with the thumb inward, raising the back leg
and using the weight of the body to push the opponent's knee towards
the head [Detail: angle reverse] [8]. He relaxes the weight of the body on
top of the opponent, raising his head to loosen his leg, as he stands by the
side [9] until he gets the cross-piece [10]. Tip: In step 5, leave the hand
planted in the same place as the body recedes.

GUARDING FOOTPRINT

Stuck inside the guard [1], Helio holds Rorion's biceps and raises his knee
[2]. With the arm bent, hold Rorion's leg so it does not escape and lift the
other leg [3]. Walking forward as he lifts his back, Helio grabs the
opponent's collar and holds it tight, propping the elbow against his knee
to hold Rorion's leg [4]. Turning the body sideways to create room for the
entrance of the hand, Helio slides the hand inside [5] until the shoulder
passes under the leg [6]. Taking the hand down [7], it holds another part
of the collar with the thumb in [8], letting theweight bodyfall [9].
Opening the legs to balance, raise the head to release the leg [10] until
establishing the cross-mounted [11]. Tip 1: In sequence 2-9, fasten the
opponent's leg using the knee and elbow. Tip 2: The right grip on the
collar is your foothold to not fall back.

SCRAPPING (HOLDING CALCANHARES)

When Rorion gets up inside the guard, Helio controls the elbows [1, 2].
Suddenly, he holds his heels at the same time he lowers his hips [3].
Immediately raise the hip, pushing the knees against thewaist
opponent's[4], sitting forward [5] until getting the mount [6]. Hint:
fasten your heels well at the time you push with your knees. Details A1
and A2: front view and side view of the pushed with the knees - correct
movement. Details B1 and B2: front view and lateral view of the pushed
with the calf - incorrect movement.

RIPPING (PLAYING UP)

When Rorion gets up to pass guard, Helio uncovers his legs and places his
feet on the opponent's hip while controlling the elbows [1, 2]. Then he
stretches his legs to throw the opponent up, [3] keeping his feet close to
his waist [4] and using the opponent's body weight to be taken along [5],
falling on the mount [6]. Tip: Pull your head out from the front and bring
your opponent's head toward your shoulder. Details A1 and A2: The hip
on the floor is the correct position. Details B1 and B2: The raised hip is
the wrong position.

RASPAGE (SIDE SCISSORS)

Rorion lifts one leg to pass guard [1, 2]. Helio uncovers his legs and
transfers his weight to the shoulder and to the opposite calf on the thigh
of the opponent to lift the hip from the ground [3]. Using the footprint on
the collar as a point of support and the shoulder on the floor, it turns
sideways byback the hip to the maximum pullingand placing sideways
[4]. Helium draws back the torso and makes a "scissors" movement,
simultaneously pushing the leg from bottom to back and from top to front
[5], thus achieving the mount [6]. Hint: in sequence 3-4, lift the hip off
the floor and swing like a "net." Detail A: with the calf on the thigh of the
opponent. Detail B: Lift the hips off the floor and back. Detail C: Cross the
knee in front of the opponent's belly, fitting the foot to his waist.
RIPPING (WITH HOOK)

When Rorion holds Helio's biceps, he grabs the kimono behind elbow the
opponent's[Detail: reverse angle] [1]. Rorion lifts one leg [2], and when
he begins to thrust his hand into the fold of Helio's knee to pass guard,
Helio uncovers his feet [3], supports the calf on the opponent's thigh and
transfers the weight to the opposite shoulder , retracting the hip as much
as possible [4]. Helio then moves the leg to the side [5] and hooks the
foot underknee Rorion's, placing his other foot on the opponent's other
knee [6]. When pushing the foot against the knee below, Helio draws
back the torso, pulls the elbow of Rorion and uses the hook to raise the
leg [7], completing the scraping and ending in the mount [8]. Tip: In step
4, lift the hip off the floor to ease the indentation.

SCRATCH (SITTING AND PUSHING WITH THE BELLY)

Helio has one hand on Rorion's collar while the other holds his elbow [1].
When Rorion sits back, Helio uncovers his legs and slides down the hand
that is on the collar [2]. He takes his hand behind the opponent's elbow
[3], stands up on his own elbow and holds the opponent's elbow [4].
Stretching the arm, Helio stands up even higher [5], leaning on the
opposite foot while immobilizing the elbow and pushing Rorion with his
belly forward [Detail A: Stretched foot, correct. Detail B: foot folded,
incorrect] [6], rolling it backwards [7] and thus reaching the mount [8].
Tip: In step 6, keep your foot stretched as in detail A during the spin.

ARM KEY (PASSING THE LEG UP THE HEAD)

Helio places one hand on the opponent's collar and, with the other,
controls his elbow [1]. Rorion lifts one leg and reaches into the fold of
Helio's knee [2]. When Rorion rests his knee on the floor to get the
shoulder underneath the knee, Helio plants his foot on the floor and
backs his hips [Detail A: planting his foot on the ground. Detail B:
Receding the hip] [3]. He then lifts the back leg [4], holds the opponent's
head and immobilizes the wrist [5], stretching the elbow by pressing it
down with the leg and raising the wrist [6]. Tip: In step 3, after pulling
back the hip, draw back the torso to facilitate the passage of the leg over
the head.

ARM WRENCH (OMOPLATA)

Helio has one hand on Rorion's collar while the other holds his elbow [1].
Rorion lifts one leg [Detail A: Helio plants his foot on the ground. Detail
B: Putting the weight on the foot, it draws back the hip] [2], draws back
the torso [3], taking the leg above [4] to hold the opponent's head and
roll his arm [5]. Sitting forward, Helio holds Rorion's waist [6],
repositions the legs [7] and completes the key by lifting the hip forward
[8]. Tip 1: In Step 4, push the opponent's head with your hand to create
room for the leg passage. Tip 2: In sequence 5-7, hug the opponent's
waist to prevent him from flipping forward.

KEY KIMURA KEY KIMURA

Rorion has his hand on the ground [1]. Helio holds the opponent's wrist
[2], uncrosses the legs and stands up on the elbow, passing the arm from
behind [Detail: reverse angle] [3], holds the wrist itself [4] and rolls
back, holding the leg of the opponent [5]. Transferring the weight to her
own foot, Helio pulls her hip back out from beneath her opponent, while
keeping her arm bent at a 90-degree angle [6]. He then puts his leg on
the opponent's back, adjusting the arm against his chest [7], and rolls the
body to the side, pushing the wrist as if it were a windshield wiper [8].
Tip 1: In ________________ sequence 3-4, when lifting, do not fall on
your arm. Tip 2: In step 3, when you stand up leaning on your elbow,
bend your hips to balance better. ________________ 6

ARM KEY (ROTATING)

Starting from the classic guard position [1], when Rorion lifts his leg [2],
Helio, while holding his elbow, uncrosses his feet and holds behind the
opponent's calf [3]. He then bends forward like a turtle, lifting the pelvis
and head from the ground and leading it towards the opponent's leg,
turning in the middle of the back. Passing the leg over the head [5], Helio
holds the arm against the chest, lifting the hip to complete the arm
wrench [6]. Tip 1: In sequence 3-5, your legs should be loose so you avoid
touching ________________ the opponent's body. Tip 2: In Step 6, bend
your legs to pinch your opponent. 3 ________________ 5

V ACTIU constriction (DELTA)

When the arm enters Rorion inside leg Helio [1] and lowers the shoulder
to pass the guard, Helio secure the wrist and the elbow of the opponent
[2]. Then, plant your foot on the floor to rotate your hips as you pull the
opponent's arm toward you, lifting the hip [3] to engage the back of the
knee around Rorion's neck while lifting the other leg [4]. He then pulls
Rorion's arm to the other side, placing his free leg on his own ankle [5].
Helio pulls his own foot to adjust the movement [6] and completes the
choke by tightening his legs, lifting the hip and pulling thehead
________________ opponent'ssimultaneously [7]. Tip: In Step 3, for a
correct fit of the leg around the opponent's neck, rotate the hip and
position your body perpendicular to that of the opponent.
________________

Lateral angle LEFT KEY (FRONT)

Helium has Rorion's leg in between. [1]. Place the arm around the ankle
[2], positioning the upper part of the forearm under the opponent's
Achilles tendon (calcaneal tendon), preparing the other arm [Detail: keep
the ankle tight under your armpit]. Putting his free hand on the
opponent's shuttle, Helio holds his own wrist using his leg to keep Rorion
in the distance and bends back by pressing his ankle to complete the
movement. Tip: Keep your foot adjusted throughout the movement.
________________ ?? ________________

KEY

heel with the foot exposed side [1], Helio places his fingers under her
armpit [2], and with the hand that is free rotates the leg Rorion while
placing the forearm under the heel [3]. Holding his foot against his body
[4], Helio holds his own wrist and uses his knees to immobilize the
opponent's leg, completing the action by turning the heel over his body
[5]. Tip: Be careful because this movement can hurt your opponent's knee
before he even feels pain. ________________ 2 5

FOOT KEY (SECURING THE FINGERS)

With the opponent's foot exposed [1], Helio places the arm on the leg
holding the base of the fingers [2]. Helio passes his other hand under the
heel [3] to hold his own wrist and twists the opponent's ankle, ending the
movement [4]. Tip: This foot switch can be applied in various positions.

A MOUNTED crossed

Barrigada OUT (UPA)

ELBOW OUTPUT PINCH WITH LEG (UNDER) KEY KIMURA ARM KEY
WRAP (PASSING THE HEAD UP FOR LEG) ELBOW SWITCH KEY ARM
(WITH KNEE ON BELLY) KEY KIMURA (North-South) ARM KEY WRAP
PINCH CROSS (HOLDING ARM) PLOW OF TIE SIDE OUT (USING ARM
FRAME) OUT TIE SIDE (USING ARM FRAME - WITH RESISTANCE) OUT
TIE SIDE (AGGRESSOR WITH HEAD DOWN ) output TIE SIDE
(AGGRESSOR with his head down - WITH RESISTANCE) output TIE SIDE
(AGGRESSOR SHRUNK) output TIE SIDE (AGGRESSOR SHRUNK - WITH
RESISTANCE) output TIE SIDE (WITH ARM JAM) This is an intermediate
position, usually used to control the opponent before getting the mount.
In this chapter, you will learn not only how to prevent mounts in various
ways and how to perform various finishes, but how to defend yourself
effectively against the dreaded tie on your side. BORED OUT
(UPA)crosswalk Rorion is on the[1] and turns sideways, placing the lower
leg next to Helio [2, 3], preparing the mount. Helio hugs the opponent's
waist [4], which, when he passes the leg over [Detail: Helio's other hand
is under the opponent's armpit] [5], receives a Helio flutter [Detail: the
exact moment is when the foot touches the ground ...] [Detail: ... give the
wobbly one with determination] [6], turning backward [Detail: reverse
angle] [7], and ending on guard [8]. Tip: What makes the movement
work is the fact that the attacker passes the leg over, but his weight
remains behind, on the hip. RODION'S EXIT Rorion is riding the
crosswalk [1]. When he stretches a leg backward to balance himself while
sliding the knee to try the riding, Helio rotates his hip by placing his leg
on the ground [2]. When the opponent passes over, transferring the
weight to the other side, Helio uses his elbow to raise the opponent's
knee from the ground [Detail: do not try to lift the hip] [3], entering his
own knee underneath [4] , taking his leg [5] and holding the opponent's
[6]. Helio struts the opponent's other knee with his left hand and draws
back the hip until it creates space to free and lift theknee left, planting
the foot on the floor between the legs of the opponent [7]. With her
weight now in the standing foot, Helio pulls back her hip to release her
left leg [8] and crosses her legs to close the guard [9]. Tip: In step 4, the
time to lift the knee is when the opponent transfers the weight from side
to side. RANGING WITH THE LEG (DOWN) When Rorion is in the cross-
over mount, Helio takes the collar from the back of Rorion's kimono with
his thumb in. Helio waits until Rorion moves his arm back [2, 3]. Then,
pass the leg over the head [4], hooking the knee fold around the
opponent's neck, opposite to his footprint [5]. Then pull the collar and
push with the leg, holding the cinnamon to keep the leg in place [6].
Hint: in sequence 2-3, encourage the opponent to put his hand back by
pulling back his hip, as if to put him in the guard. KEY KIMURA Helio
perceives the exposed arm [1], holds the opponent's wrist [2], passes the
other hand underneath [3], and holds his wrist as he sits sideways [4].
Passing the leg over [5], it positions the foot with the head attached.
When rotating the body, it twists the opponent's shoulder by completing
the key [6]. Tip: Use the foot as support to twist and hurt the shoulder.
WRIST ARM WRENCH (PASSING THE LEG UP THE HEAD) Helio is
holding Rorion's elbow with his hand and holding the forearm with the
armpit [1]. He passes the leg over [2], fitting the heel close to Rorion's
neck [3]. Pushing the hips forward, Helio bends back to stretch the
opponent's elbow [4]. Hint: Hold your elbow firmly to immobilize it.
ELBOW KEY Helio realize vulnerable arm [1]. Position the elbow fitted
against Rorion's neck by wrapping the wrist for the "American wrench"
[2]. When Helio passes his hand under [3], the opponent stretches the
arm [4]. Helio holds his own forearm and lifts it upward to loosen
Rorion's elbow [5]. Hint: Detail A: Keep your opponent's arm straight.
ARM KEY (WITH KNEE ON BARRIGA) With his knee in the opponent's
belly, Helio controls Rorion's elbow [1]. Helio loosens his elbow and
wraps Rorion's arm [2, 3, 4], placing his forearm under the opponent's
elbow. With one hand, he holds his own wrist while placing his other
hand on the opponent's biceps [5, 6]. With Rorion's elbow resting on his
thigh, Helio bends back to distend him [7]. Tip: In step 7, place your
forearm directly under the opponent's elbow. KEY KIMURA (NORTH-
SOUTH) While on the cross-over [1], Helio holds his collar by holdingarm
Rorion's[2]. Placing the other hand on the floor next to the opponent's
waist to block it, places itself in the north-south position [4]. Then raise
your leg, plant your foot [5 - reverse angle], hold your opponent's wrist
[6], release your own collar and hold your wrist [7], adjusting your
opponent's elbow against your chest while lifting your torso [8]. Helio
completes the key by reversing the position of his knees and taking the
opponent's wrist back [9]. Tip: In step 5, when lifting one leg, score the
other knee on the opponent's back. KEY ARM STRETCHED Rorion has his
hand around the neck of Helio [1]. This one passes the hand under the
arm and holds the own collar with the thumb inwards,moving
immediatelythe other hand to the other side and blocking the opponent's
waist [2, 3]. Keeping the arm adjusted, Helio advances to the north-south
position [4]. Raises one leg [5] and holds the wrist while putting his
other knee onbelly the opponent's[6]. Lie backward by taking the arm
[7], improving the footprint for finalization by holding the wrist with
both hands [8]. Tip: In step 5, when you turn your opponent aside, use
your knee to prop up his back. CROSSED STROKE (HOLDING ARM) Helio
is on the cross mount [1]. Holding his own collar, he holdsarm
Rorion's[2] and puts his other hand back, next to the opponent [3].
Planting his hand on the ground while holding his arm, he moves to the
north-south position by pressing his opponent's lower arm [4]. When, to
ease the pressure, Rorion removes the arm [Detail: reverse angle] [5],
Helio returns to the cross-piece and with the hand that was planted on
the ground, holds the opponent's other arm [Detail: pass the hand under
the arm to pick up the collar] [6]. With the back of the hand on the
ground, Helio holds the opponent's collar while holding his arm [7]. With
the other hand, hold the collar with the thumb in and keep the head low
to blockarm Rorion's[8]. Then, he wraps his wrist under the opponent's
jaw by squeezing his throat and rolling his body over his neck to
complete the strangulation [9]. Tip: The start of this movement is equal
to the position for the arm wrench. What determines the change of
direction is the action of step 5, when the opponent withdraws the arm
and exposes the neck. GUILHOTINA When crossed sideways [1], Helio
feels Rorion raise his head [2]. Helio wraps his arm around his neck [3, 4,
5] and, with his free hand, passes his own collar to the other hand [6].
Keeping a footprint on the collar [7], he turns the body sideways by
supporting the weight on the shoulder [8], passes the leg over, securing
the foot without touching the knee to the ground [9], and bends
backwards pushing the hip forward to finish [10]. Tip 1: In Step 7, grasp
your collar as deep as possible, do not leave any slack in the cloth. Tip 2:
The grip lever is a result of the relaxation of your weight and the
curvature of the body behind. OUTPUT TIE SIDE (usingFRAME) ARM
When Rorion attempts a tie [1, 2], Helio passes the rear arm to the front
of the head, holding the own pulse and stretches the arm against the neck
by making a frame for keeping the away opponent [Detail A: reverse
angle] [3]. Helio moves the hip to the side [Detail B], passes the leg over
the head of the opponent [Detail C] [4] to push it back [5] and crosses the
feet to tighten the neck [6]. Tip: In step 4, it is easier to lift both legs
simultaneously. Detail X: Squeezing with your legs over your neck is
right. Detail Y: Sticking your legs over your head is wrong. OUT SIDE TIE
(USINGFRAME ARM- WITH RESISTANCE) When Rorion tries a tie, Helio
passes the rear arm to the front of the head, holding the own pulse and
reaches out against the neck of the opponent making a frame for mantê-
(1, 2). Helio moves the hip to the side [3] and passes the leg over the
opponent's head [4]. Although pushed back, Rorion does not let go of his
tie [5]. Helio uncovers his feet and rolls forward, going over the
opponent [6] and opening his arms to establish the base [7]. He passes
the leg over to the mount, slipping the other knee behind the attacker's
head [8]. Making a frame with the forearm, Helio puts the blade of the
forearm against the neck of Rorion, lifting the head enough to take the
slack [9]. Then he puts the weight on the opponent's neck, forcing him to
release the tie [10]. Hint: in sequence 5-6, roll forward with
determination. SIDE TIE EXIT (AGGRESSOR WITH HEAD BELOW) This
time, Rorion lowers his head by holding Helio in a side tie [1, 2]. Helio
hugs the aggressor's shoulder, lifts the leg and engages the foot [3, 4],
climbs to the back by opening the arms and legs to establish the base and
disengages the foot [5]. As the aggressor's legs are stretched, he rolls
together. While holding the base, Helio lifts one leg by planting the foot
and sliding the knee back toward the opponent's head [6]. Preparing the
frame with the arms [7], he raises his head slightly to take the slack [8]
and tilts the weight forward, forcing Rorion to release the tie [9]. Tip: In
step 4, when you go up on the opponent's back, use the shoulder as a
point of support to get on your knees and lower your arm. OUT OF SIDE
CLEARANCE (AGGRESSOR WITH HEAD BELOW - WITH RESISTANCE)
Rorion has his head lowered while holding Helio in a side tie [1, 2]. Helio
hugs the attacker's shoulder, lifts the leg and hooks the foot [3]. When
Helio climbs to the back, the opponent stretches the leg to avoid being
rolled [4]. Transferring the weight to his own head and to his toes, Helio
lifts his knees from the floor and then transfers the weight of the head to
his shoulder in the middle of Rorion's back [Details A and B] [5]. As soon
as the attacker releases his tie, Helio holds his wrist and uses his other
hand to balance himself [6], shaking his arm to the finish [7]. Tip: In step
5, do not put your hand back on the floor while pressing the shoulder on
the back of the aggressor. Detail A: view from behind. Detail B: view from
the front. SIDE TIE EXIT (SHRUGGED AGGRESSOR ) When Rorion applies
a lateral tie lowering his head and shrinking his legs, Helio turns
sideways [1, 2] and embraces the aggressor's shoulder. Using his own
shoulder as a kneeling point [Detail: reverse angle] [3], Helio puts his
hand on the ground to establish the base and uses the neck to lift the
opponent [Detail: reverse angle] [4] and roll it back [5]. Opening the
arms to hold the base [6], he passes the leg over, planting his foot on the
ground and sliding the knee back toward the opponent's head [7, 8].
Preparing the frame with his arms, he raises his head to take the slack
[9] and tilts the weight forward, forcing Rorion to drop his tie [10]. Tip 1:
In step 4, when lifting the attacker, use your back and not arm strength.
Tip 2: In step 5, when you roll the attacker back, take your leg out of the
way. SIDE TAPE OUTPUT (STRESSED AGGRESSOR - WITH RESISTANCE)
Rorion applies a neck tie to the side lowering the head and shrinking the
legs [1, 2]. Helio turns sideways and embraces the attacker's shoulder.
Using his own shoulder as a kneeling point [Detail: reverse angle] [3],
puts his hand on the ground to establish the base to lift the opponent
[Detail: reverse angle]. Rorion, however, opens the leg to resist [4]. Helio
takes him down again [5] and jumps over his back with both legs [6].
Opening his arms to hold the base [7], Helio passes the leg over [8 -angle
reverse], planting his foot on the ground and sliding the knee from the
back toward the opponent's head [9]. Making the frame with his arms, he
lifts his head to take the slack and, leaning forward, wears off the tie
[10]. Tip: In step 5, when you jump over, use your forehead on the floor
as a foothold. SIDE-SHEET EXIT (WITHARM ARMED) Rorion holds
Helio's arm [1] and adjusts the tie. Helium holds the wrist firmly under
the attacker's armpit [Detail: reverse angle] [2] and first recedes the hip
and then the shoulder to create a small gap in the tie [Detail: reverse
angle] [3]. Knowing that the striker will certainly try to readjust the
position, Helio waits for the exact moment when the opponent moves the
weight of the body upwards trying to readjust the position to give a wig
up [Detail: lateral view] [4], rolling the attacker on his chest and
shoulder [Detail: side view] [5], from side to side [Detail: side view] [6].
Falling on his knees, Helio opens his arms, establishing the base [7] and
passes the leg over [8], planting his foot on the ground and sliding the
knee from the back toward the opponent's head [9]. Making the frame
with his arms, he lifts his head to take the slack, tilts the weight forward
and gets rid of the tie [10, 11]. Tip 1: Pull back your hip and shoulder to
create space as many times as necessary to make the attacker want to
readjust the footprint. Tip 2: If your trapped arm is the right one, sweep
it in the direction of 11 o'clock, that is, the left shoulder. ---CORRECT TO
HERE---- THE MOUNTED BY THE COASTS MOUNTING OUTPUT BY THE
COAST KEY OF FOOT (ON CROSSED FEET) CERVICAL KEY
STRANGULATION (MATA-LION) PLACING THE HOOKS A very
advantageous position, the back mounted offers simple andways
efficientto win a fight, in addition to exposing the opponent to injuries.
Here you will know how to escape if caught from behind, as well as what
to do when riding someone behind your back. MOUNTING OUTPUT BY
THE COAST Rorion is mounted on the coasts of Helio [1]. Even before
Rorion takes the collar, Helio lifts an arm [2], presses his head against
his biceps to protect the neck and grabs the opponent's wrist [Detail:
front view] [3]. Helium uses the feet to push the weight of the body to
the side, on the arm stuck [4]. Although the opponent has a hand on the
collar, Helio brings his back to the ground [5], releasing the wrist and
sliding back to create space [6]. He turns to the opponent [7], pushes his
leg, passes over [8], raises [9] and gets the mount [10]. Hint: fall to the
opposite side of the arm that is trying KEY OF FOOT (ON CROSSED
FEET) Rorion is behind Helio with the hooks embedded [1]. Suddenly he
crosses his feet [2]. Placing on top of the leg corresponding to the
opponent's upper leg [3], Helio places his other leg stretched over his
foot to form the number "4". Placing the calf directly below the
opponent's bunion, he lifts the hip to end the stroke [4]. Tip: When
someone rides your back, anticipate that they cross your legs. Detail A:
lateral view before tightening; the hip is low. Detail B: side view during
tightening; the hip is raised. CERVICAL KEY With Rorion belly down,
Helio is mounted from behind [1]. Helio lifts one leg [2] and, with both
hands, holds Rorion's forehead [3]; then sits back and applies a twist on
the neck [4]. Tip: The standing leg helps you maintain balance. CHORUS
(MATA-LION) Helio is behind Rorion [1]. He puts his arm around his
neck, positioning the elbow fold aligned and adjusted under the
opponent's chin [2], placing his hand on his own biceps [3]. Sliding the
other hand up and back from the opponent's head as if combing his hair
[4], Helio lowers his head and expands the chest, pulling the shoulders
and elbows back [Detail: reverse angle]. Tip 1: The essential element of
this bottleneck is the relaxed fit you should keep throughout the
movement, such as a warm hug. Your arms should not be stiff or tense.
The pressure is the result of your shoulders and elbows retracting back.
Tip 2: When executed correctly, the finalization happens within seconds
and without the slightest effort. PLACEMENT OF HOOKSlying Rorion ison
the ground with Helio mounted on his back [1]. When Rorion gets up,
Helio, balancing himself in his hands, pushes his hips down, bringing his
knees forward [2]. With his weight on the opponent's back, Helio engages
both legs at the same time [3, 4]. Details: view from behind. Tip: When
mounted on someone's back, anticipate the raised one. THE DIET
GRACIE After the divorce of our parents, Carlos took the lead among the
brothers. First teacher and fighter of the family, happened to be our
advisor. When we showed our skills inside the ring as fighters and
teachers, Carlos was able to entrust us with other tasks related to the
ring and started devoting more time to esoteric studies. He immersed
himself in a variety of subjects related to mind, body and spirit. Carlos
soon understood the fundamental relationship between health and
performance in sports. In order for us to be ready to defend the family
name against everyone and at any time, it was important to stay healthy.
This was his major motivation to go deeper into the study of nutrition
and the effect of different foods on the human body. Realizing that
various foods may cause different chemical reactions in the body, Carlos
focused his studies on the combination of foods. He believed that, at
every meal, the foods eaten should "combine" in order to trigger
favorable chemical reactions. The main goal was to avoid the acidity of
the blood to facilitate the digestive process, which is the activity of the
human body that requires more energy consumption. Although he had
never had a formal education in Nutrition, Carlos looked at the work of
countless experts around the world. Using himself and his family as
guinea pigs, he spent sixty-five years of his life developing and perfecting
the Gracie Diet. Over time, I have witnessed surprising results from your
nutritional regimen. When you are young, at twenty, thirty or forty, it is
difficult to feel the effects of improper eating habits. Written by healthy
looking young people, many modern diets achieve credibility based on
theory alone. But if you are forty and start following the fad diet, how
will you know the effect of it on your body in thirty or forty years? It is
impossible for today's gurus to prove the validity of their theories in the
long run. They simply did not live long enough for this. Ideally, you
should be informed about the diet of someone who is 70 and who has
followed such a diet for at least thirty years in order to be able to prove
the validity of the results promised. Unfortunately, there are not many
healthy people in their 70s these days. However, just as we have
demonstrated the effectiveness of our self-defense system with facts and
not with theories, I am living proof that the Gracie Diet works. I have
been following these food combinations for more than seventy years and
today, over ninety, I enjoy excellent mental andhealth physical, which
allows me, among other things, to continue teaching and training. I want
to thank you for the positive influence I received from my dear brother
Carlos Gracie, who was like a second father to me. With him I learned
theprinciples philosophicaland health concepts I follow to this day, as
well as the Japanese jiu-jitsu, which served as the basis for developing
Gracie Jiu-Jitsu - the most complete martial art on the planet. FOOD
COMBINATION TABLE TeacherCarlos Gracie Group A foods thattogether
and most of the food in Group B Avocado THISTLE CLAMS PUMPKIN RED
MEAT GREEN MUSTARD ZUCCHINI pigweed COLZA CHARD CHESTNUT-
DE-CAJU NABO CRESS CHESTNUT-DO-PARA NUTS AIPO ONION oregano
ARTICHOKES CARROT OYSTERS LETTUCE CHICORY ROEFISH GARLIC
CHUCHU BIRDS EGGS leeks COCO SECO PALMITOFRESH chicory
CABBAGE FISH ALMOND CAULIFLOWER CUCUMBER PEANUT PEA
FRESH PEQUI Asparagus Spinach CHILI HAZELNUTS BROAD bEANS
GREEN PINHÃO sorrel BEAN-GREEN OCTOPUS OIL FENNEL pupunha OIL
palm SESAME OKRA OLIVES FATS IN GENERAL RADISH bacaba GUANDU
Cabbage BRINJAL JILÓ SALSA bertalha LOBSTER milkweed BEET SQUID
IRIS BROCCOLI BUTTER taro BURITI SEAFOOD TOMATO RAW (JAM)
COCOA MAXIXE URUCUM Shrimp CORN green pod CRAB Group B foods
that do not match each other cassava BARLEY GRAIN OF BICO
AMIDONADOS CEVADINHA INHAME RICE PEAS DRIED LENTILS OAT
FLOUR CASSAVA NOODLES POTATO FLOUR CORN DRYCORN SWEET
POTATO starchy SOYBEANSDRY face BEAN DRY LUPINES CHESTNUT
Flour WHEAT AND DERIVATIVES RYE FRUIT-BREAD Group C: These
foods combine with each other and most of the food in Group B provided
that they are not cooked in fat or similar PEARS TYPE (GUAVA
SWEETACAI) DE ABIO INGÁ CHEESE-MINES APRICOT JACA cheese plate
CHEESE SUGARiN GENERAL KARO-LIMA FRESH PLUMSWEET ORANGE
RICOTTA BANANA baked or LIMA CURD BAKED BANANA dehydrated
apple ( SWEET) CREMELINO biriba BEE HONEY catupiry PERSIMMON
molasses SAPOTI COCO GREEN MELON TMARAS FIGS FRESH
WATERMELON GRAPES MOSCATEL FRUIT-DO-CONDE MAMÃO Teas:
LEAVES CAMOMILE PEEL ORORANGE LEAVES FIGUEIRA EARTH oF
jATOBÁBARK FENNEL(RAMA) BARK oF LEMON CEREAL HERBSYELLOW
MATE OR BLACK APPLE SWEET COFFEE COMMON BARLEYCEVADA CAFE
Group D: These foods do not combine with each other or with out ros
food PINEAPPLE RASPBERRY STRAWBERRY PLUM SOUR Genipapo
MEDLAR arrack GRAPEFRUIT PEAR SOUR Araticum GRAVIOLA PEACH
bacuri JABUTICABA PITANGA Caja JAMBO pitomba CAJU ORANGE
Pomegranate CARAMBOLA LEMON TAMARINDO CHERRY SOUR APPLE
TANGERINE CIDER MANGO GRAPEFRUIT CURD MANGABA UVA ACID
CUPUAÇU PASSION DAMASCUS QUINCE Group E: Part 9 Matches: No
match: Plums (SWEET) Avocado PERSIMMON IN SUGAR GENERAL
CREAM MILK OIL FIGSFRESH Broth-DE-CANE MILK OILSEEDS FRUIT
ORANGE LIME DRIED FRUIT LIMA KARO APPLE(SWEET) BUTTER
PAPAYA BEE HONEY MELON molasses WATERMELON OILS AND FATS iN
GENERAL PEARS CHEESE SAPOTI AND ALLFOOD GROUPB GRAPES
MOSCATEL AND ALL FRUIT SWEET FRESH Group F MILK It
combines combines with: with: FOODS GROUP OF FOODB group BANANA
RAW OR ROASTED Avocado SUGAR iN SACCHARIN OR SIMILAR
GENERAL GEM OF COOKED EGG FOOD OLIVES OLIVES MEATS OF ANY
EGG CLARK ITS DERIVATIVES (EXCEPT COALHADE, KEFIR, YOGURT
FRESH FRUIT AND OTHER FORMS OF DRYING) DRY FRUITS
OLEAGINOUS OILS AND FATS Group G: FRESH MILK CREAM Combines
with: does not match: FOOD GROUP B MEAT Avocado EGG WHITE
PUMPKIN (MATURE) OILS AND FATS FRUITSOILSEEDS BANANABAKED
ORRAW DRIED FRUIT OILSEEDS GREEN DRIED FRUIT GE MAIZE OF
FRESH SWEET FRUIT MILK AND DERIVATIVES (EXCEPT BUTTER)
VEGETABLES (SWEET) RAW OR BAKED (EXCEPT JUICE) PUPUNHA
FREQUENCY In order to avoid chemical conflict between foods, it is
strictly necessary to take a break of at least four and a half hours
between meals. Do not eat anything between them. NOTES Egg yolk, raw
or cooked, green coconut, brewer's yeast, coffee, and various types of
teas are compatible with any food because they are considered neutral.
The bread, to ferment less, must be made with pure or integral flour and
ingested 24 hours after its manufacture, in the form of toast or heated in
the oven. Avoid Candies and canned foods in syrup, paprika, cloves,
cinnamon, mustard, pickle, vinegar, ketchup and mayonnaise. Do not eat
ever Pork and its derivatives. GENERAL REMARKS Group A - Hot Meals
Restaurants generally use a wide variety of condiments, peppers and
sauces that are not recommended in the Gracie Diet. Think about it when
you place your order. Whenever you can, opt for fresh food. Remember:
French fries do not match the sandwich because potatoes do not match
bread. The ideal would be to make a hot meal at lunchtime and leave
themeal fruitfor dinner, since the fruits are easier to digest. Remember
that if we take into account the chemical reactions, melted cheese and
fresh cheese are not the same. The cheese changes when melted and is
considered "fat", combining only with hot meals. For example, cheese
plate and melted toast do not match with fruit, but the same cheese can
be ingested with fruit if it is not melted. Group B - Carbohydrates One
should not eat two types of carbohydrates in the same meal. For example,
rice should not be ingested with beans. Potato does not match with bread,
but pasta made with wheat flour combines with bread, as both are made
with the same raw material. Remember that differentcereal bran
nutritional(based on rice, oats or wheat) should be eaten with food from
their families. Group C - Sweet Fruits Sweet fruits combine with one type
of food containing carbohydrate and with various types of cheese. Dried
fruits of the sweet type also combine with the respective fruit in the
natural (for example: dried pears and papaya combine, the banana, that
has its own group, is exception). It is good to vary between different fruit
juices. We use the blender and the centrifuge a lot when we are
preparing our meals. The centrifuge should be used for fruits like apple,
melon and pineapple, as well as for carrot juice. Group D - Acid Fruit
Never mix acidic fruit with another food, not even with otherfruits
acidic. For example, mango does not match with pineapple, toast or
vegetables. It is advisable to eat the sour fruits at breakfast. Since the
acidic fruit should not be mixed with any other food, be sure to ingest a
good amount of the chosen fruit so you do not feel the need to feed before
four and a half hours. You can make fruit juice or simply eat it, however
you prefer. IMPORTANT REMINDERS 1. A blender is essential for mixing
different juices and for preparing fruit juices such as watermelons and
grapes. When using the blender to make juices, pass the mixture through
a sieve or into a tissue to remove the seeds and the pulp. Of course you
can eat fruit instead of making juice; by the way, this is usually the case
when you have to take your meal away from home. 2. All suggested meals
in the menu at the end of this book are complete. You can substitute
carbohydrate sources: for example, rice from rice with fish can be
substituted for potatoes, pasta etc. 3. Wait at least four and a half hours
between one meal and another so that the previous meal can be digested
before the next meal begins. If younot arehungry after four and a half
hours, you can and should wait, as you are probably still digesting the
previous meal. Eat enough to wait until the next meal without hunger,
but do not overeat. Always get up from the table with the feeling that you
could eat some more. The only thing that should be ingested between
meals is water. 4. Always wash and peel fruits and vegetables before
ingesting them. Avoid juices in cans or bottles, even those whose labeling
ensures 100% natural and preservative free. They can not be compared
to freshly made juice. Likewise, do not take soft drinks. 5. When eating
sweet fruit, remember that cheeses and toast are optional and do not
need to be eaten at every meal (especially if you are trying to lose
weight). 6. When making a hot meal, remember that foods like nuts and
avocados are considered good substitutes for meats, fish and eggs. 7. Milk
combines only with carbohydrates, butter, cheese or bananas. 8.
Vegetable or vegetable juices combine only with hot meals. You can make
pure carrot juice or mix it with other vegetables like celery, cucumber,
radish, peppers, garlic etc. 9. There are some cheeses on the market that
are considered fresh: cottage cheese, ricotta and cheese-mines. The softer
the cheese, the better. Avoid spicy or spicy ones. 10. When buying breads,
note that many of them are made from mixing grains. For example, many
breads are made with a mixture of different types of flour (wheat,
cornmeal, cassava, oats, etc.). Remember this because it is best to choose
a bread made with just one kind of grain. Be aware, too, that honey and
sugar are added to various breads and cereals. In this case, the bread or
cereal would not combine with milk or with salt food. Visit a health food
store and read the labels. 11. Do not eat acidic fruit (Group D) more than
three times a week. When making a sour fruit meal, try to make it in the
morning. 12. It is a good idea to stock the fruits you will eat most often.
Plan your meals, so you'll always have the matching foods at hand. 13. Do
not store juice ready to drink later. It will lose the potency of vitamins.
Also remember not to repeat the same food in a 24-period hour. 14.
Season your salad only with olive oil and salt. 15. NEVER EAT DESSERT!
If you are still hungry after a meal, eat more. After a hot meal, the
chemical reaction of mixing a cookie, ice cream or even a fruit will not do
you good. Learn to like what's good for your health! 16. We all know the
evil that cigarette, alcohol and drugs do for our health. Take care of you!
If not now, when? Most people have not been taught to eat healthily as
children, and as they grow up, they base their eating habits on their
personal taste, not on the health consequences. I know it is not easy to
change eating habits. Therefore, I recommend that you reread the
basictips dietand make the change gradually by planning a few meals a
week. As you get used to some meals, add other combinations. After two
weeks of eating three meals a day and using the Gracie Diet
combinations, you will already feel the effect of a meal with
"inappropriate" combinations when eating something out of the diet.
Lastly, considering that today people's greatest concern is losing weight,
I would remind you that by adopting these eating habits, you will
improve your overall health. It will have more energy, a better digestion,
it will be more resistant to diseases and, above all, it will feel happier.
SUGGESTED WEEKLY MENU Breakfast SUNDAY APPLE JUICE BEAT
WITH BANANAS SECOND ORANGE-LIMA, INTEGRAL TOAST AND
CHEESE TOMORROW PEARS, COOKIES, HONEY AND CHEESE FOUR
JUICE BEAT WITH BANANAS FIFTH MELANCIAEGGS, TORRADAS WITH
BUTTER AND COFFEE SIX PINEAPPLE JUICE SATURDAY FRESH FIGURES,
HONEY BEES AND CHEESE Lunch MEALGRILLED SALMON, RICE,
CHUCHU SU FLU, SALAD AND JUICE SUNDAY OF CARROT SECOND CORN
SOUP, SANDWICH GRILLED CHEESE AND SALTED ENSOPADO DE FISH,
INTEGRAL RICE, PURE CARROT AND TUESDAY SALAD FOURTH chicken
pot pie, NOODLES, zUCCHINI saute AndSALAD LIZARDsTUFFED, BROWN
RICE, sOUFFLE OF sPINACH AND FIFTH SALAD SIXTH SUSHI / SASHIMI
CHICKEN fILLET GRILLED, mashed potatoes, BROCCOLI SATURDAY
sauteed AND SALAD Dinner Sunday JUICE UVA MOSCATEL, CHEESE
AND ROASTED WHOLE WATERMELON JUICE, TMARAS, COTTAGE
CHEESE AND CRACKERS SECOND RYE, TUESDAY MAMÃO CREAM
CHEESE ANDHONEY BEES FOURTH MELON HIT JUICE WITHPEARS,
TMARAS AND AÇAÍ CHEESE BEAT WITH PUMP AND WATER OF
COCONUT GREEN, HONEY AND FIFTH CHEESE PEARS, GRAPES GRAPES,
CHEESE COTTAGE ANDBREAD SIXTH RICEROASTWELLING SATURDAY
JUICE, DRIED FIGS, CHEESE AND COOKIES GRACIE ACADEMY OF JIU-
JITSU CALIFORNIA - USA RIO DE JANEIRO - BRAZIL CALIFORNIA - USA
RIO DE JANEIRO – BRAZIL