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WW AA RR NN II NN GG

The techniques presented in this book are dangerous.

Before you begin

your Brazilian Jiu-jitsu training, you should consult a physician.

You and your partner should always communi-

cate with each other and stop when the other signals.

All techniques should be practiced under the supervi-

sion of a qualified instructor.

The author of this book shall not be held liable for the misuse of any information

contained within.

BBJJJJ BBLLUUEE BBEELLTT RREEQQUUIIRREEMMEENNTTSS

INTRODUCTION

Requirements for Blue Belt vary from school to school, even within the same association. The pur- pose of Brazilian Jiu-jitsu Basics is to provide readers with the most commonly required techniques for blue belt. This E Book does not contain ALL of the techniques from BJJ Basics, nor does it outline each tech- nique in depth. This is the Cliffs Notes version, providing readers with an outline of commonly required tech- niques. Before we start, I would like to provide you with a complete list of commonly required techniques for blue belt. Most teachers follow one of two approaches: 1. a smaller number of techniques form each position at a very high level of proficiency. 2. a larger number of techniques as an overview, making sure the student has a general understanding. I find myself somewhere in the middle, but prefer the first method and my Basic Book reflects the highest percentage moves (moves you see working most of the time) within the art of Brazilian Jiu-jitsu. I have broken the following list down by position to make it easy to follow:

Commonly Required Blue Belt Techniques:

Escapes

  • - Headlock Escape

  • - Side Control Escape

  • - Mount Escape (upa)

  • - Mount Escape (elbow escape/escaping movement)

  • - Ankle Lock Escape

  • - Escape from Knee on Belly

  • - Escape from Rear Choke

Hold Downs

Must show ability to control from:

  • - Mount

  • - Side

  • - Kesa Gatame

  • - Knee On Belly

  • - North South

Top Submissions

  • - Kimura

  • - Arm Lock (juji gatame)

  • - Choke from Mount

  • - Choke from Side

  • - Choke from Knee on belly

  • - Ankle Lock (sometimes from within guard)

  • - Americana (key lock)

Guard Must be able to exhibit the ability to keep people from passing the guard easily.

 

Submissions

-

Guillotine

-

Armbar

-

Omoplata

-

Triangle

-

Collar Chokes (2)

-

Kimura

-

Must be able to combine at least 3 of the previous moves in a sequence

Sweeps

-

Scissors

-

Standing Sweeps (usually require 2)

-

Belly (Kimura) Sweep

-

Setting up sweep with Armbar

-

Setting up sweep with Triangle

Guard Passing

-

2 - 3 Ways to Pass the Guard

Techniques from the Back

-

At least one way to take the back & control

-

Mata Leo Choke

-

Collar Choke

Standing Techniques

A variety of self defense movements are taught here, these are the ones that I feel are important:

 

Throws:

-

O Goshi

-

O Soto Gari

-

Ippon (usually for Rear Choke Escape)

Double Leg Takedown

 

Ukemi (how to fall)

Basic Self Defense Movements:

-

Bear Hug Defense

-

Head Lock Defense

-

Lapel Grab Defense

-

Basic Punch Defense

-

Basic Kick Defense

-

How to close the distance (clinch) on punches

Other Requirements:

Different schools may have extra requirements. Some schools will force you to compete for each belt, some don't compete at all. I have a set of basic disciplinary requirements, these are among them:

  • - I won't give a Blue Belt to a smoker

  • - Student must be helpful and respectful to classmates

  • - Student must show respect for himself and others outside the

school

Other Requirements: Different schools may have extra requirements. Some schools will force you to compete for
  • - Children and teen age students must be passing at school (academically)

  • - Student must show respect for their uniform and belt as well as hygiene

Some schools require you to know BJJ history, instructor's history, help around the school, etc … It all varies from school to school.

UNDERSTANDING THIS TEXT

I have included the Chapter outlines from Brazilian Jiu-jitsu Basics as this is an overview of the Blue Belt requirements. The actual book contains text descriptions for each picture in an easy to read format. I have included two pages as a sample of what you will see when you order the actual book.

119

SAMPLE PAGE FROM BRAZILIAN JIU-JITSU BASICS

SAMPLE PAGE FROM BRAZILIAN JIU-JITSU BASICS 2 Once I grab my oppo- nent’s left wrist, I
2
2
 

Once

I

grab my oppo-

nent’s

left

wrist,

I

will

sit

up,

reaching over his left tricep as

shown

to the

left in

f i g u r e

2 .

I continue to reach over

my opponent’s left arm with my

I

reach my own

Once

I

will

grab

3 4 To - - -
3
4
To
-
-
-

left

arm

until

right

wrist

reach

my

own

( f i g u r e 3 ). wrist,

I

it as shown in the circular picture below. I will

keep my opponent’s left arm bent at a 90 degree angle.

finish

this

lock

on

my

opponent’s shoulder, I must per-

h a n d

form the following tasks:

T u r n

m y

t o w a r d t h e

W e a v e m y

s h o w n

a n d

o p p o n e n t ’ s

c e i l i n g .

l e f t

K e e p m y r i g h t l e g o v e r h i s b a c k .

l e g

a r o u n d

h i s

a s

o u t .

l e f t

k i c k

1 2 3 G u i l l o t i n e C h o
1 2 3 G u i l l o t i n e C h o
1
1
2
2
3
3

G u i l l o t i n e C h o k e f r o m t h e G u a r d

Sometimes, I will attempt the Kimura lock and my oppo- nent will defend by grabbing

his own belt or pants as shown

here to the left in

f i g u r e

1

.

 

If

this

happens,

 

I

will

move

to

a

new

submission

by

releasing my

grip

on

my

oppo-

nent’s

left

arm

and

wrapping

my

left

arm

around

my

oppo-

nent’s

neck

until

my

left

 

hand

is

under his

chin

( f i g u r e

2 ).

 

Once

 

my

left

hand

is

under

my

opponent’s

chin,

I

will clasp my hands together as

shown in

f i g u r e

3 .

 
 

At

this

point,

I

must

remember

to

squeeze

his

 

neck

tightly with my arms, not allow-

ing him to pull his head out and

escape.

 

I

keep

my

guard

closed around

his

waist

and

squeeze my legs together.

119
119
S S t t a a n n d d i i n n g g

SSttaannddiinngg TTeecchhnniiqquueess CChhaapptteerr OOuuttlliinnee

Closing Distance

Punch Defense
Punch Defense

Kick Defense

S S t t a a n n d d i i n n g g
S S t t a a n n d d i i n n g g
S S t t a a n n d d i i n n g g
S S t t a a n n d d i i n n g g
S S t t a a n n d d i i n n g g
S S t t a a n n d d i i n n g g
Rear Choke Defense 29
Rear Choke Defense 29

Grab Defenses

Rear Choke Defense

29
29
BearHug Defense Head Lock Defense

BearHug

Defense

Head Lock

Defense

BearHug Defense Head Lock Defense
31
31
31
31
Passing the Guard Chapter Outline

Passing the Guard Chapter Outline

Passing the Guard Chapter Outline
59
59
59
T T e e c c h h n n i i q q u u
T T e e c c h h n n i i q q u u

TT ee cc hh nn ii qq uu ee ss ff rr oo mm CC oo nn tt rr oo ll ll ii nn gg ff rr oo mm

tt hh ee TT oo pp PP oo ss ii tt ii oo nn tt hh ee TT oo pp

11 00 00 KK ii ll oo ss

Hold-downs consist of a

This is simply

a

hold

down

from

series of immobilization techniques

the

side

position

where

you

are

and body positions that will allow you

chest to chest with your oppo-

to either restrain or submit your

nent. The leg of your opponent

opponent from the top. Your legs

that

is

closest

to

you

should

be

should be used as both counter

controlled so that he cannot

weights and stabilizers to hold your

replace

his

leg

underneath

your

opponent in a desired position. Most

body

and regain

his

guard

posi-

hold-downs from the side are

t i o n .

Fo r

t h i s

usually

grab

p u r p o s e ,

y o u r

h a n d

designed to keep your opponent's

will

your

opponent's

shoulders pinned to the floor.

pants by the hip

or leg.

 

Sometimes when your hand

 

is

required

for

a

finishing

tech-

KK ee ss aa GG aa tt aa mm ee

nique from this position, the hand

is

removed from the leg and the

There are two variations of

(your)

leg

closest

to

his

leg

is

Kesa Gatame: one in which your arm

moved in to block it. The leg on

is under the armpit of your oppo-

the side of your opponent's head

nent's far arm and the other where

is

usually

kept in an extended

your arm is around his neck instead.

position for two purposes:

 

In the variation where your arm is not under your opponent's armpit, you must be sure to keep the shoulder closest to you off the floor and main-

11 )) To assist in creating pressure by driving off the ball of your foot.

tain an upward pull on that arm. This

22 ))

To

p ro v i d e

a

c o u n t e r

w e i g h t

i n

leverage will stop your opponent from

the event that your opponent

rolling on his side and escaping.

attempts to roll you.

 
71
71
M o d i f i e d K e s a G a t a
M o d i f i e d K e s a G a t a m e
Pull up on your opponent’s close arm so
he cannot face you and get to his knees.
Post your leg out for a base
The difference between Kesa
Gatame and Modified Kesa
Gatame is the arm under your
opponent’s far armpit.
N N o o r r t t h h S S o o u u
N N o o r r t t h h S S o o u u

NN oo rr tt hh SS oo uu tt hh

Known in Japanese terms as "kami shiho gatame" or "top four cor- ner hold", this position should be help by keeping a wide base with your legs. If your legs are not posted out at a 45 degree angle, your opponent will have a better chance of rolling you from side to side. Your opponent's hips will be controlled by the use of your hands and sometimes your head in his lower abdominal region. Control of the hips will restrict the lower extrem- ities full range of motion.

MM oo uu nn tt

If you have achieved the mount position, you will be 'sitting' on your opponent's chest with both knees on the floor at either side of his body. This position is an excel- lent position from which to attack because your arms are not always required to maintain the hold. The freedom of your arms will allow you to either strike your opponent or apply submission holds.

KK nn ee ee oo nn BB ee ll ll yy

Like the mount position, your hands are free to attack your oppo- nent with strikes or submission holds. Many experts of jiu-jitsu prefer to use this position while fighting on surfaces that may cause damage to the knees. Here, a majority of your body weight is rested on your oppo- nent's sternum, belly or lower chest with your knee. Your other knee is kept at a 45 degree angle to your opponent's body for balance, count- er-weight, and mobility.

73
73
You may grip your opponent’s pants so that he cannot escape away or place his leg
You may grip your opponent’s pants so
that he cannot escape away or place his
leg under you to regain his guard.
You may choose to hold your oppo-
nent’s gi collar and apply pressure to
his face with your shoulder.
1 0 0 K i l o s
You may spread your legs out and drop your hips low to pre- vent being rolled.
You may spread your legs out
and drop your hips low to pre-
vent being rolled.
N o r t h S o u t h
Grab your opponent’s pants
so he cannot escape easily.
M o u n t You may flatten your stomach to his and grapevine the legs
M o u n t
You may flatten your stomach to his and
grapevine the legs for less maneuverabil-
ity, but greater control.
Sit higher on your opponent’s chest
for more attacking options ...
Your lef t Your right hand may be used to con- trol his leg or set
Your
lef t
Your right hand may be used to con-
trol his leg or set up chokes with the
use of the kimono.
hand may be
moved to dif-
ferent posi-
tions in order
to establish
control of set
up
submis-
sions.
K n e e o n B e l l y
Hold your oppo-
nent’s collar and
pant leg. Pull up
and drive your knee
into his chest/belly
for tight control.
F i n i s h i n g f r o m t h e
F i n i s h i n g f r o m t h e
F i n i s h i n g f r o m t h e

F i n i s h i n g f r o m

t h e T o p

Once you have established control of your opponent from the top position, a variety of submissions that may be applied will present them- selves. The following submissions are basic joint locks and chokes which every student must know before passing on to the level of blue belt in Brazilian Jiu-jitsu.

79
79
Arm Bar from Mount Americana from Mount Collar Choke from Side Arm Bar from Knee on

Arm Bar

from

Mount

Americana

from

Mount

Collar

Choke

from Side

Arm Bar

from Knee

on Belly

Collar

Choke

from

Mount

Arm Bar from Mount Americana from Mount Collar Choke from Side Arm Bar from Knee on
Collar Choke from Knee on Belly Kimura 81

Collar Choke from Knee on Belly

Kimura

81
81
T e c h n i q u e s f r o m t h
T e c h n i q u e s f r o m t h

T e c h n i q u e s f r o m t h e B a c k P o s i t i o n

RR ee aa rr MM oo uu nn tt

Also called "taking the back", the rear mount or back mount position is a trademark position of the art of Brazilian Jiu-jitsu. This is the most dominant of all jiu-jitsu positions and will provide it's user with the most protection against counter attacks out of all the positions of jiu-jitsu. As a user of this position, you are controlling your opponent with your feet, called "hooks" over the top of his upper (front) thighs. This will limit his ability to turn freely and face you or roll away. Attacking from the back will limit your opponent's leverage to strike or attack your vital areas, while at the same time, providing you with the position in which to mount a series of highly effective attacks.

Taking the

Back from

North South

Taking

the Back

Collar

Choke from

the Back

Taking the Back from North South Taking the Back Collar Choke from the Back
Taking the Back from North South Taking the Back Collar Choke from the Back
Taking the Back from North South Taking the Back Collar Choke from the Back
Taking the Back from North South Taking the Back Collar Choke from the Back
Taking the Back from North South Taking the Back Collar Choke from the Back
will be covered in greater depth i n T h e M a st e r
will be covered in greater depth
 

will be covered in greater depth

i

n

T h e

M a st e r

Tex t .

The important thing to

remember

is

to

not

allow

your

opponent

to

pass

your

guard

assume

control at your

and s i d e .

To

d o

t h i s ,

y o u

m a y

u s e

your feet

to

control your

opponent’s

arms,

hips

and

l

e g s .

Yo u r

h a n d s

m a y

a l s o

b e

incorporated

 

to

assist

in

set-

 

There

are

two

basic

ting

up

submissions

and

turn-

types

of

guard

in

Brazilian

ing your opponent over.

Jiu-jitsu:

open

and

closed.

Yo u r

fe e t

s h o u l d

b e

u s e d

Any

time

your

ankles

are

Any time your ankles are

crossed

behind

your

oppo-

 

nent’s

back,

your

guard

is

closed,

when

they

are

uncrossed, it is open.

My sug-

 

gestion

to

all

students

of

Brazilian

Jiu-jitsu

is

to

prac-

 

tice

with your guard

open

as

much as possible. Once your guard is open,

 

there

are

many

different

ways

to

place

your

feet

and

control

 

like hands, adding two to

your

your

opponent.

Each differ-

c

o n t ro l l i n g

 

l i m b s .

Yo u r fe e t

ent place ment has a name that

can be used to block punches,

most

schools use

to describe

or stop your opponent from

that

type

of

open

guard,

but

moving

to

your

side (passing

this is an advanced matter that

 

y o u r

g u a rd ) .

 

Fo r

t h i s ,

y o u

m a y

place your foot in your oppo- moving back or to the side. nent’s bicep. If your
place your foot in your oppo- moving back or to the side. nent’s bicep. If your

place

your

foot

in

your

oppo-

moving back or to the side.

nent’s bicep.

If your opponent

Let’s say your opponent

is

moving

to

your

left, you

wished to move to his left; in

should

place

your

foot

Yo u

m a y

in

his

that case, you would simply

l e f t

b i c e p .

a l s o

p lace

place your left foot behind his

your foot under your oppo-

right leg, preventing him from

nent’s

left

armpit

and

‘hook’

moving that way.

your

foot

behind

his

left

arm.

Your feet may be placed

As

you

do

this,

you must con-

in your opponent’s hips as well.

trol

his

collar

so

he

does

not

This action will help control the

attack your ankle

as

I

will

illus-

distance between you and your

trate in the section on leg

opponent. Remember that your

locks.

This

type

of

guard

use

legs are longer and far more

is

commonly

called

“spider

powerful than your opponent’s

place your foot in your oppo- moving back or to the side. nent’s bicep. If your

guard” and is a highly effective position from which to set up many common submissions in vol ving y our legs. Your feet may also be used to control your opponent’s legs by ‘hook- ing’ under or behind them. This will prevent your opponent from

arms. This will allow you to keep an opponent who wishes to strike you at a safe distance. Control of the hips is also very important against a much heav- ier opponent who is trying to impose his weight upon you. Through the combination of these foot placements, you

will begin to control and off- balance your opponent. This off-balancing will present you with new opportunities to sweep and/or submit your opponent with great ease from the bottom position.

103
103
The feet may be used like hands to control your opponent’s arms. Use your hands to
The feet may be
used like hands
to control your
opponent’s arms.
Use your hands to control your opponent’s
arms, legs or neck (collar) to stop him from
coming to your side (passing you legs) and
set up submissions or sweeps (turnovers).
S u b m i s s i o n s f r o m t
S u b m i s s i o n s f r o m t
S u b m i s s i o n s f r o m t

S u b m i s s i o n s f r o m t h e g u a r d

The first three submissions: 1. arm bar 2. triangle choke 3. omoplata (shoulder lock with the legs) in this section are the pillars of submission from the guard position. The reason for this is as follows: first, all three of these movements connect to each other equally. In other words, you will be able to access either one of these submissions if the first doesn't work or in the event that your opponent is making an escape attempt. The second reason for the importance placed on these movements is that they are all achieved through leverage created by your arms and legs together. This makes them very easy to apply with little use of strength. The final reason for the importance of these movements from the guard position is that they can all be performed without the use of the kimono, making them applicable in any situation. In the next few pages, I will illustrate the differences between these three moves when the kimono is not involved. The techniques without the kimono are straight from the Master Text and will give you a tiny sample of what is to come.

105
105
Armbar Triangle Collar Choke Kimura Guillotine

Armbar

Triangle

Collar

Choke

Kimura

Guillotine

Armbar Triangle Collar Choke Kimura Guillotine
Omoplata 107
Omoplata 107

Omoplata

107
107
Using Armbar to Set up Sweep Using Triangle to Set up Sweep Standing Sweep 1 Standing

Using Armbar to Set up Sweep

Using Triangle to Set up Sweep

Standing

Sweep 1

Standing

Sweep 2

Scissors

Sweep

Using Armbar to Set up Sweep Using Triangle to Set up Sweep Standing Sweep 1 Standing
Kimura Sweep 123

Kimura Sweep

123
123
Mount Escape Kesa Gatame Escape Side Control Escape Back Hold Escape

Mount

Escape

Kesa

Gatame

Escape

Side

Control

Escape

Back

Hold

Escape

Mount Escape Kesa Gatame Escape Side Control Escape Back Hold Escape
Mount Escape Kesa Gatame Escape Side Control Escape Back Hold Escape
Mount Escape Kesa Gatame Escape Side Control Escape Back Hold Escape
Mount Escape Kesa Gatame Escape Side Control Escape Back Hold Escape
Mount Escape Kesa Gatame Escape Side Control Escape Back Hold Escape
L L e e g g L L o o c c k k s s
L L e e g g L L o o c c k k s s
L L e e g g L L o o c c k k s s

LL ee gg LL oo cc kk ss

For reasons of safety and other philosophical complexities, leg lock techniques in Brazilian Jiu-jitsu are usually a secondary method of attack. It is, however impor tant to lear n and understand them. You will probably find that responsible instructors will not allow you to perform these techniques as a beginner during regular free sparring practice. There are two fundamental reasons for this: the first is because accidents do happen in every sport. If you are allowed to perform leg locks at full speed and resistance, it is inevitable that you or your partner will eventually make a mistake and injure that area. If an injury to the leg occurs, unlike an injury to the arm, the recipi- ent will be extremely disabled and may not be able to attend work or other important life callings and typical duties. The second reason is that the nature of the nervous system in the are of the foot is such that the recipient of the lock will often times not feel pain before damage to the ligaments occurs. A student will eventually gain the experience and level of maturity that will trigger a willingness to submit to this type of lock, but in the beginning of your Jiu-jitsu practice, you will not yet have this foresight.

Ankle Lock Escape Knee Bar

Ankle Lock

Escape

Knee Bar

Ankle Lock Escape Knee Bar