Level 1 Handbook
61
FLWCA COMBATIVES ACADEMY FLWCA COMBATIVES ACADEMY FLWCA COMBATIVES ACADEMY FLWCA COMBATIVES ACADEMY Level I Handbook
Transcript of Level 1 Handbook
FLWCA COMBATIVES ACADEMYFLWCA COMBATIVES ACADEMYFLWCA COMBATIVES ACADEMYFLWCA COMBATIVES ACADEMY
Level I Handbook
The History Modern Army Combatives
The History Modern Army Combatives (MAC)
In 1995 when the Commander of the 2nd Ranger Battalion ordered a reinvigoration Combatives training within the battalion, it didn’t take long for serious problems with the Army’s existing Combatives program to surface. There was the general feeling among the Rangers that the techniques would not work and that it was a waste of valuable training time. In general the Rangers would rather have been shooting, road marching or anything else that they felt they would get actual training value from. At that time the Army had a Combatives manual, FM 21-150 (1992), but had no program to produce qualified instructors or any system for implementing the training in units other than the vague approach of leaving it to local commander’s discretion. Unit instructors inevitably ended up being whatever martial arts hobbyist happened to be in that unit and the training progressed along the lines of whatever civilian martial arts they had studied in their off duty time. In most units there was no training at all. The Ranger commander appointed a committee, headed by Matt Larsen, which began to look for a better method. The instructors within the battalion consisted of various traditional martial artists: karate, ju-jitsu, ninjitsu, boxing, wrestling etc. J. Robinson, the head coach of the University of Minnesota wrestling program, himself a Vietnam era Ranger, came out to evaluate the emerging program and gave some valuable advice, mainly that a successful program must have a competitive aspect in order to motivate Soldiers to train and that it must include “live” sparing in order to be useful in growing a combative culture. The committee began to develop a program based around wrestling, boxing and the various martial arts they had experienced such as Judo and Muay Thai. Eventually, after looking at many different systems, several Rangers went to train at the Gracie Jiu-Jitsu Academy in Torrance, California. The Jiu-Jitsu taught at the Gracie Academy fit many of the battalions needs. It was easy to learn, had a competitive form, and was proven effective within the arena of Mixed Martial Arts fighting. It did however have some problems. Gracie Jiu-Jitsu was principally designed for the venue that had made it famous, one on one arena fighting, also, sportive Jiu-Jitsu, had great potential to change the art into something not oriented toward fighting at all. Rorion and Royce Gracie made three trips to the battalion over the next couple of years and Larsen and a couple of others made the trip down to Torrance on their own. During this time within the battalion they were developing the drill based training program that has become an essential element in the Modern Army Combatives (MAC) program. The basic idea is that, since commanders have many competing priorities when it comes to training their units, any Combatives program that competes for training time with, for example, shooting is doomed to failure. A successful Combatives program then must fit around the other elements of a units training. By developing a system based on drills, each drill being designed to engrain the basic concepts behind the system, small unit leaders can train Combatives as a part of their existing physical training program without displacing other elements such as running our other forms of PT. With this approach, Combatives can become an integral part of every Soldier’s normal day. As the system matured they began to realize what it was about the techniques of Brazilian Jiu-Jitsu that made them work, namely that you could practice them at full speed against a fully resistant opponent. With this principle, techniques that do not work are quickly abandoned for those that do. They also began to draw from other martial arts that share various levels of this “live” training to fill in the tactical gaps of pure Gracie Jiu-Jitsu. The classic plan of taking an opponent down and submitting them works well in the arena but in the real world the tactics must fit the tactical situation and therefore this basic “rice and beans” approach of take them down and finish them on the ground wasn’t enough for the Ranger’s needs.
1
As the program began to grow technically, its success made it grow outside of the battalion, at first to the rest of the Ranger Regiment, and then throughout the infantry and eventually, with the publishing of the new Field Manual FM 3-25.150 (2002) written by Larsen, became doctrine Army wide. As they began to explore the various training methods of the other “feeder arts”, the ways they complemented each other and exposed each others weaknesses become clear. The concept of positional dominance from Jiu-Jitsu was expanded to the other ranges of combat and blended with techniques from wrestling, boxing, Muay Thai, judo to name just a few. With weapons fighting lessons from Kali and the western martial arts and their own experience from years in the infantry including actual combat, by September 11th, 2001 they had developed a totally integrated system of Close Quarters Combat and laid a sound foundation from which to learn the lessons of the battlefields to come. By that time Larsen had already established what would become the U.S. Army Combatives School at Ft. Benning Georgia, to train the cadre at various infantry leadership courses, and the first two levels of Combatives Instructor qualification which at that time was still primarily drawn from the lessons from Mixed Martial Arts competitions mixed with the prevailing wisdom on Close Quarters Battle. When fighting started in Afghanistan, they began to conduct post action interviews with Soldiers who had been involved in hand-to-hand fighting, developing an interview format and procedures to draw out the lessons that might be missed in a simple narrative. What equipment was the Soldier wearing, what was the tactical situation and other questions? In the years since then, the Combatives School has conducted hundreds of these interviews and adjusted the curriculum with the lessons learned. For example, while every hand-to-hand fight documented has involved grappling, there have not been any that involved striking alone although striking is always a part of the grappling. Also, around thirty percent of the fights have ended with gun shots. Fighting in an environment where everyone is armed means that very frequently the fight is over who controls the weapons. In order to improve the hand-to-hand fighting ability of every Soldier in a unit, it is necessary to systematically develop skills, movement patterns and understanding of fight strategy. The basic techniques are a blueprint for doing just that. This is the method used in the first two instructor training courses. Before moving on Soldiers should have mastered every detail of these basic techniques and drills. Beyond these basics, which must be proscriptive because of the demands of teaching over a million students, the training will become conceptual, more how to train than technique specific. At that level the techniques should be taken as examples of the kind of things that work and should point you in the right direction. The nature of today’s battlefield, the equipment we may be wearing, the missions we find ourselves tasked with, like the needs that you may have for Combatives training, are constantly changing. Effective Combatives training must also be an ever evolving process. The Modern Army Combatives Program will point you in the right direction to begin that process.
FIGHT TACTICS/TRAINING STRATEGY
When two untrained fighters meet, almost anywhere in the world, their tactic to win the fight will most likely be to pummel each other with their fists until one of them receives enough damage that they cannot fight back effectively. This is referred to as the Universal Fight Plan because everyone knows it instinctively. The approach that most martial arts take to training is to make fighters better at executing this same strategy. This has the drawback of pitting fighters directly against their opponent in what essentially becomes a contest of athletic ability, the bigger, stronger and faster of the two having a natural advantage. With a large enough skill advantage this can be overcome but striking skill is one of the more difficult areas of combative technique to master. It is more efficient to teach fighters to control a fight by controlling the elements of the fight. These elements are the Range , Angle and Level . The first step is to teach a tactic that defeats the universal
2
fight plan through this control and lays a foundation for mastering more complex tactics that are dependant on higher levels of skill. The Basic fight strategy of MAC has three phases. They are: 1. Close the distance The untrained fighter is primarily dangerous at punching range. The goal is to avoid that range. Even if you are the superior striker, the most dangerous thing you can do is to spend time at the range where the enemy has the highest probability of victory. When training soldiers, the primary goal should be instilling the courage to close the distance. The willingness to close with the enemy is the defining characteristic of a warrior and the ability to do so against an opponent who is trying to hit you is the first step in learning the use of range to control a fight. 2. Gain dominant position Before any killing or disabling technique can be applied, the soldier must first gain and maintain dominant body position. It is the leverage gained from dominant body position that allows the fighter to defeat a stronger opponent. An appreciation for dominant position is fundamental to becoming a proficient fighter because it ties together what would otherwise be a long confusing list of unrelated techniques. If a finishing technique is attempted from dominant position and fails, the fighter can simply try again. If, on the other hand, a finishing technique is attempted from other than dominant position and fails, it will usually mean defeat. 3. Finish the fight When dominant body position has been achieved, the fighter can begin attempts to finish the fight secure in the knowledge that if an attempt fails, as long as he maintains dominant position, he may simply try again. Training will start with ground grappling, which is not only easier both to teach and to learn, but also provides a sound base from which to move to the more difficult standing techniques. The material covered in this handbook is considered the baseline knowledge that every soldier should know.
3
Dril
l One
1. Stand in Base -- Sit like a fighter
-- Knee through the armpit
-- assume a fighters stance
2. Escape the Mount, Trap and Roll -- Elbows in and on the ground
-- Capture the arm
-- First hand with no thumb
-- Second hand with the thumb on the outside
-- Capture the leg on the same side
-- Knee in the butt
-- Lift with the hips
-- Roll over into his guard
3. Pass the Guard -- Assume good posture
-- Control the arms at the biceps
-- One leg comes up to turn the hips
-- Same side hand goes through the legs, fingers first
-- Place the hand on the ground and the knee on the
ground and scoot away
-- Step and reach
-- Grasp the collar with the thumb on the inside
-- Change the knees and bring the hips around to the
side
-- Stack him up, pushing his knee straight over his
head until you break the grip of his legs
-- Let his leg past your head
-- Place the elbow in the elbow notch
-- Place the other hand under the hips and assume a
good side control position
4. Achieve the Mount from Side Control -- Sit through and place your knee against the hip
-- Spread your legs to avoid being taken over
backwards
-- Use the hand to clear the legs
-- Step over and mount
5. Arm Push and Roll to the Rear Mount -- Trap opponent arm with your chest
-- Ratchet opponent onto his stomach
-- Position your feet near opponent’s hips
-- As opponent rises to hands and knees execute the
rear mount
6. Escape the Rear Mount -- Arms beside your head and other hand in your
armpit
-- Opponent’s hand points the way
-- Fall to the side
-- Scoot out to that side
-- Use the ground to “scrape” him off your back
-- Get the knee on the ground at his hip
-- Use the foot to hook under his knee
-- Roll into and gain the mount
7. Escape the Mount, Shrimp to the Guard --You have captured your opponent’s arm in an
attempt to roll him. He moves his leg to avoid being
rolled and creates an opening
-- Uses your elbow to lift his leg, face toward the
opening and move your leg under it until the knee
comes out, loops over leg, and hooks that leg
-- Places your weight on the foot of that leg and turn
to face the other side
-- Use your hands to push on the opponent’s leg
-- Moves your other leg under the opponent’s leg
and over like
-- If you foot gets caught faces away from it and
moves your hips back to make space
-- Places your opponent in your guard
8. Scissors Sweep -- Enemy creates space when raising leg to pass
guard
-- Grasp opposite arm, relax guard, pivot on his thigh
with your calf
-- Drop opposite knee flat on ground in front of his
posted knee
-- Drop knee of pivot leg across enemy’s waist line,
hook hip with foot
-- Grasp collar with free hand, pull down
-- Scissors legs, end up mounted
9. Rear Naked Choke -- Biceps against one side of the neck
-- Forearm against the other side
-- Shrug to synch it up
-- Place the hand of the choking arm on biceps of
other arm
-- Hand comes behind his head as if you were
combing his hair
-- Tuck your head down
-- Choke by expanding the chest
-- Only done from the rear mount
10. Cross Collar Choke from the Mount and
Guard -- Weak hand opens the collar
-- Hand goes in fingers first
Dril
l Tw
oD
rill Three
(pg-6)
(pg-16)
(pg-18)
(21)
(24)
(pg-27)
(30)
(pg-32)
(pg-33)
(pg-42)
4
-- All the way behind the neck
-- Second hand goes under the first
-- Fingers on the inside all the way until it meets the
other hand
-- Turn wrists so that your palms face you
-- Pull him into you
-- Choke by expanding the chest, pulling the
shoulders back and elbows in to your sides
-- Done from either the mount or the guard
11. The Bent Arm Bar (Mount and Side
Control) -- You are mounted and your opponent blocks with
arms parallel
-- With the heel of the hands, strike the opposite
arm and drive it to the ground
-- Elbow in elbow notch and thumb-less grip
-- Other arm goes under the elbow and grasps your
own wrist
-- Drag like a paintbrush and raise the elbow at the
same time
-- Keep head down on the wrist /protect eyes
12. The Straight Arm Bar from the Mount -- The opponent tries to defend the mount by
pushing straight up again your chest
-- Lean on his arms and decide which arm you want
to break
-- Arms go over and under the arm to the broken
-- With all of your weight resting on his hands, pop
up to a low squatting position Note: Keep butt low
-- Turn away from the arm to be broken and move
the foot over the head
-- Slide down the arm like a fireman’s pole
-- Pinch the arm between your legs
-- Break the arm by raising the hips up against the
elbow joint
-- Do not cross the feet
13. The Straight Arm Bar from the Guard -- Your opponent is in the guard and attempting a
choke
-- Decide which arm to break
-- Grasp the arm to be broken at or above the elbow
-- Place the other hand to the knee, palm up
-- Relax the legs and bring them above you
-- Curl your back
-- Pull with the arm under his leg and spin
-- Place the leg over his head
-- Pull the hand from behind the knee and grasp his
wrist
-- Break the elbow with forward hip pressure
14. Sweep from the Attempted Straight
Arm Bar -- The enemy tucks his head to avoid the arm bar
-- Pull his leg close to your head
-- Swing leg to gain momentum, and curl it
-- Push him straight over to come up mounted
15. Close the Gap and Achieve the Clinch -- Start from a fighting stance outside of kicking
range
-- Tuck in your chin and use the arms to cover the
vital points of the head
-- Aggressively close the distance
-- Head goes to the enemy’s chest and cupped
hands to his biceps
-- Face away from the side you are moving to
-- Control the far side arm by reaching over it and
pulling into your armpit, holding it at the elbow
-- Drive the other elbow under his elbow
-- Grasp him around the waist
16. Front Takedown to the Mount -- Release the grip on the elbow and grasp hands
behind his hip
-- Step slightly to his front
-- Pull with the hands and push with head to push
him over backwards
-- Release the grip as he falls and step over to the
mount
17. Rear Takedown -- Head in opponent’s lower back
-- Trap opponent’s far foot
-- Sit down while maintaining hold on opponent
-- Release grip as opponent falls and step over into
mount
18. Front Guillotine Choke -- The opponent attempts a double leg takedown
-- Sprawl slightly so that his head is in your armpit
-- Reach around under his chin
-- Without going around his arm grasp the hand of
the first arm with the second
-- Both palms should be facing you
-- Pull up to tighten the choke
-- Sit down to place the enemy in the guard
-- Finish the choke by pulling with the arms and
pushing with the legs
(pg-35)
(37)
(39)(pg-40)
(pg-46)
(pg-44)
(pg-50)
(pg-51)
5
GR
OU
ND
GR
AP
PLIN
G—
BA
SIC
TE
CH
NIQ
UE
S
ST
AN
D IN
BA
SE
S
tand I
n B
ase
allo
ws t
he f
ighte
r to
sta
nd i
n t
he p
resence o
f an o
pp
on
ent
or
pote
ntia
l opp
on
ent
without
com
pro
mis
ing h
is b
ase a
nd m
akin
g
him
self v
uln
era
ble
to a
ttack. L
ead
ers
sho
uld
rein
forc
e the p
rincip
les o
f b
od
y m
ovem
ent in
here
nt in
this
techn
iqu
e e
very
tim
e a
fig
hte
r sta
nds u
p.
(1)
Sit lik
e a fighte
r. P
lace your
dom
inant
ha
nd
be
hin
d y
ou o
n t
he
gro
und t
o pro
vid
e a b
ase.
Bend
yo
ur
non-d
om
ina
nt
leg
at
the
knee,
an
d p
ost
the fo
ot
on
th
e
gro
und.
Ben
d y
our
no
n-d
om
inant
arm
at
the e
lbo
w,
and p
lace
the
elb
ow
ne
ar
the
knee o
f your
non-
dom
inant
leg,
with
the
pa
lm
of
yo
ur
ha
nd in
fr
ont
of
yo
ur
head
fa
cin
g
your
oppo
ne
nt
to d
efe
nd
blo
ws.
Kee
p th
e str
ikin
g fo
ot
of
yo
ur
dom
ina
nt
leg p
ara
llel
to t
he
gro
und,
an
d u
se it to
kic
k your
opp
on
ent
to
cre
ate
space
to
sta
nd.
(2)
Pla
cin
g yo
ur
we
ight
on
yo
ur
dom
inan
t hand
and
non-d
om
ina
nt
foot, pic
k up
th
e r
est of
your
bod
y.
(3)
Sw
ing t
he l
eg b
etw
ee
n t
he t
wo
posts
.
WA
RN
ING
NE
VE
R b
en
d o
ver
at
yo
ur
wais
t. T
his
will allo
w y
ou
r o
pp
on
en
t to
str
ike y
ou
r fa
ce w
ith
kn
ees a
nd
kic
ks.
(4)
Pla
ce
the
fo
ot
be
hin
d
yo
ur
dom
ina
nt han
d.
NO
TE
: K
eep
th
e
knee
beh
ind y
our
sa
me-s
ide a
rm,
as s
ho
wn.
(5)
After
pla
cin
g y
our
weig
ht
on
both
fe
et,
lift
your
hand
from
the g
round, and a
ssum
e
a F
ighting S
tance.
6
GR
OU
ND
GR
AP
PLIN
G—
BA
SIC
TE
CH
NIQ
UE
S
FIG
HT
ING
ST
AN
CE
T
he F
ighting S
tance a
llow
s t
he S
old
ier
to a
ssum
e a
n o
ffensiv
e p
ostu
re c
onduciv
e t
o a
ttack,
while
still
bein
g a
ble
to m
ove a
nd d
efe
nd h
imself.
The
Fig
hting S
tance is n
ot
only
a p
latform
for
unarm
ed f
ighting;
it c
an a
lso b
e u
sed f
or
various w
eapons,
from
clo
se-r
ange c
onta
ct
weapons t
o p
roje
ctile
w
eapons.
Hold
your
ha
nds h
igh,
with t
he p
alm
s f
acin
g
each
oth
er
in a
loose
fis
t. K
eep
yo
ur
line
of
sig
ht
just
ab
ove t
he h
ands.
Turn
your
wa
ist
slig
htly s
o t
ha
t th
e lead h
ip is
facin
g
yo
ur
oppo
ne
nt,
but
keep
yo
ur
he
ad
and s
hou
lders
above y
our
hip
s.
Keep
yo
ur
chin
tu
cke
d.
Lo
ok
just
bene
ath
yo
ur
eye
bro
ws at
yo
ur
op
po
nent. B
lock th
e
sid
e o
f your
face w
ith y
our
lea
d s
hou
lder.
Keep yo
ur
elb
ow
s tu
cked in
to your
bo
dy to
cover
the s
ides o
f yo
ur
tors
o;
the
y s
hou
ld n
ot
fly o
ut
horizonta
lly w
hile
pu
nchin
g.
Ho
ld y
ou
r fo
rearm
s p
erp
end
icula
r to
th
e g
roun
d s
o t
hat
yo
ur
elb
ow
s a
re p
ositio
ned o
ver
yo
ur
kne
es.
Pla
ce y
our
lea
d f
oot
12 t
o 1
8 i
nch
es i
n f
ront
of
your
tra
il fo
ot,
an
d
turn
your
lea
d
foot
abo
ut
15 d
egre
es i
nw
ard
. P
ositio
n y
our
feet
appro
xim
ate
ly
shou
lder-
wid
th
ap
art
. T
urn
yo
ur
trail
foot
abo
ut
45 degre
es o
utw
ard
to
pro
vid
e
sta
bili
ty
in
all
dir
ections.
Ke
ep
the
hee
l of
yo
ur
trail
foot
off
the
gro
und,
and
carr
y y
our
bo
dy w
eig
ht
on t
he
balls
of
yo
ur
feet.
Bend y
our
lea
d k
nee,
an
d p
ush i
t fo
rwa
rd s
o
that
yo
ur
kne
e
is
directly
above
yo
ur
toe
. B
end y
our
trail
knee s
lightly.
NO
TE
: T
he lead foot is
the n
on-d
om
inant fo
ot. T
he tra
il fo
ot
is the d
om
inant fo
ot.
7
GR
OU
ND
GR
AP
PLIN
G—
BA
SIC
TE
CH
NIQ
UE
S
OP
PO
SIN
G T
HU
MB
S G
RIP
T
he fig
hte
r uses the O
pposin
g T
hum
bs G
rip w
hen h
is o
pponent m
ay b
e a
ble
to a
ttack h
is g
rip b
y p
eelin
g b
ack h
is fin
gers
; fo
r exam
ple
, w
hen h
is
hands a
re p
ositio
ned in fro
nt of his
opponent.
Gra
sp
han
ds
tightly
tog
eth
er,
w
ith
one
th
um
b f
acin
g u
p a
nd t
he o
the
r fa
cin
g d
ow
n.
Tuck b
oth
thum
bs t
ightly.
NO
TE
: D
O N
OT
inte
rlock y
ou
r fing
ers
. T
his
m
ay
allo
w
yo
ur
op
po
ne
nt
to
bre
ak
yo
ur
fingers
or
esca
pe the lock.
Keep
all
fing
ers
to
geth
er,
a
nd
use
each
han
d a
s o
ne u
nit.
8
GR
OU
ND
GR
AP
PLIN
G—
BA
SIC
TE
CH
NIQ
UE
S
WR
ES
TL
ER
’S G
RIP
T
he fig
hte
r never
uses the W
restler’s G
rip w
hen h
is h
ands a
re p
ositio
ned in fro
nt of his
opponent.
Hold
hands t
og
eth
er
as t
ho
ug
h c
lapp
ing.
Tuck
both
thum
bs.
Tuck th
e botto
m th
um
b to
pre
vent
yo
ur
opp
on
ent fr
om
escap
ing.
9
GR
OU
ND
GR
AP
PLIN
G—
BA
SIC
TE
CH
NIQ
UE
S
TH
UM
B/T
HU
MB
LE
SS
GR
IP
The T
hum
ble
ss G
rip is v
ery
str
ong in t
he d
irection o
f th
e f
ingers
and w
hen c
lam
pin
g a
gain
st
som
eth
ing,
such a
s a
fig
hte
r's c
hest. T
he T
hum
b G
rip
can p
rovid
e m
ore
contr
ol, b
ut is
very
weak in the d
irection o
f th
e thum
b a
nd fin
gert
ips.
10
GR
OU
ND
GR
AP
PLIN
G—
DO
MIN
AN
T B
OD
Y P
OS
ITIO
NS
RE
AR
MO
UN
T
The R
ear
Mou
nt
giv
es t
he fig
hte
r th
e b
est contr
ol of th
e fig
ht. F
rom
this
positio
n, it is v
ery
difficult for
the o
pp
on
ent to
defe
nd h
imself o
r counte
rattack.
Pla
ce one arm
und
er
your
opp
one
nt's
arm
pit an
d th
e oth
er
over
his
opp
osite s
hould
er.
Cla
sp
yo
ur
han
ds
in
an
O
pposin
g
Thum
bs G
rip.
NO
TE
: K
eep
your
head
tucked
to
avoid
headbutts.
Wra
p
both
le
gs
aro
und
yo
ur
op
pon
ent,
w
ith y
our
heels
"hooked"
insid
e h
is le
gs.
WA
RN
ING
Wh
en
in
th
e R
ear
Mo
un
t, D
O N
OT
cro
ss y
ou
r fe
et;
th
is
wo
uld
p
rovid
e
the
op
po
nen
t an
o
pp
ort
un
ity
for
an
an
kle
bre
ak.
11
GR
OU
ND
GR
AP
PLIN
G—
DO
MIN
AN
T B
OD
Y P
OS
ITIO
NS
MO
UN
TT
he M
ount
allo
ws t
he f
ighte
r to
str
ike t
he o
ppon
ent
with p
unches,
wh
ile r
estr
icting t
he o
ppon
ent’s a
bili
ty t
o d
eliv
er
effe
ctive r
etu
rn p
unches.
The
M
ount
als
o p
rovid
es t
he levera
ge to a
ttack the o
ppo
nent's
upp
er
bo
dy w
ith c
hokes a
nd join
t attacks.
Positio
n
your
knees
as
hig
h
as
possib
le
tow
ard
th
e
opp
on
ent's
arm
pits.
NO
TE
: T
he
Mount
allo
ws
the
fighte
r to
str
ike th
e o
pp
one
nt
with
punches,
wh
ile
restr
icting t
he o
pp
on
ent’s
abili
ty t
o d
eliv
er
effective
retu
rn p
unches.
WA
RN
ING
Pla
ce y
ou
r to
es in
lin
e w
ith
or
insid
e
of
yo
ur
an
kle
s t
o
avo
id in
juri
ng
yo
ur
an
kle
s w
hen
yo
ur
op
po
nen
t att
em
pts
to
ro
ll y
ou
over.
TR
AIN
ING
IN
ST
RU
CT
ION
S
When p
racticin
g t
his
positio
n,
the S
old
ier
assum
ing the r
ole
of th
e o
pp
one
nt
should
positio
n h
imse
lf u
sin
g the instr
uction
s b
elo
w:
(1)
Lie
on y
our
back, bend y
our
knees, and p
ost both
feet on the g
round.
(2)
Pull
yo
ur
elb
ow
s tig
htly into
your
sid
es, and k
ee
p them
on the g
roun
d to p
reve
nt
yo
ur
opp
on
ent fr
om
assum
ing a
Hig
h M
ou
nt.
(3)
Hold
yo
ur
head o
ff o
f th
e g
roun
d to p
reve
nt second
ary
im
pact concussio
ns fro
m s
trik
es.
(4)
Keep y
our
han
ds u
p to p
rote
ct
yo
ur
he
ad.
12
GR
OU
ND
GR
AP
PLIN
G—
DO
MIN
AN
T B
OD
Y P
OS
ITIO
NS
GU
AR
DA
fig
hte
r n
ever
wa
nts
to
be u
nder
his
op
pon
ent; the G
uard
enab
les h
im to d
efe
nd
him
self a
nd tra
nsitio
n o
ff o
f his
back into
a m
ore
adva
nta
ge
ou
s
positio
n.
The G
uard
allo
ws t
he b
ottom
fig
hte
r to
exerc
ise a
cert
ain
am
ou
nt
of
contr
ol
over
the r
ange b
y p
ush
ing o
ut
or
pulli
ng i
n h
is o
pp
one
nt
with h
is legs a
nd h
ips.
With s
kill
, th
e b
ottom
fig
hte
r can d
efe
nd a
ga
inst str
ikes a
nd e
ven a
pply
join
t lo
cks a
nd c
hokes.
TR
AIN
ING
IN
ST
RU
CT
ION
S
When p
racticin
g t
his
positio
n,
the S
old
ier
assum
ing t
he
ro
le of
the op
pon
ent
sh
ould
positio
n h
imself usin
g th
e
instr
uctio
ns b
elo
w:
(1)
Assum
e a
good p
ostu
re b
y esta
blis
hin
g a
wid
e b
ase w
ith
your
knees,
keepin
g
your
toes
insid
e
of
your
ankle
s
to
pre
vent bre
akin
g them
if y
ou a
re s
wept.
(2)
With y
our
elb
ow
s t
urn
ed i
nw
ard
, pla
ce y
our
ha
nds o
n
yo
ur
op
po
nent's h
ip fle
xors
.
(3)
Keep a
str
aig
ht
wa
ist.
WA
RN
ING
Th
e S
old
ier
defe
nd
ing
ag
ain
st
the G
uard
mu
st
keep
his
to
es
insid
e o
f h
is a
nkle
s t
o p
reve
nt
bre
akin
g t
hem
if
he is s
wep
t.
13
GR
OU
ND
GR
AP
PLIN
G—
DO
MIN
AN
T B
OD
Y P
OS
ITIO
NS
SID
E C
ON
TR
OL
Althou
gh t
he S
ide C
ontr
ol positio
n is less d
om
ina
nt, it allo
ws the fig
hte
r to
hold
his
op
po
nent do
wn
an
d inflic
t dam
ag
e, and if
revers
ed, allo
ws the
fighte
r to
avo
id b
ein
g p
ositio
ned u
nd
ern
eath
his
opp
one
nt. F
urt
her,
Sid
e C
ontr
ol
is a
tra
nsitio
nin
g p
ositio
n;
a f
ighte
r can s
trik
e o
r subm
it a
n
opp
on
ent
while
in this
positio
n.
Keep
yo
ur
head
turn
ed
a
wa
y
to
avoid
kn
ee
str
ike
s.
Keep th
e le
g clo
sest
to yo
ur
opp
on
ent's h
ead s
traig
ht, a
nd
ben
d t
he o
ther
leg s
o t
hat
the
knee i
s n
ear
your
op
pon
ent's
hip
.
Pla
ce
yo
ur
elb
ow
on
the
gro
und
in
the
notc
h
cre
ate
d
by th
e op
po
nent's
he
ad
an
d
shou
lder
(elb
ow
n
otc
h).
P
ositio
n y
our
oth
er
ha
nd p
alm
do
wn
on t
he g
roun
d u
nder
the
opp
on
ent's
nea
r-sid
e h
ip.
14
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
AR
M T
RA
P A
ND
RO
LL
A fig
hte
r applie
s the A
rm T
rap a
nd R
oll
when h
is o
pponent secure
s th
e M
ount and invest
s his
hands
or
arm
s in
to a
choke. T
he n
on-d
om
inant fig
hte
r m
ust
re
main
rela
xed a
nd fig
ht th
e p
osi
tion, but not fo
cus
his
energ
y on a
ttem
ptin
g to d
efe
at th
e s
ubm
issi
on u
ntil
he h
as
pla
ced h
imse
lf in
a b
etter positi
on.
NO
TE
: C
ond
uct
this
techn
iqu
e w
hen y
ou a
re o
n y
our
back o
n t
he g
roun
d a
nd y
our
op
po
nent
is s
itting
on t
op o
f you w
ith b
oth
kne
es a
nd f
eet
on
th
e g
rou
nd n
ea
r your
ribs.
(1)
Tra
p o
ne o
f your
op
pon
ent's
arm
s.
Wra
p o
ne h
and a
roun
d h
is w
rist
with
a
Thum
ble
ss G
rip,
an
d w
ith t
he
oth
er,
gra
b a
bove h
is e
lbo
w n
otc
h w
ith y
our
thu
mb
on t
he o
uts
ide.
Pull
your
elb
ow
to the g
rou
nd, if p
ossib
le.
NO
TE
: K
eep y
our
elb
ow
s i
n a
nd o
n t
he g
roun
d,
eve
n w
hile
yo
ur
oppo
nent
is
chokin
g y
ou. R
ais
ing y
our
arm
s w
ill a
llow
your
opp
one
nt to
secure
a H
igh M
ou
nt
or
Arm
Lock.
(2)
Pla
nt
the f
oot
on t
he s
am
e s
ide a
s t
he t
rapp
ed a
rm o
n t
he g
round o
uts
ide o
f th
e o
pp
on
ent’s foot.
(3)
Alig
n y
our
opposite-s
ide k
nee w
ith the c
en
ter
of your
opp
one
nt’s s
pin
e.
NO
TE
: A
lign y
our
op
posite-s
ide k
ne
e w
ith t
he c
ente
r of
your
op
po
ne
nt’s s
pin
e
to a
void
th
e G
rapevin
e.
TR
AIN
ING
IN
ST
RU
CT
ION
S
WA
RN
ING
Wh
en
perf
orm
ing
th
is t
ech
niq
ue,
the t
op
fig
hte
r m
ust
po
sit
ion
his
to
es in
lin
e w
ith
or
insid
e o
f h
is a
nkle
s t
o p
reven
t se
ve
re a
nkle
in
jury
.
15
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
AR
M T
RA
P A
ND
RO
LL (
CO
NT
INU
ED
)
(4)
Thru
st
upw
ard
w
ith
yo
ur
hip
s,
drivin
g
yo
ur
opp
on
ent's h
ea
d to the g
rou
nd
. (5
) R
oll
yo
ur
oppo
ne
nt over,
tra
pp
ing h
is le
g.
(6)
Secure
go
od p
ostu
re i
n t
he G
uard
. C
ontr
ol
yo
ur
opp
on
ent's
elb
ow
s.
16
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
PA
SS
ING
TH
E G
UA
RD
W
hen l
ocke
d i
nsid
e o
f his
oppo
ne
nt's
Gua
rd,
a f
ighte
r ca
nnot
finis
h t
he
fig
ht
as q
uic
kly
or
effic
iently a
s h
e c
an f
rom
a m
ore
do
min
ant
bo
dy
positio
n.
Add
itio
na
lly,
his
opp
one
nt
can a
tta
ck h
im w
ith s
trik
es,
subm
issio
ns,
an
d s
we
eps.
Often,
a f
ighte
r w
ill a
tte
mpt
to s
trik
e o
r subm
it t
he
opponent
from
within
the G
uard
, fu
rther
settin
g u
p these a
ttacks.
(1)
Assum
e a
goo
d p
ostu
re b
y e
sta
blis
hin
g
a w
ide b
ase w
ith y
our
kne
es,
keepin
g y
ou
r to
es in
lin
e w
ith or
insid
e of
your
ankle
s.
Pla
ce y
our
butt
ocks o
n y
our
heels
. K
eep a
str
aig
ht
wa
ist
to a
void
havin
g y
our
postu
re
bro
ke
n.
Ke
ep y
our
elb
ow
s t
ight, a
nd r
each
yo
ur
ha
nds d
ow
n t
o c
ontr
ol
your
op
pon
ent's
hip
s.
Pla
ce
your
hands
ou
tsid
e
of
yo
ur
opp
on
ent's h
ip f
lexors
, fingers
poin
t out.
NO
TE
: Y
our
oppo
ne
nt
will
oft
en a
ttem
pt
to
dra
g b
oth
of
your
arm
s t
o o
ne s
ide o
f you
r bod
y to
fo
rce yo
u to
su
bm
it or
get
behin
d
yo
u.
(2)
Turn
your
fingers
in
ward
, and
drive
yo
ur
han
ds
to
yo
ur
oppo
nent's
ch
in,
pla
cin
g
yo
ur
face
in
his
ste
rnum
. T
his
positio
n e
xp
oses o
nly
th
e t
op
an
d b
ack o
f yo
ur
he
ad to h
is s
trik
es.
(3)
Move
your
arm
s
out
to
contr
ol
you
r op
pon
ent's
bic
eps.
Ro
ll your
han
ds b
ack,
and
cu
p
them
w
ith
a
Thum
ble
ss G
rip.
NO
TE
: N
ever
use
a
Thum
b
Grip,
as
your
opp
on
ent
ca
n
attack w
ith a
wrist lo
ck.
(4)
Post
one fo
ot, and tu
rn yo
ur
hip
s to c
reate
space.
17
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
PA
SS
ING
TH
E G
UA
RD
(C
ON
TIN
UE
D)
(5)
Re
lease
yo
ur
sam
e-s
ide
grip
. D
rive yo
ur
ha
nd (w
ith a knife ed
ge)
thro
ug
h t
he
op
enin
g.
Turn
yo
ur
he
ad
and
eye
s i
n t
he o
pp
osite d
ire
ction t
o
pre
ve
nt
blo
ws to
th
e fa
ce fr
om
th
e
arm
yo
u n
o lon
ger
have s
ecure
d.
(6)
Pla
ce y
our
han
d o
n the g
roun
d.
(7)
Pla
ce
yo
ur
knee
on
the
gro
und.
Scoot
the
sa
me-s
ide
le
g
back
at
a
45-d
egre
e
angle
, and
drive
your
shou
lder
be
neath
yo
ur
oppo
ne
nt's
knee.
(8)
Gra
b
yo
ur
opp
on
ent's
le
g
just
above the h
ip.
18
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
PA
SS
ING
TH
E G
UA
RD
(C
ON
TIN
UE
D)
(9)
Pull
yo
ur
opp
one
nt
onto
your
lap
b
y
str
aig
hte
nin
g y
our
back.
Ke
ep y
our
he
ad a
bove
his
knee.
NO
TE
: M
ain
tain
a
goo
d
str
aig
ht
postu
re
with
yo
ur
wa
ist
to
pre
vent
yo
ur
oppo
ne
nt
from
chokin
g y
ou w
ith h
is legs.
(10)
Ste
p t
ow
ard
yo
ur
opp
on
ent's
shou
lder
with
yo
ur
outs
ide l
eg,
yo
ur
kn
ee p
ushin
g i
nw
ard
to
contr
ol yo
ur
op
pon
ent's
hip
.
NO
TE
: D
rive
yo
ur
hip
s
into
yo
ur
op
pon
ent,
and
ma
inta
in
this
pre
ssure
th
roug
ho
ut
the
re
main
der
of
this
m
ove
to
pre
vent
your
opp
on
ent fr
om
escap
ing.
(11)
Re
ach y
our
sam
e-s
ide h
and a
cro
ss,
an
d s
ecure
yo
ur
op
pon
ent's c
olla
r, t
hum
b o
n t
he i
nsid
e,
fingers
on the o
uts
ide.
(12)
Drive
yo
ur
knee
to
the
gro
und,
tow
ard
you
r opp
on
ent's
ea
r to
pre
vent
the
Overh
ead
S
we
ep.
Positio
n
yo
urs
elf
perp
endic
ula
r to
yo
ur
oppo
ne
nt.
Post
your
trail
foot.
Drive
yo
ur
opp
one
nt's
hip
s
up
wa
rd,
an
d k
eep t
hem
in p
lace b
y r
esting
his
hip
s
on y
our
trail
kn
ee.
19
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
PA
SS
ING
TH
E G
UA
RD
(C
ON
TIN
UE
D)
(13)
Push y
our
opp
on
ent's
kn
ees o
ver
his
he
ad u
ntil yo
u b
reak t
he
grip o
f his
leg
s.
Rem
ove
yo
ur
arm
fro
m h
is b
ice
p,
and g
rab h
is
belt lin
e.
NO
TE
: M
ain
tain
tig
ht
bod
y c
onta
ct
wh
en t
ransitio
nin
g f
rom
the
Guard
to S
ide C
ontr
ol to
lim
it y
our
op
po
nent’s a
bili
ty t
o c
om
po
se
G
uard
.
(14)
Lift
your
oppo
ne
nt's
legs p
ast his
he
ad.
(15)
Assum
e g
ood S
ide C
ontr
ol.
20
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
AC
HIE
VE
TH
E M
OU
NT
FR
OM
SID
E C
ON
TR
OL
Fig
hte
rs o
ften m
ove f
rom
Sid
e C
ontr
ol to
the M
ount or
Re
ar
Mount, w
here
the
y c
an land
more
effective
str
ikes a
nd s
ubm
issio
ns.
(1)
Achie
ve g
ood S
ide C
ontr
ol.
(2)
Move
the
han
d
clo
sest
to
yo
ur
opp
on
ent's
le
g
to
co
ntr
ol
his
h
ips.
Be
a
ware
of
his
knees,
an
d
look
do
wn
to
avoid
str
ikes.
(3)
Sit
thro
ug
h
facin
g
yo
ur
oppo
ne
nt's
le
gs,
and pla
ce yo
ur
bottom
kn
ee
aga
inst
the h
ip.
Spre
ad
yo
ur
legs
to
avoid
bein
g
thro
wn
backw
ard
. U
se
the
han
d
that
wa
s
secu
ring
yo
ur
op
po
nent's h
ip to c
ontr
ol his
le
gs.
21
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
AC
HIE
VE
TH
E M
OU
NT
FR
OM
SID
E C
ON
TR
OL (
CO
NT
INU
ED
)
(4)
Sw
ing y
our
back le
g u
p a
nd o
ver
the top.
(5)
Secure
a m
ounte
d p
ositio
n.
22
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
AR
M P
US
H A
ND
RO
LL T
O T
HE
RE
AR
MO
UN
T
The f
ighte
r uses t
he A
rm P
ush a
nd R
oll
to t
he R
ear
Mount
to t
urn
th
e o
pp
on
ent
fro
m h
is b
ack t
o h
is s
tom
ach,
giv
ing t
he f
ighte
r a b
ette
r opp
ort
unity t
o e
mplo
y s
trik
es a
nd s
ubm
issio
ns.
NO
TE
: C
ondu
ct
this
techniq
ue w
he
n y
ou h
ave a
chie
ved t
he M
ount
an
d a
re a
ttem
pting
to
str
ike,
but
yo
ur
op
po
nent
is u
sin
g a
Sta
ndard
Blo
ck t
o
avoid
your
str
ikes.
(1)
Targ
et
the a
rm c
losest
to t
he
to
p o
f yo
ur
op
pone
nt's
head.
(2)
Pla
ce o
ne h
an
d o
n t
he
ba
ck
of
yo
ur
oppo
nent's
elb
ow
a
nd
one
ha
nd
on
his
w
rist,
bo
th
with T
hum
ble
ss G
rips.
(3)
Push
the
arm
acro
ss
your
opp
on
ent's b
od
y i
n t
he d
irection
of
his
han
d.
Pin
th
e
arm
w
ith
yo
ur
bo
dy.
TR
AIN
ING
IN
ST
RU
CT
ION
S
CA
UT
ION
Wh
en
perf
orm
ing
th
is t
ech
niq
ue, th
e b
ott
om
fig
hte
r m
ust
form
a f
ist
wit
h t
he h
an
d o
f h
is t
rap
ped
arm
. F
urt
her,
he m
ust
be
min
dfu
l o
f w
he
re t
he
ha
nd
an
d w
rist
of
the
tra
pp
ed
arm
are
lo
ca
ted
to
pre
ve
nt
inju
ry.
23
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
AR
M P
US
H A
ND
RO
LL T
O T
HE
RE
AR
MO
UN
T (
CO
NT
INU
ED
)
(4)
Re
lease t
he g
rip o
f th
e h
and
on
the e
lbo
w,
and
drive it u
nd
er
yo
ur
op
po
ne
nt's
neck to
secure
h
is
wri
st
with b
oth
han
ds in T
hum
ble
ss G
rips.
(5)
Move t
he h
and t
hat
was o
n t
he o
ppo
ne
nt's
wri
st
to h
is e
lbo
w.
(6)
Ch
ang
e y
our
postu
re t
o m
ake r
oom
for
your
opp
on
en
t to
roll.
NO
TE
:M
ain
tain
bod
y a
nd c
hest
pre
ssure
to
pre
vent
yo
ur
opp
on
ent fr
om
escap
ing.
24
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
AR
M P
US
H A
ND
RO
LL T
O T
HE
RE
AR
MO
UN
T (
CO
NT
INU
ED
)
(7)
Use
your
bod
y
str
en
gth
to
push
yo
ur
opp
on
ent
with y
our
chest
(usin
g r
atc
het
motions)
until h
is e
lbo
w s
tops h
im fro
m g
oin
g a
ny furt
her.
NO
TE
: M
ake
sure
yo
u
don't
go
too
far
over
cente
r.
(8)
Take y
our
we
ight
off o
f your
op
po
ne
nt, a
nd
fo
ld
his
arm
s
und
ern
eath
h
im
wh
ile
push
ing
him
forw
ard
.
(9)
Fro
m t
his
positio
n,
the o
ppo
ne
nt
norm
ally
tries
to r
ise u
sin
g h
is k
nees.
Whe
n h
e a
tte
mp
ts t
his
, sit
up
and
hook
both
le
gs
insid
e
of
the
opp
one
nt's
le
gs.
Push t
o s
traig
hte
n y
our
arm
s w
ith y
our
han
ds
in the b
ack o
f your
op
po
nent's
colla
r.
25
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
ES
CA
PE
TH
E R
EA
R M
OU
NT
W
hen h
is o
pp
onent has a
ssu
med the R
ear
Mount, the fig
hte
r m
ust defe
nd a
ttacks w
hile
escapin
g the p
ositio
n in a
tim
ely
man
ner.
(1)
Pla
ce o
ne h
an
d o
ver
yo
ur
hea
d,
with y
our
palm
facin
g o
ut, y
our
bic
ep
very
tig
ht
to t
he s
ide o
f yo
ur
head,
an
d y
our
han
d c
overing y
our
ear.
Pla
ce t
he o
ther
han
d n
ear
your
arm
pit,
with y
our
palm
facin
g in.
(2)
Once y
our
opp
on
ent
rea
ches i
n,
the h
and u
nder
yo
ur
arm
pit s
ecure
s h
is w
rist
and p
ulls
it
thro
ug
h.
(3)
Wra
p y
our
oth
er
arm
aro
und, m
akin
g a
Fig
ure
Four.
26
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
ES
CA
PE
TH
E R
EA
R M
OU
NT
(C
ON
TIN
UE
D)
(4)
Pla
ce y
our
back o
n th
e g
roun
d o
n y
our
underh
ook s
ide.
NO
TE
: D
o n
ot put
your
back o
n y
our
overh
ook s
ide.
(5)
Once yo
ur
bod
y w
eig
ht
is on yo
ur
opp
one
nt's
arm
, le
t go a
nd m
ove you
r shou
lders
to t
he g
roun
d,
usin
g t
he g
roun
d t
o s
cra
pe y
ou
r oppo
ne
nt
off o
f your
back.
(6)
Push y
our
hip
s t
hro
ug
h y
our
op
po
nent's
legs,
one h
an
d o
n h
is h
ip a
nd t
he
oth
er
on h
is k
nee to p
reve
nt h
im fro
m a
chie
vin
g the M
ou
nt.
27
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
ES
CA
PE
TH
E R
EA
R M
OU
NT
(C
ON
TIN
UE
D)
(7)
Continue u
ntil your
hip
s c
lear
his
legs.
(8)
Move y
our
hip
s t
o c
lear
your
legs.
Move
yo
ur
insid
e l
eg t
hro
ugh a
nd t
o t
he
gro
un
d,
knee t
ow
ard
yo
ur
opp
one
nt's
arm
pit a
nd f
oot
ho
okin
g h
is g
roin
are
a.
Move y
our
op
posite l
eg
thro
ug
h t
he m
iddle
, and h
ook the b
ack o
f his
kne
e w
ith y
our
foot.
(9)
Re
ach yo
ur
top h
an
d in
to your
op
po
ne
nt's
fa
r-sid
e c
olla
r (o
r gra
b th
e b
ack o
f his
hea
d, if h
e
does n
ot
have
a c
olla
r),
with
your
bottom
hand
poste
d o
n t
he
gro
und.
Roll
into
the M
ou
nt, a
nd
achie
ve g
ood p
ostu
re.
28
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
ES
CA
PE
TH
E M
OU
NT
, S
HR
IMP
TO
TH
E G
UA
RD
W
hile
the f
ighte
r is
attem
ptin
g to e
sca
pe
th
e M
ount, T
rap, and
Ro
ll, h
is o
ppo
ne
nt m
ay m
ove h
is le
g a
wa
y,
makin
g th
e fig
hte
r unable
to c
aptu
re it.
T
his
movem
en
t, h
ow
ever,
cre
ate
s a
n o
pe
nin
g u
nder
the
sa
me l
eg.
The t
erm
"shrim
p"
refe
rs t
o t
he
action o
f m
ovin
g t
he h
ips a
wa
y,
wh
ich
is
cru
cia
l to
the s
uccess o
f th
is techn
iqu
e.
NO
TE
: C
ondu
ct th
is techniq
ue w
he
n y
ou a
re o
n y
our
back w
ith y
our
op
po
nent m
ou
nte
d o
n y
our
ch
est.
(1)
Pla
ce y
our
leg fla
t on the g
roun
d.
(2)
Turn
on y
our
sid
e,
and f
ace
th
e
open
ing
cre
ate
d
by
yo
ur
opp
on
ent. U
sin
g t
he
sp
ace
th
e
opp
on
ent
cre
ate
d
by
postin
g
his
le
g,
pro
p
the
oppo
ne
nt's
leg u
p w
ith y
ou
r elb
ow
.
NO
TE
: T
urn
on yo
ur
hip
to
cre
ate
more
sp
ace.
(3)
Turn
fa
cin
g
the
op
pone
nt's
poste
d leg,
with that sid
e leg fla
t.
(4)
Move
your
kne
e fr
om
u
ndern
eath
yo
ur
op
po
nent's leg.
29
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC B
OD
Y P
OS
ITIO
NIN
G M
OV
ES
ES
CA
PE
TH
E M
OU
NT
, S
HR
IMP
TO
TH
E G
UA
RD
(C
ON
TIN
UE
D)
(5)
Turn
to
yo
ur
oth
er
hip
, a
nd h
ook yo
ur
opp
on
ent's
le
g
to
pre
ve
nt
him
fr
om
re
esta
blis
hin
g t
he M
ou
nt.
(6)
Use
both
ha
nds
to
pu
sh
yo
ur
op
po
nent's h
ip a
wa
y.
(7)
Move y
our
oth
er
knee f
rom
betw
ee
n
yo
ur
opp
on
ent's
legs,
an
d p
ut
your
we
igh
t on y
our
poste
d foot.
(8)
Turn
your
bod
y,
an
d f
ace t
he
opp
osite d
irection.
Lo
op y
our
legs
aro
und yo
ur
oppo
ne
nt, and lo
ck
yo
ur
feet
to
reesta
blis
h
yo
ur
Guard
.
30
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC F
INIS
HIN
G M
OV
ES
RE
AR
NA
KE
D C
HO
KE
T
he R
ear
Nake
d C
hoke s
low
s t
he flo
w o
f b
loo
d in t
he c
aro
tid
art
eries,
wh
ich
can e
ventu
ally
cause
your
op
pon
ent to
be r
endere
d u
nco
nscio
us for
a s
hort
peri
od o
f tim
e.
(1)
Achie
ve a
Rear
Mo
unt, a
nd
hook b
oth
le
gs in p
lace.
(2)
Le
avin
g t
he u
nderh
ook i
n
pla
ce,
sne
ak t
he h
and o
f your
overh
ook
arm
aro
und
your
opp
on
ent's
n
eck.
Put
you
r bic
ep a
ga
inst
the s
ide
of
yo
ur
opp
on
ent's
ne
ck.
Roll
yo
ur
fore
arm
to
th
e oth
er
sid
e of
yo
ur
opp
on
en
t's
neck,
with
both
th
e
bic
ep
and
th
e
fore
arm
re
stin
g
ag
ain
st
the
caro
tid a
rteri
es.
Positio
n y
our
elb
ow
a
gain
st
the
trache
a.
Exte
rnally
, yo
ur
opp
on
ent's
chin
w
ill
line
up
with
you
r elb
ow
.
(3)
Pla
ce th
e bic
ep of
you
r und
erh
ook
und
er
your
overh
ook w
ith
a T
hum
ble
ss
Grip.
(4)
Move your
underh
ook to
th
e
back
of
the
op
po
nent's
hea
d t
o t
he k
no
wle
dg
e b
um
p,
as if com
bin
g h
is h
air b
ack.
NO
TE
: T
uck
yo
ur
head
to
avoid
gettin
g h
it.
(5)
Pin
ch
your
sho
uld
er
bla
des t
og
eth
er,
and e
xpa
nd
yo
ur
chest
to
finis
h
the
choke.
31
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC F
INIS
HIN
G M
OV
ES
CR
OS
S-C
OLLA
R C
HO
KE
FR
OM
TH
E M
OU
NT
AN
D G
UA
RD
T
he C
ross-C
olla
r C
hoke i
s a
blo
od c
hoke t
hat
can o
nly
be
em
plo
ye
d w
hen y
our
opp
on
ent
is w
eari
ng
a d
ura
ble
sh
irt. T
his
choke s
hou
ld b
e
perf
orm
ed f
rom
either
the M
ount or
Guard
.
M O U N T
(1)
With
yo
ur
non-d
om
inant
han
d,
open
yo
ur
opp
on
ent's s
am
e-s
ide c
olla
r.
NO
TE
: W
hen i
n t
he
Guard
, chan
ge y
our
an
gle
to
positio
n y
ours
elf for
the c
hoke
.
(2)
Re
ach
acro
ss
yo
ur
bod
y,
and
in
sert
yo
ur
dom
ina
nt
han
d i
nto
the c
olla
r yo
u j
ust
ope
ne
d.
(3)
Rela
x
the
dom
ina
nt
ha
nd,
and
reach
all
the
wa
y
beh
ind
yo
ur
oppo
ne
nt's
neck,
gra
spin
g
his
colla
r w
ith
yo
ur
fing
ers
on
the insid
e a
nd y
our
thum
b o
n t
he o
uts
ide.
G U A R D
32
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC F
INIS
HIN
G M
OV
ES
CR
OS
S-C
OLLA
R C
HO
KE
FR
OM
TH
E M
OU
NT
AN
D G
UA
RD
(C
ON
TIN
UE
D)
M O U N T
(4)
Rele
ase t
he g
rip o
f your
non-d
om
ina
nt
han
d,
and m
ove y
our
dom
inant-
sid
e f
ore
arm
acro
ss y
our
opp
on
ent's n
eck u
nder
the f
irst
arm
, cle
aring h
is
chin
.
(5)
Usin
g th
e sam
e grip
(f
ingers
on
th
e in
sid
e,
thum
b o
n t
he o
uts
ide),
reach a
ll th
e w
ay b
ack u
ntil
yo
ur
dom
ina
nt han
d m
eets
th
e o
ther
ha
nd.
(6)
Turn
your
wri
sts
so t
hat
yo
ur
palm
s f
ace y
ou,
an
d
pull
yo
ur
oppo
nent
into
you.
Exp
an
d y
our
chest, p
inch
yo
ur
sh
ould
ers
to
geth
er,
a
nd
brin
g
yo
ur
elb
ow
s
to
yo
ur
hip
s to fin
ish the c
hoke.
NO
TE
: W
hen
cond
ucting
this
te
ch
niq
ue
fr
om
th
e
Mount, p
ost
your
he
ad f
orw
ard
on t
he g
round,
over
yo
ur
top a
rm.
G U A R D
33
GR
OU
ND
GR
AP
PLIN
G—
BA
SIC
FIN
ISH
ING
MO
VE
S
BE
NT
AR
M B
AR
FR
OM
TH
E M
OU
NT
AN
D S
IDE
CO
NT
RO
LT
he B
ent
Arm
Bar
is a
join
t lo
ck t
hat
attacks the s
hould
er
girdle
. T
his
techniq
ue c
an b
e e
mplo
yed fro
m e
ither
the M
ount or
Sid
e C
ontr
ol.
NO
TE
S:
1.
As w
ith a
ny s
ubm
issio
n t
ech
niq
ue,
apply
this
sh
ould
er
lock u
sin
g s
low
, ste
ad
y p
ressure
, an
d r
ele
ase a
s s
oon a
s y
our
train
ing p
art
ner
ta
ps.
2
. C
onduct th
is tech
niq
ue w
hen y
our
opp
on
ent uses the P
ara
llel (B
oxin
g)
Blo
ck.
M O U N T
(1)
With T
hum
ble
ss G
rips,
dri
ve y
our
op
pon
ent's
wri
st
an
d e
lbo
w t
o t
he g
roun
d,
movin
g y
our
elb
ow
to t
he
notc
h c
reate
d b
y y
our
op
po
nent's
neck a
nd s
hou
lder
(elb
ow
notc
h).
S I D E C O N T R O L
34
GR
OU
ND
GR
AP
PLIN
G—
BA
SIC
FIN
ISH
ING
MO
VE
S
BE
NT
AR
M B
AR
FR
OM
TH
E M
OU
NT
AN
D S
IDE
CO
NT
RO
L (
CO
NT
INU
ED
)
M O U N T
(2)
Keep
ing y
our
hea
d o
n t
he
back o
f your
han
d t
o p
rote
ct
your
face
fr
om
str
ikes,
pla
ce y
our
oth
er
han
d u
nder
his
elb
ow
. (3
) G
rab y
our
ow
n w
rist
with a
Thum
ble
ss G
rip.
Dra
g t
he b
ack o
f yo
ur
opp
on
ent's
ha
nd to
ward
his
w
ais
tlin
e.
Lift
his
e
lbo
w,
an
d
dis
locate
his
shou
lder.
S I D E C O N T R O L
35
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC F
INIS
HIN
G M
OV
ES
ST
RA
IGH
T A
RM
BA
R F
RO
M T
HE
MO
UN
T
The S
traig
ht
Arm
Bar
is a
jo
int
lock d
esig
ne
d t
o d
am
age t
he e
lbo
w.
While
this
exerc
ise
outlin
es a
Str
aig
ht
Arm
Bar
perf
orm
ed f
rom
the M
ount,
this
techniq
ue c
an b
e p
erf
orm
ed fro
m a
ny d
om
ina
nt positio
n.
NO
TE
: A
s w
ith
an
y s
ubm
issio
n t
echniq
ue,
apply
this
elb
ow
join
t lo
ck u
sin
g s
low
, ste
ad
y p
ressure
, and r
ele
ase a
s s
oon
as y
our
train
ing p
art
ner
taps.
(1)
Decid
e w
hic
h a
rm y
ou w
ish t
o
attack.
Isola
te t
hat
arm
by p
lacin
g
yo
ur
op
posite-s
ide
hand
in
the
m
iddle
of
your
op
pon
ent's
chest,
betw
een his
a
rms.
Targ
eting
th
e
unaffecte
d
arm
, pre
ss
do
wn
to
pre
ve
nt
yo
ur
oppo
ne
nt
from
gettin
g
off
the
flat
of
his
b
ack.
Loo
p y
our
sa
me-s
ide a
rm a
roun
d
the ta
rgete
d a
rm and
pla
ce
th
at
han
d
in
the
m
iddle
of
yo
ur
opp
on
ent's
chest,
app
lyin
g
gre
ate
r pre
ssure
.
(2)
Pla
cin
g a
ll of
your
we
ight
on y
our
opp
on
ent's
chest, r
ais
e t
o y
our
feet
in a
very
lo
w s
quat.
NO
TE
: B
e
conscio
us
not
to
rais
e
yo
ur
hip
s.
This
w
ill
allo
w
yo
ur
opp
on
ent to
escape.
(3)
Turn
yo
ur
bod
y 9
0 d
egre
es t
o f
ace t
he
ta
rgete
d a
rm.
NO
TE
: W
hile
tu
rnin
g,
ke
ep
a
slig
ht
forw
ard
postu
re,
sta
y i
n a
very
lo
w s
quat,
and
continu
e to
a
pply
pre
ssure
on yo
ur
opp
on
ent's
che
st to
pre
vent escape.
(4)
Bring th
e fo
ot
neare
st
to
your
opponent's
head
aro
und
his
fa
ce,
and p
lant
it in
the c
rook o
f his
neck
on t
he o
pposite s
ide o
f th
e t
arg
ete
d
arm
. S
lide
your
hip
s
dow
n
the
targ
ete
d a
rm,
keepin
g y
our
buttocks
tight to
your
opponent's
should
er.
NO
TE
: R
em
em
ber
to
iso
late
th
e
elb
ow
jo
int
by
tra
ppin
g
on
ly
the
bic
ep/triceps re
gio
n b
etw
een
yo
ur
legs.
36
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC F
INIS
HIN
G M
OV
ES
ST
RA
IGH
T A
RM
BA
R F
RO
M T
HE
MO
UN
T (
CO
NT
INU
ED
)
(5)
Secure
yo
ur
opp
on
ent's
wrist
with b
oth
of
yo
ur
hands i
n
Thum
b G
rips.
Keep
his
th
um
b p
oin
ted s
kyw
ard
to a
chie
ve
th
e c
orr
ect
angle
. P
ull
yo
ur
heels
tig
ht
to y
our
buttocks,
and
pin
ch y
our
kne
es t
ogeth
er
tig
htly w
ith t
he u
pper
arm
tra
ppe
d
betw
een y
our
knees, not re
sting o
n y
our
gro
in.
(6)
App
ly s
low
, ste
ad
y p
ressu
re b
y t
rap
pin
g y
our
oppo
ne
nt's
wrist
on y
our
chest,
and a
rchin
g y
our
hip
s s
kyw
ard
.
37
GR
OU
ND
GR
AP
PLIN
G—
BA
SIC
FIN
ISH
ING
MO
VE
S
ST
RA
IGH
T A
RM
BA
R F
RO
M T
HE
GU
AR
D
Fig
htin
g f
rom
yo
ur
back c
an
be v
ery
dan
gero
us.
When y
our
op
po
nent
attem
pts
to s
trik
e a
nd a
pply
chokes f
rom
within
your
Guard
, u
se t
he
Str
aig
ht A
rm B
ar
from
the G
uard
, a join
t lo
ck d
esig
ne
d to d
am
ag
e the e
lbo
w.
NO
TE
S:
1.
As w
ith a
ny s
ubm
issio
n techniq
ue, apply
this
elb
ow
join
t lo
ck u
sin
g s
low
, ste
ady p
ressure
, and r
ele
ase a
s s
oon a
s y
our
train
ing
part
ner
taps.
2
. C
onduct th
is tech
niq
ue w
hen y
our
opp
onent uses h
is a
rms in a
choke o
r atte
mpts
to b
end y
our
arm
s u
p.
(1)
Whe
n yo
ur
op
po
nent
pre
se
nts
a
str
aig
ht
arm
, secure
his
arm
at
or
above
the
elb
ow
. H
old
yo
ur
op
po
nent's e
lbo
w f
or
the
rem
ain
de
r of
the
m
ove.
(2)
Insert
you
r oth
er
hand
und
er
the
op
pon
ent's
th
igh
on
the
sid
e
opp
osite
the
ta
rgete
d
arm
. T
he
hand
shou
ld b
e p
alm
up.
(3)
Open your
Guard
, and
brin
g
your
legs
up,
while
curlin
g y
our
ba
ck t
o lim
it t
he
fr
iction.
(4)
Co
nto
rt y
our
bo
dy b
y p
ulli
ng
w
ith t
he h
an
d t
hat
is o
n t
he b
ack
of
your
opp
on
ent's
th
igh.
Bring
yo
ur
hea
d
to
his
kn
ee.
Pla
ce
yo
ur
leg
over
his
he
ad.
With
yo
ur
leg,
gra
b
yo
ur
op
pon
ent,
and
pull
him
do
wn
by
pu
lling
yo
ur
heels
to y
our
buttocks a
nd
pin
chin
g y
our
knees tog
eth
er.
(5)
Move
the
hand
that
was
behin
d your
opponent's
th
igh to
gra
sp t
he w
rist
that
you s
ecure
d
at
the e
lbo
w w
ith a
Thum
b G
rip.
Curl
your
calf
do
wn
ward
and
push up w
ith your
hip
s t
o b
reak
your
opponent's
arm
.
38
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC F
INIS
HIN
G M
OV
ES
GU
ILLO
TIN
E C
HO
KE
O
ften a
n o
pp
onent
will
attem
pt to
charg
e th
e fig
hte
r an
d w
ill p
resent
his
neck d
uri
ng the t
ackle
. T
he G
uill
otin
e C
hoke a
llow
s t
he fig
hte
r to
pre
sent
a d
efe
nse to the takedo
wn
.
(1)
As y
our
op
pon
ent charg
es y
our
legs, dir
ect his
head u
ndern
eath
one o
f your
arm
s, an
d take a
ste
p b
ack.
(2)
Wra
p
yo
ur
arm
aro
und
yo
ur
opp
on
ent's
hea
d a
nd u
nd
er
his
neck.
39
GR
OU
ND
GR
AP
PL
ING
—B
AS
IC F
INIS
HIN
G M
OV
ES
GU
ILL
OT
INE
CH
OK
E (
CO
NT
INU
ED
)
(3)
With
your
oth
er
hand,
gra
sp t
he f
irst
hand
where
a w
atc
h w
ould
be, ensu
ring that yo
u h
ave
not re
ached a
round y
our
opponent's
arm
. C
inch
the c
hoke
by
bringin
g y
our
arm
further
aro
und
your opponent's
head, im
pro
ving y
our grip.
NO
TE
: Y
our
palm
shou
ld
be
facin
g
yo
ur
ow
n c
hest.
(4)
Sit d
ow
n.
(5)
Pla
ce yo
ur
op
po
nent
within
your
Guard
, an
d finis
h th
e
choke b
y p
ulli
ng w
ith y
our
arm
s a
nd p
ushin
g w
ith y
our
leg
s.
NO
TE
: Y
ou m
ust
lock both
le
gs aro
un
d your
opp
on
ent
to
pre
ve
nt
him
fro
m s
ecurin
g a
top p
ositio
n.
Even w
ith a
ch
oke
in
pla
ce,
if t
he
op
po
nent
can
cle
ar
yo
ur
leg
s a
nd g
et
on t
op,
he w
ill b
e a
ble
to d
efe
at
the
subm
issio
n a
nd y
ou
will
be i
n a
non-d
om
ina
nt positio
n.
40
GR
OU
ND
GR
AP
PLIN
G—
BA
SIC
SW
EE
PS
SC
ISS
OR
S S
WE
EP
A
fig
hte
r can u
se the S
cis
sors
Sw
eep to r
eve
rse p
ositio
ns w
ith h
is o
ppo
nen
t and g
ain
a d
om
ina
nt positio
n.
NO
TE
: C
ondu
ct
this
techniq
ue w
he
n y
our
oppo
ne
nt attem
pts
to p
ass y
ou
r G
uard
as y
ou
contr
ol his
arm
s a
t th
e e
lbo
ws.
(1)
When your
oppo
ne
nt
posts
one of
his
le
gs to
cre
ate
space,
rela
x y
our
Guard
, an
d k
eep y
our
kne
es tig
ht.
(2)
Han
g
you
r calf
on
yo
ur
opp
on
ent's
poste
d
leg,
and
post
your
opp
osite s
hou
lder
to
sw
ing
yo
ur
hip
s
tow
ard
his
poste
d leg.
(3)
Drive y
our
leg a
cro
ss y
our
opp
one
nt's
wais
t lik
e a
be
lt.
Use
yo
ur
foot
to h
ook h
is w
ais
t tig
htly,
with y
our
knee lo
we
r th
an t
he
ankle
. P
ositio
n your
oth
er
leg flat
on th
e gro
und to
tr
ap
yo
ur
opp
on
ent's
non
-poste
d leg.
41
GR
OU
ND
GR
AP
PLIN
G—
BA
SIC
SW
EE
PS
SC
ISS
OR
S S
WE
EP
(C
ON
TIN
UE
D)
(4)
Reach a
cro
ss y
our
bo
dy a
nd s
ecure
yo
ur
opp
one
nt's
colla
r on th
e op
posite
sid
e
of
his
poste
d
leg,
main
tain
ing
contr
ol of
the a
rm o
n t
he s
ide y
ou inte
nd
to
sw
ee
p.
Exte
nd
yo
ur
bo
dy t
o t
ake y
ou
r opp
on
ent
off h
is b
ase,
wh
ile p
ulli
ng h
im
forw
ard
by h
is c
olla
r.
(5)
Make a
scis
sorin
g m
otion w
ith y
our
legs to s
we
ep y
our
oppo
ne
nt over.
NO
TE
: If
yo
ur
op
pon
ent
attem
pts
to
pre
vent
the
sw
eep
by
postin
g
his
sw
ee
p-s
ide a
rm, sw
ee
p the p
oste
d a
rm in th
e d
irection o
f th
e fin
gers
.
(6)
Achie
ve the
Mount.
42
GR
OU
ND
GR
AP
PLIN
G—
BA
SIC
SW
EE
PS
SW
EE
P F
RO
M T
HE
AT
TE
MP
TE
D S
TR
AIG
HT
AR
M B
AR
W
hen a
fig
hte
r attem
pts
to a
pply
the S
traig
ht
Arm
Bar
from
the G
uard
, his
opp
on
ent
will
often t
uck h
is h
ead t
o a
void
th
e A
rm B
ar.
S
hould
this
occur,
do n
ot a
ban
do
n the p
ositio
n; sim
ply
chan
ge the a
tta
ck to the S
weep fro
m the A
ttem
pte
d S
traig
ht A
rm B
ar.
(1)
With
the h
and that is
behin
d y
our
opponent's
thig
h, pull
his
knee a
s c
lose to y
our
head a
s p
ossib
le in
ord
er
to p
ositi
on y
our
body p
erp
endic
ula
r to
your
opponent.
NO
TE
: D
o n
ot
rele
ase c
ontr
ol of th
e p
revio
usly
targ
ete
d a
rm.
(2)
Sw
ing
the
leg
that
was
sup
pose
d
to
hook
yo
ur
opp
on
ent's
he
ad in a
big
circle
, origin
ating f
rom
yo
ur
hea
d
follo
win
g a
path
to y
our
op
po
nent's
far-
sid
e leg.
TR
AIN
ING
IN
ST
RU
CT
ION
S
WA
RN
ING
Wh
en
perf
orm
ing
th
is t
ech
niq
ue, th
e f
igh
ter
bein
g s
wep
t m
ust
keep
his
to
es in
lin
e w
ith
or
insid
e o
f h
is a
nkle
s t
o p
reven
t in
jury
.
43
GR
OU
ND
GR
AP
PLIN
G—
BA
SIC
SW
EE
PS
SW
EE
P F
RO
M T
HE
AT
TE
MP
TE
D S
TR
AIG
HT
AR
M B
AR
(C
ON
TIN
UE
D)
(3
) W
ith t
he l
eg t
hat
is h
ooked u
nder
yo
ur
opp
one
nt's
arm
pit,
push t
ow
ard
his
hea
d s
o t
hat
you w
ill r
oll
rig
ht
up into
th
e M
ount. U
se t
he m
om
entu
m f
rom
the le
g
that
is s
win
gin
g in a
circle
to
sw
eep y
our
opponent.
NO
TE
: E
nsure
that
yo
u t
uck y
our
leg
to p
revent
it f
rom
bein
g t
rapp
ed
be
nea
th
yo
ur
op
po
nent's b
od
y.
44
CLIN
CH
FIG
HT
ING
—A
CH
IEV
E T
HE
CLIN
CH
CLO
SE
TH
E D
IST
AN
CE
F
ighte
rs u
se C
lose the D
ista
nce w
he
n the o
ppon
ent is
within
str
ikin
g r
ang
e.
(1)
Face yo
ur
opp
one
nt, an
d assum
e th
e F
ightin
g S
tan
ce ju
st
outs
ide o
f kic
kin
g r
an
ge.
(2)
Tuck y
our
chin
, an
d u
se y
our
arm
s t
o c
ove
r yo
ur
he
ad w
hile
aggre
ssiv
ely
clo
sin
g the d
ista
nce.
(3)
Drive
yo
ur
he
ad
into
you
r opp
on
ent's
chest,
and
move
yo
ur
cupp
ed
ha
nds
to
yo
ur
opp
one
nt's
bic
eps.
45
CLIN
CH
FIG
HT
ING
—A
CH
IEV
E T
HE
CLIN
CH
MO
DIF
IED
SE
AT
BE
LT
CLIN
CH
Once the fig
hte
r has C
losed th
e D
ista
nce, he u
ses the M
od
ifie
d S
eatb
elt C
linch to d
raw
his
oppo
ne
nt in
.
(1)
After
Clo
sin
g th
e D
ista
nce w
ith your
opp
on
ent, ra
ise one of
his
arm
s.
Move
yo
urs
elf p
erp
endic
ula
r to
yo
ur
oppo
ne
nt.
(2)
Reach a
round y
our
op
po
nent's
wais
t to
gra
b h
is o
pp
osite-
sid
e h
ip.
With your
oth
er
arm
, pull
his
arm
in
to yo
ur
chest,
contr
olli
ng h
is a
rm a
t th
e triceps.
46
CLIN
CH
FIG
HT
ING
—A
CH
IEV
E T
HE
CLIN
CH
DO
UB
LE
UN
DE
RH
OO
KS
T
he f
ighte
r use
s D
oub
le U
nde
rhooks w
hen b
oth
fig
hte
rs h
ave a
n o
verh
oo
k a
nd a
n u
nd
erh
ook g
rip o
n e
ach o
ther,
with t
heir h
eads o
n their
overh
ook s
ides.
(1)
Drive y
our
overh
ook h
and
(w
ith a
knife e
dge)
und
er
you
r oppo
ne
nt's
underh
ook a
rm.
(2)
Cla
sp y
our
han
ds in a
Wre
stler’s G
rip b
eh
ind
yo
ur
opp
on
ent,
wh
ile k
eepin
g h
ea
d p
ressure
on
his
chest.
47
CLIN
CH
FIG
HT
ING
—A
CH
IEV
E T
HE
CLIN
CH
RE
AR
CLIN
CH
T
he fig
hte
r use
s the R
ear
Clin
ch w
he
n h
e m
oves too far
as h
e a
ttem
pts
to a
chie
ve the M
odifie
d S
eatb
elt C
linch.
(1)
Ste
p b
eh
ind y
our
op
po
ne
nt.
(2)
Cla
sp y
our
hands a
round y
our
opponent's
wais
t in
an O
pposin
g T
hum
bs
Grip,
and p
lace y
our
fore
head in t
he s
mall
of
his
back t
o a
void
str
ikes.
Fro
m
this
secure
positi
on, yo
u c
an a
ttem
pt to
take the o
pponent dow
n.
NO
TE
: T
uck y
our
head i
nto
your
oppo
ne
nt's
lo
wer
back t
o a
void
elb
ow
s
to the h
ea
d.
48
CLIN
CH
FIG
HT
ING
—B
AS
IC T
AK
ED
OW
NS
FR
ON
T T
AK
ED
OW
N
The F
ront
Takedo
wn
is a
sim
ple
techn
iqu
e u
sed t
o t
hro
w t
he o
pp
on
ent
off
-bala
nce.
It a
llow
s t
he
fig
hte
r to
tra
nsitio
n f
rom
the M
odifie
d S
eatb
elt
Clin
ch t
o t
he M
ount.
(1)
Fro
m
the
M
odifie
d
Se
atb
elt
Clin
ch,
ste
p s
lightly i
n f
ront
of
your
opp
on
ent
so
yo
u c
an d
rive h
im o
ff h
is l
eg.
Ensure
th
at
yo
u k
ee
p g
oo
d h
ea
d c
ontr
ol
to d
rive h
is
upp
er
bo
dy b
ackw
ard
.
(2) R
ele
ase
your grip
on y
our
opponent's
elb
ow
, and r
each
ove
r his
arm
, ke
epin
g
it trapped u
nder
your
ove
rhook
arm
pit.
S
ecu
re a W
rest
ler’s
G
rip l
ow
on y
our
opponent's
si
de a
t th
e h
ip n
ear
the s
mall
of his
back
.
(3)
Pull
yo
ur
oppo
ne
nt
into
yo
u w
ith y
our
han
ds,
an
d
push
yo
ur
upp
er
bod
y a
nd
hea
d
to
make
his
b
ack
arc
h.
(4) S
tep o
ver y
our o
pponent a
nd re
lease
your g
rip, e
ndin
g in
the M
ount.
WA
RN
ING
Rele
ase y
ou
r h
an
ds to
avo
id lan
din
g o
n th
em
.
TR
AIN
ING
IN
ST
RU
CT
ION
S
WA
RN
ING
Op
po
nen
ts m
ust
no
t att
em
pt
to r
each
fo
r th
e g
rou
nd
wh
ile b
ein
g t
aken
do
wn
, as t
his
will le
ad
to
severe
in
juri
es.
49
CLIN
CH
FIG
HT
ING
—B
AS
IC T
AK
ED
OW
NS
RE
AR
TA
KE
DO
WN
A
fter
achie
vin
g t
he c
linch,
the
fig
hte
r is
ofte
n p
ositio
ne
d w
ith h
is h
ea
d b
eh
ind h
is o
ppo
ne
nt's
arm
. O
nce h
e r
eaches a
secure
positio
n,
he c
an
attem
pt
to t
ake h
is o
pponent
do
wn.
NO
TE
: C
ondu
ct th
is techniq
ue w
he
n y
our
head is p
ositio
ned b
ehin
d y
our
oppo
ne
nt's
arm
after
you h
ave a
chie
ve
d the c
linch.
(1)
Ste
p to o
ne
sid
e s
o th
at
yo
u a
re b
ehin
d y
our
opp
one
nt
at
an a
ngle
. P
lace o
ne fo
ot on t
he o
uts
ide
of
his
foo
t so t
hat
yo
ur
foot
is p
erp
end
icula
r to
your
op
pon
ent's
. (2
) P
lace
the
in
ste
p
of
yo
ur
oth
er
foot
beh
ind
yo
ur
oppo
ne
nt's
fa
r-sid
e
foot
so
that he c
an
not ste
p b
ackw
ard
.
50
CLIN
CH
FIG
HT
ING
—B
AS
IC T
AK
ED
OW
NS
RE
AR
TA
KE
DO
WN
(C
ON
TIN
UE
D)
(3)
Sit
do
wn
as
clo
se
to
yo
ur
oth
er
foot
as p
ossib
le,
and
hang
yo
ur
weig
ht
from
yo
ur
op
po
nent's w
ais
t.
(4)
The
oppo
nent
will
fa
ll backw
ard
o
ver
your
exte
nd
ed
le
g.
As he
d
oes so,
tuck yo
ur
elb
ow
to
avoid
falli
ng o
n it, a
nd r
ele
ase
yo
ur
grip.
WA
RN
ING
Tu
ck y
ou
r elb
ow
to
avo
id l
an
din
g o
n i
t.
(5)
Rota
te into
the M
ount.
TR
AIN
ING
IN
ST
RU
CT
ION
S
WA
RN
ING
Op
po
nen
ts m
us
t n
ot
att
em
pt
to r
ea
ch
fo
r th
e g
rou
nd
wh
ile
bein
g t
aken
do
wn
, as t
his
will le
ad
to
severe
in
juri
es.
51
10 Lesson Training Plan : These are the 90-minute lesson plans that should be followed to train all soldiers in the Basic Combatives tasks of the Modern Army Combatives Program. Note: All lessons should begin with a warm up and finish with an AAR.
Session 1 Session 2 - Grappling History/Demo/ - Escape the Mount, Trap and Roll Lecture/Safety - Pass the Guard - Stand Up in Base - Explain Side Control - Dominant Body Positions - Achieve the Mount from Side Control - Demo - Drill #1 Session 3 Session 4 - Drill #1: Detail: Hand & Knees on Ground - Drill #1: Detail: Thumb Inside Collar & Choke - Escape the Mount, Shrimp to the Guard - Arm Push and Roll to the Rear Mount - Shrimp, PE - Escape the Rear Mount - Escape the Mount, PE - Drill #2 - Pass the Guard, PE - Bouts for Dominant Body Position Only Session 5 Session 6 - Drill #1: Detail: Change Hips - Drill #1: Detail: Good Posture - Drill #2: Detail: Thumb less Grip - Drill #2: Detail: Ratcheting - Rear Naked Choke - Bent Arm Bar - Cross Collar Choke from Mount/Guard - Straight Arm Bar from Mount - Bouts for submission by Chokes - Bouts for submission Session 7 Session 8 - Drill #1: Detail: Head Above Knee - Drill #1: Detail: Savor the Moment - Drill #2: Detail: Sitting Up - Drill #2: Detail: Protect Neck & Control Arm - Straight Arm Bar from Guard - Drill #3: Detail: Shrimp to Guard - Scissors Sweep - Fighters Stance - Sweep from the Attempted - Close the Gap and achieve the Clinch Straight Arm Bar - Bouts for submission - Bouts for submission
Session 9 Session 10 - Drill #1: Detail: Control Hip & Legs - Drill #1: Practice - Drill #2: Detail: Proper Feet Position - Drill #2: Practice - Drill #3: Detail: Use both Sweeps - Drill #3: Practice - Front Takedown to the Mount - Review/Demonstrate Combatives Evaluation - Rear Takedown - Combatives Evaluation - Front Guillotine Choke - Bouts for submission
52
Combatives Evaluation : The thirteen core moves of the Modern Army Combatives Program are evaluated during the performance of five tasks. This is designed to emphasize that these moves form the core of a complete system and are not just memorized individual moves. Some tasks simultaneously evaluate both fighters conducting the offensive and defensive moves.
Task Number Conditions Article II. Standards
1 Basic
The enemy is mounted on the
Soldiers chest
1- Fighter uses Escape the Mount, Arm Trap and Roll.
2- Pass the Guard. 3- Achieve the Mount from Side Control. 4- Repeat task for 2nd Fighter.
2
Rear Mount
The Soldier is mounted on the
enemy’s chest
1-Fighter uses Arm Push and Roll to the Rear Mount.
2-Establishes Rear Naked Choke. 3-Releases the choke 4-2nd Fighter Escapes the Rear Mount.
5-Repeat task for 2ndFighter.
3
Shrimp
Fighter is Mounted on the
Enemy’s chest.
1-Fighter uses Escape the Mount, Shrimp to the Guard.
2-Attacks using the Cross Collar Choke or the Straight Arm Bar from the Guard.
3-Fighter uses Sweep from the Attempted, Straight Arm Bar, or the Scissors Sweep if attacks fail.
4 Front Takedown
The Soldier is facing the enemy
at approximately ten feet
1-Fighter Achieves the Clinch. 2-Fighter uses Front Takedown to the
Mount on the enemy. 3-Properly applies the Bent Arm Bar or
Straight Arm Bar.
5 Rear Takedown
The Soldier is facing the enemy at approximately ten feet
1-The Soldier Achieves the Clinch and when the enemy turns, goes behind 2- The Soldier uses the Rear Takedown to the Mount 3- Properly applies the Bent Arm Bar or Straight Arm Bar
6 Guillotine
The Enemy attempts a double-leg takedown on the Fighter.
1-Fighter defends takedown attempt with the Front Guillotine Choke.
2-Then Places the Enemy in the Guard. 3-Completes the choke by pulling with his
arms and pushing with his legs.
Note: Stand up in the base is evaluated each time the Fighter stands.
53
Session One: Demonstrations Fight scenario demonstration : fighter 1 closes the gap achieves the clinch and takes fighter 2 down, 1 mounts 2, 2 trap and rolls 1, 1 puts 2 in guard, 2 passes guard achieves side control and mounts, 1 shrimp escapes and puts 2 back in guard, 1 scissors sweeps and mounts 2, 2 traps and rolls 1, 1 conducts a straight arm bar from the guard and 2 taps out. End of the Lesson Demonstration : Soldiers want to know how these dominant body positions will put them in a place to finish the enemy: What did I learn today? How is this going to relate to winning a fight? Demonstrate : Cross Collar Choke, Bent Arm Bar, and Straight Arm Bar from the Mount Demonstrate : Cross Collar Choke, Straight Arm Bar, and the Sweeps from the Guard Demonstrate : Rear Naked Choke from the Rear Mount Demonstrate : Bent Arm Bar, and Mount from Side Control Note: Don't do a thorough talk through. State the dominant body position you are in and the name of the finishing move you are going to demonstrate. Demonstrate the finishing moves and transition on to next dominant body position and the finishing moves available from there. Explain this is where the training is headed and that they will learn these moves in subsequent sessions. DO THIS AT END OF SESSION. By presenting this demonstration here, the student can walk away visualizing how each dominant body position can and will lead to a finishing move that they can demonstrate in later sessions where they will bout.
54
General Competition Information
A look at the history of Combatives systems reveals two fundamental mistakes,
both of which are related to competition. The first mistake is having no form of competition. This is generally done due to the misguided thought that the techniques are “too dangerous” to be done competitively. While many techniques are too dangerous to be executed during live competition; there are great benefits to be gained by competing even in a limited set of techniques. The boxer is a better puncher than the traditional martial artist not because of the mechanics of punching but because his technique has been refined in the crucible of competition. The feel for an enemy’s body movement of most high school wrestlers is superior to most traditional martial artists for this very same reason.
For military units there are many other reasons that a competitive form is useful. The problem of developing a strong unit program is really the problem of how to motivate subordinate unit leaders to emphasize the training. Competitions can be useful for this in several ways. Competitions are also a very good way to encourage the pursuit of excellence in soldiers.
The other mistake is that once you have decided on a method of competition, training will naturally become focused on winning at competition rather than on winning in combat. Over time, the system changes until it bears only a slight resemblance to the original combat art. This is evident in almost every Combatives system. Boxers do not concern themselves with how to defend against takedowns. Wrestlers do not concern themselves with defending against chokes.
The dilemma then is how to garner the benefits from competition without falling into the trap of a competitive focus. The answer is to have a graduated system of competition rules. In this way there will not be a competitive advantage to training specifically for competitions. Those who do will find themselves unprepared for the additional techniques that are allowed at the next level of competition. This also allows for a very safe subset of techniques to be used at the lower levels without losing the combat focus.
There are four sets of rules governing Combatives competition. Other combative sports are also encouraged, however it should be recognized that they sometimes reinforce bad combative habits.
Basic Competitions The basic competition rules are designed for entry level soldiers, or soldiers with a limited knowledge base. Soldiers will begin with a handshake, face each other on their knees and fight until submission or a designated time limit. On reaching the time limit, a winner will be designated by the referee based upon aggressiveness and technical superiority.
55
Standard Competitions
1. Uniform: Soldiers should compete wearing BDUs and bare feet or wrestling shoes. For ease in scoring, one soldier may wear a DBDU top. 2. Duration: Matches last five to ten minutes. Specific match duration is decided in advance. 3. Scoring: Points are awarded to establish good fight habits and emphasize the importance of dominant body position. It is important to remember that submission will end the fight regardless of the score. The point values are:
2 Points ---------Take Down: From the standing position, the fighter places his opponent on the ground but fails to gain dominant position.
3 Points ----------Take Down: From the standing position, the fighter places his opponent on his back and gains a position past the guard: side control, mount, knee mount, north-south, etc.
3 Points ----------Pass the Guard: From between his opponent's legs, the fighter clears the legs and gains side control or the mount.
3 Points ----------Sweep: From the guard position, the fighter changes positions, placing his opponent on his back.
3 Points ----------Knee Mount: From side control, the fighter establishes one knee in his opponent's chest / abdomen and the other knee up and away from him and stabilizes himself.
4 Points ----------Mount: The fighter establishes the mount with both knees and feet on the ground.
4 Points ----------Back Mount: The fighter establishes the back mount with both feet hooked in position.
1 Point --------Stalling: Planning to use the clock to your advantage. Fighter will receive three warnings, after which his opponent will be awarded the point, this process will continue until action is resumed.
2 Points --------Passivity: Fighter disengages from the top position, the referee awards two points to the other fighter.
56
Standard Competition: Continued
Note: All positions must be stabilized to the judges’ satisfaction to earn points.
4. Judging: Each match has one judge and one score keeper. It is the judge’s responsibility to ensure a safe and fair match. All decisions are final. 5. Illegal Techniques: The following are illegal and dangerous techniques. Their use may result in disqualification:
Strikes of any kind
Twisting knee & ankle locks
Finger techniques
Wrist techniques
Grabbing the fingers
Toe holds
Attacking the groin
Spiking Slam
Slamming the opponent to pass the guard
6. Tie Breaking: If the score is tied at the end of the allotted time, the match will continue until the next point is scored or deducted. 7. Time limits: Time limits tend to change the type of technique commonly employed. There is however a need to limit the length of matches, especially when conducting a large number of them, for instance in a tournament. It is preferable to have no time limit, the victor decided by submission. If time limits are to be employed, a specific time limit will be decided on in advance, commensurate with the number of fights to be conducted. Another technique is to have a set amount of maximum points, usually fifteen. The first fighter who reaches that limit is the winner. Everyone involved should however keep in mind that a victory by submission is far preferable to a point victory.
57
FLWA MODERN ARMY COMBATIVES ACADEMY GRAPPLING SAFETY BRIEF
A. All Standard rules apply.
B. Tapping procedures will be adhered to. 1. Students will Tap when in pain, they feel that they are about to go
unconscious or an effective joint lock is being applied. 2. Students preferably will attempt to Tap vigorously on there opponent
when the above conditions apply. If a student can not Tap on there opponent they should Tap on either themselves or the Mat.
3. In the event that a student is unable to Tap they should verbally submit, exclaiming “Tap Tap Tap”.
4. Once opponent taps students will immediately stop what they are doing. 5. Students should not tap to just to escape an uncomfortable position.
C. Students may not stand up unless to pass the guard. D. Students may not pick an opponent up and slam them on the mat. This includes
when they are in there opponents guard. E. No finger chokes are allowed. F. Students may not apply any sort of small joint manipulation. This includes wrist
locks and the bending of fingers. G. All joint manipulation will be applied with slow steady pressure. H. When grabbing the hand, students will grab either the whole hand or at least four
fingers. I. No leg attacks of any kind are allowed in the level I Course. J. No striking is permitted. K. No pressure points will be applied L. No fish hooking will be permitted. M. Students will at no time grab there opponents genitals. N. No eye gouges. O. Conduct proper hygiene
1. Clean uniforms daily. 2. Wash hands after using the latrine. 3. Ensure soldiers trim finger/toe nails. 4. No rings, watches, belts, ID tags, or pin on rank. 5. Tape up zippers on ACUs. 6. Have bleach rags outside of latrines. 7. Mop mats with bleach water before & after training.
P. Cold Weather 1. During times of Cold Weather Soldiers will ensure they have adequate change
of clothes to meet weather condition IAW USARAK Policy Letter 0-08
58
Head Injury Warning
Dear Student: You may have suffered a head injury. Head injuries vary in severity from mild to severe concussions to skull fractures. Though most severe head injuries can be recognized at the time of the injury, the signs and symptoms of others may not develop until a later time. Therefore, it is imperative that any Soldier who may have sustained even a minor head injury to take prudent precautions. We suggest the following:
1. Eat a light diet. 2. Do not take any sedatives or consume any alcoholic beverages. 3. Immediately go to the emergency room and call the cadre if any of the
following occur: • Severe or progressively worsening headache • Nausea and/or vomiting • Unusual drowsiness • Blood or other fluids draining from ears nose or mouth • Convulsions and/or seizures • Confusion and/or inability to concentrate • Blurred vision and/or double vision • Ringing in the ears • Balance difficulties • Dilated and/or unequal pupil size • Temperature above 100.5 with or without neck stiffness
4. Do not take more than two (2) Extra-Strength Tylenol (Acetaminophen) or
three (3) regular strength for headaches. Do not take aspirin or Ibuprofen!! Do not take any other pain medications.
If any symptoms occur, report them to the cadre before your next class.
59
FLWCA Level I Schedule – 40 Hours
Monday
0630-0730 In-processing/Admin
0730-0800 Intro/ history
0900-0930 Stand in base (w/ kick also) Dominant
Body Positions
0930-1130 Escape the mount/ trap and roll
Pass the guard
Achieve the mount/ drill #1
1130-1300 Lunch break
1300-1400 Film/lecture on realistic training plan
1400-1430 Shrimp escape/ (`escape the double
grapevine)
Shrimp drill
1430-1500 Escape the mount practical exercise
1500-1530 Arm push and roll to the rear mount
1530-1600 Escape the rear mount/drill #2
(Quick roll rear mount escape)
1600-UTC Sparing for dominant position
Tuesday
0800-0900 Warm-up and review
0900-0930 Rear naked choke/ (unbreakable
Japanese strangle)
0930-1000 Cross collar choke (from the knees,
mount, then guard
1000-1030 Bent arm-bar from mount and side
control
1030-1130 Straight arm-bar from the mount
Straight arm-bar from the mount drill
1130-1300 Lunch
1300-1400 Film/lecture on realistic training plan
1400-1430 Warm-up and review
1430-1500 Straight arm-bar from the guard
Straight arm-bar from the guard drill
1500-1530 Sweep from the attempted straight
arm-bar
1530-1600 Scissors sweep/ kick the knee out/ Drill
#3
1600-UTC Sparing with submissions
Wednesday
0800-0900 Warm-up and review
0900-1000 Drill/Review
1000-1130 Sparing with submissions
1130-1300 Lunch
1300-1330 RPT (1/2)
1330-1430 Standup Review
1430-UTC Sparing with submissions
Thursday
0800-0830 Warm-up(1/2) and review
0830-0900 Stand-up fighting class
0900-1130 Clinch against the puncher exercise (
close the distance/ achieve the
linch/Pummel near side, far side/
pummel drill/ trapping arm in your
armpit)
1130-1300 Lunch
1300-1400 Film/lecture on training plans
1400-1530 Front takedown to the mount
Rear takedown to the mount
1530-1630 Guillotine choke
1630-UTC Gauntlet/Drill/Review
Friday
0800-0900 Warm up (1/2) and Review
0900-1130 Student teaching
1130-1300 Lunch
1300-1400 Warm-up and review
1400-1500 Grappling with punches class
1500-1600 Grappling with punches exercise
Knees from side control
1600-1630 Class on the realities of fighting on the
battlefield
60
