Let’s take a little diversion into the world of Brazilian Jiujitsu. Here is a video I shot this morning that shows some of my favourite options for getting submissions from side control. For some reason the sound didn’t work, but hey ho, let’s roll.
Here it is:
I’m demonstrating how I like to keep my knees off the mat, so that my body weight is going straight into my opponent, which I use to pin him, freeing up my hands. The hands are then free to see submissions. I show some chokes and armbars. The very last choke, where they get choked by their own arm across their body is my most common submission. It’s quite opportunistic, but the opportunity is there quite a lot if you know to look for it.
If you enjoyed this sort of content then you’ll probably enjoy my chat with BJJ black belt Stephan Kesting of GrappleArts.com. We talk about a lot of BJJ issues and also how BJJ has changed over the years.
This channel displays films and film segments that were created at the beginning of film making in the 19th Century through to the first half of the 20th century in relation to martial art and exercise.
Here are few examples of the content you’ll find here that caught my eye:
1897 Boxe Francaise (Savate) & Baton Demonstration – Lyon France
Filmed: Spring – June 6th 1897 Location: Lyon-France These films show members of the 99th Infantry Regiment demonstrating Savate & Baton. These demonstrations are not sparring sessions. They are an exchange of techniques for the camera, in the form of a flow drill. In the Savate demonstration you can see that the practitioner on the left is aware of the camera position, and motions the other practitioner back into the frame of the camera. Sparring in this era was conducted on a “touch point system” along the same lines as fencing and points were scored for making contact, and the aim was not to seek a knock out.
“These two films were filmed in July 1896 by Lumiere camera operator Alexandre Promio. The Location was Sydenham Crystal Place Park London. The first film depicts a form of Burmese martial art which includes open hand strikes, kicking and grappling. It is unclear what style is depicted as Burma (Myanmar) has a large variety of styles. (Martial Styles of Myanmar) https://www.youtube.com/watch?v=96IBH… Both practitioners seem to be sparring in a light friendly manner for the camera. The second film presents a solo performance of the ball exercises known in Burma (Mynamar) as Chinlone. Chinlone dates back over 1,500 years, and is heavily influenced by traditional Burmese martial art and dance. It was originally conceived as a form of entertainment for Burmese royalty. It is also played as a team sport and over the centuries, players have developed more than 200 different ways of kicking the ball. Form is all important in Chinlone, there is a correct way to position the hands, arms, torso, and head during the moves. A move is considered to have been done well only if the form is good.”
My guest in this episode is my first from the world of Brazilian Jiujitsu. He’s Estonian Jiujitsu coach Priit Mihkelson.
For over 15 years now Priit has been pioneering an innovative, logical and defensive style of jiujitsu that has been taking the BJJ world by storm.
He’s just back from running a training camp held in a castle in Italy and his seminars are sold out until mid June next year, so it was great to grab some of his precious time and catch up with him before he jetted off for his next training camp.
In this podcast we talk about defensive BJJ, training methods and technical innovations.
Byron Jacobs is a teacher of Xing Yi and Bagua based in Beijing, China. He’s a student of the famous Shifu Di Guoyong and is heavily involved in the martial arts scene in Beijing. As well as training traditional martial arts he’s also a BJJ practitioner and competitor.
In this wide ranging discussion we talk about training Xing Yi, Bagua and Tai Chi and whether Wu Shu will ever get into the Olympics. We also find out what it was like to train martial arts in Beijing during the Corona virus pandemic, and what the Chinese BJJ and MMA scene is like.
There’s a great article on Jiujitsu Style about the late, great, Anthony Bourdain and his love for BJJ, which he took up later in life. Over four years, Bourdain posted on the BJJ Reddit forum, r/bjj, as NooYawkCity 80 times before his death. He wasn’t doing it to promote a book or new TV show. He was just doing it because he loved BJJ, and his writing was real, honest, unflitered and above all, relatable.
Here’s an example:
“58 years old and getting so gassed during warm ups, that when we start to roll, I end up sticking my own head into an obvious guillotine –just to take a break. An utterly humiliating class yesterday, yet showed up for a private today with 250 lbs of muscle and bone so I could get pounded like a chicken fried steak . Why am I doing this? I don’t know. I’m like a dope fiend at this point. If I can’t train I start going into withdrawal. Wander around, twitching, restless and pissed off. At least with dope, you feel GOOD afterwards. After training, I feel like a rented and unloved mule . All the other (much, much younger) white belts all seem to be coming back from long breaks because of injury. Strangely enough, so far so good for me. I may feel like a fragile box of stale breadsticks but I’ve managed to avoid injury (if not discomfort). I have never enjoyed pain. I don’t care if it’s Gisele Bunchen coming at me in thigh boots wielding a riding crop, I’m not interested. Yet I insist on getting squashed on the mats every day and feel bereft if I can’t. This is not normal. When I talk about BJJ , Old friends look at me like I have an arm growing out of my forehead. But I Won’t stop. Can’t stop.” – NooYawkCity, July 9th, 2014
A rare and welcome return to dead tree media for Brazilian Jiu-Jitsu fans everywhere.
Since the advent of DVD, and easily downloadable video tutorials from the likes of Kesting’s own Grapple Arts website and sites like BJJ Fanatics, new books that teach you BJJ techniques in a step-by-step manner have dwindled to the point of non-existence. Back in the day we had masterworks in print, like Jiu-Jitsu University by Saulo Ribeiro and Kevin Howell, and Advanced Brazilian Jiujitsu Techniques by Marcelo Garcia and Marshal D Carper* to guide us. But VHS and then DVD took over, which is why I’m so pleased to see this new release from Brandon Mullins and Stephan Kesting. Nonstop Jiu-Jitsu is the first new book about Brazilian Jiu-Jitsu to buck the trend and feature photos and step-by-step techniques, released in years.
You might be wondering what the point of a printed book teaching you BJJ is in the modern age of YouTube and steaming video, so let me offer you some reasons for its existence:
1) You don’t need a phone, app, computer or VR headset to enjoy a book. You can take it wherever you go and dive into any page anytime, anywhere. Talk about “instant access”!
2) Some people learn better from printed material – reading puts you in a different headspace. There’s also just something nice about a real, physical book that you can hold in your hands.
3) A DVD of this material (“Nonstop Jiu-Jitsu”) already existsfrom Grapple Arts, so this book acts as an additional resource.
4) Goddamn it, I’m just tired of all BJJ instructionals being in video format these days! It’s so nice to go back to something more old school.
So, as you can probably tell, I really wanted to like this book. I work in print magazines as my day job, so I love print with the sort of passion that Gordan Ryan normally reserves for protein shakes. I want to see the printed medium continue for as long as possible. So, as a fan of the original Nonstop Jiu-jitsu video instructional from Grapple Arts, I was beyond excited to hear that a print version was now available. And at 260 pages, with literally hundreds of full colour photos it is clearly a labour of love for the authors Kesting and Mullins. Yet alas, (alas!), it is not without its problems, of which there are many, but more of that later.
First though, who are Kesting and Mullins, and why should you care what they have to say about BJJ? As mentioned, Kesting runs the Grapple Arts business of BJJ instructional videos. I’ve been a fan of his work for a long time, and purchased many of his products. They’re all good, high-quality productions and usually done in conjunction with another teacher, who has a unique or valuable insight into the world of BJJ. Kesting usually takes the role of uke in the videos, while the featured instructor takes you through his techniques, or concepts. The featured instructor here is Brandon “Wolverine” Mullins, a BJJ world champion who is known for his clear instructional style and showing you complete gameplans, rather than isolated techniques, so he will show you a guard sweep, followed by a guard pass and then a submission, rather than techniques that leave you hanging and not knowing quite what comes next. Mullins isn’t one of the really famous BJJ guys out there, but he’s no stranger to competition and is a very competent teacher.
So what’s my beef? Well, the problem is that the book smacks of self publishing. A quick scan of the credits page reveals they didn’t employ an editor or a sub editor, and it really shows. Not only could almost all the text in the book do with a good edit to make it punchier, tighter and more interesting to read, there are a lot of unforgivable grammatical errors that have crept in, mainly in the introduction text admittedly, but that’s the thing you read first, so it creates a very bad first impression. But while things improve in later sections, typos are prevalent throughout the work, and if like me you can’t stand seeing obvious mistakes in a finished book, you’ll be tearing your hair out. I have a lot of sympathy for the authors here – working in print I know how hard it is to spot your own mistakes. You go “word blind” to your own writing. There are probably typos in this review that I’ve missed, but I can easily go back and fix them because it’s a blog post. In contrast, once something has been published in print it can’t be changed without issuing an expensive reprint – it’s really a very unforgiving medium, and not getting another pair of eyes to look at every single page before you send it to the printers is always fatal. Heck, I’d have done it for free myself if only they’d asked me!**
Some examples of typos from the introduction:
Maybe you’re not be the sort of person who cares about dotting the i’s and crossing the t’s. You just want to get to the great content, right? Well, I have some issues there as well.
I can’t fault the quality of the instruction presented. Like I said before, I was a fan of the original video series. But the way it’s presented here could be improved. For a start, the book is an odd shape (21.5cm across and 21.5cm high). There’s a reason why most books generally aren’t square – they’re really awkward to design for and you can see how this has created problems. When they have a full page of text, they’ve used only 1-column, so a line is uncomfortably long. The margin on the outside edge of the page is very tight too, and it all makes reading difficult, as you have to track your eye back a long way to the left to find the start of the next line. A 2-column grid would have made scanning text much easier.
The pages of photos have a different problem. Following from one step to the next is difficult, as they often have alternative shots of the same technique on the page. They’ve put numbers on photos so you can see where to move your eye to next, but knowing where to go next is not intuitive. They also expect you to read the explanation in the text box at the top of the page, then move your eye back to the correct picture to see what is meant, then move your eye back to the text box at the top to read the next step, and so on. It’s all a bit awkward.
All credit to Kesting and Mullins for spending the time to re-shoot every single technique in detail and presenting colour photos of each step (that’s not cheap to do in print). The photos are clear and accurately show the techniques. They avoid the classic mistake of both weaing the same colour gi, but the printing is a bit too dark, meaning there are some shadows and dark patches on Kesting’s blue gi that are hard to make out, as you can see in my photos. (This probably looked fine on screen when they were creating the book, but the printed version can differ).
The design has competing systems of classification too, which makes it even more confusing. Sometimes a “what not to do” type photo has a red thumbs down icon on it, at other times it is crossed out with a big red “x”. Why not just pick one system and stick with it?
In their enthusiasm the authors have tried to squeeze too much into this book, both in terms of the number of photos on each page, and the amount of material covered. There are 3 big sections – 1. Fundamental movements, 2. Butterfly guard, 3. De La Riva guard – and to fit it all in, something important has been lost, which is context. In the video version of Nonstop Jiu-Jitsu, Mullins explains why he’s doing each technique, usually in response to the opponent defending his previous effort. Here you don’t know when or why you would use the techniques shown. For instance, when you have butterfly guard, what makes you choose either the hook flip to x guard or the hook flip to phantom choke? It’s not entirely clear. A short piece of text explaining the context before diving into the steps would have made all the difference.
To give you an idea of how much content there is here, the table of contents alone runs to 6 pages! Complaining there’s too much value in a book sounds like an odd gripe, but this book could easily have been split into 3 different books, with more room to really let each subject breathe, and it would have been all the better for it.
The first section (which seems unsure if it’s called Fundamental Movements, or Advanced Fundamentals) is based around the fundamental movements of Jiu-Jitsu, like the technical stand up, sit through, hip escape, butt double and rolling forward and backwards, and then shows you how these movements can be applied in techniques. In a section aimed at beginners the applications are actually quite involved and ramp the difficulty level up very quickly – for example, a rolling omoplata from the armbar position in side control, anybody? As a more experienced Jiu-jitsu player I personally loved the high-level technical content here, but a real beginner might be a bit out of their comfort zone. My only criticism is that they show plenty of applications for all the movements except the hip escape (or shrimp) and bridge, which only get one application each – regaining closed guard from half guard for the shrimp and bridging from mount. I would have liked to have seen a shrimping escape from side control here, and another mount escape added for completeness sake.
The second section goes on to cover butterfly guard. Butterfly is a really good guard to use against an opponent who is trying to pass your guard from his knees. The standard butterfly sweep is shown, plus a plethora of options for when they post a hand or leg. Quite naturally this leads into all sorts of x guard material, back takes and shin sweeps. The section starts with Mullins’ trademark aggressive butt double attack from butterfly, which is a very proactive way to get the action going against a stalling opponent, and as such is nicely suited to competition. Because Mullins teaches in a game plan-based system, a lot of this chapter is devoted to guard passing after you’ve swept them from butterfly guard.
The final section covers the De La Riva guard, which shows you what to do against a standing opponent. The majority of the section is on how to attack with the ball and chain sweep, and follow ups depending on how the opponent defends. Again, the jiu-jitsu shown is attacking and aggressively non-stop, in the sense that he links together guard sweeps, passes and submissions.
Throughout all of the book’s sections, Mullins drops in some tips on motivation, competition strategy and his general thoughts on BJJ. It’s welcome advice, but I think it could have done with an editor to make it more concise.
After all this moaning you probably think I’m going to recommend staying well clear of Nonstop Jiu-Jitsu (or is it “Non-stop Jiu-Jitsu“? Even the name of the book is editorially styled in two different ways, one on the cover without a hyphen and another on the footers of each page with a hyphen – argh! Just choose one way and stick with it), because of all the editorial problems, but I’m not. I’m recommending it because this book is actually glorious!
I love seeing BJJ back in print, and despite the issues I’ve mentioned**, it didn’t stop me from loving this book. If you’re looking for some new ideas for a game to play from butterfly or de la Riva, then you’ll find inspiration here that will last a lifetime, and you can easily add to your game. And, godamn it, it’s a real book about BJJ and we should celebrate that fact.
(* If you’re interested, I consider Marcelo Garcia’s book to be the gold standard in terms of these types of instructional BJJ manuals. Its production standards are first rate, from the quality text and explanations to the brilliant photos. Sadly it went out of print a long time ago.)
(** Lads, if you are reading this and want to do an updated version 2 of this book without all the typos, then please do, but please, please hire an editor this time!)
As you’ll know from listening to our “History of Kempo and Jiujitsu” podcast episdoes, Japan was opened up to the West in 1852, but it would take a while yet for Japanese martial arts to reach British soil. As revealed in the article “The Golden Square Dojo and its place in British Jujitsu history“ by David Brough, in issue 10 of Martial Arts Studies, the Bartitsu School of Arms and Physical Culture of Edward William Barton-Wright was the first martial arts club to introduce Jujutsu to the U.K in London (along with other things, like Savate), but it quickly seeded ground to more traditional Jujitsu dojos in Britain. Jujutsu was originally taught in the Golden Square Dojo in Piccadilly Circus, which opened in 1903, and was run the teacher Sadakazu Uyenishi.
Here’s a short film about him – the forgotten grappler:
A reanimated film of photos of Sadakazu performing jujutsu techniques from his “Textbook of Ju-jutsu” in 1905 exists on YouTube:
What I find interesting is how much of jujutsu practice was about performance in the early 20th centuary – (perhaps this is a role that is filled by BJJ sport competitions and Judo in the Olympics today). Early Jujutsu teachers from Japan toured the UK trying to create a name for themselves, putting on shows in dance halls, taking on local wrestlers in prize fights and performing feats of strength. It was very much like a circus attraction. In Brazil this exact approach lead to the creation of Brazilian Jiujitsu, but in the UK, its indigenous wrestling (things like Catch, Devonshire wrestling and Cornish wrestling) and jujitsu seemed to stay in their own lanes, and a hybrid creation never really saw the light of day.
By 1930s the Golden Square Dojo had been demolished and Judo had taken over from Jujitsu as the dominant version of the art in the UK, although various Jujitsu societies connected to the Golden Square continued to this day.
Bartitsu is best remembered today because of Sherlock Holmes being a practitioner, and is seen as the fusion of Victorian gentleman attire (including the walking stick or umbrella) and Japanese Jiujitsu, but also included other martial arts, including French Savate.
Bartitsu died out, although a modern revival appears to be well underway. Judo remained the dominant strand of Jujutsu practice in the UK for many decades, although it mainly seems to be practiced by children, while Jujutsu, in its Brazilian variant (BJJ) seems to have taken over as the dominant practice amongst adults today. (N.B. I don’t have figures to support that assertion, but that’s my strong impression).
Professor Brough was also interviewed about this article on the Martial Arts Studies podcast, which contained another interesting fact that I didn’t know – there are records of the use of the walking stick in Britain as a self defence style going back to 1830, pre Bartitsu. Professor Brough will be producing more research on that in the future. Sounds dapper!
And let’s not forget, the image of the Victorian gentleman with his walking stick/umbrella fighting off attackers saw something of a revival in the 1960s thanks to The Avengers. Ka-pow!
Bruce Lee and the Kung Fu craze took over the nation’s interest in martial arts in the 70s, but in modern times things have swung back to jiujitsu again, thanks to the popularity of MMA, from the 90s onwards.
Even martial arts movies seem to have swung back to jujutsu, with things like the John Wick series, Jason Bourne and just about every fight scene in any movie being required to contain at least one armbar on the ground in it. I think Sadakazu Uyenishi would look at martial arts today and be pleased with what happened and the influence his Jujustu had.
This is a video created by the Gracie Academy, it’s pretty long, but it’s got the essentials of BJJ for self defence in there, and why not learn it? What have you got to lose?
“But all fights start on the feet!” Well, as the video of a real attack in the clip shows – you can be attacked at any time, anywhere and potentially by anyone. You could already be sitting on public transport. You could be attacked from behind and end up on the floor. If you don’t know how to get up from there then you’ve got a problem.
I was reminded recently of a blog post I wrote for Cook Ding’s Kitchen a few years ago about starting BJJ after years of doing Tai Chi. I just re-read it and decided it was ‘not too bad’, so I’m sharing it again here.
Here’s a quote about my first time sparring in BJJ.
We fist-bumped again and went for round 2. He then proceeded to act out a BJJ clinic on me. He was tapping me out using every sort of conceivable lock or choke hold I could think of at a rate of one tap every 2 minutes. And worse, he wasn’t even trying. I quickly realised he’d let me tap him the first time just to see what I could do. This went on for the full 30 minutes. It wasn’t a matter of being out-muscled – it was clear that he possessed a knowledge that I didn’t. I wanted to lie down, curl up and die after about 10 minutes, but something in me refused to give up and I lasted until the end of the class. The black belt running the class was keeping an eye on me, and expressed some concern about the curious wheezing noises my breathing was making and asked if I’d like to sit out, but my pride wouldn’t let me. I kept going until the end. It took me about 2 days to recover fully. My next class was the same, but this time the blue belt I fought was a smaller female, who repeatedly jumped on my back and tapped me out with chokes until time was up.
That was it, I was hooked.
There was a type of knowledge here I could learn, and it worked in a fight, and it didn’t matter if the other person was stronger than you. There were no forms, deadly techniques or imagining ‘what if’ scenarios. You were hit by reality from the first fist bump.