tallgeese

1/10 Drilled 10 min of takedown work 40 min of positional maintenance v. escape from mount, side, guard 30 min free roll.

1/9 early: bench shoulder press lat raises tricept press abs late: BJJ nite- Drilled breaking the guard. Moved into high guard sequence to shoulder crank, armbar, then sweep to armbar. 25 min free roll

I agree with pretty much everything that's been said to date. Nice vid, by the way MP. One other aspect to consider is that there are three (to my training) factors to deal with an armed attack. You have to think about: a) control the weapon b)control the distance c)esclate weapons So when we look at controling the weapons, we're usually dealing with redirecting and block type things. This is related to distance, of course, but its own prinicple. People often neglect to think about or train the next two. Which are at least as important, if not more so, than the first. If you're planning on escalating, you need to practice doing it. Distance can be a fickle thing depending on what he and you are using, so you need to train for it against various weapons and aggressor types. As for controlling the weapon, my approach is a bit differnt the MP's in that I have much less FMA cross triaining. Very little in fact. I tend to utilize redirections primarily off the backside of my arm and into a two hands on his weapons arm for control. This lets me access my joint position training. I'll dig around and see if I have video.

Happy Birthday!

Happy Birthday, bushidoman!

I'd think that there's nothing wrong with any movement paradigm that has the body and strike (or joint manipulation) working in concert with one another. It's imperative in the generation of power. That said, I can see situations where the strike would lead;however, the fast jab for distraction effect, the eye jab on the move. I think that an argument could be made that certain strikes lend themselves to this application, but now we're talking about exceptions to the major rule. And on that, I'd certainly agree with your thesis about body mechanics. I'm not sure that the body leading or going at the same time matters. I'll have to spend some time feeling this on my next mitt session (isn't this forum great for making us think about things like this )

I'd agree 100% with bushidoman on this. The way society works not defiantly places the burden of proof to live training. Not to mention, initially coming out of an organization redistricted at its height to a few hundred members in the Midwest, I don't think that numbers adequately reflect function. I do think that there is value in looking at incidents where students use their skills in an altercation. Maybe not as sole "proof" in the legitimacy of the art, but from a debriefing mindset to learn from and sharpen both the student and the art.

Thanks guys. Feel free to print and use at will. I doubt the project will ever see completeion and if it does, it will certanly be a small, in-house effort. No worries on passing it around. I am also planing to detail training stratgies and other things as our BJJ group moves to the Chicago IBJJF so it might be worth taking a look back every now and again as well for other stuff. We'll see. MP, I found the segment I had done for the while belt portion as well. It's minus photos, but I'll get it up as well shortly.

1/8 1.5 mile run leg extension supersets hamstring curls calf raises dead lift abs

If you're looking at wrestling, you're not going to see submissions. It's not part of free style or Greco. Subs are the purview of submission wrestling (no gi), BJJ, or shoot. As to long term damage, if you're training smart, with good partners, it will actually be easier on your body than other arts. Since moving to predominately BJJ training, my shoulders hurt way less than they did before. Of course, we go back to how one is training. I'll get argument here, but I'd stay away from working leg locks for some time. It's easy to hurt those joints, the force almost always transfers to the knee, and reliance on them can stunt your work on open guard. Stay away from them till purple belt level at least, especially rotational locks to the ankles and knee bars.

While organizing my hard drive recently, I came across an introduction I wrote some time back for a proposed student handbook in the initial art that I studied (GS, MP, and LP all come out of the same system as well). The handbook never came to fruition but I held on to the information. I had toyed with the idea of trying to turn a couple of the sections into articles, but it seemed like more work that I wanted to go to That said, even though it does not deal with technical aspects of the art it does provide an insight into the background and mindset of Bujin. Since its not a widespread art with little available information, I thought it might be nice to share it. Edit: Here it is in a slightly less convoluted (and thus easier) path to get to, apologies for the length- Introduction Bujin Bugei Jutsu: A System of Fighting What is Bujin Bugei Jutsu? A valid question, it is many things and each of those is different to for every person who practices it. Perhaps, then, it is an easier task to define what it is not. Bujin is not an art that claims supremacy over other martial art forms, and by extension, this handbook will not make that claim either. Bujin is not a technique-based art, although technical drills are used in the development of skills. Nor is it an art that relies on kata as a substantive teaching tool, even though prearranged forms are used at lower belt ranks to teach movement. Bujin is not a format for sport martial arts, although many from its ranks have competed in both sport and full contact arenas with success. And lastly, it is not a philosophical discipline that serves as a metaphor for life. It is, at its core, a combative martial art. One that is designed to function around tested, real-world principle and theory rather than a limited set of techniques. It is an open-ended paradigm for self-defense that seeks to prepare the student for combative encounters that he hopes will never happen. It is an art, perhaps, that is out of its time. Bujin seeks to maximize combative effectiveness for the resolution of serious conflicts. By working with an individual’s inherent skill, each fighter develops his own gifts around the principles that are at the core of the system. Because of this, most Bujin practitioners look somewhat different on the floor from one another. Some work longer ranges better, maximizing their reach to wound combatants and keep the fight at a distance; others seek to close to an in-fight, and control their opponent from there; still other will end up in a grappling range, either on their feet seeking joint position or on the ground. This then, is the essence of Bujin, a combative, and comprehensive art, which is constantly evolving and reinventing itself with each new practitioner. So how is it taught and what does it consist of? How is a system designed so that it allows for individual traits yet is still regimented enough to pass on knowledge of movements, positions, and weapons? Bujin is broken down into six belt ranks before a fighter reaches black belt. At each of these levels particulars of the system are taught and practiced with progression bringing more open-ended and spontaneous drills. This handbook will, by belt rank, explain them, demonstrate them, and describe how they fit into the overall scheme of the art. Before we begin, however, it is helpful to look at where Bujin came from and what makes it what it is. The History Bujin: A Warrior’s Lineage Bujin is an art that, as a whole, cannot claim ancient origins. However, that is not to say that there is no warrior tradition that connects its practitioners with their ancient kin. In fact, several of the movements incorporated and studied in Bujin have been passed down for centuries, as well as the spirit and trappings of these noble warriors. Bujin Bugei Jutsu was originally assembled and defined in the early 1990’s as a modern combative form with emphasis on effectiveness in the twentieth century’s violent world. It was the brainchild of Sensei Tim Jones, an experienced martial artist and competitive fighter, with ranks in both Tae Kwon Do and Goju Kempo. Searching for more effective fighting methods, he would eventually study Hondo Seishin-Ryu, an Okinawan art, under the direction of Master D.M. Hurst and earn the title of Shihan. It was the variety of this experience, and Sensei Jones’ desire to formulate an effective way to teach that which he had learned, that led him to the formulation of Bujin. Even after its creation, Bujin continued to evolve as Mr. Jones continued to refine his skills and acquire new ones as well, most notably was his study in Gokei-Ryu and later submission wrestling. He, and his students continually testing each tactic against the crucible of practicality, and then integrating those that passed into the overall educational process of Bujin. Bujin Bugei Jutsu practitioners tend to be a particular lot. On one had they are fiercely proud of their modern emphasis, taking pride in the handgun training the often acquire before attaining black belt rank. At the same time, they will point out the ancient origins of specific movements and the reasons behind their development. Still, students of Bujin, regardless of their own personal focus, seek ability in combat with a fervor that is in the spirit of the samurai of old. What’s In a Name: Behind the Language Barrier The literal translation of Bujin Bugei Jutsu varies somewhat from the looser and symbolic translation favored by its practitioners. Therefore it is useful to look at the roots and development of the terms involved before discussing the precise translations. The arts of warfare that were systemized during the feudal period of Japan’s history can be collectively referred to a bujutsu; where the character bu represents “military” or “martial” and jutsu indicates “art” or “method”. Thus, the term bujin indicates one who practices these arts, a warrior. The second word to consider is bugei, which simply translated indicates a martial art. More precisely it is a “method”, which is denoted by the character gei. So it is a method of the warrior, or the way in which he practices his station as a warrior. The final term in the naming of Bujin is the character jutsu. The term jutsu, as mentioned before, indicates a “method” or an “art”. Perhaps it is easier today to describe what is meant by the translation by thinking of it as a “system”, or a system of techniques. It is interesting, and telling of the system of Bujin, that the suffix do that is commonly seen in the martial arts (example, Karate-do and Akido) is not present in its naming. The character of do is used in place of jutsu when describing a pursuit that is more spiritual in nature than practical, with do translating as “way” or “path”. It is a subtle difference, but one worth preserving and taking note of. So, in its entirety, the literal translation of Bujin Bugei Jutsu would be as follows: Bujin- warrior Bugei- martial art Jutsu- system Or, to the western mind, a warrior’s system of training to fight. However, there is a more philosophical translation that is used by its instructors and students, one that more aptly portrays the desired intent of studying Bujin. And that is: Bujin- people of the samurai spirit Bugei- ancient combative Jutsu- art Or, an art, ancient in origin, used by people possessing the spirit of the samurai. As one can see, there is a difference between the two translations and these differences deserve discussion because they shed light on the heart of Bujin as it stands today. Jutsu stands the same in both translations, a designation of a system of technique, an art. This is important because in both cases it preserves the practical nature of Bujin over the more “path” or “way” related bu. The term Bujin would, on the surface, seems to be problematic but a closer reading simply narrows its focus. The translation of warrior can, and did, mean many things. In feudal Japan, it could mean a paid soldier, a wandering fighter, or one of the Samurai class. By applying bujin to those exhibiting the samurai spirit today, we appeal to the greatest and noblest of history’s warriors. By the study of Bujin Bugei Jutsu one attempts to cultivate the traits and fighting spirit of these elite men and women. Of the terms that make up the system’s name, Bugei is the most difficult to reconcile with its literal translation. If we take bujin to comprise “people of the samurai spirit” and jutsu to indicate “art”, then bugei must denote “ancient combative” or “ancient combative martial art”. This would be impossible if not for the connotations of the characters of bugei when used to describe feudal martial arts. Having discussed bu as “military” and gei as” method, we come up with a “military method”; very similar to the “martial art” conferred by bujutsu. However, there is a subtle difference, bujutsu most often refers to strategic concerns of Japan’s feudal arts, while bugei is concerned with the specialized technique that separated school from school. In other words, bugei is used to denote the specialized schools of combat under the broader umbrella of bujutsu (Ratti and Westbrook). Therefore, the practitioner of Bujin Bugei Jutsu looks at the bugei in the system’s name as a particular function under the broader classification of martial arts, that of an ancient combative art. As has been explained, Bujin is not, in whole, an ancient art. Instead the word ancient in the system’s title should be view as paying homage to the ancient roots of some of the system’s movements and theories. The final word encompassed in our bugei definition-combative- would have served little purpose in feudal years, for all of the arts of the time were designed around the effective prosecution of warfare. In today’s era of martial arts, this is certainly not the case as many schools study for sport, health, or aesthetic reasons. Therefore, it is important to define, in its name, what Bujin should stand for, and be focused on. It is this combative focus that Bujin has been so proud to maintain and is the yardstick by which all evolution of the system must be judged. The Warrior's Path: First Steps So, we have determined what Bujin's name means to its practitioners and who founded its principles, now where do we go? From here on, we'll explore the doctrinal strategy and tactical responses that the modern warrior uses to enforce his will. Because of this, a few words should be said before we begin. Bujin was not established to give bullies an easier time of their pursuits, and despite the non-traditional training methods employed in its study, the tenets of honor and self-discipline should be instilled and fostered in each student. Indeed, Bujin practitioners should strive to live up to the name of their system and the connotations that it incurs. While other, more rigid and stylistic, systems enforce discipline on their students by foreign traditions, Bujin endeavors to instill in each of it's students a sense of driving self-discipline. A trait that is bred into the student each time he or she picks himself up from the mat, and each time they enter the training hall with nagging soreness from the previous workouts. It is manifest when these same students go on to achieve rank in other systems for the sake of learning and expanding their own personal art, or are called to train independently of the times when their instructors are watching them. This kind of discipline extends far beyond the walls of any dojo and permeates the life of the warrior who learns it. And that is what each of us who studies Bujin for any length of time strives to be: a warrior; set apart from others by the study and practice of movements designed to hurt and kill, being ready for conflict, and hoping, because we understand the costs that it incurs, that it never happens. Warriors are students of violence. Because of this, restraint and moral fiber must be endowed into each student who walks through he door of a training hall. He must be ready to fight, and die, for only half of learning warriorship is learning to live, as if it were second nature. To develop this, the student must train as if he means it, ever keeping Bujin from becoming a game or past-time. It is a way of life. It is the way of Bujin.

1/7 Case of clay birds destroyed. Some accuracy work with the long gun.

I'll preface this list by saying the best tactic in any situation is the one that best fits. Now that we have that philosophical point out of the way: 1) Rear hand trap to straight attack, coutner over top. yes, there is a Chinese name for this out of JKD, but I don't remember it. 2)Triangle choke 3) MT round 4) Straight punches down from knee in belly If we add takedown: Underhook trip or double leg, close tie.

1/5 early: abs bench shoulder press lateral raises tri press late: Drilled breaking guard Passing Triangle from modified cross guard. Worked hard on details of submission. Getting tiny nuances right and tight. 45 min free roll.

I ran across this and thought it was absolutely too good to not pass along: http://www.revolutionbjj.com/news/overcoming-your-limitations-with-jiu-jitsu/ Not only was it an awesome read about an amazing athletic accomplishment, I thought it went to the heart of how important fundamentals are for BJJ.

I think it's just his understanding of the game. He seems to be able to see what's being used and devise strategy around it. I was impressed at the Chicago Winter Open last year when a few of his guys competed. It was very clear watching their matches that they had a game plan devised ahead of time that took advantage of the trends in the sport then they listened to their corner and capitalized. It's a recipe for success. Add that understanding to solely competition focused training at high levels of intensity and you can't help but do well. Yes, I find his marketing machine annoying. However, I can't fault the guy for turning something he's good at into an income stream. Especially when he turns our the goods as well as he says he can. Let us know what you think of his instructional materials.

You'll be fine. Of course, this goes back to training properly and taking care to not destroy joints. Bear in mind also that my involvement with utilizing wresting comes from it being my primary method of takedown these days. So I can only speak really from that angle of experience. Greco tends to be high impact just due to the nature of it's throwing occurring all from the upper body. In this respect, you can expect more jarring and high impact throws. This would probably be more analogous to judo than other kinds of wrestling. Free style will allow you to attack the legs and these takedowns tend to be effective and less traumatic on your body. Doubles legs and single leg takedowns are the go-to movements for takedown work here. While these can be high impact (lifting and dumping for instance) it's much easier to train them at a lower impact level. Here is some footage of myself and a friend working various doubles and singles in randori: http://www.youtube.com/watch?v=RGqdv-lYHyE As you can see, pretty mello and still very effective as far as the repetition and tactic goes. However, bear in mind this all goes back to training methodology. Wresting can also be brutal and punishing, it depends on why you're approaching it and and who you're working it with. Generally though, if you're not lifting to throw you'll be less likely to get spinal or neck/ head trauma. We do a lot of wrestling with a BJJ mindset, which means means a more laid back attitude than you'd see on just a wrestling mat. Knees are always a major concern with working takedowns, especially if you're turning and reaping legs. I'd just urge concern. Again, you'll see more of this in Greco USUALLY. It's always possible to get a stylist in other forms that does a lot of trips as well that can be dangerous if everything lines up. I'm a big proponent of wrestling for combative training. It's an excellent cross over art for just about anything. The trick is realizing why you're training it (which it seems like you've done) and finding a workout partner or club to match. Good luck and keep us posted.

1/4 1.5 mile run with interval training abs pull ups curls rows hip drills swiss ball work on posture

Welcome to KF!

I don't think anyone, including myself, was talking about "training for a grade". I was just stating that sometimes we overstate the "rank isn't important" argument. Anything we sink time into should be important. If it's not, then we shouldn't be putting time into it. A black belt is difficult to attain and brings a lot of history to the table with it. Why say it's not important? Everyone puts time into it. That's time away from family, ect. to earn that piece of cloth. It's an important milestone. Not one we should be hung up on, or train solely for, but we should be proud of it. To do otherwise disrespects the instructor who decided to put it around our waist. Now, we have to remember it's only a symbol. Actual combat relys on the skill and an indeterminate amount of situational factors that are present at the moment that the conflict occurs. That's another story.

Welcome to KF!

Happy New Year!

Congrats!

1/3 90 min free roll ab work

I get where you're coming from here. I used to really be on board with it. However, after hearing Robson Moura talk about belt rank, I'm not as militant on this as I used to be. His point, and I think a valid one, is that you shouldn't just go with the "rank isn't important" argument. That belt is important to you. It symbolizes, or should, a whole heck of a lot of blood, sweat, tears, and time; not to mention money. If you've invested that much into a symbol then it should mean something to you and you should want to wear it. Would you let someone take your B.S. away just because you graduated college 15 years ago and weren't working in the field that your degree is in? Doubtful, nor would anyone expect you to shred it, ignore it, or pretend in didn't exist.