Sunday, 18 September 2011

Week 3: Head and bicep suppression

Looked at it from:
standing
side control
side attack (knee on belly(
centre control
reverse side control
standing
bottom control.

The keys that I picked up were around the use of the head. It is this that manipulates their arm to position under their jaw line. Essentially the head needs to move 2 ways. Towards his face to trap the arm then down to get it into final position. I made the error of using the palms to help the arm. When using the head it just feels like you are in more control and finer adjustments can be made. Keeping head pressure against theirs is also important.

The language and labelling of techniques within the Pro Mai syllabus:

Lee explained to the class why the techniques within Pro Mai do not have the same generic terms terms across MMA such as kimura, mount, anaconda etc. He could I gues have gone down the Eddie Bravo route and upgraded names. Instead he has chosen to name techniques exactly represent what is happening. This will hopefully ensure a better awareness of what you are doing to him and how from a biomechanical point of view, rather than x or y technique. It seemed bizarre to me at first but now after musing it, it is much more logical. Yes it may not be as exotic as running thunder hand or omoplate but I reckon it is evolution of the martial arts. We are now in the 21st century and do not need to rely on the glories of past masters or bullshit

http://www.youtube.com/watch?v=KJr2BdUTYkU&feature=related

MMA shows us what works and what is honest

Sparring.

Freeform on the ground with strikes. Scary times as i went with several seniors. I managed to hold my own on the ground and have some good spells of control but the hits came in quite hard. Was a shock to the system and also stood to remind me that I need to hit too. I did when in control start to throw hits. Even small one get people’s hands to move. So I need to look to hit on the nose to get the arms up to get the submission. More fear and trepidation next week...

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