Saturday, December 30, 2006

Improving one's 'spirit' through study and practice

It's an almost uncanny experience to learn more about myself through the study of martial arts. I had a breakthrough realization about my attitude towards sparring, and I realize now that it was pre-mature and needed further development.

As I had written earlier, I was pretty hard on myself and competitive - the thought of throwing a sempai would be sign of achievement. But when I look back at that attitude, I reflect on how it doesn't seem to be servicing. And I think that attitude now was more of raw effort to help myself distinguish progress and achievement. And with that, I suddenly realize that what I really must do is simply go back to the syllabus, study the requirements, review the techniques and keep polishing. I have much on the green belt plate to cover to guide progress.

Speaking of this attitude adjustment, I feel like my spirit develops as well. I'm not sure what most people think "spirit" means - it's one of those funny words that has many interpretations. But I like to think of "spirit" as something that includes "ones attitude" and its maturation. And I feel glad that I increase my awareness of how I am and how I can improve.

on side note:
I finally updated my spreadsheet of techniques. it needs to be beautified, but i'm a bit embarrassed to upload as i'm not sure it'll make sense to anyone ( i used abbreviations all over). but the spreadsheet project was a good one to do. i have now a visual layout of techniques..

Wednesday, December 27, 2006

random notes from previous classes

Just parking a few notes of sensei's instruction

1. if going to be thrown, go with it. zhenya apparently floats to the side/direction she will be thrown to defend against a throw.
2. can take time to set up for a throw, but if set up, quickly execute. and remember to twist hips and look to other side

1. Step in for low round house kick. use hips. turn knee inward to use stronger part of leg to defend + create less pain on contact.
2. on mawashi geri, think that leg is like baseball bat that is swung parallel to ground to ribs
3. try doing a back spin kick, striking with the heel, striking knee. (Sensei said that other students have thought some defenses as nasty, but I never have-will. Self-defense aspect keeps me open-minded.)
4. when bringing knee up to use shin to defend against, a round house kick, try to immediately catch foot for sweep. hard to do.

1. if i can - someday - fight and throw Adi just one time for every 1 kabillion throws i receive, i will be happy. for now, i will eat matt and keep practicing.

1. kick lo roundhouse, step into uke @ centerline, roll shoulder to corner to area where a 3rd leg should be, get off balance, sweep on standing foot as uke goes down.

Sunday, December 24, 2006

December 23, Sensei Maria

1. Warm up
Somewhere at 35 push ups, they get difficult, at 40, they are hard, at 41, they seem impossible, Jeannie mentioned earlier about strength. I know that there is Tomoshi (spelling?) or spirit. Sensei Coleman said that some days you do the technique, some days it just doesn't work out, so you cultivate your spirit. Every time we do pushups I have to really push it ( no pun intended ) to get to 50. I still can't believe I can get to 50. I remember when 20 was a challenge. With that said that's what makes me get to 42, 43, 44 etc. When I start yelling and being a jerk around 48 and 49, I'm in agony!!!!!

2. Roll Out and Defend
Maybe it's the holidays. It's not that I don't like them, I love watching kids get so excited, and I love getting my nieces and little brothers something they want for christmas, but everyone else seems to drive me crazy. My patience is worn to the tread and today I kept getting frustrated...

After rollout and defend I was livid. I embarrassed myself by being frustrated, which made me more frustrated. I just can't seem to make the transition from rolling to moving fast enough. When I get up my eyes are wobbling, and I can't focus.

After class I apologized to Sensei Maria about getting frustrated. She told me that it's okay to be frustrated because it means you care, and that she had issues with roll out and defend. She recommend it that I treat it just like my breakfalls, before and after class until it gets better.


3. Freestylin'
Techniques from straight punch, round house, etc etc.

I really enjoyed this. Being able to just go from technique to technique. Once we (Gearoid, Dixon, Janet, Jeannie and I ) stumbled together, fumbling for techniques. Now it's about getting them right, getting the off-ballance right, altering the footwork, getting the clip, etc.

4. Step to the Inside ( From Round house )
• Step in a straight line
• Check uke's knee
• Roll Shoulder into Corner to drop

The hardest thing ( to me ) about this technique is to move in a straight line, once the knee is checked, you can turn this into Ouchi Gari, or strike to the the face.

5. Close the Window to Shihonage-ish throw ( From Round House )
• Close the window entry
• Hook under elbow, pivot hips ( this will trap the arm in a Shihonage lock )
• Take uke to the ground to lock

6. Sparring
So this week I sparred with Sensei Stephen, it was interesting because sparring with dixon for so many weeks I have become accustomed to dealing with a fighter who will come to me. Sensei Stephen has a blend of defensive / offensive, choosing his shots carefully. I had no idea what to do!!!!!!!! I just kept with the 1-2 sweeps. Nothing happened. He swept me...bleh!

Friday, December 22, 2006

a thought on "leverage" in eizan ryu style

woody mentioned earlier how sensei maria said that eizan ryu jujitsu style was one that
could be summed up in 2 techniques. Then he mentioned about "strength" in a technique....

I was thinking about the aspect of strength more. But I question whether "strength" is the right word to describe and understand the experience. I don't know much about other jujitsu styles. But with eizan ryu jujitsu, I do not feel - so far at least - that I am pushed to be strong or apply strength to be successful in executing technique. What I do feel that I am trained to learn and apply is the art through practice.

And the art teaches me - at a fundamental level - to leverage and make efficient use of time and effort to execute a technique that resolves conflict.

And in this, I do not see that strength is key. What do you think? I think of "leverage" as word that captures more of the experience and helps me focus on whats important from a student perspective.

I think of "leverage" because I see more of efficient application of physics - what works + what doesn't work. I see how the direction, positioning and acceleration of one's mass and its bodily parts, working together to execute force (in terms of physics not muscular exertion) leveraged against another's weakness. All for the purpose of protecting oneself. It's hard to find a right word to describe this aspect. But it doesn't feel like muscling, effort, strength, power, even though the technique can unleash extraordinary pain or submission.

If anything, I feel I'm learning to save my energy and strength for when I really need it , like when I have to kick, punch, run, etc to get somewhere. I don't know. Those are just a few of my caffeinated thoughts.

blogger has been updated - tech help

if you have problems posting let me know - i just upgraded the account so that posting will be more fun, faster and easier for all + its integrated w/ gmail

improving nikkyu wrist lock + holiday fun

congrats woody on a great part-ay =)

Reviewing basics feels like continued effort of perfecting of all the new details that come up and old details forgotten. Am trying to forget less...

1. Nikkyu lock from same side wrist grab - a lot detail happening to make it effective. Get low, step to side, take hand with you, face uke, get off balance, don't move arm/hand laterally + away from body and don't make a big circle of it, as that is excess movement, you simply snake defending hand around outside of uke's wrist, then you catch their attacking wist/forearm and use this catch to aid the wrist pain from lock, applied by the other hand. And the defending hand doesn't push down on uke arm, but does help keep uke's arm bent to aid lock. apply lock + step forward. the key is the pain in wrist -not push arm down. then sensei said get off balance when uke is kneeling on ground after lock, so that uke leans backwards. finish with take down/lock.

2. nikkyu on a face punch - all work is done w/ lead hand. uke punches same side. similarly snake over wrist with same side hand + step to side to get out of way, bring uke hand to your body + apply nikkyu lock with pain in ukes wrist. finish like above.

3. opposite side wrist grab - back leg step forward + be close to uke, direct defending hand so it stays in front but you face same direction as uke + uke is pitched forward on offbalance, free hand comes up uke's back + wraps over ukes shoulder + straight hand catches under uke chin. foot on free hand side steps back, drop weight + twist, defending hand goes with direction of ukes fall on back

4. round house + step in towards uke's opposite leg + go at an anlge + vertical fist punch (where exactly? solar plexus or stomach?) + parry the punch w/ same side arm. think driving downward and thru uke w/ entry and strike. gman said that punch could be tweaked if you drive punch also downward into uke

5. face punch + hitch step + parry punch w/ same side arm, then opposite side arm/hand goes up uke's centerline to do a shotei strike to under chin, then finish strike with a hip pivot that aids take down + striking hand goes to uke shoulder + put uke straight down. a variation was to do this but no strike, just a roll of shoulder for take down.

Wednesday, December 20, 2006

Being careful...

Studying martial arts reveals moments where I get or don't get what is going on as I train.

I have wierd moments like saying "osu" at work, or putting my hands up in guard when a student raises his hand to ask a question. Then, last night, was an ultimate low. I know sensei has forgotten the accident, but I still feel like I really didn't learn something. A quick briefing on being careful helped. A smack in the head likely won't help (but maybe I need one- argh.) Maybe I should practice more and just be more and more careful? Maybe i need to slow really really down when I learn something new...

What bugs me about last night is that even when I carefully saw that Sensei do a very soft heel stomp on ground, my leg like had a mind of its own. Sure I did a lot of ushiro geris/back kicks this week, and I wonder if sheer repetition made me less in control. Anyway I still feel really badly, even accidents do happen. I think I need to really work on being careful.

Saying again, sorry sensei coleman. i'll work on being careful. (also, i was very inspired how you handled the situation - like not blowing up in frustration and leaving the dojo, something i remember doing a few months ago. so thank you for that. i'll try to be that calm if i get injured again in the future)

1. judo style grab - step across to opposite of body, same arm bend uke elbow up at 90 degrees, oppositeve arm pulls gi @ elbow toward you + across body, make sure stepping is collapsing into uke, keep pulling uke arm across body, drape uke on hip, heels together, twist and throw
in front of you, lock

2. same above, but two steps to the side where hand is hold uke gi @ elbow, make sure there is no slack in gi, then direct uke arm across centerline + up across body, pull at other arm to go across body, heels together, load on hip, then with arm holding uke arm above cut down to ground but curve at end, uke is thrown on side

3. two hand push - point the gun, hitch step to one side, one arm up + one arm down, project uke forward

4. face punch - step to side that is opposite of punch, oppositve hand extends in front and parries w/ forearm, then ikkyu w/ hitch step, can add mae geri here, then pin on ground

5. hi pin - drop weight, turn thumbs in, elbow strike, step behind uke w/ foot behind uke's foot, wipe off leg for throw, face uke after throw, lock

6. round house punch - close window and catch lead heel w/ hand and sweep for fall

7. back grab - sit back on uke knee, catch heel and pull forward, uke takes back fall, heel stomp, same side hand grabs knife edge of foot w/ palm pressed against top of foot + fingers hook on knife edge of foot, other hand palm heel pushes the uke foot heel on the opposite side of foot's knife edge, pain is caused throughout leg

Friday, December 15, 2006

December 15, Sensei Maria

Welcome Tommy & Lucas!

1. Close the Window
-Hitch step into uke deep
-As you enter you want to point to the corner of uke, with weight moving forward
-Lead hand check uke's hand, opposite hand rolls shoulder back
*Take extra step if need be

I remember Sensei Maria telling me that the two techniques that embody Eizan-ryu is Close the window and Kotegaesh 10. Working out with Sempai and then a new white belt really made me see the contrast in the two executions. Close the window is all about off-balance, if there is strength, the strength is "down" not against uke. The same way that when I heard "spring" in regards to doing the breakfall, When I thought "down" close the window felt more effortless.

2. Sankyu ( from cross hand wrist grab )
-Cup uke's hand like you were holding up a beer
-As you raise uke's hand, push it to the back corner
-Step into uke, pinning hand to shoulder
-Twist the hand for the lock, step lead leg back for the takedown

WIth Sankyu, pinning the hand to the shoulder is my first mistake that I make, the takedown is the second. I really need to work on this. I felt that I stuttered the whole time through the technique.

3. Katana-Nage ( from cross hand wrist grab )

-As uke grabs your hand, 1/2 tai sabaki into uke, bring hand down, but not out of your center
-Hitch step into uke's opposite armpit
-Cut through uke with arm ( like you were about to take a roll )

*Remember to come out of this technique with Hands up in a guard. Sensei Coleman showed me that if the technique doesn't work, bring your knee into uke's ribs. "We servin' ribs tonight!"

4. Demonstration (from straight punch )
So as Janet and were working I totally missed that the technique was back and forth. A lot of times I have to muster up some spirit when I go in front of class, and my nervousness causes me to miss some before I knew it Janet was punching me. I went right into a Kotegaesh, but I had grabbed more for a Tai-Otoshi, but I recovered and executed the technique. Then I did hand through the face, and I really did put my hand through Janet's face, SORRY! But something that I was chattin ' to Janet about is that I guess that's more like the "real world," someone will just haul off and throw a punch, and we need to move, and when we execute, though we excecute with peaceful intentions it is to defend ourselves.


5. Kata-Gatame, Kesa-Gatame & Hadaka-Jime

So I've been investigating the pinning techniques, After class I worked out with Adi on doing Kesa-Gatame to Kata-Gatame. Something Sensei Colemen showed me was in case you fall onto uke, lock them into Kesa-Gatame then escape into Kata-Gatame, then escape completely.

Say you throw uke in Ippon and they grab you and pull you on top of them

-Judo Fall into them, or position yourself like judo fall
-Hook head wit your underarm, trap uke's arm into closest leg
-Pull uke into your chest for lock...OUCH!

From here to Kata-Gatame

Keep the hooked head, pivot body so you are perpendicular to uke, trapping uke's arm with both legs.
-Take the hooked head and position your opposite arm underneath uke's exposed arm ( this will exchange the leg locking the arm for your arm locking the arm )
-Clasp hands like making hamburgers and pull into you ( this will choke uke )
From here you can move into live toe, then extend leg to get up
*If uke gives you a hard time you can re-apply the choke
-Release choke and hold arm down as you escape

As Adi and I were working on Close the Window, somehow Adi ended up on all fours and I thought about this technique...

Uke is on all fours after a technique, say because they fell on their knees ( ouch! )

-Snake arm around uke's throat, go so far that your deltoid is pressing against his opposite cheek ( this prevents them from pulling at the crook of your elbow to relive the choke )
-Check uke's opposite arm with your opposite arm ( you can "sweep it" if you need to )
-Mount uke and lean back, using your momentum to sink the choke
-Use butterfly guard to stop uke's legs ( my legs are not as flexible so I had to switch to full-guard )
-Clasp hands like making hamburgers and lock

As Adi and I were doing this, Adi was using pressure points to manipulate me. It was unbelievably painful to try and get these techniques, and I am sure that it was only because of his Sempai-ness that I was able to get them. Something I am thinking as I am investigating these techniques is that if you go to the ground, everything needs to be as efficient as possible because it is probably the most dangerous place to be. Broken glass on the ground is the least of your worries, there could be five guys heading your way. Be quick, and get back up!

Wednesday, December 13, 2006

December 12, Sensei Stephen

Hello my name is Masahiko Kimura, you should know who I was.

In 1951 Masahiko Kimura defeated helio Gracie by using a Ude Garami, which became known as "The Kimura" this gus bio is pretty awesome. A very cool thing is this excerpt from "My Judo"

1. Kokyu-nage (?) From Double wrist grab
-Raise hand to face ( show picture )
-Point opposite hand down, keep in center line ( Thanks Gearoid )
-Feed raised hand into ear and throw

In my own studies I am very interesting in the thread between jujitsu, aiki-jujitsu and judo. This is a interestign technique because it is the same motion of feeding the elbow into the ear as Sasae Tsurikomi Ashi, there is also a throw called Sode Tsurukomi Goshi which has this motion, but adds a hip throw. This almost seems abbreviated, almost like abstraction in art is abbreviated marks and colors. Whoa, I just got really really deep.

2. Ude Garami From Lapel Grab
-Hitch step, a la Close the Window
-Drop weight to bring uke down
-Wrap around uke's shoulder with arm, clenching you opposite arm like tiger lock
-Pivot hip to throw

3. Ude Garami From Round House
-Hitch step, a la Close the Window
-Roll Shoulder
-Drop weight to bring uke down
-Wrap around uke's shoulder with arm, clenching you opposite arm like tiger lock
-Pivot hip to throw

4. Ude Garami From Round House to Sumi Gaeshi to Ude Garami on ground or ( Osaewaza )
-Hitch step, a la Close the Window
-Roll Shoulder
-Drop weight to bring uke down
-Wrap around uke's shoulder with arm, clenching you opposite arm like tiger lock
-Hook opposite leg into the back of uke's knee
*Sit down in between uke's legs
As Uke falls use the momentum to move on top of them
Move into suitable position, normally perpendicular to uke and apply kimura lock
** If lock comes off you can move into kesa-gatame, or kata gatame fairly easily

*Note : Sensei Ivan showed me that by sitting sitting between uke's legs you create a vacuum as opposed to allowing your weight pull uke down. It also prevents uke from falling on your face

**Note : Link to Kesa-Gatame and Kata-gatame, When throwing jeannie she was far enough away that I tried to apply a very poorly excecuted Kami shiho gatame

Tuesday, December 12, 2006

2 great danes vs 1 chihuahua

title says it all. that's how it felt working out with da the 3Bs (bald, burly behemoths)

and then, when i thought "wow! I get to be demo uke for once! yay! oh, how exciting" sensei throws me over his body with a kimura lock and BAM i feel like my shoulders are about to separate on the ground. kinda freaked me out. and i wake up, feeling a bit bitter with the genetics I have been born with. but sooner or later I snap out of it with a real attitude adjustment. no injury, but some hints of frustration with a close call.

2 hand grab - show the pretty picture, hitch step to outside, bend knees, outside hand bends uke arm up at 90 degrees, other hand leads to front, outside hand then catches ukes body and you project uke forward

judo style grab - one arm crosses centerline and goes over opposite elbow of uke + wraps over and snakes under to catch wrist of other hand(?), make sure uke is off balance, then drop weight, put inside knee to ground and project behind you (uke's front)

same above but with round house. entry is like close the window

same above but with clinch of inside foot against inside of uke's thigh of same side, sit down at ukes feet (away from uke's centerline) and throw over your body, follow through so you are on top of uke body and apply kimura lock

similar to above but this time, but bring weight down, and inside hand goes to uke belly (may even grab belt), apply choke on uke neck and do rear take down. gearoid showed choke where you use wrist joint and fingers to catch throat so you block airway and artery, i believe.

atemi kata part deux

thanks adi for clarifying the atemi kata

here are some questions:

Hachi dachi; what is this exactly? do toes point at 45 degrees or straight? break right to kiba dachi; starting with right hand, five vertical punches.

Right foot steps forward, pivot left to zenkutsu dachi, middle block with left hand; i assume this is like gedan barai, not a chudan uchi uke - you block down or block middle?right
lunge punch to the chest ; right foot back, pivot to kiba dachi, right low block ( eyes left )

Monday, December 11, 2006

2 coffees and a low cal blog in the morning

before i forget last nights class...

sensei said to prioritize using a weapon if in hand. so we practiced targeting to pressure points with this little pencil like stick.

round house punch
1. step into center, drive stick into base of neck just above clavicle + parry with other hand. remember to keep stick at hips, not up and waving in front of uke
2. hitch step to outside, windmill the attacking arm, stick hand catches punch between elbow and ribs, drive point of stick into uke's floating rib. drive in stick like upper cut, not with hips. other hand does palm heel to chin for take down. can finish with tiger lock on ground

forward punch
1. strike thru + hitch step, directly point/stab stick into pressure point in neck
2. parry, hitch step, stab at base of neck, use stab, plus grab other shoulder for rear take down, finish with taisabaki
3. boom boom sweep. stab at elbow, then at base of neck + sweep

lapel grab
1. on same side as armed hand: step back, smack face, same hand catches attacking hand + set up for nikkyu, stab at back of neck after take down
2. on opposite side of armed hand: was it step in stab up to neck, then right back down to base of neck? damn, brain freeze.

same side wrist grab
1. nikkyu. remember to catch attacking and keep it trapped with free hand. put off balance as free hand pulls uke hand off armed hand. armed hand now stabs uke behind neck
2. uke attacks unarmed wrist. step to outside + stab at lower ribs and keep momentum forward so uke takes forward roll. stab is like a counterclockwise turn of wrist/arms.

* be sure to point stick into armpit, by riding down length of arm for targeting

foot sweep from outside (kosoto gari?)
2 shoteis + outside footsweep. if uke does not go down, switch to leg sweep w/ arm across uke body for take down.

Saturday, December 09, 2006

December 7, Sensei Maria

What a difference a year makes! So last night after class my sister sent me a some pictures of last years christmas party, that's me a year ago on the left, and thats me last week in berlin on the right. Though I'm still a chubster, it's a profound difference and change in my life. I say this and share this because I really could not have done it without the support of the dojo. I am really doing a lot of things in my life that I didn't have the strength to do before. I thank you all!

1. Warm ups, Hitch step pivot
• Sensei Maria hits me in the solar plexis "Welcome Back"

2. Atemi Kata
So polishing up atemi kata a few things for me to remember, in Zenkutsu-dachi the back leg is extended and straight. Legs are shoulder width apart, I think I may believe my shoulders are more narrow then they are.

3. Sukui Nage ( from Low pin )

• Break Pin by rotating wrist and dropping center
• Step around without bending back, place your foot next to uke's ( uke's back is to you )
• Turn ( this is the throw )

I have to say this is one of my favorite throws. Sensei Stephen talks a lot about htis throw in context to Kata. For example in Atemi Kata we cross step into Shiko-Dachi, which is basically the same movement, In aikido there are variations of the Kokyu-Nage that have this movement as well. After the throw you are also able to do a variety of terrible things to your opponent because of the nature of the fall. I remember the first time I took ukemi form this technique it was with Geroid in that LES gym, on the puzzle mats. Whew! That was a hard fall!

4. Projection from Two hand lapel grab ( Name? )
Uke grabs ( or pushes ) with double lapel grab
Cut crook of elbow down while feeding opposite elbow into ear
Step in to push away into throw

5. Ippon from Mug
Uke mugs Straight up
Catch arm in crook of elbow, Drop weight
Point shoulder to opposite knee

I found that the more I thought about this technique, the worse it became.
I guess it’s all about timing.

Friday, December 08, 2006

quick notes on greenbelt kata

set: left hammer fist is out , right is chambered, in shiko dachi.

punch 5x to solar plexis

right leg step out, left hand block, both hands open + palm down, step + chudan zuki

right leg step back to shiko dachi, gedan barai

left leg step out, right hand block, both hands open + palm down, step + chudan zuki

left leg step back to shiko dachi, gedan barai

right step forward + right tettsui (like ice pick motion)
left shuto strike, right shuto strike

am fuzzy here, but then....

left step + left tettsui strike?
right shuto strike, left shuto strike

left kin geri, left hiji mawashi ate, left uraken shommen uchi

right mae geri, hiji age (upward elbow strike), downward elbow strike and in

right crescent step to shiko dachi + gedan barai

forgot this section ...
right step + right tettsui?
left step + left tettsui?
right step + right tettsui?
right crescent step into shiko dachi + gedan barai?
twist hip for final gyaku zuki?

Thursday, December 07, 2006

December 5, Sensei Stephen

I'm back! It's amazing what a good rest does. Though I worked out ( Weights & Cardio ) in Berlin, I think that letting my shoulder heal up and my toes solidify really allows me more in the workout. In my readings on excercise, supposedly the founder of Nautilus would tell people he could put an extra 1/4" of muscle mass on bodybuilders arms, when they took him up on his offer, he would make them rest for 3 days. Miraculously their arms were bigger, now I'm a bit skeptical on this, but after a week of rest, my lifts have increased dramatically.

1. Ikkyu from Inside ( "Hot side" )
So we make a mistake and move to to the inside.
• Windmill arm to move uke to your outside "Safe Zone"
• Kick into ribs and drop onto uke's elbow for the lock
• Guide to the ground & Lock up

2. Ogoshi from Inside
• Windmill arm to move uke to your outside "Safe Zone"
• Drop weight and move into uke, placing your arm across back
• Pivot pulling uke across your hip and drop them to thier demise!

Note : Working out with Adi, the fall wasn't as visually dramatic as say when i'm thrown by Sensei Coleman. Suprisingly enough the bigger the fall the less painful it is. After watching a lot of judo videos on Youtube, I can definitely see that a "real" throw isn't that pretty, it seems more about finding the moment of off balance and exploiting it with a technique. When it happens the uke doesn't take a big graceful fall, it's short, hard and devastating.

3. Katanage from Inside
• Windmill arm to move uke to your outside "Safe Zone"
• Shoot into uke with katana arm projecting them down

4. Morote-Gari
• From judo style, smack uke's arms up
• Drop between uke's legs and push

Here’s a link to the Kodokan’s description

5. Tani Otoshi
• From Judo Style, Kozushi with sleeve side
• Drop behind uke creating a vacuum at their rear
• Project

Note: Excuse the lack of description, still learning this.

6. Morote-Gari to Tani-Otoshi
• Uke throws you in morote-gari
• Hook leg into uke's, grab belt, as you fall pull them over
• After pull over, roll on top of uke
• Butterfly legs for a lock & move into ground pin

Note: On top of uke is a dangerous position if you fall into gaurd, butterfly to eliminate the chance of this. I pivoted to the side and went for a kimura.

7. Randori with Sensei Stephen
I fall onto my back from Tani-otoshi and use the "unbendable arm" for my legs to stay out of the butterfly gaurd. It works!
I bridge and get onto Sensei Stephen side, I try to remeber that technique he showed us from the side, and by the time I remember that I don't remeber, I am in Sensei's gaurd.
I reach in for Okuri-eri-Jime and grab it, but he does it to me as well. I tuck my chin and realize "Hey I'm not being choked!"
I post and break gaurd and grab his leg because fror some reason I think I know how to do a leg lock, stupid stupid woody.
Sensei gets me in a leg lock.

Grappling is very very much like Chess. That last move was stupid, foolish, and cost me. I had an exit. I could have just got up and ran away. Lesson learned. I also realized that I wasn't as winded as I normally am, which is nice because the cardio is kickin' in.

It's interesting to grapple, because ultimately the person we are trying to lock will probably be beligerent and may want to drag us down, in that case it seems important to nuetralize then fight. Maybe not to fight for nuetrality. I'm going to make it my lil' project to learn the Osaewaza.