Kimura Trap System: 51-Min with Sebastian (Part 1)

But for real be careful when you apply these techniques. Kimuras they target the shoulder joint which is pretty sensitive as you know. So just don't do them really fast on someone who doesn't expect some of these moves. And if the worst thing happens this guy runs a website.

Is that right? That's correct. You can actually be harder to tap to Kimuras literally. That's a guarantee hundred percent.

I actually have an experience with this. I was pulling one guy's arm out like this. I just did this move in order to do the Kimura and his shoulder dislocated. So he was so stiff in the shoulder that it actually popped just from doing half of the technique.

It wasn't even the dangerous part. So be careful with people. It's not nice for them to not be able to train for half a year. So whenever you do something for the first 50 times do them extra slow and carefully so that you can have.

When you have training partners you can train. If you smash everyone so everyone is injured you're not going to be able to train for yourself. So take care of everyone and take care of yourself. Alright guys let's get into one of the first ways to get to the figure four position.

Miha side control please. Okay so the first setup I have from side control. This is a lot of steps. Many steps but at no point he will be able to resist these steps.

If you practice these ones they're almost unstoppable. So with the cross face and the under hook I start by placing my knee in Miha's hip. Because if he places his knee in my hip the side control is gone. So if I really want to keep the side control this is the first thing I do.

Notice that I'm standing on my toes here behind him. So I have a lot of pressure to put down into his hip and with the cross face I'm pushing his spine longer here. So I have a lot of pressure on Miha's neck and I'm pushing his hips away. What is usually happening here is that he wants to relieve this pressure by lifting his elbow and pushing into my other hip.

And what this does is creates a very nice opening for this knee to go on the inside and smash his arm. So from here I put some pressure on him and then I lift my hips and now his arm is trapped under my shin and his elbow is really weak and of course I can play and attack. No, he's too strong but I could attack a wrist lock here. But what I do instead is I switch this hand because usually this arm is what gives me trouble because this other arm is trapped so he's going to use this arm and push up and create trouble for me here.

Here's when I switch this hand flat on the floor next to Miha's butt. So not the thumb, not the oil check but the forearm in his hip here. And even if he freaks out and starts passing around here I have super good control. I still have the cross face, I'm not using any grips and if he starts hip bumping I don't have any weight on the hip so it doesn't really help him much to lift his hip and trying to bridge out of this.

If he's passing a lot I need to grab his pants and his gi to just hold on but optimally you would not want to use grips here you just want to use your body weight and your shoulders and your knees. So this is the first set up, knee in the hip and then isolate the arm. From here let's switch around from the other side. So we're here on the other side with the hand in the hip and then I winch him right over and this is self-evident, it's super easy to do and his arm should remain trapped.

And here is actually a really good wrist lock. I finish a lot of blue and white planks with this one because they don't know how to defend this one well. But from here what usually happens is that Miha starts looking for an under look here. He starts going into me and trying to get this way.

And this is really the best setup possible for the kimura. From here I release, I lay down on his face and I dig this arm under first. I never grab his wrist first because the, I don't know what to call this one but the under hook from the back is the most important thing. If I can get my hand in here then it's easy to close it.

I never grab the wrist first and jump in. From here boom we are in the figure four. Super easy to sit up and place my foot close to his back. I have his arm trapped, I have his other arm trapped and I'm sitting on his face and it's really important to have the foot close here.

I see a lot of people doing this and this is not a good setup to finish the kimura. It's very easy to go to half guard and get your back taken. So I always prefer to have the knee here and sit tight and squeeze my knees. Okay, home run once again.

Side control, knee in the hip, isolate the arm, switch over, windshield wipe. And if he doesn't go for the under hook I just basically grab around his biceps and catch the belt like this. This is one of my favorite positions to just stay here. It's not a north south and it's not a side control, it's somewhere in between but this is one of the best positions for me in competition because when I get here I know I can make him suffer and exhaust him a little bit before I continue.

And it's so strong because you see my base is huge. This leg is out, I'm laying on his face pushing his elbow away. Try to escape, give a half-assed attempt to escape me. It's very easy to exhaust him there.

And when he is doing a mistake it's so fast to just step up and force his arm into this position. Another detail, let's switch around. Another detail is if he's grabbing the back of my knee here it can be hard to catch the camara from there. What I do here, if I can't grab the belt, if he doesn't have a belt you can stick your fingers into his little pants.

This sounds really weird but his pants hole, stick your fingers in his pants hole. This is also a backup plan if you can't grab the belt. What I do here is basically just force his arm with my shoulder down to the ground. Even if he grabs my back really hard here, if I just go forward it's hard to keep this grip.

I could even slide my knee over and push the arm all the way down. What I do when I have the arm down is basically I sneak my arm close and catch his hand. So forward, follow, catch and go back. There are a lot of finishes from side control with the camara but I'm not going to go through many of them because I always prefer, what is usually happening here is he is putting both of his hands together.

He gives everything he's got to grab his hands which makes it easier for me to step up into the north-south figure four. I prefer that one to just finishing the camara instantly because people usually give everything they have and I'd rather be first when he gets his hand together and set up my other technique than sacrificing this one and he escapes. We will look at finishes in the later part of the DVD. We start now by just going through all the different entrances.

Okay guys, so the next one comes here from standing and what we have to know first of all is which leg we lead normally with. So for me it's normally the right leg and I stand pretty upright. So what happens almost every time is your training partner will go for a single leg here. He shoots in and all I have to do, it's pretty simple actually, is to grab the camara right away from both sides.

So if I grab his wrist and then this, he's going to close his elbow before. He's going to be extra careful. The thing is most people are taught to do a single leg with elbows closed but most still do it with just enough space to where you can sneak a hand behind. This one is the one that you want to sneak behind by having your fingers lead through and the second one on the wrist is pretty easy to get.

Notice that I keep my thumbs next to my index fingers because I really believe that gives you a stronger grip. So if he shoots in and I'm a little bit late and he lifts me up, I just have to make sure that I don't fall right away, that he doesn't run the pipe on me right away and I fall. So I have to push on his head and his shoulders, bounce around a little bit, catch my balance and then I can trap him from here. Now from this position I have many ways to roll him over and different outcomes based on what he does and we'll look at them later.

But the most important thing here to remember is once again to be fast and to get the camara right away. And the only way to do this is good old fashioned drilling. Just have a partner shoot on you and try to practice it as fast as possible so that you get this reliably without even thinking. Okay so my variation of the technique that Mia just demonstrated, I bait with my left leg usually because I like the right side camara.

So when Mia shoots in for a single here, I make sure I catch this one but this is too late like Mia said. You need to be quicker because just having the shoulder is not enough. This is not strong enough. He's going to resist it and end up on top here.

So as he goes in, I like to catch the wrist as soon as possible. When he goes in, I look for it immediately. Instead of rolling over like Mia do, what I do is I try to do like an Uchimata here. His arm is trapped here.

He thinks my leg is trapped. But if I squeeze his arm here, keep it there, this is enough to lift him up. So it's like a Kimura with a leg and this for me is usually not enough to end up in the crucifix. So it's an Uchimata Kimura.

He goes in, I step, notice that I step back and straighten my leg because when he catches my leg and gets it up here, he's going to run the pipe and I'm done. So he goes in, I step back. So look at, stay here, freeze there Mia. Look at his position there.

It's very easy for me to turn his shoulders around and lift over there. Very easy. So I need to get his head down. Boom, here.

Catch the Kimura, place my own shoulder and my head into the ground and top lower. The more flexible you are, the less you have to jump. Okay? So if I'm here, this flexibility really helps.

But you can probably do it if you're inflexible. But go to that website where they have some yoga stuff and you're going to get more flexible. So from here, single leg, I drop all his weight down. I try to place my own head in the ground and roll over into the crucifix.

Very straightforward. Not simple the first time. It feels really awkward to do the first time. But for me it's second nature because this is something I do almost every training.

Okay guys, this is for all my half guard homies out there who like to play half guard. First of all, to get a Kimura from here, from half guard, I have, or this is actually more of a zig-guard type knee shield, I have to make sure that he is not smashing me. So you have to know that with half guard, you have half guard where I'm just about done and I have half guard like so maybe where I've still got a long fight ahead of me if I play my cards right. But even if I'm here, let's say, I'm going to start to control his wrist.

So I like to grab, if he plants it like this, I like to grab his wrist really hard. Normally not with the thumb. I find that this is pretty much enough. Even if you pull it back, yeah, I can at least get it in here.

And even if he does that, notice that little space there between the elbow and his body. I can shoot my arm through and get in here. So either I can have an underhook type position where I catch his wrist and then rotate around to get this or I can do it even with a better position where I have more frames in front of me. So I'm pushing away and a lot of people will try to grab this lapel.

So what I have to do is make sure that my hand is between it. If he does this like so, he's going to get it. But if before he does that, if you can let go here, before he grips, I'm going to block with my forearm. So once I do that, I can wrap my wrist around and immediately lunge out.

With pretty much every entrance that I've shown, speed is really important here. You have to be able to cinch it up and then from here we'll look at what to do a little bit later. But the point here is to grab his wrist, make sure that your forearm is between you and him so that he can't cross base, you'll grab the lapel and then from here you wrap around his arm as fast as you can. Ok guys, we have a setup for the kimura from a guard pass.

So you've probably noticed this often when you pass, let's say that you have some kind of a smash pass type situation. Sometimes I get to here and he's kind of turning away but he's experienced enough to know that he shouldn't because he's going to expose his back. But notice this position that I landed in. If I take my pressure off, the pressure with my chest, he brings the hand out, he starts framing up and I have a pretty bad position to work with.

I mean it's eye control, it's good, but I'm going to need to resist his frames and so on. If I stay here like so and I put my chest really hard down here and maybe work my way to the side a little bit, his arm is not trapped. I'm pinning his triceps into his chest with my chest and here I simply have to place this hand on, I lift it up a little bit and I slide this one under. So from here I will do everything to push his arm further down and the kimura pops up.

My personal preference from here would be probably just to jump over and get the arm back. We'll talk about that setup later. So we've got a pressure passing situation, I got over and his arm is trapped here. And to make something of it, a really good option is to just stay super heavy, rotate a little bit, push the wrist down and slide the hand up.

Notice how the hand comes from controlling his hips to just under here, grabbing the wrist and then you have options from here. I just did the armbar back then, I could also step over here and open it like so. But make sure that the next time you get this kind of position to keep the pin with your chest and try to utilize the kimura from here. It works pretty well.

Yes. So this is the figure four setup from the neon belly. This is one of the first things that I learned when I started developing and learning the figure four kimura again. So from side control, if I place my knee on his belly, what is going to happen?

Always what already happened. He places his hand on my knee. That's what everyone does. What I do here is I want to make him really push me and turn away and push me.

And I use this forward force with his hand to open up his elbow completely. So this is my ideal. He goes from here to there. And I do this by doing this.

Push there and push away. I do this by straightening my leg and turning away. So without me, it looks like this. I straighten and turn.

So I'm opening my knee completely and letting his arm come all the way over there. So this is the way I learned the top spin. The top spin is when he turns and I spin over and I spin over the top around. So this is my variation of the top spin.

I put a knee on belly. I catch the wrist. Very important that I have control of his wrist as I pull my knee back. So I not only have his force, I also pull him at the same time away from me.

So from here, he pushes away. I go here and I have a lot of time to fall down and land behind him. So if he decides to bail on the turtle, which he probably won't do, he will keep going for the turtle. I have control of him still.

If he catches his hand behind my leg, no problem. I just keep rolling and up in the kimura. So again, knee on belly, catch his wrist. When he pushes, I do this.

I move away. I fall down on top of him and I'm in this super nice, deep figure four position. I have control of his triceps and his elbow and I have the weight on top of him. It's good night.

Okay, so one last time. Knee on belly, put the pressure. When he really goes for the hip escape and tries to place my foot in between his knees for the half guard, that's usually what happens, you just go out and catch the kimura. Very simple.

You're going to do it every time. Drill it five times and you know it. So building on the last one I showed when Mia sits up here, I throw this arm in and I roll over. This is the baby variation of that one and it's really a fishy, fishy, fishy one because when I fight someone, especially no gi, people that are not used to the intricacies of jujitsu, when I give them a underhook, they cannot for their life resist posting on the elbow.

So if I'm down here and Mia works underhook, now he thinks he has it and if I move away a little bit or I just I do nothing and I let him work, he keeps working. He cannot resist this. He wants to sit up and sweep me over. In his head, this is what's going to happen.

This is not what's going to happen. Spoiler alert. But what happens when I give him the underhook and he posts up, I release and give my back, I give him an even deeper underhook, but at the same time I slip my arm in there and I roll over. And suddenly this underhook that was so good for him, now my ass is on top of his arm, try to roll over Mia.

So I switched his half guard, I switched his deep underhook into isolation instead. Okay, so whenever you're in half guard, of course the best thing is to have the underhook and smash him. But a lot of people are really good to place the underhook there. What I noticed that what I'm doing with my chest is I keep pushing him down, I'm flattening him out and I make him take some time to do the work here.

Okay, so I squeeze together, Mia works. I let him slowly post to the elbow. As he posts, I release everything and I place my waist on his shoulder. So from here to there, the reason I do this is to get enough space here to get my arm in.

If I try to do it from here, that's usually when I get caught in the trap myself, is if I only catch his biceps. I need to go all the way down to the forearm. So when he's here, I go here and I roll. Even if the foot is trapped, no problem, just kick it off and you're here in the crucifix trap.

He has the underhook, he postures up. Sometimes they even posture on the hand here. And I just stand up and roll over. Notice this saving with this foot.

Small detail, small detail, but when I roll over here, like Mia says in his video, speed is usually essential. And for me to be quick in the switch when we get down there, when I fall, sometimes I throw myself, but I don't think that the ground here to have some bridging. If I just fall flat here, this is enough time for him to either catch my leg or spin over to this side. But if I stop down here, it's enough time for me to when he reacts, I have some tension to come back and catch him.

So I think this is an important detail. I end up doing that all the time when I roll, put in the ground and then I keep working. It's really good if I go rolling there and you just stop. Never happened to me, but it's bound to happen sometime for sure.

Okay guys, so we went through many, many different entrances into the figure four north-south, the classic humera position and the crucifix. And I prefer the crucifix. It's a position where you can be very lazy. You have a lot of control of him.

He can't put any pressure on you and he can't push you or pull you so much. He can't kick you and it's a far way back to end up inside control. He might be able to catch your foot, but you can kick it out again. So I prefer to be in the crucifix.

So I will focus on that one. Maybe Mia will show you the humera stuff later. Go down with your legs over there and your head over here. So assuming that you did one of the entrances, you end up either with his head on top of your belly or with your hips on top of his head.

For Mia's sake, we're going to focus on the one here. So there's two ways to work here. Assuming that his arm is trapped, then I can focus on pulling this hand towards me. The danger with doing this is that it's easier for him to turn into me when I pull his elbow up.

It's easy for him to turtle up, go up turtle. It's very easy for him when the arm is bent. So it's flattened out again. So this is one way to work, to squeeze it in, which is good to break his grip and control his shoulder.

But like Mia said, and something I use every time I'm here, is when he starts posturing up and rolling towards me, I straighten my arm to lift his elbow. Put your leg down so they can see. So I make sure I lift Mia's elbow. I do this with my wrists and I lift my shoulder.

It's a bit awkward for me, but this is enough for him to turn into me and really go for it. Because as long as I keep lifting, we can turn around. So as long as I keep lifting his elbow, this is enough time for me to trap his arm or even trap his head or even squeeze his neck with my leg. So let's say we were here.

Let's say I rolled into this one, stomping the floor, releasing the leg. If he turns into me now, I straighten up and go even higher. There. This is usually where we end up.

I stop him here and he's shocked for a split second. I lift my leg and throw it over to catch his, either his arm and his head or just his head. So he comes out. I stop him and I either smash through the armpit or sometimes if the elbow is down, if the elbow is squeezed in, I can catch his head and finish with a James Bond choke here.

This is focused on Kimuras, but I have to be honest, I don't finish the Kimura as much as I do a lot of undershokes and finishes with the Kimura grip. Okay, so I'm going to show you my finishes from the Kimura, the figure four. Actually, the figure four is the thing I use the most in Jiu-Jitsu. Every sparring round ever, I end up in the Kimura somewhere or another.

And the Kimura and the figure four is for me, they're the same thing. So it's probably going to be confusing for you when you expect to just learn the Kimuras. But I think the Kimura is much more than just the torquing of the shoulder. Okay, one more time.

So I call this one the sofa crucifix because for him it's like watching Game of Thrones in the sofa. Okay, for me it's really nice here. He can't really put a lot of pressure on me. It's hard for him to trick himself out of this.

The only legit escape I saw from this one, it's actually really stupid of me to tell this to you, but the best escape he has here is to place his hands together, do like this and then lift your arms overhead and then pull this knee up and push away my forearm with your knee. So get this knee here and peel it off. This is the best escape I have seen. Grab your wrist, lift up, knee in and peel it off.

Interesting. Interesting, yeah. But if I push this one down here and I use this leg, try to do the same thing now. Catch your hands and try to lift your elbow overhead.

I set up perfectly for the James Bond show. I'm gonna go through the James Bond joke right now. Okay, let's look at a half guard pass that is really effective for me. Mia has me in half guard and he digs his arm under to go to the deep half guard.

So I end up with my weight on top of his shoulder here. What I really need him not to do is to get his arm hidden under here so that there is no space. If I get here, he will flip me and he will pass me. This is a really, really good half guard setup and people catch me with it every time I'm sloppy.

So what I do here is first dig this arm under to stop him. He's gonna try to pummel to get his arm under, but I make sure this arm is trapped. Then I switch so my other arm goes under and I work until I get the Kimura here. I cannot start fiddling around with his neck and do things up here because if he gets this and he gets this lapel, now I'm done.

So I have to stop it early by isolating this arm, turning his elbow up and then switch to the Kimura. But when I get here, it doesn't matter if he has a super strong grip here, I am going to pass his guard, 100% sure. But when I teach this to people, they still struggle with it because for me it's super natural to do this, but for them they feel like they sacrifice their weight. So I'm gonna try to explain it really carefully.

What I do is, the problem now for me to pass is that the foot is stuck, right? So he's squeezing my foot because he knows I'm gonna try to pass here. My leg is connected to my hip. My hip is my butt.

If I can throw my butt away from his legs, my leg is gonna slip out of there. Okay, so I don't have to bend the knee and pull it out. I just move my head, watch your face now because I'm gonna jump over there. I move my butt all the way over there.

So with the Kimura grip as set up, I throw, I extend my other leg, I extend it and I fall over his face down to the mat. Now all that is left now, you can see I didn't do anything, I just fell over. All that is left now is my foot. Try to squeeze my foot really hard, Mia.

I can start working the Kimura from here. I can lay on top of his face or I can get under his head here. But this foot is usually not much of a problem. Squeeze the foot.

I can use my bottom leg to push away to get it out. I could also go all the way over here and get the knee on this side and now he even released the foot, catch the foot again. So from here, even if he has a super strong grip in his belt, I can put this foot over and start extending him. So just think like an arm bar, I'm pulling his elbow towards me.

So usually he has a strong grip here. But this foot in his leg is usually enough to break it and I'm in with the figure four in a very favorable position. So to pass the half guard, you need a little bit of flexibility but not too much. Number one, stop the underhook, switch and I forgot to say this detail, I go down on the elbow to switch.

Because here he can't resist trying to catch the underhook here. He will do this and that's when I can catch his wrist. I lift my hips up, I fall over and depending on how deep I go, now his head is on the other side so now it's very easy for me to sit up and do this one. But if I'm on top of his head and he catches, sometimes people can't take the hand and they wrap around my knee and they just really really try to not get me to pass the half guard.

If they're doing what Mia is doing now, just squeezing my leg, then I start working the arm instead. I try to change his priorities. And for me, I think the kimura finish is stronger from half guard than it is from side control. Because when I get his arm out, he is not really trapping me in half guard, I'm trapping him because with the half guard he has less movability with the hips.

So from here it's actually not difficult to finish it. I really like the straight arm finish. I'm not usually not stronger than my opponent, so doing this is usually harder for me than the straight arm twist. We will go through the submissions later.

So for now in the deep half guard, number one is the underhook. Okay, when he gets under you're done. Underhook, switch and from here jump over and get your foot out of there. And it's easier than you think.

Okay, it's easier than you think to get the foot out. Sometimes I can just pull it and I'm in the crucifix. Sometimes I have to go all the way here, but it's still this is a small problem. The foot is small compared to this whole thing.

So I can work here, I can put the foot up there, break his grip. And even if my foot is still stuck, doesn't really matter. He will change his priorities as I get this far. Don't worry in the deep half guard, Gudan.

Don't worry so much about your leg. Don't focus on this. Focus on smashing his upper body and catch the kimura first of all. Because with the kimura trap, with his arm trapped in the kimura, it's hard for him.

Try to sweep me now with the kimura grip. It's super hard for him to work his game when he does not have control with this arm. Just one detail, isolating the arm, will probably change your top deep half guard game. Okay guys, we're both known here to like a flashy technique.

And this one is one of them and it has the added bonus of not only passing the guard, but passing the guard with a submission opportunity or two already set up. So let's say that he has a sit-up type guard here. And I'm trying to pass and to work something. If I let him sit here, sooner or later he's gonna come in, grab a leg or something, and then yeah, he's gonna wrap a lapel around me or something.

And it's gonna be very annoying. So what I do here is I'm lower and I'm going to push him down so that he has to go back up. If he doesn't go back up, I would probably just try to jump in really hard on the hips and start to pass right away. So most people have the reaction to lift back up.

So once again I push him, he lifts back up and I immediately go for the kimura and roll through over my right shoulder. Now notice how when I fell I don't want his hand to be far separated from his body because he can come up. Even if he comes up I can still kind of attack here, but it won't be nearly as good as if I do this. If I straighten my arms and push his hand into his body.

Now his own hand is stopping him and from here I can either roll for the back or just roll on top and try to finish the kimura. So once again here he's in a sit-up type guard. I push his shoulder down, he lifts back up, like the kimura, and I can roll on top. Again, practice is the name of the game here.

You just have to do it. You have to do enough reps to be automatic basically. Okay so the last technique, Miyaza variation. I like it, but I find myself usually preferring this one because I'm in this position more often.

So from here usually the guy already has some kind of control of my leg and my opportunity to take the kimura and roll into the crucifix is when he doesn't have control with this arm. He's not grabbing my arm here. He doesn't have control of my sleeve. Okay so his arm is still uncertain what it's gonna do.

Okay so from here I try to hold on to the wrist and then I stick this arm in as I'm rolling. So from here I stick my arm in and I don't jump. I just fall down on my butt. So from here I end up in this position.

Notice that he still has my leg trapped but it doesn't matter much because I can just peel it off with my other foot and I'm in the perfect crucifix trap. So from the let's say we're starting delariva. My delariva focus is usually controlling the knee so I usually grab this with both arms and push it down. This prompts him to sit up and as he sits up and starts grabbing with this arm grab the wrist stick this one under and I don't need to connect the kimura before I'm down in the ground.

So I can just throw it in and lay down and as I was hitting the floor I could catch the kimura. Okay and now this arm he's trapping my leg but actually what this prevents him from doing is he can't turn into me now. Try turning into me. The arm is trapped.

Both arms are trapped. So for him to roll over go for it. Yeah. Even if he attempts this for just a split second that is enough for me to switch legs and I'm in a deep strong crucifix.

Okay once again we're here maybe in the delariva. I push his knee down and as he sits up I find myself usually moving this leg away. So if he's starting to grab my leg and I move it away this gives me some extra split seconds to throw the arm in there and catch his wrist. So before I go as he sits up as he sits up I try to move away from him as much as possible to expose his back because ideally I want to be here.

Because now everything is perfect. The less jumping the better. So from here move away make sure he doesn't get to grab you. So whenever he reaches for me I go away and then in.

And from here we're going to look at the finishes later. But getting into the crucifix even if you have no connections with the legs I like this one a lot. Okay guys there will be a lot of information at one time here but the reason I mush it all together is because this whole sequence is the one I've drilled so much. It's so deep in my spine so I really want to spend some time on this to share it because the thing I end up doing over and over and over again and it works 95 percent of the time is really something worth sharing.

Miha goes down. What I usually do is I step around his leg. He's playing open guard and I step here. It's not really a toriando I'm just stepping on the outside and let's say you're down further there.

What usually happens you saw his first reaction was this arm. He wants to turn into me and push me away because he knows what's coming. If we're here and I get here what I try to bait him into doing all my body mimicry is trying to get him to turn into me. Yes I want him to do this.

Okay so I step around and I try to turn around like this because what I want him to do is really turtle so I can put my knee here and have him push or grab here. That's what I want. Okay so you're not passing with your head first to try to go down into him because then you don't have enough time. What I want to do is here and just immediately have him do this so I can catch the kimura.

I want the kimura. Okay so I go here I'll go around. If he catches my leg doing the kimura is too late because even if I get the kimura lift here he can still push me over and take my back. I had a problem with this for many years but then I realized I don't need to catch the kimura.

All I need to do is get this leg out of there and spin and really land on his back. So as he comes up I'm here. Okay I don't have the kimura yet. He's so committed to get up the turtle and continue so even though it's a completely different situation what people end up doing you won't believe me but people all instead of going back into me and admitting that they lost the position they keep going keep going up and this is more than enough time for me to catch the kimura go all the way to turtle and I roll into the crucifix.

This is what happens over and over again I pass turn around he comes up and as he comes up I have time enough to prepare to bump him over and land here. Okay so this is what happens over and over and over. I pass the guard I step around plus there go down again plus there I step around here I drop my elbow down not on top of him but in front of his belly so that my triceps is trapping his belly. I don't have to put pressure on him I don't have to grab the kimura I don't grab here I just do this and as he comes up and postures his elbow down I bump him over so that his hips gets down to the ground and I do this at the same time.

Okay so from here I just whoop go over and I have him trapped. Another detail is from here if I just grab the arm I can keep him here now he can't sit up so if he's a little bit slow and I wait here I can just hold him down here and now he's usually going to start going into me again and if I keep the pressure on his triceps I have a very good control but if he's really fast usually it's here he has the leg and I go out there yep he goes up my detail here to not lose the position because this is not a good move you don't want to be here because now he's on top and I have no control he can counter with the same technique what I want instead is turn what I want instead is arm here and throw the other arm over and catch as you roll so I do boom this it's impossible for him to turn away here I can sit up start working the hooks let's do a couple of rounds in full speed once again last round okay so that is my bread and butter guard pass I spin all the way around to 170 degrees and end up with a crucifix this pass for me it's not yet a high percentage technique because I didn't figure out all the minute details but sometimes you know when the stars are aligned right and god's light is shining on me it work it's so it's like arc this is art of jiu-jitsu for me okay so from here miha knows in his soul what's gonna happen when I go this side knee cuts pressures his hook is gonna come over and it's gonna be a battle what he doesn't expect let's put this foot here and this knee down here let's say I'm already on this side okay and you're preparing to set up the delirium and everything on this side what is miha's weak link here is this arm but only if I get him down with this part to the ground okay so I'm trying here to move away this side and get him to end up here okay so I'm here I try to bait him into kind of switching over to where he's weak he's weak in the middle if he switches over all to that all the way to the other side he's strong again but in this switch if I can get me if I can get him down can you see when he's on his butt here I can do whatever I want with him I can manipulate his body really well so from here I try to hold on to this one I might block him here and try to get him to fall over here okay and the reason I want to go all the way here is because now look at this try to hang on here get back to guard it's really hard for him to control for a second there okay so I catch the wrist I catch the the arm I get over here and I try to do this I lift his arm up it's hard for him to lift the legs when I lift his arm as soon as his shoulders touches the ground his legs are going to come up and I'm back in a really bad garden he has knee bars and everything from there so what I do to stop all of this as I pull the arm up I soccer kick him in the neck no not really I just place my foot there and I knee on chest him I keep pulling the arm but his legs are going to come up so I go down and I start swimming because this is going to happen I'm going to start swimming under to control his thighs when I have control of the thighs he's done okay so from this angle I try to get him over maybe grab his leg and then go straight with the foot into the neck sorry and the knee in the chest once again from here sideways pull him over boom down here start wrapping the kimura even if his legs are here start swimming under and catch the kimura okay if you stay down here I can also set it up from here where he grabs my leg and before he grabs my leg like catch my arm catch my leg you can kind of bait him into playing his game on this side instead of this side because here I know he's gonna sweep me he has his setup if he has all four contact points I'm done but if I can manage to get here okay it's hard for me to pull me out here because he has his legs to work with but if I sidestep far away out to the side this is where I was talking about the stars aligning and everything if I sidestep and pull at the same time slow motion this can be enough to get the knee in there and catch the kimura okay so even if he doesn't come to me I can come to him from here catch sidestep okay catch the arm sidestep and his legs are gonna come up as his legs are coming up my knee is going down so I'm doing this and then I fall down and catch the kimura without me huh looks like this but but but looks weird or without yes yes but it is really weird and it takes a lot of practice I've been practicing this for a couple of years and I still haven't figured out maybe 20 percent of it but this sidestep and pulling I think the beautiful thing is that I can make him turn around instead of me passing his guard instead of me going all the way here I'm pulling him into my I'm turning him around instead of running around him so sidestep pull knee down catch the kimura okay guys let's have a look at one of the most basic techniques in jiu-jitsu pretty much everyone knows it but I feel like a lot of people abandon it after like white belt because everyone knows it if you do it properly it can still be very effective especially when both of us get a little bit tired it's a little bit less expected it's the kimura hip bump sweep from close guard so obviously what I need to do first of all is to not have him up there because if I want to do the hip bump I would have to lift way higher up than I really can do fast enough before he can push me down so if I do this and he's up there he's just gonna push me back down so I have to break his posture somehow first normally using your legs really helps so what I like to do is I like to either grab his his shoulder here or a collar and then I bait him a little bit I pull him in a little bit more and he's gonna now pop back up and here I follow him and I immediately frame on my elbow now most people do this very simply by just opening up this foot here putting it on the ground and then hipping into him one of the reasons I feel like that I feel this sweep gets abandoned a lot is because if I if I'm here and I pull him in and he pops back up and I do this people can still resist especially flexible people like Sebastian he's gonna open up his knee here exactly so when he opens up his knee I now can't really get the force from my hips to topple him over so what I will do instead before he can do this here is I will slide my knee down and I have a little bit less connections with my hips but I am now blocking his knee and shin with my calf and now from here I give him a big bridge boom and I have him over I can try to attack the kimura here but I wouldn't really go for it from top mount let's look at this again so I'm pulling him in and he pops back up I get him down the important thing is as well this transition from me being on my back to being framed here to being framed on my hand I have to obviously again do this fast enough so I'm pulling him in he's gonna pop back up I'm gonna frame up open up my legs and give him a big bridge with the hips six points