charts: fundamental skills basic acrobatics wrestling techniques · charts: • fundamental skills...

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KEY FACTOR ANALYSIS Coaches Course Level 1 Techniques

Charts: • Fundamental Skills • Basic Acrobatics • Wrestling Techniques

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Rue du Château, 6, 1804 Corsier-sur-Vevey, Switzerland T. 0041 21 312 84 26 F. 0041 21 312 84 27 unitedworldwrestling.org

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INDEX

CONTENT PAGES 1. USEFUL INFORMATION FOR COACHES

1.1 What is Key Factor Analysis (KFA)?.......3 1.2 Discovery games for the teaching of

fundamental skills…………………………….……4 1.3 Teaching basic acrobatics………………………5 1.4 How to use KFA charts of wrestling

technique?....................................6 2. FUNDAMENTAL SKILLS

2.1 Standing Stance & Motion….……….………..…11 2.2 Breaking the Stance………………….…………....12 2.3 Changing Levels……………………………………..…13 2.4 Penetration……………………………...............15 2.5 Lifting……….……………………………………………..15 2.6 Par-Terre positions………………………….….…..16 2.7 Go behind.………………………………………………..17 2.8 Sprawl, Whizzer, Evade…………………………….18 2.9 Danger position Control ……..…………….…..19 2.10 Back arch and bridge………………………………20

CONTENT PAGES

3. ACROBATICS

3.1 Forward roll……………………………………………..21 3.2 Backwards roll…………….………………………….…22 3.3 Shoulder roll………………………………………………23 3.4 Cartwheel……………………………………………….…24 3.5 Head stand……..…………………………………………25

4. STANDING WRESTLING TECHNIQUES

4.1 Snap …………………………………………….………....28 4.2 Double leg…………..………………………………….…30 4.3 Arm drag….……………………….……………….……..32 4.4 Single leg………….………………………………….……34 4.5 Duck Under………………………………………………..36

5. PAR-TERRE WRESTLING TECHNIQUES

5.1 Half Nelson………………………………………….….…40 5.2 Far Arm turn………………………………………………42 5.3 Front Head with underhook, turn……….……44 5.4 Arm & Body Lock Gutwrench …………………….46 5.5 Front Head Lock, go behind……………………….48

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1.1 What KEY FACTOR ANALYSIS (KFA) is? The Key Factor Analysis (KFA) it’s a tool used nowadays for

obtaining the key aspects most important that determine the success of a tactic or a technique in opposition sports, from ball sports to combat sports. Being considered essential for the effective execution of plays and technical movements, the main application of the results of the KFA is the use of the key

factors in the teaching-learning process and even in high performance training. The KFA involves a process of 4 phases:

1. Determination of "action models" to study. It is movements and actions used in competition. A library of video is created with several examples of the same successful action, executed by different athletes. Statistical analysis is the main tool to determine the movements to study.

2. Video-Analysis. The action sequence described, looking for common factors among the different versions of the same technique, for example, a position, a particular

relationship between the bodies of the fighters, a combat situation, etc. It also contrasts with videos where the action was not successful, establishing whether the common factor was absent, suggesting that this is a key factor.

3. List of the key factors. Common aspects in successful cases, and absent in unsuccessful cases are listed and described for each action studied.

4. Creation of working documents, that summarize the findings of the KFA, same as have two main applications: a) Technical charts, listing the factors as keywords that

help simplify the intervention of the coaches with their students to spend less time in the instructions and feedback to students, increasing their effectiveness to be as close as possible to the real situation in competition.

b) Check lists, useful in evaluating athletes during the execution of movements, ideal for the use of video analysis as a tool for tracking the athletes themselves and even for the analysis of the strengths and weaknesses of potential opponents (scouting).

The technical charts contained in this document for the technical program Coaches Course Level 1 of the United World Wrestling were made by implementing the steps described above.

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1.2 DISCOVERY GAMES Discovery Games are based on a modern teaching model for sports known as “Teaching Games for Understanding” (“TGfU”). In this model, games are used for facilitate and guide the apprentice thinking. The Discovery Games approach implies three steps as follows:

The initial step is the very first approach to the game, which involves a wrestling related situation. The coach asks learners to meet a target without guide them how, a trial. Once the apprentice has experienced the task, the second step implies that the coach pauses to help students analyze what happened and, through questions, get students approach the technical solution. Immediately apprentices play again (step c.), now with technical guidance from the analysis. As wrestling is a sport where the competitor must be able to make decisions in fractions of a second, this methodological approach is optimal for learners to become actively involved in their own learning of the fundamentals of wrestling, as well as enriching the game itself with the addition of questions, which promote the participation and integration of the student to the group.

•Organize the game (keep safety)•Introduce the goal of the game•Provide as less information as possible about how to succeed the game

a. PLAY A GAME, FIRST TIME

•Using questions to get the players inferring the key factors to succeed the game

•Ask players to play again using what they discovered

b. PAUSE FOR GUIDED

DISCOVERY

•Players have to solve the game with better technical skills

c. PLAY THE SAME GAME, SECOND

TIME

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1.3 TEACHING OF BASIC ACROBATICS (Pages 20 to 24) In this document, there have been added charts for the teaching of 5 basic acrobatic elements. Teaching acrobatics with proper technique, in a progressive way and taking care the safety of the participants is also a key point in the United World Wrestling programs, such as Wrestle Right, therefore it has huge importance in this document. The teaching steps are progressive methodological proposals. The coach can also use other resources (equipment or other exercises) based on his/her experience and availability of equipment. However for the Level 1 Course Evaluation, participants will be requested to use at least the suggested steps, being able to implement alternative steps.

Each chart has the following elements: 1) Name of the movement 2) Pictures of the key points 3) List of the key points 4) Listed exercises of the teaching progression During United World Wrestling Level 1 Courses, coaches will be asked to develop as many teaching steps as possible of a single movement in a Micro-Teaching format lasting around 4 to 10 minutes. However, in real practice, it is evident that coaches shall teach this steps along several training sessions even weeks.

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1.4 HOW TO USE KEY FACTOR ANALYSIS CHARTS OF WRESTLING TECHNIQUE (pages 25 to 36)

The wrestling techniques in this document are explained in three phases: SET-UP, ATTACK and FINAL/TRANSITION. Each chart of this document contains specific information to help Level 1 Coaches achieving the following three tasks: TASK 1: Provide simple explanations to the learners. Using Key Points that have been illustrated through pictures, signs and arrows, with a specific list in each column. Each Key Point has a Key Phrase that summarizes several of the technical details. The pdf version of this document has a link in the title of each chart that gives access to a video at Dartfish.tv TASK 2: Check comprehension through questioning. Suggested questions and possible answers have been listed (see the table on top of the next page as reference).

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This first two tasks are closely linked to achieve the INTRODUCTION OF A NEW TECHNIQUE in a brief and clear way that promotes active thinking of the learners. The following are examples steps of the procedure:

a) Name the technique (e.g. “I am going to show you the

Snap”).

b) Demonstrate the complete movement (it is the coach who decides how many times and from how many different angles he/she is going to show in order to get one general image of the movement)

c) Break down the technique into Key Points:

○ Mention the Key Phrase of the point that the coach

wants to explain. The Key Point and the Key Phrase indicate “what to do” (e.g. “The first Key Point is CONTACT AND PRESSURE”), showing all the elements surrounding the Key point (e.g. Collar and elbow tie, medium stance, right foot steps forward, head to head contact) without giving details of all of those.

○ Emphasize the technical details and link them to the Key Phrase: The technical details indicate “how to do it”. It is recommended to make this through the use of question. Examples:

Repeat procedure c) with the next Key point, and so on.

d) Summarize and Review Key Points by the use of questions (once the whole explantion ended): ○ Ask for the Key Point (e.g.. Q. “Wich was the fisrt Key

Point?” A. “Contact and pressure”).

○ Ask for the details using the Word “HOW” (e.g.. Q. “How we make this CONTACT?” Allow several learners to answer: A. “With collar and elbow tie, medium stance, one foot steps forward so we don´t loose balance when pushing”.

The coach asks: (Q.) What ties am I using to make CONTACT? Answer from the learners (A.) Head and elbow tie Q. Which is the height of my stance when I make PRESSURE? A. Medium stance Q. Which must be the position of the feet when making

PRESSURE? A. Staggered, one forward and one back Q. ¿Why is that useful? A. To stay in balance when making PRESSURE

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TASK 3: Use positive feedback when detecting technical mistakes while learners try new techniques or parts of them. Two columns have been set on the right side of each chart, this will help coaches change the way they deliver information when they detect a technical “mistake”. The two columns are used in sequence as follows:

a) Observe learner’s technical execution to detect technical Mistakes, based on Key points and their details. This mistakes are the omission of some technical detail, for example: during the execution of the Snap: the learner

b) stays on his feet without making pressure to the partner that has fallen to the mat. This mistake is in the column titled: “If the learner…”

c) Provide positive feedback, this means: telling the learner

what to do instead of saying at loud the mistake he/she did. Example: “Antonia, when you pull, follow your partner to the mat and apply pressure” This phrase is in the column titled: “…use this positive feedback”.

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FUNDAMENTAL SKILLS & ACROBATICS

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2.1 STANDING STANCE AND MOTION

KEY POINTS:

• position of the feet should be at least shoulder width distance • knees and hips are bent • head up • hands covering lead leg, ready to hand fight • choppy steps when moving

DISCOVERY GAMES Game Skill Key Points Organization, Equipment Task Questions to find the solution

Fox Tails

• Stance, Motion facing the opponent

• Pairs • T-shirts or

handkerchiefs, etc. • Open space to move

• “Wins who takes the ‘tail’ of the opponent” (not suggest any specific way to move or stance) Safety: ask the kids to avoid

hitting heads each other

• Q. How can you keep away your tail from the opponent’s hands the whole time? A. Facing her/him all the time

• Q. How you can move to face your opponent all the time? A. with choppy steps

Bone Fight • Motion and

Balance facing opponent’s strength

• Pairs • Small towel • Open space to move • Alternatives: shake

hands, bilateral wrist grip

• “Holding and pulling by the towel, wins who makes the opponent touch the mat with any other part of the body except feet”. Safety: make sure every pair has

as same physical features (weight) and power as possible.

• Q. What is the best body position to keep a strong balance in this game? A. Bending knees, wide feet position

• Q. How to move your feet to keep the balance? A. with choppy steps

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2.2 BREAKING STANCE (tie-ups, pressure, feet alignment)

KEY POINTS: • Every tie-up has to be done for a concrete goal (pressure, to

block, to pull, raise the opponent’s stance, etc.) • Pressure: keep own balance by an optimum wide base • Pull: get pressure back, then pull • “Triangle Principle” to get unbalanced the opponent: make

pressure or pull the opponent to the far corner of a triangle which base is the imaginary line which connects both feet of the opponent.

• Feet alignment: “Parallel” and “V”

DISCOVERY GAMES Game Skill Key Points Organization, Equipment Task Questions to find the solution

Using the Triangle

Recognizing the triangle principle, creating a balanced stance

• Pairs • Open space to move

“One partner must stay in stance while the other must try to snap opponent to break position”

Q. What made it hard to balance while being snapped? A. When they use the triangle principle and pulled from base Q. What stance was most effective against getting snapped? A. Staggered stance

Snap Attack

Movement in stance, feeling opponent’s pressure, snap motion

• Pairs • Open space to move • Starting position: Facing

each other, hands on the front of the opponent’s shoulders

“Winner snaps opponent’s hands to the mat” Safety: • ask the kids to avoid

hitting heads each other • watch the body position of

the defender

Q. When did your opponent get snapped to the mat? A. When they were driving into me Q. How do can you get your opponent to push into you? A. By pushing into them, but staying in a balanced stance

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2.3 CHANGING LEVELS

KEY POINTS:

• Knees bends, hips goes up & down as an elevator • Head, torso and hips keep its alignment • Before shot, changing levels can be used also for to pull the

opponent down • Changing levels also happen in many basic take downs (i.e.

Snaps to take down, arm drag, duck under, etc.).

DISCOVERY GAMES

Game Technical Goal Organization, Equipment Basic command Questions between playing times

Picking Up Quarters

Movement in stance, level change


“On coaches hand signal, you must touch the mat first” Safety: ask the kids to avoid hitting heads each other

Q. What was fastest way to touch the mat? A. Starting in low stance and bending knees Q. How did you know when to touch the mat? A. By keeping my head up

Quick Change Movement in stance, level change, penetration step


“Winner touches opponents leg with their hand five times” Safety: ask the kids to avoid hitting heads each other

Q. What did you have to do to get to your opponent’s legs? A. Get beneath their head Q. What did you do to keep your opponent from touching your legs? A. Not let them get beneath me by changing levels with them

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2.4 PENETRATION

KEY POINTS: • Start changing levels properly • Keep head up or recover the head up as soon as possible when

starting to shot (i.e. Duck Under) • Look for control opponent’s hips by pushing either forwards or

sideways using own head or shoulders, or by control torso and waist (this last often seen in Greco-Roman).

• FS: Leg grips may vary, from close to the hips to lower single. • Feet location and movements before and during the penetration

are aimed to prevent the opponent snapping or sprawling successfully.

DISCOVERY GAMES Game Technical Goal Organization, Equipment Basic command Questions between playing times

Quick Change

Movement in stance, level change, penetration step


“Winner touches opponents leg with their hand five times” Safety: ask the kids to avoid hitting heads each other

Q. What did you have to do to get to your opponent’s legs? A. Get beneath their head Q. What did you do to keep your opponent from touching your legs? A. Not let them get beneath me by changing levels with them

Leg Lock Movement in stance, level change, penetration step


“Winner locks their hands around opponent’s leg” Safety: ask the kids to avoid hitting heads each other

Q. What did you have to do to get to your opponent’s legs? A. Get beneath their head by changing levels Q. How did you get them to step close to you? A. By setting it up and pushing and pulling

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2.5 LIFTING

KEY POINTS:

• Before lift, hips are in a lower level than the head • Column in a vertical line, head up • Head of attacking wrestler must be high • First own body part to lift: shoulders, using leg’s

power to extend the hips and knees • Balance your opponent over your shoulder if needed


Pick Up Lifting, controling opponents weight


“Must get lift opponent up on your shoulder” Safety: ask the kids to avoid jumping on each other. Ask kids to control their partner

Q. What did you have to do to get your partner up A. Bend my knees first Q. How did your back have to be in order to lift them? A. Straight

Monster Walk Lifting, control opponents weight, balance while moving

• Pairs Open space to move

“Must lift opponent and walk a lap without setting them down” Safety: Ask kids to control their partners weight as moving

Q. What did you have to do to get your partner up A. Bend my knees first Q. When was your partner the easiest to carry? A. When their weight was over my shoulder

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2.6 PAR-TERRE POSITIONS (Attack, Defense)

KEY POINTS: Bottom Wrestler on referees position:

• Wide base • Head up, hips down • Watch for own elbows (total lock out)

Defense, laying down: • Main support through the abdomen • Arms in front and wide (“Like a Y”), slightely bent • Head up

Top position (offense): • In contact with defender´s back • His/her position must prevent a counter attack • Ready to apply a technique


Take the Donkey down

• Mantain referees position (defender)

• Pairs

• The opponent on his/her hand and knees, the offensive wrestler aside and on top

• The offensive wrestler tries to take down the donkey, pushing or pulling from the hip or torso

• Safety: set the pairs.with similar level of skills and body types, smashing the partner is not allowed

• Who could mantain the referees position without being taken down? How was your position? • How is easier to defend, with

the hips down or up? Why?

Escape from the bottom

• Mantain control in top position

• Prevent a counter attack because of wrong posture

• Pairs • The opponent on

his/her hand and knees, the offensive wrestler aside and on top

• Against the clock, bottom wrestler tries to stand, he/she wins if they take off their hand and knees from the mat.

• Bottom wrestler is allowed to escape grabbing top wrestler’s legs

• How can we control the bottom wrestler and keep him/her down the mat)

• How must the top wrestlet set his/her feet to prevent being counter attacked by the legs?

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2.7 GO BEHIND

KEY POINTS:

• Both standing and par-terre, going behind is more effective when staying close to the opponent and making pressure

• The offensive wrestler must move his/her legs without crossing his/her ankles

• In Par-Terre, the offensive wrestler must be careful and prevent a counter attack to his/her waist or legs

• If posible this skill must be practiced in a dynamic way because this is the postition of many “scrambles”.

DISCOVERY GAMES

Game Technical Goal Organization, Equipment Basic command Questions between playing times

Spinning bear

Use the arms to control the movement of the opponent and achieve going behind

Pairs The bear on tripod position (knees of the mat) the offensive wrestler in front and on top, chest making pressure over the opponents shoulder blades

Starting at the whistle and always making contact with the bear, the offensive wrestler tries to go behind by grabbing the waist of the bear to win a point. The bear wins in case that the partner looses contact. Safety: Pairs must be matched according skill, strenght and level of experience.

Q. How did you achieve control of the opponent while being in motion? A. By short choppy steps and making constant pressure over the opponent Q: What could you do to limit the freedom of motion of the bear? A. Use our arms to control

his/her hip or legs

Spinning wheel

Make pressure with the chest, quick motion of the feet

Pairs and stopwatch

One partrner in par-terre position, the other mantains contact with his chest over the shoulder blades of the bottom wrestler. In a certain amount of time the partner on top tries to spin as many times as posible around his/her partner.

Q. What made possible moving your feet quickly? A. Short and choppy steps Q. What kept you in balance while spinning? A. Constant pressure and keeping the head up

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2.8 SPRAWL, WHIZZER, EVADE (Fundamentals of Leg Defense)

KEY POINTS:

• Sprawl: The feet are thrown back, the chest goes down in a straight line even a little back. Wrestler keeps looking in front. Support the instep to the mat if the opponent reaches the leg.

• Whizzer: With an overhook tie control the near arm of the opponent and make pressure down. The other arm can attack the head or the far arm. Good balance is required in standig position.

• Evade: In the moment of throwing the foot back, move slightly to the side and create an angle to counter attack.

DISCOVERY GAMES

Game Technical Goal Organization, Equipment Basic command Questions between playing

times

Seatbelt/Whizzer Whose gonna win?

Whizzer, waist control Pairs

Starting one wrestler from waist control and the other from whizzer, which athlete will take his partner down?

Q. How did you achieve taking down your partner? A. Having a higher stance tan him Q. How did you avoid being taken down? A. Using the tie to keep him/her close and feel when he/she was approaching

MedBall Sprawl Execute the sprawl and correct timing MedBall and space

The participants are set around in a circle, one of them stays in the center and rolls the ball towards them, the athlete must sprawl to stop the medball without using his/her hands

Q. How did you know when to sprawl? A. When the Med Ball was close enough Q. What made easier making the sprawl? A. Kepping a low stance and being focused.

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2.9 DANGER POSITION CONTROL

KEY POINTS:

• Offensive wrestler lifts opponent´s head, while making pressure down to the chest.

• With chest to chest contact,the offensive wrestler makes pressure over the opponent, his/her feet are away and spread apart (knees off the mat), head up.

• Seated: feet are spread apart to allow motion and prevent a turn or a scape by bridging.

DISCOVERY GAMES


times

Pin the opponent

Use the whole body to make pressure down the opponent and keep him/her in danger position

Pairs, wrestling mat, open space to move. One partner lying on his back the other on top (sideways) with chest to chest contact without any grip

At the whistle both athletes have 20 seconds to win: Top wrestler must prevent that the partners turns lying down, he/she can do several ties, grips and change gis position. Bottom wrestler wins if he/she can lay down before the 20 seconds count.

Q. How did you prevent your partner lying down? A. Making pressure over his/her chest, moving with him/her Q. How can we make more pressure? A. Lifting our knees from the mat

Scape from danger Control the opponent in danger position in the best possible position

One partner lying on his back the other on top (facing each other) with chest to chest contact both hugging each other.

At the first whistle, both wrestlers spin to certain side, at the second whistle both have 10 seconds to try to control the danger position or escape from it.

Q. How did you prevent your partner lying down? A. Staying focused, reacting quicly to the whistle, lifting the knees from the mat and spreading out the feet.

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2.10 BACK ARCH AND BRIDGE

KEY POINTS: • Back Arch: the head guides the motion, hips drive up

and forward. • Bridge: complete support over the sole, to ensure

movility (escapes, finish Gut Wrench), as early as possible get use to bringe without the help of the hands, over the forehead or ver the top of the head.

DISCOVERY GAMES


times

Bridge with a partner Brinde, grip strenght, balance Pairs

One partner holds the hand of the other, while the last tries to complete a back bridge. Safety: The partner who holds the hand of the other controls the body weight of his/her partner on his way down.

Q. How did you achieve making the bridge and touching the mat with the head? A. Driving the hips up and forward Q. How did you achieve the complete arch of your back? A. Looking over the head

Lift your back Bridge and control in danger position Pairs

One partner starts lying on his/her back, the other controlling chest to chest (sideways), at the whistle the bottom wrestler tries to escape before the time is over.

Q. How did you escape from the danger position? A. Driving up with hips and legs Q. How did you keep your opponent lying on his /her back? A. Keeping pressure over him/her

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3.1 FRONT ROLL

KEY POINTS

• Start from standing • Hands flat on the mat • Chin goes to the chest (neck bent) • Arms lead to roll with the upper body and shoulders • Fluent, non-stop motion forwards until stand up • Only feet touch the mat when stand up

Teaching Progression (suggested)

1) Frog Jumps 2) Partial Roll (“cradle”)

3) Wheelbarrow to Front Roll

4) Complete Front Roll

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3.2 BACK ROLL

KEY FACTORS • Squat position • Hips makes contact with the

mat • Fluent backwards motion • Hands over the head, arms

push to recover • Knees off the mat


1) Front-back roll(cradle)

2) Side back roll on knees

3) Complete back roll with partner’s support

4) Complete back roll (no external support)

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3.3 SHOULDER ROLL

KEY POINTS

• Opposite hand to the rolling side flat on the mat • Get contact with the mat with the shoulder blade • Fluent non-stop motion forward • Stand up in diagonal, one foot in front • Hand touches the mat only at the beginning of the roll


1) Side Roll

2) Lateral roll, one knee on

mat

3) Lateral roll starting from squat

4) Complete lateral roll

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3.4 CARTWHEEL

KEY POINTS

• Start facing the direction of the cartwheel • Wide first step • Arm straight • High amplitude circle of the feet • Land in a straight line from the beginning

to the landing point • Recover the stand up position, hands up


1) Hand stand (assisted)

2) Cartwheel assisted

3) Cartwheel (alone)

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3.5 HEADSTAND

KEY POINTS

• Head and hands form a “triangle” on the mat • Hips and legs straight • Core stabilizes position • Neck aligned


1) Tripod (knees on elbows, assisted)

2) Tripod (alone)

3) Headstand, assisted

4) Headstand, alone

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STANDING BASIC TECHNIQUES

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4.1 SNAP & GO BEHIND – KFA

FUNDAMENTAL SKILLS RELATED: KEY FACTORS

� Standing Stance, � Par-terre Positions, � Break the Stance

(pressure), � Collar & Elbow Tie-up,

Going behind

SET-UP ATTACK FINISH / TRANSITION CONTACT & PRESSURE

1. Collar and elbow tie 2. Head to head 3. Pressure to get reaction forwards

“EAT THE MAT, NOT MY LEG” 4. Step back 5. Change elbow to forearm tie 6. Get space to secure unbalance 7. Snap down the opponent, switch

back the front foot 8. Get pressure over the opponent 9. Block the arm

GO BEHIND

10. Pressure towards the opponent 11. FS: Grab the near leg 12. Go behind to score 2 points

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4.1 SNAP & GO BEHIND – Didactic Suggestions

KEY FACTOR Questioning (examples) If the learner is… …use these positive Feedback:

Set-

up CONTACT & PRESSURE

1. Collar and elbow tie 2. Head to head 3. Pressure to get reaction forwards

Q. Why we have to use pressure? A. to get pressure back, to get the

opponent out of balance

- Not making pressure

- Making pressure with his feet back (unbalanced her/himself)

- “Make pressure to get pressure back”

- “Keep your feet wide open, one foot on front”

Att

ack

“EAT THE MAT, NOT MY LEG” 4. Step back 5. Change elbow to forearm tie 6. Get space to secure unbalance 7. Snap down the opponent, switch

back the front foot 8. Get pressure over the opponent 9. Block the arm

Q. Why to switch the front foot back?

A. To avoid the opponent getting single leg)

Q. How can I control my opponent

before go behind her/him? A. Making pressure down, securing

the near leg

- Not stepping back / not switching his front foot back

- Remaining standing without make pressure down

- Step back to start the snap / Switch back your front foot when pulling the opponent

- Follow your opponent down and make pressure over her/him

Fini

sh /

Tr

ansi

tion

GO BEHIND 10. Pressure towards the opponent 11. FS: Grab the near leg 12. Go behind to score 2 points

Q. How close to my opponent must we pass when going behind?

A. As closer as possible, making pressure

- Going behind far from the opponent when circle

- Keep making pressure when going behind

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4.2 DOUBLE LEG – KFA


� Standing Stance � Head and Elbow Tie-ups � Changing levels � Penetration � Pinning

SET-UP ATTACK FINISH / TRANSITION 1. Collar & elbow tie 2. Opponent reacts to a snap

attempt raising her stance, letting her legs uncovered for a moment

RELEASE AND SHOT 3. Changing levels to knee penetration

step 4. Release ties to reach double leg 5. Stand up with wide feet 6. Strong upper body position, low hips

DRIVE SIDEWAYS 7. Hold the far leg 8. Step out of the far leg to block it 9. Head pushes sideways 10. Hold doublé leg to control 11. Keep pressure over the belly


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4.2 DOUBLE LEG - Didactic Suggestions


Set-

up

SNAP DEFENSE 1. Collar & elbow tie 2. Opponent reacts to a snap

attempt raising her stance, letting her legs uncovered for a moment

Q: Why is it good to combine the Snap with the double leg?

A. Because the opponent might rise his/her stance and create space for the shot

• Forgetting to Snap before the shot • Snapping and making the opponent

react, but he/she shots after the opponent rises his/her stance

• “Make him/her rise the stance, now the second snap do it while changing levels”

• “Snap while changing levels”

Att

ack

RELEASE AND SHOT 3. Changing levels to knee

penetration step 4. Release ties to reach double leg 5. Stand up with wide feet 6. Strong upper body position, low

hips

Q. When is the correct moment to release the tie ups made for the set-up?

A. When the opponent reacts rising his/her stance

Q. Why is it important to get up from the

double leg with the hips low? A. To avoid a counter attack

• Pushing and throwing the opponent up and backwards before the shot

• Getting up with the hips high,

losing the straight position of the torso

• “Pull the head down while changing levels and immediately release the ties to allow him/her rise the stance”

• “Keep your hips low like

squatting”

Fini

sh /

Tra

nsit

ion DRIVE SIDEWAYS

7. Hold the far leg 8. Step out of the far leg to block

it 9. Head pushes sideways 10. Hold doublé leg to control 11. Keep pressure over the belly

Q. Why is it important to control the far leg?

A. To break the balance of the opponent at the moment of driving in an angle.

Q. What might happen if we do not make

pressure through the opponent’s abdomen?

A. It is easier for the opponent to turn towards the mat

• Holding the far hip, instead of the far leg

• Forgetting to continue the action

at the moment of the takedown (the 4 points score is missed)

• “Hold the far leg to make him fall”

• “Make sure to keep your

shoulder in his/her belly until getting the 4 points score”

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4.3 ARM DRAG TAKEDOWN – KFA


� Standing Stance, � Par-terre Positions, � Break the Stance (pressure) � Wrist and Arm Drag tie-ups � Going behind

SET-UP ATTACK FINISH / TRANSITION CONTACT & PRESSURE

1. Wrists tie-ups 2. Head to head contact 3. Make pressure to get pressure

back 4. “V” feet alignment (different

name legs to front)

ARM DRAG 5. Exchange hands to arm drag 6. Drag to the top corner of the triangle 7. Chest goes to pressure the opponent’s

torso 8. Hold far hip 9. Place feet behind the opponent

DRIVE 10. Keep the arm and body control

and drive


33

4.3 ARM DRAG TAKEDOWN - Didactic Suggestions


Set-

up

CONTACT & PRESSURE 1. Wrists tie-ups 2. Head to head contact 3. Make pressure to get

pressure back 4. “V” feet alignment

(different name legs to front)

Q. Why do we need to push? A. To make the opponent push back

and then make the drag easier Q. Which is the advantage of using the

“V” feet alignment? A. So we can use the triangle principle

and break the stance

• Not receiving any push from his/her opponent

• Starting the drag before setting his/her feet with “V” alignment

• “Make sure that the opponent pushes back”

• “Wait until your partner´s feet are aligned properly” (sometimes we will have to ask the training partner to assume that position)

Att

ack

ARM DRAG 5. Exchange hands to arm drag 6. Drag to the top corner of

the triangle 7. Chest goes to pressure the

opponent’s torso 8. Hold far hip 9. Place feet behind the

opponent

Q. Which arm can you attack? A. The arm near to my lead leg Q. How can I control the opponent

before taking him/her to the mat? A. Making pressure to his/her torso

with my chest and controlling his/her hip

• Using his hands in the opposite way (grabbing the wrist of the far side)

• Running around the opponent instead of going behind him/her?

• Holding the waist of the opponent

to deep (exposing himself/herself to a counter attack)

• “Drag the arm of the same side of your attack”

• “Make your opponent move making pressure with your chest through his torso”

• “Hold the far hip just with your

hand and squeeze your elbows”

Fini

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DRIVE 10. Keep the arm and body

control and drive

Q. Which can be the consequence of putting the knees on the mat before taking the opponent down?

A. We can lose control and freedom of motion.

• Kneeling before taking the opponent down (hanging instead of pulling)

• “By pulling and pushing correctly, make sure your opponent falls down before you”

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4.4 SINGLE LEG TO CIRCLE - KFA


� Standing Stance � Wrist and Arm Drag tie-ups � Changing levels � PenetratioN � Whizzer � Motion (circle) � Par-terre Positions

SET-UP ATTACK FINISH / TRANSITION ARM DRAG SET UP

1. Same set up for arm drag (head to head, wrist control, “V” feet position, etc.)

DRAG TO SINGLE LEG 2. By changing levels, drag the arm to clear ties 3. At the same time, step out of the attacked leg 4. Release the arm dragged to reach single leg 5. Head up to pressure the opponent’s upper

body 6. Push away the opponent to get her reaction

stepping far

CIRCLE AND PRESSURE DOWN 7. Circle motion from out to inside 8. At the same time, make pressure

down over the upper leg (*The pressure could be either with the head,

outside or inside shoulder) 9. Keep the leg to be able to make

different transitions.


35

4.4 SINGLE LEG TO CIRCLE - Didactic Suggestions


Set-

up ARM DRAG SET UP

1. Same set up for arm drag (head to head, wrist control, “V” feet position, etc.)

Q. Which set-up will we use? A. The same used for the arm. drag

• Forgetting to make the set-up

• “Make sure to do the set-up, before the shot”

Att

ack

DRAG TO SINGLE LEG 2. By changing levels, drag the arm to

clear ties 3. At the same time, step out of the

attacked leg 4. Release the arm dragged to reach

single leg 5. Head up to pressure the opponent’s

upper body 6. Push away the opponent to get her

reaction stepping far

Q. How should the arm drag be performed?

A. Using the level change Q: Why is it useful to maintain the head

in contact with the opponent´s chest? A. To prevent the whizzer Q. Why is it useful to push the opponent

before taking him/her down? A. To take him/her out of balance

• Pulling the arm without level change

• Forgetting to step forward

and capture the leg • Setting his/her head down

(giving the opportunity for a defensive action)

• Forgetting to push before

moving in circle

• “Pull the arm and level change at the same time”

• “Step forward when you change

levels” • “Block your opponent pushing

his/her chest with your head” • “Push your opponent to make

him/her step far away with his/her foot of support and losing balance, then move in circle”

Fini

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nsit

ion CIRCLE AND PRESSURE DOWN

7. Circle motion from out to inside 8. At the same time, make pressure

down over the upper leg (*The pressure could be either with the head,

outside or inside shoulder) 9. Keep the leg to be able to make

different transitions.

Q. To get the take down, in which direction should we move? Why?

A. From the inside to the outside, because there is no foot of support

Q. How can we push the leg to the mat? A. With the head or the shoulder

• Stepping back or moving in circle to the wrong side

• Forgetting to push down

• “Move in circle towards the opponent’s leg of support, your hips must face his/her abdomen”


36

4.5 DUCK UNDER TAKE DOWN – KFA


� Standing Stance � Break the Stance (pressure) � Head and Arm Inside tie-ups � Going behind � Changing levels &

Penetration � Par-terre Positions

SET-UP ATTACK FINISH / TRANSITION CONTACT AND PRESSURE

1. Collar and Arm Inside tie 2. “Parallel” feet alignment 3. Pressure to get pressure

back

OPEN SPACE AND PULL TO DUCK 4. Pull the arm opening space lifting the

elbow 5. Pull slightly to the other side (to the

top corner of the opponent´s triangle) 6. Step forward with the outside foot 7. Circle the opponent to the side 8. Keep controlling the head and hold

the far hip 9. Chest makes pressure towards the

opponent’s upper body

TAKE DOWN 10. Drive to score.


37

4.5 DUCK UNDER TO TAKE DOWN - Didactic Suggestions


Set-

up CONTACT AND PRESSURE

1. Collar and Arm Inside tie 2. “Parallel” feet alignment 3. Pressure to get pressure back

Q. Why is it important to push the opponent?

A. To get pushed back and make the duck under easier.

• Being unable to get pushed back from the opponent

• Pulling before getting the “V”

feet alignment

• “Make sure that the opponent pushes back”

• “Wait until your partner´s feet

are aligned properly”

Att

ack

OPEN SPACE AND PULL TO DUCK 4. Pull the arm opening space lifting

the elbow 5. Pull slightly to the other side (to

the top corner of the opponent´s triangle)

6. Step forward with the outside foot 7. Circle the opponent to the side 8. Keep controlling the head and

hold the far hip 9. Chest makes pressure towards the

opponent’s upper body

Q. How can we open space for the duck under?

A. Lifting our elbow that is holding the inside tie

Q. Why is it useful to pull to the right?

(when the right leg is forward) A. To control the hip and going behind Q. How can I control the opponent

before taking him/her down? A. Pushing his/her torso with the chest

and holding his hip

• Popping/Chopping the arm instead of lifting (Does not represents a technical mistake, it is just an other technical variation)

• Forgetting to step forward and

just pulling the arm • Moving around the opponent

instead of keeping in contanct with him/her

• “Take advantage of the inside tie for the set-up of this movement”

• “Step forward to maintain a

solid base of your torso” • “Go behind your opponent by

pushing his/her torso with your chest”

Fini

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TAKE DOWN 10. Drive to score.

Q. Which can be the consequence of putting the knees on the mat before taking the opponent down?

A. We can lose control and freedom of motion

• Kneeling before taking the opponent down (hanging instead of pulling)

• “Apply constant pressure and make sure that the opponent falls down before you”

39

PAR-TERRE TECHNIQUE

40

5.1 HALF NELSON - KFA


� Par-Terre Positions � Pinning

SET-UP ATTACK FINISH / TRANSITION HALF NELSON

1. Get opponent’s head down 2. Half nelson, close to the

elbow 3. Block the far arm

FORWARD ROLL 4. Push using the legs to turn over

the opponent

PINNING 5. Deep head control 6. Heavy hips, wide feet


41

5.1 HALF NELSON – Didactic Suggestions


Set-

up HALF NELSON

1. Get opponent’s head down 2. Half nelson, close to the

elbow 3. Block the far arm

Q. What might happen if we do the Half Nelson under the armpit instead near the elbow?

A. The opponent might defend easier

• Doing the Half Nelson by the armpit

• Forgetting to block the far arm

• “Put your elbow as close as possible to the opponet´s elbow”

• “Block the far arm and take it close to you”

Att

ack FORWARD ROLL

4. Push using the legs to turn over the opponent

Q. How can we turn the opponent down?

A. Pushing him/her with the legs (knees do not touch the mat)

• Pushing over his/her knees

• Not making pressure over the opponent

• “Take your knees off the mat and push your opponent moving over your feet”

• “Maintain chest to chest contact while turning down your opponent”

Fini

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Q. Which is the best way to end with the head in control?

A. Having the arm all around the head and lifting at the same time, while maintaining the body weight over the opponent's chest

• Moving to the wrong side or ending with the belly over the opponent´s chest, or ending with his/her own head in the mat.

• Losing the grip to the head

• “Reset your posture and push with your chest from the begining to the end of the turn”

• “while turning down your

opponent, go all around his/her head and lift it, keeping your elbow close to your body”

42

5.2 FAR ARM TURN OVER – KFA

FUNDAMENTAL SKILLS RELATED:

KEY FACTORS


SET-UP ATTACK FINISH / TRANSITION LOCKING FAR ARM

1. Lock far arm with both hands, over the elbow

2. Chest to the side of the torso 3. Pull the far arm 4. Push forward

TURN OVER 5. Make the opponent´s far shoulder

touches the mar

PINNING 6. Keep the lock while pinning,

keep the head up


43

5.2 FAR ARM TURN OVER- Didactic Suggestions


Set-

up

LOCKING FAR ARM 1. Lock far arm with both hands,

over the elbow 2. Chest to the side of the torso 3. Pull the far arm 4. Push forward

Q. What might happen if we pull the far arm by the forearm?

A. The pull will not be effective, because the opponent might be able to bend his elbow and put away his arm.

• Holding the arm below the elbow • Leaving his/her chest over the

opponent´s back, making difficult to reach the far arm.

• “Hold the far arm between the elbow and the shoulder”

• “Lower your chest by the side of the

opponent, that way you will reach the far arm”

Att

ack TURN OVER

5. Make the opponent´s far shoulder touches the mar

Q. How can we turn the opponent? A. Pushing him/her with the legs(

knees do not touch the mat)

• Pushing with the knees on the mat • Not making pressure at the end of

the technique

• “Lift the knees off the mat and push the opponent moving over your feet”

• “Maintain chest to chest contact when you turn the opponent”

Fini

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ion

PINNING 6. Keep the lock while pinning,

keep the head up

Q. When should we change the tie to the arm?

A. When the opponent is turning and we need to control the danger postion

• Releasing the arm before getting to the danger position

• At the end of the technique,

supporting his/her weight on the knees with the feet close together.

• “maintain the tie to the arm so the opponent cannot escape.

• “Control the danger position with your knees off the mat and your feet spread apart”

44

5.3 FRONT HEAD WITH UNDERHOOK TURN OVER - KFA



SET-UP ATTACK FINISH / TRANSITION UNDERHOOK AND HEAD CONTROL

1. Underhook (blocking the arm) 2. Hug the head and pressure it down 3. Knee and feet properly located

TORTION 4. Rotational movement to get the

opponent down



45

5.3 FRONT HEAD WITH UNDERHOOK TURN OVER - Didactic Suggestions


Set-

up Underhook and Head Control

1. Underhook (blocking the arm) 2. Hug the head and pressure it

down 3. Knee and feet properly lockated

Q. How do we control the head? A. Making pressure towards the

head and keeping our elbow close to the body

• Making a loose tie to the head, opening space for a counter attack (Duck Under)

• Supporting his/her body weight over

the knees

• “Close the gap between your arm and your body, in order to control the opponent´s head”

• “Step to the same side where you control the underhook”

Att

ack TORTION

4. Rotational movement to get the opponent down

Q. In which direction do we turn the opponent?

A. Back and to one side

• Pushing instead of making the turn • Stopping the pressure down to the head

when making the turn

• “Turn the opponent to the back and to one side” (the coach can point out the spot where the partner must land)

Fini

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Q. Which is the best way to end with the head in control?

A. Having the arm all around the head and lifting at the same time, while maintaining the body weight over the opponent's chest

• Moving to the wrong side or ending with the belly over the opponent´s chest, or ending with his/her own head in the mat.

• Losing the grip to the head

• “Reset your posture and push with your chest from the begining to the end of the turn”

• “while turning down your opponent,

go all around his/her head and lift it, keeping your elbow close to your body”

46

5.4 ARM & BODY LOCK GUTWRENCH - KFA


� Par-Terre Positions, � Bridge

SET-UP ATTACK FINISH / TRANSITION ARM & BODY LOCK

1. Look for get the arm by over the elbow

2. When locking the arm & body, face the other side

SPING AND BRIDGING 3. Block the near leg with the same name

knee 4. Take the opponent’s shoulder down

over the math. 5. Lift the opponent with the own belly 6. Push the opponent with both legs 7. Pass the opponent

COME BACK TO THE CONTROL ON TOP

8. Recover the top position


47

5.4 ARM & BODY LOCK GUTWRENCH - Didactic Suggestions


Set-

up ARM & BODY LOCK

1. Look for get the arm by over the elbow

2. When locking the arm & body, face the other side

Q. Which is the best point to lock the arm?

A. Close to the elbow Q. Which is the position of the head

before the turn? A. Facing to the opposite side of the turn

• Locking the arm close to the shoulder

• Facing to the landing side of

the turn

• “Lock the arm close to the elbow for better control”

• • “Before the turn, face to the

opposite side”

Att

ack

SPING AND BRIDGING 3. Block the near leg with the same

name knee 4. Take the opponent’s shoulder

down over the math. 5. Lift the opponent with the own

belly 6. Push the opponent with both legs 7. Pass the opponent

Q. How do we push the opponent for a successful turn?

A. Pushing with the hips and abdomen when bridging.

• Placing his/her feet far away while trying to turn the opponent

• Turning the opponent to the

wrong side without bridging

• “With your knee block the close leg of the opponent, when you make the turn the opponent´s hips must be between your knees”

• “Lift the bridge to turn the opponent, then continue moving in circle”

Fini

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COME BACK TO THE CONTROL ON TOP

8. Recover the top position

Q. Why is it important to move over the feet to recover top control position?

A. Beacuse that way the opponent intent of escape from danger position will be harder

• Turning over his/her abdomen to regain control position

• “Move over your feer while you bridge, keep your knees off the mat until you regain control position”

48

5.5 FRONT HEAD LOCK TO GO BEHIND - KFA


� Par-Terre Positions � Front Headlock � Go behind

SET-UP ATTACK FINISH / TRANSITION FRONT HEAD LOCK

1. Outside forearm chops (palm up) the opponent’s arm

2. Lock and squeeze the elbows 3. Charge all the weight over the opponent,

knees not touching the mat 4. Force the opponent’s arm forwards to lost

contact with the mat 5. Chest covers the head

GO BEHIND 6. Circle motion to get an angle 7. Take the opponent to flat position 8. Go behind getting pressure over

the opponent

CONTROL 9. Scores 2 points


49

5.5 FRONT HEAD LOCK TO GO BEHIND - - Didactic Suggestions


Set-

up

FRONT HEAD LOCK 1. Outside forearm chops (palm up)

the opponent’s arm 2. Lock and squeeze the elbows 3. Charge all the weight over the

opponent, knees not touching the mat

4. Force the opponent’s arm forwards to lost contact with the mat

5. Chest covers the head

Q. What should we do with our elbows when we lock?

A: We should keep them close to the body from better control

Q. Which part of our arm should lock the

opponent’s arm? A. With the forearm, palm of the hand up. Q. Where should be the head of the

opponent? A. Under our chest

• Hugging to lock, with the elbows apart from his/her body-

• Covering the opponent´s head

with the arm but not with the chest

• “Keep your elbows close to your body for better control”

• “Push the head of the opponent

with your chest”

Att

ack

GO BEHIND 6. Circle motion to get an angle 7. Take the opponent to flat position 8. Go behind getting pressure over

the opponent

Q. What should we do before going behind? A. Create an angle Q. How can we achieve going behind? A. Making constant pressure to the opponent

with our body

• Not creating an angle • Going behind far away from

the opponent

• “Move in circle to create an angle, then when the opponent is down go behind”

• “Keep constant pressure while going behind”

Fini

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CONTROL 9. Scores 2 points

Q. Why we must release the head at the end? A. To score 2 points

• Controling the head of the opponent with his/her arm

• “End the technique by releasing the head and secure two points”

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