Issue 056
November 2009
In the modern game, athletes must be truly cross-trained. It is not enough to just understand the individual elements of mixed martial arts, but also the subtle possibilities for the myriad ways the individual arts can be combined.
The stand-up element of MMA is no longer simply about shoehorning together kickboxing and wrestling. In fighters such as Anderson Silva, Jon Jones and Lyoto Machida, we can see the possibilities for the ways that striking and takedowns can be combined with a greater understanding of timing and distance.
STANCE
The requirements of striking and wrestling can sometimes be at odds. We must reconcile our stance to fulfill all requirements and be adaptable to our changing goals, without signaling our intentions to the opponent.
Step 1: Here Pete has adopted a low, wrestling-style stance – although hard to shoot in on and primed to initiate a takedown, Pete has sacrificed his ability to kick, knee or check leg kicks.
Step 2: Pete’s stance is high, his head is guarded and his hips are uninhibited, giving him full range to kick and knee. His elevation is higher than his opponent’s and his body is unguarded, making him vulnerable to the takedown.
Step 3: Pete has hedged his bets here, matching Rob’s elevation. It’s only a small move from here to either stance, so he can drop low to shoot, or momentarily lift a little higher to kick. Most importantly, Pete can throw any of his weapons and shoot or sprawl without having to first adjust his feet.
Mixing Striking with Throws and Takedowns
Over the years Muay Thai fighters have perfected many counter techniques that end in a throw. While mixed martial artists are not bound by many of the rules associated with Muay Thai throwing techniques and must have greater concerns regarding the finishing position once the opponent has been thrown, much can be learned from the subtle timing of Muay Thai counter-attacks.
PUNCH AND TRIP
Step 1: Pete and Rob face off.
Step 2: Pete backs Rob up with a stiff jab.
Step 3: Pete doesn’t retract his jab and pushes on the shoulder, placing Rob’s weight onto the back leg.
Step 4: Pet steps through to hook the lead leg with his trail leg.
Step 5: Pete hooks the lead leg and drives his body weight over on top of the overbalanced Rob.
KICK COUNTER
Step 1: Rob has front kicked Pete to the stomach and Pete has captured the foot.
Step 2: Pete steps deep behind Rob (creating a barrier for Rob’s hips to fall over) and passes his right arm in front of Rob’s chest.
Step 3: Pete overbalances Rob by throwing his hips forward and sweeping his arm back.
Step 4: Pete maintains control of Rob’s ankle as he lands.
BACK LEG INTERCEPTION
Step 1: Pete and Rob face off.
Step 2: As Rob throws his left kick, Pete uses a push kick to attack the supporting leg. If Pete had lowered his stance he would not have been able to counter the left kick.
Confusing your Opponent with Level Changes
Leading your opponent to become preoccupied about defending their legs against the takedown can open up their guard upstairs.
KNEE-TAP TO PUNCH
Step 1: Pete and Rob face off.
Step 2: Pete level changes and knee-taps Rob’s leg.
Step 3: The knee tap provokes Rob to step his lead leg back in anticipation of a single leg attack.
Step 4: Instead of shooting in Pete springs up, adding squat power to the left hook.
HIGH AND LOW COMBO
Step 1: Pete and Rob face off.
Step 2: Pete sticks a stiff jab in Rob’s face to keep him blind.
Step 3: With Rob’s attention now upstairs, Pete goes low and foot-sweeps the lead ankle.
Step 4: If Pete sees that he has opened up Rob’s guard by affecting his base, he delivers a straight right.
Step 5: Alternatively, Pete knows that because he has shifted his opponent’s base, Rob must take a moment to recover his stance in order to strike or sprawl. Pete capitalizes by choosing this moment to level change.
Step 6: Rob’s base has been brought to a squarer position and the strikes have left him unbalanced, making it much easier to execute a successful double leg takedown.
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