SUBMISSION, SWEEP, OR GET UP (Forrest Griffin)

When you’re stuck on your back with an opponent between your legs in your guard, you should have three things on your mind—submission, sweep, or get the fuck up. If you lie there thinking about how you forgot to feed your dog, you’re pretty much locking yourself into an ass kicking. You have to remember that mixed martial arts is not a grappling match—your opponent can beat the living hell out of you. This should give you a sense of urgency and force you to move until you accomplish one of your three goals. Over the coming pages, I demonstrate several submissions, a couple of transitions, and a technique that you can use to escape back to your feet.

KIMURA SUBMISSION

To prevent Neil from posturing up in my guard, I wrap my right hand around the back of his head and grab his right arm with my left hand.

As Neil attempts to break my head and arm control and posture up, I slide my left hand down to his right wrist, plant my right foot on the mat, turn onto my left side, and reach my right arm over his left arm.

Maintaining a firm grip on Neil’s right wrist using my left hand, I dive my right arm under his right arm and grab my left wrist with my right hand, establishing a figure-four grip.

Scooting my hips toward my left side, I drop to my right shoulder, pull down on Neil’s right arm using my right arm, and drive his right wrist up using my left hand. To prevent him from passing my guard, I have once again hooked my feet together. With a tremendous amount of pressure being applied to his right shoulder, he has no choice but to tap. Obviously if you successfully execute this in a no-holds-barred street fight, “tap” actually translates into your opponent screaming, “YOU’RE GONNA BREAK MY ARM!!! SWEET JESUS, YOU’RE GONNA BREAK MY FUCKIN’ ARM!!! I WEAR SKIRTS <SOBBING> I…WEAR…SKIRTS < MORE SOBBING>.” 

OMAPLATA SUBMISSION

I have Neil in my closed guard. In an attempt to break my head and arm control and posture up, he places his hands on the mat and pushes off.

 

I turn onto my right side, scoot my hips toward my left side, throw my left leg over the back of Neil’s right arm, and position my foot in front of his face. Notice how I have my left arm pinned to his right arm to prevent him from pulling it free.

 

 I pull my right leg out front underneath Neil’s body, rotate my body ninety degrees, and wrap my left arm over his back to prevent him from escaping the submission by executing a forward roll.

 I wrap my leg tightly over Neil’s right arm and begin sitting up.

Sitting all the way up, I pin Neil’s right shoulder to the mat by applying downward pressure with my right leg. To lock in the submission, I grab his right wrist with my right hand and drive it forward toward the mat. Do this right, and I hope the submitted has a willing love partner, because unless he’s left-handed, masturbation will seem like climbing Everest in a blizzard.

OMAPLATA TRANSITION TO BACK

 
 I have Neil in my closed guard.

Turning onto my left side, I place my right foot on the mat, scoot my hips toward my right side, and drive my right hand into the left side of Neil’s head to disrupt his balance.

 I attempt an omaplata submission by throwing my right leg over Neil’s left arm, but he defends against the submission by pulling his arm free.

 Instead of returning to the guard position, I use Neil’s compromised positioning to post my left hand on the mat and reach my right arm over his back.

 Before Neil has a chance to reestablish his base and balance, I come up onto my left knee and secure a body lock by wrapping my left arm over his left shoulder and under his body, wrapping my right arm around his right side, and clasping my hands together. From this position, I have numerous offensive options.

UNDERHOOK GET UP TO BACK

 I have Neil in my closed guard.

As Neil postures up to strike, I post my right hand on the mat, sit up with him, and dive my left arm underneath his right arm, securing an underhook.

 As I drop down to my right elbow, I turn onto my right side, scoot my hips toward my left, and drive my left arm downward into Neil’s right arm, forcing him to lose balance and plant his left hand on the mat.

Posting my right hand and right foot on the mat, I come up onto my left knee and wrap my left arm over Neil’s back.

 I slide my body and head out from underneath Neil’s right arm, reposition my body over his back, and secure a body lock by clasping my hands together.

 GET UP

Neil is in my closed guard.

 To create space, I place my right hand on Neil’s right shoulder and drive him away from me. At the same time I turn onto my left side, post my left elbow on the mat, and move my left foot toward the front of his right hip.

Planting my left foot on Neil’s right hip to maintain space, I place my right hand on the back of his neck and post my left hand and right foot on the mat.

 Pushing off the mat with my right foot, I drive my right hand down into the back of Neil’s head, support my weight on my left hand, and leap my body out from underneath him.

 

 

 
I plant my feet on the mat. From here, I will either back away or launch an attack. If this is a street fight, your decision will determine whether you’re a martial artist or a fighter—I ain’t judging.