Coachella | Episode 8 | Over Under | ROYDEAN.TV

(dramatic music) (rock music) – [Roy] Palm Springs, California. Coachella Valley. My name is Roy Dean and I
came to the desert to train. I’ve been coming here a long time, since my blue belt days. My friends Dan and Anthony
were also blue belts back then. We were hungry young students. Now we’re third degree black belts, and we’re still on the path. Come, take a look. – Double strength on the way back. So we’ll go from half guard. When you guys get here, try
not let him put the clamps on, the head clamps here, okay? So first thing I’m gonna
try to do is not let him get this, ’cause he’s
gonna try to be smashing in and get into here. I’m not trying to get there. I’m gonna try to block here. So let’s say I’m gonna try
to start to attack this arm that came more off. It’s out there. He’s probably gonna tuck it in right? Start to defend it. So it can happen this way,
or I can just stuff it underneath here also. A couple ways that this hand can get here. I’m gonna come over
the top, grab the belt, and move the hips out and
go to a butterfly hook here. From here I kind of
start to invite the pass. He comes around and I
start that butterfly hook as he comes around the post. I just plant and circle,
take him right over the top, and then you can start to
for your kimora from here. All right? So again, from the half guard. He’ll try to block this
bicep and not let him get the clamps on there. If it’s dangling out
there, I’ll start to look to attack the kimora. A lot of times when you
even start to go for it he tucks his hand, or his
hand’s already down there trying to control my
legs to start the pass. I wanna control that
wrist, and move the top. Try to get ahold of this belt, so I can suck it up by his belt line, is what I’m looking to do. I’m trying to place it right here. It’s kind of like a steering wheel here, or my grip or something, okay? And if he starts to pass this,
this sweep is still here. But sometimes I like to
set this butterfly hook because as I’m starting
to go for the sweep, he may be able to get the sweep, right? Or he’s gonna start to
jump out and over the hook. That’s when I start pulling,
and take him over the top. And you can start to come up
and attack the arm in full. Let’s just work on the sweep part though. And again we’re here. We’re blocking that bicep. I don’t wanna him to put the clamps on me. If I can attack it I will. If he tucks it that’s fine. Right here, shrimp, try to
get that butterfly hook. Weakening my post here,
I try to get the sweep and you’ll get that sweep sometimes. But as he jumps over, I’m
just gonna walk and circle. And from here you can
attack however you want. You can hold him down, or
start to see your kimoras. One more time? He starts the pass, right. You can just walk and hit him. Just like that. He’s not trying to pass. I’ll move the hook. Set the butterfly, and
I start to hit the bone. You guys got it? – Yes. – Then let’s agree. (clapping) So again, we’re here. I’m trying to block the bicep. So I’m not getting smashed. Sometimes the guy will
take a big swim and go over all the way over and out clear to here. I like to grab either the belt
or the far side of the pants and the knee on this side. Get the grips I like to go in, shrug out, and I go to that butterfly hook. My right leg’s still covering
until I’m ready to go and when I’m ready to go I plant. I’m gonna elevate, step on this calf, and then I’ll push his hips down, as my left foot becomes the hook. I’ll go to my seatbelt,
and go to the back. You can sweep from there too. If you’re blocking, he goes over the top. I’m going to my grips. Move your hips out to get
that butterfly hook, plant. You can just scissor
right here too, right? And scissor on top, since
he’s already crossed up. I already stepped on that
calf and pushed the hip down. Lock, let me go to my seatbelt here, stretch and just like that. If we’re here, he takes
a big swing over the top. Go to my grips, move your
hips, get that butterfly hook. Uncover the plant, elevate. You guys got it? – Yes. – That’s cool, one, two, three. (clapping) So we’re here, here I see
you guys moving your hips out to get the butterfly hook,
but then you’re staying on your side here and
you’re trying to elevate him with just this, right. I move my hips back under
and then I plant this foot. When I plant it, I kind of
drive his weight this way which makes his hips really light, right? From here I can start to go. You can catch this stuff too. Right, that figure four on the legs, and start to come up like we talked about last week a little bit. Right? That’ll be there too. So over here, move the hips
out to get the butterfly hook and move him back under. My right leg’s covering, then I plant it, and that’s where I get
a lot of my drive from. You guys wanna add that figure four, it’s gonna be there too, right? Let’s try that one. One, two, three. (clapping) – Uh oh, now I’m in trouble. This is heavy. Can you do it? – Okay stop right here. Do it again, do it again. – I say you two– – Ready, let’s see. – If you go for that– – I know, I felt as soon as I
put my arm out a little bit. – All right, let’s go, you pass again. – Oh no, oh no! I gotta get control. – Six, six seconds. Plenty of time! (dramatic music) – All right, I’m gonna do it again. – Oh! – I told you, it’s finally doing better. – You got it, let’s go! – Hey! – Good job! – Slip my arm out. (rock music)

15 thoughts on “Coachella | Episode 8 | Over Under | ROYDEAN.TV

  1. Amazing techniques. I love how its set up and the execution. Great video and I look forward to the next one. Oss

  2. Just saw your interview on the Ortega channel about your open letter to Joe Rogan. I'll preface my comments with one over riding premise – Everyone in every martial art is looking for different things in learning their chosen discipline. We all have some commonality but their are differences. And that's OK.

    Just a little of my background – I've studied aikido some 26 years now from my sensei who has some 44 years in it and received his training from Muryasz Sensei who received his credentials directly for Koichi Tohei.

    So just a couple of thoughts on what you have laid out:
    – I agree with you that a lot of Aikido dojos would benefit from some more practical approaches to training in terms of BJJ and Jiu Jitsu in the beginning and probably for most students where they end up in the art (both the amount/length of training spent as well as the focus of the dojo). There is way too much focus on wrote technique and as a result most of those students that just focus Jo kihon waza are going to feel way out of there element in a real world situation or in some sort of competition. BJJ and Jiu Jitsu training definitely have an advantage in this. I also feel this focus on technique in aikido dojos is losing the art of O'Sensei which has been ably demonstrated by some of his students like Tohei, Saito, Yamaguchi and Saetome Sensei to name a few.
    – However, oya waza practice does exist and should be practiced in aikido training. This unfortunately doesn't happen in 90% of the Aikido dojos out there other than touching briefly on it in rondori. My belief is that complete free practice both attack and technique is essential and much more difficult to learn for several reasons. The first and obvious one is that nage (or even just two combatants – naturally shifting roles throughout the encounter) has a very steep mountain to climb to be able to ingrain techniques to a point that he or she can use technique (more specifically, the principals) naturally or as you put it – reflexively – is very difficult to say the least. Perhaps that's just because it isn't done enough, but imho it is just significantly more difficult. When you look back throughout aikido's history it is very hard to find teachers who could/can truly demonstrate it. This is O'Sensei's true art.
    – Consequently, that is why we see so many videos out there of aikido vs MMA, BJJ, what have you where aikido comes out looking the way it does. This is very unfortunate because while it highlights the problem, in your words, the Aikido practitioner be taken out of his world and not being able to circle back, it is not O'Sensei's aikido. For most dojos (and I blame the doshu for this) they just do not practice this way because it's too hard. The doshu often asked his father not to demonstrate his art in his way because his son felt it was to hard and or didn't look real.
    – I understand your interpretation of O'Sensei philosophy of his art – to bring about a peaceful resolution of a conflict without hurting the attacker. The gentle art. And while I believe that was certainly part O'Sensei's philosophy, it misses the main core of O'Sensei's art which is very martial, taking its roots from daito Ryu aiki jiu Jitsu. This core principle is the primary reason for no competition – not because O'Sensei felt that competition was inappropriate and not in line with his philosophy. It is the budo of of the art – to have absolutely no attachment to anything, winning, losing, life and death. His Way was very Martial in that he felt by emphasizing Zen – no attachment to anything – was the Way to achieve mushin, to be able to apply true, appropriate, spontaneous technique or more specifically true principals in a conflict. Without true mushin "when the sword is swinging for your head the mind and consequently the body freezes" – your attachment to life stops you from doing what you need to do.
    – This is very much in line with the Book of Five Rings – by not being attached, the mind body is able to move appropriate to the situation. It can certainly be debated whether competition can foster this, but I believe it makes it much more difficult to get there.
    – Consequently, my practice and my sons practice (who earned a green belt at 14 in BJJ) is mostly oya waza – free attack and free technique. In the beginning stages certainly, an aikido student should learn basic techniques, as it is the alphabet of Aikido. But it is not writing, and it's certainly not a complete "novel" where the art is truly expressed. The shodan to O'Sensei was not an accomplishment, it was the beginning of training. Eventually, all of the techniques are "thrown away" and you're using true "technique", more specifically, true principals in the art – a lofty goal to say the least. It sounds intellectual and difficult – and it is, but it IS very practical.

    This is why I believe aikido is currently viewed the way it is. In a sense we agree that training should be more practical like BJJ and Jiu Jitsu – but the way most current dojos train, they are woefully behind the mark. BTW I totally agree that cross training in other disciplines is extremely useful – nothing is wasted and we should all have open minds. Kind regards, Chris

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