“SAW standing techniques are the technique of handling those strikes and controlling them with grappling.”
At a time when mixed martial arts had not yet been properly established, the SAW founder Shihan Hidetaka Aso created Submission Arts Wrestling with the desire to establish a grappling style that could be used in real fights.
From the early days of SAW, we studied and practiced how to deal with strikes using grappling.
In real fights, there will always be strikes before the grappling.
SAW standing techniques are the technique of handling those strikes and controlling them with grappling.
In street situations, people are emotional so it is easy to lose balance and take them down.
Furthermore, throws and takedowns are very powerful and can take away an opponent’s fighting ability with a single throw.
However, even if you are good at grappling, if you cannot deal with the strike that comes before it, that grappling is meaningless.
Grapplers who are not used to striking close their eyes or look to the side or down and receive strikes.
In a real fight, small tricks do not work.
This requires subtle control of the mind, emotions, and technique, so you must follow a process of learning precise techniques and applying what you have learned through practical training.
And if you master this technique, you will be able to take down and subjugate your opponent with minimal damage without inflicting fatal injuries with strikes.
Grappling is used by police, security, or use against people who you don’t want to damage too much to make them submit.
From the perspective of martial arts education, it is problematic if a strike causes significant damage.
Subduing your opponent without injuring them and protecting yourself and them is an essential technique for an educational martial artist.
It is difficult to just defend against all the strikes of an angry opponent without striking them back.
There are lucky punches happen very often.
Rather than that, you can subdue your opponent by taking them down as soon as the strikes come.
