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Injuries in Brazilian Jujitsu Prompt Introspection in Growing Martial Art

Injuries in Brazilian Jujitsu Prompt Introspection in Growing Martial Art
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Brazilian jujitsu, a self-defense form popularized by its use in mixed martial arts, is seeing new conflicts with less oversight than some other combat sports.

When Erik Milosevich attended his first Brazilian jujitsu class, he hoped it would spark a mutual interest to share with his teenage daughter. Instead, he left the gym with a limp, after injuring his left knee while sparring with an instructor, and a distaste for one of the fastest-growing martial arts for self-defense and competition.

Brazilian jujitsu offers an enticing proposition: that a smaller, weaker person can defeat a larger, stronger opponent in a fight. Jujitsu is nicknamed the “gentle art,” based on a loose translation of the Japanese phrase, and trades the punches and kicks of striking sports for grappling techniques, including chokes and joint manipulation, to help fighters subdue and submit opponents.

The sport’s popularity has surged in recent years, spurred by its effectiveness in professional mixed martial arts and frequent promotion by the likes of Joe Rogan, the podcaster and Ultimate Fighting Championship analyst. Mark Zuckerberg, the Meta chief executive, started Brazilian jujitsu as a hobby during the coronavirus pandemic and recently competed in his first tournament. (He has also jawed back and forth with Elon Musk about a “cage match” that appears to be more bluster than reality.)

Brazilian jujitsu is often billed by those who practice it as accessible, effective for self-defense, technically challenging, physically rewarding and relatively safe compared with other combat sports. Some say it is closer to playing chess than to fighting.

But that marketing often does not match the realities on the mats. Trust in Brazilian jujitsu is everything because mere ounces of extra pressure applied during a submission can lead to a torn tendon or a broken bone. Yet student safety is left to the discretion of instructors and training partners. That has prompted debate throughout the sport about oversight and whether some dojos and gyms are hurting the reputation of the martial art.

Milosevich, a retired police officer who once trained his colleagues in defensive tactics, said that when he was sparring at his class, the instructor placed him in a heel hook, a technique in which the foot is trapped and the knee is twisted. Many schools teach the move only to advanced students and it is banned in many levels of competition because of the injury risk. If fully applied, heel hooks can tear most of the major ligaments in the knee.

Erik Milosevich injured his left knee while attending his first Brazilian jujitsu class.Laura Thompson for The New York Times

Milosevich said he heard his knee pop when the instructor applied the heel hook and immediately felt “stabbing pain.” He spent the next three months limping and unable to run while working as a community relations officer with the police department in Santa Monica, Calif., though he did not go to a doctor to be evaluated. It was another three months before the knee fully healed, he said.

“It definitely hindered my mobility,” he said of the injury.

He believes the danger comes from some gyms encouraging a culture where new students are seen as “fresh meat” during intense training sessions. “You go in there and you’re going to get tested and they’re going to hurt you,” Milosevich said.

His complaints echo those of others who have been part of the sport, from students and from gym owners. Some of the debate has played out within popular online forums for Brazilian jujitsu. And some injuries have led to lawsuits.

A San Diego jury in May 2023 awarded Jack Greener nearly $46.5 million in damages for a catastrophic neck injury he sustained in a Brazilian jujitsu gym in 2018, a case that became a flashpoint for followers of the martial art.

According to court documents, Greener suffered quadriplegia when his neck was broken during a sparring session with his instructor, Francisco Iturralde, at the Del Mar Jiu-Jitsu Club. Video of the incident posted to social media shows Iturralde attempted a modified version of an advanced technique known as a Leo Vieira back take, in which a fighter rolls the opponent forward and ends up in position for a rear choke. The jury said Iturralde had “unreasonably” increased the inherent risks of sparring in Brazilian jujitsu. The defense has since appealed the judgment.

Lawyers representing the dojo and its owner, Michael Phelps (unrelated to the highly decorated Olympic swimmer), declined to comment. Iturralde also declined to comment, citing the ongoing litigation. Lawyers for Greener did not respond to attempts for comment.

Greener cataloged his harrowing recovery, which included a series of strokes, emergency surgery and an arduous rehabilitation process, in a blog. He has since regained his ability to walk, going so far as to summit Mount Whitney. “By every medical account, I should not exist, let alone be breathing or walking,” he wrote.

Lawsuits like Greener’s appear to be rare in U.S. courts. Far more common, however, are the injuries sustained to joints and other extremities, like what happened with Milosevich.

“There’s this belief that jujitsu is the safer of the combat sports and that you can go all out with relatively little risk of injury,” said Alex Channon, a principal lecturer at the University of Brighton who studies martial arts.

And the Greener case has led some in the sport to question how to implement higher standards of care as the popularity of Brazilian jujitsu rises.

“Never, in American history, have we seen such a fanatical on-boarding of participants in a martial art as we are now seeing with Brazilian jujitsu,” said Rener Gracie, a member of the Gracie family of martial artists largely credited with developing and popularizing Brazilian jujitsu in the United States. His uncle Royce Gracie was the surprise star of the first U.F.C. event in 1993, where he swiftly won three bouts on the same night using Brazilian jujitsu techniques.

Gracie University is owned by Rener Gracie, who gave paid expert testimony during a civil case in which a man was awarded more than $46 million by a jury. Courtesy of Racquel Kussman (Gracie University)

Rener Gracie owns Gracie University, a 2,000-student gym located in Torrance, Calif., and provided expert testimony on behalf of Greener in Greener’s case. Gracie was paid over $100,000 for his testimony, he said in a social media post, a sum that led to pushback within the sport, which prompted him to pledge a $100,000 donation to a nonprofit supporting people hurt by spinal cord injuries.

Gracie said in an interview that the proliferation of Brazilian jujitsu schools in recent years has caused a substantial variation in the way the martial art is taught and how safety is practiced. Many newcomers, who may have heard about the benefits of the martial art from a podcast or from watching U.F.C. bouts, don’t understand that some gyms operate under much harsher training conditions than others, he said.

That’s created a situation where students are effectively playing “Russian roulette” when they enter a gym, Gracie said.

Beginner students attending Gracie University are required to attend 23 group classes, where they learn a variety of fundamental techniques, Gracie said. Only after that can they test into more advanced classes and spar. When asked about the need for safety standards in Brazilian jujitsu, Gracie replied: “My response is look at my organization. I’ve taken great steps to create a standard.”

Unlike soccer, swimming and other sports, Brazilian jujitsu is not subject to rigorous standards often used by federations that have international competitions and sprawling pipelines that feed into the elite levels of each sport.

“Martial arts is the sport that’s really slipped through the net,” said Ali Bayley, the owner of Gracie Barra Hastings, a 300-student Brazilian jujitsu gym in the United Kingdom (Gracie Barra Hastings is separate from and unrelated to Rener Gracie’s gym).

Bayley said she has implemented numerous safeguarding practices learned from a career spent in secondary education. She said her coaches go through background checks and training for safety and first aid, while beginners are not taught submissions and are limited to ground work for sparring, so they don’t get hurt from trips or throws.

One martial art with comparatively strong governance is judo, which focuses more on throws and takedowns but like Brazilian jujitsu traces its lineage back to Japanese forms of jujitsu. Judo is an Olympic sport, and thus has national and international standards, including safety protocols issued in the United States by U.S.A. Judo. The sport does have its own safety issues, however: a 2009 study documented 118 deaths of children participating in school-affiliated judo clubs in Japan since 1983. The study and inquiries by the Japanese Olympic Committee and education ministry led to some reforms for judo in the country.

Many in the Brazilian jujitsu community have rebuffed suggestions that the martial art become an Olympic sport precisely because of a resistance to more regulation. And parts of the sport would rather focus on building it up the way promotional companies like the U.F.C. have for elite-level mixed martial arts.

Ryron Gracie and Rener Gracie, the co-owners of Gracie University.Courtesy of Racquel Kussman (Gracie University)

The International Brazilian Jiu-Jitsu Federation, one of the sport’s major competitive bodies, sets regulations for competition but does not assert procedures and coaching standards for gyms to use during training. Some in the sport said the federation’s rules, which allow some risky maneuvers to be used in top competitions, trickle down to influence how students at lower levels are taught.

Tom DeBlass, a former Brazilian jujitsu champion who also competed in the U.F.C. and Bellator, said he doesn’t think a unified standard is feasible given how gyms operate now. “A lot of people will not like not being their own boss,” he said.

DeBlass, who runs Ocean County Brazilian Jiu-Jitsu in Forked River, N.J., said he believes standards will continue to be set by gyms and coaches themselves, which leaves it up to students like Milosevich to ultimately decide which gyms stay in business.

“When your 45-year-old doctor walks through the door, are they comfortable? Do they feel safe?” DeBlass said, adding: “If they don’t, you’re doing it wrong.”

For his part, Milosevich acknowledges the inherent dangers of participating in Brazilian jujitsu and other martial arts. Yet he sees the risks and prevalence of injuries as evidence the sport needs to take safety standards more seriously.

“There is definitely a way to limit the possibilities and the high risk that you’re going to get injured when you’re brand new and guys are just literally trying to smash you and use you as practice,” Milosevich said. “There could definitely be a higher standard.”

CA Legislative Session Recap | Gorman Museum of Native American Art | Stockton Symphony’s New Chapter

CA Legislative Session Recap | Gorman Museum of Native American Art | Stockton Symphony’s New Chapter


Andrew Nixon / CapRadio

The Calif. state assembly chamber is in session Thursday, Sept. 7, 2023.

Andrew Nixon / CapRadio

As the California legislative session ends, which bills have a pathway to be signed into law? The Gorman Museum of Native American Art major expansion. Stockton Symphony kicks off the upcoming season with new leadership.

California Legislative Session Recap

Roughly 2,600 bills were introduced at the State Capitol this year. Over the months, they have filtered their way through amendments and committees, in pursuit of being passed and heading to the governor’s desk to be signed into law. The finish line has come and passed. CapRadio Politics Reporter Nicole Nixon joins us with a recap of the legislative session, which ended on Thursday, sharing some of the most notable bills passed by the legislature and their likelihood of being signed by Gov. Newsom. 


Gorman Museum of Native American Art

UC Davis’ Gorman Museum of Native American Art is expanding, big time. This week, the museum opens in its new location on campus, with new exhibits and features. The new gallery is four times the size of the former site and is still one of only a small handful of museums focused on contemporary Native American art. Museum director and professor in the Department of Native American Studies, Hulleah Tsinhnahjinnie, and curator Veronica Passalacqua for a virtual tour of the new and improved museum and we’ll learn more about some of the artwork inside and outside the new venue.


Stockton Symphony’s New Chapter 

The Stockton Symphony is entering its 97th season, the third-oldest continuously operating professional orchestra in California. And the 2023-2024 season is starting a new chapter. Earlier this year, the symphony’s CEO Philip West unexpectedly passed away. In the months since, West’s contribution was honored in performances. And this season begins with new leadership. Music Director and Conductor Peter Jaffe joins Insight to introduce the new CEO Scott Watkins, as well as provide a preview of their season opener which kicks off Saturday Sept. 23. 

Photographer starts not-for-profit organization to share stories of people with Down syndrome

Photographer starts not-for-profit organization to share stories of people with Down syndrome

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A Revolution In Contemporary Native American Art Explored At The Hessel Museum Of Art At Bard College

A Revolution In Contemporary Native American Art Explored At The Hessel Museum Of Art At Bard College

1969.

At the peak of America’s anti-war and Black Power movements, another resistance was taking place. Author, scholar and activist Vine Deloria, Jr. (Standing Rock Sioux) initiated the term “Red Power” that year with the publication of his book, “Custer Died for Your Sins: An Indian Manifesto.”

That same year, more visible, filling newspapers and TV news reports around the nation, a San Francisco Bay area Native activist organization known as “Indians of All Tribes” occupied Alcatraz Island. A group of nearly 100, citing federal treaty law, claimed “The Rock” and began living there.

Among the occupiers were Lakota. The Fort Laramie Treaty of 1868–signed and long ignored by the U.S. government–stipulated the so-called Sioux tribes–Lakota, Dakota and Nakota–could appropriate surplus federal land. Surplus federal land like Alcatraz Island after the government closed the notorious prison there in 1963 and vacated the property.

The occupation gradually fizzled. After 19 months, the last of the activists were removed. The action had a significant impact across Indian Country and came to be seen as the beginning of an era of Native self-determination, an era which continues.

Another Native American revolution was occurring at this time. It was taking place at the Institute of American Indian Arts in Santa Fe, NM. There, a radical new vision for contemporary Native art and artistic expression was being established. It was taking place across the visual arts. It was taking place in jewelry and fashion design. And it was taking place in theater.

This context serves as the backdrop for a first of its kind, large-scale exhibition centering performance and theater as an origin point for the development of contemporary art by Native American, First Nations, Métis, Inuit, and Alaska Native artists. “Indian Theater: Native Performance, Art, and Self-Determination since 1969,” on view at the Hessel Museum of Art at Bard College in Annandale-on-Hudson, NY through November 26, 2023, begins by examining the role Native artists have played in the self-determination era.

“They were also artists,” Candice Hopkins (Carcross/Tagish First Nation), Forge Project’s Executive Director and CCS Bard’s Fellow in Indigenous Art History and Curatorial Studies, told Forbes.com of the Native activists who occupied Alcatraz and sparked the self-determination era. “One of the things this exhibition is trying to do is show what was taking place more broadly in Indian Country in ‘69 that led to these various kinds of self-determined movements.”

While researching the exhibition she curated, Hopkins gathered an oral history from contemporary Native American artist G. Peter Jemison (Seneca) who was living in Berkeley, CA amongst the activist Native community at the time. He recalled that many of the college students who initially took back Alcatraz were also participating in radical street theater on campus in Berkeley.

“Theater had a role in the occupation of Alcatraz and that’s something that hasn’t been historicized,” Hopkins said.

New Native Theater

Back at IAIA, 1969 saw the publication of “Indian Theatre: An Artistic Experiment in Process.” The 60-plus page document detailed what it termed “New Native Theater,” the countering of a Western, Eurocentric, colonial theater lineage dating back to Greek tragedies. In its place would be theater rooted in the ceremonial practices and performances taking place for time immemorial across North America: songs, dances, drum circles, masks, regalia.

“Native dance, performance, songs are all integral to Native culture, they can’t be separated out,” Hopkins said. “What (IAIA’s founders) were making as an argument (in the ‘Indian Theater’ document) is that you can’t just have a visual arts department (at IAIA) because for Native people, there aren’t material or medium specificities, everything’s connected. A mask will have specific songs and dances associated with them, and they knew that when they were developing this idea of New Native Theater.”

Theater rooted in cultural heritage, but not simply a continuation.

Foundational to understanding IAIA, its students, instructors, significance and influence, is understanding what a complete departure it offered from any other previous type of formal Native American arts education. Established as a high school in 1962 under the leadership of Lloyd Kiva New (Cherokee), it would evolve into the only fine arts college in the world dedicated to the study of contemporary Native American and Alaskan Native arts.

Students were encouraged to draw from their cultural backgrounds, but not be burdened by them. This was radical.

“At its very inception, the Institute for American Indian Arts was dedicated to not only new forms, but experimental forms,” Hopkins explained. “It demonstrated that the faculty at the time were really interested in contemporary art broadly and creating these radical ruptures with what people considered to be ‘Indian practices.’”

IAIA’s early instructors, who included some of the legends of Native American art–New, Fritz Scholder (Luiseño), Charles Loloma (Hopi) and Allan Houser (Chiricahua Apache) among them–steered students away from what came before.

Groundbreaking. Experimental. Radical.

These were the guiding principles at IAIA whether in painting or theater. An ethos continuing to this day which has made it the dominant through-line in contemporary Native American art for 50-plus years.

T.C. Cannon (Kiowa/Caddo). Earl Biss (Absáalooke). Dan Namingha (Hopi-Tewa). David Bradley (Chippewa). Patricia Michaels (Taos Pueblo). Cara Romero (Chemehuevi). Cannupa Hanska Luger (Mandan/Hidatsa/Arikara). Rose Simpson (Santa Clara Pueblo). All IAIA grads. All essentials to contemporary Native American art. Every one of them and hundreds more have pushed the genre in exciting new directions, defining it as they go, making it now impossible to separate contemporary Native American art from the broader global contemporary art market.

That’s a recent development, and proof of it is Jeffrey Gibson’s (Mississippi Band of Choctaw and Cherokee) selection to represent the United States in the 2024 Venice Biennale, the Olympics of contemporary art. The United States has never so honored a Native American artist in the event’s 130-year history.

Gibson was commissioned for the “Indian Theater” exhibition to create a new work and developed a four-act theater piece titled Don’t Make Me Over featuring Arielle Twist, a trans, two-spirit, Cree woman. A recording of the performance can be seen in the entryway to the exhibition.

“Indian Theater”

Featuring over 100 works by artists representing a range of perspectives and practices, “Indian Theater” presents a survey of video, performance, sculpture, painting, drawing, and beadwork at once paying homage to the legacy of innovative Native aesthetic traditions, and a continuing tradition of experimentation. Contemporary Native American art heavyweights including Luger, Dyani White Hawk (Sicangu Lakota), Kay WalkingStick (Citizen of the Cherokee Nation of Oklahoma and Anglo), Raven Halfmoon (Caddo), Kent Monkman (Cree member of Fisher River Cree Nation in Treaty 5 Territory (Manitoba)) and Marie Watt (Seneca and German-Scot) have work on view.

In addition to artworks, on display are important archival materials documenting the emergence of the New Native Theater movement in Santa Fe in 1969 as well as materials directly related to the early self-determination era.

Contemporary Native American art

Further proof of contemporary Native American art’s mainstreaming is found 100 miles south of the Hessel Museum of Art where this fall in Manhattan–the busiest, most high-profile season for art in the global epicenter for contemporary art–top galleries feature more prominent presentations of living Indigenous artists than ever before.

Sundaram Tagore Gallery presents an exhibition of paintings, sculpture, photography and an installation by more than twenty contemporary Indigenous artists from diverse tribal affiliations spanning the United States and Canada through October 7. Included are pillars of the genre such as Christi Belcourt (Métis), Hock E Aye Vi Edgar Heap of Birds (Cheyenne and Arapaho Nation), Namingha, Virgil Ortiz (Cochiti Pueblo), Preston Singletary (Tlingit), Duane Slick (Meskwaki), and Will Wilson (Diné).

Beginning September 19, Fort Gansevoort presents “Looking Out, Looking In,” the first New York solo exhibition by contemporary Inuk artist Shuvinai Ashoona. Born in 1961, she is the youngest generation of a dynasty of celebrated female artists–her grandmother Pitseolak Ashoona, her mother Sorosilutu Ashoona, and her cousin, the late Annie Pootoogook–from whom she learned her craft.

Ashoona works primarily in pen, ink, sometimes on a massive scale with drawings stretching to 8-feet-wide. Much of her art references Inuk mythology and popular culture, which she merges with imagery sourced from her surroundings and her imagination to produce otherworldly compositions that have magnetized international attention.

James Fuentes gallery nods to an episode of “Reservation Dogs,” a TV series about the lives of Native American teenagers in rural Oklahoma, for its “Young Elder” show on view through October 14.

When two self-righteous influencers are invited to a community center for a Native American Reclamation and Decolonization Symposium, one of the speakers refers to himself as a “young elder”—an oxymoron that inspires a communal eye roll from the audience. The gallery’s exhibition of four emerging and mid-career Indigenous artists borrows the scene’s satire inviting the question: what does it mean to express the wisdom of millennia through a contemporary practice?

At Arsenal Contemporary Art, Montreal-based Anishinaabe artist Caroline Monnet receives her first solo exhibition in the U.S through October 21. “Worksite” centers around Monnet’s ongoing exploration of modern home construction materials.

Through family house renovation projects experienced in childhood, Monnet developed a fascination for the transformative process of construction. This familiarity bred an affinity for building materials that only grew over time—the unfinished walls, fiberglass insulation, tar paper, and even the presence of spiders.

Monnet also designed the cover of the recently published book, “An Indigenous Present,” conceived, edited by and with an introduction from her mentor, Jeffrey Gibson. The book showcases more than 60 contemporary artists, photographers, musicians, writers and other creatives taking diverse approaches to Indigenous concepts, forms and mediums.

Institutionally, the New-York Historical Society presents “Kay WalkingStick/Hudson River School,” an exhibition featuring landscape paintings by the renowned, contemporary artist in conversation with classic works from New-York Historical’s collection of 19th-century Hudson River School paintings on view October 20, 2023–April 14, 2024.

“This exhibition features a Native artist, it is Native curated, and it’s in New York’s very first museum dedicated to American history,” Wendy Nālani E. Ikemoto (Native Hawaiian), senior curator of American art at New-York Historical Society, told Forbes.com. “I think that makes a statement. It’s a positive statement about the way that American art history is moving.”

Jamiat Ulama-i-Hind passes resolution against income from dancing, photography

Jamiat Ulama-i-Hind passes resolution against income from dancing, photography

The Jamiat Ulama-i-Hind (JUH), an organisation of Indian Islamic scholars, recently passed a resolution declaring income from dancing and “unnecessary photography” as illegal.

The decision was made during the 18th Jurisprudential Ijtema held in West Benga’s Uttar Dinajpur, where about 200 Islamic scholars from across the country convened to discuss contemporary issues.

The resolution specifically targeted content creation on social media platforms like TikTok, where dancing and photography are often used to gain fame and income.

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The resolution highlighted that activities forbidden by Sharia, such as wailing, dancing, and taking unnecessary pictures, are not acceptable means of livelihood, and the income derived from them is considered illegal.

The meeting also discussed issues related to unlawful wealth, particularly modern business practices and the classification of illegitimate professions.

The scholars also deliberated on issues related to collective sacrifice, emphasising its importance in Islam.

Maulana Mahmood Asad Madani, president of JUH, stated in his opening sermon that Islamic jurisprudence is adaptable to every age and is not based on personal opinions but on the Quran, Sunnah, and collective decisions. He emphasised the need for Indian scholars to take a leadership role on the global stage.

Edited By:

Aditi Sharma

Published On:

Sep 18, 2023

Montgomery Museum of Fine Arts to host fall arts festival

Montgomery Museum of Fine Arts to host fall arts festival

MONTGOMERY, Ala. (WSFA) – The Montgomery Museum of Fine Arts is hosting a fall arts festival on Saturday and Sunday.

Set against the backdrop of the Museum’s Caddell Sculpture Garden and the Lowder Gallery, the festival will bring local artists, makers, musicians, brewers, and community members together.

On Saturday, Sept. 23, the festival will be open from 10 a.m. to 5 p.m. On Sunday, Sept. 24, it will be open from 10 a.m. to 3 p.m. Both days are free to attend.

The fall festival expands on the Museum’s long-running and beloved Artist Market by adding art-making opportunities, artist-led demonstrations, community partner tables, and gallery talks.

“Fall Festival beckons all Montgomerians to enjoy and celebrate the joys of creativity, in many delightful ways! Treat your senses to the beauty of the MMFA and its Sculpture Garden, the creativity of artists of all backgrounds working in various media (whether paintings, ceramics, jewelry, textiles or food and beverage fare) and your own creative expression. If the weather grows too hot, you will be able to refresh and revive in the coolness of the Museum among treasures from the MMFA’s collection,” said MMFA Board President Laurie Jean Weil, D.V.M.

The two-day festival also extends the Market’s offerings beyond shopping to include live music, beer and wine tastings, and tasty fare from local food trucks.

For more information about the festival, click here.

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A Case for Being a Jack of All Trades Photographer

A Case for Being a Jack of All Trades Photographer

The traditional advice for photographers is to pick a niche and focus in on it, as this will allow you to distinguish yourself and rise above the many other competing photographers. And while that is excellent advice, there is merit to pursuing a multitude of genres as a photographer. This great video essay makes a case for being a jack of all trades photographer. 

Coming to you from Roman Fox, this excellent video essay discusses the merits of being a jack of all trades photographer. The idea of specializing is that it is already tricky enough to distinguish yourself as a photographer, so by specializing, you have a better chance of reaching a level of proficiency and uniqueness in your work that will make you stand out above the crowd. And without a doubt, that is a sound strategy that has worked for many people. However, there are some photographers who thrive by doing a bit of everything. Some of us simply need to change gears a lot to feel fulfilled, and the things you learn from one genre can often inform your work in others and make a better overall creative. Check out the video above for the full rundown from Fox.