FMA Informative Newspaper Vol3 No. 2

Transcription

Vol 3 No 2 - 2014
Newspaper
Propagating the Filipino Martial Arts and the Culture of the Philippines
Push Your Teacher! Make Sure They Are Worth Your Time
By Paul Ingram
When looking for a martial arts school
to join or even re-assessing if the current
school you belong to suites your needs and
wants it’s important to evaluate two (2) primary aspects. The teacher and his or her
relationship with his or her students. As a
student there are three (3) non-replaceable
things you give when you commit yourself
to a style, system, school or instructor. Those
three non-replaceable things are your attention, time and trust. Of course you should already have sorted out what your main purpose for training in a particular martial art is.
If your purpose is only recreation with little
care of progress then these paragraphs may
not be suited for you but, on the other hand,
if you’re looking for training that will change,
challenge and enhance your life, health
and self-preservation then what I’m going
to be saying will need serious reflection.
there craft and lead as a true professional.
A teacher should not only be able to
explain to his or her students how to train on
their own but, also demonstrate these solo
training methods precisely and perfectly at
all speeds and levels of progression. A high
class teacher has a formula or ritual to their
own solo training and never lacks in there
movement. Each movement is precisely executed with authority and professionalism.
In class, you should always see the
teacher actively participating in the forms,
drills and sparring, making his or her rounds
with each student and displaying the proper
level of training, teaching and coaching with
each individual. A true teacher works with his
student to achieve their student’s success.
This means a teacher is willing to put themselves in controlled risk and vulnerable positions to pull out the best performance in their
student. You should clearly be able to see
that during this process the teacher has the
complete control of the drill or sparring and
at the same time lets the student venture into
the game. The teacher should be displaying
mastery of both range and timing putting
themselves in vulnerable positions trying to
encourage their student to identify and capitalize on these opportunities while maintaining the safety of themselves and student.
Can a White Guy
Teach the
Filipino Martial Arts?
By Mustafa Gatdula
Article
Window of
Opportunity...
By David E. Gould
Article
Training at a
Gym or Dojo
By Angelo Garcia
Article
About ...
Future Events
Past Events
Health & Safety
Tid-Bits
G. Paul training
on the beach in north Chicago
The first evaluation is about your teacher’s ambition to the perfection of his or her
own craft. Is this individual self-driven, motivated and inspired by the system itself to
continue there own education by any means.
The teacher should be active in his or
her classes. They should be teaching, training and validating the material in each class.
A proper teacher will never give an excuse
as to why they cannot train, they will not shy
away from their students or outside observers watching them train with there students
or with their own teachers and seniors. You
can clearly see there motivation to perfect
Paul and Luigi working forms together
After observing carefully the teacher’s
behavior of both authority and professionalism it’s time to glance over and evaluate
the students. The students will display the
teacher’s personality, ability and leadership
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2 FMA Informative Vol3 No2 2014
towards training. Watch how
the students and teacher interact with each other as well
as how the students interact
with other students. Also, pay
attention to how the teacher
and students when not with
a partner are acting. Are they
observing others, off on there
own taking notes and working
on a skill or are they just sitting
around with no intent to better themselves in some way.
With a professional
instructor no student gets
left behind, even the ones
who may have a harder time
grasping the information or
applying the lessons physically. There will be a display
of patients in the teacher
even when the student is frustrated. A high class teacher
understands this frustration,
they’ve experienced it before, therefore should know
exactly how to guide that student out of their current rut.
A good teacher knows how
to slow themselves down and
think of the right way to explain and display lessons to
each of his students properly
so they can all understand
the information presented.
Especially when the teacher
gets frustrated. If the student
does not eventually grasp
the material it is the teacher’s
failure and not the student’s.
The teacher doesn’t ignore any individual. A proper teacher always accepts
his student’s questions and
needs to train, drill and spar
with them. Be sure you never
witness a teacher giving a student any excuse not to get
in the rounds and physically
train and move with them.
Vol3 No2 2014 FMA Informative 3
Paul training with his instructor Tim Waid
A proper and professional
teacher has no excuses when
it comes to his or her students
or there own training, ever!
The teacher’s skills are
displayed in his or her students. Over a period of time
you should identify each individual student’s progress
in training as well as seeing
growth in the teacher’s physical skills and ability to present
the material. You should see
the higher level students taking on the same self-demands
the teacher has for himself.
Watch how the students interact with each other, train
with each other with no illcompetition, helping and
teaching each other to progress and grow. You should see
the students supporting and
encouraging each other’s success. Witness a room of no excuses and a pure drive to succeed in lessons and over all
skill for themselves and their
classmates. Basically, you will
see the exact same behavior
in student to student as you
will see in teacher to student.
Lastly, a teacher should
never hide the ability of his
advance students from others observing the classes or
advance student to instructor flow rounds. You should
witness the advance students
really pushing out there best,
especially when they are flowing and sparring with the
teacher. You should never
see a demonstration type of
agreed play between them in
flow rounds. You should be
witnessing the advance student actually attacking and
doing there best to strike the
teacher. Sometimes the student even gets a good shot
in and when this happens
you should see the teacher’s
eyes and face expression
light up with complete joy for
their student’s success. You
should witness the advance
students pushing the instructors physical craftsmanship.
If you are to walk into the
middle of a class during a flow
or sparring session, it should
be some what difficult to spot
the instructor. You should see
everyone participating in the
training, exchanging ideas
and validations. You should be
witnessing a sense of community between each individual.
Teachers who lecture
without proper display, sit
down during classes, don’t
work hard and sweat at each
class and seem to have excuses not to move around, train,
workout and lead by extreme
example in my mind are not
true and professional, high
class instructors. It is not a
piece of paper, ability to talk or
how they make themselves appear that defines one’s ability
to perform, it is there attitude,
character and drive to physical and intellectual mastery.
I leave you with this,
question everything and always push those above you.
Make any teacher have to earn
your respect by proving their
authority,
professionalism
and of course physical skill.
RFA-Windy City PTK Advance students
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Can a White Guy Teach the Filipino Martial Arts?
By Mustafa Gatdula
As mentioned before in past articles, some martial artists are
some of the biggest assholes.
Many of us got involved
in the arts because we lack
self-esteem or confidence
that we can defend ourselves,
and the martial arts allow us
to feel like we’ve got back up.
But something about arming
a coward…. He usually ends
up going overboard with the
confidence thing, and is likely
to become a bully or just major league jerk-off. Why is this?
Because the martial artist was
not really changed by his training, and is still a coward–and
still insecure. But the arts at
least gave him the wisdom to
fake being tough; it gave him
the dress, the jargon, the mannerisms, and even the physique of a guy that can fight.
But although he is dressed
like a tough guy, he still has
“puss” written all over him.
Bottom line is that the
expectations of a newbie in
the art are still there, if the
training hasn’t done what
it’s supposed to do for him.
Whether we are talking about
toughness in the art, fighting
ability, or even our prejudices.
So one guy joins because he feels unsafe, and
another guy joins because
he watched “Black Belt Theater” on Saturdays in his pajamas and now he wants to
be the next Grasshopper. He
will bring with him all the silly,
childish expectations of a beginner in the art about who
he will become, what to expect, and what is authentic in
the arts. If the teacher and the
training are incomplete or not
deep enough, as a Black Belter,
he will still harbor those fantasies well into the mature stages of his martial arts career.
On the other hand, we
also have those with plain
old racism, xenocentrism,
and prejudice in the art.
I have met more than my
share of Asian teachers (not
just Filipinos, but I am thinking
of a particular Filipino teacher
as I type this article) who believe that any White teacher
of the art is inferior to Asian
teachers. They have a difficult
time referring to an American
Filipino martial artists as “Master” with all the qualifications
- like time in the art, skill, and
level of knowledge - while
accepting a 28 year-old FOB
(fresh off the boat) referring
to himself as a Master. You
see it in some of the Korean
magazines (I didn’t subscribe,
but I’ve been getting them
for nearly 10 years); Koreans of any age being referred
to as “Master/Grandmaster/
Kwangjangnim”, while all the
White guys are being titled
“Mr.” or “Teacher/Sabumnim”.
I have quite a few friends and
acquaintances that are Korean
teachers, and many of them
are very guilty of this. (Betcha didn’t know, but I grew
up with a Korean stepmom,
speak some Korean, and have
the inside scoop in this community). Some of the Filipino
teachers I know have suggested that I recruit in the Filipino community a little heavier, because my students are
mostly White and Black, with
a few others here and there.
There is an underlying belief
that more Filipino students
would legitimize my school
(to whom, I wonder?) and that
perhaps I am giving up too
much to the wrong people.
Not long ago, my school
was like that. I have always had
an “inner circle” in my school,
as my teachers had one. Matter
of fact, Gatdula’s Fighting Cobras (my old business name)
once had ONE White guy, ONE
Black guy, ONE Mexican, and
ONE Cambodian, and all the
rest of my school was Filipino.
I don’t know, maybe it was
because the older folks in my
community encouraged their
kids to do martial arts. But
my school was also the only
Filipino martial arts school in
Sacramento at the time (all
the others were in community centers or operating out
of subleased space in Karate
schools), so that could be a
reason too. When I moved to
a bigger location downtown,
I ended up with mostly Caucasian students, and I didn’t
blink for a second. Hey, as
long as these guys worked
hard and made me look good,
right? Yet there were still a few
idiots who felt like my school
was suffering something because although I was making
much more money, I had too
many “others” in the school.
And guess what? Those
American guys made really
good students. They are taller,
they are humble and learn just
as quickly - sometimes even
more humble than my Asian
students - and stronger. How
could I complain about that?
Where the average height in
my school was once around
5’6?, it is now about 6’. I have
four strongest fighters that
are African American, and I
would bet my money on them
against any fighter in Sacramento. How many teachers
can say that? One of my students is 55, and had been taken private lessons for about 3
years before I opened a group
class (in Jow Ga, my kung fu
style), and he is perhaps the
best Kung Fu student I’ve had
in the 18-year history of my
school. My most accomplished
tournament fighters (of the
adults) are a guy now living
in Fiji (Indian descent) and
one of my African American
students… both over age 30.
But cowardly is the
word of the day, and none
of the Guro I know that hold
these feelings would come
right out and say it (except the
guy I’m writing this about, and
I gave him an earful about it
too). They express it in their attitude towards non-Filipinos/
non-Asians teaching the art.
I know that I’ve had people
think that I was that way, but
my attitude towards the Filipino martial arts in the West
has nothing to do with race (if
you knew me personally, you
would know that this is true).
It was all about the approach
to teaching the practice of the
art. Sometimes, people don’t
look deep enough into the
things I say, and they believe
that I am representing their
view to the art and it will allow them to say stupid things
around me. But if a practitioner of the art studied full-time,
trained hard, tested himself
regularly, and reflected on the
philosophy of the art… and
then repeated this process
when he became a teacher, he
is a qualified teacher. But if he
learned by seminar, promoted
by seminar, and skipped over
everything else important
(testing and full-time study), I
have harsh things to say about
you, Westerner or Filipino.
Sometimes,
I
can
change my view of a person
just by listening to the things
they say, or to see what they
are doing. Not long ago, I resented guys like Hock Hockheim - students of Remy
Presas who now teach “nonFilipino” labeled martial arts
through the seminar circuit.
But recently, I came across his
website/forum and really read
what he says:
• I no longer “do” Filipino
martial arts because, as a
non-Filipino, there is a ceiling to my success
• I still teach Filipino martial
arts, but have to label it as
simply “stick/knife/empty
hand” because of the implication that I am not qualified since I am not Filipino
• I still honor my teachers
for what they gave me, but I
must carve my own niche in
this path
• Filipino martial arts, as it is
being taught, does not involve skill development and
is too random for anyone to
really learn the art
Who can argue with
that? As one who is very close
to prejudice and injustice (remember I am from Washington, DC and Pampanga; I’ve
seen more than my share of
the ugly head of racism) it
saddens me that this martial
arts community cannot allow
a guy who has paid his dues
in the Filipino martial arts to
simply be “one of us”. Something else you may not know:
Hock is my Kuya under Ernesto Presas’ Arjuken, so I know
a little more about his training than what you can find
on the internet. I remember
reading that he now calls his
art “PAC”/Pacific Archipelago
Combatives, and for a short
time (sorry can’t remember
exactly what it was) some
European stuff, and yeah, it
pissed me off. But it wasn’t
steal-FMA-from-the-Filipinosand-call-it-something-else,
it was find-a-way-to-market-to-people-who-won’trespect-me-for-my-knowledge-because-of-my-race.
And that’s a damned shame.
The solution, in my
opinion, is natural. The seminar industry simply does not
allow for students to develop,
it is a dog-and-pony show for
martial artists to sell videos and
increase attendance to more
seminars. I know what goes
on. A bunch of seminar junkies and magazine/video tape/
youtube nut-huggers gather
around to watch the Master
dazzle them with a tap-dance
of techniques and drills. They
take pictures, collect a certificate, and then add another
notch to their resumes, while
practicing what little they
were able to take away from
the seminar in their Karate
schools and garages. Most of
the complaints many people
have of the Filipino martial arts
(which caused them to come
out with a new-and-improved
version in the first place) come
from this industry, and taking
the traditional road will give
you a different experience.
And then, you have to fight.
If American guys like Hock
needed respect, they would
get it by fighting and letting
the world see their credibility; it’s an easy sell. You can’t
convince a guy in a seminar.
A common expression you’ll
hear the Sayoc/Atienza guys
say is “come to a seminar and
you’ll see”. But that won’t do it
for some of us, we have to see
it in action. And the old, sad excuse “sparring ain’t real fighting” isn’t good enough either;
if you don’t spar, you’ll have to
streetfight and I’m sure there
aren’t too many of you doing
that. But respect comes from
skill, and regardless of your
race or ethnicity, you will have
that respect if people see you
fight–whether you are a dominant fighter or not. This is one
reason why the Dog Brothers
and their members get instant respect just by being a
member. Ever heard the Filipino expression “Skill is rank”?
Sometimes, your skill
in movement is convincing
enough. But few people will
really ever witness your skill
before they meet you, and as a
teacher you need to be able to
put your stuff in print and paint
a picture that way. A bio that
reads, “Guro X fought in tournaments from 1988 – 2000?
carries a lot more weight in the
minds of potential students
than, “Guro X is certified by GM
Y, GM Z…” That stuff is for other seminar junkies. Substance
will almost always transcend
misconception, never forget
that. And if you have good
skill and they are still judging
you by your race, then I say
you wouldn’t want those guys
as students anyway. The ones
who hold the prejudices will
eventually die away, they are
really insignificant, insecure
children who never grew up.
Whether they are here or not,
they won’t affect your bottom
line, the life of your business,
or the reputation of your skill
and character.
“Secrets” of the Filipino Fighting Arts
Words from a Modern-Day Warrior
filipinofightingsecretslive.com
Window of Opportunity...
By: David E. Gould
In actual fighting the “window
of opportunity” becomes absolutely essential in allowing
one to take full advantage of
existing opportunity revealed
or manufactured while attempting to contain a crisis
situation with positive effect.
Therefore it is absolutely
necessary that the same “window of opportunity” which
you would be forced to time
in actual combat must also be
present and addressed equally
as well in one`s training environment, in an exact manner. I
am speaking of course of striking in real time both delivering
and defending against random and unexpected strikes
that are thrown with full intention, speed and power. As this
is what will be expected in actual combat which by default
demands that it be addressed
in one`s training environment
in like manner. All in order to
best recognize fleeting oppor-
tunity for what it is in its natural environment. Not what it
is perceived to be in some artificial training environment
stifled and crippled by compliance and co-operation as it
is slowed down to the point
that it becomes unrealistic.
In the past you have
heard me say that while moving
against a compliant training
partner all timing opportunities will be quite different than
opportunities which would be
found in defiance against an
angry man trying to lift your
head from your shoulders for
real in combat. Even the blindest of us should be able to see
with clarity that any timing
opportunity revealed through
striking slowly in a compliant training environment will
be different than opportunity faced in a real situation
against a full strike thrown
with power, speed and intention in real time. As the “window of opportunity” that one
“chooses” to time against from
a slower strike will be three
times as long than the actual
opportunity that one would
be “forced” to time against in a
real situation while defending
against a strike coming down
on their position at full speed
and power in real time. Thereby resulting in a much smaller
“window of opportunity” for
real than that found in a compliant training environment.
Punong Guro Sulite used to
tell us that we should not be
operating in the Widow of Opportunity, rather in the crack
in the window revealed as the
window quickly closes on you
and all fleeting opportunities
which accompany it as it closes.
Not to mention the
ramifications generated from
each of the two strikes requiring two totally different recovery measures and methods of
counter activity toward any
available target acquisition as
a direct result of the percep-
tion of different timing opportunities presented. Let`s
face reality here, when dealing with slow compliant strikes
and when given more than
adequate time to think and
counter any thing is possible,
albeit not probable. When
faced with full speed and power, perpetuated by raw aggression in real time, the “window
of opportunity” naturally becomes smaller and with it any
opportunity to counter with
positive effect in the smallest
measurable amount of time by
which to perceive a threat and
react accordingly becomes
increasingly more difficult.
Which is why it becomes
necessary to calibrate combative movement and ability in real time against the
type of strike that would only
be expected while confronting a real crisis situation gone
awry. For at this point in time
if you can not perceive, react,
engage, recover and counter
with precise effect in accordance with the smallest “window of opportunity” made
available to you in real time,
than death is sure to claim
you. As you will not be allowed
to evolve with the situation for
long working at this capacity.
Any technique worth
its mettle in combat has to
be dissolved and assimilated
into combative movement
and applied in real time and
once set in motion it must be
immediately recovered. All in
order to have access to counter activity made available to
you in your haste and vigor to
survive the situation. My advice is to realistically train everything out in training being
governed by realistic expectations while facing real consequences for ones actions for
better or worse. Than of course
Spar it out as only through
sparring or fighting will you
quickly determine what is useful and what is not in a random
combatative situation filled
with absolute uncertainty.
It is not the warrior that
makes the most strikes, but the
warrior that makes the fewest mistakes as he delivers his
deadly intent with effect which
will most likely be granted victory in combat. When I spar or
fight I don`t count how many
times that I hit my opponent,
on the contrary I count how
many times that I myself am
hit, this was something that
Punong Guro Sulite demanded of all of us who trained under his tutelage. He would say
that in the streets when we
are forced to fight it will not
be for a trophy but rather for
the right to continue living.
If I hit my opponent 10 times
and I get hit 5 times in the process I don`t consider this a victory, simply because I got hit 5
times! 5 times that my life was
placed in harms way. The best
fight that I can hope for is to
break the head of my opponent with only one strike without ever tasting the tip of his
garote in turn, at which time I
will distance myself while remaining at the ready to defend
and deliver against any reciprocal counter activity should
the situation merit it and the
fight be allowed to continue.
One calculated step at a time...
Timing is definetly one
of the most essential attributes which makes up an effective delivery system, and
if one can not time against a
threat in real time against the
smallest “window of opportunity” than that opportunity
will be lost, and subsequently
so may life and limb as a direct
result. Once learned we must
then train realistically to set
our timing holding the results
to the highest expectations as
we actualize the skill against
strikes thrown in real time
speed then in order to verify
our timing we must refine it
through sparring or fighting
against the unexpected attack
and counter attacks regarding all angles of attack as can
be possibly thrown from a 360
degree circle.
Lameco Eskrima Orehenal
Facebook: Click Here
Training at a Gym or Dojo
By Angelo Garcia
“There are three kinds of men. The ones that learn by readin’. The
few who learn by observation. The rest of them have to pee on
the electric fence for themselves.” – Will Rogers
Bruce Lee is a martial arts
figure I have long admired for
being one of the first people to
push cross-training in different
styles to the mainstream.
Certainly there may have been
other entrepreneurs among
martial artists who could
have spread the idea of cross
training to the mainstream,
yet he did it first. Because of
Bruce Lee, recent generations
of martial artists have openly
begun integrating knowledge
from different styles
as well as other
physical activities and
sports. Bruce Lee’s
principle encourages
martial artists to
build a model of
what works for them
as individual practitioners.
Unfortunately, this has
also led a number of martial
artists with a superficial
understanding of Bruce Lee’s
ideas (i.e. bumper sticker or
meme depth) to believe that
after a short amount of time
training in one particular style
they have sufficient expertise
to develop their own system
– a gross misunderstanding
of Bruce Lee’s concept. These
people I have encountered
reject training in a school
because they are concerned
that gyms and dojos are
environments where groupthink sets in and you turn into
an unthinking robot. While
this is possible in any group
setting, it is still absolutely
essential to train under an
experienced teacher or with
an experienced group.
So why should we learn
from an instructor?
Not Everyone is Kimbo Slice
The quote above has
an important message and it
is my hope that you will learn
from it. For those that don’t
recognize the name, Kimbo
Slice was a self-taught fighter
who worked as a bodyguard
before pursuing a career in
professional fighting. While
he’s highly skilled and has
developed good form from
his backyard brawls, the
development was a result of
a long and painful process of
trial and error against people
who may have had training. No
doubt much of this damage
could have been avoided by
training under an experienced
coach.
You can see one of his fights
here video: Click Here
In the martial arts
community, people teach
conjecture-based techniques
that have not been empirically
tested by the instructor. Or if
they were, the conditions in
which they have been tested
did not factor in variables
like
aggression,
speed,
strength, stamina nor have
they considered the effects of
stress on the person applying
the technique and how stress
hampers the ability to execute
fine motor movements. Or
they just make things up from
what they’ve seen. Andrew
Montañez, a professional
MMA fighter, made a knife self
defense video. As a person
who’s dedicated considerable
time to learning to fight with
weapons, it was apparent to
me that neither he nor his
partner had ever stabbed or
slashed anyone in any type
of setting (sparring or real).
While the ideas he presented
were conceptually sound, his
application was demonstrated
he possessed a less than
negligible understanding of
knife fighting an – a shame
since his boxing, BJJ and Muay
Thai videos demonstrated deft
knowledge of those skills.
Andrew Montañez knife
defense video: Click Here
Learn From
the Mistakes of Others
In one of my other
articles, I talked about how
each style is based on the
founder’s preferences and
idiosyncrasies. The system
is a model built using the
experience of the founder and
how he has dealt with those
problems and opportunities.
Legitimate systems founders
will have spent considerable
time being punched, kicked,
stabbed, and struck with
weapons in the gym or in
a fight. If you are training
in a legitimate school, the
instructor will have hours of
repetitions and experience
using techniques in different
situations (sparring, ring,
cage, street, prison, war…
etc.), each with different goals
in mind. (I will not be going
into a discussion about what
constitutes a “real fight” but I
highly recommend you read
Meditations on Violence by
Sgt. Rory Miller – an excellent,
informative book that has a
great breakdown of the types
of violence). The teacher’s
personal knowledge coupled
with the collective knowledge
of the system as he learned it
will be what is transferred to
you. If it is a legitimate school,
hopefully more good habits
than bad habits are transferred
and
your
knowledge
through experience and
training will compensate
and correct these habits.
As a Lightning Scientific
Arnis practitioner,
I
have
been
taught
a
few
ways to apply the
roofblock/payong.
Depending
on
the height of my
opponent and my
relative position to him, I will
opt to use one method of
intercepting. Yet another of
my cohorts, despite sharing
some physical similarities
with me, will consistently opt
to apply a different variation
of the roofblock. Neither is
wrong not because they are
variations the grandmaster
use (because he did use
them), but because the
conditions he used them in
were consistent with what
was present whenever my
training partner and I used
them even though we did not
actively think to consider this.
This can be found in
MMA gyms. I cross train from
time to time in Thai Boxing.
One coach I trained with did
not favor the switch kick (left
roundhouse) because he felt
remaining in centerline would
expose him to charging
attacks. Instead he opted
to angle offline and to fire
the left roundhouse from a
different position – using the
kick to perform the “pivot”
and cover his movement
simultaneously. In another
gym, the coach favored
the switch kick because he
favored moving back to
reestablish distance. Neither
is incorrect, but both swear
by these methods because
this is what they learned from
their experience. Because of
this, they can execute these
patterns consistently with
a high degree of success.
Depending on my sparring
partner and the openings
available, I use one or the other.
Or I will use neither. Certainly
in other fighting contexts
I would not favor kicking.
Knife fighting is another
example. As a Filipino martial
arts practitioner, I have knife
fighting skills and techniques
I gained from studying
Lightning Scientific Arnis.
Through discussions with
Krav Maga instructors and
Israeli security professionals,
I have learned that they have
developed a set of knife
defenses by integrating what
they have learned from Filipino
Martial Arts techniques while
integrating that knowledge
and applying it in their own
contexts. In their experience,
these defenses have been
successful by and large and it
is why they continue to teach
these movements. Though
fundamentally similar to
what I use, they include or
exclude different follow ups
and assumptions because
their experience is different
from my own system.
Yet lessons need not be
learned from stellar fighters.
Freddie Roach had a negligible
boxing record. In fact he
lost a fair number of fights.
However, his experiences
of loss have helped shape
boxers like Manny Pacquiao
and countless MMA Fighters
by teaching them what can go
wrong in a fight and crafting
training programs to minimize
their
occurrence.
Greg
Jackson,
world-renowned
MMA Coach, has not had
any reported competitive
fight experience but used his
understanding of different
systems to observe and
analyze fights, thus providing
instrumental guidance to
fighters like George St. Pierre,
Shane Carwin, and Rashad
Evans. And none of this advice
would be useful to these
fighters had they not first
trained under someone and
built a foundation.
Conclusion
When you train in a
legitimate dojo, you are being
presented with problems
that the system founder or
instructed has encountered
and has determined, in their
own experience, that you will
likely encounter. They have
already been there and have
solutions readily available and
it is up to you to figure out how
they can be applicable and
what is relevant to you. You do
this by sparring and by testing
it against different structures
and stimulus and identifying
what attributes you possess.
I practice martial arts
because it makes me happy.
And ultimately, we should do
things because we enjoy them.
The idea of cross training and
creating your own system
for understanding fighting is
great. It helps me understand
what I am doing. Trying to
create something new is a
wasted effort when you have
not reviewed what is already
out there and do not have a
solid understanding of it from
hours of training in different
styles. There are best practices
available out there and
ignorance of this knowledge
is essentially like reinventing
the wheel without an idea of
what a wheel should look like.
The D.C. Stickfighter’s Blog
dcstickfighting.wordpress.com
Ready and Custom Made
Visit: www.mybarong2.com
Barong is actually short for Barong Tagalog, which describes the formal men’s wear of the
Philippines. It is properly referred to as the ‘Baro ng Tagalog’ (dress of the Tagalog). Contracting
the first two words produces ‘Barong,’ which literally means ‘dress of.’ So, if we want to be correct,
we wouldn’t say just ‘Barong.’ But, the slang way of referring to one of the beautiful formal shirts is
simply Barong. Yes, the Barong Tagalog is a dress, a garment, a coat in itself. It is not merely a ‘shirt’. If
it were, then it would need a coat or a jacket over it to qualify as formal wear and would have to be
worn tucked inside the trousers.
About ...
Panantukan
By Anthony
Laban Katotohanan International
Panantukan (“Dirty Boxing”)
is the empty handed boxing
component of Filipino martial
arts. Many of the techniques and
movements are derived from
Eskrima/Kali (Filipino blade and
stick fighting). The art primarily
consists of upper-body striking
techniques such as punches,
elbows, head-butts, shoulder
strikes, and groin punches, but it
also includes low-line kicks and
knee strikes to the legs, shins, and
groin. Some camps choose to
group this kicking aspect into the
art of Pananjakman, which relies
on kicking and only uses the arms
defensively. Common striking
targets include the biceps, triceps,
the eyes, nose, jaws, temples, the
back of the neck, the ribs, and
spine, as well as the “soft tissue”
areas in the body. Panantukan
prefers parries and deflections
over blocks, as it is not known
whether or not the opponent has a
bladed weapon. As such, emphasis
is put on minimizing contact from
the opponent (in other words, one
does not “eat” punches or absorb
them the way a Western boxer
would). Panantukan is normally
not taught alone; instead it is part
of the curriculum of an Eskrima
or Kali school. Some Eskrima
schools neglect this aspect almost
completely, while a few schools
solely teach the boxing art, though
this is quite rare.
Philosophically, it is very
similar to other forms of streetoriented kickboxing in that it
emphasizes practicality; Dan
Inosanto, Bruce Lee’s star pupil
and partner, integrates aspects of
panantukan into his interpretation
of Lee’s Jeet Kune Do, and many
concepts from panantukan
and the Filipino martial arts are
found in several Jeet Kune Do
Concepts systems today (such as
Paul Vunak’s PFS). Since it is not a
sport but rather a street-oriented
fighting system, the techniques
have not been adapted for safety
or conformance to a set of rules
for competition, thus it has a
reputation as “dirty street fighting”.
Limb Destruction
Panantukan focuses on
countering an opponent’s strike
with a technique that will nullify
further attack by hitting certain
nerve points, bones, and muscle
tissue to cause immediate partial
paralysis of the attacking limb.
Common limb destructions
include guiding incoming straight
punches into the defending
fighter’s elbow to shatter the
knuckles (secoh), or striking the
incoming limb in the biceps to
inhibit the opponent’s ability to
use that arm for the remainder
of the fight (biceps destruction).
Limb destructions in panantukan
are also known as gunting
techniques, named so for the
scissors-like motions that describe
how the practitioner isolates or
stops the attacking limb from one
side and executes the destruction
from the other. Perhaps gunting
more aptly refers to the bladed
weapons aspect of Kali/Filipino
martial arts in which these
techniques were used to trap, cut,
or sever the opponent’s hands,
forearms, and head. Whereas
original Jeet Kune Do emphasizes
intercepting incoming strikes,
panantukan and Jeet Kune Do
Concepts add destructions to the
fighter’s arsenal.
Body Manipulation
Panantukan uses arm
wrenching, shoving, shoulder
ramming, and other off-balancing
techniques in conjunction with
punches and kicks to push, twist
and turn the opponent’s body
with the goal of exposing a more
vulnerable area to strike, such as
the neck, jaw and temples. An
example technique could include
trapping the attacker’s arm and
quickly yanking it down to bring
the attacker’s head down and
forward, exposing him to a head
butt or knee strike to the head.
Panantukan borrows techniques
from Dumog, the Filipino upright
wrestling art, for most body
manipulations.
Angles and Switching Leads
Practitioners of panantukan
often use the angles outlined in
Kali to evade and parry incoming
strikes and to attack the opponent
from an outside angle where
he is less able to defend against
strikes. Practitioners constantly
switch fighting leads to exploit
different angles of attack and to
maintain flow. The fighter will
often use a finishing strike or kick
in a combination to step into the
new lead. Footwork is of upmost
importance for these techniques,
and as such, fighters generally
invest much time into practicing
Kali stick fighting drills and
combinations.
Speed, Flow, and Rhythm
Panantukan emphasizes
speed in striking, with the intent of
overwhelming the adversary with
a flurry of attacks. Practitioners
will rarely cease striking, opting
to string together indefinite
combinations of sometimes
radically differing strikes and body
manipulations to make successful
defense a relative impossibility.
Such a strategy is also employed
in the Jeet Kune Do “straight blast”
and the Muay Thai elbow “blitz.”
Another central concept
in panantukan is “flow”. Flow is
achieved through using speed
to quickly and continuously
execute strikes and maneuvers,
through switching leads and
angling to expose new angles and
lines of attack, and through the
ability to perform a strike from
multiple angles and positions. A
practitioner may throw a punch
or kick from any angle (high,
low, overhead, underhand, back
fist, hammer fist, etc) in order to
maintain his offense; the fighter
does not “reset” himself after each
strike or combination and thus
denies the opponent an easy
opening for a counterattack.
As with the other combat
arts of the Philippines, panantukan
has a close connection to the
tribal rhythm of the drum, and
it often pays mind to beat and
tempo. In panantukan, the rhythm
can be broken or changed to the
advantage of the commanding
fighter. The goal is to “steal the
beats” or interrupt the rhythm
of the opponent, exploiting the
opponent’s chances for attack
to initiate a counterattack. This
concept differentiates panantukan
from most of Western sport
boxing, which relies on the
steady exchange of blows, covers,
evasions, and counter-punches to
establish the fight’s cadence.
Many strikes in panantukan
are said to be performed on
“half-beats,” or in between the
major strikes of a combination,
so as to disorient and overwhelm
an opponent, increasing the
opportunity for more devastating
strikes. An example of this could
be performing a swift slap or eye
strike after throwing a jab with
the same hand in a standard jabcross-hook combination; the eye
strike both disrupts the defense
against and masks the incoming
cross. Additionally, low-line kicks
often come in on the “half-beats”
in between boxing combinations
to further injure and disorient the
opponent.
Close Association
with Weaponry
While panantukan is
designed to allow an unarmed
practitioner to engage in
both armed and unarmed
confrontations, it easily integrates
the use of small weapons such
as daggers, wooden slivers,
and palmsticks. These weapons
give a potentially fatal edge to
many of panantukan’s already
brutal techniques, but do not
fundamentally change how the
techniques are executed. Daggers
used in panantukan tend to
be small, easily concealed and
unobtrusive, and alternative
designs such as the claw-shaped
kerambit are often preferred.
MyFMA.net: Click Here
Great Grandmaster George Michael Inay
Born in Dos Palos, California, Michael G. Inay was a farmer’s son and grew up in the fields of the San Joaquin
Valley. Born to Mateo Inay and Betty Inay in 1944 on December 11th as George Michael Inay, he later changed
his name to be Michael G. Inay.
Mangisursuro, literally meaning “The One Who is Teaching”, is the official title of Mike Inay. He was, in
life, often referred to as Suro, which is the Ilocano verb “to teach”. His chosen titles for founder and head of the
system say allot about the man and his views on martial arts and responsibility. He is often quoted as saying “It
is not in the knowing or the knowledge of the art, but in the Doing of the art that truly makes one a warrior”.
An emphasis on social action and proficiency is apparent in his requirements for becoming and maintaining
instructor or “Guro” status under him. Of which only a few of his students that now teach “Inayan” were eligible
for at the time of his death.
Above being able to defend one’s self, Mangisursuro felt that giving back to society through the teaching and mentoring of students was the most important thing in his life and what he expected of all of his Guros. For his own personal choice, Mike Inay felt that teaching and spreading the Inayan System of Eskrima was
more important than pursuing a more lucrative personal career in Silicon Valley.
Great Grandmaster Mike Inay was many things to many people, and touched many lives both in the Martial Arts Community as well as in his
personal life. He always had a way of infecting people with his passion for martial arts, music, and games. He had a zest for life that is rare in people,
an infectious laugh, and a strong sense of purpose. He taught many people how to use their bodies, and many to use their minds too. To a rare few
he helped uplift their spirits and showed them a better way. His art was known for stick fighting and knife defense, but the lucky know it as a path
toward something better in life, something more meaningful.
Mike Inay learned under Great Grandmaster Angel Cabales, founder of Cabales Serrada Escrima, and Great Grandmaster Max Sarmiento,
founder of Kadena De Mano. Learning privately and in small groups Inay studied exclusively with these two gentlemen for 11 years before beginning teaching at their encouragement. Inay took this art from Stockton California to Europe, Australia, and all over North America. Teaching both civilians, military, and law enforcement over the years lead to the development of many programs and specialized curriculum lines including Reactive
Knife Defense, Pressure Sensitive Nerve Areas, Defensive Tactics, Riot Baton, as well as many traditional martial art programs for stand up and ground
fighting. Whether for Self-Defense, competition fighting, or for the street, Mangisursuro provided a standard of excellence in martial art training that
can still be seen in his Inayan System of Eskrima, and Inayan Training Organization.
Mangisursuro Mike Inay is survived by many of his students, and family. Chief among those is his son and daughter. Suro Jason Inay, and Sursuro Jena Inay respectively. Sursuro John Peterson, Sursuro Frank De Fanti, Masirib Guro Kevin Schoenebeck, Lahong Guro Tom Lopez, Guro Anthony
Samosvatoff, Guro Josh Hutchinson, Guro Ron Levy, Guro Jeremy Derenne, Katulungan Guro Justin Meyer, Katulungan Guro Bill Duffy, Katulungan
Guro Shane Mrotek, Kadua Guro Simone Schloetels and Kadua Guro Marty Ferrick work with the Inayan Training Organization to preserve and
propagate Filipino Martial Culture with the Inayan System of Eskrima. Collectively known as Mangisursuro Mike Inay’s Inayan.
mangisursuro.com
Windy City - Pekiti-Tirsia Kali
The Pekiti-Tirsia Kali System is the curriculum we teach here at the RFA Institute.
Pekiti-Tirsia is a complete combat/fighting
system comprised of three primary systems... the Doce Methodos (or 12 methods)
which is the foundation system that teaches you the progression of timing, all the
methods and manipulations of the weaponry and the fundamental tactics. Next is
the advance system of the Contradas which
consist of three components... Contradas, recontra and recontradas. The third of the primary
systems is the advance Contra-Tirsia Dubla-Doz.
By this time you as the practitioner will have
complete superior tactics and can dominate the
combat at will.
Validated by the system of Pekiti-Tirsia is
the immediate display and understanding of the
dynamic geometry of the combat. Following the
basic strategy of the system you will know how
to protect yourself from all strikes and attacks,
how and when to neutralize the weapon(s) of
your opponent(s) and then dominate the combat. Developed in our training is a variety of
awareness drills and response level training so
that you have the control to act in any hostile
environment and take your self-defense to the
appropriate level.
Pekiti-Tirsia is a blade combat system
that starts you with the weaponry training. This
is because we understand that the geometry of
combat is based on the blade in close-quarters.
Weapons are the common denominator between all types of combat. The military uses
weapons, law enforcement have a complete
belt of professional tools to assist there job and
criminals also use weapons. Therefore you need
the skills of weaponry so that you can equalize
the situation.
You will also train in empty-hand tactics and techniques against empty hands and
all types of weaponry. You need to develop
empty hand skills to buy your time to either
escape or get to a weapon to equalize the conflict whether you must fight one opponent or
against multiple opponents. Also, in our modern
day and age we include the use of firearms and
you will learn how to both disarm firearms and
operate the firearms in a close-quarter scenario
when the firearm becomes inoperable. Perhaps
the firearm runs out of ammo, jams, under
stress you forget to flip the safety or the round
just did not have the stopping power and the
opponent(s) continue the attack.
With all the variables that can take place
you want to be prepared and able to handle
yourself and protect you and your family under
any condition. Statistics have proven that in
civilian to civilian combat (or self-defense scenarios) majority of attacks happen within zero
to eight feet with little to no warning.
www.windycityptk.com
information available, so this page was compiled.
Healing:
- Wishing for a complete and quick recovery is good, but perhaps something on this page can help improve the odds and shorten the time before
training at full power again.
- Consult your doctor. Don’t take my advice. I will just state what has worked in the past for particular individuals. Each person is different. No
guarantee on future results. Once again, consult your doctor.
- Injuries do happen. Full contact stick fighting can increases the possibility of injury. Luckily, major/severe injuries in the sport are far less often,
and with time, a full recovery can be made.
Before a day of intense stick fighting
- Find a good sports medicine doctor and call to make an appointment with the doctor for an x-ray scheduled for the day after the fight. This is a
good precautionary measure and useful to do ahead of time.
Fight day
- Of course, bring along the essentials: Ice packs, ibuprofen, food, a first aid kit.
- The pure rush of a stick fight will keep a smile on the face, while the body feels like it just got beat up in a fight... or several fights
After a fight
- Food, shower, sleep. Take it real easy.
- Miloflex or Icy hot patches are helpful.
First few days
- Hot and cold compression techniques: There is a lot of information available on this. Access to a hot tub seems to work better in some cases.
- Start moving again. Everything will be stiff, but movement will feel great once moving
- Pay attention to your body. If something isn’t getting better, rest it and see a doctor.
Positive thinking. I was very skeptical at first when I heard this. However there is truth to it. A positive attitude and thinking things are getting
better does help and make the minor aches go away. And the opposite is also true. Thinking that you are in pain will make you focus on that pain.
stickfightertraining.com
Stick Fighter Training Center, Tucson, Arizona
A group of people with an interest in the martial arts including stick and weapon based martial
arts. We love to train and share our knowledge and experience. We welcome a diverse group.
We take our training seriously and put forth the energy and dedication needed to improve both
our minds, body and martial arts. That means we train hard at times, but hard with reason to
what we train and put out hearts into what we do. Our training is influenced by many areas that
include:
•The Filipino martial arts (FMA) like: Kali, Escrima, Arnis, Escrido, Doce Pares, etc.
•The Thai Weapon Martial Arts like: Krabi Krabong
The Parts Of Training
Training as a stick fighter can be broken down several ways. We organize our training into four categories:
Movement: Going where you want to go and moving effectively is important. Placing the stick or your body where desired.
Power: Effective power comes from both the correct application of strength and speed
Coordination: Movement and Power at the right timing. This involves knowing when to take action and when and how to react.
Endurance: Developing the stamina and mindset to keep going.
Learn More Visit the FMA Festival Webstie - www.fmafestival.com
Download the Program Flyer - Click Here
Participation
This is a great group for practicing the skills necessary to become a better stick fighter and all around martial artist. It is also a fun way to get a
great workout. It helps with strength and coordination, and will get you moving. Whether you are a stick fighter or just want to train with the intensity of a stick fighter. Come and join us.
The Mind And Body In A Full Contact Stick Fight
We love the martial arts and love training in them. We try to avoid anything that would limit our ability to continue to grow as martial artists.
This includes injury. We train in as safe a manner as possible. The full contact stick fight may seem at first to counter this mentality.
One of the greatest experiences is the full contact stick fight. It tests skill, focus, power, endurance, form, reaction, and courage.
There is a risk of injury and with that comes fear. The full contact stick fight also brings a rush of excitement and determination that is rarely
found elsewhere. There is pain and there is the discovery that pain will not keep you down. It is an opportunity to test what you have trained and
learn what is truly effective. Finally, it is an opportunity to connect and communicate at a level that brings people together and when the fight is
over, the bond helps unite the celebrate the accomplishment of participating in a full contact stick fight.
Still, full contact stick fighting is a deeply personal choice that must weigh the benefits and dangers, without the ability to predict the outcome in something as uncertain as a stick fight. For those who want to go on to full contact stick fighting, read on. There doesn’t seem to be much
Learn More Visit Facebook: www.facebook.com/PhilippineHalloffame
Past Events
Future Events
Febraury 2014
May 2014
46th Annual - Sama Sama - 2014
February 8, 2014
Marina Community Center
San Leandro, CA.
Flyer
FMA -n- Cane Seminar
Dr. Remy PResas and Master Jose Isidro
May 18, 2014
Delta View Elementary Park, Baypoint, CA.
Contact: Master Isidro [925] 980-3018 - Email: [email protected]
Flyer
Bali Camp 2014
Febraury 22-28, 2014
Pan Pacific Nirwana Bali Resort
Bali, Indonesian
Contact: Lila Email: [email protected]
Website: www.kali-majapahit.com
Flyer
Grandmaster Rodel Dagooc
February 22 - 23, 2014
TSC Eintracht, Halle Ost, Victor-Toyka Str. 6
Dortmund, Germany
Contact: Grandmaster/Datu Dieter Knuttel
+49 0 231 494-8060 - +49 0 171 488-1689 - Email: [email protected]
Information
April 2014
Chinese Indonesian Combat Arts-KUNTAO
April 5, 2014
Bushido Mixed Martial Arts Academy, 3405 High St, Portsmouth, Virginia
Contact: Mike Duke 757-647-3671
Chris Derbaum [239] 340-1353 Email [email protected]
Information
Battle At The Shore VI
May 31 - June 1, 2014
Sports & Civic Center
6th St. Boardwalk, Ocean City, NJ
Contact: Joe Parker
Email: [email protected]
Website
June 2014
1st Pangamot Int’l Stick Fighting Tournament
June 8, 2014
[tentative event location]
Provincial Capitol Lagoon, Negros Occidental
Bacolod City, Negros Occidental, Philippines
Contact: Call/Text: [0919] 889-9671
Website: www.facebook.com/pangamot
Jogo do Pau (stick fighting) Seminar with Professor Luis Preto
December 2013
Coimbra City, Portugal
The seminar with
Professor Luis Preto was
organized by the FMA-Portugal
group and it was held in
Coimbra City, in Portugal.
The material presented
was pure combat related. First
he went by the simplification of
the attacking / blocking system.
The Jogo do Pau way is very
simple and effective in combat
because of the simplification of
the fighting factors and because
it gives you few solutions that,
with regular training, become
automatic very easily.
Then, Professor Luis
Preto went on teaching the
way of fighting against 2 active
opponents armed with sticks. Once more, the simplicity of the tactics used and the direct approach to the target were the label of this topic.
The people present at the seminar had already some experience in Arnis and in stick-fighting sparring and all them said that the seminar was
a big add to their arsenal.
Jogo do Pau is a Portuguese stick-fighting Martial Art that uses long stick (held with 2 hands) and the regular stick or baton, held with one
hand. The amazing thing about the Art is the way of attacking and blocking and the systematization of combat in a outnumbered scenario.
The FMA-Portugal group uses a multi-style approach to the armed and unarmed combatives. In this sense, the seminar with Prof. Luis Preto
was a big sucess, since it brought up some self-reflections and new knowledge to the group. It was the first of many more to come.
Luis Preto
Arnis Mano Mano Dumog FMA Defensive Tactics Seminar
December 29, 2013
Marikina Sports Center
Marikina City, Philippines
8th Annual LoLo Cinco Terro Camp
April 5-6, 2014
Traditional Martial Arts Center
2220 Hempel Ave., Gotha FL.
Contact: Ama Guro - [407]748-2469 Email: [email protected]
Website: pambuanarnis.com
Flyer
ARMADO FMA way, is a training
that consists of means and ways
used in Defensive Tactics. It is
basically deals with arresting
techniques, reasonable use of
force and escorting and Self
Defense approach; Arnis (Knife,
Gun, Bolo, and stick disarming,
baton practical attacks and
defense), Mano Mano Dumog
(Empty hand attack and defense,
throwing, pinning, joint locks
manipulation, control aggression.
Modern Arnis Basic to Advance Training
Master Jose Isidro of Isidro Modern Arnis (MARPPIO)
April 19, 2014 8am- 5pm
Pan Pacific Hotel, Manila, Philippines
Contact: [email protected] or PM in FB
Flyer
Easter-Seminar 2014
Presenting: Dagooc Arnis System “Smoking Sticks” and Muay Thai/Muay Boran
April 18 - 19, 2014
PSV Aalen
Erzhäusle 15, Aalen, Baden-Württemberg, Germany
Information: Email [email protected]
Website: www.daisho-schwertkampf-club.de
The Desangut Fixed Blade Magnum
By TnT Blades
FMAid Project Typhoon Haiyan Benefit Seminar DVD
Nashville, TN, 2013.
Featuring instruction by Guro David Gould (Lameco Eskrima single
knife) Guro Viko Perrine (Kalis Ilustrisimo single sword), Guro Jerome
Teague Applied Eskrima basic body mechanics and Balintawak
dilling) Guro Elmann Cabotage (Taboda Balintawak semi advanced
Balintawak drilling). Run Time: 2hrs 45min
Price $35 with all proceeds going to Typhoon Relief.
To order, Contact Guro Jerome Teague at [email protected]
Arnis Mano Mano Dumog Filipino Martial Arts Defensive Tactics (ARMADO FMA DEFTAC INT’L)
Punong Maestro Melchor William Amosco - Lakan Sampu ( 10 dan Red Black Belt )
Founder / Chief Instructor
Contact: [0947] 360-8969
Email Add: [email protected]
Skype : maestro.lakan.amosco
Marikina sports Building
Marikina Sports Park Center - 3rd floor
Sta Elena,Marikina City Philippines 1800
The Armado FMA DEFTAC is a balanced form of system, teaching both combative and
sports side of Arnis... now actively open branches are H. Bautista Arnis Club since November
2012, AGC arnis club since 2012, Kasiglahan Arnis Club and now Burgos Arnis Club started on
June 29, 2013
Production Information:
This first run is a semi-custom / numbered production. Only 100 pieces and getting presold fast. Reserve your favorite number now before someone else gets it.
TnT Combat Arnis has started with the production at this time and expects delivery at
around late June/early July. The time to fix your pre-order is now. There will only be 100
numbered pieces produced and they are going fast.
Desangut updates, please see complete report: Click Here
To Place your Order Click Here
The Desangut Trainer
By TnT Blades
Now available!
The Desangut Trainer is designed and built
exactly like the bladed version, with logos and
all, except that it’s not sharp!
Giving you the same feel and weight as the Desangut, this Trainer is therefore the perfect tool to learn
and practice with.
Made in Maniago, Italy, by the same makers of the Desangut.
Semi-custom / numbered production. Only 100 pieces!
If you have a Desangut, you might want a Trainer with matching number. Order now before your
number is sold out!
Note: You can sharpen the trainers to have a live blade Desangut with stone-washed finish. You can
use the same handle of the Desangut or put a paracord.
To Place your Order Click Here
Arnis & Tactical Combatives Seminar
Edessa and Robert Ramos
January 4-5, 2014
Venice, Italy
The Venice seminar with
Edessa Ramos and Robert Ramos
was held on January 4-5, 2014.
This seminar by Traditional &
Tactical Combat Arnis (or TnT
Arnis) was one of a kind. On the
1st day, the participants trained
on the Desangut and Empty Hand.
Everyone loved the Desangut.
Maestra Edessa taught the use
of this fighting tool based on her
unique perspective: a combination
of her knowledge of the traditional
Sangut and Bram Frank’s modular
concepts. Her methods are
enhanced by serious study of
the specific features which Bram
had put in his design of the
Desangut… a curved blade with a
large handle that grips like a pistol,
teeth around the ring to enable its
non-lethal use as a knuckle-duster,
and a teethed ramp to enable
highly effective trapping and redirecting.
The Desangut is deadly
and precise. It is very much a
close-quarter combat tool, but
its usage can be restrained to
satisfy self-defence requirements.
In her seminars, Edessa never
fails to emphasise the right to
self-preservation of security, but
without necessarily having to kill.
The fact is, knowledge
of the force continuum
and the ability to apply
escalation-deescalation
techniques are crucial
considerations for
engagement. It is a
matter of respect for the
rule of law, and even
more importantly, of
adherence to ethical
justice and human
rights. A fighter must
be well-trained not
only in techniques,
but also in thinking/
presence of mind, in
situational awareness
and evaluation, and in
making snap decisions,
fully aware of the consequences
of his/her actions. A fighter must
get the desired results, not by
accident or chance, but by his
intentions, and by his knowledge
of the techniques that will fulfil his
objectives.
Robert’s applications
of Filipino empty hands and
Panuntukan are enhanced by his
knowledge of mixed martial arts,
particularly grappling. This part of
the seminar was not so much to
teach actual fighting applications,
although the sharp student can
easily apply what he learns into
real situations. Robert teaches the
empty hand sequences as a means
to develop a fighter’s basic skills…
recognising an opportunity (i.e.
missed punch) and reacting
appropriately, take-down and
trapping, and dealing with “whatif” scenarios.
The second day consisted
of baton reaction training,
collapsible baton (ASP basic
curriculum), handcuffing, weapon
retention, and basic firearm
techniques (stances, manipulation,
retention and reaction). The
focus was on the needs of the
security operator, especially law
enforcers whose range of actions
is strictly limited by the laws
in Italy. Edessa taught the first
moves of the Filipino De Kadena,
which teaches the operator to
react to an oncoming strike using
full concentration and a range of
options, and without breaking the
rules of engagement incumbent
upon police officers. She focused
on defensible space, dealing
with breach of security barriers,
humane crowd dispersal, and
various techniques that help
protect the lives of law enforcers.
Together, Edessa and Robert gave
an introduction to the ASP baton,
handcuffing and tri-fold restraints,
and the finer points of compliance
techniques.
Edessa and Robert are not
only lifelong martial artists but
also field operators and security
professionals. They work in nonsecure environments, especially
countries in conflict and crisis
situations. The lessons they
gained from continuous training
in various styles of the Filipino
martial arts, and under several
Grandmasters, help them develop
their style into a fighting art that is
as complete as possible. They also
tailor-make their approach to the
needs of the students, knowing
that civilians, law enforcement,
and military all have different
requirements.
The seminar was made
possible by Marco Bellani, CSSD/
SC Director for Italy. Participants
came to Venice from as far as Pisa
and Zurich, despite the torrential
rains. Edessa and Robert thank
Marco with all their hearts. They
also thank the Real Protection
Academy for flying from
Switzerland and giving assistance,
particularly Sandro Teufer, Edessa’s
long-time student and loyal
colleague.
www.tntarnis.ch/TnT_Arnis
Maestro Ronaldo Serrano and Jemn Nuñez Baxafra
Baxafra Armor
Tactical, Locking Technique, and Disarming Technique Lecture & Demonstration
January 10, 2014
Paco Park, Manila, Philippines
A picnic training and lecture consisting of
Galaw Tanggulan System, Modern Arnis
and Doce Generales, Method Of Teaching
, Fundamentals of Locking, Blocking and
Releasing Technique., thank all for joining
in.
Warrior’s Way Martial Arts Academy
Instructional DVDs by Guro Harley Elmore
Beginner and Advanced material from Filipino Kali and Indonesian Silat.
To Order: Click Here
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For additional information please contact us
13th Phoenix FMA Training & BBQ
January 11, 2014
Margaret T. Hance Park, Phoenix, Arizona
Well thank heaven the 13th Phoenix FMA Training and BBQ is located in
southern Arizona and not back east where they have had terrible cold weather. A
little cool in the morning, however reaching the low 70’s throughout the day.
First up was Lamont Felton, worked a little bit on Espada y Daga which is a
Spanish term that translates to sword and dagger. It evolved from the method of
fighting with sword and scabbard of the indigenous population of the northern
Filipines. Typically the stronger or more dominant Hand will hold the sword ( or
longer weapon) - usually the right hand. The shorter weapon or (dagger) is usually
held in the off hand or non dominant hand- usually the left. This is used for both
offensive tactics (thrusting,slicing, stabbing, slashing ) and defensive ( blocking,
checking, locking).
With this in mind and the off hand being the weaker hand, we are able to
train ambidexterity and the check hand if there happens to be no weapon in the
off hand. This was the aim of today’s exercise. To give the students the opportunity
to utilize the espada y daga technique and principle and translate that into empty
hand techniques while allowing the student the opportunity to become more
ambidextrous.
Lamont Felton
This particular method was drawn from Angel Cabales system of serrada
which is an eight sequence move that utilizes both the primary and secondary
hand simultaneously. By placing a weapon in the weaker hand we are able to get the check movements. Eventually we can remove (or add) a
weapon to / from the weaker hand and add minor adjustments to compensate for the loss or addition of any object for flow. Lamont who worked a
little bit on Espada y Daga, taking it step by step it was some basic defense with counters. Starting with the defense to the left and then followed by
the right side. Very practical and a tight combination of flow.
Next up was Steve Furbush and Andrew Wilson of the Senshinkan Dojo (www.
senshinkan.org) Andrew Wilson and Steve Furbush showed some basic principles of
the taisubaki (body movement) incorporated into the basic curriculum of Jiyushin-ryu
Aikibudo (www.jiyushinkai.org).
The foundational principle they demonstrated was the “unweighted step,” and
they demonstrated angular (forward and back), lateral, and turning (forward and back)
movements.
After some short repetition of these movements, they then showed how the
combination of evasion plus a “weighted” touch created kuzushi (balance breaking),
and could be used to unbalance an opponent.
During the demonstration, they pointed out how these same principles were
incorporated into the Filipino martial arts, and related that to the prior demonstration.
Next up was Steven Dowd, who demonstrated some of the 12 basic disarms that
were taught back in the late 60’s
and early 70’s by various systems of
the Filipino martial arts. Then had
the group give the techniques a try.
Now as explained disarming is very
nice for demonstrations and nice
when taught in class, however did
they work back in the day? Well if
the situation was there, the timing,
Andrew Wilson and Steve Furbush
balance etc, yes it would of been
great, however in reality and most circumstances probably not.
Now fortunately various systems, when actually executing disarming, work to
set up the opponent so disarming is a reality. Though as a basic general lets do the application
and work it into the overall strategy of combat it is nice. Then showing the principle and theory
between disarming and Arnis Balite’s Huli Lusob (capture, trap, and attack), he brought up that
the Founder did not really believe in disarming per-say that often times the situation would not
present its self and so he taught the principles of Huli Lusob.
Lastly Magdiel Rivera brought up the subject and concentrated on muggings which often
times come from behind and how to
deal with distance to find the body with
different length of weapons. The point
of the exercise was to give the group a
perspective of the principle and theory
on the realization that with (adrenaline
Steven Dowd
flowing) a calm demeanor, realization
of the situation and progressive action,
than the mugging can be a thwarted and the situation becomes to the victims advantage.
The BBQ was a little special for Richell Sampaga brought a cake out to celebrate the
upcoming birthdays of Ny Sowell and the “Dynamic Duo” Tea and Taja Sowell.
Magdiel Rivera
Martial Melding Seminar
January 11, 2014
Hosted By: ikido United International and Integrated Escrima International
Eagleville Taekwondo., Park Ridge Shopping Center.
Ridge Pike & Rt 363 (Valley Forge Road)
Aikido United International hosted
the first Martial Melding Seminar.
The event was held at Eagleville
TKD in Eagleville, PA. Sessions were
conducted by Irvin Gill Sensei –
Kenpo, Dr. Mark V. Wiley – Escrima,
and Michael Aloia Sensei
– Aikido.
The seminar’s premise was
to demonstrate the fundamental
similarities that exist, but are often
overlooked, with all styles and
forms of martial arts. Regardless
of art, these basic skill sets are
inherent to create a functional,
efficient and effective system of
learning, teaching and retention.
This allows practitioners within
each system the ability to repeat
the movements when required
without hesitation and over
thinking.
Each session stressed
the importance of proper, fluid
footwork – without it, practitioners
would find themselves out of
position, ineffective, and worst
case, in grave danger. Gill Sensei
introduced the base technique
of Kenpo’s 5 Swords. 5 Swords
was then demonstrated by each
instructor from the perspective of
their respective martial art. Using
empty‐hand movements, Gill
Sensei revealed that the principles
found within the technique did
not have to be applied in the exact
order they were created – that is
just one way. Gill Sensei believes
that once the technique is learned,
the ability to modify and adapt the
technique leads one to a greater
understanding of its purpose and
capability.
Dr. Wiley did just the same
as he demonstrated his approach
using Escrima. Taking the basic
motions of 5 Swords, he extended
the movements to include the
use of weapons – both stick and
knife. Footwork again was the key
element. Dr. Wiley stressed the use
of the middle range distance to
maintaining a fortified position.
The weapon became an extension
of the arm, which became an
extension to the technique.
As such, this aspect enhances
one’s position, thus increasing
both offensive and defensive
advantages.
Aloia Sensei added the
joint manipulation and throwing
aspect found within Aikido. From
the groundwork laid by Gill Sensei
with regards to the hand and arm
movements and by Dr. Wiley with
footwork, Aloia Sensei discussed
and demonstrated the proper
use of energy in motion both as a
defender and as an attacker. Aloia
Sensei focused on avoiding the
oncoming energy then blending
with it to increase ones range of
power and effectiveness.
Basic joint controls and
throwing techniques were
incorporated to the 5 Swords
concept. Aloia Sensei finished the
session with randori – free attack –
within small groups.
It was extraordinary to see
the similarities that exist in what
appear to be such differences
of style and method. However,
the theme mentioned several
times throughout the seminar
was: what’s effective and what’s
efficient can be found in all art
forms and styles regardless of
origin or culture – what works,
works. The event gave participants
of various styles an opportunity to
experience a parallel perspective
without compromising their arts’
teachings only reinforcing them.
Kapwa Ko, Sagot Ko, (I am my brother’s Keeper)
Typhoon Haiyan 2014 Fund Raising Event
January 11, 2014
Bayanihan Cultural Center
14301 9 Eagles Drive Tampa FL.
Mr. Shaun Rudie - Jeet Kune Do
Hosted by Cruzada Pamilya, A Martial & Combatives arts exposition of different styles from all over the world, whose proceeds will benefit the victims of typhoon Haiyan.
The goal of the event is to raise funds for those affected in the Philippines and help rebuild their lives, livelihood and allow the public to experience and observe various
styles that they may have only seen on media. An on going clinic will be held through the day to allow for hands on exposure and training for those interested.
By: Simeon Lao
As practioners of martial
and combative arts, we often see
ourselves as warriors. Filipino
martial arts itself was born
from the martial culture of the
Philippines. However, as warriors
we are not only called upon to
fight in times of conflict, but as
well as in times of peace, when
not only physical strength is not
required but compassion.
It was super typhoon
Haiyan that called upon warriors
from Florida. They realized that
as the holidays have come and
gone and media coverage waned,
reconstruction must continue and
the victims still need assistance.
Cruzada Pamilya & Blade Science
Inc. organized a martial arts
exposition event, Kapwa Ko, Sagot
Ko; translated from the tagalog
language as; I am my brother’s
keeper, on January 11, 2014. The
event was intended for both
martial arts enthusiasts as well as
the public. This event was spearheaded by Simeon Lao, Ronald
Vicencio, Dino Martinez and
Sergie Albino. It featured various
martial arts systems: Brazilian
Jiu Jitsu, Thailand’s Muay Thai,
Chinese Kuntao, Okinawan Shuri
Ryu, Korean Tae Kwon Do, Shim
Shin Do, Jeet Kune Do, Russian
Sambo, Israeli Hagganah, as
well as the Philippines’ own Kali.
These styles were represented
by schools and experts from the
Tampa and Orlando areas. The
differences in martial arts’ styles
were overshadowed by the spirit
of unity for the cause.
Various items, from swords
to wine, were auctioned off.
During this single-day event, the
proceeds from cash donations
and the silent auction totaled
over $9000. All proceeds were to
Gawad Kalinga Staff
Mr. Tony Laughlin 0 Personal Protection Specialties
be given to Gawad Kalinga (GKUSA.org), an organization directly
involved in the affected areas of
the Philippines.
Here is a brief synopsis of the
event:
The event began around
9 am with a welcome from the
hosts, Simeon Lao and Ronald
Vicencio. They shared a brief
update regarding how the affected
areas of the Philippines continue
to need help. They no longer are
requesting donations for food
and water but for assistance in
rebuilding homes and lives.
Mr. L.D Stone of Ishi Do
martial arts, Auburndale Florida,
led a heart felt prayer to kick off
the day. Mr. Luis Lugo and his
young students from Lugo Martial
Arts, Odessa Florida, demonstrated
how Okinawan Shuri Ryu training
develops dicipline strength
designed to be able to both give and address a strike properly. Mr. Shaun Rudie from Core
Jeet Kune Do, Oldsmar Florida, demonstrated how to integrate stiking and head manipulaion
to overcome their opponent. Mr. Chris Scura of Suncoast MMA, Trinity Florida, was able to
differentiate their ground work from others with the use Russian Sambo. Mr. Ray Cole of
Tampa Muay Thai demonstrated training techniques to improve conditioning and develop
the devastating kicks of Muay Thai.
Impact Martial Arts, Tampa Florida, had a different idea for demontration. Mr. Alex
Petrov, the owner and head instructor, asked Ron Vicencio to assist him in demonstrating
the Israeli martial art, Haganah, in defending against a firearm and a knife. Mr. Sergio Barriga
of Martial Smart Self Defense
Family Center, Tampa Florida, and
originator of Shim Shin Do, sent
their spirited demonstration team.
The team enthusiatically shared
their art and demonstrated why all
ages are should be able to practice
it without limitations. Finally it
was Mr. Ray Dionaldo from Filipino
Combat Systems- Kali, Auburndale
Florida’s turn. He demonstrated
why the Filipino martial arts is so
well respected and sought out
for it’s blade techniques. During
the demonstration an impressive
flurry of close quarter blade attacks
Mr. Ray Dionaldo - FCS
where repelled and countered.
The afternoon session allowed everyone, from participants to the public, a chance to
train with everyone who demonstrated earlier in the day. The event came to a close after the
silent auction items were awarded to their successful bidders.
The sponsors included: the JC Newman Cigar Company, Wolfpack Martial Arts Supply
and the Pao Food truck who served food at the event.
Mr. Ray Cole - Muay Thai
Pao Food truck who served food at the event
Mr. L.D Stone - Ishi Do martial arts
Mr. Ryan Cook - Brazilian Jiu Jitsu
and self control. Mr. Ryan Cook of Evolution Martial Arts, Tampa Florida, explored
the intricacies of Brazilian Jiu Jitsu on the mat by transitioning from one joint lock
to another flawlessly. Mr. Tony Laughlin of Personal Protection Specialties, Largo
Florida, who’s system is
based on Kuntao training
and principles, wowed
the audience on the
development of speed and
power development in
extremely close ranges. Mr.
Eddie Robinson of Pambuan
Arnis, Oviedo Florida, was
gracious enough to share
one of their popular drills
called “Bigay Tama.” It is a drill
Mr. Eddie Robinson - Pambuan Arnis
The following items were auctioned: Le Duck Knife from Jerry Hossom Knives, Remington
Full size Folding Knife and Tulisan
Damascus Knife from Bill and Steve
Ohrt, IROC .22LR coversion kit from
IROC Tactical and Sergie Albino,
Tribute Candle from Inner Core
System, 20 Session Yoga class from
Trinity Yoga, 2 Month Intro class from
Shim Shin Do, Antique Philippine
Sword & Combat Barong sword
from Simeon Lao and Ron Vicencio
of Blade Science Inc. and from Roy’s
Restaurant: two bottles of wine and a
$50 gift card from Paul Rankin.
It is the hope of Blade Science
Inc. that this event and cause is only
the beginning of many other great
collaborations in the future.
The Basics of Filipino Martial Arts
By Marc Lawrence
Master Marc Lawrence Academy of Masters Hall of Fame - Life Time Award, developed this book based upon information gathered over years from 37 different Grandmasters, Masters, Guros and Instructors of what makes up the basics
of the Filipino martial art known as Arnis, Eskrima, or Kali. The book contains photographs, diagrams and detailed
information that explains what makes the basics any of the Filipino Martial Arts styles is use today. This book serves as
companion to any Filipino mattial arts style and this
information will enhance their skill. (92 pages)
Filipino Martial Arts Seminar
Presented By: Mandala Apolo Ladra
January 11, 2014
Balboa Park, San diego, CA.
January 16, 2014
Hosted by: Sensei Rob McDowell
Prospect Martial Arts
Prospect, KY.
This workshop was called
“Stealing Bases”. This workshop
focused on stealing your
opponent’s base and setting him
up for a takedown.
Lessons From the Ground
By: Kea Grace
A million thanks to my instructor Master Apolo
Ladra for taking time from his busy schedule to train and
test our Kids at FKA San Diego this past weekend. Thank
you for challenging them and taking them to the next
level! Your seminar at Balboa Park was great and we look
forward to your arrival this spring. Thank you Sir!
FKA San Diego
Mixed Padded Weapon Sparring with South Bay FMA Club Event
January 11, 2014
The South Bay FMA Club held open matt, mixed padded weapon sparring event
at the Kaizen Dojo, in Torrance CA on January 11, 2014. The idea was work on sparring
skills with mixed padded weapons. Our idea was to have like it would have been back
in old days with a mix traditional weapons like what would have been seen in combat.
But these weapons are padded like those used in the USFMAF and Chanbara Challenge
tournaments.
We used a variety of weapons that were made by Action Flex. Some of these
weapons the club has had custom made so that folks train in traditional Japanese &
Chinese Arts could have their favorite weapon as well for practice. We mixed the weapons
around so
that we had
matches like spear verses
double Nunchukas, double Tong Fa verses double stick,
single stick with a shield verses Katana and Katana verse Tomahawk
with Bowie Knife. Great time was had by all who attended the event.
We will hold another event on February 15th, 2014.
For more information or if you wish to attend contact the club at:
[email protected]. Check us out on Face Book at South Bay
Filipino Martial Arts Club.
The following seminars were taught by Guru Mike Casto. The FMA Informative has put all 3 events together due to a young woman named Kea
Grace was at all three of these events. Her post-training thoughts are incredibly well written and sum up the training very well. I think a participant’s
perspective is always more informative for outsiders than the presenter’s perspective. While this article focuses primarily on the Stealing Bases workshop,
it does touch on the other two workshops and, really, the idea of balance disruption was inherent in all three workshops because it’s so central to my
personal philosophy and expression. The FMA Informative thanks Ms Kea Grace.
Eskrima Seminar, Presented by Guru Mike Casto
January 11, 2014
Hosted by Senseis Dan Stanley and Heather Maple-Smith
Alexandria Martial Arts
110 W. Berry St. Alexandria, IN.
This workshop focused on some basic stick locks, chokes, disarms, and throws from Cacoy Doce Pares Eskrima.
Started with warm ups, double stick flow drills to develop familiarization and coordination with the sticks. Then commenced basic stick usage
(12 angles and basic single strike counters to the 12 angles)
The 2nd hour, continued with basic stick usage, add some basic disarms and locks/chokes with the sticks, Finishing with Empty hand vs stick
Joint locks and blades. A lot of great training packed into three hours of fun with a great group of people.
January 12, 2014
Hosted by: Guro Cory Ballinger
Muncie Athletic Martial Arts Club
Muncie. IN.
Guru Mike Casto taught some joint locking and blade material. We had a lot of fun working on the material and exploring the underlying
principles.
All the air rushed from my
lungs as I hit the ground with the
grace of a ton of bricks falling off
a two-story building. I rolled to
my feet, gasping for air, and threw
another punch. This one didn’t
even come close to connecting
with my target and without
knowing how it happened, I again
crashed to the ground, all but
bounced and contemplated just
staying put.
“Who knows,” I thought. “It might
be safer down here.”
I eyeballed the big man
looming over me, accepted his
offered hand and sprang up. As he
clapped me on the shoulder, I
couldn’t help but flash a thumbs
up at the circle of intently
watching people that surrounded
us. Some of them returned it while
others simply laughed, but
regardless of the response, to
anyone watching, there wouldn’t
be a single doubt we were having
a good time. Almost as if it were
on cue, the question “Can I see that
again?” rolled in from a corner of
the room and even as I playfully
groaned as if displeased, even as I
shook off any lingering effects
from my last warp speed trip to
the floor, even as I squared off to
attack again, there wasn’t
anywhere else I’d rather be. I threw
another punch, this time closing
my eyes so I could better feel
exactly what happened, and
added yet another lesson learned
to my mental list: Better to ask and
know than to remain silent and
always wonder.
It was a dark, snowy,
frigidly cold night on January 16th,
2014 in Prospect, KY. I was at Guru
Mike Casto’s “Stealing Bases”
seminar along with
a motley crew of
silat and kali
players, BJJ guys,
other martial artists,
corrections officers
and one or two who
refused to slide
neatly into any
category.
Regardless of our
background, we
were there to
discover a few
simple truths about
tactical balance disruption, some
universal laws concerning energy
in motion and anything else we
might pick up along the way.
While Guru Mike is well-known for
his extremely clean, efficient and
devastating silat (Anjing Gembala
Pencak Silat or AGPS), excruciating
joint locks, brutal stick work and
ability to effortlessly knock over
anything that’s less rooted than a
tree, he’s also respected for his
unique insights and perspective
both in and out of the combative
arena.
After brief ly introducing
himself and pausing for half a
breath for questions, he launched
directly into the basic tenants of
balance, balance disruption and a
tinge of human anatomy. I threw a
punch when asked and dutifully
held my position, right lead, right
arm extended, while Guru Mike
laid out and identif ied several
imaginary points around my body
that would serve as reference
points for the rest of the seminar. If
my feet occupied two corners of a
triangle, then the closest and
easiest balance disruption point is
going to be the third corner. He
snagged my wrist as he continued
explaining that my balance
required two points of stability
and the further apart from each
other those points drifted, the
more unstable I would be.
He turned smoothly,
moving my hand along with his
body, which pulled my shoulders
out into empty space while leaving
my hips and feet behind. I
stumbled forward to catch my
balance and all around the room,
eyes and smiles lit up like light
bulbs. You could practically see the
cogs turning in everyone’s head as
he demonstrated the concept over
and over again in multiple
directions, on varying levels and
with different types of initial
attacks.
“Same same, but different,”
Guru Mike announced with a
laugh. This initial lesson was one
that would crop up over and over
again and while
it’s easy to
explain, it’s
harder to
remember and
apply. Basically,
though, just
because
something about
the technique
changes, be it
the level, the
target, the part
of the body, the
direction, or
anything else,
doesn’t mean it’s not
the same concept.
Look to the core of a
technique and
examine the essence
and, oftentimes,
you’ll find that what
you thought was
important is actually
just an afterthought.
If you have a box, you
can wrap it a million
different ways, stick a
gazillion different
bows, ribbons, tags
or other trimmings
on it and drastically
alter its appearance.
Strip all of the “pretty” off, though,
and its still the same box.
Balance disruption works
the same way. Take part of the
body “A” towards the third point of
the triangle started by their feet
and the person falls over. You may
grab their wrist, pull their head,
twist their hips, tap their shoulder
or do a million other things but if,
at the end of the day, body part “A”
goes one way and body part “B”
either stays put or goes another,
gravity takes over. You’ll drive
yourself crazy if you try to
memorize all the variations.
Instead, strive to understand the
core concept, and the variations
will find you.
Since he demonstrated
most of what he was teaching on
me, I picked up a lot of truths in a
very up close and personal way.
For instance, no matter how
accomplished of a multitasker you
may be, it’s impossible to hit, kick,
take a breath or even think when
you’re falling over. True story - try
it. Your mind shuts off and
absolutely nothing happens
requiring conscious thought as
your instincts take over and your
body overrides everything except
regaining equilibrium. You start to
fall, you ref lexively take a step. If
you can’t take that step, you reach
out to grab something, and so on
and so forth. Attacking becomes
the last thing on your mind as you
struggle to catch up and stabilize.
This point is reiterated in one of
Guru Mike’s favorite sayings: “From
the moment I touch him to the
moment I stop touching him, he
should be in pain and off balance.”
I also learned that the more
you relax, the less impact hurts.
Whether that impact is a hit, the
ground or contact with your
opponent, being relaxed makes it
hurt less. Speaking of impact,
there are varying degrees of
hitting the ground. It begins with
simply falling over and ends
somewhere around being driven
towards the center of the Earth
with a million pounds strapped to
your pack. On a similar note, there
are different flavors of pain. Some
pain is a bit uncomfortable, some
you just think hurts and others will
make you want to vomit. That
grain of truth goes hand in hand
with the fact that there are joint
locks, and then there are smallcircle joint locks, and NEVER the
twain shall meet.
I experienced the maxim,
“smarter not harder” first hand as I
was swept, thrown, dropped,
taken down, off balanced and
knocked over more times than I
can count without being yanked,
man handled or forced to the
ground. At one point, I exploded
with, “EVERY TIME I TOUCH YOU, I
FALL OVER AND YOU BARELY DO
ANYTHING,” and I was answered
with a laugh. Guru Mike went on
to explain that if it’s hard, takes
effort or requires a lot of thought,
then you’re probably doing
something wrong. If your structure
is sound, everything else falls into
place. Movement is movement.
Don’t get too focused on what
exactly the movement is, but
rather, simply take care of the
space the movement occurs in.
Whether it’s a punch, kick, grab,
slap, elbow, or whatever, manage
the space and the rest becomes
easy.
Connect to your opponent
and stay connected while
maintaining good structure. When
you move, they’ll move. The
interesting thing, though, is that
small is big. Tiny movements
create huge results. If you know
what you’re doing, then you don’t
need big, wide, flashy movements.
Keep it small, keep it close, keep it
tight, and keep it real.
Anyone can power through
something, but when you can
accomplish the same thing with
the lightest of touch, then it’s
obvious you understand the
material. The closer you look, the
less you see. Boil something down
to its essence and don’t try to
differentiate or nit pick every tiny
detail. Always remember that
power and force are two very
different things. You can positively
flatten someone with minimal
force while generating a massive
amount of power.
The final time Guru Mike
waved me forward, he had a
Cheshire cat grin on his face as he
gleefully explained that this final
technique was devastating, brutal,
awful in every way, dif icult to pull
off, 100% a timing “thing” but that
when you could get it, it was like
magic. Just as curious as everyone
else by this point, I was surprised
when he told me to simply walk
towards him instead of throwing a
punch or other attack. I took a
couple of steps and before my foot
hit the ground on that third step
forward, my whole world went
topsy-turvy, both my feet
completely left the ground and I
fell out of the air to
land flat on my back.
I stared up at the
ceiling, confused, as I
first tried to figure
out which way was
up and then, once
that was done, how
to breathe again.
After what felt like
an eternity, I finally
bounced back to my
feet and as my
shoulders smacked
the ground the
second time around,
I figured out he’d
simply swept my
front foot just as, but
not after, I went to
put weight on it. He
literally pulled my own foot out
from under me as if it was a rug I
was standing on or a chair I was
going to sit in, and the effect was
identical to blithely walking across
ice. It was so simple, so easy, so
vicious and yet, required signif
icant practice, timing and
understanding of the same
principles we’d been accruing all
night.
By ending on that note,
Guru Mike drove home a crucial
point. Nothing is a magic bullet
and there are no “quick
fixes.” It’s possible to
simply know something
without understanding
it, and it’s even more
possible to understand
the theory without
being able to pull off
the application.
Though the
seminar topic was
“Stealing Bases,” he
exposed us to a lot of
varied knowledge and
each of us invariably
left with different
understandings of what
was shared. We all
encountered various
ways to get someone
from upright to off- balance or on
the ground, but we will all take it
home and apply it differently
depending on our background,
philosophy or course of study. We
were a divergent and mismatched
group, to say the least, but by the
end of the night, we’d pulled
together, accrued a few bumps
and bruises, gotten in some laughs
and as the night came to a close,
realized we were leaving with
more friends than we’d arrived
with.
As we walked out in a pack,
laughing, teasing, poking and
prodding, it was even more
obvious we’d learned something,
for everywhere you looked, people
were dropping like flies.
Handshake? Hit the floor. Take a
step? Hit the floor. Standing
around doing nothing? Hit the
floor. Hug, tap on the shoulder, or
almost anything else? Hit the floor.
We were balance disrupting
anything that would stand still
long enough and some things that
wouldn’t. While we were
shown and taught more
than I could ever put in words,
perhaps the final lesson
discovered for all of us at the
“Stealing Bases” seminar was the
old adage, “Gravity is a fickle
friend.”
Warrior’s Way Martial Arts recently hosted Grandmaster Crispulo Atillo for the first
ever Atillo Balintawak seminar in this part of the country.
During this seminar Grandmaster Atillo demonstrated his amazing system, the
original Saavedra syle of Balintawak. He personally worked with each student, perfecting
techniques and drills, working them over and over again to get it just right. His approach
is very personal and his sense of humor keeps the rigourous training fun and exciting.
Assisted by Master Derrick Dalan, he taught phases of the Atillo Balintawak system
from Elementary, Junior high, High School and College level. Including drills on striking
mechanics, blocking structure, block and counter drills, hand sectoring methods, clearing
the stick, clearing the hands and various drills from the Mother Spar.
During the seminar Grandmaster Atillo presented Guro Harley Elmore with an
official plaque and title of Successor and Disciple of Atillo Balintawak. This is a huge honor
and we are proud to teach and represent the Atillo Balintawak Escrima system.
Charity Martial Arts Seminar - Filipino Typhoon Victims
January 12, 2014
with: Mick Tully - Minnesota Kali Group
Jon Broster - Cabales Serrada Escrima / Rapid Arnis
SKJ - 59 Belgrave Gate, Leicester, United Kingdom
AGPS Martial Arts
www.trainagps.com
Mustafa Gatdula’s How to Build a Dominant Fighter in 12 Months:\
Using Lesson from the Filipino Fighting Arts to Build Dominant Fighters
By Mustafa Gatdula
This book is for Martial Arts teachers, coaches and fighters. We are NOT teaching the martial arts in this book.
Instead, I give you the steps needed to modify your system and teaching/training process to produce the
highest quality martial arts fighters. Using this method, which is based in the Philippine Martial Arts, can
enhance any martial arts program--regardless of style.
[Paperback] Price: $29.00
Amazon.com - Click Here
Philosophy of the Martial Arts: From the Perspective of the Philippine Martial Arts Practitioner
By Mustafa Gatdula
Collection of essays about the philosophy of the martial arts, from the point of view of the Philippine Martial
Artist. Some essays can be found on the Filipino Fighting Secrets Live blog.
[Paperback] Price: $29.00
Amazon.com - Click Here
Grandmaster Atillo Balintawak Seminar
January 11 - 12, 2014
Hampton Inn Wichita Falls-Sikes Senter Mall
4217 Kemp Blvd., Wichita Falls, Texas
Great seminar today in aid of victims of the Filipino typhoon, we raised £380!
A big thanks to Caz Skj, Abi & Jo Hicks for giving us the use of the gym for the day. And of course a huge thank you to Mick Tully, Al Peasland
and Neil Simkin for teaching. Neil (who is a black belt under world champion Braulio Estima) taught some of the finer details of taking the mount
and catching an armbar. I taught some Serrada Escrima defences and combined them in the Lock & Block drill.
The day finished with Mick ands Al teaching some nice panatukan. Thanks to all who attended. - Jon Two-Sticks
Pamuok Seminar in Luneta Park
with Lakan Ronnie Royce D. Base
January 12, 2014
Laraw Kali Pamuok Holds a Seminar in Filipino Empty-Hand Fighting
By: Reinier Dave P. Zapanta
Pamuok, a Tagalog word which means hand to hand fight is a Filipino Martial Arts that was developed by Lakan Ronnie Royce Base of Laraw Kali Pamuok.
It is a hybrid system of combat based on the 3 major FMA system namely: Panuntukan (boxing), Dumog (wrestling/grappling) and Kali (blade art).
Pamuok Reflection
By: Kashmir Dianzig Lopez, Davao City Philippines
The Laraw Kali Pamuok Filipino
Martial Arts Organization headed
by its founder, Lakan Ronnie
Royce Base facilitated a seminar
workshop on empty hand
fighting system which the group
called Pamuok. The training was
conducted in the open field of the
Quirino Grandstand, Rizal Park,
Manila with 25 attendees joining
the event. These participants came
from different styles practicing
the Filipino martial arts and
other foreign arts like Muay Thai,
Wing Chun and Southern Boxing.
Schools and other martial arts
organizations like the University of
Sto. Thomas FMA Group, Philippine
College of Criminology Arnis
Group, Lameco Escrima, Rapido
Realismo Kali and Sinag FMA
including novice students and
martial arts enthusiasts were also
present.Two (2) senior instructors
of Laraw Kali, Gat Ferdinand Ian
Cacatian II and Gat Alex Padohinog
also assisted in the training.
The seminar was initially
introduced by the definition of
the term Pamuok which Lakan
Ron defined as the “Art of Filipino
Hand to Hand Combat”. Pamuok,
as he defined it, is a tagalog word
which means “hand to hand fight”
(sometimes called as Pamuhok
which in the Waray-waray
dialect means “annihilation” or
“destruction”). Pamuok, according
to him is a fusion of three (3)
major systems of the Filipino
martial arts namely Panuntukan
(Filipino boxing), Dumog (Filipino
Upright wrestling/ grappling) and
Kali (blade art). It is an eclectic
hybrid system of combat that
follows the concept of discarding
the impractical and adapting
everything that is useful and
necessary.
During the event, the
following topics have been
discussed: Panuntukan entries and
its importance to combat, Bridging
of the art of Kali to empty hand
fighting, Dumog takedowns and
controls, How to utilize proper and
effective jerking techniques and
identifying the three (3) main parts
of a fight: initial engagement,
follow-ups and finishes and
incorporating the three (3) FMA
systems into it.
The seminar was concluded
with a little speech from
Lakan Ronnie, awarding of the
certificates and pictorials. It was
also announced and promised
that there would be a follow up
training and series of seminars
after the event.
It was on a bright January 12 on
Sunday at Luneta Park, in Manila
Philippines, that the first Pamuok
orientation seminar of the year
was held. It was participated by
students emanating from various
fighting clubs in Manila. The
orientation was conducted by
Lakan Ron Base the founder and
instructor of the Filipino martial
arts called Laraw Kali Pamuok FMA.
Based on the Sri-Vijayan
harmless. A punch to one’s face
may be intercepted by a simple
tap, same time; one may use his
elbow to smash the face of an
opponent.
The practice of Pamuok is
not a child’s play. Lakan Ron Base
is teaching a dangerous art of
Filipino self-defense system whose
honored tradition goes back to the
Sri-Vijayan era.
However, because of his
heritage of the Malay people, the
techniques of Laraw Panuntukan
showed how ancient Filipino
warriors fought their enemies. It
capitalized on speed, power and
devastating fist entries.
The practice of the 1st and
2nd drills alone gave us insight on
how punches, lunges and grabs
can be effectively intercepted and
neutralized, only within seconds.
Lakan Ron also taught us how
to destabilize and opponent’s
balance as this would somehow
affect his sense of timing thereby
rendering him vulnerable to
counters and smashing follow-ups.
Furthermore, he showed us how
our speedy response to an attack
can actually make the attack
eclectic and gentleman’s approach
to the art, Lakan Ron Base provides
his students different insights of
how an attack may be neutralized
without actually killing a person.
He says that one may just opt
to subdue him to the ground or
apply arm locking techniques.
All in all, we are happy
to have experienced this newly
reformulated art form that fuses 3
major FMA systems (Panuntukan,
Dumog and Kali). It helps us
remember our roots as practical
people with dignified warrior
heritage.
And with an open-minded
teacher at the helm like Lakan Ron
Base, we are sure that the art will
spread a long way.
Jonathan Belila
Wing Chun Practitioner
Sunday, January 12, 2014 is a great day for me because I am going
to attend a seminar of Laraw Kali Pamuok Filipino Martial Arts System and
Pamuok which means hand to hand fight or annihilation in other dialect
was the topic of the day. Everybody was excited and curious to learn this
unique fighting system combining 3 major Filipino martial arts (Panuntukan,
Dumog & Kali). We are more than 20 people who attended the event.
Lakan Ronnie Royce Base, the head teacher of the group started by
explaining to us the principles of Pamuok showing the relationship of the 3
systems where the art has been derived. He demonstrated the bridging of
Kali into the art of empty hand.
At first, it seems a little bit hard to follow and adapt since it was
really different to what we have learned in each of our own systems but as I
watched closely and listen to his instructions, I didn’t notice that I am coping
up easily. I find the system interesting, simple and practical. Everyone in the class enjoyed the training that we even forgot to take a rest. And during
the break, I even asked Lakan Ronnie about knife disarming which is not on the topic but he didn’t mind and showed me the simplest and quickest
way to neutralize the weapon using the art of Pamuok. I remember him saying “any time wasted in your execution of technique can give your
opponent a time to counter so don’t let that to happen. Keep your strikes short but powerful and always maintain appropriate distance”. He also
reminded us that proper technique only comes from mastering the basics and fundamentals.
I’ve been studying different styles of martial arts like Combat Aikido, Modern Arnis, and Chinese Boxing but I’ve never experienced this kind
of fighting system that is effective, simple, practical and street wise. I must say that I don’t have to learn JuJitsu or western boxing anymore because
there’s already Panuntukan and Dumog with the principles of Kali. I am very much thankful and blessed that I met Lakan Ronnie and I hope his
group will continue to grow local and international.
Whipping sound of rattan canes,
intricate stick motions and fluid
movement of weapons - these and
other weapon-based images often
cross the mind of the common
folk whenever they hear a “Filipino
martial arts seminar.” However,
last January 12, 2014, Laraw Kali
Pamuok, a Filipino martial arts
group Founded and Headed by
Lakan Ronnie Royce Base broke
away from this usual Filipino
martial arts image and conducted
a seminar tackling the topic of
empty-hand fighting which he
calls “Pamuok.”
Beneath the cloudy
skies of Rizal Park, Lakan Ron
demonstrated a series of emptyhand tactics and techniques
that ranges from simultaneous
parrying and striking, takedowns
and joint-locks. This system which
he calls “Pamuok” is all about
the unarmed aspects of Filipino
martial arts. “Pamuok”, according
to him, is a term that encompasses
the necessary knowledge for an
empty-hand fight; from entries,
vital-point striking to takedowns
and submission holds. It also refers
to “using your empty-hands to
annihilate the opponent.”
The seminar started at
9:00am and ended at 12:00pm and
was open to everyone interested
in learning the art. It was attended
mostly by practitioners of other
arts, both within the Filipino
martial arts systems and outside
it. Representatives from groups
like Lameco Eskrima, Muay Thai,
Wing Tzun, Southern Chinese
Boxing, University of Sto. Thomas
FMA, Philippine College of
Criminology were present as
well as a handful of martial arts
novices who wish to experience
this aspect of the Filipino martial
arts. Within the given time, Lakan
Ron taught useful concepts that
can be roughly divided into
three: engagement, striking and
takedowns.
Lakan Ron started with the
topic of engagement or entries.
According to him, this is one of the
most important skills to learn as it
initiates the fight itself. Although
there are several possible ways of
engaging your opponent or taking
up his space, the core idea of his
entries revolve around parrying
and side-stepping from the line
of attack while simultaneously
striking the opponent to disorient
him. This, in turn, would prepare
you to execute the next two topics
covered.
The striking aspect, called
“Panuntukan” was discussed as a
follow-up to the entry. Here, Lakan
Ron taught proper positioning for
strikes; where to strike and how
to follow-up with a parry and a
series of more strikes. The idea
relies on taking advantage of the
opportunity created by the initial
engagement and raining down
multiple strikes to the vital areas of
the opponent. It also consist of the
so-called “dirty tactics” inherent
in the Filipino martial arts from
stepping on the foot to attacking
areas such as the eyes, throat and
groin. These are usually frowned
upon in the fighting ring but are
often necessary for surviving a
street encounter.
The next topic that was
tackled is the Filipino way of
takedowns and submissions; the
art of Dumog. Like its striking
counterpart, Dumog consists of
unconventional or unexpected
takedowns and submissions,
ranging from foot trapping,
neck-cranking and small-joint
manipulations. These standup grappling, takedowns and
submission concepts can be
applied after the engagement or
entry and would either restrain an
opponent or make them submit
due to pain. However, according
to the Lakan and his group, in a
real fight, the goal is not to make
your opponent submit but rather,
incapacitate him until the intent to
harm you is no longer present.
One beautiful aspect of
the art of Pamuok is that these
three concepts easily flow within
each other. One can engage an
opponent then immediately
follow up with several strikes from
Panuntukan then finish off the
opponent with a takedown or
submission from “Dumog”. In fact,
the way Lakan Ron and his group
taught it makes it necessary to
combine all of it in one, smooth
flow.
“These techniques are not
fixed”, he said while executing one
of his Pamuok techniques. “One
can always improvise depending
upon the situation. What we
are teaching are concepts that
will help you improve your own
techniques and perhaps add up
to your fighting repertoire.” He
continued, emphasizing on the
notion that it is the creativity of
the person that would define
his or her own set of “Pamuok”
techniques.
Martial Arts of the Philippines
Balintawak International
Cebu
By: Sam L. Buot Sr.
Over, 280 pages of Historical and Technical aspects of Balintawak. This is a book that any practitioner would want in
his or her library. This book is on CD.
United States - $35 USD - this includes Shipping & Handling.
Outside the United States - $45 USD - this includes Shipping & Handling.
Note: This book is in PDF form on disk. It can not be Printed.
Visit: ( www.buot.net ) merchandise section.
FCS Family Gathering
January 17, 2014
FCS Headquarters
1910 Barton Park Road
Suite 1001, Auburndale, FL.
Photo Courtesy of: Janel Norton
Giron Arnis Escrima - Bahlala Na
January 18, 2014
NAK (Nu Alpha Kappa) Fraternity
University of California, Davis, CA.
Filipino Martial Heritage - Stick/Palmstick Workshop 2
January 18, 2014
Colorado Center
2500 Colorado, Santa Monica, CA.
Guro Victor Gendrano Jr of Filipino Martial Heritage taught a workshop Jan 18,
2014. It was held in Santa Monica, California. The main topic was the use of the palmstick
(dulo-dulo). Off-balancing principles from the art of Silat was blended in to aid in the
takedowns. The second topic for the workshop was single stick locks & controls.
Guro Victor is an instructor under Guro Dan Inosanto. He has been teaching at the
Inosanto Academy since 1994.
filipinomartialheritage.tumblr.com
Today we had the great opportunity to
share Giron Arnis Escrima with the great group
of young Mexican American Students of NAK
(Nu Alpha Kappa) fraternity at UC Davis. Joel
Juanitas would like to thank the practitioners
that assisted Edward Casillas, Daniel Ramirez
and Leo Juanitas for presenting a professional
and informative seminar on the educated
hands of Bahlala Na. - BahalaNa.org
2nd Lameco Eskrima DVD featuring Guro Dino Flores released by Budo International
Lameco Eskrima “Solo Espada”
This dvd is focused in long distance with the sword, a special training that was heavily influenced
by Great Grandmaster Antonio Ilustrisimo. Guro Flores will teach you the differences in strategy in long
distance with either stick or sword, the footwork and five of the 12 Eskrima Drills in detail with their
applications and variations.
Guro Dino Flores has focused this work on long range distance, a distance you must master
before venturing into medium or short range distance with any weapon and without protective gear.
The 12 Eskrima Drills are a combination of the movements Punong Gruo Sulite found most common in
real combat situations and referred to them as the “Soul of Lameco”, because many hidden secrets are
found in these apparently simple exercises. Though most of the Eskrima exercises can be done either
with stick or sword, this dvd is focused in long distance with the sword, a special training that was heavily
influenced by Great Grandmaster Antonio Ilustrisimo. Guro Flores will teach you the differences in
strategy in long distance with either stick or sword, the footwork and five of the 12 Eskrima Drills in detail
with their applications and variations. These exercises are essential in order to understand the Great Art of
Fighting know as Lameco Eskrima.
Languages: English, Espanol, Italiano, and Francais
To Order Click Here
Villasin Balintawak Arnis: From the Beginning
Grandmaster Ver Villasin
Hosted by Master Mel Orpilla
January 18, 2014
Island Warriors Dojo
1027 Alabama St., Vallejo, CA.
Island Warriors Balintawak Arnis in Vallejo CA., hosted Grandmaster Ver Villasin for a seminar he
titled - “Villasin Balintawak: From the Beginning.” Held on Saturday, January 18, it was hosted by
Master Mel Orpilla, Grandmaster Villasin’s top ranking student. The objective of the seminar was
to teach students, old and new, the roots of the Villasin system of Balintawak Arnis.
Balintawak is taught
throughout the United States
from Charlotte, North Carolina,
home to Grandmaster Bobby
Toboada, to the West Coast
where Grandmasters Nene
Gaabucayan and Crispulo”Ising”
Atillo teach the art in the Los
Angeles area. However, in
Northern CA., Balintawak has
only one Grandmaster - Ver
Villasin. Grandmaster Villasin has
Balintawak Arnis in his blood. Born
and raised in Cebu, he is the only
person from Northern CA. who
trained with the original founder
of Balintawak - Venancio “Anciong”
Bacon.
Grandmaster Villasin
started the Villasin Balintawak
Arnis Academy in Vallejo, CA.
in 1994, with the assistance of
Mel Orpilla, who managed the
Bayanihan Center at the Seafood
City Shopping Center. “When I
opened the Bayanihan Center,
I had always wanted a Filipino
Martial Arts class to be taught
there,” said Orpilla. “When I met
Grandmaster Villasin I immediately
asked him if he wanted to teach.”
With a handful of students,
Grandmaster Villasin had his
first class that included Orpilla,
Alex France, Alex Ercia, Allan
Ilagan, Sam Tagulao and the late
Val Flores. Villasin Balintawak
Arnis was now being taught in
the Northern San Francisco Bay
Area for the first time in history.
However, with Vallejo being an
historic Filipino enclave dating
back over one hundred years.
Balintawak was not the first
Filipino martial arts taught in
there.
Modern Arnis, Kombatan,
Doce Pares, Sayas-Lastra System,
Baes Tres Manos, KajuEscrima
and Original Giron Escrima had
been or were also being taught
in Vallejo. Outside of Stockton,
CA., Vallejo had possibly the
most Filipino martial arts schools
anywhere in the US. Most were
taught is garages, karate schools,
or community centers and not
their own dojos. Some of the
noted Grandmaster’s and Gurus
teaching in Vallejo were Michael
Giron, Jon Baes, David Ducay and
Alex France. Vallejo was also the
stronghold of Kajukenbo, taught
by Grandmaster Emil Bautista
since 1968. “No matter what the
name of the art, it all flowed from
the same roots into one big tree
called Filipino martial arts,” said
the stick.”
Grandmaster Villasin. With this
After the
attitude, there exists a strong
history lesson,
brotherhood amongst the Filipino Grandmaster Villasin
martial arts practitioners in Vallejo led the participants
today.
through an exercise
Grandmaster Villasin demonstrates feeding
Grandmaster Villasin
of advanced hitting
the #1 strike to Guru David Ducay
operated his Balintawak Academy
of the twelve strikes.
till a change in jobs forced him to
With the assistance of Master
like a gun.”
discontinue regular classes at the
Orpilla, he demonstrated the
By the end of the
Bayanihan Center a few years ago.
proper body mechanics of the
seminar, the participants got a
However, he continued teaching a “authentic” Balintawak strikes.
taste of the art as taught by a
few private students in his garage
He emphasized that the student
true Grandmaster from the old
in his spare time. By this time
should “focus” their shots and shift school of Filipino martial arts
Master Mel Orpilla opened his own their body weight to maximize the practitioners. “If you want to go
dojo and named it Island Warriors
full power of each blow.
further in the art, you have to
Balintawak Academy in honor of
The sound of sticks
teach,” said Grandmaster Villasin.
not only Villasin Balintawak but
“swooshing” through the air
“You will see yourself in your
also his Kajukenbo roots. Both
signified that the participants were students, he added. If that is
arts are integral to his belief that
learning the proper techniques.
true, then the Villasin Balintawak
Filipinos are all descended from
“To aim where you want to hit
students in the Northern Bay Area
warriors and need to continue to
your opponent, put it on your
have the clearest reflection of the
practice their fighting arts while
body first,” instructed Grandmaster art right in their own backyard
learning their history and culture.
Villasin. “Also, every time you hit,
through Grandmaster Villasin.
The seminar brought the
reload the stick for the next blow,
participants to
the very roots
of Balintawak.
According to
Grandmaster
Villasin, “Tatay
Anciong was the
last remaining
student of
Lorenzo Saavedra
after WWII. He
popularized the
close range single
stick fighting style
when so many
others were using
double sticks.”
He named his art
after the street
Grandmaster Villasin demonstrating the Strikes to the Seminar participants.
where his first
Front row: Josh Baker and Guru David Ducay.
class was taught Back row: Luciano Valero and Jonathan Valenzuela.
Balintawak.
Grandmaster Villasin’s
father, Jose Villasin was so
fascinated with the speed and
power of Tatay Anciong, that he
stopped training in his own family
style and became one of Bacon’s
top students. “My dad was credited
with helping Tatay Anciong
develop his art into a fighting
style that was easy and safe to
learn,” said Grandmaster Villasin.
“Before my father developed the
numbering system of the twelve
strikes and five groupings, there
would be teeth, hair, and blood on
the ground after their Balintawak
classes. But his new teaching
techniques ended that. My father
said that a teacher should never
harm his students. My dad loved
Josh Baker and Luciano Valero
Left-Right: Kajukenbo Grandmaster Emil Bautista, Jonathan Valenuela, Luciano Valero,
KajuEscrima Guru David Ducay and Master Mel Orpilla
Modern Arnis Tapi Tapi Seminar
January 18-19, 2014
Tarlac City, Philippines
Discussed was the Classical Style, Kuridas system and the Tapi Tapi
concept. We did a rigorous safe and fun training. On the 1st day we had a
draw lots standard Anyo contest and knife fighting competition.
On the 2nd day of the seminar, the participants learned the advance
Tapi Tapi, the actual IMAFP Competition sparring and judging. - Samuel
Bambit Dulay
www.bambittapitapi.com
Lameco Eskrima with Guro David Gould
January 18-20, 2014
Margaret Pace park
1745 N Bayshore Dr, Miami, Florida
We had an excellent 3 days of training with Saturday starting in Miami with single stick
Laban Laro. After lunch we continued with single knife Palosutan. Sunday we continued the
study of single stick Laban Laro and concluded with Espada y daga.
Monday nights session in Orlando focused on single sword.
One of the main concepts used thru out the seminars was “In Combat, there are no
guarantees, only opportunities...”
We must train to be aware and take advantage of those opportunities. - Chad Bailey
practice the #1 Strike
Note: Balintawak Arnis classes are held at the Island Warriors Balintawak Academy, 1027 Alabama St., Vallejo, CA.
Contact Master Mel Orpilla (707) 477-1159 or Email: [email protected] / Website: www.islandwarriorsbalintawak.com
Guro Chad Bailey (Progressive Arnis) and Guro David Gould (Lameco Eskrima)
I just wanted to thank Chad Bailey and his guys for
making the Miami Beach seminar happen over the
week-end. It was great to meet you all and to have
a chance to train with you and share the Lameco
Eskrima System with you all. As well as the Orlando,
Florida work-shop. Also it was great to see and
have dinner with our friend Bram Frank while I was
down in Miami. Until next time keep challenging
yourselves guys! It is the way to positive growth.
David E. Gould
Sama Sama Sa Pagbabago 2014
Sayoc Fighting International
January 19, 2014
Casa Hacienda,Tejeros Convention, Rosario,
Cavite, Philippines
Headed By “President: Lakan Joseph Edgar Roquid and
Chairman: Lakan Leopoldo Lasaleta Jr.
This day’s event showcased Sayoc Arnis, Mano Mano,
Karambit, long and short bladed weapons and the whip.
Other Filipino martial arts Grandmaster were also
invited who demonstrated their different systems.
Grandmaster Jay Saceda Jumawan
Sayoc Intl Pinas: Facebook Click Here
Steel Baton EDC
By Darrin Cook
Darrin Cook has just published a book on Amazon Kindle, Steel Baton EDC (Every Day Carry).
If you have read the Big Stick Combat blog for any length of time, you know that Darrin
Cook feels that many martial arts are trapped in a time warp, using training methods, weapons,
uniforms, and customs that made sense years ago in another culture and another environment.
Martial artists commonly don’t examine these cultural trappings and anachronisms, such as
going barefooted, swinging swords and nunchaku, kicking to the head, deep stances, etc.
More insidious are subtle assumptions, such as fights beginning at a comfortable distance, that
combatants are known to each other (and not jumped from behind), or that fighting starts after
your weapon is drawn, and that weapon just so happens to be a hook sword or a three-sectional
nunchaku.
This is a difficulty that Darrin has with the Filipino martial arts: When are you going to
have your stick with you? While a 28-inch rattan stick is a good training tool, and fits within the
context of the Philippines, it is out of place here in the US. Each of us must ask a critical question
–what weapons are legal and practical for me to carry in my everyday environment?
If it’s legal for you to have a 28-inch rattan stick, it’s legal to have more effective weapons
such as the baseball bat and the short, heavy stick. The club and short club weapons like the sap
and the blackjack are ignored in the Filipino martial arts, yet we know that these are effective
weapons, in addition to being more practical to carry.
For Darrin, the collapsible baton is a game changer. It is the modern version of the stick, but with
the advantage that it can be practically carried on a daily basis. This is the central premise of
Steel Baton EDC; carrying a collapsible baton like the ASP P16 and a neck knife. The baton and
the knife work synergistically. The baton offers a non-lethal capability that the knife lacks. The
knife can be used to deter takedowns and grappling, the weaknesses of the stick. The knife can
be used to create room to draw the baton.
Let’s return to the problem of Filipino martial artists beginning weapon in hand from a fighting stance. Reality is that you may very well have
to draw your weapon while under attack. Steel Baton EDC begins with an instinctive empty-hand counter-ambush technique. This technique can
also be “weaponized,” meaning that it can be done with weapons in the hands. The aim is to create a gap so that you can draw your main weapon,
which could be the ASP P12, a sap, a blackjack, a knife, or a gun.
The big picture is a versatile system, that can be used with a variety of weapons, from knives, to clubs, to tactical pens and guns. Everything
in Steel Baton EDC is compatible with everything in Street Fighting Weapons. Darrin Cook was just reading a steel bangle technique while updating
Street Fighting Weapons and was surprised at how well it fits in with “The Move,” the instinctive counter-ambush technique in Steel Baton EDC.
Kindle Price: $2.99
Offered Throguh Amazon: Click Here
1st Official FFA Gathering 2014
January 21, 2014
Exploration Park near Mountains Edge, Las Vegas, NV.
Guro Igz Caz, Co-founder of Yuli Romo Filipino Fighting
Arts with Maestro Yuli’s adopted daughter Guro Kira Felin
in Las Vegas NV. Established in 2013 under the blessing
and specific instruction of Maestro Yuli;Guro Igz Caz and
Guro Kira, are Maestro Yuli’s most senior students based in
the US who have trained with him for an extended period
of time.
Although there are others scattered across the Unite States who have
trained with Maestro Yuli and represent his art, we carry only his name and
represent him directly.
Good food, good flow, great shirts and the most awesome peeps!
Thanks to all who made it out today, Mabuhay guys! - Guro Caz
Health and Safety
Cutting Household Costs
By Zena Sultana Babao
In virtually every part of our lives we
can find some easy ways to reduce the
cost of living - on housing, energy, cars,
food and health - contributing to our
Financial Health. A little forethought
can help us cut our expenses
significantly without depriving us of
anything we really need.
And don’t think cutting out the small things won’t help save
money. Small savings actually compound over the years to produce
big savings. I shared with you “Cutting Energy Costs” last time, and
today I am sharing with you “Cutting Your Home Costs.”
Cleaning
Cleaning your house doesn’t have to mean cleaning out your
wallet. Here are some big and small ways to save on cleaning costs.
Off with your shoes! Dirt doesn’t just happen; most often, it comes
traipsing through the door. By getting into the habit of removing and
storing your shoes the moment you enter, you greatly reduce wear on
your floor and rugs and reduce your cleaning needs and costs.
Hit rock bottom. Don’t toss your spray bottle because it won’t spray
the little bit of cleaning fluid left at the bottom. Drop marbles or
pebbles into the bottle until the liquid reaches the bottom of the
suction tube. You won’t waste the cleaning product - or your money.
Time your dry cleaning. January, July, and August are quiet months for
dry cleaners – and the perfect time for you to take advantage of their
discounts. Clean big-ticket items like drapes, coats, and bed linens
during these months.
Save on cleaning supplies with used dryer sheets. Use them to wipe
off your TV and computer screens - you’ll clean them and keep dust
from resettling at the same time. Works on venetian blinds too
Improve your mop. Don’t throw away old panty hose; instead, cut off
the leg between the knee and the top, and slide it over your dust mop.
It works just like your electrostatic mop, but it’s cheaper and – unlike
its more expensive counterparts - can be cleaned and used again.
Clutter
Keep clutter at bay, and keep your household costs down.
Here’s how to do both.
Hang it up. Stop contributing to clutter and start saving money by
simply hanging up your clothes when you’re done wearing them. You’ll
put off the expense of dry cleaning and keep your house neater at the
same time.
Organize and save. Keep a box by the front door for library books and
other items you need to return. Use shelf organizers and lazy Susans
to keep your pantry in order, and you’ll stop spending money for items
you already have.
Contain yourself. Take the surprising number of unused containers
you have lying around the house and put them to work organizing
clutter. Use ice cube trays to store jewelry. Put videos in show boxes.
Store sports/martial arts equipment like rattan sticks, bahi, bangkaw,
bladed weapons, and baseball bats in an upside down bar stool. Get
creative and save!
Make a donation box. Toss everything you should get rid of but can’t
part with - old toys, no-longer-worn clothes, never-watched DVDs,
and so on - into a big box and seal it. After the year passes, and you
discover you didn’t need anything in the box, donate the box to
charity.
Don’t add to the clutter. Keep a list titled “Do I Really Need It?” with
you when you shop. When you find an item you crave - but aren’t sure
you need - add it to the list. Writing it down will make you rethink the
purchase, and the list of items you thought you needed you can do
without, and thus save money as well.
Looking Good
You know how to shop the sales and check out the outlets. But
do you know how to maintain your wardrobe and shoes so that they
last?
Make it clear. Protect pockets of coats and blazers with clear nail
polish. Simply apply the polish to the edges of pockets. It will reduce
the wear on the pockets and will last through many washing. Reapply
the nail polish when it wears off.
Accessorize for change. If your clothes are still in perfectly good shape
but you are getting bored with them, don’t buy new clothes. Just buy
accessories! Use scarves, jewelry, fancy buttons, and other accessories
to dress up and camouflage what you already own.
Swap and save. Invite friends over to trade clothes you all no longer
want. You can swap any item for another as you see fit. You’ll quickly
discover that one person’s sweater that was headed for the trash is
another person’s treasure.
Store and clean shoes properly. Shoes should be stored in their
original cardboard boxes, or on a close shelf, to help prolong their lives.
Don’t store them in plastic shoe boxes or bags or anywhere they won’t
air out. Clean them with WD-40 to quell squeaks. It lubricates the
leather and make your shoes last longer.
Entertainment
Have fun, save money - it is easier to do than you may think!
Check out the tips below for ways to do both.
Usher in the savings. Volunteer as an usher at concert halls and
theaters. You’ll get to enjoy the evening’s entertainment for free! Ask
your local music hall or theater if they need help, or go online and
search for volunteers and ushers plus the name of your town to find
out which opportunities are available.
Check your clubs for savings. Do you belong to AAA or AARP or
any other similar clubs? If so, find out what kind of discounts they
offer beyond the obvious. You may find deals on cultural events,
amusement parks, movie tickets, and sports events.
Swap and save. Trade your favorite book for your friend’s favorite DVD.
Give your friends cooking lessons and they’ll give you other lessons in
return. The possibilities are as endless as your imagination.
Look past the pros. Check out high school sports to see future stars on
the rise. You’ll score better seats, less expensive snacks, and probably a
more surprising and exciting game. You can find the same excitement
at low prices at minor league games too.
Go local. Call your parks and recreation department or check
out your local paper to find out what’s going on in your town.
Chances are you’ll find free or inexpensive concerts, plays, lectures,
art exhibits, book groups, nature walks, bird watches, and even more.
Check out your local colleges for other great sources of inexpensive
entertainment.
Filipino Tattoos: Ancient to Modern
By: Lane Wilcken
Tattooing is a very old and spiritually respected art form that has existed in many different cultures around
the world. After many centuries of not being practiced in Europe, tattooing was re-introduced to the
Western world through the inhabitants of the Pacific Ocean. Beginnning in the 16th century, European
explorers came across many people who practiced tattooing as an integral part of their cultures. This is the
first serious study of Filipino tattoos, and it considers early accounts from explorers and Spanish-speaking
writers. The text presents Filipino cultural practices connected with ancestral and spiritual aspects of
tattoo markings, and how they relate to the process and tools used to make the marks. In the Philippine
Islands, tatoos were applied to men and women for many different reasons. It became a form of clothing.
Certain designs recognized manhood and personal accomplishments as well as attractiveness, fertility, and
continuity of the family or village. Facial tattoos occurred on the bravest warriors with names that denoted
particular honor. Through the fascinating text and over 200 images, including color photographs and design
drawings, the deep meanings and importance of these markings becomes apparent.
Available at: Schifferbooks.com and Amazon.com.
www.cnaherbs.net
At CNA Acupuncture Clinic, Dr. Zhang and her staff strive to provide the best acupuncture care. Some of the major treatments we provide:
Gastrointestinal disorder:
Food allergies, peptic ulcer, chronic diarrhea, constipation, indigestion, gastrointestinal weakness, anorexia, gastritis
Urogenital disorders:
Urinary incontinence, urinary tract infections, sexual dysfunction
Gynecological disorders:
Irregular menstruation, dysmenorrhea, infertility, premenstrual syndrome (PMS)
Respiratory disorders:
Emphysema, sinusitis, asthma, bronchitis
Disorders of bones, muscles, and joints:
Neck and shoulder pain, lower back pain, arthritis
Cardiovascular disorders:
Hypertension, angina pectoris, arteriosclerosis, anemia
Emotional and psychological disorders:
Depression, insomnia, anxiety
Addictions:
Alcohol, smoking
Acupuncture
Oriental medicine is a holistic approach, which is based on the treatment of all bodily systems. Acupuncture benefits the improvement
of physical health conditions as well as affective disorders and instills a feeling of increased mental clarity.
Herbs
Herbs can be a powerful adjunct to acupuncture care. They are used to strengthen, build and support the body or to clear it if excess
problem like a cold, fever or acute pain. Chinese medicine categorizes pain and disease in terms of the energy in the body being out of balance.
This out of balance is either diagnosed as being excess or deficient, or a combination. An acupuncturist will gather information about the
history of the headaches, inquire as to what factors aggravate or alleviate the symptoms, analyze all bodily functions, examine the tongue and
take the pulse. A pattern of disharmony between the meridians and their associated organs in the body becomes apparent.
Acupressure
Acupressure uses the same principles as acupuncture, replacing the needles with pressure from the fingers or hands. It is a massage
technique that moves Qi in various parts of the body. In facial acupressure, the technique is used to correct the internal imbalances that
manifest in the face’s wrinkles, sagging, discoloration, dark circles, or “bags” under the eyes.
Facial Treatment
Herbal Facial treatment is one of the series of Oriental Medicinal Treatment. It’s especially effective if skin trouble comes from
dysfunction of internal organs. Acupuncture and Chinese medicine can provide a safe, natural, and drug-free approach to reduce signs
of aging. A facial rejuvenation using this ancient technique can improve muscle tone of the face and neck while addressing underlying
imbalances that may have contributed to the aging process.
Facial treatment is good for skin allergy, acne, spots, rough, sensitive and allergy skin, If you have wrinkles, headache, stress and
insomnia, the herbal mask will bring you good result.
Cupping
Cupping is a technique in which a glass cup or bamboo jar is suctioned onto the body. This technique stimulates circulation, relieves
swelling, and enhances an acupuncture or Electro-acupuncture treatment. Cupping is used for many conditions including: neck and should
pain, back pain, common cold, and influenza.
Dr. Li Zhang was formally trained in China and received her Doctor of Oriental Medicine (O.M.D.) from South Baylo
University in California. She has served the Torrance and South Bay communities since 1998 in Torrance, California.
She is a licensed California Acupuncturist (L.Ac). She is also NCCAOM Board certified in Acupuncture and in
Chinese Herbalogy (National Certificate Commission for Acupuncture and Oriental Medicine).
Dr. Zhang is a compassionate health care provider who treats her patients with compassionate care. She
provides a professional and safe environment that allows patients to become a part of their own health care. Dr. Zhang
is also very knowledgeable about alternative medicines that provide patients with the information they need to make
educated decisions.
Dr. Zhang’s nature, safe, and effective treatments will enable you to enjoy a healthier life.
CNA Medical Group Inc. is currently accepting new patients.
To schedule an appointment please call: (310) 328-8858.
Tid-Bits (Fact, Fiction, Fantasy or Gossip?)
Decorated Judoka Retires
By Marianne L. Saberon-Abalayan
Sun Star Davao - December 28, 2013
When a National Arnis Tournament is Handled by Amateurs...
By Sony P. Sy
Palis Sagasa Arnis Pilipino
What do you think when a
National Tournament in Arnis
occurs and it is run and managed
by amateurs (tournament director,
referees and judges)?
It has been 22 years ago…
that was the last time I competed
as an arnis player myself. Now,
the spotlight is on my school
team - Palis Sagasa Arnis Pilipino,
a team composed of young
adults ranging from 14-17 years
of age. It is their first National
Arnis tournament (outside of the
Department of Education’s Sports
Meet). We are all excited and eager
to play ,show our craft so to speak.
But in our disappointment, we
experienced a worst tournament
ever! Why ? This is why.
The referees and judges
are mostly rookies,they obviously
have never even competed in
an Arnis arena in their life .The
judges don’t even know how to
use the scoring machine properly;
they are all confused and rattled
because most of the competing
team are all well-prepared and
veterans. They seem to be blind
or somewhat slow to react to
the fast paces of the exchanging
blows, blocks and attacks of the
competing team. Some of them
giving points to the person who
didn’t score or maybe because
they favoured a compatriot’s or
their team to win? These amateurs
only know the basics of arnis
(precisely because they have never
competed in their entire lives. They
only know the technical side of the
sport). They are mostly ignorant
of the advance forms in attacks,
blows and blocks hence they do
not know a legitimate strike or
block when it happens. One of
my players got injured (flyweight
division). He sustained a cut on
his left eyebrow (despite the
headgear); an accident happened
but no complaint was made.
Then here comes the tournament
director, telling me that the
accident is my student’s fault, for
wearing a headgear not fit to his
size? Hello? He’s just a kid.
In the first place, it is
the organizers of the national
tournament who provide the
equipment and gears. Instead of
the Coach being allowed to don
the protective gears on his own
athletes, the organizers took it
upon themselves to delegate
this task to their own people
(who probably don’t even know
how to fit these gears properly
themselves!) And you blame us…
making us as a scapegoat for your
incompetence. It was an accident.
Leave it that way. Why the
uncalled for remark? He was lucky
I was kind that day amidst my
frustration and dismay to the poor
judgement and abuse of discretion
of the referees and judges. Our
team qualified on the final round,
but we decided that, it is no longer
healthy and safe to continue our
conquest. We defaulted our games
as a way of protest.
The last but not the
least ”palpak”(travesty) of the
tournament…. the certificate of
participation is not even worthkeeping because it was printed on
a mere ½ size sheet of laid paper
(not even a whole sheet), hurriedly
done, worth more or less around 5
US cents.
And that the coaches,
according to the Tournament
Director don’t have any
(certificates), because it was our
fault again that we didn’t give
them three-days notice that a
certificate should also be awarded
to the Coaches. As far as I know,
a COACH is the most important
member of a team; the captain of a
team.
He or she exert effort to
build or compose a team; we don’t
have to ask or beg for a certificate.
It is already understood that we
are entitled to have one or at the
very least a certificate should be
issued for the participating team
club. It is a token of appreciation
and respect for us, as we have
shown our appreciation and
respect to the organizers of the
tournament by joining. Without
the clubs’ joining, an event such as
this would have failed miserably.
So we don’t owe you. You
actually owe us. Organizers (and
a national tournament at that!)
should have the right people
doing the right jobs and not allow
a national event to be handled
by mediocre people who know
not an iota about organizing an
event. I know whereof what I am
speaking of because I used to
organize tournaments myself. I am
no stranger to it.
honed as responsible citizens of
this country, as young as they
are, (elementary, high school
and college) they must see for
themselves they are luckier than
some other kids and they must
learn to give importance to what
they have and learn to be humble
and give or share to those who are
less fortunate.
Guided by the virtues of
bravery, honor and responsibility,
members of the TCMAS-BAASI are
taught the value of being human
responsive to the reality of life
and not being boastful of any
achievement but learning to be
more assertive of getting better
individually for the sake of the
whole.
Each member is also
reminded always there is no
individual member who is better
than the other, each becomes
better because the team is intact.
No one is individually better in the
team, but the team is the best as a
whole.
As each member learns
to be stronger as a person, each
member also learns to care for
others, activities like this will
always be a reality check the
world is a place of challenge that
if not prepared for becomes a
hard obstacle to overcome, on the
other hand, each member also
realizes the world is never running
out of opportunities, always
presenting chances of betterment
and change.
The TCMAS-BAASI will be
cooking for the kids at the center,
organizing games, intermissions to
cheer the children and distribute
crayons, coloring books and some
clothes and other things they can
use.
It will not be enough but
the clan hopes it could at least
spark hope in their hearts. The
TCMAS-BAASI is also inviting those
who are interested to join us or
dole out anything for the children.
Sharing the Blessings
By Jayson Vicente - The Path
Sun Star Baguio - December 26, 2013
The Tribal Clan Martial Arts
System-Baguio Arnis All Stars Inc.
(TCMAS-BAASI), is set to share its
wonderful blessings of the passing
year by visiting the Reception
and Study Center for Children in
Wangal, La Trinidad as part of the
celebration of the holidays.
The project was
conceptualized for months and
months and will finally be pushing
through on December 28 as the
TCMAS-BAASI way of reaching
out to the community originally
coined by one of TCMAS-BAASI’s
Lakan (Black Belt) sir Peter
Adlawan of NUPAI PRO-COR
together with this author, the
vice president for administration
Ayatollah Gadaoni and vice
president for Programs Donny
Calaunan.
According to Gadaoni, the
project is part of the training of
the TCMAS BAASI members who
are not only inclined to train in the
art and sport of Arnis and Filipino
martial arts (FMA) but to also be
Failing to capture any medal in the
just-concluded 27th Southeast
Asian (SEA) Games in Myanmar
was a bitter end for Ruth A.
Dugaduga’s decorated career as
a national judo athlete. Even a
bronze would have sufficed Ruth’s
farewell gift for Filipinos as she
retires in the New Year.
“Magre-retire na ako. I’m
done. Super sakit sa loob kasi di
ko nakuha kahit iyong bronze na
akala ko akin na. Ilang seconds
nalang sana iyon bakit ganun
talaga,” Ruth said in a Facebook
chat interview with Sun.Star Davao
yesterday.
The 32-year-old Holy Cross
of Davao College (HCDC) Mass
Communication graduate, who
joined the national team since
2004, said she will continue to
work in Manila as an enlisted
personnel of the Philippine Coast
Guard.
Ruth, a 2005 SEA Games
silver medalist, said that life has
been different since she joined the
national team.
“Be humble even when
you have reached the top. Just
keep the faith,” she shared the life
lessons she learned as a national
athlete.
She learned to speak fluent
Filipino and budget her finances
during her nine-year stint in the
team.
Ruth, who was born to
father Reuel, deceased, and
mother Ella, a retired government
employee, learned the sport only
when she was 18, a sophomore
college student.
“We had judo during our
P.E. subject and a close friend of
mind encouraged me to pursue
the sport,” she said.
The five-foot-two
heavyweight said she fell in love
with the sport then eventually
Dagger Skills as Prerequisite to FMA Empty Hand Training
By Perry Gil S. Mallari - Fight Times Editor
Manila Times - December 28, 2013
decided to engage in competitive
judo so she joined the varsity
team. She managed her time for
both training and academics.
In her first competition,
Ruth annexed a gold medal
in a Davao Judo Tournament
then settled for bronzes in the
Mindanao Friendship Games in
Mati, Davao Oriental in 2001 and
in a national competition held in
Manila three years later.
She captured a gold
medal in the 2005 National Judo
Championships just a few months
of being in the national team
where she learned to live a more
disciplined life.
The consistent national
games champion said, I’m up
mostly by 6 a.m. doing my daily
house chores then I train during
evenings.”
She said being a national
athlete was a fulfilling career as
she gets to be physically and
mentally fit.
“I’d still choose to be an
athlete if given the chance to live
another life again. I would try to
make it into the Olympics,” she
added.
When asked about her
greatest achievement, she replied,
“I have competed in the SEA
Games, Asian Championships and
World Championships. I may have
lost a lot of times and won a few
but I’ve learned many things.”
She thanked God and her
family for giving her inspiration in
all her undertakings.
As she closes a chapter in
her life, may she continue to soar
and make a difference in the lives
around her.
To Ruth, thank you for
your love for the country and the
sacrifices you made to make us all
proud. We salute you, Dabawenya!
Forums
Nicolas (left) using a standard grip counters
his opponent’s attack by cutting the wrist.
The Filipino martial arts (FMA)
are highly conceptual in nature.
Understanding the underlying
concepts of the Filipino martial
arts is the key to mastering the
transition from weapons to empty
hand fighting.
The dagger, being shorter
than the sword or stick is a good
tool to use in understanding the
transition between weapons and
empty hand fighting. Take note
that the Filipino martial arts being
originally a battlefield art has a
reversed progression of training
compared to other Asian martial
arts. In arnis, escrima and kali, the
student trains with weapons first
then later on progresses to empty
hand fighting.
After taking away the
daggers, the practitioner would
realize that he could destroy his
enemy’s limbs even without a
blade. The nerve-rich areas at the
base of the arms, the shoulders
and the armpits are excellent
targets for empty hand hits like
punches and elbow strikes. The
armpit areas are so vulnerable
that the improper use of crutches
could damage the nerve networks
underneath it causing paralysis to
the triceps and wrist extensors. A
grappling move that dislocated
the shoulder joint may press the
arm bone on the nerve of the
armpits paralyzing part of that
limb. Any hits on the various
points of the arm could damage
the median, ulnar and radial
nerves that run along its length.
The effect may range from
pins-and-needles sensation to
temporary motor dysfunction to
permanent paralysis, depending
on the force of the blow.
The most common way
of translating Filipino martial arts
weapon techniques into empty
hand applications is through
the basic angles of attacks. This
means you retain the angle but
substitute the blade or the stick
with your limbs. Take for example
angle number one – a downward
diagonal blow from left to
right common to many Filipino
martial arts styles. The gist of the
whole thing is it doesn’t matter
whether you’re using a baseball
bat, a kitchen knife or your fist;
a downward diagonal blow is a
downward diagonal blow. It won’t
take much practice to identify
what empty hand technique
would fit best a particular angle
of attack. Hooking punches and
roundhouse kicks fit horizontal
angles while uppercuts and knee
strikes fit upward angles.
fmaforum.org
Senkotiros Arnis Videos
(Collectors Editions)
The leading destination for Filipino Martial Arts discussion.
Established September 2005
www.fmatalk.com
This is the Filipino Martial Arts Database service, provided to the
FMA community in support of its growth and advancement.
www.fmadatabase.com
Basic
Advanced
Intro to Free Style
Lost Years
Books by Mark V. Wiley
Do you have these publications? Do you even know about them?
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‘Lucky Dog’ Speaks
Manila Times - December 28, 2013
Anyone who reads American
martial arts magazines has surely
chanced upon the name Burton
Richardson. Richardson is among
the most well rounded martial arts
teachers in the world today with a
credential that reads like a who’s
who in martial arts. In an interview
with FIGHT Times, Richardson,
also known as “Lucky Dog” among
the followers of Dog Brothers real
contact stick fighting, tells of his
evolution as a martial artist, the
influence upon him of Filipino
martial arts (FMA), his involvement
with the burgeoning sport of
mixed martial arts (MMA) and the
uniqueness of the current material
he teaches.
Fight Times: You are one of the
most well rounded teachers in the
martial arts drawing from varied
sources among them Chinese,
Filipino, African, Thai and Brazilian.
Can you tell us a brief account of
your martial arts career?
Burton Richardson: I was very
fortunate to grow up in Carson,
California, about a mile away from
the original Filipino Kali/Jun Fan
Gung Fu Academy headed by Dan
Inosanto and Richard Bustillo. Sifu/
Guro Inosanto was Bruce Lee’s
right hand man and Sifu/Guro
Bustillo was a student of Bruce
Lee and Dan Inosanto. I started
there in 1980, and the philosophy
of constant improvement and
refinement resonated with me
and my science background. I
continued to train with Inosanto,
and through his guidance was
able to train with the luminaries of
many different arts. After I became
an instructor, I continued to train
with Guro Inosanto (as I do to this
day) but also set out to travel the
world and learn from the very best
in as many disciplines as I could.
That led me to at least 12 training
trips to the Philippines along with
journeys to China, Japan, Brazil,
South Africa, Europe, and all across
the United States. Today, I continue
to research and put everything to
the test through hard sparring.
Fight Times: Can you tell us how
much the Filipino martial arts
influenced you as a martial artist
and a man?
Burton Richardson: The Filipino
Floro Villabrille age 18
martial arts has been a great,
positive influence. martial artswise, I have had so many different
points of view on functional
combat from Grandmasters of
the Filipino martial arts, including
Tatang [Antonio] Ilustrisimo, Bert
Labaniego, Tony Diego, Topher
[Christopher] Ricketts, and
Jose Mena. That was just in the
Philippines. I trained with many
more Grandmasters in America.
Incredible tactics and techniques
from men who used the art to
survive and thrive.
As a man, I learned from
the incredible generosity and
good humor of the Filipino
masters. Each man merely wanted
to share, and showed great joy
when I was able to understand a
concept or move. Probably the
most impactful character lesson
that I learned is from Grandmaster
Bert Labaniego. After a lesson, he
told me, “Always avoid a fight. But
if you must engage, don’t just fight
for yourself. Fight for your family
and loved ones, because they will
be badly affected if you are killed.”
The concept of doing my very
best out of love of my family and
friends has shaped my life. I am
very thankful.
Fight Times: You are an original
member of the Dog Brothers,
notorious for their “Higher
consciousness through harder
contact” philosophy of real contact
stick sparring; can you tell us
what you’ve learned from that
experience and how did you earn
the moniker “Lucky Dog”?
Burton Richardson: I learned
that theories need to be tested at
full speed, power, and intensity in
an environment of fear. It is one
thing to practice moves against
a cooperative partner, or in light
sparring. It is something else
altogether when failure means
severe pain and injury. Being
one of the original Dog Brothers
helped me to streamline my
approach and use only what is
proven functional under heavy
pressure. This way, I know that
my students are equipped for a
serious incident. I was dubbed
Lucky Dog because, when asked
how I pulled off some move, I
Although many have claimed to be in “Death Matches” and Is a Grandmatser of Kali there
was only one in particular that had witness accounts to his death matches of Kali. I spent
much time in the Philippines looking for this important missing document! Grandmaster
Floro Villabrille Certified Diploma. This once missing document was the proof of his
achievements and death match that was witnessed by a 4 star general of the USA military,
General Murphy. The legendary story of Floro Villabrille blood stain in the right bottom that
dripped from his skull on the diploma at the time just minutes after his famous death match
still is present on the document, amazing! Great thanks to Professor Bradford Namahoe for
reserving this important historical document for the art of Kali and the KAA group which
holds its historical pieces and info for future generations to enjoy. One of my great Masters
Dan Inosanto had played a great part to my discovery. Erik Paulson, thanks for so much for
our meeting, hope to see you soon again. - Guy Chase
Burton Richardson demonstrates striking techniques while
in the mount position during a mixed martial arts class
would often reply, “Luckily, he
stepped in the right spot” or “I was
lucky that I was able to block that
strike.”
Fight Times: You were involved in
the training of some professional
MMA fighters every now and then;
can you tell us more about these
pursuits plus your thoughts on
traditional martial arts and MMA?
Burton Richardson: As you
can tell from my other answers,
I believe in pressure testing
before teaching. MMA is the
ultimate sport for pressure-testing
techniques, tactics, and training
methods. When I train UFC
[Ultimate Fighting Championship]
fighters, the moves must work.
Traditional martial arts often
go down the road of theory
without real pressure-testing.
That said, MMA is a sport and
most traditional arts are designed
to deal with an initial surprise
attack where weapons, multiple
opponents, and other aspects take
it outside the realm of sport. My
answer is to train traditional arts,
like FMA, jeet kune do, silat, in the
same manner I train MMA fighters.
Proper preparation is key.
Fight Times: How would
you describe the martial arts
curriculum you’re teaching
today and what are your current
projects?
Burton Richardson: My main
guiding force is Bruce Lee’s jeet
kune do (JKD) philosophy of
“having no way as way and having
847 Hamilton Ave.
Waterbury, CT 06706
(203) 596-9073
[email protected]
TraditionalFilipinoWeapons.com
no limitation as limitation.” Since
people tend to impose limits
on themselves, I call my overall
method JKD Unlimited (JKDU).
Using only what works but not
limiting ourselves to a particular
method. All of my programs only
use the most functional aspects
of the martial arts. JKDU is also
known as MMA For The Street. My
weaponry program is Battlefield
Kali; an FMA-based method that
safely blends a Dog Brother
mentality to functional training.
I also include some Zulu stick
fighting. I also have a Silat For
The Street program, which is the
empty hand portion using silat
and kali principles and techniques.
Next year my Brazilian jiu-jitsu For
The Street program will be out. So,
I am all about using what works to
protect those we love.
I have been hired to do the
fight choreography for a major
motion picture on the exploits of
David and his Mighty Men from
the Bible. Lots of sword fights
where I will draw heavily from the
Filipino martial arts.
I would just like to
conclude by giving my sincere
thanks to the people of the
Philippines. Your culture
continues to have a very positive
influence on my students and me
worldwide. Maraming Salamat sa
inyong lahat!
Sonny Umpad’s Eskrima: The Life and Teachings of a Filipino Martial Arts Master
By George M. Yore
Born with the soul of a warrior, the intellect of a scholar, and a zealot’s devotion to his art,
Maestro Santiago “Sonny” Umpad forged an enduring contribution to the rich and colorful
history of Filipino martial culture. In 1976, after immigrating to the United States, Sonny founded
the school of Visayan Style Corto Kadena & Larga Mano Eskrima—rooted in his training in the
Philippines and tested by a hard and dangerous life on the streets, Sonny’s system was above all
else practical. As Sonny’s reputation as a talented fighter became well-known, he began to crosstrain with masters of other martial arts, including Jesse Glover (Bruce Lee’s first student) and Wally
Jay (founder of Small Circle Jujitsu). One of the most innovative and visionary exponents of the
Filipino arts, Sonny pioneered the concept of “mixed martial arts” long before the term was in use.
Sonny Umpad’s Visayan Eskrima provides an insightful portrayal of Sonny Umpad’s life,
philosophy, and teaching methods, as well as the structural underpinnings of his system.
Instructor George Yore has assembled the writings of six of Sonny’s students (including Wade
Williams, 2012 nominee for the U.S. Martial Arts Hall of Fame) to create a biographic homage
to this remarkable martial artist; basic techniques and applications are also demonstrated,
accompanied by 130 step-by-step photos. Practitioners of Filipino martial arts—as well as
mixed martial artists and security specialists—will find valuable instruction in techniques and
applications, while the thousands of people touched by Sonny’s teachings will gain a new
understanding of this notoriously reclusive master’s life—and how his experiences informed
the development of his system.
Paperback: $12.89
Kindle Edition: $10.48
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Ama Maestro Alfonso Quinto Fabia
[1933 - 2014]
Cinco Tiro Estrella
Teacher: Ama Mauricio Fabia
Organization: SFMA Sinkatan - Arnis - Estrella
Examining the Fighting Features of the Kris
By Perry Gil S. Mallari - Fight TImes Editor
Manila Times - January 4, 2014
Ama Maestro Alfonso Fabia, Ama Maestro Bernardo Fabia Salinas cousin, mentor, and advisor of the SFMA Martial
Arts passed away January 1, 2014 at the age of 81 years old. The interment was on the 11th of January in Manaoag
Pangasinan, Philippines.
Background
Estrella System of Arnis
was the vision and creation
of the late legendary Estoque
Maestro Mauricio Fabia. Mauricio
was born in a religious town of
Manaoag, province of Pangasinan,
Philippines. On November 2,
1876, at 24 years of age, Mauricio
was appointed to the position of
police officer in the neighboring
town of San Jacinto, Mangaldan,
and Manaoag. He then moved
to Mapandan where he met
his wife, Alejandra Quinto, a
younger sister of the well-known
Bastonero Francisco Quinto.
Through hard study and training,
Mauricio learned many different
fighting forms. From the vast
body of knowledge and skills he
accumulated, Mauricio forged his
own style of stick fighting, which
he named the Estrella System.
Mauricio was believed to have
been given a gift of power called
an anting-anting (amulet). This
amulet was said to have helped
him on many occasions in his
line of work as well as in personal
altercations, and eventually helped
him become a Bastonero.
At this time, there were 12
well-know Bastoneros in the
neighboring towns of Pangasinan:
Francisco Quinto, Fausto Navarro,
Pablo “Japang” Navarro, Ricardo
Golison Mapandan, Pangasinan
Eugenio Nati, Ricardo de
Vera Mangaldan Pangasinan,
Arturo Espinoza Santa Barbara,
Pangasinan, Emeterio Samson,
Pablo Lalaquil, Jose Riola,
Eugenio Quarisma Manaoag,
Pangasinan, and the legendary
Santiago “Tiago” Toledo Lingayen,
Pangasinan.
After the death of Ama
Mauricio Fabia in November 2,
1965, Saturnino Quinto Fabia
became the successor, and the
Estrella system was practiced
secretly only among family
members. The system was
forgotten and remained unknown,
until 1986 when Bernardo Fabia
Salinas returned to the Philippines
to make a research and revive his
family system.
Estrella is based on the
Ocho Tiro Orihinal (eight original
strikes). The four striking angles
are vertical, horizontal, diagonal
and backhand diagonal. The eight
strike system was reduced to a
five strike pattern with a thrusting
technique called estocada, and
thus became known as Estrella
Cinco Tiros. The Fabia Estrella
system of Arnis is composed
of different fighting styles that
incorporate the following systems:
ruedo, recta, compass, cerrado,
estocada mescla, and escapo de
tranca.
Ama Maestro
Saturnino Quinto Fabia
Inheritor of the Estrella System
1915-2005
After the death of Ama
Mauricio Fabia, his son, Saturnino
Quinto Fabia, became the
successor of the Estrella system.
Ama Maestro Saturnino Quinto
Fabia was a very traditional,
humble and dedicated teacher
and a true master of the Filipino
Martial Arts. He was also known by
his father’s legendary nickname,
Langka, which describes his art as
a tool for survival and self-defense
used only to protect your family,
yourself and those who cannot
protect themselves. Ama Maestro
Saturnino Fabia is recognized as
one of the great and respected
Masters of the Art. The Hawaii
Martial Arts Society inducted him
into the International Martial Arts
Hall Of Fame 2002.
Sadly, Ama Maestro
Saturnino Quinto Fabia, last of
the second generation of Estrella
practitioners, died on May 25,
2005.
Ina Eugenia Quinto Fabia
1920 - 2007
Ina Eugenia Quinto Fabia
the last Bastonera of the Fabia Clan
the youngest amongst of the six
sisters Esperanza, Flora Simplicia,
Natalia, Elpidia, and brother
Saturnino of the Fabia Clan passed
away January 2, 2007. The family
art is now passed into the hands
of the next generation. Alfonso
Quinto Fabia, (grandson and
direct student of Ama Mauricio
Fabia) who is an advisor of the
family system, and cousin Maestro
Bernardo Fabia Salinas, who revive
the unforgotten family fighting
art of the Fabia Clan, and founder
SFMA in honor to his mentors. He
founded the Sinkatan Arnis Estrella
system and created a training
curriculum, for easier and safer
understanding to the beginner’s
students and practitioners.
Heir of the Estrella System
Ama Maestro
Bernardo Fabia Salinas
In 2002 Bernardo Fabia
Salinas received recognition the
Heir of the Estrella system by Ama
Maestro Saturnino Quinto Fabia
and awarded him the title of Ama
Maestro of the Sinkatan Arnis
Estrella. Bernardo also founded
SFMA International, a brotherhood
society that was formed to
promote unity among Martial
arts worldwide. Recognized
by the International Assembly
of Sokeship, Founders and
Headmasters Ama Maestro Salinas
conducted training seminars in
Sinkatan Arnis throughout Canada,
United States, and Philippines.
After twenty years of research
and study of the Estrella Arnis,
Ama Maestro Salinas published a
book, dedicated to his Uncle and
his late Grandfather, wherein he
illustrates the origin, philosophy
and the system of Estrella de
Estoque. Sadly, Ama Maestro
Saturnino Quinto Fabia, the
last of a generation of Estrella
practitioners, died on May 20, 2005
and his younger sister Ina Eugenia
Quinto Fabia the last Bastonera of
the Fabia Clan, died on January
2, 2007 at the age 87 years old.
If not for Bernardo’s passionate
dedication to preserve his family’s
fighting Art, Estrella would have
undoubtedly not survived to be
passed on to future generations.
His goal is to continue to improve
the system of his Art by including
the origin and philosophies within
the training format, and he will
continue to share his knowledge
and experience to keep Estrella
System alive.
Ama Maestro Salinas skill
and dedication to Martial Arts
has brought him international
acclaim. More importantly, he has
touched the lives of every one of
his students, practitioners, and
will forever have their respect and
admiration for being a truly great
teacher and mentor.
Ama Maestro Bernardo Fabia Salinas
Sinkatan Arnis Estrella
Fort St. John, British Columbia, Canada
L-R: Hernan Fabia Itliong. Ama Maestro Alfonso Fabia, Ama Maestro Salinas - Philippines
The kris is among the many types
of swords and daggers endemic
in the southern Muslim part of the
Philippines. By a wider definition,
the kris (also called keris) is the
most popular bladed weapon of
the Malay world. In his book The
Kris Mystic Weapon of The Malay
World Edward Frey wrote, “The
kris is the distinctive weapon of
Malaysia and Indonesia. These
countries form the geographical
and cultural area once referred
to as the Malay world. The kris
is found in a variety of forms
ranging from northern Sumatra
and Malaysia and to far-distant
Mindanao in the Philippines.”
Some researchers
postulated that the weapon is
already in existence as early as 300
BC. There are various theories on
the origin of the kris but most of
them are based only on myths and
legends. On this, Frey commented,
“In addition, there are some more
pragmatic views as to the origin of
the kris. These theories deal with
the probable origin and evolution
of kris-like daggers in South-East
Asia based on harder evidence
than mere mythology. Gardner
[Gerald B. Gardner, author of Keris
and Other Malay Weapons, 1936]
offers his belief that the metal kris
evolved from the sharp, barbed
dorsal spine of a stingray, a fish
common in Malay waters.”
The kris is extensively
used for ceremonial purposes and
legends abound on its supposed
magical powers and mystical
properties. But above all these,
the kris first and foremost, has
established its reputation as a
fearsome bladed weapon, “For all
its magic and mysticism and rituals
associated with the kris, it was, for
the first few hundred years of its
existence, primarily a weapon of
defense and sudden assault,” wrote
Frey.
Physical design and
combat application
The most distinctive
attribute of the kris is its wavy
blade though many variations of
the weapon also display straight
blades.
Despite this general
characteristic, there are striking
differences in the physical
structure of the Mindanao kris that
differentiate it from other designs
used in the Malay world.
The more common
version of the kris widely used in
the Malay world was designed
for stabbing while the physical
attributes of the Mindanao kris are
more appropriate for slashing and
hacking.
A close examination of
the handle construction of these
two categories of kris would
substantiate the aforementioned
assumption. Researchers have
observed that the Mindanao kris
in addition to its longer length was
constructed with its blade securely
bolted on the handle, which made
it appropriate for slashing and
hacking. This sturdy method of
handle construction is rarely found
in kris designs from other parts of
the Malay world.
Frey offers insights on
this matter, “Indeed, at one time
and in some areas it [the kris]
was considered a despicable
weapon, fit only for brigands, a
weapon of treachery and with
poisonous qualities at that. The
very smallness of the weapon,
fitted as it was with a bent-over or
pistol-like grip, made it a perfect
stabbing instrument. It was easy
to make a straight line thrust to
the belly or kidney of a victim
while the elbow was bent. This
made it effective in a confined
space and no doubt contributed
to its reputation as a weapon of
ill repute.” Another part of Frey’s
book reads, “The kris is seldom
very sharp, this combined with
its light weight indicates that it
evolved as a thrusting weapon for
personal defense.”
In contrast to the
aforementioned descriptions of
the design most widely used in the
Malay world, the Mindanao kris is
legendary for its keen edge and
amazing temper.
Damascening the blade
and etiquette of carrying
There were also accounts
of the so-called “poison kris” that
could aggravate the wounds
it inflicted on a victim because
its blade was supposed to be
laced with poison. On this, Frey
wrote that a possible rational
explanation could be found in
the process used to damascene
the blade, “The damascene-like
patterns forged into the blade,
does create residues which may be
harmful if ingested or allowed to
enter the blood stream.”
An early work on the
subject
published in
1899, Tales of the
Malayan Coast
From Penang to
the Philippines
by Rounsevelle
Wildman offers
details of this
meticulous process,
it reads, “First the
razor-like edges are
covered with a thin coating of wax
to protect them from the action of
the acids; then a mixture of boiled
rice, sulphur, and salt is put on the
blade and left for seven days until
a film of rust rises to the surface.
The blade is then immersed in
the water of a young coconut
or the juice of a pineapple and
left seven days longer. It is next
brushed with the juice of a lemon
until all the rust is cleared away,
and then rubbed with arsenic
dissolved in lime-juice and washed
with cold spring water. Finally it is
anointed with coconut oil, and as a
concluding test of its fineness and
temper, it is said that in the old
days its owner would rush out into
the kampong, or village, and stab
the first person he met.”
Like in other places of the
world where a prevailing blade
culture exists, there is etiquette
in carrying the kris. In the olden
days and even today in some
remote parts of Southeast Asia,
ignorance of such customs
could be interpreted as an act of
challenge. Wildman wrote of the
fundamental protocol of carrying
the kris, it says, “The kris, too, has
its etiquette. It is always worn
on the left side stuck into the
folds of the sarong, or skirt, the
national dress of the Malay. During
an interview it is considered
respectful to conceal it; and its
handle is turned with its point
close to the body of the wearer, if
the wearer be friendly. If, however,
there is ill blood existing, and the
wearer is angry, the kris is exposed,
and the point of the handle turned
the reverse way.”
Originally published in
fmapulse.com.
The Bladed Hand
Director: Jay Ignacio
Producers: Jay Ignacio, Kent Vives, Sonny Sison
This is a documentary about the global impact and current
state of Eskrima/Kali/Arnis, otherwise
known as Filipino Martial Arts. Filmed
around Cebu, Baguio, Bacolod, Batangas,
Hong Kong, Honolulu, Los Angeles,
Manila, Moscow, Oakland and San
Diego. The Bladed Hand will show how
this native art from the Philippines has
had a significant impact on military
systems and even on Hollywood.
Featuring FMA luminaries Supreme
Grandmaster Diony Cañete, Supreme
Grandmaster Cacoy Cañete, Guro
Dan Inosanto, Guro Diana Inosanto,
Guro Ron Balicki, Grandmaster Nick
Elizar, Grandmaster Ising Atillo, Master
Christopher Ricketts, Grandmaster Remy
Presas, Jr. and many more.
Visit: www.thebladedhand.com
DVD Available at Amazon.com: Click Here
Zenway Digital Concepts & Design Center with Independent Creative Concept Photography is a small and
independent private digital concepts & design center consultancy and contractor with current specialty
Product Development ranging in and Trademark Specialist with Creative Unique Photography in Bicol Region. March 2007 the Zenway Digital Concepts & Design Center was established, with a small design group
and a trained designers on their specialized fields of expertise. Our clients are within the Bicol area regional,
national and international, but we are expanding thru e-commerce for our expertise in the field of designs.
Using state of the art equipment and tools for our designers as a result we have made a great impact on our
designs. We are located in the heart of Bicol - Legazpi City, with a view of the beautiful and Majestic Mayon
Volcano, and the church of St. Raphael Archangel as it was used to create this company.
Visit: zenwaydigital.weebly.com
Kicks raise £2,000 for Filipinos
By Plymouth Herald - January 04, 2014
A Plymouth martial arts club has
raised over £2,000 in aid of the
Philippines disaster fund.
So moved by the plight of
the Filipinos after thousands died
and great swathes of land were
laid to waste by typhoon Haiyan
that coaches and students at citybased Master St James Black Belt
Academy, decided to take the
matter into their own hands.
The members put on a sixhour kick-a-thon at their Rendle
Street academy.
Those taking part included
children who brought their family
and pals along for the spar-athon, which dictated that each
person performed 1,000 kicks and,
hopefully, raise as much money as
possible.
The adult students staged a
spar-a-thon.
Master Anton St James,
chief instructor of the academy,
has been associated with the
Filipino community for over 15
years.
He has also travelled extensively
to the Philippines, and has many
close friends that have been badly
affected by the recent typhoon
Haiyan.
Tony Saunders, one of
the academy’s students, ho has
family in the Philippines, added:
“I was devastated to hear of the
disaster that has affected northern
Philippines. I was worried sick for
my family and friends which reside
out there.”
Leather Collars and Colt .45
By: AJ Ruiz
Both the leather collar and
Colt.45 were commissioned by the
US military and are relevant parts
of American history. Currently,
the term Leatherneck is more
commonly known as a slang
term for a Marine and the Colt
.45 revolver is seen as a vintage
weapon. But what do these two
objects have in common? What is
the Filipino association with these
two objects? Is it possible that
they are intertwined with Filipino
martial arts? All these questions
and more will be explored.
The Leatherneck collar
was a traditional part of military
uniform for the American and
British Marines during early 19th
century. The collar reached to
nearly three and a half inches
high. It was supposedly used
to improve the appearance of
soldiers, forcing a high chin as well
as to protect one from neck blows.
Because the design hindered neck
movement that proved necessary
for use of a rifle, the collar was
dropped in 1872. However,
during the Philippine-American
War the leatherneck collars were
reissued for Marines. Because of
the traditional Filipino martial arts,
many soldiers were dying because
of neck wounds and decapitations.
The locations of these wounds
are trademark of Filipino martial
arts, being definitive death
shots. However, defense against
the Filipino martial arts was not
enough to overcome victory
over the Philippines as the US
looked towards to improving their
offensive end.
During the war, US looked
for the design of a new handgun
to stop the Filipino warrior. Oral
stories were told of Filipino
warriors who would continue
to fight even after being shot
multiple times with the Colt. 38. As
a result, the US needed a gun that
provided the firepower to stop a
person with a single shot. Thus
came the introduction of the Colt
.45 Today, the Colt 45 is renowned
as one of if not the most powerful
handgun in existence. With the
Colt 45, the US was eventually
able to colonize the Philippines.
However, testament to the valor
of the Filipino warrior is the fact
that some tribes in Southern
Philippines were never conquered
to this day.
Though it is said that
history is written by the victorious,
legends rise from valor. It is the
same legendary resilience of the
Filipinos that directly influenced
the military technology across
international borders in American
history. That resilience is testament
to the fact Filipino martial arts
has survived colonization and
institutionalized discrimination
more than 500 years after the
Philippine-American War.
Picture Courtesy of kshs.org
Conceptual Modern Arnis
By Bram Frank
A seldom seen view of Arnis/Modern Arnis the Filipino fighting art of Professor
Remy Pesas as seen by 1st
Generation student... More
> Bram Frank. Modern Arnis
is seen through the perspective of the family art of the
Bolo and knife,(edged tools)
rather than a stick. Some history of Modern Arnis in the
USA is told.
File Download: $40.00
Paperback: $69.00
Further information and
to Order:Click Here
Senkotros Arnis Fundamentals
By Grandmaster Max M. Pallen
For many years
Grandmaster Pallen
has been practiticing
Arnis. He has seen
and read many books
about the martial art
styles of other regions
of the Philippines.
Grandmaster Pallen
has not encountered
a single publication
about the Bicol region,
which prompted this
publication. It is a big
undertaking to let
Philippine martial art
practitioners know
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Grandmaster Pallen
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developed the missing link in his Arnis techniques. He has adopted
the sinawali and espada y daga basec on what he has learned from
other styles of Arnis, Kali, and Eskrima. These styles have also given
him a better foundation and made him culturally complete.
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Weapons and Empty Hand Combat – Does One Size Really Fit All?
By Mark Jacobs
In my book The Principles
of Unarmed Combat (which I
know you must have purchased
by now) I address the question of
whether, when you are the victim
of a surprise attack, it’s better to
adjust your technique to what
your opponent is doing in order
to use the best possible defense
against him, or whether you
should have one default technique
that you always rely on. The theory
behind having just one default
technique that you always go to in
a sudden, pressure-filled situation
is that you will react more quickly
and instinctively if you only have
one option (which, presumably,
you have practiced over and over
again).
Without rehashing what
I’ve previously written, I’ll merely
state that both theories have some
validity. Highly expert martial
artists, who are used to fighting
in pressure-filled circumstances,
can often effectively choose the
best possible defense in a given
situation. But less expert martial
artists may, indeed, be better
off simply having one general
response that they can use in a
wide variety of situations and then
practicing just this response, i.e.
when looking to defend against
a sudden, unexpected punch to
the head, rather than practicing
blocking, ducking and various
other defensive techniques that
might depend on the specific type
of punch being thrown at you,
you may want to practice just one
basic defense like covering up
your head with both arms.
But this question of
whether to have multiple options
or to rely on just one technique
in a given situation becomes
even trickier when considering
weapons styles. On a number of
occasions, I’ve heard respected
experts in weapon-based styles of
martial arts express the opinion
that a person who trains with
weapons should use the same
techniques empty-handed as they
do with their weapon. In other
words, the way you might swing a
sword or stick would be the same
way you would swing your fist
at an opponent. The way you’d
avoid a knife thrust is, essentially,
the same way you should avoid a
punch.
While this strategy might
sound ludicrous to people who
specialize in empty handed
martial arts – the idea of throwing
a punch in the same manner
you swing a sword clearly seems
less effective than punching the
way a boxer, or even a karateka,
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might – the reasoning behind
this strategy is similar to the
theory of why you should have
a single default technique you
rely on in a surprise attack. The
idea is that if you train regularly
with a weapon, just as with any
martial art, you are attempting to
ingrain the techniques you learn
with said weapon, to make them
instinctual so that if you have
to use them (or defend yourself
against such a weapon) you will
be able to react automatically.
According to this belief, if you
were to then learn a completely
different way of moving, filled
with (empty hand) techniques
which may be in complete conflict
with the techniques you learned
as part of your weapons system,
this would become a hindrance to
you. Not only would you perform
less effectively with your weapon
but you would be hampered in
empty hand fighting by trying to
pick between two very different
alternatives when attempting to
come up with a defense on the
spur of the moment. Thus, if you
are someone who is learning a
weapon-based martial art, you
would be better off in employing
the techniques of this art, even in
empty-hand combat, since they
are what you are most familiar
with and you may be able to
employ them more instinctively.
While most weapons experts do
not assert that using your empty
hands as if you had a weapon in
them is the optimum response in
an empty handed fight, the belief
is that this strategy gives you
the best chance to execute the
instinctive response you are most
expert at, even if it is not the ideal
choice of techniques for an empty
handed self-defense situation.
I cannot fully argue against
this approach and I have even
seen a handful of people who
fight effectively by mimicking the
motions of their weapon system
in empty-handed combat (though
these were typically quite large
or powerful people). However,
I am not fully convinced by the
argument, either. The key point
that leaves me skeptical of this
approach, at least when it comes
to basing your empty-handed
combat on weapons techniques
out of a desire to maintain
technical consistency, is the fact
many – if not most – people
who practice a weapon style use
more than one type of weapon.
Western sport fencers often
learn foil, epee and saber, three
different types of swords which
make use of different targets
and striking patterns. Those
who practice classical western
swordsmanship often employ an
even wider range of weapons and
styles for using these weapons.
Filipino martial arts practitioners
frequently practice with sticks,
knives and sometimes swords, all
of which are quite different from
each other. And while some insist
that these are all used the same
way, in reality almost everyone
varies their techniques somewhat
depending on the type of weapon
they are using (not to mention the
type of weapon they are facing).
Thus, it seems the argument in
favor of employing empty-hand
techniques in the same manner
you would employ a weapon loses
some validity if the reason is to
always keep things simple and
consistent for the sake of reacting
instinctively. Surely, if one can
learn to use different weapons in
different ways, one can learn to
also use empty hands in a different
manner as well?
However, the one thing
that you can, and should, carry
over from weapons combat to
empty hand combat (or from
empty hand combat to weapons
combat) is the most vital quality
you can have in any combative
situation: the psychological/
emotional strength that is
necessary to win a fight. The
legendary Japanese swordsman,
Miyamoto Musashi, wrote that
“when you freely beat one man
you beat any man in the world.
The spirit of defeating a man is the
same for ten million men.”
One might also say that,
although the technique may
change from weapon to empty
hand fighting, the spirit of
defeating a man is the same for
weapons or the empty hand.
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The Origins of Eskrima
By: Dr. Ned R. Nepangue
We can only make a
guess as to the origin of Eskrima/
Arnis/Estocada since there are
no conclusive written records
available in the archives to assist
us in our research (that is, if we are
really serious about this).
Earlier writings did mention
in passing something regarding
pre-Hispanic martial arts in the
islands.
But we should remember
this, that the earliest Europeans
who visited the islands did not
know the native languages,
were not familiar about the
native culture at the time, were
ethnocentrists, and were in the
Orient primarily to look for spices
and not to do research on martial
arts.
Nobody can really say what
kind of martial art these early
travelers saw (if that was truly a
martial art) when they first came
that summer.
We cannot even say that it
was Kali they saw, since they were
not familiar about martial arts (like
Don F. Draeger, Robert W. Smith, or
Mark V. Wiley).
Let us also take note that
during those times, there was no
unified form of government and
people were not hooked in the
Internet.
People in the archipelago
then (and this is still true until
today) speak many languages,
thus what was true in the island
of Panay then, was not necessarily
true in the nearby islands of Cebu
or Samar.
Forcing ourselves to believe
that Eskrima/Arnis/Estocada is
something pre-Hispanic even
without enough proof to support
the theory is not advisable.
We only have the following
objective facts to help us prove or
disprove the current theory of the
origin of the eskrima or arnis.
Fact 1
No written records available, which
describes what this allegedly preHispanic martial art of Kali really
was and there is no evidence to
prove that Eskrima/Arnis/Estocada
martial arts are related to the art
of Kali.
Earlier writings mentioned
how good those early natives were
in hand-to-hand combat.
These early European
adventurers were maybe accurate
in their appraisals since they were
soldiers/fighters themselves and
knew what was good form and
what was not.
But still the same, these
available literatures do not give us
details as to what Kali really was.
So Kali can be everything,
it can be stone throwing, wild boar
hunting, yo-yo playing, etc.
Fact 2
Research found out that the
natives in the islands before the
Europeans came used shields
and spears, weapons that are no
longer visible in the majority of
the contemporary Eskrima/Arnis/
Estocada schools.
If it is true that Kali is the
martial art practice by the ancient
warriors in the islands then it
must have included the use of the
tameng or shield and the bangkaw
or spear.
Since the art of Eskrima/
Arnis is derived from Kali as some
suggested, then it must have
these weapons included in the
curriculum.
Tameng is still useful
even in the modern times; in
fact, riot police are still using
this contraption to control angry
crowds.
Spears, on the other hand,
are still found in many other
martial arts.
Fact 3
The claims that historical
personalities like Lapu-Lapu,
Tupas, and others were really
into Kali or Eskrima remained
unproven.
Some so-called authorities
of Filipino martial arts (FMA)
always associate names like that
of Lapu-Lapu to Eskrima, as if they
were around already in 1500s.
The funny fact is they could
not even provide name(s) of who’s
who in the latter years (in the
1600s, 1700, 1800s) to strengthen
their claims.
How one could claim he is
the great-great grandson of the
great Mr. So-And-So if he does
not even know who his biological
father is?
Fact 4
All Eskrima/Arnis styles share more
common traits than differences.
The Filipino stick fighting
in many ways is really different
compared to other stick fighting
systems in the region.
The Eskrima styles as
practiced by many Ilocanos in
the far north of the archipelago
are basically familiar to the styles
found in the south, in the Visayas.
There maybe differences
in some expressions but generally
speaking they are the same.
Fact 5
Practically all Eskrima systems/
styles are practiced only in the
Christianized groups (or those who
are under the direct influence of
the Spanish conquistadors for 333
years), and that no known Eskrima
system/style is found among
those peoples in the hinterlands of
Luzon, among the Lumad and the
Muslims in Mindanao.
The Spanish colonized
the islands for 333 years, but they
were not able to convert the entire
population to the Christian faith.
There were many ethnic
groups left who were not directly
controlled and influenced by
them.
Many of these groups are
slowly assimilated still retain many
of their pre-Hispanic practices.
But if the theory is true that
Eskrima and the like is something
originally pre-Hispanic, then at
least one of these many tribal
groups could show us sampling
of a functional Eskrima-like stick
fighting art, but there is none.
Fact 6
A link between Kali and Silat styles
is yet to be proven, both are really
different in form and substance.
Many creative Eskrimadors
want to have this “Moro motif”
integrated to their styles.
In actuality, Eskrima/Arnis
has nothing to do with the Muslim
groups in the south who have
their own very beautiful and lethal
martial art of Silat.
Many people foolishly
attempted to establish link
between the two, but until now
they could not provide us enough
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evidence.
In books and articles on
Eskrima, they always include
stories about juramentado just to
add dramatic effect, but in reality
all of these, has nothing to do with
Eskrima/Arnis.
Some insist that some of
these Muslim tribes do practice
some form of Kali art. But if we
inquire what tribe is that, they
could not readily give answer.
Some say it is in Sulu, but if
we ask further which part of Sulu?
Again there is no clear answer.
Since the 70s, when this
claim first appeared, and until now
nobody can really give the correct
answer.
Why?
Well, the truth of the matter
is, there is no Kali in the Moroland.
Just a pure fantasy.
Is it possible to invent
stories and fool the martial arts
community?
You bet!
If you are familiar with
the story of the Neolithic they
reportedly found in Mindanao
called Tasaday, you will easily
understand how/why.
In Eskrima/Arnis, emphasis
is on weaponry first then unarmed
fighting later, but in Silat they have
the weapons training only later.
Fact 7
About 65% of technical terms used
in all Eskrima/Arnis/Estocada styles
developed and propagated by
many linguistically diverse ethnic
groups are of Spanish origin.
The Spanish language
was never totally adapted by the
Filipinos unlike those in other
former colonies of the North and
South America.
This was because the
colonial authorities in the
Philippines did not encourage the
natives to learn the language.
For three centuries, only
the elite and the educated could
speak and write the Spanish
language.
A strange fact is, a great
percentage of technical terms
used in Eskrima/Arnis/Estocada
(and even the supposedly preHispanic Kali styles) are in Spanish,
the language most Filipinos then
(and now) did not speak.
This is also the language
used by the authorities who
outlawed the practice and
propagation of this native martial
art.
If the practitioners at that
time were forced to practice in
hiding, then why did they not use
their own respective languages
and dialects instead of using
Spanish?
Fact 8
The connection between Kali and
Indonesian martial art of Tjakalele
is not yet proven.
Tjakalele is practically just
a war dance originated in the
Mollucas.
It uses spears and shields,
the weapons, which are not found
in 99% of Kali schools.
Words like Kali and
Tjakalele may sound familiar
and related but this not proves
anything that both are actually
related.
Fact 9
The suggestion that Kali is the
root word of some words found in
different Filipino languages and
dialects is not based on linguistics,
in fact a study on this claim is yet
to be made.
Important pre-Hispanic
household words like diwata,
Bathala, datu, ulipon are still
understood by many and this
same is also true with words
associated with the warriors, like
bangkaw, baraw, tameng.
So what is supposed to be
the ancient name for the Filipino
martial art? Kali?
If it is Kali then, why don’t
we find this word in dictionaries
of the different Filipino languages
and dialects?
In fact, this particular word
was just “re-introduced” years ago.
Kali is never a traditional
name for the native martial art.
If one goes to a secluded
place in Cebu, for example, and
ask those Eskrima old-timers there
if they know what is Kali, the will
probably say they don’t know.
And these people are supposed to
know better.
Fact 10
The earliest technical description
about Eskrima/Arnis was available
only lately.
The very first known book
available in public was Placido
Yambao’s book in 1957.
Fact 11
Many modalities in Eskrima/Arnis/
Estocada techniques like espada
y daga are also found in European
fencing arts.
Fact 12
The once Spanish colony of
Venezuela in far away South
America also have their own form
of stick fighting.
The Garrote Larense stick
fighting art of Venezuela reminds
one of Eskrima.
There must be a
connection between these two
martial arts somewhere and
further research is needed.
Fact 13
It is baseless to say that Eskrima
and Arnis are just phases of the
natural evolution of Kali; that
is, Kali being the original form,
Eskrima and Arnis the modern and
diluted equivalents.
Kali that we can see today
doesn’t differ from Eskrima/Arnis.
Some say that Kali is on
blades while Eskrima/Arnis more
on sticks implying that Kali is more
combative, realistic and original
form while Eskrima/Arnis as
sanitized intended for sports.
But in places where the
word Kali is not the traditional
term used, the Eskrima/Arnis
also included the practice of the
bladed weapons.
In fact, many of those who
categorize their styles as Kali were
actually derived from Eskrima/
Arnis styles.
Fact 14
There is no lack of good
blacksmiths and is not the reason
why many Eskrima/Arnis fighters
use sticks now instead of real
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blades.
Many good Eskrimadors
are not found in areas known for
their machete-making skills.
Many panday or sword
smiths do not know Eskrima
and it is never mentioned in the
Philippine history that Philippines
were running out of bolos.
Fact 15
That the theory proposed
is actually not corroborated in
the works of the experts of the
Philippine history, anthropology
and sociology.
Intertribal war was a reality
especially before the islands
became a colony of Spain.
When there is war, there
are warriors, weapons, and military
arts.
If Kali was a military art,
then history books in high school
and college must mention it.
I do not remember reading
a word Kali in our history books
when I was still in high school
and college, instead in our world
history I read words like samurai,
katana, etc.
Books of anthropology
must also provide details about it.
It is not mentioned,
not because historians are not
interested, it is simply because
there is no sufficient information
about it.
So, basing on the
aforementioned facts, we can
only offer logical comments
as to the possible origin of the
contemporary Filipino martial arts
(a bigger portion of which is the
Eskrima/Arnis/Estocada/Kali).
It is basically a product of
Filipino creativity and no doubt
whatsoever, it is very Filipino.
The bulk of its repertoire
was developed during Spanish
colonial times, and plausibly it
got its inspiration from European
fencing concepts and practices.
It was greatly developed
and refined (and the evolution still
continues) only here in the islands
of the Philippines.
Visayan Arnis/Eskrima
visayanarniseskrima.blogspot.com
Cacoy Doce Pares Holds Assembly
Sun Star Cebu - January 11, 2014
The Cacoy Doce Pares Eskrima
World Federation (CDPEWF) of
Supreme Grandmaster Ciriaco
“Cacoy” Canete held their annual
general membership meeting
last December 30 at its main
headquarters on C. Padilla St.
During the meeting, a new
set of Doce Pares officers for 2014
were elected and for the 25th year,
Supreme Grandmaster Cacoy , was
once again unanimously elected
as the president.
Some of the topics taken
up during the meeting was the
82nd founding anniversary of
Doce Pares, the oldest Eskrima
organization in Cebu, which was
founded by the Canete brothers
and the Saavedras in 1932, and the
CDPEWF’s biggest event for this
year, the 2014 grand gathering. It
will also serve as a fundraiser for
the Yolanda Typhoon victims.
Supreme Grandmaster
Cacoy said the foundation
anniversary will be on January
11 at its main headquarters on
C. Padilla St and he has invited
Filipino-American Grandmaster
Richard Bustillo, Founder of the
International Martial Arts & Boxing
(IMB) Academy based in Los
Angeles, to be the guest speaker
and the inducting officer of the
new officers.
Bustillo was a Jeet Kune Do
student of the legendary martial
artist Bruce Lee.
Aside from Bustillo, six
other foreign Eskrimadors are
expected to grace the special
occasion--Grandmaster Anton St.
James and Louis Tandoh of United
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Kingdom, Curt Jablin and Mike
Harris of USA, Master Craig Ames
and his fiancée, Tamiko Bascombe
of Australia, who will be married in
Cebu.
Cacoy said a number
of Eskrima enthusiasts and
practitioners from Reunion Island
in France, will also be in Cebu for
a series of trainings at the Cacoy
Doce Pares gym. (PR)
Strength Training for FMA Practitioners
By Perry Gil S. Mallari - Martial Talk
Manila Timem - January 11, 2014
Perry Gil S. Mallari
The stronger you become the
better martial artist you will be.
In a weapon-oriented system like
the Filipino martial arts (FMA), the
importance of strength training
cannot be over-emphasized.
Strength is particularly important
in stick fighting for unlike in blade
fighting where the weapon’s edge
is the one creating damage; you
need power to inflict serious injury
with a stick.
Strength training was not
much of a concern for the early
Filipinos who practiced arnis,
escrima and kali. For in those days,
when much of the Philippines
were agricultural lands, hard labor
was the norm of the day. Stick
fighters in that bygone era had
very little need for specialized
conditioning because their bodies
were toughened day in and day
out through grueling farm labor.
Not so for 21st century Filipino
martial arts practitioners, which is
the reason why I wrote this piece.
Throughout this article
I will be mentioning specific
exercises but my main focus will
be on the general principle of
strength training and answering
the question, “How can a martial
artist become stronger?”
In a nutshell, increasing
your muscles’ capability to
generate tension is the essence of
strength training. “Because tension
is the mechanism by which your
muscles generate force,” says
Russian strength expert Pavel
Tsatsouline.
This ability to generate
maximum muscular tension is the
foundation of powerful hitting
not only in Filipino stick fighting
but in other martial arts as well.
This is demonstrated when you’re
delivering a hit whether with a
weapon or with your limbs—
you tensed up maximally at the
point of impact. Your ability to
inflict damage on your opponent
and escape injury would be
dependent on how skilled you are
in generating muscular tension.
It was proven time in again
that synergism produces better
results than isolation as far as
physical training is concerned.
Synergism within the context of
this discussion pertains to the
collective efforts of several body
parts as opposed to isolation that
concentrates on just one part.
In the Filipino martial
arts for example, it seems
logical to isolate the arms and
the hands then concentrate on
strengthening them since at a
glance, they are the ones that are
mainly used in wielding sticks and
other weapons. But this is only
partially correct.
Tsatsouline and many
strength experts believe that hard
abdominal muscles plus strong
hands result to a powerful body.
On the importance of developing
the abdominal muscles,
Tsatsouline in his book Power
to the People, wrote, “Maximally
tensed abs and obliques also
elevate your intra-abdominal and
intra-thoracic pressure which
fortifies any exertion. There is a
positive relationship between your
inside pressure and your power, a
so-called pnumo-muscular reflex.
Somehow this pressure
potentiates muscle excitability. In
non-geek words, it amplifies your
strength.”
In conjunction with
developed abs, another strength
expert, Dr. Ken Leistner stresses
the importance of developing
power in the hands and forearms,
“As neuroanatomists know, the
area of the brain that exerts
control over the hand muscles
has a much higher representation
relative to actual muscle size than
other muscle groups. Although it is
strictly conjecture, perhaps intense
forearm/hand work heightens
neural stimulation for all muscles
worked during a particular
movement. My experience has
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shown that taking the time and
energy to directly stimulate the
forearm musculature leads to
increased ability to handle heavy
weights in many exercises.”
Another anatomical part
that need ample amount of
training if you intend to develop
total body strength are the legs.
For those with already strong
hands, training the legs may seem
optional but there is solid science
backing the advice that intense leg
training results to greater overall
strength. John Wood, an advocate
of oldtime strongman training and
owner of oldtimestrongman.com,
explains how the development of
the lower extremities affect overall
strength, “Since the musculature
of the hips and legs is the largest
in the body, training that area in
the most intense manner possible
causes your own body to start
producing even more testosterone
and growth hormone making
further muscle growth possible.
The end result is a bigger, stronger,
more powerful you.” What I also
find interesting about Wood’s
explanation is that it offers a sound
scientific rationale for the age-old
practice of static stance training
found in many martial arts.
After identifying the key
parts to train, the next question to
answer is what kind of resistance is
the best for developing strength.
Excluding sophisticated machines,
the most practical choices
available to martial artists are free
weights (barbells and dumbbells),
body weight calisthenics (pushups
and pull-ups) and dynamic tension
(fitting muscles against muscles). I
personally use all three depending
on the situation. When I am home
and have access to equipment, I
train with weights. When I was still
a reporter travelling frequently
locally and abroad, I rely on body
weight exercises and dynamic
tension because I can do them in
my hotel room.
Choose exercises that are
multi-joint or employ the shoulder,
elbow, hip and knee (remember
that the goal is synergy not
isolation), “Why are these four
joints so important? Because,
again, these are the places where
most of the movement begins.
From these four joints come
flexibility and movement,” wrote
fitness expert Marco Borges in his
book Power Moves.
Examined through this
principle, the deadlift is the No.1
free weights routine while in bodyweight callisthenics, pushup is the
king. It is important to emphasize
that you will not get stronger by
doing easy exercises. If the goal
is explosive power, opt for really
heavy weights using low repetition
when training with dumbbells and
barbells. If you’re employing body
weight calisthenics, increase the
difficulty of an exercise to amplify
the resistance. For example, you
can go for one-arm pushups or
handstand pushups instead of
doing regular pushups.
When it comes to dynamic
tension training, Tsatsouline offers
some very interesting findings,
“Maximally tensing the muscles
in the absence of resistance or
with light weight is only possible
when the subject ignores the
feedback offered by his muscles
and tendons, namely, that there
is no resistance to contract
against. The opposite of a normal
feedback operation, the feedforward tension technique of
maximally contracting the muscles
regardless of the weight, should
build superhuman strength! Once
the muscles are subjected to a
very heavy load, they will be able
to successfully ignore the reality
and lift the damn thing! Keep in
mind that you must lift real heavy
weights at least some of the time.”
In ending, I want to make
clear that strength training should
be regarded as a means to an end
and not the end itself. In sports
science there is what you call
“principle of specificity,” which
simply means you will become
good at what you practice.
Someone said that if you want to
become a good cyclist; ride a bike.
I would say that if you want to
become a good escrimador then
swing those sticks.
Congratulations to all those who made it possible
to make the Southwest Florida Fencing Academy the
Divisional Champs in 2013. Thanks to our Coaches for their
never ending support and dedication to the art of fencing.
Southwest Florida Fencing Academy is headed by Head
Coach Charles Johnson and was established in 1968 in
Ft. Myers, Florida. The Assistant Coaches are Coach Corey
Purcell, Coach Jorge Luis Romero Duarte and Coach Luba
Kusa. This club has produced many successful fencers over
the years. Jesus Lugones now fences on the International
Level for the Argentina National Team and is from the
Southwest Florida Fencing Academy. Coach Corey Purcell
fenced at Penn University in Pennsylvania and now has
returned to the club to continue on the tradition.
Southwest Florida Fencing Academy
4210 Fowler Street
Fort Myers, FL, 33901
Phone: [239] 939-1338
www.swfloridafencing.net
From Left To Right, Top Row: Ricky Pucci, Susanne Hernandez, Dexter Moore, Ethan
Leung, Jake Thayer, Head Coach Charles Johnson, Noah Marker, Coach Corey Purcell,
Jason Moore
Bottom Row: Brandon Derbaum, Bryce Thayer, Charles Ball, Erika Dinsmore
Fundamentals of Punching for Street Defense
By Maestro Fernando Abenir , Contributor
Learning to defend your self is one of
the best ways to increase your chances
of surviving dangers on the streets.
Many attacks involve two or more thugs
who have nothing in mind but to inflict
violence on law-abiding citizens. And
unfortunately, the prevalent thought of
most people who ended up as victims
is: “That won’t happen to me” or “I’m a
peaceful person therefore no violence
would come to me.” Although we could
find some truth in these thoughts, still we
might wonder why bad things happen
even to good people. Well, the obvious
reason is that violence does not choose
its victims therefore it could happen to
anyone. Now, with this in mind, it is in
our best interest to learn how to defend
ourselves; better be prepared than be
sorry later.
Let’s get to the basics:
We’ll start with the basics of handto-hand fighting.
The first picture shows the
orthodox stance for a right-handed
person. You may do the reverse if you are
left-handed (southpaw stance).
Adopting this stance will help you
cover a lot of defensive strategies and
offensive capabilities as well.
The second photo shows a
defensive maneuver called pullback. This
will help you to avoid being hit even if
you are within the punching range.
The third photo shows a possible
follow-up by punching with your rear
hand to your assailant’s face.
The fourth photo shows how to
defend by turning your head and body
to your right. This is called shoulder roll.
This is a defensive move in order to avoid
receiving the full power of a punch if in
case you get hit.
Boxers like Bernard Hopkins,
James Toney and Floyd Mayweather Jr.
often use this hence they are known as
masters of defense in the world of boxing.
The fifth photo shows another
option accomplished by delivering
your strongest punch to your assailants’
chin. Normally, I would suggest using a
palm strike to avoid breaking your hand
especially if you’re dealing with two or
more attackers.
Try practicing these basic skills
until you get the feel of it.
Note to readers: Although you may
practice these by yourself or with a
friend it is still best to look for a qualified
instructor to help and guide you through
the techniques.
Cebuano Eskrima
Beyond the Myth
By Ned R. Nepangue, M.D. and Celestino C. Macachor
Cebuano Eskrima: Beyond the Myth boldly unravels with compelling and provocative hypothesis on the
Hispanic origins of the Filipino Martial Arts known as eskrima, arnis and estokada
The authors present prima facie evidence on the fraud of the supposedly precursor art called kali.
A more plausible theory on the origins of eskrima are presented in startling detail from its early beginnings
as a defense against Moro pirates and slave traders and its later fusion with Spanish fencing through the
Jesuit warrior priests during the pivotal years 1635-1644, the height of Spanish rapier fencing in Europe
during the Renaissance.
It also presents a comprehensive chronology on the development of eskrima in Cebu, a meticulous
commentary of Cebuano pioneers and innovators of eskrima and elucidates the pre-eminence of Visayans in
the art of eskrima / arnis / estokada.
As both authors are practitioners of this martial art, technicalities in eskrima never before detailed in other
materials on the subject are carefully discussed in the book.
To Order Visit - Amazon.com
Lameco Eskrima with Guro Dave Gould
6 DVD’s and 1 Book
Order all or separately through Budo International: Click Here
Thorn or Echo...
David E. Gould
Strength Training for Fighters
By Perry Gil S. Mallari, FIGHT Times Editor
shares vital training
tips as well as his
philosophy of
strength training.
Fight Times: Please
give us a brief account
of your background;
who are your mentors
and how did you start
as a strength and
conditioning coach?
Mark Garcia
Limbaga: My name is
Mark Garcia Limbaga.
I am the first ever
Mark Garcia Limbaga demonstrates
Russian Kettlebell
a bent press with a kettlebell
instructor under
Pavel Tsatsouline
If there are teachers of fighting
based in the Philippines and one
techniques, there are also teachers of only two in Southeast Asia
of strength. Certified under the
(Azlan Zain Mohammed from
legendary Russian Master of
Malaysia being the other), the
Sports Pavel Tsatsouline, Mark
senior coach of Eclipse Gym, the
Garcia Limbaga is among the elite
strength and conditioning coach
strength and conditioning coaches of ABAP (Association of Boxing
in the Philippines and in Southeast Alliances of the Philippines)
Asia. Limbaga understands the
and consultant coach to various
strength training needs of martial
performance based gyms in the
artists because he is a fighter
country.
himself. He was trained in Brazilian I first got a taste of training
Jiu-Jitsu, Muay Thai and Yaw Yan.
people fulltime in 2003 at a wellLimbaga entered the Universal
known commercial gym. Sadly, it
Reality Combat Championship
didn’t last long since their views
University Challenge in 2009 and
differed from mine. In 2006, there
won via armbar. In an interview
was an opening for apprentices in
with FIGHT Times, Limbaga
Eclipse and being a member then,
I tried my luck and
made the grade. The
rest is history.
Fight Times: How do
you assess the strength
training needs of a
fighter?
Mark Garcia Limbaga:
As for assessments, I
normally rely on not
only strength but also
movement. There must
be a balance. So, basic
movement patterns
like crawling, rocking,
ABAP boxers under Limbaga
rolling, skipping are
employ suspension training
also evaluated. As for strength
standards, Dan John’s book
Intervention gives a good baseline.
Fight Times: You are
knowledgeable in various strength
training methodologies like free
weights, kettlebell and bodyweight
calisthenics, which modality in your
opinion would provide the greatest
benefits to fighters and martial
artists?
Mark Garcia Limbaga: In terms
of tools, I say use what is available
to you. Each has its own strengths
and weaknesses. I just happen to
prefer kettlebells and bodyweight
due to portability but a complete
barbell set is also a very useful
tool.
Fight Times: Can you give some
advice on how to train safely and
how to look for personal trainers or
gyms?
Mark Garcia Limbaga: Patience,
attention to detail and focus
are a must to maintain proper
Limbaga (right) with ABAP boxing coach Roel Velasco
Photos Courtesy of Mark Garcia Limbaga
Unveiling of the Honoree’s Wall at the Martial Arts History Museum
January 11, 2014
By Marc Lawrence
The Martial Arts History Museum located Burbank, Ca held its first annual unveiling of the Honor
Awards Wall on January 11, 2014. This was a casual event. The awards were presented last September
at the Burbank Media Center formal gala event. All different types of martial arts and martial artists
were recognized at this big event. There were only five Filipino Martial Artist recognized out all of the
awardees.
Museum President Michael Matsuda did the unveiling after a short speech. As one of awardees of
the Honor Awards, my family and I were invited to the unveiling and the post event party. The museum
catered the event with some great Mexican food from great local place! There were folks from the
movie industry there talking up there craft and talking about the latest films they were working on. The
cast of the movie The Gathering was there taking pictures with folks. It was great to catch with some
of my friend in the martial arts community. I am still surprised and moved to go into the museum and
see my picture as well as friends of mine up there on the wall. But when you realize all of the hard work
people do in the Martial Arts Community to teach share and support the martial arts it great to see in
acknowledged.
mandirigma.org
form. Also, don’t focus on the
more is better mindset or keep
chasing higher numbers. It always
starts with clearly defining what
you want. If you want to be a
bodybuilder, it won’t be ideal to be
training with performance focused
coaches or power lifting coaches.
The gym must also have a good
amount of free weights or other
tools needed to achieve your goal.
As for trainers, talk to them
and ask and ask more questions.
Don’t get blinded by how much
they lift or how they look.
Fight Times: Any final words on
how really to become strong?
Mark Garcia Limbaga: Strength
is an attitude as Master SFG
(StrongFirst) instructor Mark
Reifkind would say, “Believe you
can get strong, never settle and
be consistent.” Strength has many
forms, not just physical strength.
Aim to cultivate all aspects of
strength.”
Punong Guro Edgar G.
Sulite once commented to me
that in training he would rather
be a thorn in the side of his
training partner than his training
partner’s echo. What he meant
was that if you only agree with and
systematically echo everything
presented to you in training with
out first and more importantly
thoroughly investigating and
testing its actual combative worth
in an noncompliant training
environment, how can you
honestly gauge its true combative
effect? By being the thorn and
not just echoing sentiment
you are keeping your training
partner challenged to adapt
and adjust to the unexpected
attack or counter attacks as they
are randomly presented in a
constantly changing structure.
A thorn annoys, distracts and
requires much investigation as
it involves a certain amount of
discomfort where as an echo once
becoming the standard in training
quickly creates an environment
of complacency thereby diluting
response and ability.
I demand that my students
constantly challenge me when
opportunities become available
to do so in training as this alone
will hone my combative abilities
and keep them in check against
an unexpected random attack.
Rather than echoing what
facilitates uncontested success
and establishing a false perception
of ability in the throws of training
complacency. By my students or
training partners being naturally
resistive in training this keeps me
honest and more importantly
it forces me to constantly
adapt and adjust to change as
it occurs in combat or face the
consequences for any failure to
do so. Most importantly it keeps
me challenged as I have to react
to the unexpected and in doing
so I am constantly kept on a
heightened level of awareness
throughout the ordeal looking at
every threat equally as opposed to
just anticipating what is expected
or agreed upon in an overly
compliant environment. Our
training partners and our training
environment are our portals to
reality through which we must
pass in order to transcend from
martial artists to warriors. Unless
we thoroughly challenge ourselves
in training and hold reality solely
as the standard of combative
development at best we will only
remain martial artists without the
possibility of ever moving onwards
to achieve warrior status.
Just going through the
motions while training is not
enough, the fact is for us to be
effective in combat at some
point in time our training must
brush up against reality as we
are always charged to diligently
train with intention. Simply when
our training partners comply and
assist our every performance
willingly without natural resistance
or recourse the most important
lessons can never be learned.
Without resistance in training
there will be no need for counter
measures or counter to counter
activity as uncontested success
will be misconstrued for great
skill, “uncounterable if you will”.
Remember that opportunity
in combat at real time speed
is measured in inches and
centimeters not in feet or meters
and timing will definitely be a
factor. What seems to be the
accepted more popular approach
to training these days (total
compliance) reminds me of an
old adage that states: “The cat is
king over a path of mice, that is
until he runs across an elephant
farther down that same path”. In
the dojo you are the shit mixing
it up with your students but
outside of your dojo forced to
fight tooth and nail against some
street thug willing to kill you for
his next booger of heroine you are
nothing more than a gift delivered
on a silver platter. The only one
that will be able to neutralize this
situation will be you alone for if
you can not stop him from killing
you no one else will, this is not an
acceptable place to find yourself at
anytime. Remember that you will
not be fighting according to your
schedule but someone else’s so
immediately everything that you
will encounter will be unexpected
and less than ideal to say the least.
Combative effect solely
dictates ones abilities in combat
and nothing else, regardless of
how many certificates or trophies
awarded or gained. We are only
as effective as we are today
as yesterday has passed and
tomorrow is yet to be written so if
your life hangs limp in the balance
of what you were “told that you
can do” and what you “think
you can do” you are doomed for
certain failure. For at this time
only what you “truly are capable
of doing” under less than desired
circumstances will dictate if you
will live or be left for dead. So
how well you prepare yourself for
this eventuality begins with your
immediate training environment
and rules of engagement in that
environment. When you train as
if your life depends on it you will
fight as if it does as well.
I hear more times that not
someone stating and gauging
their own combative effect based
solely on who they know or who
their Instructors are. Just because
your Instructor is world famous or
has experienced combat himself
this does not mean that you share
in his experiences equally. It is true
that a great source of knowledge
will get you much farther along
the path of knowledge than a poor
source will. However, for you to
pass the test of actual combat your
instructor’s name and experience
in and of themselves will not be
enough. You will have to apply
your skills in your own time of
need and if you fail or succeed it
will be by your own abilities or lack
there of and not some one elses.
There is an old adage in
the Philippines which states: “Ang
langaw na tumuntong sa kalabaw,
ay mataas pa sa kalabaw” which
is translated as “A fly that stands
on the back of the Carabao thinks
that he is taller than the Carabao”.
This is endemic of what is going
on amongst a majority in our
own community. Most seem to
gauge combative effect solely in
accordance with whom they are
training as opposed to their own
combative effect or abilities in
combat. I hate to repeat myself
but I feel the need to reiterate that
only your own experiences will
allow you greater effect in combat
and you only form this type of
experience by actual fighting
or at the very least sparring in
a very limited arena adhering
not to overly stringent rules and
regulations.
Respect your elders in the
arts for they have paved the path
that you currently travel but be
your own man and prepare to fight
and live as such. Prepare yourself
well for war and no-one will have
to fight your battles for you, arm
yourself with knowledge and noone will feel the need to speak in
your defense, train as if your life
depends on it… because it does
and no-one will have to carry your
dead carcass from the field of
battle prematurely. We are judged
not by our Instructors reputation
good or bad but by our own
actions and abilities. Either you
are effective… or not. Either you
allow your abilities speak for you…
or not. Either you survive combat
and live… or not. A lot is at stake
gentlemen so please remember
that there are no guarantees in
combat, only opportunity and
either you will take advantage
of that opportunity when it is
revealed to you in real time… or
not.
Lameco Eskrima Orehenal
Now Available at I&I Sports!
This is a 4 foot long staff constructed of dense rattan with skin.
Hand-burned in the traditional manner and finished with a clear coat
for added durability. Used by Arnis Tapado and Doce Pares for long stick
fighting but suitable for many martial arts styles. Extremely lightweight and flexible,
yet very durable. Perfect for practice or demonstration. Ideal for women and youth. 7/8in - 1in
thick. Weight approx. 12 - 18 oz. Burn pattern may vary slightly from picture. # WF0148A
Click Here
Seminar on Arnis Pasindo Eskrima Tournament Rules
January 12, 2014
Quezon City Memorial Circle, Quezon City, Philippines
By Joy Lim
Seminar and dry run of a new
Arnis Pasindo Eskrima rules to be
apply at the next Arnis Pasindo
Eskrima Tournament
The objective of this
seminar was to explain and
demonstrate to Arnis officials and
coaches the new rules we will be
using on our next tournaments.
These new rules will lessen the
risk of injuries, pain, and bruises
among players as well as make
the point system clearer for the
officials, players, and viewers.
Here is an interview with Master
Crisanto Pasindo about his
thoughts on the new rules and the
seminar.
Joy Lim: In your past eight
tournaments, what rules did you
use?
Master Pasindo: We used
modified rules from the Philippine
Department of Education, World
Arnis Organization, and some
other sets of rules.
JL: Why did you decide to
conceptualize your own?
Master Pasindo: Each of the
tournament we organized taught
us some lessons on how to or not
to do things. Here are the main
objectives of these new rules:
• To lessen the risk of injury. In our
eight tournaments, we brought
two players to the hospital, one
with scrotal injury and the other,
exhaustion. Thankfully, they
turned out okay but we don’t
want it to ever happen again
• To make tournaments more
understandable even to those
who don’t practice Arnis. We want
people to watch and understand
how points are scored
• To lessen the confusion. For
example, rules that award higher
points if you hit the head led to
scoring questions. What do you
mean by head, just the top, or
even the ears and the face?
• To showcase traditional Arnis.
We want to encourage athletes to
learn Filipino Martial Art without
mixing it with other martial arts.
JL: Who helped you come up with
the new rules?
Master Pasindo: Grandmaster
Rodel Dagooc is the main
influence and encouragement.
Dry run with kids made it easier to show the point system
Grandmaster Rodel Dagooc and Master Crisanto Pasindo
Then there’s the rules
committee composed of myself,
veteran judge-referee Francisco
Pajo, and Arnis competitor and
long time table committee head,
Rowena Nacario. It took many
hours of discussion before we
came up with what we deemed
best. I also consulted a lot of other
Grandmasters and Masters about
it.
JL: Can you give us examples of
what you changed?
Master Pasindo: On the Full
Contact Sparring: Multiple strikes,
one after the other without
changing leg or body position, are
no longer allowed. One hit=one
point. Disarms must always have
a follow up strike. Stricter rules on
fouls and disqualifications
On Anyo: Twirling and throwing
batons like a majorette are no
longer allowed. No more fancy
flying, jumps, or rolls
JL: What has been the feedback so
far?
Master Pasindo: The majority like
it because it is safer, clearer, and
goes back to traditional arnis.
The main opposition I heard so
far is that the safety modifications
might dilute the intensity of the
art. My answer to that is the Arnis
Pasindo tournaments are mainly
for beginners and amateurs.
Once the athletes are ready for
more intense competitions, they
can move on to more advanced
tournaments.
JL: What are your plans now?
Master Pasindo: We just had a sixhour orientation, training and dry
run for officials and coaches and
we will have two more dry runs
before our next tournament on
March 9, 2014.
Since it’s going to be our
first time to use the rules, we
decided to limit the officials to
only those who attended the
seminar, and the teams to only
those whose coaches attended.
This is to avoid confusion and
disagreements during the
tournament itself.
Although the 9th Arnis
Pasindo Tournament will be
smaller compared to our previous
tournaments and probably
will have birthing pains, it is
an important step towards
tournaments that are a cut above
the rest, tournaments that will
showcase how spectacular Arnis
truly is.
Oro’s Arnis Bets Vow to do Better
By Lynde Salgados
Sun Star Cagayan de Oro - January 17, 2014
Cagayan de Oro’s arnis team is
optimistic it could sustain its
winning ways in the Year of the
Wood Horse.
“We need to continue the
momentum we gained in 2013.
Basta makakuha la’g suporta,
our Arnis players will keep on
competing anywhere in the
country,” coach Leo Villegas told
Sun.Star Cagayan de Oro.
To close out the 2013
season, Villegas’ wards emerged
second overall in the POC-PSCARPI Arnis National Encounter held
at the SM North Edsa in Manila last
December.
Bankrolled by Misamis
Oriental Governor Yevgeney
“Bambi” Emano and the City
Council of Cagayan de Oro, Team
CdeO Arnis bagged a total of 8
golds and a silver in the tourney’s
individual and synchronize
categories.
“It was a great season-
ending accomplishment for our
team. And we’re so grateful to Gov.
Emano and the City Council for
supporting our campaign,” Villegas
further said.
Leading the CdeO team’s
triumphant finish is 15-year-old
sensation Sam Julles Cantal,
grandson of the late great martial
arts expert Sammy Cantal, who
won golds in the individual’s solo
baston (anyo) and spada-daga
before unleashing his full might
in flyweight division of the full
contact event.
Not to be outdone are
the Bongcaras siblings, Ric
Marcelino and Sanie Marc who
won four gold medals each in
their respective events as well as
John Augustine Dee who thrived
in anyo’s synchronize solo baston,
synchronize doble baston and
synchronize spada-daga and
settled for a silver in the full
contact’s lightweight division.
“On the Edge”
This fast paced hard hitting
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life “On the Edge!”
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Join Kelly S. Worden for information and an education in the real
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AAK Davao Bets Compete in Adidas International Karate
Sun Star Davao - January 17, 2014
Practicing hand signals, Judges practicing and how to be scorers
A lean-but-mean Association for
the Advancement of Karatedo
(AAK) Davao team competes in the
2nd Adidas International Karatedo
Cup set on, January 18, and the
next day at the Makati Coliseum.
The team is bannered by
Carmela Marie Estarija of Stella
Maris Academy of Davao (Smad),
Gabriel Quiñones of Brokenshire
College, John Paul Ponce and Jam
Ramirez of Precious International
School of Davao, Jamaica Quiben
of Thompson Christian School and
Josh Andrew Worsley of St. Paul.
AAK Davao chief Rommel
Tan, in an e-mail to Sun.Star Davao,
said the city’s karatekas will see
action in kata (forms) and kumite
(sparring) events.
The team also joined
a training camp that started
Wednesday and wrapped up
yesterday at the Jose Rizal
University. Former national team
coach Shin Tsukii handled the
camp.
The AAK Davao team is
backed up by TKS Petron, Zoofari,
Outback Grill, Engr. Alez Lao,
Tomas Electrical, Beefit Gym and
AAK Davao parents. (MLSA)
Talim Trainers
Made from one solid piece of wood, these trainers can be
used for everything from demonstrations and solo practice to
contact training. Each trainer has the shape of an indigenous blade
without any unnecessary details. Talim Trainers are approximately
3/4” thick. Made from one solid piece of wood, these trainers are
suitable for contact training but are also great for demonstrations,
solo practice and no-touch training. Each trainer is crafted in the
shape of an indigenous blade without any unnecessary details,
sharp edges, inlays or glued and pinned pieces.
Talim Trainers is the result of years of trial and error.
Last but not least, they are affordable. Good quality and longevity
doesn’t have to put a strain on the wallet.
Website: www.talimtrainers.com
Le Advises PH MMA Bets to Improve Grappling Skills
By Josef T. Ramos Correspondent
Cung Le (right) sizes up an opponent.- Contributed Photo
Ultimate Fighting Championship
(UFC) star and undefeated
sanshou (wushu contact fighting)
fighter Cung Le said that Filipino
mixed martial arts (MMA) fighters
should improve their ground
game by training in wrestling. Le
visited the Philippines last week
for a charity event for the survivors
of Super Typhoon Yolanda
(International name: Haiyan).
“I’m not familiar with
any Filipino fighters but I know
how they fight since most Asian
fighters are into wushu sanshou.
They are good strikers. They punch
hard and kick hard,” Le told The
Manila Times in an interview on
Thursday. The most prominent
Filipino MMA fighters today like
Eduard Folayang, Kevin Belingon,
Honorio Banario and Dave Galera,
just like Le, came from sanshou
before entering MMA.
“I saw the lack of wrestling
in a Filipino fighter when I
watched a UFC fight early this year
in Singapore,” said Le, referring
to Galera’s defeat via unanimous
decision to Singaporean Royston
Wee. “He had no answer to the
takedowns, but he hit hard and
he’s a promising fighter,” said Le,
41, who was born in Saigon, South
Vietnam but grew up in San Jose
California.
“Filipino fighters should
train smart and avoid being
burned out. They must listen to
their body,” said Le. “At the same,
they must also have a healthy diet.
If they do these things, they will be
successful in their MMA career.”
Le fought in the UFC in
2012 and got two impressive wins
against Rich Franklin by knockout
in November 2012, in Macau,
China and against Patrick Cote by
unanimous decision in July 2012 in
Las Vegas, Nevada USA.
“I represented America
in different wushu and MMA
competitions. I also fight for my
fellow Asians,” said Le, who’s also
an actor.
When asked if he has a
plan to fight in the UFC again, Le
replied: “Yes, I want to return this
year in the UFC and fight Michael
Bisping or Wanderlei Silva.”
Besides his foundational
skills in sanshou, Le also has a
background in Karate, Brazilian JiuJitsu, Tae Kwon Do and wrestling.
Defending Against a Knife Thrust
By Maestro Fernando Abenir Contributor
New Kid on the Block
By Marianne L. Saberon-Abalayan
Eight-year-old Josh Andrew
Worsley is making his international
debut in the 2nd Adidas
International Karate Cup still going
on at the Makati Coliseum as of
Saturday.
But the St. Paul College
Pasig-Davao Grade 2 student
is more thrilled than nervous
to be seeing action in a huge
tournament for the first time.
“I am so excited to be going
to the international competition in
Manila. I will try my hardest so my
family, Coach and Davao City will
be proud of the team and myself.
We will make you proud,” Josh said.
Josh joined the six-member
AAK-Davao team that is composed
of Carmela Marie Estarija, Gabriel
Quiñones, John Paul Ponce, Jam
Ramirez and Jamaica Quiben in
the International Cup.
He learned the ropes of the
sport in 2011 when Association
for the Advancement of Karatedo
(AAK)-Davao chief Rommel Tan
held a summer karate clinic
at Bacaca Road’s Zoofari Kids
Adventure owned by Josh’s
parents Andrew Mark and Mary
Ann Worsley. The young karateka’s
Dad is British while his Mom is
Filipino. Josh, however, was born
in Dubai, United Arab Emirates.
The Worsley couple also
Way of the Ancient Healer: Sacred Teachings from the Philippine Ancestral Traditions owns the Outback Grill and
Threadz Embroidery and Apparel.
Josh first competed in a
local tournament at the Gaisano
Grand Citimall where he annexed
two gold medals.
“It was my first competition
and I still keep the medals hanging
over my bed as a reminder to keep
trying harder in everything I do,”
he told Sun.Star Davao.
He spoke highly of Sensei
Rommel who he said inspires him
to work and train harder, saying:
“We have to watch our thoughts,
as they become words. We watch
our words, as they will become our
actions. Watch our actions, as they
will become our habits. We watch
our habits, as they will become our
character. We watch our character,
as that will become our destiny.”
Coach Rommel, for his part,
praised Josh for being “obedient,
patient and attentive”.
“He really listens well,”
Coach Rommel added.
Although karate is his
favorite sport, Josh also plays
soccer.
Hopes are high, indeed,
for this Ironman fan as he pursues
the sport he loves with his brand
of passion and determination to
succeed.
www.abanico.de
By Virgil Mayor Apostol
After Hollywood screenwriter and script analyst, the late John Sherlock, took the author’s earlier
manuscript copy back to his home in Ireland and pored over it, he wrote to the author commenting
that he read the pages with “great interest” but thought the book should take the form of a personal
odyssey. Taking Sherlock’s advise, the author interweaved his captivating healing and spiritual experiences, years of historical research and collection of photographs, along with information on the roots
of healing from their cultural, shamanic, and spiritual origins. What manifested was his unique magnum opus, Way of the Ancient Healer, a book that intermeshes esoteric and metaphysical beliefs with
scientific explanations of healing practices, based on an indigenous science and culture.
Way of the Ancient Healer provides an overview of the rich tradition of Filipino healing practices,
discussing their world influences and role in daily life. Enhanced with over 300 photographs and illustrations, the book gives readers a rare look at modern-day Filipino healing rituals, including personal
examples from author Virgil Apostol’s own experiences with shamanic healing and dream interpretation.
The book begins with an explanation of Apostol’s Filipino lineage and legacy as a healer. After a brief
history of the Philippine archipelago he describes the roots of traditional Filipino healing and spirituality, and discusses the Indian, Islamic, Chinese, Japanese, Spanish, and American influences that have
impacted the Filipino culture. He presents a thorough description of Filipino shamanic and spiritual
practices that have developed from the concept that everything in nature contains a spirit (animism)
and that living in the presence of spirits demands certain protocols and rituals for interacting with
them. The book’s final chapter thoughtfully explores the spiritual tools used in Filipino healing - talismans, amulets, stones, textiles, and other natural symbols of power.
Published by North Atlantic Books: www.NorthAtlanticBooks.com
Distributed by Random House Distribution Services, to order: www.RandomHouse.com or call (800) 733-3000
The following techniques are
just some of the possible ways
of dealing with a street situation
wherein you’re against someone
with a weapon. In this particular
scenario the assailant is armed
with a knife.
Proper caution is to be
taken whenever facing such a
serious situation. If you could
avoid it by running away then by
all means do so. But if you can’t,
then these skills might be of help.
But always remember that there
are no guarantees. Anyone would
be lucky to survive a knife attack
so better be prepared rather than
sorry.
The first picture shows a
defensive move by side stepping
the knife thrust. The defender
catches the weapon (second
picture) and immediately follows
up with a punch to the face
(third picture). The defender
then applies pressure to the wrist
(fourth photo). By turning his
body, the defender was able to put
the assailant to the ground and
control the whole situation (fifth
photo).
Coming in 2014
Punta Y Daga Kalis Ilustrisimo
My Understanding of the System
By Peachie Baron Saguin
Photos courtesy of Maestro Fernando Abenir
In this book, I will share with you a little background of Kalis
Ilustrisimo, the man who propagated the system and his students who
are now the teachers of Ilustrisimo. I have started from the origin, the
weapons we use, to our strikes and counter strikes and of course the forms
of Punta y Daga.
For me, learning is a continuing process. I always feel there is so much
more to learn which is why I like to teach, because in sharing what I have
learned, I can understand more the principles behind the techniques.
Verily, reading helps as guide, but we need a live partner to practice with,
and through this we will be able to determine the right angle when to
shift weight and when to deliver a strike that is accurate and timely. Only
by experiencing it with a partner will we know if we have understood
and can apply the system and the techniques effectively. In an actual
life threatening situation, I believe only wisdom, skills and accuracy can
protect us. Knowledge without wisdom is half baked and so are skills
without accuracy. This is the very reason why I feel there is a need to
train with different partners, so we will know if our techniques are niftily
coordinated. Do not anticipate the strikes because there are some strikes
which are meant to deceive us. Instead we should practice diligence,
alertness and swiftness of movements.
I have also included drills which have helped me a lot in practicing the
body mechanics, footwork and the combination of strikes. I like to write
what I have learned and still learning, as words in printed pages will serve
as a good source of reference not only for me but for future generations
to come.
It is my hope that I have outlined the system clearly, and that you will find this book, a helpful guide in discovering the exquisiteness in the
Punta y Daga form and in the Ilustrisimo system as a whole.
Peachie Baron Saguin
Lameco Eskrima Backyard
Guro Dino Flores DVD Release from Budo International,
Punong Guro Edgar Sulite was one of the great revolutionaries in Philippine Martial Arts history. There
were two types of students that learnt under him, those who took classes under him periodically and those
whom he selected and prepared personally for becoming fighters in private training sessions in the backyard
of his home, these students belonged to the Sulite Orihinal Group. Dino Flores belongs to this second elite
group of specially trained fighters in Lameco and shines with his own light as one of the top selected fighters
of the Lameco Eskrima backyard group. In this work he introduces and shows us a series of exercises which
Punong Guro Sulite emphasized greatly upon and that develop correct distancing in a real combat situation.
This dvd will help you refine the combative motions, enable you to increase the intensity within a drill, as
well as show you how to use equipment correctly and help you overcome a well protected opponent. You
will learn how to avoid being hit and grabbed. These exercises practiced under real contact and tension will
allow you to react against the most common attacks in real time and in an effective way. The most important
thing is to hit well, to have good footwork and mainly to have a great foundation.
To Order Click Here
Isidro Modern Arnis Promotion Test
January 18, 2014
Baypoint, CA.
The Lowdown on Savate
Manila Time - January 18, 2014
Master Jose Isidro Students
successfully promoted with Modern
Arnis Promotion Test on Saturday,
January 18, 2014 with Dr. Remy Presas
onsite to witness and judge the testing
given by Master Jose Isidro to his
students.
Master Jose Isidro was also
surprisingly promoted to Modern Arnis Lakan Lima by Dr. Remy Presas for continuing propogation of Filipino Martial Arts of Modern Arnis for
his skills, knowledge, good heart, the meaning of loyalty, honest, and never asking anything from Dr. Remy Presas or the family. He has always
instrumental in teaching the Filipino Martial Arts with desire and attidude to help
anyone and especially the Philippines people in history, the techniques, and the attitude
of true loyalty and honest of the Filipino Martial Arts and Cultures. He always continue
promoting and loyalty to Modern Arnis and the Presas Family of GM/Prof. Remy A.
Presas, Mama Rosemary Presas, Dr. Remy P. Presas, and family.
Master Jose Isidro will also get Dr. Remy P. Presas own Lakan belt to pass to him.
He will also have the original certificate that Grandmaster/Professor Remy Amador
Presas that was still left and that Mama Rosemary Presas and Dr. Remy P. Presas will sign
of Master Jose Isidro Modern Arnis Lakan Lima Certificate.
This will be the first time since anyone other than in the Philippines of
Grandmaster Rodel Dagooc who received the same original certificate of Modern Arnis
from Grandmaster/Professor Remy Amador Presas. From Dr. Remy Presas word that no
one else have this exact one exception of Grandmaster Rodel Dagooc.
It is an honor again for Master Jose Isidro of receiving this. As a US Marine Corps
Special Force, Oohrah.
Isidro Modern Arnis: www.isidromodernarnis.webs.com
It also must be noted that Dr. Remy Presas and with the approval of Mama
Rose Presas promoted Jose Isidro to Lakan Lima in Modern Arnis on January 18,
2014. Maser Jose Isidro will also be getting the original certificate/seal of Papa that
only Grandmaster Rodel Dagooc has. Master Isidro will also be getting Dr. Remy
Presas own belt that he will be passing to Master Isidro. Just before the promotion
Dr. Presas stated that Master Jose Isidro never asked anything from the Presas
family or any belt like other people have been known too or even tried buying a
belt from them. Master Isidro has just continued his work of teaching, showing,
and improving Modern Arnis to his students and others. Dr. Remy Presas during
his speech noted that his father and himself never had a black belt in reality. No
one ever promoted them. And since Master Isidro never asked for any belt and
Dr. Remy Presas and the family has appreciated his work in Modern Arnis and the
dedication, promulgation, and loyalty, Dr Presas said that he was presenting this
promotion so people will never question Master Isidro in the Filipino martial arts of
Modern Arnis.
Professeur Paul-Raymond Buitron 3rd (right) demonstrates
the use of a Savate kick in a street confrontation.
It was no less than Bruce Lee who
recognized the effectiveness
of Savate as a fighting art. An
illustration of a Savate technique
(coup de savate) is included in
his book Tao of Jeet Kune Do.
While known to many as the art
of French foot fighting, there
is more to Savate than flashy
kicks. In an interview with FIGHT
Times, Professeur Paul-Raymond
Buitron 3rd, one of the foremost
authorities on Savate clears the
many misconceptions on this
unique and devastating martial
art.
Fight Times: Please tell us
something about your self; your
personal background and how did
you start in the martial arts?
Paul-Raymond Buitron: My life
philosophy is Savate. It has grown
inside of me since the age of six
so I have practiced it for 39 years. I
was introduced to a variation of it
by my Uncle Isidro Chapa, which
he referred to it as Zipota (Basque
for Savate).
After I had been seriously
beaten up as a lad, my way of
seeing the world is through
Savate, which taught me to
respect others, to know that we
are all equal regardless of social
condition, nationality or religion.
Savate gave me the flexibility to
overcome everyday difficulties; it
taught me how to win and how to
lose—mainly how to lose, because
everyone is already prepared to
win.
It enabled me to have a
profession with which I completely
identify, and I am free to act, think,
and develop my work in the way
that I think best. I have other
vocations; I am an executive chef
as well as worked in the field of
executive protection when I was
in my twenties. Yet, Savate is what
gives me clarity so I wouldn’t even
want to do anything else. I raise
and educate my kids with my
vocation of a Professeur of Savate.
Also through Savate, I have
the chance to help many people
and also be helped. I have made
many friends in Savate and within
the martial arts communities.
What I have learned I try to teach
my students with admiration, thus
teaching respect.
Buitron (left) teaches Canne de Combat or stick fighting techniques
Fight Times: What is the style of
Savate that you are practicing and
teaching?
Paul-Raymond Buitron: I created
Danse De Rue Savate in 1994. After
years of training in traditional
French arts including Savate, Boxe
Francaise, Canne de Combat,
Baton, Lutte Parissienne, Panache
and Zipota (Basque Family art), I
took the bold step of formulating
the system after a strict direction
of four of my professeurs (Isidro
Chapa, Roger Lafond, Jean-Paul
Viviani and Robert Paturel). The full
name of the style is Danse De Rue
Savate.
Fight Times: How is Savate
different from other martial arts?
Also, Savate is always associated
with Le Canne, the French art of
cane fighting. Can you explain the
connection between the two?
Paul-Raymond Buitron: Most
martial artists use the name Savate
to describe all the fighting styles
of France. Yet it is normally taught
as the mother of all pugilistic
French fighting styles deriving
after 1803 in Paris, France which
was a hotbed of traditional French
martial arts, home to dozens of
styles.
The highly respected
Boxe Francaise la Canne de
arme or Combat as well as Lutte
Parissienne styles are but three of
the most famous developing in
the 1800s. Danse De Rue Savate
means the dance of the street
referring to an international phrase
“let’s dance” meaning do you want
to fight. Strikes are blocks as well
as blocks are strikes are taught in a
systematically compacted way that
teaches explosive and powerful
destructive ways of dismantling
the opponents structure, whether
offensive or defensive. This tight
structure gives an opponent
little warning about oncoming
attacks and makes it easier for the
students to protect themselves.
Many refer to ranges: close, long,
punching, kicking or grappling. In
Danse De Rue Savate we just have
a range, meaning that one can
transition between distances as
needed. This way of thinking links
combinations without stopping
thus enhances speed, power and
stability.
The usage of footwork
and body alignment is critical
to a zipotero a practitioner of
Danse De Rue Savate, because the
power, momentum, penetration,
simultaneous evasion and counter
are much safer. My reasoning
behind the art is based on the
many self-defense and conflict
situations I witnessed while
growing up, that left in me a deep
impression.
Fight Times: What is the
progression of training in Savate?
Does it have an official ranking
system?
Paul-Raymond Buitron: There is
a deeply rooted philosophy within
the ranking structure, which is
divided into three lines a person
travels on: eleve (student), disciple
(apprentice) and donneur (giver).
I will explain the differences: eleve
or student is the technical ranking
which starts with blue glove,
green glove, red glove (black belt),
white glove, yellow glove, silver
glove1, silver glove 2 and silver
glove 3. Disciple or apprentice
is the apprentice rank meaning
a coach helping in a school,
initiateur having his own club, aide
moniteur able to give rank to blue
glove. A donneur or giver is the
teacher rank, a moniteur is able to
give rank up to yellow must be a
silver 1, a professeur is able to give
rank up to silver 1 (but requires
three professeurs) must be a silver
2. A maitre is able to give any rank;
must be a silver 3. While in France,
I was alarmed by the severe
decline of the traditions and older
techniques as well as the respect
to the older Professeurs. Fearing
that the soul of the art could die,
I began to not only teach them
openly but also document the last
servicing professeurs that knew of
the older traditions.
Fight Times: How did Savate evolve
through the years as a self-defense
art and sport?
Paul-Raymond Buitron: Savate
Boxe Francaise (1980-Present). The
technical abilities of both Savate’s
major kicking arsenal and Boxe
Francaise’s kicks were merged
into a definitive sport of combat.
This style is very much present in
Europe.
Contemporary Savate
(1990-present) accentuates the
basic techniques of Boxe Francaise
Savate and the athletic aspects
of the sport. That emerged from
the seminars given by the French
Federation of Savate. Without
having ever walked into a salle
or stable of savateur’s. Care to
the traditions of Savate play
little role with in this structure.
The Danse De Rue Savate (1994present) is the codification of
the elements of Zipota, Boxe
Francaise, Canne De Combat,
Baton, Lutte Parissienne, Panache
and Saca Tripa. Developed by
myself, my goals are to maintain
the fundamentals of traditional
Savate as well as to create an
understanding to the respect
and preserve the traditions.
Renaissance Savate (1997present) are the arts that have
emerged due to the codification
of Danse De Rue Savate. In the
past ten years several have tired
to emulate the feeling of Danse
De Rue Savate within two of
its disciplines. Example Canne
and Lutte or Boxe Francaise and
Lutte. To produce the following
arts: Boxe De Rue, Canne De
Rue, Lutte de Rue and SavateDefense. Re-enacted Savate
Buitron (standing) shows a rarely seen Savate takedown technique
Photos Courtesy of Professeur Paul-Raymond Buitron
(2000-present) is the predominant
teaching methods from old books.
Written by instructors who have
passed away decades ago or
centuries ago without leaving
any heirs or students to continue
teaching. Thus the essence of the
philosophy of that school has been
lost. Chauss’ Fight (2007) is the
new sport of Savate to compete
with the ever losing of boxers or
savateurs of the French Federation
of Savate. It will consist of kicks
with the tibia to draw boxers from
the others pugilistic federations
of full-contact, kickboxing and
Thai boxing to transfer over to the
French Federation of Savate. The
new uniform will be pantalons/
pants similar to kickboxing no
top and shoes. Many do not
understand that the majority
of the world champions of fullcontact, kickboxing and Thai
boxing were either European or
French champions of Savate.
Fight Times: Do you practice other
martial arts besides Savate?
Paul-Raymond Buitron: Yes. I
started in kenpo and became
a second generation Ed Parker
blackbelt under the late Sifu Keith
See and I have acquired the rank of
eighth degree, I have also followed
very closely capoeira and I am a
contra mestre in Capoeira Angola
under Mestre Motorista. I have
always searched for knowledge in
the realm of pugilism and I have
befriended many Escrimadores
from the Philipines that live in
Stockton and I have now been
introduced to the fighting ways
of the Philipines in which I have
found many common traits
between Savate and Escrima.
Fight Times: How can Savate
training benefit martial artists from
other fighting systems?
Paul-Raymond Buitron: Savate
has the ability to develop a
freethinker in the sense of a
pugilist that respects all strikes
and is able to recognize danger
and thus will enhance any and all
martial artists of various styles.
First European Silat Lian Ilham seminar May 24 -25 2014
What is Lian ilham?
Lian ilham is a silat system
from Johor Baru in Malaysia. Lian
Ilham is considered a buahpukul
system, which indicates that it is
both striking oriented (Pukulan)
and have some chinese heritage
(similar to kuntao). Cikgu Alis
vision for the system was to
standardize the sullibus and
make it easier to learn and follow.
As a result the system is very
pedagogical, well structured and
has a very pragmatic approach.
Lian Ilham originates from the
Senjata Lapan of Endau near
Mersing. It is based around four
jurus (short forms or handforms)
and four lian (long forms or
legwork forms, similar to langkahs
in other silat). The jurus have
both offensive and defensive
applications and you learn how
to counter your juru applications
with your lian applications and
vice versa. In addition to the forms
there are eight buah or technical/
tactical guiding principles. Finally
there are palampas that drill and
strenghten striking and kicking
ability and power. The system is
layered in such a way that you
first learn to overwhealm your
opponent, then you learn to react
through sensitivity and finally you
learn to dictate your opponent
during combat through setups
and limiting of choices and
drawing them in.
Unlike many silat systems
the focus is not primarily on
takedowns, locks and finishing
moves, but rather on your
standup game. It allows you
to utilize advanced setups and
tactics to minimize your timing
requirement and maximize
the effect of your strikes and
controlling your opponent. These
elements are paramount to your
combat effectiveness, since
obviously your takedowns, locks
and finishing moves are hard to
apply sucsessfully if you cannot
controll standup fighting to your
advantage.
What is Buahpukul?
Buah Pukul is the name of
a group of Malaysian martial arts
originating from Yunan in China,
but influenced by lokal silat styles.
In this sence Buahpukul is similar
to kuntao, it is also similar to
indonesian pukulan and philipino
panantukan, i.e dirty boxing.
What is worth noting is that all
Buahpukul systems come from
one original common source, the
diferent systems are more like the
founders personal interpretations
or expressions of Buahpukul than
completely different systems.
These expressions are often called
”lian” and are branches of one tree
of knowledge. So the different
systems of Buahpukul are not realy
all that separate from each other,
the difference in the systems has
more to do with lineage and the
interpretation of one teacher or
another than completely separate
systems. You could argue that
Buahpukul is one system with
several branches.
Buahpukul means literally
to ”smash or punch fruit”, the
name is to be understood as an
allegory ”to smash like a fruit” or
” the fruits of (the knowledge of )
punching”
According to history a
chinese muslim or arabian trader
by the name of Abdul Rahman
Al-Yunani (the name and origin
varies somewhat in diferent
sources) arrived in Singapore in
1897 from Yunan. He beat up an
infamous gang of criminals in the
docks. Word of this reached the
local Sultan who sent his personal
bodyguard, Dato’ Awang Daik
who was a renouned silat sunting
master to test Abdul Rayman. Dato’
Awang Daik did not come alone,
he came together with a silat
sendeng master; Pak Long Muhd
Yassin .Abdul Rahman defeated
both silat masters and Buahpukul
was since trained by the sultans
men for several generations and
was for a long time known as the
royal martial art.
Lian Ilham is a branch
(lian) from senjata lapan, Cikgu
Ali trained under the late head
of Senjata Lapan Pat Mat Kedidi.
Senjata Lapan means 8 weapons
and refer to 2 fists, 2 elbows, 2 feet
and 2 knees ie the 8 weapons of
the human body. The concept of
8 weapons is a general one for all
Buahpukul systems.
About the seminar:
Cikgu Ali is holding his first ever european
buahpukul seminar in Stockholm the 24.-25.
of May 2014. Attendees will leave with a solid
base from which to start their own training.
The seminar is open to any and all interested
and no prior training or knowledge is required.
For the inexperienced this can be a great
way to start training and for those with prior
experience in southeast asian martial arts it can be a good opportunity to improve your striking and standup game.
Binding applications must be admitted the latest 24th of april 2014
AAK Davao clinches 3 golds in Adidas Cup
Europeans Take Eskrima Exam
Sun Star Cebu - January 22, 2014
The Association for the
Advancement of Karatedo (AAK)
Davao captured a total of three
gold medals, four silvers and two
bronzes in the 2nd Adidas Adidas
International Cup that came to
a close Sunday at the Makati
Coliseum.
Josh Andrew Worsley,
Gabriel Quiñones and Carmela
Marie Estarija pocketed the golds
in their respective events. Worsley
of St. Paul College topped the
boys 6-7 kumite by beating an
opponent from Singapore while
Quiñones of Brokenshire College
ruled the cadets -57 kilogram kgs
kumite against and Indonesia with
a rousing 7-0 score and Estarija
of Stella Maris Academy of Davao
subdued a JKI (Shito) karateka in
girls open kumite event.
Quiñones also got a bronze
in kata while Estarija lost to Japantrained Ana Tan of AAK-Megamall
to settle for silver in kata.
Precious International
Eskrima fifth grade blackbelt
Ermar Alexander of England will
lead the cast of Europeans who
will take the Blackbelt test at the
Doce Pares World Headquarters at
Sto. Niño Village.
Alexander, a Cebuano
by blood and raised in England,
United Kingdon, is set to take the
sixth grade blackbelt exam of the
Doce Pares Multi-Style System.
Supreme Grandmaster
Dionisio Cañete, ODL (Order
of Datu Lapu-lapu) will be
implementing a new process in
the examinations.
“This will be the first
time that we will do a practical
dissertation of higher blackbelts.
We will have a special panel which
will handle the whole procedure,”
said Supreme Grandmaster Diony,
ODL.
Alexander, who has
School of Davao (PISD) John Paul
Ponce and Julian Ambrose Ramirez
copped silvers in the two-day
karatefest. Ponce placed second in
boys 8-9 kata and kumite events
where Filipino-Japanese Naoki
Alforte of AAK-DLZHS went home
with the golds while Ramirez got
the silver in boys 12-13 kumite
after losing to a JKA-Lipa player in
the finals.
Jamaica Quiben of
Thompson Christian School, for
her part, salvaged the girls 10-11
kumite bronze.
A total of 12 teams
joined the tournament including
Singapore and Indonesia.
AAK-Davao chief Rommel
Tan thanked sponsors Zoofari,
Outback Grill, Charlie and Gloria
Estarija, Edgar and Maethel
Ponce, Jay and Joan Ramirez,
Mr. and Mrs. Quiñones, Beefit
Gym, Tomas Electrical and TKS
Petron for backing up the team’s
participation. (MLSA)
Masters of Lightning Scientific Arnis
List of Masters of Lightning Scientific Arnis who have the qualifications, authority and
blessing from Grandmaster and Founder Benjamin Luna Lema. This is to aid our friends in finding
reliable information to guide them in their research and study of this jewel of a Martial Tradition.
Train safe!
Mabuhay and LSAI!
This is the Official List of Masters in Lightning Scientific Arnis as with rank and title as conferred
upon them By Grandmaster Benjamin Luna Lema.
Date of Conferment by Mang Ben Masters Chapters/ Organizations
1945 Ceneres, Rafael “Raf” LSAI (pre WW II)
1945 Leones, Poldo LSAI (pre WW II)
1945 Pestano, Saturnino LSAI (pre WW II)
1945 Ponce, Rodrigo LSAI (pre WW II)
1945 Villas, Carlos LSAI (pre WW II)
1959 † Mayuga, Agripino LSAI Headquarters
1978 Sanchez, Vincent R. Kali Arnis International
1984 Rodriguez, Proceso, Jr. LSAI Tipas, Taguig, MM Chapter
1985 Alcotora, Leopoldo LSAI Makati, MM Chapter
1985 Licanto, Herman A. “Herman” LSAI Las Piñas, MM Chapter
1985 † Royo, Jesus, Sr. “Jess” LSAI Mandaluyong, MM Chapter
1986 † Estacio, Rizalino “Lino”
1986 Arroyo, Armando LSAI Malasiqui, Pangasinan Chapter
1986 Basig, Nicolas LSAI Pasay, MM Chapter
1987 Valenzuela, Romeo “Romy” Lightning Scientific Martial Arts and Physical Culture
1988 Arroyo, Reynaldo LSAI Dinginan, Roxas City Chapter
1988 De Leon, Romeo LSAI Cainta, Rizal Chapter
1988 Ibardolasa, Rodolfo LSAI Malinao, Aklan Chapter
1988 Luna, Atty. Luis LSAI Pasig, MM Chapter
1988 Ondillo, Carlito A. LSAI Roxas City, Capiz Chapter
1990 Santos, Romeo A. “Romy” Warrior Martial Art Corporation
1994 Porter, Shaun “Shaun” LSAI UK Chapter
1995 Valleno, Lemeo Romy “Romy” Valleno Arnis Club
1997 † Ybañez, Elmer “Elmer” Lema Scientific Kali Arnis System
1999 Villeno, Juanito “Boy” LEMA Alamid Arnis Club
2000 Dominguez, Nathan Ben G. “Nates” LSAI UP Diliman Chapter: Sangkil Karasak
2000 Jocano, Felipe, Jr. “Bot” LSAI UP Diliman Chapter: Sangkil Karasak
2000 Ramirez, Ronald “Ronald” Iron Viking
2001 Del Rosario, Manolo Luis C. “Nols” LSAI Mindanao Chapter: Mandirigmang Kaliradman Inc.
2001 Escudero, Jon “Jon” Jon Escudero-Lightning Combatives Group / Academia / LSAIsrael
2001 Mejia, Ericson “Sonny” Angkan ng Mandirigma
2001 Ortinero, Alex “Alex” LSAI UP Diliman Chapter: Sangkil Karasak
2001 Quiriones, Atty. Joey “Joey” LSAI UP Diliman Chapter: Sangkil Karasak
- date to be verified - Paclibar, Jaime “Jimmy”
Jon Escudero
Website: www.lsai.co.il
Official Account of LSAI - Lightning Scientific Arnis International (FB): Click Here
earned his fifth Grade Blackbelt
in 2006, will have a dissertation of
selected eskrima techniques and
applications, and achievement
reports concerning development,
growth and promotion of the
Filipino martial arts and Doce
Pares in England and some parts
of Europe.
Diana Fauner who is also
of England, hope to leapfrog from
first grade blackbelt to third grade
blackbelt.
Fauner, who hails from
Davao, skipped second grade
exams last year but is now eager
to earn two blackbelt grades in
one examination which involves
written and practical tests.
Meanwhile, Austrian
Ronald Froehle and Swiss national
Eric Grosjean is also set to take the
Academy of Eskrima Basic Course
Final Examinations.
Visit Philippines, My Philippines on FaceBook: Click Here
Imelda Remedios Visitación Trinidad Romuáldez-Marcos
Birth: July 2, 1929.
- 10th First Lady, Republic of the Philippines.
- Assemblyman.
- Governor of Metropolitan Manila.
- Ambassador Plenipotentiary and Extraordinary.
- Minister of Human Settlements.
- Congresswoman, 1st District, Leyte.
- Congresswoman, 2nd district, Ilocos Norte.
Imelda R. Marcos, is a Filipino
politician and widow of former
Philippine President Ferdinand
Marcos. Upon the ascension of her
husband to political power, she
held various positions to the
government until 1986.
She is the first politician
elected as member of the
Philippine legislature in three
geographical locations (Manila,
Leyte, Ilocos Norte). In 2010, she
was elected to become a member
of the House of Representatives to
represent Ilocos Norte’s second
district. She is sometimes referred
to as the Steel Butterfly or the Iron
Butterfly.
She is often remembered
for symbols of the extravagance of
her husband’s political reign,
including her collection of 2,700
pairs of shoes. In 2011, Imelda
Marcos has declared her net worth
to be 932.8 million pesos (US$22
million), parliamentary records
show, as she continues to fight the
government over her assets more
than two decades after her
husband’s reign ended.
Imelda is the secondrichest Philippine politician behind
boxing hero and congressman
Manny Pacquiao.
Marcos was born in Manila,
Philippines. Her paternal ancestors
were wealthy, landed and
prominent, and claimed to have
founded the town of Tolosa, Leyte.
The Lopez were descended from
the Spanish friar and silversmith
Don Francisco Lopez, originally
from Granada, in the Andalusian
region of Spain.
Together with Fray
Salustiano Buz, he arrived by way
of Acapulco to build Roman
Catholic missions in the island
provinces of Samar and Leyte (Buz
would establish his home base in
Palapag, Samar, the exit-entry
point of the Manila Galleons in the
Visayas islands).
Her branch of the family
was not political. Her father,
Vicente Orestes Romuáldez,
worked as a law professor at Saint
Paul’s College and as the
administrator of the Romuáldez
Law Offices founded by his
brother, Philippine Supreme Court
Associate Justice Norberto Lopez
Romuáldez.
Vicente was a scholarly
man more interested in music and
culture than public life. A
traditionalist, he preferred to teach
in Spanish while the rest of the
students and faculty spoke English
and Tagalog. Imelda had a younger
brother, Benjamin Romuáldez
(1930-2012).
Her mother, Remedios
Trinidad y de Guzman or Remedios
T. Romualdez, a former boarder at
the Asilo de San Vicente de Paul
(Looban Convent) in Paco, Manila,
was said to have been born out of
wedlock, and was the
daughter of a friar.
Remedios was from the
town of Baliuag, Bulacan,
and her own mother was
from Capiz.
Marcos spent her
childhood at the
Malacañang Palace in San
Miguel District in Manila,
since her family then lived
near San Miguel ProCathedral. (The Malacañang
Gardens across the Palace
used to be owned by her
grandfather Danielez. He sold the
land for the education of his sons
Norberto, Vicente Orestes and
Miguel at the Ateneo de Manila).
After Marcos’s mother
Remedios died in 1938, and their
home was nearly foreclosed, her
father, Vicente Orestes, moved his
family back to Leyte to live on their
abaca and coconut plantation
given to him by his deceased
mother, Doña Trinidad Romualdez
y Lopez. Marcos earned a
bachelor’s degree in education in
Tacloban’s St. Paul’s College.
She participated in beauty
pageants. At age 18, Imelda was
crowned the “Rose of Tacloban.”
and later “Miss Leyte.” Previously,
during Philippine-American
Friendship celebrations, she had
earned the title of “Miss
Philippines.”
She moved to Manila in
1950 after her cousin, and future
Speaker of the House Daniel
“Danieling” Romuáldez (the son of
her uncle, a former (1924-1927)
Mayor of Manila, Miguel
Romuáldez), saw her potential to
attract crowds.
She worked in the
music stores on the famous street
of Escolta. Because of her beautiful
singing voice, many customers
requested for her to sing. She sang
frequently and made many profits
for the store. However, her father
Vicente Orestes found out.
He found it degrading for a
Romuáldez to do such a thing,
considering the Romuáldez name
carried such a cachet (a good
name left as an undying legacy by
eldest brother Norberto Lopez
Romuáldez, a former Associate
Justice of the Philippine Supreme
Court). He took the next flight
from Tacloban to Manila.
He stormed Danieling’s
offices and demanded an
explanation. “Gin babaligya mo ba
ang akon anak?” (Are you trying to
sell my child?!) was his charge
against Danieling. Thus, Imelda
was later hired at the Philippine
Central Bank headed by
Danieling’s brother, Eduardo
Romuáldez, in the brand new
offices in Quezon City.
She took voice lessons at
the music conservatory of the
University of Santo Tomas with the
help of Norberto’s daughter,
Loreto Romuáldez Ramos and her
friend, Mrs. Adoracion Reyes.
Her photogenic face soon
graced many of Manila’s magazine
covers and she was named the
“Muse of Manila” by then Manila
Mayor, Arsenio Lacson, a special
title given to her after she
protested her loss in the Miss
Manila pageant.
During her early years in
Manila, she lived with her cousin,
Danieling and his wife Paz Gueco
along Dapitan Street in Quezon
City. There she was introduced to
the machinations of political life
since the house was a de facto
headquarters for the Nacionalista
party.
In 1953, Imelda met thenIlocos Norte Congressman
Ferdinand E. Marcos. After an
eleven day courtship in Baguio
during Holy Week, and with much
prodding from Danieling (He and
Ferdinand Marcos were both
sitting congressmen at that time),
they were married in May of that
year at the San Miguel ProCathedral on General Solano
street, San Miguel, Manila.
Between 1960 and 1965
Imelda was constantly featured in
many magazine covers. She
traveled around the country to get
to know each and every politician
that could help her husband
Ferdinand win the presidency one
day. She learned how to sleep
while sitting upright with her
elaborate coiffure intact; she sang
to the audiences; she was
baptismal and wedding sponsor to
all; she was the eyes and ears of
her husband.
In 1966, Ferdinand Marcos
became the 10th President of the
Philippines. Together with Imelda,
he would rule the Philippines from
September 21, 1972 up to his
removal in February 1986 in the
famous People Power Revolution
when he fled the Philippines.
In December 1965, when
Ferdinand E. Marcos became the
10th Philippine President of the
Philippines, Marcos became first
lady of the Philippines. She was
widely covered by both local and
international media, often
featuring in magazine articles. In
1969, Ferdinand Marcos became
the first Philippine president to be
re-elected to a second term.
On September 23, 1972,
Ferdinand Marcos declared martial
law to preserve his hold on power.
It was during the martial law
period that he abolished the
Philippines’ 1935 constitution and
established a parliamentary
system (Batasang Pambansa or
National Assembly) composed
mainly of his own political
appointees.
It was during this period
that Marcos assumed a more
public and powerful role in the
government. She was appointed
by her husband to various
positions in the government, such
as: Governor of Metropolitan
Manila, Minister of Human
Settlement, and Ambassador
Plenipotentiary and Extraordinary.
On December 7, 1972, an
assailant, Carlito Dimahilig, tried to
stab her to death with a bolo knife
during an award ceremony
broadcast live on television. Critics
claimed the assassination attempt
was staged. The assailant was shot
to death by security police and the
wounds on Marcos’ hands and
arms required 75 stitches.
In 1978, she was elected as
member of the 165-member
Interim Batasang Pambansa
(National Assembly) representing
the National Capital Region. As a
Special Envoy, Imelda toured
China, the Soviet Union, and the
Soviet satellite states in Eastern
Europe (Romania, Hungary,
Czechoslovakia, East Germany,
etc.), the Middle East, Libya, then
ruled by strongman Muammar
Gaddafi, the non-Soviet
dominated communist state of
Yugoslavia, and Cuba.
To justify the multi-million
expenditure of traveling with a
large diplomatic entourage using
private jets, she would later claim
diplomatic successes that included
securing of a cheap supply of oil
from China and Libya, and in the
signing of the Tripoli Agreement.
Imelda’s extravagant
lifestyle reportedly included fivemillion-dollar shopping tours in
New York, Rome and Copenhagen
in 1983, and sending a plane to
pick up Australian white sand for a
new beach resort. She purchased a
number of properties in
Manhattan in the 1980s, including
the $51-million Crown Building,
the Woolworth Building (40 Wall
Street) and the $60-million Herald
Centre; she declined to purchase
the Empire State Building for
$750m as she considered it “too
ostentatious.”
Her New York real estate
was later seized and sold, along
with much of her jewels and most
of her 175 piece art collection,
which included works by
Michelangelo, Botticelli, and
Canaletto. She responded to
criticisms of her extravagance by
claiming that it was her “duty” to
be “some kind of light, a star to
give [the poor] guidelines.”
She also orchestrated lavish
public events using millions of
dollars in public funds to extol her
husband’s regime and bolster her
public image. Imelda secured the
Miss Universe 1974 pageant for
Manila, which necessitated the
construction and completion of
the 10,000-seat Folk Arts Theater
in less than three months. Marcos
organized the Kasaysayan ng Lahi,
an extravagant festival parade
showcasing the history of the
Philippines.
She initiated social
programs such as the Green
Revolution, a program that,
although it did not address hunger
and the core problem of
agricultural land reform (most
Filipino farmers were tenant
farmers and did not own their
land), encouraged Filipinos to
plant vegetables and fruits in their
gardens. Other short-lived social
programs included a national
family-planning program to
reduce the country’s population
growth.
On the other hand,
institutions such as Cultural Center
of the Philippines, Philippine Heart
Center, Lung Center of the
Philippines, Kidney Institute of the
Philippines, Nayong Pilipino;
Philippine International
Convention Center, Folk Arts
Theater, Coconut Palace, and the
Manila Film Center, built in 1982 to
host her short-lived international
film festival are all Marcos’
brainchildren.
On 1981, martial law was
lifted and, in the same year,
Ferdinand Marcos was re-elected
as the president of the country.
When Ferdinand Marcos began to
suffer from lupus erythematosus in
the 1980s, it was said that Imelda
Marcos was effectively the acting
or de facto president of the
Philippines.
There was also speculation
at that time that if Ferdinand
Marcos were to die, Imelda Marcos
and her husband’s trusted military
adviser, General Fabian Ver, then
the chief of staff of the Armed
Forces of the Philippines, would
seize power.
After the assassination of
opposition leader and one
Ferdinand Marcos’ most prominent
critics, former senator Benigno
Aquino, Jr. on the tarmac of then
Manila International Airport on
1983, Imelda Marcos and Ver (in
addition to from Ferdinand
Marcos) would be accused of
ordering his assassination. In fact,
Imelda Marcos was summoned to
the investigation of the Agrava
Commission, an independent factfinding panel formed by her
husband to investigate this
assassination.
Marcos denied the
allegations against her. On the
1986 snap presidential elections,
she supported Ferdinand Marcos
in his bid to be re-elected for the
presidency against Corazon
Aquino, the widow of former
Senator and opposition leader
Benigno Aquino Jr.
In the same year, Ferdinand
Marcos would be ousted in a nonviolent People Power revolt, which
was triggered by the defection of
then Defense Minister Juan Ponce
Enrile and then AFP vice-chief of
staff Lt. General Fidel Ramos.
Despite of the pressures coming
from the army ranks of Ferdinand
Marcos to bomb EDSA for they
were used as the human barricade
for the army rebels against him,
the former president declined the
suggestion from his ranks.
On February 25, 1986,
Ferdinand Marcos and his family
fled to Hawaii (via Guam) after his
regime was toppled by the fourday People Power Revolution at
EDSA. Also, the place where her
shoes and jewelry were being kept
was destroyed, the contents
stolen.
Even a painting of Imelda
was destroyed outside the
Malacañan Palace. Marcos was
succeeded by Corazon C. Aquino,
widow of Benigno S. Aquino, Jr.,
Marcos’ foremost political
opponent, who was assassinated
at the Manila International Airport
during his return to the Philippines
in 1983 after years of political exile.
It was widely assumed that
Ferdinand and Imelda Marcos
were involved in the assassination,
which ignited the People Power
Revolution of 1986. Upon
assuming office, President Aquino
issued Executive Order No. 1,
creating the Presidential
Commission on Good Government
to investigate and sequester the
ill-gotten wealth of the Marcoses.
President Aquino abolished
the Batasang Pambansa
(Philippine Parliament) and the
Ministry of Human Settlements,
both creations of Marcos, and
established in 1987 a modified
version of the Philippines’ original
1935 constitution, which had been
abolished in 1972 by Marcos.
After the Marcos family fled
Malacañan Palace, Marcos was
found to have left behind 15 mink
coats, 508 gowns, 1,000 handbags
and 1,060 pairs of shoes. The exact
number of shoes varies between
accounts; estimates of up to 7500
pairs of shoes have been
published, but Time later reported
that the final tally was 1,060.
In 1992, Marcos claimed
that her fortune came from
Yamashita’s Gold. In February
2006, Marcos insisted that her
husband had acquired his wealth
legitimately as a gold trader. By
the late 1950s, she claimed, he had
amassed a personal fortune 7,500
tons of gold, and after gold prices
climbed in the 1970s, the Marcos
family was worth about $35
billion. However, the Bureau of
Internal Revenue has no record of
the Marcos family declaring or
paying taxes on these assets, and
the source of their wealth remains
open to investigation.
Marcos was the first wife of
a foreign head of state to stand
trial in an American court. In 1990,
she was acquitted of racketeering
and fraud charges, alongside codefendant Adnan Khashoggi, a
Saudi Arabian former billionaire
and arms dealer.
Inayan System of Eskrima Flexible Weapons
By Jason Inay
In the Inayan System of Eskrima Flexible Weapons proficiency is a requirement to advance in the system.
This DVD is a presentation of skills and drills to enhance one’s familiarity and skill in the use of a flexible
weapon. Though this DVD specifically presents the use of the bandanna the principles can be adapted
to nearly any flexible weapon. Suro Jason Inay, the head of the Inayan System of Eskrima (I.S.E.), also
illustrates how training the use of flexible weapons is a metaphor for approaching martial arts with a
flexible and adaptable mind
Enjoy learning the use of the bandanna with drills and techniques adapted from the Inayan
Kadena De Mano styles of Eskrima. Inayan Kadena De Mano is one of the core styles within the I.S.E.
that emphasizes empty hand and knife skills. The I.S.E. DVD covers basic defenses to strikes, locks, and
entanglements.
Visit: www.Inayan-Eskrima.com to find out more about the I.S.E. a complete system of Filipino martial arts
founded by Mangisursuro Mike Inay.
This DVD may be purchased via PayPal: [email protected] $37 including ground USPS shipping in
the USA
Modified Pangamut (DVD Set Vol-1, 2 & 3)
By Master Marc J. Lawrence
The traditional arts are known as Kali, Eskrima or Arnis, stick, knife and hand to hand fighting
was developed over a period of many centuries in the Philippines as her people fought for their
independence from foreign invaders. Each skirmish with a new culture added to the Filipino Martial
Arts as warriors developed techniques to combat foreign styles. Subsequently, more than 100 different
Filipino Martial Arts styles developed, which can be grouped into three complete self-defense
systems which utilize sticks, swords, empty hands and other weapons. Our core system is a Mountain
Visayan fighting system bought to the USA by our system’s Founder (Pundador) GM Felix Roiles. His
Grandfather called it Pakamut also called Pangamut. This referred to having skilled hands in Cebuano, a
Visayan dialect. He shared this with Marc Lawrence, his families fighting system. Marc L awrence had his
own FMA fighting system that he had learned in his travels. In his travels and fighting other systems he
developed the Modified Pangamut System. This is what he teaches and fights with, Marc Lawrence is
our Punong Guro (Head Instructor) and he is a National Champion in the Filipino Martial Arts.
Volume 1: Stances & Footwork, Finger Locks, Sitting Position, Floor Defense, Disarms and Submissions...
Volume 2: Controlling the Axis, Multiple Strike Strategy, Defenses & Disarming …
Volume 3: Block and Counter, Drills and Disarms, Multiple Return Strikes Competition Drills, Learning
to Defend by Zones, Tournament Disarms, Distractions & Disarms, Vining of the Stick, Fighting Mixed
Weapon Tournaments, Concepts and Rules of Fighting, Choosing Fighting Greer, Competition Strategy,
Point Fighting Strategies, Continuous Competition Strategies, What Wins A Fight, What shots Judges
Look For…
Volume 4: Arnis De Mano ‘14 Uses of the Live Hand:’ - 14 Uses of the Live Hand from the
Arnis De Mano System when fighting with a single stick: Re-Enforce, Augment, Checks,
Passes, Jams, Pushes, Pulls, Grabs, Hooks, Spreads, Punching, Blocking, Pinning...
Volume 5: Cadena De Mano ‘The Chain of Hands’ - Cadena De Mano basic principals of
parry, check, counter strike on the inside and outside lines, including “V” footwork, body
positioning, entry and advanced concepts of defeat.
School Submission
The schools listed teach Filipino martial arts, either as the main curriculum or an added curriculum.
If you have a school that teaches Filipino martial arts, or you are an instructor that teaches, but does not have a school, list the school or style
so individuals who wish to experience, learn and gain knowledge have the opportunity.
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Submit your event whether - Seminar, Workshop, Training Camp, tournament, or Gathering - Click Here
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FMA Informative Newspaper Vol3 No. 2

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