Mataw-Guro Notebook - Mataw

Issue No #6
2011
Garitony C. Nicolas of MAMFMA
New Mataw-Guro Association Vice-President
First Female FMA Practitioners accepted as Mataw-Guro’s
mero
Enrica “Nickie” Es
Bella Marie “Peachie” Baron-Saguin
Painting by the Numbers
By Dr. Ronald J. Parente
Senkotiros
Basis, Highlights and Unique Aspects
Mataw-Guro Garitony C. Nicolas: New Association Vice-President
Garitony Carlos Nicolas was born in Manila on July 21, 1968.
New Association Vice-President: Mataw-Guro Garitony C. Nicolas
Maria Clara is Now a Mataw-Guro - Emmanuel Querubin
Painting by the Numbers - Dr. Ronald J. Parente
Senkotiros - Basic Concepts
He was bestowed the club’s “Outstanding Instructor of the Year award” on
December 18, 1987 by International Philippine Martial Arts Federation - Grandmaster Ernesto Presas.
Nicolas is most noted for creating numerous variations of sinawali. His style
that he called “Modern Sinawali” boasts of more than 363 variations of double-stick fighting earning
him the title “Father of Modern Sinawali.”
In July 23, 2005, he was awarded the International Hall of Fame Instructor of the Year award
by the United States Martial Arts Association (USMAA). Two years later, his organization, the Modern
Arnis Mano-Mano Filipino Martial Arts was awarded the “2007 Organization of the Year “by the FMAdigest.
Nicolas’ extensive exposure in show business landed him on projects as fight director of several television shows the most recent was Encantadia – Etheria aired on GMA 7. He has likewise appeared and was
featured in several TV programs among them were Sheka Show (NBN 4), Open House of the Global News
Network (GNN), Unang Hirit, Mel and Joey, SOP variety Show (GMA 7) and Sports Unlimited (ABSCBN).
Nicolas has been featured in different Philippine publications like the Manila Bulletin, Manila
Times, Philippine Star Week Magazine Sports Digest Magazine, Tempo, People’s Tonight, Herald, Bongga,
Super Star Komiks, People’s Journal, Bisaya Magazine, Abante, People’s Taliba and Kislap Magazine.
A prolific writer, Nicolas is also the author of several books on the Filipino martial arts: Single
Sinawali, Sistemang Pang-Oran, Freestyle, The Official Anyo of MAMFMA, Eagle, Arnis for Kids, Arnis
Kickboxing System (ARKIBOS), The Principles of a Good Arnisador, The Philosophy of Arnis Nicolas System, Modern Sinawali, Mano-Mano, Arnis de mano Releasing and Locking, Katutubong Sining ng Pilipino
– Arnis and Espada Y Daga.
Main Headquarters:
Modern Arnis Mano-Mano Filipino Martial Arts Gym
Unit 204 CK Sy Diamond Building, 156 Libertad Street Pasay City
Tel No. 466-7290
The articles are the property of the author’s that wrote them and cannot be used without the permission
of the author. The Mataw-Guro Notebook is the property of the Mataw-Guro Association and is for the promulgation and promotion of the Filipino Martial Arts Education.
NO issue can be printed and Sold for Monies, without the express permission of the Mataw-Guro Association.
Email: [email protected]
Maria Clara is Now a Mataw-Guro
By: Emmanuel Querubin
All books published and distributed by Central Books Supply
Website: central.com.ph/centralbooks
Or order directly from Grandmaser Garitory Nicolas,
Email:[email protected]
Note: No portion of any book or MAMFMA information may be copied and reproduced in books, pamphlets,
outlines or notes, whether printed, mimeographed, typewritten, photocopy, or in any form, for distribution
or sale, without the written permission of Punong Laken Garitory C. Nicolas. All rights reserved.
The Filipina has always been typified as mayumi (demure) and mahinhin
(gentle in act or behavior). Their rightful
place was the kitchen. Their recreational
activity was sewing, cooking and everything
domestic. Sports or physical activity was not
their domain. The likes of Gabriela Silang
was the exception rather than the rule.
The atrocity of the Second World War changed all that. The urgency to mend lives shattered by
the cruelty of war transformed the Filipina from a “walk behind the man” existence to a “take charge”
presence. The influence of changing times altered the attitude of the Filipina and exigency brought about a
metamorphosis from a “butterfly to an eagle.” The Filipina “invaded” what was once uncharted territory.
Slowly they encroached in the male-only dominated world. This encroachment turned to infiltration and
now the Filipinas have even outrun the Filipino male in the Philippine chauvinistic sexist society.
The once locked doors of the male-controlled trade and labor Professions were blasted open by the
Filipina, not by explosives but by assertive determination.
The upper echelon of the business world, once an exclusive field of male executives has been overrun by skirt-wearing, high heeled administrators. Even politics, once a preferential turf of privileged men
turned into a wide-open arena for the Filipina. A Filipina housewife succesfully ousted a dictator who
ruled for decades. An ordinary housewife became the first female President of a country of over seventyfive million Filipinos. And she did this, not in the fashion of Gabriela Silang and her trusty tabak shedding blood and chaos. She did it, not wearing baro at saya but a western-inspired yellow suit.
This is the Filipina of today, the modern Maria Clara. With the change of role, the Filipina also
changed her native attire of baro at saya.
There was a time when the Filipina covers herself from the neck down to the ankles and the elbows.
It is now considered fashionable to wear see-through dresses, micro-mini skirts, hot pants, body-hugging
tights, exposed midriff shirts and pants, sleeveless and backless tops, plunging necklines and other garments once branded “decadent”.
Perhaps the most surprising transformation is the fact that the Filipina now dons martial arts attire and exchange blows and sometimes bested men they once considered superior in the field of combat.
The Filipina took up martial arts for varying reasons. Martial arts offer physical exericise that
promotes health and fitness. Some took it for health reaons. Some took it to learn a system of self-defense.
Some took it for fun and to while away the time in a more exciting and challenging way. Some were
persuaded or influenced by friends, family members, and the movies. Some took it as part of their chosen
profession. Sometimes it was all of these motivations. Whatever their reason was, the Filipina of today,
the modern Maria Clara who wears martial arts attire is now the rule rather than the exception.
Bella Marie “Peachie” Baron-Saguin
In her own words, Peachie, the name she is best known with, said: “ I always had the urge to practice the martial arts since childhood. Ever since I
was a child I have always dreamed of becoming a good martial artist. I always
imagine myself involved in a fight, fighting and clawing my way to victory,
reigning over my vanquished opponents. This deep ambition burned in me for
a long time. At first I was just contented with simply fantasizing and using my imagination. Later on this desire turned into a consuming passion and
martial arts became an obsession. My golden opportunity came when I had a
chance meeting with an old acquaintance who invited me to attend and observe
a Korean discipline he was training in. I was fascinated by this martial art and decided to join. My first
day of training was really exciting. It was the realization of my dreams, or so I thought. I was oblivious of
the time, of the hard training and the rigid discipline. The more I trained the more I got excited. However,
although I was engrossed in my training, I felt there was something missing. But my search for the “missing link”, so to speak, did not last very long. In the same place I ws training at there was another class of
another discipline. I watched and I was thrilled and filled with excitement. Deep within me, my spirit was
shouting this is it Peachie. This is what you’ve been looking for. This led me to make a graceful exit from
my other class with the blessing of the instructor. The instructor was happy I found what I was looking
for. In my new class I was taught different styles of defense and offense . I was trained in unarmed combat
as well as in weaponry skills, including sticks and knives. My skills have improved and my self confidence
bolstered to the point that to me sparring sessions have become the
norm rather than the exception. Looking back, I know and realize that
I am now a very diffferent person, a far cry from where I was. When
my instructor left for the United States I started training with my
current teacher Tony Diego who is now the Master of the Kali Illustrisimo system. After considerable drills with a wooden sword, Master
Tony gave me, as a gift, a real live sword to practice with. Tony Diego
is a tue Master “in name and in heart.”
Peachie has been designated by Tony Diego to teach new students, especially foreigners who want to learn Kali Illustrisimo. But
humble as she is, Peachie is contented to be called Senior Student
Second Generation.
Filipino martial arts is only one of the many activities
Peachie is engaged with. She is the Secretary of the National Filipino Martial Arts Association. She is a Water Rescue Instructor of
airline stewardess and an above par mile swimmer of the National RedCross
and a consistent “sweeper” in the annual Red Cross mile race. She is a runner, a singer and a dancer. She
is a linguist and a writer of prose, poetry, and everything in-between and beyond. In 2008 she was named
Woman of the Year by the FMAdigest aside from being a recipient of various awards from this internet
magazine published in the United States. Her culinary skill rubbed off on her son who now has his own
cooking show. She graduated from the University of the East with a Degree in Business Adminstration
Major in Marketing and Advertising. Professionally, Peachie finds the time to be a career woman as an
Executive Producer of her own shows at UNTV37.
On February 27, 2011, Bella Marie “Peachie” Baron-Saguin was inducted in the elite MatawGuro Association Martial Arts Education for Arnis de Mano. She was offered an officer’s position in the
association which she gracefully turnd down due to other commitments which will prevent her from giving
100%, a condition that is unacceptable in her standard.
Enrica “Nickie” Esmero
Another proof that the Filipina of today has invaded the male-dominated
world is Nickie. Nickie graduated with a Bachelor’s Degee in Agriculture from
the University of the Philippines in Los Banos, Laguna. Her goal is to help
make the Philippines the dominant force (again) in rice production, rice being
the staple of Filipinos and of Asians. She has no illusions of the Philippines
competing with the industrialized countries. She knows that the Philippines
is an agricultural country rich in natural resources. She is also aware that
Filipinos have a vast reservoir of knowledge as far as agrculture is concerned.
“Just look at the Banaue Rice Terraces,” she added. She is also aware of the
fact that in order to make the Philippines competitive in rice production, the industry has to replace the
old practices of the kalabaw and the trusty but obsolete araro, with new modern mechanized farming and
irrigation. To broaden her academic horizon she joined the Cavite State University, formerly the Don Severino delas Alas Agricultural School in Indang, Cavite.
While pursuing her degree at the University of the Philippines she took up Karate to while away
her time from the books. Karate awakened her dormant desire and interest in the martial arts. Upon hearing that the Cavite State University has a martrial arts program in the Physical Education Department,
Nickie approached her immediate superior, Dr. Alejandro Mojica who in turn
introduced her to the martial arts teacher Louelle Lledo.
Louelle’s class cordially accepted Nickie who was treated as “one of the
boys.” Louelle saw in Nickie the potential of not just being a champion fighter
but also a first rate teacher, coach and a tournament official. Nickie’s martial
arts repertoire included Karate, Judo and now Arnis de Mano. Through training under a teacher whose philosophy was to “do one technique a thousand times,
rather than do one thousand techniques one time,” Nickie better understood the
underlying principles of the techniques and her progress was “fast and furious.” Louelle made Nickie his assistant in teaching and in coaching. With their
combined talents the Cavite State University Martial Arts Varsity Team started
garnering gold medals one after the other. Nickie capably assisted Louelle and soon
the martial arts team of Cavite State University became the team to beat in the
Schools, Colleges, Universities Athletic Association (SCUAA) Region 4. Nickie did
not stop there. With encouragement from Louelle, himself an international referee / judge certified by the
World Union of Karate-do Organizations (WUKO), the team and the officials of Cavite State University
she took the examination for Karate Tournament Official and passed. The Philippine Karate-do Federation, the ruling body of Karate in the Philippines, issued her a Judge’s License. But that was only the
start. She was also licensed by the Asian Karate-do Federation and by the World Karate-do Federation.
When Louelle left for the United States, Nickie took over as Head Coach of the Cavite State Univer-
sity Martial Arts Varsity Team. In the last Philippine Association of
Schools, Universities and Collges (PASUC) 2011 Martial Arts Olympic
hosted by the Romblon State University, they garnered 4 gold medals,
1 silver medal and 3 bronze medals, which was a medal away from the
over-all champion.
On February 27, 2011, Nickie was inducted in the elite
Mataw-Guro Association Filipino Martial Arts Education for Arnis de
Mano. She was also appointed to be an officer of the association. During
the 2011 Mataw-Guro Gathering and Assembly, Nickie was the Master
of Ceremonies. Guest of Honor during the event was Honorable Senator
Miguel Zubiri, author of Republic Act 9850 more popularly known as
the Arnis Law.
Peachie and Nickie are pioneers worthy of emulation. There are
other, hundreds if not thousands, female martial artists but they are
the first two who were bestowed the title Matawguro.
erubin
Nickie (left) with Gloria Qu
and Senator Zubiri.
Painting by the Numbers
By Dr. Ronald J. Parente
When I was a kid, someone gave me a “paint by the numbers” kit. I can’t remember what picture I
was supposed to produce. I just remember how tedious it seemed, as it turned out, to match the number on a
specific spot on the paper with the corresponding pain color and then paint the allotted area, careful to not
let the color run into the wrong spot.
When I started the painting, I thought it would be really fun. But, less than half way through,
I found it to be very boring. What I didn’t realize then was that I had been excited to paint, and I ended
up disappointed because I really wasn’t painting. Well, I guess I was painting in the strictest sense of
the word, but something very important was missing, at least for me. I felt like I was pretending to be a
painter. See, the kit doesn’t teach you how to paint. It just paints a picture through you. You don’t really
create the picture.
True painters are artists. They learn skills and techniques important to their craft, brush strokes,
shading and the like. Then, they take those skills and apply them creatively in expression of themselves.
It requires both a thorough understanding of how to manipulate the brush, the canvas and various colors,
and a deep personal insight, real understanding, internally and externally. Artists put paint on canvas
in unique combinations and configurations. They create. This is in stark contrast to the paint-by-number
painter. He or she learns little to no technique and produces no true self expression. One is a true artist.
The other is a technician, a hobbyist, following a pre-prescribed routine without any real knowledge of the
basic concepts of the art of painting or how it all comes to together to produce a work of art.
We see the same scenario in the martial arts as well. In my estimation, most martial “artists”
paint by the numbers. Sure, they “learn” the required techniques, the kicks or punches, throws, or strikes,
“be it empty hand or weapons training”. They demonstrate these techniques when called upon to do so.
They pass tests and progress through ranks. But, most do not really understand when, where, why or even
how they do the things they do. They can robotically mimic but they cannot explain, recombine or create.
They endlessly perform front kicks, yet never seem to ask, “When do I throw a front kick”?
This dichotomy even exists in Arnis de Mano. I’ve witness some martial “artists” with years of
FMA training who can faithfully perform the common “12 strikes”. But, they lack true understanding and thus cannot really apply the techniques they faithfully mimic. I have one such friend who has
trained far longer than me at a different school. In fact, many years ago, he was the first person to show
me a pair of rattan sticks. Several months ago, he came to my office for a visit and, upon learning that
I have been training in FMA for the past several years, proceeded to show me the twelve strikes. He then
asked “How many strikes do you have”? I replied “Two”. The horrified look on his face motivated me to
explain,”…a forehand and a backhand”. He said “To where?” I said “wherever I choose!” He then pointed
out with a smirk “Then your art is lacking. You have no stabbing techniques”. I explained “Yes, I do.
Again, still just a forehand and a backhand” “How about blocks”? “Two. Forehand, backhand” Then I
asked him “What patterns of motion do you strike through”? “Huh”? Catching on, he showed me classical Sinawali. I said “Very nice. But, really, it’s all just either a forehand or a backhand expressed in the
form of a line or a circle, using single stick or double stick, individually or simultaneously, or some recombination of all of it”. He blinked, swallowed and shook his head. I had lost him. I then showed by friend
the basic movements of Kruzada, Abanico, Sinawali and Redonda, explaining the similarities between
them all, then combined them (not in a pre-arranged pattern), then exchanged my stick for a knife and
adapted the same movements to the shorter weapon. Now, whenever I bump into my old friend, he has
several questions about Arnis he’s been pondering and several techniques he wants me to understand the application of.
Now, none of that was intended to pat myself on the back. I
am no master, but my teacher is a Master Teacher. I’m blessed that
he has imparted knowledge and skills to really apply techniques. We
too practice sequences of movements, but, it’s more important to him
that a student understand the principle behind a movement rather
than perfectly mimic the pattern. In fact, Mataw-Guro Lledo continually tells us “Do not memorize. Do not go through the motions
like a robot. Focus. Visualize your attacker. Learn how the stick
moves. Learn how your body moves. Do not be in a rush. Be patient.
If you make a mistake, it’s not a mistake. Learn from it. Put only
positive things into your computer (brain). When needed, they will
just come out. Learn structure, but in the end, forget the structure”.
There’s nothing wrong with having a numbered sequence of
blocks and strikes, but a beginner should not start there and a senior
Ron Parente with his teacher
should not end there. The same holds true for foot work, partner
Mataw-Guro Lledo
drills, etc. If you just memorize a sequence and go through the motions, you are training to be a martial technician, painting by the numbers. You become a martial hobbyist.
I try to approach learning the art from the perspective of an artist. I don’t want to fall into the
trap of striking only by the numbers and going through the motions. I want to understand and internalize the basic principles and skills so that they become second nature, an intrinsic part of me that will come
to life when the moment is right. I believe that, whenever you pick up your stick, it should come alive
through you and with you. When you understand the fundamentals and make those principles a part of
you, then you are simultaneously the instrument, the artist and the art, and you can create and perform
spontaneously.
Do you want to be a martial technician or a martial artist? Is FMA an art of a hobby? What
kind of students do you want to create?
Printed with permission of Grandmaster Max Pallen of Senkotiros Inc.
Senkotiros is a style of Filipino martial arts that originated in the Southern Luzon Province of
the Philippines. Unlike other Philippine martial art styles, Senkotiros originators were probably not able
to pass on the art to their descendants primarily because of the widespread necessity to find work in other
provinces and cities. The demand for work forced the practitioners to spend most of their time away from
home. As in most Filipino fighting art systems, it is difficult to determine the exact origin of Senkotiros.
Some say that it was derived from the “Camarin” style.
The word “Camarin” means a place to store rice or “palay” or any other grains harvested during
the harvest season. The Camarin system was practiced in the “camarin” (warehouse or factory) to avoid
being seen by the public and thus maintain the secrecy of their style. “Camarin” also became the name
given by the locals to those who worked in the Camarin. When asked about their
style of Arnis, the practitioners would respond, “Camarin Style”. Others thought
that the system was named after the Camarines Province of the Philippines. It was not
until after World War II that the art of Senkotiros started to surface in the urban
communities of the Bicol region of Southern Luzon. Luis Moratillo, a Barangay chief
and police officer, was one of the practitioners of this style of Arnis in Sipocot, Camarines Sur during those days.
Grandmaster Max Pallen was born and raised in the province of Camarines
Sur, in Bicol Region, located at the Southern part of Luzon in the Philippines.
He was first exposed to the Philippine martial arts at the tender age of six by
his Grandfather Luis Moratillo. His father, Zacarias “Kid Baron” Pallen also
exposed him to the art of “Panuntukan”.
In 1947 Luis Moratillo passed away, leaving the art of Arnis to his young
grandson’s mind (emong) only to be revived 20 years later.
In the 80’s Grandmaster Pallen started conducting Filipino martial arts seminars
and tournaments in Northern California. In the year 2000 he officially revived the
Senkotiros style he had learned from his grandfather Luis Moratillo. Combining Senkotiros
with the knowledge that he had gained from other Masters now makes Senkotiros a complete
style of its own.
Senkotiros
Basic Concepts
Senkotiros, Basis and Highlights
Senkotiros is unique when compared to many forms of the Philippine martial arts in that it is
taught and practiced to be a free-formed style of martial art. In its purest form, the movements, counters
and fighting techniques of the style are based on some very simple rules and concepts. These rules and concepts are the building blocks of the style, rather than the patterned or repetitious responses and techniques
common to many other styles. The response to an attack is based on what the Senkotiros practitioner feels
and senses in response to what is presented by the attacker.
Free-Form, Non-Patterned
Many Philippine martial arts teach patterned movements as the method to respond to an attack. If
the attacker does this, you do that, is often the way encounters are dissected. The responsive techniques are
practiced over and over. The Senkotiros practitioner, however, does not respond to an attack with a single
prescribed or predetermined technique. The Senkotiros practitioner views a counter attack as a response
with an infinite number of possibilities. In any combat encounter the interactions are unpredictable,
complex and varied instantaneously. Senkotiros looks upon the response to an encounter as the ability to
respond to anything, with anything. The actual movements or techniques are based more on the dynamics of
the situation and combined with what the practitioner senses at the given moment of the response.
Sensitivity Concept
The style is taught and practiced in such a way as to allow the experienced practitioner to react and
respond instantly to the situation presented by the actions or movements of his opponent. What the practitioner sees, feels (with the hands, arms and arnis stick) and hears is combined with the intuition he has
developed over the course of the training. It is commonly referred to as the Sensitivity Concept.
This heightened level of awareness comes naturally as the practitioner comes to understand the complex
interactions of his and his opponent’s movements. The Senkotiros training helps the practitioner to integrate this with the physical techniques that one is taught in the Philippine martial arts. Such traditional
techniques such as distance, angle of attack, hand and foot position, footwork, etc., when combined with
this high level of sensitivity, enables the Senkotiros practitioner to respond in a way that is sudden and
devastating.
Senkotiros Principles and Theory
Several of the more important principles and theories presented here are at the foundation of the
style of Senkotiros. These are based on the teachings and philosophies of Grandmaster Max M. Pallen.
Unique Aspects Of Senkotiros
Fighting Style
Senkotiros is a fighting style. All Filipino martial arts were ultimately developed to defend their
homeland from the many invaders they encountered over hundreds of years. Many modern day styles of the
Philippine martial arts have come to emphasize different elements of Arnis. Some have come to stress elements of other martial arts such as locking and jujitsu type moments. Further confusing this, the Philippine martial arts has been integrated into other martial arts styles and presented as a part of those styles.
Senkotiros emphasizes fighting and is based on the traditional method of self-defense practiced in
the Camarins of the Bicol region of Southern Luzon, in the Philippines. The style represents a fighting
system that addresses all aspects of combat (from all distances or ranges) between individuals with much
emphasis on striking (with the baston or hand).
As a testament to this, the Senkotiros system has produced several WEKAF World Champions and
its practitioners are always competitive in national and international competition.
The Five Angles
Senkotiros measures strikes different from other arnis styles. Strikes are measured by angle and
direction. Striking areas are more simply illustrated. Senkotiros targets the most vulnerable areas of the
body such as joints (fingers, wrist, knees, etc), shallow bones (forearms, shins), nerve endings or pressure
points, and vulnerable areas of the body (eyes, nose, ears, groin, solar plexus, etc.).
Senkotiros measures all strikes by three factors:
1. The direction of the strike (from the right or left side, or from overhead).
2. The angle of the path of travel of the tip of the baston (horizontal, angled downward or angle
upward).
3. The motion of the strike created by the rotation of the wrist.
Senkotiros has only five strikes, each measured as described, by direction and angle. Each can be delivered
from the right or the left side of the striker’s body. They are referred to as.
The Five Angles of Strikes
Angle One Strike: Horizontal angle at a plane parallel to the ground.
Angle Two Strike: Downward at an angle (plus/minus 30 degrees).
Angle Three Strike: Upward at an angle (plus/minus 45 degrees).
Angle Four Strike: Any thrust with the tip of the weapon.
Angle Five Strike: A witik strike (a very fast whipping motion with the wrist) from either side,
or from overhead downward.
This is how the Senkotiros striking techniques, both offensive and defensive, are measured and taught.
These are the base techniques and much of the methodology and terminology is built from The Five Angles.
The Cross Section Defense
There are many methods of defense in the Philippine martial arts. Many styles emphasize forceto-force blocks or defecting blocks, checking to the hand or arm, etc. Senkotiros uses all of these types of
blocking techniques, but there is an emphasis on one aspect of defense: the Cross Section Defense.
The Cross Section Defense involves using an object placed perpendicular to the force of an attack,
and placed between the strike and its target.
The Cross Section Defense places the center of the blocking object at the center of the force of the
attack. If the attack is with a baston, the Senkotiros practitioner will place his baston at a perpendicular
angle where each baston meets in the approximate center, thus forming a cross. This cross, when properly
applied and supported (or braced), intercepts the strike and shields the Senkotiros practitioner from the
force of the blow.
Shielding
Shielding is the combat application of the Cross Defense. Senkotiros uses many different ways to
counter an attack. Sometimes a check is used, or an intercepting strike to the hand. Other methods can be
used as well. But the retraction to place the weapon between an attack and its target in the form of a cross
is the most common technique of defending and setting up for a counter attack. Senkotiros teaches to use
this technique as the best method to respond to an attack, if no better options are available. This is referred to in Senkotiros as Shielding.
The Second Hand Concept
The philosophy of dealing with a follow up attack of the second hand is called the Second Hand
Concept. The Senkotiros practitioner’s training is geared to developing the ability to instantly deal with a
follow up attack by the second hand of an opponent. In the Philippine martial arts, this is often the open
hand (the hand without the baston) performing some type of control technique in the form of a punch,
grab, trap, etc. Many times the second hand contains a long or short knife, a baston or some other type of
weapon. The Senkotiros practitioner is taught to see, feel or sense this attack. They are taught to instantly
respond to the second hand with some kind of defense such as a block, intercepting strike with a baston,
check, grab, etc. Senkotiros Practitioners are trained to do this quickly and with authority, without breaking the rhythm or the flow of their actions.
be cut to split seconds. One responds based on actions that are sensed in the attacker and are picked up on in
an instant. One can almost respond with the proper counter before the attacker has even completed the attack. The effects can be devastating.
When one reaches this level of sensitivity and can execute it to a high level, it is said that they can
see without seeing.
The Concepts of Movement
Conclusion
Circle Concept
The circle concept refers to the many movements in Senkotiros that use a circular motion. This
circular motion is applied in many ways and many of the hand combinations and the footwork follows
circular patterns. The strikes, twirling patterns, and the baston-open hand combinations follow this type
of pattern. The Circle Concept represents all of these motions and is an important concept in understanding
the movements and patterns of Senkotiros.
The Torquing
The torquing is the circular movements made by the entire body while executing the offensive and
defensive movements of Senkotiros.
The torquing movements are found in the striking motion, the shielding (defensive) motions,
and footwork and in the simultaneous use of the hands. A common philosophical element in Senkotiros is
to move off the center of the attack, or off of the center of the force applied by a punch, kick or grab.
Movement to escape, jam or counter the attack can include backward and forward movement, either on a
straight line or at angles, is a common and effective method of response in many styles of the martial arts.
Senkotiros uses all of these but also emphasizes a torquing type motion against an attack.
Cushioning or Absorbing
Cushioning or absorbing is a method that is often used in close range fighting to help extend an opponent and draw them in close to the body of the Senkotiros practitioner. This is done to get better position
for a counter attack. Intercepting an attack and then cushioning its force inward for a counter such as disarming, locks, traps, takedowns, etc, is a staple for the defensive and countering applications of Senkotiros.
It is a key component in Shielding and in the Methods of Blocking.
Senkotiros, as with most Philippine martial arts, is simplistic in its basic approach to self-defense. Any motion or technique in the style is straightforward,
short, and makes the simplest of motions. With this simplicity comes speed and
power.
Senkotiros is also based on the natural movements of the human body. For
instance, bringing the hands up to block an attack is an instinctive action and
one that comes naturally to us all, passed on from thousands of years of our
ancestors defending themselves from the attacks of others. Senkotiros simply
uses this instinctive motion, in much the same way, to achieve the same goal.
In many instances students need not learn new techniques, but give in to the
instinctive motions they already possess.
This also makes the basics easy to learn and quick to understand. The real
challenge exists where one must put all of the small simple movement together
as one. Many times every part of the body will have a different job to do, or a different technique to
execute, all simultaneously. This is what makes the style so challenging and interesting. For many, it is
addicting.
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Levels of Sensitivity
Seeing Without Seeing
Seeing Without Seeing is a byproduct of the Sensitivity Concept. As one develops this higher level
of awareness and sensitivity in the outer appendages, they began to sense the movements of their opponent
through this interaction. The Senkotiros practitioner begins to feel where the person is going, how they are
turning, if they are going to strike or kick, and which hand or foot they may be attacking with. After a
time, reactions are made instantly in response to the information picked up by other parts of the body, not
just the eyes.
Often times these movements are picked up by a contact made during the interaction of the encounter or may be sensed with a simple touch of the open hand. The movements, angle and direction of an
attack can be understood with one’s own body, if one knows how to sense these things, without depending on
the eyes.
Anyone can see the advantages to this type of perception in the martial arts. The reaction time can
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Conscious of the need of developing enthusiasm, interest and dedi-
cation in the field of Filipino Martial Arts Education, and in order to
act as guardians of the noble and beneficial aims of Arnis de Mano
and compelled by our desire to establish an Association which shall
be the rallying point of all teachers of Arnis de Mano as a Filipino
Martial Arts Education, the Mataw-Guro’s hereby mutually agree to
unite and associate ourselves for such a purpose.
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