FMA Informative Newspaper Vol3 No. 2
Transcription
FMA Informative Newspaper Vol3 No. 2
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 www.fmapulse.com Visit the FMA Informative Group on Facebook Click Here 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 Filipino Dirty Boxing Suntukan Street Self-Defense with Tony Torre In Filipino Dirty Boxing, Guro Tony Torre blends the traditional with the modern to form a comprehensive fighting system designed to enhance any fighter’s training regimen. Steeped in the Filipino martial arts of arnis and suntukan, Torre draws on his extensive knowledge to give you a whole new sense of street fighting and self-defense under extreme circumstances. After acquiring a solid foundation in positioning, natural combinations, targeting, disruptions and striking, you’ll move on to mechanics, joint integrity and minimization of energy leaks. The extensive partner training exercises included in the video provide you with the skills and confidence that can only be developed with hard work in the gym. Whether your fighting is on the mat or in the streets, Torre’s training methods provide the explosive offensive and defensive tactics needed to overwhelm your opponent and come out victorious. For information purposes only. 170 minutes $29.95 To Purchase: Click Here 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 4 FMA Informative Vol3 No2 2014 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 Vol3 No2 2014 FMA Informative 5 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. 6 FMA Informative Vol3 No2 2014 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 Vol3 No2 2014 FMA Informative 7 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. 8 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 9 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 10 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 11 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 Email: [email protected] 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 Facebook: Click Here 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 12 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 13 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 You can save money when you buy more than one DVD. Check out their Bundle Discounts: Click Here Shipping Information New orders will take approximately 1 to 2 business days to process before they are shipped. Shipping time within the United States averages 3 to 4 business days. Shipping time for international orders averages 7 to 10 business days. Products are shipped using USPS Priority mail for domestic orders and Express Global for international orders. Domestic shipping costs $8 per order International shipping costs $40 per order For additional information please contact us 14 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 15 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. 16 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 17 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) To Order: Click Here 18 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 19 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 20 FMA Informative Vol3 No2 2014 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. Vol3 No2 2014 FMA Informative 21 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 22 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 23 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. 24 FMA Informative Vol3 No2 2014 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. Vol3 No2 2014 FMA Informative 25 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 26 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 27 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) 28 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 29 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 Facebook: Click Here 30 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 31 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. 32 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 33 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? Well here is a chance, you can get them. Visit: Amazon.com - Click Here $29.95 $29.95 $29.95 $14.95 $10.00 Shipping and Handling To obtain full details on Ordering - Click Here 34 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 35 ‘Lucky Dog’ Speaks By Perry Gil S. Mallari - Fight Times Editor 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 To Order Throught Amazon - Click Here 36 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 37 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 Email: [email protected] 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 38 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 39 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 that in Bicol they also have their own styles, Grandmaster Pallen finally discovered and 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. To order the book: Senkotiros Arnis Inc P.O. Box 3124, San Leandro, CA 94578, $40.00 plus shipping Order Form: Click Here MARPPIO Instructional Video’s and Live Seminar Video’s Grandmaster Remy A. Presas Single video’s and sets To Buy - Click Here www.stickman-escrima.com 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, The Principles of Unarmed Combat By Mark Jacobs In The Principles of Unarmed Combat, Black Belt Magazine columnist Mark Jacobs breaks down the essential skills of empty-handed martial arts. Whether you train to win in the ring or survive on the street, this book will show you why some fighting skills work and why some don’t. Plus you’ll learn how to troubleshoot problem areas in your training, no matter what style you practice. Mark Jacobs has interviewed doctors and physicists, analyzed key scientific studies and synthesized the best available information about how to make martial arts work better. The result is a comprehensive, heavily researched guide to everything you should know about striking and grappling, offense and defense, and even the mental aspects of training. The Principles of Unarmed Combat is made up of over 50 chapters, organized into 10 information packed sections. You’ll get all of the topics you’d expect to find in a comprehensive guide to the fighting arts: posture, footwork, positioning, striking, kicking, takedowns and groundfighting. But unlike most how-to books, you’ll also get hard-to-find insider information on advanced topics like transitioning, fighting from the clinch, pain compliance, fight psychology, real world defense strategies and the dark side of sport fighting. Mark Jacobs has combined his decades in the martial arts with his skills as a professional journalist to create one of the most comprehensive books ever written on the skills, techniques, strategies and tactics of unarmed combat. Turtle Press: Click Here Amazon: Click Here 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. Writing, Fighting and Other Stuff writingfighting.wordpress.com www.roilesgear.com Roiles Gear Ltd., is a leading manufacturer, supplier and wholesaler of the star quality Filipino martial art equipments/ products. Our goal is to give the best quality products to our valued customers around the globe. Our rattan and wooden products are carefully picked, treated for high dense quality and our sparring equipments are hand made using the best quality materials then monitored for the best quality control and satisfaction of our customer. Our training daggers either aluminum or steel are hand forged and made with the special specification.. 40 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 41 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 www.pmasupplies.com 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 Knife Tactical Response DVD by Bram Frank Bram Frank, recognized as the father of the methods of combat with knife Israelis, is the founder of System CSSD / SC, an art tactical combat based on the Modern Arnis Remy Presas, which was the direct student. In this DVD, Bram, practical and direct in his teachings, we unveiled the concepts of the tactical response knife. Explore the training system, the Contras using our most instinctive basic motor skills “raw” ways to cut and stop the opponent from the point of view bio-mechanics, the proper use of weapons of edge and based movements “Sombrada” and “Sinawali” of martial arts philippines. List Price: $49.95 This is a Special Order Item $26.95 Special Order Now: Click Here 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 www.fmatalklive.com 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) 42 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 43 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 Southwest Florida Fencing Academy- Club De Esgrima 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 Manila Times - January 11, 2014 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 44 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 45 Thorn or Echo... David E. Gould Strength Training for Fighters By Perry Gil S. Mallari, FIGHT Times Editor Manila Times - January 11, 2014 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 Facebook: Click Here 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 46 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 47 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 show cuts right to the heart of life “On the Edge!” Kelly Worden is an internationally known martial artist that traverses multiple industries to share a wealth of knowledge and information from guests around the world! Martial arts, personal protection, physical fitness, nutrition and health as it relates to the progressive life styles of today’s military, police, and serious civilians! “On the Edge” programs cover a mirage of dynamic topics that will surely have you sitting “On the Edge” of you seat! Join Kelly S. Worden for information and an education in the real world of action and adventure! www.KLAY1180.com every Saturday! 1:00 p.m. to 2:00 p.m. PST “You too could be “On the Edge!” 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 48 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 49 Le Advises PH MMA Bets to Improve Grappling Skills By Josef T. Ramos Correspondent Manila Times - January 18, 2014 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 Manila Times - January 18, 2014 New Kid on the Block By Marianne L. Saberon-Abalayan Sun Star Davao - January 18, 2014 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 50 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 51 Isidro Modern Arnis Promotion Test January 18, 2014 Baypoint, CA. The Lowdown on Savate By Perry Gil S. Mallari - Fight Times Editor 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 52 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 53 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 Sun Star Davao - January 21, 2014 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. 54 FMA Informative Vol3 No2 2014 Vol3 No2 2014 FMA Informative 55 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. 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