Vol 1 No 5 - 2012

Newspaper
Propagating the Filipino Martial Arts and the Culture of the Philippines

What Makes Up the

Basics of Filipino Martial Arts
Known as Eskrima, Arnis or Kali?
By Marc Lawrence

This is a complete fighting art with the
primary focus being on the weapons and the
defense against them. The basics are made
up of simple mechanical principles, good
body mechanics and the economy of motion. In order to be a good Filipino martial arts
fighter, a student must have good basics. This
is a fact as with a good foundation a house is
strong so is a fighter with a good foundation.

The fighting system was originally
used to train fellow villagers in a short period
of time for combat against other island villages and foreign invaders. The typical time
available between rainy time was just a matter months. There was no time or reason to
teach flashy techniques or train only those
with special abilities. The people had to become proficient quickly or perish in battle.

The traditional arts are known as Kali,
Eskrima or Arnis, stick, knife and hand to
hand fighting which 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 the 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, and empty hands.

It is the original mixed martial art that
was based upon simple, non-flashy battle
tested methods of fighting. They were designed to use natural efficient motions and
exploited the weaknesses of their opponents body. A complete Filipino martial

arts system being taught to students contained certain basic things. First you learn
to use a rattan stick, it is known as the poor
mans weapon and punching bag. The real
purpose of the stick is used to teach your
body how to move for attacking, defending,
counter attacking, grappling and throwing.

The next step is when you learn to
use and defend against blades, like a bolo or
knife, and then last but not least you learn
to use your hands and feet like the stick
and the knife. Within a complete system
you will find it has hand to hand, hand and
foot fighting as well as wrestling methods.

Some styles are very complex like Modern Arnis and Doce Pares as they teach multiple weapons and methods as they are made
from multiple systems, others are as simple
like Cinco Terros as just with one weapon, a
single stick only with no training on the use
of blade or empty hands methods. Some
families still have fighting systems that have
no name but are still just as effective as well
known ones. Some martial art academies offer stick fighting training to supplement their
core art like Karate, Kung Fu, or Taekwondo.
Each has its strengths and weaknesses. Some
systems just do drills, some spar with padded sticks only, others spar with rattan sticks
and safety gear, others spar with just a helmet and live stick, and some just use gloves.

The Filipino fighting arts are just as good
today as they were in the past. This is because
the Filipino martial arts are built on battling a
variety of foreign invaders. It works amazingly well against any style of martial art today.
The United States Army included portions of

Arnis
A Question of Origins
By Bot Jocano

Article

Managing Change
By Lawrence Motta
Article

Giving the Right

Credits
By Edgar G. Sulite

Article

Advanced Techniques
Why the Basics
Are So Important
By Angelo Garcia

Article
Question & Comments
About ...
Future Events
Past Events
Tid-Bits

www.myfma.net

www.fmapulse.com

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2 FMA Informative Vol1 No5 2012

the Filipino martial arts in its

training manual for soldiers.

Today in the USA there
are local, regional, national
and world tournaments with
Filipino martial arts competition. These tournaments are
the way many clubs test their
skills. In the greater Los Angeles area there are roughly
25 groups or clubs that teach
the Filipino martial arts. There
are Filipino, Filipino-Hawaiian,
Fil-Am and American teachers
that share their love for the Filipino martial arts. A fair number of the American teachers in the Filipino martial arts
are married to Filipinas and
share the art and culture with
their children and students.

This write-up does
not take the place of training with a Guro, Master, or a
Grandmaster but is to hope-

Vol1 No5 2012 FMA Informative 3

fully supplement the training

as this fighting art is one that
needs to be learned by handson practicing. In the old days,
a Guro would spoon feed you
a little information at time,
so that you could digest and
remember it. Get with your
teacher if you can, practice
with others if you do not have
a regular teacher. Practice every day you can and play with
everyone you can and you will
grow. Each body is different
so just because you cannot
do the technique just like another guys does not make it
wrong. Filipino martial arts, is
about finding your own way!
Put together your own tool
box of good techniques. Have
anyone teaching you explain
the concepts behind their
method or combination.

Voices of the Masters: Warrior Arts of the Philippines

TRIBAL FIGHT WEAR came about when two martial artists saw
a need to represent the Tribal Culture that is the spirit of Martial
Arts.
This occurred due to many requests from people asking if one of
the clubs would sell their shirts, which were only available to club
members. The result was the creation of a Logo that would incorporate the company name and reflect the culture of the tribal
spirit & country. The Logo is broken down in three parts, a flag
representing tribal spirit, three weapons of traditional heritage
and the company name which all combine to create the logos
of TRIBAL FIGHT WEAR. The products are made from high quality materials that proudly reflect the heritage and culture of the
tribe or country. The first shirts and hats are reflecting the Pacific
Islands Tribal Spirit.
Visit: www.tribalfightwear.com

Arnis: A Question of Origins

By Bot Jocano
Rapid Journal Vol. 2, No. 4 4th Qtr 1997

The term arnis evokes a
number of reactions from
people every time it is mentioned in a conversation.
Some people start fanning
their hands in the air, imitating the distinctive movements
of the two-stick (doble baston) training method. This
image of arnis is one of the
most popular to the layman. A
second reaction, and quite as
common as the first, is the
question: Saan ba talaga
galing ang arnis? (Where did
arnis really come from?) Alternatively, Di ba, sa atin nanggaling ang arnis? (Isnt it that
arnis comes from us?) is a
question also heard. This
article is an attempt to critically examine the roots of one
of the martial arts of the Philippines, arnis. It must be
noted that in no way does this
article claim to be the final say
on the origins of arnis. It is
actually a preliminary look, a
start if you will, into re-examining carefully the origins of
an art form.

Arnis, also known as

kali, escrima, baston, etc. is a

complete martial art system,
encompassing weapons
training and empty-hand
self-defense. It includes training in single stick techniques
(solo baston), double stick
techniques (doble baston),
stick and knife or dagger
techniques (espada y daga)
and knife techniques (daga).
Some styles may include staff
and spear (sibat) training in
their curriculum. Others will
include the practice of medium to long bladed weapons
(bolo) in their repertoire.
Many styles have some form
of empty hand combat, encompassing striking, kicking,
locking, throwing and even
choking methods. These are
usually taught when the
practitioner has demonstrated a reasonable degree of
proficiency with the weapons
of his style of arnis. Different
arnis styles, from different
parts of the country, may
emphasize different areas of
the training methods noted
above. The term arnis is be-

lieved to be a Tagalog corruption of the Spanish term

arnes, or harness, a reference
to the decorations worn by
the early Filipinos. Kali is
another term used to refer to
the same kind of martial arts.
Different provinces may have
different names for arnis, such
as baston and kaliradman
(Ilonggo, Bisaya), pagkalikali
(Ibanag) and kalirongan (Pangasinan). These are only a few
examples of the terms already
recorded in different sources.

With such a comprehensive system of martial arts
being taught and promoted
in different areas of the country, it is inevitable that people
would ask, where did such a
complete martial art system
come from?

One suggestion is that
it originally came from another martial art system, called
tjakalele. This is actually the
name of a branch of the Indonesian martial art system
known as pentjak silat. Another suggestion is that it was
brought here from the South-

east Asian mainland, particularly during the Madjapahit

and Shri-Visayan empires. Yet
another suggestion is that it
was propagated by the socalled ten Bornean datus
fleeing persecution from their
homeland. We shall critically
examine these assertions one
at a time.

The idea that arnis
evolved or was derived from
another martial art system,
namely tjakalele silat, is due to
linguistics. The alternative
name for arnis is kali. It is
widely held that this is the
older term for arnis, and that
kali itself emphasizes bladed
weaponry apart from practice
with the stick. It is not surprising that a connection could be
seen between the term kali
and tjakalele. However, linguistic similarity alone is not
enough ground to assert that
kali was indeed derived from
tjakalele. There has to be
documented proof that one
came from the other. What
form should this proof take?
Authenticated documents

Taking a comprehensive look at

an entire martial art and the culture and tradition behind it is a
daunting task. Punong Guro Myrlino P. Hufana decided to take on
the challenge when one of his students, independent filmmaker Barclay Powers approached Hufana in
early 2010 about traveling to the
Philippines to meet with and film
several highly respected masters.
By March 2010, Hufana and a film
crew had arrived in the Philippines, ready to document the rich
history and the promising future of
the Filipino martial arts with Voices
of the Masters: Warrior Arts of the
Philippines.
Voices of the Masters is the first
feature-length film that captures
the magic of the Filipino Martial Arts. The film will be available for purchase as a download, on DVD, and Pay-Per-View. Learn more about the
film and where to see it at: www.VoicesoftheMasters.com

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 last vestiges of the
extinct European medieval
fencing could be found
indirectly linked to Filipino
eskrima.
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 16351644, 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.
Other interesting topics related to eskrima like the esoteric practices
and healing modalities are also explained in fascinating detail.
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MARPPIO Instructional Videos and Live Seminar Videos

Grandmaster Remy A. Presas
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certainly are one of the best

pieces of evidence if such
could be found, and proven to
be genuine. A close and thorough comparison of both
styles would help, but it must
be remembered that they
would have changed over
time, reflecting the different
changes that have happened
in their cultures of origin. On
the other hand, one of the
local terms for a bladed weapon is kalis. It is also believed
that kali is a derived term from
kalis. This assertion will require
study before it can be validated.

Another oft-quoted
idea is that kali was brought
here during the Shri-Vishayan
(7th -14th centuries and Madjapahit (13th -16th centuries)
empires. This reflects the
notion that the Philippines
then was somehow an integral part of both empires. It
must be noted that the archaeological evidence for the
role of the Philippines in both
empires is very meager. About
the best that could be said is
that there was commercial
contact, but whether such
contact also included the
spreading of martial arts is
circumstantial at best.

A third idea regarding
the spreading and propagation of kali in the Philippines is
that ten Bornean datus (sometimes nine) fled here and
settled in various parts of the
Philippines. They brought with
them their fighting systems
and taught these along with
other arts in the academies
called the bothoan.

A key problem here is
that much of what we know
about the ten datus is derived
from the Maragtas of Pedro
Monteclaro, published in
l1oilo in 1907. Doubt has been
cast on its usefulness as a
historical document, especially since it records folk or oral
history. Scholars such as the
late William Henry Scott and F.
Landa Jocano, are clear on this
point the Maragtas is a
document recording folk or
oral history, and not an actual
eyewitness account of the

events stated therein. As such,

its historical value diminishes
rapidly with each retelling of
the story .If the original story
of the ten Bornean datus is
folklore and not authentic
history, what are we then to
make of the story regarding
the propagation of kali in the
bothoan? Folkloric history is
useful in enabling people to
identify with the art of kali,
but it should not be taken as
actual history.

If after having critically
questioned the sources of the
origins of kali, or arnis as it is
known today, and through
these critical analyses, have
come to the positions stated
above, what can we then say
about the origin of kali, or
arnis? Regardless of the name
of the art or its sources, the
fact that the early Filipinos
practiced some form of combat was not lost on the Spaniards who first arrived here.
Pigafettas description of the
death of Magellan is graphic
in its description of the weapons wielded by the natives. It
is interesting to note that
Magellan died as he was
rushed by the defenders
armed with spears and bladed
weapons. In more recent
times, Scotts book Barangay
includes a chapter on ancient
Bisayan weapons and warfare.
This was derived from the
accounts and dictionaries of
the early Spanish friars, some
of whom were witnesses to
the use and practice of weapons and warfare methods at
the time.

To state therefore, that
its origins lie outside the Philippines is misleading, for it
disregards the unrecorded but
no less real experiences our
forefathers went in simply
trying their best to survive.
These experiences are recorded in the techniques of their
styles of arnis. It is also quite
possible that there were
blendings with different styles
of combat, but if so, these are
quite difficult to verify historically.

A key difficulty in researching the origins of arnis

4 FMA Informative Vol1 No5 2012

is that most sources tend to

be oral history or folkloric in
nature. They are not exactly
historical documents in the
sense of being eyewitness
accounts. Hence, their authenticity in this sense is always
suspect. On the other hand, as
folklore, they serve as a window, if you will, into how
people think. Folklore gives us
an idea of how people actually
understand their world and
their place in it.

Vol1 No5 2012 FMA Informative 5

Martial arts, in whatever
form, and in whatever place,
are the unique product of the
people who developed them,
as members of their culture. A
case in point is Japanese
fencing, kendo in its modern
format, kenjutsu as the traditional form. Japanese fencing
is a product of the technology
and the values and habits of
the Japanese. Similarly, it
should be remembered that
kali or arnis as it is also called

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
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today, is very much a product

of the Filipino cultural experience. The relative informality
of most practice sessions, for
instance, is a reflection on the
importance we place in building harmonious relationships
with others.

In conclusion, it is not
easy to actually trace the
origins of the art of kali or
arnis. Perhaps we may never
actually trace it to a single key
event in the lives of our fore-

fat1lers. On the other hand, it

is equally important to remember that the art itself is a
continuing evolving product,
subject to change and refinement over the years. What is
also important is that we
remain open-minded, willing
to improve our understanding
of the origins of this martial
art. Such open-mindedness is
useful inasmuch as it provides
us with further insights into
our identity as Filipinos.

Bibliography:
Canete, Ciriaco. Doce Pares. Cebu City. Doce Pares Publishing House,
1989.
Inosanto, Dan; Johnson, Gilbert; and Foon, George. The Filipino Martial Arts. Los Angeles. Know How Publishing, 1980
Presas, Ernesto. Arnis. Manila. 1988
Presas, Remy. Modem Arnis. Manila. Modem Arnis Publishing Co.,
1974, 1993.
Yambao, Placido. Mga Karununngan sa Larong Arnis. Quezon City:
UP Press, 1957.
For references on Philippine prehistory:
Jocano, F .Landa. Questions & Challenges in Philippine Prehistory.
Professorial Chair lecture: UP Press, 1975.
Jocano, F Landa. Philippine Prehistory. Quezon City: PCAS, 1975
Scott, William Henry. Prehispanic Source Materials for the Study of
Philippine History. Quezon City. New Day Publishers, 1974.
Scott, William Henry. Barangay. Quezon City: Ateneo de Manila
Press, 1994.

Managing Change
By Guro Lawrence Motta

I was just reading
through some old
correspondences from a few
years back. They were all
centered around a pivotal
moment in my Filipino martial
arts career; a time of turbulent
change. While reading the
various view points and with
the perspective of time, I
was struck by the intensity
of emotions and the ferocity
of opinions as certain parties
tried desperately to avoid
change and were threatened
by exploration.

All arts change. I think
that is a fundamental truth
of Martial Arts. They change
because they are intensely
personal experiences for
each student and as the
student explores the art
more deeply, they begin
to mold it to themselves.
Personalities grow through
the art. Relationships change
as students become teachers
and teachers Masters. People
change and art changes with
them. Uncle Leo used to
encourage us to make the art

your own. But, beyond that

edict, we who have continued
to explore and plumb the
depths of our experience have
discovered aspects of the art
that we could not be taught
by our Masters. This is our
own personal journey; the
door through which we may
walk but to which may only
be led by our Masters. The
teachers goal is not simply to
paste a series of movements
onto your body, but to help
the student discover the art,
peel away their resistance and
fully envelop the art within
their soul. In doing so, each
teacher must be prepared for
the consequences of such a
personal experience by their
students. Once students have
been led to the door, they
may walk through and never
return. Students may journey
even deeper into the art than
our Masters; delving deeper
into the fundamental theories
of our art than we ever dared;
revealing truths that may
make us look insufficient.

This is why being a

teacher of our arts is such a

difficult and risky vocation
for our egos. True leadership
requires humility, a quiet
commitment to the truth
and a relinquishing of the
ego. All students need to be
encouraged to explore so
they may fully understand
the art. That means they may
stray. They may discover
new and wonderful things.
If you are not prepared to
see this happen with your
students, then you are not
really teaching them, you
are dictating to them. If
you expect them to simply
tow the party line and
teach to a standard that is
imposed externally without
understanding internally, then
you are an inflexible dictator
and not a master teacher.
I have had many students
come and go through the
years and I am immensely
proud of each one, even those
who have gone away. It was a
great pleasure watching them
grow and change through the
years.

So, how do we manage
the change within our art?
Some Masters tackle this
question head on, make no
apologies and dictate that the
new module they just added
is now the standard. Others
set very clear guidelines and
do not tolerate those who will
not follow an exact standard.
Some Masters never really
set any standard and their
art morphs along with them
and their experiences without
structure. Still others add to
the art from outside and claim
falsely that the new material
is some secret module only
taught to them in private and
reserved for only the most
advanced students. Thereby,
boosting their own ego and
their position rather than their
art. Change only becomes
a problem when there is an
expectation of a fixed order
to the art and deviation
threatens a leaders ego.

I believe an art is, at its
core, a series of principles,
not a series of movements.
The footwork, blade position,

striking angles, blocks,

counters and evasions are
all the results of principles.
They are not the art. They
are the booby prize. The core
principle and its eloquent
expression through technique
is the real prize. For me, it
has never been enough to
simply do the move the
way my master did it. I have
always sought to know why
because the technique was
applied to a principle first and
to understand the technique
completely a real student
must dig to the core and
understand the underlying

principle. If we are lucky,

some students will dig
deeper than we have. Its not
really change if a students
understanding of your art
exceeds your own. Thats a
wonderful event to be lauded
not punished.

As the Masters
pass, so too does their
unique understanding of
the principles of their art.
Students and instructors left
behind have an obligation to
maintain the core principles
of the art but they must
always be cautious of the
urge to lay down edicts.

And, new Masters should be

careful not to add techniques
that are not in alignment with
the core principles of their art.
But, if they do, they should
acknowledge it openly
showing their students that
even a Master can learn.

What I enjoy most
about working under
my current Grandmaster
is that he has an innate
understanding of the core
principles of our art. Each
class is another opportunity
to explore and reinforce those
core concepts and rather
than straying from the root

of our art, we continue to

make those roots stronger;
managing changes as we
continue to learn together
in mutual respect. If you
wish to manage change
within your art, manage
first your own ego and look
upon change as inevitable
and non-threatening. If you
have mastered the core
principles of your art then
change should be a blessed
opportunity for growth not a
wolf at the door.

Giving the Right Credits

By Punong Guro Edgar G. Sulite
This article was first published in VORTEX (Volume 4, Number 1) in 1995. A quarterly newsletter of Lameco Eskrima International,
the publisher was the late Punong Guro Edgar G. Sulite who passed away on April 10, 1997. The editor was Arnold A. Noche, one of
the remaining survivors of Lameco SOG (Sulite Orihinal Group) and a mandirigma.org advisor. For more information go to www.
mandirigma.org or contact Felisa Sulite at www.lamecoeskrima.com.
In todays society, martial
arts practitioners are
constantly bombarded by the
knowledge and techniques of
various martial arts arriving
from all four corners of the
world. These are the same
exact techniques that were
once forbidden to be taught
outside the family circle by
the very same people who
created it and used it. Those
people dedicated their lives
in the laboratory of the
battlefield just to experiment
whether their techniques
would work or not. Many lives
had been wasted before the
techniques were ever refined.
The masters from the different
martial arts devoted their
time, energy and, above all,
their life in the development
of their fierce combat
techniques.

The Filipino martial
arts (Eskrima, Kali, Arnis),
Kung-Fu, Thai Boxing, Karate,
Indonesian Silat, Jiu-Jitsu,
Western Boxing, Tai-Chi, Judo,
Savate and other martial arts
are just a mere phone call
away. In our generation today,
we are extremely fortunate to
have these different types of
martial arts available within

our grasp.

I remember
Grandmaster Jose D.
Caballero who was my
teacher in the De Campo
Uno-Dos-Tres Orihinal System.
It took me more than one
year to court him, bringing
him food each day on every
visit as a means of a gift,
just for him to accept me as
a student. It was primarily
because I was an outsider, one
who didnt belong to their
family, that I was not accepted
right away. It was also
because of my perseverance,
that I never stopped coming
to his house to ask him to
teach me, that I was finally
accepted to become one of
his disciples.

Nowadays, you can
study any and all kinds of
martial arts as you wish,
because they are available
within your reach, for
as long as you have the
determination to learn. Due
to the abundance of these
martial arts that we study,
we somehow consciously
or subconsciously mix it
together as one. This bring us
now to the big problem that
evolves due to the fact that

some martial arts teachers,

as well as some students, are
not honest enough in giving
the right credits to where they
have gotten the knowledge
from or where they have
attained the techniques from.

One afternoon in
Manila, Philippines, during
our Sunday sessions with
Grandmaster Antonio
Ilustrisimo in Luneta Park,
we noticed two bystanders
carefully observing our
training with extremely
watchful eyes. I, being one
of the spokesmen of the
Kali Ilustrisimo System,
approached the two men
and asked them if they knew
Eskrima, Kali or Arnis. I also
asked them if they would
show us some of their moves.
The demonstration that they
performed for us was quite
impressive. Grandmaster
Ilustrisimo, who does not
impress easily at all especially
if you are from another style
of Kali, was astounded After
their demonstration we
asked immediately who their
teacher was. One of the young
men replied that they did
not have a teacher that they
just went to the mountains

and meditated to formulate

the techniques, which they
had just performed. We did
not believe him nor them.
Master Tony Diego said to me
that it was such a pity to their
teacher, whoever it was, that
these two men would turn
out to be so disrespectful.

Less than a year later,
during our meeting with the
different Grandmasters of
Arnis Philippines, I met an old
Master that demonstrated
the same techniques that I
saw earlier from the two men.
When I asked the Master if he
knew of the two, he replied
that they were his students.

The truth will always
come out. Giving the right
credits to where we have
learned the techniques from
pays a lot of respect to the
people who invented it and
devoted their life in battle
just to prove that it works.
It is their pride that their
names are being remembered
and honored by us who are
now practicing or who have
practiced their once called
forbidden art.

6 FMA Informative Vol1 No5 2012

Vol1 No5 2012 FMA Informative 7

Advanced Techniques - Why the Basics Are So Important

By Angelo Garcia

A common situation was

become intuitive and second

brought up during last weeks nature. These basics form
the structure upon which
FMA Talk Live Broadcast.
technical proficiency is built.
A newbie shows up to a

There are two reasons
school and claims that their
experience in another system why the practitioner must first
have a solid understanding of
means that they should be
the core skills of the system:
put in the advanced classes.
1) Basic skills are the core
Of course the answer will
components of advanced
be no and it is strange
techniques.
that individuals such as
these believe there to be an
2) Successful execution of
alternative. This then begged a basic technique is highly
the question: Why should
dependent on specific
someone coming from system conditions and contexts.
X start with the basics all over
again when going into system Basic skills are the core
Y?
components of advanced

I decided that for this
technique
article I would expand the

As illustrated in my
scope of this question to
previous article, techniques
encompass martial arts styles are micro-motions which
in general:
are executed in sequence

Why do I need to learn to achieve a desired
the basics before I can get to effect. In the case of
the advanced techniques/
higher level techniques,
class/rank?
they are comprised of a

As this relates to my
combination of basic skills
previous article regarding
or a combination of their
the importance of focusing
mechanics. The quality of the
on technique, this entry will
advanced technique therefore
illustrate the reasons why one depends in large part upon
should start with the basics
the practitioners level of
when learning a new system. mastery of the skills that
Before continuing it should
comprise it.
be clarified that advanced

Consider a football
technique refers to skills
interception. The desired
which are perceived to be
effect is to capture the
fancy or tricky. This is not
ball from members of the
to imply that there is a lack
opposing team as they are
of actual utility but that this
passing it to each other.
specific application requires a Conceptually this is an easy
deeper understanding of the task to achieve. Though the
basic techniques.
act of intercepting can be
broken down into separate
The Basics: How they fit into actions:
more advanced techniques
Catching

In the previous
Sprinting
article I outlined a simple
Jumping
checklist to follow when first
It goes without saying
learning new techniques. A
that a quick runner who is
practitioner must adhere to
unable to catch a ball in a
this checklist while practicing stationary position is even
so that precision and
less likely to catch a ball
endurance are developed.
while running. In the same
The initial stages of training
right, an individual who
are the most important
is adept at catching a ball
since the practitioner must
but is incapable of running
reach a stage where the
at a high enough speed is
basic, gross motor motions
unlikely to intercept the

ball. If the ball is beyond

the athletes maximum
jump range, it also becomes
problematic to complete
the interception. There are
likely skills beyond catching,
sprinting and jumping that go
into successful interception
but three are more than
enough to illustrate the point.
The athlete must be very
adept at these basic skills in
order to execute composite
techniques.

The same rule applies
to advanced techniques in
martial arts. A practitioner
must have solid command
of the basic skills before any
hope of successful execution
of the advanced technique
can be achieved. Being able
to go through the motions
of the technique is just one
step. The next section will
cover the importance of the
conditions for a technique to
be executed.
Conditions for execution

Assuming that the
components of the advanced
technique have been
trained, there is the issue of
recognizing when and where
to apply this technique. Due to
their complexity, it can be said
that advanced techniques are
context dependent and rely
on specific conditions to be
present for effective execution.
A firm understanding of
the fundamentals not only
facilitates in recognizing
openings and in setting up the
conditions for their successful
execution, but also reduces
the likelihood of failure.
Moreover, it means that
recognizing that an alternate,
simpler motion can possibly
solve the problem sooner.

Recognizing the
preferable conditions for
advanced techniques can
be tricky. Moreover, ideal
conditions may not ever
present themselves and a
low risk/high percentage
technique. Two equally

matched opponents have

greater difficulty ending the
engagement as they have
greater awareness of the
weaknesses and strengths
of the basic techniques.
Therefore, the advanced
technique is used as a higher
step escalation since lower
tier skills are not achieving
the desired means. In this
situation, the practitioner
with greater sensitivity to
these traits will be able to
seize opportunities and drive
through soft spots in their
opponents defense.

Experience gained
from constant drilling and
pressure testing allows
the practitioner to have
a firm grasp of personal
strengths and weaknesses.
First, the openings in
ones own defense can be
accounted for because a base
assumption of reaction time
and personal weaknesses is
firmly established. Second,
the practitioner is familiar
with the various responses
they can elicit from their
opponent. The ability to
address incoming attacks and
knowing how to reshape the
opponents structure allows
the practitioner to recognize
whether an advanced
technique can be used. This
also means that a simpler
alternative can be used.

To illustrate the
importance of basics and
experience, I return to the
football interception analogy.
In this case, the football
player is already adept at
the three aforementioned
actions that comprise an
interception. The question
now is whether the player
has trained the interception
under different conditions as
to recognize the opportunity
to intercept a ball. Even more
important is whether simpler
options are at his disposal
and whether he recognizes
opportunities to employ
them. There may be instances
where the preferable choice

is to tackle the receiver of the

ball rather than intercept due
to positioning and distance
problems. Moreover, tackling
requires fewer fine motor
skills than catching a ball - the
risk of failure is lower.
Conclusion

The importance of
investing hours on basic
techniques cannot be
stressed enough. New

comers to an art often fail

to understand just how
important the fundamentals
of the system are. Basic
techniques function as an
Ockhams Razor which
answers most of the problems
a practitioner can encounter.
It is at the early stages that the
foundations are built and a
framework for understanding
combat is programmed.

Advanced techniques

are easier to read than the

basic techniques if they are
applied out of context or
executed incorrectly due
to their complex nature.
Overreliance on a spinning
back kick will inadvertently
provide the opponent with a
series of tells to look for and
thus allow him to predict
the next attack. Not only
will it put one at risk, but it
also limits the repertoire.

Knowing how to use basic

attack patterns to dictate the
direction of the fight is far
more important than firing
a fusillade of fancy attacks.
As stated in the previous
paragraph, the basics are
there for a reason: they
can deal with most of your
problems.

About the Author: Angelo Garcia has been studying Lightning Scientific Arnis under Master Jon Escudero in Tel Aviv, Israel since
May, 2008 and now runs the DC Lightning Scientific Arnis Training Group out of Warrior Gym DC in Alexandria, VA. For more
information Email: [email protected] or visit his Blog at: dcstickfighting.wordpress.com

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8 FMA Informative Vol1 No5 2012

Vol1 No5 2012 FMA Informative 9

Question & Comments

About ...
Sistema Birada Martial Arts Center

In your opinion what makes your Filipino martial art style different from other Filipino martial arts styles?
Dale Yeager: I teach Kali. We are blade oriented meaning that we dont
stick fight. Our sticks are practice swords. Our stepping is very different
also. We do not lean. Our feet are always 50/50 regarding weight distribution. We very rarely go straight in [female zone]. Also we hit arms and
legs [defang the snake] the body and head are secondary targets.
Mataw Guro David Battaglia: My foundation is Modern Arnis as taught
by the late Remy A. Presas. Im not so sure what Ive evolved in to as a
FM Artist, and the way I practice, is drastically different from other FMA
styles. A former student, and very close friend Paul G. Frederick created
what he called Palisutan Arnis. This was based on Pauls continued study
and training in the FMA, after he graduated from my program. Sal Genco
and me were his guinea pigs, sounding boards, and training partners.
Graciously,

Paul gave me the name and curriculum, to call my own. I feel the
curriculum is a very comprehensive one. Paul has a genius IQ, and was
quite the athlete in his younger days. Hes a husband, and a high school
English teacher. Paul is one of the most knowledgable, disciplined, and
traveled persons I know.Perhaps, the one thing that makes Palisutan
Arnis is the double dagger, inverted and non-inverted sumbrada practice. By practicing this drill over the years with Paul, Sal, and a private
student, Lane Bartholomew, my right and left hands feel like they have a
mind of their own. Paul created this drill, and I havent seen it anywhere
in the FMA. This doesnt mean it didnt previously exist but, I still havent
seen it anywhere.
Johnny Mean: What makes my style different is the delivery. My approach involves current teaching methodologies including adult education principles, outcomes models, and non-linear pathways for practitioners to follow.

Addressing mental barriers upfront and digging down into human psychology to develop sound strategies for managing conflict is
foundational as well. The goal being to achieve a behavioural change in
the student.

This has allowed for a unique progression for each student where
the learning process is cyclical and they can drive the learning. Instead
of a top down approach of practising assigned technical skills and physical conditioning only.
Master San Joaquin: In my opinion, the basic difference the Filipino
martial arts is the nomenclature wherein the same execution is called
differently or given a different number. Basic movements are the same,
however due to personal gains for claims of originality instructors adhere to how they want the movement named. Sometimes the difference
in the nomenclature is due to the local dialect from where the style is
practiced. Similarities in nomenclature were brought about by the Spanish spies who tried to get deeper into the martial arts that were instrumental to the defeat of some Spanish forces engaged in combat with
the natives, armed with their natural instruments of trade converted into
weapons for defense.
Master Diego and Master Macapagal: Ilustrisimos blade orientation
makes it different from most of the other Filipino martial arts. Although
almost all of these other Filipino martial arts came from blade work and
shifted to the stick as a matter of convenience.
Master Geronimo: Sikaran is different because it is traditionally Filipino.
Among the many so called Filipino Martial Arts Sikaran is the only martial
art with a history that goes back to the 1500s. Sikaran was developed
by farmers while engaged in their work in the fields. They strengthened
their legs doing fieldwork. To while away their time, they developed the
kicking game which was a contest of strength using the legs for kicking and the hands for blocking. Sikarans techniques are adaptable. Our
style can adjust to the challenges and compete under different rules of
engagement. For example in the 60s we adjusted and competed against
Karate and competed in the Asian and World Karate tournaments.

Birada infusion training - the unique stick training system that birada uses for developing a biradors (birada practitioner) response movement and timing while instilling the birada core striking techniques.

The flow of attacks and counters is free form, multidirectional and continuous.this type of training
discourages the students natural tendency to memorize counter attacks that is only usefull in sequential
forms of fighting. (forms and system type of training).

As the training progresses, the birador develops a natural reaction to any given attack without
concious thought (muscle memory).
In the end the biradors combative reaction is now infused with biradas theory of hidden, swift and continuous attacks being able to react and strike at the same time independent of angle and striking position.

ferent from other Filipino martial art or style to wit:

a.) I organized my own club little by little, bit by bit, teaching my own
style as taught by my forefathers. It might have included styles that are
similar to some arts or styles in some aspect. As time goes we developed
our own style and practiced and honed it. Then I named the Golden
Kamagong; unique in the sense that there is no Golden Kamagong but
black. It is a hardwood whose fruit we called mabolo and fed me after
the Japanese occupation. So my life and kamagong is inter-related it
is an exotic fruit and good to eat. It was the only available food at that
time.
b.) That is the uniqueness of my art and my style. The name, the style
and art is purely Filipino.

www.sistemabirada.com

KBS System of Filipino Martial Arts

Grandmaster Sobrino: Every martial art is different in their own way,

it maybe with the techniques, beliefs, principles, discipline, method of
teaching, and many more. Whats important is that we never close our
minds to learning because when that happens we become stagnant, always remember that life is a continuous cycle of learning and we should
never stop learning. Dont think that you already know everything.
Grandmaster Sanchez: Well for one reason, I have four styles or four
techniques in my institution.
Namely,
a. Cinco teros- palis palis
b. Kasilagan- direct counter strike
c. Modern Arnis- close quarter combat
d. Lightning (LSAI)- Largo Mano
Unlike others they have one or two techniques
Grandmaster Ernesto A. Presas Sr.: Kombatan is different because it
includes combat at all ranges from long to medium to short distances,
whether standing, kneeling, sitting or on the ground. Kombatan uses a
number of weapons and weapons applications unique to our art, like
the dulo dulo, bangkaw, dos puntas and tres puntas. Kombatans emptyhand component features punches and hand strikes and kicks, as well
as throwing and grappling. The Kombatan practitioner is thus able to
address any possibility he or she might encounter in a real-world fighting situation.
Grandmaster Magdaraog: The difference of our Filipino martial arts is
that we in the Magdaraog Martial Arts System have a unique system that
has been kept very secretly by my father the use of the Aikido/Aikijutsu
principles and incorporated the Filipino arts of Arnis, Eskrima and Kali; or
the Stick and Knife weapons. And it has been used in Magdaraog Martial
Arts System. The Magdaraog Martial Arts System is a principle of martial
discipline that only a few can survive the brutal training and only some
can have the privileged to be trained one-on-one in the Zeta theory and
principles that the late Reynaldo A. Magdaraog had developed. And me
as the son Grandmaster Roy B Magdraog has improved the zeta that
my father trained me in with the true meaning and theory principles of
it. The Alpha-Omega and Alpha techniques have been added and improved with more powerful techniques.

The Magdaraog Martial Arts System is a martial discipline that
has been here for many years; a martial art that has survived many trials,
and this is not only concerned with the physical, mental and spiritual
unity of each practitioners.

Master Bersabal: The Koredas Obra Mano is a traditional way of learning

and fighting and not academic and it is more on defense and counter
Question for FMA Informative Newsletter for issue Vol1 No6 - 2012. Email
distruction as defense on stick or empty hand.
your Answer or Comment by May 20, 2012. What is your Comment or
Answer to the question? Send to: question_comment@fmainformaPunong Guro Lalic: My Filipino martial art Kalintaw; differs in that we
tive.info
both use single and double sticks plus we emphasizing the Anyo and its
applications.
Question: Personally what do you think of the state of Filipino martial
arts today and what do you think would bring the Filipino martial arts to
Grandmaster Lopez: In my opinion, my Filipino martial art or style is dif- greater recognition throughout the world?

The KBS System is divided into two parts. The first part is KBS Eskrima. This is a pure weapons style based on
the long blade and the solo baston. It also includes training in espada y daga.
The second part is KBS Kuntao. This is a system of self defense that is based on Filipino Kuntao and the use of
the knife. Tuhon Bo Sayocs Finger Touch System is a major component of the system.There is a large library
of additional training that advanced students can study, including double baston, long stick (Tapado), twohanded stick, and pangamut (emptyhand).

Guro Drape has studied the martial arts for over 35 years. The KBS System includes material from Yin
Fu- lineage Baguazhang, Tuhon Bo Sayocs Sayoc Fighting System, GM Urbano Borjas version of San Miguel
Eskrima, the VICAR System of GM Inting Karin, GM Abner Pasas Warrior System, Professor Remy Presas Modern Arnis, and Tuhon Leo Gajes Pekiti-Tirsia System as taught by his student, Buji Mateem.
KBS System Philosophy

The philosophy of the KBS
System is made up of basic principles, which all aspects of the art
adhere to. There are also some
other broader principles which
describe and define the overall art.

The philosophy of the
school is to attempt to stress the
relevance of the Filipino Arts in
relation to contemporary times
while retaining the traditional/
classical martial aspects of the Art.
Its core concepts are based on the
combative nature of the Art. In
light of recent events, one can easily see the relevence of personal
defence training.

The mind is emphasized
above all else. Weapons are only
tools to be used, and all are controlled by the mind. A practitioner
of this System must learn to apply
the principles and concepts of the
art effectively and efficiently, with
his actions guided by the fundamental philosophy.
PRINCIPLES

The seven basic principles
of the KBS System relate to all aspects of training, whether blades,
sticks or emptyhands.
1) Everything flows from the
flywheel effect of using the waist
as an axle, and the entire upper
body moves as one unit. There is
never any drawing back or cocking
to strike. Instead, learn to use the
weapons that are already cocked.
This creates a smoothness of motion that results in faster, more
powerful techniques.

2) The hands should always be

working in opposite directions. If
one is pushing, the other should
pull. If one is extended, then the
other should be close in. Palm up/
palm down!
3) Always go with the flow. Dont
fight against your opponent- let
him fight against himself. Guide
him to help you in your techniques.
4) Try to make your opponent
attack where you are prepared
for an attack. Allow him to access
your open doors, and be ready for
him. Be aware of openings in your
defense where he is likely to strike.
5) Whenever you are in contact
with your opponent, never remove
a hand without replacing a hand.
Always try to maintain contact
(and control) until you are ready to
break.
6) When inside, penetrate. When
outside, deflect.
7) The angles of attack of swords,
sticks, knives and emptyhand
techniques may be the same, but
the defensive responses are NOT
the same. As the characteristics of
the weapons change, so must your
defense.
CONCEPTS

These eight basic concepts
(as taught by GM Abner Pasa of
the Warriors System) are universal to all arts, but many have not
noted them.

The first four relate to the
individual and the tools necessary
to develop ones fullest potential:
1) Awareness: One must continu-

ally appreciate events and happenings that are going on around

him at all times. As a consequence,
nothing is taken for granted and
this insures that one is never
caught off-guard and unprepared.
2) Honesty: This concept develops
in one an objective outlook on life.
It allows a correct assessment of
ones strengths and weaknesses,
and for those of his opponent.
Overconfidence which results in
complacency, and a lack of confidence as a result of overestimating an opponents capabilities are
both potentially fatal flaws and
need to be avoided.
3) Skills: One must realize that
skills arent developed overnight.
There is a need to develop ones
foresight and planning capabilities- to anticipate the future and
prepare for the expected needs.
4) Appropriateness: Inculcates in
a person a structured and systematic ability to sift through information, separating that which is
relevant from that which is not. It
allows one to identify problems
and to define goals and objectives,
as well as to formulate solutions
and assess alternatives, and to
then decide on a course of action
that offers the best chance for success.

The second group of four
concepts relates to the environment, and provides the means
and methodology to achieve ones
goals by establishing the mechanics to effectively execute the
techniques.
1) Characteristics of the weapon

(tool): This concept develops the

ability to look critically at the
qualities of the weapon used to
achieve ones objectives. One must
realize that the inherent strengths
and limitations of the weapon
strongly determine its use.
2) Nature of the environment: This
determines the type of weapon to
be used, and allows an appreciation of the need to use the appropriate tool to achieve a specific
job. For example, tight places require short weapons while longer
weapons are desirable for open
spaces. The environment is a limiting factor in the usefulness or effectiveness of a particular weapon.
3) Balance: Allows one to focus on
the optimal combination of factors to achieve the highest degree
of efficiency and effectiveness.
Various alternatives always exist,
and one should develop an ability
to assess choices of actions, tactics
and strategies that can be adopted in the use of one principle in
relation to others.
4) Universality: Nurtures and develops a broad outlook in life, fostering understanding and deepening ones insight. All aspects of
the Art interact with each other,
so deeper insight into one phase
of the Art will enhance ones skill
in other phases. Also develops the
basic attitude that in life, nothing
is absolute, and one must realize
that being good does not necessarily make others bad. Creates a
desire to seek excellence and to
share it with others.
www.kbs-system.com

10 FMA Informative Vol1 No5 2012

Vol1 No5 2012 FMA Informative 11

Siete Pares Escrima

On December of 1979, Grandmaster Lamberto Labitan and his family came back to
the United States after 3 years of overseas
duty at the US Navy base in Subic Bay, Philippines. All of his 3 children were born in
the Philippines. Grandmaster Labitan was
transferred to US Naval Manpower Pacific in
San Diego, California.
He joined Master Narrie Babao, his former
mentor in his arnis school in Spring Valley,
California and started to introduce the Siete
Pares Escrima system. HIs brothers, Joe
Giron, also fresh from overseas assignment
(US Air Force Clark Air Force Base, Angeles
Pampanga Philippines), and Jay Cabauatan,
also fresh from a 4 year US Navy stint were
also with Master Babao

After a year or so they all separated

from Master Babao and continued their training

in brother Jay Cabauatans garage in Imperial
Beach and in front of Grandmaster Labitan yard,
also in Imperial Beach. Grandmaster Labitan
also started teaching at the temporary YMCA in
Del Sol Blvd in South San Diego, CA. He started
with 4 students first, mainly his 3 children and
a friend, a US Navy Chief he calls Romy. After a
week, Grandmaster Labitan had more than 20
students, all willing and full of energy, ready to
fight. One night, Grandmaster Labitan brought
his balisong (fan knife) and lined everybody up
and went through the motions of stabbing and
slashing each one of them. The next night, only
4 showed up for training. His friend Romy and
his 3 children. Students come and go except his
children and Romy until the temporary YMCA
closed down. They continued training in Grandmaster Labitan yard and Jays garage.

After a few years, his brother Jay decided
to break away from him to pursue going to the
ranks of the Hawaiian Martial Art of Kajukenbo.

In April of 1987, Grandmaster Labitan
retired from the US Navy, working as a US Navy
Base Police until 1989 when he joined the US
Immigration Inspection Service stationed at the
San Ysidro border, a gateway to Tijuana, Mexocio. Romy and another student, Virgil Apostol,
got their black belt rank and they went their
separate ways. Romy also retired from the Navy
was occupied with his civilian job. Virgil continued his education and became a Hilot (Filipino
massage expert).

Sometime in 1990, Grandmaster Labitan-

started teaching at Imperial Beach Peri Park with

Brother Joes help. Most of his students were coworkers, all immigration inspectors at the San
Ysidro Border. Brother Joe is also an Immigration
Inspector, some of the students are DEA Agents,
US Customs Special Agents, San Diego County
Deputy Sheriffs, San Diego Police, Bounty Hunters, Border Patrol, Company Men, and some
Mexican Law Enforcement Officers, Mexican
movie actors, special groups, active US military
personnel and intelligence officers.

In October of 2006, Grandmaster Labitan
finally retired from the service (now called US
Customs and Border Protection under the Department of Homeland Security) due to health
problems. The Imperial Beach Siete Pares Escrima is growing with members in Mexico, Vallejo
CA, Arizona, Virginia, Texas, North Carolina, and
Hawaii. At present there are no more Siete Pares
Escrima practitioners in the Philippines
The Guardians of the Art
and their rankings are as follows:
Grandmaster Nelson Estanol, Presiding,
10th degree black belt
Grandmaster Joe Giron, Trainer of Fighters,
9th degree black belt
Grandmaster Ernesto Hernandez, Dumog and
Chinese Kenpo,
9th degree black belt
Grandmaster Bro Cesar Jovillar, Spiritual Battles,
9th degree black belt
www.sieteparesescrima.com

Kuntaw Legacy
What is the Kuntaw Legacy? Is it an Association, Federation, or Organization? No it was established to
preserve the basic teachings, techniques, principles and philosophies of Kuntaw as handed down from the
predecessor (Great Grandmaster Lanada) as originally taught in the late 1960s through the early 90s. It is to
preserve the original ways of Kuntaw The Filipino Art of Hand & Foot Fighting.
Kuntaw Legacy was formed by Grandmaster Lowell Bud Cothern, one of the most senior practitioners of
the art, a student of Grandmaster Benjamin Ortiz, and Grandmaster Rey Basco.
Kuntaw Legacy was not established to take from, claim, or dominate the art of Kuntaw, which Great
Grandmaster Carlito A. Lanada Sr., is as he states (the brain) of the IKF, KnP, Maharlika, and NATO or takes
away any recognition of the Great Grandmaster and his art of Kuntaw.
As time has passed and society and the mind set of some have changed so has Kuntaw. This is life of
course, however sometimes the past continuously speaks through to the present and will still be dominate
throughout the future.

With establishing of the Kuntaw Legacy, it preserves the traditions and the original teachings of Kuntaw that was taught to Bud Cothern at
the main gym in Olongapo City, Philippines in the 70s, 80s and early 90s. Kuntaw Legacy consists of the students of Grandmaster Cothern from
around the world that prefer to train and teach in the old forms of Kuntaw vise the new forms introduced by Great Grandmaster Lanada in the mid1990s. It is not a Organization or Federation to join but a chain of instructors that are under the guidance of Grandmaster Cothern who requires that
students meet a high standard of understanding, executing and meeting all requirements before being promoted to the next belt level in Kuntaw.
Grandmaster Cothern requires that the number one priority of the instructors of Kuntaw Legacy over anything else is to provide Kuntaw knowledge
and teach the student to demonstrate respect to others.
Mataas na Guro Remy P. Presas, Jr., Ph.D.
Is the eldest son of the late Grand Master Remy A. Presas. His father started training him even at the tender age
of six almost every morning in their gym at Quiapo, Manila Philippines, on various styles of classical escrima
and then newly developed Modern Arnis. Proud of his first-born son, Grandmaster Remy A. Presas would tag
along him, Remy Jr. in his various training sessions and seminars requested by different schools and government agencies. When Grandmaster Remy A. Presas was forced to leave the country due to pressure from corrupt government officials in 1974, Remy Jr. continued his training in martial arts, particularly in Modern Arnis
under the tutelage of brilliant arnis aficionados who have learned the mastery of the art from his father. As part
of his training, he performed in arnis competitions, exhibitions, and seminars.

In 1976, his mother, Rosemary Pascual Presas, who was then successfully running the NAKO/MAFP
(National Amateur Karate Organization / Modern Arnis Federation of the Philippines) gym left by her husband,
Grandmaster Remy A. Presas, was requested by the Philippine military to train the entire force of the Military
Police Brigade, Armed Forces of
the Philippines in Modern Arnis.
Remy Jr., at 13, was designated
as an Assistant Instructor and
worked along with the pool of
senior instructors. The training
was a success. In 1977, during

the testimonial parade in honor

of the late Philippine President
Ferdinand Marcos on his birthday, a battalion of MPs staged a
mass exhibition in Modern Arnis.
Mr. Marcos and his wife, Imelda,
expressed their awe in watch-

ing how Modern Arnis was performed. Inspired by the success

of the training, Modern Arnis was
incorporated in the defensive
tactics of the MP Brigade. Aside
from the MPs, other elite units of
the Philippine armed forces have
also joined in Modern Arnis train-

ing that went on until 1982. In the

ensuing events, Remy Jr. became a
full-pledged instructor.

While training and teaching
modern arnis, he had not neglected his ambition to pursue higher
education. He worked his way
through high school and college.
In 1985, he received his Bachelor
of Art Degree in Political Science,
Master Degree in Sociology in
1987, and when he decided to take

a doctorate, he temporarily set

aside his canes to concentrate on
his dissertation. In 1991, he earned
his Doctorate Degree in Public
Administration from Manuel L.
Quezon University, Manila, Philippines. He worked as a university
professor for several years before
migrating to the United States.

In August 2011, when he
learned that his father was very ill,
he went to Victoria, Canada. The

late Grandmaster Remy A. Presas

found comfort talking to his son.
They discussed a lot of things until
his father, asked him if he could
continue with the propagation of
Modern Arnis and make his own
name in the sports world. Remy
Jr. could not resist this call of arm
after all, he has his Modern Arnis
blood running in his veins. In
compliance with the last wish of
his father, Remy Jr., with the help

of his siblings, established MARPPIO (Modern Arnis Remy P. Presas

International Organization) to continue the legacy left by his father.

Mataas na Guro Remy,
with the assistance of his mother,
is working on the final stages
of completion of the next book
in Modern Arnis. The book shall
hopefully be finished in the near
future.
www.modernarnis.com

Senior Instructor Jose Valencia Tan

Modified Tapado Chapter, California USA
Born in the province of Negros Occidental in 1950. The same region where the late Grandmaster
Remy Presas and also where Grandmaster Leo Gaje and Grandmaster Nene Tortal are residing.
Senior Instructor Jose Tan came to meet Remy Presas (before he was a well known to the Martial
Arts world as being the father of Modern Arnis) invited Jose Tan to do the actual drawing of his
arnis forms and techniques in real time, since Grandmaster Presas wanted to come out with his
book on Modern Arnis. Jose agreed and commenced drawing/sketching Grandmaster Presas forms
for couple of months, in exchange; Grandmaster Presas gave Jose Tan free lessons. It must be noted
that Mr. Jose Tan isnt claiming any credit for Grandmaster Remy Presas Modern Arnis books of
today. At that time Jose Tans interests was in the art of Karate and so his exposure and lessons with
Grandmaster Presas were short and limited.
Jose Tan was fortunate to learn and study personally with the following recognized
Grandmasters.
- Grandmaster Nono Mamar - Founder Of Tapado
- Grandmaster Jose Vinas - Founder of Lapu-Lapu Arnis Aficionados
- Headmaster Mike Vasquez - Founder of Vasquez Martial Arts Center and author of Modified Tapado, and Modified Karate books.

Senior Instructor Tan has studied and trained in the following styles, Vinas Arnis, Ricarte Arnis, Encruzada Arnis, Ojido Style, Tapado (long stick
arnis) and Shotokan Karate. For personal advancement, he did some cross training in Muay Thai and Silat (mostly just the basic requirements only).
Since arriving in the United States, Senior Instructor Tan does not have a school or teach, since he is a full time businessman running his family
business (unrelated to martial arts).

Senior Instructor Jose Tan was designated by Headmaster Mike Vasquez of Modified Tapado in the Philippines to propagate and run the
operation of Modified Tapado in California, and is committed in spreading the art of Modified Tapado globally.
www.mastertapadoarnis.com

Mastering Serrada Escrima - 3 DVD SET

By Grandmaster Darren Tibon

Mastering Serrada Escrima by Master Darren Tibon is a blend of the vital fundamentals of the art of Serrada
Escrima as taught by the legendary Grandmaster Angel Cabales.
This series include all technical components from the fighting stance, footwork, and mobility skills to many
of the intermediate and advanced principles and concepts of the Serrada style. There is a detailed breakdown
of the offensive and defensive skills using the single stick, the stick and dagger, the single dagger, and the
empty hands. The elements and techniques of lock and block, flow spar, rising sun counter. abaniko, and
retirada among many others are presented in this DVD set.
This series has a great deal to offer to all Escrima/Arnis/Kali students, from beginner to instructor level. It is a
true gem by one of the best Escrima masters of our time.
EM-DVD#430 - US $69.95 ISBN-13: 978-1- 60661-023-7
To Order Click Here

Teaching and Learning the ABECEDARIO

Objective: The BALANGKAS NG ABECEDARIO is a compilation of techniques and maneuvers consistent
with the principles and laws of motion explained in the handbook Fundamentals of Arnis de Mano. For a
more effective teaching and learning of the balangkas, each individual technique must be expounded as
to its logical development and relationship with each other. The transition from forehand to backhand,
from overhand to underhand, from linear to circular, from pushing to pulling, from turning to twisting, and
vice-versa, must be clearly understood.
For a better appreciation of Abecedario, the balangkas is presented herein in both regular and reverse
orientation. Likewise, possible applications of each maneuver, both in regular and reverse orientations
are shown. The applications of techniques are intended as informational and not prescriptive. There is a
myriad of applications that may be administered, select the ones that will work best for you. Understand
the practical inference that may be derived from each individual technique and their relation with each
other.
At the printers and to be published and available soon.
This Handbook has been approved by the Matw-Guro Association.
Check the Educational Material section at: www.matawguro.com for price and availablity

12 FMA Informative Vol1 No5 2012

Future Events

Vol1 No5 2012 FMA Informative 13

FMA WEKAF Philippine Tour, July 16, 2012 to July 31, 2012

May 2012

(Approximate Minimal expenses including Round trip/fare $2, 500 + credit card)

Kapisanang Mandirigma Spain

Guro Dino Flores in Lameco and Ilustrisimo Concepts
May 2, 2012
Villaviciosa de Odon
Contact: Representative of Spain Mandirigma
Kapisanang 61530-8348
Website: Click Here

Leaving SFO (San Francisco): July 16, 2012

Arrive Cebu International Airport: July 18, 2012 (A.M.)

Cacoy Doce Pares Eskrima/Eskrido Seminar

May 5, 2012
Battle Control
319 Piercy Rd., San Jose, CA.
Contact: Manuel M. Francisco, Jr.
(408) 946-3200 or (408) 646-7811.
Email: [email protected]
Flyer
Eskrima Kali & Lameco Ilustrsimo - Seminar
May 5 - 6 May 2012
Guro Dino Flores
Presented by: Kapisanang Mandirigma Germany
Sponsored by: JUWE sticks
Website: Click Here
Kilohana FMA Fighting Arts Summit
May 19, 2012
VEA Martial Arts Academy
17978 Ideal Parkway
Manteca, CA
Contact: Miguel Cardenas - (209) 608-7826
Flyer
Mataw-Guro Andy Sanano
May 25 - 26, 2012
Hosted By: Northwest Martial Arts Bushenkai Aikido
3122 W. Seltice Way Suite A
Post Falls, Idaho
Contact: Tom Collins: (208) 371-5601
Cindy Jacobs: (208) 704-9990
Website: www.sananokarate.com
Information: Click Here

Grandmaster Pallen invites FMA practitioners and their family and friends to join
him the in the Philippines per the following dates and itinerary:
July 19th 2012 - Free/Rest Day/Registration FMA Congress/
a. FMA Form Competition
b. Children/Seniors Competition
c. Board of directors/Officials meeting
July 20, 21, 2012 - Competitions
a. Award/Dinner
July 22, 2012 - Cebu City Tour
(a) Magellan Cross
(b) Fort San Pedro
(c) Santo Nino Basilica
(d) Casa Gorordo (built 143 Years ago)
(e) Cebu Heritage Monument
(f ) Colon Street
(g) Guitar Gallery
(h) Lapu-Lapu Monument/Battle of Mactan
(i) Doce Pares Temple/Zip Line and Adventures
July 22, 2012 (P.M.) Meeting new Board of directors/Closing Ceremony/Farewell
July 23, 24, 25, 26, 2012 - Moal Boal
(a) Panagsama Barrio/Karaoke/Beach Party
(b) Kawasan Falls
(c) FMA Seminars
July 27, 2012 - Fly to Bacolod, Negros Occidental
July 28, 29, 2012 - Bacolod, Negros Occidental/World FMA Tournament
July 30, 2012 - Back to Cebu City/ Disco Night
July 31, 2012 - Fly back to Manila/San Francisco, CA, USA

Summer Camp Registration Form: Click Here

For further information contact Manai Maria Schaufele at: [email protected]

June 2012
4th Annual Vallejo Goodwill
June 2, 2012
Pista sa Nayon Festival
Vallejo Waterfront
Vallejo, CA.
Contact: Mataw-Guro Michael Giron - (707) 853-2477
or Master Mel Orpila (707) 477-1159
Flyer

July 2012
Legacy Seminars SoCal
Queen Mary
Long Beach, California
July 14, 2012
Contact: Darren Tibon: (209) 471-1198
Email: [email protected]
Sponsored By: Kidd D. Jason - West Coast Eruption
(951) 243-0960 Email: [email protected]
Flyer

6th FMA Grand Gathering

July 22-29, 2012
Mambucal and Bacolod City, Philippines
Purposed Agenda: Click Here

August 2012
In-Tents Kun Tao Dumpag 3 Day Camp Out
Conducted by: Ron Kosakowski
August 3 - 5, 2012
571 Quaker Farms Road
Oxford, Connecticut
Contact: [email protected]
Website Registration
Flyer
Leo Fong and Adam James present:
The Sky Dragon International
Festival of Integrated Martial Arts
August 10, 11, and 12, 2012
Woodland Hills (Los Angeles Area), California
20% Discount for registering by July 1, 2012
To Register or for more information call (818) 269-4548
Flyer
3rd Annual OGE Meeting
August 18, 2012
Hidden Lakes Park
Martinez, CA.
(South Entrance at Morello Ave and Chilpancingo Pkwy)
Organized By: Guro Lawrence Motta - (480) 392-9781

Senkotiros Videos
Basic
Advanced
Intro to Free Style
Lost Years
The Deadly Style of Filipino Arnis: E-Book
Balintawak
Balintawak
Balintawak

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To obtain full details on Ordering - Click Here

847 Hamilton Ave.

Waterbury, CT 06706
(203) 596-9073
[email protected]
TraditionalFilipinoWeapons.com

14 FMA Informative Vol1 No5 2012

Vol1 No5 2012 FMA Informative 15

Past Events

USFMAF Judging and Referee Clinic

Angels Disciples Hosting
136 Harding Way, Stockton CA., Sunday the 18 March 2012.
In attendance Master Art Miraflor and students, Master Joel Juanitas, Master Jerry Preciado,
Master Gabriel Asuncion, Darren Tibon affiliate schools at the Angels Disciples school in Stockton.

Negros Occidental, Philippines

Mambukal Resort, Bacolod City
Negros Occidental, Philippines
Organized By: Henry Bobong Burbano, Ginalyn Relos, Rene Tongson and Samuel Bambit Dulay
The Event:
- Modern Arnis Camp
- FMA Camp
- Gala Night/Awarding
- 2nd World Invitational Sports Arnis Tournament
Phone: Bambit Dulay, Manila - Mobile: +63 (927) 466-5434

Ginalyn Relos, Dubai - Mobile: +97 (150) 102-2708

Henry Bobong Burbano, Bacolod - Landline: 0063 (034) 435-0434

Mobile: +63 905 224-4758
Website: www.fmafestival.com
Email: [email protected] or [email protected]
Information - Click Here
Invitation - Click Here
Remy Presas Modern Arnis Vision - Click Here

International Kuntaw Federation

2012 Kick-off / Reunion Seminar & Gala Night
March 24-25, 2012
Hyatt Place (hotel)
709 Eden Way, North Chesapeake, Virginia
Chesapeake, VA.

Golden Gate Intl - Stickfighting Nationals

March 24, 2012
Hyatt Regency
1333 Bayshore Highway, Burlingame, CA.
Two competitors speck about their experience.

The 2012 Kick-off reunion
seminar and gala night was a
great successful get together
party of the International Kuntaw
Federation Virginia Kuntaw
chapter of meeting and seeing
each other of Kuntaw members
from the year 60s and of the year
20s.

The Regundola family,
Napase family and the Lagumen
family from grandfather to
grandson seeing each other again;
one of the senior black belters
of the Philippines Kuntaw Kung
Fu from the year 1967 Master
Darrell Wilson of Lexington, North
Carolina attended and being one
of the guest of the affair.

Great Grandmaster Lanada
acknowledged the present of kyud
bob Glenville family of Plymouth,
England and Kyud Lakan Carlos
Echezuria of Caracas, Venezuela.

Kyud Lakan Guro Cyrus
Lagumen, Sr. the National Director
of Kuntaw USA, recognized the

Competing in the Golden
Gate World Qualifiers in San
Francisco, CA. was a once in a
lifetime experience for me. It was
both an honor and a privilege
to be among the Eskrimadors of
different age bracket, and meet
friendly great masters all over
USA. A humbling experience to
cross sticks and to hang-out with
them after the fights. It was fun,
especially my first time to see the
famous bridge. God Bless.
Essaios Calaycay

present of state of Connecticut

Group, the state of Florida group
and the state of North Carolina,
the Boulo family (the son in law of
Great Grandmaster)

The high light of the
gala night were the forms
demonstration of Kyudais Emily
and Elizabeth Navoroskie; Kyudai
Kelsey Fitzgerald performed the
standard Maya form; and Kyud
Lakan Rusty Udan performed the
original Mayon form.

The Kuntaw America
request to sponsor Universal
Martial Arts invitational
Tournament this coming
December, 2012 was approved by
the Great Grandmaster.

The co-sponsor of the said
tournament is the global channel
(TV) of the Washington, DC.

Thank you to the Kuntaw
Virginia Chapter
Great Grandmaster Carlito Lanada
National City, CA

I went on this trip realizing
that this was the first time that
I ever went on anything that I
actually trained for. Even though
we didnt get to train that much
before this tournament, I felt that
I had trained enough just to be
able to keep up with the fighters.
Of course I was overwhelmed
with the fact that we were going
to be fighting other schools as I
have never fought anyone out of
our school. But as the tournament

started to fire up and come to

life, I realized that these were all
just our family. I truly felt a sense
of camaraderie and friendship
among everyone. We werent there
to fight a tournament, we were
there to come together and have
a great time fighting, learning,
and getting to know one another.
This being my first trip has really
opened my eyes as to how much
you can grow in FMA. When you
take the risks and chances in
really getting out there and just
doing what we love to do and be
willing to have an open heart and
mind, the possibilities are endless.
Theres no real way of explaining
how the feeling is when you go
somewhere to train, Fight, and
learn from others than actually
going there and doing it yourself.
I encourage everyone to go to
tournaments and trips to where
our FMA roots began because this
is the only way to truly understand
the Filipino martial arts.
John Mark Saludez

Buy Direct from the Philippines and save money!

We are committed to bringing you the best FMA Equipment at the best possible prices. If theres anything
at all you would like but dont see when visiting the website please contact us! We are always improving our stock
range and listening to our customers.

If you have any questions at all about our products or anything related just drop me a line at: [email protected] and I will do my best to answer them.
All the best with your training,
Simon McMahon.
eskrimakaliarnis.com

16 FMA Informative Vol1 No5 2012

Vol1 No5 2012 FMA Informative 17

Lakan Jayme Francisco (Punong Lakan Achievement Award)

Grandmaster Federico Fernandez (Silver Life Award)
Maestro Jaime Paclibar (Golden Life Award)
Mataw-Guro Emmanuel Espiritu Querubin (Platinum Life Award)
Grandmaster Meliton Geronimo (Martial Arts Pioneer Award)
Professor Armado C. Soteco (Lifetime Achievement Award for Excellence in the Field of Education)
Senior Grandmaster Napoleon Fernandez (Excellence in Martial Arts Lifetime Achievement Award).

The Manila Times

April 23, 2012
Written by : Mei-Lin Lozada

Posthumous Recognitions were given to Grandmaster Roland Dantes, Grandmaster Benjamin Luna Lema, Grandmaster Remy Presas, Mangisursuro
Mike Inay, Gabriel Elorde and Luis Elorde.
Also presented during the event were the Top 10 Filipino Martial Artists citations from the office of Senator Ferdinand Bongbong Marcos Jr. The late
President Ferdinand Marcos was a patron of the martial arts and himself an accomplished physical culturist. The recipients of the awards are Arnold
Narzo, Cesar Turingan, Perry Gil Mallari, Rolando Baxafra, Raynaldo Samson, Rodolfo Poblacion, Junar Vidal, Henry Kobayashi, Rennie Ross and
Jefferson Panes.

64 Enter 1st Philippine Martial Arts Hall of Fame

Sixty-four martial artists from around the world were inducted into the first Philippine Martial Arts Hall of Fame last Saturday at the Diamond
Hotel in Manila. Punong Lakan Garitony Nicolas, the events organizer said the inductees were chosen through peer review and by the significance
of their contribution to the martial arts.

Chosen to present the token of recognition to the inductees were Audrey Zubiri, wife of former Senator Juan Miguel Zubiri (the father of
Arnis Law) and Hon. Monsour Del Rosario, former tae kwon do champion and now member of the Makati City Council.
The names of the inductees are:
Janic Meier for (Student of the Year, Male)
Olivia Maria stegard (Student of the Year, Female)
Marco Zeller (Most Outstanding Student of the Year)
Flavia Pawlowski (Most Motivated Student of the Year)
Christoph Vollenweider (Outstanding Senior Student of the Year)
Mataw-Guro Julio Penales and Guro Paulo Motita (Instructor of the Year, Male)
Dayang Mizha Nicolas (Instructor of the Year, Female)
Gat Ferdinand Ian Cacatian 2nd (Outstanding Instructor of the Year)
Arjay Sales Sensei (Aikido Instructor of the Year)
Michel Laubscher (Mixed Martial Arts Instructor of the Year)
Coach Dindo de Jesus (Krav Maga Instructor of the Year)
Guro Jean Koeltgen (Rookie Instructor of the Year)
Guro Jean Koeltgen Guro Justin Ferrire (Rookie Instructor of the Year)
Guro Jefferson M. Banaag (Sikaran Fighter of the Year)
The Times sports editor Mataw Guro Perry Gil Mallari (Martial Arts Writer of the Year)
Lakan Reynaldo L. Senson and Guro Felipe Penales (Outstanding Instructor of the Year, Male)
Mataw-Guro Enrica Esmero (Outstanding Instructor of the Year, Female)
Master Christian Mayer (Most Distinguished Master of Haidong)
Master Jose Isidro and Grandmaster Thomas Maier (Outstanding Martial Artist of the Year, Male)
Dayang Edessa Ramos (Outstanding Martial Artist of the Year, Female)
Master Ronald Gan Ledesma and Volker Bruns (Martial Artist of the Year, Male)
Grandmaster Bella Marie Saguin (Martial Artist of the Year, Female)
Headmaster Bernd Hoehle (Most Distinguished Martial Artists of the Year)
Grandmaster Dannie San Joaquin (Man of the Year)
Lawyer Belleza Demaisip (Woman of the Year)
Gary Wasniewski (Martial Arts Actor of the Year)
Grandmaster Juerg Ziegler (Martial Arts Icon)
Punong Guro Junar F. Vidal and Punong Guro Rogelio R. Vasquez (Master Instructor of the Year, Male)
Punong Guro Rhiverli C. Quine (Master Instructor of the Year, Female)
Master Jimmy Ibrahim (Karate Master of the Year)
Master Babak Savic (Outstanding Master of the Year)
Senior Guro Rodolfo Poblacion (Outstanding Senior Master of the Year)
Master Julius F. Quintans (Master of the Year)
Grandmaster Erwin Pfeiffer (Outstanding Leader of the Year)
Grandmaster Jason Inay (Outstanding Filipino Martial Artist of the Year)
Master Jaime C. Geronimo (Most Distinguished Master of the Year)
Grandmaster Samuel Dulay (Filipino Martial Arts Grandmaster of the Year)
Grandmaster Giusseppe Cucci (Grandmaster of the Year, Hung Gar Kung Fu)
Grandmaster Henry Espera and Grandmaster Rodel Dagooc (Grandmaster of the Year)
Grandmaster Carlos Pulanco (Outstanding Grandmaster of the Year)
Grandmaster Hari Osias Banaag (Most Distinguished Grandmaster)
Grandmaster Victor Cusi (Founder of the Year)
Grandmaster Rene Tongson and Grandmaster Andy Sanano (International Grandmaster of the Year)
Grandmaster Rene Latosa (Martial Arts Legend)
Grandmaster Meliton Geronimo (Grandmaster-Icon of All Time)
Grandmaster Erwin Timmers (Outstanding Grandmaster, Wing Chun Kung Fu)
FMA Pulse (FMA website of the Year)
FMAdigest as (Online Martial Arts Magazine of the Year)
School of Arnis Professionals (School of the Year)
Grandmaster Vicente Sanchez (Living Legend Award)
Ronnie Royce Base and Jefferson Panes (Special Recognition Award)
Engr. Jose Dion D. Diaz (Culture and Sports Advocate Award)
Mataw-Guro Association (Dangal ng Karunungan Award)
Rosemary Presas (Ina ng Makabagong Arnis Award)
Lawyer Salvador Demaisip (Humanitarian Award)
Grandmaster Antonio Diego (FMA Dangal ng Lahi Award)

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 and Borders.com.

Way of the Ancient Healer: Sacred Teachings from the Philippine Ancestral Traditions

By Virgil Mayor Apostol

After Hollywood screenwriter and script analyst, the late John Sherlock, took the authors 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 Sherlocks 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 Apostols own experiences with shamanic healing and dream interpretation.
The book begins with an explanation of Apostols 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 books 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

www.pmasupplies.com

18 FMA Informative Vol1 No5 2012

Vol1 No5 2012 FMA Informative 19

Tid-Bits (Fact, Fiction, Fantasy or Gossip?)

Lines of Attack: An Excellent Tool for Learning Combative Movements
By Guro Oliver Salvador

The Filipino warrior martial
banks. By having a clear mental
art of Kali is renowned around the
picture of the skills the instructor
world for its combat-effectiveness.
wishes to transfer to the student,
But what makes it so combative
the students brains were able to
effective? One of the primary
recall these mental images shortly
reasons that the Filipino martial
after to replicate the movements
art of Kali enjoys its reputation as
during practice sessions.
a combat-effective art is the ease

After the students had
of skill acquisition and retention
mastered replicating the skills
that practitioners develop within
in the air, the instructor would
a relatively short period of time
demonstrate the lines of attack
in comparison with other martial
on a student or human-shaped
arts.
target. This aids in creating

The main element
confidence in the students
in translating Kali skills and
that what they are learning is
combative movements is called
meaningful and it will work in
the lines of attack. These are
the real world. Law enforcement
conceptual angles from which all
researchers found that another
attacks must come from regardless key element in successful learning
of whether they are with a weapon is creating a positive experience
or with empty hands. In Rutano
for students at the outset. This
Estokada Kali (REK), there are nine
type of positive reinforcement
lines or angles of attack, which
assured the students that they
generally fall in the shape of an
were succeeding in the learning
asterisk. It is through this simple
environment and made them
diagram that the entire system is
confident of the techniques
based on.
effectiveness, which lead to more

The lines of attack make
rapid learning.
learning the REK system are quite

As one can see, the
easy. With the lines of attack in the
Filipino martial art of Kali is
format of a visible, geometrically
comprised of easily learned and
symmetrical diagram, it becomes
retained combative movements.
easy for the practitioners brain
As modern law enforcement
to imagine the diagram in the air
researchers have discovered, this
or superimposed over the image
centuries-old warrior art has all
of an opponent. This enables the
the elements necessary to transfer
practitioner to execute strikes
combative skills from instructor to
with a significant level of precision
students in a short period of time.
almost immediately from the
Its teaching principles have been
moment he sees the diagram. Law
confirmed by law enforcement
enforcement researchers have
researchers as critical to teaching
documented the most effective
and learning success. I guess
teaching techniques, and found
its no longer a mystery why
the most important element
these arts are so highly regarded
of translating skills was for the
among martial arts and combat
instructor to create a clear mental
professionals as perhaps some
picture for the students so that
of the the most effective combat
their brains would be able to store
systems in existence
the information in their memory

Use of the live hand-simple method the slap

By Marc Lawrence

The live hand is very important is single stick fighting, knife
fighting, and empty hand fighting. One of the simplest things that gets
over looked is a slap. A slap is used as parry to parry away a person
cutting at you with blade, but it must followed up with a crippling
or blinding injury otherwise the attacks with the knife will continue
enraged now to finish you off. A slap can be used a parry to parry a
stick strike by parrying away the persons arm or hand. I have even
done this coming behind the stick when struck at.

The slap can be used in empty hands when a punch is thrown
by slapping it out of the way and then counter punching a key
target like a pressure point knock points. Grandmaster Leo Fong
discussed this method with me, as he had found a useful method.
This method used incorrectly will just anger your opponent, so you
must actually practice this correctly. A cupped hand slapped at the ear
will disorientate and or injury a persons ear. A very good self defense
method. I have seen people hit this way go to the ground with a
ruptured ear drum. Again just a slap, really.

This is the Filipino Martial Arts Database service, provided to the

FMA community in support of its growth and advancement.
www.fmadatabase.com

Forums

fmaforum.org

The leading destination for Filipino Martial Arts discussion.

Established September 2005
www.fmatalk.com

Kali: Hard Core Proven Weightloss, Strength, and Agility

By Datu Chris Diomampo

This book credits those in the Philippines who both
practice and created this devastating art. Not only will it show
but describe in detail how weight loss and strength is acheived
using simple devices incorporated in Kali training. This is Kali
from the rough streets of Olongapo/Subic Bay, Philippines. Easy
to read and straight to the point.
Send: $28 plus $5 S/H in the US. Check or money order to :
PKA
624 W. University Ave. # 152
Denton, TX. 76201
Visit : cebukali.com or Email: [email protected]
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

Combat vs Art
By Andrew Filardo

In the Filipino martial
arts you have the translation of
techniques from weapon to empty
hand. This is one of the unique
qualities we have, and one that
sets the Filipino systems apart
from others. You use the same
techniques, weapon vs weapon,
empty hand vs weapon, empty
hand vs empty hand, with little or
no modifications. What a beautiful,
compact, effective fighting system.

The better one sees the
translations, the more one sees. The
simpler it gets. The more efficient,
thus more effective. Simplicity
is one of the keys for effective
combat. The more complicated the
moves, the less likely it will work.
You must stay focused on the end
result, maximum damage, with the
least amount of effort. Damage
incorporated!

And then there is the
most important translation of
all. Translating the Art to the

Combat! What came first, the Art

or the Combat! There is no debate
here! If you were to pay attention
to the Grand Master himself, you
would here him say, If it were for
REAL, you would STRIKE him here!
But I want you to learn the ART !!!

The art came after and for
a many reasons. One being that
instructors wanted to teach for a
living, and wanted to appeal to the
masses. The people would not be
going into combat, they would be
just training for recreation. If the
training was to hard and intense,
with contact and risk of injury, only
few would be willing and able to
continue with the training. Thus the
Art was born.

Make no mistake about it,
there IS a difference from the Art
and the Combat.

The art is a more passive
way of expressing technique and
training. It is where you will see
the more complicated moves
and techniques put together in
sophisticated drills and forms.

Being practiced stick to stick, no

contact. Beautiful to look at when
expressed by one proficient in the
Art. Oh you would be amazed at
what some can do with the stick.
Like a chess match, you do this,
then ill do this, and punish you
with this, counter for counter, and
so forth. Like an intricate puzzle.
Amazing to watch! And it draws
many people, they want the same
proficiency with the stick, and
after all, theres no intimidation of
getting hit! The emphasis is on the
Art.

But how do you know you
can fight, if you never fight!

The Combat on the other
hand is ALOT different. You cant
prepare for combat by training the
art. This will become apparent very
fast, when one steps up and fights
with minimal equipment, fencing
mask, gloves and real sticks and
experiences the adrenaline rush,
when the opponent in front of
you is trying to take your head off
for REAL! Or when you take a full

power shot to the body.........

Thats gonna leave a mark!

This is where you discover
alot about yourself, and the
realalities of combat. Its only a part
of the training, but an important
part. The realalities you learn from
these experiences flow back to
your other training, and you make
proper adjustments so that even
your basic fundamentals can be
more realisticly and effectively
practiced. From your basic body
dynamics of striking, blocking and
footwork, to your flow drills and
your Tapi-Tapi and Visidario. The
way you train is the way you will
react.
Some may say that to train like
this is barbaric at best, and lacks
technique. I say it is the REAL
arnis, more pure. Real fighting isnt
pretty, and executed with perfect
technique. Oh theres technique
involed, most importantly the
real and combative application of
technique.

Dedication. Determination, Destruction Guro Andrew Tattoo Filardo

M.F.A. Academy, New York
Filipino Martial Art Education
Teachers Training Handbook
Fundamentals of Arnis de Mano
Objectives: This
handbook contains ready
reference data for use
in planning programs in
teaching Filipino martial
arts or Arnis de Mano.
Although all the lessons
in this handbook are also
practical for live blades,
sword and a knife, other
alternative weapons
or even empty hands,
the main scope is the
use of double sticks or
doble baston. Use of
double sticks is not only
encouraged but also
mandatory in learning
Arnis de Mano in order

not to be a one-sided fighter.

Filipino martials arts is not a means to an end, Filipino
martial arts is both the Means and the end... Education is a
movement from darkness to light, martial arts education is a
journey from ignorance to understanding... excerpt from the books
FMA Education Teachers Training Handbook 1. Fundamentals of
Arnis de Mano and book 2. Balangkas ng Abecedario. - By MatawGuros Andy Sanano jr. and Louelle Lledo Jr.
At the printers and to be published and available soon.
This Handbook has been approved by the Matw-Guro Association.
Check the Educational Material section at: www.matawguro.com
for price and availablity

Brennan Blades
By Guro Scott Brennan
P.O. Box 2331 Friday Harbor, Washington 98250
(360) 378-9732
Email

The Way of the ABCs: My Understanding of the Basics of Arnis de Mano

By Mataw-Guro Andy T. Sanano

Many of us among the
Mataw-Guro Association have
been discussing the Arnis de
Mano education process and the
identification of the Basics. We all
come from a wonderful variety of
schools and systems and our various
great teachers. Now, as we formed
and are developing the Mataw-Guro
Association, we have as part of our
Mission to identify and teach the
basics which are common to all our
systems. But, what are the Basics?

As we all teach, we teach
from our systems. We present
the progressive techniques and
combinations which we have learned
in our own growth in the Filipino
martial arts. In identifying the Basic
it seems difficult to select what IS
basic. It seems to help to express my
own understanding of the basics
by remembering how we learn the
ABCs of language. When we were
young pre-school students, the
teacher showed us the letters A, B,
C, etc. At first, it was necessary to
see them; then slowly begin to write
them ourselves with our pencils. As
time and further teaching went on
we began to collect the letters into
words, then into short sentences.
Eventually, these added up into more
advanced sentences and progressed
into paragraphs.

Teaching and learning Arnis
de Mano follows this parallel. The
student needs to learn and to drill
in the very basic movements and
actions of the Art. As each student
becomes more able with the basics

she/he will be more prepared to

receive our teachings in the more
elaborate skill combinations; the
progressive skills from each of our
styles and systems.

In the Filipino Martial
Arts Education Teachers Training
Handbook: Fundamentals of Arnis
de Mano, the writers present an
understanding of the Basics. In
the book it identifies 1) Forehand
and 2) Backhand. These names are
generally familiar through media
exposure to tennis. It becomes
increasingly evident that all of our
styles and systems share these
two basic movements of swinging
of the baston, the stick. These are
fundamental to all of the Arnis de
Mano world of techniques and
combinations. This is so valuable
to the teaching process because
the beginner needs to have a
realistic starting point which is not
overwhelming or discouraging.

We all are so used to the
progressive elaborations in the art.
It might be helpful to look back
to the basics and help the new
student and the new generation of
Arnisadors to become immersed
at the fundamental level so that
progressive learning will come more
naturally. I recommend that we
all consider this simple and basic
understanding of the fundamentals
of Arnis de Mano in order to help us
teach our rich variety of styles and
systems.
www.matawguro.com

Eskrimadores FMA
Dedicated to FMA (Filipino Martial Arts)
history, techniques, current events and news.
eskrimadores.tumblr.com

20 FMA Informative Vol1 No5 2012

Birthday Celebration

On 24 March Family,
Friends, and students gathered
at Grandmaster Sam Buot Sr. of
Balintawak International home
to celebrate his birthday. Good
time was had by all. The food was
excellent.

Sam Buot, Sr., was born
in Cebu City on March 24, 1936,
eldest son of Alfredo and Susana
Lagrito-Buot. He grew up in the
rough neighborhood of Katipunan
Street in the Labangon District
of Cebu City. He learned the
rudiments of Eskrima from Teddy
Buot, who lived next door. Sam left
home at the tender age of twelve

Sam Buot and his son Ryan\

gog through some techniques

Vol1 No5 2012 FMA Informative 21

to study at Silliman University

in Dumaguete, Negros Oriental,
from high school through law
school. Eskrima was limited to
the summer vacations. Except
for some neighborhood boxing,
with smelly gloves and oldfashioned bare-knuckle brawls,
serious studies of the arts did not
occur until after college. Besides
education, the university polished
his dull edges with some culture.
However, the enduring Darwins
theory of the survival of the fittest
and elimination of the unfit, never
totally left him. After college, he
found himself heir to his fathers
struggling real estate business.
He built up his business to an
extraordinary success.
After college, he resumed his
Eskrima studies, although business
and his law practice competed
for his time. During martial law in
the Philippines in 1972, owning
firearms was a capital offense,
punishable by death. The only
legitimate way to defend oneself was through martial arts.
This intensified Sams interest in
the martial arts, most especially
Eskrima. Self-defense became an
urgent matter. He was smitten by
the sophistication, finesse and
elegance of the art, especially
since it was indigenous to the
Philippines. In the age of colonial
mentality, nothing home grown
was deemed good, only foreign
made goods and imported ideas
were believed worthy. It dawned
on Buot that the Philippines had
something original and native,

The Cooks which are also the family

Dr. Jerome Barber

July 14 - 15, 2012 Connetcing the Systems Camp: Escrima - Kenpo - Arnis
Featuring:
Grandmaster/Mataw-Guro, Sifu Tom Bolden: Founder and Head
Teacher, American Modern Arnis Associates.Grandmaster Bolden also
teaches CHA-3 Kenpo, Pancipanci Eskrima and Tai Chi
Grandmaster/Mataw-Guro, Dr. Jerome Barber: Founder and Principal
Teacher, Independent Escrima-Kenpo-Arnis Associates.Dr. Barber also
teaches Tracy System Kenpo and Modern Arnis (IMAF) Grandmaster
Bolden and Dr. Barber, as the principal teachers of the 2012.
www.stickman-escrima.com
CONNECTING the SYSTEMS CAMP has a combined total of 75 years
of martial arts experience in Escrima, Kenpo, Kajukenbo, Arnis and Tai
Chi. Grandmaster Bolden and Dr. Barber are highly respected teachers and well versed in the physical mechanics as well as the mental concepts
of martial arts movements. Both men have a grand appreciation for the internal relationships between the linear and circular movements with
mobility plus power generation. This will be a true training camp weekend. It will not be a multi-personality variety sampler show that is currently
in vogue these days. The presenters will be teaching dexterity and coordination drills, self-defense techniques, and conceptual applications of
Escrima, Kenpo and Arnis, with some supportive Tai Chi principles, both Saturday and Sunday. We also expect that there will be several special guest
instructors supplementing the principal camp teachers. Harkening back to an earlier time period in martial arts, this camp is open to ALL martial
artists regardless of stylistic training and rank. This is an opportunity for each camp attendee to discover the Art within their Art! The camp fee
structure will be quite reasonable for individuals as well as groups and we expect to keep the price under $175 per person; the final advanced price
is dependent on the exact venue location and associated costs. I expect to finalize the training site by mid-May and will contact everyone via the
Mataw-Guro Association Group Newsletter website and several discussion boards and e-mails. Group rates will be available and announced in the
near future. 3 or more people will be considered a group.
If you have any questions, please contact Grandmaster/Mataw Guro, Dr. Jerome Barber at: [email protected]

Some of the students having a good time.

which was comparable and

arguably even better than many
concepts of self-defense. As a
staunch nationalist, he wanted to
promote the Filipino art. This time
he could afford to hire the best
instructors. He proceeded to hire
all talents in Eskrima and other
martial arts - including Anciong

Bacon. He worked out during

and after office hours until near
curfew hours at midnight and
more intensively and extensively
on weekends. This went on
until Martial Law triggered his
departure for the United States.
Eskrima obsessed him.
www.buot.net

EAST OF WEST is first in a series of 13 episodes made for cable television. Each episode will feature
specific martial arts. In this first episode, the Filipino martial art of Kali is featured. The story is based on a
greedy promoter who promotes death matches to make big bucks and to harvest organs to be sold on
the black market. When contestants turned up missing, Jim West is solicited to investigate; he discovers
an evil black widow by the name of Dragon Lady behind the carnage. West enters the contest with a
friend and uncovers the plot and brings Dragon Lady and her goons to justice. ADAM JAMES is Jim West,
YI TIAN is Dragon Lady, LEE LOLLIO is Travis Harley. Written and Directed by Leo Fong.
Learn More Visit Sky Dragon International Movie section: www.skydragonintl.com
From: International Kuntaw Federation News Room
The proposed Universal Martial Arts Invitational Tournament sponsored by the International Kuntaw
Federation and the global channel (TV) Washington, DC, has been unanimously approved during the
2012 Kick-off / Reunion Seminar & Gala Night at the Hyatt Place (hotel), Chesapeake, VA.
The venue of the universal martial arts tournament; shall be in the old dominion university constant
center, Norfolk, Virginia on April 2013.
Congratulation to the successful 2012 Kick-off / Reunion Seminar & Gala Night
Event with the leadership of
* Kyud Lakan Guro Cyruss Lagumen - US Director
* Kyud Lakan Datu lhod villaluna - East Coast Regional Commissioner
* Kyud Lakan Samuel Nacman - Virginia State Commissioner
* Kyud Lakan Rusty Udan - Virginia Beach, VA. Commissioner
* Kyud Lakan Datu Marko Domingo - Kali Stick Specialist
* Kyud Harry Mansberger - Chesapeake, VA. Commissioner and Secretary
* Kyud Stephen Fitzgerald - Virginia State Coordinator
Greeting to Kuntaw Grandmasters:
Kyud Grandmaster Benjie Ortiz, Jr. - Kingdom of Saudi Arabia
Kyud Grandmaster Bill Roy - U.S.A.
Kyud Grandmaster Marc Deleon - Canada/ IKF President
Grandmaster Nominations for Process:
Kyud Lakan Datu Rey Basco - Philippines
Kyud Lakan Datu Jess Spence - Family (G/GM)

Grandmaster Sam Buot with students and Punong Gur Steven Dowd of Arnis Balite and
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.

If any FMA martial arts group or

martial artist from any FMA martial
arts style would wish for Zena Sultana Babao to write about them/
him/her, you could contact her by:
Email: [email protected],
or by Facebook, or by calling her on
her cell number: (619) 316-5742.

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..

22 FMA Informative Vol1 No5 2012

Vol1 No5 2012 FMA Informative 23

3 Year Anniversary
On April 13th, MyFMA.net celebrated its
three year anniversary. From its launch, there
have been a number of enhancements and
www.myfma.net
improvements made to the features and
functionality of the site. More importantly, there has been an ongoing effort of camaraderie and contribution. The Filipino Martial Arts has a
number of individuals striving to promote the arts in a positive light while overcoming much of the past negativity. I am proud to be a part of
this movement.

I want to sincerely thank everyone for their continuing efforts in promoting the arts, working together, and supporting this network. I
would also like to take the time to describe some of whats been happening on the network, and how it is helping to unite all Filipino Martial
Arts practitioners around the globe.
There are a ton of activities on the network. As members, you know the value of the site and its contents. Here are some of the
Highlights.
2280 Members
133 Groups dedicated to various systems/styles
8482 Photos
1741 Videos
400 Blog Posts
418 Forum Topics
498 Event Listings
Popular Member Contributions
The most popular photo: Humble Men added by GM Max Pallen
The most popular video: GGM Ernesto A. Presas added by John R. Malmo
The most popular forum topic: Who do you think has had the greatest influence on Filipino Martial Arts in your country? added by Zach
Jenkins
The most popular blog post: Do fighters understand the real weapon? added by Ray Melchor
Donations Appreciated
I wanted to take a moment and thank the members that have donated to MyFMA.net. This free network is provided through my own expense,
and would not be possible without the support of its members. I greatly appreciate your help and support. Thank you!
Partners
We are accepting applications from FMA entities and individuals that are looking to further promote their ventures, services, or products. We
are also looking for sponsors that are interested in working with and supporting MyFMA.net. There are a number of custom opportunities
available. If you are interested, please contact us today at [email protected]!
Administrative Team
MyFMA.net is a labor of love. Without the continuing support of our members, we could not sustain our efforts. It is fortunate that we have the
most dedicated Filipino martial arts practitioners from around the world on this network. A number of these members volunteer their time and
energy to ensure that this continues to be a wonderful resource for everyone and remains free from much of the negative political influences
that can plague the community. Please support them and their efforts. If you would be interested in helping out, please let us know! Our
current administrative team and a synopsis of their feature responsibilities can be found here: MyFMA.net Administrators
May 2012 Competition
To encourage even more engagement with current members and to help continue the process of unification, we are holding a membership
drive.
To enter, all you have to do is invite your friends and FMA colleagues to join MyFMA.net. When they sign up, they will be asked who
recommended the site. They simply enter your name.
The member that gets the most friends/colleagues to join by July 31, 2012 will win $50!
Merchandise Available
We have a very limited supply of shirts and hoodies left. If you are interested, please contact us!
Quick Links:
Blogs - www.myfma.net/profiles/blog/list
Events - www.myfma.net/events
Forums - www.myfma.net/forum
Photos - www.myfma.net/photo
Videos - www.myfma.net/video
Groups - www.myfma.net/groups
John R. Malmo
(479) 640-4455
[email protected]

Guro Dino Flores DVD Release and Magazine article for Budo International,
Excerpt from the DVD backcover:

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.
About Budo International Magazine

Budo International is the only martial arts
magazine published in seven different languages
(English, Spanish, French, Italian, Portuguese,
German, and Croatian) and sold worldwide. Budo
Magazine is undisputedly the largest specialized
magazine in over 60 countries. They are the
foremost martial arts publication in Europe, South America, Central America and Australia, as
well as having editions in Greece and Czechoslovakia.Their monthly publication brings exciting
and exotic masters and material that is truly universal. Budo also covers all types of events, from
tournaments to movies and the magazine brings a gust of fresh air mixed with European quality
to the American culture. Click on the magazine image below to read English issues of Budo.
www.budointernational.net
backyardeskrima.com

Keith Roosa
Hand Made Wooden Weaponry

Keith Roosa hand makes many different designs including Kampilans, Kris, Bolos, Pinutes, and
many Indonesian blades. He also makes custom trainers for people that send him their own
design.

Keith Roosa prices vary because of availability and cost of the hardwoods he uses. The
Presas Bolos and the Abanikos will sell for $70. He makes a cheaper line that sells for about
$20 less, which have parachute cord wrapped handles. Keith Roosas prices sometimes scare
people off until they have the weapon in their hands and feel the balance and see the quality
the work. Each one is hand built and not off an assembly line.
Different Bolos and a few Abanikos designs.

mandirigma.org

www.allthingsfilipino.com

The Presas bolos in the second picture are made

from macaucaba, which has the hardness of
kamagong. The left one has Birdseye maple
handles and the right one has cocobolo handles.
Bram Franks Abanikos are made from
Bolivian rosewood w/ zebra wood handles
(left) and purple heart w/ bubinga handles (right).

Inquiries: [email protected]
Facebook: Click Here

Thomas Sipin: Intermediate Eskrima

Intermediate Eskrima is a set of 4 DVDs which sell separately for $14.99 each. They are professionally
put together, which would be expected by Century. Grandmaster Sipin gives a very good presentation
throughout each video, speaking clearly and precisely demonstrating the movements in an expert
manner which whether a beginner, student, or a seasoned veteran the individual will most definitely
get a valued amount of knowledge.
The first two volumes are well put together that instructs the basics of Doce Pares. They are easy to
follow and with Grandmaster Sipins, explanations and the demonstrations with his assistants bring
about a learning experience as if being taught in person.
Volume 1: Corto Abesedarios and Basic Forms. Grandmaster Thomas Sipin, his son Master Kelii Sipin
and Guro Jenny Noval will show you Doce Pares forms 1 through 4, with a sword and dagger variation.
Also covered are drills to improve your close range attacking, checking, and countering including
Doce Pares Corto Kurbada.
Volume 2: Larga Mano Abesedarios and Intermediate Forms - Introduces Doce Pares forms 5 through
8, and addresses long range attacking, countering and movement drills.
In Volume 3 Grandmaster Sipin and his assistants use some realistic and basic traps, locks, and
disarming techniques that are practical and easy to add to a persons arsenal of knowledge. His
explanations are easy to follow and can clearly be understand.
Volume 3: Intermediate Weapon Disarming - Demonstrates trapping, locking and disarming drills
against both stick and knife attacks.
Competition is a default area to really instruct in, for it takes a feeling and many training sessions to
really perfect an arsenal that will be effective. However Grandmaster Sipin through Volume 4 breaks down various techniques which can be
used and points out some very interesting thoughts on competition, which even some seasoned practitioners forget from time to time.
Volume 4: Training for Competition Stick Fighting - Demonstrates how to improve yur training for competition stick fighting with striking
combinations to develop continuous hitting, along with footwork and movement drills.
It is highly suggested that if you have not experienced Doce Pares, get the DVDs to learn insights into the art. If a student of Doce Pares it
would be great to have in your library as reference and even if a veteran, you might find some things which can assist in bringing out some
valued points in teaching the art.
Volume 5: Intermediate Knife. Grandmaster Thomas Sipin, his son Master Kelii Sipin, and Guro Jenny Noval demonstrate intermediate knife
techniques such as emergency evasion, angles of attack, blocking, trapping, passing, and techniques for knife vs. knife.
Volume 6: Empty Hand and Palm Stick. Grandmaster Thomas Sipin, his son Master Kelii Sipin, and Guro Jenny Noval show you intermediate
empty hand skills using hands, feet, elbows and knees for attack. Transition drills to apply your weapons training to empty hands for checking,
passing, limb control and destruction are covered. You will also learn palm stick techniques, combinations and tactics for striking, blocking and
controlling an attacker. Also applicable to small flashlights or similar objects.
Cost Each: $19.99

To order: www.centurymartialarts.com

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