Publisher

Steven K. Dowd

Contributing Writers
Nel Malabonga Ken DeJesus'
Jon Escudero Antonio Graceffo
Ned Racaza Nepangue Ted Rabino Sr.
Brian Collins Frank Aycocho

Contents
From the Publishers Desk
Paclibar Bicol Arnis
Master Frank Aycocho
Ismael “Boy” Garcia: Yaw-Yan Champion
A Glimpse of the Man: Guro Maning Bonsa
A General View of Serrada Concepts in Lightning Arnis
Grandmaster Mike Vasquez: Modified Tapado / Modified Karate
Manong Ireneo “Eric” Olavides
Rizal the Budoka?
The Subconscious and Super-Conscious Mind and the Flow in the Philippine Martial Arts
Meeting the Masters in the Philippines
Filipino Martial Arts in Arizona
Dinuguan for Brunch
FMA Past Events
FMAForum
FMA Future Events
FMA Educational Depot
Concept of Aycocho Arnis Korambit (AAK)
Christmas Shopping

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The FMAdigest is published quarterly. Each issue features practitioners of martial arts
and other internal arts of the Philippines. Other features include historical, theoretical and
technical articles; reflections, Filipino martial arts, healing arts and other related subjects.
The ideas and opinions expressed in this digest are those of the authors or instructors
being interviewed and are not necessarily the views of the publisher or editor.
We solicit comments and/or suggestions. Articles are also welcome.
The authors and publisher of this digest are not responsible for any injury, which may
result from following the instructions contained in the digest. Before embarking on any of
the physical activates described in the digest, the reader should consult his or her
physician for advice regarding their individual suitability for performing such activity.
From the Publishers Desk
Kumusta
Well another year is coming to an end and the Filipino martial arts, continues to
flourish and grow throughout the world.
In this issue the FMAdigest is proud to bring Maestro Jaime C. Paclibar of
Paclibar Bicol Arnis, Master Frank Aycocho of Kuntaw and Manong Ireneo “Eric”
Olavides of Eskrima de Campo System so you the reader can get to know a little about
them and the art they promote.
Guro Limuel “Maning” Bonsa of Arnis Rapado was in the last issue, now it is
time to get to know the man and his art in depth and Grandmaster Mike Vasquez of
Modified Tapado / Modified Karate talks about why he modified these arts, “not to say
they are better, but to add speed, and power.”
Ismael “Boy” Garcia a Yaw-Yan Champion from 1981 to 1998 a respectful,
determined, fascinating individual, a real champion. Master Jon Escudero of Lightning
Scientific Arnis tells about one of cores of Lightning Scientific Arnis “Serrada.”
Author Ned Nepangue who co-authored the book “Cebuano Eskrima - Beyond
the Myth” writes offering an alternative perspective on Rizal’s alleged Japanese martial
art background and Guro Brian Collins and Guro Ken DeJesus' brings a light about the
Subconscious and Super-Conscious Mind and the Flow in the Philippine Martial Arts.
Antonio Graceffo talks about meeting the Masters in Manila and talking about
Mixed Martial Arts vs. Traditional Martial Arts.
Filipino martial arts, has commenced to bloom in Arizona and Mike Butz of the
Kada Anan Eskrima Group and Ted Rabino Sr. are going all the way to bring the best
practitioners out in the open to promote the art.
Of course Jeff Finder is adding spice in his Editorial of Dinuguan for Brunch, and
Roberto Trinidad is bringing you the hot topics and gossip from his forum FMAF. Don’t
forget Luis Rafael C. Lledo (aka Guro Lou) sharing his basics of the Filipino martial arts
in the FMA Educational Depot, got a questions on the arts Email him for the Educational
Depot answer.
And of course the past Filipino martial arts events you missed, or if you attended
can remember the great time you had, and the future Filipino martial arts events you
should not miss if you are able to attend.
And last but not least, Christmas is around the corner get your fellow
practitioners, loved one’s or students something. The FMAdigest highly suggests the
vendors listed for quality products and great service.
Maraming Salamat Po
 Paclibar Bicol Arnis
Maestro Jaime C. Paclibar
“When you direct your opponents’ energy, you force him to change his
position and you learn to exploit him, learn to adapt and to be fluid.”

Paclibar Bicol Arnis is a system of drilling by which students master all body
movements, such as bending, rotating, pushing, balancing by learning to move limbs and
moving the body backwards and forwards, left and right, and also dodging up and down,
freely and uniformly. The techniques of striking must be well controlled with power
directed at the target accurately and attack directed to the target using the appropriate
technique and maximum power in the shortest time possible, hurting the opponent
momentarily following up with a lethal technique.
A unique system in which one learns to adapt
to the combat self defense by acquiring the important
skill of transitioning from one technique to another,
smoothly and instinctively.
Maestro Paclibar is dedicated to train others
and to help propagate the growth of his system of
Paclibar Bicol Arnis and Otso Tiradas systems.
Maestro Paclibar focuses on every aspect of fighting
from long range, medium range and close range,
grappling, stickfighting and knife fighting. Training
his students for realistic street fighting, which is
different than fighting in a tournament, however he
does teach his students the principles of tournament
sport fighting for this also has its values.
He has turned Paclibar Arnis with Kaikijutsu
into a hard and soft style with an avenue of response to
any kind of attack. The Saia and Otso Tiradas system
is the system or form of fighting which uses the natural
weapons of the body from striking, kicking, throwing
and joint reversals.
Maestro Paclibar is a firm believer that the
basics are the foundation of any art, and when learning
and practicing correctly will give the student a firm
foundation in techniques, speed and power. Forms are
just another training method in learning basics.
Paclibar Bicol Arnis builds towards the unity of the
mind, body and the heart, bringing confidence and
peace within ones self.
The 6/8 Tiradas fighting techniques, is an
offensive form moving in a graceful, but forceful
flowing movement, which demonstrates the power and
agility of the Paclibar system.
The Paclibar Bicol Arnis system focus on the use of a simple stick, kinamot,
locking dumog, dulo-dulo concentrating to largo mano and then medium range and
finished on close range fighting tactics. It can be classified as a modern system, a
composite of several fighting principles of physics, the quality of force and counter force.
All tempered by good timing, speed, power
deceptiveness, power to the mind, concentration of
power, relaxation, visualization, breath control and
effective counter attacking, reaction force, calm mind,
lower abdomen and hip jerking role of muscular power
and rhythm.
Maestro Paclibar instructs in Saia Tiradas and
Otso Tiradas like Serrada, Abierta, Aldabis, Saboy,
Tochar, and number six is Herada.
The student is taught that there is a counter to
every counter and that continuous research and
discovery is basic knowledge. Only those with faster
reflex, coordination and agility will prevail. To achieve perfection in the art, you need
speed + timing + reflex, (S + T + R) which is necessary to acquire a defensive posture
and fluidity in movement. To harness one’s natural body movement refine it with S + T +
R = vector and awaken one’s sense to move and react to it.
In Paclibar Bicol Arnis the student is first taught with the baston and empty hand
later. The student learns the six (6) Tiradas or Biradas, the counters, disarming, locking.
Footwork and body shifting is very important in the aspect of training.
Triangle (tatsulok) the student performs many repetitions of stepping left and
right on the triangle diagram, (this is taped on the floor).

In Saia Biradas or the six (6) Cardinal Birada (strikes), this is patterned around the areas
of the body divided by an “X” with a dot in the center for thrust.

1 & 2: Small ekis

3 & 4: Big ekis

5: Dot (.)

6: Number 1 or letter l
 No. Style of Strike Vital Point Pattern Angle
1. Abierta Right Temple
2. Serada Left Temple

Small ekis
3. Aldabis Right Leg
4. Saboy Left Leg

Large ekis
5. Tochar / Sungkite Abdomen Period
6. Herada Crown

Number 1

Saia Tiradas / Biradas (Six Strikes)

1. Birada isa/one - A backward diagonal strike aimed downward at the opponents’ right temple.
(Abierta)
2. Birada dalawa/two - Forehand diagonal strike aimed downward at the opponents left temple.
(Serada)
3. Birada tatlo/three - A downward diagonal backhand strike to the opponents’ right leg area.
(Aldabis)
4. Birada apat/four - A reverse downward diagonal forehand strike to the opponents left leg area.
(Saboy)
5. Birada lima/five - A thrust to the abdominal area.
(Tochar / Sungkite)
6. Birada anim/six - A strike to the opponents crown
(Herada)

The student learns the six strikes which are designated to attack various areas of
the opponents’ body. With the six angles of attack understood, then the student is taught
cutting, checking with the baston which is often accompanied by disarming. (As the
student matures in his training he begins to realize that the disarming he initially learned
is interchangeable and will work with various attacks like miscellaneous striking patterns
from other systems as well, like wetik, pitik, lastiko, bartikal, buhat araw, abanico,
rapillon, florete, tercia, serada, saboy, abierta, amara, rompida, tinulisan, and many
more.)
Mastery of the fundamental concepts, builds a strong foundation and a working
knowledge for the more advanced techniques. Once the foundation is built, the arnis
student is taught to execute and defend against the six angles of attack. Once this is
accomplished, reflex development is introduced. Then empty hand is introduced with the
knowledge of zoning, footwork and distancing it is an easy transition.
 Paclibar Arnis students - Winners in Metro Manila Tournament

Maestro Paclibar students AIMS Varsity team

Meeting of the Masters

L-R: Grandmaster Diego, Peachie Baron-Saguin,

Maestro Paclibar, Grandmaster Tongson,
L-R: Engr. Diaz, Maestro Paclibar, Master Sobrino, Master
Grandmaster Sanchez, Grandmaster Robas
Villeno, Master Santos, Student, Student, Master Buena
 Maestro Jaime C. Paclibar
Email
63 (918) 730-8564

Master Frank Aycocho

Master Aycocho was a self-supporting child without
parents. He worked as a house boy for Jim Mediavillo a
policemen and instructor in body building, Judo, Jiu Jitsu at
the Bicol University. Frank by watching the classes, self
studied the Judo and Jiu Jitsu.
It was 1966 at the age of 14 years of age, at a barrio
fiesta in Bicol, Philippines there was a ring set up for kick
boxing events. The ring announcer called all the kids to step
up into the ring wearing uniforms for a competition. The
Referee explained that there would only be only 2 fouls in the
match no hitting the groin, and no biting, this was kickboxing
like the K-1 that is now shown on TV.
In 1967 Jim Mediavillo sent Frank to his 1st year of
high school, Frank joined the Balmaceda Jiu Jitsu Karate and
Arnis classes and at a stage show he danced tinikling with an arnis partner.
One year was all Frank got to attend for high school due to financial reasons. He
had to go to work and worked as a utility man at a hotel. At the same time Frank joined
the YMCA Karate program ran by Sensei Jun Legaspi who was the instructor, at a
tournament he had his first taste of Kuntaw due to competing against some of the Kuntaw
students in the area.
As time passed Frank then found another job as a utility man at a hospital with his
earnings he was able to finish high
school by attending night classes. I
Frank Aycocho then joined a
school that taught Kuntaw, Karate, Ju
Jitsu and arnis whose instructor was
Jun Orence.
In 1974 as a 3rd Degree Black
Belt, Frank went to Manila to join in
the competition of the 1st Asian
invitational Karate Tournament at
Araneta Coliseum, and won individual Kumite.
Frank enlisted in to the AFP. He was an instructor of hand and foot combat of
PGB, (Presidential Guard Battalion) at Laog City Marine Camp Training Center. He
transferred to the Special Service Group and became a member of the PCRP Team-
Karate (Philippine Constabulary), but decided that this was
not a good for him, so he transferred to the Medical Service,
OJT at AFP Medical Center, V-Luna taking up EMT
Paramedic, O.R. Tech, MEMU Tech.
After many years of service Frank left the AFP and
signed a contract, with the OFW in Kingdom of Saudi
Arabia, working as EMT-Paramedic for the 997 National
Emergency Rescue Royal Commission.
In his free time Frank was allowed to teach Kuntaw
at the Royal Commission Recreation Center, which was
open to multinationals of all ages, (Saudi Arabia law
prohibits OFW to pay double compensation). Frank got paid
by a deal where he shared profits from his classes with the recreation management.
Saudi Arabians loved Kuntaw sports competition. Master John Bais and Frank
Aycocho promoted Kuntaw for 12 years in K.S.A. Master Frank Aycocho was appointed
as Director of Kuntaw, Middle East by Grandmaster Carlito Lanada of KNP-IKF. Frank
Aycocho earned the rank of Master (Red, White and Blue Belt) in Kuntaw.
Master Aycocho competed in Dubai; full contact karate competition when he
worked with CGGFRANCE Oil exploration.
In 1998 Master Frank Aycocho returned to
Manila, and when Grandmaster Lanada returned to the
Philippines for a visit from the United States
Grandmaster Lanada and Master Aycocho organized a
Kuntaw National Tournament in Olangapo City. The
guest speaker was the Honorable Dick Gordon.
Master Aycocho with his students from the
Manila KNP-IKF chapter took only one trophy in the
tournament, winning the forms competition with Sayaw-
An form and the Maya Form. Grandmaster Lanada
offered Master Aycocho the position as KNP-IKF
President. Master Frank Aycocho has been waiting for
the appointment in writing, but to no avail up to this
time.
Master Aycocho has worked out his instructions Master Frank with Grandmaster
to unify Kuntaw, and came up with an acronym Lanada’s son Junior
“KUMANDOS” which stands for “Kuntaw Unified Martial Arts National Development
of Sports.”
 Due to the popularity of Mixed Martial Arts on TV, Filipino cinema, and by the
Americans, it has come down to Master Aycocho to teach mixed martial arts.
Just recently Antonio Graceffo “The Monk from the Bronx” trained and earned a
Brown Belt in Kuntaw Mixed martial arts style. (In Kuntaw Black Belt level cannot be
earned on a short period of time). Antonio
Graceffo promises to return to study more and
earn his Black Belt, he’s got an amazing
adventure in martial arts world wide and Master
Aycocho found it easy teaching Graceffo, he is
a fast learner, He reminds Master Aycocho of
one od his students in K.S.A. which was a
popular tournament champion of champions
Valentino Reyes, who is now employed by
OFW in Lebanon. Valentino Reyes won 5
trophies in one tournament which was
sponsored by ARAMCO winning in the middle
weight, heavy weight black belt divisions and
also in Kumite. Champion of Champions also
includes kata forms competition.
Master Aycocho has found new concepts in teaching martial arts. It is not worthy
or worth while teaching martial arts to bullies, people with no conscience and especially
violent people. Master Aycocho teaches only to a select group of individuals confined in
his school for privacy and full attentiveness for one month with complete and strict
discipline.
 NCR chapter can be reached at ([email protected])
or by phone (0919) 883-1120. KUNANDOS is a non-profit
Organization of Kyud’s (brothers) and Kyudai’s (sisters).

Ismael “Boy” Garcia

Yaw-Yan
Champion 1981 - 1998

In true Yaw-Yan the

principles is to go with the force,
really no blocking or force-to-
force techniques. The hand or
forearm techniques are
considered to be arnis, in the
sense that the arnis baston is an
extension of the arm, and in Yaw-Yan the forearm is the baston.
Yaw-Yan is not purely a full-contact no-holds barred sport martial arts. It is a
complete martial training with body-mind coordination and test of enduring indomitable
spirit. More than just physical training, it also involves the mental disciplines of focus,
concentration, alertness, flexibility, stamina, speed and continuity. Students train for real
confrontation and actual fights - in or out of the ring. Advanced Disciples have to go
through a rigorous ritual of practice and discipline consisting of actual full-contact
sparring, bag hitting, mind fighting and flexibility exercises.
In training it is important to build power
with the hands, forearms and legs. The training bag
is instrumental in this, it is made up with the center
core being of solid wood with cloth wrapped around
it, then a rope is coiled around the bag and finally a
thin piece of rubber is wrapped around the bag to
make a durable training bag.
Flexibility is a great demand in the training
due to the various kicks, even if one learns all 40
kicks, of course they will only choose to execute the
kicks that they can execute flowingly, with
maximum power that are easily adaptable to their body mechanics for the utmost
effectiveness.
To excel in Yaw-Yan one must develop their power to the fullest and execute
techniques without thought, but with a natural action or reaction to the opponent. “For if
 one thinks and does not act naturally then
they are slow which can cause them to
become injured or being defeated.”
Whether; inside the ring or on the street.
Ismael Garcia commenced his ring
experience when he was 12 years old. At
that time when he entered the ring in his
mind was only one goal to dominate the
opponent completely. As time went on and
Ismael grew older and more experienced his
thinking changed and he approached his
opponents in a different aspect, which scientifically he fought them instead of brute force.
As a kickboxing Champion he held 3 different titles, Jr. Lightweight, Light
Weight, and Welterweight, in the Philippines.
Yaw-Yan
Ismael 'Boy' Garcia
Founder Pampanga Chapter
108 Sn Nuan Aprit
Pampanga, Philippines
(0915) 244-1116
 A Glimpse of the Man: Guro Maning Bonsa
By Nel Malabonga

Guro Limuel “Maning” Bonsa was born the eldest

of three children in Naga, Albay in the Bicol region.
Although a bright student, he was forced to stop
schooling at the age of 12 because his parents separated
and his mother got sick. At first, he sold bread and
pastries at the market in order to support his mother and
siblings. About the age of 15, Guro Maning became a
kalesa (horse-drawn rig) driver.
Even at that early age, Guro Maning was no
stranger to fighting. In Naga City that time, if you made
your living off the streets, you would inevitably run
across the many gangs that ran those streets like their own
fiefdoms. If you did not want to be pushed around, you
had to fight.
Although Guro Maning managed to hold his own during his encounters with
different gangs, he was convinced that he needed to study martial arts in order to better
defend himself. One encounter he witnessed at the age of 16 or 17 changed the course of
his life.
It was the middle of the day and Guro Maning was driving his kalesa along one
street, when he noticed a commotion in front of one of the houses. A group of men
mostly armed with poles, sticks and bats stood in front of a house while the leader of the
group, who was armed with a bolo, was challenging the owner of the house to a duel. The
house owner obliged and he came out also with a bolo. The group leader’s lackeys
formed a circle, and the two combatants went at it. Guro Maning assumed that both had a
bad history that explained why the duel was happening.
Both combatants were apparently skilled in arnis. Through the flash of blades,
neither of the combatants suffered a hit. The force of the strikes was so strong that the
blades would spark when one or the other blocked a strike. But in the middle of the fight,
when the house owner had his back turned on one of the lackeys, the lackey armed with a
stick struck the house owner on the leg, causing the house owner to fall on the ground.
The house owner had not yet hit the ground when his opponent was already on
him, but the house owner was so skilled that he managed to evade the group leader’s
strikes even when he was on the ground. The group leader managed to swing three times,
strikes so strong that the blade drew sparks when it hit the cement street, before the house
owner managed to get up. At that point, the house owner ran back into the house and
locked himself inside.
Although it was an ignominious end to a confrontation between two skilled
combatants, Guro Maning was still impressed enough that he decided then and there that
he had to learn arnis. He also had an inkling that he wanted to make martial arts his
profession in life.
With that in mind, Guro Maning started asking around on who could teach him
arnis. He was eventually referred to a maestro who went by the moniker Palnikan who,
along with his brother-in-law, were both grocers who were also well known in the arnis
circles of Naga City.
The same week that Guro Maning started training in arnis, he also enrolled in a
karate club in the city (a hybrid of different karate styles; Guro Maning eventually
reached 5th dan in that style). So Guro Maning would ply the kalesa during the day, and
practice martial arts at night.
As Guro Maning recalls it, the year was 1967 when he first started his lessons.
Starting about 1970, Guro Maning began teaching arnis in different Barangay’s, while
still reporting to his arnis teachers. It was also about this time that Guro Maning joined
another club called the JAKAY (Judo Arnis Karate Aikido Yoga) Club under Dick
Furigay, who also taught Guro Maning arnis.
Even after starting on the path of martial arts, Guro Maning had his fair share of
fights, both in and out of the ring. He liked to join full contact karate tournaments during
the time when safety gear was very minimal and there was no such thing as weight class.
He earned a reputation as a powerful kicker, and in fact some of the competitors would
joke when he came in, “Ayan na yung sipang kabayo” (“Here comes the guy who kicks
like a horse”).
Off the ring, one particular incident is very memorable to Guro Maning. There
was a toughie that liked collecting tolls from farmers who used a highway straddling
several rice paddies. So one day, Guro Maning just walked up to the toughie and started
punching and kicking him, causing the toughie to fall down the embankment, rolling on
the rough-hewn stairs until he hit the ground below. But it didn’t end there. The toughie
then snatched up his bolo and charged back up.
Timing his strike to when the toughie was starting to chamber his bolo, Guro
Maning delivered a powerful kick that sent the toughie rolling down again, this time
ending up senseless on the ground. Guro Maning recalls that if he was even a fraction of
a second slower, his head would have been cleaved in two and he wouldn’t be here right
now.

On to Manila
In 1974, Guro Maning decided to go to Manila because
he wanted to broaden his horizons and gain more skills and
experience. And with his fighting experience in Naga, he
wanted to see what Manila had to offer.
Guro Maning knew some people from Naga who had
migrated to Manila, so he approached them and asked which
arnis group he could join. This is how he was introduced to the
Presas group. Grandmaster Ernesto Presas was Guro Maning’s
primary teacher, and although they allowed him to teach in
their gym, they did not force him to teach Modern Arnis. It
was okay for them to let Guro Maning teach his brand of Bicol
arnis.
From 1979 to about 1985, Guro Maning was frequently shuttling back and forth
between Manila and Pangasinan, teaching at both places. While in Pangasinan, Guro
Maning was able to befriend an old maestro (Guro Maning can’t recall his name), who
taught him Cinco Tiros. So during those times that Guro Maning was in Pangasinan, they
would train on and off, depending on Guro Maning’s availability.

The Luneta connection

One particular feature about Manila is that
Luneta Park is the primary melting pot for martial
arts practitioners, not only for Filipino martial arts
but also for kung fu practitioners. Since Guro
Maning was a regular in Luneta Park, this is how he
learned about different masters and started learning
kung fu under such teachers as Sifu Jorge Ramos
(Hung Fut Kung Fu) and a few local Chinese who
taught him Tai Chi.
Even before Guro Maning became a regular
in Luneta, he already kept hearing the names of
Grandmaster Mena (Arnis Doblete Rapilon) and
Grandmaster Ilustrisimo (Kalis Ilustrisimo). Since Guro Bonsa with Sifu George
Guro Maning is always open to learning more, he Ramos of Hung Fut style Kung Fu.
approached both masters separately and asked if they
could teach him. Guro Maning would frequently train at Grandmaster Mena’s home in
Tondo, often with the local toughies watching their practice. Guro Maning would train
with Grandmaster Ilustrisimo in Luneta, usually during the weekdays so that he could get
one-on-one instruction, because on Sundays, usually there are a lot of students who show
up to study with the grandmaster. He studied with both grandmasters in the first half of
the 1990s.
In the late 1990s, Guro
Maning was able to teach for
two years in Doha, Qatar under
the sponsorship of a Lebanese
student of his who worked there.
It was while in Qatar that Guro
Maning met Sifu Wang Deshen,
who taught him a mainland
Chinese version of Tai Chi.
Guro Maning describes
his involvement in kung fu as
more of a hobby, while arnis is
his true art. Guro Maning
Guro Bonsa with Tai Chi Guro Bonsa with Deddy Widarso
teaches Tai Chi and kung fu if
Grandmaster Wang of Japak Jagad.
the student requests it, but the Deshen in Doha, Qatar
training is distinct from the arnis
training.

Arnis Rapado
By the second half of the 1990s, Guro Maning was already thinking about
creating a distinct identity for all the arnis knowledge he had accumulated. He had
studied under several masters, but he couldn’t just represent all those systems or
organizations separately because all of them formed an intricate network that defined his
knowledge of arnis. He also wanted to avoid any political fallout from being identified
with one organization or the other. This is why he thought of the word Rapado, which is a
Bicolano word that means, “to strike,” that would describe the distilled knowledge he had
accumulated from his arnis teachers. Guro Maning clarifies though that the name is just a
name, for recognition. In old times, many arnisadors would train under different masters
and styles without naming their accumulated knowledge. But times have changed.
Although Arnis Rapado is a fusion of all Guro Maning’s training in different
styles and systems, about 70% of the techniques are still based on Bicol style arnis. Guro
Maning says that the style of Bicol arnis that he learned is similar to Cinco Teros in the
sense that there are 5 strikes. Only the sequence and direction of strikes are different.
Bicol arnis consists of an “X” pattern of slashes and one thrust. The sequence of
the “X” pattern is as follows:
1. Diagonal downward slash from right to left.
2. Diagonal downward slash (backhand) from left to right.
3. Diagonal upward slash from right to left.
4. Diagonal upward slash (backhand) from left to right.
5. Thrust to the abdomen.

In Arnis Rapado, there are 6 strikes, the overhead strike being added by Guro Maning
to the sequence. The overhead strike was added because although it is not formally
included in the 5 basic strikes of Bicol arnis, in practice there are techniques that stem
from defending against an overhead strike. Moreover, other systems that Guro Maning
studied under also had overhead strikes, so it only made sense for him to formally include
the overhead strike in the basic strikes.
In Arnis Rapado, the long stick is preferred, typically at 32 inches. The style
encourages engagement at largo mano, but the techniques hint at the flow from largo
mano to medio, and some corto as well. There is also heavy emphasis on striking the
hand (defanging the snake). Mostly single sticks are used, but it has an extensive set of
double stick techniques as well. There are espada y daga and staff techniques, but not as
emphasized as the single and double sticks. Moreover, even when training with sticks,
proper blade handling mechanics are taught so that one can more easily transition into
handling a long blade.
Knife techniques are simple and direct to the point, emphasizing maintaining distance
at the outset, but executing quick stabs if you’re within range. Basic knife throwing is
also part of the training. But whatever the weapon, all techniques derive and build up
from the 6 angles of attack.
In most traditional arnis systems, empty hand movements are implied with the
weapons work. Guro Maning’s teachers did not devote training time for empty hands,
reasoning that no one should go into a fight unarmed. This was no problem in the
provinces, where one could even carry bolos out in the open. But in recognition of
today’s urban environment where it is often illegal to carry melee weapons, Guro Maning
devotes a little time for empty hand applications so that students can more easily
understand the transition from weapons to empty hand, though majority of the training is
still spent on weapons.
Philosophy of training, learning and application
Asked why he studied so many arts and styles, Guro Maning answered that he
believes in long and continuous training and learning. Although one of his main goals is
to promote Bicol style arnis, Guro Maning also wanted to contribute to the preservation
of the different styles of arnis by expressing them through Arnis Rapado.
When teaching a technique, Guro Maning tries to identify where the technique or
the principle of the technique came from. This way, the origins of the technique or
principle behind it are maintained. Guro Maning is also careful to distinguish which
techniques can be used in a real fight, and which are more useful for demo purposes or
attribute development only. And well he knows, coming from a hard life that has seen its
share of real life encounters. For example, a lot of the principles that cover the knife
techniques come from tips by individuals who have used knives on other people and
hence know the limits and capabilities of a knife in a life and death encounter.
For Guro Maning, his primary goal is to
prepare the student as best he can, even from day one
of training, so that the student is under no illusion
about what to expect in a street encounter but at the
same time without sacrificing the “art” in the martial
art teaching process. It’s only a bonus for him if the
student eventually decides to become an instructor.
Fighting is like chess. You must attack the mind
before you attack the body, according to Guro
Maning.
Guro Maning also emphasizes that one must
be strong of heart with no room for hesitation when
an encounter happens, because if you hesitate, then
the more you might get hurt or worse, killed. This is Guro Bonsa with his Australian
student Fernando Lecuna.
also important because more often than not, a real
life encounter starts with little or no warning at all. Guro Maning recalls one incident in
the late 70s, during the construction of the Mandarin Oriental Hotel. In order to support
himself, Guro Maning became a construction worker, and eventually a foreman.
There was one particular guy who was challenging the authority of Guro Maning.
The toughie was confident because he was big and strong, strong enough to bend a rebar
on his forearm. One night, about 1AM, Guro Maning was going back to the construction
site after a break when the toughie steps out of the shadows holding a length of wood.
Beyond the toughie, Guro Maning could see the toughie’s lackeys lurking at the corner.
The street had sparse lighting, so it was a good place for an ambush.
The toughie shouted that he was going to do Guro Maning in. So immediately
Guro Maning shouted back, “Sige! Simulan mo na!” (“Okay! So start it!”), while
charging towards the toughie to cover the distance. Caught by surprise by the aggressive
move, the toughie swung the piece of wood two handed to hit the legs, but Guro Maning
had managed to get inside the toughie’s reach, parried the blow then immediately
punched the toughie on the chin. The punch was so strong that the toughie rolled three
times on the ground before getting up, whereupon the toughie started running for his life
because Guro Maning had picked up the piece of wood and started chasing down the
toughie. Guro Maning said that if he had shown any hesitation during that encounter, then
he might have been seriously injured at best.
Guro Maning is a believer in the saying that it’s the man that makes the art, not
the other way around. As long as you have a strong fighting spirit, a strong will to live
and act without hesitation, no matter your art or style, you have a good chance of
prevailing during an encounter. In an actual encounter, all the fancy techniques fly out the
window. It is usually one or two strikes that will decide the outcome, which is why
decisiveness is a factor.
Guro Maning also teaches that although you may find yourself unarmed when an
encounter happens, as much as possible you must arm yourself with whatever you can
use, whether it be a piece of rock, your bag or whatever comes to hand. Especially in the
case of blades, one must avoid facing a blade unarmed.
Going back to Guro Maning’s experiences with other arts and styles, it’s not only
the techniques that are important, but also the principles behind those techniques. So after
learning the basic techniques in Arnis Rapado, Guro Maning teaches variations and
combinations on those techniques based on what he learned from his various experiences.
For example, Grandmaster Ilustrisimo liked to include a lot of thrusts in his techniques,
so Guro Maning would show those variations while still being consistent with the base
technique.
Learning martial arts is like
constructing a building. You have a deep
foundation and then the framework of
the building, but after that come the
refinements or the finishing, which
usually takes a long time to complete.
Even then, a building doesn’t stay the
same; there are renovations or other
additions without having to destroy the
foundation or framework. This is how
Guro Maning views the learning process
Guro Bonsa and the author training of any art and how he continues to refine
at the garage of one of the students. his knowledge.
Guro Maning emphasizes that
there is nothing wrong with admitting what you don’t know. This is why we study in the
first place, and also explains Guro Maning’s openness to learn new arts. One of Guro
Maning’s pet peeves are students who come from other arts or styles who insist on doing
things based on how they did it in their previous art, style or instructor. Guro Maning has
either dismissed or refused to teach people who displayed such attitude. Statements like
“I want to do it this way” or “In my previous style we were taught to do it this way, so
that’s what I’ll do” are almost guaranteed to get a prospective student turned away.
According to Guro Maning, when you study a new art, your mind must be like a blank
slate or an empty cup, so that you can learn something.
Although he is a veteran of many street encounters, Guro Maning’s demeanor
doesn’t show it. He is actually quiet and unassuming, but very willing to share his
knowledge to those with an open mind. Guro Maning has come a long way from his days
in Naga, but even then his thirst for knowledge and growth hasn’t stopped. And this is the
attitude he hopes to instill in students of Arnis Rapado.

Nel Malabonga, Guro Maning Bonsa, Rosemarie Bonsa Ronnie Catamcatan,

Rene Gasillos and Domingo Catamcatan (father of Ronnie)

Thoughts on Filipino martial arts in the Philippines

One of the few things that Guro Maning laments about is the fact that many
schools, fitness gyms and organizations in the Philippines require instructors to have
diplomas or proof of some accredited course before they are considered for teaching arnis
in schools, or given recognition for their skills and efforts. Guro Maning believes this
stymies the spread of arnis to the local mainstream because there are many good
instructors and practitioners who, like him, simply had the unfortunate circumstance in
life of not finishing school.
But whatever the circumstance, Guro Maning still pours everything he has in
order to better himself through constant training and maintaining a hard work ethic. From
this example he has set, he hopes to spread his enthusiasm to others.

Guro Limuel "Maning" Bonsa

[0918] 442-0452
Email
Official Website
Website Guro Bonsa and his daughter Rosemarie
A General View of Serrada Concepts in Lightning Arnis
By Jon Escudero
LSAI Master Instructor
Secretary General

Serrada is at the core of Lightning Scientific Arnis. It is one word that brings a
hundred-million different ideas and patterns and permutations of movement to mind, all
seemingly impossible to comprehend except by a great mind or a virtuoso. Grandmaster
and Founder of Lightning Scientific Arnis International, Benjamin Luna Lema was one
such genius. He simply called it “working the stick” which can be visualized like a
lightning storm playing upon the clouds in the heavens.
Lightning Scientific Arnis embodies the principles of Tercia Serrada Kadenliya y
Espada y Daga. In this article, I will only talk about the “Serrada” aspect.
In general, serrada comes from the word cerrado or closed. Ultimately it is a
concept that cannot be defined in any one specific manner. I’ve spoken to proponents of
different styles and have gotten different interpretations. So in the end it boils down to the
depth of the understanding of the practitioner.
I’ve sorted it into three definitions with different depths of understanding.

The particular definitions:

First Definition - Stance
I usually start explaining serrada by comparing stances and fighting positions,
specifically the position of the weapon. In the Filipino Martial Art of Eskrima/Kali/Arnis,
this refers to the weapon being chambered across the body on the opposite side of the
carrying arm. I’ve stopped looking at advantages versus advantages; instead I look at
options and repertoire. The serrada stance provides many counter-fighting options and
entries for disarms and locking techniques. It makes an excellent bridge from media to
corto range.

Second Definition - Position

With this definition we refer to the practitioners’ position in reference to his
opponent. This generally means that the practitioner is at the “outside” of his opponents’
centerline and is outside the direct line of attack which is usually outside the reach of the
opponents’ dominant arm and support hand. I usually describe the opponents’ weapon
hand as a door which you want to “close” over the rest of his body, particularly the
supporting hand which may hold a weapon. Closing this “door” and shutting out the
secondary weapon; by putting it in the way effectively jams the opponent.

Third Definition - Motion

I’ve encountered this definition in conversations with an older generation of
masters. According to them this is the true definition of serrada. It involves the act of
intercepting the attack of the opponent at the instant before he moves thereby jamming
his motions and keeping him off-balance. This is a blanketing action, (think of someone
actually throwing a blanket over his opponent), where the weapon and checking hand are
used alternately and in tandem to jam the opponents motions simultaneously and redirect
and neutralize his opponents position while seeking out vulnerable target areas.
 With these three principles in mind let us analyze how it becomes a sophisticated
concept and formidable technique in the arsenal of the Filipino Martial Arts.
Fighting “in” serrada may seem a bit strange as it puts the weapon on the left side
of the body since most weapon arts put the weapon out in front guarding the centerline or
over the right shoulder. This position specifically guards against the strong positions of
the opponents right arm because of the unique orientation of the combatants weapon
hands. Serrada allows the fighter to move behind his opponents’ line of attack by blind-
siding and moving the opponents attacking arm and constantly applying pressure in the
form of hits and checks to the wrist, elbow and forearm. It is important to recognize the
use of the “alive” hand in checking and redirecting the opponent’s motions. The alive
hand is necessary as it acts as antennae and senses the minute changes in the opponent’s
pressure, posture and position.
Serrada is most effective in short bursts of combinations upon contact with an
attack ending with a powerful finishing strike. These combinations when linked together
are called kadenilya or “small chain”. These combinations may vary in terms of finesse,
power and leverage.
Serrada may be expressed through different weapon combinations like, baston
serrada, baston y daga serrada, doble baston serrada, espada serrada and espada y daga
serrada end even mano-mano. Each expression has its unique attributes imparted by the
weapon in use.
Baston Serrada is the use of a stick
and the alive hand whose repertoire allows
for the crushing power of the stick combined
with the trapping, grabbing and disarming
abilities of the alive hand. This way of
fighting “works the stick” more and tries to
always anticipate and intercept the attack
with a strike. This is most effective when
fighting in the corto range as it is the most
compact form and allows plenty opportunity
to “butt” abd lock the opponent and has
much flexibility in transitioning between the ranges of fighting as well as the opportunity
to hold down the opponent for a finishing blow.
Baston y Daga Serrada places a dagger
in the alive hand augmenting in with cutting
and piercing qualities. With this combination,
the stick can be used to crush the opponents’
defenses and create the openings for the
dagger thrust and expose vital points of the
body to slashes.
Doble Baston Serrada is a very
sophisticated form of serrada because of the
combination of two long weapons of equal
length. Faced with the complexity of chambering the weapons adequately for adequate
force production and the ability to create enough space to shift it through the various
attack patterns without it snagging. What is amazing about this particular expression of
serrada is the ability to use the paired weapons at corto range. A fighter normally though,
doesn’t usually find himself in this position often, it’s usually a position a fighter will
find himself in after taking away his opponent’s weapon.
Espada Serrada would be similar to
Baston Serrada except for the substitution
of the stick with a one-handed sword,
changing the action from that of a blunt
force weapon to that of the edged weapon
which means cutting the opponent on
entry. The alive hand still retains its
function of trapping and checking but this
time with the intent of opening gaps in the
opponent’s defense slash or pierce with
the blade.
Espada y Daga Serrada is the use of
a one-handed short sword in one hand and a
dagger in the supporting hand. This
expression of serrada is a blend of finesse
and aggressiveness as both weapons are now
cutting weapons with the abilities to slash
and pierce. Espada y Daga Serrada is a more
proactive expression because the practitioner
can now cut extended or exposed targets
from a distance in addition to cuts and
slashes it can do in the short range.
Though the weapon combinations may be different, there are certain key
attributes that are at the core of the expressions.
• Control of the Distance: is of great importance because of the minimum distance
necessary to clear and chamber the weapons for adequate force production but at
the same time stay close enough to sense and control and neutralize the
opponents’ movements. This is a phenomenon similar to the ma ai and zanshin in
Japanese Budo.
• Control of Centerline: The centerline is an important factor in serrada because it
presents the direct line of attack of your opponent. Serrada bypasses the centerline
by going around and behind the opponent or moving the opponent and
manipulating him so that his centerline is displaced. The use of paired weapons
also affects the centerline especially when the weapons are meant for different
ranges of combat.
• Control of Weapon: The type of weapon used also contributes to the quality of
the technique. The weapons attributes directly affect the usable repertoire.
Smashing weapons like hard sticks require much control and strength. Swords
require much precision for accurate cuts at exposed targets. Using two long
weapons of identical length need control approaching that of true ambidexterity.
• Control of Opponent: There are many ways to control the opponent. Simplest
would be to control him by wading in with a barrage of strikes. However we
should never assume that we are fighting an unskilled and inept opponent but
 rather that we are facing someone of at least equal, if not superior level who can
counter your attacks. After all, the first strike is just as important as the last. With
that in mind, the method of control would greatly involve the use of the alive hand
or the partner weapon to redirect, jam and steal the opponent’s move.

With these qualities in mind, serrada seems to sound more and more complex and
cumbersome. As with serious martial artists who devote a considerable amount of time to
perfecting their skill, determination is the key. With correct and regular practice we get
nearer to the goal understanding and mastery.

Grandmaster Mike Vasquez

Modified Tapado / Modified Karate

A Tapado cane is about 45-47 inches in length.

The weight of the cane is about one half a kilo, heavier
compared to the usual rattan arnis stick, which is usually
about one-fourth kilo in weight. The length, of course, is
obviously longer about twice.
The Tapado cane, where the holding grips are
placed, is about one inch to one and one-eighth inches in
diameter, enough to have a firm and comfortable grip.
When Mike Vasquez commenced his training in
traditional Tapado, he found that his hands were always
aching. He found that by modifying the way the stick
was held he found that his hands no longer ached after
practice and he did not lose any speed or power.
Grandmaster Vasquez has always thought of Tapado as a complement to Arnis
and not a replacement. If it needs saying, nothing can replace Arnis. He, however,
believes that Tapado should be considered as the long stick art of Arnis.
At the onset, Grandmaster Vasquez considered Tapado as “the long stick style” of
Arnis. Some of the techniques that Tapado utilizes came from some styles of Arnis. Only
this time, Tapado suits various situations, i.e., fighting other weapons of shorter length
compared to itself, weapon of equal length to itself, or even those that are longer.
The basic concept of traditional Tapado has what one would call a ladder of levels
(techniques). A Modified Tapado adept would realize that an ordinary technique could
defeat all higher techniques.
 The principle aspect of training is the angle of the technique which is defense and
attack at the same time. Diverting the opponents attack through angle deprives the
opponent of his full power.
Both hands should grip the weapon, much as if a Samurai warrior holds his
sword. The attack and defense moves are the embodiment of simplicity. Facing the
opponent, with the Tapado cane on the side of your shoulder, strike downward, then
retrieve the weapon upward along the same path toward the shoulder. Needless to say,
both actions - downward-upward - should be performed with power and speed, with the
end in view of ripping through anything that stands in the path of the Tapado cane.
Experiencing Modified Tapado is the utmost in training. While training
discussion of techniques and past experiences is important to fully grasp the mental and
physical concepts and abilities of the individual. The basic rule is to finish the opponent
as quickly as possible. So when the opponent attacks the modified Tapado practitioner,
the practitioner must use the angle to turn the opponents strike and attack the opponent in
a single stroke.
To achieve its end of instant victory the weapon must be capable of maximum
power in every blow. There are feinting moves in Tapado, but there is no fainting strike.
Every strike when unleashed is powerfully sincere. If you escape the downward strike,
you have the ricocheting force to contend with.
Developing power is very important in Modified Tapado; it takes a combination
of mind set, which is a combination of self-confidence and practice. Executing techniques
with full power during training, this develops the feel of the correct techniques using full
power. Unfortunately in doing this a practitioner may go through many sticks.

Grandmaster Mike Vasquez in white shirt standing 3rd from left with Butch Cusi standing 4th
from left, and Tony Aguirre in red shirt standing at right with Masters and Grandmasters of Arnis.
Sitting 1st from left is Rey Ibañez, 5-time World Arnis/Kali Champion.
To learn more on Modified Tapado: Download the Special
Edition Vasquez Modified Tapado

EXE PDF

Also to further your knowledge and get a full grasp of Modified Tapado order:
Fundamentals of Tapado. Arnis Long Stick Art of Fighting
By Mike Vasquez
A standard reference and text book in teaching and learning
Modified Tapado, and the inclusion of Modified Tapado in the
training programs of other well-established Arnis/Kali
organizations in different parts of the world makes Modified
Tapado a discipline as well. Thus, when a student of martial arts
undertakes to learn Modified Tapado, he/she is assured of high
quality training in both theory and practice - putting substance
into form.

Modified Karate
Grandmaster Mike Vasquez has also come up with his own concept of Karate,
which he calls modified karate. It is not a competition with original karate, it his
philosophy in advancing the techniques to enhance the effectiveness in the execution of
the techniques.
In learning Modified Karate the practitioner will learn to do away with deep
stances, and also using the techniques more effectively in this modified way, instead of
the traditional way. Grandmaster Vasquez is introducing what he terms as “Defense-
Breaking Method” and the Stopping Hand Penetration Principle.”
The improvement is in developing power in penetration. The new aspect
compliments the Karate that is already practiced, bring additional power. It does not
change it, it adds to the aspect of the techniques.
 Modified Karate
A New Concept of Advanced Karate
By Mike Vasquez
Internal stylist have known absorbing energy for
sometime, but the principle of penetrating energy is either
unknown or has been lost in the distant past. .. Studying
these principles will accelerate mastery of the martial arts.
It will certainly influence positively the martial arts world
through its innovative techniques such as Cross Method of
Tournament Fighting (CMTF), Defense Breaking Method
(Penetrating Punch and Kick) and Stopping Hands
Penetration Principle (Highest technique in Modified
Karate). These techniques were tested and proven by
several local and international top martial artists.
Contact: Mr. Tony Aguirre (the only authorized contact person) through his cell phone
63 (920) 921-6390 or through his email address: [email protected] for
booking on seminars or inquiries on the book.

Vasquez Modified
Martial Arts International
Head Master Mike F. Vasquez
No. 42, 13th St.
2nd Floor SEACREST Building
Bacolod City, Philippines 6100
63 (34) 433-7232
63 (918) 772-9192
Email
www.modifiedmartialarts.com

Manong Ireneo “Eric” Olavides

Eskrima de Campo System
(A Teacher and Scholar of the Filipino martial arts - no more, no less)

Ireneo "Eric" Olavides, the current head of the

Eskrima de Campo system which he learned from his mentor,
Manong Jose D. Caballero. His students just call him
Manong Eric since he does not like titles.
Manong Eric was introduced to eskrima by his uncle,
Martiniano Lumacang, in 1957. He was 13 yrs old then. His
uncle was a farmer from barrio Buenavista near Oroquita
City, Misamis in Mindanao. During Manong Eric’s initiation
period, his uncle probed if he was virtuous enough to qualify
as a student. Manong Eric had to display humility, courage, endurance, patience,
perseverance and other virtues.
His training was usually at night, inside his house that was lighted by a kerosene
lamp. Manong Eric was his uncle only student. His uncle emphasized “natural”
movements. His uncle would simulate an attack and Manong Eric had to respond with a
"natural" reaction. If his counter did not appear natural to his uncle, then his uncle would
demonstrate how it should have been done. Their training can be described as a series of
offensive-defensive maneuvers. It consisted of blocks and strikes, counter blocks and
counterstrikes, and evasion techniques. They practiced slowly at first, and then gradually
built up speed until Manong Eric began to move instinctively. His uncle called this
method “depensa natural”.
Manong Eric was trained to treat each training session as a simulated combat. His
style, which was blade-oriented, was found in Bohol, Eastern Visayas. Manong Eric
trained with his uncle for three summers. Then his uncle passed away in 1960 due to an
illness. Although Manong Eric was too young to grasp the full meaning of the art, his
experience with his uncle opened a door for him to the world of eskrima.
Sometime in 1965, a friend introduced Manong Eric to Billy Baaclo. He went to
Billy Baaclo house and asked him to teach him. And he did. They trained inside his house
and nobody was allowed to watch. Billy Baaclo was an exacting teacher.
Billy Baaclo lived in the pier area in Ozamis City. He was a World War II veteran
whose USAFFE unit was attached to the US marine division in Bukidnon. During the
Japanese occupation, he was a member of the guerilla force under Colonel Fertig. After
the war, he worked in different trades; as a carpenter, police detective, clerk, bodyguard
and finally a defense tactics instructor at the College of Criminology, Misamis
University. He also gave private lessons in eskrima.
Billy Baaclo was a very humble man. He never talked about his exploits during
the war. Manong Eric only heard stories about him from the others. He was friendly and
kind, but when provoked, he would simply say, “Try me if you will.” He was a good role
model for the martial arts. He taught Manong Eric for more than two years in the blade
and stick art. He passed way about six years ago.
In 1968, a friend told Manong Eric that he should check out another eskrima
expert by the name of Jose Caballero. His friend urged him to learn the man’s style, De
Campo 1-2-3 Orihinal. Naturally, Manong Eric inquired around before he sought Jose
Caballero out. Manong Eric got two conflicting stories about the man. People who knew
him well in his younger years said he was an exceptionally skillful eskrimador who had
beaten a dozen well-known masters in juego todo matches. However, the feedback from
his former students was very negative. And former students would advise Manong Eric to
learn from other teachers.
Manong Eric was intrigued. How could Jose Caballero be so, renowned as a
fighter but none of his students were? There was only one way to find out. He went to
one of Manong Jose’s usual training locations in Ozamis, a residential place owned by
one of his students. Unfortunately he wasn’t able to chance Manong Jose that time so he
talked to the house owner of his intention to learn from the old man. He gave his name
and address and left the place with the hope that he will soon meet Manong Jose. After a
few days, Manong Jose unexpectedly paid him a visit in his store and asked if he is
indeed willing to learn from him. It was a story wherein the student SOUGHT the
teacher and the teacher FOUND the student.
Approximately seven months passed and Manong Jose told him that he was done.
Jose Caballero said that Manong Eric was already a De Campo eskrimador. Inwardly,
Manong Eric was bothered. He felt that he had not learned as much as he could have. In a
real fight, Manong Eric thought that his previous lessons from his other teachers would
have served him better than the techniques of De Campo. He concluded that Manong
Jose was holding back his best fighting techniques from his students.
Manong Eric became a regular visitor of Manong Jose on weekends. He brought
bread, tsokolate bars for sikwate and other food to share with Manong Jose and his
family. Their conversations inevitably steered towards the subject of eskrima. Manang
Amparo, Manong Jose’s wife, would proudly relate his exploits during these times.
Sometimes, he would conduct review lessons.
One day, Manong Jose
(Grandmaster Caballero, the
suddenly told Manong Eric that he undefeated Juego Todo
could teach him the “specialization duelist in his prime, was also
course” of De Campo for P300. This wary that anyone (even his
was what Manong Eric was waiting closest apprentice) who
for. The course lasted six months. In discovered his shrouded
the end, Manong Eric still felt that techniques could some day
Manong Jose kept important become a potential
techniques from him. When Manong challenger. There is no
Eric commented that his strikes sparring in Eskrima De
seemed different and fast, Manong Campo since Grandmaster
Caballero didn’t want to
Jose simply told him that with practice
play around exchanging
he would also be able to achieve his strikes. His curriculum as Olavides described was
skill level. Manong Eric kept his too drawn out and consisted of generic Eskrima
feelings to himself and never lost hope routines like the Abecedario, and the Espada y
that one day, he might learn the real Daga X-block and strike. During their drills,
secrets. Manong Eric decided to Manong Eric observed that the old man moved
continue his regular visits to Manong differently than what he has taught him.)
Jose’s home.
Early morning in 1974, Manong Jose came to Manong Eric’s place asking for
help. He needed some money to bail out his son who had been arrested by the police. The
amount was substantial but Manong Eric offered it gladly. The son was released and
eventually freed from the charges.
The next time Manong Eric visited Manong Jose, he asked him if he was really
serious about becoming an eskrimador. He said he considered Manong Eric like a son
and had decided to teach him his secrets, under one condition. Manong Eric had to be
willing to represent De Campo in any juego todo contest in the future. A shiver ran up
Manong Eric spine. It was a frightening condition. It never crossed his mind to participate
in any organized jeugo todo competition.
Manong Eric asked, “Manong, do you really think I can become a good juego
fighter like you?” Deep within Manong Eric, felt he was way out of his league. Manong
Jose said, “I will prepare you for that.”
 It was a great feeling to learn the closely-guarded techniques of Manong Jose and
become a fighter like him, yet at the same time daunting. Manong Eric just put back
negative thoughts about the future behind and plunged into the terrific training of a juego
todo fighter.
During training, Manong Jose’s personality transformed him like he was in
another dimension. Manong Eric was carried with Manong Jose into that place where his
training felt like he was in actual mortal combat. Every training session was an ordeal
lasting two or more hours. Each session took Manong Eric a little beyond his perceived
limits. There were lots of repetitions. Manong Jose’s training motto was: “You train to
live, not die. Suffer during training, not during a fight.” After three years of intensive
training, Manong Jose announced that Manong Eric was already fit and ready to fight.
One day, Manong Jose told Manong Eric that he had to prepare himself because
in two years, they were going to his hometown in Ibo, Toledo, Cebu. He would arrange
some of his eskrima comrades to test Manong Eric skills. He said that if Manong Eric
passed, he was confident that he could face any juego todo fighter anytime, anywhere.
The old dread returned to Manong Eric. He was in a dilemma. He only agreed to
Manong Jose conditions to fight for him because he wanted to learn Manong Jose’s secret
techniques. He never thought it would actually come to this. Yet, he could not go back on
his word. Manong Eric had to fight and he did the only thing he could think of. He prayed
for deliverance. It came to pass.
In 1979, Manong Eric heard that the well-known Doce Pares Master, Fernando
Candawan had moved to barrio Burgos, Aloran, Misamis Occidental, which was 30
kilometers from his place in Ozamis City. For some undefined reason, Manong Eric
wanted to learn Master Fernando Candawan style too.
Manong Eric sought the permission of Manong Jose. Immediately, he knew that
Manong Jose was displeased. Finally, he responded, “All right, give me a good reason
why and maybe I will let you.” Manong Eric had a ready answer at hand. He told him that
his De Campo would be better if he understood how other stylist fought. Manong Eric
gave a brief lecture that was straight out of Sun Tzu’s military classic about knowing
yourself.
Manong Eric trained with the multi-talented Candawan for over a year. Master
Fernando Candawan was awarded the "Eskrimador of the Year" award by the Doce Pares
headquarters in 1964. He was an amateur boxer and wrestler, and had black belts in
Karate and Judo. Training with him was also arduous and Manong Eric always was
drained at the end of each session.
Master Candawan noticed that the way Manong Eric moved revealed that he had
prior experience in eskrima. Master Candawan asked Manong Eric about his background
and he told Master Candawan about his uncle and Billy Baaclo, but Manong Eric never
revealed his association with Manong Jose. He was very careful not to show the
techniques of Manong Jose to anyone. Manong Eric learned to be courageous and
persevering because Master Candawan was very strong. While studying Doce Pares,
under Master Candawan Manong Eric spent endless hours developing long-range
techniques to counter the "bull-charging" close quarters fighting style of Candawan.
Manong Eric describes sparring with Candawan: "He was a brawler and focused with
only one thing once you cross sticks: that is to charge close quarters at the expense of
absorbing blows and immediately execute a disarm." One day, Master Candawan told
Manong Eric that he was already an eskrimador. Manong Eric took that as a compliment.
Ireneo "Eric" Olavides also holds a 1st Dan Blackbelt in Shorin-Ryu and for a
while also studied Kok Sut with a former college classmate and confidante Antonio R.
Ching. A consummate martial artist with an open mind, Manong Olavides has tirelessly
researched and studied other fighting disciplines and philosophies.
While the original written notes of Manong Jose are still being kept by his heirs,
Manong Olavides later modified and simplified the ornate moves and retained the basic
potent techniques; that until now are still being taught by Manuel L. Caballero in his
father's hometown in Barrio Ibo, Toledo City. Of all his sons it was Manuel who
inherited his father's natural fighting ability and grit.
Compared to the original lessons, the present day De Campo taught by Olavides is
the closest to the actual fighting style of his mentor. The reason behind this discrepancy is
not because Manong Jose was a bad teacher. It was due to his obsession with secrecy that
the techniques he taught were painstakingly veiled to hide the real deadly combinations.
Grandmaster Caballero taught Eskrima to supplement his meager income as a
coconut farmer. In order to sustain the enrollment, he programmed an extensive course
that started at the elementary level, high school, college, instructor and master levels.
Olavides zealously observed the subtleties of the old man's striking combinations when
they trained. He eventually discovered that Manong Jose moved differently in fighting in
contrast to what he did in exhibitions.
One time Grandmaster Caballero and Manong Olavides took a break from one of
the bruising sessions with a treat of hot crispy bread and sikwate (native chocolate) that
Manong Olavides never failed to bring along to please the old man. It was during one of
these breaks that Manong Jose revealed in all candor that some of the silly stuff he taught
was meant to camouflage the deadly moves he deployed during his Juego Todo heyday in
the province of Cebu. What Manong Jose failed to document in his lesson plan, Manong
Olavides took note and compiled. Manong Olavides later organized the salient moves of
Grandmaster Caballero into groupings or sets of striking combinations. The present day
De Campo has gone back to, its hidden roots that is simple, fast, intense and violent.
Although Manong Olavides has modified
and improved a large bulk of the striking
mechanics of Grandmaster Caballero's method,
Manong Olavides, in all humility, despite clamor
from followers, refused to adopt another name
and brand it as his own invention. With all due
respects to the spirit Grandmaster Caballero,
Fernando Candawan and Doce Pares, he is against
putting any label to his style of eskrima.
Eventually, Manong Olavides agreed to change
the name of De Campo on one condition: it will
only be named after the inventor.
Thus as his ultimate tribute to Grandmaster Caballero, the method is now
renamed simply as De Campo JDC-IO. With great hesitation he finally relented to have
his initials attached to the acronym JDC-IO which means Jose D. Caballero and Ireneo
Olavides.
 For him, "style" is a unique individual character, and it can never be
institutionalized or standardized. The vicious cycle has to end somewhere and giving due
recognition, perpetuating and developing the original methods of the old grandmasters is
the greatest achievement of a mature martial artist and gentleman. Until now he maintains
that he is not worthy of the title Grandmaster. It is bestowed only to a few icons of the
Filipino martial arts like his mentor Jose D. Caballero, Antonio Ilustrisimo, Floro
Villabrille, Venancio "Anciong" Bacon, Ciriaco "Cacoy" Canete, Leo Giron, Felicisimo
Dizon, Angel Cabales, Leo Gaje, Johnny Chiuten, Timoteo Maranga and Filemon
Caburnay and the other great champions and innovators of our ancestors’ warrior arts..
He is just a teacher and scholar of the Filipino martial arts, no more no less.
Manong Eric as people close to him fondly call him is the antithesis of the
eskrimador stereotype. Until this day he remains opposed to being called a Grandmaster.
A very amiable, humble and a God-fearing person, Manong Eric has remained
reclusive for the past years and shared his art to only a handful of close acquaintances,
among them was the late Edgar G. Sulite. His long hibernation from the martial arts
scene was not a matter of choice but rather due to other personal commitments,
occupational constraints and the environment that was not conducive to propagating De
Campo 1-2-3 Orihinal. He has already retired from teaching Law Enforcement Subjects
and Defensive Tactics at the College of Criminology of Misamis University yet he still
continues to teach others to appreciate non-violence by understanding the consequences
of violence. He is a volunteer worker in the Catholic Church ministry of evangelization.

Professor Ireneo “Eric” Olavides

Contact: [email protected]

www.eskrimadecampo.com
 Rizal the Budoka?
By Ned Racaza Nepangue

This short article is written to offer an alternative perspective on Rizal’s alleged Japanese
martial art background.

Dr. José Protacio Mercado Rizal y Alonzo Realonda or José Rizal (1861-
1896) for short; is the Philippine National Hero. Almost everybody, ages above 8 years
old in the Islands, knows him. He is almost ubiquitous - he is in the matchboxes and in
many a public place in the Philippines. Abroad, in Japan, there’s a Rizal Marker, at the
Hibiya Park, Tokyo and a Rizal Mini Park in Itoh City, Shizuoka Prefecture. He is even
believed to be a sort of a divine incarnation by some local mystical cults.
He was exceptionally multi-talented man, a polymath,
a polyglot. He was well traveled. And compared to his
Filipino contemporaries (like Bonifacio, Mabini et al) he was
rich (that is why we can hardly read about him applying for a
job and working from 8 to 5, here and abroad).
It is said that Rizal was also into athletics, and some
also claim, he was into martial arts. Some even exaggerate,
claiming that Rizal was an expert in judo. This means he was
not purely cerebral after all.
It is not clear though if he was into judo (柔道) or
jujutsu (柔術), this is because for many people who are not
José Protacio Rizal
familiar with the Japanese martial arts – these two systems are
basically one and the same.
It is quite possible though, that Rizal did learn easily the basics of judo or
jujutsu, since he had natural talents. His physical body was still young; he was then 28
years old when he traveled to Japan. With a mind like a sponge, he had no problem
memorizing the techniques either.
This, four feet and eleven inches tall gentleman had the physical flexibility, in
fact, he was also into gymnastics. He had control of his fine muscles to perform intricate
moves. He was also good in pistol shooting, so very likely had also a well-developed
focus. Of course he was well-coordinated and fast because of his Western fencing and
arnis (?) background. He could easily understand the Principle of Flexibility because he
knew physics and as a medical person he was familiar with the human anatomy and
physiology. He had also a superior intelligence to translate abstract ideas to the more
physical.
He had no problem about the Buddhist or Shinto underpinning in most Japanese
martial arts because of his exposure in comparative philosophy and religion. And the fact
that he was into Freemasonry – he was more open-minded than his many Catholic
contemporaries.
With his limited Nihongo (日本語), he was capable of saying “Hai!” And with a
beautiful Japanese girlfriend, he had enough inspiration to learn the language. No macho
man ever wants to look and act awkward in front of his girl; that we have to understand.
If he had earlier mastered the mannerism of bowing to every sentient being he
met in the street, kept his body straight (but not necessarily stiff) and maybe assumed a
little bit bowlegged gait – he could be mistaken for a full-bloodied Nihonjin (日本人). He
could easily look like the locals, thanks to his Chinese ancestry. Rizal's paternal great-
great-grandfather (高祖父) christened Domingo Lam-co (b. 1662), was a pure Chinese
belonging to the Chua (蔡) clan of the Fujian province in Mainland China. His paternal
side of the family tree is dotted with many people described as either “Chinese” or
“mestizo Chinese.” (Following a patrilineal lineage, he could have been officially known
as José Protacio Chua y Alonzo Realonda.) His maternal great-grandmother (曾外婆),
Regina Ochoa, was described as a “Spanish-Chinese mestiza”.
Last but not the least; he was a brave and confident man. He dared challenge the
Spaniard named Wenceslao E. Retana (who years later became an admirer and Rizal’s
first European biographer) to a duel, when the latter had slighted Rizal by a careless
reference to his parents. When Rizal was exiled in Dapitan (now in the Province of
Zamboanga del Norte), he also challenged a Frenchman named Jean Lardet to a duel.
Fortunately, these two foreigners narrowly escaped a possible death by issuing prompt
apology to this little and seemingly insignificant indio. Rizal also demonstrated a Zen
monk-like very calm state of mind in the face of death. It is said that few moments before
his execution by a firing squad, the Spanish Surgeon-General requested to take his pulse -
it was normal (meaning it was within the range of 60 to 100 beats per minute). Rizal’s
last words were Jesus the Christ’s’ original, “consummatum est.”
Adding and mixing all these ingredients, he had all the reasons to easily learn
anything Japanese, including the martial arts.
Now, learning an art is something and mastering it, is another. It is a fact that
historians are no sport psychologists - many of them just write history pieces after busy
reading their reference materials from the libraries. Say, writing about the science of judo
for example, they don’t know the effort in it, unless they are into it.
The ship S/S Oceanic arrived in the seaport of Yokohama, Japan, on Tuesday,
28th of February 1888. Rizal presented his Spanish passport of the Islas Filipinas, to the
Immigration, and then checked-in at the Grand Hotel. He transferred location to Tokyo
on the 4th of March and stayed there until he bid sayonara on the 13th of April 1888. In
simple words - Rizal was in Japan for only forty-five days, so short a time for anyone to
become Japanized.
When he arrived in Japan, he did not go and look for a judo or jujutsu school
right away. Why? Well, because he was there in town, primarily not to study and research
martial arts like a modern hoplologist – he was on his way to Europe via the continental
United States. Rizal, planned to stay in Japan only for a few days, but for a reason or
another he stayed there longer. Besides when he first arrived he could not speak any
“anime lingo.” In his letter to his Austrian ethnologist friend, Ferdinand Blumentritt
(1853-1913) he wrote, “The ill-mannered children laugh at me because I speak in such a
strange language.” It was only when he met and started dating a 23-year old Japanese
girlfriend named O Sei Keio (Usui Keio?) that he started learning enough Japanese
working vocabulary. Rizal may have mastered European languages already, but we need
to take note that the Nihongo (belonging to the Altaic branch of language) is something
new to him - just to consider its word order, the use of postpositions, and very unfamiliar
kana (仮名) and kanji (漢字) scripts. Now, with those limitations, how could he approach
and enroll in a dojo (道場)?
 To master the science and art of judo and its older cognate jujutsu needs hours
and hours of disciplined practice. Let us pause for a moment and think about this . . .
The observant and inquisitive Pepe must have kept notes on this matter. In the
three letters he sent while he was in Japan he never mentioned any ryūha (流派). The
practice sessions must be very exciting, and likely he would have mentioned in his
correspondences any nose-bled, bruises and joint dislocation or something to that effect.
There was none. So where did these writers get their ideas? Let us be careful not to be
carried away by their “nationalism” and as much as possible be straightforward about the
Philippine history.
Too little time for Rizal - he had to see many subjects of interest, like the tea
ceremony or chadō (生花), kabuki (歌舞伎), sashimi (刺身), ikebana (生花), geisha
(芸者), origami (折り紙) etc. And yes, he had to entertain his girlfriend, the old fashion
way (and by the way, most old fashioned ways are time consuming). He had almost no
time to practice in the dojo. Again let us think about this.
How the Japanese treat the gaijin (外人) in those times, is another point to
consider. Were the dojos, especially the traditional koryū (古流) in those years, readily
open and friendly to foreigners? Were they conducting seminar intensives, so that any
expatriate could at least learn the basic maneuvers in a short time, say, forty-five days?
Were the martial schools at that time open-minded and accept students easily or were
they asked to fetch water and look for firewood? Could he read martial arts written in the
Japanese scripts or were Bruce Tegner’s books available in the bookstores?

The Kōdōkan Judo (講道館 柔道) was officially founded in 1886; and in the year
Rizal was there, the Kōdōkan Institute was located in Kōjimachi (in a house owned by a
certain Shinagawa). Did he meet the Kōdōkan Judo founder, Kanō Jigorō (嘉納 治五郎),
in Tokyo and witnessed students practiced their kata (型) and randori (乱取り)?
The meeting of these two great men must have been
very exciting, to say the least. Kanō, as we all know, was also
a great personality in the Japanese educational system. He was
about a year older than Rizal.
Judo was just one of the many bugei (武芸) and budo
(武道) systems available in Tokyo during Rizal’s visit. There
was Tanabe Mataemon of the Fusen-Ryu Jujutsu (不遷流
柔術) teaching ne-waza (寝技). (Tanabe’s students defeated
many of Kanō’s students and many of his style’s techniques
were adapted later to judo.) Yazo Eguchi was also around with
his Kyushin Ryu (扱心流).
Kanō Jigorō at age
How much was the martial art tuition fee then? Was it twenty-one (1881)
affordable for Rizal? Rizal was carefully saving his money; in
fact while in Tokyo he checked-out from the Hotel Tokyo (now Hibiya Park Center) and
in stead stayed at the Spanish prelature there. He still had to cross the Pacific, the
continental United States and then the Atlantic Ocean to reach his final destination,
Europe. He may have had ample supply of money to support him from his faraway home,
but there was no Western Union yet during the time.
 In his “appraisal” of Japan he never mentioned a trick on how to throw an
assailant; not even a short essay about the Oriental martial arts. This is very important
since a very developed mind like Rizal’s, could have greatly contribute big things in the
martial arts. Just imagine Rizal writing classic treatises like Miyamoto Musashi’s “Book
of Five Rings,” Sun Tzu’s “Art of War,” Kautilya’s “Arthashastra,” and Niccolò
Macchiavelli’s “The Prince,” or perhaps a short one about kali (for God’s sake).
We know how good Rizal’s skill in illustrating or making caricatures. He could
have described techniques in details in a comic format that anybody (even the illiterates)
could easily comprehend.
Rizal’s brilliant mind, his creativity, his artistry, plus his patriotism may have
spawned a Filipinized variety of judo or jujutsu, just like what they did for the Russian
sambo (cамбо). He could be so inspired of what he witnessed in Japan, that when he
went home could have started to research and develop our local martial art of eskrima or
arnis. His ideas could help the Katipuneros in their bloody campaign against the
Spaniards and later, the Americans. Let us just imagine then, an embarrassing scenario of
a malnourished Katipunero executing an uki otoshi (浮落) to a six-footer Guardia Civil.
History tells us, this did not happen. Well, this is a good fictional plot for a movie.
We can be tempted to speculate that Rizal plausibly wrote a literature on martial
arts but unfortunately was embargoed by the Spaniards (since learning the skill on how to
throw or to fracture bones was something the colonial masters didn’t like the indios to
learn).
So, was Rizal a martial artist? Was a forty-five day-visit to Japan, enough? We
can use our common sense, yet we will never know exactly.

The Subconscious and Super-Conscious Mind

and the Flow in the Philippine Martial Arts
By Guro Brian Collins and Guro Ken DeJesus'
Philippine Martial Art Society

In the Philippine Martial Arts, we all train to achieve a sense of instant reaction, a
state that the Masters of the arts call "The Flow". The Flow is a unification of technique,
coordination and spontaneous movement. But, there is a much deeper element to the
Flow than what meets the eye.
The Flow is an individual intuitive response to external self defense situations.
The actual "techniques" when defending oneself within the moment exists in a placeless
area in the super-conscious mind, where physical reaction is based solely upon the instant
manifestation of what movement is required at the time in the moment without thought.
This area is not based in technique, though it does access the stored memory of martial
techniques practiced over time located in the subconscious mind.
If this seems "out there", take a moment to recognize how often this reaction
exchange occurs during the day. How many times do we reach for a doorknob to open a
door? How is it that our body knows exactly how to grasp the handle and turn
the doorknob? Do we exert tremendous crushing strength to squeeze the doorknob or do
we simply act without thinking?
This touches into the area where the subconscious mind processes the stored
information (memory) how to open a door and simply reacts to the duty at hand and
the the super-conscious mind analyzes the stored memory patterns and then performs
what actions are exactly needed: I hold the doorknob this way, I open the door. No other
actions are required (projected outcome, past experiences, etc).
Sinawali and Abanico, Pails Palis, etc... all techniques. What drives the
techniques that we choose to personally utilize? What drives the instruction we give (and
have been given)? Is there a "new" technique to be taught or is the true element of
creativity dormant within the mind of a student once a solid foundation has been
instructed? What is the secret to unlocking this dormant technique? Thought itself.
What limits us as martial artists? Emotions and thought united as one. The
admiration of a teachers’ skill is indeed a sign of respect, but the feeling that we have
towards ourselves is totally different. Perception is an energy in itself and to access this
energy can literally stop you in your tracks, as it will attract any and all related energies
that accompany it (the like attracts). Have you ever placed yourself below someone else
with this phrase "Oh wow they are great, I could never do that?” What makes a person
freeze in relation to training when an instructor performs a technique? “The thought that
one cannot ever be as good as the person they are indeed viewing”. If one accepts this
energy as factual, then it is indeed so.
We as Martial Artists embrace the constant physical training that educates and re
educates our muscles through muscle memory which allows us the recall the varied
patterns of the Philippine Martial Arts, be it DeCadena, Rompida, etc. The repetitive
motions and drills are stored within the subconscious or memory, just as the turning of
a doorknob has been. But in a self defensive situation, one cannot try to access a
technique and embrace The Flow at the same time, it is impossible. To be in the moment,
is to be in the moment... nothing less. What if I slip or fall when defending myself with
my "super secret Sinawali technique" that I practiced endlessly and would surely crush
any evil doer? I then find myself scrambling for something else to figure out now as I lay
on the ground. I would rather not be aware of anything at anytime, by letting go of what I
know and embracing what I don't, thus allowing the technique to manifest on its own,
without my mental perceptions of what will work getting in the way, I then can access the
super-conscious mind and thus allow me to be aware of everything by acknowledging
that dormant element within the mind, hence, tapping into The Flow.
Sure, we practice various movements; do not get me wrong, I love the physical
challenges of the Philippine Martial Arts. But the beauty and secret of the Flow is when
we lose all technique practiced and find ourselves. It is the embracing of the unknown,
the clean slate that can be written on in an instant and filled with what is needed with no
down time of "knowing" what to do, simply doing. In the instance above, regarding
slipping and falling when doing a technique, maybe as I fall, I see another possible angle
of attack, or aim for the top of the foot as I fall...who knows? I would rather not know
and simply allow thus, using The Flow as my outcome. Maybe the encounter is supposed
to have me fall so that the falling technique will work better than a standing one? Who
knows, not me.

Carl Jung speaks of the subconscious mind as almost a broken record and has
said: "Instincts...are highly conservative and of extreme antiquity as regards both their
dynamism and their form. Their forms, when represented to the mind, appears as an
image which expresses the nature of the instinctive impulse visually and concretely, like a
picture ...Carl Jung, The Undiscovered Self.

This statement can be described in relation to the stagnation of ones ego

manifesting a reality by knowing that certain moves ( instinct) they have practiced for
years will "work" all the time. It can't....why? Because time is a constant and the one
constant is that time in itself is ever changing, so therefore you cannot rely on a situation
to manifest the same outcome on a continued basis. The Flow is much like the Earth,
constantly in motion. No two self defensive situations are ever the same "picture" and
therefore cannot have the same outcomes. To be stuck in the concept of "I know" is to be
stuck in concrete as mentioned above.
When I began my training under
Guro Ken DeJesus Philippine Martial
Art Society in 1992, I remember asking
him when he performed a series of
Philippine Martial Art patterns in a
self defensive situation "Can you show
me that again". He joked and said "Sure,
if I remember what I did". At the time, I
could not understand what he was
talking about, but now so many years
later, I do understand, he spoke solely of
the Flow. After 30 years of training, he
let go of the ideas of technique and thus could experience the full understanding of being
in the moment. I tried over and over again, for many years to emulate him as he laughed
at me and watched me grow, desperately trying to capture the Flow. He always smiled at
me as I tried to grasp the concept by squeezing tighter and tighter with my mind and he
would simply say to me " relax, just relax, it's all in there you just have to see it".
Over the years, I had the pleasure and fortune to spend time in private and in
many seminars with the Late Grandmaster Remy A. Presas (a great friend of Guro Ken
DeJesus) and I remember asking him one night in Massachusetts, "Remy, how do you
react so fast?" He said to me "Brian, I move this way because in the Philippines, you
didn't have time to think when you were attacked, you moved to survive". Those words
made me see more than I could ever have, by seeking out any Master chanting in a lotus
position on any mountaintop. He gave me the very essence of the flow in that
conversation, the same exact thing that Guro Ken DeJesus told me... "Don’t think about
technique, just relax".
The subconscious mind stores all of our techniques, all the endless, countless
hours of physical drills and patterns are stored in our memory banks waiting to be
accessed by the mind. Studies show that Sensory memory takes approximately 200 -
500 milliseconds to become active after an item (or in this instance self defense situation)
is perceived. Then it is processed (which technique do I use?) and then acted upon
(responsive body movement). This defines what can be loosely described as Cognitive
thought processes in action. This has 3 stages of activity that as Philippine Martial Artists
we access when we train. 1-Sensory Memory, 2-Short Term Memory, 3-Long Term
Memory. All play a role in what I will refer to as a "non flow" element to training.
This is the physical standard that we are all familiar “He will do DeCadena, I will
then do Sinawali, and then if he punches, I will counter with Abanico". This all works on
one level, a purely physical mathematical level, but to only embrace this part of training
is to set oneself up for the eventuality of a mathematical relationship where statistical
equations come into play and a self defensive outcome (based upon only using the
physical elements of the subconscious mind stored memory) and eventually (based upon
statistics) you will "lose".
As a training tool, why not let go during training? Don’t allow the chemical
responses of the brain and subconscious rule over the possibility of accessing the void by
having neurons fire and designate your actions through past memory of how you have
defended yourself. See what you learn through the process of looking for the placeless
place within the human mind and see what can be written in the moment. Play with the
concept, have fun.

Two quotes express this so wisely below:

Don't be too timid and squeamish about your actions. All life is an experiment.
The more experiments you make the better.
Ralph Waldo Emerson (1803 - 1882)

Strong reasons make strong actions.

William Shakespeare (1564 - 1616)

The actions that Shakespeare speaks of have the roots in the thoughts (reasons) of
how and why. So as it is said, it is done. Be out of the reason (the thought) and you can
access the Flow.
I hope that this article opens up new doors and avenues of training; I wish all
much success in the journey.

Guro Brian Collins is a practitioner of Philippine Martial Artist and member of

Guro Ken DeJesus Philippine Martial Art Society
P.O. Box 210642
Royal Palm Beach, FL 33421
(561) 697-9162
www.modernarnis.cc
 Meeting the Masters in the Philippines
Mixed Martial Arts vs. Traditional Martial Arts
By Antonio Graceffo

Preparing for the annual Philippine Martial Arts Festival, the Masters of Filipino
traditional martial arts were summoned to a meeting in Manila. The list of martial arts
covered included Arnis, Kali, Escrima, and Kuntaw and the many variations of Filipino
stick and knife fighting arts.
The traditional Masters did
not include MMA nor did they invite
Sir Henry Kobayashi of Yaw Yan
Hybrid. I included Sir Henry in the
video because it was important to me
to get ALL the masters.
Sir Henry’s Yaw Yan Hybrid
team is made up mostly of young
guys who are fighting, training,
constantly improving and refining
their art. They are also the only
martial artists I have trained with in Antonio Graceffo and Sir Henry Kobayashi
the Philippines who were in shape.
Apart from my Kuntaw Master Frank Aycocho, the Yaw Yan Hybrid; were the only ones
who were well-versed in other martial arts. They had intimate knowledge of the martial
arts of Korea and Thailand and could talk intelligently about them.
Arnis and traditional Filipino martial arts are extremely popular in the west, and
especially in the United States. But, Yaw Yan Hybrid is the only martial arts team from
the Philippines that is competing internationally in other people’s leagues such as UFC
and K-1. Arnis only competes in Arnis leagues. Arguably Yaw Yan Hybrid is a better
advertisement for the Philippines because Arnis demonstrates in front of crowds who are
already involved in Filipino martial arts whereas Yaw Yan demonstrates in front of
people who have never even heard of the Philippines.
The argument given why they were not included was that Yaw Yan was mostly
based on Muay Thai and the grappling was taken, almost 100% from foreign martial arts.
These points are both true and well taken.
Yaw Yan was originally a Filipino kickboxing
art developed by Napoleon Fernandez. Later, Sir
Henry Kobayashi added ground fighting to the kick
boxing and developed a Filipino MMA style, called
Yaw Yan Hybrid. His next evolution of innovation
was to return to his beginnings, return to traditional
Filipino stick fighting arts. He combined stick fighting
with striking, kicking and punching. He called this
new art Yaw Yan Extreme.
At his gym in Cubao, Sir Henry gave me a
demonstration of his art. He utilized one stick, and left Grandmaster
his other hand free to grapple and strike. I attacked, Napoleon A. Fernandez
coming with a head strike. Sir Henry blocked my stick and counter with a series of kicks
to my legs and rapid strikes to my head. I attacked again, this time, diving and coming in
low, hoping to take him down. Sir Henry backpedaled, striking me repeatedly in the head.
When I was more or less dead already, he moved in and used his stick to get a
submission.
In all forms of Filipino stick fighting, there are two basic ways of blocking. One is
a force-to-force block, where you meet his strike with your own strike, stopping his stick
in mid air. This type of block sometimes feels like running into a brick wall at 90 miles
per hour. The other form of blocking is where you slide your stick along the attacker’s
stick, dissipating the energy. It is a gentler form of combat and the one Sir Henry teaches
to his students. He blocks with his stick then does a rapid counter attack, launching large
numbers of kicks, punches and stick strikes.
The cleverest of his techniques was when I moved in and grabbed his stick. He
immediately let go of it and hit me in the jaw with his elbow. While I was still reeling
from that strike, he snatched my stick out of my hand and killed me with it.
After my meeting with Sir Henry, Master Frank
Aycocho picked me up and we drove to a McDonalds in
Trinoma, where I would be meeting with Professor Armando C.
Soteco.
“Our martial art is part culture and part self defense.”
Professor Soteco began explaining the importance of Filipino
martial arts. “A Basic form of Filipino stick fighting is found in
our dance. It is also a classic sports art. Today; Filipino martial
arts is an event in the SEA Games. There is also a bill before
the government to make Filipino martial arts the official martial
art for schools.” I thought this would be a good law to pass.
Filipino martial arts are a much better sport than cock fighting
especially for public relations around the world.
“We used our martial art to defend our country. In the
Master Frank Aycocho past, sticks and bolos were our traditional weapons. Our martial
arts were influenced partially by the Spanish. They were
excellent swordsmen and we learned from their fencing. It was forbidden for Filipinos to
possess swords, so we fought with sticks.”
I asked what the Professor though of mixed martial art, but I wasn’t sure from his
answer that he understood what I meant. “I like it. We are doing that. Our Arnis is not all
original Filipino techniques. Many of the techniques come from other martial arts. For
example, the disarming and throwing come from Karate and Judo.”
I rephrased the question. “What about URCC?” I was referring to the Filipino
version of UFC. “Well, I think it’s good for those who practice it, but it’s not art. It is just
savagery, used to defeat your opponent any way you can.”
Now, I was certain he understood my question. My base martial art is kick
boxing. So, I am partial to any type of combat sport, especially MMA. But, I also
understand why these older masters opposed this new type of fighting. During the course
of the day, I asked a number of Masters about MMA. Some of them referred to it as chop
suey, because it was a mix of many things. Others felt it wasn’t art. They complained
about the violence and the damage done to the opponents. “This is not a sport.” They
said.
One issue I have with MMA is that it is so dominant that all other arts will die
out. I have trained with MMA in Philippines and seen it in USA and Thailand, and there
is no difference. The world MMA style is becoming homogeneous. Everyone takes what
works best, from various styles, and adds it into their own MMA arsenal. Before, there
was limited exchange between martial arts, as there was a limited flow of information.
But today, you can watch UFC in Cambodia just as easily as you can in China. We are all
being exposed to the same TV, the same MMA style, and all adapting from it. The
exchange doesn’t flow as much from Southeast Asia to the West as it does from the West
to Southeast Asia. So, for the time being Southeast Asian arts, such as Yaw Yan, have a
bit of a unique identity. But still, the difference between Chinese San Da, Yaw Yan stand
up, and Muay Thai is probably less than 25%. With time, this gap will narrow to 10% or
less.
Often, I believe the dislike that these old masters have for MMA is that they fear
it will drive traditional martial arts to extinction. When I am performing with one of my
Masters I sometimes hesitate before reacting to a strike or kick. I have an instinctive
counter or take down which is effective, and which instantly comes to mind, but then I
have to second guess myself, is this technique actually Kuntaw? Is it Bokator? Is it ok to
do this technique, with this art, with this master? In a real fight, you wouldn’t even have
to ask this question, but in a traditional martial arts environment it becomes important.
So, the question is, if you find a better, more effective technique in another
martial art, should you reject it just because it doesn’t belong to your brand of traditional
martial art? If a Muay Thai; kick works, better than Tae Kwan Do kick, should the Tae
Kwan Do practitioner abandon, his own kick and adopt the Thai kick? When we are
grappling in traditional martial arts this question becomes extremely apparent. One of the
most common weaknesses of traditional martial arts grappling is that the typical rhythm
for self-defense grappling is that someone attacks you; you block, trap, and throw, or
block, trap, and lock. Usually, the series ends with a kick or finishing technique. Then
you stand up, and you prepare for the next series.
This model is completely unrealistic, whether we are training for the street or for
MMA. You may very well be able to block, trap, and throw, but then the opponent is
going to keep fighting. He is going to try and roll out or get a reversal or take you down.
But TMA is not prepared for the “live” opponent, only for the imaginary one who, seeing
that he has been thrown nobly concedes the fight. In Korea and elsewhere, I have asked
the teacher to just let me lay down, already having been thrown and locked, and see if I
can fight out of the hold. Obviously an MMA stylist would be able to.
So, where does that leave traditional martial arts? Do we throw traditional martial
arts out the window simply because it can’t fight as well as MMA? Is fighting the
measure of a martial art? All of the masters I met that day in Manila stressed that martial
art is not about fighting. And while I believe them on one hand, on the other hand, they
are kicking, punching, and waving knives and sticks at people. I wouldn’t know how to
define that other than as fighting. So, if traditional martial arts, is about fighting, then it is
not as good as MMA. The Masters said that they didn’t like MMA because it had no art,
no soul, and no philosophy. But, we are training in a Catholic country. In Buddhist
countries the martial art is part of the religion. In Mahayana countries (Chinese
Buddhism) martial art is one of many paths to enlightenment. In Theravada (Thai and
Cambodian Buddhism) countries, the martial art is a kind of purity for the soul. You can
only win if you are pure. And if you are truly pure, spirit teachers will come to train you.
Many of the monks and former monks I learned from; claimed that when they meditated
or slept, ancient masters, dead for hundreds of years, would come and teach them.
In a Buddhist country I can clearly see the connection between religion and
martial art. And I can see that that connection is missing in MMA. Often in the
Philippines when I found myself in the company of men, either in training or when we
were working on the rescue crew, one of the first things they asked me was whether I
drank beer and if liked to have sex with prostitutes and sing karaoke. In Thailand if this
happens, I can just explain that I follow Sangha, a religious form of martial art. They
understand this means that I try, to the best of my human ability, to observe as many
monastic prohibitions as I feel can and still lead a normal life. Smoking, frequent and
copious drinking, karaoke, and prostitutes are at the top of the list of things we want to
avoid.
In the Philippines, obviously no one understands Sangha. And, I couldn’t claim to
be a Catholic priest, so where did that leave us on the scale of spirituality?
Another point that the traditional martial arts Masters stressed was that martial art
was about physical fitness. MMA fighters are some of the most, well-conditioned athletes
on the planet, needing both cardio and muscular strength. Of the traditional martial arts
Masters I interviewed and photographed that day, several were overweight and not
physically fit as a MMA fighter. Watching some of these, guys get up and prance around
with knives didn’t exactly motivate me to choose in favor of traditional martial arts.
I know that the weapon arts are the basis for Filipino martial arts, but on the flip
side, I couldn’t help thinking these guys chose weapon arts because they wanted to avoid
the physical training that would be necessary to turn their bodies into weapons. It’s a lot
easier to defend yourself with a stick or knife than without one.
The question has been rolling around in my mind for years. Do we scrap all of the
styles, and have the whole world move to a unified MMA format? Do we limit
participation in martial art to young, fit people? Or, do we preserve the cultural identity
of the many countries of Asia? And, finally, do we reject adding a newer, better
technique simply because it comes from a foreign martial art?
Professor Soteco told me that he had invented a new weapon and a system to go
with it. Today would be the first time he would be showing it to the other masters.
“Inventing new weapons is a favorite past-time.” He laughed. “So, our forms of self-
defense use many different types of weapons.”
The new weapon was a metal cylinder,
approximately eight inches in length. Half way down the
cylinder was a ring. The cylinder is held in the fist, with
about an inch and a half of metal sticking out at each end.
The ring in the middle attached to the finger. The
Professor demonstrated how the cylinder could be used to
block, strike, or stab. The weapon was an innovation, but
the techniques reiterated the brilliant simplicity of
Filipino martial arts. All Filipino styles, with or without
weapons, use the same techniques. This cylinder could be replaced with an Arnis stick, a
blade, or a fist and nothing about the movements would change. The Professor went on to
demonstrate how the same movements could be done with a pen.
Master Aycocho said, “a person can’t take a stick with you everywhere you go.
This is something for the police or for riot control.” He showed how he had made a
weapon out of a lady’s folding fan. In his trained hands, this delicate fan could be deadly.
“This is legal, and no one will know that you have a weapon,” explained Master
Aycocho. “We got the idea from the Beautiful Boxer of Thailand (Nong Toom).”
Master Aycocho went on to say that we will not always have a weapon with us.
“So, we also practice return to sender, where we gain control of the opponent’s weapon
and drive it into his body.” Master Aycocho prefers unarmed combat. He said, “martial
arts with weapons, is like promoting violence.”
After the McDonalds demonstration was over we
headed to the home of Atty. Salvador P. Demaisip, another
Master of Filipino stick forms. When I asked the MMA
question, he stressed the savagery and the violence of the
art, saying that it shouldn’t even be shown on TV because it
was a bad influence on children. I definitely can’t disagree
with him. MMA is violent and savage. And I also agree
about children. My young nephews always want to watch
MMA with me, but I tell them they have to wait till they are Atty. Salvador P. Demaisip
older.
Atty. Demaisip said, “Our Filipino martial art is part of our national culture and
identity. Now, it is a requirement for PE majors. They can’t even graduate without
studying our martial art.” “There are over 7000 islands in the Philippines, covering
thousands of miles, and yet there is a commonality running through the martial art of all
of these places. It is one of the defining elements of Filipino culture,” said Atty.
Demaisip. He explained to me that in the old days, the word, Escrimador, a Spanish
word, which literally means “fighter” was used to describe the practitioners of Filipino
martial arts.
According to a brief history of the art, written by Atty. Demaisip, Escrimadors
took a low center of gravity and reinforced their stick with their hand. In Arnis, we learn
many techniques where we either place our empty hand against the shaft of our stick to
reinforce it, or we lay the stick against our shoulder, using our entire body weight and
strength to shore up our stick defense.
The art started centuries ago in the Philippines, but over the years was expanded
into a system, borrowing from many foreign sources. “We learned fencing from the
Spaniards who were excellent swordsmen.” From fencing, we find the refined, non-force-
to-force blocking techniques, where the defenders’ stick slides along the stick of the
attacker, taking the sting out of it. Eventually, the art became systematized and dubbed
Modern Arnis, by the Founder, Grandmaster Remy Presas.
 We retired to the back garden where
all of the masters demonstrated their art. First,
Master Frank Aycocho demonstrating
Kuntaw, he was the only one to do unarmed
combat. The opponent kicked at the Master
Aycocho’s sternum. Master Aycocho caught
the foot and came over the top with an open-
hand strike to the throat. He showed an
alternative technique, where the strike was
Master Frank Aycocho done with the first two knuckles. In the next
series, he caught a kick and moved in with a
bent arm to throat (clothes line). He took the opponent down on his knee and delivered a
killing strike. He showed the Masters how to duck a punch and hyper extend the
opponent’s elbow over your shoulder. Next, he taught some basic kicks, blocks, and
stepping out of the way of an attack. Master really likes to slide off at angle, so the punch
breezes right past him. Then he pivots, turns and strikes.
He talked again about his theory of not blocking. When we block we absorb some
pain. If we step aside we don’t get hurt. Then we can use opponent’s strength power
momentum against him. Next he brought the guy to the ground and tied him up.
Master Cecelio Sandigan demonstrated his new
weapon made from a ball of metal attached to the end of a
string. Swinging it like a medieval flail, he smashed a coconut
with it. His other weapon was a ring with a blade on it,
converting your fingers to claws. He showed how you could
grab the opponent’s throat and cut his carotid artery with it. An
alternative technique was to slap the back of an opponent’s
neck and puncture his cervical vertebrae.
Master Rodel Dagooc,
inventor of the Smoking Sticks
Master Cecelio Sandigan technique, demonstrated next. His
Weapon: Balatinga style was a sort of rapid strike Arnis
with a single stick. He was one of
the most fun masters to watch, as he moved with blinding
speed. When a strike came, he moved in circles around the
opponent bam, bam, bam! His stick struck in combinations, all
over the attacker’s body. His next series employed stick
grappling techniques. He took the man to ground, using more
grappling than normal Arnis. Finally, he pretended to be an old
man, walking with a stick for support. Every time the opponent Master Rodel Dagooc
came in, Master Dagooc fenced him off. It was very
entertaining.
 Professor Armando C. Soteco was up next
with his newly invented weapon and system,
centered; around a metal cylinder, held in his fist
and attached to his middle finger by a ring. When
the opponent kicked, he used the metal to block
and protect his hand at the same time. The
attacker’s shin impacted on the metal cylinder. I
could only imagine how much that would hurt if
Professor Armando C. Soteco you did it for real. If you kicked that thing once
with your shin you’d be finished. The attacker
took up Arnis sticks and Professor Soteco defended with his cylinder just as easily as he
would with a stick.
Another Master performed with his Balisong “butterfly” knives. He skillfully
operated first one knife and then two knives, spinning, flipping, opening and closing them
with ease.
A few of the Masters demonstrated tapi-tapi, striking drills with two sticks. Others
showed some limited stick grappling, which is part of basic Arnis.
Another Master showed how to use the short, curved knife used for cutting
coconut trees. I really liked this weapon because it was good for non-lethal combat. You
can hit with back of the curved blade, striking to the bridge of the nose. This will
immobilize an opponent but not kill him. In his final demonstration, he used his belt as a
weapon. He used it to block, tie up, take down, and then submit his opponent.
I was grateful to the Masters of Filipino martial arts for inviting me to see their
demonstrations. They were dedicated men who only wanted what was best for their art,
their people and their country. As for my own issues of Mixed Martial Arts vs.
Traditional Martial Arts, I guess I will have to continue wrestling with that demon as I
follow my martial arts path throughout Asia.

About the Author: Antonio Graceffo is the author of four books, available on amazon.com -
Click Here. He is also the host of the web TV show, “Martial Arts Odyssey.” To see Antonio
Graceffo’s Burma and martial arts videos - Click Here.
Antonio is in Manila attending paramedic training. When his course finishes he will
return to the conflict in Burma as a medical volunteer. He is self-funded and seeking sponsors. If
you wish to contribute to his paramedic training or his “In Shanland” film project, you can
donate through PayPal, through the Burma page of his website - Click Here.

Visit his website: www.speakingadventure.com

Email: [email protected]
 Filipino Martial Arts in Arizona
By Ted Rabino Sr.

I began my Filipino martial arts

training in Arnis during the mid-70’s under
the brothers Lonnie and Leto Acosta. These
brothers were Manila, Philippines Metro
Law Enforcement Police Officers who
resided in El Paso, Texas. I met them while
working as a migrant farm laborer in
Arizona, during grape season. The training
was very old style (Kada Anan) and
militaristic, equipment used were rattan
L-R: Ted Rabino, Bob Antuna, sticks (24”), and rattan sticks dagger length
and Master Dentoy Revillar (roughly 10”). And garden hoses for
sparring, metal ends were removed.
During this period I was also
training in both Karate and Judo, and
continued my Eskrima under Tiyuhin S.
Rabino in Fresno, California. And
restarted my training in the Stockton, CA.
with the based group Bahala Na and
continued to train with Pietro Vitielli here
in Phoenix, Az. I am presently training
with Master Michael Giron (Son of
Grandmaster Leo Giron) of the Original
Giron Escrima and Master Dexter Pietro Vitielli - Bahala Na Arnis
Labonog Bahala Na Multi-Style, Maestro Chief Instructor June Gotico an Terry Joven.
Mike Butz of the Kada Anan Eskrima Group started the 1st Arizona FMA
Gathering which was titled “The Gathering of Locals” held on April 27th, 2008. Mike
Butz has scheduled another event this October 18, 2008.

June 2008 ESKCOA tournament

L-R: Master Carlito Bonjoc, Guro Bob Antuna, Noel Tomboc, Instructor - Mike Butz
Master Mike Giron, and Master Dexter Labonog
 There is also a planned Eskrima
Date: October 19, 2008 Tournament during the tail end of the event. We
Time: 10:00 am to 4:00 pm currently have instructors: Master Michael Giron,
Location: Papago Park Craig representing Balintawak under Sam Buot,
Phoenix, Arizona Carlito Bonjoc of the Mata Sa Bagyo and
Christopher "Topher" Ricketts of Bakbakan Int'l.
For more information visit: www.az-fma.com or www.myspace.com/ftmaarizona
regarding the 2008 Gathering.
 escrima.blogspot.com
Titleitis
Back when I was a kid, in an almost unimaginably distant era before color TVs or
astronauts, a martial art black belt was a rare and exotic level of achievement. 4th degree
or higher belts belonged almost exclusively to recent Asian transplants here in the West,
and grandmasters were as rare as hen’s teeth, while the number of recognized 10th degree
black belts worldwide could probably be counted on one’s fingers.
The 1970’s saw an explosive growth in popularity of the martial arts, fueled in no
small part by the screen presence of Bruce Lee. By the 1980’s, black belts were as
common as road signs, and you weren’t anybody if the number of stripes on your belt
didn’t exceed the decades you’d been alive.
Pretty quickly the race to outdo the competition surpassed the growth in the arts,
which leveled off into the 90’s. Martial art movies had become mundane, and without
anyone with the superstar status to replace Bruce Lee, public attention moved on to other
things.
This put the squeeze on the business, which was becoming more top-heavy as up-
and-coming practitioners fought to establish their credentials as experts in the field.
Organizations grew and then splintered; creating rival structures that sought to
outdo each other in glitter if not substance. As strip-mall dojos became common, each
strove for distinction with the credentials of their instructors.
The FMA bucked this trend for a long time, perhaps because they never appealed
to the mass market and there are few schools dedicated just to them. While still relatively
unknown, however, FMA have grown significantly in the past 20 years, fueled by the
popularity of seminars and development of worldwide organizations and competitions.
Nowadays it’s not uncommon to go to a seminar where half a dozen people in the room
are Masters and Grandmasters, and true seniors in the art are referred to as Great-
Grandmaster, a title I’d never heard anywhere until this past decade.
What does this mean to the art? Are there really that many practitioners who are
truly exalted in skill and experience? That’s an argument that can cut both ways. As more
people practice and teach, the increased exposure has created new growth where it didn’t
exist before. On the other hand, the old ways of the art were much more underground, a
secretive set of skills for living in hard times and places. Practitioners might not have
claimed titles, but their skills were legitimized by the fact of survival. In Darwinistic
terms, survival of the fittest ensured propagation of the art.
The focus on titles and certificates is relatively new in the FMA. When I first got
involved in the early 1980’s, there were basically Guros and Masters, and even here in
California, not many of either to be found. Recent articles, such as the recent FMAdigest
special edition written by Mara Nepomuceno, corroborate this, stating “the art does not
make use of official rankings as other martial arts do. Practitioners are either students or
teachers, there is no in-between.” (pg. 40-41) and “it is unheard of for an Eskrima Master
to proclaim himself ‘the 10th degree Master of Rabid Dog Arnis appointed by the
Grandmaster’ or something to that degree. Ironically, students of Eskrima become
Masters only by self-appointment. The traditional Eskrimador only begins to teach when
he feels he is ready to do so, because the traditional Eskrima Master would never appoint
him as successor no matter how able the student is.” (pgs. 63-64). Thus the recent trend
towards focusing on hierarchical rankings and certifications seems an aspect of
commercialization created for the Western market, and not necessarily for the betterment
of the art itself.
There are a few socially preferable ways to attain titles. These include recognition
of peers through contributions to the art; promotion or successor ship, either by bloodline
or designation, within a system; or through development of a recognizable system which
organically grows and promotes successive generations of practitioners and teachers from
within, just like one must be a parent before becoming a grandparent.
Ironically, the most controversial method is the self-proclaimed Master or
Grandmaster, due to abuse by those motivated solely by ego, but even here, in the oft-
quoted words of Tom Bolden, “Skill is rank,” reflecting the older ways when challenges
could mean life or death. Meanwhile, someone has to be first for there to be a lineage,
and new systems are always evolving from the old, reflecting the dynamism embedded
within the FMA culture. As Bruce Lee might have said, “the tradition of no tradition.”
Regardless of method of attainment, success without skills will only be a fleeting
achievement. Before any of us earned titles, we were all just practitioners. Who can look
at a class of beginners and say, without prejudice, which one will someday be a master of
the art? While many may have dreams of glory at the outset, few endure the years of
sweat and pain without more realistic goals than hopes of claiming elusive honors or
prestige. If there is a saving grace to the FMA, it is that it is still in essence a combative
art, based on applied skill and performance, and not a place where “paper tigers” can
safely reside.

www.stickman-escrima.com
 FMA Past Events
World Martial Arts Union Serrada Escrima and Self Defense Workshop
Fall 2007
Anta's Fitness and Self Defense
Miami, Florida

Recently, Anta's Fitness and

Self Defense hosted a World Serrada
Escrima Federation and World Martial
Arts Union Escrima/Self Defense
Workshop. Presenting the workshop
were Master Guro Mike Schwarz, Mid
West and East Coast director of the
World Serrada Escrima Federation
(WSEF) and WMAU (World Martial
Arts Union) Board of Directors and
Master James Perkins Founder of the
WMAU and Shorinji Goju System.
Guro Schwarz did an excellent
job teaching the Serrada Escrima angles of attack and counters. Two martial Arts
instructors attending the event that had taken other Filipino martial arts workshops said
that this workshop was the best and most comprehensive workshop that they had
attended. Anta's Fitness and Self Defense is an affiliate World Serrada Escrima
authorized training center. Master Anta is Apprentice Instructor in the WSEF.
Master Perkins worked with the kids in self-defense as Guro Schwarz drilled the adults in
knife vs. knife techniques. Then after both groups united Master Perkins demonstrated
numerous self-defense techniques. Master Anta is on the WMAU Board of Directors and
was inducted in 2006 to the WMAU Hall of Fame along side of Serrada Escrima
originator Angel Cabales.
Master Anta has now added the Serrada Escrima curriculum to his Kung Fu
classes. Students are now eligible for rank not just in the Chinese art of Kung Fu but also
in the Filipino art of Serrada Escrima. Anta's Fitness and Self Defense would like to
thank and congratulate Master Perkins and Master Guro Schwarz for an awesome
seminar.
This was an 8 hour workshop 4 hours of Serrada Escrima and 4 Hours of fighting
and self defense strategies.
Serrada Escrima is a complete self defense system using numerous weapons and
empty hands. Yet, the rattan stick is the main weapon.
The Serrada Escrima Seminar by Guro Schwarz covered: Master James Perkins
- Warm up drills and footwork drills Street Effectiveness and Quick Knockouts covered:
- Introduction of angles of attacks - Strategic Targeting techniques that will drop a man
- Basic deflections for angles of attack introduced in section II of any size.
- Stick disarms - How to use every inch of your body to develop
- Empty hand translations for deflections introduced in section devastating power.
III - How to wire in these fighting skills quickly and
- Empty hand disarms easily.
- Knife basics for the adult participants - Knowing when to use speed hitting techniques and
when to use power (a critical distinction!).
- How to deal with a boxer.
- How to instantly disable even the toughest of street
criminals.
- The single most important concept in street fighting
(this is where everybody goes wrong!).
- A single technique (using just one finger) to stop an
assailant in his tracks.
- Why it's not important to be physically gifted or even
athletic!
- Three simple techniques that always work!
- The surprising reason most Black Belts lose fights!!
- An amazing technique that will stop even a giant
(you'll be impressed with this one).
- The three biggest mistakes most people make when
attacked on the street.
- 7 sure fire ways to drop the jerk now!
- How to be prepared for a sneak attack.
- How to deal with a kicker.
- Serrada Escrima and Self Defense Workshop a Great
Success

Guro Michael Schwarz

P.O. Box 29
Millstadt, Ill. 62260
(618) 979-3558
[email protected]

www.defensivecombat.com

Discovery Channel Magazine interviews Guro Fred Evrard of Kali Majapahit

April 2008

A journalist from the Discovery Channel Magazine approached Guro Fred Evrard
in April of 2008. Guro Evrard doesn’t t know how exactly the magazine had heard about
his school, but they wanted to balance the article and the TV show Fight Quest, which is
about Kali and the violence in the Filipino martial arts. The magazine wanted to focus on
how the Filipino martial arts can be used for personal grow as well as for self defense.
They also wrote something up about Guro Evrard antique Filipino weapons collection.
 The article is in the Discovery Channel Magazine # 3, June, July, August edition.
It is published in the United States, Canada, Australia, New Zealand, and most South-
East Asian countries such as the Philippines, Malaysia, Indonesia, Singapore etc.

Note: Kali Majapahit was founded by Guro Fred Evrard and is a synthesis of several
Filipino martial arts, and some other fighting arts from the ancient Majapahit area in
Southeast Asia. Guro Evrard has more than 30 years of experience in the field of martial
arts (FMA, JKD, Muay Thai, Silat, etc.), and different healing systems such as Hilot,
TCM, Osteopathy, Dietetic, Thai massage, etc.) Learn more and download FMAdigest
Vol5 No.3 which has an article about Guro Fred Evrard and Kali Majapahit.

Kali Majapahit (Ni Tien Schools)

Guro Fred Evrard
14 Yan Kit road
Singapore, 088266.
(65) 9030-0844
Email - [email protected]

www.nitien.com

Martial Arts for Christ

April 12, 2008
Calvary Chapel Gymnasium
Costa Mesa California

This event is held yearly, and is attended by

famous celebrities and martial artists. This event was
attended by more than 3,000 people. Master Felix
Roiles, demonstrated PAKAMUT at this years event.
 www.pakamut.com martialartistsforchrist.org

Prather Kung Fu Academy

April 19 - 20, 2008
Cleveland, Ohio

On April 19th and 20th,

2008, the Prather Kung Fu
Academy in Cleveland, Ohio was
the scene of the most recent Davis
Cabales Serrada Seminar held
outside of the system's home base
of Sacramento, California. Guest
starring Punong Guro Tony
Marcial of the Marcial Tirada
System, Guro Michael Schwarz
with primary appearance of
Grandmaster Anthony Davis; this
local all star event boasted a the Punong Guro Marcial and Grandmaster Davis,
valued teachings of these great having a little fun.
systems to an eager and most
appreciative seminar audience. Academy owner, Sifu Jacob Prather, opened his Kung Fu
school to basic and advanced martial arts practitioners as well as the curious from around
Ohio.
The event opened with the illustrious and fascinating stick, knife and empty hand
mastery of Punong Guro Tony Marcial. Punong Guro Marcial wowed the onlookers with
lightening speed. The transition techniques between stick, knife and empty hand was a
dazzling display. Punong Guro Marcial in his always humble and jovial personality won
admiration from all who attended.
It is a wonder that this humble man is the best kept secret of the Filipino Martial
Arts in Ohio.
After introductions and an
overview of the Cabales Serrada
Eskrima system as Founded by the
late Great Grandmaster Angel
Cabales, everyone got to work. First
up was showing the 12 angles of
attack as practiced by Cabales Serrada
practitioners, world wide. As one
could expect, seminar participants
started out somewhat overwhelmed by
the material covered but as the
weekend progressed, they got the
hang of things and quick! Besides
Grandmaster Davis with Guro Schwarz assisting
being shown what the 12 angles
represent, participants went through each of the stances, positions and strikes by the
numbers.
Hungering for more, the majority of the weekend was spent introducing seminar
participants to inside/outside deflections as well as cross block deflections. Working with
the first angle of attack due to time constraints, participants learned about the counters to
this angle of attack as well as preparations for other level attacks. Instruction in the flow
picking drill of lock and block was the other major demonstration point to be covered
during the fast paced weekend seminar.
Exhausted but happy, participants left with new appreciation for the teachings of
Punong Guro Tony Marical, his style of Marcial Tirada Kali and Great Grandmaster
Cabales and the Davis Cabales system of Serrada Eskrima.
 wsef-mai.defensivecombat.com www.defensivecombat.com

Kali Majapahit Seminar in the Philippines

May 2008

In August 2007, a new student enters the Ni Tien Filipino martial arts school in
Singapore, asking to watch the Kali Majapahit class. He is Filipino, descendent of an
Igorot warrior family involved in the Filipino martial arts for several generations. Mike
Bugnosen, that’s his name, is from Baguio city, Luzon, Philippines. He is staying in
Singapore for a while and is looking for a Filipino martial arts school to continue his
practice. Already advanced in the art, he has practiced at several schools before such as
Doce Pares, Modern Arnis, etc. and is a former sports Arnis champion. After few minutes
of watching Guro Fred Evrard’s class, he knows he just found his new instructor, and the
system he will dedicate his life to… After a while, he unfortunately had to go back to
Baguio. This was the beginning of a new adventure; the beginning of Kali Majapahit in
the Philippine.
February 2008, Mike Bugnosen
organizes a meeting between the
Fullcon Council of Martial Arts Masters
of Baguio and Guro Fred Evrard, to
introduce Kali Majapahit to the
Philippines, and to help promoting the
practice of traditional Filipino martial
arts in its birthland. Among them,
Aikido 6th Dan Masters, Arnis
instructors, Muay Thai professional
Martial Arts Masters of Baguio
fighters, etc.
After 3 hours of talk and demo, the Masters reaction is more than positive. They
want Guro Evrard to teach them and come back for a seminar. Muay Thai coach Kissack
Gabaen said, “I am ashamed of being Filipino and never have heard of such a complete
martial arts system before. It’s amazing. And the Kampilan, the Kris, the Sarong…
Thank you for sharing all this with us”.
 That was the first step, a few
months later, in May, Guro Evrard
comes back to the Philippines to meet
and be recognized by the National
Council of Kali Eskrima Arnis Master
in Manila, and then up to Baguio to
give a seminar to the Martial Arts
maters and to several military and
police officers.

Guro Fred Evrard meeting the Filipino Council of

Kali Eskrima Arnis Masters in Manila

The seminar was 12 hours, divided in 7 parts:

- Double sticks
- Single stick
- Knife
- Kadena de Mano
- Silat Kuntao
- Traditional weapons (Kampilan, Barong, Kris, Karambit and Sarong)
- Panlohob na Lakas (energy work)

The seminar was a success. Guro Evrard got

interviewed by the national TV station and Kali
Majapahit students were on the news that same
evening. After that, a Ni Tien martial arts school
opened in Baguio, with Kadua Guro Mike
Bugnosen teaching Kali Majapahit. Guro Evrard
has been invited to come back to Baguio in March
2009, for an even bigger seminar, plus a conference
on the Filipino healing system of Hilot and to talk
on Traditional Filipino Weapons.

To watch the videos of the Baguio seminar:

Click Here
Weapons used in the seminar:
L - R: 2 Barongs, 2 Ginuntings, a
Kris, a Kampilan and different kind
of sticks
 Kali Majapahit (Ni Tien Schools)
Guro Fred Evrard
14 Yan Kit road
Singapore, 088266.
(65) 9030-0844
Email - [email protected]
www.nitien.com

Foster City Cheese and Wine Yearly Festival

June 1, 2008

ESKABO DA’AN is proud to present another FMA gathering. This time it was
held in Foster City California, in cooperation with United Studios of California for the
Foster City Cheese and Wine yearly Festival. It was a beautiful day, the sun was shining
the sky was blue. You could smell the food cooking from all the different vendors that
were getting ready for the days festivities.
Ms. Sefu Reginna PinPin owner and instructor, also one of my students brought
her demo group with adults and children to perform there Kata's for United Studios. Sefu
Pinpin first had all the adults perform doing techniques with weapons and empty Hands.
The children did multiple attacks with swords and sticks.
Then Grandmaster Castro brought up the kids to perform the chicken stomp and
Kali numbers and serrada with all the adults. It was a site to see.
 Grandmaster Castro performed locks and take downs, to disarms from weapons to
empty hands. The drums were playing the kids were dancing and having fun. There were
hundreds of people there in the audience and they
enjoyed our demonstration. Sefu PinPin and ESKABO
have been performing this Festival for the past 8 years
or more. Maybe next year we will see you there.
Grandmaster Castro would like to thank all of the
students of Ms PinPin for there support and all of the
Grandmaster students for there support.
www.eskabodaan.org

Sining Kumintang ng Batangas

Lowell High School
June 15 2008

ESKABO Daan in cooperation with

Lowell High School and Master Ray Cordoba
Dean of Lowell High School is very proud to
present a special performance. The Sining
Kumintang ng Batangas, a 30-member dance
company from the Philippines, returns to San
Francisco Bay Area to present an evening of
Philippine dances and music in celebration of
Philippine Independence Day. This was a great
honor for Grandmaster Castro to be asked to open
for one of the most prestigious dance groups from
the Philippines. The auditorium was packed with
paying customers all waiting to see the cultural
event of the year for Filipino's of the bay area.
Sining was great it was like a Broadway
production, with spectacular lighting and
choreography. The dancing was authentic the
costumes were beautiful, all in tune with the time
period of the Philippines. They had some singers
who sounded like angles singing it was awesome.
The Sining dance group comprised of adults in
there 20, they all had there special expertise in
there performance. People from all different ages
and cultures were there to enjoy a festive evening.
 Grandmaster Castro did a demonstration and it was a site to see on stage with all
the special lighting and sound system. ESKABO opened with the drums beating with the
rhythm of the Sticks, starting slow then bring the pace to fast beat. Grandmaster did
Espada e daga with weapons and without. Grandmaster explained empty hands
explaining that the Filipinos do have a lot of empty hand
techniques and that the Filipino martial arts is not just
about weapons, but one must realize that everything you
do with a weapon you can do with empty hands. Then
he had his top students perform and they gave a most
amazing performance themselves, you can see some of
the demonstration on u tube, check it out you will love www.eskabodaan.org
it.
All in all it was a night to remember. Grandmaster Castro would like to give
special thanks to the Sining Dance Troupe and Lowell High and especially Master Ray
Cordoba for his support for the Filipino martial arts.

War of Warriors in celebration of Philippine Independence

June 21, 2008
Carson, California

The War of Warriors in late celebration of Philippine Independence Day June 21,
2008 at Veterans Park Stadium in Carson, California. This event was sponsored by City
of Carson, Honorable Santarina and Master Jun Onaz of Eskrimador Academy. The event
participants were local Filipino martial arts practitioner in Southern California and the
surprising team from Philippine Army Arnis Team, lead by Sgt. Reggie Sanchez.
Kris Paragas of PAKAMUT
International defeated Reggie Sanchez from
Philippine Army Team in the final match.
Marc Lawrence took 1st place in Seniors
Division by winning via TKO after he
disarmed his opponent in the 1st round.
Michael Lawrence also took 1st place in his
division.
Another member of Philippine Army
Team that Kris Paragas overpowered in
WEKAF style competition during the event,
Kris Paragas holds 3 medals during that event.
 Kris Paragas
PAKAMUT Int’l.

www.pakamut.com

2008 North Carolina State Games

June 21, 2008
Greensboro, North Carolina

In all, 5 martial artists represented Kuntaw Palace and all 5 brought back at least 2
medals.

Adults:
Chuck Moore: Executive Men Green-Blue Belt
Division
Gold Medals in Fighting, Forms, and Weapons
Jamarl Sharp: Men Green-Blue Belt Division
Gold in weapons, Bronze in fighting, and Bronze
in forms

Children:
Cassandra Kossmann: 12 and 13 year old
girls/boys Brown Belt Division
Gold Medals in Forms L-R: Jordan Blazek-Guinan, Cassandra
Weapons, Girls Division - Silver in fighting Kossmann, and Cameron Walston
Jordan Blazek-Guinan: 10 to 12 year old girls/boys Brown Belt Division
Silver medal in kata, Bronze in weapons
Cameron Walston: 10 to 12 year old
boys/girls Green-Blue Belt Division
Gold medals in weapons, Bronze
medals in fighting and forms

122 S. Goldsboro St.

Wilson, NC 27893
(252) 206-7900
www.kuntawmartialarts.com

Grandmaster Crispulo Atillo - Balintawak

June 21, 2008
By Felix Ordiniza

On June 21st the Warriors of Visayas Ordiniza Filipino Martial Arts Bandalan
Doce Pares (BDP) Headquarters located in Hollister, Ca. had the honor of having
Grandmaster Atillo put on a seminar on Balintawak Arnis.
To see Grandmaster Atillo and Grandmaster Bandalan both move with such grace
speed and deadly power was just an awesome sight. The weather was very hot; but I
think that made them move that much more precise and deadly. Not wanting to waste
energy.
Grandmaster Atillo showed us so many counters, blocks, disarms and locks that
all of us wanted this seminar never to end and only wanted to be taught more. He has a
very sincere and dedicated aura about him and his style.
Whenever and where ever a person has a chance to see Grandmaster Atillo teach,
run there because you will truly see Balintawak at its best! Thank you Grandmaster
Atillo and Grandmaster Bandalan!!!
Attending Practitioners: Master Chaves San Jose-BDP, Punong Guro Lori Fydrych-BDP, Guro
Lucero- White Tiger, Fresno, BDP, Guro Anthony Ordiniza-Warriors, Hollister, HQ-BDP,
Assistant Guro B. Ordiniza-Warriors, BDP, with students Jojo- Jake-BDP, Mike-Remigio-
FMAA, JD Lopez -Balintawak, J. Bravo and R. Rodriguez-AM KENPO, A. Bautista-Kombatan
and students.

www.atillobalintawak.com www.bandalan.com

Warriors of Visayas Ordiniza

Filipino Martial Arts
Bandalan Doce Pares Headquarters
Grandmaster Alfred Bandalan - (408) 310-0101
Master Felix Ordiniza - (831) 524-1072
2910 Southside Rd.
Hollister, CA. 95023-9629

Master Jose “Joe” V. Tan

Birthday Celebration
June 28, 2008

Master Joe Tan of Modified Tapado Birthday is on June 27,

2008. However a get together of celebration was on June 28, 2008.
Joe Tan was born of Filipino and Chinese ancestry on June
27, 1950 in Bacolod City, Negros Occidental, Philippines, where
most of the great and well known martial artists have come from
such as; the late Grandmaster Remy Presas,(Founder Modern
Arnis), the late Grandmaster Nono Mamar, (Founder Tapado Long
stick fighting), the late Grandmaster
Jose Vinas (Founder of Lapu-Lapu
Vinas Arnis Afficionado), the current
Grandmaster Leo Gaje (Pekiti
Tersia), Grandmaster Nene Tortal
(Dekiti Tersia), Grandmaster Mike
Vasquez (Founder of Modified
Tapado and Modified Karate). Joe
holds a bachelors’ degree in
Management and a Bachelor of Law
degree from the University of Negros Tuhon Leo Gaje Jr., Joe Tan and his wife Sally Tan
Occidental - Recoletos.
During this Birthday gathering, besides receiving phone calls, some of the visitors
included: Tuhon Leo Gaje, Jr., Marc Denny, Professor Bruno Cruicci, Grandmaster Felix
Roiles, Lloyd Kennedy and Rudy Franco, Joe Nepumuceno, Nene Gaabucaya, Toma, Art
Pacia, Rick Mitchelle, Ronald Manrique, Albert, Dino Flores, Bud Balani, Pogi,
Jonathan, Alex Abaygar, Army McQuirre, James, Nick Papadikis, Maynard Ancheta,
Ardena Kennedy and Sonia Franco, Gary Quan and many others.

Senior Instructor Jose Tan can be contacted at:

(818) 904-9156
Email

Kali Sports World Cup 2008

July 7-13, 2008
Philippine National Police Headquarters
Camp Crame, Quezon City, Philippines
By Giancarlo Casula

Between the 4th and 20th of July the

Accademia Moros’s Team took part in what
was at both a sport and human level, some
of the best experience a real Filipino martial
arts practitioner could ever dream of.
As part of the Italian representative
group for the Mangdirigma Italia (Italian
Federation of Filipino Martial Arts), the
team brought home a silver medal with
Federico Pinna, a bronze medal with
Antonio Mannu and Alessandro Pani placed Italian National Team
himself in a very respectable fourth place.
When Giancarlo Casula first Founded the Accademia Moro’s back in 2003, he
didn’t think that they could achieve such a big result in such a small stretch of time, the
way the team handled themselves during this task, their display of etiquette and
determination to win, made him proud more than any trophy or medal.
As well as the brilliant results in the competition during the two weeks spent in
the Philippines the team took part in a three days workshop at the PCKEAM (Philipino
Council of Kali Eskrima Arnis Masters). The workshop was held at the Headquarter of
the PNP (Philippines National Police).
This was a life changing experience were we had the chance to meet and practice
with the “real masters of the art”.
Impressed by our performance at the World Cup we have been invited to three
different TV programs, a radio interview, we have been introduced to a Senator, a
Governor and two Mayors as well as hundreds of Filipino martial arts practitioners.
We are proud to say that we made friends for life with some of this incredible
people.
As from September we will be touring in different Schools and Martial Arts
Academy to promote the art of Kaliradman and the Kali sport.
Giancarlo Casula
Chief Instructor and Founder of Accademia Moros
Member and Coach of Mangdirigma Italia Federazione Italiana Artti marziali Filippine
Member or PCKEAM

F.I.A.M.F.
Mangdirigma Italia
By Andrea Rollo
Gold Medalist - Kali Sport World Cup 2008

It was just only 2 years ago that two Filipino workers who were living in Rome
Italy for over 20 years finally decided to establish something that no other Arnis-Kali-
Escrima Master has ever attempted to do in Italy so far away from the Philippines.
The two authentic fighters grew up in
the dangerous and hard streets of Mindanao.
They look like the average person in Italy’s
chaotic capital city. They had a dream; that
dream was to do everything possible and
bring together different Masters, Schools and
Associations who practice their native
fighting art under one federation. They also
wanted to have the ability to select the best
Italian fighters and bring them to the
Philippines to participate in a world Son of passed Col A.E. Miranda Sr. - right
competition and come back to Italy with at
least one gold medal.
Mangdirigma Italia (Italian Federation of Filipino Martial Arts) was Founded in
December 2006. As the federation grew, President Master Aurtenciano Revolos Miranda
Jr., and Technical Director Master Jorg Miranda, also supporters of PCKEAM
(Philippine Council of Kali Arnis Escrima Masters) of Grandmaster Roland Dantes began
promoting the sport and martial art by organizing workshops, conferences and
competitions. By doing this, they were able to spread the Filipino combative systems to
the people in Italy and also got the media’s attention.
Thanks to the support and assistance from the other members of Mangdirigma
Italia, among which there are Rodelo Ubaldo (LAKAS), Librada Ramos (Arnis Ramos
Batanguena), Giancarlo Casula (Accademia Moros), Barbara Canoci (Urban Tiger) and

Master Aurtenciano R. Miranda Jr. Master Jorg Miranda

many others, they were able to enter a team from Italy to compete in the Philippines
which will allow them to experience an exciting adventure that is dreamed by all
practitioners of martial arts. A, particular thanks goes to Mirko Bruzzone, who helped in
the Federations financing it in different occasions.
The journey began with fighting matches and meetings with important local
public figures. We had an amazing and unforgettable experience being on TV, radio
stations and were honored to train with many old Filipino Grandmasters.
It was Punong Guro Reynate Dominguez, the General Secretary of the PCKEAM
and the Kali Sports Director that assisted our president (M° Aurt R. Miranda Jr.) to
organize our stay in the Philippines. The whole entire trip was very well organized.
As soon as we arrived at the airport in Manila, there was a van ready and waiting
to pick us up and there was also four wonderful ladies welcoming us at the airport placing
traditional necklaces around our necks for us to wear. We also had policemen escorting
us all the time as we drove and walked around the city. There was always something
planned for us each and everyday. We went to Radio DWIZ studios where anchorman
Rey Langit interviewed us, we also went to GMA-7 television studios where they were
recording a video on behalf of a famous Filipino show and General Bartolome
interviewed us on a national PNP television program.
We also had the chance to meet the Mayor of Cainta (Rizal province) Mayor
Gatchalian (Valenzuela City) and the Governor of Rizal Governor Ynarez. We also had
the opportunity to watch Senator Juan Miguel Zubiri who demonstrated a few techniques
from the famous Ilustrisimo style. Not to leave out the time we went to the firing range
with the policemen.
Over the course of our adventure in the Philippines, we had a chance to talk and
train with very well respected Grandmasters and Masters: Vincent Sanchez, Rodel
Dagooc, Bert Labaniego, Yuli Romo (at the Valenzuela University), Romeo Sanchez,
Jerson Tortal Jr., Chuck Canete (son of Edgar Canete), Henry Espera, Pepito Robas,
Frank Sobrino and his 94 year old Grandmaster and World War II veteran Jesus
Pallorina. Training with all of these Masters was a very exciting part of the trip.
At home in Italy, we always had read about fighters who in the past had gone
around all of the Philippine islands to test their combative skills against other Arnis-Kali-
Escrima experts. On July 12th and 13th, Team Italy had the opportunity to compete at a
world tournament along with training with the Philippine National Police (PNP) and the
RTU University Team, Pamantasan Lungsod ng Valenzuela. Sure enough the atmosphere
of our exhibition matches was different from the actual “sudden death” matches. The
emotions that were felt amongst us at the well known PNP Head Quarters of Camp
Crame in a big square with thousands of their students watching, and being 16000km
away from home is a feeling that is not easy to describe.
Mangdirigma Italia was formed by different schools and systems who always felt
like family to me. The Sardinian guys of M° Giancarl Casula, Andrea Pani, Federico
Pinna, Antonio Mannu e Alessandro Casanovi were our brothers and very strong fighters.
The Filipino female Master M° Librada Ramos together with Gianluca Polimanti gave us
the power and energy with their amiability. Raffaele Navarino and Giacomo Ciocchio
(Osca Campobasso) helped us with their technical ideas. Arnel Zamuco was an amazing
member of the team and the determination of Andrea Favalli who had a physical
disadvantage was an example we all had followed who also came home with a silver
medal. The son of our President, 9 year old Giordano was also a champion. The rest of
the members of Team Italy were Luca Desibio, Pino Mastronardi and Sergio Calabro
who are very much like brothers to me as Master Miranda Jr. is like a father to me.
Two years later, the two Miranda brothers have done what they dreamed of doing,
which is to come back home to Italy full of Medals.

1 Gold Andrea Rollo(Kali Istukada Miranda System)

3 Silvers Federico Pinna (Accademia MOROS )
Andrea Favalli ( LAKAS Arnis)
Giordano Miranda (Future Heir of Miranda Istukada system, his family style)
2 Bronze Antonio Mannu (Accademia MOROS )
Arnel Zamuco – (Kali Fight Sap Academy)

I am very proud to give my Master the only Gold Medal of the Italian team. I thank him
for teaching me his Kali Istukada Miranda style. With his knowledge, I had the ability to
win at the competition.
Thanks to Mangdirigma Italia!
www.mangdirigmaitalia.org www.kali-sports.net

Garimot Arnis Training Group International

7th Annual Summer Retreat
July 11 - 13, 2008
Ty Park, Hollywood, Florida

I would like to take this opportunity to thank everyone that attended the Garimot
Arnis Training Group International 7th Annual Summer Retreat. It’s always a pleasure to
exchange sweat, tears, and blood with all of you. The Retreat may be long over, but the
experience and knowledge you’ve gained will be treasured forever. As you’ve enjoyed
your training, the pleasure is mine to have shared the art of my forefathers with all of
you.
All of you have displayed a lot of hard work and dedication to the art and to the
Garimot Arnis family. Despite the rainy weather, hopefully your time in Florida was
enjoyable and fun. Hope you learned a lot of new tricks and materials to bring to your
local groups and share with all your Kapatid,
Kuya and Guro in the Garimot Arnis family.
Hope your bruises, cuts and tired bodies have
recovered already from our long weekend of
intensive training.

Friday: July 11, 2008

• Tres Puntos Eskrima (Batangas Knife
Fighting) taught by Gat Puno
Abon“Garimot”Baet.
• Close Range followed by Sparring,
One on One and Multiple opponents.
Saturday: July 12, 2008
• Boxing (Panuntukan) taught by Gat
Ninong Victor “Hagibis” Rivera
• Clinch and Take Down (Standing
Grappling) taught by Gat Ninong
Shane “Matsing” Singh
• Buno (Ground/Grappling) taught by
Gat Puno Abon “Garimot” Baet Single and multiple knife fighting matches
 • Sparring, Sparring, Sparring.

Buno Group

Sunday: July 13, 2008

• Garimot Serrada Cinco (Closed Range
Drills) taught by Gat Puno Abon
“Garimot” Baet
• Garimot Abaniko & Sinawali (Double
Stick Drills) by Gat Puno Abon Baet
• 1-15 Batalyas (Larong Moro-moro)
Combat Dance taught by Gat Ninong
Shane Singh
• Eskrima sa Banko (Bench Eskrima
Matches) Sparring, Sparring, and more
Sparring Single Stick Fighting Sparring, sparring and more sparring.

Arnis Group
 Hope you all enjoyed my cooking from the first and last days of our retreat. This
was our menu for the whole weekend:
Friday: Pork Lechon (oven roast pork) with sweet garlic sauce, Chicken Adobo, Steamed
Tilapia with ginger/scallion sauce, green salad with refreshing sweet Balsamic
Vinaigrettes dressing and fresh watermelon.
Saturday: Pork Menudo (stew), Turmeric Ginger Salmon, Pancit Bihon (Noodles),
Shrimp Chopsuey, Lumpiang Shanghai with sweet and sour dipping sauce and desert,
fruit cocktail Gulaman (mellow), Leche Flan watermelon and Pineapples.
Sunday: Filipino version of Ziti Pasta with Italian sausage, hotdog with
ricotta/Mozzarella and Meat sauce, served with our traditional Filipino dessert (Banana
Egg roll) Turon and watermelon, Mango and Pineapple fruits.

(Of course, we served steamed white rice as a side dish for each day of our weekend
retreat.)

Next year I would like to include a Filipino cooking lesson to my seminar. While
some train in Filipino Martial Arts, others who are interested in learning how to cook
Filipino food will assist in prepping the food before I demonstrate how to cook the food.
Additionally, I will make sure that we will have printed recipes for you all to take
home and enjoy for your future kitchen experimentations.
Hope to see all of you again next year July 10-12, 2009 get your schedule ready
and mark your calendars as we celebrate our 8th Annual Summer Retreat here in sunny
South Florida.
Gat Puno Abon "Garimot" Baet
1240 NW 92nd Avenue
Pembroke Pines, Florida 33024
(954) 432-4433
Email

www.garimot.com
 Grandmaster Bob Silver Tabimina
July 12, 2008
By Jeff Finder

Tabimina Balintawak seminar review:

Yesterday I had the opportunity to experience another
outstanding escrimador, grandmaster Bobby Tabimina of
Tabimina Balintawak, the last direct protege of founder Anciong
Bacon. “Sir Bob”, as his students call him (and he often calls
others “Sir” as well) is an example “par excellence” of a word I
coined awhile back, “intentity”, combining intentionality and
intensity.
An imposing
presence, he paces back and
forth with the restless energy of a tiger, making eye
contact with everyone as he moves up and down the
line. His teaching methodology is a provocative
mixture, ranging from discourse on psychology to
physiology while
sprinkling in humor to
engage his audience, but
just as quickly as a
summer cloudburst he
can racket up a
fierceness that is
Grandmaster Tabimina
undeniably impressive.
demonstrating with Gabriel Rafael
The core of this
teaching is developing the reflexes to handle extreme close
range combat. Defense is paramount to surviving, and once
basic counters are understood, the training rapidly advances
to random non-pattern based counter-for-counter feeds. As
students’ reactions improve the pace and intensity
continually increases. This is one-on-one training, because Grandmaster Tabimina
these are skills that can only be “installed” (as he likes to Working with Jeff Finder
say) under stress, so the skill and control of the instructor are vital components. This, too,
is the reason they train with tapered rattan, because the lighter tip reduces impact for the
strikes that inevitably occur.
This summer has opened fresh vistas for me, from Ron Lew’s stick lock-flow to
Bobby Tabimina’s reflex training (interestingly, both Ron Lew and Bob Tabimina have
trained with Cacoy Canete). Humbling though it’s been, there is a refreshing sense of
renewal in encountering new puzzles to unlock. Bruce Lee described a punch as a
question that asks if you know the answer. Well, the masters at the top of the Filipino
martial arts food chain, especially from the tried-and-true Visayan systems, aren’t just
asking questions, they’re presenting curriculums for a PhD in combative science. I may
have a long way to go to get there, but I know that the journey will never be boring!
 Hayward Martial Arts
1024 B St. Suite 1, Hayward, CA 94541
(510) 967-2688
www.haywardmartialarts.net

Tabimina Balintawak
Grandmaster Bob Silver Tabimina
Metro Manila, Philippines
(632) 813-5369 or (632) 813-6158
Email: [email protected] escrima.blogspot.com
Website: tabiminabalintawak.com
 Spotlight on the Masters
Bais Tres Manos Seminar
July 19, 2008
By Em Angeles

Block
Control
Eliminate
These 3 words resonated throughout Grand Maestro
Jon Bais' full day seminar. Along with these 3 words the
seminar was peppered with his witty colloquialisms;
particularly, one that stands out with me is: "Bais Tres
Manos is definitely a giving art. If you give me 1 hit, I will
gladly give you 3 hits in return."
Grand Maestro Jon Bais started his seminar
Saturday by showing us the proper salutation. Warm up
drill and techniques consisted of strikes and footwork. He
informed us all that 8 hours is really not enough to show us
the art that he grew up with and fostered. Soon after warming up, Grand Maestro started
to tell us the history of Bais Tres Manos.
Towards the end of the seminar,
Grand Maestro Bais asked us to give
him different scenarios where he, falls
victim to an attacker; be it from behind,
forced against a wall or on the ground
with the assailant on top of him. In each
of these scenarios, Grand Maestro Bais,
easily subdued and restrained the
attacker making it look so simple and
easy.
Not only were we able to learn
different techniques of Grand Maestro
Bias' family art, but we were also
intrigued by his family history. I, myself was sitting there in bated breath!
I look forward to more Tres Manos seminars where the main Bais family fighting
concept is "Walay Atras" = "No Retreat".
 Spotlight on the Masters
Brought to you by: Alex France
Hayward Martial Arts
1024 B St. #1
Hayward, CA. 94541
Email

www.ksk-fma.net

www.haywardmartialarts.net
 Guro Lindsey Largusa Seminar
Crow’s Martial Arts Academy
Carrollton, Texas
July 26 - 27, 2008

Crow’s Martial Arts Academy was

honored to host Guro Lindsey Largusa - a
student of late Grandmaster Floro Villabrille
and his own father, Grandmaster Ben
Largusa - for his first seminar ever in the
Dallas, Texas area.
Guro Raymond Crow has been
fascinated with the Villabrille-Largusa
system and its zoning ever since he studied
elements of the system with Guro Dan
Inosanto, in the late 70s and early 80s. Back
in those days, Guro Dan would mention young Lindsey Largusa and praise his stripping
of the stick with his legs, while on the ground.
Guro Crow always cherished this art and especially the Numerado was
maintained and practiced over all these years... He would mention the Largusa son who
was so talented at stripping sticks with his feet in his Kali classes at Crow’s Martial Arts
Academy.
When Guro Crow found out through Sifu/Guro Richard Bustillo, that Guro
Lindsey Largusa was currently training and teaching at a Thai school in Las Vegas,
Nevada he contacted him. The agreement was that he and his wife would travel to Sin
City for a weekend of training with Guro Largusa. For Sifu Crow, it was like traveling
back in time, to the days when he learned the art with Guro Dan. Las Vegas and its
distractions was no match for the attraction to the training! After meeting that weekend,
plans were made for a seminar at Sifu Crow’s academy… The CMA students were very
interested, since they had heard so much about the system!
Guro Largusa arrived the night before the seminar
after surviving some flight delays… It was a pleasure and
honor for all of us to see him again, or meet him for the first
time!
Guro Largusa had each seminar participant introduce
himself and share a little bit about their occupation and
martial arts experience. It made everyone feel engaged,
comfortable and ready to learn.
He taught good basics principles, conditioning
exercise and Numerado; everybody also enjoyed the
Sombrada training, blindfolded! It was a revelation for many!
Crow’s Martial Arts Academy, Sifu and Simo Crow, students
and guests, all felt that this was a great moment and will
treasure the memories and keep training!
 Guro Lindsey Largusa demonstrates on Guro Crow

Crow's Martial Arts Academy

1225 W College Ave. #502
Carrollton, TX. 75006
(972) 446-0024
Email
www.crowsmartialarts.com

Guro Lindsey Largusa

Villabrille-Largusa System
Hardknocks Muay Thai
8665 West Flamingo Rd., Las Vegas, Nevada, 89135
www.sunstar.com.ph/cebu
WEKAF
Sunday, July 27, 2008

For the second time, the

Americans pulled the rug from under
the Filipinos at their home court as the
latter went on to win their third straight
world championship of the World
Eskrima Kali Arnis Federation
(WEKAF) which wrapped up
yesterday at the Ayala Center Cebu.
USA pulled off a come from
behind win over the home team as it
collected 10 more gold medals in the
final stretch, handing yet another huge
upset for the RP team which had been
trying hard to wrest the crown away from the US in several world championships.
The Americans tallied 44 gold medals with 35 silvers and 30 bronzes, compared
to RP’s 35-18-19 Gold-Silver-Bronze Medal haul.
For Grandmaster Dionisio Cañete, the Chairman emeritus of WEKAF, there were
several factors that cost the RP team the crown, when it was a chance for the team to
finally win.
“Negligence and spotty officiating were the factors that we lost,” Cañete said.
“We can’t deny that the US team came here prepared. We on the other hand, became too
busy with the preparations for the hosting that we left out one important thing - the team.
Although they have come up with some of its toughest lineup, Cañete divulged
yesterday that they failed to field in players in seven divisions.
“It was a very huge error that
we could not take back. These were
some of our top players but we lost
their records so they were not able to
fight. Imagine the impact if they have
won,” Cañete said. Too busy, Cañete
added that everyone - from the staff
to the Grandmasters - were so busy
making sure that the event would be
successful that they lost their focus Grandmaster Dionisio Cañete, Cebu Holdings, Inc.
on the team. President Francis Monera and Senator Zubiri
It was a huge loss because this was the only time that the RP team could send the
maximum number of players as it is played at home. It would cost a lot to send
participants when the competition shifts to another country. It would have to wait for four
years before it will be held here again.
 Scott Sleazak, an American who now resides and works in Cebu and plays for the
RP team, on the other hand, said that there are lessons to be learned in the experience.
“It is a repeat of what happened in 2004. We were practically giving away medals
for not being able to fill in all divisions,” said Sleazak. Sleazak also said that there is need
to refresh the officials.
“No matter how they deny it, some of the decisions were very one-sided. We have
been in this sport long enough to know that. The rules should be made clear to the
judges,” Sleazak said. Sleazak also said that it will be good to use the video footage
ruling.
“If we used those footages, we would see how one-sided they are,” said Sleazak,
who won two-Gold’s for the RP team this year. All divisions, Sleazak also said that he
still believes that the Philippines will win the title soon.
“We need to field players in all divisions. In forms, for instance, one should not
only prepare for traditional single stick but also for the non-traditional form,” he said.
Meanwhile, completing the gold medal winners for RP is the men’s team
composed of Edgardo Bontuyan, Dan Ritchel Guba and Reynaldo Combati, who defeated
the US trio in the tag competition.
The last gold came from Robert Bonjoc, who won in the men’s welter weight in
the double sticks competition, defeating USA’s Michael Klusman III. (MCB)

Another Milestone for Supreme Grandmaster Cacoy Canete

Happy 89th Birthday!
August 9, 2008
By Zena Sultana Babao

Supreme Grandmaster Cacoy Canete of

the Doce Pares Eskrido celebrated his 89th
Birthday with a dinner at the Golden City
Restaurant in Reseda, California Friday, August
9, 2008. Hosted by Mark Parra of the House of
Champions, around forty people attended the birthday dinner.

Among those present were: Wally Estriopa, Guy Kinanahan, Ron Lew, Vache
Partinian, Sean Innis, Manuel Francisco, Lyn, Huan Huang, Duy Huang, Diane Tanaka,
Zack Whitson, Gigie Alunday, Rich Verdejo, Fred Growchulski, Narrison Babao, Jacob
Bressler, David Ortiz, Dave Bertrand, Liza Prodigalidad, Rick de Jesus, and Narrie and
Zena Sultana Babao.
 A two-day seminar conducted by SGM Cacoy was held at the House of
Champions Saturday and Sunday, August 10 and 11, 2008.
 15th Annual PISTAHAN Festival
Yerba Buena Gardens
San Francisco, CA.
August 9, 2008
FMA Photos By Emmeline "Em" Angeles

Pistahan Festival is a two day festival that promotes Filipino American art and
business through interactive activities, performances, exhibits, culinary tasting, trade and
information sharing.
This year it featured selected Philippine regional
parade traditions as newly transplanted - never before seen
- cultural spectacles that will soon taking be root and
known widely as distinctly Pinoy in America.
The event highlights included the premiere of the
San Francisco Filipino American Jazz Festival with
headliner Charmaine Clamor, world-class performances by
Broadway, Hollywood and local rising stars. By popular
demand, brought back were the popular adobo cook-off
and the balut eating contest, and a new event: longanisa
eating contest all sponsored by Mama Sita's.

Pistahan Parade:
The only major Filipino parade in
the West Coast, it is a display of
community pride along San Francisco’s
main street “Market Street” from the
Embarcadero to the Yerba Buena Gardens,
the crown jewel of San Francisco’s
cultural district. Colorful floats, historical
themes and lively community contingents
has helped build Pistahan Parade, as the
Filipino counterpart of San Francisco’s great cultural institutions like Chinese New Year
Parade, Carnival, St. Patrick’s Parade, among others.
 Demonstrations of the Filipino martial arts were done by Grand Maestro Jon Bais
of Bais Tres Manos and Grandmaster Ver Villasin of Villasin Balintawak with their
students.
 Some of the Participants representing the Filipino martial arts in the Parade:

www.ksk-fma.net balintawakinternational.com www.haywardmartialarts.net

Grandmaster Jonathan "Jon" Bais Grandmaster "Ver" Villasin Master Alexander Bayot France
Guro Elmer Bais John Guzman Guro Emmeline "Em" Angeles
Marcus De Castro Belle Orpilla Guro Ramon Espinosa
Isaiah France Fabella Mel Orpilla Angela Alvarez
Manuel "Manny" Favorito Kees Villasin Chere Alvarez
Alyssa De Castro
Lucila Bayot France
Frances Schinzing France
Iris Liza France
Lorraine France-Gorn
Michelle Mendoza
Denise Espinosa
Felicia Espinosa
www.presas.org/kombatan Tommy Espinosa
Cabiles Combatives Raquel Espinosa
Guro George Cabiles
Kelli McCusker

Antique Weapons Display was brought to the Pavilion for display:

Brady Brazil
Roman Abad
Mel Orpilla
Braulio Agudelo
 FMA Council Established in Israel
August 18, 2008
By Neta Shermister

On August 18th, Mr.

Yuval Nechamkin and Mr. Guy
Rafaeli - Co-Instructors of
Filipino Martial Arts Israel, Mr.
Jon Escudero - Chief instructor
of Lightning Scientific Arnis
Israel and Miss Neta Shermister
- Manager and Co. Founder of
Lightning Scientific Arnis Israel
paid a courtesy visit to Her
Excellency, Ambassador Jon Escudero, Yuval Nechamkin and Guy Rafaeli
Petronilia P. Garcia, Mr.
Chester A. Omaga-Diaz Attaché for trade, economic, cultural and tourism Affairs, Mr.
Bert Santos, vice consul and Mr. Angelo Garcia, at the Philippine Embassy on Benei Dan
st. Tel Aviv.
The three teachers had decided to join forces and establish a council of Filipino
martial arts teachers in Israel (Israeli Council of Kali Escrima Arnis Instructors). They
came to present their collaboration and their groups to the embassy. Mr. Escudero, as part
of the board of directors of the Philippine council of instructors, had presented to her
Excellency the documents and papers of the new Instructors council, along with
information regarding the two groups and their Instructors’ credentials.
Mr. Rafaeli and Mr. Nechamkin have been teaching Arnis in Israel for over 7
years now. Filipino martial arts Israel adopts Filipino techniques from various systems
and influences and uses them in a modern, reality based way, focusing on empty hand
and knife fighting. The two instructors got their Instructor’s certifications, ranks and
blessings from many well respected martial artists from around the world, such as Neal
Hummerstone, Bram Frank and James Keating from the U.S.
Mr. Escudero, having just recently moved to Israel this year has just started his
Israel group, Lightning Scientific Arnis Israel which is a traditional system of Filipino
martial art, focusing on the quick and strong use of sticks and specializes in Espada y
Daga Serrada. Mr. Escudero got his master’s rank from Grandmaster Benjamin Luna
Lema, his direct teacher. Mr. Escudero currently acts as Secretary General to the LSAI
organization.
The three teachers declared how Filipino martial arts are becoming world famous,
especially in the United States, Europe and now Israel too. Mr. Nechamkin and Mr.
Rafaeli were proud to say that they are even teaching Filipino martial arts to secret
combat units in Israel and that Arnis is a very effective martial art for self defense.
 The Ambassador was happy to
hear about the promotion of the Filipino
Martial Arts in Israel, for Filipinos and
Israelis alike. She is pleased to hear that
the Filipinos in the Israeli community
can now learn to defend themselves, in
an art which is part of their own culture.
She invited the instructors to write their
teaching details and contacts in the
embassy board and website.
The flow of the conversation was
congenial and light. They talked about
Jon Escudero presenting the council's papers
to the Ambassador
issues such as legalities of using
weapons for self defense since the art
uses sticks and knives in their techniques. Mr. Rafaeli answered that there is no such law
against teaching, however they are selective regarding who they choose to teach. Also, it
is much harder to learn how to defend your self with a knife, rather than attack… most
knife attack cases are not done by martial artists.
Another interesting point is the topic of insurance. Miss Shermister had answered
that each group is insured and registered separately, but not as an organization together,
since each instructor needs his own Insurance. Mr. Nechamkin added they have the
proper credentials by the Wingate institute to be insured properly and that these are well
organized and acknowledged groups.
Mr. Escudero had shared an idea with the participants, to not only promote and
teach Arnis as a cultural aspect and self defense as service to the community, but also to
establish Arnis competitions, stick tournaments as cultural events, in Israel. He thinks
that not only Arnis can be used by the Filipino community as means of protection, but
also as an activity for sport and enjoyment.
The Ambassador said
that the embassy will do all
that they can to help the local
Filipino martial arts groups
in Israel and that she is
looking forward for future
collaborations between the
embassy and the Filipino
martial arts groups. At the Ambassador’s office L-R: Jon Escudero,
There is already a Yuval Nechamkin, Guy Rafaeli, Neta Shermister,
cooperation planned; Master Ambassador Garcia
Escudero will be teaching
Arnis to the children of the Bata-batuta Cultural awareness project, at the end of August.
Mr. Nechamkin and Mr. Rafaeli are planning to invite over masters from the Philippines,
to teach in their seminars.
The meeting was concluded with high spirits, not only that FMA is an indigenous
martial art, but that the Filipinos should be proud of their heritage.
 L-R: Jon Escudero, Bert Santos vice consul, Yuval Nechamkin, Guy Rafaeli, Neta Shermister,
Ambassador Petronilia P. Garcia, Chester A. Omaga-Diaz Cultural Attaché, Angelo Garcia.

Visit the following websites for more information:

Guy and Yuval: www.ics.il.im
Lightning Israel: www.lsai.co.il/en

Shinju Matsuri Festival 2008

Cacoy Doce Pares Masters from Cebu City, Philippines
Travel to Broome, Australia for the Shinju Matsuri Festival 2008
August 22 - September 1, 2008
By Tony Familari

Shinju Matsuri
The Shinju Matsuri (Japanese
meaning the festival of the pearl), started in
1969 as a festival that celebrates and
acknowledges Broome’s distinct
multicultural heritage. That heritage
incorporates, Japanese, Chinese, Malay and
Filipino cultures, which came to Broome to
work as divers and crewmen on the vast
pearling fleet along with the local
Indigenous community. The ability of these
groups to blend the Asian, Indigenous and
European cultures and live in harmony gave Left Master Chuck Canete, Right Master
us our unique and special Broome culture. John John Mac demonstration at the Broome
In 2008 the Shinju President Kevin Shinju Matsuri Festival
Fong writes, “This years focus pays tribute to the contribution of the Filipino community
past and present”.
The Shinju Matsuri Board and the Broome Martial Arts Academy sponsored
Master Chuck Canete and Master John Mac of Cacoy Doce Pares to travel to Broome
from the Philippines to demonstrate during the festival the Filipino Martial Arts and to
undertake seminars and training workshops in Eskrima.

Cacoy Doce Pares Demonstrations

The Filipino Masters wanted to show the audience a rounded presentation, so they
may gain an appreciation for the Art as whole.
The demonstration routine
performed my Master Chuck Canete and
Master John Mac:
• Amara - combination of strikes -
warming up
• Pengke - Pengke - double stick
displaying the coordination of left and
right hands.
• Sayaw (forms) - overview of Eskrima
principles - in particular long range to
close range
• 12 strikes of the Cacoy Doce Pares Master Mac and Master Canete
(CDP)System drawing the Cebuano Pinuti Blades
• 12 blocks of CDP
• Disarms and counters
• 4 counter strikes
• Medium range multiple counters
• Pre-arranged sparring drill attack and defence
• Pinuti blade - the Cebuano fighting blade. Highlights that the Basic Eskrima
fundamentals are applied to the live bladed weapon
• Sports Sparring - this part of the demonstration was by two students from the Broome
Martial Arts Academy.
• Eskrido demonstration - throwing techniques using Eskrima blended with Aikido, Judo,
Jiu-Jitsu
• Controlled sparring with the application of disarming techniques.
• Eskrido applications of close quarter sparring
• Pangamot - empty hand techniques from CDP A) defence against dagger attack B)
Dagger snatching and C) Tapi-Tapi combination of A and B.
• Sayaw forms using stick and dagger

During the public demonstrations, Tony Familari from the Broome Martial Arts
Academy narrated the story. The narrator informed the audience that from the basics the
advanced movements evolve. The masters wished that in the demonstration and the
narration story what people were seeing was much more profound than just
entertainment, they were witnessing an elementally integrated curriculum and programme
of Cacoy Doce Pares.
Master Canete and Master Mac were in Broome for nine days and presented 6 public
demonstrations to many thousands of people the majority had never heard about or seen
any Eskrima. They are mighty ambassadors, the newspapers, and television and the talk
of the Broome Township was about the Masters spectacular, educational and informative
demonstrations of Filipino Martial Arts.

Broome Martial Arts Academy seminar participants with the Filipino Masters

Cacoy Doce Pares Seminar

Master Chuck Canete and Master John Mac cover a range of CDP elements
during the seminar, while training sessions concentrate more specially on a particular
element. The seminar is outlined by the CDP Masters as a presentation of basic elements
for example assault drills, strikes and blocks, counters and disarms leading to Eskrido
Sparring (Eskrima, Aikido, Judo, Jiu-Jitsu integrated). The basic elements are built upon
to arrive at the advanced stages of CDP. The basic elements are seen as outer layers
intertwined towards the inner core of CDP, Eskrido sparring.

The Broome CDP Seminar covered:

• Introduction and outline - basic elements guiding the student to the inner core.
• Amara - warm up consisting of various twirling and spinning moves, assault forms and
drills.
• Pengke-Pengke - double Olisi sticks exercises up to 12 combinations.
• 12 Basic Strikes and Blocks of CDP
• 4 Counter strikes - these guide the students to understand the flow of the sticks, once the
student becomes more proficient in both skill and understanding, the higher level
component sees the student advance more towards setting up the opponent.
• Counter and Disarms - at the point where the student has reached advanced levels in the
preceding basics this brings the practioners to the inner core of Eskrido Sparring
principles and practise.

The Broome Martial Arts Academy (BMAA) students absolutely loved the seminars
and training session with the two Filipino Masters. BMAA is affiliated with Cacoy Doce
Pares. Student’s comments were all very positive about the fantastic opportunity, many of
the older Eskrima students simply stating “It was just such a great honour to train with
the Masters”. In particular BMAA is located in a very remote province some 300kms
from the nearest capital city and with not much other than long distance in between. For
the younger Eskrima students their eyes were just wide open while their faces held the
 biggest smiles. They may just be modest old fashioned country people but they are astute
in their judgements of what is of real value.

Applications of Cacoy Doce Pares Techniques

Masters Chuck Canete and John John Mac emphasized during the Broome
seminar and training that the advanced techniques build upon the CDP basics. Caution
you should not try to apply the advanced techniques without through training and good
guidance of the CDP basics.
Basic techniques training helps improve, hand eye speed coordination, wrist
flexibility, drills for speedy reflexes - without good practise in these areas you should not
comp-template trying to disarm a dagger attack. Going to a seminar that promotes knife
disarms out of context to a programme or system where you are trained up to deal with
that is perhaps expecting too much.
The following photo sequences demonstrate that starting with the Olisi weapons
the student begins to learn the basics which can then be applied Pangamot (empty hand).

Olisi
1. Master Chuck Canete (left) Master John John Mac (Right) Salutation
2. Ready position Master Chuck about to attack
3. Chuck strikes to head and John applies forehand rising bloc
4. John twists and applies pressure to begin to unbalance Chuck’s weapons strike - ready for disarm
4 B ‘close up’ forearm and body weight used to apply wrist pressure to attacker
5 John disarms whilst applying further pressure to unbalance attacker
6 Attacker is finished off with strike to the head
Pangamot against Olisi Attack
1. Chuck readies with Olisi weapon to attack John
2. Chuck about to strike John applies finger lock and pulls down to start to unbalance him
3. Chuck strikes at John while maintaining control of the finger, deflects and parries the attack with his left
hand
4. Chucks force in the forward attack is redirected backwards by John who uses both hands in applying a wrist
lock and further unbalancing.
5. John continues in a flowing motion to take down and prepares for disarm
6. John disarms and finishes with strike to head.

Pangamot against Knife Attack

1. Chuck readies to attack John with knife
2. Chuck starts to attack John who applies finger lock and pulls down to start to unbalance him
3. Chuck thrusts at John’s stomach - John while maintaining control of the finger, deflects and grabs the
attacking Knife hand.
3 B ‘Close up’ of control of finger and attacking knife hand
4. Chuck’s forward attack is redirected backwards with a twisting wrist lock
5. John continues in a flowing motion to take down, disarm and finishes the attacker.

The training sessions emphasised some of the key principles of Cacoy Doce Pares,
students were guided by the Masters in training to a keener level of understanding the
3Ms, Minimum Movement, Minimum Effort and Maximum Efficiency.
Masters Canete and Mac are
professionals however they could not help
but be touched with the audiences at the
public demonstrations; the crowds showed
respect, were very quiet, generally watching
with wide open eyes, mouths opened and
jaws dropped and applauded enthusiastically.
The Masters responded leaving the stage on
each occasion literally dripping sweat and
adding new levels of excitement to match the
John Mac - Tony Familari - Chuck Canete. appreciative audiences. The masters
indicated they were also pleased with the Eskrima students, in particular that they trained
regularly, are eager to learn and advance and take training very seriously and can still
have serious fun while training.

Broome Martial Arts Academy

Broome Recreation & Aquatic Centre
Cable Beach Road Broome W.A.
(08) 9192-3049

Spotlight on the Masters

Arnis Balite Seminar
August 23, 2008

Arriving in northern California the a day before Punong Guro Dowd had a get
together dinner in Morgan Hills, CA. with Grandmaster Alfredo Bandalan, Dr. Remy
Presas Jr., Ramon Lazo, Gilbert Cruz, and Pat Armijo and family.
Morning of the 23rd, Punong Guro Down
commenced the seminar with the basic concepts of
Arnis Balite, demonstrating the angles and circular
way, proper footwork, and the blocking techniques
of Arnis Balite. He showed how to limit your
opponents’ power and move in for close range
combat.
Having the practitioners train in the
movements of angles while executing the blocking
techniques of Arnis Balite; Punong Guro Dowd
then had the practitioners follow up with their own
Guro Em Angeles assisting Punong
Guro Dowd in the demonstrations
 personal capabilities in their own style to
dominate the opponent in either a counter attack
or trapping technique.
The participants saying they understood
and moving smoothly in their executions,
Punong Guro Dowd then had them switch the
baton to their opposite hand and try the same
philosophies. This seemed a bit more difficult
for the practitioners. In Arnis Balite the student
is trained to be able to have the baton in either
hand and accomplish the counters, and counter
attacks.

Morning session Afternoon session

Upon completion of the seminar relaxation and coffee was the next step before
going to dinner.

Punong Guro Down would like to thank the

following for dropping in and showing some
brotherhood:
Dr. Remy Presas - Modern Arnis, Grandmaster Ver
Villasin - Villasin Balintawak, Grand Maestro Jon Bais
- Bais Tres Manos, Emmanuel Querubin - Sikaran,
Master Ray Cordoba - Kombatan, Master Mike Jimenez
- Kenpo.
 Also a thank you to Master Alex France and Sensei
Jorge Sandoval for the invitation and school, Guro
Emmeline Angeles for assisting.

Spotlight on the Masters

Brought to you by: Alex France
Hayward Martial Arts
1024 B St. #1
Hayward, CA. 94541
Email

www.arnisbalite.com

www.haywardmartialarts.net

Engagement Seminar
Mataw Guro Lou Lledo and Master Keith Mazza
August 23, 2008

On August 23, 2008, the

Amara-Arkanis School of Filipino
Martial Arts (FMA) and the
Traditional Wing Chun Kung Fu
Academy conducted its first joint
martial arts seminar at Mount
Laurel, New Jersey, USA. The
seminar was entitled “How to
Engage Your Opponent Using
Wing Chun Butterfly Swords and
Amara-Arkanis Filipino Sticks”.
Punong Mataw Guro Lou Punong Mataw Guro Lou Lledo - Master Keith Mazza
Lledo of Amara-Arkanis kicked-off the seminar with a short background on how the
evolution of the different Filipino martial arts styles fits into the overall history of the
Philippines and the Filipino people, emphasizing the fact that mastery of any particular
martial art primarily depends on one’s understanding of the principles behind the style’s
techniques - and such principles are deeply-rooted in the history and culture of the people
who developed the art.
 It was followed by a
presentation of physical
specimens of both bladed
and non-bladed weapons
typically used in the Filipino
martial arts (e.g. kris sword,
kris knife, straight sword,
rattan stick, kamagong stick,
bahi stick, etc.). Discussions on proper mindset, breathing, weapon grip, and weapon
control rounded-off the introductory part of the Amara-Arkanis portion of the seminar.
Punong Mataw Guro Lledo then explained the particular niche of Amara-Arkanis
in the continuing evolution of the Lledo. While on a stand-alone basis the traditional way
of teaching Lledo techniques are fundamentally sound, his experience in developing an
Lledo teaching curriculum at the university
level revealed that there is a need to teach
the art in a simpler and holistic manner,
such that students will be able to effectively
absorb and apply the basic techniques
involved within a short period of time.
He then proceeded to explain and
demonstrate the basic combat engagement
techniques of Amara-Arkanis. After each
technique was explained and demonstrated,
Punong Mataw Guro Lledo made the attendees physically perform the same. The
techniques covered are summarized in the succeeding sections of this article.

Stances
In Amara-Arkanis, there are only two (2) stances, the Preparatory or Normal
Stance and the Combat Engagement Stance
Fighting Distance Classifications
The following are the fighting distance classifications common to almost all
Filipino martial arts styles, including Amara Arkanis:
- Long (Largada)
- Middle (Mediada)
- Short (Corto Pekiti)
Punong Mataw Guro Lou demonstrated how to properly measure the above
mentioned distances using the fighting stick.
Standard Directions of Movements and Slashes
In Amara-Arkanis there are only eight (8) standard
directions whether for combat engagement movements or for
executing slashes.
For combat engagement movements, these are:
Forward - Straight
Forward - Diagonal Right
Forward - Diagonal Left
Sideways - Right
Sideways - Left
Rearward - Straight (8) standard directions
Rearward - Diagonal Right
Rearward - Diagonal Left
For executing slashes, these are:
Diagonal Downward - Right to Left
Diagonal Downward - Left to Right
Diagonal Upward - Right to Left
Diagonal Upward - Left to Right
Horizontal - Right to Left
Horizontal - Left to Right
Downward - Straight
Upward - Straight
It was emphasized that the standard pattern for slashes are basically a combination
of the following: The “X” pattern of “Cruzada” and the “+” pattern of side-to-side and
up-and-down slashes
It was also pointed out that there are certain slash patterns that fall outside of the
above mentioned eight (8) standard directions. These are: the Infinity or Figure Eight
pattern (“Otso-Otso”) and the Circular pattern (“Amara”)

Amara-Arkanis action shapes

The final component of an Amara-Arkanis practitioner’s arsenal of strikes is the

thrust.
The Nuts and Bolts of Striking
Notwithstanding the aforementioned classifications, Punong Mataw Guro Lledo
pointed out that all strikes are just essentially of two (2) types the forehand and the
backhand
This holds true for both slashes and thrusts. And as far as slashes are concerned,
only two (2) types are generally used in actual combat engagements - Downward
Diagonal Forehand and Downward Diagonal Backhand. Mastery of these strikes will
already give, even the beginner student, the basic tools needed to survive an actual
combat engagement.
Footwork
 There are only three (3) basic types of footwork in Amara-Arkanis (each of which
can be executed forward or “in”, as well as rearward or “out”:
- Stepping
- Sliding
- Stepping and sliding
Blocks
There are basically two types of blocks in Amara-Arkanis:
- Long-range (executed with one hand holding one end of the stick)
- Middle-range (executed with two hands holding both ends of the stick)
Stick Impact Training
There are generally two (2) types
of stick impact training, with a partner or
solo. Stick impact training with a partner is
common to almost all Filipino martial arts
styles. Solo stick impact training, on the
other hand, is unique to Amara-Arkanis
and was personally developed by Punong
Mataw Guro Lou himself.

Traditional Wing Chun Kung Fu

Empty Hand
Master Keith Mazza covered the basic combat engagement principles of
Traditional Wing Chun Kung Fu, including stances, footwork, getting out of the line of
attack, blocks, checks, counterstrikes, as well as takedowns. He also explained in detail
the principle behind the technique of fist interception.
Certain basic defensive combinations using the abovementioned techniques
against the straight punch, the straight punch and hook with the same hand, as well as two
successive straight punches using both hands were then demonstrated and explained.
Butterfly Sword
Master Keith Mazza demonstrated certain butterfly sword striking techniques.
Some of these techniques looked strikingly similar to the “Amara” strikes of Amara-
Arkanis.
Emphasizing the basic principle in Wing Chun that “the weapon is just an
extension of the arm”, the attendees were made to execute the butterfly sword adaptations
of the empty hand defensive combinations previously discussed above.

Closing
Punong Mataw Guro Lou closed the seminar with a dance-like drill of the middle-
range two-handed blocks of Amara-Arkanis to the accompaniment of aerobic music. The
self-proclaimed macho men among the attendees were, at first, a little bit inhibited in
letting out their aerobic moves. Eventually though, even them eventually succumbed to
the hypnotic rhythm of the music. While “Moro-Moro” plays became the platform of the
entertainment aspect of the Filipino martial arts until the beginning of the last century, the
21st century is starting to reveal itself as the domain of aerobic music.
At the end of the day, it looked like everyone had a real good time. Handshakes,
“thank yous” and “good byes” were exchanged. But everyone knows that such parting
will only be short-lived. The next joint seminar between Amara-Arkanis School of
Filipino Martial Arts (FMA) and the Traditional Wing Chun Kung Fu Academy, is
scheduled to be held in Baltimore, Maryland sometime towards the end of this year.

amara-arkanis.com

traditionalwingchun.com

Bata-Batuta Learning Filipino Martial Arts in Israel

August 28, 2008
By Neta Shermister

On August 28, Twenty six children of Filipino-Israeli families participated in the

third and last day of the Philippine Embassy’s Bata-Batuta cultural project, at Benei Dan
Street, Tel Aviv.
The embassy established this three day cultural awareness project in order to
introduce the exceptionality of the Filipino culture to Filipino children from ages 7-12
that were born and raised in Israel. These children grew up away from their homeland
and thus have little knowledge of their own culture. This project wished to teach them
about their roots in order to comprehend their identity better. A whole lot of gratitude is
in place for the Embassy personnel, families, household members and various volunteers,
who gave up from their free time to help this project come to life.
During this three day “summer program” the children were exposed to Philippine
values, customs, tradition, songs, stories, dances, food, outdoor sports such as luksong
tinik, tumbang preso and the indigenous martial art. The idea behind it is to introduce the
children to their culture and history in a playful, fun and educational manner.
The last day started with Mr. Arnold Eligado and his wife Luisa who taught the
children, some native Filipino songs, such as: paa, tuhod, balikat, ulo and more.
 The second part of the day
was dedicated to introducing the
children with their country’s unique
Filipino martial art. Master Jon
Escudero was invited by Her
Excellency, the Ambassador to teach
the Children and introduce them to
their heritage of the Filipino martial
arts. Master Jon is a certified master
in the system of Lightning Scientific
Arnis International; he received his
master’s rank from his direct teacher,
the late Grandmaster Benjamin Luna
Lema. Master Jon came to Israel from the Philippines early this year, with his girlfriend,
Neta and opened a group of LSAI in Israel. Neta and Master Jon are always happy to help
the embassy with their important projects.
Having taught a lot of children in the Philippines, such as summer classes in the
Miriam College Child Development Center, classes of “Arnis for kids” and workshops
and seminars as alternative classes in different high schools, Master Jon had an excellent
time sharing his knowledge with the children. He started the activity indoors, where he
gave the children names of several countries and the children had to state which martial
arts came from these countries. The children had a bit of a problem when he asked what
kind of martial arts does the Philippines have... At this point the children went outdoors
with their parents and embassy members to get familiarized with the art of their land.
The children were each
given an Arnis stick (padded
sticks for the younger children),
Master Jon, with the help of Ms.
Neta Shermister and his student
Mr. Angelo Garcia helped with
teaching the children how to
properly use their stick, how to
hold it correctly and what are
the possible movements and
basic strikes in Arnis. Before the
water break, the children had to
Master Jon Escudero presenting Arnis to the children combine the strikes they had
learned with moving and
walking forward and backward while striking. The last part of the class was dedicated to
a form (“kata”/”anyo”) in which Master Jon taught the children a prescribed set of moves
that the children had to memorize and perform. The children were divided into three
groups: A group led by Master Jon, a group led by Ms. Neta and a group led by Mr.
Angelo. They had to prepare the form within their group and present it to the other
students at the end of the session. The children did wonderfully well and got much
applause from everyone around.
 At the end of the session, Master Jon demonstrated some advanced, high speed
techniques, with the help of Ms. Neta and Mr. Angelo. Having high energies, the children
continued to several outdoor games, such as pabitin, in which they won lots of candies
they rightfully earned.
The day was concluded with certificates of participation to 26 children who
attended all the three days of the Bata-Batuta project. Her Excellency Ambassador
Petronila P. Garcia, Vice Consul Mr. Thaddeus T. Hamoy and Cultural Officer Chester
Diaz had also awarded certificates of appreciation to the volunteers for their contribution
to the success of the project. The day ended with eating tasty turon and many happy
smiles, children and adults alike.
Teaching the children

Master Jon Escudero Neta Shermister Angelo Garcia

Visit the following website for more information:
Lightning Israel: www.lsai.co.il/en

School Challenge
Bandalan Doce Pares
September 9, 2008

White Tiger Clan (Bandalan Doce Pares) - Fresno, CA.

Warriors of Visayas (Bandalan Doce Pares) - Hollister, CA.

For this one day we were all able to meet with no other thoughts of the outside
world, just to enjoy one another and our love of Eskrima!
Students put on full sparring gear, and the competition began. This was a
challenge taken with
much seriousness and
honor. But in the end it
was filled with only
fellowship, loyalty,
love, honor and respect
for all of us under the
umbrella of Bandalan
Doce Pares.
Continuing on
in the day training was held in Kenpo the other art taught at both schools. The day ended
with all gathering and enjoying pizza and the company and the camaraderie of each
person as an individual and a practitioner.

Thank all of you for your attendance and we look forward to more in the future!
Grandmaster Bandalan
White Tiger Clan: Master Chaves, Guro Antonio Lucero and students.
Warriors of Visayas: Guro Anthony, Bibo and Alex Ordiniza, Jojo, Tim, Jake and
students.

Warriors of Visayas Ordiniza

Filipino Martial Arts
Bandalan Doce Pares Headquarters
Grandmaster Alfred Bandalan
(408) 310-0101
Master Felix Ordiniza
(831) 524-2957
2910 Southside Rd.
www.bandalan.com Hollister, CA. 95023-9629

Peoplefest Festival
Manchester, NH
September 6, 2008
By Philip Duldulao

On September 6, the city of Manchester, NH recently celebrated the cultural

diversity of the area with an open-air festival at Veterans Park called the Peoplefest
Festival. Among the attendees and representing the Filipino American community was
the Boston Arnis Club, which is headed by Guro Director Peter Freedman.
One of the main concerns for the organizers of the event was hurricane Hannah,
which threatened to hit and affect the New Hampshire region during the day of the
festivities, thankfully this didn't occur and all the acts were able to proceed without a
hitch.
Even though this was the first time the Boston Arnis Club had participated in the
Peoplefest event, the demonstration showcasing the Filipino Martial Arts Culture was
very well received and the crowd approved of the various acts that were represented and
showcased by Guro Freedman and his students.

Guro Freedman made a point to the

crowd during the introduction that the acts
were not limited to his advanced students
but also included beginner and
intermediate level students of the school as
well. There were acts featuring flexible
weapons such as the handkerchief/Panyo
going up against edged weapons such as
the baraw or knife, two man drills
showcasing sinawali, Espada y Daga, Solo
Baston Larga Mano, block check and
counter drills and a few other acts that
unfortunately weren't shown due to time
constraints. Guro Freedman explains the finer points

Demonstrating the art of Arnis

One interesting note came from Aida Castro-Jacques, Director of the Cultural
Group for the Filipino-American Friendship Society of New Hampshire upon observing
the two person drills, she commented on how Guro Freedman's students graceful and
fluid footwork made them good candidates for her Filipino dance troupe and how their
skills could be further enhanced by incorporating some of the dance concepts and
principles of Filipino Native dance routines.
Certain Filipino dances evolved from martial arts and are combative in nature.
Dances such as the 'Sakuting', a dance where sticks are used and the music is reminiscent
of Chinese martial music. The 'Baile de Bakal' is also a traditional dance using 'swords',
mimicking the fencing steps that the Spaniards brought with them to the Philippines. The
'Palo-palo' dance mimics the fight between the Muslims and Christians, using sticks as in
Arnis. It certainly brings new meaning to the term "Dance-offs"...

Guro Peter Freedman

Weare, New Hampshire
(603) 529-3564
Email

www.freedmansmethod.com

Arnis Tournament
Barangay San Dionisio
Paranaque City, Philippines
September 07, 2008

Headed by Punong Lakan Garitony “Pet” Nicolas Modern Arnis Mano-Mano

Filipino Martial Arts (M.A.M.F.M.A) students on September 07, 2008 competed in an
Arnis Tournament at Barangay San Dionisio, Paranaque City, Organized by Master Gary
Villan of the Arnis Federation of the Philippines.
Novice Arnis Anyo Competition Colored Belt Arnis Anyo Competition Black Belt Arnis Anyo Competition
Rene Joy Rivera Johannes Lagahit Ronald Regalado
2nd Runner up. 1st Runner up. 1st Runner up

Organizers and Participating Teams Grandmasters, namely Grandmaster Jojie Mahilum

(President and Founder International Black Chimera Integrated Martial Arts International
Federation Inc.), Grandmaster Guillermo Bernas (President - Combat Judo Karate Federation of
the Philippines), Punong Lakan Garitony “Pet” Nicolas (Modern Arnis Mano-Mano Filipino
Martial Arts), Grandmaster Dannie San Joaquin ( Gym KATA), Master Gary Villan (Arnis
Federation of the Philippines), Master William Macly Jr. (Pres/Founder- Red Cobra) and Master
Restie Obispo (World Empire Martial Arts Commando).

USFMAF verses Chanbara Challenge Workshop

September 13, 2008
By Marc Lawrence

A challenge was presented to the

Filipino martial arts community in the form of
a tournament between USFMAF and
Chanbara. A workshop was set by USFMAF
and CHANBARA (a Japanese fighting
organization) to roll out the rules. On Sept. 13,
2008 in Southern California, the clinic held at
House of Champions in Van Nuys on the rules
of the tournament. Members of USFMAF and
others met Chanbara and other Japanese Martial Arts schools for some friendly sparring
and a roll out of the rules. The rules that were developed by a joint committee were taken
from paper to the mat. The method of scoring was reviewed for all attendees to ensure
their familiarity with USFMAF point and continuous scoring systems.
 Several practice runs were done to explain the proper scoring and center referee
functions. All padded weapons and safety gear was reviewed to ensure that everyone
understood what could be used. After that all participants broke off into small groups and
practiced their skills and refereeing. Chanbara brought most of their padded weapons.
They had brought the Tanto, Kodachi, and Choken. The five traditional weapons
typically used in Chanbara sparring are: Tanto (18-inch knife), Kodachi (24-inch short
sword), Choken (40-inch long sword), Yari/Naginata (6-foot spear), Jo and Bo (4-5-6-
foot staff).
Only the Kampilan, double Olisi, Espada
Y Daga, were available for use at the workshop.
All of the traditional weapons like the Bankaw
(spear) and Kampilan (long sword), double Olisi
(stick) short and long stick and Espada (sword)
y daga (knife) and the Kalasag (shield) are
allowed to be used in tournament.
The USFMAF is still looking to the
Filipino martial arts community for fighters to
come out a show the world how great Filipino
martial arts is! In February of 2009 in Anaheim, California at the USFMAF tournament
there will be the open padded weapons division.

The following groups, schools and systems that attended:

Angels Disciples Cabales Serrada Dog Brothers Kali
Kali Kan Cabales Serrada Jedokan Filipino Karate
Pakamut Fighting Arts Tozai Nippon Karate
Cacoy Doce Pares TAO Combined Fighting Arts
International Martial Arts and Boxing Chanbara-Samurai Sports
Inosanto Kali

Suppliers of Equipment: Media Coverage:

Actionflex-Century UP TV channel # 37
Spargear Southern California Martial Arts Talk Show

Facility Provided by House of Champions

For more information contact: Master Marc Lawrence
USFMAF RSO for the South Bay and Long Beach - www.usfmaf.org
PAKAMUT-Torrance - www.pakamut-fma-torrance.com

Arnis 4 Kids Demo at Kids Ahoy

Cubao, Quezon City, Philippines
September 20, 2008
By Anthony Gatchalian
Photos By Kids Ahoy Shop

Saturday, September 20, 2008, Modern Arnis Mano-Mano Filipino Martial Arts
Headed by Punong Lakan Garitony “Pet” Nicolas and R and O Academy Kid Arnisadors
Headed by Susan Contillo conducted a Arnis Demo for Kids Ahoy a Creative Kid
Educational Center.
 The R and O Students who participated in the event were Katrine Soriano,
Kristopher Soriano, Vince Dela Cruz, Irish Tafalla, Andrea Pelovello, Nymrod Contillo,
Regival Contillo, Eunice Torre, Felix Thio-ac, Vincent Batoon, Justin James, Cielo
Octavio, Trisha Adrales and Ma. Letty Laureta. With Punong Lakan Garitony “Pet”
Nicolas of , Modern Arnis Mano-Mano Filipino Martial Arts, Susan Contillo School
Directress of R and O Academy and Joanne Parson, President of Kids Ahoy.

R and O Academy Kid Arnisadors with their Parents

MAMFMA
Pabgasisan Chapter - Cakca Martial Arts
19 Rizal Ave.
Malasiqui Pangasinan
(0910) 215-0955
L-R: Punong Lakan Garitony “Pet” Nicolas, Website
Joanne Parson, Susan Contillo Website
For more pictures and comments visit: Click Here
 Speak Up - Speak Out
Roberto Trinidad

Learning FMA and Filipino Culture

There is long running topic over on the FMA Forum titled “Do foreign FMA students
really need to learn our culture as well?” Subject title is self explanatory, but let me quote
the original poster:
“Of course many foreign students of FMA get into the system because of the exotic
nature of the systems. The same for those who like Japanese systems, Thai martial
arts, etc. They want the whole "experience" of FMA; martial skills, culture, the food,
etc.”

“But there are also those who feel that they don't need to know Filipino culture to
learn and be good at FMAs. They just want the fighting techniques, that all. If
something can't make them fight better, they don't need to know it. FMA could be an
Eskimo martial art and they couldn't care less.”

“So I ask the locals here: do you feel that FMA must be learned along with our
culture? If so, what will that cultural education provide the student? What value is it
to them?”
Being a Filipino and a teacher of FMA, I want my students to excel in the art and that
teaching the culture goes a long way in helping the student achieve that goal. However, I
may be biased towards my own culture so I’d rather quote some non-Filipinos who
posted on the thread:
“I was pretty good at the fighting side to the art way before I ever travelled to the
Philippines, but even after my first trip to the PI and experienced the culture first
hand only then did I truly appreciate the art and all it has to offer. Yes I try to educate
my students to some degree about the culture but I always advise them that to truly
experience the culture you have to go to the PI, this will give you an whole new
outlook about the art too. Will it make you better at it? I don’t know but I believe it
will help you understand it more.”

“I will be the first to admit, my trips to the Philippines and my appreciation of the
culture has made me a better instructor and helped me and my students understand
the art in a whole new light.”

“You can tell if an instructor has been to the Philippines and taken on board the
whole culture behind the art and those that have not. Their whole approach to the art
and how it is done is different, not different in a way that a non FMAer notices, they
just see sticks flying etc, but to those that do the art there is a difference that is
noticeable.”
“I personally find it very important to learn the culture of your craft. How is one to
understand the how if he cannot embrace the why? I absolutely love the Philippine
culture..the food, the customs, the arts, the language (which I am currently studying).”
Have more to add? Hop on to the fmaforum.org and go to
www.fmaforum.org/index.php?showtopic=3159 to add your opinion.
See you there!

FMA Future Events

Seminars
Inayan Seminar w/Pangulong Guro Jon Ward
October 2, 2008
Pangulong Guro Jon Ward
Aldingen, Germany
Email
Website

2nd Annual West Coast FMA Gathering

October 4, 2008
Duarte CA.
Contact: Gigie Alunday or Rich Verdejo
Email
Flyer
Website

Grandmaster Richard Bustillo

October 4, 2008
Hawaii Martial Arts Center
HMC Academy
King's Gate Plaza
555 N. King St.
Honolulu, Hawai‘i
To register contact:
The IMB Academy Edward Barinque James Tanaka
(310) 787-8793 (808) 381-2285 (808) 223-9363
Email Email Email
Flyer
 The London Seminar
October 4 - 5, 2008
Cheshunt Marriott Hotel
Halfhide Lane
Turford. Broxbourne, EN10 6NG
Contact: Grandmaster Angelo Baldissone - Email
Master John Byrne - Email
Flyer
Application
Website
Website

Inayan Seminar w/Pangulong Guro Jon Ward

October 4 - 5, 2008
Pangulong Guro Jon Ward
Hamburg, German
Email
Website

Inayan Seminar w/Pangulong Guro Jon Ward

October 9, 2008
Pangulong Guro Jon Ward
Ravensburg, Germany
Email
Website

Bram Frank Instructors Camp & Seminars

October 9 - 12, 2008
CT Kenpo Karate School
64 Market Square
Newington, CT
Email
Flyer
Website
Website

Inayan Seminar w/Pangulong Guro Jon Ward

October 12 - 13, 2008
Pangulong Guro Jon Ward
Karlshrue, Germany
Email
Website
 October Camp Bergen, Norway
October 17 - 19, 2008
Various Instructors
Email
Website

World of FMA
October 18, 2008
Warriors of Visayas Ordiniza
Filipino Martial Arts
2910 Southside Rd.
Hollister, CA. 95023-9629
Contact: Grandmaster Alfred Bandalan - (408) 310-0101
Email
Master Felix Ordiniza - (831) 524-2957
Email
Website

Warrior Healer Seminar

October 18, 2008
Long Island University
Rockland Graduate Campus
70 Route 340
Orangeburg, NY 10962-2219
For Details Contact: Dr. Thomas J. Nardi
(845) 623-6400
Flyer
Website

Grandmaster Atillo Seminar

October 18 - 19, 2008.
Village Martial Arts
188 East 3rd. St.
New York, NY
Contact: Guro Doug Pierre – (212) 614-3250
Website

Pekiti-Tirsia Kali System

October 18 & 19, 2008
Apolo's Martial Arts / Kali
750 MD Route 3 South
Gambrills, MD
(410) 370-4455
Email
Website
 Modern Arnis Seminar
October 18 - 19, 2008
Grandmaster Dan Anderson
4404 W. Victory Blvd.
Burbank, CA
(818) 567-7600
Flyer

BaHad Zu'Bu Filipino Combatives

October 18 - 19 2008
Allied Martial Arts Academy
110 King Ave.
Kingsland, Georgia, 31548
Email

Arizona Filipino Martial Arts

October 19, 2008
10:00 am to 4:00 pm
Papago Park
Phoenix, Arizona
Contact: Mike Butz - Email
Website
Website

Inayan Seminar w/Pangulong Guro Jon Ward

October 21 - 22, 2008
Gothenburg, Sweden
Email
Website

NYC Kali Eskrima Arnis Gathering

October 25, 2008
Fighthouse
122 West 27th St.
(Between 6th and 7th Ave.)
Chelsea area of New York City
(201) 674-6609
Email
Website
Website
 FMA Senkotiros Concepts
October 25 - 26, 2008
Texas Senkotiros/US Karate System
505 W. University Avenue, Suite # E
Georgetown, Texas
Contact: Tugan Dean Goldade - Email
Website

Classic Eskrima Seminar

Instructor Ron Harris
Filipino Martial Arts and Mixed Martial Arts
October 25 - 26, 2008
San Diego, California
Contact: Brian Constantino - Email
Ron Harris - Email
Website

Guro Dan Inosanto Seminar-JKD Jun Fan Kali

October 25 - 26, 2008
Masters and Champions Martial Arts
G-6072 S. Saginaw St.
Grand Blanc, Michigan
Email
Website

IKAEF Instructor Camp

October 25 - 26, 2008
Punong Guro Jeff Espinous
Pangulong Guro Jon Ward
Koln, Germany
Email
Website

Inayan Seminar w/ Pangulong Guro Jon Ward

November 1, 2008
Kettering, England
Email
Website

Angkàn Felices Kaliradman Seminar

November 4, 2008
Palestra Accademia Moros Via Matta 4
Sassari, Sardinia, Italy
Email
Website
 Grandmaster Bobby Taboada's
World Camp 2008
November 8 - 9, 2008
Las Vegas, Nevada
Flyer
Website

1st FCS European Gathering

November 14 - 16, 2008
Athens - Greece
Email
Website

HTAI Fall Camp

November 15 - 16, 2008
HTAI Headquarter
14510 NE 20th St. #100
Bellevue, WA.
Email
Website

1st Kuntaw [Alumni Home Coming] Region 5

December 13 - 14, 2008
Aquinas University of Legazpi
Rawis
Legaspi City, Philippines
Email
 Tournaments
The Sulong Championship
October 12, 2008
New Lenox VFW Hall
323 Old Hickory Rd
New Lenox, Illinois
Email
Website

USFMAF
A part of Disney’s Martial Arts Festival
Disney’s Wide World of Sports® Complex
In WALT DISNEY WORLD® Resort, near Orlando, Florida
October 24 - 26, 2008
Coordinator: Darren G. Tibon
(209) 464-3701
Email
Flyer
Website

Blade Fighting
Disney's Martial Arts Festival in Orlando, Florida
October 24 - 26, 2008
Disney's Wide World of Sports Complex
Contact for Blade Fighting: Gigie Alunday and Rich Verdejo - Email
Register online: Website
 By Luis Rafael C. Lledo, Jr.
www.amara-arkanis.com

Part one: Basic/Foundation

Lesson one: Breathing
Proper breathing in any martial art, or any physical activity for that matter, is of
utmost importance. However, most teachers of the Filipino fighting arts have relegated
breathing in the background. There are even some who have ignored teaching proper
breathing altogether. In AMARA ARKANIS, proper breathing is the first priority.
Breathing may be simply defined as a process made up of inhalation (taking air
in) and exhalation (expelling air out).
In AMARA ARKANIS, the process may sound more complex. Instead of just
taking the air in, inhalation is drawing into your body the universal energy, forging that
energy in your personal anvil of training and expelling it out as a destructive or
constructive force, depending on the need and intention. This exhalation may be
vocalized, called bunyaw in Filipino. At this very instant all the energy of the body must
be concentrated in the center of gravity transforming the whole body into a one solid unit
by tucking the buttocks, pressing the shoulders, tightening the abdominal, back, sides,
chest and leg muscles.
Training in proper breathing:
• Stand in natural parallel toe stance, feet spread hip width with hands hanging on
the side
• Turn palms up and slowly inhale through the nose to chest level
• Hold breath for 5 seconds
• Turn palms down and slowly exhale through the mouth as you bring your hands
down and bend your knees as you bring your center of gravity down
• When you have exhaled all the air in your body force one last exhalation
• Hold your breath for 5 seconds
• Straighten your knees as you turn your palms up to the level of your chest
inhaling slowly through the nose
• Repeat the process
• As you progress increase holding your breath up to 10 seconds

Lesson Two: Stance and Center of Gravity

There are three components of a stance. It must be comfortable so one can assume
the posture without undue fatigue. It must be stable so proper traction is achieved for a
fast and powerful technique. Finally, it must be flexible so mobility is never hampered.
Understanding of body mechanics and knowing what muscles are involved and
how and when they play into action must all be considered. Placement and maneuvering
of the center of gravity completes the equation. There are two main stances – the natural
knees straight stance and the knees bent one foot in-front fighting stance.
 Natural Stance Right Fighting Stance Left Fighting Stance

Characteristics of all stances:

• Center of gravity falls within the stance
• Feet are spread hip width
Characteristics of fighting stances:
• Both knees bent slightly and tensed outwards
• Weight evenly distributed on both feet
• Feet are spread hip width
• Toes of trailing foot is in line with heel of leading foot
• Leading foot points directly forward
• Trailing foot points about 15 degrees to the side
Exercise: From natural stance:
• Move right foot forward to assume right fighting stance
• Move left foot forward to assume left fighting stance
• Move left foot backward to assume right fighting stance
• Move right foot backward to assume left fighting stance
• Move left foot forward, turn 90 degrees to the right to assume left fighting stance
• Move right foot forward, turn 90 degrees to the left to assume right fighting stance
• Move right foot to the right, turn 90 degrees to the right to assume right fighting stance
• Move left foot to the left, turn 90 degrees to the left to assume left fighting stance

Questions or Topics of interest for the Filipino martial arts contact:

Mataw Guro Luis Rafael C. Lledo, Jr. - Email
The Concept of Aycocho Arnis Korambit (AAK)
By: Frank Aycocho
What is Korambit? An ancient double
bladed curve knife of Filipino; disguised as a farm
tool during the Spanish time in the Philippines when
carrying of the arnis stick was banned by the
Spanish in 1764. The Korambit is a Filipino native
word similar to Karambit, an Indonesian Kuntao
and Penjak Silat weapon with origin from the
Philippines farm tool, used to harvest palay and coconut. It is 12 inches total in length,
with a sharp edge on one side while the Korambit invented by Sr. Master Frank Aycocho
combines a farm tool and a shoe makers tool. It is designed for multipurpose uses in
military combat hand and foot.
The Karambit of Emerson
Knives (www.emersonknives.com)
is different than AAK. The AAK is
an innovation of Spada Y Daga,
Spada - sword represents the stick in
arnis, Korambit represents daga
(dagger), in the sense of promoting
sports competition in the
Philippines, Arnis being one of
Filipino National Sports. The AAK
was presented at the Filipino Martial
Arts Festival on July 22, 23, and 24,
2008.
The Korambit is a double
bladed curve knife short for a quick Differences between the Karambit and the Korambit
maneuver of cutting at all direction within a twist of wrist followed by the flexibility of
the body, hips, shoulder and pivoting of feet to flow on its momentum of motion. The
finest techniques of close quarter combat, artistically designed for military combat
fighting.
In the mechanics of the technical application which combines the art of Silat with
an Arnis stick and the kerambit, one hand holds the baston and the other hand has the
Korambit with four fingers inserted to the hole of Korambit handle for an option to grab
and control an opponents’ action and if you lose your grip on the opponent the opponent
will be cut.
 The kerambit a rubber knife is designed to
provide training practice and for sports competition for
safety reasons. The arnis stick shall be made of hard
rubber for the same reason of safety to avoid injury
rather than wearing a safety vest that slows down the
reflexes of contestant.
The size, weight and length of martial arts
weapon must be equal for both players and must be
marked with colored chalk for visibility of marks to
count and determine the winner.
The competition shall be 3 minutes per round
with 3 rounds of competition. If in case of tie at the end
of 3 rounds, one round shall be allowed, at the end of the extra round if points remains
tie, another 3 minutes round shall be extended in a rule of martial arts in one contact first
strike point and winner shall be declared even if the last 3 minutes extension is not
consumed.
If one player loses a weapon in his hand, the fight shall continue and the opponent
with the lost weapon shall continue to defend himself, “loosing a weapon is not grounds
for defeat,” but he/she is not allowed to recover a lost weapon.
Light contact is allowed on selected parts of the body, Bleeding, eyes, genital and
lips are prohibited targets and biting is also prohibited. 3 warnings for fouls are grounds
for disqualification.
In respect to martial arts of any other nations style, allowing them to participate,
display their own techniques in competition with unlimited selections of points is a way
to promote peace, harmony and comradery among martial artist worldwide, we are in the
future of mixed martial arts, but we have our right of identity of our culture and tradition,
let us promote martial arts for sports, physical fitness and self defense.

Korambit Aluminum Knife: non sharp blade with

kamagong hard wood black handle 1,200.00 pesos
includes shipment, 10 % off for whole sale over 50
pieces.
Korambit Rubber Knife: 120.00 pesos includes
shipment, 10 % off whole sale over 100 pieces.
Korambit Military Combat knife: authentic with
sharpen blade $300 U.S.D. includes tax and shipment.
Korambit knife and 2 Rattan sticks w/case
(standard 28inches): 200 Pesos, includes shipping and tax.
AAK Lightweight Polyester Camouflage Uniforms: 3
sizes, V cut - $50 USD includes shipping and handling
outside the Philippines.
Traditional Red Uniform Pants: Cotton canvas, garterized
with waist draw string - $50 each.
Contact: Frank Aycocho (0919) 883-1120
or Email: Click Here
Trademark: AKDPhilippines
Christmas Time … Get that special someone, something that a practitioner can most
definitely use and appreciate.

www.sandatacrafts.com

www.eskrimador-supplies.com

www.kaligear.com
www.eskrimacustoms.com

www.pmasupplies.com

Good day to you FMA practitioners and aficionado’s! Philippine Martial Arts
Supplies is proud to introduce our new wooden practice swords and knives to add to your
training equipment or for your collection and display.
All are made out of our premium Kamagong Ironwood material which is
unparalleled in beauty, balance and functionality.

Espada Y Daga
Philippine Martial Arts Supplies is
proud to present this beautiful hardwood
replica of the Visayan Espada Y Daga.
Patterned after the famed Sansibar blades of
the Visayas Region, this great combo makes
practicing your sword and knife drills all that much safer.
Great for practice, collection and display.

Karambit
The karambit (also known as
kerambit) is an exotic knife found among the
cultures of the Philippines, Malaysia and
Indonesia. In all of these cultures it served
foremost as an agricultural tool then as a
weapon. It is said that the shape of the
karambit is related to animist beliefs about
the power of big cats such as tigers, such
that the karambit is in the shape of a tiger
claw. In fact, there is also a non-bladed version of the weapon that is made of wood and
is clearly shaped like a claw which can be found in Malaysia.
The karambit has a sharply curved, usually double-edged, blade, which, when the
karambit is properly held, extends from the bottom of the hand, with the point of the
blade facing forward towards your opponent. In Southeast Asia karambits are
encountered with different blade lengths and both with and without a retention ring for
the index finger on the end of the handle opposite the blade. However, in addition to
being held blade facing forward and extending down from the fist it may also be held
blade to front extending from the top of the hand.
The short Filipino karambit has found favor in the West with some martial artists
because it is believed that the biomechanics of the Filipino Karambit allows for a more
powerful cutting/slashing stroke, particularly against an attacker's limbs, even with a
short blade. The index finger ring makes it very problematic to disarm and it also allows
a greater measure of control as compared to a standard straight knife.

Gim

Philippine Martial Arts Supplies is proud to present this beautiful hardwood

replica of the Gim Kung Fu sword. This traditional double edge sword from China used
as far back as 2,500 years ago. First mentioned during the 7th century B.C. during the
Spring and Autumn Period, also known as “The Gentleman of Weapons” due to the fact
that it takes a great deal of skill and grace to use this weapon effectively.
Now available in our beautiful Kamagong Ironwood material, it’s a must have for
the serious collectors and practitioners of the Chinese Martial Arts.
 Arnis Association International Inc.
Senior Master Rodillo “Rodel” Dagooc
108 - Balayong, Bauan, Batangas
Philippines 4201
(043) 727-8502 / Cell: (0919) 507-2916
[email protected]
www.smokingsticks.multiply.com

Smoking Stick Arnis Cane Maker Products

Rattan Arnis Sticks (w/engraving) Remy Presas Bolo (single-edged)
Rattan Arnis Sticks - w/spiral design (without engraving) Double Edged Bolo
Labsika Arnis Sticks (plain: 4 - 5 knots) Kris Bolo
Labsika Arnis Sticks (plain: 6 - 7 knots) Pinute Bolo
Labsika Arnis Sticks (plain: 8 - above knots) Barong
Arnis Stick Bahi Wood Kampilan
Arnis Stick Kamagong Wood Kerambit
Arnis Case (2 sticks) Aluminum Training Knives/Kris Daggers (w/Kamagong handle)
Arnis Case (6 sticks w/Philippine Flag) Bangkaw / Long Pole (made of Bahi wood - metal tip)
Arnis Case (large - roll type) Bangkaw / Long Pole (rattan wood)
Arnis Uniforms (s, m, l) Bangkaw / Long Pole (rattan wood w/engraving)
Arnis Uniforms (xl, xxl, xxxl) Kris Kamagong Dagger
Arnis Belts (for all ranks) Pinuti Kamagong Dagger
Bahi Flat Stick Kamagong Dulo-Dulo
Bahi Flat Stick (w/metal tip) Horn Dulo-Dulo
Padded Stick
Padded 5 ft long pole

For Price information or Ordering Contact: (043) 727-8502 / Cell: (0919) 507-2916
Or Email: [email protected]
 TraditionalFilipinoWeapons.com

The Maginoo Sword Cane!

Only at Traditional Filipino Weapons

Maginoo Gentleman’s Cane

There are two things a prestigious gentleman carries with him

when he walks the street. A good looking hat and a gentleman’s cane.
During the Spanish era, a cane was one of the areas of fashion that
determined an individuals status. That's status was usually wealth!
Depending on the type of wood and it’s custom design, a cane is
always seen being carried by rich men called “Don”, which is a title given to
owners of big lands, often a ranch and/or a large fruit and vegetable
plantation.
A typical cane made of strong iron wood for a rich man/gentleman,
termed in the Philippines as a “Maginoo." Never did Spanish soldiers suspect
that some gentlemen were well armed along with Filipino martial art skills. They
also never suspected that are carrying canes with hidden blades within them.
...thus, is born the Maginoo Sword Cane of the Filipinos!

New Item: Call (203) 596-9073 for availability and ordering or Email: [email protected]
 www.allthingsfilipino.com

All Things Filipino is a division of ATF1898, Inc., specializes in multimedia

expressions of Filipino Arts and Culture in modern times. Whether it be creative arts,
culinary arts, fine arts, graphic arts, martial arts, media arts, modern arts, performing arts,
theater arts, visual arts, wearable arts or written arts, as long as it's something positive for
our Filipino community, we want to be involved.
Though we can appreciate all of the indigenous arts from our native country, our
primary focus has always been in the ancient Filipino Martial Arts, generally known
today as Kali, Eskrima and Arnis.
Believe it or not, we initially started as a clothing company back in 1998 with
about $500 in change and an unprecedented idea - to sell cool Filipino-related t-shirts that
promoted the ancient Filipino Martial Arts in order to fund our own building one day to
continue doing what we loved to do. It's been an interesting ride (no building yet!) but we
still do recognize that art, artists and the business of art are vital to the social and
economic development of our communities.
Maintaining our level as a global citizen, we are proud to be affiliated, either
directly or indirectly, with the following organizations and projects: Association for the
Advancement of Filipino American Arts & Culture (FilAm ARTS), Filipino American
Heritage Institute (FAHI), Filipino American National Historical Society (FANHS),
Filipino American Network (FAN), Martial Arts History Museum (MAHM), Pilipino
Alumni Association (PAA), Pilipino Workers' Center (PWC), Search to Involve Pilipino
Americans (SIPA) and Visual Communications (VC).
All Things Filipino [ ATF ]
1204 W. Gardena Boulevard, Suite D
Gardena, California 90247-5925
(310) 294-3777
Email: [email protected]
 Rapid Journal

Filipino Martial Arts Digest

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