Sunday, June 13, 2010
Then what? . . .
Monday, September 14, 2009
Eskrima's Main Weapon
In Dhammapada (a Buddhist text), it is said that the historical Buddha (Siddhattha Gotama) taught that;
manoseṭṭhā manomayā
Manasā ce paduṭṭhena bhāsati vā karoti vā
Tato naṃ dukkhamanveti cakkaṃ'va vahato padaṃ.
(All that we are is the result of what we have thought:
it is founded on our thoughts, it is made up of our thoughts.
If a man speaks or acts with an evil thought, pain follows him,
as the wheel follows the foot of the ox that draws the carriage.)
Manopubbaṅgamā dhammā
manoseṭṭhā manomayā
Manasā ce pasannena bhāsati vā karoti vā
Tato naṃ sukhamanveti chāyā'va anapāyinī.
(All that we are is the result of what we have thought:
it is founded on our thoughts, it is made up of our thoughts.
If a man speaks or acts with a pure thought, happiness follows him,
like a shadow that never leaves him.)
Clattered mind brings misguided hands, misguided hands bring imprecise and inaccurate olisi strikes.
But who commands the mind?
Thursday, September 10, 2009
Balagtas and Arnis
My point is this; Why chose the word arnis, instead of kali? And why wrote the word kalis and failed to use kali?
Below are the excerpt of the work in its original Tagalog orthography (circa 1700s)and the contemporary Tagalog version of the same. (Notice how different the Tagalog was written in the earlier years as compared to the current usage.)
ayon sa música,t, auit na saliuan,
laróng bunó,t, arnés na quinaquitaan
nang cani-caniyang licsi,t, carunungan.
"Minulan ang gali sa pagsasayawan,
ayon sa musika't awit na saliwan;
larong buno't arnis na kinakitaan
ng kani-kaniyang liksi't karunungan."
With dance and song, with lilt and lift;
Wrestling and fencing in many a shift,
Proclaiming every skill and gift.
Another verse in its original orthography . . .
ang sunód-sunód cong pinag-tagumpayán
ano pa,t, sa aquing cáliz na matapang
labing-pitóng hari ang nan͠gag-sigalang.
ang sunud-sunod kong pinagtagumpayan;
anupa't sa aking kalis na matapang,
labimpitong hari ang nangagsigalang."
Also note that arnes or arnis here is translated as fencing, meaning , an activity involving swords. So it is clear that arnis was also into bladed weapons. If this is so, assuming that the translation is correct, the question follows, "Why use the term arnis instead of kali?"
The counter-argument would be that Balagtas was writing fictitious events that happened in a foreign land of Persia, and he was not describing, in any way, an indigenous Filipino martial art.
Yes this is very logical argument, but then Balagtas, was writing this for his contemporaries, and wanted people to appreciate his "Florante at Laura". It was simply unwise for this poet to use unfamiliar words, right?.
Kalistas, you're losing argument . . . What can you say about this, eh?
Lito Gabuya and his Combative Kinematics
"Okay, you take my place . . . Let's us exchange roles," as he let go of the arm and assumes the same position, "So what do you think? Am dead huh? You're sure huh?
"So if I moved this way you slash my neck. If I attempt to counter you, poke the knife to my neck. So I am dead huh? Are you sure?"
"You're dead meat," the white man murmurs.
Then suddenly from that seemingly impossible position, he escaped.
"Many, are into defense against knife thrusts, in a duel-like scenario. But here we put you in a situation where the blade is already attached to your skin, in a very closed distance . . . and what can you do about it."
I realized that here is a person who is attempting to raise Filipino knife science a bit higher. That is beyond scooping from one side to another. Bringing us closer to reality of knife threat in the street, inside a very confined space. I have to learn this.
His name is Lito Gabuya, originator of the so-called Combative Kinematics (ComKin). He is the student of Dakila Hsuan of the Sarimanok Subsystem (of Go P.U.S.A). Gabuya had proved that his method is doable and applicable in many situations while working abroad.
"Now, what will you do if the attacker is heavier, bigger, taller, faster than you? Can you escape from conditions like these? You should make use of the Gokosha and apply its 'body-stepping-footwork' concept in these life-threatening conditions."
So I asked, "How can we know when to apply the technique, we cannot see but only feel the tip of the knife?"
Lito answered, "You must develop sensitivity. I developed my sensitivity after attending the ten-day Vipassana Retreat in 2005. Sensitivity is very important in this method."
Unfortunately he is planning to go back to Dubai, and I have little time to mentally process what he was showing us.
Friday, September 4, 2009
Your Spouse Versus Your Eskrima
You see, to be involved in a martial art or make it one's passion in life, is like having drinking spree with the barkada, you all need a pulutan. Drinking (esp. hard liquor) without pulutan will destroy your health earlier, guaranteed. This is also true with having martial art as your passion without the support of your spouse (wife or husband) will eventually destroy the relationship, then your life.
Sunday, August 30, 2009
Proving the Negative
Can you prove that it is not there?
The first one is something positive the latter is negative.
You cannot prove any negativity.
Yes, you can not demand from an atheist his proof that there's no Somebody up there but you can demand a proof from an erudite theologian the proof you want.
Are you still with me?
So don't be naive to ask us proof that there is no kali martial art. Since we don't believe in such shit. Instead, demand proofs from those who are promoting such idea.
You may ask why 'demand'?
You demand from them since they all owed proof to you. Since they owed the needed proofs, then you need to get their proofs; that is your right.
Remember life is short. They are getting old and also you.
And another thing, you cannot ask a proof from a dead man. Comprende?
Saturday, August 29, 2009
Limited Definition
For him Balintawak is simply the skill of wielding single stick, nothing more. We disagree of course, since we know Balintawak or any eskrima for that matter is not limited with the stick (the masturbation of a single stick to put it bluntly). Hell no!
National Artists?
The not-so-latest gossip here in the Islands, is about our new recipients for National Artist Awards. Aha!!! These people obviously do not know what is an art and who are the people deserving to receive this prestigious award. This is why we cannot expect one eskrimador to receive such award now and in the future (of course before the end of days on December 21, 2012).
This a big issue now in the Philippines. Why is this important for us FMAers? Well, if one eskrimadors can receive it, it will likely inspire many to learn arnis. Simple.
Thursday, May 28, 2009
The Book
What makes me happier, is the fact that many FMA (arnis, eskrima) enthusiasts have read the book now and know the real story about the Filipino Martial Arts. The days of the myth makers is now almost over.
Sunday, March 29, 2009
Too Violent?
Then in March 2009, there was this showcasing of Filipino arts and culture at the Ayala Center in Cebu. The organizers showed the thriller of the documentary film made by my friend. But then the bigwigs of that mall, disallowed them to continue the rest of the film because, according to them, it was so violent. Why violent? Well, in that film actors were demonstrating stickfighting, i.e. hitting each other with thier sticks. Violent huh? What do these people think of arnis, by the way - a ballroom dancing? The same mall showing violent Hollywood films in their theaters is not allowing this cultural thing because it is "violent" to their sissy tastes.
There is a conflict here. Look, the Philippine Senate itself has just approved he Bill making arnis or eskrima the Philippine National Sport, whilst the NCCA people are not ready to support the same.
Sunday, February 8, 2009
Three Related Cebuano Martial Arts
In the contemporary Cebuano martial arts we have three related martial arts that are currently available to the public. All these share the same lineage and emphasize the corto principle.
One is the now famous Balintaawak system of eskrima founded by Venancio “Anciong” Bacon. This system emphasizes, among other things, the close-quarter stick fighting. Another related Cebuano martial art is Tat Kon Tou, a barehanded fighting art developed by José Go-Millan. The third one is Baraw Sugbo, less-known Cebuano martial art focusing solely on the use of the dagger. This was originated by Lorenzo Saavedra.
Historically all these are related because, Lorenzo “Tatay Insong” Saavedra also happened to be the original organizer of both the Labangon Fencing Club and the original Doce Pares schools. He was also the teacher of Venancio Bacon. José “Joe Go” Go-Millan was also one of the many students of Anciong Bacon.
The aforementioned martial arts emphasize practically almost the same fighting principle wherein the “Live Hand” is given too much importance. Enthusiasts of any of these martial art, could easily adopt the strategy of the other, say, a Balintawak practitioner would find it easy to learn and apply any thing about Tat Kon Tou. The Tat Kon Tou stylist also would find Balintawak eskrima, familiar in many things. They can also find that Baraw Sugbo can literally improve their performances in their respective arts since it shares a familiar fighting strategy.
Many non-FMA stylists appreciate eskrima and easily integrate it to their respective martial arts. Many Wing Chun practitioners, for example, are cross-training with eskrima since they can easily get the concept.
Saturday, January 3, 2009
What is not a Traditional Eskrima?
Oh this people just want recognition, maybe something that is deprived to their person or perhaps these people were unloved by their mothers when they were still children. Funny, but true.
Just a Name?
Yes , if it is the same why insist on calling it kali? No, it ain't the same. Why? we never use that term here in our place.
Just imagine calling lawn tennis, a pingpong or calling karate, judo. Is it hard to comprehend why we need to use the appropriate label this time?
For your information, the traditional Filipino Stickfighting is not kali but arnis (arnis de mano) or eskrima. It was only in the seventies that some started calling arnis or eskrima, kali.
They claim that it is the "mother art", but deeper research will show that many of these kali schools are practically offshots of the older arnis or eskrima schools (Doce Pares in Cebu City and José Viñas' arnis in Bacolod City.)
In Bacolod City, I heard, that this kali/arnis controversy is a serious issue. Here in Cebu, this is not so much of an issue, simply because arnis schools here are more traditional or conservative even not to change the name to anything but arnis or eskrima.
Thursday, January 1, 2009
Ang Alimatok (The Leech)
The alimatok (ah-lee-mah-took), am referring here are usually the foreigners who come here to suck things here and leave.
In 2002 there was this guy from a rich country (known for their quality watches), who studied FMA, for two months. Every afternoon he studied the physical part of the style and was also given lectures on related topics.
After he finished his studies here in Cebu city, guess what?
He offered calculators (China made of course) for all those wasted times with him, to his teacher's teenage kids who helped in the instruction. Yes, after taking notes, taking those still pictures and videos, this leech just offered fucking calculators.
Why was this guy treated his teacher this way? Maybe he was thinking that his teacher, a Filipino a lowly animal, didn't deserve much respect, so feed him and his children cheap calculators.
We laughed. But my friend, promised, never to teach foreigners again after that. He had already contracted a certain kind of phobia towards this smelly and ingrate kind; he's now refusing to teach.
Now in their website, they don't even mention where they got all those concepts they are currently propagating. He is an example of a leech.
Want to know read more stories? Okay, just follow this blog, I have more.
Tuesday, December 23, 2008
Ang Buaya (The Crocodile/El Cocodrilo)
"Quel est ce maître? What's this master?"
"That's is your certificate, certifying you as brown belt . . . and that is five thousand pesos!" the thick-faced old master declares.
The Frenchman is shocked. "Well, master I have to think about this first." Then he talks French to his colleague, "Ce vieil homme pense que nous avons beaucoup d'argent. Que ferons-nous?"
"Il essaie de nous voler," the colleague answers with disbelief. "Ce gars est un crocodile."
That was the last time they trained with that famous eskrimador in Cebu again.
Writing this down, I know, is not a good thing for our local tourism. But people, there are many crocodiles here, and you naive ones should know!
Then I asked him the other day (he is back here in Cebu now) as to why they kept on going back to that gym.
"We didn't know where to go . . ."
"Aha!"
But with the advent of the YouTube these eskrima enthusiasts now, have the option where to go. Say goodbye to the bygone years of monopoly.
This won't happen again, except to those who are just innately idiots, who keep on coming back to these buaya (pronounced, boo-ah-yah)
Merry Christmas to you all, and may you be protected by your angel dela guardia from the bite of a buaya in 2009. Happy New Year too.
¡Vergüenza en usted cocodrilo, usted es una vergüenza a nuestra gente!
Thursday, December 18, 2008
The Other Reality of Knifefighting
Again, let us talk about knifefighting, considered to be the "backbone of Filipino Martial Arts"
In knifefighting, some emphasize the science of handling and they tell us what works in the streets, in the dark blind alleys and even in the modern battle fields. So there are knife drills, techniques, here and there.
Others would show the art of handling the same blade, mesmerizing us the way they handle the balisong or the artistic way of diverting the supposed opponent’s blade from side to side.
Likely, all these scientists and artists of the knives, impress us almost all the time.
Lately, I met this veteran knifer. He is neither the familiar scientist nor artist we often see in the gym. He is no black belter, not a sifu, and not a guro. He is not from Shaolin but from the Maximum Compound of the New Bilibid Prison. This former bosyo of the Batang Cebu (BC .45) gang is a cold killer since age twelve and already had facilitated seventy-seven souls out from this physical realm of existence, most of them by knifing, while he was behind bars.
Shem Jakosalem is his name and both of us are currently working on “Shem’s Paradigm” a book about his past experience. This book is written not to glorify all these “blade-happy” killers but to learn things from them. There is no substitute for experience. Hopefully this will be available either late this year or early next year.
After my initial chat with him, I realized that there are things that many of us in the martial arts missed. No wonder many high-ranked martial arts enthusiasts were/are killed in the street by people who never set foot in any of these so-called dojos.
“So Shem what’s your favorite way of stabbing?”
“Well, I stab them while grabbing their arms or sleeves.”
So where’s the impressive technique there, I asked myself. It took me few minutes to realize how profound his words were.
Grabbing while stabbing, huh? I never thought of that. Why? Perhaps, because most of the techniques I saw usually happen between two people squarely facing each other where the person with a knife “innocently” just thrust the knife forward’
Yes, what if somebody with a knife grabs your sleeve and simultaneously inserts the knife to your side, not just once or twice but more, before you can say abracadabra? Shem said, “Knife attack is so sudden. Once you noticed you’re punctured, it is already late.” This proves that the hands are faster than the eyes.
Martial artists would likely talk among themselves, their awesome techniques of knife handling and defense. The discussion may include, among other things, the flow, speed, counter-to-counter, the live/checking hand, de-fanging the snake, disarms, knife interactive drills, etc.
The knifers like Shem, on the other hand, seldom talk about the procedures . . . since they are more concern instead, on killing with a knife. In the prison they don’t talk about theories of knife fighting; they simply don’t even have the luxury to rehearse. The moment one stepped in, “it’s show time!”
Both the martial artists and the knifers like Shem consider realism, of course, but the emphasis differs.
Many of the contemporary martial arts are “sanitized” so much so that the “original” concept/intent of hurting, maiming or even killing, and the defense against these are no longer there. Since the emphasis nowadays is defense, the knowledge of correct and precise hitting are almost forgotten. Training partners thrust their knives forward as if giving alms to a pauper. Now, how can one expect to execute a realistic knife defense with that? A lousy delivery or uncontrolled way of the knife attack during practice session can be deleterious.
Another real fact I extracted from Shem, “Many times I got cut in my palms or fingers when I stabbed, especially when I hit a hard par. That’s why we wrapped cloths around the hand.”
The chest cavity is partly protected by the ribs and when one hits this bony part, the hand may slide forward and get wounded, so the experienced knifers’ advice is to position the blade horizontally relative to these bones for easy penetration. Part of the palm is also used by some knifers to push the knife forward.
This article is sort of a reminder that the real truth about knifefighting is not about learning the beauty of techniques but about survival.
.
Thursday, December 11, 2008
Your Training Patner Is Not Frosty the Snowman
That is a familiar eskrima session, where one delivers a strike to be responded with the training partner an artistic combination of counterstrikes.
But as one attempts to counter the strike, is the mere possibility considered that a possible reaction or follow-through is coming from an unexpected angle? Is the opponent an amputee that his “live-hand” is not working? Is he immobile like a lamp post? Is the opponent’s reaction predictable and so “regularly regular” like a hypnotic pendulum?
Why does the training partner (or in some instances, the teacher), delivers a strike and "freeze"? Is he a snowman or something? Remember in the street, it is likely one would encounter a real, alive, cold-blooded thug, whose clear intention is to harm. Not Frosty the snowman. They surely will not hit you from an angle and freeze. No way. When they feel that you respond in a certain way; they will give a follow-up before you can finish yours.
Yes, as one blocks or parries a strike, one should always expect a reaction, a broken rhythm, a meddling “live hand” and a superior counterstrike. This is why in Balintawak eskrima, we cannot see the teacher just “feed” the student with strikes without reacting to the student’s counterattacks. Always remember that you supposed to face a living sentient being, your trainer or your training partner, not a inanimate dummy incapable of counter reacting.
Now we understand as to why many of these eskrima demonstrations are so impressive yet appear “one-sided” simply because they are bringing with them "wooden dummies," or "big Pinocchios," that seemingly can walk alone and even grimace faces when hit, but do not fight back.
In spite of all these, eskrima still a very effective martial art. Maybe this approach works most of the time. But just imagine if the same approach is being adopted in kendo or in Western Classical Fencing.
Well, a good showmanship is a good showmanship. But to those who are really into martial arts there are more that arnis or eskrima needs to prove.
There are many YouTube entries on eskrima or arnis, just see what I am talking here.
No matter how fast the counterstrike maybe, it is really different when one also expects a follow-through from the same opponent while doing a counterstrike. We cannot fool ourselves into believing that an opponent will just stand there and wait for our counterstrike without even moving away or displacing himself somewhere (among the many possibilities).
This is very important, especially for those who are into medio and corto fighting, since in the closer range engagement one must be aware of many things as compared to when in largo range engagements.
One more related thing . . .
If one is used to the concept of intercepting, then one is always programmed to wait so as to allow a strike to “fly” first to be intercepted. But when one is programmed to anticipate . . . it is another story. In fact training would be radically different; there is no more “waiting and reacting” there is only “awareness of a target and striking” idea inside the head.
Monday, December 1, 2008
The Phlippine Movies and Eskrima
The first problem are the writers, most of them are not eskrimadores themselves. They prefer to write corny stories of two young parents fighting over their child's custody and the like.
The next problem are the movie directors, they simply don't understand what a martial art scene should be, so they allow the actor with sticks to somersault, to do aerial kicks . . . things one cannot expect from any eskrimador. So for these ignorant movie directors, eskrima is no different from other martial arts. Furthermore, they don't appreciate their talent's physical capability.
The next problem are the actors. Most of them are good only on flirting scenes. Most (there are few exceptions though) don't have arnis or eskrima backgrounds. That is why, even they are comparatively better looking than those bald and slit-eyed monks, they simply cannot compete in popularity. They can act, okay, but they cannot move.
There were full of talents in the old movie "Enter Garote," martial experts like Johnny Chiuten, Anciong Bacon, Momoy Cañete, Cacoy Cañete were there. But were they given enough exposures? What made the producer and director decide to showcase eskrima or arnis in this comical manner in the first place? Obviously they were ignorants. That was a rare opportunity to show the world what eskrima is like but they undermined it.
If these actors know eskrima or arnis, they are also paired with supporting actors with no working knowledge of martial arts. Regardless how good the leading actor maybe, if not paired with good supporting actors . . . nothing will happen. So instead showcasing a good eskrima stuff, they are forced to include gunfighting.
The Philippine movie industry can never produce somebody like half-baked Bruce Lee copycat, not even like Chen Xing or Meng Fei.
Then perhaps because arnis or eskrima is not really good for the cameras. I beg to disagree. Just look at the Youtube and you can see good arnis in there. The movie "The Hunted" showcasing the FMA method of knifefighting (familiar to many eskrima or arnis styles), was very good.
But why can't the Filipino movie industry produce the same? Why can't the local movie industry help promote our very own FMA of eskrima or arnis?
Wednesday, November 19, 2008
Information on Eskrima Your Teacher Did Not Bother to Tell You
Contrary to the official status, real eskrima or arnis is not a sport and was not designed as such.
Contrary to the popular propaganda, eskrima, arnis or the so-called kali, are one and the same. Arnis or eskrima are into sticks as well as blades.
Contrary to the popular allegation, eskrima, arnis, estocada, estoque are not modern cognates of an older mother art called kali, insinuating that the Filipino Stickfighting is something pre-Hispanic.
Contrary to the myth, eskrima or arnis has no connection, whatsoever, to the martial art called silat.
Contrary to the popular myth, there never was an ancient mother art called kali, in the archipelago called the Philippines. As a matter of fact, there never was any proof of any kind, written in paper, parchment, etched on clay pots, contained inside any burial jars, inserted between the cracks of the ruins etc. Neither mentioned in earlier Spanish Chronicles nor chanted in any of the old Visayan epics.
Contrary to the popular story, nobody can prove that earlier warriors like Lapulapu and his contemporaries were eskrima or arnis adepts. In fact, the oldest available written record in Mactan Island is only circa 1719. Nothing earlier than that. So nobody can trace an eskrima school lineage back to Lapulapu or describe how Lapulapu's eskrima looked like.
The traditional practice of eskrima or arnis is never to be found amongst the non- Christian groups.
All kali schools today cannot show us any link with any older kali school or system, either extinct or extant. It is even expected that most of them are actually derived from an older arnis or eskrima school or system.
These are mentioned here not to embarrass or question the integrity of many of these mythmakers but to uphold the truth. Unfortunately, truths is sometimes embarrassing. To uphold truth . . . nothing bad about that.
Why Eskrima?
Practically, there are three basic reasons why we are into eskrima. And these same reasons are also basically the three major classification of eskrima or arnis.
We are into eskrima because we want to be stickfighters or at least know what is Filipino stickfighting.
We are into the practice of eskrima because we want to learn the use of the blades.
We are into the practice of eskrima or arnis because we want to understand body mechanics as applied to fighting or self defense.
Now, eskrima or arnis styles are also categorized according these primary reasons, whether some agree or not.
In fact, some arnis or eskrima are purely into the use of sticks. Some are obviously designed for the blades. And a minority, are actually training for barehanded fighting.
This is the reason as to why there are many contradictory concepts in eskrima or arnis, say, some schools advocate blocking while other do not? Some discourage the use of too much force, while others discourage the same.
If your eskrima style are more on the use of blades like sundang, then likely your teacher won't encourage blocking the incoming strikes, depending more instead on evasive body displacement. And of course, the use of a minimal force, since your style also orients you on blades not on impact weapon like the stick. You are often reminded to be very careful about handling your weapon because that is suppose to be a blade.
