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THE FILIPINO MARTIAL ARTS



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Frequently Asked Questions (FAQ) on the Filipino Martial Arts (FMA)



Version: 4.3T

Date: 4 April 2017



Written By : Ray Terry and Bill Cox

The Martial Arts Resource



This FAQ was created to be informative. There were no intentions for it

to be offensive to any style or person.



This FAQ is a compilation of information acquired over the years from

various sources, but it is FAR from complete. Any corrections or additions

that are submitted will be carefully considered. Send them to email address

MartialArtsResource -at- gmail.com and include "FAQ INFO" in the subject heading.



To view the most recent version of this FAQ go to:



http://www.martialartsresource.com/anonftp/pub/eskrima/digests/fmafaq.htm



The Filipino words used in this FAQ are those used in specific styles. They may

be pronounced or spelled differently elsewhere. Keep in mind the words may not

be used in your style, ie don't bank on the words being 100% correct. They are

presented for your information only.





"Without honor there is no art, only pretenders in a brawl"



Mangisursuro Michael G. Inay

1944-2000





* NOTE: FMA = Filipino Martial Arts





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====================================================

*

* TABLE OF CONTENTS

* =====================

*

* 1- Overview of the FMA

* 2 - Technical aspects of the FMA

* 3 - Structural aspects of the FMA

* 4 - Instructors & Styles

*

* APPENDIX

*

* A - FMA Books

* B - FMA Tapes

* C - Eskrima information via the Internet

* D - Interview with Cass Magda

* E - FMA Equipment/Weapon Suppliers

* F - Information about the Sudlud Training Organization .

* G - Some FMA (Pilipino) vocabulary

* H - Locating FMA instructors and/or schools

* I - List of those contributing to this FAQ

====================================================





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* 1.0 OVERVIEW OF THE FMA

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##### What are the differences between Arnis, Eskrima, and Kali ?



Basically, there is no difference. The general martial arts community uses

the different names to refer to the same art. Originally, the difference in

the name either implied the region from which the art originated or the

time period when the art was developed. These three names, and there are many

others, refer to Filipino Martial Arts where skills in both empty hand and

weapons are developed using similar, if not the same, training methods to

teach both. Practitioners of these arts are noted for their ability to fight

with weapons or empty hands interchangeably.



Eskrima and Arnis are the names primarily used in the Philippines today.

The name Kali is seldom used in the Philippines and in most cases is an unknown term for eskrima.





##### The FMA are known as being weapon arts. What about empty hand skills ?



Most people think the FMA are stick fighting arts only. This is a common

misconception because the rattan sticks are one of the primary tools used

in training. They do use the sticks for combat, but that is not all there is to

the arts. The FMA are equally based in weapon skills and empty hand skills

(such as kicking, punching, trapping, and grappling). The FMA cover all

the fighting ranges, defending against armed and unarmed attacks with

whatever is available. What is available maybe the rattan sticks or it could

be other types of weapons or just the fighter's empty hand skills. The FMA

teach the interrelationship between empty hand skills and weapons.

Therefore the FMA should be considered a complete martial arts system

that develops many different types of skills for combat, not just simply a

stick fighting art.



Keep in mind that there are also other FMA that do not involve the use of

stick fighting as a training method. Dumog, Sikaran, and Panantukan are

examples of FMA that are based on empty hand skills only.





##### Why are the FMA considered simple arts (un-complex) ?



When the FMA are referred to in this manner they are discussing the

systematization, not the effectiveness of the arts. The FMA were designed

to be simple to learn. The arts were originally used to train fellow

villagers in a short period of time for combat against other villages and

foreign invaders. There was no time or reason to teach flashy techniques

nor techniques that required special abilities. Only the skills that were

proven effective and could be easily taught were used. The people who

were learning this art depended on its effectiveness and simplicity for

their survival. They were generally not martial artists or soldiers, just

villagers who had to defend their land. Some of these people had no

natural talent for fighting. They had to become proficient or perish in

battle. There was no time to teach a detailed and complex martial art if

the village was under immediate threat. Therefore, good generic methods

and solutions needed to be taught in the quickest time possible. This

philosophy of simplicity is still used today and is the underlying base of

the FMA.





##### Why is it often said that "more is not better" in the FMA ?



In keeping with the philosophy of simplicity, most of the techniques are

taught early in training. This is an important key to the FMA. The student

can pick what works for him and create his own method of combat. The

basic principles are more important than raw numbers of technique. The

difference between an older practitioner and a newer one is not the

knowledge of greater numbers of techniques, but rather the skill in

executing a smaller number of personally selected techniques. Each FMA

practitioner keeps a small core of basic techniques that can handle many

different types of situations. Keeping it simple is one of the underlying

principles of the FMA.







##### Why are the names of techniques so different ?



Each practitioner having personal variations on technique explains why

the FMA techniques have very generic descriptions to the names. The core of

the arts are the same, just the variations are different. This is especially

true when the FMA are compared to many of the Japanese martial arts.



Also take into account, that there are 7,107 islands in the Philippines.

Each has its own dialect and on many islands a different language from its

neighboring islands. One simple technique can have thousands of names and they

are all right.





##### Some of the basic principles of the FMA



* Only the skills that are proven effective and can be easily taught are used.



* Keep the overall strategy simple.



* Each FMA practitioner keeps a small core of basic techniques suited to him.



* Many theories for weapon and empty hand are interchangeable.



* Always keep the flow going.



* Use angles to minimize the opponents attack.



* Use center line off the angles to attack.





##### Are the FMA composite arts ?



Absolutely. If the idea is to use only what works, then new methods are

always considered. Some of the techniques are discovered independently, some

were taken from other sources.





Sources for other arts being incorporated into the FMA.



1) Peaceful culture trade - The Philippine Islands are strategically located

in the center of the trade routes. This creates opportunities to be exposed

to many different cultures and their martial arts.



2) Defense - The Filipinos had to defend against many foreign invaders and

also often fought between themselves. Techniques were developed to either

counter or duplicate combat skills of the enemy.





##### What are the characteristics of the FMA ?



The characteristics of the FMA vary from style to style. The spectrum

below indicate where the FMA stand in relation to other arts. These levels

of characteristic are general for each art. There is really no way to

specifically label each art other than in general terms. At one moment the

art may appear linear, but at another moment appear very much circular. I

have listed the general characteristic of each art.





SPECTRUM OF CHARACTERISTICS



Symbol | Martial Art | General Classification

-------------------------------------------------------------------------------

* | Filipino Martial Arts | linear, external, hard/soft

0 | Shotokan Karate | linear, external, hard

% | Tai Chi Chuan | circular, internal, soft





Circular[----------%---------------*---------------------------0------] Linear



Internal[--%--------------------------------------------*0------------] External



Soft [-%--------------------------*----------------------------0---] Hard







##### Why are triangles and circular or semi-circular moves common to the FMA ?



Triangles are an important symbol in the FMA. The triangle is one

of the strongest geometrical structures and is used in the FMA to

represent strength. Many schools incorporate the triangle into their

school's logo. The triangle is also used to describe many theories

in the FMA. Some of these theories are footwork, stances,

foundations of disarms, and theories of attack.



The circular aspect of the FMA can be easily seen in Kali Villabrille/

Largusa system, wherein they zone out of the attacking angle. However,

the most glaring example of the circular moves in FMA is in the empty

hand disarms or in their foot sweeps.







*************************************************************

* 2.0 TECHNICAL ASPECTS OF THE FMA

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##### What is the "live hand" ?



A VERY important concept in the FMA



The live hand is the opposite hand that does not contain the main

weapon. If you are right handed, it is your left hand. It is referred to as

being alive because it is used actively in combat for checking, blocking,

striking, and as support to the disarms and locks. In many of the

techniques, the alive hand is the major contributor to the success of the

technique.



"The live hand is the real weapon." - Dan Inosanto





Bantay-Kamay (The Live Hand)



The Bantay-Kamay (lit. guardian hand) is the secondary weapon in the FMA.

In a Solo Baston (single stick) situation, it is the empty hand, the Dagger

hand in Espada y Daga and the auxiliary/secondary baton in Double Baston.



Use of the Bantay-Kamay is developed during free-flow drills. The Bantay-Kamay

may take the following functions/actions:



1. Pigil (Jamming) - stopping a strike or attack

2. Paayon (Flowing - Go with the force) - redirecting a strike

3. Suntok-Tusok (Punch or Thrust) - a secondary attack during Solo Baston

or Multiple weapons drill/engagement. Also known as Sogo (Spearhand attack).

4. Dukot-Batok (Head Lock or Grab) - a grappling or throwing technique

during Solo Baston engagement. May also be executed in Multiple Weapons

environment by using the Punyo (butt or pommel).

5. Sampal-Kalawit (Palm Strike or Hook) - a palm-strike or hooking

technique leading to a take-down during Solo Baston engagement. May also be

executed in Multiple Weapons environment by using the blade portion (near

the hilt) of the stick or weapon.

6. Saplit (Centrifuge Disarm) - a complimentary technique leading to

disengagement or disarm of the opponent's weapon(s).

7. Concierto (Coordinated/Tandem Weapons/Hands) - a blind side or

inside technique that uses the Bantay-Kamay in coordination with the

primary weapon to execute a simultaneous counter-attack and control.

8. Hawak-Sunggab (Hold or Grab) - the restraint of the opponent's weapon

hand for the subsequent execution of a counter or a disarm.





There are many more variations and definitions regarding the use of the

Bantay-Kamay, but they can be classified under two general classifications:



1. Salisi - (Opposite Directions)

a. Salising Papasok aka Salisok

(Opposite Directions - Inwardi, aka Ops-in)

b. Salising Palabas aka Salibas

(Opposite Directions - Outward, aka Ops-out)

in addition the movements are classified as :

- Planchada (Horizontal)

- Aldabis or San Miguel (Diagonal)

- Bagsak or Bartikal (Vertical)





2. Concierto (Coordinated/Tandem Movement

a. Papasok (Inward)

b. Palabas (Outward.





These classifications are descriptive of the relationship of

the counter to the attacker's striking arm. If the attacker's arm or weapon

is pushed towards the attacker's body, it is classified as inward and

vice-versa.





##### What is the cane they are talking about ?



The FMA sometimes refer to the rattan stick used in training as a cane. The

standard cane is usually between 17" to 30" in length. Keep in mind that all

lengths of sticks are also used in training, from 4" to 6'.





##### What is sinawali, espada y daga, solo baston, crossada ?



These are descriptions of the methods of using weapons in combat



Sinawalli is the weaving pattern a practitioner uses when working with two

weapons. These patterns are commonly used as a drill to teach coordination of

both hands. When the player can perform sinawali well enough by themselves,

they move on to perform the drill with a partner. To do the drill with a

partner, the two players face each other a go through the drill symmetrically.

When this can be done well enough, the players throw variations and movement

into the drill. In the end, the drill becomes a type of sparring exercise.

Because of the way the players work together in these drills, sinawali is

sometimes referred to "give and take" drills in many of the FMA styles.



Below are descriptions of there sinawali drills. The first two are common to

most of the FMA.







+++++++++++++++++++++++++++++++++++++++++++++

+

+ rh = right hand

+ lh = left hand

+ sbs = snap back strike

+ fts = follow through strike

+

+ Ready chamber position.

+ Start with lh under right arm,

+ rh over right shoulder

+

+ Target levels can be any level.

+

+ Sample Numbering system

+ #1 - left head

+ #2 - right head

+ #8 - right knee

+ #9 - left knee

+

+++++++++++++++++++++++++++++++++++++++++++++





FOUR COUNT



1) rh to left temple (#1 fts strike)

lh weaves out during #1 to chamber over left shoulder



2) rh to strike to right knee (#8 sbs strike)

returns to chamber under left arm, back in ready but opposite side



3) - 4) Same as above but reversed.





SIX COUNT



1) rh to left temple (#1 fts strike)

returns to over left shoulder



2) lh to left temple (#2 fts strike)

returns to over left shoulder as #3 starts



3) rh to right temple (#2 sbs strike)

returns to under left arm, back in ready but opposite side



4) - 6) Same as above but reversed.





TEN COUNT





1) lh to left temple (#2 sbs strike)

returning lh to right shoulder as rh leaves for move #2

( ie left will be on top)



2) rh to left temple (#1 sbs strike)

returning rh to same position as lh leaves for move #3



3) lh to left temple (#2 sbs strike)

Same as #1 move but lh returns to chamber under right shoulder



4) rh to left temple (#1 fts strike)

rh returns to left shoulder



5) lh to left temple (#2 fts strike)

lh is returning to left shoulder chamber replacing the rh. The rh

will start to do a number #2 strike and is weaving in between the lh

coming to chamber and your head. The rh going to a #2 strike will start

move #6. At this point the sinawali is the same but reversed.



6) - 10) Same as above but reversed.





##### What is espada y daga ?



Espada y daga is the method of using a stick(sword) and dagger in

combination. The sinawalis can be considered espada y daga if all the

variations of sinawali weapons are considered. However, Espada y daga

generally refers to a more linear sword and dagger approach similar to that

used in European sword arts.





##### What is solo baston ?



Solo baston is the method using only one stick with empty hand strikes in

combat. Strong use of the alive hand is noted.





##### What is crossada ?



Crossada is Filipino for crossing. It is a the method where weapons or empty

hands are used in a crossing pattern for simultaneous offense and defense. It

is similar to other martial art's X Block, however it is not a static block.

It involves movement and angling to defend against the strike. There is a

slight trap at the moment of intersection at which time the attack is given.

This all happens in one movement. This is one of the primary ways the flow is

established during combat. It give the opponent no time to react because there

is no break during the defensive and offensive moves.





##### What are ranges of combat ?



There are many ranges to combat and each one of the FMA has its own

method of labeling and numbering them. Some styles can have as many as

16 ranges defining all types of combat. Below is an example of two. The

first is the four ranges which are commonly used to explain simple ranges

in relation to other martial arts. The second is an example of ranges for

stick vs. stick fighting. There are many different types of ranges in the

FMA. Each style uses different types to utilize the style's strengths and

explain its method.



TYPICAL EXAMPLE OF COMBAT RANGES



1) WEAPONS - No empty hand technique can hit therefore only weapons are used.



2) KICKING / PUNCHING - Typical range for Karate / Tae Kwon Do / Kung Fu.



3) TRAPPING - Trapping, close punching, elbows, head butts are used in this

range.



4) GRAPPLING - Typical Wrestling / Ju-Jitsu / Chin Na / Aikido





EXAMPLE OF WEAPON RANGES WITH STICKS



1) FAR - you can hit you opponent's hand with the end of your stick as he

strikes.



2) MEDIUM - you can now check your opponent's hand with your opposite hand.



3) CLOSE - you can now hit the opponent with the butt of your stick.





##### What are the 12 angles of attack ( also known as 12 strikes ) ?



The twelve strikes/angles are common to most FMA styles. They are the

basic strikes or direction of strikes covering all angles of attack. Most

styles use basically the same numbering system with slight variation. The

point is to learn how to dissect and classify the strikes and develop

methods of defense and offense using these 12 angles. At an advanced

level the student should learn the similarities of the these 12 angles and

further simplify classification and responses to their attacks. The first five

angles are common to many of the styles.



There is usually one set of numbers used for defensive angles and offensive

strikes. These numbers are based on attacks with the right hand only.



As an example ....



A backhand strike with the right hand would be a number two strike

coming in at angle #2 ( therefore 2 at 2 ).

If the same attack is done with the left hand the strike is still a

number two however it is at angle #1( therefore 2 at 1 ).





##### What is the flow ?



Obtaining the ability to flow in combat is the ultimate goal of a FMA

practitioner. A student of the FMA attempts to smoothly move between the

ranges of combat without any disturbance in the transition. This requires

skills in all four of the ranges ( with and without weapons) , the ability to

put motion and technique together continuously, and the sensitivity to fit

your technique to your opponent's. These attributes create a smoothness

in combat which is called the flow.







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* 3.0 STRUCTURAL ASPECTS OF THE FMA

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##### What type of structure is the class usually taught by ?



This is a matter of the instructors preferences, however most classes are

taught in an informal manner. This is especially true when compared to

some of the other more traditional Asia martial arts.





##### Do the FMA use a belt ranking system ?



The FMA until recently did not use a belt ranking system like other martial

arts. Belt rankings and instructor-ship rankings are now becoming more common

in many of the FMA styles.



The FMA are becoming more popular then ever. There are more students, styles,

and instructors. As such, the current trend is to systematize and organize FMA

schools in hopes of propagating the art and maintaining high standards within

the organizations. Ranking is becoming more common within some styles. Other

styles still maintain the philosophy of not using a ranking system.





##### What about uniforms ? Are they standard ?



Uniforms are not always used. There is no standard uniform like there is

in Karate or Judo. When uniforms are used, there are usually a

combination of karate uniform or sweat pants, a t-shirt, and sometimes a

traditional vest is worn. The style worn can even vary within a school or

system.





##### Why are shoes worn most of the time in training ?



Shoes are worn most of the time during training for two purposes.

1) To protect the feet from damage from projected or dropped sticks

2) To train in clothing that in worn in everyday life





##### Will I get a good work out practicing the FMA ?



That will depend on your instructor and style. Some instructors will work

students harder than other styles or instructors, some don't. Most of the

instructors practice the FMA as a second art. Therefore they rely on the

primary art for the hard workout and teach more skill development while

teaching FMA. One thing is certain, if the basic cane strikes are practiced

often and correctly then there will be a noticeable difference in forearm and

wrist strength. When selecting an instructor work-out intensity would be a good

question to ask.







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* 4.0 INSTRUCTORS AND STYLES

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I don't believe this section of the FAQ will ever come close to being

completed because of the quick and constant change in the FMA.



Any information that you may have would be appreciated. If you have

information send it to the aforementioned email address. Please research the

information as well as possible for accuracy.



The history of the FMA is hard to trace, especially when it comes to the

three W's ( Who did What When ). I have used information from books,

other instructors, and those people who were good enough to email

information about their style and instructor. Since the information on

instructors and styles is a mix of the information I collected from various

sources, I do not claim that it is 100% accurate. The instructors and styles

listed are responsible for the recent growth of the FMA. I have NOT listed

them in any arranged order of importance and as I said, the listing is not

yet complete. Most of this information was sent to me by students of the

listed instructor. I compile similar information, edit it, and organize it

for presentation. I do use complete sections sent to me if they are written

well and can be mixed into the presentation.



I hope this section will be more complete in future revisions. For now, please

accept it as uncompleted work.



Notes:



I don't know all the styles of the instructors. If there was no style to

list then the art may have been labeled either Arnis, Eskrima, or Kali.



Spelling - Eskrima is the same as Escrima. Eskrima is the older spelling.

Both are used throught this FAQ.



The styles/systems discussed are:



Babao Arnis

Bahad Zu'bu Mangtas Baraw

Balintawak International

Balintawok

Black Eagle Eskrima

Bohol Method

CCEKA

Combat Kalaki Arcanis

De Cuerdas

Defensor Method

Derobio

Doblete Rapillon

Doce Pares

Dog Brothers Martial Art

Escrima/KunTao/Silat

Eskrido

Eskrima

Estrella

F.A.T.E.

Filipino Boxing and Dumog

Garimot Arnis

German Arnis

Inayan System of Eskrima

Inayan Systems International

Inosanto Kali

Kadena de Mano

Kalis Ilustrisimo

Kombatan Arnis

Kun Tao Silat

Kuntaw Lima-Lima

Lameco

Lapu Lapu Vinas Arnis

Lightning Scientific Arnis (Lema Scientific Kali Arnis)

Modern Arnis

Modern Arnis 80 (MA-80)

Moro-Moro Style

Moro-Moro Orabes Heneral

Oido de Caburata Arnis

Pananandata

Pangamot

Pekiti-Tirsia

Pronus-Supinus Cadena De Mano

Rapido Realismo Martial Arts

San Miguel Eskrima

San Miguel Eskrima Asosasyon of Cebu

Sayoc Kali

Serrada Escrima

SLD (Serrada, Largo Mano, De Cuerdas)

Sudlud Eskrima

Tapado

Toledo-Collado

Vee-Arnis-Jitsu

Villabrille System

Visayan Style

Warriors Eskrima

Yaw-Yan



The major players shown are in no particular order.





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Babao Arnis

Narrie Requina Babao (1945-2013)



The personal style of Narrie Babao. Based on Doce Pares, Villabrille Kali,

Kuntaw, and Karate.





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Bahad Zu'bu Mangtas Baraw

Epifianio "Yuli" Romo



Bahad Zu'bu is a situational, multi-distractive fighting art.

It seeks to restore primitive fighting methods through the

study of combat weapons and the history, culture and philosophy

of the Philippine Archipelago. There are no complicated forms,

techniques or "Set-up" routines.



The 3 main fundamentals underpinning the art are:

- Enganyo (Baiting)

- Monitoring

- Preparation



These fundamentals are developed through the use of 2-man interactive

drills. The drills are either:

-Counter armed Tactics (CAT)

-Counter Un-armed Tactics (CUT)



Multiple opponents are also covered In Bahad Zu'bu the following

weapons are among those used:

-Baraw / Pisaw (knife)

-Bio-Olisi (42" Staff)

-22", 24", 28" & 32" Sticks

-Edged Swords

-Empty Hands



The fundamental concepts outlined above are applied to all weapons.

The movements are the same but the application varies slightly.

This allows for a consistent frame of reference and a shorter time

to become proficient in a variety of weapons.



In Bahad Zu'bu the aim is always:

- Proper Learning

- Proper Understanding



One can not be gained without the other. During study the

practitioner's mind frequently becomes exhausted before the body.



major players : "Yuli" Romo, Jaime Cruzana, Nick Canuday, John Chan,

Romy Cruz





*************************************************************

Balintawak International

Venancio Bacon (1912-1980)



Balintawak International Self-Defense was founded in 1957 with Venancio Bacon

as its grandmaster. GM Bacon later formed another style under his own name,

but Balintawak International continues on.



major players : Jose Villasin, Teofilo Velez, John Chiuten





*************************************************************

Balintawok Escrima

Bobby Taboada



Taboada's Balintawok Escrima is a style that incorporates many styles of

Escrima and Filipino boxing. It also contains many elements of the Doce Pares

style. It is a style strongly based on speed. The primary training tool

is the single stick. It has a unique training method that allows its

players to do drills that are much quicker and closer to the training

partner than many other styles of FMA.



major players : Irwin Carmichael, John Larson, Dean O'Hare, David Russel,

George Manderatlias, Randy Cornell





*************************************************************

Black Eagle Eskrima

Carlos Navarro (1926-)



A system founded in the styles of Eskrima de Llave, Eskrima de Avanico

and New Generation. The techniques, training and applications of Black

Eagle are trained and employed through solo and paired drills to cover

long, medium and short ranges.



The weapons of Black Eagle Arnis-Eskrima include the single stick,

double stick, staff, single dagger, double dagger, short sticks, chain

and empty hands. The style also incorporates the use of swords and sword

drills and a flail called 'de Cadena'.



The drills for each category are sub-grouped into the three styles that

make up the basis of this system: Eskrima de Llave (the key), Eskrima de

Avanico (the fan), and New Generation. It should be noted that these

styles are not taught as isolated entities, but rather as conceptual

components embodying elements of what once were separate systems.



Pangamot is the term used to describe the Black Eagle empty hand

component. It includes extensive locking techniques focusing on the

wrist, arm and shoulder, but finger locking remains a black eagle

specialty. Striking techniques incorporate punching, elbows, low line

kicking and also knees. Pangamot also includes leg reaps and sweeps, and

throwing exercises called four direction throws. Black Eagle Pangamot

also includes a limited groundfighting capability with various leg and

arm locks.



Rank in Black Eagle Eskrima is divided into four levels: Beginners,

Junior Instructor, Senior Instructor and Master. Progression through the

ranks is in most cases a matter of talent, and not dependant on how long

a student has been a practitioner of that art (such as is the case in

other systems). Advanced students can learn various parts of the

curriculum at any time they like. There is no strict progression in the

teaching of Black Eagle eskrima, and thus, no set time limits to class

length or achievement of rank.



http://www.black-eagle.org



major players : Epping Atillo, David Tsang, Jerry Collins, Graham Jamieson,

Ming Lee, John Taylor, Miles Henderson.





*************************************************************

Bohol Method

Regino Ellustrisimo



Regino Ellustrisimo was the uncle of Floro Villabrille.



major players : Al Concepcion, Dan Inosanto





*************************************************************

CCEKA

Nonoy Gallano



The Classical Combat Eskrima Kali Association is an international

network of schools dedicated to the teaching of the FMA. The

association's approach to this fighting art is holistic in nature. It

encompasses not only the physical techniques of Kali but also places

emphasis on Oriental philosophy and Meditation practices. Complete

discipline and moral/spiritual growth are heavily stressed.





*************************************************************

Combat Kalaki Arcanis

Jan Nycek (1964 - )



An eclectic, fairly new FMA system. Combat Kalaki was founded by

Jan Nycek in 1998 in Olesnica near Wroclaw (Poland). A combination

of Kalaki Arcanis, Doce Pares, Aiki Jitsu, BAS-3 (system for special

forces of army and police), Boxing and Kickboxing. Since the Combat

Kalaki by definition is for self defense, the training is for practical

usage in every day reality.



major players : Krzysztof Gajewski, Artur Niezgoda, Andrzej Grajczyk





*************************************************************

Defensor Method

Nate Defensor



A mix consisting mainly of Serrada, Pekiti-Tirsia, and Villabrille systems,

with a strong mixture of specific elements from silat (mainly the takedowns),

muay Thai, and western boxing.



major players : Rich Draney, Ed Kuliess, Dale Hinton, Greg Goldmakher





*************************************************************

De Cuerdas

Gilbert Tenio (1918-1994)



A quick, very basic, but effective style of Eskrima.



major players : Richard Tenio, Arthur Gonzalez Sr., Dentoy Revillar, James Muro, Wayne Caseria, Richard Van Donk





*************************************************************

Derobio Escrima

Braulio Tomada Pedoy (1900 - 1993)



Derobio is based on passing, either with the stick or hand, as opposed to

directly blocking the attack, once passed the emphasis is on controlling with

either locks and/or disarming. 12 locks are taught for each pass on the 12

angles of attack and up to 12 counters for each lock and/or disarm. Each pass

is also taught with what is called the "Basic 3" which is 3 strikes always

done across the body high, low, middle. The style is close range and is good for

"self defense" against a skilled or unskilled opponent. The style has a lot to

offer against a heavy weapon that might possibly not be stopped with a direct block.

Brauilo Pedoy opened his first Escrima school in 1961 in Hawaii.



major players : Eduardo Pedoy, Christopher P. Siangco, Tyrone Takahashi, Michele Navares,

Carlton Kramer, K. Peacock, P. Schmall, Ron England, L. Castillo, Chaz Paul Siangco





*************************************************************

Doblete Rapillon (AKA Mena Style)

Patricio Mena



A style that emphasizes multiple attacks which are quickly delivered

without gaps or openings.



major players : Jose Mena





*************************************************************

Doce Pares

Tirso, Eulogio "Euling", Silvestre, Felimon "Momoy", Rufino, and

Ciriaco "Cacoy" Canete with Lorenzo, Teodoro "Doring", and Fredercio Saavedra.



The current head and President of Doce Pares was Cacoy Canete (1919-2016).



Doce Pares is a world leading organization of the traditional Philippine

martial art known as Eskrima or Arnis - stick fighting. Magellan's

sword-wielding conquistadors fell to Maharaja Lapulapu who used Eskrima to

defeat the Spanish at the battle of Mactan. Doce Pares is the home of the

most renown expert of the art, Grandmaster Ciriaco "Cacoy" Canete.



In the late 1920's, eskrima attained a high level of popularity in Cebu

City, the second largest city in the Philippines (Cebu island is located in

the center of the Philippine archipelago). In 1932, the most renown

eskrimadors, mainly from Cebu, founded Doce Pares as a society to promote

the only original native martial art of the Philippines. The name Doce Pares

reflects the Spanish influence on the Philippines and signifies "Twelve

Pairs," referring to the twelve basic strikes and twelve basic defenses of

eskrima.



Since its beginning, Doce Pares has produced many champions in eskrima

competitions. At the founding of Doce Pares, Lorenzo Saavedra, then

recognized as the foremost eskrimador in Cebu City, became its first famous

Grandmaster. He was ably supported by three other top-rated masters: Teodoro

and Frederico Saavedra - Lorenzo's nephews - and by Filemon Canete. Later,

Master Teodoro Saavedra rose to prominence as the best fighter in the Doce

Pares society. Master Eulogio Canete, Filemon's older brother, was elected

first president of Doce Pares and remained in that position until his death

in 1988.



During World War II, Master Teodoro Saavedra, an active guerrilla, was

captured and killed by the Japanese occupying forces. Shortly after

Teodoro's death, Master Ciriaco Canete, also a resistance fighter, emerged

as Doce Pares' foremost fighter and innovator. In the early 1950's, eskrima

techniques and tactics were analyzed, devised, modified and systematized by

Master Ciriaco Canete, based mostly on actual combat experience with rival

eskrimadors belonging to other associations. Among his many contributions to

the development of this martial art is eskrido, a combination of Judo and

eskrima techniques, as well as the most modern forms of eskrima-offense and

eskrima-defense.



Since its founding, Doce Pares has enjoyed a special reputation among

Philippine martial arts organizations as the developer and innovator of the

newest styles and techniques in eskrima. The Doce Pares style is now

identified as the modern forms of eskrima and variations of eskrima such as

escrido and specialized defenses against knives, pistols, etc.



Doce Pares maintains its headquarters in Cebu City, Cebu, The Philippines,

just a few miles from the site where Lapulapu used eskrima to defeat the

Spanish conquistadors of Magellan in 1521. The headquarters is the site of a

training gym and is a frequent meeting point for eskrimadores and martial

artists from throughout the world. All martial artists are warmly invited to

visit the Doce Pares headquarters either while on tour of the Philippines as

a vacationer or as a student or observer.



Doce Pares

81A C.Padilla St.

Cebu City, The Philippines

Tel: (032) 261-5909 OR (032) 261-1352 (Doce Pares, the Philippines)

Fax: (732) 566-1571 (Doce Pares, USA)

docepares@docepares.com



major players : Richard Bustillo, Primo Albano, Saturnino Arcilla, Nonito

Limchua, Sal Kalinga, Emilio Lapurga, Aniceo Suan, Felix Yap, Narrie

Babao, Florencia Cautiverio, Wally Estropia, Danny Guba, Tom Meadows.







*************************************************************

Dog Brothers Martial Arts

Head Instructor: Marc Denny



The three principle FMA roots of this "system of many styles" are

Inosanto Blend, Pektiti Tirsia, and Lameco. The system evolved out of the

fighting experience of a band of sweaty, smelly, psychopaths with sticks

known as the Dog Brothers. Fighting with unusually little gear (fencing

masks and street hockey gloves only) and the only rule of "be friends at

the end of the day", since 1988 the Dog Brothers have looked to push the

envelope.



The system has an outer range game, a crashing game, a midrange game,

and standing grapple game, and a ground grapple game. Some of the

distinctive features of the system are its use of 6 ranges, an emphasis on

developing ambidexterity with the stick as a prelude to the emptyhand

skills of the system, that knife and disarms receive somewhat less

attention than in many FMA systems, and for a FMA system, there is an

unusual amount of grappling. When a stickfight goes to the ground is when

"DB stickgrappling" comes into play. DB Stickgrappling is a blend of FMA,

Brazilian Jiu Jitsu and some Bando Python Stick. The system also draws

upon Krabi Krabong, the weaponry forerunner to Muay Thai.



Major Players: Eric "Top Dog" Knaus, Marc "Crafty Dog" Denny, Arlan "Salty Dog" Sanford





*************************************************************

Eskrima

Jack Santos



A style based on strong entry skills. Very hard and linear.





*************************************************************

Eskrima/KunTao/Silat

John LaCoste



Style that is noted for fluid footwork with crisp entries. Lacoste was

the recognized senior/leader in perhaps the largest Filipio community in

the USA in the 1960s/70s; Stockton, California.



major players : Al Concepcion, Dan Inosanto





*************************************************************

Eskrido

Ciriaco "Cacoy" Canete (1919-2016)



A combination of Aikido, Judo, and Doce Pares Eskrima.





*************************************************************

Eskrima

Felicisimo Dizon (1896-1984)



Felicisimo Dizon was taught Eskrima by 'the old man of Cebu' and Princess

Josefina, 'the Blind Princess', of the Pulahane tribe of Gandara, Samar. Dizon and Floro

Villabrille were friends and training partners. Angel Cabales was a student of Dizon.



Some claims have been made that Dizon's style was named De Cuerdas,

but those with long-term direct contact with Dizon's student Angel

Cabales claim that Dizon simply called his style Eskrima.



The videotape 'Sticks of Death', which is an interview with Angel Cabales,

Angel never makes any mention of De Cuerdas when he talks about Dizon.

Angel states that "he learned Serrada" from Dizon and then enhanced it.



major players : Angel Cabales (1917-1991)





*************************************************************

Estrella

Mauricio Fabia (1876-1961)



Basic Philosophy of Estrella:



The three fundamentals of the art are Distancia, Compas and Decision.

Although they sound simple, they are not.



Distancia refers to maintaining the right distance to your

attacker which will make you safer and give you more time to

make your own decision. It is also refers to understanding

your distance and relationship to the world and those around

you, to control your surroundings.



Compas refers to proper timing. This is not only means timing

as a fighting aspect, but also as the right time to act.



Decision refers to making a decision, but it also refers to the

ideas of loyalty and discipline. By making your decision you

must then stick to what you have chosen and see it through.



major players : Saturnino Quinto Fabia, Alfonso Quinto Fabia, Bernardo

Fabia Salinas, Flaviano F.Cabuang, Fortunato Rebualos, Cipriano Rebualos,

Marcelo Laurian, Quintin Malagayo, Manuel Quiros, Jerrick C. Salinas,

Michele Zuccollo, Doug Klinger.





*************************************************************

F.A.T.E. - Filipino Martial Arts

Howard F. Bifson, Johnaleen K. Castro



The F.A.T.E. organization's FMA system is a blend of Remy Presas's

Modern Arnis, Inosanto Kali, Doce Pares Eskrima, Kalis Illistrisimo,

JKD-JKDU concepts, Aikido and Ki Healing Concepts, GM Jim Morell's

Aiki Jitsu-Military Police Tactical System and Sgt. V. A. Castro's

Combat Eskrima.



The system not only covers techniques and their application, but also

the abilities needed to teach different people. This involves not only

teaching toward one goal, but the ability to teach at each student's

level of contact and acceptability. Also, making sure that reality based

issues are highlighted.



http://www.FATE-Organization.com





*************************************************************

Filipino Boxing & Dumog

Lucky Lucaylucay



Lucaylucay family Filipino Boxing and wrestling arts that are were taught

by Lucky's son, Ted Lucaylucay, prior to Ted's untimely death in 1996.

Ted taught it with Kali and Jeet Kune Do at his school.





*************************************************************

Garimot Arnis

Gat Puno Abon Baet



Garimot Arnis is founded by Gat Puno Abon "Garimot" Baet in July 1989 in

Miami, Florida. We now have instructors and contact people in different

states of the USA, Venezuela and the Philippines. We are the biggest

Arnis-Eskrima-Estokada Organization in Laguna, Philippines.



Practitioners of the martial arts that want to know more about the Garimot

System of Arnis-Harimaw Buno and Hilot should check http://www.garimot.com

or e-mail at Gatpuno@aol.com.



major players : Shane Singh, Alfredo Sardinas, Glenn Harris,

John Aviles, Tex Liang, Michael Kobayashi, Andrew Ma, Alan Del Mundo,

Dennis Duria, Daniel Donzella, Tim Rivera, Yuri Jimenez, Goyo Baet,

Daniel Baet, Doy Baldemor.





*************************************************************

German Arnis (DAV)

Dieter Knuettel



Modern Arnis, that is based on the styles of Professor Remy Presas and GM

Ernesto Presas with influences from Suro Mike Inay. It covers many aspects

of FMA: Sinawali, Modern singlestick, classical Arnis, empty hands, knife,

selfdefense and much more. It has a strong emphasis on economy of motion and

applying the same techique in different situations with different weapons.

It has many exercises and drills for automatisation and reflex

development/conditioning. The style is taught as martial art and self

defense and does not teach competition fighting. It uses modern teaching

methods for easy learning.



major players : Hans Karrer, Jorgen Gydesen, Peter Rutkowski, Thorbjorn

Hartelius, Johan Skalberg, Alfred Plath, Helmut Meisel.





*************************************************************

Inayan System of Eskrima

Mike Inay (1944-2000)



The Inayan System of Eskrima is composed of six FMA systems, with

three core systems. The primary core system within the Inayan System

of Eskrima is Serrada, as taught to Mangisursuro Mike Inay over many years of

study with Serrada's Grandmaster Angel Cabales. Suro Inay also studied

extensively under Grandmaster Maximo Sarmiento (founder of Kadena de Mano) and

was the first recognized Master of Kadena de Mano under GM Sarmiento.



Each system in the Inayan System is taught in its entirety, following

the methodology of teaching the pure art first, then allowing each

student develop their own composite personal style. The Inayan System is

"blade" oriented vs. "stick" oriented.



The following are the six systems taught in the Inayan System:



1) Serrada Eskrima as taught by the late GM Angel Cabales in the mid-1960s

and 1970s.

- see style description elsewhere in this FAQ

2) Kadena De Mano

- see style description elsewhere in this FAQ

3) Sinawali

- see style description elsewhere in this FAQ

4) Inayan Dequerdas

- Inayan Dequerdas is a mid-range style stressing female-triangle

footwork and strong augmented blocks.

5) Espada y Daga

- see style description elsewhere in this FAQ

6) Inayan Larga Mano

- A long range system of Eskrima. Evolved to use a longer/heavier cane

(~40") and to use the cane as if it were a Kampilan, the longest

sword found in the Philippines. This style is credited as being

the first complete formal style to teach the use of the Kampilan.

(The Kampilan was a weapon use by Lapulapu's men to kill Ferdinand

Magellan in 1521.)



The Inayan System of Eskrima also employs the following in varying degrees:

Solo/Doble Baston (single/double stick), Solo/Doble Punyal

(single/double dagger), Sipat (kicks), Sibat/Bankow (staff/spear),

Pamuok (hand-to-hand fighting), Lipad-lipad (bow/arrow, blowgun),

Vital Points.



major players : Jason Inay, Jena Inay, John Peterson, Frank DeFanti, Joseph Tesoro





*************************************************************

Inayan Systems International

Mike Inay (1944-2000)



"To be a truly complete and effective fighting defense, a style must have an

arsenal of competent techniques and theory to pull from to use in any

situation without borrowing from another style."

- Suro Mike Inay



In Inayan Eskrima we study several styles of Eskrima but focus on three core

styles which are Kadena de Mano, Serrada, and Inayan Largo Mano. Each is

taught in its whole form as a complete style and covers a specific range:

short (Kadena), medium (Serrada) and long (Largo). Having these three styles

that cover these three separate ranges is probably the key to balancing out

Inayan Eskrima. All three (short, medium and long) are essential. When the

Inayan student reaches the proper level he or she can then understand how

each piece fits the greater puzzle and put them together as it fits their

particular way of fighting.



Each style has its own advantages and is very effective in its own right but

might not be the best answer to every combative situation. For example, a

Largo Mano stylist is very adept at long ranges, but what happens if that

student is standing in a corner when confronted and has no space to move the

way he or she was taught? In this particular situation, having a good

working knowledge of a medium or short range style would be very beneficial.



Having 3 ranges at his or her disposal is a great asset to the Inayan

student. Whatever situation they might find themselves in, the student can

quickly adapt to the surroundings at hand. They can then flow easily from

range to range and/or style to style, depending on the circumstance, without

corrupting their objective.



Taking this a step further, the advanced student can understand how to

implement long-range theory in short range engagement or possibly

medium-range theory in long range engagement.



Below is a brief description of the three core styles that make up the back

bone of Inayan Eskrima in Inayan Systems International.



Inayan Kadena de Mano - Kadena De Mano translates to chain of hand and is

a combination of empty-hand and knife/dagger techniques. It covers basic and

advanced hand and knife drills as well as permuted locks from the

basic/advanced drills. Lock/flow/trap practice drills are stressed as well

as subject control through the use of Vital Points (Pressure Sensitive

Nerves).



Inayan Serrada - Serrada translates to either "to close" or "close

quarters". The style is noted for using a shorter cane, male triangle

footwork, and quick, linear, inclose fighting. This blade and stick style

translates well into empty-hand applications.



Inayan Largo Mano - Largo Mano translates to "long hand" and is a long range

system of Eskrima. Evolved to use a longer/heavier cane (~40") and to use

the cane as if it were a Kampilan, the longest sword found in the

Philippines. This style is credited as being the first complete formal style

to teach the use of the Kampilan.



Supplemental styles include:



Inayan Dequerdas

Inayan Sinawali

Inayan Espada y Daga

Inayan Sibat/Bankow



major players : Emanuel Hart, Jeffrey Elliott, Steve Klement, Cory Hanosh.





*************************************************************



Inosanto Kali

Dan Inosanto & Richard Bustillo (1942-2017)



Composite style based on instruction received from many of the

instructors listed in this FAQ. It is a complete system with many different

types of Filipino weapons. The art uses many of the Jeet Kune Do concepts

interchangeably.



major players : Paul Vunak, Cass Magda, Burton Richardson





*************************************************************

Kadena de Mano - "Chain of Hands"

Max (Maximo) S. Sarmiento (193?-1982)



Kadena De Mano is a combination of empty-hand and knife/dagger

techniques. It covers basic and advanced hand and knife drills

as well as permuted locks from the basic/advanced drills.

Lock/flow/trap practice drills are stressed.



The reason we have FMA being taught today to the 'masses' is due

to the efforts of Max Sarmiento. In ~1965 Max worked in the Defense

Depot near Stockton, CA. A few of the workers were practicing karate

(specific style unknown) and one jokingly attacked Max. Max quickly

and effectively defended himself with his Kadena de Mano (Chain of Hands).

The karate students were impressed and asked Max to start teaching them his

style of FMA. Max resisted, but did start asking the local FMA Masters around

Stockton (of which there were many due to the high number of Filipino migrant

farm workers that had settled in that area). Max finally convinced Angel

Cabales to openly teach his style of Eskrima, Serrada Eskrima, to all those

that wanted to learn. Angel's school was the first example of FMA being

openly taught in the USA.

(The above story was contributed by Mangisursuro Mike Inay.)



major players : Mike Inay (1944-2000), Jimmy Tacosa, Jeffrey Elliott, Frank DiFanti





*************************************************************

Kalis Ilustrisimo (AKA Olistrisimo)

Antonio "Tatang" Ilustrisimo (1904-1997)



A system composed of different styles and techniques, e.g. Estrella

Vertical, Florette, Boca y Lobo, Batanguena Serada, De Cadena, Media Traile,

and Warwok.



major players : Antonio Diego, Epifanio "Yuli" Romo, Rey Galang





*************************************************************

Kombatan Arnis (AKA Arnis Presas Style)

Ernesto Amador Presas, Sr. (1945-)



Ernesto was taught arnis by his grandfather, Leon Bongco Presas. He was

taught double and solo baston, Sinawalis, Palis Palis (follow the force

system), force to force blocking system and the sunketi and Thrustsada system.



From his father he learned Tres Buntos (holding a stick in the middle and

a knife in the other hand), Dos Puntas (holding a stick in the middle) and

classical arnis. Classical arnis containing the systems/techniques of

espada y daga, Abaniko Doublada, Ocho Ocho (figure eight system), the up and

down and side to side striking.



The footwork for Kombatan Arnis is based on the traditional dances of the

Philippines, back and forth and V-shaped movements. There is also

a commonality between the footwork/stances of Kombatan and the

Japanese/Okinawan martial arts. This is due in part due to an influence

from traditional Okinawan weaponry.



The Presas's (Ernesto and Remy) modified the techniques they were taught to

try and get greater public acceptance by teaching the art in a standardized

format (stances and blocking techniques) and by not striking to the hand,

but hitting to the stick instead. This is credited for the art's introduction

into some public schools in the Philippines.



Traditional techniques and footwork remain in Kombatan Arnis by teaching

espada y daga, Abaniko Doublada, Sungekti, etc.



Because of the modification of the footwork, stances and such, Kombatan like

Modern Arnis is easily taught in a wide range of martial arts schools, such as

Taekwondo and Karate, since the students see commonality within the systems.



The heart of the Kombatan system is Palit Palit, or give and take drills.

It is this system or series of drills where the techniques of Kombatan

Arnis are applied and the concepts and strategies of the system are

developed. The drills help to develop flow, timing, distancing, speed,

endurance, everything comes out in these drills.



The weapon systems of Kombatan Arnis are the double and solo baston, espada

y daga, knife (daga), Mano Mano (empty hands), Dulo (palm stick), Benkaw

(staff). Traditional Okinawan weapons were also taught at the Kombatan

school in Manila.



While there is commonality between Kombatan and Modern Arnis, there are

differences as well. Remy Presas liked the styles and methods of

locking, where Ernesto likes the translation of stick to empty hand,

e.g. hitting the opponent and then taking them to the ground. Kombatan

contains locking techniques, but emphasis is more on the striking aspects

of the art.



major players : Pepe Yap, Roberto Presas, Fred Lazo, Ernesto Presas, Jr.,

Wolfgang Schnur, Edwin Lao.





*************************************************************

KunTao Silat



What is Kun Tao Silat? First lets start in China. Kun Tao is the southern

(Fukien/Hokkien) word for martial arts. It means 'fist way'. In the northern

part of China, the same word is pronounced Chuan Fa. Now the modern Chinese

term for these arts is Wushu. When the Chinese traders started to trade with

other countries (i.e Indonesia, Philippines, Malaysia) they of course bought

their arts with them. This occurred around the 9th century. However there

was a bigger movement around the 12th century during the Manchurian invasion.

The people who mainly left China at this point were the Hakka people. These

people were known for there traveling exploits. Their name Hakka means guest

family or royal family, hence perhaps the reasoning for the exodus from China

during the Manchurian invasion. In Indonesia the art was referred to as Kun

Tao. Now in Indonesia due to political reasons the government frowned upon

the use of Chinese, and outlawed the speaking of Chinese, the use of Chinese

names, and most of all the practice of Kun Tao. The Chinese have always been

a group that keeps to themselves and the art at this point kind of went

underground and was only practiced in the Chinese communities. What some

Chinese practitioners did was to just start calling their art Silat and

giving it an Indonesian name. So some Silat systems today have a strong

Chinese influence, like Mustika Kwitang.



Now because of this there is NO Kun Tao Silat art in Indonesia.



There is either (Chinese) Kun Tao or (Indonesian) Pencak Silat. This also IS

the same in Malaysia (they have Bersilat). Now because the Philippines is in

between these two countries it has had an influence from both AREAS. There

was no restriction put on the Chinese in the Philippines and therefore Kun

Tao was openly displayed. Which then became intermingled with Silat where

eventually it evolved into Kun Tao Silat. This is the art of the Tausug

people. They live in the Sulu islands of the Philippines. This is separate

from Mindinao. In the Sulu area the total art of Kun Tao Silat, which would

be the same as saying Pencak Silat or Bersilat, is still sub-divided into

two arts. Kun Tao being the empty hand phase and Silat being the blade

phase. The Kun Tao portion however did not retain the influence of the

Chinese, probably because the art most likely came from Borneo where they

practice an art called Kun Tao Bankui. Please remember that part of

Philippine history is that ten Datus left Borneo and settled in what is now

known as the Philippines. Therefore establishing a school called Bothoan,

where many things were taught including their martial arts. There has been

so much change and intermingling in the Philippines in these arts that most

Filipinos consider the art indigenous to the Philippines. This is why

Grandmaster Carlito Lanyada changed the spelling of his ancestor's art from Kun

Tao to Kuntaw, to relate more to the Tagalog tongue. So please keep in mind

that, yes, in the Philippines there is an art called Kun Tao Silat, but this

is not the case in Indonesia. One of my Indonesian teachers refers to his art

as Kun Tao Silat in order to give honor to both his Indonesian and Chinese teachers.





Note: "Kun Tao Silat de Thouars" is the system of Willem de Thouars.



major players : Steve Gartin, George Morin, Phillip Sailas, Randall

Goodwin, Richard Buel, Chuck Stahman, Dave Anderson, John Garcia, Keith

Moffett, Dave Sponenberg, Stewart Lauper, Chas Clements





*************************************************************

Kuntaw Lima-Lima

Carlito Lanada



A form of hand and foot fighting not unlike China's Kung-Fu, from which

some claim it migrated to the Philippines, circa 1365.



major players : Steven Dowd, Bruce R. Corrigan, Bud Cothern, Bill Anderson.





*************************************************************

Lameco Eskrima

Edgar G. Sulite (1958-1997)



Lameco Eskrima is a Filipino martial arts system combining several

different styles of Kali, Arnis and Eskrima which the founder, Punong Guro

Edgar G. Sulite, learned from prominent grandmasters in the Philippines.

Punong Guro Sulite began training at an early age under his father,

Helacrio Sulite, Sr., in their family's style. Edgar went on to train

with many of the most famous masters of the Filipino martial arts, including

GMs Abella, JD Caballero (1907-1987), Gaje, and Ilustrisimo.



The Lameco system is P.G. Sulite's distillation of techniques and

theories from these masters' styles, tempered by his years of

experience as a student, fighter, and teacher. The word "lameco" is

an acronym for "LArgo"-"MEdia"-"COrto," to emphasize that this style

is intended to be equally effective at all ranges, and in all situations.



Lameco teaches the use of the following Filipino weapons:

Solo Baston, Doble Baston, Espada y Daga, Solo Daga, Doble Daga,

Dos Manos Largos, Itak, Centro Baston, Susi and Mano y Mano.



major players : Christopher Ricketts, Benjamin Pueblos, Lowell Pueblos,

Pablito Gunio, Reynaldo Galang, Dan Inosanto, Leonard Trigg, Edwin Lim





*************************************************************

Lapu Lapu Vinas Arnis

Jose Vinas (1906-1991)



Lapu Lapu Vinas Arnis Afecionados was created in 1932 by Jose Vinas

for the promotion and study of his system, Lapu Lapu Vinas Arnis.

LLVAA is based out of Bacolod City, N.O., RP and is under the

leadership of GM Wilson E. Vinas, son of Jose Vinas and inheritor

of the system.



The system is characterised by the following:

Primarily corto

Blade based (bastons are treated as edged during all phases of training)

8 angles/strikes

Weapon side is reversed

Use of 29 inch baston

Exclusive use of Lobtik vs Witik

Incorporates Sinawali, Espada y Daga, Solo Baston, Knife techniques



major players : Thomas F. Caulfield, Jr and Thomas F. Caulfield III





*************************************************************

Lightning Scientific Arnis

Lema Scientific Kali Arnis

Benjamin Luna Lema (1919-2003)



A system which stresses, both, speed and power in the execution of

techniques encompassing solo and doble baston, Espada y Daga and empty

hand and foot combinations. The key emphasis being the "blanketing" or

"closing off" of an opponent's impending attack either by meeting the

strike via a simultaneous hit and counter or any various combinations of

disarms which would effectively neutralize any further or secondary

followups from the attacker.



The style consists of the following:

1. Single Baston/Espada

2. Double Baston/Espada

3. Espada y Daga (Sword and Dagger)

4. Tapado (50 inch two handed stick, also the primary training tool for the Filipino Kampilian Sword)

5. Bangkaw/Sibat (4-5 foot stick)

6. Daga (Knife)

7. Dos Pontas/Olising Maliit (4 inch pocket stick)

8. Pangamot (Empty Hand Techniques which include):

a. Sikaran (lowline kicking and base destruction including use of knees and shin)

b. Panununtukan (Filipino Boxing, use of the arms for attack including elbows)

c. Trancada (use of locks and breaking techniques)

d. Dumog (Filipino wrestling/grappling including throws and takedowns)



major players : Elmer Ybanez (1953-2004), Felipe Jocano Jr. Fil Buena, Nathan Dominguez,

Manolo Del Rosario, Joshua Medros, Gerrard Torio, Ramon Bernardo, Herman

Licanto, Joey Quiriones, Alex Ortinero, Jon Russel Escudero





*************************************************************

Modern Arnis 80 (MA-80)

Dan Anderson



This is a branch of the original Modern Arnis founded by Grandmaster Remy

A. Presas. Already a national karate champion, Dan Anderson began training

under Remy Presas in 1980. Dan Anderson is a 6th Degree Black Belt (1992)

and Senior Master (1995) under Remy Presas. MA-80 was founded by Dan

Anderson and okayed by the late Grandmaster Presas in 1998. The fundamental

training and combative philosophy of MA-80 is found in the number 80. Remy

Presas would present many variations of any kind of offense or defensive

option, putting forth the concept of an infinite number actions one could do

in any given moment. When he was pressed, he was simple and direct in his

counter. The number "8" when turned on it's side is the symbol for

infinity. The "80" means the possibility of anything reduced to the

simplicity of the moment.



MA-80 primarily stresses the single stick and empty hand applications, with

the double stick, the espada y daga and the knife being secondary in the

training. The two main goals in MA-80 are development of The Flow and to

Counter-the-Counter. The entirety of the instruction laid out from 1980 -

2001 is given equal emphasis to achieve these goals.



A key point of MA-80 is understanding the principles which underlie the

physical techniques. As Remy Presas was a "hands on" teacher, he didn't go

much into explaining the concepts and principles of the art.

By understanding the core principles of what Remy Presas did, one can come

close to or reach his level of skill through the combination of hard

training and understanding. MA-80 is a Filipino art with an

American approach. Anderson has written several books on Modern

Arnis delineating the techniques and principles of Modern Arnis.



Association website:

htp://www.danandersonkarate.com





*************************************************************

Modern Arnis, Presas Style

Remegio "Remy" Amador Presas (1936-2001)



Founded in 1957, a style that uses single stick, double stick, knife/sword, and sword &

dagger. Uses modern teaching and training methods. The style is

distinguished by its emphasis on disarms and counters. Also uses forms

for training.



major players : Jeff Delaney, Randi Schea, Timothy Hartman, Jim Clapp, Irwin Carmichael,

Dieter Knuettel





*************************************************************

Moro-Moro Style

Telesporo Subing-Subing



major players : Alejandro/Andrew Abrian





*************************************************************

Moro-Moro Orabes Heneral

Alejandro Abrian



Moro-Moro Orabes heneral is an eskrima system founded in 1955. It has its

roots in the Visayan province of Samar, home to the Waray ethnic group.



Based on principles geared towards combat effectiveness, Moro-Moro Orabes

Heneral is arguably lacking in the aesthetic beauty commonly associated with

other Asian fighting arts. Pre-arranged drills are nonexistent in the

system because of their limiting, albeit decidedly appealing, nature.



Moro-Moro Orabes Heneral is a composite art containing subsystem

applications for long- and short-bladed weapons, batons, fisticuffs and

grappling.





*************************************************************

Oido de Caburata Arnis

Abraham Gubaton



Oido De Caburata Arnis is a complete system of FMA. The system utilizes

long & short sticks, bladed weapons, as well as empty hands and feet.

Tapado is said to have originated from this system.



major players : Sabas Gubaton, Gerson Balitor





*************************************************************

Panananadata

Ingkong Leon Marcelo



A system taught in the Tagalog region of the Philippines. Amante

Marinas, Sr. wrote the first book on FMA published in the USA.



The word pananandata is derived from the three words paggamit (use) ng

(of) sandata (weapon). Its translation is the art of weaponry.

Pananandata uses a variety of weapons mostly of tools used for farming

or tools used in the kitchen. These tools have become part of the

weaponry of pananandata. These include:



* rigid weapons such as the one-hand held 31-inch stick, the two-hand

held at least 48" pingga, the 12" daga (dagger), the 14-inch diameter

dikin (ring), the tungkod (walking cane), the 20" bolo, the 16 3/4"

lilik (serrated slightly bent cutting knife) and the hawakan (Philippine tonfa).



* flexible weapons such as the lubid (rope) and the tanikala (chain).



* part rigid and part flexible weapons such as the tabak toyok

(nunchaku), latiko (horsewhip), and the bayawak tail.



* balisong (butterfly knife)



* throwing weapons such as knives, salpadpads (metallic disks),

stones, and bagakays (wooden torpedo-shaped darts).



major players : Amante Marinas, Sr. (1940- ), Amante Marinas, Jr.





*************************************************************

Pangamot

Ciriaco "Cacoy" Canete (1919-2016)



Pangamot is a Cebuano term derived from the word "kamot", meaning

hand. Thus Pangamot is an empty handed art. It requires the fully

coordinated and rhythmic movements of the defender's entire body to

bring about the opponent's defeat through weapon disarms (panganaw) as

well as throws.





*************************************************************

Pekiti-Tirsia

Conrado Tortal



The Pekiti-Tirsia system of kali is an infighting combat system. The

name is roughly translated as "to cut into small pieces, up close". It

is primarily concerned with close quarters (corto range) combat and

employs the traditional full-length stick, typically 30 inches in length

or more. It was founded by Conrado B. Tortal from the Negros Occidental

of the Visayan region. Today its tradition survives in the many students

of the system, headed by Grand Tuhons Leo Tortal Gaje, Jr. of Bacolod City

and Jerson "Nene" Tortal. Pekiti-Tirsia was bought to the USA in 1972 by

GrandMaster Leo T. Gaje.



The Pekiti-Tirsia system is also called the Doce Methodos (the 12

methods or subsystems of the Pekiti-Tirsia system) referring to the

distinct groupings of techniques and related application methods. A core

form of 64 movements illustrates many of those subsystems such as

abcederio, quartos cantos, dakup y punyo, etc. Most stick styles possess

an 8 or 12 attack form but few others have such an extended form. In

addition, the footwork of Pekiti-Tirsia distinguishs it from other

styles. Most movements are executed from a "loaded" short-range

position somewhat similar to a cat stance, the body coiled to generate

power from the abdomen instead of purely from the arms or shoulders.



Pekiti-Tirsia is comprised of 5 main weapons categories:



Solo - Single stick, sword or spear

Doble' - Double stick or sword

Espada y Daga - Sword and Dagger

Daga y Daga - Knife to Knife (both single and double)

Mano y Mano - Hand to Hand



Pekiti-Tirsia is based on 3 priciples:



3 Ranges - you are taught Close Range first as this is the most dangerous

and difficult to master; then Medium, and finally Long.



3 Levels - along with every attack you are taught several counters to that

attack, as well as several recounters to each counter. You

develop the ability to think at least 3 levels ahead in a fight.



3 Opponents - you are taught to be prepared to fight at least 3 opponents;

therefore, you don't spend too much time on any one opponent.





major players : Leo Gaje, Jr., Jerson "Nene" Tortal, William McGrath, Tom Bisio,

Eric Knaus, Philip Gelinas.





*************************************************************

Pronus-Supinus Cadena De Mano System

Johnny Chiuten



Johnny Chiuten, of Filipino-Chinese descent, was born in Bogo, Cebu in the

late 1930's. He had an early introduction to martial arts from his father,

uncles, and grandfather. To maintain his cultural heritage he was sent

to China to be brought up in the traditional Chinese customs. Here he was

further exposed to more martial arts styles from his Chinese relatives.



Chiuten had been trained in the Balintawak style of arnis by

Grandmaster Anciong Bacon. After learning Balintawak he moved on and

studied the arnis de abanico style of Felimon Caburnay.



The resistance of the arnis de abanico masters to the introduction of the

new concepts of kung fu into their art resulted in several factions.

Those that learned the new abanico style (the collaboration of Master

Chiuten & Grandmaster Caburnay) were few and what they learned of the

changes were mostly the physical aspects.



The primary and perhaps trademark characteristic of the style is the use

of the crossed leg stance and its application in advancing and/or

retreating while delivering multiple blows. Trapping techniques with the

hands, feet, sticks & dagger, not to mention the intricate takedown and

locking techniques, make this style different from some Filipino arts.



The name given to this style, Pronus-Supinus (pron-supine) refers to the

yin-yang relationship of the hands and the Cadena de mano (chain of hands)

refers to the continuous hand movements as it relates to attack and/or

defence techniques. These incorporate the principles of the different arts

that form the bulk of the offensive and defensive arsenal. What forms the

very foundation of this art is the stancework, hand and foot technics, the

whole body being involved in the expression of the art. The stick and

dagger are merely the extensions of the total art. There has been no claim

of this art being a pure Filipino martial art style but rather, and

expression of the fighting philosophy of Johnny, as comprehended and

translated by his followers.



major players : Rene Navarro, Jopet Laraya





*************************************************************

Rapido Realismo Martial Arts

Henry Espera



Rapido Realismo Martial Arts consists of two fighting systems, the

Rapido Realismo Kali/Arnis (aka Espera Kali/Arnis) for weaponry and

Rapido Realismo Sabakan (aka Espera Sabakan) for hand-to-hand encounters.



major players : Isagani Abon, Rommel Pabiliona, Lito Abraham



http://www.angelfire.com/art2/rapidorealismo





*************************************************************

San Miguel Eskrima

Filemon "Momoy" Canete (1904-1995)



San Miguel Eskrima is an Espada y Daga style developed by Filemon "Momoy"

Canete. Master Canete defined his method as an "old" style of Doce Pares

that emphasized the use of the blade. Training stresses the correct body

mechanics, distancing and timing necessary to develop power, speed, and

accuracy when fighting.



The San Miguel Form is the centerpiece of this method of Eskrima. It's

great length develops endurance and refined strength. In addition to the

San Miguel Form, many other aspects of Espada Y Daga training are explored:



Disarming Techniques

Counters to Basic Attacks

Hi Speed Counter & Re-counter Exercises

Free Style Drills



Other methods of training develop a wide range of skills and cultivate

different qualities and abilities:



Ananangkil (50" Stick) (Power / Courage)

Bangkaw (Spear) (Body Connection)

Dos Armas (2 sticks) (Speed / Fluidity)

Cadena (Chain) (Speed / Timing / Wrist Power)

Unarmed Techniques (Self Defense/Throws/Locks)

Latigo (Whip) (Timing / Whole body Power)

Throwing Knife (Accuracy / Control)



A list of certified instructors may be found on the San Miguel Eskrima

Association Website: http://www.eskrima.com.



major players : Tom Bisio, Tom Arroyo, Patty Burkhalter, Mike Freel,

Steve Lamade, Doug Marcaide, Mike Marini, Tony Ortiz, James Seetoo,

Ngo Vinh-Hoi, Dave Tillett.





*************************************************************

San Miguel Eskrima Asosasyon of Cebu

Filemon "Momoy" Canete (1904-1995)



San Miguel Eskrima is the art, science and personal expression of

Grandmaster Filemon "Momoy"Canete. The system is based on:



* Simplicity

* Directness

* Effectiveness

* Reality

* Tactics and Strategies

* Economy of Motion

* Personal Expression

* Personal Development

* Scientific Movements

* Concepts/Principles

* History

* Culture



Grandmaster Momoy was one of the head instructors of the Doce Pares Club

from 1933 through up to his passing in 1995 and one of its original founders

together with Lorenzo Saavedra, Teodoro Saavedra, Federico Saavedra,

Florentino and Eulogio Canete. San Miguel Eskrima is his Momoy's personal

expression and style within the club/system.



In San Miguel emphasis is heavily placed on developing proper and precise

body mechanics and dynamics and the recognition of the natural physiology and

application of movement and force, while using the concepts/principles of a

weapons-based training. Power, speed, strength, rhythm, reaction, reflex and

a keen eye are some of the attributes developed in San Miguel training.



San Miguel is a complete blade and edge based system that incorporates long

and short blades, single stick, double stick, stick and dagger, dagger,

long stick (ananangkil/gahab), spear (bankaw), bullwhip (latigo), cadena

(chain), throwing knives, Pangamut (empty hand Combat Judo and dumog

wrestling).



Association websites:

http://www.sanmigueleskrima.com

http://sanmiguel.iwarp.com



major players : Benjamin Culanag, Urbano Borja, Genaro Mendoza, Andreas

Canete, Isidro Casio, Albert Sales, Ramon Rubia





*************************************************************

Sayoc Kali

Christopher Sayoc, Sr.



Sayoc Kali is one of the many components contained in the Sayoc Fighting

System. The Sayoc Fighting System as taught from 1972-1982 was comprised

of the following categories:



1. Single stick (28"-32")

2. Empty hands (foot works, body mechanics)

3. Double stick (24"-32")

4. Stick and dagger

5. Dagger (single blade-multiple blades)

6. Tabak-toyok (single/double)

7. Pana (projectile in assorted sizes)

8. Long stick (36"-50")

9. Whip (4'-12') (single/double)

10. Staff/spear

11. Short stick (18"-24")/tabak-maliit (single/double)

12. Shield and stick



The Sayoc System of Edged Weapons Dynamics is taught in three parts:

Sayoc Kali, Sayoc Silak and Sayoc Bakal.



The Sayoc Kali system emphasizes the correct and effective usage of the

blade. During training a student will learn how to use a single blade,

with progression to the use of multiple blades, in conjunction with

empty-hands training. Sayoc Kali contains the basic teaching formula,

and is primarily concerned with the development of the "Feeder".



Feeder based mentality is best described by answering this oft-asked

question: "How would you defend against a guy with a knife?" Feeder

Based mentality : "I have the Knife".



The Sayoc Silak system is the second part of the training is in the

counter offensive and contains the second learning formula. This

training revolves around the "Receiver", and is started with the empty hands.



The Sayoc Bakal system is the third aspect taught. It is comprised

around the use of projectiles in combat. It works as a complete system

and compliments and enhances both Sayoc Kali and Sayoc Silak.



Included in these 3 categories of training are: proper handling or blade

edge discipline, blade deployment, vital target discrimination, defense

against and the practice of disarms, projectiles and finger-touch

methodology used in conjunction with knife work, critical injury

management, teaching methodologies, non linear templates, 2 dominant

weapon usage, environmental tactics, power assisted movements, and a

system for team work for multiple man situations.



major players : Rafael Kayanan, Ricardo Kayanan, Tom Kier.





*************************************************************

Serrada Escrima (Cabales Serrada Escrima)

Angel Ovalles Cabales (1917-1991)



Angel Cabales is commonly known as the "Father of Escrima in the US" as

he was the first to openly teach FMA in the States.



Serrada translates to either "to close" or "close quarters". The style is

noted for using a shorter cane, male triangle footwork, and quick, linear,

inclose fighting. This blade and stick style translates well into empty

hand applications.



major players : Dentoy Revillar, Al Concepcion, Mike Inay (1944-2000), Jimmy Tacosa,

Vincent Cabales, John Cabales, Jaime Cabrera, Charles Cadell III, Ron Saturno,

Stanley Wells, Wade Williams, Frank Rillamas, Gabriel Asuncion, Kimball Joyce





*************************************************************

SLD

Dentoy Revillar



SLD stands for and is based on Serrada, Largo Mano, and De Cuerdas, Revillar

learned Serrada from Angel Cabales, De Cuerdas from Gilbert Tenio, and Largo

Mano.



major players : Dextor Labanog, Bob Antuna





*************************************************************

Sudlud Eskrima

Ray Terry (1951-)



Sudlud Eskrima (and the Sudlud Eskrima Association, SEA) is an amazing

style of FMA, founded in 2002. "The Sudlud", a mythical human

character, played a pivotal role in rank progression within the

Inayan System of Eskrima.



Sudlud Eskrima is heavily based on Inayan Eskrima and the teaching

and interests of the late Mangisursuro Michael G. Inay. Sudlud

Eskrima also contains significant influences from Grandmaster

Ciriaco "Cacoy" Canete's Doce Pares Eskrima as well as his systems

of Eskrido and Pangamot. This firm FMA footing in addition to the

founder's 40 years of martial arts teaching and training experience

forms the excellence of technique and execution that is Sudlud Eskrima.



Students in the SEA strive to earn the unique title of "Inayador".

The Inayador (Inayan Eskrimador) is honorable, possesses a warrior

spirit and has mastered the basics of the SEA curriculum. The Inayador

has attained a 1st degree black belt in Sudlud Eskrima. Sudlud Eskrima

uniquely uses only a five degree [1 thru 5] black belt ranking system.



major players : Bill Evans, Jim Bruce, Michael Mason, James Bush, Jorge Medina,

Andrzej Sobczak, Henryk Duda, Jeff Landry





*************************************************************

Tapado

Romeo Mamar, Sr. (19??-2005)



A long cane (50") style with 3 angles of attack and in which the cane

is wielded with either one or both hands. It stresses footwork and

delivery of very powerful blows.



major players : Al Concepcion, Ron Harris, Benefrido "Bebing" Lubrido, Mike Vasquez





*************************************************************

Toledo-Collado Escrima

Pasqual Ovales





*************************************************************

Vee-Arnis-Jitsu

Florendo "Vee" Visitacion (1910-1999)



An eclectic fighting system combining hard and soft styles. Major

components are JuJitsu, Judo, Arnis Lanada, Muay Thai, Kuntaw,

Kung-Fu, Karate and Aikido.



Vee Jitsu is the foundation of the art, incorporating the joint locks,

breaks, throws, and ground movements of Judo/JuJitsu with the brutal,

no-holds-barred approach of traditional street fighting. Techniques

such as groin kicks, biting and eye gouging are readily employed during

fight situations.



Professor Vee also devised a series of fifteen two-person short forms

dubbed "Vee-Jitsu-Te's". These enable the student to respond effectively

to a variety of attack scenarios using a series of sequential defensive

moves. In order to additionally prepare for the realities of street

confrontations, students are drilled rigorously in class and paired

with persons of different shapes and sizes. That way an individual

can experiment with various techniques to determine whether they work

effectively against larger or smaller opponents within a given situation.



The weapons and empty-hand martial art of Arnis makes up the second

major component of Vee-Arnis-Jitsu. Many of the Vee-Arnis-Jitsu

techniques such as the fifteen dimensions and the patterns-of-twelve

drills are derived from Arnis. Students practice these techniques

using a variety of different stepping variations. The more important

ones include PaKua circular footwork, forward and backward motion

and the V-stepping pattern. A number of training exercises including

Sinawali drills are also incorporated. Knife-fighting is another major

part of weapons training.



major players : David James, Frank Edwards, Sr., Frank Edwards, Jr.,

Mohammed Talib





*************************************************************

Villabrille System

Floro Villabrille (1912-1992)



Villabrille learned Kali/Eskrima (along with his friend, F.Dizon) from Princess

Josefina, 'the Blind Princess', of the Pulahane tribe of Gandara, Samar.



This style is now headed by Ben T. Largusa and is now termed the

Largusa-Villabrille System of Kali. However, Ben is now retired and

living in Nevada.



major players : Lindsey Largusa, Mel Lopez, Greg Lontayao, Allan Magdangal,

Mario Magdangal, Ron Hellman, Mark Harrell





*************************************************************

Visayan Style

Sonny Umpad



This system is comprised of elements from Moro-Moro, Doce Pares,

Balintawak, Villabrille Kali, Serrada and also Wing Chun kung fu. Moro-Moro

footwork is combined with concepts from the various Cebu-based Visayan arts.

Live doblecada (double sticks) incorporates Wing Chun's centerline punching

principles into sinawali. Knife work and Sikaran foot fighting are also

heavily emphasized by this Alameda, CA instructor.



major players : Gary Cagaanan, Sonny Bautista





*************************************************************

Warriors Eskrima

Abner G. Pasa



The Warriors system is a composite of the various styles and systems

studied by Abner Pasa. The main system being that of the Largo Mano

System, Excalibur System, Pangamot System, Espada y Daga System,

Sikaran, Balintawak System and a host of other styles. The development

of very high skills in fighting can not be the only goal in Eskrima.

Admittedly, survival was a strong determination in the study of the art

in ancient times. However, practical realities today demands that the

ultimate goal of the art must shift from merely surviving to that of

living. The development of ones potential for his betterment, redounding

to the benefit of his community. This direction has greatly influenced

the development of the system.



Only a select few are allowed to study and practice the real art. The

main goal in the past was to preserve the art. The training syllabus has

been kept simple. Lessons on individual techniques were called Basic

Training. Emphasis at this level is on the understanding of the proper

and effective execution of the individual techniques taught.

Combinations and complications arising from the practical applications

of a technique is de-emphasised. Once a student has developed the

ability to execute the techniques properly he is allowed to move into

the Advanced Training format. Advanced training involves the development

of a students personal fighting system. The effective applications of the

techniques are now emphasised. Mastery of this level leads to a

certificate as an instructor.



major players : Vicente "Inting" Carin (?-2005), Krishna Godhania





*************************************************************

Yaw-Yan

Napoleon (Nap) A. Fernandez



Founded in 1972, Yaw-Yan's movements slightly resemble that of

Thai-Boxing and Korea's Taekwondo but the origin is Filipino. The word

Yaw-Yan was derived from the two last syllables of "Sayaw ng Kamatayan"

meaning "Dance of Death".



Contrary to most popular belief, 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 -- on or off the ring. Advanced Disciples have to go through a

rigorous ritual of practice and discipline consisting of actual

full-contact sparring, bag hitting, and flexibility exercises. The

Elbows (siko), knees (tuhod) and shin (lulod) are utilized in much the

same way as in Muay Thai. Yaw-Yan practitioners learn 40 basic kicks,

advanced disciples have to be able to execute and apply complexed

advanced kicks requiring great dexterity, flexibility and mastery. Most

of these advanced kicks are trick kicks which always caught unsuspecting

opponents by surprise.



Yaw-Yan Back-kick, reversed Yaw-Yan roundhouse stomp thrust and the

famous scorpion kicks were some of these kicks popularized in Filipino

motion pictures by action stars Boy Fernandez and Rey Malonzo, both

Yaw-Yan experts. Yaw-Yan practitioners are also adept with Philippine

bladed weaponries as balisong and bolo. Bladed weapons are mere

extensions of the hands. The forearm strikes, elbows, punches,

dominating palms, and hand movements are empty-hand translations of the

bladed weapons. There are 12 bolo punches which were patterned from

Arnis, the Philippines' very own armed art. These punches have continous

fluid striking motion quite similar to western boxing but incorporating

the art of Arnis. Grappling, ground-fighting, and knife-fighting had

always been a part of the philippines' martial art and are always

incorporated during the Yaw-Yan practice period. Yaw-Yan is a

transformation of ancient Filipino Martial Arts and a Modern Competition

Sport with high emphasis on practicality and actual confrontation.



The mountain-storm kick had been debatable as who originated it, where

and when. Mountain Storm kick seemed similar to Thai roundhouse kick

except that the kicking leg was drawn up and swung-through in full force

swiftly with a continous downward cutting motion of the shin as you

torque your hips in, instead of just plain straight through burst.



http://www.yawyan.com



*************************************************************





And many other styles/systems...





*************************************************************

* APPENDIX A - FMA Books

*************************************************************



Further Reading ( not complete )



"The Filipino Martial Arts"

by Dan Inosanto



"Encyclopedia of Martial Arts"

by Emil Farkas and John Coocaran



"Filipino Stick Fighting - Modern Arnis"

by Remy Presas



"Practical art of Eskrima"

by Remy Presas

Modern Arnis Publications, Manila Philippines, No ISBN



"Arnis: Presas Style and Balisong"

by Ernesto Presas



"Masters of Arnis Kali & Eskrima"

by Edgar G. Sulite



"Eskrima, Kali, Arnis"

by Dionisio Canete



"Arnis Lanada"

by Mat Marinas

Unique Publications, ISBN 0-86568-060-4



"Pananandata Knife Fighting"

by Mat Marinas

Paladin Press, ISBN 0-87364-399-2



"Pananandata: Dalawang Yantok"

by Mat Marinas

Socorro Publications, Manila, Philippines. No ISBN



"Pananandata Yontok At Daga"

1992 Paladin Press.

by Amante P. Marinas Sr.



"Pananandata Rope Fighting: Filipino Choking & Binding Techniques"

1989 Paladin Press.

by Amante P. Marinas Sr.

Trade Paper ISBN 0-87364-494-8 128p. (OP)

Trade Paper ISBN 0-685-51069-7 128p. (OP)



"Secrets of Arnis"

by Edgar G. Sulite



"Arnis: Filipino Art of Self Defense"

by Benjamin Lema

Integrated Publishing House, Pasig, Metro Manila, Philippines.

ISBN 971-8637-32-X



"Doce Pares: Basic Eskrima, Arnis, Kali, Pangolisi"

by Ciriaco C. Canete,

Doce Pares Publishing House, Inc, Cebu City, Philippines, 1989.



"Kuntaw: The Ancient Filipino Art of Hand and Foot Fighting"

by Steven K. Dowd

Koinonia Publications, 1978

No ISBN given



"Balisong: The Lethal Art of Filipino Knife Fighting"

by Sid Campbell, Gary Cagaanan, Sonny Umpad

Paladin Press, 1986

ISBN 0-87364-354-2



"The Kris: Mystic Weapon of the Malay World"

by Edward Frey

Oxford University Press, 1991

ISBN 0-19-588906-1



"The Balisong Manual" and "The Advanced Balisong Manual"

by Jeff Imada

Know Now Publishing, 1984 / 1986

ISBN 0-938676-4-0 / 0-938676-07-5



"Filipino Martial Arts - Cabales Serrada Escrima"

by Mark V. Wiley



"Filipino Martial Culture"

by Mark V. Wiley





*************************************************************

* APPENDIX B - FMA Tapes

*************************************************************



HardHat area. These titles are not confirmed.



(x) indicates how many tapes in set.



"Inayan System of Eskrima" (8)

By Suro Mike Inay



"Modern Arnis" (6)

By Remy Presas



"Modern Arnis" (6)

By Dieter Knuettel



"Realistic selfdefense with everyday objects" (2)

By Dieter Knuettel



"Balisong" (2)

By Dieter Knuettel



"Arnis: Presas Style" (1)

By Ernesto Presas



"Rapid Arnis" (2)

By John Harvey and Pat O`Malley



"Kali Sikaran" (2)

By Jeff Espinous



"Lameco Escrima" (8)

By Edgar Sulite



"The Filipino Martial Arts" (6)

By Dan Inosanto



"Filipino Stick Fighting" "Filipino Fighting" (2)

By Paul Vunak



"Sticks of Death: An interview with Grandmaster Angel Cabales"

By Anthony Davis



"Dumog" (1)

By Paul Vunak



"Panajakman" (1)

By Paul Vunak



"Advanced Knife Fighting" (1)

By Paul Vunak



"Kali / Jeet Kune Do" (4)

By Ted Lucaylucay



"Balintawok Eskrima" (6)

By Bobby Taboada



"Pekiti-Tirsia" (5)

By William McGrath



"A Tribute to Legends" (1)

By Antonio Ilustrisimo



"Action in Manila" (1)

By Inoy Baiza, Vicente Sanchez, Elmer Ybanez



"Warriors of Negros" (1)

By Nene Tortal, Hortencio Novales, Dominador Ferrer, Rene Cornel



"Kalis Ilustrisimo" (3)

By Mandirigma Productions, now out of business.



"Doce Pares" (4)

By Danny Guba and Percival Pableo



"Introduction to The Doce Pares System"

By Dionisio Canete



"Espada Y Daga System of Doce Pares"

By Dionisio Canete



"The Balisong: Filipino Knife of Self-Defense" (3)

By Scott Brennan & David Miller



"Lightning Scientific Arnis"

By Elmer Ybanez



"flow of Filipino Kali Hands" (3)

By Steve Grody



"Dog Brothers" (6)

By Eric Knaus



"Kali Pangasinan"

By Reyes



"Kali Silat SinaTirsiaWali" (3)

By Greg Alland



"Advanced Kali Knife Drills" (2)

By Greg Alland



"Lotosa Escrima" (6)

By Rene Latosa



"Eskrima" (3)

By Advincula



"Jeet Kune Do and Kali" (7)

By Bob Breen







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* APPENDIX C - Eskrima Info via the Internet

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The FMA E-mail Distribution List

______________________________



Do you practice Eskrima, Escrima, Kali, Arnis, Dumog or some other

Filipino martial art? Then join the Filipino martial arts e-mail forum,

the premier internet discussion forum devoted to the FMAs.



The Eskrima list is a ~2500 member e-mail distribution forum for the

respectful discussion of the Filipino martial arts, for those wheresoever

dispersed around the globe. 15+ years of continuous operation.



The list is managed by "Mailman". To subscribe to the Eskrima list go to:



http://eskrima-fma.net

-aka-

http://martialartsresource.net/mailman/listinfo/eskrima



Brought to you by http://MartialArtsResource.com and California Eskrima



Mabuhay ang eskrima!







Eskrima info on the web (please notify me if broken links are found)

_______________________________________





URLs come and go. Please inform the author if these fail for you.



Martial Arts Resource

http://www.martialartsresource.com



http://www.middlebury.edu/~jswan/martial.arts/ma.html



Vancouver Kali/Silat Assoc

http://www.cecm.sfu.ca/~loki/VKSA/



Kun Lun Pai Kuntao Silat de Thouars

http://www.odyssee.net/~gurug



Portland Academy of Martial arts

http://www.3rdplanet.com/~clarkec/index.html



http://www.he.net/~mousel/



http://www.ai.uga.edu/students/keller/renel/renel.html



Filipino Eskrima/Arnis Assoc.

http://www.facets.com/escrima



Inayan Eskrima

http://www.martialartsresource.com

http://www.inayaneskrima.com

http://www.inayan.com

http://www.inayan-eskrima.com

http://www.inayanmartialarts.com

http://www.sudlud.com



http://www.serve.com/solis/



Defensor Method http://www.kalieskrima.com

Vorticity Martial Arts

http://www.islandnet.com/~gmzimmer/vorticit.html



FMA and JKD

http://www.deltanet.com/users/bradjkd1/bhodges.html/bhodges.html



Sothern California Eskrima Academy

http://orion.oac.uci.edu/~tlau/eskrima/scea-hp.html



Minnesota Martial Arts Academy

href="http://www.umn.edu/nlhome/m096/grah0065/mmaahome.html



American Modern Arnis Assoc

http://www.hansa.com/AMAA/



International Eskrima Serrada Association

http://www.tribe-iesa.com



http://www.clark.net/pub/madsox/home.html



Danish Arnis Assoc.

http://www.daimi.aau.dk/~jpsdiry/arnis.html



Pekiti-Tirsia info

http://www.cecm.sfu.ca/personal/loki/kali.html



Pekiti-Tirsia International

http://www.cecm.sfu.ca/PTI/



Pentjak Silat Bukti Negara

http://www.cs.pdx.edu/~tellner/bukti_negara.html



http://www.uwm.edu/~mardavuy/arnis.html



Progressive Fighting Systems

Brazilian Jiu Jitsu, Jeet Kune Do Concepts, Filipino Kali

http://www.adnc.com/web/pfs



Filipino/Indonesian Martial arts Resource Page

http://www.aliens.com/personal/philcon/firp.htm



Serrada Eskrima - Germany

http://www.serrada.de



Black Eagle Eskrima Arnis

http://www.black-eagle.org





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* APPENDIX D - Interview with Guro Cass Magda

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The material was given to me by the interviewee and asked that I post it to

the newsgroup. This article is found in the World Kulintang Institute (WKI)

NEWSLETTER Issue 1, Volume 1.



Danny Alvendia



An Interview with Guro Cass Magda

by Victor del Rosario



Halfway through a Kulintang performance one late afternoon,

a lone man, 6-foot tall wearing a kopia and malong, approached the

micro phone at centerstage, in front of fifteen hundred people at

a high school auditorium in Los Angeles. "We will now demonstrate

various Martial Arts of the Philippines, which is relatively unknown

in this country. There are over 200 different styles. And, it is a

rather esoteric art."

"We've trained under several (what we call) first generation

Filipinos; many of whom are now deceased or in their late 70's and

80's."

"Filipino martial arts was one of the martial arts in America.

As early as the late 1600s, the Spanish Galleon gold route came

from the Philippines. At that time, a lot of Filipinos jumped ship

in Mexico and Louisiana. You'll find things like the "shrimp dance"

in Louisiana today; which is a cultural reminder of the Filipinos

landing there in the early 1700s. But, it is the last martial art

to surface in the U.S., because the Filipino people felt at that

time that,because of the natoure of this art - which involves

sophisticated weaponry, and used only for self-defense - that it should

be kept within the Filipino community. Since then, we've been very

lucky that it has recently surfaced in the early 70's."

"Today you'll see arts from the Northern, Central, and the

Southern Philippines. These arts can look as different as night and

day."

The audience was riveted. As the demonstration unfolded, the

mesmerizing resonance of Kulintang music and the graceful, yet deadly

Martial Arts of the Philippines interlocked just as the "players",

either holding instruments or weapons, interchangeably moved in and

out of each others' rhythmic presence by way of sound or action.

Together, these rare and ancient traditions passed down through

generations now being performed, electrified an astounding presence

that offered a kind of "living snapshot" of the cultural depth deeply

rooted, yet largely unknown in the western world.

The man who spoke earlier was Cass Magda, the guro (teacher)

of the Magda Institute of Martial Arts in Reseda, California. His

school's objectives are: 1) to preserve, incorporate and promulgate

the true historical, cultural, and philosophical Filipino-Indonesian-

Malaysian martial art combative forms and techniques; 2) to research

and preserve significant teachings of these indigenous art forms; 3)

to develop committed, devoted individuals capable of transmitting

these various Martial Art systems; 4) to raise the consciousness of

the Martial Arts community and the general public about these various

martial arts, since they are relatively unknown.





Let's now meet Guro Cass Magda in this interview:



Q: Why do you perform with WKI?



GC: The reason I enjoy performing with WKI is that we have the

opportunity to show the martial arts in its cultural context. In ancient

times, it was always practiced to music. The effect on the audience can be

quite dramatic. Although it is hypnotic like Balinese dancing, you begin to

realize that this is not dancing, but real combative, functional techniques,

elegant but extremely dangerous (laughs) ... it just looks beautiful.

You see, the moves are deceptively subtle. This is a highly evolved

system of self-defense that has a graceful dance-like quality to it.





Q: I noticed you used the Malong(long length of cloth) to demonstrate

with ... is this common?



GC: Yes, everything can be used as a weapon, even articles of clothing

The headdress, the Malong, the belt, the shoe, everyday objects such as pens,

umbrella, books, drinking containers, keys ... everything. Many people think

that it's only the exotic weapons that are used. No ... it's everyday objects.

You see, demonstrations should educate while they entertain. If it's

just entertainment, then it reaches someone only on one level. If you educate

your audience, even just a little bit, they can appreciate what you're doing

and begin to really see what's happening. Light bulbs are being turned on.

It's important that people realize that the art is not a dead, static museum

artifact from the past, but a potent, alive art form that is useful and rele-

vant today.





Q: To people not familiar with Filipino Martial Arts and there are a lot

of different styles, how would you begin to explain what it is?



GC: It is a weapon-based system that evolved uniquely because of the

resistance to the Spanish occupation of the Philippines fro nearly 400 years.

The weaponry share similarities found throughout all of Southeast Asia,

especially with Indonesia and Malaysia, but evolved differently.



Originally the art embodied a balance of both weapons and empty hand

fighting systems. Later it became known as a strictly weapons system. In some

styles, the empty hands were lost over time. Elements of Spanish swordsmanship

were absorbed and modified to fit their needs for effective countering attacks

and us and used reciprocally against the Spanish and European invader