Issue No #1 2012

Mataw-Guro’sWho have shared some of the Basic’s of their Art

www.matawguro.com

The articles are the property of the author’s that wrote them and cannot be used without the permission of the author. The Mataw-Guro Notebook is the property of the Mataw-Guro Association and is for the promul-gation and promotion of the Filipino Martial Arts Education. NO issue can be printed and Sold for Monies, without the express permission of the Mataw-Guro Asso-ciation.

Mobility and Basic Footwork in the IEAA - Mataw-Guro Jerome Barber, Ed. D Filipino Palm Sticks - Mataw-Guro David Battaglia The Plus - A Training Template - Mataw-Guro Michael Butz Basic Empty Hand Blocking - Mataw-Guro Steven Dowd The Value of Filipino Martial Arts Methodologies - Mataw-Guro Timothy Kashino Stances & Body Positions - Mataw-Guro Marc Lawrence Grip and Strikes - Punong Mataw-Guro Luis Rafael “Louelle” Lledo The Basics of Kalis Ilustrisimo System “As I was Taught” - Mataw-Guro Peachie Baron Saguin True Self-Defense: Common Sense and the Law - Mataw-Guro Andy Sanano The Augmented Block of Pinakatay Arnis Sigidas - Mataw-Guro Roger Velasco Mataw-Guro Members Associate Members

On March 21, 2012 the publisher of the Mataw-Guro Notebook, put out a challenge, but it was also a request to all recog-nized / registered Mataw-Guro’s of the Mataw-Guro Association. The challenge is to write about an aspect of the Filipino martial art that you teach. (A basic aspect). Any aspect is good, knife, bolo, single baston, double baston, sweeping, empty hand, blocking, stances, movements, strikes, kicks etc... It was also put forth that if the Mataw-Guro can write something up or have a student write it up since your stu-dent learns from the Mataw-Guro and have it submitted by 30 April 2012. The Mataw-Guro Notebook with enough entries would make a full notebook with the Mataw-Guro’s style logo, web-site link and if no website then contact information, and if not then it will go into the Newsletter. This should have been a simple thing to do since all Mataw-Guro’s in the Mataw-Guro Association are Professional teachers. Well apparently this was not a simple thing to do so the Mataw-Guro Notebook would like to apologize. The April Mataw-Guro Newsletter came out on April 25, 2012 and at that time only three articles were received. From April 25 - 30, 2012 a few more were received, and the Mataw-Guro Notebook also added some that were in past issues of the notebook from Mataw-Guro’s that shared their teachings in the past so this notebook could come out. To the ones that did not send anything in maybe they were too busy, felt they had nothing to contribute or were in-sulted by the challenge. Well the Mataw-Guro Notebook can only say it is a shame for this was an opportunity to share some knowledge on the basics and also for the notebook to be able to promulgate any Mataw-Guro that submitted something which is what the notebook is designed for. So what is presented in this issue is hoped to be informative and understand is only one basic aspect of that Mataw-Guros teaching in the subject that they have written.

The Mataw-Guro Notebook deeply thanks these professionals for contributing.

Note: This issue is put forth as were the first notebooks in which it is as if a student is taking handwritten notes as he / she are learning.

Mobility and Basic Footwork in the IEAA By Jerome Barber, Ed. D Grandmaster and Mataw-Guro, Independent Escrima-Kenpo-Arnis Associates

I was taught that the long bladed knife or Bolo was the pri-mary fighting tool of a number of Filipino martial arts systems. Modern Arnis, as taught by Professor Remy Presas, is an example of this general bladed orientation. Sifu Don Zanghi, my first Kenpo-Arnis instructor made sure that his students were aware of this orientation and stressed that the rattan stick was a training tool and represented the bolo. As I read through the introductions of Professor Presas’ first 2 books, Modern Arnis: Filipino Martial Art: “Stick Fighting” (1974) and The Practical Art of Eskrima: The Filipino Martial Art of Attack and Defense with cane or bare hands otherwise known as Arnis (1975), it was very clear to me that the blade was the weapon of choice in the Philippines prior to the modern era of firearms. All anyone needed to do was examine the number of blade types that Professor referred to in his 1974 book on page 10, “...kris, bolo, kalis, laring, barong, gunong, kampilan, gayang, pira, punal, itak banjal, bangkcon, lahot and the panabas” and any doubts about the bladed orientation would be easily removed. Given that array of bladed instruments, it seems to me that effective defensive skills, beginning with footwork and mobility are absolutely necessary if one is going to stay alive, healthy and retaining all of their body parts intact. My first Asian Martial Arts instructor, Sifu Don Zanghi, taught a self-defense style that blended Tracy System Kenpo and Modern Arnis. He placed a great deal of emphasis on good evasive footwork. Therefore I am going to follow his lead in this booklet, as I have done over the past 30+ years. I will introduce the basic fighting stance of the IEKA, the neutral stance and the footwork that drives our IEKA single stick blocking methodology. One of the benefits of stepping as you stick block or strike is that you will naturally and very eas-ily rotate your hips thereby adding power to both motions. Since blocks are in reality your first counter-strikes, you want to have both speed and power as you execute your blocks. The smaller you are in physical stature and muscle size, the more important it is for you to generate as much power as you can from the smallest movements that you make. This is a form of “economy of motion” or the idea of making 2 or 3 positive things happen at the same time with a single movement. The full economy of motion concept is beyond the scope of this booklet, but the idea can be found in many areas of movement within the Filipino martial arts. In the IEKA instructional format we use the “clock” system to determine where a person is stepping as they are attacking or defending. This system can also be described in terms of compass directions. The following schematic depicts the clock system:

As the defender, you will begin your defensive actions from the center (+) spot in the clock and it is assumed that you are always facing 12:00 at the begin-ning of any sequence of movements. Your opponent or opponents can be at any spot on the perimeter of the clock, including being directly behind you. That latter situ-ation will of course necessitate that you take some sort of evasive action in order to turn and face that person(s) as well as counter the opponent’s attack. All of the directions for you, the defender, will be given in terms of the starting position in the center of the clock and moving in the direction toward one or more of the other positions listed above

in the schematic. Moving in a clockwise progression the compass points would be North (12), Northeast (1:30), East (3), Southeast (4:30), South (6), Southwest (7:30), West (9) and Northwest (10:30).

Neutral Stance:

The neutral stance is the key to our mobility training within the IEAA Escrima Amis program. While the horse stance provides the sturdiest foundation for the legs, the neutral stance allows us to move faster and easier than the horse stance. The reasons are very simple and direct. The horse stance is lower and wider. There is excellent side to side stability, but virtually no front to back stability and it exposes our entire center line or vital organs to attack. The neutral stance corrects both of those defects although there is of course, a trade-off. The neutral stance since it is higher is not as stable or strong. On the other hand the greater mobility that it affords us is a very acceptable alternative benefit. To establish a neutral stance, start with your feet together, shoulders on the 3 - 9 axis line of the clock and facing 12:00. Take one (1) full step toward 12:00 with your right foot (RF), pivot on the balls of both feet, turning toward the left or counter-clockwise (CCW) so that you are now facing toward the 10:30 position. Your feet are pointed toward 10:30 your shoulders are now on the 7:30 – 1:30 axis line. Take a half-step or stride toward 10:30 with your left foot (LF). Turn your head to the right and look in the 12:00 direction. You are now in the basic neutral stance position with your hands at your sides. Bend your arms at your elbows to raise your hands up on either side of the face in a guard position and bend your knees slightly so that neither joint is in a locked position. Raise your left heel slightly off the ground. This is your basic empty hand neutral stance fighting position. In this position, your hands can protect your face, your elbows and upper arms protect your ribs, you right thigh is protecting your groin from a frontal or 12:00 attack and can rotate your waist to your left in order to further protect your groin from an opponent’s hooking attack originating from the 10:30 quadrant. You can use inward or outward forearm blocks to protect your chest and mid-section against hook-ing attacks. Add a stick to your right hand (RH) and you are in the right side (Rs) forward neutral ready stance for stick fighting using strikes and/or blocks. Reverse the directions of the feet and establish a left side (Ls) neutral stance. If you keep the stick in your right hand, place your stick against your raised left forearm, in a horizontal plane and you will be in the left side (Ls) forward neutral ready stance for stick striking or blocking from a backhand ori-entation. In both the right and left side neutral stances, the elbows are kept down and against your ribs thereby providing protection for the ribs.

Neutral Stance Basic Transition Drills - Stepping Through:

1. Begin with a right side (Rs) forward neutral stance. Step forward with your left foot (LF) and assume a left side forward neutral stance. 2. Step forward with your right foot (RF) and assume a right side (Rs) forward neutral stance. 3. From the current right side (Rs) forward stance, step back toward 6:00 with your right foot (RF) and assume a left side (Ls) forward stance. 4. Step back with your left foot (LF) and assume a right side (Rs) forward neutral stance.

These “step-through” drills allow us to make the basic stance transitions while maintaining the same type of stance, merely shifting from a right foot lead to a left foot lead and then back to the original right foot lead. We can advance or retreat in a protected body positioning sequence. One consideration that must be kept in mind when using the ‘step-through’ transitions is the need for protecting your groin while

12

10:30 1:30

9 + 3:30

7:30 4:30

6

that is not easily done with the lateral shift step movement. The major advantages of V-stepping are in the positional changes that can be added to the initial rear step. With the V-steps you can easily add a step to your left or right sides as well as a second rearward step of open a wider gap with your opponent.

Side Stepping:

The side step is fairly easy to do since it involves both feet moving in the same direction and main-taining your shoulder width placement and neutral stance orientation without changing from the Rs to the Ls or vice-versa. The stepping rule is quite simple, if going to your right, step first with your right foot, then move your left foot and place it in position on the floor re-establishing your Rs neutral stance. If you side step to your left, move your left foot first, then your right foot and re-establish your Rs neutral stance.

Cover and Turn:

In a street confrontation, where there are no judges, referees or rules of sportsmanship being fol-lowed by your opponent(s). It is very important that you have mastered some evasive movements and avoid being struck or cut so that you can effectively counter-attack with speed, strength and power. Cover and turn allows you to survey the area around you and turn to either side or toward your rear quadrant, with relative safety and maintaining good balance and using only a minimal amount of move-ment on your part. Place yourself in the Rs neutral stance and then assume that you want to turn so that you can face 6:00. To accomplish this goal, you will step toward 10:30 with your RF, pivot on the balls of both feet, with the toes of both feet pointing toward 7:30, your shoulders on the 10;30 to 4:30 axis, you should be looking toward 6:00 in the Ls neutral stance with your stick in front of your right shoulder. You have just completed a cover and turn movement. To return to the 12:00 position, step toward 7:30 with your LF, pivot on the balls of both feet, with your toes pointing toward 10:30, your shoulders will be on the 1:30 to 7:30 axis of your clock and your head is turned toward 12:00 and you have reassumed your original Rs neutral stance. (Please note that you will have moved 2 steps to your left after you complete the return to your original Rs Neutral stance. You have NOT done anything incorrectly. The Cover and turn maneuver takes you off the original 12 - 6 axis line and establishes a new 12 - 6 (or N – S) axis line with each turning movement). If your goal is to turn to face either 3:00 or 9:00 from your Rs neutral stance, cover and turn will help you accomplish going to either direction. To change and face 3:00, step toward 10:30 with your LF, pivot on the balls of both feet, pointing your toes toward 1:30 and your shoulders will be on the 4:30 to 10:30 axis and you can face 3:00, and you will still be in a Rs neutral stance with your stick in front of your right shoulder. To transition to face 9:00, from your Rs Neutral stance, that is oriented toward 12:00, step toward 1:30 with your RF, pivot on the balls of both feet and point your toes toward 10:30, placing your shoulders along the 1:30 to 7:30 axis, you will be facing 9:00, and in a Ls neutral stance with your stick in front of your right shoulder. It is extremely important that you learn how to use the “cover and turn” technique, because you should never assume that you will always be faced by only one nasty person at a time whose intention is to hurt you. The ability to quickly turn and change your body positioning, correctly while covering yourself, is a vital skill that could be the difference between escaping serious injury or death on the streets.

Neutral Stance Four Directions Cover and Turn Drills:

moving forward or backward and changing the lead sides. The legs must never be opened too widely. A quick natural turning of the hips must accompany the steps, so that your groin and bladder areas are not facing forward and unprotected. Your shoulders and hips must always be re-aligned along one of the lines of the “X” axis from 1:30 to 7:30 or 10:30 to 4:30, as quickly as possible in order to prevent a kick or punch to those areas.

Push-Step:

The push-step is a quick forward or reverse movement to either close or open the distance or “gap” between yourself and your opponent. Start from the Rs neutral stance and push off with your rear foot, and step toward 12:00 with your Right Foot. Your rear foot should land in front of the spot vacated by your lead foot. If the lead foot moved 6 inches, then the rear foot should move the same distance forward. You should still be in a balanced, Rs neutral stance. To move back or retreat, push back with your lead or RF, as your rear or LF steps back toward 6:00. You should still be in your RS neutral stance at the end of the procedure. The push-step may also be used on a forward angle toward 10:30 or 1:30 or on a retreating angle toward 7:30 or 4:30. This angled movement is sometimes referred to as “Triangulation”. It is a very important, yet basic, evasion maneuver.

Shuffle:

A series of push-step maneuvers used to cover a greater distance than can be accomplished with two or more push-steps in any direction. The shuffle allows the user to remained balanced and in a protective neutral stance while moving.

In-Place Stepping:

This stepping method is used to establish a strong base for blocking and striking by shifting your weight from one side of your body to the other while maintaining a solid well balanced neutral stance. The transition from your Rs neutral stance to the Ls neutral stance is accomplished by stepping forward with your LF to the 12:00 position next to your RF and stepping backward toward 6:00 with your RF. Re-turning to the RS neutral stance is completed by stepping forward to 12:00 with your RF, placing it next to your LF, then stepping back to 6:00 with your LF, to establish the RS neutral stance. In-place step-ping is used to hold your position, without gaining or losing ground. It is very effective and useful on wet slippery surfaces, where there is a strong possibility of slipping and falling as you try to defend yourself against an attacker.

Lateral Shift Step:

This is a side to side variation of the in-place stepping technique. Starting from a RS neutral stance, step toward 10:30 with your LF, then step to 6:00 with your RF. You are now in the Ls neutral stance. Return to your Rs neutral stance is achieved by stepping to 1:30 with your RF and to 6:00 with your LF. The lateral shift step allows you to change your position to either side of your original starting point as you defend yourself against an attack and set-up your counter-attack. It is a form of “triangula-tion.”

V-Stepping:

The V-Step pattern is another angled stepping pattern. It utilizes the rear step of the in-place pat-tern, however instead of stepping straight forward to change the lead foot, the second step is angled. This pattern also has the added element of shifting from one point to an entirely different place or position

Filipino Palm Sticks By David Battaglia Guro and Mataw-Guro, Amerasian Defensive Art

The Filipino palm stick is referred to as Dulo-Dulo, or Olisi-pal-ad, in the Philippines. In the US it is comparable to the kubaton. Primarily, the palm sticks are made of rattan, about seven inches in length, and about three-quarters of an inch round.

Palm sticks are very good for enhancing your empty hand self-defense skills. The two butts of the palm sticks are blunt, and good for causing blunt force trauma. The palm sticks are a medium to short range pair of defensive tools. However, there is a long range application that can be used when an attacker is trying to box you. To succeed, this will take many, many repetitions of hitting the gloved hands of your training partner. It is very important to use good footwork to keep the at-

tacker’s punches out of range of the head, and in the range of the palm sticks. Striking in a hammer-blow fashion the thumb is put on to one of the butts of the palm stick, tar-geting, for example, the hands, bridge of the nose, or the eye. Striking in an upward ridge hand motion, the palm stick is enveloped in the palm of the hand, targeting the groin, throat, or under the chin. Using angle strikes, similar to X-knife slashes, or hook and backhand strikes, the sides of the head, back of the head, ribs, and kidneys make good targets. Another use of the palm sticks is for hooking and restricting hand movement of an attacker. The pocket stick(s) are pushed down by the thumbs, so they stick out more from the hammer-blow position Restricting hand movement of an attacker can prevent him from grabbing and hitting. Also, hooking with palm sticks can increase leverage, helping to unbalance an attacker, and yank him forward in to a palm stick strike. I like using a half beat when doing this. One of my pocket stick won’t retract, but will go forward to strike, from the position it’s already in. As part of our Filipino martial arts training we practice the idea of “sabayon” or simultaneously doing two things at once. Deflecting and hitting simultaneously with the palm stick is very effective. The main reason I would use Filipino palm stick methods would be due to the situation I’m dealing with. It would most likely be a disparity of force situation. Disparity of force is generally defined as, an unfair advan-tage by way of size, strength, and/or numbers. Generally, this means I would be under attack by a much larger, young-er, and stronger attacker. Also, it could mean I’m defending myself against more than one attacker. Transitioning over to a more modern set of tools for pocket sticks, is the use of my extremely bright flashlight with my keys attached. I wouldn’t recommend using them as a defensive flailing tool.

Independent Escrima Kenpo Arnis Associates Email: escrima_kenpo@hotmail.com

The Right Side Ori-entation: The Left Side Orientation:

12:00 Rs neutral stance 12:00 Ls neutral stance

9:00 Ls neutral stance 3:00 Rs neutral stance

3:00 Rs neutral stance 9:00 Ls neutral stance

12:00 Ls neutral stance 12:00 Rs neutral stance

6:00 Rs neutral stance 6:00 Ls neutral stance

12:00 Ls neutral stance 12:00 Rs neutral stance

3:00 Rs neutral stance 9:00 Ls neutral stance

9:00 Ls neutral stance 3:00 Rs neutral stance

12:00 Rs neutral stance 12:00 Ls neutral stance

Close Close

In the IEKA curriculum we train our students to utilize both their right and left side movements. The reality of combat confrontations is that you do not know what angle or direction an opponent may choose to strike from, therefore, you must be prepared to defend every angle or degree of the clock. You have to be comfortable moving to or from both your strong (dominate hand) and weak sides. Therefore, above I have included the left side orientation of the cover and turn drill. Practice these drills on both sides and never allow yourself to develop a “sugar side” or a one sided orientation in the combat/self-defense arts. Go back to earlier sections of the booklet and practice everything shown on both the right and left sides of the body. An attacker will never willingly or graciously attack you only on your strong side and always after giving you ample warning that he/they are coming. Please keep in mind something that I post in ALL of my curriculum handouts:

“Prior proper preparation prevents piss poor performance!”

The Plus – A Training Template By Michael Butz Guru and Mataw Guro - Kada Anan Eskrima

I find myself constantly evaluating my students to gauge that I am providing them not only the familiarity of practical techniques but, more importantly, that they are developing an understanding of basic principles of motion and physics as well as becoming kinesthetically aware. I have made a conscious effort to evaluate this because I realized that we, as teachers, in attempting to develop this understanding in students, often lose integrity of foundation. To make martial concepts more palatable for beginners and not “lose” them, teaching becomes systematized and, as a result, basic principles can be lost. Emphasis is placed on the execution of techniques instead of understanding the principals of movement. As a student, I was introduced to “the Octagon” as taught by Master Tenio. I learned it as a defen-sive template and found it was useful and duplicable regardless of system or style. In an attempt to create an equally duplicable offensive template, I have taken the octagon, as I understand it, and added depth, planes and angles. It has developed into what I now call “The Plus”. The Plus is merely a template, essentially just a few principles put into motion that can be applied to all forms of martial arts, both weapons-based and empty-handed. It can also correlate to stages of a stu-dent’s individual understanding and growth. The Plus grows into an X, X into an Asterisk, Asterisk into a Circle and Circle into a Dot. For the purposes of this article I will explain the first 3 stages, the Plus, X and Asterisk with the use of a dagger.

If you have a dagger in your hand, holding it in a vertical position, you can make a straight up-and-down motion, creating a vertical line. The upward motion allows for use of multiple parts of the dagger: first, the blade tip; then, the blade edge; last, the punyo. The downward motion allows for use of the punyo first then the blade edge and the blade tip last. This is one half of the vertical line of the plus.

If you turn your wrist 180 degrees, with the dagger in a rising position, you again have the use of the tip, the blade edge and the punyo in the same manner as with the vertical position (Figure 1), depending on whether the movement is upward or downward. This is the other half of the vertical line of the plus.

If you have a dagger in your hand, holding it in a palm down position, you can make a straight left and right motion, creating a horizontal line. The left mo-tion allows for use of multiple parts of the dagger: first, the blade tip; then, the blade edge; last, the punyo. The right motion allows for use of the punyo first then the blade edge and the blade tip last. This is one half of the horizontal line of the plus.

An important consideration for me, is the keys are easily detachable from the flashlight. As such, I have my flashlight in one hand, and my keys in the other (Dulo-Dulo). I’m able to keep my flashlight and keys in my hand constantly. By doing so, I eliminate the concern of deployment under duress. I do constantly practice separating the two, under self-created duress. Also, I practice with a trainer flashlight, to remember to press the button, and project a blinding light (flash and smash). What I like about this combination is it’s legal. I know of airline travelers who’ve had their kubotans taken, before boarding. So far I’ve been able to take my flashlight/keys combination in to court houses, and on airplanes. Adding a nice metal pen is legal, too. When able to move, using good footwork, and keeping the attacker at the end of your defensive tools is most desirable. In my opinion, the goal should be to temporarily incapacitate the attacker(s), and get away. When unable to move much, I will have to rely on my medium and close range skills. Should I not have time to release my keys from my flashlight, I will have to rely on my single pocket stick training and alive hand. E.B.B.- Eyesight, Breathing and Balance is an acronym I came up with to teach my students effec-tive self-defense targets. Even if an attacker is feeling no pain, disrupting one or more of these body func-tions should work to temporarily incapacitate the attacker(s), and escape. The palm sticks enhance what the empty hands can do. However, don’t forget your body weapons. Remember to not get fixated on the pocket stick only. Kicks, knees, elbows, top-of-the-head, and teeth all can be used in conjunction with the palm sticks. Adaptability is impor-tant, and must be trained to build spontaneous muscle memory. A great benefit of learning to use Filipino palm sticks is, there are many everyday items like pens, pencils, salt shakers, keys and screw drivers that can be used like the palm sticks. The biggest advan-tage a tactical flashlight has over everyday items, is a blinding white light. Don’t neglect your Filipino palm sticks training. The training and defensive tools have a practical application in today’s society.

Amerasian Defensive Arts Website: amerasiandefensivearts.com

Basic Empty Hand Blocking By Steven Dowd Punong Guro at Tagapagmana and Mataw-Guro, Arnis Balite

In teaching empty hands in Arnis Balite of course one of the basic requirements is a solid foundation and strong framework. The stance is the foundation that exercises the body’s framework, both must be mastered before a student can advance to higher levels of training. Without a proper stance, any fighter whether martial artist, boxer, or wrestler probably could not use their hand and feet effectively, and would lose their balance when at-tacked by an opponent. Even the most highly involved systems within the martial arts are rooted in the basics. If the basic stance is incorrect, then it will follow that all other techniques, whether simple or complex will be incor-rect. Basic stances are not merely postures, balance, speed, and power but are derivatives from a good foun-dation. A strong, stable base is essential for any defensive or offensive maneuver. The development of speed and unbroken momentum requires proper balance and stability. Moreover, different techniques are more effective in particular stances. This is true whether you move defensively or offensively. There are a variety of stances, and they have many names with as many thoughts, theories, or teachings behind the structure of each. Nevertheless, Masters have developed each to serve a specific purpose. Each stance distributes the body weight more efficiently and is quite different from a normal posture. Once the individual perfects the different stances, this will enable them to attain positions that provide solid foundations and stronger techniques. In Arnis Balite some basic principles hold true for all stance so to be able to execute a strong well defined strike, block or kick:

1. Maintain balance with a low center of gravity. 2. Remain relaxed. Avoid tensing muscles when they are not in use, (Tension Burns Energy). 3. Move smoothly without telegraphing intent, and with the greatest speed possible.

Ok just wanted to make a point about stances as the foundation. However this article covers the four basic empty hand (soft) blocks which is believed in Arnis Balite to be the basics for all blocking techniques. The four blocks are upper, downward, outside and palm heel block (Arnis Balite does not have an inside block per-say as in karate or Kung Fu). All blocking is done with an open hand or as some would call it soft blocking. This is for the purpose that after the block is executed there may be a chance that a grabbing technique can be applied. As can be noted in each of the following illustrations in executing a block the muscles stay relaxed to add to the speed of the block, twisting and strengthening upon execution of the block. The twisting motion is believed to lessen the impact damage to the blocker and adding to the impact damage to the op-ponent. Also it must be noted in some martial arts in blocking they use a force on force block having to use strength of the block to divert the opponents strike away. In Arnis Balite it is believed that with the twisting action and the strength applied when actually blocking the actions divert the opponents strike in a different direction, giving the opportunity for a grab and being able to move inside the opponents strike to be able to follow up with a strike. In Arnis Balite the student starts each block in what is known to some as chamber position, this po-sition is on each side of the body waist level in height. Of course once the student understands the principles

If you turn your wrist 180 degrees, with the dagger in a palm up position, you again have the use of the tip, the blade edge and the punyo in the same manner as with the palm down position (Figure 3), depending on whether the movement is left or right. This is the other half of the horizontal line of the plus.

Now that “The Plus” has been explained, “The X” is relatively simple. “The X” is the introduc-tion of angles. Merely take the Plus template and tilt it 45 degrees.

“The Asterisk” is the application of the Plus and the X together.

Seem simple? It is. Remember, the Plus is not limited by or to any particular system, style or tech-nique. It is a template that can be applied as “basic” to all martial arts because (barring few exceptions) the human form and body mechanics do not change. When teaching a student the basics of motion they are more apt to be able to understand, integrate and create meaningful movement on their own. Often, stu-dents can get stuck on the memorization of drills or a technique sequence without regard for the true ap-plication or the meaning of the motions. If a step, technique or drill is forgotten, students, especially new ones, can find themselves completely lost. The Plus allows a student to be aware of the possible motions that can be applied in any situation, with any weapon, or none at all.

Kada Anan Eskrima Website: www.kadaananeskrima.com

and theories of the block, then the block is executed form the position the student has when sparring or in defending themselves. In executing the blocks described the corresponding foot is in front to the arm / hand to be used. If the opposite arm / hand is used then the block is called a reverse upper, downward, outside, palm heel block.

Upper Block (Salag Pataas): Move the left foot in front form a back stance, execute with the left arm an upper block. (Left open hand moves across the front of the body slightly above the waist [palm of the hand faces upward]. Upon reaching the right side of the body the hand angles upward. When the hand reaches head level the forearm turns outward [palm of the hand faces out to the front]. The arm is angled upward, slightly bent at the elbow).

Outside Block (Salag Palabas): With the corresponding foot in front form a stance; execute with the right arm an outside block. (The right fist positioned on the left side of the body under the left fist. Moving across the front of the body, turning clockwise. Upon execution the hand is open and faces to the rear, the arm is bent at the elbow so the arm creates a ‘V’ shape. The fist is shoulder in height).

Downward Block (Salag Pababa): With the corresponding foot in front form a stance, execute with the left arm a downward block. (The left open hand is positioned next to the right ear. As the left arm moves downward across the front of the body it turns clockwise so upon completion of the block the palm of the hand faces outward and is in line with the forearm. The arm is firm but slightly bent at the elbow and is positioned at the outer edge of the leg).

Palm Heel Block (Salag Papalad): With the corresponding foot in front form a stance, execute with the right arm a palm heel block. (The right open hand comes from the cham-bered position fingers pointing down. Crossing in front of the body, the hand turns counter-clockwise, the upper part of the body turns slightly also giving strength to the block. Upon completion the palm of the hand is fac-ing out to the left side of the body; palm of the hand is at a 45 degree angle between the front and the left side, arm slightly bent).

Other blocks used in Arnis Balite which derive from the four basic blocks:1. Scooping Block Salag Pasalok 2. Parry Block Salag Palis 3. Wrist Block Salag Paalalay 4. Alternate Block Salag Pasalisi 5. Circular Block Salag Paikot 6. Wedge Block Salag Pahawi 7. Resting Block SalagIbaon 8. Arm Block Salag Bisig

Arnis Balite Website: www.arnisbalite.com

Arnis Balite “The Filipino Art of Hand, Foot & Stick Fighting” The Basics and Fundamentals

By Steven Dowd

This book will give you the Basics and Fundamentals of the art of Arnis Balite as taught by Pundador Manuel M. Aguillon. Though there is no replacement for personal physical instruc-tion. Arnis Balite was never been taught outside the Philippines and never to anyone other than a Filipino. The author was the first and only non-Filipino to be taught the art of Arnis Balite and was promoted to instructor. And since Pundador’s passing has inherited the art, per the family’s request.

Kuntaw ng Pilipinas “The Filipino Art of Hand & Foot Fighting” White Belt - Black Belt - 70’s

By Steven Dowd

This book gives some of the history, fundamentals and all the forms that were required from White Belt through Black Belt in Kuntaw in the 1970’s as the author learned them.

United States Arnis Balite - $8 each- includes Shipping & Handling. Kuntaw - $10 each - includes Shipping & Handling. For Both- $16 includes Shipping & Handling.

Outside the United States Arnis Balite - $12 USD each - includes Shipping & Handling. Kuntaw - $15 USD each - includes Shipping & Handling. For Both $25 USD includes Shipping & Handling.

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The Value of Filipino Martial Arts Methodologies By Timothy Kashino Mataw-Guro - Cadenilla Eskrima

As a 27 year student of the Filipino martial arts (FMA), I’ve had my fair share of people question me about the practicality of training with weapons. Most of the time the question comes from a genuine desire to know more about and understand the methodologies found in the FMA, but other times the question comes in the form of a challenge to the va-lidity of the training methodologies used in the FMA. The former comes from an “open” or innocent form of ignorance while the latter comes from a “closed” and malignant form. Usually the source of this malignant ignorance comes from someone who with a narrow frame of reference with varying degrees of training and varying degrees of functional skill in another martial art or with wrestling or mixed martial arts (MMA) in their background. The methodologies of the FMA are lost to them because they don’t understand the paradigm. I generally don’t fault them for that unless they’re re-ally pushing the issue, and more often than not the guys that want to push the issue with me won’t get on the mat with me, even without a stick in my hand. That last statement isn’t me bragging about my skills, but rather it is a statement of how pusillanimous my past detractors have been. I’ve known a fair number of people that are MMA enthusiasts. Some are just fans of the sport, as am I, and others are (or have been) competitors. They are often quick to dismiss any martial art that isn’t represented in one-on-one completion. In the last few decades, mixed martial arts has dominated the minds of a generation of martial arts enthusiasts, and has done so to the degree that many people involved in MMA equate combative sport with all-out combat or self defense under exigent circumstances. They of-ten fail to see the difference between mutual combat in a ring and everything else, and they often discount the practicality of everything that isn’t used in the ring. Now, in my opinion, MMA is great training. It is great for fitness and functional skill, but where it falls short is that it is a sport with rules, weight di-visions and controls and restrictions in place for the safety of the fighters. That’s great. It all has its place and I would be the last person to declare what goes on in the ring as invalid of not practical. However, there are certain aspects of the combat sport mentality that are problematic outside of competition. For the sake of brevity, this won’t be addressed here but may be the subject of a future article. Unlike “traditional” martial arts (TMA), the FMA begins with weapons training and then tran-sitions to empty hand. The weapon is an extension of the body, and when the transition is made from armed to unarmed methods, the motions and skills gained from working with weapons are essentially the same. In fact, the motions learned from training with weapons are mechanically more natural than the methodologies of other martial arts, as such they are easier to perfect because they are gross motor skills employing natural lines of body mechanics and motion. The FMA paradigm allows for the same skill set to be used with or without a weapon in your hand as opposed to TMA, where new skill sets are learned to accommodate the introduction of weapons. Additionally, weapons training found in the FMA imparts a certain flow that is not found in many TMA methodologies. One of my students, who happens to be quite close to my age, related an experience to me where, on two separate occasions, he ran into an old friend from his youth. While they played catch-up on what they had been doing over the years, the conversation turned to their study of martial arts. His friends were prac-titioners of Brazilian jujitsu and began to espouse the merits of BJJ and proving oneself in tournaments and questioned my student’s choice of martial art. They asked questions like: What would you do without a

stick? How would you use that if somebody took you down? It was clear to him that his friends were trying to raise their own self esteem by trying to drag his down, so he gave way in the conversation and let them say their piece. From what had been related to me, it seemed to me that his friends probably were young men trapped in middle-aged bodies with unresolved “manly man” self-esteem issues. To me, their innate need for competition at their age demonstrates a certain degree of immaturity. Why else would a guy who is well on his way to 40 and works for a living (i.e., not a professional athlete) need test himself in a one on one combat sport competition? Anyway, when my student asked his friends how they would handle and armed assailant, they said they would back away or run. When he asked them about dealing with multiple assailants and the possibility of getting curb stomped while grappling on the ground, they were dumbfound-ed and could not muster an answer due to their narrow frame of reference and malignant ignorance. In contrast, one of my oldest students (and closest friends) had studied MMA and JKD for a few years before I met him and had already attained a blue belt in BJJ. By his admission, prior to getting onto the training floor with me he thought that I was either full of shit or somebody that really knows some-thing. I suppose he found out one way or another as he still calls himself my student, even when I refer to him as my training partner. His prior experience with FMA was limited and rooted in his attendance at a McDojo that claimed to teach Eskrima, but really offered a watered down “sporty” (not sport, but sporty) version on FMA. After hearing the tales for what passed for training at the place I understood where he was coming from. He saw the value of what I was teaching from day one and in the weeks that followed, he began making connections between what I was teaching him and his prior BJJ/MMA training. He took the FMA concepts I was teaching and applied it what he already knew, in the true spirit of “mixed” martial arts.

“It is difficult to understand the universe if you study only one planet.” – Miyamoto Musashi (The Book of Five Rings)

I have often said that at its core, any martial art is nothing more than geometry (arcs and angles), and an understanding of spatial relationships and timing. All martial arts in all cultures have that in common. Once you understand these things it is possible to dissect and gain understanding of any system of martial arts. The core of our training regimen incorporates 18 classical methods or “styles” of FMA and five basic drills, each with several variations as well as numerous empty hand applications. The training para-digm used in our training sessions is geared toward exposing students to a broad spectrum of methodologies and guiding them to discover the connections between them. We use a series of striking patterns and drills to address concepts regarding geometry, range and timing. Through various drills, with and without weap-ons, students are exposed to appropriate responses to various arcs and angles of attack at various ranges. The focus of all of this variation is to train students to learn the dynamics of circular and linear motions and the mechanics that make them applicable in various situations. After being exposed to all of this, it becomes apparent that what seems to be an expansive curriculum is in fact built around a core of basic concepts and simple movements that are interrelated and universal.

“… it’s not just the hits, it the motion in between.”- Neil Peart (Rush: Beyond the Lighted Stage)

The importance of spatial relationships is also imparted and students learn how to affect and con-trol spatial relationships through footwork and body shifting in order to move to a position of advantage over an opponent. Combat is not just fluid, it’s dynamic. Striking and blocking is only as good as how you get there. Being aware of your body, where your weapon is in relation you your opponent and where his is

in relation to your position and how your body is aligned at a given moment seems like minutia, but when playing a game of fractions it is everything. Taking a small step forward or backward, displacing to the side or weaving and rolling while attacking and defending not only makes you elusive, but by moving it is also opens and closes windows of opportunity for attacks and counterattacks. Look at any fighter of any consequence - past or present. You will see that they have developed impeccable footwork and positioning due to their high degree of awareness and mastery of spatial relationships.

“The great mistake is to anticipate the outcome of the engagement; you ought not to be thinking of wheth-er it ends in victory or defeat. Let nature take its course, and your tools will strike at the right moment.” Bruce Lee (The Tao of Jeet Kune Do)

Lastly, but probably most important of all, students are taught about timing and rhythm. In terms of timing, there are only three paradigms. You are either behind, matched with or ahead of your oppo-nent. Each carries with it certain nuances that both limit and create opportunities, and each is heavily influenced by the rhythm or tempo of the engagement. Rhythm is either fluid or broken and it is rhythm that determines where you are in the regards to timing. One must have at least a functional understand-ing of rhythm in order to make any martial art work. We often strive to always be one step ahead of our opponents by overwhelming them with explosive barrages of fluid attacks and counter attacks. However, it is through the use of broken rhythm that we can really gain the advantage. Fluid motions create fluid rhythms that can be predictable and disrupted by broken rhythm, and it is by slowing down or being still where it is possible to bait your opponent, fooling him into thinking he has the initiative of superior tim-ing and then stealing the initiative when he makes an anticipated move.

“… learn to forget..” Jim Morrison and the Doors (Soul Kitchen)

All three of these core concepts are pulled together not just through drills, but through “breaking” the drills to which they have been exposed. The purpose of drills is to isolate concepts, develop attributes and impart strategy. However, no matter how many movements a drill has in its structure, it is nothing more than repetition. Memorizing and mastering the movements in sequence is perhaps the lowest stage of learning. Learning a drill is not the end of the learning process. The desired end state to learning drills is that you forget pattern, forsake the drill and simply act. Yes - ACT, not react. In order to spontaneously flow you have to dissect the drill and extract the essence and then discard it. If you do not, the pattern will become habit and you become slave to your routine and will fail to act in an appropriate manner when the time presents itself. The highest level of development is where you have internalized everything you have learned and have transcended the superficiality of patterns and the dogma of style and system. These concepts are not evident to those who don’t train in the FMA even though they are univer-sal to all martial arts, and sadly they are often overlooked by those that do. Many just can’t see past the superficial and spend their time and energy simply mimicking their instructor and trying to be just like them. I can only suppose that they do so because it is easier to copy excellence than to be excellent. The late Remy A. Presas had been known for encouraging those he taught to find the connections and “make the art for yourself”. He was also known for saying “it’s all the same” referring to the motion of hand and weapon as well as and concepts surrounding the FMA. I have embraced this idea. I feel that my teachers have helped guide me toward doing just that and feel that I must pay all of that forward to those who come to me for training.

Cadenilla Eskrima Website: www.cadenillaeskrima.com

The fighting systems known as Arnis, Eskrima or Kali are based on the triangle principle. The ranges of striking are based on triangles. The foot work, blocking, striking and empty hands are all based on triangles. The center of the body is also based on triangles for good fighting balance. To build a strong house you must have good foundation. Footwork is critical to all fighting systems; good foot work equals good body mechanics. Good body mechanics equals a good foundation. As fighter you must understand this or you will not be able to be successful. In three main types of FFA the fighting stances is basically the same. The typical stance is with your weapon hand forward and your live /empty hand/ dagger hand is back. Your elbows being the base the triangle with your stick leading make the one side and your hand reinforcing make the last side. If you are right handed then you will have your right hand-weapon hand is forward and your right foot forward. Your left foot is facing forward about shoulder width apart from your right foot. This allows you to use natural motion and run at someone while attacking. Do not use an L-stance, it will not allow you to move forward quickly! Your knees are slightly bent with your feet planted flat on the ground, when blocking. In Arnis, Eskrima or Kali there are stances but better term should be body positions. You are not rooted in any one position for any real length of time. While you are fighting you use these body positions at different times. This is tied directly to your foot work. You have a natural stance this allows your switch to left or right stance/position quickly. Your primary stance is a basic forward stance. I will list the stance/body positions as follows:

1. Natural stance 2. Forward stance 3. Deep forward 4. Deep forward diagonal stance 5. Forward diagonal stance - right 6. Forward diagonal stance - left 7. Side diagonal stance- right 8. Side diagonal stance - left 9. Rearward diagonal stance - right 10. Rearward diagonal stance - left 11. Rearward diagonal stance 12. Cat stance 13. Hook stance and reverse 14. Attention stance

You should practice these by putting some tape on the mat to make a plus on ground or if outside use sidewalk chalk from the 99 cents store. If you are really broke or you are serious old school, use charcoal on the concrete or just draw with stick in the dirt. Once you have marked this, start with the first position and practice each one in your own order and flow through like you are learning dance

Stances & Body Positions By Marc Lawrence Master and Mataw-Guro, Modified Pakamut

steps. Next overlay a six pointed star sign; this will guide you for the diagonal stances. Once you can do this stationary practice this moving slowly for-ward, moving backward and side to side. While practicing the stances 2-13 do your forehand, back hand thrusting strikes. Then practice the stances 2-12 while you are practicing your blocks. You will find that each body position has a time and place that it is effective.

Modified Pakamut Website: www.southbayfmaclub.com

The Basics of Filipino Martial Arts By Marc Lawrence

Master Marc Lawrence Academy of Masters Hall of Fame - Life Time Award, developed this book based upon information gathered over years from 37 different Grandmasters, Masters, Guros and Instructors of what makes up the basics of the Filipino martial art known as Arnis, Eskrima, or Kali. The book contains photographs, diagrams and detailed information that explains what makes the basics any of the Filipino Martial Arts styles is use today. This book serves as companion to any Filipino mattial arts style and this information will enhance their skill.

(92 pages)United States The Basics of Filipino Martial Arts $10 - includes Shipping & Handling.

Outside the United States The Basics of Filipino Martial Arts $15 USD - includes Shipping & Handling.

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Grip and Strikes By Luis Rafael “Louelle” Lledo Shihan and Punong Mataw-Guro, Amara Arkanis

There are about 90 dialects in the Philippines, give or take a few. It is safe to assume that there are as many styles or schools of thought of the same fighting art with different vernacular titles. These arts were given a collective, generic name by the Spaniards. They were simply called Armas de Mano, later Filipinized to Arnis de Mano. Before the development of Arnis de Mano, when real broadswords were used, the knife was held tightly on the handle. The butt of the handle ex-tended about a couple of inches to secure the blade to the handle. The butt was not intended for any tactical purpose. In present day Arnis de Mano, the stick is held about a couple of inches from the end of the stick, first as a carryover of the old practice and second to be used for disarming techniques, an innovation of the 20th century. Several elderly masters of Arnis de Mano, however have a disdain for disarming techniques, claim-ing that if your stick can be disarmed you are not good enough to be called an arnisador. The ancient disarming technique was to cut off the arm or to hit the hand so the opponent will automatically drop his weapon. Whether you hold the stick at the very end or two inches from the end, the stick must be held tightly and securely with the thumb over the forefinger. In Arnis de Mano, there are two types of blow, the strike (hablig) and the thrust (ulos). In the English terminology these terms may be used interchangeably. In Filipino terminology, however, these terms convey two different actions. A strike (hablig) is normally delivered in an angular cutting, slashing or snapping motion (like a whiplash). A thrust (ulos) is normally delivered in a straight forward stab-bing, piercing motion. With the different named styles and countless techniques of Arnis de Mano, there are only two clas-sifications of strikes. They are the hablig na palabas (outward strike) and the hablig na papasok (inward strike). To better understand this concept, one has to think in tennis terms. In tennis there are the fore-hand (inward strike) and the backhand (outward strike). In more technical terms, forehand strike is also called medial strike and the backhand strike is called lateral strike. Like in tennis, the strikes are oriented from the perspective of the person delivering the strike which is determined by the grip on the stick in relation to the direction of the strike. The body is hypothetically divided vertically in the middle. This hypothetical division is called the vertical midline or the center line of the body. Any strike directed towards the vertical midline is called hablig na papasok (inward strike, forehand strike or medial strike). Any strike directed away from the vertical midline is called hablig na palabas (outward strike, backhand strike or lateral strike). Strikes, whether offensive or defensive, fall under the category of forehand strike or backhand strike. In simple terms when you strike with your right hand in the direction of your left side it is a forehand strike. When you strike with your right hand in the direction of your right side it is a backhand strike. This is also true with the left hand. When you strike with your left hand in the direction of your right side it is a forehand strike. When you strike with your left hand in the direction of your left side it is a backhand strike. No matter what maneuver one executes, whether it is the up and down vertical strikes, the side to side horizontal strikes or the circular or roundabout strikes, the strike is either a forehand or a backhand

strike. A forehand strike may be delivered with the leading hand or the trailing hand. Likewise, the back-hand strike may be delivered with the leading hand or the trailing hand. Both strikes may be delivered from a regular stance (leading hand is the same side as the leading foot) or the reverse stance (leading hand is the opposite side of the leading foot). In Amara Arkanis, all basic exercises are performed with two sticks. This is to instill in the student the need and importance of developing both the strong and the weak hand from the very onset of training. If only one stick is used, the student will favor one hand over the other and lose the fundamental nature of being able to fight with either hand, or just the “weaker” hand in case the “strong” hand is incapacitated. This is a condition that is called a “one-sided fighter” which may be a fatal flaw. The most important factors in any strike, whether forehand or backhand, are form and technique. There was a time when a Filipino warrior depends solely on sheer brute strength. They did not have any style or form. With the evolution of the art, body mechanics, leverage and utilization of the center of gravity have elevated the strikes to a higher and more powerful level. Proper style or form eliminates “wasted move-ments” increasing speed and energy. There are three levels of target of both forehand and backhand strikes; they are: upper, middle and lower. In the upper level, the most common strike is a strike to the head, the neck, or the shoulder in a downward motion. A deceptive strike in this level is a strike to the head or the neck in an upward motion. In the middle level, the most common is strike to the arms, sides or the hipbone in a sideward cutting motion. In the lower level, the most common is a strike to the knee in a downward motion. A deceptive strike in this level is an upward strike to the groin.

Right foot forward - Left foot forward

Forehand strike directed towards vertical centerline

from regular stance.

Right foot forward - Left foot forward

Forehand strike directed towards vertical center-line from reverse stance.

Manners of Striking

There are three manners in delivering a strike: with the flick of the wrist (like European foil fencing); the elbow bend (like tennis); and with the twist of the hips with follow through (like a slugger hitting a baseball). These motions should not be confused with range of fighting (short, medium and long range). All Amara Arkanis strikes utilize these three movements in every strike in conjunction with the stance, breathing and body tension.

Exercises and Drills:

• From natural stance move left foot forward to the left oblique to assume left fighting stance then deliver a forehand strike with the leading (left) hand • Follow with a forehand strike with the reverse (right) hand • Move left foot back to natural stance • From natural stance move right foot forward to the right oblique to assume right fighting stance then deliver a forehand strike with the leading (right) hand • Follow with a forehand strike with the reverse (left) hand • Move right foot back to natural stance • From natural stance move right foot to the right and pivot on left foot to face 90 degrees to the left to assume left fighting stance then deliver a forehand strike with the leading (left) hand • Follow with a forehand strike with the reverse (right) hand • Move right foot back to natural stance, pivoting on left foot to face 90 degrees to the right (original position) • From natural stance move left foot to the left and pivot on right foot to face 90 degrees to the right to assume right fighting stance then deliver a forehand strike with the leading (right) hand • Follow with a forehand strike with the reverse (left) hand • Move left foot to natural stance pivoting on right foot to face 90 degrees to the left (original posi-tion) • From natural stance move right foot back to the right oblique to assume left fighting stance then deliver a forehand strike with the leading (left) hand • Follow with a forehand strike with the reverse (right) hand • Move right foot forward to assume natural stance • From natural stance move left foot back to the left oblique to assume right fighting stance then de-

Right foot forward - Left foot forward

Backhand strike directed outwards the vertical center-line from reverse stance.

Right foot forward - Left foot forwardBackhand strike directed outwards the vertical center-line from regular stance.

liver forehand strike with the leading (right) hand • Follow with a forehand strike with the reverse (left) hand • Move left foot forward to assume natural stance

NOTE: First set of exercises will be upper strikes Second set of exercises will be middle strikes Third set of exercises will be lower strikes

Progression of Training:

• Move the foot to assume the stance, then deliver the first strike bringing center of gravity down and exhaling through the mouth then go back to original position. • Move the foot to assume the stance as you deliver the first strike bringing center of gravity down, hold your breath, then deliver the second strike exhaling through the mouth then go back to original position.• Move the foot to assume the stance as you deliver the strikes in quick succession at the same time bringing center of gravity down and exhaling through the mouth then go back to original position.

Move the foot to assume the stance as you deliver the strikes in quick succession with bun-yaw at the same time bringing the center of gravity down. The moving to the stance, the strikes, bringing down the center of gravity and exhalation (bun-yaw) must all end at the same time. Then go back to original posi-tion.

Amara Arkanis Website: www.amaraarkanis.com

Amara Arkanis “The Fighting Art of the Mandirigma”

By: Mataw-Guro Louelle Lledo Jr.

This book is designed for the Beginner in the Filipino martial arts, so they will have a con-crete foundation, going through a step-by-step learning of the fundamentals. It is for the Ad-vanced Student who may not have gone through this type of training, so they will understand the underlying principles of the maneuvers they execute. And for the Prospective Teacher, so they can better organize a more systematized lesson plan or course of study for a more effective and efficient teaching and learning experience of the Filipino martial arts. This is the same Filipino Martial Arts Education Program that Mataw-Guro Louelle Lledo used successfully at the State Colleges and Universities Athletic Association Region IV and his students who are teaching in the Philippines. This book is a necessity to those who wish to

format their teaching at a higher educational level and give their students a deeper understanding of their training.

Over a 172 pages packed with pictures and examples.

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The Basics of Kalis Ilustrisimo System “As I was Taught” By “Peachie” Bella Marie Baron-Saguin Grandmaster and Mataw-Guro, Kalis IlustrisimoOrientation The orientation of Kalis Ilustrisimo is based on a bladed weapon. When we parry or deflect an attack, whether we are using a stick or a sword the principle we use is that of a bladed weapon.

Body Mechanics The Ilustrisimo style has a lot of elbow and body movements. We shift our body weight when we are attack or when we execute an attack. We call our body mechanics, De Elastico.

Size and Length of Our Weapons We do not have a specific size or length of weapons. We use whatever is available at hand. When the length of the stick reaches the sternum, we considered that a long stick.

Our Weapons are the Following: The weapons we use are the Espada or the sword, olisi or the baston, tukon, a long hard stick use in pushing the boat away from the shore, pinga is made from flexible flat bamboo use in carrying pales at both edge, alho a long rounded wood use in removing the skin of the rice thru repetitive pounding, and the corto, popularly known as the dulo dulo.

How We Hold Our Weapon/s The way we hold our weapon signifies the kind of combat fight we are about to engage in. Holding it till the end indicates a long range combat. This for us has more power and speed. Holding it a few inches above the end signifies a short range fighting and we can use the end as ponyo. Holding our stick at the middle (centro baston), is a neutral position. We hold it when we are walking, an indication that we have no intention of engaging in any combat, however even in this position we can still defend ourselves when at-tacked. Holding it till the end with the stick at the back of our arms is also a non combat position, but like the centro baston, we can also defend ourselves with this position when attack. We call this position susi.

How We Grip Our Weapon The middle finger is use to grip the handle and the thumb is place above the point finger to have a better control of the sword or stick. The third finger and the little finger are relaxed till a strike is ex-ecuted.

Our Stance Our stance is similar to a boxer’s stance. From the natural position, we put one foot backwards, weight at the center, and knees slightly bended. Lead foot is lightly touching the ground for easy movement. Rear foot is planted on the ground, heel up for fast movement. We stand tall, not leaning forward or back-ward. Our lead hand corresponds to our lead foot.

Position of Our Arms The hand holding the sword/stick is not too far from the body, the elbow slightly rubbing the side and our weapon is not pointing backwards but in a slightly upward position. Our other arm is close also to the sides with bended elbow, open palm ready to parry or deflect an attack. Our thumb is concealed by the

four fingers to avoid injury when parrying.

Our Vision We make use of our peripheral vision. To maximize our peripheral vision, we slightly tuck in our chin. In this position, our focus is in wide range and not concentrated only in front.

Our Cutting techniques

When we execute a strike or a cutting attack, is it like throwing a ball. Movement includes hip twisting and foot twisting and the other hand synchronizes with each movement, ready to parry or deflect an attack.

Our Different Strikes 1. Arko 2. Real 3. Angolo 4. Planchada 5. Alda biz 6. Rompida 7. Sampal 8. Abaniko 9. Witik 10. Buklis 11. Rapelon 12. Bagsak Angolo 13. Bagsak Real 14. Salto 15. Corto

Foot Work 1. Retirada - Natural footwork

2. Ekis 3. Lutang

4. Angolo

5. Tatlong Bao palihis

6. Tatlong Bao paatras

7. Doblete

Strikes/Attack1. Angolo Abierta

Planchada Abierta (Neck)

3. Planchada Low Abierta (hips)

4.Angolo Cerrada

5.Planchada Cerrada (neck)

Counter Strike/DefenseFrom Abierta Position: - Vertical - Cruzada - Cadena Real -Recta Buka - A la Contra Serrada - Doble Carrera From Cerrada Position: - Vertical - Cruzada - Praile Pauyon - Sunkiti - Recta Buka From Abierta Position: - Estrella - FloreteFrom Abierta Position - Cruzette Tusok - Salok - Bagsak - Cruzada - Arko From Cerrada Position - Cruzada - Doblete - CerradaFrom Abierta Positiion - Pluma/ Vertical - Sunkiti - Pauyon - PraileFrom Abierta Position - Pluma - Florete - Vertical Abierta

Our Different Strikes and Counter Strikes

6.Planchada Cerrada (hips)

7. Tusok Abierta (Belly)

8. Tusok Cerrada (Chest)

9. Tusok Abierta

10. Real

From Abierta Position - Crusada low - Bagsak Angolo - Salok From Cerrada Position - Crusada low - DobleteFrom Abierta Position - Angolo , other hand deflect the sword - Planchada, other hand deflect the sword From Abierta Position - Vertical - Pauyon - Estrella Abierta - Pluma - Arko

From Cerrada Position - Pluma - Sampal - Kabay an - Estrella Cerrada - VerticalFrom Abierta Position: - Media Praile - Pluma - Tumbada - Cadena Real - Cadena Real Tumbada - Alda biz - Arko

Our training in Kalis Ilustrisimo involves both left and right hand drills. As Tatang emphasizes on the necessity of learning to use both hands, my first lesson with Master Tony was Puntai y daga involving weapons in both hands.

Forms of Puntai y Daga (Sword and Dagger)

12 Strikes1. Angolo

2. Planchada Low Cerrada

3. Planchado Low Abierta

4. Angolo Cerrada

5. Tusok Abdomen

6. Thrust Cerrada Heart

7. Tusok Abierta Heart

8. Tusok Serrada Abdomen

9. Alda viz

10. Tusok Cerrada Eye

11. Tusok Abierta Eye

12. Real from Cerrada

Angolo strike Parry

Cruzada low Thrust heart

Alda viz Parry daga pointing downward

Cruzada high Parry

Angolo Strike Parry daga pointing upward

Vertical Follow thru, dagger pointing upwards

Pluma Cerrada/vertical strike Block, dagger pointing upwards

Cruzette Parry, dagger over the sword

Aldabiz Block, dagger in acute angle

Vertical Follow thru

Pluma Block, dagger pointing upwards

Praile Pauyon Thrust Chest

First Part - Dagger HandCounter StrikesSword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

De Pondo – Blocking/Parrying/Deflecting10 Strikes 10 Counter Strikes

1. Planchada Abierta Neck - Estrella Cerrada

2. Angolo Abierta Temple - Vertical Cerrada

3. Real Abierta - cruzada Abierta high

4. Planchada Cerrada Hips - Cruzada Cerrada low

5. Planchada Abierta Hips - Aldabiz Abierta

6. Planchada Cerrada Neck - Estrella Abierta

7. Angolo Cerrada Temple - Vertical Abierta

8. Real - Cruzada Derrada

9. Planchada Abiera Hips - Aldabiz Abierta low

10. Planchada Cerrada Hips - Cruzada Cerrada low

Forms of Puntai y Daga Second Part

12 Strikes 12 Counter strikes 1. Real Abierta Sword hand - Praile Dagger hand - Block 2. Planchada Cerrada Sword hand - Cruzette Dagger hand - Block over the sword 3. Planchada Abierta Sword hand - Block over the dagger Dagger hand - Cruzette 4. Angolo Cerrada Sword hand - Praile from Cerrada Dagger hand - Parry 5. Tusok Belly Sword hand - Thrust to belly/deflect Sword/shift to cruzette Dagger hand - Parry daga pointing downwards 6. Tusok Cerrada Heart Sword hand - Estrella abierta/cut belly and Deflect sword Dagger hand - Block and deflect sword 7. Tusok Abierta Heart Sword hand - Estrella Cerrada/cut/deflect sword Dagger hand - Block and deflect sword 8. Tusok Cerrada Belly Sword hand - Aldabiz shift to Cruzada low Dagger hand - Parry 9. Alda Biz Sword hand - Classico then belly thrust Dagger hand - Block, dagger in acute angle 10. Tusok Cerrada Eye Sword hand - Pauyon shift to planchada corto Dagger hand - Block 11. Tusok Abierta Eye Sword hand - Kabay an to abanico then cut Belly Dagger hand - Block and parry 12. Real Sword hand - Boca de lobo Dagger hand - Follow thru, dagger pointing upwards and parry

Kalis Ilustrisimo Email: peachiesaguin@yahoo.com.ph

True Self-Defense: Common Sense and the Law By Andy Sanano Grandmaster and Mataw-Guro, Trecehampas Arnis, Awayan

We have all seen the movies and television shows which demonstrate how to “kick ass” on the so called “bad guys”. The good and bad guys are usually easy to tell apart on those dramatic programs.

Then, one can feel justified in doing violence because it seems that someone had it coming. Clint Eastwood is said to have told us, in one of his movies and in his quiet yet tough way, “that boy needed killing.” We have developed a mentality which encourages the use of force if one is on the side of right-ness and goodness. What is billed as self-defense is often revenge for a past deed. Now we have various items available to us which are offered as the ultimate self-defense weapon, or non-weapon. Some are developed as women’s self-defense weapons. Others are even made available for children; apparently without serious regard for the children’s safety. There is a growing and intensifying atmosphere of justifying strong mea-sures against the perceived bad guys. We have “mace” pepper spray, knives, hand guns (some are concealed, depending upon the state.) We also have escalating politics and related ideologies which might feed the excitement over the use of weapons to ward off possible attackers.

After decades of police, SWAT, military and martial arts training and experience, I have found that new devices being offered as self-defense “not-a-weapon” are actually weapons. The device might be presented as a non-weapon with the intention of skirting or avoiding legal limitations on producing, sell-ing, possessing and using the alleged non-weapon. This will not work. More likely will be the realization that use of the new device will be the cause for harm to an innocent or specifically, a child at school. School children are not even allowed to bring a plastic picnic knife to school without severe consequences. These new devices are especially dangerous because some say that they are not weapons. As martial artists and teachers, we need to step up and educate ourselves and our students to the dangers of these devices and teach responsible handling of any legal device/weapon. Many of us teach the proper use of weapons in our classes and we must emphasize the safety measures necessary for the proper training in the martial arts weap-onry. As Mataw-Guro Association members, we do not want our students to become part of the problem at school or at the mall. We teach safety and proper self-defense. We know that serious injury can and will bring medical as well as legal complications.

Be safe and use common sense!Trecehampas Arnis, Awayan Webasite: www.sananomartialarts.com

The Augmented Block of Pinakatay Arnis Sigidas By Roger Velasco Mataw-Guro - Pinakatay Arnis Sigidas (PAS)

Purpose: Execute a basic augmented block, to serve as a Block against the #1 or the #3 strike

Basic execution and characteristics: The stick will be held in the right hand (for right-handers) and positioned around waist level and held close to and centered on the body of the defender, and the area around ¾ up the stick--away from the right hand will be “braced up” against the meaty part of the left forearm with the stick facing up and at a roughly 45degree angle away from the body (see Fig 1 and Fig 2). (This is also describing the trademark

basic fighting stance or “Mustra” of Pinakatay Arnis Sigidas). Ensure the stick is fully pressed-up (no space) against the left forearm. The end result is a very stable blocking configuration that is meant to block a #1 or #3 strike. This blocking method is performed with the corresponding body-twist and foot positioning to further stabilize the block and to properly “address” the incoming strike. This block can negate or diminish the impact of the attacking blow and provide extra defensive protection just in case the attacker redirects his/her strike. This represents a strong block against the #1 and #3 strikes (see Fig 3 and Fig 4) - with further progression, different varia-tions of this block can be done to protect against dif-ferent levels of attacks. If executed properly and with the right timing, body and foot positioning, this Block

is meant to block even a heavy weapon- stick or club- struck with full force. The basic concept here is that the stick absorbs the ini-tial impact of the striking blow, while the bracing forearm absorbs the rest of the energy. Also, the offensive force can be further ab-sorbed by twisting the body along the direction of the strike. Block-ing with the stick alone might work even against a heavy blow, but there is no guarantee of that. The “stick block” may not stand up to a more forceful and heavier strike which can prove disastrous to the defender. If not done properly, and there is some space in between the stick and the forearm when the blow lands or if the left forearm is not properly positioned in reference to the stick, there’s an increased chance of injury to the forearm, depending on the amount of force of the strike. Proper instruction, regular and consistent practice and sensitivity drills with a partner is needed to get the timing and proper body positioning right.

The ideal skill level that a student must strive for is to be able to execute this block in a dynamic blocking situation, as opposed to a static blocking situation. Since everyone starts from the basics, a new student starts of in a static blocking exercise wherein one attacker and one defender face off - one feeds the strike, the other executes the block and defends. Start slow, control the force of the strikes, focus on the right form. As the student progresses along in training, the strikes can get progressively faster and harder. Train Hard and Enjoy! Pugay!

Pinakatay Arnis Sigidas Email: rogerceo@yahoo.com

Punong Mataw-Guro Louelle Lledo Jr. - Founder / CEO Mataw-Guro Andy Sanano - International Coordinator Mataw-Guro Michael Giron - North America Coordinator

Armando Soteco - President Garitony C. Nicolas - Vice President Salvador Dimapisip - Executive Secretary-General Enrica C. Esmero - Secretary Teodoro R. Hernando - Treasurer Atty. Belleza A. Demaisip - Auditor Alejandro Dagdag - Chairman of the Board Dean Romeo C. Reyes - Board of Trustees Leo Robert B. Viajar - Board of Trustees Perry Gil Mallari - Board of Trustees Alexander Bayot France - Ambassador Dr. Jerome Barber - Education Councils Spencer Gee - Education Councils Walter Crisostomo - Technical Program Wesley Crisostomo - Technical Program Zack Taco - Technical Program

North America Mataw-Guro Jerome Barber Mataw-Guro David Battaglia Mataw-Guro Joseph Bautista Mataw-Guro Michael J. Butz Mataw-Guro Tom Bolden Mataw-Guro Robert Castro Mataw-Guro Thomas Collins Mataw-Guro Walter Crisostomo Mataw-Guro Wesley Crisostomo Mataw-Guro Alexander Bayot France Mataw-Guro Oliver Garduce

Mataw-Guro Spencer Gee Mataw-Guro Michael Giron Mataw-Guro Michael Henderson Mataw-Guro Marc Lawrence Mataw-Guro Richard Lundy Mataw-Guro Lawrence Motta Mataw-Guro Dennis Ocampo Mataw-Guro Andy Sanano Mataw-Guro Zack Taco Mataw-Guro Roger Velasco Mataw-Guro Dale Yeager

Guam Mataw-Guro Timothy Kashino

Philippines Mataw-Guro Melvert Austria Mataw-Guro Alejandro L. Dagdag Jr Mataw-Guro Rodel Dagooc Mataw-Guro Belleza A. Demaisip Mataw-Guro Salvador P. Demaisip Mataw-Guro Enrica C. Esmero Mataw-Guro Teodoro R. Hernando Mataw-Guro Perry Gil Mallari Mataw-Guro Garitony C. Nicolas Mataw-Guro Felipe “Ipe” Penales Jr.

Mataw-Guro Julio “Jojo” Penales Mataw-Guro Ariel Ramos Mataw-Guro Romeo C. Reyes Mataw-Guro Yuli Romo Mataw-Guro “Peachie” Bella Marie Baron-Saguin Mataw-Guro Jose “Joe” Sidlacan Mataw Guro Armando C Soteco Mataw-Guro Renato “Nat” Tanglao Mataw Guro Leo Robert Viajar Mataw-Guro Juan Miguel Zubiri

Consultants Emmanuel ES. Querubin Dr. John Lee Dr. Christopher Viggiano Keith Mazza Andy Cappuccio

Mataw-Guro Association Member

as of April 30, 2012

Filipino Martial Art EducationTeacher’s Training Handbook

Fundamentals of Arnis de Mano

Objectives: This handbook contains ready reference data for use in planning programs in teaching Filipino martial arts or Arnis de Mano. Although all the lessons in this handbook are also practical for live blades, sword and a knife, other alternative weapons or even empty hands, the main scope is the use of double sticks or doble baston. Use of double sticks is not only encouraged but also mandatory in learning Arnis de Mano in order not to be a one-sided fighter.

At the printers and to be published and available soon. This Handbook has been approved by the Matw-Guro Association.

Filipino Martials Arts is not a means to an end, Filipino Martial Arts is both the Means and the end... Education is a movement from darkness to light, Martial Arts Education is a journey from ignorance to understanding... excerpt from the books FMA Education Teacher’s Training Handbook 1. Fundamentals of Arnis de Mano and book 2. Balangkas ng Abecedar-io. - By Mataw-Guro’s Andy Sanano jr. and Louelle Lledo Jr.

Teaching and Learning the ABECEDARIO

Objective: The BALANGKAS NG ABECEDARIO is a compilation of techniques and maneuvers consistent with the principles and laws of motion explained in the handbook Fundamentals of Arnis de Mano. For a more effective teaching and learning of the balangkas, each individual technique must be expounded as to its logical development and relationship with each other. The transition from forehand to backhand, from overhand to underhand, from linear to circular, from pushing to pulling, from turning to twisting, and vice-versa, must be clearly understood.For a better appreciation of Abecedario, the balangkas is presented herein in both regular and reverse orientation. Likewise, possible applications of each maneuver, both in regular and re-verse orientations are shown. The applications of techniques are intended as informational and not prescriptive. There is a myriad of applications that may be administered, select the ones that will work best for you. Understand the practical inference that may be derived from each individual technique and their relation with each other.

Cost of each book: $45.00 plus shipping $ 8.00Total: $ 53.00Money Orders Only

Payable to: Andy Sanano Jr.Send Orders to:Mataw-Guro Andy Sanano10460 Roosevelt Blvd. N. #155St Petersburg, FL. 33716

North America Associate (Kasama) MembersNick Clift - (Trecehampas/Awayan) Lee Fjelstad - (Trecehampas/Awayan) Boris Fritz - (South Bay FMA Club) Ben Geary - (Trecehampas/Awayan) Christian Herrera (Amara Arkanis) Marlon Hudak - (Amara Arkanis) Cynthia Jacobs - (Trecehampas Awayan) Bruce Kulpaca - (Trecehampas/Awayan) Katherine Lledo (Amara Arkanis) Jonathan Magpantay (Amara Arkanis) Genes Marquez (Amara Arkanis)

David McMillan - (Amara Arkanis) Mon Herrera (Amara Arkanis) Renee Messina (Amara Arkanis) Cheryl Miller - (Seven Direction School of Martial Arts) Chris Morgan - (Seven Direction School of Martial Arts) Kennedy Morgan - (Seven Direction School of Martial Arts) Ron Parente - (Amara Arkanis) Al Rieman - (Trecehampas/Awayan) Dan Rose - (Trecehampas/Awayan) Theresa Schmedding - (Seven Direction School of Martial Arts) Robert Ulep - Ulep Blades

Philippine Associate (Kasama) MembersHorbert B. Hernando - (Amara Arkanis)

Conscious of the need of developing enthusiasm, interest and dedi-cation in the field of Filipino Martial Arts Education, and in order to act as guardians of the noble and beneficial aims of Arnis de Mano and compelled by our desire to establish an Association which shall be the rallying point of all teachers of Arnis de Mano as a Filipino Martial Arts Education, the Mataw-Guro’s hereby mutually agree to unite and associate ourselves for such a purpose.

www.MatawGuro.com