Exploring the Surface Differences Between Japanese Martial Arts and Filipino Martial Arts

When it comes to martial arts, both Japanese and Filipino styles hold rich traditions, unique philosophies, and effective techniques. While both systems are designed for self-defense and combat efficiency, their distinct histories and cultural influences give rise to noticeable surface-level differences in their practice, weapons, and training approaches.

1. Historical and Cultural Background

Japanese Martial Arts: Rooted in the samurai traditions, many Japanese martial arts have a structured, hierarchical approach, emphasizing discipline, honor, and respect. Popular styles like Karate, Judo, Aikido, and Kendo trace their lineage to ancient warrior codes such as Bushido.

Filipino Martial Arts (FMA): Filipino martial arts, such as Arnis, Eskrima, and Kali, developed through centuries of tribal warfare and colonial resistance. These arts are more fluid in structure, reflecting the adaptability of Filipino warriors who had to deal with various types of invaders and weapons.

2. Weapons Focus

Japanese Martial Arts: While Japanese arts like Karate and Judo are primarily empty-hand systems, many traditional styles also include weapons training. The most well-known weapons are the katana (sword), bo (staff), and tanto (knife). Kendo, Iaido, and Kenjutsu focus heavily on swordsmanship.

Filipino Martial Arts: FMA is renowned for its weapons-first approach. Practitioners typically begin their training with sticks (rattan), then progress to bladed weapons like knives and machetes before learning empty-hand techniques. This emphasis on weapons from the start makes FMA distinct from many other martial arts systems.

3. Training Methods

Japanese Martial Arts: Training in Japanese styles tends to follow a more formal and rigid pattern, with an emphasis on kata (pre-arranged forms) to instill proper technique and mindset. Sparring, when introduced, is often controlled and respectful, following strict rules.

Filipino Martial Arts: FMA training is often informal and highly practical. Drills like sinawali (weaving patterns) and hubud-lubud (flow drills) are designed to develop reflexes, coordination, and real-world application. Sparring in FMA can be more dynamic and less rule-bound, simulating actual combat scenarios.

4. Footwork and Movement

Japanese Martial Arts: Many Japanese styles use linear footwork and direct movements, reflecting the influence of samurai swordsmanship, where direct engagement was often necessary.

Filipino Martial Arts: FMA emphasizes circular and angular footwork, enabling practitioners to evade attacks and create better striking opportunities. This mobility mirrors the guerrilla-style warfare tactics used by Filipino warriors.

5. Philosophy and Approach

Japanese Martial Arts: The philosophy of Japanese martial arts often revolves around personal development, spiritual growth, and achieving a harmonious mind-body connection. Concepts like "zanshin" (awareness) and "mushin" (no mind) are integral to many practices.

Filipino Martial Arts: FMA is deeply rooted in practicality and survival. The philosophy is less about spiritual development and more about real-world application and adaptability. The "live blade" mentality means practitioners train as if every encounter could be life-threatening.

While both Japanese and Filipino martial arts share the goal of self-defense and combat mastery, their distinct cultural backgrounds and philosophies result in different training methodologies and surface-level characteristics. Japanese martial arts emphasize discipline, formality, and personal growth, while Filipino martial arts focus on adaptability, practicality, and weapons training.

Whether you are drawn to the structured discipline of Japanese styles or the fluid adaptability of Filipino arts, both offer valuable lessons and skills that go beyond mere combat. Each style reflects the spirit of its people and their history, making both worthy paths for any martial arts enthusiast.

The Popularity of Filipino Martial Arts in the Philippines: Is the Commitment Insufficient?

There is a dearth of academic studies, whether qualitative or quantitative, on the extent of cultural effect of Filipino Martial Arts. However, among the practitioners of the art, it is easy to look for social circles who know the value of this remarkable tradition. Those who delve in the study of the history and cultural aspects of Filipino Martial Arts range from academics to hobbyists but one thing is clear, a whole slew comprises only of practitioners. For an art to be wholly assimilated and widely expressed in a society, it must be spread in education, particularly in the history, culture and the arts.

Dr. Nepangue and Master C. Macachor lamented on the state of acceptance of the Philippine State regarding our own Filipino Martial Arts. In their classic book, “Cebuano Eskrima: Beyond the Myth” they expressed their dissatisfaction that ‘none of the National Living Treasures or Gawad sa Manlilikha ng Bayan awardees is a martial artist’ (2023, p27) further expressing the fact that other Asian-countries particularly Japan, and a fellow South East Asian country: Malaysia, have established significant policies in order to strengthen the popularity of the Martial Arts not just as sport but also as socio-historical and cultural production. 

Expanding on this thought, how then did the concept of Filipino Martial Arts became popular? In this article, we will briefly examine how the FMA became popularized and how can practitioners help in energetically revitalizing it through the mainstream culture. Disclaimer: unless otherwise, I will interchangeably use Arnis/Kali/Eskrima with FMA as name for the martial arts that ‘came’ from the Luzones and Visayans.

(1) Like any other historical artifact, the Filipino Martial Arts was embedded in the lives of Ancient Pre-Filipinos who needed to survive the day-to-day battles against myriad kinds of enemies. The techniques of warfare, especially with weapon and combat knowledge functioned very well in relation to the society that the ancients lived in. It is important to note that there was no ‘Philippines’ yet during the ancient times and that would mean a lot of things in relation to this article. However, it is not entirely unfounded to say that the techniques used, say for example, by ancient ‘mangarayaw’ (Visayan Raiders) exhibited similar warfare techniques of the blade and the spear and other weapons as the modern-day practitioners of eskrima practice. Thus, the popularization of the martial art was through military and tactical combat arts although stripped of the modern-day notions of formalized curriculum and the like. The roots of FMA techniques were practiced because it had a significant function in pre-colonial society.

(2) Due to foreign conquest and colonization of the islands, it could be argued that the Indigenous fighting arts were banned, especially during the Spanish colonial rule. However, some scholarship/academic articles suggest that these indigenous fighting arts were not erased/banned/or practiced-in-secret. But rather, was expanded in terms of practice to include foreign influence. In Rhio Zablan’s book, “Arnis: The Story of the Filipino People”, it can be gleaned or maybe inferred that, the practice of the martial art (the mixed indigenous and foreign) was popular, or was necessary because the Spanish Colonial administration was protecting its colonies from Moro-raids. (I use the term Moro here not as derogatory term to refer to all Muslims regardless of space and time, but rather to reference a period of history accurately where primary source historical documents follow a certain kind of language unaware of modern day ethical reasoning – for the purpose of this article, Moro will be used as a term for Raiders from the South of the Philippines whom Spain branded as its religious and military adversary) Hence, the establishment of well-built forts and most importantly the existence of Spanish Warrior priests. If this information is followed, then the logic would be that techniques during these time that would comprise modern day Filipino Martial Arts were popularized because of the defense against raiding of Visayan villages from the south. Permit me to state, and this argument may sound desperate or insulting, that maybe this phenomenon of teaching “Indios” some Spanish tactics, though was important in the defense of villages, were also instrumental to the divide and conquers tactics of the Spanish. I leave the ethical debates and historical technicalities to the audience. During these period, stories of warrior-faith-defenders were popular in the folklore of warfare. GM Yuli Romo, in an interview with C. Macachor would tell a story about Kapitan Perong Pak-an (Pero, the Winged Warrior) Borinaga who earned the nickname “winged” because of his ability to fly or leap many meters high from boat to enemy boat. Hence, during this period, folklore and narratives of warriors skilled in ‘eskrima’ found its way through. It could also be inferred that because of Spanish influence, cultural practices such as the Fiesta Arnis demonstrations in Luzon and other parts of the Philippines that the FMA/Eskrima/Arnis was popular among the villages. 

(3) During the American Period, before World War II, the popularization of the would be modern FMA (in the guise of the name arnis/eskrima), was due to stories of mystic warriors, among which many of them possess extraordinary skills. This was the time where Revolutions against Spain, and movements against the colonialists – American and Spanish alike were sprouting like wildfires in the country side. Continuing on the legacy of stories about extraordinary people who had spiritual and physical powers, the narratives of revolutionary Eskrimadors with divine protection and prowess were etched in the memory of the common folk. It was not uncommon to hear names of revolutionary leaders like Faustino Ablen (Papa Ablen – GM Braulio Pedoy’s Master) who were said to have powers that allowed him to live on the mountains of Leyte to be popular among the stories of villagers. However, during this period, significant movements of organizing martial arts organizations were happening in Cebu such as the establishment of the “Pundok sa Nasudnong Panagang” (1921) and the “Labangon Fencing Club”(1920) in Cebu. These efforts were the seeds of attempting to institutionalize the recognition of Filipinos as true battle tested warriors through the establishments of legal and formal organizations. 

(4) After World War II the Filipino was recognized as an apt partner for the American. In the battles against the Japanese, war heroes and veterans showed their martial prowess. Among those who stood out were recognized as American/Filipino veterans. And among these veterans were hot-blooded and blade tested eskrimadors. Among the warriors who resided abroad, some where lucky to have lived in the time of the Asian Martial Arts craze after the war were television and media played a pivotal role. In the Philippines, the popularization of eskrima was still through town fiesta celebrations among selected towns in the Luzon and the Visayas. The Doce Pares was also instrumental to this popularization because, if one would research oraciones and anting-antings, one would find prayers dedicated to calling for the upskilling of eskrima prowess like Doce Pares Warriors. I find it amusing how one organization influenced cultural practice just by being famous. Among the folk of every barrio and town in the Visayas, the name Doce Pares would ring a bell always. In the other parts of the Philippines, fighting with sticks and bolos during town fiestas (Some Juego Todo) were also forms of popularizing the Filipino Martial Arts.

(5) It has only become Filipino Martial Arts due to the Asian Martial Arts Craze of the 60’s to 70’s. The influence of the media cannot be understated. In fact, if we reflect on the name Filipino Martial Arts, it would always bring us the dichotomy of branding or the classification of races. Even the term Filipino Martial Arts entails debates and misunderstandings. In fact, the Kali-Arnis-Eskrima name is still debated today, but I think what’s more important is, the preservation of the moves, names and techniques. Be it FMA, Kali, Eskrima, Arnis, call it whatever you like, just retain its language and were good to go. Culture evolves like language, but do not forget identity because it is your root. Anyway, during this time, the rise of Bruce Lee in the international stage is also one of the most important factors in the shaping of the Filipino Martial Arts Concept. It is also interesting to note that Dan Inosanto, a hero among many martial artists, was a dear friend of Bruce. And it was Dan Inosanto who made the effort of learning the Filipino Martial Arts from the battle tested Filipino veterans of World War II themselves. He also brought home grown FMA to the US and continues to do so. If we trace many combat arts with Filipino lineage today in the US, many of it for sure had time with Dan. Guro Dan is instrumental to this history. 

(6) With the media showing diverse kinds of movies and ideas reaching the Philippines, our home-grown Masters also continued to do their jobs in propagating the FMA. Although, it should be said that before it was famous in the Philippines, the FMA was still overshadowed by other Asian arts like Tae Kwon Do and Karate. However, with inspired people like Remy Presas (with the Presas Brothers) and also other figures like the Ilustrisimo and the Pekiti Tirsia group who went international, the FMA continued to flourish, albeit with little support from the culture and arts sector. Among the influential teachers of FMA in the Philippines, it could be argued that GM Remy Presas of the Modern Arnis was one of the most influential because he was successful in integrating it in the educational curriculum that far eventually led to the acceptance of Arnis/Eskrima/Kali to be accepted as National Sport through RA 9850.

This article is not quite exhaustive and it leaves a lot of holes in the history and propagation of Arnis/Eskrima/Kali. Many other journals, articles, studies and documentaries would offer the reader that. The point of this report is to ask the question, are the efforts of these Masters still insufficient? The Filipino Martial Arts have been embedded in the history of the Philippines, it could be said that the FMA fought with Filipinos through thick and thin yet, the history, culture and arts remain cold to the recognition of FMA as a legit art (and I hope my claim would be falsified). Filipino Masters are being recognized not in the Philippines but abroad. FMA though strong enough, do not garner much support from its populace in comparison with other arts of Japan or China which better recognize the significance of their arts not just as sports but as cultural treasures. FMA is popular but still not that popular, however, there is hope. As long as practitioners continue to sharpen the blade of their hearts, as long as they continue to celebrate and tell the stories of their FMA Heroes. 

References:

Nepangue, N.R. & Macachor C.C. (2023). Cebuano Eskrima: Beyond the myth. 8Letters Bookstore and Publishing.

Zablan, Rhio (2023) Arnis: The story of the Filipino people. Rex Printing Company, Inc. Quezon City.

Dagooc, Ehda M. (June 14, 2018). "DOT to promote Arnis to boost sports tourism". The Freeman. The Philippine Star. Retrieved May 11, 2023. 

https://www.istorya.net/forums/general-discussions-10/472823-history-cebu-interesting-story-19.html

The Crucial Role of Filipino Martial Arts Weapons in Life Protection

Filipino Martial Arts (FMA) have gained recognition worldwide for their effectiveness in self-defense. While the empty-hand techniques of FMA are formidable, the use of weapons is a cornerstone of this martial art. In this article, we explore the critical importance of FMA weaponry in self-defense situations.

Versatility and Accessibility:

FMA encompasses a wide range of bladed and impact weapons, from knives and sticks to swords and improvised tools. This versatility allows individuals to choose weapons that suit their comfort and skill level.

Distance Management:

Weapons extend the user's reach, enabling them to maintain a safer distance from an assailant. This is especially valuable in situations involving multiple attackers or potential threats armed with firearms.

Equalizing Force Disparity:

FMA weaponry empowers individuals to defend themselves against larger, stronger assailants. A well-trained practitioner can use a blade or stick to neutralize size and strength advantages.

Psychological Deterrent:

The sight of a weapon can discourage potential attackers, potentially preventing an altercation from escalating. FMA emphasizes responsible and ethical use of force.

Skill Development:

Weapon training enhances hand-eye coordination, reflexes, and overall martial arts proficiency. These skills are transferrable to empty-hand self-defense techniques.

Weapon Disarmament:

FMA equips practitioners with knowledge of how to disarm attackers wielding weapons. This skill is invaluable in situations where escaping or incapacitating an armed assailant is necessary.

Cultural Heritage:

Filipino Martial Arts are deeply rooted in the country's history and culture. Preserving and practicing these arts with weapons pays homage to a rich heritage.

Legal Considerations:

FMA practitioners are typically well-informed about local self-defense laws and use of force regulations. This knowledge ensures they employ weapons responsibly and within legal boundaries.

Self-Confidence and Empowerment:

Proficiency in FMA weaponry instills self-confidence and a sense of empowerment, making individuals less likely to become victims and more capable of protecting themselves and loved ones.

Filipino Martial Arts weaponry is an integral component of self-defense training. Its versatility, effectiveness, and emphasis on responsible use make it a valuable skill set for individuals seeking to enhance their personal safety. FMA not only equips practitioners with the physical tools for self-defense but also the mental preparedness needed to navigate potentially dangerous situations.

Arnis, Kali, and Eskrima

 Arnis, Kali, and Eskrima are all terms that refer to the traditional martial art of the Philippines. This ancient fighting style has a rich history that dates back centuries, and it remains a popular and respected form of martial arts to this day. At its core, Arnis is a weapon-based martial art that emphasizes the use of sticks and knives. However, it also includes empty-hand techniques and is also considered as a full-body combat system. The weapons used in Arnis are not only for fighting but also for self-defense, hunting and farming.

One of the unique characteristics of Arnis is that it allows for the use of multiple weapons at once. For example, practitioners may use a stick in one hand and a knife in the other, or they may use two sticks at the same time. This versatility makes Arnis a highly effective form of self-defense. The origins of Arnis can be traced back to the indigenous martial arts of the Philippines. It is believed that the art was developed by the pre-colonial Filipinos and passed down through generations within families. The Spanish colonization of the Philippines in the 16th century brought new weapons and techniques to the islands, which were incorporated into the existing martial arts.

Arnis was passed down through generations within families and is considered as the national sport in Philippines. Today, it is taught in many schools and dojos around the world, and it is a popular choice for those interested in learning a traditional martial art. The training in Arnis, Kali, Eskrima is not only physical but also mental, as it teaches discipline, focus, and respect. It also teaches respect for the weapon, as it is not just a tool for fighting but a tool for self-improvement and self-awareness.

In conclusion, Arnis, Kali, Eskrima is a traditional martial art from the Philippines with a rich history that is still widely practiced today. It is a full-body combat system that emphasizes the use of weapons, particularly sticks and knives, and also includes empty-hand techniques. This martial art is not only for self-defense but also for self-improvement and self-awareness.

Kinaadman sa Tagulilong

Kinaadman sa Tagulilong: Skills of the Invisible as Art of Protection Kenneth Alvin Cinco Just this month, in the Philippines, the rate of kidnappings and incidences of robbery and theft have increased. Cases of kidnappings where bad elements use a white van to conduct their malicious intention are slowly circulating again in the street gossips of the townsfolk from different parts of the Philippines. To top the issue, these cases were proven to be true as videos from CCTV cameras stationed overlooking different streets capture the reality of these phenomena. Last week there have been reports of hacking incidents of children, rape of women, and other instances of robbery. It seems that even the clean-up of the country’s drug problem did not really stop crime one hundred percent. This only proves one thing, that evil lurks everywhere and the malicious intent to harm exists in the mind of some perpetrators. In the U.S.A. and even in Britain, it is not uncommon to hear about incidences of violence. 

Gun control debates even inflated because of incidences where robbers or mass shooters run free and did horrifying things. In Britain, cases of knife violence or killings involving knives were heard. This is for sure a sign of troubling times. Perhaps the sanctions of the COVID pandemic and the growing anxiety in people because of the shaking global economy has much contribution to this but that is topic for the sociology or economics class. Our concern today is how to avoid and evade these kinds of situations. Many countries have strived to keep their countries safe, however, the reality is that there will always be cases of violence. In the last decade there have been a few developments in the security and safety of the countries inside the civilian population. Thus, there are cases where personal safety has already been taken for granted. Perhaps, society has relaxed itself, perhaps people have become too comfortable in a time where it was believed that these kinds of things did not exist anymore because we are now talking about global issues such as the pandemic and the war in Ukraine. However, facts show that this is not the case. 

Therefore, people need to be reminded that personal safety is of paramount importance and that there are always people who are ready to endanger the lives of others and that we must guard from that. In view of all these happenings, I suggest that people should learn from a folkloric skillset hailing from the provinces of the Philippines. In a country where knives and ice picks are familiar weapons used in dark alleys or even in broad daylight, it is hard to live without thinking of your safety. However, Filipino folklore especially that of the Bisaya may provide a clue into how we can increase our chances of surviving the day and returning to our families safe and sound, and that is to learn from the tagulilong. Tagulilong is a Cebuano term which means ‘invisible’. 

This term has been used to describe people with skills that make them invisible. In the days where folklore, myth and stories of mystery were very vibrant in the countryside, the Bisaya believed that certain people especially those who have anting-anting (magic amulets) or aghod-aghod (magical powers) can make themselves invisible. This was probably due to the nature of life in the countryside where forests or banana plantations abound. People who are believed to have tagulilong were known to have the ability to hide in plain sight, often hiding his/her whole body behind a tree as small as a 3-inch diameter pipe, or were said to be able to walk past the middle of a group unnoticed. These skills were believed to be possessed by the orasyonan (People who recite latin prayers) who were mostly believed to have been part of guerilla warfare in the mountains. How can we apply the skills of the orasyonan for our daily safety? 

Does this mean that we have to recite specialized pig-latin prayers that let us transform into a banana tree or other magical powers? Not necessarily. We only have to learn that becoming invisible is not learning some powers which we, as the new generation taken by a loud and flamboyant culture, cannot anymore possess. What I am saying is, there is something to be learnt from the silent ways of the old. To be invisible is not to become un-seeable, it is to become observant. To be invisible, one must observe the surroundings, and, like a prayerful person, one must listen to the hidden voices in the street. This is not some hocus-pocus shit, rather, it is the awareness of oneself. How can one become invisible in, say, an urban environment? A practical demonstration of this could be to suppress the urge to stand out. What does that mean? It means that one should guard himself\herself all the time by not showing the streets the reasons why one should be kidnapped. Are you a person who loves jewelries? Hide them. Do you always dress like a millionaire? Dress like a pauper in order for you to not invite robbers. Do you always look at your cellphone while walking? Make your phone invisible and hide it in your pocket AND silently observe your surroundings. Do you always walk alone? Do not stand out and look for buddies to walk with, go with the crowd. Do you like sitting in a spot with no people? Shrug your introvert personality for a while and blend in with other people. Do you feel that somebody is looking at you? 

Find them and look at them intently or go to a place where they can’t look at without getting awkward. Do not let your guard down. Most of all, have you learned a thing or two about self-defense? If not, then probably it is the best time. Perhaps that is why the drills in Filipino Martial Arts always make you feel agitated, it is because FMA is trying to increase your adrenalin always. Because in the Philippines, evil may (not all places) lurk in the corner and only an aware mind has a chance of surviving the dangerous night.

After the Long Hiatus

 The COVID 19 Pandemic transformed the ways of our modern culture. Slowly, powers unrecognizable are conditioning the public into retreating to a more isolation-based way of life. However, the Kinaadman Kali Group have continued its dedication in the practice of the Filipino Martial Arts.

The long hiatus of Filipino Martial Arts articles in this vlog was brought about by many reasons. The writers were packed with domestic and financial business that the FMA practice was the only one being prioritized. Practitioners also had to find ways to bring food to the table through various non-orthodox ways – a result of the transformation brought about by the pandemic policies. But it should be emphasized that the training of the body is not the only thing that should be prioritized, practitioners should also see to it that reflexive practice through scholarly study should also be highlighted.

Thus, this vlog will continue with Filipino Martial Arts related articles and articles pertaining to the Martial Arts and Self-Defense in general. As lovers of Martial Arts, it should be noted that we have to possess a mental fortitude to endure the struggles not just in the battlefield but also with life. Indeed, the fight is not yet over!

Stay tuned to more articles in the FMA and the Martial Arts!

“Knowing is not enough, we must apply. Willing is not enough, we must do.”

The information age gave us a lot of opportunity for the expansion of knowledge. With the advent of social media and other platforms, knowledge can be shared anywhere and at any time. Indeed, if a martial artist would want to learn about a martial art technique, even without an instructor, he/she can find the technique he/she wants if he will just log on to YouTube and voila! He/she can find all the techniques he wants. It is like finding a cave of wonders if one just knows how to look and where. 

However, will a collection of martial arts techniques taken from videos and social media platforms suffice? As we all know the martial arts have many aspects to it. First and foremost, we have the spiritual side of martial arts which has become the reason why many people from different walks of life engage in martial arts. Usually, the spiritual side of martial arts is emphasized in styles like Aikido, Tai Chi Chuan, and other so called “internal” martial arts where the development of the inner self is given primary focus instead of struggling to brace the odds of bodily pain. 

There is also the socio-cultural aspect of martial arts where it brings people together. Martial arts as we all know, can be practiced individually. Nevertheless, the tradition of the martial arts come from military training and the establishment of institutions of martial arts will not be done if it doesn’t have a cultural aspect to it. Organizations which bear the idea of an identity in martial arts provide a branding of the group which spawned it. This branding becomes a symbol which typically emanates a sense of power and commercial authority. 

However, with all the above aspects, probably the most important is the psychological-physical side of it. I chose to combine these two aspects because I believe that they are inseparable. All military and fitness trainings espouse the idea of mind over body. Because it should be noted that the body can influence the mind when it comes to training. The mind is necessary to process all the information that is given to it while the body is the primary actor of martial art techniques. The application of techniques and even the progression of movements require a trained mind and also a trained body. Therefore, we go back to answer our question – even if we know a lot of techniques and wherever these techniques may come from, it will not suffice without doing, in a martial arts sense: training. 

Why the training? Because it seems perhaps that the whole idea of training is to bridge a huge gap between the psychological and the physical. It is like there is a huge abyss between this two which can only be crossed through training. I remember a scene from the kung fu movie “The Two Warriors” produced by Golden Harvest (if my memory serves me right) where the Wing Chun master Leung Jan teaches his student a valuable lesson on perception and reaction. The way that Leung Jan taught his student is by letting the student look at a leaf that he was about to drop from his fingers. The task then for the student is to catch the leaf with his own fingers. Whenever the teacher drops the leaf, that was only about an inch higher that the student’s fingers, the student misses to catch the leaf, no matter how hard he tries. Leung Jan then explains that information travels from the mind to the limbs then the fingers and that this information does not travel fast enough. Even if the eyes look with utmost attention at what was happening, and the mind was prepared to command the response, time was still a factor at the speed of the reaction because in theory, there was still a gap between mind and body and that this should be bridged. Therefore, other than what Leung Jan meant in the story, we could also imply that he was saying that the student still lacks this connection of mind and body – developing the right intuition. 

Moreover, connecting this to teacher transfer of information to student, serious training also and should solidify a student's overall development. Educational theories and practices suggest that not all students learn from one single mode of learning. This means that not all students really "get" what the teacher teaches. Some students might be stubborn, again some could have other reasons for that but the point is, even if the teacher will slowly and systematically teach a technique, there will always be students that won't get it. Therefore, training, repetitive training should be done. Even masters who can perform incredible feats already still repeat and repeat and repeat training. Much like a myriad of hammering is needed to forge a sword. 

However, this is not the only whole point of training. If we will go philosophical, we can see that this also applies to all aspects of one’s life. Who among us have had the knowledge of something but then fails to act based on that knowledge? I think almost everyone. In today’s world, a significant part of the population are graduates from universities. But I would say that not all who have graduated from universities are truly educated and have truly felt deeply about the things that they have learned. In the Philippines, there is a situation where the employees’ degrees are not appropriate/aligned to the job that they are in. On the other hand, there are also people who know that they could do a thing that they wished to do but are hindered by social and economic constraints. If we apply the idea of how training bridge the gap between the psychological and the physical, we could say that there is a gap between our dreams and what we are doing at this point in time of our life. And therefore, by training (or by the continued pursuit of what we truly desire – or what we feel purposeful about) we can hopefully bridge this gap in order for us to achieve the potential that we have imagined in the depths of our dreams.

So, as a martial artist, I say: 

Apply what you know, and do it now.  

Kinaadman Kali Leyte Chapter

 

Practicing on your own on Islands: Kata and Sayaw

John Donne said, ‘No man is an island’ and it was forever grained in our consciousness that all people should live as a community, or at least, everybody should commune with everybody. Of course this is a truth that could not be taken down easily especially because it is a scientific as well as philosophical truth that man is a social being. In the practice of martial arts and in the refinement of martial arts skills this quote also applies because we need to socialize to practice our technique, to hone our technique and to become better if not than our peers, or opponents, at least than ourselves.

But what then, if, socialization was stripped away from us? In these times of social distancing and isolation, some may feel the degradation of their technique because the lack of socialization has stripped them of the opportunity to practice with a partner. During these times we are pushed to consider the practices in our martial arts that we sometimes shun, the individual practice of technique and the refinement of imagination.

In this article, I will try to reflect on two styles of martial arts that have in themselves a kind of ‘individual practice’, the Karate Kata and the FMA Sayaw. I will try to conjure my knowledge on how these kinds of practice came to be, and how, by knowing the frameworks of the mind that the ancestors had when they practiced these, will it help us get the most in our individual training.

It is not untrue that it is better to practice with a partner. If you are with a partner when you are practicing a technique you develop a greater feel for the technique because the intricacies are revealed to you. But there are times when practicing with a partner is not possible. During these times you rely on your minds eye, you rely on an image of the opponent in your mind. And this practice is important because sometimes, there are certain moves that are so deadly you cannot apply it to a partner. But in the mind’s opponent, which is immortal, you can do it infinite times. So, following this thought, practicing the technique in your mind and simultaneously moving the body, has its own significance which transcends the reason that you don’t have a practice partner. 

In Okinawan Karate, this type of practice is called Kata. Some define it as a set of forms or moves and techniques practiced alone and having an opponent in the mind. The history of Karate and Kata is so vast and dark, reaching as far back as China, in Fukien and the Shaolin Temple. In following this history, we can say that the practice of long Katas (as opposed to Japanese Kata in i.e. Iaijutsu, which is a set of quick techniques) can be traced back to the Taolu(Chinese version of Kata) practiced in Shaolin Temple’s Kungfu. If we follow this line of history then we can say that the original frame of mind that the forefathers of Karate had was that the practice of Kata was like a meditation as with the monks (also a form of practice which strengthens the body). It is to visualize an opponent in the mind, but ultimately, the goal is to overcome oneself. But through the years, let us not forget that the frames of mind have changed because the practice now was transferred from the mainland China to Okinawa. In this sense, it became only not a meditative practice but a way to pass down techniques. Much like the Fukien White Crane Master, or Chinese Incense Shop Boxing Master giving a Flash Drive filled with techniques to the Okinawan Karate Master. So it was now transformed from a meditative practice into becoming a living book which records the techniques passed down from generation to generation. 

So, if we think about it, we can achieve the highest possible outcome when practicing a kata if we will think the kind of situations the masters of old were into. Some say a kata was practiced on a boat. Some say kata is this, and that. A little bit of history research will help us. In this way, we will not be lost in practice. Example, there are certain moves which may be awkward in a real fight situation, like the famous hikite or the hand that is being drawn backwards when punching. In situations like this, it is better to ask, why would the masters do this? And sometimes the answer will come to you. (The function of hikite is not just a ‘chamber’ like when you are readying a gun for firing, but more like a grabbing hand – see? Karate is really for street fights)

In the case of FMA the practice of moving individually and thinking of your opponent in the mind had a much more complex history. The practice of weapons has been around since the height of trade between some Philippine Islands and India down to Southeast Asia. The Sayaw, which literally means “dance” can be traced back to the days of the rituals. The Philippines, as we know it right now, with its borders and territories, was never a country of only one culture. Even before the Spaniards, and before the Muslims who interacted with the Pre-colonial Filipinos, the archipelago was divided into “chiefdoms.” These chiefdoms had their own type of worship which are akin to present day ethnic groups type of worship – the rituals performed with dances. Even today, warrior dances can be seen from Philippine Ethnolinguistic groups, as part of their cultural heritage. Long ago, warrior dances such as these were prevalent in precolonial society. 

But the concept of ‘sayaw’ as an individual dance which helps the dancer practice his own martial art really took its function as we know it as a reaction to the political forces which outlawed the practice of the indigenous martial arts. In the time of the Spaniards, gatherings which are suspicious and that were deemed by the Spanish as illegal (especially the practice of Martial arts) Filipinos where forced to hide the techniques in there dances, in social gatherings. Hence, as you can see today, there are certain drills which move like a dance. But it also worth noting that the interaction with Spanish soldiers and the enlistment of native Filipinos to Spanish Soldados helped also transform and hone the concept of sayaw. Indeed, the term “carenza” came to be. Today, when FMA practitioners practice their carenza, they practice their “flow”. When we say flow, usually, it is the practiced of an unhindered movement in a dance like manner exhibiting techniques and footwork. In the practice of this then, because it is weapon based, it is important to remember that this is like Kata in which the practitioner trains individually, but unlike the Kata because the practitioner weaves his techniques by his own. What I am saying is, the practitioner is not merely a recipient of knowledge passed down but as an active user of it.

Therefore, in the practice of sayaw, or carenza if you like, it is helpful to think that one should not be boxed by technique, instead, one should heighten his visualization of the violent situations in mind. This is what I like about individual practice. It is as if you have to conjure in your mind, a very alive, very aggressive opponent. This practice therefore helps with the imagination. (I cannot stress less, the importance of this kind of practice the cognitive development of kids, or even its benefits to older people who are experiencing cognitive difficulties) and it also lets yourself be consumed by flow, becoming one with the universe (My boy Lao Tzu is smiling).

In the Final analysis, although the two have different purposes or frames of mind, we can learn something which is valuable. For me, looking at these two different kinds of practice, the takeaway is, we can practice individually the techniques that was passed on to us. These techniques may be passed down as a rigid set or as a series of techniques which you can freely assemble and make your own. What matters most is that it is not only a practice of the body but also of the mind. In training the mind to conjure situations and think of probabilities, we can assume and assess a lot of things that will help us when we have to use our skills in the future.

Kinaadman Kali 2021 Video

Origins and Nature of Martial Arts – The FMA & Karate Connection

Last week I watched a Youtube video created by one of the most popular Karate Enthusiasts in the world - Jesse Enkampf. It is entitled “Why Karate is Actually a Filipino Martial Art (Kali)” which featured FMA (Kali – represented by Modern Arnis). Though the video will be criticized by some FMA practitioners and Silat practitioners for some misconceptions in the showcase of FMA (one part of the video shows clearly another Southeast Asian Martial Art which was branded as Kali though I would say that the practitioners were really demonstrating Silat), I would say that the video should be watched by all practitioners of Martial Arts, be it FMA, Karate, Silat or other arts because there are insights that could be drawn from the video with regards to the origins of Martial Arts.

Jesse is commendable for having an open mind and not boxing karate within the bounds of what is familiar. Karate, one of the most popular martial arts, have been heavily guarded by its old masters. 

I only imagine how some masters are now reacting to the video because pride sometimes cloud even the sharpest of eyes. From what I know, the information that Jesse is trying to give will raise some eyebrows in the circle of the old karate masters.

However, that is not what this essay is about. I would like to point out that the video taps into the greater issue of “origins” of martial arts. With my little background in the study of language, culture and arts, I would like to say that the question of “origins” is a very volatile topic. It is a difficult topic even for students of culture because of the nature of culture itself. In discussing culture and ownership of culture, tensions will surely rise but questions will not be answered.

There will only be speculations. Therefore, with regards to the statement that “Karate is actually FMA,” care should be given in delineating one over the other. Again, it is beneficial for us to recall Bruce Lee’s words “Unless humans will have six arms and four legs, we will have a different form of fighting.” This implies that all martial arts knowledge are only arbitrary, like language. 

We only use what we have created and learned and what is beneficial for our immediate milieu.  Nonetheless, this doesn’t mean that we should dismiss the topic of origins because it will give us an insight on what our arts have.

When watching the video, certain speculations that we, in the Kinaadman Kali Group, have discussed already, have risen and was now back in the table. Watching thousands of youtube videos, researching a lot of martial arts styles and practicing on some, we arrived at an understanding that, it is not that “this culture/practice came from that,” but rather “this is a more practical and appropriate practice so we retain it.” Reflecting again on the influence of trade and culture, we could say that it is not necessary that a whole art came from another whole art but rather, a portion of the more practical art was integrated into the receiving art to enhance the practicality. That is the nature of culture and arts. 

So it is possible, if we would really like to ask the question of origins, that the hubud practice was the only portion that was “passed or traded” rather than being Karate as a boiled down descendant of Kali or the other way around. This is because the hubud practice gives more benefit to practitioners of the two arts in a way that surpasses the other aspects. However, other portions of the practice were not integrated for some reasons for example; why there is a difference in strength training, or why in the Philippines-drilling is practiced more than kata or forms. 

These intricacies give us a hint on what kind of cultures spawned these arts and it is important to know if we are to deepen our understanding of martial arts.

Please watch the video and enjoy! 

The Philiosphy of First Strike

Martial Arts today, especially the oriental and traditional martial arts, act with an essential philosophy in mind. Many of these styles and systems have philosophies which not only discuss the combative philosophies of their art but also get insight from the culture that created them. That is why we can hear Bruce Lee saying some profound quotes which refer to his Jeet Kune Do (the ‘be like water my friend’ quote) as a way of fighting and then later on discover that the quote he’s talking about really come from Taoist philosophies of life and the universe. It is this interplay of culture, metacognition, physical practice and sometimes religiosity that lends these Martial Arts their depth.

It helps me wondering, do Filipino Martial Arts have some similar kind of depth in its philosophy?

Aside from the ‘dancing with the flow’ kind of thinking (which has an eerie similarity to Tai Chi Chuan and Taoist philosophy), another thing that would emerge from interviews with very old FMA masters is the ‘strike first’ mentality. Though this mentality is more of a battlefield tactic, I would like to think that it is also a way of life philosophy. 

If we talk about FMA in practice, there is one thing that is evident, the flowing – almost dancing like fluidity of techniques. This has been discussed in the earlier articles. It shows that Filipinos have an adaptable but resilient quality, and therefore is manifest in our Martial Arts. However, this kind of description could mean and be misconstrued that in combat tactics, FMA would only ‘receive’ and ‘adapt’ rather than ‘take action’ or ‘advance’. For me, this would be a limited view of FMA’s philosophy.

I ventured discussing the ‘striking first’ mentality because in many FMA videos featuring Grand Masters, (talking about Tatang Ilustrisimo-my idol) this keeps on emerging. So I tried to think about it, what is it with striking first and FMA? Does it mean that Filipinos really are violent? Or is there more to it? An interview with an old Isshin Ryu Grandmaster who happen to be taught a very traditional form of FMA when he was a kid, revealed a ‘kill or be killed’ mentality that was passed down to him by his father. It was scary to think that he, as a boy, was given a knife which can easily be concealed and be told that he should use it when bullies harm him again. The look on the face of that master when he was talking about that chapter of his life, showed that his morals did not want him to go down that path. It was understandable since he had found his life’s philosophy which have heavily drawn from Buddhist and Confucian pacifist thinking embedded in his Karate practice.  

So, is this ‘striking first’ mentality really a kill-or-be-killed kind of mentality which offers no room for reflection and only exhibit a vengeful kind of moral? I think this is a limited kind of thinking. 

However, let me get this straight; as a person and practitioner of the arts, I do not support this kind of thinking IF it was only limited to this notion as it is. But, if we think about it, this ‘striking first’ mentality can be a valid philosophy of life. Let’s take first this philosophy and the idea of violence. 

In a self-defense situation, when one is faced with multiple attackers, our decisions could be put to the test. Many oriental martial arts, if put in a self-defense situation, would actually wait first and struggle to look for opportunity. This is evident in misconstrued philosophies such as that of Karate where a master (I forgot the name) supposedly said and I quote ‘there is no first strike in Karate’. So, traditional masters of these styles most of the time ‘wait’ for their opponents to attack and then respond only when the attack is launched. A lot of time is allotted in practicing for that ‘sixth sense’ ability to be developed. You will see in most mainstream Karate styles that in their ‘self-defense techniques’ they would be in the defensive situation and work their way out. I do not really despise this kind of thinking. If it works for them, then it works for them. However, we have to look at a lot of real life situation where this defensive maneuvers have a lot of holes to fill up, and is very dangerous if not applied correctly.

One thing for me is important – TIME and TIMING. As I said, a lot of these styles practice their skills for a very long time. And I think this is because of the culture embedded on it. What do I mean by culture? Number 1 (this I would not discuss thoroughly) these styles have their own guardians and sometimes would refuse to pressure test in order to preserve tradition but I think it is more to preserve the status quo, and Number 2 the culture embedded in their practice is the culture of pacifism – Buddhist philosophies which respect life – for which I am not really opposed to. However, we should understand that in the experience of FMA, the Buddhist thinking and Buddhist society was not the primary movers in the way of life of the Filipinos.

As a country of many nations and a country which has been colonized by many nations, the Philippines did not have the luxury of sitting about and meditating, reflecting about life, recording as with their Eastern Asian counterparts. The Philippine Archipelago has been in constant turmoil, so constant that we do not have time to prepare. That is why we act and react immediately. The many fighters which the country has produced in the ancient times did not have the time to think about their style, because battles were always waged and they have to use what little they know to react, and eventually build from that. 

This then, I think, why many FMA masters would say ‘if there is a slightest opportunity, you should strike first’. Why? Because these masters were probably thinking about their family and that a one-on-one stalemate-battle would cost them precious time to return to their loved ones and be able to defend them. And I would also like to think that this striking first does not only mean ‘hitting the opponent first’ but rather, this talks about a holistic idea of self-defense and that includes self-defense even before a self-defense situation – a greater awareness of your environment and yourself – which would push you to think ahead about your protection in your daily life which would mean in practice that you apply preventive measures so that you will not get into a nasty self-defense situation where you only have a fifty-fifty chance of survival. For me, avoiding the dark alleys where potential attackers may lurk or creating distance from yourself and potentially lethal people and groups would mean striking first – it is a way of getting a step ahead of your opponent.

Even if we think that it is terrible that FMA Masters would think in the striking first mentality, we should also remember that they are Filipinos. And Filipinos, and this is somewhat an undeniable truth, would defend you the death if he is your friend. In the words of Doug Marcaida, “because we are a caring people”, that is why those who doesn’t care and would step on our loved ones could sure expect the favor to return. 

But this is not revenge, for revenge is not a striking first mentality already. We have to note that ‘striking first’ is not just ‘hitting’ as I have told above. The ‘striking first’ could mean the opponent has laid down his weapons and his view of killing, because he has been struck by the blade of camaraderie, mercy and friendship. Filipinos are friendly and caring. Most of the time, we could not bear the pain when we see some of our friends or even our most hated neighbors suffering, however sharp our curses maybe to them, we will still hand over something in order to help them. And that is also true of the Masters. This is one thing, some popular Martial Arts who only strive for the glory of their egos will not understand. Why do I say so? Because you will not hear a lot of old legit FMA Masters boasting about their wins. They would only be silent and let their moves speak. Friendship and keeping peace are more important to them. And this is also a way of striking first.

Another Outdoor Practice 2020

 

Practicing on your own on Islands: Kata and Sayaw

John Donne said, ‘No man is an island’ and it was forever grained in our consciousness that all people should live as a community, or at least, everybody should commune with everybody. Of course this is a truth that could not be taken down easily especially because it is a scientific as well as philosophical truth that man is a social being. In the practice of martial arts and in the refinement of martial arts skills this quote also applies because we need to socialize to practice our technique, to hone our technique and to become better if not than our peers, or opponents, at least than ourselves.

But what then, if, socialization was stripped away from us? In these times of social distancing and isolation, some may feel the degradation of their technique because the lack of socialization has stripped them of the opportunity to practice with a partner. During these times we are pushed to consider the practices in our martial arts that we sometimes shun, the individual practice of technique and the refinement of imagination.

In this article, I will try to reflect on two styles of martial arts that have in themselves a kind of ‘individual practice’, the Karate Kata and the FMA Sayaw. I will try to conjure my knowledge on how these kinds of practice came to be, and how, by knowing the frameworks of the mind that the ancestors had when they practiced these, will it help us get the most in our individual training.

 

It is not untrue that it is better to practice with a partner. If you are with a partner when you are practicing a technique you develop a greater feel for the technique because the intricacies are revealed to you. But there are times when practicing with a partner is not possible. During these times you rely on your minds eye, you rely on an image of the opponent in your mind. And this practice is important because sometimes, there are certain moves that are so deadly you cannot apply it to a partner. But in the mind’s opponent, which is immortal, you can do it infinite times. So, following this thought, practicing the technique in your mind and simultaneously moving the body, has its own significance which transcends the reason that you don’t have a practice partner.

 

In Okinawan Karate, this type of practice is called Kata. Some define it as a set of forms or moves and techniques practiced alone and having an opponent in the mind. The history of Karate and Kata is so vast and dark, reaching as far back as China, in Fukien and the Shaolin Temple. In following this history, we can say that the practice of long Katas (as opposed to Japanese Kata in i.e. Iaijutsu, which is a set of quick techniques) can be traced back to the Taolu(Chinese version of Kata) practiced in Shaolin Temple’s Kungfu. If we follow this line of history then we can say that the original frame of mind that the forefathers of Karate had was that the practice of Kata was like a meditation as with the monks (also a form of practice which strengthens the body). It is to visualize an opponent in the mind, but ultimately, the goal is to overcome oneself. But through the years, let us not forget that the frames of mind have changed because the practice now was transferred from the mainland China to Okinawa. In this sense, it became only not a meditative practice but a way to pass down techniques. Much like the Fukien White Crane Master, or Chinese Incense Shop Boxing Master giving a Flash Drive filled with techniques to the Okinawan Karate Master. So it was now transformed from a meditative practice into becoming a living book which records the techniques passed down from generation to generation.

So, if we think about it, we can achieve the highest possible outcome when practicing a kata if we will think the kind of situations the masters of old were into. Some say a kata was practiced on a boat. Some say kata is this, and that. A little bit of history research will help us. In this way, we will not be lost in practice. Example, there are certain moves which may be awkward in a real fight situation, like the famous hikite or the hand that is being drawn backwards when punching. In situations like this, it is better to ask, why would the masters do this? And sometimes the answer will come to you. (The function of hikite is not just a ‘chamber’ like when you are readying a gun for firing, but more like a grabbing hand – see? Karate is really for street fights)

In the case of FMA the practice of moving individually and thinking of your opponent in the mind had a much more complex history. The practice of weapons has been around since the height of trade between some Philippine Islands and India down to Southeast Asia. The Sayaw, which literally means “dance” can be traced back to the days of the rituals. The Philippines, as we know it right now, with its borders and territories, was never a country of only one culture. Even before the Spaniards, and before the Muslims who interacted with the Pre-colonial Filipinos, the archipelago was divided into “chiefdoms.” These chiefdoms had their own type of worship which are akin to present day ethnic groups type of worship – the rituals performed with dances. Even today, warrior dances can be seen from Philippine Ethnolinguistic groups, as part of their cultural heritage. Long ago, warrior dances such as these were prevalent in precolonial society. 

But the concept of ‘sayaw’ as an individual dance which helps the dancer practice his own martial art really took its function as we know it as a reaction to the political forces which outlawed the practice of the indigenous martial arts. In the time of the Spaniards, gatherings which are suspicious and that were deemed by the Spanish as illegal (especially the practice of Martial arts) Filipinos where forced to hide the techniques in there dances, in social gatherings. Hence, as you can see today, there are certain drills which move like a dance. But it also worth noting that the interaction with Spanish soldiers and the enlistment of native Filipinos to Spanish Soldados helped also transform and hone the concept of sayaw. Indeed, the term “carenza” came to be. Today, when FMA practitioners practice their carenza, they practice their “flow”. When we say flow, usually, it is the practiced of an unhindered movement in a dance like manner exhibiting techniques and footwork. In the practice of this then, because it is weapon based, it is important to remember that this is like Kata in which the practitioner trains individually, but unlike the Kata because the practitioner weaves his techniques by his own. What I am saying is, the practitioner is not merely a recipient of knowledge passed down but as an active user of it.

Therefore, in the practice of sayaw, or carenza if you like, it is helpful to think that one should not be boxed by technique, instead, one should heighten his visualization of the violent situations in mind. This is what I like about individual practice. It is as if you have to conjure in your mind, a very alive, very aggressive opponent. This practice therefore helps with the imagination. (I cannot stress less, the importance of this kind of practice the cognitive development of kids, or even its benefits to older people who are experiencing cognitive difficulties) and it also lets yourself be consumed by flow, becoming one with the universe (My boy Lao Tzu is smiling).

In the Final analysis, although the two have different purposes or frames of mind, we can learn something which is valuable. For me, looking at these two different kinds of practice, the takeaway is, we can practice individually the techniques that was passed on to us. These techniques may be passed down as a rigid set or as a series of techniques which you can freely assemble and make your own. What matters most is that it is not only a practice of the body but also of the mind. In training the mind to conjure situations and think of probabilities, we can assume and assess a lot of things that will help us when we have to use our skills in the future.

Online Martial Arts Learning

In a time where an unseen opponent inspires fear and keeps everyone inside, a lot of things will sure come into mind especially fighting boredom. But many of us, especially Martial Artists who are educated in the philosophies of efficiency by great thinkers such as Sun Tzu, Miyamoto Musashi, even Marcus Aurelius, will undoubtedly seize this opportunity to reinvigorate our Martial skills which were stripped from us by our day to day focus on our work, career and family. A lot of us Martial Artists are now given the time to hone our bodies back, stretch our legs, and oil up rusty joints but many people especially those who are new to Martial Arts that at least have trained for a month or so will find this time a little bit stagnant in terms of their learning plans. But some may consider, especially with those who have internet, to learn online.

It is often highlighted, although sometimes this education paradigm is insensitive to social and economic status of developing countries who have difficulty in the quality of accessing the internet like the Philippines, that we are now living in the 21st Century and that 21st Century learning and teaching should be applied in our learning institutions and lives. This 21st learning and teaching models often emphasize the use of innovation and the internet. And this is actually a good idea if only everybody and every country has access to internet. If that were so, there would be no problem of ignorance and stupidity anymore but, we still see a lot of people who goes the other way. Anyways that is a topic for another article. But for this one, I want to reflect on some ways and tips so that we can advance our Martial Arts practice using the internet even if it is a little bit, in this time of Community Quarantines.

First, I would like to speak a little about my background as a Martial Artist. I have a Brown Belt in Shorin Ryu Karate, I took up a little of Tae Kwon Do, a short course from a Philippine Modified Aikido and a Brown Belt from an Asian Hybrid Martial Arts style known as Tae Kwon Rang Do before going to Kinaadman-Kali. And to add to that I was an Arnis ‘Anyo’ player in High School. In all of these styles I noticed that they have constantly emphasized on the basics. No training advances if the basics are not yet perfectly executed. My Karate advanced very slow because of this kind of framework. It took me three years of constant Saturday Sunday practice to even reach Green Belt. But as I was exhausted and drained and at times that I would like to give up and go to other styles I began to appreciate the practice so much so that after practicing other styles, what remained in me were still actually the simple, direct, yet significant part of my Martial Arts skills and that is, the basics.

But of course, I do not romanticize the idea that in learning a Martial Arts one should only get stuck up with the basics. That’s just counter-productive to learning. In Kinaadman-Kali, the learning transfer is actually pretty fast (but quality is not sacrificed because scrutiny in executing techniques in every session is always on play) to make up to this over-emphasis of basics. What I’m saying is, in times where we only practice alone, given that we only have entry level knowledge in Martial Arts, it should not hinder us into doing what we love to do. That brings us to the question of how can online learning be utilized safely to help in the continuous flow of our practice. Let us remember, Miyamoto Musashi, in his Go Rin No Sho/Book of Five Rings have stated that “The way is in training. One must continue to train”. So the lack of physical interaction with our fellow practitioners and our instructors must not stop us from achieving the goal of becoming a fine Martial Arts man, if not a warrior.

Tips and Reflections

1) First tip in using the internet as learning tool: do not do Martial arts if you don’t have a knowledge of the basics. In my case, I could say that I was doing Martial Arts even if I was still not practicing it because of my addiction to Kung Fu Movies. Every after a show, I would imitate the movements and woe is me! Many a skin has been scathed and many a finger has been nearly crippled or cut. And to think that, I had a bad form! Because no one was there to point out the essentials. But the real issue here is, DO NOT TRY MARTIAL ARTS AT HOME WITH YOUR SIBLING OR FAMILY AS PUNCHING BAGS. This first tips is actually not just for your safety but also for your loved ones. Just think about it this way, it’s like giving a .45 caliber pistol to a 9 year old who is addicted to Call of Duty Modern Warfare 4 – he will aim to friends and foes alike. And also, your

family will laugh at you. That is awful. Better do other arts like cleaning your bedroom.

2) If you know some basics it would probably help you in choosing a good video with a good instructor or Martial Artist in it, just be mindful that you should consider some reminders. A lot of Martial Arts videos out there are spread like wildfire by bogus McDojo Gurus and hoaxes. If you have been to a Martial Arts School, a legit Martial Arts School, then you should have even just the faintest idea of what is hocus-pocus and what real. Or maybe you recognize some Martial Artists that you follow in social media and that you have researched their credentials. In qualitative research, we call this validation of source as “triangulation technique” (also helps with Fake News Scrutiny). But this does not end here.

3) Make sure that the videos you choose or the instructor you want to learn from are appropriate for you, that is, it is nearer to your art. That is to say that the content of the video that you want to learn or the Martial Arts that you are looking up on the internet must be immediately connected to your art and has a difficulty threshold that is appropriate to your level. Think about this, if you are a Karate White Belter and then you are looking at videos which teach you purple belt jujitsu, would that benefit to you directly? I don’t know about your talent, and I really respect people who can get complex concepts in body movement just by looking at it (search TED Ed and you will see that learning by imagining and learning by doing may actually just yield to almost similar results) but as I have experienced, I didn’t go past through some katas while doing this. The thing is, it’ll get you confused (If you are not talented and sorry to say I’m not that kind). The worse thing is, if you practice wrongly for a long period, it will stick with you and it is better to avoid that.

4) The Martial Arts is a wide world not confined only to body movement and beating each other up. In these times of home quarantine, it can also be helpful that we train our soul and our intellect. Why not go for exercising the mind while exercising the body also? I mean, when we study Martial arts, the physical and the technique aspect are only the surface. What makes our understanding of the Martial Arts deeper is our in-depth and sincere study of the origins of our art, how it came to be, the philosophy behind it, the psyche of the people who created it, the culture of the nation which spawned it, the history of the country which formed and nurtured it and so on and on goes the list. In my study of Martial Arts, studying the Philo-Socio-Politico-Cultural-Historical Aspect of these actually helped me to connect the dots more in my physical practice and it cleared out some heavily blurred lines. So, it came to be that when I see a video, and tried to imitate it, or integrate it in my practice, it came easily and it came surely because I understood first its origins and, as we say in philosophy, the ‘why’ of it. In the words of Sartre: ‘Art has its own reason for being’. And because I have understood its being, it is easy (not so easy sometimes, other arts are like wild tigers on top of rodeo cows – they just wont bow down to you know matter how you know them) for me to understand them and to utilize what is beneficial for me and discard what is not. In summary, be a philosopher martial artist! (Many Martial Artists are Philosophers i.e., Bruce Lee, Miyamoto Musashi, etc.) and that would not require much physical effort because your internet is the one being stretched.

5) If you have imitated something from the internet or you have just practiced your own basics, it can also be helpful to video yourself and let your colleagues and instructors critique it. Jesse Enkampf of Karate by Jesse in Youtube is doing this! So it helps that we let others critique our progress. This is the topmost use of internet in online practice of Martial Arts. My colleague and founder of Kinaadman Kali, E. Pobadora would show a lot of experts in the Martial Arts his recorded moves and would solicit valuable information thereby advancing and improving the quality of his skills. This is the beauty of the modern world, and as the Romans say: ‘Carpe Diem’ seize the day!

6) This last tip is the most important and that is, practice-practice-practice but at the end of the day, always look for a good school or teacher! Do not rely on the internet for instruction. There is no equivalent to good old fashioned on-contact training.

This is by far not all of the things that we can do with the internet, but I think this may be helpful for starters. Always keep in mind your safety and the safety of others. The internet is also just a tool and it is not a ‘gospel’ that you should follow to death. I wish these tips may help us in this time of dread and isolation. Have a good Martial Lock Down!

K.A. Cinco

Distancia Amigo: The Importance of Distance in FMA Practice

Sun Tzu said, “Victorious warriors win first and then go to war, while defeated warriors go to war first and then seek to win”. Distance, in weapon based fighting, can be the key.

In the practice of weapons, especially in FMA, practitioners are often taught to think that the weapon one is using should be the extension of the hand. 

                          

This kind of thinking helps the practitioner master his weapon, that is, it helps him avoid the chances of him getting hit by his own weapon and having the ability to use the weapon’s one hundred percent potential.  By repeatedly practicing with the weapon, the practitioner would then have developed the skill to move without having to be concerned about getting hit by his own weapon. This is one aspect of weapons training among many more.

Another aspect which is often neglected in some Martial Arts and also in some FMA is the practice of correct, or right distancing. This aspect of weapons training is usually practiced only as one part and then ignored later when technique practice overshadow the practice of basics. Sometimes this is usually due to the difficulty of incorporating scientific distancing in practice since it involves a lot of ‘estimating’ or ‘feeling’ your opponent which is somewhat a difficult thing for a beginner to grasp. However, it is also because of the meticulousness of practicing proper distance that it becomes annoying when practiced. Distance practice, coupled with right body positioning, as I just have realized recently, should be embedded in all techniques practice for the reason that it gives you the ability of hitting without getting hit therefore giving your techniques one hundred percent possibility of functioning. 

In FMA there are three basic types of distance. These are: Largo – the long range distance, Medio – the medium range then Corto – which is the close range.

In the Largo (Long range) distance, the aim usually is to successfully apply a technique called ‘Defanging the Snake’ – that is, in this distance, what you are aiming to hit the hand of the opponent (in order for him to be disarmed or demotivated to continue the fight). Usually, in this kind of distance, the ‘alive’ hand or the hand without a stick in solo baston (hand with knife in espada y daga and rear hand in doble baston) is not able to reach any part of your opponent’s hand/weapon and body.

In the Medio (Medium range) distance, the fight tightens and the fighters get close to each other. In Medium range, there usually are two sub types as I know; the medio largo (Medium Long range) and the medio corto (Medium Close Range). There are many interpretations of these two, but I like to put it this way: In solo baston, if your ‘alive’ hand or ‘bantay kamot’ can reach the wrists of your opponent but not necessarily the body, then that is Medium Long range. On the other hand, if your ‘bantay kamot’ can reach the elbow of your opponent and you can hit the opponent with the middle part of your stick, and sometimes your ‘bantay kamot’ can hit your opponent’s body or face, then that is Medium Close range. 

Corto (close range) is now the range where your alive hand could clearly reach the body or face of your opponent. It is the range where the butt end or ‘punyo’ of your stick could scrape and hit your opponent. Elbows and punches now function very well in this kind of distance. If your surroundings restrict wide range or long range motion, the knowledge in fighting within the Corto distance could give you an advantage.

Of course, these distances would not mean anything without the practice of accuracy, power and proper body positioning. Some Arnis styles even make the study of body positioning an essential part of their curriculum, since they know that a certain position could lead to victory or defeat.

How does the study of distance contribute to victory or defeat? It helps you chose your style of fighting and techniques. It narrows down your selected techniques into the ones that would truly matter in your fight. For example, the technique ‘Defanging the Snake’ which is a technique that usually is done by hitting your opponents weapon hand with your stick, would lose its effectiveness if the fight gets closer, where, mano-a-mano and hitting the body or head of your opponent, gouging his eye out, elbowing to his face or crushing his genitals would do more damage than trying to catch your opponent’s weapon hand and hit it with your stick. (FYI. Defanging the Snake could also mean, disarming and destruction of the limbs)    

The awareness of distance would also give you a hint at proper body positioning. It would help you study the locations and in relation to your opponent which will help you be at an advantageous position where, as I have said, hit your opponent without you getting hit. 

These are just meditations on the use of distance in relation to using techniques and being able to be safe by using only an adequate amount of energy and maximizing your chance of victory. To know more about the concept of distance, accuracy, body positioning and striking first, it is better that you find a good teacher and study diligently.  

The Essentiality of Training with Your Co-practitioners in FMA

      It is not unfamiliar to Martial Artists that practicing with their fellows is as important as breathing. If a person does not practice his techniques with a real person, he or she will only be scratching the surface of his art. Even dancers have to show their moves to critics in order for them to determine their mistakes. After all, real life combat, which is one of the purposes of practicing a Martial Art, is a very dangerous thing which will cost you your life if correct and functional movements are not altogether practiced diligently and accurately.

The Filipino Martial Arts also heavily emphasize training with a partner. In fact, partner drills almost take as much as almost 70%-90% (Depending on the style) in the practice of repetitive partner drills. This is a very important part of FMA practice because of some reasons such as but not limited to:

  It trains your eyes. You can hit a certain target all day, memorizing the very same spots where the angle you are supposed to hit would be. However, what if these angles move like in real combat? Drills keep your eyes open and alert, it teaches you that a target, in real combat, will not be stationary when you try to reach it. And you will definitely reach it if you have a trained eye. Furthermore, drilling can help you be familiarized with certain telegraphic movements which were otherwise invisible when you were just thinking of an imaginary person in front of you. However seasoned your partner may be, sometime during your practice, you will discover his unconscious pattern. And this will therefore help you see the bigger picture where you can fit your techniques into.

      Your hands will hurt. Because you will surely be hit. Imagine that a drill is not just a drill between you and your co-practitioner, but that it is a three-person micro-class. Where is the third man? The third person is your master. He hits your hand by way of your co-practitioner’s stick. He always reminds you of your flaws. And that’s how you learn that the way you did it was wrong.

      You will learn to dance. In some drills in FMA such as the Kontradas(a drill where a Feeder gives you a semi-telegraphic attack to defend and parry and you respond with your own semi-telegraphic attack. By the way, the degree of telegraphing and speed of the attack decreases as you and your co-practitioner advances in level), the feeder sometimes lead you in a dance like manner, opting you to use your footwork in order to adjust to the attack given. In this drill, sometimes you unconsciously use the footwork you have tried several times in your own but never really quite got a hold of. Some of these moments will send chills down your spine because of the realization that footwork should be a natural reaction engraved heavily in you as a result of rigorous training in drills.

        You can get valuable information from your partner. Your partner in a drill is your first and foremost critic. If your partner is a senior, he or she can point out your flaws and it will help you adjust and correct your own movement. If your partner is a junior, there’s a hell lot of chance that one of you will get hit. And that is a signal that the two of you are doing it wrong, or that you should ask your Instructors for clarification and help. If your both at the same level, well, it only shows that you have the same passion for Martial Arts and that it will be comforting for you that you are practicing with a person who will potentially become your close friend or acquaintance. By this, and by your own enjoyment at your own risk, you can lift the challenge in your execution of your drills like vamping up the speed of your strikes, therefore improving the quality of the results of your practice.

      You will have a new friend. The Martial Arts world sure is teeming with hatred, jealousy, controversies, rivalries and all sorts of negativity. After all, Martial Arts at its most primitive form, is killing, and it is not nice. But over the years, the concept of Martial Arts had softened and has become a path of improvement and development for a lot of people. It has become a concept that instead of bringing war, it has made itself an instrument of peace. A lot of people in our modern world today are getting more and more disconnected as technology have become closer to our reach. Having a Physical Activity such as Martial Arts can improve our People Skills. And under the banner of Martial Arts practice, drilling is one of the most intimate way of learning to connect with people. Therefore, there is a greater chance that you can find a new real friend in a dojo than in an internet cafe teeming with people on their facebook.

These are just 5 of the reasons why drilling is important in the practice of Filipino Martial Arts. Although it is not just exclusive to Filipino Martial Arts, there are some reasons why it is “essential”, which means that, without drills, Filipino Martial Arts may not be identifiable from other Martial Arts because the way FMA practitioners do these drills have a unique touch than other Martial Artists.

Say for example, we have two Martial Arts (Disclaimer: I am only familiar with the practice of Karate because I am a Green Belt in Shorin Ryu, that doesn’t mean that I am an expert, and that I am just presenting a comparative scenario, if in anyways there would be lacking information here, please share your thoughts) Karate and Arnis/Kali. Both of these arts have drills but the way they are taught (at least in the very traditional styles of Karate) may differ.

Example, in Shorin Ryu you have a drill where a premeditated set of block for a premeditated set of strike i.e. you only use the inward or outward block for strikes in the body, and upward block is only for a jodan tsuki or a punch in the face. https://www.youtube.com/watch?v=6iq1Eizd2Ts

Which then evolves to this: https://www.youtube.com/watch?v=O5I-bwAqmzw as their practice progresses.

In some styles of Arnis, we also begin with this, like for example, in Balintawak where there is a basic block for a certain angle of strike. But some Arnis/Kali Styles have more flexible drills, depending on how you want to control your opponent. I could not describe this very much but if you have time, please just watch this link on Youtube:  https://www.youtube.com/watch?v=vg-He20szeo

This is a presentation by the timeless Grandmasters Antonio Diego and Christopher Ricketts with music by Grandmaster Yuli Romo and under the sharp supervision of the Legend GM Antonio Ilustrisimo. As you can see there are differences in the drills and sometimes these differences often define the principles of a certain Martial Art. As we have observed, some of the unique characteristics and principles of the Ilustrisimo drills are:

1.    The Essentiality of ‘Defanging the Snake’ or hitting the hand which holds the weapon. Which is almost an indispensable principle in all the very old Eskrima Styles such as the De Campo Orihinal. Also, the primary emphasis of training with the weapon creates this principle.

2.    The Circularity of the responses or the counter attacks. Circularity in footwork and in stick motion as opposed to the directness of the Karate Drills. But this is not to be misconstrued as ‘fancy’ moves – in their circularity, you can see the directness.

3.    The use of counter to counter attacks. As it is shown in the demo of the Ilustrisimo Grandmasters, the feeder (GM Diego -Black)) would also spend a little time in counter attacking a counter-attack of the defender (GM Ricketts -Red) wherefore giving the feeder a chance at the worst, when it comes to real life application. Its like this, imagine if, what if your counter to certain attack gets blocked or was negated? How would you respond? Ilustrisimo gives you a drill to answer that.

4.    The rhythm of drill can be adjusted, as opposed to the 2/2 speed or cadence of the Karatekas. As an observation, these above is not yet comprehensive but they are the characteristics which clearly initially shows up. The point here is, these characteristics show principles which makes Ilustrisimo unique with other Martial Arts. Some FMA practices have unique drills to. But if I may just be allowed to say a little more, practicing with a partner is also a characteristic of Filipino Culture. The Filipinos are basically a family and socially inclined culture. If we will relate this to the practice of drills, then we can surely say that truly drills are inseparable in FMA like Kata is inseparable to Karate where individual hard work is emphasized. A point of observation also here is, in the practice of FMA, sometimes, we are allowed to have fun, play with and create our own expression. 

                                                                                                                                               K.A.Cinco