Publisher

Steven K. Dowd
Contributing Writers
Marc Lawrence
Paulo Albuquerque
Dr. Jerome Barber
Romeo Macapagal
Contents
From the Publishers Desk
Tabimina Balintawak
Galius Martial Arts School
JEDOKAN
Grandmaster Cristino Vasquez and the Art of Ipit Pilipit
Beware of Aggressors and Rapists... Kombato mind-set
Modern Arnis: The Art With-in Your Art
Tatang and the Teachers of Kalis Ilustrisimo Part II
Dinuguan for Brunch
FMA Past Events
FMAForum
FMA Future Events
FMA Educational Depot
Roland Tango Pintoy Dantes
Intermediate Eskrima DVD Series - Review
Filipino Martial Arts Digest is published and distributed by:
FMAdigest
1297 Eider Circle
Fallon, Nevada 89406
Visit us on the World Wide Web: www.fmadigest.com
The FMAdigest is published quarterly. Each issue features practitioners of martial arts
and other internal arts of the Philippines. Other features include historical, theoretical and
technical articles; reflections, Filipino martial arts, healing arts and other related subjects.
The ideas and opinions expressed in this digest are those of the authors or instructors
being interviewed and are not necessarily the views of the publisher or editor.
We solicit comments and/or suggestions. Articles are also welcome.
The authors and publisher of this digest are not responsible for any injury, which may
result from following the instructions contained in the digest. Before embarking on any of
the physical activates described in the digest, the reader should consult his or her
physician for advice regarding their individual suitability for performing such activity.

From the Publishers Desk

Kumusta
To start the FMAdigest has an excellent article on Grandmaster Bob Silver
Tabimina Which definitely gives insight; on this very dynamic practitioner.
Learn a bit about Guro Al Galius and his son Guro Jason and Galius martial arts.
And then Jeff Suministrado who teaches Jedokan which is non-commercialized, offering
its members simple but scientifically-based techniques which can be learned and
practiced by people of any age.
Ipit Pilipit is one of the advanced techniques of Arnis, which was invented and
has been promulgated by Grandmaster Cristino Vasquez, which was developed to bring
Arnis and Modern Arnis to a higher level using the basics.
Women are armed with the Kombato mind-set in Brazil, so aggressors and rapists
watch out.
Dr. Jerome Barber explains his concept of Modern Arnis - The Art With-in Your
Art. And it is very interesting and is being practiced at Erie Community College, in
Buffalo, New York.
Master Tony Diego part II is a great follow up to part I and digs into the
techniques behind Kalis Ilustrisimo.
Of course the FMAdigest Editorials are here. Dinuguan for Brunch by Jeff Finder
tells it like it is, Robert Trinidad with the FMA Forum has some interesting subjects on
his forum and just brings a subject that seems to continue on a lot of forum language,
and finally the FMA Educational Depot, with another of the basics in the Filipino martial
arts.
Finally a very sad thing for the Filipino martial arts community and that is the
passing of a great man and a true promoter of the Filipino martial arts, Roland Dantes. He
will truly be missed by all that knew him and even those that only met him briefly.
So please enjoy this issue.
Maraming Salamat Po

Roland Tango Pintoy Dantes a true promulgator and

promoter of the Filipino martial arts and Philippine
culture. He will greatly be missed by all.

Tabimina Balintawak
Grandmaster Bob Silver Tabimina
The son of Colonel Olympio N. Tabimina, former Deputy Chief of Police of
Iligan City Grandmaster Bob Silver Bobby Tabimina was born, 1950. Grandmaster
Tabimina has over 35 years of training, teaching and fighting experience in the martial
arts. He started training in the martial arts in the early 60s eventually earning black belts
in Shotokan Karate, Kodokan Judo, and American Combat Judo.
He was introduced to
Balintawak in 1967 and has
been with the art since. Among
Grandmaster Tabiminas
teachers in the art of
Balintawak was the Founder
Anciong Bacon, Masters Jose
Villasin, Teofilo Velez,
Timoteo Maranga, , and
traditional Great Grandmaster
Ciriaco Caete.
Because Grandmaster
Tabimina trained under several
Balintawak Masters, his
understanding of the art is
deep, and the way he trains his
students reflects the depth of
his knowledge. On top of his own unique style, Grandmaster Tabimina can effortlessly
fight using the forceful style of Maranga, the weaving style of Teofilo Velez, or the
twisting and evading style of Anciong Bacon, enriching his students in the process.
Grandmaster Tabimina claims that Balintawak is an art where he has found his
true home and challenge. He calls the art Sagrado, by virtue of its continued evolution
into an ultimate bare hands fighting discipline. He has studied and perfected this art for
close to four decades and still, considers his learning process to be in constant evolution.
In his 58 years of age, he is indebted to teach and share his knowledge and skill among
martial art enthusiasts. In his words, I am no longer a fighter in my prime age, but an
instructor of humility and indulgence in this infamous secret world of the
BALINTAWAK.
FMAdigest: Can you tell us how you became involved in Balintawak?
Grandmaster Tabimina: I came to know of the art of Balintawak in 1967, when my
father, Colonel Olympio N. Tabimina, then Deputy Chief of Police of Iligan, asked
around Cebu for the best martial art and subsequently learned that there were only two
worth learning: Doce Pares and Balintawak. My father was however advised to steer
clear of Balintawak, as it was considered foolhardy due to their tough and painful training
regimen. But my father knowing me well knew I would only be interested in a true
fighting art, so my father chose Balintawak and with the help of his contacts,

subsequently made arrangements for me to train with Attorney Jose Villasin, one of
Anciong Bacons more well-known instructors.
In 1971, Tatay Velez told me that he had nothing more to give and declared it
was high time for me to meet the old man (Anciong) and learn from the Founder
himself.
At the time, however, the Founder, Anciong Bacon was incarcerated in Camp
Crame for killing a man who ambushed him, Anciongs justification that it was selfdefense was rejected by the courts because he was an acknowledged Balintawak Master
and should have exercised more restraint.
Undeterred, I traveled to Manila to seek Anciong Bacon out, and with the help of
his fathers contacts, particularly Colonel Nadorra, CO of Camp Crame, I was able to
arrange a meeting with Anciong Bacon. At this first meeting, I wasted no time and
unabashedly told the Founder the purpose of my visit and requested the Founder to test
me. The Anciong Bacon accommodated my request in his inimitable manner. And with
broomstick handles as improvised weapons and only the jail guards, my father and the
Provost Marshal as audience, I and Anciong Bacon proceeded to play. In no time at all
I learned why Anciong Bacon was Balintawaks Grandmaster.
Despite my over five years of experience and training, my attacks and defense
were still nowhere near the level needed to overcome Grandmaster Bacons and I found
myself on the receiving end of Grandmaster Bacons painful stick, punches, kicks and
trips. Shocked but challenged, I soon became Grandmaster Bacons regular student, and
only visitor, taking care of his needs. In return for this genuine concern and kindness,
Grandmaster Bacon trained me further, refining and modifying my skills. Grandmaster
Bacon later revealed to me that his Balintawak had evolved and it was the reason I had a
difficult time coping.
When Grandmaster Bacon was paroled, he did not fly to Cebu, but to Iligan City,
where he continued to train me one-on-one. In the months that followed, Grandmaster
Bacon continued to spend most of his time in Iligan training me, occasionally going to
Cebu only to satisfy his parole conditions, a fact known only to a handful of people. It
was during this time that I learned, and became proficient in the updated version of
Grandmaster Bacons Balintawak.

FMAdigest: How was your training with Grandmaster

Bacon?
Grandmaster Tabimina: I was trained as a fighter
first. I was among the Balintawak fighters of the 1970s.
So my skills therefore come from the application of my
training in combat. I have participated in many juego
todo matches.
I also am one of the few individuals to learn the
updated fighting system that Grandmaster Bacon
developed during the time the latter was in prison and
the period following his release. This fighting style is
believed to be superior in developing body mechanics
and empty-hand fighting compared to the older
Balintawak style, due to its closer range. I was personally and intensively trained in this
style by Grandmaster Bacon between 1971 and 1975.
FMAdigest: What do you believe makes Balintawak Arnis different from other Arnis,
Kali, and Escrima?
Grandmaster Tabimina: Balintawak uses a unique method to train its practitioners.
After learning the basic offensive and defensive techniques, the Balintawak student is,
from day one, placed in harms way. He is given random and continuous attacks/strikes
by his instructor, generally at a speed just beyond his (or her) current ability to defend
against. The students mission is simple: to defend and counter the attacks. The result is
an instructor-led training framework - called agak - that immerses the student in a
dynamic state of attack and counters that he must strive to overcome.
This free-flowing duel programs
the student to respond instinctively to
random attacks, with crisp, effective
offensive and defensive techniques
executed fluidly and, if called for,
continuously. Quickness, power, and
economy of movement are emphasized.
As the student improves in this
counter-to-counter play, the attacks
become stronger, faster and more
complex, progressively pulling the
Dhon and Jojo-Ygay
students skill level upward. At all times,
the instructor guides the student, from the most basic, to the more advanced, techniques.
Eventually, the students defense, timing, speed, body mechanics, and techniques
improve to a level where he is able to overcome his instructors attacks. However, as the
student improves, so does the training level. The higher the skill of the instructor, the
higher the student can go.
A good Balintawak instructor constantly keeps the student in a state of jeopardy,
challenging - but without overwhelming - him to strive to match the instructors intensity
and skill level. At the highest levels, the distinction between instructor and student
diminish as both attack and defend with equal vigor and skill. This is known as cuentada.

Because of this, Balintawak can only be taught one on one, by an instructor more
skilled than the student. It cannot be taught en masse. It is this personalized tutelage that
distinguishes Balintawak from other arnis/kali/eskrima and martial arts styles.
It is my belief that practitioners of other styles might think this is equivalent to
what other styles call freestyle or laban-laro. This is not so. It has been observed that the
freestyle and laban-laro exercises of other styles are choreographed. In Balintawak, the
give and take is truly random. There are no patterns. Moreover, it is taught from the
very beginning, unlike in other styles where sparring and pseudo-freestyle drills are
usually reserved for advanced students.
In Balintawak, there is no such thing as a foul blow. At advanced levels, all
conceivable attacks are allowed, including punching, elbowing, head butting, tripping,
kicking, pushing, pulling, grabbing, butting, trapping, spitting, etc.
FMAdigest: Can you tell me what makes your theory and philosophy of the art different
from other Balintawak instructors?
Grandmaster Tabimina: Let me make one thing perfectly clear. I acknowledge the
good in all martial arts but I have also observed that most of them assume:
a) The adversary is unskilled;
b) Emphasize learning many techniques, to the detriment of proper execution; or
c) Suffer from the fallacy that their style is unbeatable.
So I therefore seek to correct these possibly fatal flaws by balancing knowledge
of technique with development of the attributes one needs to be a superior fighter: speed,
power, timing, body mechanics, posture, balance, etc. Hence, all fighters, regardless of
martial arts style, stand to benefit from my Balintawak training.
FMAdigest: How do you train your
students who wish to be fighters?
Grandmaster Tabimina: In my
teaching Balintawak we use the
single olisi to train the fighters. The
olisi however is only a tool. The
movements of the olisi are directly
translatable to empty-hand
movements. Because of this,
practitioners of Tabimina Balintawak
are equally adept fighting with
various weapons (stick, blade, knife,
etc.), or without.
In training, the student is
always taught to assume his (or her)
adversary is skilled and will not stand
still for him. Hence, it emphasizes the
development of a strong defense in its
training.
The student must also
recognize that most fights are

Salinas Chapter training

spontaneous and finish up-close leaving little or no opportunity for an individual to arm
himself. Hence, it stresses close-range fighting, and equips the student with the skills and
attributes needed to be superior in this range.
And finally, the student
recognizes that every individual is
unique and that ones personal
outlook in life, inner-strength and
self-determination are integral to
shaping his or her martial approach.
Therefore, learning never ends in
Tabimina Balintawak. Every fighter
possesses individual strengths and
attributes which result in a personal
Grandmaster Bob Tabimina and Gabe Rafael
fighting style that can range from
hard and forceful to soft and snake-like, and student and instructor invariably walk away
from every fight wiser and better.
FMAdigest: Can you please tell us some of the basics of your training?
Grandmaster Tabimina: The first stage of training is called the healing stage. Here,
the aim is to replace the instinctive human reactions that are inimical to effective defense
and offense.
The eyes are usually the first to
be healed. Let me emphasize that the
eyes instinctively focus on a
threatening object (this could be a
stick, punch, kick, elbow, knife, etc.)
and are trained to maintain instead a
holistic view, alert and open to any
attack that can literally come from
anywhere. The trained eye is central in
Tabimina Balintawak and is the reason
the eye dominates the Tabimina
Balintawak logo.
Grandmaster Bob Tabimina and Arnold Domingo
Next the posture, movement
and distancing shortly follow. For example, the normal human reaction to an incoming
strike is to move away from the threat. In Tabimina Balintawak, the opposite is taught.
The student is trained to vector into, while parrying the threat. This allows him to avoid
the attack, yet stay at a distance where he can control his attacker.
Once there is improvement in a students eyes, movements, posture and
distancing, the speed and number of attacks, are keyed up, to refine the students
movements. This is called the sharpening stage.
As the student progresses, stronger, faster and more advanced techniques and
movements are added, to further provoke the student to improve, leading to an exciting
and free-flowing counter-to-counter contest of speed, power, timing, and skill between
instructor and student.

All stages of instruction is conducted within a flowing form of play called agak
wherein the instructor, using the olisi, randomly delivers a series of attacks which a
student must defend against and counter. The dummy approach typical of other styles
where the attacker upon delivering a strike freezes or poses in the attack position so the
defender can deliver multiple counters is never used.

Wack-Wack core group

Dining in a restaurant with Grandmaster Tabimina

Wack-Wack group - 2007

Salinas Chapter core

Salinas Chapter - 2008

My motto is: Advance Reflexive Response thru Random Based Training.

Grandmaster Tabimina the FMAdigest thanks you for this interview.
Note: Grandmaster Tabimina is perfectly at ease teaching absolute beginners and
advanced students alike. He is well versed in both the grouping system of instruction as
well as the random method of instruction preferred by the older masters. He employs
both methods when he teaches, to suit a students temperament and skill level, making
each students training program truly personalized.
Bobby is a ferocious and skillful fighter, but also a humble and God-fearing man,
devoted to his wife, children and students. Now 58, he is an excellent teacher who
unselfishly shares all he knows with those who have an open mind and are willing to
learn. He conducts his classes with genuine concern for his students.
Private or Group Private, lessons can be arranged by leaving a message at:

Grandmaster Bob Silver Tabimina

Metro Manila, Philippines
(632) 813-5369 or (632) 813-6158
Email: [email protected]
USA Contact - Gabe Rafael Email
tabiminabalintawak.com

Galius Martial Arts School

The baston in the Filipino martial arts is a very effective weapon. Accuracy is the
main ingredient in the Galius Martial Arts School. The students are taught to strike the
vital areas of an opponent, (i.e., eyes, throat, groin, hands, legs, head) to disable an
opponent. Timing and rhythm are also taught so the student can be fluid in his motion
when using the 360 degree circle or 45 degree triangle to offset your opponent rhythm in
order to counter attacks that are common from different angles. Bladed weapons such as
the bolo and the daga are also taught in the Galius Martial Arts School as well as empty
hand techniques.
The baston is taught first before the bladed weapons because it is believed that
transition from the sticks to the blade is much easier for the student to learn than vice
versa. In general, the Galius Martial Arts School is dedicated to teaching men and women
how to protect themselves and their loved ones from harm.
Founder and Chief Instructor: Guro Al Galius
Guro Al Galius was born 1948 in Waialua, Oahu, Hawaii.
He was first introduced to martial arts by his brother Richard
Galius who was training in Kenpo Karate. Guro Galius then
started his study of Kenpo Karate in 1963 under Chief Instructor
Frank Suan. In those days, training in the martial arts was very
hard and intense a lot of discipline was required by the student.
No one could ask questions until class was over or given
permission by the head instructor.
He entered a
Kenpo Karate tournament
in 1967 hosted by the
CHA-3 Kenpo Karate
Organization under
Professor Marino
Tiwanek. He won first
place in the brown belt
division.
In 1968, he studied Sil Lum Kung-fu
under Sifu Bucksam Kong, in Pearl City, Hawaii.
Guro Galius moved to Southern California in

1969, and trained with instructor Ron Manuel of Shotokan Karate in 1971 continuing
with Kung Fu with Sifu Wayne Lee in 1974. Guro Galius also trained with Guro Dan
Inosantos in 1979 in Filipino Kali. In 1988 he studied the Villabrille/Largusa Kali System
under Professor Greg Lontayao, who is the highest ranking Professor in The
Villabrille/Largusa Kali System, Lakan Polo 10th Step.
Guro Al Galius credits all of his knowledge in the Filipino martial arts of Kali to
Professor Greg Lontayao who was more than just a Kali teacher, but also a close
friend. Guro Galius started teaching Kali in 1992 through 2005 in Long Beach,
California. He received his 5th degree black belt in the year 2000.
Guro Jason is a 3rd degree blackbelt in the Filipino martial art of Kali he was
awarded his belt in 2000 under The Lontayao Martial Arts Schools Organization of
Hawaii, in Long Beach California. Jason has many years of experience training Kali,
along with various different mixed martial arts systems.
Guro Galius now resides in
McDonough, Georgia and is currently
teaching Filipino martial arts at
Hardknox Mixed Martial Arts School
in McDonough, GA.
Guro Jason Galius was first
introduced to martial by his father Al
Galius at the young age of 5. He
learned everything his father has taught
him which at that time was mostly
Kempo and Kung fu. No formal
training until the age of 9, Jason
decided to take on his own journey of

Georgia Class 2008

learning martial arts. In search of the Martial

Art that would capture his attention. His
father took him to visit a few different
martial arts schools. Tried a few different
styles, but being so young nothing caught
his interest, until he was exposed to the
Filipino martial arts along with his father
and started his training in Kali at age 11 and
has never turned back. Along the way he has
also learned a little Kajukembo, Taekwondo,
and more Kempo.

While living in Hawaii he

trained in Kali and other styles
under his uncle Richard Galius at
North Shore Martial Arts. Guro
Jason Galius started teaching Kali
in 2007 in Long Beach,
California taking over his fathers
school, while his father started a
new school in Georgia. Jason has
now evolved his Kali system in a
more Mixed Martial Arts style
deriving from street fighting. The
Long Beach Martial Arts class is
very diverse and practical in terms
of martial arts training.

90's class Lontayao Martial Arts in

Wilmington, CA

L-R: Guro Jason Galius, Guro Al Galius, Grandmaster

Ben Largusa, Grandmaster Joe Habuna, Professor
Greg Lontayao, and Guro Greg Doroha

California Class

Guro Al Galius
235 McDonough Parkway
McDonough, GA 30253
(770) 305-9820
Email

www.teamgenesismma.com

Jason Galius
(404) 805-5017
Email

By Marc Lawrence

Jeff Suministrado started training in the

Philippines, his country of origin, dabbling first
with boxing and practical self-defense, taught by
his first instructor, a Pilipino Military Ranger.
When Jeff and his family moved to the United
States, he continued practicing and learning
martial arts, moving into Tae Kwon Do, Hapkido,
Muay Thai, Krav Maga, and Shotokan. Still
striving for greater knowledge, he began training
with Bobet and Ben Torres, Founders of the
Kuroi-Samurai Karate-Do system of martial arts.
During his training with the Torres
brothers, Jeff joined the KAFEPHIL - USA
Chapter, the Founder and President of which was
Dr. Guillermo Doc Barcelona Lengson. Dr.
Lengson taught Jeff the Black Banders fighting
system, which later was popularized by Jeff as the
Lengson Karate Arnis, known back in the
Jeff Suministrado beach training
Philippines as "KAFEPHIL style". Jeff trained
under different forms of martial arts, analyzing and comparing the different styles and
systems. Ultimately, it was the Torres brothers and Dr. Lengsons training methods
which he felt to be the most scientifically correct and realistically effective for both
physical conditioning and attaining versatility in martial arts.
With this belief in mind, Jeff began teaching people using a new system of martial
arts which integrated methods he developed based on Dr. Lengson's and the Torres
brothers systems, techniques learned from other systems he had studied, as well as his
experience in both competition and actual street fights.

On August 9, 2000, Jedokan Martial Arts Academy was founded. Along with Dr.
Lengson, the Torres brothers were (and continue to be) a great influence in the
foundation of Jedokan. Ben Torres, an ex-U.S. Special Forces and member of the Korean
Tigers military elite group, trained directly under General Choi Hong Hi, Founder of Tae
Kwon Do. Bobet Torres is a champion in Armor Full Contact and Empty Hand Points
System fighting. Both Ben and Bobet were members of Philippine Karate Association
(PKA) and Karate Federation of the Philippines (KAFEPHIL).
Although both are highly skilled and
proficient in all forms of combat fighting and selfdefense, and have directly assisted Jeff in achieving
his current level of expertise, it is their philosophy
about martial arts that has created the most impact
on Jeff. Ben and Bobet believe that the martial arts,
is not a path to violence, but a path to peace and
humility. It is not a way to gain notoriety in
Bobet Torres
winning fights, but a way to learning how to apply
its discipline and wisdom in averting violence. The
Torres brothers believe and promote martial arts as
a way of life, as a way to internalizing its principles
and rigorous protocols that can lead one to achieve
righteousness in all of lifes endeavors. Unlike
others who see martial arts as a way to learning
how to fight, the Torres brothers see martial arts as
Ben Torres
a path to learning how to perfect oneself physically,
emotionally and spiritually. This philosophy is wholly embraced by Jeff and is a vital part
of his own training agenda. Ben and Bobet Torres currently serve as martial arts mentors
and advisors to Jeff Suministrado and to the Jedokan Martial Arts Academy.
Because of its obvious foundation, Jedokan is
a modern Pilipino martial arts system. It utilizes a
unique training method that incorporates the most
effective martial arts training methods for selfdefense into one comprehensive, dynamic system.
While a martial arts style limits an individual to a
certain way of fighting, Jedokans special training
methods teaches its practitioners to be versatile.
Jedokan specializes in training its members to be
proficient in empty-hand combat and weaponry.
Unlike most martial arts training, Jedokan is not a
style, with the specific trademark of a puncher or
kicker, but rather a system which incorporates the various martial arts styles in its
techniques to ensure full versatility and adaptability.
There are martial arts teachers and students who argue that a martial arts system is
insignificant in determining the outcome of a situation, but, rather, that success is
determined solely on an individuals own ability. While true that individual ability plays
a role in any martial arts training, a particular system programs an individuals reaction;
and, an individuals reaction/response is what determines his success or failure in a

confrontation. Subsequently, it is imperative that a system trains an individual to react

appropriately to a variety of situations, making the system equally as important as the
individuals own ability.
Jedokan represents unity through
discipline and love. It stands for Jeffs (JE)
Method (DO) of Karate (K) Arnis (A) New
System (N). Jedokan emphasizes the following:
discipline, self-confidence, inner peace, internal
and external energy, weight control and physical
fitness, flexibility, coordination, stress
management, camaraderie and loyalty.a truly
versatile martial arts system.
The members of Jedokan are part of an
exclusive group. Jedokan is noncommercialized, offering its members simple but scientifically-based techniques which
can be learned and practiced by people of any age. Jeff Suministrado is a skilled teacher
imparting wisdom, guidance, and helpful feedback not only with the physical training but
in all areas of life. He leads by example and is committed to providing the skills and
training needed for members to be successful in all of lifes ventures. In return, members
are committed, dedicated and loyal, not only to Jedokan, but to Jeff himself. Members
feel comfortable within this family-oriented organization, and have embraced Jedokan as
a way of life. Members represent different races and ethnic backgrounds, and pride
themselves on being a humble, supportive and united organization.
Jeff Suministrados unwavering passion and dedication to promote martial arts as
a life-long commitment has been the catalyst behind Jedokan Martial Arts Academys
explosive growth, leading the Academy to develop from a small group of dedicated
members into several training centers throughout the San Fernando Valley. It is an ideal
environment for people of all ages to develop the mind, body and spiritual self, while
learning the path of righteousness, strength and discipline. Jedokan - the way to
versatility and a life-long commitment to reaching complete self-actualization.

jedokan.com

Grandmaster Cristino Vasquez and the art of Ipit Pilipit

Grandmaster Cristino Vasquez commenced his training at the age of 13 years old
from Roberto Presas. When he reached the age to where he could attend high school,
Grandmaster Remy Presas sent him to Manila to gain more knowledge in Arnis de Mano.
Once arriving in Manila, Cristino found that arnis was becoming a lost art and the
popular martial art of the 60s was Karate. So Cristino took up the arts of Karate and
Judo.
When this was brought to Grandmaster
Once Grandmaster Remy Presas reRemy Presas attention he commenced to
instituted the art of Arnis de Mano Cristino
offer Arnis de Mano instruction in the
Vasquez turned back to his roots and once
schools, trying to reestablish and bring back
again training in Arnis came to the
the interest of the art. Grandmaster Remy
conclusion that this martial art was the best
Presas believed that all persons should learn
in his belief. For once he grew old he
arnis for it is the martial art of the
Philippines, which has been known
thought and believed that he could continue
to adapt in executing the techniques with the throughout Philippines history whether it
was called kali, Eskrima or just Arnis in its
cane.
physical fitness, dance (sayaw), or sporting
Grandmaster Cristino Vasquez in
aspect or in its defense of the people and the
reflecting on his knowledge of Modern
country.
Arnis expresses that even though each part
of the art is important, he feels personally he excels in the classical arnis, such as Espada
y Daga, Figure 8, Palis-Palis (go by the force techniques), double bastons, and Tapi-Tapi.
Master Vasquez has a natural capability in Espada y Daga with the baston in one hand
and the daga in the other. His movements have a poetic flow and rhythm. Making it seem
as though he is creatively dancing while defending and counter attacking. In addition to
mastering the techniques mentioned above, he has also made his own contribution to the
art by inventing a unique style of pressure locking of fingers and hands, which he calls
Ipit-Pilipit. Ipit-Pilipit is a product of years of experience in Arnis and the careful study
of hand and arm movements, pressure points and locking techniques.
Ipit Pilipit is one of the advanced techniques of Arnis, which was invented and
has been promulgated by Grandmaster Vasquez. This was developed to bring arnis and
Modern Arnis to a higher level using the basics.
The basic concept behind Ipit Pilipit is not to strike the opponent, but to twist and
lock the opponents fingers. In this one does not need to strike the opponent for once
applying the lock the opponent is fully under control.

Basic Ipit Pilipit

In Negros Occidental, Grandmaster Vasquez teaches in his home, and shares his
knowledge with various Barangays in the area to show the advantage of arnis in their
law enforcement duties. He also travels to Coron, Palawan and teaches employees and
security personnel at the Hikari Pearl Company. He has traveled to Switzerland, Germany
and Russia and has demonstrated and promulgated the art of Ipit Pilipit as an advanced
part of Modern Arnis.
Grandmaster Vasquez was able to share his knowledge of experience and training
in 2006 in an episode of Fight Quest. He was the instructor and choreographer for
Modern Arnis, knife fighting and Mano-Mano.

Beware of Aggressors and Rapists... Kombato mind-set

By Master Paulo Albuquerque

Women are armed with the Kombato mind-set (and also with brushes, cell-phones
and telescopic batons).
Nowadays, many Brazilian women, principally girls who live in Rio de Janeiro,
are learning Kombato (the Brazilian military-based system based on Kali). There are
special course, workshops and regular classes in many martial studios and academies
not only in military headquarters. That system, technically adapted to the reality of the
women, includes security knowledge, prevention and reaction against rapes, bare-hands
fighting, management and control of aggressive behavior, children security-care and
specially knife and improvised fighting weapons. Such a system is focused on one or
more enemies, most of the time those enemies being men.
Here we describe some of the basic strikes that can be read and learned by female
readers:
Palm-heel strike from Cheat position

1. In this case, the aggressor is walking straight in the girl's direction; he is already screaming to
make her afraid and clearly shows his intention to attack her. The female fighter just lifts both her
hands, pretending she is with fear.
2. She strikes him by using the palm-heel strike directly to his nose, three times in a row,
changing her hands. And now, she has the alternative to run and to call the Police.

The utilization of the palm-heel strike is based on orthopedic studies. Most of the
women have a fragile bone structure in the wrist/hand, compared to male standards.
Therefore, punching by using a closed hand is generally hard and dangerous for the
female Combatants.

The girl is talking on the cell phone when

1. The guy who is passing by tries to
grab her from behind.
2/3. She uses the corner of the cell phone
against his hand and grabs his pinky
finger at the same time. And she turns
that finger sideways, maybe breaking it.
4. The guy releases her, but she strikes
his nose with the cell phone.

The girl is on floor:

1. The rapier in kneeling inside her legs.

2. She pushes against his hips to get room for...

3. A stomp in his face!

The Girl is walking in a deserted place:

1. Two guys come at her to grab her, and may be intend to rape her! (Sequencia4foto1.jpg)
2. She quickly pulls her knife. (Sequencia4foto2.jpg)
3/4. She Strike the first guy in the belly (it is a harder plane to defend), turns around and strike the
second one.

The knife can be a Screwdriver, - or even a metal pen, but instead of using on
belly, use on the aggressors eye.
Kombato System philosophy against rape:
In Kombato, we use the acronym C5 - it means "Comando de Voz" (Voice
Command), "Correr" (Run), "Combater" (Combat), "Corpo Delito" (Proof of Rape),
"Communicar" (Communicate to the Authorities)
Explaining one by one:
1. Voice Command: Say a strong statement as "Stop!" to the attacker or just scream
"Fire". Most of time, the man just feels embarrassed and disappears.
2. Run: Run to a public place, a shopping mall, a store, a restaurant, or to the police, if
possible etc. Remember that the run-phase can happen even when the opponent is ready
to rape. "A woman with her skirt upwards runs faster then a man with his trousers
downward." - Keep it in mind.
3. Combat: Now we are in the physical part, martial arts especially Kali, or a system as
Kombato will be very helpful. Remember that unexpected moves, gives a better result.
4. Proof: Maybe it is painful for you, but if it the rape happens - beside everything we
said before - dont go home - go to the police station or the hospital and let them check
what happened.
5. Communicate: Go to the police.
Remember: The "rapist" rarely comes from dark alleys, as the
news may suggest to you. In most cases in Brazil and U.S, at
least, he is a citizen that you already know. He can be in your
University, College, or may be sits in the desk by your side in
the office.
kali.kombato.org

Modern Arnis: The Art With-in Your Art

By Dr. Jerome Barber

When I first began my training under sifu Don Zanghi, in 1982, at the Fighting
Back Institute, in Buffalo, NY, he was teaching the Tracy Kenpo System. Sifu Zanghi
had just returned from a two week summer training camp with Professor Remy A. Presas,
the Founder and Grandmaster of the Modern Arnis System and to put it mildly, Sifu
Zanghi was pumped. He informed us that were about to embark on a new course of
martial arts training. Sifu Zanghi re-wrote his Fighting Back Institute curriculum. He was
blending Tracy Kenpo with Modern Arnis. The more our training progressed and the
more that I learned about Modern Arnis the more I began sharing sifu Zanghis
enthusiasm for his newly blended system. I could see and feel the connections between
Kenpo and Arnis. Because of the new program at FBI, the art within your art concept
was a reality for me before I ever met Professor Presas.
About 9 years later when I read an interview that Professor gave to Guro Rick
Mitchell, the art within your art was already old news, to me, but seeing it spelled out
in print was exciting. In the article Professor stated: I like to call Modern Arnis the art
within your art. It can work side by side with other styles or systems such as kenpo,
Kajukenbo, Judo, Aikido, Tae Kwon Do or Shotokan Karate. Once I teach modern arnis
to other martial artists, they are surprised to see how it compliments what they already
know. (Mitchell, 1991, p.16)
With that single statement Professor established two of the guiding principles of
his art, innovation and flexibility. These 2 guidelines have influenced the course of action
that I have taken over the full tenure of my teaching career in the martial arts. I was then,
as I am now, fully committed to The Art With-in Your Art approach to teaching
martial arts.
When I first found out that Professor had taught Modern Arnis at several colleges
in the Philippines before he immigrated to the USA, I vowed that I would teach a Modern
Arnis program at Erie Community College, where I was already a tenured sociology
professor. All I needed to do before I could get started on my ECC plan was to complete
my own under-belt Kenpo-Arnis training with Sifu Zanghi. When I mentioned my plan to
Sifu Zanghi and Professor Presas, they both encouraged me to proceed with my project;
however, neither man offered me any curriculum guidance. I later found out why there
wasnt any offer of help. Professor did not have a written curriculum, nor did he have a
permanent headquarters school in the USA. I would be on my own. The quick and simple
solution became readily apparent. I would use my notes from Sifu Zanghis instruction
plus those from Professors seminars and camps which I attended. In addition, I would
use Professors first Modern Arnis video tape series as my curriculum resource materials.
I completed my under-belt studies with Sifu Zanghi in December 1985 and immediately
began compiling my collected data. I presented my curriculum proposal to the ECC
Physical Education Department Chairman, Paul Barone, in April 1986. After the
necessary departmental reviews and approvals, I was granted permission to offer the first
2 courses of my ECC Tracy Kenpo- Modern Arnis Self-Defense Curriculum in February
1987.
The first of the two approved courses opened in September 1987 at Erie
Community College - South Campus, Orchard Park, NY. The courses were set up to run

in a sequential manner over four (4) consecutive semesters. Students could join the
sequence at any point. New students or beginners would be separated from the more
advanced people enrolled in the same course. I also planned for my more experienced
people to mentor and coach the beginners. The ECC Tracy Kenpo-Modern Arnis SelfDefense Program had a 2 pronged approach. I was teaching all of my students both Tracy
Kenpo and Modern Arnis techniques for self-defense, but I was also running a martial
arts teacher training program. Once again I was following directly in Professor Presas
footsteps. He had taught Modern Arnis at the National College for Physical Education in
the Philippines. Professor Presas was a teacher of teachers.
In March of 1989, Professor, gave my curriculum a detailed, in-depth review. It
took 4 hours for him to review the entire curriculum with me. I had to demonstrate every
exercise, drill, anyo (form) and technique in the exact order that each item appeared in
my curriculum. I was assisted by Mr. Duane Brown and Mr. Tim Kashino, my student
teaching assistants at the time. The review was exhaustive and no detail escaped
Professors scrutiny. He questioned numerous items and I had to explain each one in
detail. His biggest concern was reserved for why I taught the entire first course in the
sequence without giving my students any stick training. I explained that I wanted to
ensure good body and hand control plus emphasize safety training among my students
before allowing them to do the stick work. It was also easier to get PE Departmental
approval to run the courses by delaying the stick training until the second course. On the
other hand I did introduce, triangular stepping, trapping hands, the de cadena drill, empty
hand translations of the 12 stick angles of attack and defenses against 6 stick attacks in
the first course. I simply made sure that only the instructor(s) used the stick.
Professor ultimately approved my curriculum in writing. I presented the signed
document to the PE Department Curriculum Committee as part of the final review
process for all 4 courses. The complete ECC Tracy Kenpo-Modern Arnis Self-Defense
Program was given permanent status in the college course offerings beginning in
September 1990. Over-all the ECC self-defense program has now run for 40 consecutive
semesters or 20 uninterrupted years. To the best of my knowledge, this is the ONLY
Tracy Kenpo and Modern Arnis college credit bearing program being taught in the USA
or Canada. Incidentally, the ECC Tracy Kenpo-Modern Arnis Self-Defense Program has
also been formally recognized in writing by Grandmaster Al Tracy and Punong Guro
Tom Bolden, in 1992. Grandmaster Tracy is the Co-Founder and Director of the Tracy
System of Kenpo. Punong Guro Bolden is the Founder and Chief Instructor of the
American Modern Arnis Associates.

I believe that the reason I was able to

Training Blades used at ECC
secure Professor Presas endorsement for the
ECC Tracy Kenpo-Modern Arnis Program was
because I included all of the salient points of
Modern Arnis within my curriculum. My
Modern Arnis core curriculum begins with the
assumption that Modern Arnis is a fighting art
that is based on the blade. I use wooden
replicas of the Presas jungle bolo and the
Negrito bolo in my ECC program.
I also teach Modern Arnis as a selfdefense system. Further, I have adapted my
Tracy Kenpo-Modern Arnis Program to fit into
the American cultural context in general and
New York State Penal Law in particular.
Secondly, I have read and fully utilized all three
(3) of Professors books:
- Modern Arnis: Philippine Martial Art
Stick Fighting,
- The Practical Art of Eskrima,
- Modern Arnis: The Filipino Art of Stick Fighting.
My ECC curriculum is based on Professor Presas statements and ideas as he
published them in these books. The Rick Mitchell interviews published in Inside Kung
Fu, merely added credence to my existing curriculum ideas.
I also used Professors original 6 volume video tapes series to gain visual
confirmation of some of his ideas. These tapes allowed me to clearly see what he was
doing and review it as many times as necessary to get it right. My goal was never to
mimic copy or clone his movements. I wanted to make sure that I understood what he
was doing and why he did it in a particular manner. With those understandings in place I
could build my Modern Arnis curriculum with confidence. By adding my own on-site
training experiences with Professor Presas as well as Sifu Zanghi, I could build on the
newer innovations that I was seeing and learning as Professor continued his own
development within the art.
In the final analysis I have concluded that the essential principles that drove Modern
Arnis under Professors leadership can be summed up as follows;
Modern Arnis is a blade oriented art, even though Professor presented it as a
stick art in order to gain greater general public acceptance. He wanted the art
to grow in size and popularity. (Presas, 1974, pg. 9)
The weapon, be it stick, bolo, sword or knife is clearly an extension of the
hand. Anything that one can do with their weapon can be approximated by the
empty hand. (Presas, 1974, pg. 9)
The single and double stick plus the espada y daga drills are taught to
familiarize Modern Arnis students with some fighting styles commonly found
in the Philippines. All of the stick striking patterns and drills convert to empty

hand drills. All of these drills are actually precursors to some practical empty
hand self-defense applications. (Presas, 1974, pg. 9)
All weapons drills are translatable to empty hand drills and by extension to
self defense applications. (Presas, 1974, pg. 9)
Arnis can and should be taught a part of a general physical education program
at schools, colleges and universities. Arnis trains students to defend themselves against armed and unarmed attacks. (Presas, 1974, pg. 12)
Make the art for yourself because any martial art style or system that is
fixed, rigid and tradition bound is not flexible enough to change to the times
and new situations. (Presas, 1983, pg. 3)
Body shifting and evasion are essential skills that students need to master
because weapons defense require greater awareness and skill to defeat your
opponent(s). (Presas, 1974, pg. 28 & 1983, pg. 26)
The core or life and soul of Modern Arnis are the 12 stick angles of attack.
These 12 angles are paralleled by the 12 blocks, the 12 disarms and the empty
hand strikes that mirror the 12 stick strikes. (Presas, 1974, pg. 32)

Outside Single Sinawali self-defense application as taught by Dr. Jerome Barber, at ECC.

By simply taking what Professor had stated in seminars, camps and conversations,
plus his written comments as being reasonable and then testing everything to see if I
could replicate his results, I arrived at the conclusion that Professors method of
instruction was both sound as well as practical. As a sociologist by training and
temperament, applying the scientific methodology gave me the opportunity to discover
the validity of Professors approach. As my research results come in and were analyzed, I
concluded that Professor was essentially correct. I followed his advice, tailoring
everything to fit my own body and mentality. Modern Arnis is a very effective selfdefense art and easily blends with Tracy Kenpo. Professor has written that everyone
should adapt arnis principles to his own feel for each technique. The method should
fit the person not the other way around. (Presas, 1983, pg. 5)

From 1983 when I first attended a seminar with Professor, until we had our last
conversation in 1999, Professor always told his students and Modern Arnis instructors
that we should make it for ourselves. When he referred to the flow in a conceptual
sense, rather than as a technique, he wanted us to find, the comfortable place where
the movements of arnis and the individual human body meet for maximum effectiveness;
body and mind blend to achieve the most natural fighting style based on an individuals
needs and attitudes. (Presas, 1983, pg. 5)
It is important to recognize that while Professor wanted his Modern Arnis
students to be open, flexible, innovative and adaptable; there are, however, some very
definite skills within the system that must be mastered. Modern Arnis is not based on an
open ended, anything goes approach. According to my notes and based on discussions
with Professor Presas, it is imperative that the dedicated Modern Arnis student learns and
masters:
1. The basic 12 single stick strikes and blocks
2. The use of the umbrella and slanting stick blocks.
3. The following traditional stick striking patterns:
a. figure 8,
b. rompida,
c. up & down,
d. banda y banda,
e. abaniko corto,
f. abaniko largo,
g. abaniko hirada,
h. abaniko double action,
i. double zero,
j. single stick redonda,
k. redonda x,
l. sinawali movements (single, double and reverse),
m. crossada,
n. palis-palis,
o. espada y daga
p. cinco tiros (five strokes).
Then the student progresses to the empty hand translations and applications of all
of the above stick striking patterns along with the trapping hands techniques and the de
cadena drill with applications. Subsequently still other skills are developed, including,
joint-locks, spinning throws, take-downs, stick locks, empty hand and stick disarming
techniques, sword and bolo disarming techniques, 6 count drill with variations off the
basic drill, single stick sparring and counter for counter single stick drills and tapi-tapi
drills.

Single Stick Application of block-check-counter: arm-bar to upward knee strike to opponents

chin. Single stick Self-Defense application as taught by Dr. Jerome Barber, at ECC.

Given the above mentioned skills and techniques that a student must learn and
master in order to become proficient in Modern Arnis, it would seem obvious that one
can not learn this art solely through attending seminars and camps several times a year.
The student must be taught thoroughly and have the opportunity to work toward refining
each of these skills over a considerable amount of time.

The 1990 Modern Arnis Summer Camp - Erie Community College, Orchard Park, NY - Courtesy
of Guro David Battaglia. L - R: Dr. Jerome Barber, Sifu Don Zanghi, Professor Remy Presas, 2
unnamed participants, Guro David Battaglia.

ECC Tracy Kenpo-Modern Arnis Program

The ECC Tracy Kenpo-Modern Arnis Program is dedicated to teaching all aspects
of Tracy Kenpo and Modern Anis. This is supplemented by a companion student club
program which gives my students further opportunities to continue their Kenpo-Arnis
training 1 or 2 evenings a week after they leave the college degree credit program. At the

1991, 1st International Arnis Congress held at the Silahis International Hotel in Manila,
Philippines, the assembled Grandmasters and Masters agreed that a reasonable time table
for learning the art required at least 2 training sessions per week for a minimum of 1 hour
per session for at least one full calendar year to qualify for ranking at the top of the
under-belt grades.
In my effort to continue the work begun by Professor Presas and passed on to me
through Sifu Don Zanghi, I have built and maintained the ECC Tracy Kenpo-Modern
Arnis Self-defense Program for the past 20 years. I have been fortune enough to have
some very dedicated students who have assisted me over the years: Guro Tim Kashino,
Guro Richard Curren. Guro Kenny Q., Guro Paul Martin and Guro Debra Moore, as well
as an off-campus training partner, Guro Keith Roosa. Each of the above mentioned
former college students have earned the minimum Arnis rank of Lakan Isa (1st degree
Black Belt) in Modern Arnis and/or a Shodan (1st degree Black Belt) in Kenpo.
Guro Battaglia, my Kenpo-Arnis senior and an instructor at the Fighting Back
Institute under Sifu Don Zanghi, has been a consistent resource and sounding board for
me throughout my entire martial arts career. He runs his own school, Amer-Asian
Defensive Arts Academy, in Kenmore NY. Together, Guro Battaglia and I have retained
and built on the legacy given to us by Sifu Don Zanghi, through a private commercial
venture and at a public educational institution. I am mentioning this fact because I believe
it is important for the readers of this essay to fully understand that Professor Presas
dream of making Modern Arnis a world recognized martial arts is happening. I am just
one person working toward making the dream a reality. I am also cognizant of the factual
reality that I did not get to this position through some magical process or without help
from a number of other people, some of whom I have named above in this essay.
In September, 2006, 2 new sections of the Tracy Kenpo-Modern Arnis SelfDefense Program were opened at the City Campus of Erie Community College. David
Battaglia, began teaching PE 200, Basic Kenpo-Arnis for Self Defense during the day
and Guro Paul Martin offered the same course during the evening session. The 3 of us
have worked together to establish the City Campus program. We expect that it will grow
and prosper over time as has the South Campus program. The Tracy Kenpo - Modern
Arnis legacies of Sifu Donald Zanghi and Professor Remy Presas are continuing to grow
at Erie Community College.
C. Jerome Barber, Ed. D.
Professor, Erie Community College
Orchard Park, NY
November 24, 2007
Books:
Remy Presas: Modern Arnis: Philippine Martial Art, Stick Fighting. National Bookstore,
Mandaluyong City, Philippines, 1974.
Remy Presas: Modern Arnis: The Filipino Art of Stick Fighting. Ohara Publications,
Inc., Santa Clara, CA. 1983.
Remy Presas. The Practical Art of Eskrima, 2nd Edition. National Bookstore,
Mandaluyong City, Philippines, 1994.
Magazine Articles:
Rick Mitchell. Remy Presas: Risking Life for his Art Inside Kung Fu. December 1990.

Rick Mitchell. Presas takes his Modern Arnis to the World Inside Kung Fu. January
1991.

Tatang and the Teachers of Kalis Ilustrisimo Part II

The Sword of Ilustrisimo
My understanding of the Ilustrisimo System
By Romeo Macapagal

Fighting techniques of any martial art

are expressions of the point of view and the
resulting strategy of that martial art.
Typically these would come from a
particularly noted warrior. Today, there is a
great outpouring of martial arts all claiming
superiority. Unquestionably, their original
proponents were good and survived battles to
be able to transmit their experiences of
successful encounters. However, there is now
a divide in the use of martial arts. There are
those who intend these martial crafts for their
original purpose of winning over an opponent
in life and death situations. A greater
Tatang and Master Tony Diego
majority see the martial arts as a form of
exercise with the competitive aspect modified as a sport. These different points of view
naturally give rise to different emphases. Where sport is the objective, the life and death
point of view must take a back seat.
Kalis Ilustrisimo in its pure form tries to maintain the life and death combative
perspective and expresses this point of view in its techniques and their applications.
There has been also a need to enter the Filipino martial arts world, which has a greater
emphasis on the sports aspect. For this, Ilustrisimo methods and techniques have perforce
been modified in order to keep within the structure of the necessary constricting rules of
sports. These rules are meant for the safety of participants and life and death combat
movements are illegal. This is true for other martial arts - Kendo, Jujitsu, Fencing, etc.
Because of the greater emphasis on sports in the present Filipino martial arts
community, students are more - keen on learning techniques believing these will enhance
their skill and their chances of winning competitions. In contrast, instruction in
Ilustrisimo is based on the foundational combat philosophy of Antonio Tatang
Ilustrisimo when teaching the techniques and their application. This point of view
delineates objectives which give rise to the movements or techniques necessary to
achieve such objectives.
The original main objective of Tatangs fighting system is winning in battle and
coming out of it alive and unhurt. For this, a flexible fighting capability is necessary.

Thus the Ilustrisimo system has a varied set of techniques which are effective at various
distances and with various weapons all the way to empty hands.
Following are the techniques and fighting distances classified into seven sets based on the
syntax, logic and pattern of the techniques.
The sets are:
Elastico-Retirada: long to middle range
Combate General: middle to short range
Pluma-Cruzada: middle to short range
Tochada-Media Fraile: middle range
Daga y Daga Corto: middle to short range
Trancadas: short range
Sogo: middle to long range
These are played with various weapons.
The weapons are:
Dos Navajas or Doble Baston which is two swords or two sticks. Two daggers
may also be used.
Sword and dagger
Single sword
Single dagger
Single, double-handed long sword
Staff or spear
Double-pointed short sticks which originally were marlinspikes for splicing rope
made of carabao or water buffalo horn. They should not be confused with the
Thai double-ended knives with a handle in the middle.
Below are the different conceptual terms used and their applications in the Ilustrisimo
system.
Sombra
The concept of angle and open of the forearm of the weapon hand: the edge or the
point or the fist is always pointed towards the opponent's weapon hand, as it is the
fulcrum of all weapon movement. Flattening this angle ensures that the forearm, elbow
and arm are protected by your blade. The whole stance shadows the opponent's weapon.
From this posture one can easily deflect and parry and cut. This is the general conceptual
idea of sombra, of shadowing.

Cutting Angles
(Tom Dy in white shirt, Tony Diego in blue shirt)

Sombra also means really physically covering/shielding the opponent's sword, as

with an estrella or any of the other techniques. This cover allows a movement either to
command (take control of) the opponents sword as in a seguida, or a kinabay-an or direct
into the pasante as you cross your opponent's sword in his attack. So the sombrada, the
pluma, the cruzada are sombras in the sense of a shield made of your own sword, keeping
you safe as you move onto your cut - a pasante or a directa.
Praksyon
From the word "fraction" meaning a portion of. Praksyon means that a feeding set
of, say 1-2-3-4-5 is suddenly broken up so that the feed can be a 5-3-4-1-2. This is the
original meaning that Tatang explained for FRACCION (Spanish spelling). This is
different from the common interpretation of praksyon which is actually a matter of timing
which involves either cutting before your opponent's cut has matured or cutting after your
opponent's has expended itself. This matter of timing also involves the setting up of the
opponent so that he can cut only in a certain direction, left and down, left and up, etc.,
from his chamber or when he is unchambered and still out of control of his weapon.
Praksyon can also mean a broken rhythm.

Directa
Recta or directa is again simply cutting at any target that is open. However, when
teaching this part of Ilustrisimo, the mantra "sombra, pasante, directa" is inscribed into
the student's consciousness as a strategy of victory. While we can see an opening and cut
at it, the opponent's sword is free and may be able to parry or counter cut, which of
course does not end in winning, for you. The bad habit of exchanging pot shots with a
sparring mate has the result of just wanting to be able to deliver a cut instead of
implementing a survival strategy intended for victory. What is this? It is to ensure that the
opponent's sword is contacted, commanded (controlled), brought to a position where it is
the least effective or harmless. That is sombra. The subsequent pasante cut to the arm or
hand is to ensure that this neutralized sword is disabled. The third movement, directa, to
an opening of a body target is the final act which ends in victory without having
endangered ones' self. All of these in one movement.
Sniping or pot shots impose too great a demand on timing and skill. In a fight we
are always behind in time so that we need strategies to ensure that we match up with
opponent's time and overtake. In sniping, there are 3 results. Both are dead, the opponent
is dead, you are dead. This 66% chance of dying is unacceptable. Even the 33% chance
of surviving is not. Therefore, we employ the strategy of the mantra: "sombra, pasante,
directa". The techniques of Ilustrisimo are designed for when you are ambushed, behind
time. In fact, to be able to employ them properly, you have to be behind time. This
precious paradox has been the objective of the best swordsmen all over the world. This is
very important.
The nuances of measure, line, distance, time (beat) and timing, angle and specific
techniques will be better understood once the foregoing is absorbed.
How to be behind time? Enganyo. Baiting. Feinting. Forcing an opponent to make
a committed attack.
Note: In the sombra your sword does not have to engage the opponent's. It simply
shadows, as a hunter stalks its prey which is the opponent's sword. Engaging that sword,
commanding it can come when necessary or with the left hand. But it must be shadowed
and that is why its name is sombra which means something that provides a shadow, like a
hat, a sombrero.
Being so close to the opponent's sword and therefore sword hand the pasante is
an automatic consequence. It cannot help but be delivered. Giving in to the temptation to
attack the body leaves you open to a probable counter of your opponents freed sword.
This is unacceptable.
The directa is now simply a final option. To give your opponent the warrior's
grace or shame him and be continually vigilant of his revenge.
Techniques
The sombra, pasante and directa: Sombra is parrying or sliding off or covering,
shielding. Pasante means cutting at the hand or arm after the parry. And directa is simply
cutting at a very small opening offered when the opponent cuts at you or after sombra and
pasante. It is also cutting in with perfect timing without parrying as your opponent cuts at

you in order to avoid a reflex defense on your opponents part upon feeling the weight of
your blade on his blade. This directa requires absolute skill
When properly executed, Tatang's techniques look slow, lumbering even and you
would be surprised that they are able to counter, parry, or simply cut away at a faster,
stronger, more energetic opponent. It is the placidity of attitude and perfect execution of
the technique which allows it superiority. The techniques were evolved for instances
when one is behind time. The angle, distance, type of technique are the physical
elements necessary to bring victory but only to the calm, unhurried, unafraid and
confident mind.
Cutting at the opponents hand (Pasante)
Cutting at the opponents hand as a defense and offence in one movement

Examples of commanding or taking control of the opponents blade by sliding it off and moving it out of the line of attack

Close up

Close up

Visagra
At an earlier stage of practice, the turning point is moved off center as far as the
outer opposite edge of the body, so turning from either right or left hip will provide the
most offset. However, once measure and timing are acquired, including the courage to
take un pulgada, an inch distance of the opponents blade from one's self, one pivots from
the exact center line of the body. Thus, if a thrust is directed at the left half of the body, a
beginner should pivot on his right heel and hip. This provides a lot of clearance and
allows confidence to build up. However, the perfect movement is to allow the thrust to
nearly graze the body as you pivot around your center line. This un pulgada movement
allows the body to be used as an anvil upon which to pincer the blade with the hand and
the arm taking command.
Striking
Any striking martial craft depends first on timing. Technique and strength come
next. Of course, good technique helps timing. The jumping and rolling around of Silat is
more for evasion than attack. The light-bodied Malay has very little competition when the
need for litheness and agility are concerned. They have exploited these with all of their
movements. Again, the public does not recognize that the jumping and rolling and bodyEnglishing are almost purely for evasion. Very little for counter-striking.
The tricky counter-strikes at very close range of KI come from the Silat ancestry
albeit modified by the discipline and physics of Spanish fencing. I hope that one day

some people will see the essentials of both Silat and European weapons work and become
better through these.
Note: There is no such technique as "trancada heneral."
Trancada means to lock. However the sound is similar to atracada which is to
come along broadside, a nautical term. When cerrada is attached to atracada, it means to
come in VERY close. The heneral means "in general" and is used to denote 19 or so
techniques, as in combate heneral. There is a technique which is ala contra cerrada which
means to prevent your opponent going into cerrada from abierta and involves yourself
moving into cerrada, going forearm to forearm to block and attack at the same time.
In all, trancada heneral was coined, I think, to mean "close in techniques" at
trancada range in much the same way Caballes, a student of Tatang, coined "Cerrada
System" to mean "close in work". There is an Obsession in the Filipino martial arts with
flow while fighting at very close quarters, the idea being to be able to continue cutting
and parrying at sweat-to-sweat distance forever. This is actually a training drill. In an
actual fight, a hit would be scored by either opponent within the first 3 exchanges at
most.
Efficiency: the shortest distance
Tatang always emphasized efficiency and stressed the concept of taking the
shortest route to an objective whether the objective is a cut or a parry. Of course, there is
no difference between the two as understood in Ilustrisimo. The cut is a parry, the parry is
a cut. What Tatang meant was not to take extraneous movements which would take time
and delay delivery. When we look at the concept of sombra, in the sense of shadowing,
we can see that shadowing the opponents sword is ensuring the shortest distance for our
own sword to travel towards the opponent.
Count
Tatang referred to this as bilang which means count. The idea is to have the
least number of movements, preferably one movement only in fighting. If a parry were
conceived as a pure parry, meaning to deflect and another movement taken to deliver a
cut, the resulting two-move technique would create a gap and allow a skilled opponent to
come and counter or cut between the one and the two count.
Gap
For Tatang gap meant an opening which offered an opportunity to defeat an
opponent. This gap could be one of awareness where the opponent is awake but unable to
move. An open guard position which would require too much time to defend against a
strike. The split second in between the two movements of a block and a strike. A
controlled weapon hand of the opponent is a gap thru which he can be struck.
Using the opponents force
Almost all Ilustrisimo parries use the force of the opponents attack to provide
energy for a counter cut.

All of the foregoing are separate descriptions of the Ilustrisimo point of view
concerning efficiency. In a life and death situation, the most efficient technique gives you
the edge towards victory. There is no other result acceptable.
In contacting Master Tony Diego, one can do so through:
Tom Dy Tang
Bella Marie Baron Saguin
Email: Click Here
Email: Click Here
Phone: 63 (917) 831-1213
Phone: (632) 367-3589 or 63 (917) 829-5913

escrima.blogspot.com
Setting Training Goals for 2009
Im not usually big on making resolutions for the New Year but I decided to make
an extra effort to see that 2009 is a year of solid improvements for my students and
myself. Here are some questions that might help you set and achieve new goals. If you
take some time to think about these points, perhaps you too will be inspired to step up
your personal commitment to progress in martial arts.
How often do you train? Is this regularly? Is the frequency great enough to build
skills, just enough to maintain them, or barely enough to remember them? When you are
learning new skills, repetition is important, so creating short mini-practices, even 10-15
minutes several times a day, can aid memory retention and neurological programming.
Advanced practitioners generally benefit more from longer sessions that allow them to
loosen up and flow, but when time is a factor, even then there are hidden moments in a
day to sneak in a bit of extra practice.
Do you have an instructor or a coach, someone with greater skills or experience,
or are you practicing with folks at your own level? A balance of both would be my
suggestion, especially if it means making more time for training. Good instructors give us
direction and insight, without which we can waste time and effort, while a solid workout
partner is invaluable for honing those lessons between classes. If you work out with
people less skilled than yourself, your test is to find ways to elevate them. When they can
challenge you, then you grow together.
Do you train across a wide variety of methods, such as drills, flow sparring, live
sparring, empty hands, grappling, kicks, blades, flexible weapons, etc? To what extent is
your practice based on core techniques versus concepts? How you define the goals of
your program? Self-defense tends to focus on down and dirty tactics to end a fight

quickly, while tournament competitors spend much more time on conditioning and timing
for the ring.
Do you do supplementary exercise such as running, swimming, yoga or weight
training? Strength, speed, flexibility and endurance are interrelated, but each has different
requirements. Nobody is equally good in all areas. Do you train to maximize your
strengths or to strengthen your weaknesses? Theres no clear-cut right answer to that
either.
How about iron body (impact resistance) conditioning? There are few people who
are skilled enough to avoid ever getting hit, and those who are, probably got hit more
than a few times to become that good. Boxers, wrestlers and football players arent
dangerous just because of their skill or size but also because they are toughened by
continuous contact in training. Resistance to pain takes mental resilience as well.
How long or intense are your sessions? Do you get a good physical workout?
When you finish do you feel a sense of accomplishment? Being confused or frustrated
isnt necessarily a bad thing either, if you use it as motivation to push forward. We all
have good days and bad.
How far are you willing to travel to train? Some folks think across town is too far.
I traveled 150 miles round trip to train with Angel Cabales. Others fly around the world
to visit a teacher. If you really want something, youll find a way to make it happen.
Some opportunities to train with people may only come once, though not everybody
realizes this.
How much are you willing to pay? The best program for you may or may not be
expensive, but then of what value is lesser instruction? Your true cost can include time
and other commitments, not just money.
Similarly, do you go to seminars? If so, are these with instructors from the style
you already practice, or do you expose yourself to different styles? It can take courage to
step outside ones comfort zone, but then you had to start somewhere to get where you
are now!
When I began looking for FMA, there were few schools and fewer seminars.
Nowadays we have access to an amazing array of talented instructors. The goal in
attending seminars is rarely to switch styles or learn a whole new system, but rather to
expose ourselves to different ideas and methods.
If I learn even one new idea at a seminar, I consider that a day well spent. The
lesson learned isnt necessarily the most obvious either. As an instructor, Im as
interested in how the other person teaches as in what is being taught. There are many
intangible qualities behind mastery of a craft, and those have to be experienced directly to
be fully appreciated.
If you already are a teacher, have you yourself done seminars or public
demonstrations? These are opportunities to recruit, along with ways to break up the
routine of training your students while giving them performance goals and a chance to
see them deal with stress. If they cannot perform in public, how would they fight for real?
The same goes for tournaments. Some look down on these as diluting the true art,
but if competition has a place as a step or tool along the road to mastery, then one can see
the values of finding the courage and commitment to face the intensity of the ring. Win or
lose, I always considered a match an opportunity to learn about myself and how to handle
the event.

Finally, do you ever just visit or practice with other schools or styles? Do you do
this openly or do you have to keep this hidden in any way, your training affected by
politics?
One thing Id like to see is more informal sharing of teaching between schools,
where instructors are invited to teach each others classes from time to time. This kind of
grassroots exchange doesnt cost anything and provides a chance for students to see
things with a fresh eye.
Such cross training with other arts outside the FMA can provide powerful insights
as well. An empty hand fighter might feel at home with our tactics and have fresh input to
offer from his perspective. This should be no surprise to anyone who has read the many
biographies in different issues of the FMAdigest. Many of the top people in this field
have distinguished themselves in more than one combative method. That in itself should
be a key to keeping an open mind in training. Look for the relationships between different
arts, and you will also discover the distinctions that make each unique.

www.stickman-escrima.com

FMA Past Events

Martial Arts Legends and Luminaries Honor
The 60th Birthday of Professor James Hundon
November 16, 2008
On November 16, 2008, a 60th birthday bash was held in Berkeley, California, on
behalf of Professor James Hundon, a world renowned martial artist and pioneer. More
than 80 people, most of them distinguished martial artists themselves, came to pay their
respects to a man whose life has been a deep inspiration to their own, and who is a role
model and mentor to countless people. Numerous testimonials were made by martial arts
Masters, students, friends, family and people from all walks of life, citing the profound
impact Professor Hundon has had on them, leading by example. Statements were also
sent by martial arts notables who could not be present, including Aurelian Henry Obamaa martial arts movie producer and publisher from Cameroon, and Hanshi Desana Stone of
New York. This was a joyous, moving, and heartfelt celebration.
Professor James Hundon is one of the unsung heroes of the martial arts world,
whose humble demeanor conceals tremendous accomplishments, which speak for
themselves. He has more than 38 years of experience in the martial arts training with
many legendary Masters such as Dr. Moses Powell, Great Grandmaster Wally Jay,
Professor Don Jacob, Soke Lil John Davis, Newt Kamakani, Felix Macias Sr., and
Pangulong Guro Sultan Uddin, to name only a few. He has competed and taught
internationally, winning many awards. In the 1980s he became known in the media as
The dancer who is a jujitsu fighter due to his graceful fighting style. He holds 2
Seventh Degree Black Belts in Jujitsu, and Black Belts in numerous other styles, is a
Punong Guro in the art of Eskrima Serrada, and is an accomplished Boxer and
Capoeirista (for a more complete bio, Click Here. He is a truly gifted martial artist, fierce
fighter, creative genius of movement, and a
Master teacher.
One of a small group of trailblazing
African American martial artists who fought
the tournament circuit in the 1970s through
the 1990s; and one of the original west coast
Capoeiristas, Professor Hundon has continued
to evolve beyond all boundaries to become a
leader among his peers, as well as in the
greater martial arts community. His own art of
Ju Trap Boxing (JTB) is making waves for its
Great Grandmaster Wally Jay
unique blend of Jujitsu, Kung Fu, Boxing,
African, and Filipino martial arts; and also for its subtleness and sense of style. Professor
Hundon is one of the few African American martial artists to be not only inducted into
the U.S. Martial Arts Hall of Fame, but also given the title of "Most Distinguished
Master."
Great Grandmaster Wally Jay was the first speaker, describing how he and his
student, Professor Hundon, toured internationally together in the 1970s and 1980s,
demonstrating and going to tournaments to promote the young art of Small Circle Jujitsu.

As he spoke, a slideshow with photos from throughout Professor Hundons life was a
testament to this history. Great Grandmaster Jay emphasized how Jim was his top
student, and a tremendous fighter. He recounted a situation where Professor Hundon had
to fight 3 attackers simultaneously in the street, and added with pride, He could have
fought five and won.
Other martial arts Masters who
have worked with Professor over the
years, including Master Ken McCullum,
Master Terry Baruti, Grandmaster Julius
Baker, and Guro Carlito Bonjoc, spoke of
his amazing knowledge and abilities,
greatness as a fighter, deep principles,
humility, generosity, and mentorship.
Friends and family members attested to
the same outstanding qualities in a man
Master Ken McCullum
they know so well from different
areas of life. Students lined up to tell the
audience how deeply they appreciated
their teacher, and how much being his
student means to them. At the end of the
program, Professor Hundon took the mic,
visibly moved by all the love and
appreciation, and gave thanks and respect
to all his family, friends and associates.
He called all his students up to the
podium and thanked them for their
Guro Carlito Bonjoc
dedication and support.

One of Professor Hundon's trademarks is that he always pushes himself to

develop new levels in his art and teachings; and he helps his students to do the same,
both in training and in life. Even with his formidable background, he considers himself to
be a lifelong student, never too full of ego to learn something new. Professor Hundon; is
a truly remarkable teacher because he understands the learning process, has the ability to
break down movements into their fundamental building blocks, and is able
communicate that in different ways to different types of people.

Evident in every aspect of Ju Trap Boxing is Professor Hundon's motto of

"Blending, adapting and becoming one with the movement." JTB is a combination of a
deep understanding of fighting principles, meticulous technique, graceful form, flowing
movement, sensitivity, style, and attitude.
Professor Hundon is no stranger to the process of developing a new martial art.
The top student of Great Grandmaster Wally Jay, he was there from the time of his early
development of Small Circle Jujitsu (SCJ), and his successful tournament career and
reputation was instrumental in popularizing his teachers' art. Professor Hundon was part
of the collaboration to create the first book Great Grandmaster Jay ever published on
SCJ, "Dynamic Jujitsu." Now that his, own art of Ju Trap Boxing is coming into its own,
the circle is being completed.

Modern Arnis Mano Mano Filipino Martial Arts

Arnis Seminar
R and O Academy
Villamor Air Base, Pasay City
January 10, 2009
Modern Arnis Mano Mano Filipino Martial
Arts (MAMFMA) held its Arnis Seminar last
January 20, 2009 at R and O Academy Villamor Air
Base Pasay City. MAMFMA conducted the Seminar
for the Kid Arnisadors for them to understand well
the History and Background of our very own Arnis
and Filipino Martial Arts. The R and O Students who
attended were Cielo Marie Octavio, Ma. Letty M.
Laureta, Irish Jenn Tafalla, Kristoper John Soriano,
Katrine Joyce Soriano,Regi Val Hebrewel B.
Contillo, Mary Jeaunne Tolentino, Trisha Kate Adrales, Vince Alvin dela Cruz, Jzar
Julianne Camacho, Jzar Jarom Camacho,Nazi Camacho, Nymrod Owen Contillo,Nicole
Mari Sibayan, Sean Jayfred Ocampo,Sean Wilfred Ocampo.

The Seminar was conducted by Punong Lakan Garitony Nicolas and Lakan
Anthony Gatchalian, with guest Sensei Danny San Joaquin and Dayang Rhiverli Quine of
MAMFMA.

Website

MAMFMA
Pabgasisan Chapter - Cakca Martial Arts
19 Rizal Ave.
Malasiqui Pangasinan
(0910) 215-0955
Website
Grandmaster Richard Bustillo Seminar
and
Grand Opening
January 24 - 25, 2009

Legacy Martial Arts Studio just Opened

in January 2009 in the City of Claremont, Calif.
In their Grand Opening Month they had a
Legendary time with Martial Arts Legend
Richard Bustillo. At 67 years of age he is still
Eric Nold and
practicing and teaching to preserve FMA and
Grandmaster Richard Bustillo
JKD as taught to him by Bruce Lee.
Awaiting him were an eager and
interested group of local martial arts practitioners. He was enthused with his new
surroundings. Fortunately for all those in attendance he greatly enjoyed Claremont and
the group that assembled. Only a few of those in attendance had frequented numerous
seminars or training sessions with notable martial artists and the Filipino martial arts and
JKD Instructors. The novice Bruce Lee worshipper attended to get a glimpse of the

closest reincarnation to their idol. Little did they know that Richard Bustillo was distinct
and special like his teacher, but also very different in many ways. In a sense this was a
very good thing. Richard Bustillo was diverse in his nature, perspective and practice. This
blended well with the diversity of an eclectic group of excited martial artists. All forms
and styles of the arts were represented on that day.
The karate practitioner attended to acquire some secret technique that might add
to his deadly arsenal. Two law enforcement personnel were present to gather new
information on the criminal intent. And of course the so-called JKD practitioner was
there to further his growth in the art and science of a great master. In many respects we
were all like nave children who really didnt understand the true meaning of simple and
more important things.
In this way it was our own egotistical
superficiality that was confusing. There was so much to
learn.
Grandmaster Bustillo started the morning with an
introduction of himself and the participants and had an
open question and answer session. Then started with the
warm-up and the energy level throughout the day was felt
through the halls of the entire building.
Grandmaster Bustillo was asked a question about
the similarities between the Filipino martial arts and
Bruce Lee's JKD hand trappings. Grandmaster explained
that Both arts have great similarities. Eskrima and JKD
Guro Jason Cruz and
stress the lead hand whether it is right or left. The power
Grandmaster Richard Bustillo
or strong front hand takes precedence over the rear hand.
There is a live hand and that is the front hand. In Eskrima they use the term rear hand
checking which is very similar to trapping. This is the same rear hand trapping we do in
JKD. In some respects it is even more intricate and effective than JKD trapping.
Furthermore, eskrima is not just about stick and knife. There is so much more to it, just as
JKD is not just about trapping, like some people mistakenly think. Once you explore the
art and all it has to offers you can see just how complete and effective Filipino Martial
Arts really are. They are a good compliment to what people call JKD.
It was the history and warrior development of the Philippines that intrigued
Bustillo. It could even be said that his JKD led him to the world of Filipino martial arts
and a greater appreciation for Filipino history.
The Filipino people are a proud group Grandmaster Bustillo said. Like most
ethnicities, aspects of the culture specializing in a distinct area can often permeate into
daily life, so much so that it becomes the defining component. The development of the
Filipino Martial Arts exemplifies this translation of a warrior mentality to daily
living. The Filipino brand of martial training and fighting have their roots in the Filipino
culture and the society, strongly forged by their history. The centuries have been replete
with historical accounts of the battles the Philippine archipelago has endured at the hands
of foreign attackers. The Spaniard ships led by Ferdinand Magellan in 1521 lost the battle
to Filipino Datu Lapu Lapus warriors at the Battle of Mactan Island. This is just one
example of a long combative history of a great people. Through the years a system of
combat was refined and formulated with a plethora of different family styles and

systems. Names like Canete, Cabales, Lacoste, Illustrismo, Villabrille, Giron, Largusa,
Pedroy, Sarmento, Revillar and many others forged a classical history and modern
development. Later proponents of the arts emerged such as Cacoy Canete, Dan Inosanto,
and Richard Bustillo. (With respect to the many other legions of practitioners it is
impossible to be complete. Guro Jason Cruz will now follow this legacy.
On the 2nd day more participants attended the seminar which packed the studio
wall to wall with great martial artists. Tired, sore and elated with new training resources,
the seminar concluded with the passing out of the seminar participants certificates and a
special award to the farthest traveled participants: Narrison Babao from San Diego 3
hours drive and Brad Barlow from Ventura 3 hour drive. Grandmaster Bustillo also
presented Guro Jason Cruz with a big Bruce Lee portrait, a copy of Bruce Lees Definite
Chief Aim and the last photo taken of the Bruce Lee family. The seminar was a success
leaving Guro Cruz with tears of joy.

Leo Cabugos and Fred Grochulski

Richard Dye and David Elgarico

Nicole Disarming Master Julio Balacy

Vince Osorio and Sam Vo

Jeff Gadigan (Associate Instructor)

and Grandmaster Richard Bustillo

Legacy Martial Arts Studio

Filipino Martial Arts - Universal Kali
532 West 1st Claremont, CA. 91711
(909) 568-1800
Email: [email protected]
Website: www.claremontmartialarts.com

IMB Academy
www.IMBAcademy.com

Philippine British Culture Week

British School of Manila
February 2-5, 2009
The British School of Manila
celebrate its week long Philippine British
Culture on February 2-5, 2009. One of the
highlights is the Filipino Culture and the
British Culture which there were several
events. The Modern Arnis Mano-Mano
Filipino Martial Arts headed by Punong
Lakan Garitony C. Nicolas held a demonstration and a whole day of training on the 3rd
February.
This event was hosted by the British
School of Manila with the head teacher Mr.
Chris Mantz and ASA Coordinator Ms.
Sally Moore. Participation was by the
MAMFMA (R and O Academy headed by
Mrs. Susan B. Contillo school Directress)
and the MAMFMA Main Head Quarter.
The following is a list of students
who participated in the event:
From the British School of Manila:
Dayang Mikeli Mapua, Guro Jeff Becker,
R and O Students with Ms. Sally More ASA
John Becker and Christopher Napoles.
Coordinator of the British School of Manila
From the R and O Academy: Nymrod
and
John Becker with Punong Lakan Garitony
Owen Contillo, Regi Val Hebrewel B.
Nicolas of Modern Arnis Mano-Mano
Contillo, Andrea Pelovello, Vince Alvin
Filipino Martial Arts.
dela Cruz, Khristoper John Soriano, Katrine

Joyce Soriano, Irish Jenn Tafalla, May Jeaunne Tolentino, Cielo Marie Octavio, Ma.
Letty Laureta and Phia Marie Laureta.
From the MAMFMA Instructors: Dayang Rhiverli C. Quine, Lakan Junar F. Vidal,
Lakan Ronald Regalado, Lakan Romeo Solatorio and Nazi Spratley Camacho.

John Becker (9 yrs old) of British School

performing the Advance Anyo.

Redonda demonstration

Arnis training at the British School of Manila

Christopher Napoles and Jeff Becker

performed the Bangkaw Sinawali

Mano-Mano Training by the

Modern Arnis Mano-Mano Filipino Martial Arts

R and O Pupils play at the Cebu Cluster Playground.

Website

MAMFMA
Pabgasisan Chapter - Cakca Martial Arts
19 Rizal Ave.
Malasiqui Pangasinan
(0910) 215-0955
Website

2009 USK Open Martial Arts Tournament

February 7th, 2009
Cary, North Carolina
Kuntaw Palace brings home top places.

L to R:
Front Row: Elijah Farmer and Harleigh Perry
Back Row: Katria Farmer, Cameron Walston, and Cassandra Kossmann

Results:
- Katria Farmer: 13 to 14 year old yellow belts - 1st place fighting, 1st place weapons,
2nd place forms
- Cassandra Kossmann: 13 to 14 year olds - 1st place weapons, 3rd place in forms
- Harleigh Perry: 5 to 6 year old yellow belts - 2nd place fighting
- Elijah Farmer: 5 to 6 year old yellow belts - 2nd place weapons
- Cameron Walston: 10 to 12 year old brown belts - 3rd place weapons

www.kuntawmartialarts.com

5th Founding Anniversary

R and O Academy, Inc
February 7, 14 and 13, 2009
The R and O Academy, Inc., has
celebrated its 5th Founding Anniversary at
Villamor Air Base Pasay City headed by
Susan B. Contillo School Directress,

Jonathan Ceasar Santos - Project

Coordinator and Cherry Grace Latube Assistant Project Coordinator.
February 7 was the Talent Nights
and Beauty Contest for the candidates of R
and O Academy with judges: Myronne
Ray Tupan and Jianne Roselle Carlos.
February 13, 2009 The Coronation Night
with Guest of Honor and Speaker
Grandmaster Roland Dantes and Punong Lakan Garitony Nicolas of Modern Arnis
Mano-Mano Filipino Martial Arts with special Arnis Demonstration by the selected
pupils of R and O Arnis Club (Arnis for Kids) Regieval Contillo, Owen Contillo and
Vince dela Cruz and the last day of the occasion February 14, 2009 is the Parade within
the area of Villamor.
Here are the lists of winners:

February 7, 2009 Talents Night and Beauty Pageant

Maryjeaunne Tolentino - Best in Talent
Trisha Kate Adrales - Best in Formal Wear, Casual Wear and Most Photogenic
Nyanza Kaye Kuizon - Best in Sports wear
Manuel Colo - Best Talent, Best in Sports Wear, Best in Casual Wear
Eldric Mamitag - Most Photogenic and Best in Formal Wear
February 13, 2009 Coronation Night
Ms. Little R and O - Nyanza Kaye Kuizon
Mr. Little R and O - Emerson Poblador
Ms. Valentine - Katrine Joyce Soriano
Mr. Valentine - Daniel John Puducay
- 1st Runner up - Mary Jeaune Tolentino
Manuel Antonio Colo
- 2nd Runner up - Jzar Julianne Camacho
Eldrick Mamitag
- 3rd Runner Up - Trisha Kate Adrales
Louis Cobarrubias

Grandmaster Roland Dantes with

Ms. Little R and O 2009 Winner and
Mrs. Susan B. Contillo - School Directress.

Ms. Love - Jasmin Pearl dela Cruz

Grandmaster Roland Dantes and Mrs. Susan

Contillo giving the Cape to
Emerson Lobrador as Mr. R and O 2009.

Ms. Hope - Maryette dela Cruz

Ms. Charity - Princess Arizza Sekine
Ms. Faith - Bea Jozzel Tuacao
February 14, 2009 Parade
Best in Float - Float no. 7
1st Runner up - Float no. 5A
2nd Runner up - Float no. 6

Best Float

Arnis Demo by Regie Contillo, Owen Contillo

and Vince dela Cruz

Giving the Plaque of Appreciation to Grandmaster

Roland Dantes by Mrs. Susan Contillo - School
Directress during the Coronation Night at
R and O Academy February 13, 2009

The First Filipino Martial Arts Self Defense Seminar

For Filipinos Living and Working in Israel
February 21, 2009
By Neta Shermister

On Saturday night,
February 21, at 9pm, Filipinos
from all over Israel came to
Venga studio in Tel Aviv, to be
part of Jon Escuderos self
defense seminar and workshop.
The seminar was dedicated to
meeting the risks that the Filipinos
encounter living and working in
Israel.
Master Jon Escudero, a
Lightning Scientific Arnis Master from the Philippines who came to Israel last year with
his Israeli girlfriend, Neta Shermister, was requested several times by Filipinos to start

teaching FMA particularly for self defense of the Filipinos living and working in Israel.
To facilitate this, Master Jon interviewed Labor Attache Merriam Cuasay and Consular
Assistant Rodrigo Gavino from the Philippine Embassy Tel Aviv, and spoke to many
Filipinos working in Israel, in order to get a better idea of the hazards they encounter
living in Israel. After gathering all the information both from the embassy and from
fellow kababayans, he sat down and composed a talk and a training methodology,
specific for these situations.
The seminar was composed of two parts:
First Part - Lecture on self defense and awareness.
Second Part - Drills and practical training.
The seminar was conducted with the
participation of the Philippine Embassy staff in Israel.
Her Excellency the Ambassador Petronilia Garcia had
graced the seminar with her presence and
participation all throughout the workshop. Her
Excellency congratulated Master Jon on the
attendance and the important work he is doing for the Filipino community. In addition to
being a useful skill, the Arnis Self Defense Seminar was also a good platform to
showcase Filipino Martial Arts and Philippine Culture. It teaches discipline and the
importance of mental and physical fitness said the Ambassador.
Among the participants, Israeli members from Master Jons local Arnis Club,
LSA Israel came to help out with the demonstration of techniques and partnering up with
the Filipinos.
At the entrance while signing up, the participants received a copy of "Focal", the
Filipino community in Israel Magazine, issue #153 which features Mr. Escudero and his
girlfriend Ms. Neta Shermister on the cover. In that issue they could find a lot of detail
regarding Mr. Escudero, Filipino Martial Arts in the Philippines and Lightning Scientific
Arnis International, the system that Mr. Escudero teaches.
The seminar started with a one hour talk where he discussed self defense concepts
such as: What is self defense? When do you fight back? When do you run? What are the
legalities of defending yourself? What is the difference between fighting and defending
yourself? How to keep develop and maintain
awareness? What is considered harassment?
The second part of the seminar was
dedicated to actual training and learning of self
defense techniques. Mr. Escudero associated
every day basic activities, such as washing your
face, hanging laundry, brushing your teeth etc
with how they can be used as self defense
techniques. For example, the move we make
while brushing our teeth can be an elbow side
strike, stepping on an "ipis" can be stepping on
someones foot etc

The practitioners partnered up

and practiced the techniques Mr.
Escudero taught, like how to block
someone who is invading your
personal space, how to strike him,
how to get out of the way etc at the
end, the crowd separated into two
groups while each person got to be the
attacker and the other person the
defender. Persons being attacked had
to react fast while getting out of the
way as quickly as possible, not
turning their backs. This fast paced
drill left everyone in high spirits and ready for more action.
As Elizabeth, one of the practitioners said: like for me I want to know more, Im
excited, its interesting and as a foreign worker in Israel its important for us to know
how to defend ourselves.
The seminar ended with an official group picture with the Ambassador, her Staff
and all the participants who also received cookies as they departed.

(052) 224-9313
Email
Website: www.lsai.co.il

Jeff McGregors Open Karate Championship

March 7th, 2009
Yanceyville, North Carolina
Kuntaw martial arts practitioners compete and return with tall winnings.
Virginia Beach and Wilson members of the International Kuntaw Federation unite
as they compete in open martial arts competition. Members bring back 7 FEET TALL
trophies, and no one came back empty-handed.
Wilson members (Kuntaw Palace)
- Alicia Lanada Kossmann, Senior Men and Women Black Belts: 1st place weapons, 1st
place forms.

- Cassandra Kossmann, 13 to 15 year olds, red/ brown belts: 1st place forms, 1st place
weapons.
- Cameron Walston, 10 to 12 year olds, red/ brown belts: 2nd place forms, 2nd place
weapons 3rd place sparring.
Virginia Beach Members:
- Moreno Santos, Mens red/ brown belts: 1st place weapons, 2nd place forms, 2nd place
sparring.
- Sheila Llanderal, Womens white/yellow/orange belts: 1st sparring, 1st place weapons,
2nd place forms.
- Emily Nevoraski, Womens white/yellow/orange belts: 1st place forms, 1st place
weapons.

L to R: Cassandra Kossmann, Sheila Llanderal, Alicia Lanada Kossmann, Emily

Nevoraski, Moreno Santos

www.kuntawmartialarts.com

BladeSport Blade Fighting at Compete Internationals

March 1, 2009
By Rich Verdejo and Gigie Alunday

Compete
Internationals at the Ontario
Convention Center in
California was the first open
tournament for BladeSport
Blade Fighting for 2009. We
would like to extend our
gratitude to those who helped
make this event possible.
Shihan Mohamad Jahan-vash,
the tournament promoters, for
entering hosting BladeSport
Blade Fighting at their
tournament, the Whipping Willow Association, and Galius Martial Arts for lending their
support and expertise in judging the event with us. Also the participants from Kenpo
Evolution, especially Steve The Wonder Boy Baca, Valencia Lameco, Legacy, House
of Champions, and FCS Kali Cali for participating on such short notice.
Once again the stage attracted onlookers as two blade fighters faced off. At the
end of 2 minutes or 5 points, one competitor was hailed the winner of the match. The
defeated competitor walked off the stage with a body full of chalk marks as evidence of
the match that simulated cuts received. However, the winner didnt walk off completely
clean either. As in a true blade confrontation, the competitors prove that when it comes to
a blade confrontation, expect to cut and be cut.
The kids division started off
the day with the ongoing sibling
rivalry between Jessica Guerrero and
Ryan Michael Moguel. The two have
followed us through our tournaments
since its inception. The competitive
rivalry began at BladeSports
inaugural tournament at the San Diego
Grand Internationals 2008. It was a
very close fight with both competitors
exhibiting their growth in the sport and
Jessica with a stab to Ryan in the Kids
incorporating defensive bobs, weaves,
Single Long Blade Division
checks and attacks. This time, Ryan
takes the win and leaves the record at 2-2, for now. Cant wait for the next event at the
San Diego Grand Internationals 2009 to see who will take the lead!

Next on the stage was the adult

division. Congratulations to Elheferios
Larry the Greek Zarpas for sweeping all
3 divisions; single blade, double blade, and
tactical blade. Closely behind him was
Grahm The Grahm Baker who also
swept 2nd place in all divisions. The
Grahm was also awarded the Best
Technique of the Day with a very clean
check to Larry the Greeks live hand
Steve and Grahm facing off
followed immediately by a thrust into the
chest. Taking 3rd place in single blade was Rich Ruff Prepuse. Leo The One Legged
Boxer was awarded 3rd in the double blade and tactical blade divisions.
Congratulations to all participants and we look forward to seeing you all at the next
tournament, Disneyland Martial Arts Festival on March 28, 2009.
Results:
Kids Single Long Blade Division
1st Place - Ryan Michael Moguel
2nd Place - Jessica Anne Guerrero

Adults Single Long Blade Division

1st Place - Larry Zarpas (Valencia Lameco)
2nd Place - Grahm Baker (Serrada/Valencia
Lameco/FCS/UCS)
3rd Place - Rich Prepuse (FCS)

Steve and Leo

Adults Double Long Blade Division

1st Place - Larry Zarpas (Valencia Lameco)
2nd Place - Grahm Baker (Serrada/Valencia Lameco/FCS/UCS)
3rd Place - Leo Cabugos (Universal Kali)

Adults Tactical Blade Division

1st Place - Larry Zarpas (Valencia Lameco)
2nd Place - Grahm Baker (Serrada/Valencia Lameco/FCS/UCS)
3rd Place - Leo Cabugos (Universal Kali)

dA bEST qUALITY pRODUCTS

Email
Website

Speak Up - Speak Out

Roberto Trinidad

Filipino FMA Terminology

I find it ironic that at a time that Filipino Congressmen are pushing to have
English as the sole medium of instruction in our public school system, we get foreign
Filipino martial arts practitioners over at the FMA Forum asking about Filipino FMA
terminology.
A common question is what the Filipino / Tagalog / Cebuano / etc. word for a
particular term is. A recent example is a post made by a member asking for the Filipino
term for a dojo
[www.fmaforum.org/index.php?showtopic=3917]. For most Filipinos, this is a
perplexing question since traditional training is done in any available open space. Yuli
Romo uses the term "hapag sanayan" as a transliteration of "training hall", but students of
Master Yuli will attest that they've never practiced in a training hall under him.
Another post asks the proper way of using certain phrases in a particular Filipino
language
[www.fmaforum.org/index.php?showtopic=3623]:
"I need help in proper grammer with terminolgy I want to say this: (English)This
place is where we honor the older brothers who came before. (Cebuano) Kini daupit mao
ang asa kita kadungganan ang manongs kinsa abot kanhi. My Cebuano is limited, so I
am giving it my best."
Considering that there are more than a hundred living languages in the
Philippines, it comes to no surprise that even hardcore Filipino FMAers are stumped
when asked about the meaning or etymology of some commonly used terms. An example
is a post asking about the meaning of "Hirada Batanguea"
[ www.fmaforum.org/index.php?showtopic=3873].
In a previous article, I mentioned a post examining the question, "Why are FMA
terms in Spanish?" [www.fmaforum.org/index.php?showtopic=6]. While the post
eventually turned into a debate on the origins of FMA, the first few pages contain posts
about Filipino terms that have been supplanted by Spanish ones.
If you have any questions on Filipino terminology in Filipino martial arts, or any
question about Filipino martial arts for that matter, feel free to post on fmaforum.org.
Also, if for some reason you are not comfortable posting on a public forum, you could
always send me an e-mail at [email protected] and I'll post for you along with my
personal response.
Hanggang sa susunod (Until next time).
See you there!

FMA Future Events

Seminars
Senkotiros Bay Area Seminar
April 4, 2009
San Jose, CA
(408) 849-8321
Email
Website
Tuhon Ray Dionaldo - FCS Seminar
April 18 - 19, 2009
White Lotus Kung Fu Studio
18369 Eddy St. Unit B
Northridge, CA. 91325
Contact: Gigie and Rich
Email
Grandmaster Richard Bustillo
Doce Pares System, Jeet Kune Do, Grappling Seminar
April 25 - 26, 2009
Crows Martial Arts Academy
1015 N I35 E Suite 218
Carrollton, Texas
Email
Website
Philippines, Seminar/Workshop
April 25 - May 3, 2009
Anilao Training Camps
Anilao East, Mabini, Batangas, Philippines
Email
Website
Website
Guru Cass Magda Seminar
May 2 - 3, 2009
Phoenix Martial Arts
344 Jericho Turnpike
Floral Park, NY.
Contact: Greg Pichardo
(516) 437-7132
Email
Website

Silver Dragon Martial Arts Senkotiros Seminar

May 16 - 17, 2009
Silver Dragon Martial Arts
St. Mary's, PA.
(814) 512-5001
Email
Website
Website
Kalis Silat Seminar/Workshop
Grandmaster Jon Bais
May 23, 2009
Black Tiger Martial Arts Academy
Security Square Mall Windsor Mill
Baltimore MD.
Website
Website
4th British FMA Festival
June 6 - 7, 2009
North Romford Community Centre
Collier Row, Romford, Essex RM5 3QJ
For Advanced Pre-Paod Booking and Registration
07932 746642
Email
Flyer
Ricarte En Cruzada Aldabon
June 13, 2009
Ron Smith's Muay Thai Academy
5731 Dale Ave
Saint Louis, MO.
Email
Website
Senkotiros Texas "Halad" Seminar
June 20, 2009
Temple, Texas
(254) 271-8383
Email
Website
Website
Website

Sifu Greg Pichado Seminar

June 20 - 21, 2009
Phoenix Martial Arts Massachusetts
Boston, MA.
Contact: Dustin Santomenna
(516) 353-9223
Email
Website
Seminar and Worshop
Senior Master Lito Brucal
July 11 - 18, 2009
Egg bei Zuerich, Switzerland
Email
Website
Website
Supreme Grandmaster "Cacoy" Canete Seminar
July 18, 2009
307 White Horse Pike
Absecon, NJ
Email
Website
Long Beach International
Filipino Martial Arts In Brotherhood
USFMAF and Master Jun Onas
1st Eskrimador World Tournament
August 9, 2009
Long Beach Convention Center
300 E. Ocean Blvd., Long Beach, CA 90802
Suite B & C
(562) 436-3636
Flyer
Website
Presas "KombatanTraining Camp" Poland
August 8 -16 and 16 - 22, 2009
Wegierska Gorka, Poland
Email
Website

Senkotiros Texas Seminar

August 26 - 27, 2009
Georgetown, Texas
(512) 869-2615
Email
Website
Website
Website
Senkotiros Seminar I
August 29, 2009
Castro Valley, CA
(510) 860-8501
Email
Website
Website
Website
Sifu Greg Pichardo Seminar
September 19 - 20, 2009
Red Dragon Martial Arts Academy
10 N. Arlington St.
Manville, NJ
Contact: Sifu Robert Teodorczy
(908) 253-0022
Email
Website
Guru Cass Magda
October 3 - 4, 2009
Phoenix Martial Arts
344 Jericho Turnpike
Floral Park, NY
Contact: Greg Pichardo
(516) 437-7132
Email
Website
Silver Dargon Martial arts/Senkotiros Seminar
October 10 - 11, 2009
St Mary's, PA
Contact: Guro Brocks Genavro
(814) 512-5001
Email
Website
Website

Senkotiros FMA Seminar

October 24, 2009
Castro Valley, CA
(510) 537-0901
Email
Website
Website
Website

Tournaments
27th Annual Maryland Open Championship
April 19th, 2009
Best Western Hotel & Conference Center
5625 O'Donnell Street
Baltimore, Maryland 21224
[410] 370-4455
Email
Website
Website
1st Pasay City Martial Arts Figthing League
World Empire Mixed Martial Arts Command
Headed by Master Restie Obispo
Modern Arnis Mano-Mano Filipino Martial Arts
Headed by Punong Lakan Garitony Nicolas
April 19, 2009
Pasay City Sports Complex
Philippines
Email
2009 World Eskrima-Arnis Championships
April 24-26 2009
City Sports Club Cebu
Cebu Business Park
Cebu City, Philippines
Email
Website

San Diego Grand International Martial Arts Competition 2009

May 16-17, 2009
San Diego Sports Arena
3500 Sports Arena Blvd
San Diego, CA
(866) 825-7346
Flyer / Registration
Website
2nd Annual Vallejo FMA Goodwill Tournament
June 6, 2009
Vallejo Waterfront - Vallejo, CA
Mare Island Way
Vallejo, CA
Email
Website
1st Annual Battle of Mexico
June 19 - 21, 2009
Colegios Peterson Mexico
(Gym Peterson Campus Cuajimalpa)
Huizachito # 80 Col. Lomas de Vista Hermosa
Cuajimalpa D.F., C.P 05720
15 minutes drive from lomas de chapultepec
Flyer
Contact
Conmutador: (52) 55 5290 4112
Interlomas: (52) 55 5290 3704
Zacatecas: (52) (492) 92 52468
Email
Website
Supreme Grandmaster "Cacoy" Canete
Championship Tournament
July 19, 2009
Spontaneous Sport Center
6622 Black Horse Pike
Egg Harbor Twp., NJ
Email
Website

Long Beach International

Filipino Martial Arts In Brotherhood
USFMAF and Master Jun Onas
1st Eskrimador World Tournament
August 7 - 9, 2009
Long Beach Convention Center
300 E. Ocean Blvd., Long Beach, CA 90802
Suite B & C
(562) 436-3636
Flyer
Website

2009 Queen City Laban Laro

October 17, 2009
Buffalo Niagara Court Center
425 Meyer Rd
West Seneca (Buffalo), New York
Email
Website

By Luis Rafael C. Lledo, Jr.

www.amara-arkanis.com
Basic Thrust (ULOS)
In Filipino Fighting Arts, a thrust (ulos) is different from a strike (hablig). While
hablig is an angular, cutting, slicing, slashing or hacking maneuver, ulos is basically a
forward stabbing, piercing, penetrating tactic. Ulos (sometimes also known as saksak or
tusok) is delivered using the tip of the knife, the end of the stick or the butt of the stick.
When a knife is used alone, it is sometimes also used for slashing. But whether the knife
is used for thrusting (stabbing) or slashing, the main pattern of motion is the
multiplication sign or the X pattern.
Originally used exclusively in close range knife fighting, the ulos became part of
Arnis de Manos espada y daga (sword and dagger) system. In doble baston (double
sticks) system, the tip and the butt are used as a knife.
There are two directions of ulos, overhand (pabulusok) and underhand (paahon).
Overhand is executed normally in a downward motion with the hand raised above the
elbow or the arm raised over the shoulder like a baseball pitcher throwing a fast ball.
Underhand is executed normally in an upward motion with the hand below the level of
the elbow or the arm below the level of the shoulder as a softball pitch.
Any part of the body that is hit with a knife, the end or the butt of the stick will
cause injury, however, since the Filipino fighting arts principle is one-strike-one-kill,
there are specific targets to achieve this goal.
The two main targets of an overhand knife thrust are the carotid arteries on the
sides of the neck. Cutting or severing the carotid artery causes severe bleeding, depleting
blood to the brain and other parts of the body that will have fatal result.
The two main targets of an underhand knife thrust are the heart and the liver.
Injury to the heart disrupts the efficient pumping action of the organ. When the heart is
damaged, blood supply is disrupted which normally have a fatal result. Damage to the
liver may cause both external and internal bleeding which likewise may be fatal.
Injury caused by the end or the butt of the stick may not cause bleeding but may
cause severe trauma that is just as deadly and fatal as an injury caused by a knife.
The underhand thrust to the heart was the thrust of choice when live blades were
used. With the advent of the use of sticks, several variations were adopted. Thrust to the
eyes, and thrusts to the other parts of the body were added to the repertoire of stickfighting blows.
A thrust, particularly the underhand thrust is a very deceptive maneuver. In
tournaments, the thrust is rarely used or allowed despite its effectiveness and speed of
delivery. In defensive situations, the thrust stands out as a decisive blow that is quick to
employ and not easy to block or defend against. The downside of the thrust is it is
practical for close in and middle range of fighting but impractical for long range fighting
unless using a sword or a long stick.

Underhand thrust with stick to the heart and the eye.

Double underhand thrust to the heart.

Combination overhand and

underhand thrust to the heart.

The basic pattern of motion of the thrust is the multiplication sign or the X pattern.

Study all the Techniques and Retain those that will Best Work for you.
Questions or Topics of interest for the Filipino martial arts contact:
Mataw Guro Luis Rafael C. Lledo, Jr. - Email

Roland Tango Pintoy Dantes

1945 2009
A very sad day for the Filipino martial arts community throughout the world,
Roland Dantes was rushed to the Philippine Heart Center, East Ave., Quezon Coty,
Philippines and expired at 1:52 am on March 16, 2009.
Just the afternoon and evening before he had joined in a gathering of Filipino
martial arts practitioners at Peachie Baron-Saguin home, enjoying the camaraderie and
brotherhood of fellow martial artists.
Untiring in his quest in the promulgation and promotion of the Filipino martial
arts, Roland Dantes was a man that had touched every ones life that had met him, a true
crusader and ambassador of the Filipino martial arts and the Philippine culture.
Roland Dantes was viewed by family, friends and fellow martial artists at Marian
Memorial Chapel located on Marcos Highway, Antipolo City, Rizal, Philippines; he was
dressed in his Arnisador uniform with two bastons at his side.
Roland Dantes was laid to rest on March 22, 2009 at Heavens Gate Memorial
Park, Antipolo, Philippines.

Intermediate Eskrima - Instructed by Thomas Sipin

Assisted By: Master Kelii Sipin and Guro Jenny Noval
The FMAdigest was asked to review and make a
few comments on the new DVDs that Century has put
out on Intermediate Eskrima by Grandmaster Thomas
Sipin.
Intermediate Eskrima is a set of 4 DVDs which
sell separately for $14.99 each. They are professionally
put together, which would be expected by Century.
Grandmaster Sipin gives a very good presentation
throughout each video, speaking clearly and precisely
demonstrating the movements in an expert manner which
whether a beginner, student, or a seasoned veteran the
individual will most definitely get a valued amount of
knowledge.
The first two volumes are well put together that instructs the basics of Doce Pares.
They are easy to follow and with Grandmaster Sipins, explanations and the
demonstrations with his assistants bring about a learning experience as if being taught in
person.
- Volume 1: Corto Abesedarios and Basic Forms - Shows you Doce Pares forms 1
through 4, with a sword and daga variation. Also covered are drills to improve
close range attacking, checking and countering.
- Volume 2: Larga Mano Abesedarios and Intermediate Forms - Introduces Doce
Pares forms 5 through 8, and addresses long range attacking, countering and
movement drills.
In Volume 3 Grandmaster Sipin and his assistants use some realistic and basic traps,
locks, and disarming techniques that are practical and easy to add to a persons arsenal of
knowledge. His explanations are easy to follow and can clearly be understand.
- Volume 3: Intermediate Weapon Disarming - Demonstrates trapping, locking and
disarming drills against both stick and knife attacks.
Competition is a default area to really instruct in, for it takes a feeling and many
training sessions to really perfect an arsenal that will be effective. However Grandmaster
Sipin through Volume 4 breaks down various techniques which can be used and points
out some very interesting thoughts on competition, which even some seasoned
practitioners forget from time to time.
- Volume 4: Training for Competition Stick Fighting - Demonstrates how to
improve yur training for competition stick fighting with striking combinations to
develop continuous hitting, along with footwork and movement drills.
It is highly suggested that if you have not experienced Doce Pares, get the DVDs to
learn insights into the art. If a student of Doce Pares it would be great to have in your
library as reference and even if a veteran, you might find some things which can assist in
bringing out some valued points in teaching the art.
Grandmaster Tomas Sipin has been teaching martial arts approximately 40 years,
beginning with his father a Filipino immigrant, at the age of three. In 2005 Grandmaster

Sipin became the first person born in the U.S. to earn the rank of 9th Degree Black Belt
and be named Grandmaster of one of the most famous styles of the Filipino martial arts,
Doce Pares Eskrima. Former President and Director of the Word Eskrima, Kali, Arnis
Federation (WEKAF).

www.centurymartialarts.com
Order the DVDs - Click Here
www.fwma.net

FMA Direct is a UK-Filipino company formed

back in 2006 as a subsidiary of Ramin Sports.
Our Philippine manufacturing operation is
modest with a 10000 sq ft shop situated 30
minutes drive from 'Manila International Airport'
in Kamias, Quezon City (25 mins walk from the
famous 'Araneta Coliseum' - where Muhummad
Ali fought in the 'Thrilla in Manila').

www.fmadirect.co.uk
Our primary focus is the manufacture of bespoke sports and leisure garments.
We don't just manufacture FMA equipment. We manufacture t-shirts, hooded
tops, sports clothing etc. and can also make unique designs to customer specification. We
generally only prefer to manufacture bespoke provided the minimum order is 50.
FMA Direct
16 The Pines
Cringleford, England NR4 7LT
0207 1939 560
Email: [email protected]
Website: www.fmadirect.co.uk

Master Reynaldo Postrado

Engraved Arnis Sticks
Beautifully hand engraved arnis sticks.
Get your school logo, style or organizations name or your personal name
engraved on an arnis stick. Give an engraved arnis stick to your students or fellow
practitioners.
Each arnis stick professionally hand engraved. Send your design and
receive a quote. Order one or order several.
Get a 5% discount mention the FMAdigest
For price quotes on designs email
Master Reynaldo Postrado at: [email protected]

Giron Balisong Store

Joceln Ateng Giron
Mahabang Ludlod Taal
Batangas, Philippines
(043) 408-1674
(0915) 337-6936
(0920) 441-3982
Email: [email protected]

Need a ride to get to the store contact them and they will arrange.
Print this advertisement and mention the FMAdigest and get a Discount

Buy Direct from the Philippines and save money!

Hi, my name is Simon and I'm the "Owner" of
E.K.A.Com. Though "Owner" sounds too corporate for my
liking! I prefer to say that I'm the person that will be buying
the items and ensuring that they reach you safely and, most
importantly of all, that you are satisfied.
We are committed to bringing you the best FMA
Equipment at the best possible prices. If there's anything at all
you would like but don't see when visiting the website please
contact us! We are always improving our stock range and
listening to our customers.
All the best with your training,
Simon McMahon.
eskrimakaliarnis.com

If you have any questions at all about our products or anything related just drop me a line
at [email protected] and I will do my best to answer them.
We accept all Major Credit/Debt Cards, along with PayPal and Google Checkout.

Bringing the Filipino martial arts community closer

together with regular news, reviews, updates, profiles,
reports, training tips, travel information and feature articles,
contributed by many of the top Filipino martial artists from
around the world for the Filipino martial arts practitioners
and enthusiast to enjoy.
Visit the Website and you can your issue of
Stickfighter Magazine in DNL file which is a data only file
(therefore resistant to computer viruses) but requires the end
user to have a DNL reader installed, or download the
magazine in PDF.

www.stickfightermagazine.com

FMAdigest published in booklet form.

These special printings are approximately 5" X 7" in size - in Booklet form.
FMAdigest Set: Volume 1 - 5 (1st Five Years Regular Issues)
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Arnis Balite
The Filipino Art of Hand, Foot & Stick Fighting
As taught by Pundador Manuel M. Aguillon
By Steven K. Dowd

This book will give you the Fundamentals and

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Steven Dowd was the first and only non-Filipino
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And since Pundador's passing has inherited the art,
per the family's request.
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